1
00:00:00,960 --> 00:00:03,920
Speaker 1: On the Dog Cast, the questions asked if movies have

2
00:00:04,080 --> 00:00:07,960
Speaker 1: women in them? Are all their discussions just boyfriends and husbands?

3
00:00:08,119 --> 00:00:13,080
Speaker 1: Do they have individualism? The patriarchy? Zef in best start

4
00:00:13,200 --> 00:00:17,960
Speaker 1: changing it with the beck Del Cast. Bad boys, bad boys.

5
00:00:18,200 --> 00:00:20,680
Speaker 1: What you're gonna do, What you're gonna do when they

6
00:00:20,760 --> 00:00:24,119
Speaker 1: come for you? But wait, hang on, sorry, let me

7
00:00:24,280 --> 00:00:27,280
Speaker 1: let me start again. Bad girls, bad girls. What you're

8
00:00:27,280 --> 00:00:33,760
Speaker 1: gonna do, You're gonna do when? Sorry, God, Kalen, I

9
00:00:33,760 --> 00:00:35,919
Speaker 1: would I just like I was going to join him,

10
00:00:35,920 --> 00:00:37,879
Speaker 1: but then you were doing such a good job to im,

11
00:00:37,920 --> 00:00:42,440
Speaker 1: like she's she's got it, she's star is born. Yeah,

12
00:00:42,520 --> 00:00:49,080
Speaker 1: that was your d Okay. So here we are. We

13
00:00:49,120 --> 00:00:51,559
Speaker 1: are the bad girls. Where the Yeah, we're the bad

14
00:00:51,720 --> 00:00:55,800
Speaker 1: girls this time. Um, but we're here to talk about

15
00:00:56,000 --> 00:00:59,560
Speaker 1: the bad boys because we weren't given it a choice, right, Um.

16
00:00:59,640 --> 00:01:02,440
Speaker 1: Welcome to the Becktel Cast. My name is Jamie Loftus,

17
00:01:02,480 --> 00:01:04,280
Speaker 1: my name is Caitlin Darante, and we are the bad

18
00:01:04,319 --> 00:01:07,039
Speaker 1: Girls and that's what we're gonna When Alison Bechtel inevitably

19
00:01:07,080 --> 00:01:10,360
Speaker 1: sues us will change the name of the podcast to

20
00:01:10,440 --> 00:01:15,600
Speaker 1: bad Girls. I'm honestly surprised that the sequel for Bad

21
00:01:15,640 --> 00:01:18,200
Speaker 1: Boys for Life is actually not a reboot that's an

22
00:01:18,200 --> 00:01:22,320
Speaker 1: all female like Bad Girls. It's the trend. It's the trend.

23
00:01:22,440 --> 00:01:24,959
Speaker 1: But um, you know they had to make Cops cool

24
00:01:25,000 --> 00:01:28,240
Speaker 1: again at the politically advantageous time to reboot this franchise.

25
00:01:29,640 --> 00:01:33,120
Speaker 1: Can you do? And I mean, plus the chemistry between

26
00:01:33,160 --> 00:01:35,479
Speaker 1: Will Smith and Martin Laurence. I mean I want Martin

27
00:01:35,560 --> 00:01:38,120
Speaker 1: Lawrence to get as many checks as humanly possible. I

28
00:01:38,160 --> 00:01:41,760
Speaker 1: love him so much. Oh man, Martin Lawrence formative crush.

29
00:01:41,800 --> 00:01:46,200
Speaker 1: Really yes? But wait, what is the podcast? I forget?

30
00:01:47,000 --> 00:01:50,440
Speaker 1: We talked about the representation of women in movies and

31
00:01:50,480 --> 00:01:52,840
Speaker 1: how it usually doesn't do a very good job. I

32
00:01:52,920 --> 00:01:56,800
Speaker 1: don't see this movie. Yeah, because we we just talked

33
00:01:56,800 --> 00:02:00,600
Speaker 1: about men for two minutes. Um. We use the Bechdel

34
00:02:00,680 --> 00:02:03,120
Speaker 1: test as a jumping off point for discussion. The Bechdel

35
00:02:03,200 --> 00:02:07,360
Speaker 1: test being a media metric invented by Alison Bechdel, sometimes

36
00:02:07,400 --> 00:02:10,640
Speaker 1: called the Bechdel Wallace test that requires that two female

37
00:02:10,680 --> 00:02:14,760
Speaker 1: identifying characters with names talk to each other about something

38
00:02:14,919 --> 00:02:18,920
Speaker 1: other than a man. Can this movie do it? I

39
00:02:18,960 --> 00:02:21,320
Speaker 1: was honestly on the edge of my seat. I mean,

40
00:02:21,680 --> 00:02:25,080
Speaker 1: we'll talk about it, but there's a conversation to be had.

41
00:02:25,240 --> 00:02:29,880
Speaker 1: They get I was shocked. Um. And so to all

42
00:02:29,880 --> 00:02:31,800
Speaker 1: those haters out there who are like, do they just

43
00:02:31,840 --> 00:02:33,440
Speaker 1: spin an hour or trying to figure out if it

44
00:02:33,440 --> 00:02:37,160
Speaker 1: passes the Bechdel test, No, we have we know going

45
00:02:37,200 --> 00:02:41,720
Speaker 1: in we usually have the answer. Yeah. So we're talking

46
00:02:41,720 --> 00:02:46,720
Speaker 1: about Bad Boys. We have a guest. Is this time

47
00:02:46,760 --> 00:02:51,000
Speaker 1: three third time? Yes? She's an actor, comedian host of

48
00:02:51,120 --> 00:02:54,239
Speaker 1: Scam Goddess podcast and she's been on the show twice

49
00:02:54,280 --> 00:02:57,280
Speaker 1: before on our Ten Things I Hate About You episode

50
00:02:57,360 --> 00:03:02,520
Speaker 1: and What Women Want. It's Lacy mostly welcome back. I'm

51
00:03:02,560 --> 00:03:05,640
Speaker 1: so happy to be back. I love this pod. We

52
00:03:05,680 --> 00:03:08,000
Speaker 1: love all your fans. They're so nice. I mean, you're

53
00:03:08,040 --> 00:03:11,200
Speaker 1: a fan favorite. So I love Oh God, I love

54
00:03:11,240 --> 00:03:15,440
Speaker 1: you guys. I'm happy to be here and for bad Boy.

55
00:03:15,760 --> 00:03:18,880
Speaker 1: So we're uh, we were thinking about doing Bad Boys

56
00:03:18,919 --> 00:03:22,440
Speaker 1: because the franchise, as Caitlin was alluded to, is being

57
00:03:22,480 --> 00:03:24,360
Speaker 1: I don't even is it being rebooted if it's the

58
00:03:24,360 --> 00:03:27,720
Speaker 1: same cast. I think it's just I've seen a little

59
00:03:27,760 --> 00:03:31,079
Speaker 1: bit of this script. I can't say everything. I actually

60
00:03:31,120 --> 00:03:35,760
Speaker 1: turned down audition for this movie. No, not the flags tired,

61
00:03:36,120 --> 00:03:38,520
Speaker 1: but I was working on something else, and I got

62
00:03:38,640 --> 00:03:40,800
Speaker 1: the audition and it was just a character that just

63
00:03:40,920 --> 00:03:45,000
Speaker 1: wasn't me. It was like a badass with tattoos, like

64
00:03:45,280 --> 00:03:49,040
Speaker 1: nose weapons. And I went into like I was self

65
00:03:49,080 --> 00:03:51,560
Speaker 1: taping shooting in Georgia, and I did the tape like

66
00:03:51,640 --> 00:03:54,320
Speaker 1: six times to the point of exhaustion. And then I

67
00:03:54,320 --> 00:03:55,680
Speaker 1: asked the guy who was taping. I was like, if

68
00:03:55,720 --> 00:03:57,360
Speaker 1: you were me, would you send the statement? And he

69
00:03:57,440 --> 00:04:04,200
Speaker 1: was like, no, you right, your honest things right. I

70
00:04:04,320 --> 00:04:09,320
Speaker 1: was like, and I won't. Um. But it's so it's

71
00:04:09,440 --> 00:04:12,560
Speaker 1: um just like the third installment of this sequel. So

72
00:04:12,560 --> 00:04:15,240
Speaker 1: it's not necessarily a reboot, it's just the third. It's

73
00:04:15,280 --> 00:04:17,360
Speaker 1: just like they made the third one very very far

74
00:04:17,360 --> 00:04:20,560
Speaker 1: away from the second and first the second. I mean,

75
00:04:20,600 --> 00:04:23,599
Speaker 1: it's sort of like the Before Sunrise trilogy because they're

76
00:04:23,640 --> 00:04:26,920
Speaker 1: almost like they're like eight years because the first one

77
00:04:27,000 --> 00:04:28,840
Speaker 1: was eight years after, the second one was eight years

78
00:04:28,839 --> 00:04:31,600
Speaker 1: after the first one, and then this one is, however,

79
00:04:31,680 --> 00:04:36,000
Speaker 1: like over a decade after that, so they you know,

80
00:04:36,040 --> 00:04:38,520
Speaker 1: they're in and out the bad boys. They got a

81
00:04:38,560 --> 00:04:41,800
Speaker 1: story to tell every once in a while, and this

82
00:04:41,880 --> 00:04:44,240
Speaker 1: is their most recent story. And and I guess that

83
00:04:44,640 --> 00:04:47,120
Speaker 1: one of the credited writers on The New Bad Boys

84
00:04:47,320 --> 00:04:53,280
Speaker 1: is Sally Field's son, So big win for nepotism. I

85
00:04:53,279 --> 00:04:58,320
Speaker 1: always love a good nepotism pick, just like his nepotism

86
00:04:58,440 --> 00:05:02,599
Speaker 1: rarely wins. I just I'm like, who nepotism should be

87
00:05:02,600 --> 00:05:07,080
Speaker 1: like a category at award shows, like who did men epotism?

88
00:05:07,120 --> 00:05:11,040
Speaker 1: That best daughter of an actor in the lead series?

89
00:05:11,640 --> 00:05:14,839
Speaker 1: Did you not realize how to recognizable last name? Is it?

90
00:05:14,920 --> 00:05:16,640
Speaker 1: Maya ha? I think Maya Hawk is one of the

91
00:05:16,760 --> 00:05:20,680
Speaker 1: new nepotisms, the new nepotisms, that's my show. I'm good right, Well,

92
00:05:20,720 --> 00:05:23,440
Speaker 1: sometimes it gets switched up because like Judd Apata's daughter

93
00:05:23,480 --> 00:05:25,760
Speaker 1: doesn't have the same last name, or does she? I know,

94
00:05:25,880 --> 00:05:28,640
Speaker 1: I don't like a sneak attack of nepotism, doesn't have

95
00:05:28,640 --> 00:05:31,839
Speaker 1: the same last name. We're not gonna go like sometimes

96
00:05:31,880 --> 00:05:39,280
Speaker 1: she does. It's maud at that one's very clear when

97
00:05:39,279 --> 00:05:42,960
Speaker 1: the nepotisms sneak in on you, I'm like, how dare

98
00:05:43,200 --> 00:05:45,880
Speaker 1: I mean? Jennifer Instant daddy was an actor and that's

99
00:05:45,960 --> 00:05:49,680
Speaker 1: not get on us because we really knew that. Well,

100
00:05:49,720 --> 00:05:52,440
Speaker 1: then you got like Nick Cage who change who was

101
00:05:52,600 --> 00:05:54,680
Speaker 1: Nick Coppola and then changed his name because he's like,

102
00:05:54,720 --> 00:05:57,320
Speaker 1: I don't want nepotism. Well he yeah, but it's like,

103
00:05:59,400 --> 00:06:06,120
Speaker 1: is a vander else that old money though, there's like

104
00:06:06,160 --> 00:06:09,279
Speaker 1: a documentary about him and his fancy, fancy mommy because

105
00:06:09,279 --> 00:06:12,800
Speaker 1: his mom's glory of Vanderbilt. It's like the fanciest and

106
00:06:12,839 --> 00:06:15,440
Speaker 1: it's You're just like, oh, no, I love it. I

107
00:06:15,520 --> 00:06:17,760
Speaker 1: love it if I had that last name, look flaunted.

108
00:06:17,760 --> 00:06:19,119
Speaker 1: Don't be out here trying to be like I earned

109
00:06:19,160 --> 00:06:21,800
Speaker 1: my stripe, spitch. Please, there's no way in hell even

110
00:06:21,839 --> 00:06:23,760
Speaker 1: if you change your name, bitch. You can't change your

111
00:06:23,760 --> 00:06:26,320
Speaker 1: area code. You can't change your family connections. You might

112
00:06:26,320 --> 00:06:28,600
Speaker 1: as well listen. If I was lazy, winfree, you would

113
00:06:28,640 --> 00:06:31,280
Speaker 1: know it everywhere I went. I'm like, don't maybe call

114
00:06:31,320 --> 00:06:35,800
Speaker 1: my mama, don't maybe call Oprah? Okay, everywhere I would

115
00:06:38,839 --> 00:06:42,599
Speaker 1: character you should do two pumps of vanilla, bitch, don't

116
00:06:42,600 --> 00:06:46,080
Speaker 1: you forget it? Did you ever have the opra chie

117
00:06:46,120 --> 00:06:48,520
Speaker 1: at Starbucks? I've had over everything. My mom has an

118
00:06:48,520 --> 00:06:51,440
Speaker 1: over room her house. Oh my god, I'm not even kidding.

119
00:06:51,560 --> 00:06:54,120
Speaker 1: That's wonderful. Yeah. I loved the Overchie so much I

120
00:06:54,560 --> 00:06:58,040
Speaker 1: didn't even taste it the same as the regular Chies richer,

121
00:06:58,279 --> 00:07:00,720
Speaker 1: but richer. I paid forty cents extra just for that,

122
00:07:01,120 --> 00:07:04,440
Speaker 1: just for the name from a woman with large breasts,

123
00:07:05,680 --> 00:07:09,760
Speaker 1: and also Kathy, that's what the overt I feel so okay.

124
00:07:09,880 --> 00:07:15,160
Speaker 1: So back to Bad Boys, Lacy, what's your history relationship

125
00:07:15,240 --> 00:07:17,760
Speaker 1: with this movie? Um, I mean I loved all the

126
00:07:17,800 --> 00:07:20,240
Speaker 1: Bad Boys. Um so, you know, I mean, it was

127
00:07:20,280 --> 00:07:22,360
Speaker 1: a great time for black people in cinema. It's big

128
00:07:22,440 --> 00:07:25,400
Speaker 1: action films, lost the bad He's loved Gabrielle Union in

129
00:07:25,480 --> 00:07:29,200
Speaker 1: one of them. I'm into it. I've been into Bad Boys.

130
00:07:29,280 --> 00:07:32,360
Speaker 1: So watching it again with this I for feminism. You know,

131
00:07:32,440 --> 00:07:33,880
Speaker 1: I was very nervous because I was like, oh, I

132
00:07:33,960 --> 00:07:36,680
Speaker 1: can't don't put a bad taste on my Bad Boys.

133
00:07:39,240 --> 00:07:43,320
Speaker 1: I was really rooting for it. Oh, I mean there

134
00:07:43,360 --> 00:07:48,720
Speaker 1: were moments where I was pleasantly surprised. But time period though,

135
00:07:49,120 --> 00:07:51,040
Speaker 1: I feel like it was doing a lot more than

136
00:07:51,440 --> 00:07:55,400
Speaker 1: the time period in contact. And this is the last

137
00:07:55,400 --> 00:07:57,560
Speaker 1: time I jumped to the defense, I promised. But for

138
00:07:57,880 --> 00:08:02,080
Speaker 1: Michael Bay, we've seen my tworst. I've seen much worse

139
00:08:02,160 --> 00:08:05,280
Speaker 1: from Michael Bay. But it's also not but that's not

140
00:08:05,400 --> 00:08:10,280
Speaker 1: a fair yard stick. It's totally not okay. Jamie, what's

141
00:08:10,320 --> 00:08:13,800
Speaker 1: your history. I saw Bad Boys Too at a drive

142
00:08:13,840 --> 00:08:16,560
Speaker 1: in movie theater when I was ten. I really liked it.

143
00:08:17,600 --> 00:08:19,600
Speaker 1: Didn't go back to get the other VHR. This is

144
00:08:19,600 --> 00:08:21,520
Speaker 1: the first time I've seen the first one. I've seen

145
00:08:21,560 --> 00:08:24,120
Speaker 1: the second one before. I don't know, Like I all

146
00:08:24,200 --> 00:08:26,680
Speaker 1: my cousins really liked Bad Boys and I knew the song,

147
00:08:27,200 --> 00:08:28,640
Speaker 1: but it was another one of those things where my

148
00:08:28,680 --> 00:08:31,280
Speaker 1: family is kind of like, that's not a movie for girls.

149
00:08:31,560 --> 00:08:34,360
Speaker 1: Boys is in the title, So so like, if if

150
00:08:34,600 --> 00:08:36,560
Speaker 1: I had, I would have had to really make an

151
00:08:36,600 --> 00:08:40,480
Speaker 1: effort to see the first one just because if boys

152
00:08:40,559 --> 00:08:42,160
Speaker 1: was in the title, I wasn't going to be able

153
00:08:42,200 --> 00:08:44,520
Speaker 1: to see it. Really, But yeah, I had at the

154
00:08:44,600 --> 00:08:47,280
Speaker 1: drive in liked it and and for all of this

155
00:08:47,679 --> 00:08:50,880
Speaker 1: movie's faults, Caitlyn, you admitted it in the text Threat Too,

156
00:08:51,240 --> 00:08:53,240
Speaker 1: It's a fun wrong. It's a fun wrong I had.

157
00:08:53,400 --> 00:08:56,000
Speaker 1: I was not bored. I was. I was just saying

158
00:08:56,000 --> 00:08:58,599
Speaker 1: a lot because the movie that Michael Bay makes after this,

159
00:08:58,760 --> 00:09:01,599
Speaker 1: The Rock a Lot Happy, and I'm so bored. So

160
00:09:01,840 --> 00:09:06,079
Speaker 1: this movie is is. The performances are are solid. The chemistry,

161
00:09:06,120 --> 00:09:09,160
Speaker 1: I'm telling the chemistry, they're on fire. The whole time,

162
00:09:09,600 --> 00:09:12,199
Speaker 1: So yeah, it's good. I had never seen any of

163
00:09:12,280 --> 00:09:15,679
Speaker 1: these movies until prepping for the episode. I watched Bad

164
00:09:15,720 --> 00:09:19,120
Speaker 1: Boys one twice. I watched the first half hour of

165
00:09:19,200 --> 00:09:21,719
Speaker 1: Bad Boys too, didn't finish it in time before we

166
00:09:21,800 --> 00:09:25,480
Speaker 1: had to start recording. And uh, yeah, that's my very

167
00:09:25,520 --> 00:09:28,480
Speaker 1: short history. But like I said, it's I never thought

168
00:09:28,559 --> 00:09:31,520
Speaker 1: I would sort of like a Michael Bay movie, and

169
00:09:31,679 --> 00:09:34,640
Speaker 1: yet here I am. I'm like this, it's fun. It's fun.

170
00:09:34,920 --> 00:09:36,839
Speaker 1: It's fun. I didn't realize it was a Michael Bay

171
00:09:36,920 --> 00:09:39,400
Speaker 1: movie until we were like starting to prep for it.

172
00:09:39,480 --> 00:09:41,240
Speaker 1: I wouldn't like, I don't know who is movie I

173
00:09:41,320 --> 00:09:44,480
Speaker 1: thought this was. But this is also Michael Bay's first

174
00:09:44,800 --> 00:09:48,319
Speaker 1: movie directorial debut for a feature. Yeah, I realized it

175
00:09:48,480 --> 00:09:51,199
Speaker 1: from the shots. And it's definitely a movie that you

176
00:09:51,320 --> 00:09:54,679
Speaker 1: need to watch in theaters because you need support to

177
00:09:54,760 --> 00:09:57,280
Speaker 1: make sense because on your television, boy, oh boy, all

178
00:09:57,360 --> 00:10:01,839
Speaker 1: those slow circular camera AND's angle up to the sky.

179
00:10:02,320 --> 00:10:06,360
Speaker 1: You know, he goes full corny so many times. I'm

180
00:10:06,360 --> 00:10:08,360
Speaker 1: really excited for context corner for this because I have

181
00:10:08,440 --> 00:10:10,720
Speaker 1: a bunch of quotes about the production of this movie,

182
00:10:10,880 --> 00:10:13,240
Speaker 1: and as with all Michael Bay, p Jecks it's like

183
00:10:13,960 --> 00:10:18,040
Speaker 1: you can't imagine, but but yeah, just like how he

184
00:10:18,200 --> 00:10:22,839
Speaker 1: like orchestrates somehow the corny ist possible shot every single

185
00:10:22,920 --> 00:10:26,360
Speaker 1: time where like suddenly Will Smith is shirtless and why

186
00:10:27,160 --> 00:10:29,920
Speaker 1: he was like running and then his chest is just out.

187
00:10:30,120 --> 00:10:33,520
Speaker 1: There's a whole story. I'm very excitive. All right, Well

188
00:10:34,000 --> 00:10:37,520
Speaker 1: should I do the recap? Yes a time? Okay. Mike

189
00:10:37,840 --> 00:10:42,720
Speaker 1: Lowry that's Will Smith and Marcus Burnett that's Martin Lawrence.

190
00:10:43,120 --> 00:10:48,080
Speaker 1: They are cops in Miami. It's very yellow at the beginning.

191
00:10:49,000 --> 00:10:51,840
Speaker 1: They are Michael Bay. Is that like a Michael Bay thing?

192
00:10:52,200 --> 00:10:54,880
Speaker 1: I guess I just think of them is on fire, right.

193
00:10:55,320 --> 00:11:00,079
Speaker 1: He does a lot of like post production coloring of

194
00:11:00,240 --> 00:11:03,839
Speaker 1: his footage. But they're driving around and then some criminals

195
00:11:04,400 --> 00:11:09,240
Speaker 1: try to car jack Mike Lowry's car. Marcus fat shames

196
00:11:09,280 --> 00:11:12,680
Speaker 1: one of them. And then but here's the thing. They're

197
00:11:12,840 --> 00:11:16,240
Speaker 1: bad boys. So they stopped the criminals or is it okay?

198
00:11:16,360 --> 00:11:19,199
Speaker 1: Bad boys? And they say so they okay? Because for

199
00:11:19,559 --> 00:11:21,280
Speaker 1: a minute I was like, wait, are they the bad

200
00:11:21,320 --> 00:11:23,920
Speaker 1: boys or does the bad boys refer to the bad

201
00:11:24,080 --> 00:11:28,080
Speaker 1: guys that the cops are trying to capture? I wasn't

202
00:11:28,160 --> 00:11:32,600
Speaker 1: super clear they're the boys. They're the bad boys for life.

203
00:11:32,640 --> 00:11:35,079
Speaker 1: You're right, And it took them twenty five years to

204
00:11:35,160 --> 00:11:38,520
Speaker 1: a minute, but they're the bad boys for life. So

205
00:11:39,000 --> 00:11:42,000
Speaker 1: they stopped the bad guys. Not to be confused with

206
00:11:42,200 --> 00:11:45,200
Speaker 1: the bad boys. The bad boys are the good guys, yeah,

207
00:11:45,440 --> 00:11:51,400
Speaker 1: but the bad guy yeah. Okay, So then we learned

208
00:11:51,400 --> 00:11:55,320
Speaker 1: more about Marcus and Mike. Marcus has a his wife, Teresa,

209
00:11:55,640 --> 00:11:59,160
Speaker 1: and boy is she his wife. Here's what we know

210
00:11:59,200 --> 00:12:03,040
Speaker 1: about this woman. And she is his wife, wife, and

211
00:12:03,240 --> 00:12:06,679
Speaker 1: he wants to have sex with her, but she's me.

212
00:12:08,240 --> 00:12:13,760
Speaker 1: She don't want to have sex. Her name is Teresa.

213
00:12:13,760 --> 00:12:15,160
Speaker 1: At least we know her name. We know what her

214
00:12:15,200 --> 00:12:17,080
Speaker 1: name is. What does she do all day? God only

215
00:12:17,600 --> 00:12:21,640
Speaker 1: she simply don't know. And they have three kids together.

216
00:12:22,240 --> 00:12:27,560
Speaker 1: But Mike Lowry, on the other hand, he's a bachelor, womanizer,

217
00:12:27,760 --> 00:12:31,360
Speaker 1: playboy who has a lot of sex with the ladies.

218
00:12:31,840 --> 00:12:34,360
Speaker 1: And that first thing where he goes to Martin Lawrence's

219
00:12:34,440 --> 00:12:36,640
Speaker 1: house and then he's like, hey, kids, want to hear

220
00:12:36,679 --> 00:12:39,800
Speaker 1: about this lady I fucked last night, And then the

221
00:12:39,920 --> 00:12:43,200
Speaker 1: wife is like no, And we're supposed to be like, oh,

222
00:12:43,360 --> 00:12:46,360
Speaker 1: she's such a buzz kill. You're like no, don't. They're

223
00:12:46,520 --> 00:12:50,120
Speaker 1: like small children. They weren't teenager. We're a little eight

224
00:12:50,200 --> 00:12:52,560
Speaker 1: year old. You'll hear about this. Ask I got into

225
00:12:52,760 --> 00:12:56,200
Speaker 1: last night, like what it was like, Uncle Mike, did

226
00:12:56,240 --> 00:12:58,000
Speaker 1: you go on a date? He's like, oh, I went

227
00:12:58,080 --> 00:13:00,640
Speaker 1: on a date. You're like, no, make this stuff right now.

228
00:13:02,679 --> 00:13:05,640
Speaker 1: Oh yes, okay. So then we cut to the bad

229
00:13:05,760 --> 00:13:08,120
Speaker 1: guys again, not to be confused with the bad boys.

230
00:13:08,480 --> 00:13:13,760
Speaker 1: The bad guys are breaking into somewhere and stealing something,

231
00:13:13,880 --> 00:13:17,400
Speaker 1: and now things are very blue. Then Marcus and Mike, okay,

232
00:13:17,559 --> 00:13:19,560
Speaker 1: the bad boys they had to work at the precinct.

233
00:13:19,640 --> 00:13:21,439
Speaker 1: And it turns out that the robbery that we just

234
00:13:21,559 --> 00:13:25,680
Speaker 1: saw was heroin being stolen out of their evidence locker.

235
00:13:26,080 --> 00:13:28,800
Speaker 1: At least it's not DVDs. I was like, I thought

236
00:13:28,840 --> 00:13:30,840
Speaker 1: it might be something really silly, like the First Fast

237
00:13:30,880 --> 00:13:35,400
Speaker 1: and The Furious where they're like DVDs were stolen, but

238
00:13:36,480 --> 00:13:40,120
Speaker 1: it's like many millions of dollars worth of heroin and

239
00:13:40,280 --> 00:13:44,360
Speaker 1: it was from Mike and Marcus is like biggest drug bust.

240
00:13:45,280 --> 00:13:50,079
Speaker 1: Joey Pantaliano is their police captain. And then this other captain,

241
00:13:50,480 --> 00:13:57,440
Speaker 1: a woman, watch out, Alison Sinclair, another captain. I loved

242
00:13:57,480 --> 00:14:02,199
Speaker 1: all forty five seconds of that. She is like breathing

243
00:14:02,280 --> 00:14:05,280
Speaker 1: down Joey Pants's neck and she's like, this might be

244
00:14:05,360 --> 00:14:08,840
Speaker 1: an inside job. Figure it out before the press gets involved.

245
00:14:09,679 --> 00:14:11,800
Speaker 1: So then the bad boys start trying to figure out

246
00:14:11,920 --> 00:14:15,280
Speaker 1: who stole the drugs, and they go to this boxing

247
00:14:15,360 --> 00:14:19,040
Speaker 1: gym where a woman named Max, she like Mike Lowry

248
00:14:19,240 --> 00:14:21,280
Speaker 1: is like, hey, Max, let me know if you hear

249
00:14:21,320 --> 00:14:25,000
Speaker 1: anything on the streets. And she has a crush on him,

250
00:14:25,040 --> 00:14:27,760
Speaker 1: so she's like okay, and then she's like and let

251
00:14:27,840 --> 00:14:32,800
Speaker 1: me know if and he's like, yeah, we'll see. Anyways,

252
00:14:32,840 --> 00:14:39,320
Speaker 1: she dies, Um. Yeah. Then they go to this rich

253
00:14:39,480 --> 00:14:42,720
Speaker 1: guy's house and he I think was the one who

254
00:14:42,800 --> 00:14:48,320
Speaker 1: installed the ventilation system that the bad guys snuck through

255
00:14:48,400 --> 00:14:51,040
Speaker 1: to steal the heroine. When they get inside the house,

256
00:14:51,200 --> 00:14:56,040
Speaker 1: he's dead. So Mike and Marcus, who reminder our cops,

257
00:14:56,560 --> 00:15:00,120
Speaker 1: they just start rifling through the crime scene, getting her

258
00:15:00,160 --> 00:15:04,200
Speaker 1: fingerprints everywhere before any sort of like crime scene photos

259
00:15:04,240 --> 00:15:07,520
Speaker 1: are taken, you know, just spoiling the whole thing. Also

260
00:15:07,640 --> 00:15:11,200
Speaker 1: lots of banter about the dead guys. Know, they keep

261
00:15:11,240 --> 00:15:13,800
Speaker 1: it funny when there's a body in the room. Think

262
00:15:13,840 --> 00:15:16,600
Speaker 1: let's keep it like yeah, Like Martin Lawrence is like, oh,

263
00:15:16,680 --> 00:15:20,000
Speaker 1: it's stinky. I don't like it. He like almost pukes

264
00:15:20,040 --> 00:15:22,640
Speaker 1: as this way every time we run a dead body,

265
00:15:22,800 --> 00:15:26,040
Speaker 1: you know, every day? Why what? Why? And then they

266
00:15:26,120 --> 00:15:32,040
Speaker 1: just have a banter and I'm like, he was dead here? Okay, yeah, okay.

267
00:15:32,120 --> 00:15:35,960
Speaker 1: So then Max, who we find out is a sex worker,

268
00:15:36,520 --> 00:15:41,360
Speaker 1: and her best friend Julie that's Talione, go to a

269
00:15:41,440 --> 00:15:44,640
Speaker 1: guy's house because Max thinks that he might be in

270
00:15:44,840 --> 00:15:48,720
Speaker 1: on this like drug heist thing. Uh. And then he

271
00:15:48,840 --> 00:15:51,520
Speaker 1: brings out a package of the heroine on a platter

272
00:15:51,960 --> 00:15:53,520
Speaker 1: and we're like, oh, yes, he is in on it.

273
00:15:53,640 --> 00:15:56,640
Speaker 1: But then suddenly a bunch of bad guys show up

274
00:15:56,800 --> 00:16:01,360
Speaker 1: and they shoot and kill Max after a long monologue

275
00:16:01,440 --> 00:16:04,080
Speaker 1: and and lots of like making them dance around. It

276
00:16:04,240 --> 00:16:06,400
Speaker 1: was like, I don't kill everybody in here. Why you

277
00:16:06,440 --> 00:16:09,760
Speaker 1: gotta talk so much beforehand? They go dad like, and

278
00:16:09,800 --> 00:16:14,440
Speaker 1: before you let me tell you this, kill him and

279
00:16:14,480 --> 00:16:19,000
Speaker 1: go right. But then okay, So Julie, who had gone

280
00:16:19,040 --> 00:16:21,920
Speaker 1: to the bathroom and missed out on the killing spree,

281
00:16:22,360 --> 00:16:25,280
Speaker 1: witnesses all of this and manages to escape escape on

282
00:16:25,360 --> 00:16:28,320
Speaker 1: her own. I was like, okay, Michael Bay movie, we

283
00:16:28,680 --> 00:16:32,760
Speaker 1: got to do things. Yeah, as surprising, so's jump in

284
00:16:32,800 --> 00:16:36,400
Speaker 1: a pool. Right, So now the bad boys have to

285
00:16:37,080 --> 00:16:40,080
Speaker 1: figure out who this witnesses and they have to find her,

286
00:16:40,200 --> 00:16:42,680
Speaker 1: but she calls them first. But and she wants to

287
00:16:42,760 --> 00:16:45,960
Speaker 1: talk to Mike Lowry because her friend Max had talked

288
00:16:46,040 --> 00:16:48,880
Speaker 1: him up so much, but he's not at his desk

289
00:16:49,400 --> 00:16:51,640
Speaker 1: and she's like, well, I only want to talk to

290
00:16:51,800 --> 00:16:56,320
Speaker 1: Mike Lowry. So then Marcus pretends to be Mike over

291
00:16:56,400 --> 00:16:59,400
Speaker 1: the phone. The weirder plot points in the movie because

292
00:16:59,720 --> 00:17:02,480
Speaker 1: they could have bailed on this lie pretty early on

293
00:17:02,920 --> 00:17:08,680
Speaker 1: and probably like with no consequence. I think it seems right.

294
00:17:08,960 --> 00:17:14,720
Speaker 1: They really like keep doubling down on this. But it's yeah,

295
00:17:14,800 --> 00:17:16,960
Speaker 1: because you got a trick a woman. It's the nineties,

296
00:17:18,600 --> 00:17:21,600
Speaker 1: every movie the nineties checking a woman. Yes, they're just

297
00:17:21,720 --> 00:17:24,159
Speaker 1: doing it to do it. After a while, yeah, it

298
00:17:24,280 --> 00:17:27,720
Speaker 1: becomes it's weird, like Shakespearean comedy of errors thing, and

299
00:17:27,760 --> 00:17:33,200
Speaker 1: we're like, okay, fine, it's weird. It's weird, but it's

300
00:17:33,240 --> 00:17:37,280
Speaker 1: a Michael Bay movie anyway, right, So then Marcus goes

301
00:17:37,600 --> 00:17:41,560
Speaker 1: over to her apartment, still pretending to be Mike Lowry

302
00:17:42,280 --> 00:17:45,080
Speaker 1: and the bad guys show up. He helps her escape

303
00:17:45,160 --> 00:17:49,880
Speaker 1: this time. Then Marcus, still pretending to be Mike take right,

304
00:17:50,920 --> 00:17:55,639
Speaker 1: takes Julie to Mike's apartment and leaves her there because

305
00:17:55,720 --> 00:17:59,480
Speaker 1: she refuses to go anywhere for protective custody except for

306
00:17:59,720 --> 00:18:05,360
Speaker 1: Mike Lowry's condo, So it's hard to trace the logic there.

307
00:18:05,440 --> 00:18:10,720
Speaker 1: I think maybe because her best friend trusted him. Also,

308
00:18:10,800 --> 00:18:13,679
Speaker 1: the guy who got murdered in the heroine thing, who

309
00:18:13,760 --> 00:18:16,520
Speaker 1: was also a criminal, was a cop, so she was like, oh,

310
00:18:16,640 --> 00:18:19,120
Speaker 1: the cops are Dirney. I can't go there. They're gonna

311
00:18:19,160 --> 00:18:23,320
Speaker 1: give me yet, So let's go to your house. Mike Lowry. Okay,

312
00:18:25,240 --> 00:18:28,200
Speaker 1: that helps. That's how all black people say Michael Lowry.

313
00:18:30,400 --> 00:18:35,760
Speaker 1: And so now they've got to do this whole switcheru

314
00:18:36,359 --> 00:18:39,080
Speaker 1: where Mike has to pretend to be Marcus and stay

315
00:18:39,160 --> 00:18:41,919
Speaker 1: with Marcus is his wife, and they don't, but they

316
00:18:42,000 --> 00:18:45,600
Speaker 1: do for some right. And then Marcus stays at Mike's

317
00:18:45,680 --> 00:18:51,000
Speaker 1: place pretending to be Mike and he's protecting Julie the witness.

318
00:18:51,560 --> 00:18:54,719
Speaker 1: Then he starts showing Julie mug shots to see if

319
00:18:54,760 --> 00:18:58,200
Speaker 1: any of the people are someone that she recognizes as

320
00:18:58,640 --> 00:19:01,600
Speaker 1: one of Max's ers. And there's this one guy that

321
00:19:01,680 --> 00:19:05,200
Speaker 1: she does recognize Noah. So then Mike and Marcus go

322
00:19:05,480 --> 00:19:12,040
Speaker 1: to a nightclub called Club Hell. You know it's lit.

323
00:19:14,680 --> 00:19:16,840
Speaker 1: That was that was a big one for me. I

324
00:19:16,960 --> 00:19:19,440
Speaker 1: loved it. And then and it follows through on the

325
00:19:19,560 --> 00:19:23,200
Speaker 1: name that club I can't scary. Yeah, I mean there's

326
00:19:23,240 --> 00:19:28,560
Speaker 1: like brown piss in the urinalis, like who goes here?

327
00:19:28,960 --> 00:19:31,760
Speaker 1: They're like bodies hanging from the ceiling that are wrapped

328
00:19:31,800 --> 00:19:34,879
Speaker 1: in aluminum foils. You want something bad to happen to you,

329
00:19:36,000 --> 00:19:39,240
Speaker 1: that's when you go. You have a death wish. Halloway

330
00:19:39,320 --> 00:19:45,960
Speaker 1: tonight we're going to clap Hill. There's also like this

331
00:19:46,119 --> 00:19:49,040
Speaker 1: giant fish tank that serves as a window into the

332
00:19:49,119 --> 00:19:53,359
Speaker 1: men's restroom. But to be fair, if there's not a

333
00:19:53,440 --> 00:19:56,480
Speaker 1: fish tank at the club at the movie, are you

334
00:19:56,560 --> 00:19:58,680
Speaker 1: eving at a club at the ready? And then also

335
00:19:58,760 --> 00:20:02,200
Speaker 1: what are they going to smash in to? It's not you.

336
00:20:03,320 --> 00:20:08,120
Speaker 1: That's the route. That's the rule of movie fish. That's

337
00:20:08,160 --> 00:20:10,560
Speaker 1: a new rule rule of fish. So they're at Club

338
00:20:10,760 --> 00:20:13,320
Speaker 1: Hell to look for Noah the bad guy, and Julie

339
00:20:13,400 --> 00:20:15,560
Speaker 1: decides that she's going to go to and she brings

340
00:20:15,760 --> 00:20:18,679
Speaker 1: a gun that she gets I guess out of Mike's

341
00:20:18,800 --> 00:20:22,199
Speaker 1: apartment and the bad Guys and the bad Boys they

342
00:20:22,240 --> 00:20:25,040
Speaker 1: all spot each other. There's there's this big fight that

343
00:20:25,080 --> 00:20:28,080
Speaker 1: breaks out. Then there's a car chase. The bad boys

344
00:20:28,280 --> 00:20:31,159
Speaker 1: and Julie getaway once again, but they still don't have

345
00:20:31,200 --> 00:20:33,760
Speaker 1: any real leads. Then there's this whole thing where like

346
00:20:34,280 --> 00:20:38,800
Speaker 1: Julie pretends to be horny for Marcus and then she's

347
00:20:38,800 --> 00:20:42,040
Speaker 1: like wow, wow, will Smith, it's so hot. And then

348
00:20:42,680 --> 00:20:46,520
Speaker 1: it leads to this misunderstanding where Marcus thinks that Mike

349
00:20:46,720 --> 00:20:50,160
Speaker 1: is having sex with his Wife's also unnecessary, and then

350
00:20:52,720 --> 00:20:56,280
Speaker 1: in a kiddie pool, right, because the thing about Mike

351
00:20:56,480 --> 00:20:58,919
Speaker 1: Marcus is that they're bad boys for life, but they

352
00:20:58,960 --> 00:21:03,040
Speaker 1: also fight so much testoster. My favorite part of that

353
00:21:03,160 --> 00:21:05,840
Speaker 1: is when they finished the fight, the gun slides out

354
00:21:05,880 --> 00:21:08,000
Speaker 1: of the kiddie pool. So they've been fighting like armed,

355
00:21:09,240 --> 00:21:11,800
Speaker 1: they could have killed each other, thought they were just

356
00:21:11,960 --> 00:21:16,920
Speaker 1: wrestling with gun. Yeah, so masculine, I won't date a

357
00:21:16,920 --> 00:21:22,639
Speaker 1: man who has wrestled once with a five firearm. Okay,

358
00:21:22,880 --> 00:21:27,040
Speaker 1: So then it's ridiculous. So they're still trying to figure

359
00:21:27,040 --> 00:21:30,440
Speaker 1: out who was behind stealing the heroine and like what

360
00:21:30,560 --> 00:21:34,280
Speaker 1: they planned to do with it. Then Marcus's wife his

361
00:21:34,440 --> 00:21:37,760
Speaker 1: wife shows up and she's mad at Marcus for lying

362
00:21:37,800 --> 00:21:41,280
Speaker 1: to her about going to Cleveland, but it's still framed like, oh,

363
00:21:41,480 --> 00:21:46,320
Speaker 1: she's such an obstacle. Exactly why is she so mad?

364
00:21:46,800 --> 00:21:51,600
Speaker 1: Believe the lies I told you, Theresa? Why? God? But

365
00:21:51,640 --> 00:21:53,680
Speaker 1: then this also means that the jig is up and

366
00:21:53,920 --> 00:21:58,560
Speaker 1: Julie now knows that Marcus was lying about being Mike Lowry.

367
00:21:59,520 --> 00:22:04,240
Speaker 1: Just then the bad guys show up again. Another gunfight ensues,

368
00:22:04,840 --> 00:22:09,120
Speaker 1: and the we got a damsel, this, we got a damsel.

369
00:22:09,160 --> 00:22:11,680
Speaker 1: They kidnapped her and they get away with her because

370
00:22:11,720 --> 00:22:14,840
Speaker 1: she's emotional and that's why she decided to become a damsel.

371
00:22:16,280 --> 00:22:18,040
Speaker 1: She was so smart the rest of this time, and

372
00:22:18,119 --> 00:22:19,679
Speaker 1: now she's like, I'm just gonna want the streets by

373
00:22:19,720 --> 00:22:23,359
Speaker 1: myself because I'm mad at you. Cops right by her

374
00:22:24,880 --> 00:22:30,119
Speaker 1: snatched her. Excuses like well, if Marcus's wife can find us,

375
00:22:30,280 --> 00:22:32,680
Speaker 1: then the bad guys can find us too, and it's

376
00:22:32,720 --> 00:22:37,160
Speaker 1: like that doesn't track. I think like Marcus's wife would

377
00:22:37,240 --> 00:22:41,320
Speaker 1: know where Mike Glowry lives anyway. So they've kidnapped her

378
00:22:41,560 --> 00:22:45,480
Speaker 1: and they're getting away. So now Mike and Marcus only

379
00:22:45,520 --> 00:22:49,480
Speaker 1: have a couple of hours before the big deal goes down,

380
00:22:50,200 --> 00:22:54,760
Speaker 1: and suddenly there's another important female character, Francine. She is

381
00:22:55,240 --> 00:22:58,840
Speaker 1: I think, like a secretary. But the precinct, I thought

382
00:22:58,880 --> 00:23:01,240
Speaker 1: they were maybe a little mean to They were a

383
00:23:01,280 --> 00:23:05,639
Speaker 1: little hard on Francy because Francine, the bad guys go

384
00:23:05,840 --> 00:23:07,680
Speaker 1: to get information from her and they're like, we'll kill

385
00:23:07,720 --> 00:23:09,399
Speaker 1: your son if you don't give us the information. So

386
00:23:09,480 --> 00:23:11,800
Speaker 1: obviously she gives it to them, and then she reports

387
00:23:11,880 --> 00:23:15,200
Speaker 1: this to Mike and Mike's like okay, Like he's like,

388
00:23:16,000 --> 00:23:19,400
Speaker 1: I was like, what what choice did she have? Will Smith? Yeah,

389
00:23:19,400 --> 00:23:23,000
Speaker 1: she's being blackmailed, I think with like photographs the nude. Yeah,

390
00:23:23,359 --> 00:23:25,280
Speaker 1: they took nudes of her and then they were threatening

391
00:23:25,320 --> 00:23:28,360
Speaker 1: to post them at her son's school, so they weren't

392
00:23:28,359 --> 00:23:30,000
Speaker 1: even thrown. I don't even think they were threatening together.

393
00:23:30,160 --> 00:23:33,440
Speaker 1: It was like a horny blackmail. And also they're most

394
00:23:33,520 --> 00:23:36,320
Speaker 1: steaks blackmail in the nineties because like how far could

395
00:23:36,359 --> 00:23:39,480
Speaker 1: you get with some nudes online? You know, It's not

396
00:23:39,600 --> 00:23:41,840
Speaker 1: like now we could put them on Twitter. Back then's

397
00:23:41,960 --> 00:23:43,720
Speaker 1: like old timing, Like what do you have to scan

398
00:23:43,800 --> 00:23:48,160
Speaker 1: them into the composer? You're gonna scan to my son?

399
00:23:48,280 --> 00:23:54,879
Speaker 1: And this polaroid Selnese. Yeah, they should have tried to

400
00:23:55,000 --> 00:23:57,680
Speaker 1: kill this son. That makes more sense. Oh maybe I

401
00:23:57,840 --> 00:24:00,080
Speaker 1: was just you were trying to sit with that is

402
00:24:00,119 --> 00:24:02,920
Speaker 1: trying to say, Okay, it's like they said they was

403
00:24:02,920 --> 00:24:15,119
Speaker 1: gonna upload my fugie nudes, my grainy f Yeah that's Francine.

404
00:24:15,800 --> 00:24:18,879
Speaker 1: She but like, yeah, she's been blackmailed. So she was

405
00:24:18,960 --> 00:24:21,960
Speaker 1: like giving the bad guys some information. But then she

406
00:24:22,080 --> 00:24:25,040
Speaker 1: helps out Mike and Marcus and then they know where

407
00:24:25,119 --> 00:24:27,560
Speaker 1: to go now, so they go to this airplane hangar

408
00:24:28,000 --> 00:24:30,119
Speaker 1: because that's where like the big the drug deal is

409
00:24:30,119 --> 00:24:32,760
Speaker 1: going to go down. Then there's another big fight and

410
00:24:32,840 --> 00:24:35,920
Speaker 1: I honestly stopped writing the recap here, so I don't

411
00:24:36,040 --> 00:24:38,360
Speaker 1: totally remember what happens. I feel like they just they win,

412
00:24:38,680 --> 00:24:42,280
Speaker 1: and then they rescue Julie and everything. They rescue her,

413
00:24:42,840 --> 00:24:45,000
Speaker 1: they're finally then Will Smith is able to say I

414
00:24:45,119 --> 00:24:47,640
Speaker 1: love you to Martin Lawrence, which is his I kind

415
00:24:47,640 --> 00:24:50,600
Speaker 1: of actually really liked that little arc anyway, over a

416
00:24:50,640 --> 00:24:54,840
Speaker 1: dead guy's body, also over and like really not concerned

417
00:24:54,880 --> 00:24:58,119
Speaker 1: about it. That's when their moments happen. Over a dead

418
00:24:58,119 --> 00:25:00,960
Speaker 1: guy's body. Will Smith is like I love you, my friend,

419
00:25:01,040 --> 00:25:02,879
Speaker 1: and he's like Wow. And then Tayley and he's like,

420
00:25:03,000 --> 00:25:06,600
Speaker 1: am I cool? And they're like yes, And there's a

421
00:25:06,640 --> 00:25:10,520
Speaker 1: dead man there though. Cool. And then Martin Lawrence handcuffs

422
00:25:10,640 --> 00:25:13,400
Speaker 1: Will Smith to tay and then he's like, I gotta

423
00:25:13,440 --> 00:25:18,240
Speaker 1: go see my wife. And now it last, I'm going

424
00:25:18,320 --> 00:25:20,000
Speaker 1: to fund my wife, who, as far as we know,

425
00:25:20,080 --> 00:25:23,000
Speaker 1: it's still mad at him. Right. So and that's the

426
00:25:23,080 --> 00:25:26,560
Speaker 1: end of the movie. Alright, cool, bad boys, bad boys.

427
00:25:26,880 --> 00:25:29,399
Speaker 1: What you're gonna do, what you're gonna do when it

428
00:25:29,560 --> 00:25:33,240
Speaker 1: comes for you. Let's take a quick break. Yeah, let's

429
00:25:33,240 --> 00:25:42,920
Speaker 1: do it. And we're back. We're back and we're bad.

430
00:25:43,000 --> 00:25:45,560
Speaker 1: We're back and we're bad boys back. We're back, We're bad,

431
00:25:45,600 --> 00:25:48,440
Speaker 1: We're boys. Uh. Can I do a little bit of

432
00:25:48,440 --> 00:25:55,440
Speaker 1: contact learner? Okay? Okay. So this is Michael Bay's directorial debut.

433
00:25:56,200 --> 00:25:59,080
Speaker 1: He has directed some music videos at this point. He's

434
00:25:59,080 --> 00:26:03,640
Speaker 1: famously directed Meat Loaf music video and so he's coming

435
00:26:03,680 --> 00:26:07,080
Speaker 1: in and but even though it's his first movie, he's

436
00:26:07,200 --> 00:26:10,920
Speaker 1: very confident about his ability to direct this movie. So

437
00:26:11,800 --> 00:26:13,800
Speaker 1: there is this great I think we talked about it

438
00:26:13,960 --> 00:26:16,879
Speaker 1: in the Rock and Trent. This is the third Michael

439
00:26:16,920 --> 00:26:20,120
Speaker 1: Bay movie, Recovering, and that's maybe something that we should

440
00:26:20,200 --> 00:26:25,000
Speaker 1: keep in mind about our dignity. That's true. But so

441
00:26:25,080 --> 00:26:27,120
Speaker 1: we've used this article a bunch. But it is an

442
00:26:27,400 --> 00:26:30,600
Speaker 1: oral history published in g Q inn called an oral

443
00:26:30,720 --> 00:26:35,359
Speaker 1: history of Michael Bay the most explosive director of all time. Sure,

444
00:26:35,920 --> 00:26:40,000
Speaker 1: so I pulled some quotes about Bad Boys. Um So,

445
00:26:40,359 --> 00:26:44,879
Speaker 1: One of the producers of the movie, Jennifer Klein said, quote,

446
00:26:45,000 --> 00:26:48,200
Speaker 1: there was no script when they started filming Bad Boys.

447
00:26:48,960 --> 00:26:53,840
Speaker 1: Um So, that's something. Uh No, Martin Laurence does a

448
00:26:53,920 --> 00:26:56,840
Speaker 1: lot of improv It did seem like, hey, we need

449
00:26:56,920 --> 00:26:58,840
Speaker 1: to fill up two minutes before we get to the

450
00:26:58,880 --> 00:27:01,840
Speaker 1: plat points. So Martin, you just you just let it rip, Okay,

451
00:27:02,240 --> 00:27:04,240
Speaker 1: we'll figure it out in the edit room. And it's

452
00:27:04,359 --> 00:27:06,520
Speaker 1: just like say thing. There was like a moment where

453
00:27:06,560 --> 00:27:09,680
Speaker 1: Martin Lawrence should have told Mike Lowry that he had

454
00:27:09,720 --> 00:27:12,040
Speaker 1: the woman in his apartment, But instead of saying that,

455
00:27:12,119 --> 00:27:13,520
Speaker 1: he's like, why do you wait? Why do you come

456
00:27:13,520 --> 00:27:16,280
Speaker 1: home last night? More planning? Where was you that for

457
00:27:16,440 --> 00:27:19,520
Speaker 1: like a three minutes? And I was like, why won't

458
00:27:19,520 --> 00:27:21,080
Speaker 1: you just tell him there's a woman in his house?

459
00:27:21,160 --> 00:27:23,080
Speaker 1: It was like yeah, And another thing, my ass is

460
00:27:23,160 --> 00:27:25,800
Speaker 1: hurting today because and I'm like, are you going to

461
00:27:25,880 --> 00:27:27,840
Speaker 1: get to the woman in the house that was Michael

462
00:27:27,880 --> 00:27:30,040
Speaker 1: Bay like being like, no, we need more screen time more.

463
00:27:31,280 --> 00:27:34,280
Speaker 1: I was like, we just gotta fill the time, and

464
00:27:34,560 --> 00:27:38,040
Speaker 1: we're I mean, there's like that all like weirdly half

465
00:27:38,080 --> 00:27:42,119
Speaker 1: improvised scenes in Michael bay movies are weird or offensive,

466
00:27:42,160 --> 00:27:44,200
Speaker 1: but like and this one there was like weird like

467
00:27:44,280 --> 00:27:47,000
Speaker 1: conversation they had about like who are they were they

468
00:27:47,040 --> 00:27:50,080
Speaker 1: too other detectives who are like Lucille Ball is stupid?

469
00:27:50,720 --> 00:27:54,359
Speaker 1: And then they said something like racist about Desi Arnez

470
00:27:54,600 --> 00:27:56,800
Speaker 1: and then and then and then the scene starts and

471
00:27:56,880 --> 00:28:00,800
Speaker 1: it has there's always some black and Latino conflict because

472
00:28:00,840 --> 00:28:02,920
Speaker 1: it's in Miami. So they're like, we've got to keep

473
00:28:02,920 --> 00:28:05,440
Speaker 1: it true to Miami, the blacks and Latinos. Scott to

474
00:28:05,760 --> 00:28:09,240
Speaker 1: argue with, and we are going to hire three white

475
00:28:09,320 --> 00:28:13,320
Speaker 1: male writers, but let's make it authentic. You're like, yikes.

476
00:28:14,080 --> 00:28:17,280
Speaker 1: So the most interesting part of the oral history for

477
00:28:17,560 --> 00:28:21,520
Speaker 1: this movie is uh that surprise, surprise. Martin Lawrence is

478
00:28:21,560 --> 00:28:24,440
Speaker 1: not a big fan of Michael Bays when this movie

479
00:28:24,520 --> 00:28:26,399
Speaker 1: was being made, but I guess later he was like,

480
00:28:26,560 --> 00:28:31,040
Speaker 1: I guess I don't care. Hardy this is maybe you know,

481
00:28:31,320 --> 00:28:34,480
Speaker 1: he has since made a hard turn on Michael Bay.

482
00:28:35,240 --> 00:28:38,880
Speaker 1: So I'll just read this exchange. So Michael Bay says, quote,

483
00:28:38,920 --> 00:28:40,880
Speaker 1: by week two, Martin was being a dick to me,

484
00:28:41,200 --> 00:28:43,840
Speaker 1: and I was like, what is this attitude? He didn't

485
00:28:43,840 --> 00:28:48,840
Speaker 1: trust the white man? That was the deal? Unquote Martin.

486
00:28:49,720 --> 00:28:54,040
Speaker 1: Martin Lawrence says, quote, That's exactly what it was. You know, Michael,

487
00:28:54,120 --> 00:28:56,640
Speaker 1: he has a certain bravado. One time he said to me,

488
00:28:56,760 --> 00:28:58,360
Speaker 1: I need your notes on the script, and I looked

489
00:28:58,400 --> 00:29:00,680
Speaker 1: at him. I said, Michael, yeah, I'll you the notes

490
00:29:00,720 --> 00:29:02,760
Speaker 1: when I get to it, and he looked at me

491
00:29:02,840 --> 00:29:05,440
Speaker 1: with this blank stare, like, oh he did not. So

492
00:29:05,560 --> 00:29:09,680
Speaker 1: they're just like okay. Uh. Michael Bays says quote, Eventually

493
00:29:09,720 --> 00:29:12,040
Speaker 1: I took Martin aside and said, dude, what's your deal.

494
00:29:12,120 --> 00:29:14,640
Speaker 1: I'm busting my ask to make you look good, make

495
00:29:14,720 --> 00:29:18,240
Speaker 1: you look funny, and you just keep belittling me. Hey,

496
00:29:18,320 --> 00:29:22,000
Speaker 1: then you look funny, Martin Lawrence, he does not need

497
00:29:22,120 --> 00:29:27,400
Speaker 1: music video direct Uh. And then here's the speech, almost

498
00:29:27,440 --> 00:29:30,040
Speaker 1: like it was ready to come out. Martin says, I'm

499
00:29:30,080 --> 00:29:32,200
Speaker 1: a black man that made it from nothing, and this

500
00:29:32,360 --> 00:29:35,160
Speaker 1: is okay, this is the wild okay, and I said,

501
00:29:35,240 --> 00:29:37,920
Speaker 1: Michael Bays said, you know what, I'm a white guy

502
00:29:37,960 --> 00:29:40,440
Speaker 1: who made it from nothing too. I grew up in

503
00:29:40,520 --> 00:29:49,120
Speaker 1: the fucking valley, slavery in the fucking valley. And then

504
00:29:49,160 --> 00:29:53,840
Speaker 1: the quote ends instant respect unquote, and then Martin Lawrence's quote,

505
00:29:53,960 --> 00:29:55,680
Speaker 1: I had to get to know him. We grew to

506
00:29:55,760 --> 00:30:00,640
Speaker 1: be the coolest this I uh we we don't know

507
00:30:02,680 --> 00:30:06,240
Speaker 1: it was. I grew up in the fucking valley. It's

508
00:30:06,320 --> 00:30:08,280
Speaker 1: just like being a black man in America. Let me

509
00:30:09,560 --> 00:30:14,480
Speaker 1: the fun. This fucking man, he's reb um. So, so

510
00:30:14,680 --> 00:30:20,120
Speaker 1: that's some background where where everyone's coming from. But the

511
00:30:20,680 --> 00:30:23,360
Speaker 1: I mean the valley, so he's really experienced a lot

512
00:30:23,400 --> 00:30:30,040
Speaker 1: of hardship coming from Pasadena. Um anyways, um, And then

513
00:30:30,200 --> 00:30:33,000
Speaker 1: there's like some other stuff just about how like this

514
00:30:33,160 --> 00:30:36,680
Speaker 1: is Michael bays movie where he basically establishes his corny,

515
00:30:36,840 --> 00:30:39,880
Speaker 1: over the top style and Will Smith didn't okay, So

516
00:30:39,920 --> 00:30:42,560
Speaker 1: Will Smith says, quote Michael Bay was like, oh, take

517
00:30:42,600 --> 00:30:44,560
Speaker 1: your shirt off and run with the gun. And I

518
00:30:44,680 --> 00:30:46,920
Speaker 1: was like, come on, man, that's that's just on the

519
00:30:47,040 --> 00:30:49,640
Speaker 1: edge of corny. But Michael can take things you'd think

520
00:30:49,680 --> 00:30:53,800
Speaker 1: of as corny and make it super galactic iconic. Unfortunately,

521
00:30:53,800 --> 00:30:57,120
Speaker 1: I would contest this. I mean, let's not forget that

522
00:30:57,160 --> 00:31:02,280
Speaker 1: Will Smith is a Libra, so you know, he's honestly

523
00:31:02,880 --> 00:31:05,160
Speaker 1: just trying to keep the scales mounse. He knows Martin's

524
00:31:05,200 --> 00:31:07,040
Speaker 1: over here, like I'm a black man. Who was this

525
00:31:07,240 --> 00:31:09,880
Speaker 1: music devideo director. He's like, all right, Michael, geez, if

526
00:31:09,920 --> 00:31:13,440
Speaker 1: it's gonna keep everybody onset happy, I'll pull out these

527
00:31:13,560 --> 00:31:18,880
Speaker 1: six abs. Come on, now, I'm not mad at it,

528
00:31:19,160 --> 00:31:21,320
Speaker 1: there's no I mean, I'm glad this shot was there.

529
00:31:21,480 --> 00:31:24,440
Speaker 1: I mean, I wasn't unhappy with it, but I will

530
00:31:24,480 --> 00:31:26,400
Speaker 1: see Wilson miss abbs any one time. You want to

531
00:31:26,400 --> 00:31:30,720
Speaker 1: give them to me. It's formative. So uh so. So

532
00:31:30,880 --> 00:31:35,360
Speaker 1: that's the production background. And this movie did incredibly well.

533
00:31:36,120 --> 00:31:39,040
Speaker 1: Um it had what had a nineteen million dollar budget,

534
00:31:39,360 --> 00:31:42,040
Speaker 1: which I guess Michael Bay ended up sinking a bunch

535
00:31:42,080 --> 00:31:44,720
Speaker 1: of his own money in it to make the explosions bigger,

536
00:31:45,400 --> 00:31:48,360
Speaker 1: of course, but it made almost a hundred million dollars

537
00:31:48,440 --> 00:31:50,840
Speaker 1: at the box office. Did really well. Meant that he

538
00:31:50,960 --> 00:31:53,600
Speaker 1: could make the rock and basically this is the reason

539
00:31:53,680 --> 00:31:55,680
Speaker 1: that we're stuck with him. Another thing I thought was

540
00:31:55,720 --> 00:31:58,880
Speaker 1: interesting about the background of this movie is that originally

541
00:31:59,520 --> 00:32:02,320
Speaker 1: the p Ball that we're going to be cast, but

542
00:32:03,000 --> 00:32:08,440
Speaker 1: scheduling thing was John Lovett and Dana Carvey. That movie

543
00:32:08,520 --> 00:32:12,120
Speaker 1: would have suck. Would have seen that? And what that

544
00:32:12,160 --> 00:32:16,480
Speaker 1: would that? What Dana Carvey as what? Oh? Wait? Them

545
00:32:16,760 --> 00:32:20,440
Speaker 1: as the bad Ball? No? Instead of Will Smith and

546
00:32:20,480 --> 00:32:24,880
Speaker 1: Martin Lawrence. What isn't that? That's like, um, you know,

547
00:32:25,360 --> 00:32:32,240
Speaker 1: everything ended up Wayne's everything. And then Will Smith was

548
00:32:32,280 --> 00:32:35,800
Speaker 1: also not supposed to be in it. They wanted Arsenio Halls.

549
00:32:35,880 --> 00:32:38,000
Speaker 1: I read that and he said no. And then they're like,

550
00:32:38,040 --> 00:32:40,560
Speaker 1: all right, Will Smith because this was like Will Smith's

551
00:32:40,760 --> 00:32:45,480
Speaker 1: movie where they're like, oh, he's like yeah, Like he's

552
00:32:45,520 --> 00:32:47,360
Speaker 1: not just like a TV boy, so this is like

553
00:32:47,520 --> 00:32:49,640
Speaker 1: a big for him. They got very lucky that that

554
00:32:49,760 --> 00:32:52,200
Speaker 1: casting fell through, because Jesus did they have it wrong?

555
00:32:52,480 --> 00:32:55,160
Speaker 1: This supposed to be a sexy Miami movie. You're gonna

556
00:32:55,160 --> 00:32:59,400
Speaker 1: have these datl actors. This movie would have been horrible.

557
00:32:59,560 --> 00:33:03,160
Speaker 1: I mean, the combo of Michael Bay's corny as shots

558
00:33:03,240 --> 00:33:07,120
Speaker 1: and then these corny as mints, Oh my god, it

559
00:33:07,160 --> 00:33:11,800
Speaker 1: would have been really bad. Yeah. Um, so so that's

560
00:33:11,920 --> 00:33:15,080
Speaker 1: that's a little bit of the context for you. Thank

561
00:33:15,120 --> 00:33:23,520
Speaker 1: you Jamie. Welcome. So let's talk about the ladies, shall we. Yeah, well,

562
00:33:23,680 --> 00:33:27,160
Speaker 1: this is a movie that has boys in the title,

563
00:33:27,600 --> 00:33:29,960
Speaker 1: boys in the title, so it is not too concerned

564
00:33:30,280 --> 00:33:36,120
Speaker 1: with women. Unfortunately, women are generally framed as either being nagging,

565
00:33:36,440 --> 00:33:43,280
Speaker 1: frigid shrews or just meddlesome police captains or if we're

566
00:33:43,280 --> 00:33:46,200
Speaker 1: talking about Teleoni, the main female character of the movie,

567
00:33:46,880 --> 00:33:53,760
Speaker 1: is constantly damseled harassed. Anytime women shows emotions, there's like

568
00:33:53,840 --> 00:33:57,640
Speaker 1: a disproportionate consequence, like like I say, was saying, like

569
00:33:58,720 --> 00:34:02,080
Speaker 1: shows emotion like really one time when she storms out

570
00:34:02,160 --> 00:34:07,120
Speaker 1: and then she's immediately like abducted. Yeah. Ta. Leoni also

571
00:34:07,200 --> 00:34:09,719
Speaker 1: seems to be putting moisturize around her legs a lot

572
00:34:09,760 --> 00:34:12,919
Speaker 1: of this movie. Her legs were very dry, the most

573
00:34:13,000 --> 00:34:17,359
Speaker 1: arid legs of a movie. So this is nothing new

574
00:34:17,440 --> 00:34:22,680
Speaker 1: for Michael Bay, but he loves to objectify and overly

575
00:34:22,840 --> 00:34:26,960
Speaker 1: sexualize women's bodies in his movie. Something that stood out

576
00:34:27,000 --> 00:34:30,200
Speaker 1: to me was Teleoni seemed to have a bunch of

577
00:34:30,360 --> 00:34:32,840
Speaker 1: sexy changes of clothes at a place she did not

578
00:34:33,040 --> 00:34:36,120
Speaker 1: live right, and she did not pack at the other place.

579
00:34:36,160 --> 00:34:38,400
Speaker 1: They were shot out of there by gunfire, so the

580
00:34:38,480 --> 00:34:41,880
Speaker 1: assumption is that Mike Glay just has sexy women clothes

581
00:34:42,000 --> 00:34:46,399
Speaker 1: and which actually could track. He's like, my bearis size four,

582
00:34:46,600 --> 00:34:50,319
Speaker 1: Like she's wearing a leather dress when she needs him,

583
00:34:50,360 --> 00:34:52,880
Speaker 1: and like where did this come from? Well, there's that

584
00:34:52,960 --> 00:34:57,600
Speaker 1: scene where like a masseuse shows up at his apartment

585
00:34:57,800 --> 00:35:00,560
Speaker 1: ready to like give Will Smith a massage JJ, and

586
00:35:00,640 --> 00:35:04,400
Speaker 1: then Martin Laures has to be like, go away. Honestly,

587
00:35:04,480 --> 00:35:06,560
Speaker 1: my dream wrong. But so I think we're meant to believe.

588
00:35:07,239 --> 00:35:09,560
Speaker 1: I think we're meant to believe that women are just

589
00:35:09,680 --> 00:35:12,759
Speaker 1: showing up at Mike Lowry's apartment all the time and

590
00:35:13,040 --> 00:35:17,279
Speaker 1: presumably leaving items of clothing behind. I'll wear these things,

591
00:35:18,400 --> 00:35:20,640
Speaker 1: and every time, you know, Martin comes back to the apartment,

592
00:35:20,719 --> 00:35:22,680
Speaker 1: he was like, oh, I was just lotion him a pussy.

593
00:35:22,800 --> 00:35:29,640
Speaker 1: What's up slooping myself up in case something. I have

594
00:35:29,719 --> 00:35:32,319
Speaker 1: a quick list though, of all the of the main

595
00:35:32,440 --> 00:35:36,560
Speaker 1: moments in which women's bodies are overly sexualized. We've got

596
00:35:36,640 --> 00:35:39,960
Speaker 1: the opening shot where a scantily clad woman gets out

597
00:35:40,040 --> 00:35:42,840
Speaker 1: of the car with the other criminals, the bad guys.

598
00:35:43,400 --> 00:35:47,440
Speaker 1: She just like walks past the bad boys to distract

599
00:35:47,560 --> 00:35:50,520
Speaker 1: them so that the criminals can carjack them, so it's

600
00:35:50,600 --> 00:35:53,480
Speaker 1: just like a woman there as a prop basically to

601
00:35:53,719 --> 00:35:58,200
Speaker 1: distract the bad boys. Then there's the scene where that

602
00:35:58,239 --> 00:36:01,520
Speaker 1: you talked about Lacey, where she's just like putting lotion

603
00:36:01,680 --> 00:36:05,760
Speaker 1: on in this very sexy way even though she's alone

604
00:36:06,000 --> 00:36:09,560
Speaker 1: in a stranger's Yeah, I do it every day it was.

605
00:36:09,800 --> 00:36:12,000
Speaker 1: There was another one where like, I guess they're about

606
00:36:12,000 --> 00:36:14,640
Speaker 1: to go to bed and my Martin Lawrence is pretending

607
00:36:14,680 --> 00:36:16,879
Speaker 1: to be my glory, so he's like, she's like, come

608
00:36:16,960 --> 00:36:19,800
Speaker 1: to bed, and then she's got her feet up and

609
00:36:19,920 --> 00:36:22,320
Speaker 1: she's got a belt around her feet or something, and

610
00:36:22,440 --> 00:36:26,080
Speaker 1: she's just like playing with her legs. And that's weird

611
00:36:26,080 --> 00:36:28,439
Speaker 1: to because it's like, we haven't really been given any

612
00:36:28,920 --> 00:36:32,600
Speaker 1: indication that she's like into him. She seems very mistrustful

613
00:36:32,680 --> 00:36:36,520
Speaker 1: of him and right, so I think what's happening here

614
00:36:36,719 --> 00:36:39,120
Speaker 1: is that she's starting to catch on to the fact.

615
00:36:39,239 --> 00:36:43,400
Speaker 1: She's like yeah, but it's not totally clear because the

616
00:36:43,440 --> 00:36:45,160
Speaker 1: first time I watched it, I was like, Oh, she's

617
00:36:45,200 --> 00:36:47,160
Speaker 1: just really horny for him all of a sudden, and

618
00:36:47,200 --> 00:36:48,920
Speaker 1: then the second time I was like, oh, wait, no,

619
00:36:49,080 --> 00:36:52,720
Speaker 1: I think she's actually trying to like call his bluff,

620
00:36:52,920 --> 00:36:54,880
Speaker 1: but she's not clear one way or the other, so

621
00:36:54,920 --> 00:36:56,600
Speaker 1: they're still making her stupid because the second that she

622
00:36:56,640 --> 00:36:58,640
Speaker 1: sees Will Smith, she should be like, oh, I went

623
00:36:58,680 --> 00:37:00,759
Speaker 1: to a house where all of your photos were there,

624
00:37:00,880 --> 00:37:05,000
Speaker 1: that's your doo and too real quick, but like no,

625
00:37:05,160 --> 00:37:08,839
Speaker 1: she's a stupid lady with boobs, so she'll believe this man.

626
00:37:11,040 --> 00:37:13,600
Speaker 1: And then there's like that in that same scene, there's like,

627
00:37:13,680 --> 00:37:16,400
Speaker 1: I mean, there's there's a bunch of like no homo

628
00:37:17,120 --> 00:37:19,960
Speaker 1: moments in this movie that do not age well and

629
00:37:20,040 --> 00:37:23,320
Speaker 1: weren't good then, but like, I feel like that's another

630
00:37:23,440 --> 00:37:26,040
Speaker 1: way she sort of tries to call his bluff and

631
00:37:26,080 --> 00:37:28,799
Speaker 1: then it's like he you know, they immediately go full

632
00:37:28,880 --> 00:37:31,840
Speaker 1: no homo And then you're just like right, because she

633
00:37:31,880 --> 00:37:34,680
Speaker 1: sees all these photos of Will Smith in the apartment

634
00:37:35,000 --> 00:37:37,520
Speaker 1: and she's like, oh, who's that. I thought he might

635
00:37:37,600 --> 00:37:41,080
Speaker 1: be your lover, and Martin Lawrence is like, um no,

636
00:37:41,960 --> 00:37:47,480
Speaker 1: he's not my lover. I'm not gay. He's my police partner. Yeah,

637
00:37:47,560 --> 00:37:51,160
Speaker 1: it's just like totally no homo moment. Martin Lawrence is

638
00:37:51,600 --> 00:37:55,000
Speaker 1: horrified by the idea that someone might think he's gay. Yeah,

639
00:37:55,239 --> 00:37:59,759
Speaker 1: well that's one horrible way to approach this. Yeah. Yeah,

640
00:38:00,560 --> 00:38:04,279
Speaker 1: so I know that using Michael Bay as a yardstick

641
00:38:04,680 --> 00:38:08,279
Speaker 1: is unwise and we can't, but but I I mean

642
00:38:08,840 --> 00:38:13,160
Speaker 1: it is interesting, just like because we've seen so much

643
00:38:13,200 --> 00:38:17,320
Speaker 1: of his filmography now for some reason, to see someone's

644
00:38:17,400 --> 00:38:22,960
Speaker 1: attitude towards women get worse over time, like expert, Like,

645
00:38:23,120 --> 00:38:25,279
Speaker 1: there there's a lot, I mean, there's a lot of

646
00:38:25,400 --> 00:38:28,120
Speaker 1: hallmarks of like how badly Michael Bay treats his female

647
00:38:28,200 --> 00:38:32,239
Speaker 1: characters in this movie, but like she's being treated like

648
00:38:32,400 --> 00:38:35,480
Speaker 1: a queen compared to how like Megan Foxes treet Like

649
00:38:35,560 --> 00:38:38,080
Speaker 1: it's it's a power dynamic. As soon as Michael Bay

650
00:38:38,200 --> 00:38:41,080
Speaker 1: had the power than it was like Okay, come here,

651
00:38:41,160 --> 00:38:43,920
Speaker 1: you skank bitch, I'm gonna make you a star. You

652
00:38:44,040 --> 00:38:46,360
Speaker 1: better say thank you and maybe give me some six.

653
00:38:46,600 --> 00:38:49,120
Speaker 1: And he's like also just one of those guys you know,

654
00:38:49,400 --> 00:38:51,839
Speaker 1: like before he had things in the Valley. I'm sure

655
00:38:52,040 --> 00:38:53,680
Speaker 1: in his life when he was a black man in

656
00:38:53,760 --> 00:38:57,480
Speaker 1: the Valley, a big struggle for him was he couldn't

657
00:38:57,520 --> 00:39:00,920
Speaker 1: get bitches. He's not like a good looking guy my pitches.

658
00:39:01,040 --> 00:39:04,560
Speaker 1: I mean, that's what Michael Bay calls women. And and

659
00:39:04,640 --> 00:39:06,320
Speaker 1: I mean I've seen him at restaurants and ship and

660
00:39:06,360 --> 00:39:09,680
Speaker 1: he's always at the youngest girls, like the youngest little

661
00:39:09,880 --> 00:39:13,480
Speaker 1: like twenty sings even you know, nineties and twenties and stuff.

662
00:39:13,680 --> 00:39:14,920
Speaker 1: So I think it's a thing of like as soon

663
00:39:14,960 --> 00:39:17,520
Speaker 1: as he started getting more power, it's like, Okay, now

664
00:39:18,200 --> 00:39:22,920
Speaker 1: I'm gonna teach you a lesson. God does not surprise

665
00:39:22,960 --> 00:39:25,640
Speaker 1: me at all. Um. Yeah, I mean the way even

666
00:39:25,719 --> 00:39:28,800
Speaker 1: in this movie where he probably because this is his

667
00:39:28,920 --> 00:39:33,280
Speaker 1: first feature, like he's probably not given a whole enormous

668
00:39:33,360 --> 00:39:36,360
Speaker 1: ton of creative freedom at least in terms of like

669
00:39:36,400 --> 00:39:39,640
Speaker 1: how he treats the female characters. But even in this movie,

670
00:39:39,680 --> 00:39:43,520
Speaker 1: there's still so much like objectification and mistreatment of women.

671
00:39:43,680 --> 00:39:46,239
Speaker 1: But I think that's just like the action franchise. It's

672
00:39:46,320 --> 00:39:49,160
Speaker 1: like we're gonna have cars, you're gonna have explosions, and

673
00:39:49,200 --> 00:39:51,880
Speaker 1: you're going to have legs and acid titty. There's a

674
00:39:51,920 --> 00:39:54,439
Speaker 1: scene where like they're running there there's like a chase,

675
00:39:54,600 --> 00:39:57,040
Speaker 1: one of many chase scenes, but one of them they

676
00:39:57,120 --> 00:40:00,279
Speaker 1: run through like a photography shoot where women 're just

677
00:40:00,400 --> 00:40:03,080
Speaker 1: like in bikinis and they just like interrupt this shoot

678
00:40:03,480 --> 00:40:06,799
Speaker 1: that just didn't have to be in the movie at all.

679
00:40:07,480 --> 00:40:10,680
Speaker 1: There's one there's that scene where they run outside and

680
00:40:11,120 --> 00:40:14,640
Speaker 1: there's um a bunch of people in wheel wheelchairs and

681
00:40:14,680 --> 00:40:18,680
Speaker 1: they just knock someone. It's like, why do that? What

682
00:40:18,960 --> 00:40:21,640
Speaker 1: are you doing? People with disabilities are treated as an

683
00:40:21,680 --> 00:40:24,680
Speaker 1: obstacle in this movie, and that's well, and that's like

684
00:40:24,960 --> 00:40:28,879
Speaker 1: Michael Bay Bread and Butter Ship too. It sucks because

685
00:40:28,920 --> 00:40:33,520
Speaker 1: it's like I didn't dislike Julie's character at least in

686
00:40:33,640 --> 00:40:37,960
Speaker 1: the abstract. I feel like she And it sucks because

687
00:40:38,000 --> 00:40:41,280
Speaker 1: I'm just comparing it to other action movies and Michael

688
00:40:41,320 --> 00:40:44,360
Speaker 1: Bay movies, so we're not operating in you know, like

689
00:40:44,840 --> 00:40:48,399
Speaker 1: women in action franchises. Still, there's really not that much

690
00:40:48,520 --> 00:40:50,560
Speaker 1: and if there are, it's just a reboot of an

691
00:40:50,560 --> 00:40:54,080
Speaker 1: all male franchise and then everyone gets upset. But I

692
00:40:55,040 --> 00:41:01,800
Speaker 1: did think that Julie participated more than your average action sideline.

693
00:41:01,800 --> 00:41:04,680
Speaker 1: I mean, she's still largely sidelined, but at least she

694
00:41:05,520 --> 00:41:09,000
Speaker 1: contributes in some moments, and like there was like there's

695
00:41:09,000 --> 00:41:10,960
Speaker 1: that scene towards the end where she like insists on

696
00:41:11,120 --> 00:41:14,160
Speaker 1: being allowed to be there and be involved, and I

697
00:41:14,239 --> 00:41:17,600
Speaker 1: mean she's basically wrong because she doesn't have a weapon

698
00:41:17,760 --> 00:41:21,319
Speaker 1: or any way to defend herself about or ability, right,

699
00:41:21,360 --> 00:41:23,680
Speaker 1: But I was just like, I guess that that, Huh,

700
00:41:23,840 --> 00:41:25,879
Speaker 1: I don't. I mean, I feel like she does more

701
00:41:26,120 --> 00:41:30,960
Speaker 1: than your average like woman in a nineties era action

702
00:41:31,200 --> 00:41:32,880
Speaker 1: he is allowed to do. But that's not saying that's

703
00:41:32,880 --> 00:41:36,080
Speaker 1: not there. Yeah. She also she like finds because they

704
00:41:36,640 --> 00:41:39,160
Speaker 1: the bad boys a k a. The good guys, are

705
00:41:39,560 --> 00:41:46,560
Speaker 1: constantly handcuffing her to a vehicle. Um, So at one

706
00:41:46,640 --> 00:41:50,640
Speaker 1: point she finds the handcuff keys and like steals it

707
00:41:50,719 --> 00:41:52,560
Speaker 1: and hides it so that the next time they do that,

708
00:41:52,719 --> 00:41:55,880
Speaker 1: she's like, no, I'm not going to let them handcuffed

709
00:41:55,920 --> 00:41:59,120
Speaker 1: me to the steering wheel, which pays off. Like, after

710
00:41:59,239 --> 00:42:01,920
Speaker 1: she gets kidnap apped, she's put in handcuffs and then

711
00:42:01,960 --> 00:42:04,680
Speaker 1: she's able to use those keys to free herself. And

712
00:42:04,719 --> 00:42:07,120
Speaker 1: then she does something and I don't totally remember. I

713
00:42:07,200 --> 00:42:10,800
Speaker 1: think she drives the truck into some of the barrels

714
00:42:10,840 --> 00:42:15,160
Speaker 1: of ether or the thing. I loved the barrels of Ether,

715
00:42:15,480 --> 00:42:19,120
Speaker 1: especially because there was a conversation between like the I

716
00:42:19,280 --> 00:42:22,520
Speaker 1: love the evil guy just for purely being evil and

717
00:42:22,640 --> 00:42:25,239
Speaker 1: really not being that smart. He goes down to the

718
00:42:25,320 --> 00:42:27,320
Speaker 1: chemists lab where they're cooking up the drugs and he's like,

719
00:42:27,520 --> 00:42:30,000
Speaker 1: why are my drugs taking so long? And they're like,

720
00:42:30,120 --> 00:42:32,319
Speaker 1: it's very humid in here, so it's hard to cook

721
00:42:32,400 --> 00:42:34,800
Speaker 1: the drugs. I don't care. I'll kill you both. And

722
00:42:34,840 --> 00:42:36,600
Speaker 1: he's like, well then you won't get the drugs. I

723
00:42:36,719 --> 00:42:38,719
Speaker 1: don't care, I'll kill you. It's like this, this is

724
00:42:38,760 --> 00:42:42,040
Speaker 1: not a protective conversation, sir. Like, I just love how

725
00:42:42,239 --> 00:42:46,160
Speaker 1: brazenly evil he is. I enjoyed it through. And so

726
00:42:46,280 --> 00:42:47,560
Speaker 1: he talks to the guy at the ether truck and

727
00:42:47,560 --> 00:42:50,160
Speaker 1: he said, hey, man, watch the truck and be careful,

728
00:42:50,320 --> 00:42:51,959
Speaker 1: and then he's gonna walk away, and then the guy's

729
00:42:52,040 --> 00:42:54,040
Speaker 1: lighting a cigarette. He comes back and slaps and he's like,

730
00:42:54,080 --> 00:42:55,560
Speaker 1: just eat that back there, and it's like, well, you

731
00:42:55,600 --> 00:42:57,680
Speaker 1: didn't tell the guy who was running the truck that

732
00:42:57,800 --> 00:43:01,080
Speaker 1: he had explosives, Like what do you expect? I loved him.

733
00:43:01,120 --> 00:43:05,160
Speaker 1: He was just so like one note villain I did. Like,

734
00:43:05,320 --> 00:43:07,719
Speaker 1: I mean, it is like in an action movie like this,

735
00:43:07,880 --> 00:43:10,080
Speaker 1: it is fun when the only smart people are the

736
00:43:10,200 --> 00:43:13,600
Speaker 1: heroes and everyone else is aggressively dumb. As rocks like

737
00:43:14,640 --> 00:43:17,239
Speaker 1: Martin Lawrence and Will Smith are smart and everyone else

738
00:43:17,400 --> 00:43:20,879
Speaker 1: is dumb, dumb, dumb, dumb, dumb and in the way, yeah,

739
00:43:21,080 --> 00:43:24,759
Speaker 1: that including several of the female characters who get not

740
00:43:24,960 --> 00:43:28,400
Speaker 1: that much screen time. But like his wife is treated

741
00:43:28,680 --> 00:43:33,359
Speaker 1: as usually just an obstacle true withholding. Uh, I think

742
00:43:33,400 --> 00:43:37,000
Speaker 1: that the withholding of sex is like more hit on

743
00:43:37,160 --> 00:43:41,080
Speaker 1: than usually. This becomes like a running joke because the

744
00:43:41,400 --> 00:43:44,680
Speaker 1: first exchange of dialogue in the entire movie is Martin

745
00:43:44,800 --> 00:43:47,879
Speaker 1: Lawrence basically saying, like, my wife is a true who

746
00:43:47,920 --> 00:43:49,640
Speaker 1: will not suck me, so I have to eat this

747
00:43:49,880 --> 00:43:53,279
Speaker 1: big mac in your Porsche instead. And then Will Smith's like, well,

748
00:43:53,400 --> 00:43:56,320
Speaker 1: she's hot, right, And then it's like Martin Lawrence is

749
00:43:56,360 --> 00:43:57,960
Speaker 1: regarded as a good man because he doesn't try to

750
00:43:57,960 --> 00:44:01,319
Speaker 1: fund anybody else even though his wife is withhold sex. Right.

751
00:44:01,760 --> 00:44:04,839
Speaker 1: And then a few minutes after that, we see him

752
00:44:04,880 --> 00:44:07,160
Speaker 1: try to have sex with his wife and she's like, no,

753
00:44:07,520 --> 00:44:10,839
Speaker 1: you didn't come home early enough last night. It's also

754
00:44:11,160 --> 00:44:13,560
Speaker 1: like seven am and their kids have to get to school.

755
00:44:13,640 --> 00:44:16,560
Speaker 1: But yeah, she's such a bit like and then like

756
00:44:17,360 --> 00:44:20,279
Speaker 1: Mike keeps teasing Marcus about like not getting any from

757
00:44:20,320 --> 00:44:23,000
Speaker 1: his wife, he keeps teasing himself about it, like it's

758
00:44:23,120 --> 00:44:26,600
Speaker 1: just like a running gag. There's a phone caller to

759
00:44:27,000 --> 00:44:29,920
Speaker 1: with her where he'll like It seems like there's at

760
00:44:30,000 --> 00:44:34,160
Speaker 1: least one example of Martin Lawrence calling his wife and

761
00:44:34,320 --> 00:44:36,759
Speaker 1: being like, hey, can I come home and you will

762
00:44:36,840 --> 00:44:39,640
Speaker 1: fuck me? And like like this is a call that

763
00:44:39,719 --> 00:44:44,120
Speaker 1: happens between spouses and she's like no, and he's like, ah,

764
00:44:44,320 --> 00:44:47,960
Speaker 1: why not? And then and then like his like boss

765
00:44:48,000 --> 00:44:50,400
Speaker 1: will be like, hey, stop asking your wife to fuck you.

766
00:44:50,560 --> 00:44:53,000
Speaker 1: We've got police work to do. You're just like what

767
00:44:53,239 --> 00:44:55,640
Speaker 1: is this? Also like what a like manual for like

768
00:44:55,840 --> 00:44:58,160
Speaker 1: if he wanted to cheat, he should have been able

769
00:44:58,239 --> 00:45:00,880
Speaker 1: to because she would never look he I had seven

770
00:45:01,040 --> 00:45:03,880
Speaker 1: times to get some couchie during the movie, and but

771
00:45:03,960 --> 00:45:06,640
Speaker 1: then she shows up all mad when she's not sleeping

772
00:45:06,680 --> 00:45:09,960
Speaker 1: with him, like what are you trying? What is this narrative?

773
00:45:11,160 --> 00:45:15,120
Speaker 1: She's raising his three children, she's busy. There's also that

774
00:45:15,200 --> 00:45:18,080
Speaker 1: scene where, um, I think it's after Will Smith got

775
00:45:18,160 --> 00:45:20,600
Speaker 1: like thrown out of a window and got concussed, and

776
00:45:21,440 --> 00:45:24,600
Speaker 1: it's when Martin Lawrence is supposed to be telling him

777
00:45:24,760 --> 00:45:28,759
Speaker 1: about the woman that's in his apartment, but instead he's

778
00:45:28,840 --> 00:45:31,399
Speaker 1: like he's just yelling at him and being like where

779
00:45:31,480 --> 00:45:33,960
Speaker 1: where are you? And then Will Smith is like, oh,

780
00:45:34,120 --> 00:45:36,719
Speaker 1: listen to you yelling you're like a nagging wife, and

781
00:45:36,840 --> 00:45:42,799
Speaker 1: it's like, oh, this movie hates doesn't think of women. Um,

782
00:45:43,200 --> 00:45:46,120
Speaker 1: we've got to take another quick break. But let's come

783
00:45:46,200 --> 00:45:50,520
Speaker 1: back soon and talk more. Okay, Caitlin, don't make it weird,

784
00:45:57,880 --> 00:46:00,840
Speaker 1: and we're back. I want to one more thing about

785
00:46:01,200 --> 00:46:03,880
Speaker 1: Julie while we're still talking about her. Things that I

786
00:46:04,200 --> 00:46:07,600
Speaker 1: liked that she did was rescued herself at the beginning

787
00:46:07,719 --> 00:46:09,560
Speaker 1: when her friend was killed. She doesn't need to be

788
00:46:09,640 --> 00:46:13,480
Speaker 1: rescued by some nameless male character. I like that she

789
00:46:13,840 --> 00:46:18,560
Speaker 1: calls the cops and is like, Hey, this is what

790
00:46:18,719 --> 00:46:24,279
Speaker 1: I need, blah blah blah, and um, maybe that's it. Oh,

791
00:46:24,400 --> 00:46:27,120
Speaker 1: and I like that it seems like again it's like

792
00:46:28,120 --> 00:46:30,080
Speaker 1: I think you're totally spot on with like just Michael

793
00:46:30,080 --> 00:46:33,399
Speaker 1: Bay doesn't have enough power yet to make the movie

794
00:46:33,440 --> 00:46:37,399
Speaker 1: as sexist as he would want to. But even though

795
00:46:37,440 --> 00:46:41,439
Speaker 1: it's like there, well, they do chain Taileone and will

796
00:46:41,520 --> 00:46:44,320
Speaker 1: Smith together at the end, they handcuffed them together, but

797
00:46:44,440 --> 00:46:48,200
Speaker 1: they don't kiss. And I thought that that was a

798
00:46:48,320 --> 00:46:51,120
Speaker 1: lot of restraint for Michael Bay, was that there was

799
00:46:51,200 --> 00:46:53,040
Speaker 1: a woman in the movie the whole time, and she

800
00:46:53,200 --> 00:46:59,040
Speaker 1: didn't even kiss anyone. True, That's that's some Bay restraint.

801
00:46:59,680 --> 00:47:05,719
Speaker 1: Also fascinating that so Mike Lowry, Mike Larry, I knew

802
00:47:05,920 --> 00:47:09,799
Speaker 1: that the boxing girl in the gym was a call girl. Yes,

803
00:47:10,160 --> 00:47:12,440
Speaker 1: So when he finds out that she dies and like

804
00:47:12,560 --> 00:47:14,120
Speaker 1: pulls up the sheet and he's like all hurt and

805
00:47:14,200 --> 00:47:17,239
Speaker 1: ship cut to Martin Lawrence being like, hey, I got

806
00:47:17,440 --> 00:47:19,960
Speaker 1: the other girl's friend in your apartment. He's like, you

807
00:47:20,080 --> 00:47:24,319
Speaker 1: have a hooker in my house? You have in my house,

808
00:47:24,400 --> 00:47:27,080
Speaker 1: And it was like the other girl was technically he

809
00:47:27,200 --> 00:47:29,799
Speaker 1: would be very nice to her, Like, what's what one

810
00:47:29,880 --> 00:47:33,400
Speaker 1: sex worker worse than the other? Like, so this movie

811
00:47:33,800 --> 00:47:38,279
Speaker 1: has a strong contempt for sex workers and sex work, yes,

812
00:47:38,520 --> 00:47:42,600
Speaker 1: and and I so on the Wikipedia for this movie

813
00:47:43,080 --> 00:47:45,680
Speaker 1: scholar coming at this from a scholar perspect of course,

814
00:47:46,080 --> 00:47:49,560
Speaker 1: Max is described as both a sex worker and his

815
00:47:49,719 --> 00:47:53,040
Speaker 1: ex girlfriend, which I don't know if maybe it was

816
00:47:53,080 --> 00:47:55,239
Speaker 1: like a line of dialogue we missed or this could

817
00:47:55,239 --> 00:47:58,160
Speaker 1: be inaccurate, But that was how I was trying to

818
00:47:58,320 --> 00:48:02,880
Speaker 1: contextualize that relationship, is that they knew each other, possibly

819
00:48:02,920 --> 00:48:06,800
Speaker 1: through sex work, but also they'd had some sort of relationship.

820
00:48:07,120 --> 00:48:09,200
Speaker 1: And then I think that this movie, like it's very

821
00:48:09,320 --> 00:48:13,000
Speaker 1: non specific sex work there, like it seems like es Corty.

822
00:48:13,840 --> 00:48:16,719
Speaker 1: It's not very specific about what it is, but it

823
00:48:16,920 --> 00:48:21,759
Speaker 1: was like pretty agreedious that there's two black women with

824
00:48:21,920 --> 00:48:25,600
Speaker 1: significant roles or I mean significant being a stretch. But

825
00:48:25,880 --> 00:48:29,279
Speaker 1: there's Martin, Lawrence's wife, and then there's Max who's killed off.

826
00:48:33,480 --> 00:48:35,880
Speaker 1: One good spin in Honey was trying to figure out

827
00:48:35,920 --> 00:48:38,560
Speaker 1: who the actor who played her was, and it was

828
00:48:39,080 --> 00:48:43,040
Speaker 1: Karen Alexander, who was like, she has like a pretty

829
00:48:43,040 --> 00:48:45,680
Speaker 1: cool story. She has like a she has a model

830
00:48:45,960 --> 00:48:48,759
Speaker 1: turned actor, Yeah, which I mean I think you can

831
00:48:48,800 --> 00:48:51,560
Speaker 1: always tell whenever when it's a model turned actor. But

832
00:48:51,800 --> 00:48:54,480
Speaker 1: she's a model turned actor. She like, uh, did a

833
00:48:54,560 --> 00:48:57,560
Speaker 1: lot of like cool activism work to get black models

834
00:48:57,640 --> 00:49:01,840
Speaker 1: more accepted in an American mainstream culture the eighties, acted

835
00:49:01,880 --> 00:49:04,080
Speaker 1: for a little while, and now she's represented by Trump

836
00:49:04,160 --> 00:49:07,719
Speaker 1: Model Management. So you know, life is crazy. Life comes

837
00:49:07,800 --> 00:49:12,759
Speaker 1: at you fast, very fast. But yeah, that was so

838
00:49:13,280 --> 00:49:16,960
Speaker 1: like And then also the like madame who she has

839
00:49:17,000 --> 00:49:20,719
Speaker 1: a conversation, Yeah they are. They are both murdered. So

840
00:49:21,160 --> 00:49:23,600
Speaker 1: all the sex workers we see on screen in this

841
00:49:23,719 --> 00:49:27,600
Speaker 1: movie are punished by being murdered for being sex workers.

842
00:49:27,680 --> 00:49:29,640
Speaker 1: And they make it and they go out of their way,

843
00:49:29,719 --> 00:49:32,919
Speaker 1: even though it is not plot relevant to not make

844
00:49:33,080 --> 00:49:36,040
Speaker 1: Taylani a sex worker as well, they go out of

845
00:49:36,120 --> 00:49:38,080
Speaker 1: their way to make it clear. She's like, well, I'm

846
00:49:38,080 --> 00:49:39,960
Speaker 1: not a sex worker, but i'll be an escort for

847
00:49:40,040 --> 00:49:42,960
Speaker 1: tonight because you're my best friend. I'm a photographer and

848
00:49:43,000 --> 00:49:46,320
Speaker 1: I'm struggling. The scene that passes the Bechtel test spoiler

849
00:49:46,320 --> 00:49:49,600
Speaker 1: alert in this movie is so horribly written. It is

850
00:49:49,680 --> 00:49:52,840
Speaker 1: like it passes the Bechtel test because it's Julie and

851
00:49:53,000 --> 00:49:57,320
Speaker 1: Max talking to each other about general stuff. They're just

852
00:49:57,680 --> 00:50:01,000
Speaker 1: screaming exposition, but like they're not even looking at each other,

853
00:50:01,560 --> 00:50:04,880
Speaker 1: like like, how do you know they're acting? Like when

854
00:50:04,920 --> 00:50:07,200
Speaker 1: are you making full eye contact with someone in a scene?

855
00:50:07,760 --> 00:50:10,759
Speaker 1: You're explaining your job and like, look, I'm not a

856
00:50:10,800 --> 00:50:13,359
Speaker 1: sex worker. I don't condone sex work. However, I am

857
00:50:13,480 --> 00:50:16,960
Speaker 1: a beautiful white woman who does photography and art and

858
00:50:17,120 --> 00:50:19,759
Speaker 1: is worthy of life. So I will go with you

859
00:50:19,920 --> 00:50:22,279
Speaker 1: to this event, but know that I'm an unwilling participant.

860
00:50:22,480 --> 00:50:25,160
Speaker 1: And then Max is like, okay, I still have feelings

861
00:50:25,200 --> 00:50:27,800
Speaker 1: for will Smith and Taylor, and he's like okay, and

862
00:50:27,880 --> 00:50:30,280
Speaker 1: then they walk in and you're just like like Taylor.

863
00:50:30,400 --> 00:50:34,040
Speaker 1: Taylor Leans basically screaming like, yeah, I am a white

864
00:50:34,080 --> 00:50:37,120
Speaker 1: woman who is not a sex worker, Like she's screaming

865
00:50:37,160 --> 00:50:40,120
Speaker 1: to the audience, I'm going to live, like it's just

866
00:50:40,800 --> 00:50:45,680
Speaker 1: it's so much. I forgot that we learned that she's

867
00:50:45,680 --> 00:50:50,080
Speaker 1: a photographer, so at least we know what she does.

868
00:50:51,480 --> 00:50:54,120
Speaker 1: Photographer is also just like this, it's still like the

869
00:50:54,280 --> 00:50:58,880
Speaker 1: stock photo of like film jobs for waify women. Are

870
00:50:58,880 --> 00:51:01,000
Speaker 1: you just a beautiful woman is skating her way through

871
00:51:01,120 --> 00:51:05,320
Speaker 1: life photography? Give her a polar on. She's got this somehow,

872
00:51:05,400 --> 00:51:09,120
Speaker 1: this is a job, Like, well, do you think she

873
00:51:09,280 --> 00:51:13,400
Speaker 1: took the photos of Francine? That's why she would use

874
00:51:13,440 --> 00:51:16,279
Speaker 1: her skills? That would be really funny though she was

875
00:51:16,400 --> 00:51:20,520
Speaker 1: where she was, Um, but yeah, I guess. I mean,

876
00:51:20,600 --> 00:51:24,120
Speaker 1: we learn again not to give this movie any credit whatsoever.

877
00:51:24,320 --> 00:51:27,040
Speaker 1: But I was surprised that we learn a little bit

878
00:51:27,239 --> 00:51:31,360
Speaker 1: about Julie in that we get a sense of some

879
00:51:31,560 --> 00:51:33,680
Speaker 1: of her sort of like code of ethics and that

880
00:51:33,880 --> 00:51:38,279
Speaker 1: she does not eat meat, she's a vegetarian. I liked that.

881
00:51:38,719 --> 00:51:41,279
Speaker 1: I thought that that was like fun and also it's

882
00:51:41,320 --> 00:51:44,319
Speaker 1: like cute because you're like, oh, the boy riders are

883
00:51:44,400 --> 00:51:48,520
Speaker 1: like what should we say about her, I don't eat flesh.

884
00:51:50,680 --> 00:51:54,399
Speaker 1: She goes in this rant about bologney. You're just like, Okay, sure,

885
00:51:54,480 --> 00:52:01,239
Speaker 1: I guess I don't know. No blogny Tleani baby, I

886
00:52:01,360 --> 00:52:05,120
Speaker 1: love it. Sorry about that. So yeah, we get two

887
00:52:05,239 --> 00:52:09,200
Speaker 1: facts about her. But yeah, they did Max's character so

888
00:52:09,400 --> 00:52:12,640
Speaker 1: dirty it sucked, like and and just on top of that,

889
00:52:12,680 --> 00:52:15,319
Speaker 1: where they it's just like that thing where a writer

890
00:52:15,680 --> 00:52:17,759
Speaker 1: knows that this character is gonna die obviously, so they

891
00:52:17,800 --> 00:52:21,600
Speaker 1: don't even bother to characterize her. They're like, okay, well, uh,

892
00:52:21,880 --> 00:52:23,520
Speaker 1: we don't need to say anything. We don't even need

893
00:52:23,560 --> 00:52:26,480
Speaker 1: to say if she has an interest in anything except

894
00:52:26,560 --> 00:52:30,400
Speaker 1: Will Smith, because we need her death to move forward

895
00:52:30,480 --> 00:52:32,960
Speaker 1: the narrative of Will Smith and Martin Lawrence, like the

896
00:52:33,200 --> 00:52:36,000
Speaker 1: narrative just like sacrifices her so that the movie can happen.

897
00:52:36,680 --> 00:52:40,440
Speaker 1: And it's also the scene where she gets shot Michael

898
00:52:40,480 --> 00:52:44,719
Speaker 1: Bay the corniness jumped out like truly, It's like she

899
00:52:44,880 --> 00:52:48,680
Speaker 1: spins in a circle. He grabs a pillow and it's

900
00:52:48,760 --> 00:52:51,759
Speaker 1: behind his back, and then the evil guy shoots her

901
00:52:51,800 --> 00:52:55,680
Speaker 1: through the pillow and then the music like and then

902
00:52:55,680 --> 00:52:57,600
Speaker 1: he ensumes in on an eye ball, which is like

903
00:52:58,200 --> 00:53:02,400
Speaker 1: the expression of any ball that's just been shut. And

904
00:53:02,480 --> 00:53:05,320
Speaker 1: then it wasn't enough that she's like falling in SloMo.

905
00:53:05,560 --> 00:53:08,400
Speaker 1: Of course there's a glass table behind her, because why not?

906
00:53:08,960 --> 00:53:13,880
Speaker 1: Why not? And then that scene she also never comes

907
00:53:13,960 --> 00:53:17,560
Speaker 1: up again really after, like you get that shot of

908
00:53:17,680 --> 00:53:20,800
Speaker 1: like Martin Larcy' is like, oh no, it's Will Smith's

909
00:53:20,840 --> 00:53:24,839
Speaker 1: ex and then he's like and then Will Smith goes yeah.

910
00:53:25,520 --> 00:53:28,520
Speaker 1: But then but then they sort of stopped talking about it,

911
00:53:28,600 --> 00:53:31,040
Speaker 1: like it becomes about the crime and the bad guys,

912
00:53:31,080 --> 00:53:33,000
Speaker 1: but it sort of stops being about her. There's one

913
00:53:33,080 --> 00:53:35,560
Speaker 1: moment when they're like, it's like after a chase scene

914
00:53:35,560 --> 00:53:37,719
Speaker 1: where they the bad guys get away and they're like,

915
00:53:37,880 --> 00:53:40,399
Speaker 1: darn it, we still don't know when the big drug

916
00:53:40,480 --> 00:53:44,560
Speaker 1: bust is happening. Uh, And then Julie's like, who cares

917
00:53:44,560 --> 00:53:48,200
Speaker 1: about that? What about us? Letting the killers of Max

918
00:53:48,280 --> 00:53:51,040
Speaker 1: get away? Like that should be our motivation and they're

919
00:53:51,080 --> 00:53:56,920
Speaker 1: just like, oh right, Max, Yes, I remember her. It's

920
00:53:56,960 --> 00:54:00,799
Speaker 1: coming back to me. Also, I was the only dead

921
00:54:00,800 --> 00:54:03,479
Speaker 1: body that they were somber around. Every other dead body

922
00:54:03,600 --> 00:54:09,520
Speaker 1: was like a comedy jam Martin Lawrence being like and

923
00:54:09,600 --> 00:54:12,400
Speaker 1: we'll be like, come on, man by look play with

924
00:54:12,520 --> 00:54:17,400
Speaker 1: his mouth just really and they kill her like she's

925
00:54:17,600 --> 00:54:20,760
Speaker 1: like laid out, shot to death in the most model

926
00:54:20,880 --> 00:54:24,720
Speaker 1: like she looks like a angel. There's like the smallest

927
00:54:24,760 --> 00:54:26,279
Speaker 1: bit of blood on the side of her face, and

928
00:54:26,440 --> 00:54:28,960
Speaker 1: was like, oh my girlfriend, Oh my god, and then

929
00:54:29,000 --> 00:54:32,440
Speaker 1: forgets about her two seconds later. I'm glad that at

930
00:54:32,520 --> 00:54:36,480
Speaker 1: least hale One is like, hey, that's my friend. I'm

931
00:54:36,480 --> 00:54:39,480
Speaker 1: not here for no reason. She at least sticks up

932
00:54:39,520 --> 00:54:41,400
Speaker 1: for her. Although I thought the bad guy's plot was

933
00:54:41,440 --> 00:54:43,600
Speaker 1: a little stupid, it just seems like you guys got

934
00:54:43,640 --> 00:54:46,879
Speaker 1: the heroine. The girls already with the cops, so she's talked,

935
00:54:46,960 --> 00:54:49,920
Speaker 1: she's already talked. Why are you also focused on killing her? Like,

936
00:54:50,040 --> 00:54:54,440
Speaker 1: go do the drug deal? What? What? What? She know?

937
00:54:54,719 --> 00:54:57,040
Speaker 1: Literally she's already with the cops. Like it just seems

938
00:54:57,040 --> 00:54:59,279
Speaker 1: like we should just do our thing, our drug thing,

939
00:54:59,800 --> 00:55:02,760
Speaker 1: and stead of showing up everywhere that she could potentially

940
00:55:02,840 --> 00:55:06,000
Speaker 1: get caught to try to kill it. There's not a

941
00:55:06,080 --> 00:55:10,680
Speaker 1: lot of logic. Perhaps overall, don't talk about Allison Sinclair

942
00:55:10,760 --> 00:55:13,359
Speaker 1: for a seco. What the folk is that there? I liked?

943
00:55:13,440 --> 00:55:15,680
Speaker 1: I mean again, it's just like another kind of empty

944
00:55:15,840 --> 00:55:18,760
Speaker 1: gesture or like they accidentally wrote it in a female

945
00:55:18,880 --> 00:55:22,480
Speaker 1: character or something where she's like another like she's a

946
00:55:22,560 --> 00:55:25,759
Speaker 1: little bit above them, right, or is shed of like

947
00:55:25,960 --> 00:55:30,279
Speaker 1: captain uh and she she right? She she comes from

948
00:55:30,320 --> 00:55:33,120
Speaker 1: like internal affairs or something like that. So she's presented

949
00:55:33,200 --> 00:55:36,280
Speaker 1: as an obstacle, as many of the other female characters

950
00:55:36,320 --> 00:55:39,640
Speaker 1: in this movie are. But she's like breathing down Joey

951
00:55:39,719 --> 00:55:44,080
Speaker 1: Pantaliano's neck about like to solve this case or else

952
00:55:44,239 --> 00:55:46,600
Speaker 1: the press is going to have a field day, right,

953
00:55:47,600 --> 00:55:50,760
Speaker 1: I mean, I she's definitely written to be a bitchy

954
00:55:51,239 --> 00:55:53,480
Speaker 1: like a ball buster. I want to make a sure

955
00:55:53,719 --> 00:56:02,319
Speaker 1: this bitchy obstacle new merchant um. But then she's just right.

956
00:56:02,480 --> 00:56:05,560
Speaker 1: She shows up every once in a while and then

957
00:56:05,719 --> 00:56:08,440
Speaker 1: it's like it's like you just Elba comes up to

958
00:56:08,520 --> 00:56:11,640
Speaker 1: her and cats and cause and then she just disappears

959
00:56:11,719 --> 00:56:18,000
Speaker 1: from this theme. Yeah, and then she disappears. So she's

960
00:56:18,040 --> 00:56:21,520
Speaker 1: there and you're just like okay. Also, also like they

961
00:56:21,600 --> 00:56:23,320
Speaker 1: I feel like I don't know if this was just

962
00:56:23,400 --> 00:56:26,120
Speaker 1: the nineties, but both the women who work for the

963
00:56:26,120 --> 00:56:29,960
Speaker 1: police department have the same severe blonde haircut. Like it

964
00:56:30,080 --> 00:56:33,399
Speaker 1: was I kept confusing Allison and Francine because they had

965
00:56:33,440 --> 00:56:36,720
Speaker 1: the same haircut. Um, it was like bleached bleech blonde

966
00:56:37,880 --> 00:56:41,960
Speaker 1: and some kind of girling. How do you describe that haircut?

967
00:56:42,040 --> 00:56:45,480
Speaker 1: And like sure hair doesn't fall that way anymore. I

968
00:56:45,520 --> 00:56:51,600
Speaker 1: don't know what a different times different, the gravitational pull

969
00:56:51,680 --> 00:56:56,200
Speaker 1: of the earth. It's different, doesn't It must have been

970
00:56:56,400 --> 00:57:01,480
Speaker 1: maybe with Cindy Laper popular then that was eighties. I

971
00:57:01,600 --> 00:57:07,480
Speaker 1: don't remember. It was Madonna. It was Madonna blonde, weird

972
00:57:07,640 --> 00:57:12,200
Speaker 1: hair that she was doing, like, um, express yourself. Yeah, Si,

973
00:57:12,400 --> 00:57:16,840
Speaker 1: that song was like express yourself, express yourself, don't repress

974
00:57:16,840 --> 00:57:19,800
Speaker 1: your It was that hair. It was that haircut. Yeah, okay,

975
00:57:19,840 --> 00:57:23,200
Speaker 1: so it was the human nature haircut there was. Yes,

976
00:57:24,080 --> 00:57:27,280
Speaker 1: So they're so they're just like trying to be Madonna,

977
00:57:27,360 --> 00:57:29,400
Speaker 1: but it's confused. They were like, give me two Madonna's

978
00:57:29,400 --> 00:57:33,480
Speaker 1: who work in the precinct. One of them gets a

979
00:57:33,560 --> 00:57:38,840
Speaker 1: few lines, the other ones a trader Benedict's frenzy. That's it.

980
00:57:39,120 --> 00:57:41,640
Speaker 1: And they were also wearing nineties type clothes like which

981
00:57:41,640 --> 00:57:44,320
Speaker 1: actually isn't weird to have in a Miami p D.

982
00:57:44,560 --> 00:57:48,280
Speaker 1: Like women dressed not like police officers per se, because

983
00:57:48,320 --> 00:57:50,520
Speaker 1: that's like a thing in Miami is like the suit

984
00:57:50,600 --> 00:57:52,840
Speaker 1: leggings is what we call them. Like everyone dresses like

985
00:57:52,920 --> 00:57:56,040
Speaker 1: a little more hyper sexualized at the workplace, so it's

986
00:57:56,040 --> 00:57:58,920
Speaker 1: actually not a weird thing for the movie. Okay, interesting,

987
00:58:00,160 --> 00:58:04,360
Speaker 1: you're like really like I lived, It's just you know,

988
00:58:04,600 --> 00:58:08,800
Speaker 1: you get a highlighter pallette wardrobe and everything's tied. I've

989
00:58:08,840 --> 00:58:13,560
Speaker 1: never been I've never been to ms. Why the drugs

990
00:58:13,640 --> 00:58:18,520
Speaker 1: won't cook? The humidity this Okay, I just wanted to

991
00:58:18,560 --> 00:58:21,640
Speaker 1: talk about cop movies just for a moment, because this

992
00:58:21,880 --> 00:58:25,840
Speaker 1: is one of many, many, many that it's it's for

993
00:58:26,040 --> 00:58:31,960
Speaker 1: the boys. The target audience is men. The characters are

994
00:58:32,440 --> 00:58:36,720
Speaker 1: mostly men. These movies can't envision a world where women

995
00:58:37,080 --> 00:58:40,440
Speaker 1: would be participants in the story in the context of

996
00:58:40,480 --> 00:58:44,440
Speaker 1: anything besides them being like the damsels who get dragged along.

997
00:58:45,040 --> 00:58:50,800
Speaker 1: In terms of cop movies that prominently feature a woman

998
00:58:51,040 --> 00:58:55,160
Speaker 1: as an officer, I can think of Silence of the Lambs.

999
00:58:55,480 --> 00:58:59,840
Speaker 1: I can think of Zootopia, I can think of the

1000
00:59:00,040 --> 00:59:04,760
Speaker 1: heat and kind of the list kind of stops there

1001
00:59:04,960 --> 00:59:06,720
Speaker 1: for at least off the top of my head, and

1002
00:59:07,000 --> 00:59:09,320
Speaker 1: any and if you're a listener, that's like I need

1003
00:59:09,400 --> 00:59:13,200
Speaker 1: to tweet another movie. That's not the point that there's

1004
00:59:13,240 --> 00:59:17,360
Speaker 1: not a lot, don't add us. Uh. And on the

1005
00:59:17,440 --> 00:59:20,520
Speaker 1: other hand, there are dozens and dozens and dozens of

1006
00:59:21,200 --> 00:59:25,440
Speaker 1: movies about boys. Yes, Um, but the fact that this

1007
00:59:26,560 --> 00:59:30,840
Speaker 1: is a big budget movie with two black leads is great. Yeah. Also,

1008
00:59:30,920 --> 00:59:32,920
Speaker 1: I don't think that people look at Bad Boys as

1009
00:59:32,960 --> 00:59:35,960
Speaker 1: a police movie. Um, they don't really act like police.

1010
00:59:36,000 --> 00:59:38,400
Speaker 1: They don't ever drive a police car. There, perhaps not

1011
00:59:38,600 --> 00:59:41,080
Speaker 1: very good at being police. Yeah, this is like just

1012
00:59:41,840 --> 00:59:45,320
Speaker 1: two homeboys who I guess work in the police department,

1013
00:59:46,280 --> 00:59:49,280
Speaker 1: you know, just kicking it, having a good time, maybe

1014
00:59:49,280 --> 00:59:52,160
Speaker 1: be a sexy, maybe stopping a crime. Like I've never

1015
00:59:52,280 --> 00:59:53,880
Speaker 1: looked at Bad Boys movies and been like, oh, the

1016
00:59:53,920 --> 00:59:56,760
Speaker 1: cops look so cool. However, I notice how they're looked

1017
00:59:56,800 --> 00:59:59,000
Speaker 1: at by people who are in law enforcement and by

1018
00:59:59,120 --> 01:00:01,640
Speaker 1: men sometimes because like there was recently, like maybe a

1019
01:00:01,720 --> 01:00:03,480
Speaker 1: month and a half ago, there was a shootout in

1020
01:00:03,560 --> 01:00:05,760
Speaker 1: Miami when they were trying to act like fake as

1021
01:00:05,880 --> 01:00:08,520
Speaker 1: bad boys and everybody's about to go down for this ship.

1022
01:00:08,880 --> 01:00:10,520
Speaker 1: I'll put the specific incident, but it was with a

1023
01:00:10,920 --> 01:00:14,760
Speaker 1: UPS truck. They stole a UPS truck, these criminals, and

1024
01:00:14,800 --> 01:00:17,640
Speaker 1: they also kidnapped the guy who was driving the UPS truck.

1025
01:00:17,960 --> 01:00:20,280
Speaker 1: So then Miami p D thought this was a Bad

1026
01:00:20,320 --> 01:00:24,320
Speaker 1: Boys moment, so they out on the motherfucker highway shooting

1027
01:00:24,360 --> 01:00:27,440
Speaker 1: at the UPS truck, the UPS truck shooting back. They

1028
01:00:27,520 --> 01:00:30,560
Speaker 1: are hide they are shielding themselves. I wish this was

1029
01:00:30,600 --> 01:00:34,840
Speaker 1: a lot shooting themselves with real civilians who are in cars.

1030
01:00:34,920 --> 01:00:38,000
Speaker 1: They're like hiding behind the cars and shooting. I'm like,

1031
01:00:38,320 --> 01:00:40,640
Speaker 1: I'm about to be a ship the fun like they

1032
01:00:40,720 --> 01:00:44,320
Speaker 1: thought they were in Bad Boys. So unfortunately, this does

1033
01:00:44,440 --> 01:00:47,880
Speaker 1: really influence a lot of dumbass police who want to

1034
01:00:47,880 --> 01:00:52,000
Speaker 1: get their kicks on. But I've never regarded Bad Boys

1035
01:00:52,080 --> 01:00:55,000
Speaker 1: movies as like, oh cops, Like I don't that my

1036
01:00:55,120 --> 01:00:57,240
Speaker 1: cop movie. I actually forgot that this was a cop

1037
01:00:57,280 --> 01:01:00,960
Speaker 1: movie before I started, Like they us have goods. They

1038
01:01:01,000 --> 01:01:03,680
Speaker 1: really could be rogue vigilantes and the movie and the

1039
01:01:03,760 --> 01:01:07,040
Speaker 1: movie also has the character specifically remind you that their

1040
01:01:07,120 --> 01:01:08,960
Speaker 1: cops several times. And I don't think that that's a

1041
01:01:09,040 --> 01:01:11,240
Speaker 1: mistake because yeah, they don't. They don't dress like cops,

1042
01:01:11,280 --> 01:01:14,320
Speaker 1: they don't travel, and I mean there's a scene and

1043
01:01:14,360 --> 01:01:17,080
Speaker 1: I think that the movie is more like fun that way,

1044
01:01:17,200 --> 01:01:19,800
Speaker 1: like no one wants to cop. They also kill a

1045
01:01:19,920 --> 01:01:22,160
Speaker 1: lot of bas so many people a lot of people,

1046
01:01:22,280 --> 01:01:25,960
Speaker 1: and Martin Lawrence at one point is like to Julie,

1047
01:01:26,360 --> 01:01:29,000
Speaker 1: he's like, you know, the bad guys probably already know

1048
01:01:29,200 --> 01:01:31,120
Speaker 1: where you live, so I'll just leave now and let

1049
01:01:31,200 --> 01:01:33,160
Speaker 1: them come find you and kill you and good luck

1050
01:01:33,240 --> 01:01:36,640
Speaker 1: with that. And then she's like, no, wait, please protect

1051
01:01:36,800 --> 01:01:39,000
Speaker 1: me and he's like, okay, fine, but like, yeah, it's

1052
01:01:39,040 --> 01:01:42,080
Speaker 1: like that stuff. They're like rifling through all the crime scenes,

1053
01:01:42,160 --> 01:01:45,800
Speaker 1: like messing up crime scenes, like they're not good cops.

1054
01:01:46,080 --> 01:01:50,200
Speaker 1: It's wild. I love and I love the troup of

1055
01:01:50,240 --> 01:01:52,240
Speaker 1: their boss just yelling at them like every day is

1056
01:01:52,280 --> 01:01:54,960
Speaker 1: their last day, you know, but it never is. This

1057
01:01:55,200 --> 01:02:00,160
Speaker 1: is the last time, You're like, no, not um. One

1058
01:02:00,200 --> 01:02:03,160
Speaker 1: thing I did like was and and it was was

1059
01:02:03,240 --> 01:02:06,400
Speaker 1: it deeply couched in no homo rhetoric, but particularly at

1060
01:02:06,440 --> 01:02:10,440
Speaker 1: the beginning, yes, but when when at the beginning, when

1061
01:02:10,600 --> 01:02:13,960
Speaker 1: Martin Lawrence tells Will Smith that he loves him, he's like,

1062
01:02:14,040 --> 01:02:17,000
Speaker 1: you're my partner, I love you. Will Smith is like

1063
01:02:17,320 --> 01:02:20,840
Speaker 1: no homo, no homo, no homo, and we're like much

1064
01:02:21,240 --> 01:02:24,280
Speaker 1: and then but then at the end there's a little

1065
01:02:24,440 --> 01:02:28,600
Speaker 1: friendship arc where Will Smith in the first and only

1066
01:02:28,720 --> 01:02:32,040
Speaker 1: time any sort of toxic masculinity is overcome. In a

1067
01:02:32,120 --> 01:02:36,440
Speaker 1: Michael Bay movie, Will Smith tells Martin Lawrence, you're my partner.

1068
01:02:36,800 --> 01:02:38,959
Speaker 1: I love you. Are they standing over a dead body?

1069
01:02:39,080 --> 01:02:43,400
Speaker 1: Of course they are. That makes it no homo. As

1070
01:02:43,440 --> 01:02:46,439
Speaker 1: long as there's a man that they've just killed, then

1071
01:02:47,920 --> 01:02:51,880
Speaker 1: we know that they're straight. I mean, if there wasn't

1072
01:02:51,920 --> 01:02:53,240
Speaker 1: a dead bye, then then how do you know they're

1073
01:02:53,240 --> 01:02:57,240
Speaker 1: not lovers? You know what I mean? There's also so

1074
01:02:57,440 --> 01:03:00,240
Speaker 1: between this. In the middle of this arc there is

1075
01:03:00,280 --> 01:03:03,920
Speaker 1: another weird no homo scene where I think he wouldn't

1076
01:03:03,920 --> 01:03:06,520
Speaker 1: even necessarily catch it unless you had the subtitles on,

1077
01:03:06,600 --> 01:03:09,160
Speaker 1: which is why I watch all my movies with subtitles.

1078
01:03:09,400 --> 01:03:12,440
Speaker 1: Breg get it, you can read. I do have a

1079
01:03:12,480 --> 01:03:18,480
Speaker 1: faster screen screenwriting from Boston University. You want to see

1080
01:03:18,480 --> 01:03:22,520
Speaker 1: how I can read so good? I love watching Haylyn read. Honestly,

1081
01:03:22,720 --> 01:03:26,000
Speaker 1: it's you watch it all day so you can make

1082
01:03:26,040 --> 01:03:28,240
Speaker 1: money out of anything I watched read I pay for

1083
01:03:29,240 --> 01:03:32,120
Speaker 1: Thank you for that. Um No. But there's this the

1084
01:03:32,200 --> 01:03:36,200
Speaker 1: scene where they go into like a bodega and notable

1085
01:03:36,280 --> 01:03:39,720
Speaker 1: actor Sean Talb. I'm not entirely sure how to say

1086
01:03:39,760 --> 01:03:44,480
Speaker 1: his name, but he plays like the bodega owner and

1087
01:03:45,280 --> 01:03:48,480
Speaker 1: he sees that Martin Lawrence and Will Smith both have

1088
01:03:48,600 --> 01:03:51,040
Speaker 1: guns and he thinks he's about to get robbed, so

1089
01:03:51,720 --> 01:03:56,000
Speaker 1: he pulls out a gun on them. But because he um,

1090
01:03:56,840 --> 01:04:00,080
Speaker 1: English isn't his first language. The actor is Rani and

1091
01:04:00,200 --> 01:04:02,640
Speaker 1: I don't know who what the character is supposed to be,

1092
01:04:02,760 --> 01:04:07,160
Speaker 1: but it feels like there's some racist stereotypes real troped

1093
01:04:07,240 --> 01:04:10,120
Speaker 1: out and that's like, I mean another I'm like, I

1094
01:04:10,560 --> 01:04:13,120
Speaker 1: was surprised there wasn't more of that in a Michael

1095
01:04:13,160 --> 01:04:16,000
Speaker 1: Bay movie because if like in a Transformers movie, they'll

1096
01:04:16,040 --> 01:04:20,200
Speaker 1: be scenes like that in a row right. Also, it's Miami,

1097
01:04:20,320 --> 01:04:23,120
Speaker 1: so they were ripe for making those scenes because it's

1098
01:04:23,120 --> 01:04:25,760
Speaker 1: such a cultural melting pot that you can, you know,

1099
01:04:26,200 --> 01:04:30,160
Speaker 1: insert whatever racial trope you want wherever you want. So

1100
01:04:30,320 --> 01:04:33,800
Speaker 1: they really went, they really like pulled back. Yeah, and

1101
01:04:33,880 --> 01:04:36,560
Speaker 1: I think still to date, the Transformers franchise is the

1102
01:04:36,640 --> 01:04:39,840
Speaker 1: worst example of the highest concentration of Michael Bay racism.

1103
01:04:40,360 --> 01:04:42,320
Speaker 1: And like not coincidentally that's the franchise he as the

1104
01:04:42,360 --> 01:04:45,760
Speaker 1: most power rover um but yeah, that um, but any case,

1105
01:04:45,840 --> 01:04:49,000
Speaker 1: so in this in this scene where we've got this

1106
01:04:49,080 --> 01:04:52,840
Speaker 1: bodega owner who he's saying something like he's holding a

1107
01:04:52,880 --> 01:04:54,600
Speaker 1: gun to them, and he's like, I will blow you,

1108
01:04:55,240 --> 01:04:57,560
Speaker 1: meaning like I will blow you away with my gun.

1109
01:04:58,160 --> 01:05:00,800
Speaker 1: And then Martin Lawrence is like blow me. No, you

1110
01:05:00,920 --> 01:05:05,080
Speaker 1: can hunt me, but blow me. Like it's really weird.

1111
01:05:05,520 --> 01:05:08,560
Speaker 1: It's really hard to arrive at the offensive joke they're

1112
01:05:08,560 --> 01:05:13,640
Speaker 1: trying to make two called improv Yes, yes, wait, Martin

1113
01:05:13,720 --> 01:05:16,160
Speaker 1: Lawres just had that at the top of his head.

1114
01:05:16,240 --> 01:05:19,200
Speaker 1: How incredible there, Although at the end of that scene,

1115
01:05:19,240 --> 01:05:22,240
Speaker 1: I like how that scene ends when Will Smith has

1116
01:05:22,280 --> 01:05:28,360
Speaker 1: the gun and he's like, get me. Was likes and

1117
01:05:28,440 --> 01:05:31,680
Speaker 1: You're like, damn it, Michael Bay, you got me, got

1118
01:05:31,760 --> 01:05:33,360
Speaker 1: me at the end, But it was it was it

1119
01:05:33,480 --> 01:05:35,880
Speaker 1: was racist and homophobic and then they and then they

1120
01:05:35,960 --> 01:05:38,880
Speaker 1: somehow stuck the landing horrible. I think, well that I

1121
01:05:38,920 --> 01:05:40,840
Speaker 1: think those lines were improvised, So it has nothing to

1122
01:05:40,880 --> 01:05:44,520
Speaker 1: do with Michael Bay. It was it was Will and

1123
01:05:44,600 --> 01:05:50,640
Speaker 1: Martin and skittles. I laughed. I laughed. A similar joke

1124
01:05:50,760 --> 01:05:52,560
Speaker 1: is made in A similar racist joke is made in

1125
01:05:52,600 --> 01:05:56,440
Speaker 1: this movie that is made in Transformers, where a character

1126
01:05:56,560 --> 01:06:00,960
Speaker 1: speaks a few words of Spanish and then a character

1127
01:06:01,040 --> 01:06:03,600
Speaker 1: who does not speak Spanish was like, what the hell

1128
01:06:03,720 --> 01:06:07,840
Speaker 1: did you say? Um? English? Please? Especially in Miami, this

1129
01:06:08,040 --> 01:06:11,840
Speaker 1: is especially ridiculous, especially working for the police. Right, So, yeah,

1130
01:06:12,000 --> 01:06:13,840
Speaker 1: you ain't never had to speak to nobody in Spain.

1131
01:06:13,920 --> 01:06:16,600
Speaker 1: You don't know what the word cajones means. You've never

1132
01:06:16,720 --> 01:06:24,200
Speaker 1: heard that word before? Okay, one time? So when need

1133
01:06:24,280 --> 01:06:27,840
Speaker 1: content too. But it is Michael Bay's favorite joke because

1134
01:06:27,880 --> 01:06:31,000
Speaker 1: he keeps using it over and over. He thinks it's hilarious.

1135
01:06:31,080 --> 01:06:33,440
Speaker 1: He tells he regales all the nineteen year olds he

1136
01:06:33,560 --> 01:06:37,000
Speaker 1: hangs out with. Hilarious joke he came up with thirty

1137
01:06:37,080 --> 01:06:40,760
Speaker 1: years ago. Literally, my favorite part of the movie is

1138
01:06:41,600 --> 01:06:44,760
Speaker 1: here we go, ready for this? Okay, At the very beginning,

1139
01:06:45,000 --> 01:06:48,960
Speaker 1: when Martin Lawrence and Will Smith are being carjacked, they're like, hey,

1140
01:06:49,120 --> 01:06:51,920
Speaker 1: where cops? You're messing with cops right now? And the

1141
01:06:52,000 --> 01:06:54,600
Speaker 1: car jackers like, oh, yeah, well, I'm a stand up

1142
01:06:54,640 --> 01:07:00,320
Speaker 1: comedian and I I like that was like representation of

1143
01:07:00,360 --> 01:07:02,880
Speaker 1: a man of a stand up comedian who's a man

1144
01:07:02,960 --> 01:07:06,080
Speaker 1: admitting that he sucks at stand up comedy. Hasn't happened before.

1145
01:07:06,320 --> 01:07:09,560
Speaker 1: Since I know, we need to see more of it. Incredible,

1146
01:07:10,640 --> 01:07:13,840
Speaker 1: I forgot I really did like that too, Did you

1147
01:07:13,880 --> 01:07:17,240
Speaker 1: guys know that Michael Bay's first job in film was

1148
01:07:17,320 --> 01:07:21,080
Speaker 1: working on Raiders of the Lost Arc, where he was

1149
01:07:21,160 --> 01:07:24,000
Speaker 1: like an intern on Raiders of the Lost Arc. Oh

1150
01:07:24,040 --> 01:07:26,560
Speaker 1: my gosh, do you think he met Alfred Molina? He

1151
01:07:26,720 --> 01:07:29,400
Speaker 1: better not of he there stayed a funk away from him.

1152
01:07:30,320 --> 01:07:37,160
Speaker 1: I would be so pissed if they've met um just

1153
01:07:37,360 --> 01:07:43,640
Speaker 1: the meeting, if they met him passing done. Uh. But so,

1154
01:07:44,000 --> 01:07:46,920
Speaker 1: I guess this is another just like Michael Bay has

1155
01:07:47,080 --> 01:07:50,760
Speaker 1: always been the worst. So he's living his really difficult

1156
01:07:50,800 --> 01:07:54,280
Speaker 1: life in the valley and he gets this internship horrible

1157
01:07:54,320 --> 01:07:55,760
Speaker 1: for him on one of the most famous movies of

1158
01:07:55,800 --> 01:07:59,000
Speaker 1: all time, like so difficult, he's struggling. Uh, he's an

1159
01:07:59,040 --> 01:08:00,560
Speaker 1: intern Raiders to have the Lost Dark And I guess

1160
01:08:00,560 --> 01:08:02,640
Speaker 1: he spends his whole time on that movie being like

1161
01:08:02,720 --> 01:08:06,280
Speaker 1: this movie is gonna fucking suck. And then when it

1162
01:08:06,360 --> 01:08:08,919
Speaker 1: comes out he said, oh it was good. I want

1163
01:08:08,920 --> 01:08:12,840
Speaker 1: to be a film director now too. And George and

1164
01:08:13,000 --> 01:08:16,679
Speaker 1: George Lucas actually contributed to the Michael Bay oral history

1165
01:08:17,439 --> 01:08:20,160
Speaker 1: and he was he was shady in a way that

1166
01:08:20,200 --> 01:08:24,479
Speaker 1: I thought was funny. He said, Michael's films are identifiable.

1167
01:08:27,520 --> 01:08:31,000
Speaker 1: It was like good for you, George Lucas. You know

1168
01:08:31,080 --> 01:08:34,439
Speaker 1: when you see trash, you know what you want on

1169
01:08:34,479 --> 01:08:36,400
Speaker 1: the New York sidewalk, and then you just get a

1170
01:08:36,439 --> 01:08:40,519
Speaker 1: whiff of something that's like Michael Bay movie identifiable. You

1171
01:08:40,640 --> 01:08:42,439
Speaker 1: know when you pass into Sharma, and you know when

1172
01:08:42,479 --> 01:08:46,800
Speaker 1: you pass into Michael Bay. George Lucas out here being

1173
01:08:46,840 --> 01:08:51,240
Speaker 1: a bitchy obstacle to Michael Bay. Can't believe it better

1174
01:08:51,280 --> 01:08:55,439
Speaker 1: beat Teresa Wife. George Lucas channel that energy. I thought

1175
01:08:55,479 --> 01:08:58,320
Speaker 1: that was really funny. Well, I hate that. This movie

1176
01:08:58,400 --> 01:09:00,720
Speaker 1: is fun to watch. I know it, but now I'm like,

1177
01:09:00,840 --> 01:09:02,960
Speaker 1: should I see the new one? It's not Michael Bay

1178
01:09:03,000 --> 01:09:05,280
Speaker 1: doesn't appear to be involved at all? Is it still

1179
01:09:05,320 --> 01:09:07,720
Speaker 1: written by three white guys? As far as I can tell, Yes,

1180
01:09:08,400 --> 01:09:12,400
Speaker 1: it's a time honored bad voice tradition. It has to

1181
01:09:12,439 --> 01:09:14,120
Speaker 1: be written by people who do not know what they're

1182
01:09:14,120 --> 01:09:17,800
Speaker 1: talking about. The formula works. Yeah, yeah, exactly. They have

1183
01:09:17,960 --> 01:09:21,559
Speaker 1: two new directors on. I mean, who knows, maybe maybe

1184
01:09:21,760 --> 01:09:25,120
Speaker 1: it will be I'll use my amc A List stubs

1185
01:09:25,160 --> 01:09:27,919
Speaker 1: membership to see it for free. I tried to unsign

1186
01:09:28,040 --> 01:09:29,439
Speaker 1: up from that and then they're like you have to

1187
01:09:29,479 --> 01:09:31,240
Speaker 1: stay for three months, and like well, now I have

1188
01:09:31,360 --> 01:09:36,200
Speaker 1: to see Bad Boys three. Also, I do love just

1189
01:09:36,320 --> 01:09:38,840
Speaker 1: like the grotesque waste of money in these movies. Because

1190
01:09:38,840 --> 01:09:41,640
Speaker 1: in Bad Boys too, they have one of those cardboards

1191
01:09:41,720 --> 01:09:44,320
Speaker 1: that you like deliver cars in, so you'll have like

1192
01:09:44,479 --> 01:09:46,400
Speaker 1: twelve cars kind of stacked upon each other on a

1193
01:09:46,479 --> 01:09:49,040
Speaker 1: big rig. They have one in Bad Boys to where

1194
01:09:49,080 --> 01:09:51,800
Speaker 1: they like unloaded and then all the cars just start

1195
01:09:51,920 --> 01:09:54,000
Speaker 1: shooting off of the truck and then their dodge and

1196
01:09:54,280 --> 01:09:56,160
Speaker 1: the cars that are just flattened in the road. And

1197
01:09:56,240 --> 01:09:58,439
Speaker 1: I was like, this is so much money, and um,

1198
01:09:58,920 --> 01:10:00,880
Speaker 1: you know, and it's it's horrible to think about how

1199
01:10:01,000 --> 01:10:07,200
Speaker 1: much money it is, the new back ninety million dollar budgets.

1200
01:10:07,400 --> 01:10:10,080
Speaker 1: So I actually thought it would have more than that.

1201
01:10:10,520 --> 01:10:13,240
Speaker 1: I'm like, that's cat's level up a building with that

1202
01:10:13,360 --> 01:10:17,160
Speaker 1: much money. Probably with a computer, yeah, but I would

1203
01:10:17,280 --> 01:10:19,760
Speaker 1: used to blow a real built Michael pag blew so

1204
01:10:19,880 --> 01:10:22,120
Speaker 1: much that that was one of the things that they

1205
01:10:22,240 --> 01:10:25,680
Speaker 1: like he mentioned was he like put dollars of his

1206
01:10:25,800 --> 01:10:28,840
Speaker 1: own money to make a couple of extra cars explode,

1207
01:10:29,320 --> 01:10:32,240
Speaker 1: Like he worked outside the budget of the spend his

1208
01:10:32,400 --> 01:10:35,280
Speaker 1: meat load money. He's a black man, He's spend his

1209
01:10:35,400 --> 01:10:39,040
Speaker 1: meat load money on bad boys explosions. That's what black

1210
01:10:39,080 --> 01:10:40,360
Speaker 1: people have to do. They were like, we'll put you

1211
01:10:40,360 --> 01:10:42,000
Speaker 1: in a movie, but you gotta bring some of your

1212
01:10:42,040 --> 01:10:45,760
Speaker 1: own money. So he gets it, Michael play gets it.

1213
01:10:45,840 --> 01:10:50,880
Speaker 1: He's got that Valley mentalent. Just I had the fact

1214
01:10:51,160 --> 01:10:55,880
Speaker 1: the fact man, um, well, are there any other final thoughts?

1215
01:10:56,600 --> 01:10:59,200
Speaker 1: I hate that this movie is fun. I know, but

1216
01:10:59,360 --> 01:11:03,400
Speaker 1: it's fun and it's bad in so many ways, and

1217
01:11:03,680 --> 01:11:06,200
Speaker 1: yet not Michael Bay's worst. As we've said before, I

1218
01:11:06,240 --> 01:11:09,639
Speaker 1: would honestly say, of what I've seen, one of his best. Yeah,

1219
01:11:09,960 --> 01:11:12,040
Speaker 1: I would send this is my favorite Michael Bay movie.

1220
01:11:12,200 --> 01:11:14,960
Speaker 1: That's and and that's saying that. I never thought I

1221
01:11:15,000 --> 01:11:17,479
Speaker 1: would say that sentence. And I'm hor if I please

1222
01:11:17,640 --> 01:11:20,280
Speaker 1: never like if anyone's out there trying to isolate that

1223
01:11:20,400 --> 01:11:27,519
Speaker 1: clip can um, Yeah, yeah, we we reckon. We hope

1224
01:11:27,600 --> 01:11:30,960
Speaker 1: that we've demonstrated that we understand why the shortcomings and

1225
01:11:31,080 --> 01:11:33,360
Speaker 1: the and the of its but it's fun to watch.

1226
01:11:34,880 --> 01:11:39,519
Speaker 1: So we alluded earlier that it, I guess does pass

1227
01:11:39,600 --> 01:11:44,639
Speaker 1: the Bechdel test. I think even without asterisks it passes

1228
01:11:44,760 --> 01:11:48,040
Speaker 1: in that scene because I was ready to be like,

1229
01:11:48,720 --> 01:11:52,120
Speaker 1: like the scene prior where Max and Lois are talking

1230
01:11:52,320 --> 01:11:54,599
Speaker 1: there's like two lines where they're not explicitly talking about

1231
01:11:54,640 --> 01:11:56,719
Speaker 1: a man, but the context of the conversation still about

1232
01:11:56,720 --> 01:11:58,519
Speaker 1: a man's Like, maybe it doesn't pass. But then the

1233
01:11:58,560 --> 01:12:00,920
Speaker 1: next scene, I'm pretty sure they're talking about uh, their

1234
01:12:01,000 --> 01:12:04,040
Speaker 1: relationship with each other, the roommates. I'm a photographer, I

1235
01:12:04,160 --> 01:12:05,920
Speaker 1: owe you one. What is she over for? We don't know,

1236
01:12:06,280 --> 01:12:09,400
Speaker 1: but it's referenced. Yeah, true. But then they do start

1237
01:12:09,479 --> 01:12:11,879
Speaker 1: talking about Little Smith's character towards the end of that conversation,

1238
01:12:11,920 --> 01:12:14,280
Speaker 1: but there is, yeah, that two line exchange at least

1239
01:12:14,360 --> 01:12:18,960
Speaker 1: that technically passes. And then also Julie and Teresa talk

1240
01:12:19,040 --> 01:12:21,960
Speaker 1: to each other, but I think they're talking only about

1241
01:12:22,080 --> 01:12:25,920
Speaker 1: men because Teresa shows up and not Mike Lowry's condo,

1242
01:12:26,360 --> 01:12:29,280
Speaker 1: and she's like, is my husband here? And Julie's like,

1243
01:12:29,400 --> 01:12:33,160
Speaker 1: is he the short one or the tall one? Objectifying men?

1244
01:12:35,439 --> 01:12:39,320
Speaker 1: It Michael Bay a woke king you heard it here first,

1245
01:12:41,200 --> 01:12:44,120
Speaker 1: and probably has good politics too. You can quote us

1246
01:12:44,160 --> 01:12:50,799
Speaker 1: on oh right, that brings us to our nipple scale

1247
01:12:50,960 --> 01:12:54,080
Speaker 1: zero to five nipples based on its representation of women,

1248
01:12:54,160 --> 01:12:58,160
Speaker 1: it still gets like a point to five. Yeah, Like

1249
01:12:58,320 --> 01:13:03,080
Speaker 1: you can't give it, really, I'll give it. I'll give

1250
01:13:03,160 --> 01:13:07,280
Speaker 1: it and and and keep my sliding scale because Michael

1251
01:13:07,520 --> 01:13:11,600
Speaker 1: give it. Point five because Tailani got to make a

1252
01:13:11,680 --> 01:13:14,920
Speaker 1: few just drove the truck. For she shot a gun once,

1253
01:13:15,000 --> 01:13:19,160
Speaker 1: didn't ruin Club Hell. Yes, we didn't talk about that.

1254
01:13:19,479 --> 01:13:21,720
Speaker 1: She shot a gun one time. She had a club

1255
01:13:21,800 --> 01:13:27,400
Speaker 1: in Miami. It's called Club Hell. It's on brand. But anyway,

1256
01:13:27,439 --> 01:13:30,880
Speaker 1: so point five because Taloni made decisions and they didn't

1257
01:13:30,960 --> 01:13:33,519
Speaker 1: make her kiss at the end. Everything else bad bad,

1258
01:13:33,560 --> 01:13:39,160
Speaker 1: bad bad bad bad boys. Look, man, I gotta I

1259
01:13:39,240 --> 01:13:42,320
Speaker 1: gotta give it a one nipple, okay, because it's got

1260
01:13:42,360 --> 01:13:44,559
Speaker 1: a special place in my heart. I'm gonna even make

1261
01:13:44,640 --> 01:13:48,880
Speaker 1: the nipple maybe slightly darkened aerola for black man, Michael

1262
01:13:48,920 --> 01:13:58,680
Speaker 1: Bay and stay stay strong, king, Like I mean, I

1263
01:13:58,760 --> 01:14:00,880
Speaker 1: did enjoy that she didn't take I didn't have to kiss.

1264
01:14:00,960 --> 01:14:03,439
Speaker 1: She got to talk a good deal. I mean, there

1265
01:14:03,560 --> 01:14:06,439
Speaker 1: is one scene. Unfortunately it's very sad. It doesn't truly

1266
01:14:06,760 --> 01:14:09,040
Speaker 1: like surpass the Bechdel test, but it does pass the

1267
01:14:09,080 --> 01:14:12,240
Speaker 1: bare minimum and requirements. Um and then also you know,

1268
01:14:12,320 --> 01:14:14,680
Speaker 1: I never saw titties. I mean she did have to

1269
01:14:14,760 --> 01:14:17,080
Speaker 1: oil and see her underwear. She falls, she falls down

1270
01:14:17,120 --> 01:14:19,040
Speaker 1: at one point and she's wearing a really short skirt

1271
01:14:19,080 --> 01:14:20,720
Speaker 1: and then like her skirt flies up and you see

1272
01:14:20,760 --> 01:14:24,880
Speaker 1: her underwear. I'll blame that on the wind. But again

1273
01:14:24,920 --> 01:14:30,400
Speaker 1: she's still styled more more respectfully than we see him later. Michael. Yeah,

1274
01:14:30,560 --> 01:14:32,720
Speaker 1: it's not like, oh, I'm running from the you know,

1275
01:14:33,080 --> 01:14:37,000
Speaker 1: cartel in my bra for some reason. No, Will Smith

1276
01:14:37,120 --> 01:14:42,360
Speaker 1: is the He's his shirt is somehow always unbuttoned, and

1277
01:14:42,439 --> 01:14:45,439
Speaker 1: the wind is billowing and he's he's got to always

1278
01:14:45,479 --> 01:14:49,680
Speaker 1: be oily and are all single people just oily? And

1279
01:14:50,160 --> 01:14:51,760
Speaker 1: I'm trying to let the people know I'm out here,

1280
01:14:51,840 --> 01:14:55,280
Speaker 1: you know, I mean, you gotta you gotta be looped up,

1281
01:14:55,320 --> 01:14:58,920
Speaker 1: you gotta be catching losing herself as we speak. Yes, um,

1282
01:14:59,400 --> 01:15:01,840
Speaker 1: sam friend of the show, sam Ike brought up in

1283
01:15:01,880 --> 01:15:04,639
Speaker 1: our Men in Black episodes something that I think about often,

1284
01:15:05,400 --> 01:15:08,799
Speaker 1: because he said that the female lead in that movie

1285
01:15:09,280 --> 01:15:13,240
Speaker 1: does not kiss Tessa. Is that her name? No? No?

1286
01:15:13,439 --> 01:15:19,000
Speaker 1: Sorry not? Yeah? So the n nine, the nine eight

1287
01:15:19,120 --> 01:15:22,639
Speaker 1: or ninety seven first Men in Black movie, and it's

1288
01:15:23,439 --> 01:15:28,400
Speaker 1: Linda Florentino, right, so she we do not see her

1289
01:15:28,640 --> 01:15:32,360
Speaker 1: kiss anyone in that movie either. But sam Ike speculated

1290
01:15:32,680 --> 01:15:36,760
Speaker 1: that it's because the male lead that would have been

1291
01:15:37,080 --> 01:15:39,519
Speaker 1: made the most sense to pair her with was black,

1292
01:15:39,800 --> 01:15:43,960
Speaker 1: and he speculated that audiences wouldn't have wanted to see

1293
01:15:44,520 --> 01:15:48,960
Speaker 1: a interrational kiss. So I wonder if that is why

1294
01:15:49,600 --> 01:15:52,519
Speaker 1: there's no kissing in this movie, because it's the same

1295
01:15:52,560 --> 01:15:58,240
Speaker 1: actor Will Smith that movie. Damn it, and Michael had

1296
01:15:58,280 --> 01:16:02,920
Speaker 1: to take someone nipple back hairs. I mean, this is reulation,

1297
01:16:03,160 --> 01:16:05,880
Speaker 1: but it's not far fetched. I don't remember Sam saying

1298
01:16:05,880 --> 01:16:08,280
Speaker 1: that as well. Yeah, yeah, I don't think it's far fetched.

1299
01:16:08,280 --> 01:16:10,000
Speaker 1: I mean also in the nineties, and it wasn't the

1300
01:16:10,040 --> 01:16:11,880
Speaker 1: two thousands of the nineties when Saved the Last Dance

1301
01:16:11,920 --> 01:16:16,280
Speaker 1: came out. I think it was maybe two Yeah, but

1302
01:16:16,360 --> 01:16:17,920
Speaker 1: that was still when the plot of a movie was

1303
01:16:18,000 --> 01:16:20,639
Speaker 1: we're in an interracial relationship. That was the whole plot

1304
01:16:20,760 --> 01:16:24,320
Speaker 1: of the movie. Yeah, two thousand one, so like thank you,

1305
01:16:24,960 --> 01:16:27,320
Speaker 1: So like that's you know, still like the nineties. Two

1306
01:16:27,320 --> 01:16:29,160
Speaker 1: thousand Want is so super close in time periods, so

1307
01:16:29,280 --> 01:16:30,880
Speaker 1: that makes sense. At the end of the movie, they're like, look,

1308
01:16:30,880 --> 01:16:32,800
Speaker 1: white people will watch two negroes. It's just like, how

1309
01:16:32,880 --> 01:16:34,559
Speaker 1: to let a black man be president. They're like, he's

1310
01:16:34,560 --> 01:16:36,439
Speaker 1: still a man, but we don't want to see him

1311
01:16:36,560 --> 01:16:39,880
Speaker 1: sucking on women. Okay, let's let's see his big old

1312
01:16:39,960 --> 01:16:43,280
Speaker 1: lips on our women. So that makes sense to me. Yeah,

1313
01:16:43,760 --> 01:16:45,920
Speaker 1: that's shitty. I I thought they were just respecting her.

1314
01:16:46,040 --> 01:16:51,080
Speaker 1: Nona would doubt always go with racist that. Yeah, alright,

1315
01:16:51,120 --> 01:16:54,280
Speaker 1: well shout out to Sam Mike before probably correctly calling that.

1316
01:16:54,439 --> 01:16:57,439
Speaker 1: We thought that maybe that Michael Bay had made a

1317
01:16:57,560 --> 01:16:59,360
Speaker 1: choice that was nice to women, but it turns out

1318
01:16:59,640 --> 01:17:05,479
Speaker 1: it was racist. So uh so, yeah, my nipple, I'm

1319
01:17:05,520 --> 01:17:08,120
Speaker 1: gonna give it. I'm gonna give two point five or sorry,

1320
01:17:08,360 --> 01:17:14,479
Speaker 1: what point to five? Oh my god, cancel me. I

1321
01:17:14,560 --> 01:17:19,559
Speaker 1: gotta go down the half. Okay, yeah, yeah, I'm gonna

1322
01:17:19,600 --> 01:17:24,400
Speaker 1: go point to five because of like the two things

1323
01:17:24,680 --> 01:17:29,040
Speaker 1: that the Julie character gets to do. But everything, as

1324
01:17:29,080 --> 01:17:33,120
Speaker 1: we've discussed, is just like framing women as obstacles, framing

1325
01:17:33,160 --> 01:17:38,000
Speaker 1: women as damsels, framing women as frigid shrews. A lot

1326
01:17:38,120 --> 01:17:41,200
Speaker 1: of you know, racist stereotypes are employed in this movie,

1327
01:17:41,800 --> 01:17:44,759
Speaker 1: a lot of no homo moments, I mean, just runs

1328
01:17:44,800 --> 01:17:48,120
Speaker 1: the whole gamut of problematic stuff. Uh and it is

1329
01:17:48,160 --> 01:17:50,920
Speaker 1: a Michael Bay movie, so we are not surprised. But

1330
01:17:51,479 --> 01:17:56,680
Speaker 1: it is fun. So I hate yeah, yeah, so you

1331
01:17:56,760 --> 01:17:59,080
Speaker 1: know not and I think it's mostly fun because of

1332
01:17:59,600 --> 01:18:02,720
Speaker 1: Martin Awrence and Will Smith. It's fully the performances that

1333
01:18:02,800 --> 01:18:08,080
Speaker 1: make this movie fun. Let's not gives Michael Bead deserves camera.

1334
01:18:10,080 --> 01:18:11,360
Speaker 1: You know, you know what, I really think it was

1335
01:18:11,520 --> 01:18:14,280
Speaker 1: the extra car exploding that really took it over the

1336
01:18:14,320 --> 01:18:17,000
Speaker 1: top for me. But yeah, yeah, it doesn't fare well

1337
01:18:17,479 --> 01:18:20,800
Speaker 1: this movie. Um, Lacy, thank you so much for being here.

1338
01:18:21,680 --> 01:18:27,439
Speaker 1: Always such a treat. Come back anytime. Where can we

1339
01:18:27,560 --> 01:18:30,000
Speaker 1: Where can we find you? Online? Guys, you can find

1340
01:18:30,040 --> 01:18:31,600
Speaker 1: me at d I V A l A c I

1341
01:18:31,720 --> 01:18:35,080
Speaker 1: DVA Lacey on all platforms. And guys, if you want

1342
01:18:35,120 --> 01:18:36,720
Speaker 1: to hear more of my voice, scam got his pot

1343
01:18:36,960 --> 01:18:38,479
Speaker 1: um and if you have any scams you want to

1344
01:18:38,479 --> 01:18:40,240
Speaker 1: email me. Scam got his pot at gmail dot com

1345
01:18:40,280 --> 01:18:44,280
Speaker 1: and scam got his pot on all platform So good.

1346
01:18:45,400 --> 01:18:50,040
Speaker 1: You can follow us bad Boys. Oh god, take that

1347
01:18:50,200 --> 01:18:56,400
Speaker 1: back right now? Leave it at spectel cast on social

1348
01:18:56,439 --> 01:19:02,280
Speaker 1: media platforms. You can subscribe to our Patreon ak Matreon.

1349
01:19:02,560 --> 01:19:05,080
Speaker 1: It's five dollars a month. You get two bonus episodes

1350
01:19:05,120 --> 01:19:09,879
Speaker 1: plus our entire back log of episodes, bad Boy backlog,

1351
01:19:10,120 --> 01:19:13,960
Speaker 1: A bad Boy backlog, Say that three times fast, and

1352
01:19:14,640 --> 01:19:17,519
Speaker 1: uh what else? We got? Rate and review us on

1353
01:19:17,800 --> 01:19:20,800
Speaker 1: Apple Podcasts or wherever you get your podcast, and check

1354
01:19:20,800 --> 01:19:23,720
Speaker 1: for our website for upcoming tour dates March as well.

1355
01:19:24,200 --> 01:19:27,120
Speaker 1: March as well, but look out for that bitchy obstacle teacher.

1356
01:19:27,680 --> 01:19:31,679
Speaker 1: Someone reminds me to make that um and uh yeah,

1357
01:19:31,760 --> 01:19:34,599
Speaker 1: we love you so much. Bad boys, Bad boys. What's

1358
01:19:34,600 --> 01:19:37,280
Speaker 1: you gonna do? What's you're gonna do when they come

1359
01:19:37,400 --> 01:19:38,680
Speaker 1: for you by