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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Danielle Henderson. Yes,

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Speaker 2: and you are and I am, and we're both here

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Speaker 2: to talk about movies again. Hey, we're doing it again.

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Speaker 2: Look at us, That's what I want. Hey, look at us.

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Speaker 1: Now that the episode has officially been blessed by saying, hey,

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Speaker 1: look at us.

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Speaker 2: And the irony being that you cannot.

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Speaker 1: You literally can't look at us because we're in your

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Speaker 1: ear holes?

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Speaker 2: What's up?

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Speaker 3: I on your encouragement? Started and finished? White Lotus finally,

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Speaker 3: the White Lotus TV show.

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Speaker 2: I don't even know what to say.

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Speaker 3: I don't say the first thing that I want to

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Speaker 3: say that I forget got to add when we were

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Speaker 3: texting about like what party was on and like when

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Speaker 3: you're you know, because you were like texting when you're

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Speaker 3: finished with it, and I forgot to send you a

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Speaker 3: text that said the fact that that one privileged white

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Speaker 3: guy calls his wife Bubba is so Tom and Katie

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Speaker 3: from vander Pump Rules, Yes, And I'm like, are they

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Speaker 3: directly being like punked now in real TV shows?

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Speaker 1: Yeah?

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Speaker 2: I wondered that too.

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Speaker 1: I was like that couldn't have been incidental. That had

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Speaker 1: to have been planned.

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Speaker 4: It just made me laugh so hard because it was

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Speaker 4: so intentional.

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Speaker 2: I'm like, I feel like someone.

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Speaker 3: I feel like Mike White maybe watches vander Pump Rules listen.

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Speaker 2: He has no stranger to reality television, as we know,

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Speaker 2: as we twice twice on two shows.

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Speaker 1: Yeah, So if you guys have literally no idea what

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Speaker 1: we're talking about, you know, there's the Ageos series White

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Speaker 1: Lotus that is on right now or just finished. There

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Speaker 1: was like what six episodes, and if you are a

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Speaker 1: Stisher Premium subscriber and you listen to one of our

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Speaker 1: latest episodes, I sort of like talked about how I

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Speaker 1: had just started it and Danielle hadn't started it yet,

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Speaker 1: but I was only like I was only on the

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Speaker 1: second or third episode, and I was like, what the

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Speaker 1: fuck is going on? And I walked into it totally blind,

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Speaker 1: despite the fact that Danielle and I are big fans

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Speaker 1: of Mike White, who created the series. And so now

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Speaker 1: fast forward, we're both caught up. We have a lot

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Speaker 1: of questions. We were like texting each other in all

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Speaker 1: capital letters for like fifteen twenty minutes about.

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Speaker 2: The show.

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Speaker 3: And this is one of those shows that I definitely

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Speaker 3: don't want to spoil for anyone, but I do think

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Speaker 3: it's worth it to say that the Natasha Rothwell Jennifer

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Speaker 3: Coolidge relationship fucked me up the most. There are a

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Speaker 3: lot of fucked up relationships in that show that will

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Speaker 3: have you questioning life and society, but that one fucked

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Speaker 3: me up the most.

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Speaker 2: Yes, I will say that was truly.

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Speaker 1: It made me feel really emotionally invested, to the point

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Speaker 1: where I was like, I don't even know what to

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Speaker 1: do with this emotion, Like I'm just like, I.

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Speaker 2: Don't know who to talk to about this.

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Speaker 1: The other one, though sort of related in a weird way,

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Speaker 1: is the two teenage girls.

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Speaker 3: Yeah, did you end up liking them? Because I know

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Speaker 3: you hated them at first? How did you feel about

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Speaker 3: them at the end.

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Speaker 1: I don't like them, still don't like them. Honestly, that

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Speaker 1: shook me because it was so indicative and again trying

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Speaker 1: not to spoil it, but as all like young people's

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Speaker 1: friendships are, like, I guess they were like what they

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Speaker 1: weren't in high school? They were like you know, they're

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Speaker 1: in college, early college, still teen like probably like nineteen

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Speaker 1: or something, right, But it was so massively triggering to

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Speaker 1: like go back to those types of friendships where it

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Speaker 1: was like two women sort of competing with each.

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Speaker 2: Other in these weird ways.

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Speaker 1: And I was like, oh no, like I can't handle

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Speaker 1: this either, Like I can't handle any of these relationship triggering.

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Speaker 3: I gotta hand it to Mike White. He can write

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Speaker 3: the fuck out of some petty characters, yes, and really

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Speaker 3: make them interesting and nuanced in ways that I did

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Speaker 3: not expect to feel like it is. It's a show

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Speaker 3: that if you have not watched and you have access

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Speaker 3: to HBO Max, I think it is one worth watching.

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Speaker 3: And that that relationship between the teen girls, because I

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Speaker 3: don't know that I ever had like an outwardly competitive

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Speaker 3: relationship with a friend beyond like middle school. But I'm curious,

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Speaker 3: have you ever gone on vacation with somebody else's family?

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Speaker 2: Yeah?

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Speaker 3: What was that like? Because that seemed like so uncomfortable

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Speaker 3: to me.

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Speaker 1: Yeah, I've had friends go on vacation with me and

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Speaker 1: my family. I gotta tell you, probably wasn't great. They

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Speaker 1: were probably like what the fuck? Who are these weird people?

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Speaker 1: Which was a constant fear of mine when I was

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Speaker 1: in middle school. By the way, speaking of middle school,

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Speaker 1: I was always like.

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Speaker 2: I don't know, I don't why do I have friends?

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Speaker 1: But yeah, but it was that thing where I did

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Speaker 1: go on vacation with his family when I was in school,

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Speaker 1: whom the parents were like very very invested in their college,

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Speaker 1: like the college that they went to, and it's the South, right,

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Speaker 1: so everybody loves like college southern football, like it's it's

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Speaker 1: a huge thing down here of like the Auburns and

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Speaker 1: the Florida States and the UNC's and all the shit

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Speaker 1: like that, you know, And I remember I went on

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Speaker 1: an entire vacation that was based on this weird like

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Speaker 1: the dad and mom were returning back to the college

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Speaker 1: for some football game, but then also like their sororities

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Speaker 1: or fraternities were like having some kind of get together.

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Speaker 2: So I had literally no idea why I went. I

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Speaker 2: was young.

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Speaker 1: I was like maybe, like I don't even know how old.

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Speaker 1: I was maybe fourteen or fifteen years old. So I

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Speaker 1: ended up going on this family trip with my friend

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Speaker 1: it was, and it was all wrapped up in this

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Speaker 1: like weird college experience of the parents that.

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Speaker 3: Then, But then did that cause you to like bond

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Speaker 3: with the friends a little were the friends also like, oh.

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Speaker 2: This is weird, or were they like, no, this is great.

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Speaker 2: We do this every year. It's part of our tradition,

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Speaker 2: you know.

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Speaker 1: I don't even really remember the reaction of my friend.

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Speaker 1: I think I was just sort of like so paranoid

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Speaker 1: that I wasn't doing the right thing or something like

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Speaker 1: that I was like constantly just like concerned with myself

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Speaker 1: and my behavior versus like what is.

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Speaker 2: My friend thinking.

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Speaker 3: I went to mont once with but I went with

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Speaker 3: my best friend, so it was very even though like

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Speaker 3: I had we never really hung out with her parents,

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Speaker 3: but I knew them and I was comfortable with their family,

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Speaker 3: and she had like a little brother, little sister that

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Speaker 3: I knew, and there were it was just mayhem. I

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Speaker 3: was just like a bunch of kids in a cabin

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Speaker 3: in the woods, and the parents were like, knock yourselves out,

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Speaker 3: don't kill each other, and we'll see you later. But

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Speaker 3: then once when I was in high school, a friend

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Speaker 3: of mine invited me to the shore with her, like

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Speaker 3: down to the New Jersey shore with her family, and

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Speaker 3: they had it was like a they're like She's like, oh,

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Speaker 3: we have a like my family has a cottage on

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Speaker 3: the beach or something like a beach house kind of thing.

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Speaker 3: And so in my mind, I'm thinking like eighties movies,

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Speaker 3: like this is about to be some tight shit. And

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Speaker 3: it was like sand swept floors and like.

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Speaker 2: It was like a cottage.

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Speaker 4: Like there was like two bedrooms and we were all all

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Speaker 4: the kids were piled in one and then the parents were.

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Speaker 2: In the other.

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Speaker 3: It was a true cottage, which is cool because it's

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Speaker 3: like it was very low key. But also I was like,

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Speaker 3: I don't know what I'm like. I don't like swimming

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Speaker 3: in the ocean. That kind of freaked me out. I'd

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Speaker 3: never done that before and I just didn't feel super

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Speaker 3: comfortable with it. And her parents were very very religious

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Speaker 3: and buttoned up kind of people. Yeah, and I had

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Speaker 3: already crossed the threshold into complete strange weirdo person. So

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Speaker 3: I felt like I had to like be on my

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Speaker 3: best behavior that week.

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Speaker 2: And I was like, oh, weird, See that's what I'm

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Speaker 2: talking about.

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Speaker 1: Like I think now now that we're talking this out,

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Speaker 1: it feels like going on vacation with another family at

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Speaker 1: that age is a psychotic endeavor, as Daniel Henderson once said, right,

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Speaker 1: because it's like, yes, honestly, like, can you even imagine,

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Speaker 1: Like I can't even imagine going on vacation, like being

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Speaker 1: a little kid going on vacation with some other family

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Speaker 1: and just like having that moment where you're like, what

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Speaker 1: are the rituals of this family? I don't get it,

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Speaker 1: I don't know what's happening. I'm stuck here. If I

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Speaker 1: have to sleep on a hideaway bed with my friend

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Speaker 1: while her parents are fucking in the other room, I'm

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Speaker 1: going to freak out. Like you know, it's just like

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Speaker 1: that moment where you're just like.

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Speaker 2: Wow, it's very strange. I think people did that a lot.

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Speaker 3: Because I think the premise behind that is especially and

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Speaker 3: I'm gonna make a bold claim here, but I think

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Speaker 3: especially with teenage girls.

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Speaker 2: With young girls, parents want them.

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Speaker 3: To have company, Like they don't want to have to

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Speaker 3: deal with the attitude and the boredom and the bullshit

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Speaker 3: and that in the traditional gender role sense. That's what

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Speaker 3: I think is that more often you'll see a parent

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Speaker 3: tell a teenage girl to invite a friend on vacation

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Speaker 3: because they don't want to deal with that teenage girl.

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Speaker 2: You're right about that.

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Speaker 1: And two, the other thing is that it is really

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Speaker 1: at the request of the kid, because I remember being

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Speaker 1: that age and being like, oh my god, I'm just

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Speaker 1: gonna die.

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Speaker 2: I don't hang out with my friend's twenty four hours

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Speaker 2: a day.

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Speaker 1: Now, of course, I think that's nuts because I'm like,

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Speaker 1: I would love to go on vacation by myself every

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Speaker 1: single time, always like hard and fast rule. But like

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Speaker 1: you know, when you're like in middle school, you're very needy.

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Speaker 1: You can't do anything, and the thought of hanging out

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Speaker 1: with your family, especially when it came to like rolling

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Speaker 1: around the resort and talking to boys and shit, like, no,

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Speaker 1: you gotta have a partner in crime for that.

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Speaker 2: You can absolutely do that with your family, right.

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Speaker 3: But that brings up another point too, which maybe I

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Speaker 3: should ask my grandma this, But like, as a parent now,

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Speaker 3: I would not send my child to any family that

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Speaker 3: I did not intimately know because they could be kidnapping

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Speaker 3: that kid. They could be selling that kid into fucking

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Speaker 3: sex slavery, Like it's not just a vacation anymore because

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Speaker 3: you don't know, like they could have guns in the house,

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Speaker 3: Like you do not know about these families anymore.

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Speaker 2: Okay, you were definitely raised by your grandma every time.

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Speaker 1: Every time you have like super high key paranoia about situations.

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Speaker 1: I'm like, that is that's Carol, Grandma's granddaughter.

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Speaker 2: But you're right, it's true. Look, we're at a whole

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Speaker 2: new level of that game. By the way. It's like

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Speaker 2: you could be going with somebody who's unvaccinated, who is.

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Speaker 1: Going to indoctrinate you in some fucking conspiracy theory. Shit

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Speaker 1: you don't want to deal with. It's like a whole

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Speaker 1: new level of that game.

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Speaker 2: But I know what you mean. I know what you mean. Well,

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Speaker 2: speaking of children and sending them away? Whoa ah, I

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Speaker 2: did a segway.

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Speaker 1: You just get better and better every week, and I

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Speaker 1: get worse and worse. I just look for the moment

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Speaker 1: I jump in, jump in there. I'm so into it.

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Speaker 3: But it does fit our theme, miraculously it does, and

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Speaker 3: we did not plan that, but it does.

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Speaker 2: And our theme this week is teacher, leave those kids alone?

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Speaker 2: And what is this theme about? For you? Okay?

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Speaker 1: So for me, I think when we walked into this theme,

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Speaker 1: we were thinking, you know, obviously this is about school, right,

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Speaker 1: and then we started thinking about but what kind of school?

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Speaker 1: And then we were like prep school, boarding school, some

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Speaker 1: kind of like private school setting.

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Speaker 2: I'm assuming you did not go to a private school

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Speaker 2: when you were growing up.

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Speaker 1: Hell to the no okay me either obviously, and I

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Speaker 1: think you got to go way back into our archives

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Speaker 1: to find this one. But the episode that we did

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Speaker 1: about the Dance Conservatory movies, I feel like it's the

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Speaker 1: same idea. Yes, I personally, and I don't want to

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Speaker 1: speak for you entirely, but a feeling maybe we share this.

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Speaker 2: But I went to public school my entire life. The

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Speaker 2: idea of private school, the idea of prep school, boarding school,

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Speaker 2: especially like all male, all girls schools, is so fascinating

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Speaker 2: to me. Oh same, because that was not my life

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Speaker 2: at all.

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Speaker 3: Now, And I think not only was it confounding, like

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Speaker 3: the just the very idea of it was confounding to me,

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Speaker 3: Like you go away from your family.

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Speaker 2: To go to school when there's a school right down

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Speaker 2: the road.

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Speaker 3: Yeah, like that was weird to me, but then also strange.

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Speaker 2: We were so negatively impacted.

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Speaker 3: By pop culture when it came to prep schools, like

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Speaker 3: that is your only experience of prep school. I think

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Speaker 3: prep schools are the most fucked up places on the

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Speaker 3: planet based on what pop culture has taught me about

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Speaker 3: prep schools. Absolutely, and I never I have met people

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Speaker 3: since in my adult life that have gone to them

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Speaker 3: like only a couple, but they don't ever have anything

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Speaker 3: positive to say.

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Speaker 2: So I truly questioned the not.

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Speaker 3: The usefulness, but I do kind of question the that

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Speaker 3: that if pop culture is getting something right about this

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Speaker 3: very strange school structure. I think that in Norway, public

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Speaker 3: schools or private schools are banned.

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Speaker 2: Oh so all of the.

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Speaker 3: Rich people of that nation have to send their kids

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Speaker 3: to public school, which makes them support public schools. So

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Speaker 3: the public school education is as good as a private

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Speaker 3: school education would be.

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Speaker 2: Wow. I mean, that's what a wonderful world, that's right, right,

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Speaker 2: So that's what's weird to me.

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Speaker 1: But no, it's precisely that that I think is what

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Speaker 1: makes it fascinating for me, because I think we have

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Speaker 1: to make a distinction between something like Catholic high school

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Speaker 1: or something versus like maybe what we're talking about, which

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Speaker 1: is kind of more the traditional send your kids away

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Speaker 1: to this like private school and from or something like

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Speaker 1: that with old with other rich people's kids and then

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Speaker 1: they're being groomed for some thing.

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Speaker 3: I think you're absolutely correct that we are talking about

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Speaker 3: the different there's a difference basically between private school and

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Speaker 3: prep school. And we're talking in this episode. Our theme

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Speaker 3: is about prep schools, right.

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Speaker 1: The thing about those schools that and I think both

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Speaker 1: of these movies that we picked today are very much

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Speaker 1: about this. But the traditions and the rituals and the

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Speaker 1: sort of like the ways that like you know, you

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Speaker 1: have to have some sort of like proper behavior while

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Speaker 1: in the school, and it's all about like families and dynasties.

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Speaker 1: And I mean that is like fucking so out of

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Speaker 1: my purview. I'm like, I have no idea what that

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Speaker 1: shit's about at all. And so somebody like me is like, wow,

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Speaker 1: like this blue blooded like prep school environment is so

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Speaker 1: out the outsider looking inside, right, Yes, yeah.

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Speaker 3: Because it's it's all about more than anything, these schools

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Speaker 3: are about conformity. Yeah, And it's like, if you want

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Speaker 3: to benefit from everything we have to offer, then you

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Speaker 3: better fall in line, not just now, but for the

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Speaker 3: rest of your goddamn life. Like this is what this

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Speaker 3: is about.

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Speaker 1: Yeah, And I think the notion of that is what

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Speaker 1: makes good movies about prep school.

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Speaker 2: Right.

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Speaker 1: That's why it's such an enticing topic for a film,

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Speaker 1: because you are able to talk about conformity and rule

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Speaker 1: breaking and tradition and you know, stuff that's just like

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Speaker 1: really interesting to talk about in the context of a

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Speaker 1: screenplay or what have you. So that's probably why you

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Speaker 1: have a lot of bad experience, Like, that's probably why

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Speaker 1: there's a lot of bad portrayals about prep school that

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Speaker 1: you've seen in popular culture. Is why you have your

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Speaker 1: notions about it is because it's been It's just such

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Speaker 1: a sort of ripe topic for people.

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Speaker 2: I think it's also why I picked the movie.

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Speaker 3: I picked it's because and I because I don't have

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Speaker 3: it's a beloved film that I do not share the

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Speaker 3: same sentiments that most people share about it.

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Speaker 1: Oh my god, I am so ready to hear about

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Speaker 1: this because I think you're going first.

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Speaker 2: I am, Oh.

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Speaker 5: My god, take them down, baby, take down. And it's

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Speaker 5: not even a takedown. It's not even a takedown. But

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Speaker 5: it is going to lose me some friends.

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Speaker 2: Oh my god.

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Speaker 3: My friend Jen Jennifer Abbotts, I know you're listening. She

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Speaker 3: listens to this podcast every week, and she was like,

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Speaker 3: I'm so excited to listen to your episode about the

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Speaker 3: Lost Boys. And I have not heard from her since

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Speaker 3: that episode came out, Like, I get that's one of.

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Speaker 2: Her favorite films.

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Speaker 3: I guarantee she's like, I don't know if I can be

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Speaker 3: friends with this motherfucker anymore.

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Speaker 2: Listen, anytime we dangle close to the challenging of canon,

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Speaker 2: I get very excited.

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Speaker 1: I start my hands, start getting in the motorcycleson staycal mode.

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Speaker 2: Like and I'm with you.

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Speaker 1: Your movie was absolutely like a part of my growing up.

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Speaker 1: I absolutely watched it so many times and have it

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Speaker 1: completely memorized backwards and forwards.

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Speaker 2: But yeah, I want to hear what you have to say.

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Speaker 3: We're getting into it. My movie was released in nineteen

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Speaker 3: eighty nine. It was written by Tom Schulman and directed

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Speaker 3: by Peter Weir, and that movie is Dead Poet Society.

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Speaker 6: Welton Academy for Boys, a breeding ground for the future

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Speaker 6: leaders of America, an institution dedicated to achievement, virtue, and conformity.

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Speaker 6: A school whose rigid standards are upheld by every single

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Speaker 6: teacher except one.

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Speaker 2: Oh shit.

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Speaker 3: So first, let's get into a little background, little background

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Speaker 3: on the movie. It was directed by Peter Weir, who

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Speaker 3: is a very well known Hollywood director. He directed movies

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Speaker 3: like picnicd Hanging Rock, The Truman Show, A Green Card,

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Speaker 3: The Mosquito Coast, like he has just really he has

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Speaker 3: directed some of the most visually appealing films that have

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Speaker 3: come out in the last few decades. But he's also

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Speaker 3: just really well respected and kind of just has a

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Speaker 3: very interesting career and has chosen kind of interesting films.

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Speaker 3: And he's Australian, so you know, it's got to throw

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Speaker 3: that out there. So the writer is Tom Schulman, and

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Speaker 3: I didn't know this at the time. I only figured

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Speaker 3: this out when I was doing research for this show.

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Speaker 3: He apparently based Welton Academy from this film on his

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Speaker 3: own experience going to a prep school. I think that

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Speaker 3: that is kind of cool that he turned that experience

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Speaker 3: into something that could translate so well on screen. This

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Speaker 3: film has a murderer's row of actors of great actors.

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Speaker 3: We've got Robert Sean Leonard playing Neil Perry of the student.

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Speaker 3: The student lineup is just again like Thick with talent,

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Speaker 3: all killer, no filler, Baby, all killer, no filler. You've

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Speaker 3: got Josh Charles as knocks over Street, Gail Hansen's playing

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Speaker 3: Charlie Dalton, and also Ethan Hawk is there, and then

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Speaker 3: you also have the late the great Robin Williams playing

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Speaker 3: John Keating, the teacher that rocks their world so quick.

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Speaker 3: One sentenced synopsis, An unconventional teacher returns to work at

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Speaker 3: the prep school that almost broke his spirit and uses

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Speaker 3: poetry to try to convince the future bankers, lawyers, and

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Speaker 3: doctors of the world to develop their souls before they

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Speaker 3: cause the current collapse of America. Also Ethan Hawk is

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Speaker 3: there as.

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Speaker 2: Fine a one set of synopsism as I've ever heard.

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Speaker 3: We will question the efficacy of whether or not that worked.

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Speaker 3: But because this is essentially a movie about the guy

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Speaker 3: who turned you down for your mortgage. Yeah, Like, it's

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Speaker 3: a movie about toxic masculinity, and our theme could also

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Speaker 3: very well be our white men.

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Speaker 2: Okay, there's a lack.

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Speaker 3: Going on in these prep school movies.

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Speaker 2: R aka name all ak are white men? Okay, I

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Speaker 2: don't know. I don't know.

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Speaker 3: One thing that was really surprising to me right off

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Speaker 3: the bat is how heartbreaking it is to see Robin

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Speaker 3: Williams on screen. Like, it is still heartbreaking, even if

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Speaker 3: you're watching Jumanji, even if you're watching something fun. It

398
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Speaker 3: is absolutely heartbreaking that he's not here anymore.

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Speaker 2: Yeah, I know, he's got such charisma.

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Speaker 1: I gotta tell you, I watched The Bird Cage recently too,

401
00:22:11,960 --> 00:22:13,720
Speaker 1: and it made me think the same thing. I'm like,

402
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Speaker 1: that motherfucker was so talented at acting, Like you know,

403
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Speaker 1: we forget that a lot of times because he was

404
00:22:20,160 --> 00:22:22,800
Speaker 1: always like the comedian and not the actor to a

405
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Speaker 1: lot of people.

406
00:22:23,440 --> 00:22:27,200
Speaker 2: But when he acts, like in serious roles, you're like, oly, shit, he.

407
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Speaker 3: Acted his fucking ass just so because I think he

408
00:22:30,080 --> 00:22:33,280
Speaker 3: brought and it's easier to see now you know that

409
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Speaker 3: he's gone, maybe that you know, you kind of look

410
00:22:35,240 --> 00:22:38,560
Speaker 3: at these films a little more closely. But he he

411
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Speaker 3: brought such a distinct level of heartbreak to some of

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Speaker 3: the dramatic roles while like smiling. He would say the

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Speaker 3: most devastating shit while smiling.

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Speaker 2: Yeah, And it was.

415
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Speaker 3: Just the most human moments in some of the films

416
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Speaker 3: that he was in, Like it's just so heartbreaking to see,

417
00:22:57,600 --> 00:22:59,760
Speaker 3: but also exciting to kind of real like, he gave

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Speaker 3: us so much, so it's exciting to go back and

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Speaker 3: relive some of those those moments and kind of steep

420
00:23:05,800 --> 00:23:08,600
Speaker 3: yourself a little bit in that that joy and that

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00:23:08,680 --> 00:23:11,280
Speaker 3: struggle and just he just gave us a lot. And

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Speaker 3: he was he's like Tom Hanks, a staple of our childhood.

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Speaker 2: It was in so many movies.

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Speaker 3: We had HBO when I was a kid, specifically so

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00:23:22,000 --> 00:23:25,240
Speaker 3: week so my grandma could watch comedy. She loved George Carlin,

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00:23:25,560 --> 00:23:29,240
Speaker 3: she loved the Whoopie Goldberg and Robin Williams and Billy

427
00:23:29,280 --> 00:23:32,199
Speaker 3: Crystal doing the you know, comic relief and all that. Like,

428
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Speaker 3: I just he just gave us so much, and I

429
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Speaker 3: just I love love seeing him on screen. I gotta

430
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Speaker 3: say this film feature is one of my favorite things

431
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Speaker 3: in the world, which is bagpipes. I just I just love,

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Speaker 3: not the whole thing. I love the beginning of a

433
00:23:52,920 --> 00:23:57,399
Speaker 3: bagpipe ditty because they just grown to a start that's like,

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Speaker 3: oh fuck, here we go again.

435
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Speaker 2: Dude, dude, dude.

436
00:24:02,920 --> 00:24:11,800
Speaker 4: But there's always that groan, like, yeah, I want a

437
00:24:11,880 --> 00:24:14,560
Speaker 4: super cut of just bagpipe starts.

438
00:24:14,760 --> 00:24:17,639
Speaker 3: Like just the beginning of the bagpipe makes me laugh

439
00:24:18,040 --> 00:24:22,040
Speaker 3: so fucking hard because it's just like that bagpipe sounds

440
00:24:22,040 --> 00:24:23,480
Speaker 3: how we all feel like, oh.

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Speaker 1: Fuck, It's like the belly of it has to settle

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00:24:26,000 --> 00:24:29,639
Speaker 1: first and then you know it goes into the this sound.

443
00:24:29,960 --> 00:24:31,960
Speaker 2: Legally, you're so right about that.

444
00:24:32,320 --> 00:24:34,760
Speaker 3: It is the groan when you're getting out of her

445
00:24:34,800 --> 00:24:38,600
Speaker 3: into a comfortable chair. It is everything to me, and

446
00:24:39,040 --> 00:24:42,879
Speaker 3: it is also the perfect way to sum up going

447
00:24:42,920 --> 00:24:45,840
Speaker 3: back to school, where you're like, oh, fuck, summer's over.

448
00:24:45,880 --> 00:24:47,639
Speaker 3: I gotta do this again. I gotta get out of

449
00:24:47,640 --> 00:24:50,320
Speaker 3: this car. My parents are gonna be given all my

450
00:24:50,359 --> 00:24:52,480
Speaker 3: fucking medications to the teacher.

451
00:24:52,200 --> 00:24:55,600
Speaker 2: And then oh there's my friends. Yay. Man.

452
00:25:02,040 --> 00:25:05,280
Speaker 1: I'm gonna tell you, like one thing that I was

453
00:25:05,320 --> 00:25:08,119
Speaker 1: gonna mention in my movie, but I'll just mention it

454
00:25:08,240 --> 00:25:10,960
Speaker 1: right now since you just literally brought it up. I

455
00:25:11,000 --> 00:25:14,840
Speaker 1: do love a good like summer like school's back and

456
00:25:15,040 --> 00:25:19,040
Speaker 1: sash yes the montage where it's like a lot of people,

457
00:25:19,160 --> 00:25:22,520
Speaker 1: like you know, trying to find out where their their

458
00:25:22,560 --> 00:25:24,160
Speaker 1: dorm is and there the.

459
00:25:24,160 --> 00:25:26,879
Speaker 2: Parents are dropping off the kids. But I was really

460
00:25:26,920 --> 00:25:29,040
Speaker 2: paying attention to that this time. And like I said,

461
00:25:29,080 --> 00:25:32,680
Speaker 2: I've seen Dead Post Society like three thousand and five times,

462
00:25:32,720 --> 00:25:34,840
Speaker 2: but like this time, I'm like, oh, I'm really gonna

463
00:25:34,880 --> 00:25:38,800
Speaker 2: settle in to this like opening montage of the kids

464
00:25:38,920 --> 00:25:44,680
Speaker 2: going back to school and this fucking kid.

465
00:25:46,760 --> 00:25:50,480
Speaker 1: Ah, the parents, some of the parents are leaving right

466
00:25:50,840 --> 00:25:53,560
Speaker 1: and like some of the little kids are like hugging

467
00:25:53,600 --> 00:25:56,240
Speaker 1: in one, and one of the dad's like, no tears, son,

468
00:25:56,320 --> 00:25:58,960
Speaker 1: no tears, We'll be fine. And then the next kid

469
00:25:58,960 --> 00:26:03,800
Speaker 1: they show, he's crying while hugging his parents and he's like,

470
00:26:03,960 --> 00:26:10,760
Speaker 1: I don't want to go to school. And I was like, yo,

471
00:26:11,680 --> 00:26:14,240
Speaker 1: that kid is going to be cried on the toilet

472
00:26:14,520 --> 00:26:15,560
Speaker 1: for the rest of the year.

473
00:26:15,760 --> 00:26:19,639
Speaker 2: Like he is so not into this, and I was like,

474
00:26:20,000 --> 00:26:22,800
Speaker 2: I feel it. I feel that shit kid, you and me,

475
00:26:23,960 --> 00:26:25,199
Speaker 2: I don't want to go.

476
00:26:27,040 --> 00:26:30,960
Speaker 3: Oh good, your whole academic career is going to be

477
00:26:31,000 --> 00:26:36,320
Speaker 3: impacted by this, this moment, your loneliness and your confusion

478
00:26:36,600 --> 00:26:42,880
Speaker 3: is now a central part of your academic career. Oh

479
00:26:42,960 --> 00:26:46,199
Speaker 3: my god, I love, love loved it. So we're we

480
00:26:46,280 --> 00:26:49,119
Speaker 3: start out with the Wilton Academy opening day. Parents are

481
00:26:49,160 --> 00:26:51,479
Speaker 3: dropping people off, They're doing the big you know, our

482
00:26:51,520 --> 00:26:55,520
Speaker 3: schools about tradition and honor and discipline and excellence. Some

483
00:26:55,640 --> 00:26:59,080
Speaker 3: boys are coming back and there their friends, and you know,

484
00:26:59,119 --> 00:27:00,879
Speaker 3: you're kind of seeing who they're roommates are going to be.

485
00:27:01,400 --> 00:27:07,040
Speaker 3: And Neil Perry played by Robert Sean Leonard is paired

486
00:27:07,119 --> 00:27:13,400
Speaker 3: up with Todd Anderson played by you know who, But you.

487
00:27:13,480 --> 00:27:15,960
Speaker 1: Do forget that he is in this movie, because he's

488
00:27:16,040 --> 00:27:18,359
Speaker 1: super little, like he's like a little kid.

489
00:27:18,440 --> 00:27:19,399
Speaker 2: He's so young.

490
00:27:19,920 --> 00:27:22,439
Speaker 3: He's so young and so quiet and meek, and that

491
00:27:22,560 --> 00:27:25,439
Speaker 3: is like the the focal point of his character is

492
00:27:25,440 --> 00:27:30,760
Speaker 3: that he is a sheltered, quiet kid. So Neil and

493
00:27:30,800 --> 00:27:35,000
Speaker 3: Todd are roommates, and I love about this relationship throughout

494
00:27:35,000 --> 00:27:35,720
Speaker 3: the film, not.

495
00:27:35,680 --> 00:27:36,640
Speaker 2: Just on this first day.

496
00:27:37,240 --> 00:27:40,280
Speaker 3: Is you get to see how kind and generous Neil

497
00:27:40,400 --> 00:27:44,159
Speaker 3: is based on how much he tries to include Todd

498
00:27:44,400 --> 00:27:44,960
Speaker 3: and everything.

499
00:27:45,040 --> 00:27:46,119
Speaker 2: So he's not treating.

500
00:27:45,920 --> 00:27:48,520
Speaker 3: Him like, oh, you're just some like fucking new kid,

501
00:27:48,600 --> 00:27:49,520
Speaker 3: freshman loser.

502
00:27:49,560 --> 00:27:52,000
Speaker 2: He's just like, Hey, we're roommates. What's up? Cool? Do

503
00:27:52,000 --> 00:27:53,119
Speaker 2: you want to come to this thing with me? Do

504
00:27:53,160 --> 00:27:53,560
Speaker 2: you want to hang?

505
00:27:53,640 --> 00:27:57,760
Speaker 3: He's just really inclusive and like just has this kind

506
00:27:57,760 --> 00:28:00,600
Speaker 3: of kindness of spirit that I think is a really

507
00:28:00,800 --> 00:28:03,760
Speaker 3: fun and great way to kind of show but not

508
00:28:03,920 --> 00:28:05,240
Speaker 3: tell what a character is.

509
00:28:05,760 --> 00:28:05,840
Speaker 4: Like.

510
00:28:06,080 --> 00:28:08,760
Speaker 2: Yeah, so that really I like that a lot.

511
00:28:09,080 --> 00:28:11,360
Speaker 1: Well, I have a question for you then, because I've

512
00:28:11,440 --> 00:28:13,879
Speaker 1: kind of thought this and listen, there could be like

513
00:28:13,960 --> 00:28:16,320
Speaker 1: some dissertation about this that I don't know about. Don't

514
00:28:16,320 --> 00:28:21,159
Speaker 1: get into my DMS, Dead Poets Society stands, But what

515
00:28:21,200 --> 00:28:23,760
Speaker 1: are your thoughts on on the Robert Shan.

516
00:28:23,600 --> 00:28:26,359
Speaker 2: Leonard character sort of being coded as queer.

517
00:28:27,200 --> 00:28:29,600
Speaker 3: This is something that I wanted to talk about because

518
00:28:29,640 --> 00:28:33,720
Speaker 3: I think that there is that it's kind of a

519
00:28:33,840 --> 00:28:34,640
Speaker 3: very subtle.

520
00:28:35,680 --> 00:28:37,760
Speaker 2: It's not bold enough for me.

521
00:28:37,800 --> 00:28:39,560
Speaker 3: I think if he is going to be he was

522
00:28:39,600 --> 00:28:42,680
Speaker 3: definitely coded as queer to me then as a kid

523
00:28:42,760 --> 00:28:45,200
Speaker 3: when I first watched it and now. But I think

524
00:28:45,240 --> 00:28:48,320
Speaker 3: the way that that comes through is you've got this

525
00:28:48,440 --> 00:28:52,960
Speaker 3: kid who's on this track to be a doctor because

526
00:28:53,000 --> 00:28:55,800
Speaker 3: his father is like, I worked hard so that you

527
00:28:55,840 --> 00:28:57,760
Speaker 3: could have this opportunity, and you're going to do it.

528
00:28:58,200 --> 00:29:01,640
Speaker 3: And they tried to code the queerness acting like it

529
00:29:01,680 --> 00:29:05,360
Speaker 3: wasn't just a social faux pas for him to want

530
00:29:05,400 --> 00:29:09,120
Speaker 3: to act. It was more of a very very culturally

531
00:29:09,160 --> 00:29:11,960
Speaker 3: coded faux pas at that point, because this is before

532
00:29:12,000 --> 00:29:14,160
Speaker 3: the beat era and before you know, it's before all

533
00:29:14,200 --> 00:29:18,600
Speaker 3: the kind of explosion of art in a way that

534
00:29:18,640 --> 00:29:20,960
Speaker 3: you know, it was before fucking Howl, before all these

535
00:29:20,960 --> 00:29:23,680
Speaker 3: things that I think ushered in this new era of

536
00:29:23,760 --> 00:29:27,040
Speaker 3: queerness in a public way or in the public eye.

537
00:29:27,360 --> 00:29:30,800
Speaker 3: And so yeah, I think it was really I can

538
00:29:30,840 --> 00:29:32,560
Speaker 3: see it. I can see how that's possible that he

539
00:29:32,600 --> 00:29:33,480
Speaker 3: was coded as queer.

540
00:29:33,880 --> 00:29:37,000
Speaker 2: But I don't know. I wish if it was the case.

541
00:29:37,120 --> 00:29:38,840
Speaker 3: I wish if that is the case, I wish that

542
00:29:39,200 --> 00:29:42,440
Speaker 3: they'd gone harder in that direction. Yeah, because I think

543
00:29:42,440 --> 00:29:45,640
Speaker 3: that it's strange to have like an all boys school

544
00:29:46,000 --> 00:29:47,520
Speaker 3: where that just doesn't even come up.

545
00:29:48,360 --> 00:29:50,320
Speaker 1: Yeah, And you know, part of me wondered if it

546
00:29:50,520 --> 00:29:53,920
Speaker 1: was the era, like if it was the faithfulness to

547
00:29:54,000 --> 00:29:57,400
Speaker 1: the era that the film, because it's a period pays right,

548
00:29:57,440 --> 00:30:01,880
Speaker 1: and I was thinking, well, more modern context whenever the

549
00:30:01,880 --> 00:30:05,760
Speaker 1: movie was made late eighties eighty nine. You know, it's

550
00:30:05,800 --> 00:30:09,720
Speaker 1: not even we're not even clear for it being brought

551
00:30:09,800 --> 00:30:12,320
Speaker 1: up in a movie from nineteen eighty nine, let alone

552
00:30:13,000 --> 00:30:16,000
Speaker 1: the time period of the fifties whenever this movie was

553
00:30:16,280 --> 00:30:16,960
Speaker 1: taking place.

554
00:30:17,280 --> 00:30:17,880
Speaker 2: So there's this.

555
00:30:17,800 --> 00:30:20,200
Speaker 1: Moment where I'm like, I don't know if that was

556
00:30:20,240 --> 00:30:22,920
Speaker 1: an intentional choice or they didn't think about it, like

557
00:30:22,920 --> 00:30:26,600
Speaker 1: they decided to not call him gay in the film

558
00:30:27,120 --> 00:30:30,160
Speaker 1: because that was that wouldn't have happened in this era,

559
00:30:30,440 --> 00:30:32,160
Speaker 1: or if it was just like this wouldn't have happened

560
00:30:32,160 --> 00:30:33,720
Speaker 1: in a movie in nineteen eighty nine.

561
00:30:33,800 --> 00:30:36,320
Speaker 2: It's very interesting to me. That's why I just wanted

562
00:30:36,320 --> 00:30:37,720
Speaker 2: to know what you thought, but well.

563
00:30:37,600 --> 00:30:40,080
Speaker 3: No, I think it's an incredibly interesting point to bring

564
00:30:40,160 --> 00:30:43,480
Speaker 3: up too, because I think that's the central point of

565
00:30:43,560 --> 00:30:46,000
Speaker 3: conflict between this character and his father. It's not that

566
00:30:46,080 --> 00:30:48,880
Speaker 3: he doesn't want to do what his father wants him

567
00:30:48,920 --> 00:30:52,640
Speaker 3: to do. It's that he is a creative and creative

568
00:30:52,800 --> 00:30:56,200
Speaker 3: is code for queer, yes, so he is. The first

569
00:30:56,240 --> 00:30:58,720
Speaker 3: thing his father does when you see them introduced in

570
00:30:58,800 --> 00:31:02,040
Speaker 3: this film is his father tells him, you know, you're

571
00:31:02,040 --> 00:31:04,920
Speaker 3: doing too much this year, so you don't get to

572
00:31:05,200 --> 00:31:08,360
Speaker 3: edit the yearbook essentially they call it the Annual. But

573
00:31:08,400 --> 00:31:11,120
Speaker 3: his father makes him quit being the yearbook editor. He

574
00:31:11,120 --> 00:31:13,520
Speaker 3: doesn't make him quit anything else. It's just don't do

575
00:31:13,640 --> 00:31:18,040
Speaker 3: that creative queer thing, yes. And then when he eventually,

576
00:31:18,120 --> 00:31:20,160
Speaker 3: you know, the one of the central points of this

577
00:31:20,280 --> 00:31:23,640
Speaker 3: film is that Neil eventually tries out for this play,

578
00:31:24,160 --> 00:31:28,200
Speaker 3: gets the role as Puck in Midsummer Night's Dream, and

579
00:31:29,240 --> 00:31:32,520
Speaker 3: lies to his father like he just doesn't tell his

580
00:31:32,560 --> 00:31:34,960
Speaker 3: father that he's doing this play, and also forges a

581
00:31:35,040 --> 00:31:37,480
Speaker 3: letter from his father that says he can be part

582
00:31:37,520 --> 00:31:40,720
Speaker 3: of it. For that reason, I think, and especially that

583
00:31:40,760 --> 00:31:44,720
Speaker 3: he plays Puck, which is definitely a queer coded character.

584
00:31:44,480 --> 00:31:47,680
Speaker 2: As well see layers.

585
00:31:48,000 --> 00:31:52,880
Speaker 3: Yes, lay yours. But I just loved Neil from the jump.

586
00:31:52,960 --> 00:31:55,800
Speaker 3: I thought he was such a sweet I feel like

587
00:31:55,840 --> 00:31:57,440
Speaker 3: when I when I first saw this film, and I

588
00:31:57,480 --> 00:32:01,320
Speaker 3: was like twelve or thirteen, everyone kind of picked their dude,

589
00:32:02,000 --> 00:32:04,080
Speaker 3: like as if we were picking you know, like if

590
00:32:04,080 --> 00:32:06,080
Speaker 3: people just picked their dude like where you were knocks

591
00:32:06,120 --> 00:32:10,520
Speaker 3: Over Street or I was always a Neil, which, considering

592
00:32:10,560 --> 00:32:12,240
Speaker 3: what happens to him at the end, says so much

593
00:32:12,240 --> 00:32:12,680
Speaker 3: about me.

594
00:32:13,680 --> 00:32:15,560
Speaker 1: I was gonna say, you know that, I'm a Jonathan

595
00:32:15,640 --> 00:32:18,400
Speaker 1: Knight girl, so of course you know him Neil Neil

596
00:32:18,480 --> 00:32:22,480
Speaker 1: to the end, Baby little Little knocks Over Street. Not

597
00:32:22,520 --> 00:32:24,320
Speaker 1: gonna lie.

598
00:32:24,680 --> 00:32:28,800
Speaker 3: Okay, We're gonna get to knocks Over Street because little

599
00:32:28,880 --> 00:32:32,760
Speaker 3: Baby Josh. So Josh Charles is also one of the

600
00:32:32,800 --> 00:32:37,360
Speaker 3: main characters. He plays knocks Over Street, Tiny Baby Josh Charles,

601
00:32:37,840 --> 00:32:44,959
Speaker 3: Little Baby Josh Charles. Also, we have our chaotic good,

602
00:32:45,400 --> 00:32:51,800
Speaker 3: our problematic fate, chaotic good. We've got Gail Hansen playing

603
00:32:51,920 --> 00:32:54,760
Speaker 3: Charlie Dalton. Charlie is chaotic good.

604
00:32:55,160 --> 00:32:56,040
Speaker 2: Oh my god.

605
00:32:56,440 --> 00:33:01,040
Speaker 1: Absolutely has anyone actually done what one of those charts

606
00:33:01,080 --> 00:33:04,360
Speaker 1: with the voice from Dead Pot Society? Because I would

607
00:33:04,360 --> 00:33:08,240
Speaker 1: be so curious to know if not, can someone please

608
00:33:08,280 --> 00:33:09,200
Speaker 1: do that for the show?

609
00:33:09,400 --> 00:33:14,120
Speaker 2: Yes, just curious. We'll repost it on our social media.

610
00:33:14,360 --> 00:33:17,680
Speaker 3: We absolutely will. Because Charlie chaotic good.

611
00:33:18,240 --> 00:33:19,000
Speaker 2: I think I.

612
00:33:18,960 --> 00:33:20,840
Speaker 3: Think it'd be interesting to see where the other characters

613
00:33:20,880 --> 00:33:25,400
Speaker 3: fall as well. But Charlie is like, how would you

614
00:33:25,440 --> 00:33:29,680
Speaker 3: describe Charlie. So he's kind of always wanting to push

615
00:33:29,760 --> 00:33:33,640
Speaker 3: things to the fucking limit. Yeah, but he does that

616
00:33:33,800 --> 00:33:36,040
Speaker 3: knowing that he has his privilege to fall back on,

617
00:33:36,080 --> 00:33:37,640
Speaker 3: because that's something else when we were to talk about

618
00:33:37,680 --> 00:33:39,959
Speaker 3: a lot I think with both of these films is

619
00:33:40,680 --> 00:33:44,040
Speaker 3: the usefulness or the presence of privilege. And so Charlie

620
00:33:44,120 --> 00:33:48,120
Speaker 3: is like he when he left school, he moved. I

621
00:33:48,120 --> 00:33:50,360
Speaker 3: feel like he moved to the East Village for five years,

622
00:33:50,520 --> 00:33:54,040
Speaker 3: became a civil rights lawyer, retired off of his inheritance

623
00:33:54,240 --> 00:33:58,160
Speaker 3: at age fifty, and tells his grandkids that, like he

624
00:33:58,240 --> 00:34:00,360
Speaker 3: once had sex with a black woman when he super

625
00:34:00,440 --> 00:34:01,240
Speaker 3: drunkent weddings.

626
00:34:01,560 --> 00:34:03,960
Speaker 2: Yes, like, yeah, I lived in the village.

627
00:34:03,960 --> 00:34:07,840
Speaker 3: I got down and you're like, Grandpa, please take a nap,

628
00:34:08,120 --> 00:34:12,680
Speaker 3: Please take a seat, Like that's this kind of like

629
00:34:12,800 --> 00:34:14,440
Speaker 3: that's what I mean when I say chaotica. Like his

630
00:34:14,480 --> 00:34:20,040
Speaker 3: intentions are great, but he his execution is miserable. This

631
00:34:20,080 --> 00:34:23,080
Speaker 3: whole Nuwanda thing where he like in part of the

632
00:34:23,320 --> 00:34:25,440
Speaker 3: you know, the poetry and the cave and he's like

633
00:34:26,040 --> 00:34:30,200
Speaker 3: calling himself Nuwanda and painting himself with like lipstick in

634
00:34:30,239 --> 00:34:33,040
Speaker 3: a tribal way. It's like, it's very problematic, but you

635
00:34:33,160 --> 00:34:35,879
Speaker 3: understand that he's trying to get to the the root

636
00:34:35,920 --> 00:34:39,800
Speaker 3: of a truth of something by kind of co opting

637
00:34:40,680 --> 00:34:42,120
Speaker 3: some cultural.

638
00:34:42,480 --> 00:34:44,720
Speaker 2: Markers that he should not be co opting.

639
00:34:45,200 --> 00:34:48,000
Speaker 1: Look that happens in my movie too, Don't Get a Twisted.

640
00:34:48,560 --> 00:34:51,080
Speaker 1: And the interesting thing about it is that I think

641
00:34:51,120 --> 00:34:55,400
Speaker 1: that there is this sort of language, or there is

642
00:34:55,440 --> 00:34:59,800
Speaker 1: this sort of notion that they're like, these are characters

643
00:34:59,800 --> 00:35:05,000
Speaker 1: that are obsessed with like rebellion and you know, being nonconformist.

644
00:35:05,800 --> 00:35:08,080
Speaker 2: And there's a part of me that wonders.

645
00:35:07,760 --> 00:35:11,719
Speaker 1: If if in that era, being a nonconformist was literally

646
00:35:11,840 --> 00:35:16,640
Speaker 1: like being interested in anything that wasn't fucking white and.

647
00:35:16,560 --> 00:35:19,120
Speaker 2: Being exactly, you know, interested in anything.

648
00:35:18,840 --> 00:35:22,520
Speaker 1: That was like not a part of this like upper crust,

649
00:35:22,680 --> 00:35:27,200
Speaker 1: white privileged society exactly, and they were using that as

650
00:35:27,200 --> 00:35:29,840
Speaker 1: a way to be rebellion, as a way to rebel

651
00:35:29,880 --> 00:35:30,520
Speaker 1: against that.

652
00:35:30,600 --> 00:35:32,480
Speaker 2: Right, completely true.

653
00:35:32,520 --> 00:35:36,399
Speaker 3: I completely agree, yeah, and I think that's why it's

654
00:35:36,480 --> 00:35:38,879
Speaker 3: kind of why the ultimate heartbreak for me in this

655
00:35:38,920 --> 00:35:41,480
Speaker 3: film is the Neil Perry character, because he's kind of

656
00:35:41,480 --> 00:35:45,400
Speaker 3: fighting that system from every side, but he's just sinking

657
00:35:45,560 --> 00:35:49,160
Speaker 3: under the weight of generational responsibilities. Who he can't actually

658
00:35:49,239 --> 00:35:53,279
Speaker 3: participate in dismantling that system the way that he wants to.

659
00:35:53,680 --> 00:35:56,680
Speaker 3: But then you've got your Knox over Streets, who, yeah,

660
00:35:56,719 --> 00:35:58,880
Speaker 3: he stood on a desk once when he was sixteen,

661
00:35:59,200 --> 00:36:00,120
Speaker 3: but he probably.

662
00:36:00,040 --> 00:36:01,240
Speaker 2: Ended up marrying Chris.

663
00:36:01,520 --> 00:36:03,960
Speaker 3: And then he's he's the guy who like disowned his

664
00:36:04,000 --> 00:36:06,360
Speaker 3: son for going to the prom with Molly Ringwalden, pretty

665
00:36:06,360 --> 00:36:11,120
Speaker 3: and pink, like they always become who they were meant

666
00:36:11,160 --> 00:36:13,399
Speaker 3: to be. Like in this era, there's not too much

667
00:36:13,520 --> 00:36:16,800
Speaker 3: rocking that boat. So even if you have that desire

668
00:36:17,440 --> 00:36:19,399
Speaker 3: to stand up to your privilege and kind of want

669
00:36:19,440 --> 00:36:22,440
Speaker 3: to examine it, for some in this era, everyone seemed

670
00:36:22,480 --> 00:36:24,400
Speaker 3: to always fall back in line. And I say, in

671
00:36:24,440 --> 00:36:27,279
Speaker 3: this era, considering the ending of White Lotus, which we're

672
00:36:27,320 --> 00:36:30,400
Speaker 3: not going to spoil, where kind of maybe it's not

673
00:36:30,440 --> 00:36:31,080
Speaker 3: so old.

674
00:36:30,840 --> 00:36:31,880
Speaker 2: Fashioned to think about that.

675
00:36:33,520 --> 00:36:36,000
Speaker 3: So yeah, so this is like the setting where basically

676
00:36:36,200 --> 00:36:40,640
Speaker 3: John Keating is new to teaching at this school. These

677
00:36:40,960 --> 00:36:43,319
Speaker 3: are the boys that he is is going to meet, Like,

678
00:36:43,360 --> 00:36:45,279
Speaker 3: these are just a sampling of the boys that he's

679
00:36:45,320 --> 00:36:48,360
Speaker 3: going to be teaching, and he used to go to

680
00:36:48,400 --> 00:36:55,040
Speaker 3: the school. And his first lesson, his first lesson is

681
00:36:55,160 --> 00:36:57,399
Speaker 3: to take them out to the hallway and point out

682
00:36:57,440 --> 00:37:00,640
Speaker 3: the photos of all of the class, the class of

683
00:37:00,760 --> 00:37:04,400
Speaker 3: people who have graduated from that school, and basically be like,

684
00:37:04,560 --> 00:37:07,480
Speaker 3: see all these guys, they're all dead, So seize the day.

685
00:37:07,680 --> 00:37:11,799
Speaker 2: Like his first lesson is, we're all gonna die.

686
00:37:11,960 --> 00:37:14,120
Speaker 3: What you gotta respect for a teacher to be like,

687
00:37:14,920 --> 00:37:16,839
Speaker 3: it's all a pill from here in this class as

688
00:37:16,840 --> 00:37:18,839
Speaker 3: I teach you about fucking wall Whitman.

689
00:37:19,040 --> 00:37:22,640
Speaker 2: Look bold as fuck, and I love it. I love it,

690
00:37:22,719 --> 00:37:25,200
Speaker 2: I love it. We're all gonna die. Moment for a teen.

691
00:37:30,400 --> 00:37:33,000
Speaker 3: And he comes in and he's just a ball of

692
00:37:33,400 --> 00:37:38,240
Speaker 3: beautiful energy and is just so curious. He's just so curious,

693
00:37:38,280 --> 00:37:42,920
Speaker 3: and so he basically says like he wants them to

694
00:37:43,480 --> 00:37:46,360
Speaker 3: not just repeat poetry or repeat what they see in

695
00:37:46,400 --> 00:37:49,640
Speaker 3: these textbooks, but to really feel it and see how

696
00:37:49,680 --> 00:37:52,000
Speaker 3: they can incorporate it into their lives in a way

697
00:37:52,000 --> 00:37:56,120
Speaker 3: that makes them just better and more fulfilled people. So

698
00:37:56,880 --> 00:38:00,560
Speaker 3: the boys find his yearbook from the year he graduated,

699
00:38:01,239 --> 00:38:06,240
Speaker 3: and in the yearbook he mentions in his quote something

700
00:38:06,280 --> 00:38:09,480
Speaker 3: about the Dead Poet Society. So Neil of course is like,

701
00:38:09,600 --> 00:38:14,160
Speaker 3: what the fuck is that all ears, and Keating tries

702
00:38:14,200 --> 00:38:16,120
Speaker 3: to push it off, like, oh, it was just a

703
00:38:16,160 --> 00:38:19,080
Speaker 3: secret society where we used to gather with friends in

704
00:38:19,120 --> 00:38:22,600
Speaker 3: this cave and read poetry and you know we were romantics,

705
00:38:22,840 --> 00:38:25,200
Speaker 3: you know, but forget it, like it was old news.

706
00:38:25,680 --> 00:38:29,880
Speaker 3: But then that night Neil finds the book of Versus

707
00:38:30,239 --> 00:38:34,680
Speaker 3: five Centuries of Verse that was Keating's that he used

708
00:38:34,760 --> 00:38:38,360
Speaker 3: to read at the beginning of every meeting. So you

709
00:38:38,480 --> 00:38:41,120
Speaker 3: kind of get that again. In terms of screenwriting, I

710
00:38:41,160 --> 00:38:43,520
Speaker 3: really love that back and forth where it's like that

711
00:38:43,520 --> 00:38:48,160
Speaker 3: that telegraphed acceptance and passing of the torch, and he

712
00:38:48,760 --> 00:38:52,400
Speaker 3: passed it to Neil specifically for a reason. And so

713
00:38:52,520 --> 00:38:54,520
Speaker 3: Neil's the one who kind of gathers everyone and is like,

714
00:38:54,520 --> 00:38:56,680
Speaker 3: we're going to that fucking cave. We're going to read

715
00:38:56,719 --> 00:39:00,359
Speaker 3: poetry tonight. Todd doesn't want to read. He's very pen up,

716
00:39:01,080 --> 00:39:03,960
Speaker 3: but true to form, Neil invites him anyway and is like,

717
00:39:04,040 --> 00:39:05,720
Speaker 3: let me just make sure it's cool with all the dudes,

718
00:39:05,760 --> 00:39:08,399
Speaker 3: but you're in. So they all go to this cave

719
00:39:08,440 --> 00:39:12,000
Speaker 3: and start kind of really having just some freedom and joy.

720
00:39:12,080 --> 00:39:14,200
Speaker 3: Like you've seen them have joy in this film before,

721
00:39:14,239 --> 00:39:16,480
Speaker 3: like they like being around each other and seeing each other.

722
00:39:16,920 --> 00:39:20,520
Speaker 3: But it's the freedom that really hooks you into this

723
00:39:20,520 --> 00:39:24,080
Speaker 3: this story. And one of my favorite scenes in the

724
00:39:24,120 --> 00:39:27,080
Speaker 3: movie is when you Know, because it's despite what I've

725
00:39:27,120 --> 00:39:28,600
Speaker 3: said about it, you know, being about you know, the

726
00:39:28,640 --> 00:39:31,280
Speaker 3: guy who would will turn down your mortgage application.

727
00:39:32,520 --> 00:39:35,319
Speaker 2: I think that it really is.

728
00:39:35,600 --> 00:39:38,840
Speaker 3: Truly, there are some really touching moments in the movie,

729
00:39:39,000 --> 00:39:40,759
Speaker 3: and I know that this movie tends to make it

730
00:39:40,760 --> 00:39:42,440
Speaker 3: on a lot of lists like if you want a

731
00:39:42,440 --> 00:39:45,880
Speaker 3: good cry or you know, And I never really felt

732
00:39:45,880 --> 00:39:48,440
Speaker 3: like that about it, but then I also cried when

733
00:39:48,480 --> 00:39:52,720
Speaker 3: I watched it this time. I tell you that about

734
00:39:53,800 --> 00:39:58,120
Speaker 3: But my favorite scene is when Keating convinces Todd, who

735
00:39:58,239 --> 00:40:02,960
Speaker 3: is so nervous and so shy, to create and read

736
00:40:03,040 --> 00:40:05,719
Speaker 3: a poem on the spot in front of class, Like

737
00:40:05,760 --> 00:40:08,160
Speaker 3: he's like, I can't do this. I didn't do the assignment,

738
00:40:08,200 --> 00:40:11,719
Speaker 3: I cannot write poetry. And Keating stands him up and

739
00:40:11,880 --> 00:40:13,600
Speaker 3: is like, look at that picture of Walt Whitman, tell

740
00:40:13,640 --> 00:40:15,560
Speaker 3: me what you see and as he covers his eyes

741
00:40:15,600 --> 00:40:17,600
Speaker 3: and walks him through it, and it's just like one

742
00:40:17,719 --> 00:40:18,200
Speaker 3: on one.

743
00:40:18,880 --> 00:40:20,320
Speaker 2: I think it's.

744
00:40:20,239 --> 00:40:24,880
Speaker 3: Just so inspiring to see how a teacher can really

745
00:40:25,360 --> 00:40:28,400
Speaker 3: connect to a student in this in the smallest of ways,

746
00:40:28,600 --> 00:40:31,280
Speaker 3: but from that moment on, that character is completely opened

747
00:40:31,360 --> 00:40:34,880
Speaker 3: up to the world. So I just I love that

748
00:40:34,880 --> 00:40:38,680
Speaker 3: that scene so so so much, and it reminded me

749
00:40:38,719 --> 00:40:43,239
Speaker 3: of this game I used to play. It reminded me

750
00:40:43,280 --> 00:40:45,000
Speaker 3: of this game I used to play when I lived

751
00:40:45,000 --> 00:40:47,279
Speaker 3: in Alaska and I was working at this restaurant and

752
00:40:47,360 --> 00:40:50,799
Speaker 3: one of the servers we would all get like stay

753
00:40:50,840 --> 00:40:53,320
Speaker 3: after and have our shift drink and then we probably,

754
00:40:53,360 --> 00:40:55,759
Speaker 3: you know, we'd usually end up going out drinking somewhere else.

755
00:40:56,280 --> 00:40:59,200
Speaker 3: And he always had this book of like this compendium,

756
00:40:59,320 --> 00:41:03,200
Speaker 3: this Walt Whitman and compendium, and he would he developed

757
00:41:03,200 --> 00:41:04,720
Speaker 3: this game called Ask Walt.

758
00:41:06,280 --> 00:41:07,840
Speaker 2: He would basically.

759
00:41:07,360 --> 00:41:11,000
Speaker 3: Say, you know, like take a shot, ask the universe

760
00:41:11,040 --> 00:41:13,080
Speaker 3: a question, and then he would just randomly flip to

761
00:41:13,080 --> 00:41:14,839
Speaker 3: a page and read from it and be like, here's

762
00:41:14,880 --> 00:41:16,600
Speaker 3: your answer. And it kind of works because what Whitman

763
00:41:16,719 --> 00:41:20,239
Speaker 3: was definitely a poet in that way or poetic in

764
00:41:20,280 --> 00:41:22,880
Speaker 3: that way. So it just reminded me of like, you know,

765
00:41:22,920 --> 00:41:26,200
Speaker 3: Walt Whitman has has an effect on all of us,

766
00:41:26,280 --> 00:41:28,760
Speaker 3: I guess from this film. If you've seen this film,

767
00:41:28,760 --> 00:41:31,080
Speaker 3: you've read Walt Listen.

768
00:41:32,200 --> 00:41:36,520
Speaker 1: When this film came out, I was literally all the

769
00:41:36,560 --> 00:41:40,160
Speaker 1: Transcendentalist books, like, I just was like, what what.

770
00:41:40,160 --> 00:41:40,880
Speaker 2: Do they mentioned?

771
00:41:41,040 --> 00:41:41,680
Speaker 6: Like? Who?

772
00:41:41,840 --> 00:41:44,480
Speaker 2: Who is Keating? Obsessed with him? That will be my

773
00:41:44,640 --> 00:41:47,319
Speaker 2: interests exactly.

774
00:41:47,520 --> 00:41:52,279
Speaker 1: And there's something actually so pleasing about that scene with

775
00:41:52,480 --> 00:41:56,480
Speaker 1: Todd and Keating, and also just the the idea of

776
00:41:57,120 --> 00:42:00,720
Speaker 1: seeing the character evolve throughout this film, because his character

777
00:42:00,760 --> 00:42:03,680
Speaker 1: is the most resistant to the general ideas that Keating

778
00:42:04,320 --> 00:42:05,920
Speaker 1: is bringing up, which is that you have to be

779
00:42:05,960 --> 00:42:08,400
Speaker 1: spontaneous and sees the day and sort of like, you know,

780
00:42:08,880 --> 00:42:11,600
Speaker 1: get out of the conformity trap and get you know,

781
00:42:11,960 --> 00:42:15,440
Speaker 1: be yourself and feel the fire, the passion, you know,

782
00:42:15,600 --> 00:42:16,960
Speaker 1: and live your life right.

783
00:42:17,480 --> 00:42:17,680
Speaker 4: You know.

784
00:42:17,760 --> 00:42:21,400
Speaker 1: He's sort of unsure of how to how to do that,

785
00:42:21,680 --> 00:42:23,960
Speaker 1: and everybody else, all the.

786
00:42:23,880 --> 00:42:25,760
Speaker 2: Other characters, to varying degrees.

787
00:42:25,800 --> 00:42:27,839
Speaker 1: I mean, Charlie is already there, You're gonna ready tell

788
00:42:27,920 --> 00:42:30,239
Speaker 1: Charlie's like I've been waiting for this guy to show

789
00:42:30,320 --> 00:42:33,000
Speaker 1: up my entire life so that I could just fucking

790
00:42:33,080 --> 00:42:36,880
Speaker 1: be the horn blowing weirdo.

791
00:42:36,560 --> 00:42:37,640
Speaker 2: That I've always meant to be.

792
00:42:40,400 --> 00:42:43,160
Speaker 1: But Todd is the is the one where you're like, oh,

793
00:42:43,200 --> 00:42:46,960
Speaker 1: my God, like to see his sort of evolution throughout

794
00:42:47,000 --> 00:42:49,640
Speaker 1: the movie is so pleasing, Like that's just that.

795
00:42:49,760 --> 00:42:51,319
Speaker 2: Whole part is so great to me.

796
00:42:51,719 --> 00:42:53,680
Speaker 3: It's so pleasing, And it also puts a lot of

797
00:42:53,719 --> 00:42:57,879
Speaker 3: fucking pressure on teachers, like classroom sizes are too big

798
00:42:57,960 --> 00:42:59,560
Speaker 3: now for someone to do that for your kids?

799
00:43:00,080 --> 00:43:01,480
Speaker 2: Are your fucking kid?

800
00:43:01,680 --> 00:43:04,080
Speaker 3: Like if your kid makes it home alive, that teacher

801
00:43:04,120 --> 00:43:06,920
Speaker 3: is a triumph. But it's also like it it's so

802
00:43:07,400 --> 00:43:09,719
Speaker 3: there's so many beautiful moments like that in this film

803
00:43:09,719 --> 00:43:13,200
Speaker 3: where you're watching someone try to coax people out of conformity.

804
00:43:13,560 --> 00:43:16,560
Speaker 3: But that's also the frustration for me ultimately with this

805
00:43:16,600 --> 00:43:20,439
Speaker 3: movie now at forty four, it was inspiring as fuck

806
00:43:20,480 --> 00:43:22,040
Speaker 3: to me when I was a kid. I'm like, yeah,

807
00:43:22,080 --> 00:43:23,920
Speaker 3: let's stand on some desk, let's see the world in

808
00:43:23,960 --> 00:43:28,080
Speaker 3: a different way, let's fuck shit up. But the frustration

809
00:43:28,200 --> 00:43:30,040
Speaker 3: with this movie is that you want to think that

810
00:43:30,080 --> 00:43:33,320
Speaker 3: these kids were changed, but how could that be possible?

811
00:43:33,360 --> 00:43:37,799
Speaker 3: And it's kind of it's the greatest fallacy of this

812
00:43:37,960 --> 00:43:40,800
Speaker 3: film to try to give a beating heart to the

813
00:43:40,920 --> 00:43:45,480
Speaker 3: ruling class. Yeah, I just don't think that that is possible.

814
00:43:45,680 --> 00:43:47,640
Speaker 3: Maybe I want to be wrong, but then I look

815
00:43:47,719 --> 00:43:50,440
Speaker 3: at the world and I'm like, no, is it wrong?

816
00:43:50,840 --> 00:43:55,799
Speaker 3: Greed still rules, all empathy is non existent. We live

817
00:43:55,840 --> 00:43:59,160
Speaker 3: in a society is depressing. I don't want to finish

818
00:43:59,160 --> 00:44:01,200
Speaker 3: that sentence because I'm like, it makes me depressed.

819
00:44:02,920 --> 00:44:05,239
Speaker 2: No, But but you're right, because it is.

820
00:44:05,400 --> 00:44:08,960
Speaker 1: There are many points in this movie where these kids

821
00:44:09,000 --> 00:44:13,239
Speaker 1: are inspired by and become very protective of him as

822
00:44:13,280 --> 00:44:17,360
Speaker 1: their teacher, as their sort of mentor. But there are

823
00:44:17,360 --> 00:44:20,360
Speaker 1: certain things that happen, which I won't talk about because

824
00:44:20,360 --> 00:44:21,480
Speaker 1: it would spoil the movie.

825
00:44:21,719 --> 00:44:24,080
Speaker 2: And I'm sure you probably don't want that to happen.

826
00:44:24,600 --> 00:44:29,959
Speaker 1: But that call that really called that into question, whether

827
00:44:30,120 --> 00:44:34,759
Speaker 1: like how protective of him are they? And yeah, sure,

828
00:44:34,800 --> 00:44:38,239
Speaker 1: he's this like whimsical, wonderful, like renaissance man that's like

829
00:44:38,719 --> 00:44:43,120
Speaker 1: brought color into their lives, But does that have actual

830
00:44:43,200 --> 00:44:46,400
Speaker 1: real world implications like how far do they go down

831
00:44:46,440 --> 00:44:47,239
Speaker 1: that road for him?

832
00:44:47,840 --> 00:44:48,960
Speaker 2: And exactly?

833
00:44:49,000 --> 00:44:52,120
Speaker 1: You know, I think that that's sort of it just

834
00:44:52,200 --> 00:44:54,279
Speaker 1: goes back to what you just said about sort of

835
00:44:54,280 --> 00:44:57,520
Speaker 1: the idea that they in all likelihood, of course we

836
00:44:57,640 --> 00:45:00,759
Speaker 1: don't know, because there wasn't a sequel to tell, but

837
00:45:01,920 --> 00:45:05,239
Speaker 1: in all likelihood they did deny your mortgage and never

838
00:45:05,480 --> 00:45:07,640
Speaker 1: fucking thought about poetry again.

839
00:45:08,120 --> 00:45:09,600
Speaker 2: Yeah, well exactly.

840
00:45:09,640 --> 00:45:12,240
Speaker 3: That's the thing that just again, Like when I watched

841
00:45:12,239 --> 00:45:14,719
Speaker 3: this film this time, I was so fucking frustrated because

842
00:45:14,719 --> 00:45:18,040
Speaker 3: I'm like, wait a minute, does it matter that you

843
00:45:18,200 --> 00:45:22,200
Speaker 3: are sorry if you signed that piece of paper anyway

844
00:45:22,200 --> 00:45:27,040
Speaker 3: condemning a man, yeah, to losing his job or losing

845
00:45:27,080 --> 00:45:30,920
Speaker 3: his livelihood, like what you're feeling like, it's kind of

846
00:45:30,960 --> 00:45:34,319
Speaker 3: that fuck your feelings moment, Like, fuck your feelings.

847
00:45:34,320 --> 00:45:35,839
Speaker 2: You did the dirty deed.

848
00:45:36,440 --> 00:45:39,080
Speaker 3: Yeah, let's focus on that instead of the I felt

849
00:45:39,080 --> 00:45:43,400
Speaker 3: bad while I did it, but I absolutely did it. Yeah,

850
00:45:43,440 --> 00:45:46,320
Speaker 3: And I think that's just something that we've never quite

851
00:45:46,400 --> 00:45:49,560
Speaker 3: rectified with culturally. We've just never really had a reckoning

852
00:45:49,600 --> 00:45:53,560
Speaker 3: with that moment, not just in this film but in

853
00:45:53,600 --> 00:45:55,919
Speaker 3: our culture of like, all right, you might feel bad

854
00:45:55,960 --> 00:45:58,920
Speaker 3: about it, but you fucking did it. Like you stood

855
00:45:58,920 --> 00:46:01,640
Speaker 3: there and said nothing racist shit was happening. You stood

856
00:46:01,680 --> 00:46:04,960
Speaker 3: there and didn't protect people that needed protection, like you

857
00:46:05,000 --> 00:46:08,480
Speaker 3: didn't push for things that needed to be pushed for. Okay,

858
00:46:08,520 --> 00:46:10,480
Speaker 3: you feel bad about it, but you fucking did it,

859
00:46:10,560 --> 00:46:13,799
Speaker 3: like you. I just I kind of. I just have

860
00:46:13,840 --> 00:46:18,400
Speaker 3: a real personal reluctance for excusing bad behavior when it

861
00:46:18,480 --> 00:46:22,920
Speaker 3: definitively negatively impacts the lives of disenfranchised people.

862
00:46:23,600 --> 00:46:28,920
Speaker 1: Right, Well, yeah, it's this movie is I think it

863
00:46:29,000 --> 00:46:33,719
Speaker 1: is a movie that is part of a tradition of

864
00:46:33,760 --> 00:46:37,360
Speaker 1: these very inspirational like certainly within the context of like

865
00:46:38,040 --> 00:46:40,800
Speaker 1: teacher films or like inspirational figures.

866
00:46:41,760 --> 00:46:42,879
Speaker 2: I mean, it's on.

867
00:46:42,880 --> 00:46:46,960
Speaker 1: A lot of hoity toity film lists and it's beloved,

868
00:46:47,640 --> 00:46:49,919
Speaker 1: but also there is like it has to be talked

869
00:46:49,960 --> 00:46:53,160
Speaker 1: about in other ways too, Like we love this movie

870
00:46:53,200 --> 00:46:57,320
Speaker 1: so much from our childhood and it listen, I watched

871
00:46:57,320 --> 00:47:01,240
Speaker 1: this an hour before we press record, and I was crying.

872
00:47:01,239 --> 00:47:03,960
Speaker 1: I was a mess. Yeah, I was a fucking mess,

873
00:47:04,440 --> 00:47:07,800
Speaker 1: even having seen A three hundred, three thousand and five times.

874
00:47:09,640 --> 00:47:11,480
Speaker 1: But yeah, I mean, I think there are moments of

875
00:47:11,520 --> 00:47:14,000
Speaker 1: the movie that are different now in a modern context

876
00:47:14,080 --> 00:47:16,960
Speaker 1: and it was back then, and just sort of like, yeah,

877
00:47:17,000 --> 00:47:20,920
Speaker 1: like that type of person has changed as well, like

878
00:47:21,200 --> 00:47:24,880
Speaker 1: capitalism has changed, Like everything has changed since this movie

879
00:47:24,960 --> 00:47:27,879
Speaker 1: was made, so you know, like TBD a little bit

880
00:47:27,880 --> 00:47:31,319
Speaker 1: with some of these folks. I mean, honestly, like the

881
00:47:31,360 --> 00:47:33,640
Speaker 1: most oppressing part is that they are back in that

882
00:47:33,760 --> 00:47:38,000
Speaker 1: school the next year, having Norman fucking Lloyd yell in

883
00:47:38,040 --> 00:47:43,720
Speaker 1: their faces in his scary ass way, and they're getting

884
00:47:43,719 --> 00:47:46,719
Speaker 1: popped on the ass with that like wooden paddle with

885
00:47:46,800 --> 00:47:47,560
Speaker 1: the holes in it.

886
00:47:47,760 --> 00:47:51,640
Speaker 2: Oh god, that paddle. Get out of here with that.

887
00:47:51,680 --> 00:47:54,480
Speaker 3: And look, nobody wants us, Nobody who made this movie

888
00:47:54,719 --> 00:47:56,640
Speaker 3: wants us to be thinking this deeply.

889
00:47:56,360 --> 00:47:57,040
Speaker 2: About this film.

890
00:47:57,080 --> 00:47:58,719
Speaker 3: In twenty twenty one, they're like, why don't you just

891
00:47:59,120 --> 00:48:03,040
Speaker 3: listen to the orchestral music and cry and go away?

892
00:48:03,400 --> 00:48:05,680
Speaker 2: Like nobody wants this this.

893
00:48:05,960 --> 00:48:09,080
Speaker 4: In depth analysis, but you're getting it because I also

894
00:48:09,200 --> 00:48:12,600
Speaker 4: knew when I was a kid watching this movie, even

895
00:48:12,640 --> 00:48:14,080
Speaker 4: though it affected me, I.

896
00:48:14,040 --> 00:48:16,400
Speaker 2: Knew that this movie was not made for me.

897
00:48:17,080 --> 00:48:20,880
Speaker 3: It was about white boys, it was not about black girls,

898
00:48:21,280 --> 00:48:23,960
Speaker 3: and it was about wealthy white boys, not about poor

899
00:48:24,000 --> 00:48:26,719
Speaker 3: black girls. So I was still affected by it as

900
00:48:26,719 --> 00:48:30,480
Speaker 3: someone who was starting to develop a language for loving art,

901
00:48:31,719 --> 00:48:32,120
Speaker 3: but it.

902
00:48:32,080 --> 00:48:32,640
Speaker 2: Wasn't for me.

903
00:48:33,239 --> 00:48:35,560
Speaker 3: And so I think that it's just kind of like, yeah,

904
00:48:35,600 --> 00:48:38,440
Speaker 3: we do deserve to kind of as you always say, Millie,

905
00:48:38,480 --> 00:48:40,680
Speaker 3: we deserve to go back and look at movies with

906
00:48:40,719 --> 00:48:43,239
Speaker 3: fresh eyes and kind of see where we are now

907
00:48:43,280 --> 00:48:45,040
Speaker 3: that we're at these different points in our lives. And

908
00:48:45,080 --> 00:48:48,080
Speaker 3: I'm not even saying that I don't still love the movie.

909
00:48:48,120 --> 00:48:49,560
Speaker 2: It is still deeply affecting.

910
00:48:50,120 --> 00:48:54,759
Speaker 3: I'm just angrier now about who those characters are now

911
00:48:54,800 --> 00:48:56,120
Speaker 3: that we live in this.

912
00:48:56,160 --> 00:48:58,840
Speaker 1: World, absolutely one hundred percent. Now we can see the

913
00:48:58,920 --> 00:49:03,960
Speaker 1: through line very and and you're right, I of course,

914
00:49:04,000 --> 00:49:07,279
Speaker 1: when I was watching this as a younger person, I

915
00:49:07,280 --> 00:49:10,680
Speaker 1: got really caught up in, you know, the romanticism of

916
00:49:11,239 --> 00:49:14,759
Speaker 1: the poetry and the character of John Keating. And you know,

917
00:49:14,840 --> 00:49:16,560
Speaker 1: of course I did think that the boys in this

918
00:49:16,680 --> 00:49:19,080
Speaker 1: movie were like the Beatles, and we all had our favorites.

919
00:49:20,480 --> 00:49:22,959
Speaker 2: But now you know, and I think it's just age.

920
00:49:22,680 --> 00:49:25,919
Speaker 1: But now it's like I do feel more for them,

921
00:49:26,239 --> 00:49:28,040
Speaker 1: like and I don't know if it's some kind of

922
00:49:28,080 --> 00:49:30,759
Speaker 1: like parental instinct or something like that, but like, man,

923
00:49:30,840 --> 00:49:33,360
Speaker 1: the Neil and his Dad's story really hit me like

924
00:49:33,680 --> 00:49:37,240
Speaker 1: extra hard this time. The Todd's story hit me hard,

925
00:49:37,560 --> 00:49:39,720
Speaker 1: like the scene where he talks about how his parents

926
00:49:39,800 --> 00:49:42,480
Speaker 1: got him the same desk set that he got the

927
00:49:42,560 --> 00:49:44,479
Speaker 1: year before for his birthday and how.

928
00:49:44,400 --> 00:49:46,960
Speaker 2: They were just basically phoning in his fucking birthday and

929
00:49:47,600 --> 00:49:48,560
Speaker 2: their parenting.

930
00:49:49,080 --> 00:49:52,200
Speaker 1: Yeah, exactly, And it was just sort of like and

931
00:49:52,200 --> 00:49:55,680
Speaker 1: and and it was that moment that Neil catches Todd

932
00:49:55,800 --> 00:49:59,880
Speaker 1: like sitting outside by himself looking at this regifted desk set,

933
00:50:00,160 --> 00:50:02,920
Speaker 1: and Neil is the one that you know, makes him

934
00:50:02,960 --> 00:50:07,120
Speaker 1: feel better and like you know, makes the lemonade out

935
00:50:07,160 --> 00:50:07,840
Speaker 1: of the lemons.

936
00:50:07,880 --> 00:50:08,840
Speaker 2: And so his.

937
00:50:09,239 --> 00:50:12,320
Speaker 1: Nil's character was so much more present for me and

938
00:50:12,960 --> 00:50:17,320
Speaker 1: his gifts and like it ultimately becomes like very sad

939
00:50:17,680 --> 00:50:20,720
Speaker 1: for him. Yeah, but yeah, just really like a different

940
00:50:20,800 --> 00:50:25,040
Speaker 1: vibe for me. Also, Charlie Dalton more annoying than ever,

941
00:50:25,440 --> 00:50:29,640
Speaker 1: so annoying because essentially it's his fucking fault that they

942
00:50:29,680 --> 00:50:31,319
Speaker 1: went down, which, by the way, I don't know if

943
00:50:31,320 --> 00:50:32,360
Speaker 1: anybody really knows.

944
00:50:32,160 --> 00:50:35,719
Speaker 2: That, but he on that posted that shit in the

945
00:50:35,760 --> 00:50:38,280
Speaker 2: paper about them. He revealed the secret.

946
00:50:38,760 --> 00:50:40,400
Speaker 3: I knew he was going to be trouble from the

947
00:50:40,480 --> 00:50:44,200
Speaker 3: minute they're outside doing that exercise where Keating is getting

948
00:50:44,200 --> 00:50:47,160
Speaker 3: them to walk and he points out how easy conformity

949
00:50:47,360 --> 00:50:49,840
Speaker 3: is because they all start out with their own stride

950
00:50:50,440 --> 00:50:53,440
Speaker 3: and then they all fall in line and then everyone

951
00:50:53,440 --> 00:50:55,640
Speaker 3: around them starts clapping to a beat, so he's using

952
00:50:55,719 --> 00:50:57,520
Speaker 3: it to make a point, and then he's like everyone

953
00:50:57,560 --> 00:51:00,239
Speaker 3: just walk, like, go walk. I knew Charlie he was

954
00:51:00,320 --> 00:51:03,399
Speaker 3: trouble from the minute he said I'm exercising my right

955
00:51:03,480 --> 00:51:06,840
Speaker 3: to not walk. There's always one of those motherfuckers in class, like,

956
00:51:06,880 --> 00:51:09,440
Speaker 3: I'm gonna just not do it and call it the assignment.

957
00:51:09,840 --> 00:51:14,200
Speaker 3: Absolutely the fuck not, you are trouble. You are chaotic good.

958
00:51:14,920 --> 00:51:18,759
Speaker 1: Yeah, he's got some fucking triple sagittarius energy uugh or

959
00:51:18,800 --> 00:51:22,400
Speaker 1: some shit, because it was like that, and he pulled

960
00:51:22,400 --> 00:51:26,200
Speaker 1: the prank you know in the chapel where he's basically

961
00:51:26,280 --> 00:51:30,120
Speaker 1: like answering the phone about letting girls into the school,

962
00:51:30,600 --> 00:51:33,160
Speaker 1: which is why he ends up getting paddled by fucking

963
00:51:33,239 --> 00:51:36,960
Speaker 1: scary Norman Lloyd. But I was like, yeah, chaotic good,

964
00:51:37,160 --> 00:51:40,080
Speaker 1: triple sagittarius. I don't know what to say about him,

965
00:51:40,080 --> 00:51:42,000
Speaker 1: but he's annoying the shit out of me this time.

966
00:51:42,280 --> 00:51:43,919
Speaker 2: And he's Cameron takes the fall.

967
00:51:43,960 --> 00:51:47,359
Speaker 3: I feel like that character who plays Cameron, his name

968
00:51:47,440 --> 00:51:51,040
Speaker 3: is Dylan Cussman. Cameron takes the fall, but it's truly

969
00:51:51,120 --> 00:51:52,600
Speaker 3: Charlie who starts the charge.

970
00:51:52,680 --> 00:51:58,960
Speaker 2: Absolutely truly Charlie. And again gotta say, actually, I'm not

971
00:51:58,960 --> 00:52:03,799
Speaker 2: gonna say it, no teeses like this.

972
00:52:04,560 --> 00:52:04,640
Speaker 6: No.

973
00:52:04,800 --> 00:52:06,719
Speaker 3: I will say though that when I was looking up,

974
00:52:06,760 --> 00:52:10,080
Speaker 3: you know, researching who these actors have become and what

975
00:52:10,120 --> 00:52:14,960
Speaker 3: they've done since. Gail Hansen, who played Charlie Dalton, has

976
00:52:15,000 --> 00:52:18,480
Speaker 3: since become a TV executive or in a film executive,

977
00:52:18,960 --> 00:52:22,920
Speaker 3: and his Twitter bio says he has, you.

978
00:52:22,920 --> 00:52:24,600
Speaker 2: Know, listen some of his contact info.

979
00:52:24,680 --> 00:52:28,520
Speaker 3: But then he says dad to he him and they

980
00:52:28,600 --> 00:52:32,400
Speaker 3: them hm hmm. And he posts a lot about like

981
00:52:32,400 --> 00:52:34,960
Speaker 3: like civil rights and justice stuff. So I feel like, hey,

982
00:52:35,360 --> 00:52:40,839
Speaker 3: he did not turn out to be charliek God. But

983
00:52:40,880 --> 00:52:43,600
Speaker 3: in the end, I do still think this movie is

984
00:52:43,640 --> 00:52:47,520
Speaker 3: inspiring and affecting. I also just think that once we've

985
00:52:47,520 --> 00:52:49,799
Speaker 3: been through Occupiable Austre, you have to look at it

986
00:52:49,800 --> 00:52:50,479
Speaker 3: with different eyes.

987
00:52:54,800 --> 00:52:56,000
Speaker 2: Ain't that always the way?

988
00:52:57,040 --> 00:53:02,359
Speaker 1: Well, honestly, a movie that is it's a huge one

989
00:53:02,400 --> 00:53:05,200
Speaker 1: to take on, and I'm glad you did it. I'm

990
00:53:05,200 --> 00:53:07,320
Speaker 1: glad I got to watch it for the three thousand

991
00:53:07,360 --> 00:53:11,239
Speaker 1: and six times and you know, it was enjoyable. It's

992
00:53:11,239 --> 00:53:15,160
Speaker 1: still enjoyable to watch. I mean, just like listen, I

993
00:53:15,200 --> 00:53:17,080
Speaker 1: love a farty bagpipe too.

994
00:53:17,560 --> 00:53:22,239
Speaker 2: And I didn't realize that until you said it. Mande.

995
00:53:27,000 --> 00:53:31,200
Speaker 3: I want a supercut as just a bagpipe supercut, just

996
00:53:31,239 --> 00:53:34,200
Speaker 3: the beginning, just the beginning, will be a happy woman.

997
00:53:34,800 --> 00:53:37,359
Speaker 1: We are aiming this episode bagpipe supercut, by the way,

998
00:53:39,880 --> 00:53:42,239
Speaker 1: to let you know. But I'm so I'm so glad

999
00:53:42,320 --> 00:53:46,800
Speaker 1: you picked it again, regardless of how you come into

1000
00:53:46,800 --> 00:53:50,520
Speaker 1: seeing it again in a modern context, it's a great

1001
00:53:50,560 --> 00:53:51,960
Speaker 1: one to watch again.

1002
00:53:52,400 --> 00:53:53,120
Speaker 2: We have to do that.

1003
00:53:53,520 --> 00:53:55,600
Speaker 3: So you gotta do it. Yeah, you gotta watch it

1004
00:53:55,640 --> 00:53:57,759
Speaker 3: again for the first time. Wasn't that a tagline of

1005
00:53:57,800 --> 00:54:01,640
Speaker 3: some movie or was it? No, it's Cats, Cats Musical.

1006
00:54:01,920 --> 00:54:04,439
Speaker 3: See it again for the first time. All right, Sign

1007
00:54:04,480 --> 00:54:05,560
Speaker 3: of the Cross. I can't believe.

1008
00:54:05,560 --> 00:54:10,160
Speaker 1: I invokedly the fuck not curse this episode, blessed and

1009
00:54:10,200 --> 00:54:13,840
Speaker 1: then cursed it. Oh Lord, well out of the frying

1010
00:54:13,880 --> 00:54:17,360
Speaker 1: pan and into the friar, as someone once said, because

1011
00:54:17,360 --> 00:54:17,759
Speaker 1: we got.

1012
00:54:17,680 --> 00:54:23,280
Speaker 2: Another prep school story. So my film for the theme

1013
00:54:23,520 --> 00:54:27,920
Speaker 2: of teacher leave those kids alone is a movie from

1014
00:54:28,000 --> 00:54:31,400
Speaker 2: nineteen sixty eight. It was directed by Lindsay Anderson and

1015
00:54:31,440 --> 00:54:33,000
Speaker 2: it's called If.

1016
00:54:34,640 --> 00:54:38,840
Speaker 7: This is at English Public School. This is where Britain

1017
00:54:38,960 --> 00:54:42,520
Speaker 7: raised its empire. Builders of yesterday and still trains its

1018
00:54:42,600 --> 00:54:46,920
Speaker 7: leaders of tomorrow. This is the unchanging English public school.

1019
00:54:49,160 --> 00:54:50,520
Speaker 7: This is where you still learn.

1020
00:54:50,400 --> 00:54:53,680
Speaker 2: To play the game IF dot dot dot dot. Technically,

1021
00:54:53,680 --> 00:54:55,720
Speaker 2: if you want to go there. It's about Janet Jackson.

1022
00:54:55,960 --> 00:54:59,640
Speaker 1: Yes, it is about the making of the IF video

1023
00:55:00,080 --> 00:55:00,720
Speaker 1: Jenna Jackson.

1024
00:55:01,840 --> 00:55:04,440
Speaker 2: So here we go, let's talk about it. Okay. She

1025
00:55:04,520 --> 00:55:05,520
Speaker 2: wore that vest.

1026
00:55:06,840 --> 00:55:10,040
Speaker 3: I only prepared notes for the Janet Jackson if he,

1027
00:55:11,760 --> 00:55:12,719
Speaker 3: oh fuck.

1028
00:55:14,200 --> 00:55:19,560
Speaker 1: Will care to hear about British new Wave then sorry, Look,

1029
00:55:19,880 --> 00:55:22,520
Speaker 1: I'm gonna actually take it back to last week's episode,

1030
00:55:22,560 --> 00:55:26,279
Speaker 1: if I may so. The last episode we talked about

1031
00:55:26,280 --> 00:55:31,040
Speaker 1: a movie called Semi Tough. Our ayahuasca fueled episode where

1032
00:55:31,080 --> 00:55:34,560
Speaker 1: Danielle and I were on one about Semi Tough, Okay,

1033
00:55:35,120 --> 00:55:39,279
Speaker 1: and Danielle talked a lot about how Semi Tough was

1034
00:55:39,280 --> 00:55:42,600
Speaker 1: the satire of the self help or you know, self

1035
00:55:42,640 --> 00:55:46,839
Speaker 1: actualization industry or whatever in the seventies, and also about

1036
00:55:46,840 --> 00:55:48,279
Speaker 1: how it's the weirdest movie of all time.

1037
00:55:48,560 --> 00:55:49,520
Speaker 2: Duh.

1038
00:55:49,640 --> 00:55:52,840
Speaker 1: But here we are the week after and we have

1039
00:55:52,880 --> 00:55:59,360
Speaker 1: another satire film. IF is a satire about the public

1040
00:55:59,400 --> 00:56:03,040
Speaker 1: school system in England. Now, I didn't actually know this

1041
00:56:03,160 --> 00:56:05,880
Speaker 1: until I was doing research for this episode. But forgive

1042
00:56:05,880 --> 00:56:06,879
Speaker 1: me if I'm getting this wrong.

1043
00:56:07,200 --> 00:56:11,319
Speaker 2: I think it England public school means something different than

1044
00:56:11,320 --> 00:56:14,960
Speaker 2: it does here in America. So like in England, public

1045
00:56:15,040 --> 00:56:18,640
Speaker 2: school I think means private school, right, or like a

1046
00:56:18,680 --> 00:56:22,480
Speaker 2: fancy boarding school, whereas, of course here it's the total opposite.

1047
00:56:22,560 --> 00:56:24,560
Speaker 1: If somebody does want to get in my DMS and

1048
00:56:24,600 --> 00:56:27,400
Speaker 1: give me like a very detailed history of the school

1049
00:56:27,440 --> 00:56:31,080
Speaker 1: system in England, I'll allow it. Okay, the dms are

1050
00:56:31,080 --> 00:56:35,680
Speaker 1: open for that only literally only that. Everything else closed.

1051
00:56:36,160 --> 00:56:41,080
Speaker 2: Now, Okay, let's orient ourselves for this movie. The nineteen

1052
00:56:41,200 --> 00:56:45,879
Speaker 2: sixties were a big era for movie satire in general, right,

1053
00:56:45,920 --> 00:56:46,880
Speaker 2: because you've got.

1054
00:56:46,680 --> 00:56:50,440
Speaker 1: The counterculture going on, and there were lots of different

1055
00:56:50,440 --> 00:56:53,920
Speaker 1: types of movies that were using satire right as a

1056
00:56:53,960 --> 00:56:57,759
Speaker 1: way to kind of knock over these like big institutions

1057
00:56:57,800 --> 00:57:01,720
Speaker 1: like and the movies I'm thinking of are like Doctor Strangelove,

1058
00:57:02,160 --> 00:57:06,040
Speaker 1: The Bedsitting Room, The Loved One, stuff like that, right,

1059
00:57:06,160 --> 00:57:08,680
Speaker 1: And I feel like if is sort of in that category,

1060
00:57:08,760 --> 00:57:10,399
Speaker 1: it would have been kind of in that same era.

1061
00:57:11,040 --> 00:57:14,799
Speaker 1: But it's also like one of the classic prep school movies, right,

1062
00:57:14,880 --> 00:57:17,960
Speaker 1: I mean it's it's a classic, and it influenced a

1063
00:57:18,000 --> 00:57:20,200
Speaker 1: lot of other prep school movies that were made later.

1064
00:57:20,800 --> 00:57:24,720
Speaker 1: But Lindsey Anderson, the director of IF right, he started

1065
00:57:24,720 --> 00:57:28,840
Speaker 1: his career as a critic, a film critic, and then

1066
00:57:28,880 --> 00:57:32,320
Speaker 1: he moved into making these documentaries in the late forties

1067
00:57:32,360 --> 00:57:35,640
Speaker 1: and early fifties right, and they had a big influence

1068
00:57:35,680 --> 00:57:38,720
Speaker 1: on his later work because he started making narrative films

1069
00:57:38,760 --> 00:57:41,200
Speaker 1: in the sixties and it was part of this group

1070
00:57:41,240 --> 00:57:43,600
Speaker 1: of directors in England that were making movies that were

1071
00:57:43,840 --> 00:57:48,400
Speaker 1: called kitchen sink films and later they're sort of classified

1072
00:57:48,400 --> 00:57:51,440
Speaker 1: as sort of the British New Wave of the nineteen sixties.

1073
00:57:51,640 --> 00:57:54,160
Speaker 1: But these are movies like The Loneliness of the Long

1074
00:57:54,200 --> 00:57:57,640
Speaker 1: Distance Runner and A Taste of Honey, Saturday Night and

1075
00:57:57,680 --> 00:58:02,120
Speaker 1: Sunday Morning with Albert Finnie by Ken Loach and Lindsay

1076
00:58:02,160 --> 00:58:05,080
Speaker 1: Anderson made IF as sort of the first movie in

1077
00:58:05,080 --> 00:58:09,520
Speaker 1: this trilogy about this character named Mick Travis, and he

1078
00:58:09,640 --> 00:58:13,920
Speaker 1: was played each time by Malcolm McDowell, whom everyone probably

1079
00:58:13,960 --> 00:58:17,800
Speaker 1: knows him best for being in A Clockwork Orange. But

1080
00:58:17,840 --> 00:58:20,760
Speaker 1: what's interesting about that is that IF was actually his

1081
00:58:20,800 --> 00:58:25,800
Speaker 1: first movie, and allegedly Stanley Kubrick hired him for a

1082
00:58:25,800 --> 00:58:30,120
Speaker 1: Clockwork Orange based on his performance, if so, I think

1083
00:58:30,120 --> 00:58:34,360
Speaker 1: that's really cool. He am so a one sentenced synopsis

1084
00:58:34,400 --> 00:58:37,840
Speaker 1: of if if I'm made good luck. Okay, I try

1085
00:58:37,880 --> 00:58:39,840
Speaker 1: to not get two in the weeds with this, but

1086
00:58:39,960 --> 00:58:44,200
Speaker 1: let's see a young man who attends a strict and

1087
00:58:44,320 --> 00:58:49,160
Speaker 1: conservative all male boarding school finds creative ways to rebel

1088
00:58:49,320 --> 00:58:52,680
Speaker 1: and fight back, both in his fantasies and in real

1089
00:58:52,720 --> 00:58:54,280
Speaker 1: life perfection.

1090
00:58:54,920 --> 00:58:57,040
Speaker 2: Okay, good, I couldn't have done it. I couldn't have

1091
00:58:57,040 --> 00:59:00,680
Speaker 2: done it. Okay. So, as we.

1092
00:59:00,760 --> 00:59:03,920
Speaker 1: Said in the intro to this theme, right, I've never

1093
00:59:03,960 --> 00:59:05,000
Speaker 1: been to a private school.

1094
00:59:05,840 --> 00:59:10,480
Speaker 2: I'm endlessly fascinated with the ritual and insular nature of

1095
00:59:10,560 --> 00:59:11,280
Speaker 2: these schools.

1096
00:59:11,480 --> 00:59:17,440
Speaker 1: Right, and man, this school that Mick Travis attends is

1097
00:59:17,520 --> 00:59:21,200
Speaker 1: fucking miserable, okay from the jump.

1098
00:59:21,240 --> 00:59:26,480
Speaker 2: From the first minute. Okay, and apparently it was shot

1099
00:59:26,600 --> 00:59:30,720
Speaker 2: at the school that Lindsay Anderson, the director actually went to,

1100
00:59:30,760 --> 00:59:31,920
Speaker 2: which is terrifying.

1101
00:59:32,080 --> 00:59:34,640
Speaker 3: See this is the connection you've got In my film

1102
00:59:34,640 --> 00:59:37,760
Speaker 3: and Dead Poe Society, Tom Schulman writing about the school

1103
00:59:37,800 --> 00:59:40,880
Speaker 3: that he went to. Lindsay Anderson also affected by the

1104
00:59:40,920 --> 00:59:41,720
Speaker 3: school he went to.

1105
00:59:42,000 --> 00:59:45,240
Speaker 1: Look, I think that private schools are possibly causing so

1106
00:59:45,320 --> 00:59:49,920
Speaker 1: much trauma that is being filtered into the television and

1107
00:59:50,000 --> 00:59:53,800
Speaker 1: film world, where like you and I are not writing

1108
00:59:53,800 --> 00:59:56,520
Speaker 1: about prep schools because we don't know anything about them,

1109
00:59:56,600 --> 00:59:59,440
Speaker 1: but all the prep schools, all the prep school cinema

1110
00:59:59,560 --> 01:00:01,280
Speaker 1: is written people who survived it.

1111
01:00:01,320 --> 01:00:03,080
Speaker 2: I guess that's always gonna work out.

1112
01:00:05,160 --> 01:00:08,360
Speaker 1: So like Dead Poet Society, the first few minutes of

1113
01:00:09,040 --> 01:00:11,880
Speaker 1: IF are just kind of getting all of us the

1114
01:00:12,000 --> 01:00:14,760
Speaker 1: viewers settled into what this place is and it's and

1115
01:00:14,800 --> 01:00:18,840
Speaker 1: it's like same concept, little kids running around in uniforms,

1116
01:00:19,120 --> 01:00:21,960
Speaker 1: except they're getting yelled at by people left and right,

1117
01:00:22,480 --> 01:00:27,520
Speaker 1: being called scum, Oh, called scum, very nice, setting up

1118
01:00:27,560 --> 01:00:31,400
Speaker 1: their little desks and bedrooms which look awful and.

1119
01:00:31,880 --> 01:00:35,440
Speaker 4: Dreary, and they need to co a paint in every

1120
01:00:35,640 --> 01:00:36,840
Speaker 4: fucking room in that place.

1121
01:00:37,320 --> 01:00:37,480
Speaker 2: Yo.

1122
01:00:37,960 --> 01:00:40,320
Speaker 1: It's It was so claustrophobic to me that I was like,

1123
01:00:40,400 --> 01:00:42,040
Speaker 1: oh my god, how are these kids. I mean, it

1124
01:00:42,160 --> 01:00:46,720
Speaker 1: looked like an old timey orphanage or like a juvie hall.

1125
01:00:47,560 --> 01:00:49,800
Speaker 1: It was I look like a fucking kid jail. I

1126
01:00:49,840 --> 01:00:53,120
Speaker 1: was like, Jesus, these are rich kids going to this

1127
01:00:53,240 --> 01:00:56,600
Speaker 1: fucking place. Okay, I guess I don't know what's happening here.

1128
01:00:57,120 --> 01:01:01,480
Speaker 1: Reverse psychology or something. So we got to talk about

1129
01:01:01,520 --> 01:01:03,800
Speaker 1: like the social.

1130
01:01:04,000 --> 01:01:05,200
Speaker 2: Scene of this school.

1131
01:01:05,280 --> 01:01:08,560
Speaker 1: Okay, So in terms of the students, there's like two sides.

1132
01:01:08,600 --> 01:01:11,760
Speaker 1: There's the juniors, who are kind of more maybe middle

1133
01:01:11,760 --> 01:01:16,440
Speaker 1: school aged, and then there's the senior kids, who are presumably,

1134
01:01:16,520 --> 01:01:19,720
Speaker 1: like I don't know, anywhere between like fourteen and seventeen. Okay,

1135
01:01:20,640 --> 01:01:23,280
Speaker 1: And of course, as there are in all of these movies,

1136
01:01:23,320 --> 01:01:25,600
Speaker 1: there's a headmaster and a priest and a bunch of

1137
01:01:25,640 --> 01:01:29,600
Speaker 1: teachers and people making stews and shit like. Of course

1138
01:01:29,640 --> 01:01:33,880
Speaker 1: there are those people. However, the students basically live in

1139
01:01:33,960 --> 01:01:39,680
Speaker 1: fear of these four senior boys okay, who are students

1140
01:01:39,720 --> 01:01:43,920
Speaker 1: at the school, mind you. And they're called whips, right,

1141
01:01:44,440 --> 01:01:46,440
Speaker 1: And like I said, I never went to private school,

1142
01:01:46,840 --> 01:01:50,000
Speaker 1: but I gotta tell you, these little fuckers who are

1143
01:01:50,080 --> 01:01:54,080
Speaker 1: essentially these like elevated like hall monitors, but also like

1144
01:01:54,200 --> 01:01:55,200
Speaker 1: drill sergeants.

1145
01:01:55,960 --> 01:01:57,360
Speaker 2: They are the bane.

1146
01:01:57,080 --> 01:02:00,000
Speaker 1: Of everyone's existence at a school, and everyone is watched

1147
01:02:00,240 --> 01:02:01,400
Speaker 1: their back for these whips.

1148
01:02:01,840 --> 01:02:04,800
Speaker 4: Oh then they should be, because they'll randomly shout out

1149
01:02:04,840 --> 01:02:07,040
Speaker 4: things like go warm up my toilet seat for me.

1150
01:02:07,600 --> 01:02:11,520
Speaker 1: Okay, this is outrageous to somebody who never went to

1151
01:02:11,560 --> 01:02:13,720
Speaker 1: private school. I'm sure you feel the same. But like

1152
01:02:14,240 --> 01:02:18,920
Speaker 1: these four little fuckers, as I mentioned, they have all

1153
01:02:18,960 --> 01:02:22,760
Speaker 1: this unchecked power to not only tell other kids what

1154
01:02:22,840 --> 01:02:25,320
Speaker 1: to do every second of their day and to like

1155
01:02:25,440 --> 01:02:29,800
Speaker 1: inspect their fucking bodies and haircuts and living spaces like

1156
01:02:29,840 --> 01:02:33,080
Speaker 1: whenever they want, but they also get to punish people,

1157
01:02:33,920 --> 01:02:38,040
Speaker 1: like physically punish people, make them take cold showers, They

1158
01:02:38,080 --> 01:02:43,920
Speaker 1: get to hand out spankings with canes, okay, And on

1159
01:02:44,080 --> 01:02:47,640
Speaker 1: top of all this, they are somehow allowed to make

1160
01:02:47,880 --> 01:02:49,920
Speaker 1: some of the little kids.

1161
01:02:49,840 --> 01:02:54,040
Speaker 2: Be their servants. And there are multiple scenes in the

1162
01:02:54,080 --> 01:02:57,320
Speaker 2: movie where there are these little kids who are waiting

1163
01:02:57,440 --> 01:03:00,640
Speaker 2: for these like teenage boys to get out of the

1164
01:03:00,760 --> 01:03:04,320
Speaker 2: bath so they can give them towels and shave their

1165
01:03:04,360 --> 01:03:08,040
Speaker 2: faces and stuff. Okay, I can't, I can't.

1166
01:03:08,160 --> 01:03:11,920
Speaker 3: And there's also like there's so many scenes where you

1167
01:03:11,960 --> 01:03:14,760
Speaker 3: see that happening, where like these kids have become servants

1168
01:03:14,760 --> 01:03:18,000
Speaker 3: for these older kids, and then you also see those

1169
01:03:18,040 --> 01:03:22,480
Speaker 3: same children now enacting cruelty on their own classmates. Like

1170
01:03:22,520 --> 01:03:25,560
Speaker 3: it just does not fall far from the tree at all.

1171
01:03:25,880 --> 01:03:28,600
Speaker 3: Like once they're given a little bit of connection to

1172
01:03:28,760 --> 01:03:31,880
Speaker 3: the power structure in that school, they start being as

1173
01:03:31,960 --> 01:03:34,360
Speaker 3: cruel as possible when they can.

1174
01:03:34,960 --> 01:03:37,600
Speaker 2: Oh yeah, it's like the bullied becomes the bully.

1175
01:03:37,680 --> 01:03:41,640
Speaker 1: It's like the cycle of bullying, right, Because there's this

1176
01:03:41,720 --> 01:03:44,440
Speaker 1: younger student at the beginning of the film named Jute

1177
01:03:45,440 --> 01:03:48,120
Speaker 1: who arrives and the's like two little boys are trying

1178
01:03:48,120 --> 01:03:50,440
Speaker 1: to prep him into like getting all of the whips'

1179
01:03:50,520 --> 01:03:53,520
Speaker 1: names right and getting all the details about the school right.

1180
01:03:53,720 --> 01:03:56,680
Speaker 2: Or they get beaten. So it's just this weird moment

1181
01:03:56,720 --> 01:03:58,120
Speaker 2: where you're like, oh, everyone's getting.

1182
01:03:57,960 --> 01:04:01,240
Speaker 1: Ass kicked in the school and the hierarchy is here

1183
01:04:01,280 --> 01:04:03,320
Speaker 1: to stay and there's no way around it.

1184
01:04:03,320 --> 01:04:05,080
Speaker 2: You just have to like fall into line, right.

1185
01:04:05,880 --> 01:04:09,600
Speaker 1: And the weirdest part too, is that so there's these whips,

1186
01:04:09,760 --> 01:04:10,880
Speaker 1: you know, I.

1187
01:04:10,840 --> 01:04:14,000
Speaker 2: Think the head the head whip. I don't know how

1188
01:04:14,400 --> 01:04:15,000
Speaker 2: this works.

1189
01:04:16,280 --> 01:04:20,920
Speaker 1: Is this guy round Tree just like the shittiest of

1190
01:04:20,960 --> 01:04:25,760
Speaker 1: the shit, right, just the worst little kid. And the

1191
01:04:26,240 --> 01:04:27,840
Speaker 1: four of them kind of sit around in their like

1192
01:04:27,880 --> 01:04:30,439
Speaker 1: little whip office or whatever, and they talk about these

1193
01:04:30,480 --> 01:04:32,800
Speaker 1: like little servants as if they were like their little

1194
01:04:32,920 --> 01:04:37,080
Speaker 1: love slaves, which adds this whole like homophobic component to.

1195
01:04:37,080 --> 01:04:38,720
Speaker 2: These little kids.

1196
01:04:38,720 --> 01:04:43,280
Speaker 1: And I'm like, this is so hardcore, right, And it

1197
01:04:43,280 --> 01:04:47,640
Speaker 1: seems like this really hopeless, miserable environment that, like your film,

1198
01:04:47,720 --> 01:04:51,600
Speaker 1: suppresses creativity and lust for life, and there's just tons

1199
01:04:51,600 --> 01:04:57,600
Speaker 1: of rigid protocol hazing white exceptionalism, and you just know

1200
01:04:57,880 --> 01:05:01,960
Speaker 1: that this system turns out generations upon generations of these

1201
01:05:02,040 --> 01:05:06,360
Speaker 1: like rich psycho assholes that ruined the planet for centuries,

1202
01:05:06,440 --> 01:05:07,720
Speaker 1: Like we know this right.

1203
01:05:08,000 --> 01:05:11,480
Speaker 2: Just plain spoken, Yes, ah, that's right.

1204
01:05:11,800 --> 01:05:15,520
Speaker 3: And also you could tell that this school was going

1205
01:05:15,600 --> 01:05:21,040
Speaker 3: to be incredibly fucked up based on the opening dinner

1206
01:05:21,120 --> 01:05:26,240
Speaker 3: scene where there's a painting behind the headmaster and all

1207
01:05:26,280 --> 01:05:29,040
Speaker 3: of the kind of the adult heads of the school

1208
01:05:29,400 --> 01:05:33,960
Speaker 3: and this homeboy looks like Orson Wells and he's wearing

1209
01:05:34,160 --> 01:05:37,400
Speaker 3: about fifteen trench coats, like fifteen coats with the fur

1210
01:05:37,720 --> 01:05:43,320
Speaker 3: collars and a ruffle neck and a beret, like he

1211
01:05:43,480 --> 01:05:46,400
Speaker 3: is not someone to fuck around, Like if this is

1212
01:05:46,480 --> 01:05:49,680
Speaker 3: who helped found this school, there is no joy to

1213
01:05:49,720 --> 01:05:53,080
Speaker 3: be found here. This motherfucker's wearing fifteen fucking coats, yes,

1214
01:05:53,640 --> 01:05:55,520
Speaker 3: and a ruffle exactly.

1215
01:05:55,760 --> 01:05:59,760
Speaker 1: Like it's so over the top, and we know this

1216
01:05:59,800 --> 01:06:02,160
Speaker 1: is satire, it's supposed to be that way, but it

1217
01:06:02,200 --> 01:06:04,840
Speaker 1: is like when you actually, like, look at what's going

1218
01:06:04,880 --> 01:06:06,640
Speaker 1: on in this movie at the very beginning.

1219
01:06:06,400 --> 01:06:08,800
Speaker 2: You're like, oh my god, this place is like hell

1220
01:06:09,000 --> 01:06:09,600
Speaker 2: on earth.

1221
01:06:10,160 --> 01:06:14,120
Speaker 1: And needless to say, there's this group of three senior kids,

1222
01:06:14,760 --> 01:06:19,640
Speaker 1: Mick Travis again played by Michael McDowell, two of his buddies,

1223
01:06:19,840 --> 01:06:24,240
Speaker 1: Wallace and Knightly, and they are essentially the Charlie Daltons

1224
01:06:24,240 --> 01:06:29,760
Speaker 1: of this school. They're the true nonconformists in this cesspool.

1225
01:06:30,240 --> 01:06:34,080
Speaker 1: They sneak vodka into the school, they smoke cigarettes, they're

1226
01:06:34,080 --> 01:06:37,360
Speaker 1: obsessed with revolution, and they just have this like whole

1227
01:06:37,400 --> 01:06:40,480
Speaker 1: other vibe to them that's obviously just not in line

1228
01:06:40,600 --> 01:06:45,440
Speaker 1: with anybody else in this school. Right, And like we mentioned,

1229
01:06:45,920 --> 01:06:48,080
Speaker 1: you know, with the Charlie Dalton character, they're obsessed with

1230
01:06:48,120 --> 01:06:53,000
Speaker 1: revolutionary figures and they pull pictures of people of colorade

1231
01:06:53,000 --> 01:06:55,080
Speaker 1: of magazines and post them on the walls. And they're

1232
01:06:55,080 --> 01:06:59,880
Speaker 1: interested in like warfare and you know, indigenous people from

1233
01:06:59,880 --> 01:07:02,240
Speaker 1: other countries, and it's this idea of you know, like

1234
01:07:02,280 --> 01:07:04,400
Speaker 1: we were talking about earlier, this idea they're just sort

1235
01:07:04,400 --> 01:07:08,040
Speaker 1: of like they're obviously rebelling against the system that they're in,

1236
01:07:08,240 --> 01:07:11,880
Speaker 1: and part of doing that is showing these other people

1237
01:07:11,880 --> 01:07:15,919
Speaker 1: that they're interested in like non white culture, right, right,

1238
01:07:16,400 --> 01:07:19,680
Speaker 1: But you know, just like in Dead Poe Society, Like

1239
01:07:19,960 --> 01:07:22,000
Speaker 1: all these kids have to go to chapel and do

1240
01:07:22,040 --> 01:07:25,360
Speaker 1: all this religious stuff and they have to attend military

1241
01:07:25,560 --> 01:07:29,280
Speaker 1: drills and ceremonies and everything. And as the movie goes on,

1242
01:07:29,560 --> 01:07:31,600
Speaker 1: Mick and his friends are just doing everything they can

1243
01:07:31,720 --> 01:07:35,080
Speaker 1: to fuck with this system. And there's this one scene

1244
01:07:35,120 --> 01:07:39,080
Speaker 1: where Mick and Knightley sneak out of the school. They

1245
01:07:39,440 --> 01:07:41,840
Speaker 1: go into the city, which is forbidden, so they sneak

1246
01:07:41,880 --> 01:07:45,840
Speaker 1: out into the city. They steal a motorcycle from a showroom,

1247
01:07:46,320 --> 01:07:49,280
Speaker 1: which is bold as hell, Like the guy selling the

1248
01:07:49,320 --> 01:07:51,360
Speaker 1: motorcycles is sitting there at his desk and they just

1249
01:07:51,400 --> 01:07:52,800
Speaker 1: walk in and they're like, Oh, I'm just going to

1250
01:07:52,880 --> 01:07:55,080
Speaker 1: start this motorcycle and drive it out of the showroom.

1251
01:07:55,320 --> 01:07:58,000
Speaker 2: But it also definitely relates.

1252
01:07:58,320 --> 01:08:02,400
Speaker 3: It's a parallel with Dead Poetstuf in that their privilege

1253
01:08:02,440 --> 01:08:05,160
Speaker 3: allows them this chance to be rebellious because they know

1254
01:08:05,240 --> 01:08:06,200
Speaker 3: nothing bad is going to.

1255
01:08:06,200 --> 01:08:09,000
Speaker 2: Happen to them, right exactly, So is it.

1256
01:08:08,960 --> 01:08:12,520
Speaker 3: Really rebellion because it's like they're still resting on the

1257
01:08:12,600 --> 01:08:13,720
Speaker 3: laurels of privilege.

1258
01:08:14,040 --> 01:08:18,160
Speaker 1: Yes, obviously very contextualized in this in this world that

1259
01:08:18,200 --> 01:08:21,720
Speaker 1: they're in, right, but you know, they steal this motorcycle.

1260
01:08:21,760 --> 01:08:26,000
Speaker 1: They end up meeting this girl at this cafe and

1261
01:08:26,200 --> 01:08:28,479
Speaker 1: there's like this this scene of the three of them

1262
01:08:28,600 --> 01:08:31,360
Speaker 1: riding this motorcycle together and there's all these like trees

1263
01:08:31,360 --> 01:08:33,960
Speaker 1: behind them, and it's actually it kind of reminds me

1264
01:08:33,960 --> 01:08:36,679
Speaker 1: of the bicycle scene from Butch Cassidy and The Sundance Kid.

1265
01:08:37,000 --> 01:08:42,959
Speaker 1: It's very like sixties like kind of counterculturey, but it sort.

1266
01:08:42,760 --> 01:08:46,240
Speaker 2: Of is that feeling of this is.

1267
01:08:46,240 --> 01:08:50,479
Speaker 1: They feel like themselves in the city, having fun, hanging

1268
01:08:50,520 --> 01:08:54,479
Speaker 1: out with girls, driving the motorcycle through the woods or whatever,

1269
01:08:54,920 --> 01:08:58,680
Speaker 1: and not you know, literally dealing with whips telling them

1270
01:08:58,720 --> 01:09:00,360
Speaker 1: to cut their hair. Like it's just at the moment,

1271
01:09:00,439 --> 01:09:02,800
Speaker 1: we're like, these kids are trapped and they have to

1272
01:09:02,880 --> 01:09:06,439
Speaker 1: find this freedom somewhere else, right, And you know, at

1273
01:09:06,439 --> 01:09:09,800
Speaker 1: one point, Mick actually does something that's bad enough to

1274
01:09:09,800 --> 01:09:13,799
Speaker 1: be whipped by the whips, right yeah, and he gets

1275
01:09:13,840 --> 01:09:17,280
Speaker 1: like three times the amount of lashings is everybody else,

1276
01:09:18,240 --> 01:09:20,519
Speaker 1: because you know, he's the one they want to kill

1277
01:09:20,560 --> 01:09:23,640
Speaker 1: his spirit so bad and they just want him to

1278
01:09:23,800 --> 01:09:27,120
Speaker 1: fall in line so badly. But like I said, like

1279
01:09:27,200 --> 01:09:30,080
Speaker 1: during the movie, you know, it feels like a satire,

1280
01:09:30,120 --> 01:09:31,880
Speaker 1: but it's also doing like a lot of other like

1281
01:09:31,960 --> 01:09:36,439
Speaker 1: interesting things, like there's these very weird, like absurd little

1282
01:09:36,479 --> 01:09:39,360
Speaker 1: flashes where the teachers are like doing something weird, Like

1283
01:09:39,400 --> 01:09:43,200
Speaker 1: there's this scene where one of the women the adults,

1284
01:09:43,280 --> 01:09:46,439
Speaker 1: is like walking around naked, and there's like the priest

1285
01:09:46,560 --> 01:09:49,800
Speaker 1: comes out of a coffin in a bookcase at one point,

1286
01:09:50,640 --> 01:09:53,000
Speaker 1: and it does make you feel like, Okay, I don't

1287
01:09:53,000 --> 01:09:53,680
Speaker 1: know what this is.

1288
01:09:53,680 --> 01:09:56,720
Speaker 2: Is this like real life? Is this a fantasy? We

1289
01:09:56,800 --> 01:10:01,160
Speaker 2: don't know right right? And furthering that is this idea

1290
01:10:01,200 --> 01:10:03,280
Speaker 2: that there's all these transitions that are happening in the

1291
01:10:03,320 --> 01:10:07,480
Speaker 2: movie to kind of suggest that Mick is having fantasies

1292
01:10:07,479 --> 01:10:10,400
Speaker 2: of things, Like there's this whole scene when he meets

1293
01:10:10,400 --> 01:10:12,800
Speaker 2: the girl in the cafe where they start wrestling and

1294
01:10:12,840 --> 01:10:14,680
Speaker 2: then they're suddenly naked.

1295
01:10:14,880 --> 01:10:17,000
Speaker 1: And you're like, oh, well, obviously this isn't happening in

1296
01:10:17,040 --> 01:10:19,679
Speaker 1: real life. This is happening in a fantasy that he's having.

1297
01:10:19,800 --> 01:10:23,400
Speaker 1: But it's very subtle, which I think is part of

1298
01:10:23,439 --> 01:10:26,840
Speaker 1: the satirical nature of this film, but also is kind

1299
01:10:26,840 --> 01:10:31,040
Speaker 1: of like it evokes that countercultural feel of kind of

1300
01:10:31,080 --> 01:10:33,920
Speaker 1: like anything can happen at any time, Like it's almost

1301
01:10:33,960 --> 01:10:37,519
Speaker 1: like a staged environment in a weird way, right, and

1302
01:10:37,640 --> 01:10:39,800
Speaker 1: also too, A lot of times in the movie the

1303
01:10:39,880 --> 01:10:42,360
Speaker 1: scene will go from like black and white to color.

1304
01:10:42,600 --> 01:10:42,960
Speaker 2: Yeah.

1305
01:10:43,000 --> 01:10:45,120
Speaker 3: I wanted to ask you about that because when the

1306
01:10:45,120 --> 01:10:48,320
Speaker 3: first time it happened, I thought it was a flashback. Yeah,

1307
01:10:48,320 --> 01:10:50,799
Speaker 3: because that's kind of the way that I've been taught

1308
01:10:50,840 --> 01:10:53,400
Speaker 3: in the modern parlance to think of black and white

1309
01:10:53,439 --> 01:10:55,160
Speaker 3: in films.

1310
01:10:54,600 --> 01:10:55,080
Speaker 2: But it's not.

1311
01:10:55,560 --> 01:11:01,000
Speaker 1: Yeah, Weirdly enough, I read that the transition from black

1312
01:11:01,000 --> 01:11:05,040
Speaker 1: and white was initially something that they used as like

1313
01:11:05,080 --> 01:11:07,960
Speaker 1: a money saving technique. Like I feel like there's an

1314
01:11:08,000 --> 01:11:09,880
Speaker 1: interview with Malcolm McDowell that I read.

1315
01:11:09,960 --> 01:11:11,000
Speaker 2: I think it's with him.

1316
01:11:11,000 --> 01:11:13,160
Speaker 1: Where he talks about how basically they were trying to

1317
01:11:13,160 --> 01:11:15,799
Speaker 1: save money, they didn't want to light this scene for color.

1318
01:11:16,680 --> 01:11:18,479
Speaker 1: I think it was one of the like chapel scenes,

1319
01:11:18,720 --> 01:11:20,240
Speaker 1: and so they just decided to shoot in.

1320
01:11:20,200 --> 01:11:23,280
Speaker 2: Black and white. But then they just kept doing it,

1321
01:11:23,360 --> 01:11:24,440
Speaker 2: So I actually.

1322
01:11:24,200 --> 01:11:26,400
Speaker 1: Don't think it was I was supposed to have been

1323
01:11:27,120 --> 01:11:31,480
Speaker 1: symbolic at all, right, but then it kind of became symbolic,

1324
01:11:31,560 --> 01:11:34,400
Speaker 1: and then you're right. I definitely think that we're trained

1325
01:11:34,439 --> 01:11:37,759
Speaker 1: to think that a transition like that is something about

1326
01:11:37,760 --> 01:11:38,520
Speaker 1: a flashback.

1327
01:11:39,040 --> 01:11:42,679
Speaker 2: But yeah, and this movie is happening randomly, and.

1328
01:11:43,520 --> 01:11:45,360
Speaker 1: At first I was trying to really figure it out,

1329
01:11:45,400 --> 01:11:47,519
Speaker 1: but then I just gave up and I was like, yeah, what,

1330
01:11:48,240 --> 01:11:50,280
Speaker 1: I'm gonna let this happen when it happens, and it's

1331
01:11:50,320 --> 01:11:53,080
Speaker 1: just gonna have to be whimsical and have no reason

1332
01:11:53,200 --> 01:11:53,559
Speaker 1: for me.

1333
01:11:54,000 --> 01:11:55,080
Speaker 2: I felt the same way.

1334
01:11:55,080 --> 01:11:57,679
Speaker 3: I'm like, I don't know if it's part of the fantasy.

1335
01:11:57,720 --> 01:11:59,360
Speaker 3: I don't know if it's part of the time time

1336
01:11:59,400 --> 01:12:02,120
Speaker 3: fucking with time or the time fuckery. So I'm just

1337
01:12:02,120 --> 01:12:03,880
Speaker 3: gonna let it roll over me and let it wash

1338
01:12:03,960 --> 01:12:04,280
Speaker 3: over me.

1339
01:12:04,880 --> 01:12:05,200
Speaker 2: Listen.

1340
01:12:05,240 --> 01:12:08,000
Speaker 1: I just chalk it up to people taking LSD in

1341
01:12:08,040 --> 01:12:10,280
Speaker 1: the sixties and making movies or something.

1342
01:12:10,360 --> 01:12:13,400
Speaker 2: That's that's all I can say. Because sometimes I.

1343
01:12:13,360 --> 01:12:16,640
Speaker 1: Watch some of these sixties counterculture movies and I'm like, what, Like,

1344
01:12:17,400 --> 01:12:19,320
Speaker 1: I want to I want to be supportive of this,

1345
01:12:19,439 --> 01:12:21,320
Speaker 1: but this is just like too.

1346
01:12:21,280 --> 01:12:21,920
Speaker 2: Much for me.

1347
01:12:22,400 --> 01:12:24,840
Speaker 1: Yeah, I want you to have your drugs and your

1348
01:12:24,880 --> 01:12:27,240
Speaker 1: creative vision. But then sometimes it's a view where I'm like,

1349
01:12:27,720 --> 01:12:28,320
Speaker 1: all right.

1350
01:12:28,320 --> 01:12:33,720
Speaker 2: Have your drugs, but also hire an editor. Yeah.

1351
01:12:33,960 --> 01:12:36,040
Speaker 1: I could go down a list of movies that I've

1352
01:12:36,080 --> 01:12:39,720
Speaker 1: seen in my life where I've been like I used

1353
01:12:39,720 --> 01:12:41,960
Speaker 1: to love that movie because I thought it was super trippy,

1354
01:12:42,000 --> 01:12:45,160
Speaker 1: and now I'm like, I'm done, Can't I watch it again?

1355
01:12:45,439 --> 01:12:48,080
Speaker 1: Can't I watch it again? And actually, If is not

1356
01:12:48,080 --> 01:12:50,439
Speaker 1: one of those films I will say. I mean, here's

1357
01:12:50,439 --> 01:12:52,439
Speaker 1: what I'm gonna say about the ending of If, because

1358
01:12:52,920 --> 01:12:55,360
Speaker 1: it's a big one, so I'm not gonna give it away.

1359
01:12:55,680 --> 01:12:56,080
Speaker 2: Sorry.

1360
01:12:56,560 --> 01:12:58,360
Speaker 1: I do think that this is one of those movies

1361
01:12:58,400 --> 01:13:01,879
Speaker 1: that has this kind of no notorious, sort of big

1362
01:13:02,080 --> 01:13:06,240
Speaker 1: controversial ending, and it was actually a big deal even

1363
01:13:06,280 --> 01:13:09,760
Speaker 1: back in nineteen sixty eight because when the movie was released, it.

1364
01:13:09,640 --> 01:13:11,960
Speaker 2: Got an X rating when it came out.

1365
01:13:12,160 --> 01:13:15,200
Speaker 1: Yeah, but I think I will say I'll say this

1366
01:13:15,400 --> 01:13:18,639
Speaker 1: because after saying it again for this episode, like the

1367
01:13:18,760 --> 01:13:19,960
Speaker 1: setup to it.

1368
01:13:20,400 --> 01:13:22,959
Speaker 2: Aka the first ninety percent.

1369
01:13:22,800 --> 01:13:28,760
Speaker 1: Of the film genuinely is pretty absurd, like as the

1370
01:13:28,880 --> 01:13:31,160
Speaker 1: setup to what happens in the last ten percent of

1371
01:13:31,200 --> 01:13:34,960
Speaker 1: the film, you know, like there's an entire sequence that

1372
01:13:35,000 --> 01:13:38,280
Speaker 1: happens right before it that has like zero dialogue, And

1373
01:13:38,320 --> 01:13:42,479
Speaker 1: there is this moment after watching it again where I

1374
01:13:42,560 --> 01:13:47,800
Speaker 1: thought it's even possible that the ending is maybe a fantasy,

1375
01:13:48,080 --> 01:13:50,519
Speaker 1: like maybe it didn't actually happen, Like maybe it wasn't

1376
01:13:50,520 --> 01:13:52,160
Speaker 1: in the reality of the film, right.

1377
01:13:52,960 --> 01:13:55,960
Speaker 3: I think from the moment they do the military training

1378
01:13:56,120 --> 01:13:59,599
Speaker 3: on it mostly felt like a fantasy to me. Yes,

1379
01:14:00,200 --> 01:14:02,760
Speaker 3: because of what happens, Like you said that first ninety

1380
01:14:02,800 --> 01:14:05,799
Speaker 3: percent of the film and that last ten percent felt

1381
01:14:05,800 --> 01:14:07,720
Speaker 3: like it was all very fantastical.

1382
01:14:08,160 --> 01:14:11,559
Speaker 1: Yeah, and maybe that was the point, like again, like

1383
01:14:11,680 --> 01:14:15,360
Speaker 1: maybe that was the idea of the film to begin with,

1384
01:14:15,400 --> 01:14:17,320
Speaker 1: which was that we weren't going to be able to

1385
01:14:17,479 --> 01:14:21,479
Speaker 1: discern whether or not we were in his head, like

1386
01:14:21,560 --> 01:14:24,200
Speaker 1: if he was actually sitting in his room being miserable,

1387
01:14:24,320 --> 01:14:28,320
Speaker 1: having just been beaten by the whips and no progress

1388
01:14:28,400 --> 01:14:30,479
Speaker 1: is made, or if it actually happened, like if he

1389
01:14:30,560 --> 01:14:33,759
Speaker 1: actually got to exact his revenge on this school.

1390
01:14:34,000 --> 01:14:34,200
Speaker 6: Right.

1391
01:14:34,640 --> 01:14:36,479
Speaker 2: Yes, So it's interesting and for that.

1392
01:14:36,520 --> 01:14:39,280
Speaker 1: Reason alone, I think that makes if a very interesting

1393
01:14:39,320 --> 01:14:43,800
Speaker 1: movie to watch. Oh yeah, it's super compelling, definitely a

1394
01:14:43,840 --> 01:14:46,679
Speaker 1: classic among movies about prep school.

1395
01:14:47,040 --> 01:14:48,679
Speaker 2: I mean, you can see.

1396
01:14:48,439 --> 01:14:51,200
Speaker 1: The influence of this movie I think in movies like

1397
01:14:51,320 --> 01:14:53,080
Speaker 1: Rushmore by Wes.

1398
01:14:52,880 --> 01:14:56,160
Speaker 2: Anderson and even something like Dead Poet Society, Like you

1399
01:14:56,200 --> 01:15:01,360
Speaker 2: can see that. But it is like definitely of its era,

1400
01:15:02,000 --> 01:15:05,879
Speaker 2: and it definitely is a satire and it really amps

1401
01:15:06,000 --> 01:15:11,559
Speaker 2: up the cruelty of that system, Yes, and sort of

1402
01:15:12,600 --> 01:15:15,120
Speaker 2: really gets you to think about like who are the

1403
01:15:15,200 --> 01:15:19,160
Speaker 2: people that participate in that environment and.

1404
01:15:19,080 --> 01:15:21,240
Speaker 1: Who are the people that don't want anything to do

1405
01:15:21,280 --> 01:15:23,679
Speaker 1: with it? And like your movie, it's.

1406
01:15:23,600 --> 01:15:26,000
Speaker 2: Kind of like how does that play out?

1407
01:15:26,160 --> 01:15:28,960
Speaker 1: Is it that they kind of mildly they beget their

1408
01:15:29,000 --> 01:15:31,840
Speaker 1: like little rebellious kick for a semester and then they're

1409
01:15:31,920 --> 01:15:35,640
Speaker 1: back in line ruining the world or do they like

1410
01:15:36,200 --> 01:15:39,720
Speaker 1: actually have like a light bulb go off where they're like,

1411
01:15:39,760 --> 01:15:41,559
Speaker 1: I don't want this. I gotta get out of here,

1412
01:15:41,640 --> 01:15:44,800
Speaker 1: I gotta sabotage this, you know whatever. It's just very

1413
01:15:44,800 --> 01:15:47,320
Speaker 1: interesting and that's I think what the theme is about

1414
01:15:47,400 --> 01:15:47,840
Speaker 1: this week.

1415
01:15:47,880 --> 01:15:48,080
Speaker 5: You know.

1416
01:15:48,640 --> 01:15:49,479
Speaker 2: No, it definitely is.

1417
01:15:50,000 --> 01:15:51,920
Speaker 3: I think this was a fantastic pick for this theme.

1418
01:15:52,000 --> 01:15:53,800
Speaker 3: And I'm so glad that you picked this film. I'd

1419
01:15:53,880 --> 01:15:56,320
Speaker 3: never seen it and I was like, what am I watching?

1420
01:15:56,520 --> 01:15:59,880
Speaker 3: I like it, I'm into it. I'm definitely I definitely

1421
01:16:00,200 --> 01:16:00,759
Speaker 3: it compelling.

1422
01:16:00,800 --> 01:16:03,880
Speaker 2: But what is happening? And I think that you're right,

1423
01:16:03,920 --> 01:16:04,200
Speaker 2: like it.

1424
01:16:04,120 --> 01:16:07,320
Speaker 3: Does dovetail really nicely with that notion of well what

1425
01:16:07,360 --> 01:16:09,720
Speaker 3: do these people become and do they only have these

1426
01:16:09,760 --> 01:16:12,479
Speaker 3: revenge fantasies as their way to be real people in

1427
01:16:12,520 --> 01:16:16,840
Speaker 3: their lives, because I'm always astonished when, like when I

1428
01:16:16,880 --> 01:16:19,160
Speaker 3: really like a British comedian and then I find out

1429
01:16:19,200 --> 01:16:21,880
Speaker 3: like they went to Eton or something, and I'm like,

1430
01:16:22,000 --> 01:16:24,360
Speaker 3: how are you so funny and personable but you went

1431
01:16:24,400 --> 01:16:27,960
Speaker 3: to that school? Like how I don't get the two

1432
01:16:28,280 --> 01:16:31,920
Speaker 3: are completely incongruous to me because that's my own limitation

1433
01:16:31,960 --> 01:16:35,200
Speaker 3: as a human being, I guess, but it's always a

1434
01:16:35,240 --> 01:16:37,640
Speaker 3: shock to me because I have such a strong I

1435
01:16:37,640 --> 01:16:40,240
Speaker 3: have such a strong sensation of these schools being so

1436
01:16:40,520 --> 01:16:44,920
Speaker 3: ruinous to lives and not something that makes someone's life better,

1437
01:16:45,160 --> 01:16:48,559
Speaker 3: but makes their life significantly worse. So I just I

1438
01:16:48,600 --> 01:16:51,160
Speaker 3: really like this take, and the satirical take on this

1439
01:16:51,240 --> 01:16:54,680
Speaker 3: film helped help me into this narrative in a very

1440
01:16:54,680 --> 01:16:56,720
Speaker 3: strong way, which has helped me get right into it.

1441
01:16:57,520 --> 01:17:01,000
Speaker 1: Yeah, and I think too, as people, you and I,

1442
01:17:01,000 --> 01:17:04,160
Speaker 1: I mean, we we operate on some level of rebellion

1443
01:17:04,200 --> 01:17:07,559
Speaker 1: in our everyday lives just being who we are, right right,

1444
01:17:08,040 --> 01:17:11,360
Speaker 1: So there's a moment where I think I do connect

1445
01:17:11,560 --> 01:17:14,840
Speaker 1: to the idea of rebelling against this sort of oppressive

1446
01:17:14,920 --> 01:17:20,160
Speaker 1: system of this like prep school, traditional you know, blue

1447
01:17:20,240 --> 01:17:25,599
Speaker 1: blooded institution, and I do commiserate with people who are

1448
01:17:25,600 --> 01:17:28,960
Speaker 1: trying to go against it, like the Nils and the

1449
01:17:29,000 --> 01:17:31,840
Speaker 1: mix and you know, the people who are trying to

1450
01:17:31,960 --> 01:17:33,479
Speaker 1: resist a little bit.

1451
01:17:34,439 --> 01:17:37,080
Speaker 2: But the system on a hole is very interesting for me.

1452
01:17:37,840 --> 01:17:42,879
Speaker 1: It is not easy to dissect, and it is something

1453
01:17:42,920 --> 01:17:46,240
Speaker 1: that we don't have any firsthand knowledge about, which makes

1454
01:17:46,240 --> 01:17:49,040
Speaker 1: it interesting but also is sort of like, I don't know.

1455
01:17:49,080 --> 01:17:51,160
Speaker 2: It kind of makes me relieved.

1456
01:17:50,600 --> 01:17:53,120
Speaker 1: In a lot of ways to have not gone into

1457
01:17:53,200 --> 01:17:55,280
Speaker 1: something like this. I'm like, Jesus, I could not hack

1458
01:17:55,320 --> 01:17:55,720
Speaker 1: it in this.

1459
01:17:56,560 --> 01:18:00,519
Speaker 2: I could not you know, I couldn't do it would either.

1460
01:18:00,880 --> 01:18:04,200
Speaker 3: I would be like like a goth little groundhog. It

1461
01:18:04,280 --> 01:18:06,479
Speaker 3: just bury myself in the dirt, isn't that? I think

1462
01:18:06,520 --> 01:18:08,120
Speaker 3: that was one episode where you're like, what don has

1463
01:18:08,160 --> 01:18:10,800
Speaker 3: do they just bury themselves? I was going out to

1464
01:18:10,840 --> 01:18:14,080
Speaker 3: the common area of these and the landscape of these

1465
01:18:14,080 --> 01:18:19,040
Speaker 3: places is so gorgeous. Yeah that it's just like again,

1466
01:18:19,160 --> 01:18:22,080
Speaker 3: completely incongruous with the horrors that are happening within.

1467
01:18:22,160 --> 01:18:22,640
Speaker 2: So I don't know.

1468
01:18:22,680 --> 01:18:24,479
Speaker 3: I would go out to a field or a hill

1469
01:18:25,080 --> 01:18:27,280
Speaker 3: and just sit there and let the rain sweep me away.

1470
01:18:27,320 --> 01:18:27,680
Speaker 2: I don't know.

1471
01:18:27,680 --> 01:18:29,760
Speaker 3: I wouldn't be able to hack it. Yeah, I'm way

1472
01:18:29,800 --> 01:18:34,320
Speaker 3: too back talking. My primary reason for getting in trouble

1473
01:18:34,320 --> 01:18:36,400
Speaker 3: when I was a little kid was back talk.

1474
01:18:36,720 --> 01:18:39,439
Speaker 2: Yeah, you would have lasted at all with Norman Lloyd.

1475
01:18:39,520 --> 01:18:40,360
Speaker 2: Let's get sarous.

1476
01:18:40,439 --> 01:18:44,040
Speaker 3: Oh no, hell no, I loved I liked this theme

1477
01:18:44,080 --> 01:18:46,200
Speaker 3: a lot though. I like I like thinking about it

1478
01:18:46,240 --> 01:18:48,240
Speaker 3: in this way and kind of visiting it at a

1479
01:18:48,240 --> 01:18:49,320
Speaker 3: different point of life.

1480
01:18:49,840 --> 01:18:51,720
Speaker 1: Yeah, I mean it's kind of like the Dance Conservatory

1481
01:18:51,760 --> 01:18:52,719
Speaker 1: Movies episode.

1482
01:18:52,720 --> 01:18:55,360
Speaker 2: Like I said, it's it's just, uh, you know, the two.

1483
01:18:55,160 --> 01:19:00,800
Speaker 1: Of us looking into this world, which is fascinating, and

1484
01:19:00,840 --> 01:19:03,200
Speaker 1: that's what movies are all about sometimes, Like you know,

1485
01:19:04,080 --> 01:19:08,280
Speaker 1: you want to look at a way something works, something

1486
01:19:08,280 --> 01:19:09,080
Speaker 1: that you just don't.

1487
01:19:08,840 --> 01:19:11,880
Speaker 2: Have any experience with, and so exactly. I love it

1488
01:19:11,920 --> 01:19:18,280
Speaker 2: for that too. But woo, great job you too. I

1489
01:19:18,320 --> 01:19:21,800
Speaker 2: won't be caning you today. Thank you so much for

1490
01:19:21,840 --> 01:19:23,960
Speaker 2: not using the paddle. But the whole drill did it?

1491
01:19:24,400 --> 01:19:24,479
Speaker 5: Like?

1492
01:19:24,640 --> 01:19:29,000
Speaker 3: Extra brutal corporal punishment went way too far in both

1493
01:19:29,040 --> 01:19:29,679
Speaker 3: of these films.

1494
01:19:29,920 --> 01:19:33,240
Speaker 2: Did you ever go to a school that had spanking?

1495
01:19:33,320 --> 01:19:37,760
Speaker 2: I did? No? No? Yeah was it religious girl? Hell mo?

1496
01:19:37,920 --> 01:19:39,680
Speaker 1: This was our public school when I was growing up

1497
01:19:39,680 --> 01:19:42,599
Speaker 1: in Goose Creek, South Carolina. I was in fifth grade

1498
01:19:43,080 --> 01:19:47,120
Speaker 1: and our middle school paddled And I remember I got

1499
01:19:47,160 --> 01:19:49,040
Speaker 1: in trouble with a bunch of other girls where we

1500
01:19:49,040 --> 01:19:51,759
Speaker 1: actually had to go to the principal's office every day

1501
01:19:52,160 --> 01:19:55,200
Speaker 1: during recess for like a week, and I saw that

1502
01:19:55,240 --> 01:20:00,640
Speaker 1: paddle hanging from the bulletin board. No yeah, and I

1503
01:20:00,720 --> 01:20:03,080
Speaker 1: was like, oh my god, I don't want to do

1504
01:20:03,640 --> 01:20:07,040
Speaker 1: anything to have that paddle on my bare ass whatever

1505
01:20:07,200 --> 01:20:07,600
Speaker 1: I do.

1506
01:20:08,479 --> 01:20:15,639
Speaker 2: Scared straight. Holy shit, Holy I did not have any

1507
01:20:15,680 --> 01:20:20,280
Speaker 2: of that. Yeah. I mean this was like like eighties, Like.

1508
01:20:20,360 --> 01:20:22,600
Speaker 3: It's just way too late in the history of this

1509
01:20:22,720 --> 01:20:25,040
Speaker 3: nation for people to be paddling children in schools.

1510
01:20:25,960 --> 01:20:27,439
Speaker 1: I mean, I was like to say, it was the

1511
01:20:27,560 --> 01:20:30,559
Speaker 1: rural South and it was the eighties where they must

1512
01:20:30,560 --> 01:20:31,639
Speaker 1: have been able to get with that shit.

1513
01:20:31,680 --> 01:20:34,320
Speaker 2: Maybe they held on. They were the last people to stop.

1514
01:20:35,560 --> 01:20:35,960
Speaker 6: Damn.

1515
01:20:36,600 --> 01:20:39,479
Speaker 2: I know that is that's like a bonus episode. We

1516
01:20:39,479 --> 01:20:42,879
Speaker 2: got to talk about stuff, Okay, completely. I love school.

1517
01:20:42,920 --> 01:20:44,599
Speaker 2: I love hearing about school stuff.

1518
01:20:44,680 --> 01:20:49,000
Speaker 3: But it's September, like we're going back to school. I know, Hey,

1519
01:20:49,040 --> 01:20:51,040
Speaker 3: even if you're not stepping foot in one, it is

1520
01:20:51,080 --> 01:20:52,200
Speaker 3: back to school time.

1521
01:20:52,560 --> 01:20:57,120
Speaker 1: Yeah, so hopefully you were prepped correctly. Oh, I see

1522
01:20:57,120 --> 01:21:00,439
Speaker 1: what you did that so witch did there is not

1523
01:21:00,479 --> 01:21:01,600
Speaker 1: the name of our podcast.

1524
01:21:01,640 --> 01:21:04,760
Speaker 2: By the way, if anybody do you.

1525
01:21:04,720 --> 01:21:06,960
Speaker 1: Ever hear that when people go your podcast, I saw

1526
01:21:06,960 --> 01:21:08,800
Speaker 1: what you did there, I'm like, that's not the name

1527
01:21:08,840 --> 01:21:09,680
Speaker 1: of the podcast.

1528
01:21:09,880 --> 01:21:14,479
Speaker 3: Oh only every interview I did for my book, and

1529
01:21:14,520 --> 01:21:17,080
Speaker 3: I would constantly be writing into the publicism being like,

1530
01:21:17,280 --> 01:21:19,120
Speaker 3: here is the name of my podcast, and then people

1531
01:21:19,160 --> 01:21:21,040
Speaker 3: would be like, so your podcast. I saw what you

1532
01:21:21,040 --> 01:21:22,559
Speaker 3: did there, and I'm like, that is not it.

1533
01:21:22,800 --> 01:21:23,599
Speaker 2: That is not it.

1534
01:21:26,280 --> 01:21:28,760
Speaker 3: I don't know how many ways or times I can

1535
01:21:28,840 --> 01:21:35,439
Speaker 3: say it, that ain't it. I'm also not only getting

1536
01:21:35,439 --> 01:21:38,439
Speaker 3: it just the podcast name wrong. I cannot tell you

1537
01:21:38,479 --> 01:21:41,200
Speaker 3: how many interviewers just thought my grandma was dead.

1538
01:21:42,240 --> 01:21:45,120
Speaker 4: Oh god, no, I'm like, did you make it to

1539
01:21:45,200 --> 01:21:46,680
Speaker 4: the end of my book.

1540
01:21:48,000 --> 01:21:50,160
Speaker 3: To the point where I went back to my own

1541
01:21:50,200 --> 01:21:53,120
Speaker 3: book to reread the ending to be like, did I

1542
01:21:53,160 --> 01:21:54,800
Speaker 3: write that this bitch was dead?

1543
01:21:55,439 --> 01:21:59,400
Speaker 2: Because she is not even close. Whoever it was is

1544
01:21:59,479 --> 01:22:02,920
Speaker 2: like sending a text to their intern being like, you know,

1545
01:22:03,000 --> 01:22:05,000
Speaker 2: I didn't read this book. You were supposed to give

1546
01:22:05,000 --> 01:22:06,800
Speaker 2: me notes. Why didn't you tell me the grandma is

1547
01:22:06,800 --> 01:22:12,160
Speaker 2: still alive. Fuck you. Your unpaid internship is over. The

1548
01:22:12,240 --> 01:22:16,360
Speaker 2: intern's revenge like, oh yeah, that lady died. Haha, that

1549
01:22:16,479 --> 01:22:21,120
Speaker 2: lady died. Oh my god, I'm fucking real.

1550
01:22:21,439 --> 01:22:25,920
Speaker 1: Well, on that note, if you want to email us

1551
01:22:26,760 --> 01:22:29,920
Speaker 1: for any reason, you can do so.

1552
01:22:30,240 --> 01:22:31,879
Speaker 2: I saw what you did pot at Gmail.

1553
01:22:32,200 --> 01:22:34,760
Speaker 3: You can also find us on our social media at

1554
01:22:34,840 --> 01:22:38,840
Speaker 3: I saw pod on Instagram and Twitter and Millie.

1555
01:22:39,200 --> 01:22:41,679
Speaker 2: Just for the just for the audience to know.

1556
01:22:42,120 --> 01:22:45,120
Speaker 3: Milly has been wearing a Best in the Biz shirt

1557
01:22:45,360 --> 01:22:48,960
Speaker 3: this entire recording from the Banana Boys as she's.

1558
01:22:48,800 --> 01:22:50,559
Speaker 2: About to tell you about our merch.

1559
01:22:51,240 --> 01:22:54,920
Speaker 1: Look, that's right, I am wearing a Banana's T shirt

1560
01:22:55,640 --> 01:22:56,920
Speaker 1: at the long sleeve.

1561
01:22:57,520 --> 01:22:58,960
Speaker 2: I love the long sleeve shirt.

1562
01:22:58,960 --> 01:23:03,280
Speaker 1: When I saw that, I'm the merch store on exactly

1563
01:23:03,439 --> 01:23:06,720
Speaker 1: right media dot com yea where you can get our

1564
01:23:06,800 --> 01:23:09,519
Speaker 1: merch too, I was like, I have to have a

1565
01:23:09,520 --> 01:23:12,599
Speaker 1: long sleeve banana shirt that says best in the Biz

1566
01:23:12,680 --> 01:23:15,240
Speaker 1: written across the chess.

1567
01:23:15,320 --> 01:23:15,519
Speaker 7: Yeah.

1568
01:23:15,560 --> 01:23:17,679
Speaker 2: The tit so good.

1569
01:23:17,800 --> 01:23:21,160
Speaker 3: Those Banana Boys, God, I just I adore them. They

1570
01:23:21,280 --> 01:23:25,400
Speaker 3: got the best merch, the loveliest. But I saw that

1571
01:23:25,439 --> 01:23:28,160
Speaker 3: shirt and I was like, mm hmm, yeah, we merch.

1572
01:23:27,960 --> 01:23:30,920
Speaker 2: Too, we merch exactly rightmedia dot com.

1573
01:23:31,160 --> 01:23:33,960
Speaker 3: And if you want even more from us, we have

1574
01:23:34,040 --> 01:23:38,960
Speaker 3: a whole bunch of bonus episodes up its Ditcher Premium

1575
01:23:39,000 --> 01:23:41,960
Speaker 3: exclusively at Ditcher Premium, so you could use the promo

1576
01:23:42,000 --> 01:23:44,320
Speaker 3: code saw if you want to sign up for a

1577
01:23:44,320 --> 01:23:46,360
Speaker 3: free month and check it out.

1578
01:23:46,640 --> 01:23:48,519
Speaker 2: But why wouldn't you? It's great.

1579
01:23:48,560 --> 01:23:50,720
Speaker 3: We're pretty loose l loosey goosey over there in our

1580
01:23:50,840 --> 01:23:54,080
Speaker 3: uh our bonus episodes, and it's very quickly becoming the

1581
01:23:54,120 --> 01:23:56,120
Speaker 3: only place where we read our reader mail.

1582
01:23:56,439 --> 01:23:59,360
Speaker 1: That's right, we're talking about white Lotus. We're talking about mail.

1583
01:24:00,120 --> 01:24:04,640
Speaker 1: It's a good old time. But let's talk about the

1584
01:24:04,680 --> 01:24:06,559
Speaker 1: movies for next week. Do you want to tell them

1585
01:24:06,720 --> 01:24:09,120
Speaker 1: they're never gonna get this. They're never gonna get it.

1586
01:24:09,120 --> 01:24:10,679
Speaker 1: I'm just gonna tell you right now, You're never gonna

1587
01:24:10,680 --> 01:24:10,960
Speaker 1: get it.

1588
01:24:11,720 --> 01:24:13,280
Speaker 2: Not this time. I don't know.

1589
01:24:14,120 --> 01:24:17,719
Speaker 3: I think we've got some pretty keyed in listeners. I'm

1590
01:24:18,080 --> 01:24:23,639
Speaker 3: I'm gonna bet you one American dollar that's that one

1591
01:24:23,680 --> 01:24:29,519
Speaker 3: person will get it. Our movies for next week are

1592
01:24:30,640 --> 01:24:35,280
Speaker 3: Insomnia from two thousand and two and Smoky in the

1593
01:24:35,360 --> 01:24:39,160
Speaker 3: Bandit from nineteen seventy seven. Even as I say it,

1594
01:24:39,200 --> 01:24:41,360
Speaker 3: I'm like, what is the theme? It's right, It's written

1595
01:24:41,439 --> 01:24:43,280
Speaker 3: right in front of me, and I'm like, wait what oh.

1596
01:24:43,240 --> 01:24:44,960
Speaker 2: Yeah, yeah, yeah yeah.

1597
01:24:45,040 --> 01:24:49,280
Speaker 3: So one American dollar to Millie if anyone gets this theme.

1598
01:24:50,360 --> 01:24:53,040
Speaker 1: Oh my god, I will happily give you that dollar

1599
01:24:53,080 --> 01:24:55,360
Speaker 1: if somebody gets it. But I just looked at the

1600
01:24:55,439 --> 01:24:57,879
Speaker 1: I just looked at these movies and I was like, honestly,

1601
01:24:57,920 --> 01:24:59,240
Speaker 1: what the fuck, Like, what.

1602
01:24:59,120 --> 01:25:02,040
Speaker 2: The fuck do we even know? Baby girl? What is

1603
01:25:02,080 --> 01:25:02,519
Speaker 2: we doing?

1604
01:25:05,120 --> 01:25:07,280
Speaker 3: And we know we do it because we chose the

1605
01:25:07,400 --> 01:25:07,960
Speaker 3: damn theme.

1606
01:25:08,920 --> 01:25:12,080
Speaker 2: It's gonna be fun. It's gonna be fun. Yes, please

1607
01:25:12,160 --> 01:25:14,439
Speaker 2: join us next week. In the meantime, Thank you, Danielle,

1608
01:25:14,600 --> 01:25:18,120
Speaker 2: you're the Millie. This is the greatest. We'll see everybody

1609
01:25:18,160 --> 01:25:23,760
Speaker 2: next week. Me big.

1610
01:25:37,479 --> 01:25:41,000
Speaker 3: This has been an exactly right production. Our producers Alexis Amrossi,

1611
01:25:41,160 --> 01:25:44,759
Speaker 3: our engineers Annalise Nelson, Our theme songs by Tom bry Foegel,

1612
01:25:45,080 --> 01:25:48,719
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia hart Stark,

1613
01:25:48,800 --> 01:25:52,000
Speaker 3: Caring Till Gareth and Danielle Kramer. Follow us on Instagram

1614
01:25:52,040 --> 01:25:54,800
Speaker 3: and Twitter at I saw pod email us at I

1615
01:25:54,840 --> 01:25:57,400
Speaker 3: saw you did pod at Gmail and please don't forget

1616
01:25:57,439 --> 01:26:01,040
Speaker 3: to listen, subscribe, leave us a review on a podcast, stitcher,

1617
01:26:01,200 --> 01:26:02,240
Speaker 3: or wherever you listen.