1 00:00:00,920 --> 00:00:03,720 Speaker 1: On the Beck Doll Cast, the questions asked if movies 2 00:00:03,760 --> 00:00:07,400 Speaker 1: have women in them? Are all their discussions just boyfriends 3 00:00:07,400 --> 00:00:11,799 Speaker 1: and husbands? Do they have individualism? The patriarchy? Zef in, 4 00:00:12,000 --> 00:00:16,680 Speaker 1: best start changing it with the beck del Cast. A 5 00:00:16,760 --> 00:00:21,919 Speaker 1: word of advice, Jamie, Yeah, if a movie makes sweeping 6 00:00:22,160 --> 00:00:28,960 Speaker 1: and reductive generalizations about gender and relationships, it's just not 7 00:00:29,440 --> 00:00:36,800 Speaker 1: that good of a movie. The end. Okay, anyway, Sorry, 8 00:00:36,800 --> 00:00:39,000 Speaker 1: I can't hear you. I've been locked in a closet 9 00:00:39,159 --> 00:00:43,120 Speaker 1: by Bradley Cooper. Actually, could you speak up? I'm trapped 10 00:00:43,120 --> 00:00:48,800 Speaker 1: in Bradley Cooper's office closet. There. Oh, here we go, 11 00:00:49,000 --> 00:00:52,080 Speaker 1: Here we go. Welcome to the Beck Dol Cast. My 12 00:00:52,159 --> 00:00:55,440 Speaker 1: name is Jamie Loftus, my name is Caitlin Drante, and 13 00:00:55,480 --> 00:00:59,360 Speaker 1: today we're broadcasting live from Bradley Cooper's office closet. We're 14 00:00:59,440 --> 00:01:06,280 Speaker 1: a guest. It's getting crowded, impossible to socially distance in here. Yes. Uh, 15 00:01:06,319 --> 00:01:10,440 Speaker 1: this is our episode about He's just not that into you. 16 00:01:10,920 --> 00:01:15,480 Speaker 1: This is our podcast about looking at movies through an 17 00:01:15,520 --> 00:01:20,520 Speaker 1: intersectional feminist lens, using the Bechtel tests simply as a 18 00:01:20,600 --> 00:01:25,280 Speaker 1: jumping off point. And Jamie, I've i forgot what was 19 00:01:26,360 --> 00:01:29,560 Speaker 1: I will allow me. Let me ask Alison Bechtel. She's 20 00:01:29,600 --> 00:01:33,280 Speaker 1: actually in here too. I'm sorry before I say with 21 00:01:33,280 --> 00:01:36,640 Speaker 1: the backlasures I had, I think I just like ended 22 00:01:36,720 --> 00:01:39,360 Speaker 1: up just my soul was flying out of my body 23 00:01:39,400 --> 00:01:42,400 Speaker 1: when I was watching this movie and it was like, 24 00:01:42,600 --> 00:01:44,680 Speaker 1: you know, I was like watching myself watch the movie 25 00:01:44,720 --> 00:01:49,480 Speaker 1: from above, and it would have made me laugh so hard. 26 00:01:49,760 --> 00:01:52,840 Speaker 1: If Scarlett Johanson when she was being pushed into a 27 00:01:52,880 --> 00:01:55,720 Speaker 1: closet by Bradley Cooper, um, if there was like just 28 00:01:55,760 --> 00:01:59,840 Speaker 1: a skeleton in there from from another woman who advent 29 00:01:59,840 --> 00:02:02,160 Speaker 1: through the same thing, and then maybe he forgot and 30 00:02:02,200 --> 00:02:04,240 Speaker 1: then she you know, and this happened in like two 31 00:02:04,240 --> 00:02:07,520 Speaker 1: thousand two, and then he's like, oh my god, I forgot. 32 00:02:07,840 --> 00:02:10,440 Speaker 1: I pushed Jodie Foster into that closet seven years ago 33 00:02:10,639 --> 00:02:14,640 Speaker 1: and she never got out. The Bechtel test is a 34 00:02:14,720 --> 00:02:18,080 Speaker 1: media metric, as you said it for our purposes. It 35 00:02:18,200 --> 00:02:23,639 Speaker 1: requires that two characters of a marginalized gender with names 36 00:02:23,880 --> 00:02:26,480 Speaker 1: speak to each other about something other than a man 37 00:02:26,639 --> 00:02:32,960 Speaker 1: for two lines of dialogue. We'll see, we'll see how 38 00:02:33,000 --> 00:02:36,320 Speaker 1: it goes, you know, and I guess you're going into 39 00:02:36,320 --> 00:02:38,560 Speaker 1: this time you know it's not. It's not a perfect metric, 40 00:02:38,760 --> 00:02:41,280 Speaker 1: you know, it's it's not if feminist text just because 41 00:02:41,280 --> 00:02:44,640 Speaker 1: it passes the Bechtel test, as we know, not saying 42 00:02:44,680 --> 00:02:47,520 Speaker 1: that for any protarget want to reason anyways, that is 43 00:02:47,520 --> 00:02:49,480 Speaker 1: the Bechtel test. This is the Bechtel Cast and we 44 00:02:49,600 --> 00:02:55,120 Speaker 1: have an amazing guest with us today. Yes, welcome to 45 00:02:55,160 --> 00:03:00,320 Speaker 1: the closet. She's an actor. You've seen her on Vida 46 00:03:00,600 --> 00:03:04,840 Speaker 1: Love Victor, Call Your Mother, and she is the founder 47 00:03:05,280 --> 00:03:08,359 Speaker 1: of Put Me On Self Tape, which is a self 48 00:03:08,400 --> 00:03:12,640 Speaker 1: tape and audition coaching studio in l A. It's Anna 49 00:03:12,760 --> 00:03:16,120 Speaker 1: La Madrid. Hello. I'm excited to be in the closet, 50 00:03:16,160 --> 00:03:19,200 Speaker 1: skin hat, but I'm here for it. Bradley is coming 51 00:03:19,240 --> 00:03:22,920 Speaker 1: back any second now, not to worry any time. And 52 00:03:22,960 --> 00:03:25,400 Speaker 1: I'm gonna walk out with my red Neglija and not 53 00:03:25,639 --> 00:03:29,640 Speaker 1: put my dress on while they're having sex. Two seconds 54 00:03:29,800 --> 00:03:34,440 Speaker 1: after Jennifer Connelly left, Like, wouldn't she not realize that 55 00:03:34,600 --> 00:03:37,119 Speaker 1: someone is kind? Also like they're going to run each 56 00:03:37,120 --> 00:03:42,960 Speaker 1: other in the elevator, right, yeah, yeah, Jennifer Connelly like 57 00:03:44,200 --> 00:03:49,400 Speaker 1: is that my husband? It's not my husband's seed. But 58 00:03:49,520 --> 00:03:53,320 Speaker 1: I'm also like girl put on your dress. Everybody in 59 00:03:53,360 --> 00:03:56,800 Speaker 1: the office is going to know we need we needed. 60 00:03:57,200 --> 00:03:58,960 Speaker 1: I just want to have a talk with every character 61 00:03:59,000 --> 00:04:04,640 Speaker 1: in this movie about uh, learning to love themselves. Yeah. Good, 62 00:04:05,280 --> 00:04:09,320 Speaker 1: so much this I have to say, like as awful 63 00:04:09,400 --> 00:04:13,040 Speaker 1: as all of these like ensemble movies of this era are, 64 00:04:13,200 --> 00:04:15,880 Speaker 1: because it's also like whatever, I would include this in 65 00:04:15,920 --> 00:04:20,120 Speaker 1: the expanded universe of Valentine's Day and New Year's Even 66 00:04:20,120 --> 00:04:22,840 Speaker 1: and they're all so bad. But it is. It is 67 00:04:23,000 --> 00:04:26,520 Speaker 1: kind of like Ben Affleck isn't in this movie for 68 00:04:26,560 --> 00:04:30,360 Speaker 1: a full hour. He just he just disappears, he goes away. 69 00:04:30,600 --> 00:04:33,479 Speaker 1: He's not about He's like he gets lost at sea. 70 00:04:33,720 --> 00:04:38,160 Speaker 1: Maybe we don't know. I mean one would hope it's 71 00:04:38,200 --> 00:04:41,880 Speaker 1: just like a nightmare. It's a nightmare. But um, but 72 00:04:41,960 --> 00:04:46,240 Speaker 1: I was very fully um engaged triggered activated fight or 73 00:04:46,279 --> 00:04:50,080 Speaker 1: flight response. Um, My fight or flight response was fully 74 00:04:50,120 --> 00:04:55,200 Speaker 1: activated by this movie. But let's talk about our personal histories. Anna, 75 00:04:55,279 --> 00:05:00,560 Speaker 1: what is your history with this cinematic text? Um, you know, 76 00:05:00,680 --> 00:05:04,560 Speaker 1: I remember watching it when it first came out, and UM, 77 00:05:04,600 --> 00:05:08,159 Speaker 1: I guess I've, like many of us, have been fallen 78 00:05:08,200 --> 00:05:12,919 Speaker 1: trapped into finding romantic comedies um enjoyable. When I was 79 00:05:12,960 --> 00:05:15,799 Speaker 1: ignorant and didn't know any better. Um, it was nice. 80 00:05:15,920 --> 00:05:17,800 Speaker 1: You know. One of the things that I do for 81 00:05:17,839 --> 00:05:20,880 Speaker 1: fun sometimes is I try to watch eighties movies and 82 00:05:20,880 --> 00:05:24,880 Speaker 1: then see how they hold up. Most of them don't. Um. 83 00:05:25,040 --> 00:05:28,400 Speaker 1: I haven't done this for like early odts movies. So 84 00:05:28,440 --> 00:05:31,120 Speaker 1: this was kind of like a revelation to me because 85 00:05:31,120 --> 00:05:35,680 Speaker 1: I'm like, holy sh it, there's so much toxic like masculinity, 86 00:05:35,720 --> 00:05:40,840 Speaker 1: toxic positivity, like are these girls actually really your friends? 87 00:05:41,279 --> 00:05:46,320 Speaker 1: Like yeah, so, um yeah, that's my relationship to it. 88 00:05:46,360 --> 00:05:48,600 Speaker 1: I can't believe that I enjoyed it and kind of 89 00:05:48,640 --> 00:05:56,200 Speaker 1: normalized these narratives in my head. I mean, two, it's 90 00:05:56,279 --> 00:06:00,960 Speaker 1: so depressingly like still feels too recent to would be like, wow, 91 00:06:01,160 --> 00:06:05,239 Speaker 1: we really we really did not question all that much. 92 00:06:05,720 --> 00:06:07,880 Speaker 1: The only the only thing that felt commonly accepted was 93 00:06:07,920 --> 00:06:10,240 Speaker 1: that the movie was bad, but the messaging kind of 94 00:06:10,360 --> 00:06:14,040 Speaker 1: wasn't up for debate. I don't know, Caitlin, what's your 95 00:06:14,080 --> 00:06:17,599 Speaker 1: history with this movie? Oh gosh, well, I slash book. 96 00:06:19,000 --> 00:06:23,880 Speaker 1: So I watched the movie some amount of years after 97 00:06:23,960 --> 00:06:28,600 Speaker 1: it came out and promptly forgot everything about it because 98 00:06:28,600 --> 00:06:31,040 Speaker 1: when I rewatched it to prep for this, I was 99 00:06:31,080 --> 00:06:34,960 Speaker 1: like well, I didn't remember that there were four thousand 100 00:06:35,120 --> 00:06:38,920 Speaker 1: Jennifers in this movie. I didn't remember Jennifer any of 101 00:06:38,960 --> 00:06:41,799 Speaker 1: the I love when it scenes where it's Jennifer and Jennifer, 102 00:06:41,960 --> 00:06:45,080 Speaker 1: You're like, right, my head hurt. I'm just like, where's 103 00:06:45,120 --> 00:06:47,839 Speaker 1: Jennifer Lopez? If you're going to get the romcom jen 104 00:06:48,160 --> 00:06:51,880 Speaker 1: Jennifer's in there, at least then we would have intersectional right, yes, 105 00:06:52,680 --> 00:06:55,000 Speaker 1: because where are the people of color in this film 106 00:06:55,440 --> 00:07:00,440 Speaker 1: that they are on the sidelines being the game best friend? Yeah? Yeah, 107 00:07:00,440 --> 00:07:02,919 Speaker 1: I was like, literally, it's it's like anyone who is 108 00:07:02,960 --> 00:07:04,960 Speaker 1: not white and not straight is not going to be 109 00:07:05,000 --> 00:07:07,320 Speaker 1: centered in this movie for even a second. They're just 110 00:07:07,320 --> 00:07:09,480 Speaker 1: gonna be there to tell Drew Barrymore how to send 111 00:07:09,480 --> 00:07:16,040 Speaker 1: an email. Like right. So I saw the movie at 112 00:07:16,120 --> 00:07:19,480 Speaker 1: some point, but I did read the book when it 113 00:07:19,600 --> 00:07:25,320 Speaker 1: came out because a roommate I had in college was like, Caitlin, 114 00:07:25,520 --> 00:07:28,760 Speaker 1: you gotta read this book. It's gonna change your life. 115 00:07:29,360 --> 00:07:33,600 Speaker 1: It's like my Bible. And I was like, oh, okay. 116 00:07:33,640 --> 00:07:35,800 Speaker 1: And I didn't like I wasn't a sex in the 117 00:07:35,880 --> 00:07:39,440 Speaker 1: City watcher, Like I didn't really know what I was 118 00:07:39,880 --> 00:07:43,720 Speaker 1: in store for, and and I don't remember specifics now. 119 00:07:43,800 --> 00:07:47,080 Speaker 1: I obviously did not reread it recently, um, but I 120 00:07:47,160 --> 00:07:51,120 Speaker 1: just remember the general takeaways of it, which are mostly 121 00:07:51,200 --> 00:07:55,040 Speaker 1: like because the book in the movie are are are 122 00:07:55,280 --> 00:07:57,360 Speaker 1: very different in the sense that, like the book is 123 00:07:57,400 --> 00:08:03,239 Speaker 1: a self help book, the movie is narrative vignettes, but 124 00:08:03,920 --> 00:08:07,720 Speaker 1: the themes are all still present. And the themes of 125 00:08:07,760 --> 00:08:12,720 Speaker 1: the book are men know what they want and they're 126 00:08:12,720 --> 00:08:14,960 Speaker 1: going to go out and get it, but women shouldn't 127 00:08:14,960 --> 00:08:18,160 Speaker 1: do that. They should not call a man first, They 128 00:08:18,200 --> 00:08:21,600 Speaker 1: should not initiate contact. They should never ask a man out. 129 00:08:22,160 --> 00:08:25,720 Speaker 1: Women should wait idly buy for a man to make 130 00:08:25,760 --> 00:08:29,280 Speaker 1: the first move. Women should surrender any and all power 131 00:08:29,440 --> 00:08:33,959 Speaker 1: and agency and just sit around waiting for a man 132 00:08:34,080 --> 00:08:36,440 Speaker 1: to take all the initiative. And I remember in it 133 00:08:36,520 --> 00:08:39,360 Speaker 1: like again two thousand five when I read this, when 134 00:08:39,400 --> 00:08:44,480 Speaker 1: my feminism was not sophisticated or you know, not really 135 00:08:44,520 --> 00:08:49,280 Speaker 1: barely there at all many of our Yeah, I still 136 00:08:50,160 --> 00:08:55,439 Speaker 1: was like, this book is the most sexist, regressive piece 137 00:08:55,480 --> 00:08:59,000 Speaker 1: of ship that I've ever read in my life. So 138 00:08:59,040 --> 00:09:03,600 Speaker 1: I've hated this pretty for a long time now, And 139 00:09:03,640 --> 00:09:07,000 Speaker 1: that's my history. That also around the same time that 140 00:09:07,080 --> 00:09:12,600 Speaker 1: that book, The Rules came out good question, I would 141 00:09:12,679 --> 00:09:14,959 Speaker 1: guess though it feels like the same era. That sounded 142 00:09:15,080 --> 00:09:17,360 Speaker 1: very similar to where she was like if they ask 143 00:09:17,400 --> 00:09:19,840 Speaker 1: you out on a Wednesday, that's a no. And then 144 00:09:19,920 --> 00:09:22,920 Speaker 1: and it was like going around about like how you 145 00:09:22,920 --> 00:09:26,079 Speaker 1: need to make yourself be the prize and that they 146 00:09:26,120 --> 00:09:28,240 Speaker 1: have to fight for you because that's what men want 147 00:09:28,240 --> 00:09:31,160 Speaker 1: to do and that you shouldn't. So that was another book, 148 00:09:31,240 --> 00:09:35,040 Speaker 1: So I remember that being passed around my circle. Yes, 149 00:09:35,280 --> 00:09:40,240 Speaker 1: oh that's that's from ninety five The Rules, Time Tested 150 00:09:40,280 --> 00:09:43,439 Speaker 1: Secrets for Capturing the Heart of Mr Wright written by 151 00:09:43,440 --> 00:09:47,120 Speaker 1: two women. So it's two women there are. And we'll 152 00:09:47,360 --> 00:09:53,600 Speaker 1: get into this today. Sometimes women can perpetuate sexism because 153 00:09:53,760 --> 00:09:56,280 Speaker 1: I don't because question mark, because they don't love themselves, 154 00:09:56,600 --> 00:10:01,560 Speaker 1: internalized misogny, etcetera. My street with this movie is that 155 00:10:02,080 --> 00:10:05,840 Speaker 1: I was taken to see this movie after my first 156 00:10:05,920 --> 00:10:11,280 Speaker 1: breakup ever and it I was This movie came out 157 00:10:11,280 --> 00:10:15,079 Speaker 1: when I was I think, like a sophomore in high school. 158 00:10:15,880 --> 00:10:22,480 Speaker 1: My boyfriend who had just dumped me to play the saxophone. More. Um, 159 00:10:22,520 --> 00:10:27,960 Speaker 1: I was like devastated. I was a mess. I was inconsolable, 160 00:10:28,080 --> 00:10:30,960 Speaker 1: and so my friends we didn't know I knew that 161 00:10:31,000 --> 00:10:32,840 Speaker 1: it was a book, but we definitely hadn't read it. 162 00:10:32,880 --> 00:10:36,040 Speaker 1: But my my friends were like, no, we're gonna We're 163 00:10:36,040 --> 00:10:38,240 Speaker 1: gonna cheer Jamie up. And we I think that we 164 00:10:38,280 --> 00:10:39,800 Speaker 1: went into it thinking this was going to be a 165 00:10:39,840 --> 00:10:43,640 Speaker 1: movie that was like fuck men, the Sack and then 166 00:10:43,679 --> 00:10:48,880 Speaker 1: hopefully also the Saxophone. Um but I remember we left 167 00:10:50,080 --> 00:10:52,520 Speaker 1: very disappointed. We didn't like the movie. And at the end, 168 00:10:52,600 --> 00:10:58,800 Speaker 1: my my friend shoutout Jenny hide Uh. She apologized. She's like, 169 00:10:59,000 --> 00:11:02,080 Speaker 1: I thought that was going to cheer you up, but 170 00:11:03,400 --> 00:11:05,440 Speaker 1: I don't think it did. And I was like, that's 171 00:11:05,640 --> 00:11:07,640 Speaker 1: it was worth the shot. And then we went to 172 00:11:07,720 --> 00:11:12,360 Speaker 1: eye hop and that was it. Turns out that was 173 00:11:12,400 --> 00:11:17,560 Speaker 1: the medicine I needed. Pancakes. Pancakes always win, true, like 174 00:11:17,760 --> 00:11:24,960 Speaker 1: pancakes over toxic masculinity. The movie, um so that was 175 00:11:25,000 --> 00:11:28,480 Speaker 1: my And then I revisited it when it was during 176 00:11:28,480 --> 00:11:30,560 Speaker 1: the pandemic just to be like, is this as bad 177 00:11:30,559 --> 00:11:34,120 Speaker 1: as I remember? And I was like, oh, it's actually worse. 178 00:11:34,720 --> 00:11:37,200 Speaker 1: Um and and here we are. So I've seen this 179 00:11:37,240 --> 00:11:41,200 Speaker 1: movie several times this year. Um and and hopefully for 180 00:11:41,320 --> 00:11:44,120 Speaker 1: perhaps for the last time. You know, we don't know. 181 00:11:44,520 --> 00:11:52,240 Speaker 1: So there could be a very sinister twist. Oh god, well, 182 00:11:52,280 --> 00:11:55,360 Speaker 1: should I get into the recap and then we'll go 183 00:11:55,400 --> 00:12:00,480 Speaker 1: from there. Let's do it. So the movie opened on 184 00:12:00,960 --> 00:12:04,600 Speaker 1: a little boy being mean to a little girl, and 185 00:12:04,640 --> 00:12:06,920 Speaker 1: then the little girl is told that the boy was 186 00:12:06,960 --> 00:12:09,760 Speaker 1: treating her badly because he has a crush on her, 187 00:12:10,320 --> 00:12:13,760 Speaker 1: and the voiceover explains how that is a lie that 188 00:12:13,880 --> 00:12:17,079 Speaker 1: girls and women have been conditioned to believe. And then 189 00:12:17,080 --> 00:12:20,560 Speaker 1: this is followed by a montage of women encouraging other 190 00:12:20,600 --> 00:12:24,320 Speaker 1: women saying like, oh, when a man is ignoring you, 191 00:12:24,960 --> 00:12:28,120 Speaker 1: it's because of this, or it's you know, let's make 192 00:12:28,160 --> 00:12:31,280 Speaker 1: excuses for the guy and all this stuff, or like 193 00:12:31,320 --> 00:12:34,960 Speaker 1: you're great, he can't dump you. Like yeah, it was 194 00:12:35,559 --> 00:12:39,400 Speaker 1: a sampler bladder of what we were going to suffer 195 00:12:39,480 --> 00:12:42,000 Speaker 1: through for the next two hours too, because I'm like, 196 00:12:42,040 --> 00:12:46,560 Speaker 1: oh my god, how dare this movie be longer than 197 00:12:46,640 --> 00:12:51,800 Speaker 1: two hours? I am furious hours and it really felt 198 00:12:52,040 --> 00:12:56,160 Speaker 1: like more hours than two And also, the little kid 199 00:12:56,240 --> 00:13:01,959 Speaker 1: just wasn't mean. He physically pushed this. I'm normalizing physical 200 00:13:02,000 --> 00:13:04,440 Speaker 1: abuse too. Great. Thanks thanks for letting us know if 201 00:13:04,480 --> 00:13:08,520 Speaker 1: he hits us, that means he loves us. Yeah. So anyway, 202 00:13:08,600 --> 00:13:10,480 Speaker 1: so you have all this like this montage and this 203 00:13:10,600 --> 00:13:13,440 Speaker 1: voice over at the beginning, and then, according to the movie, 204 00:13:14,080 --> 00:13:17,080 Speaker 1: the truth of the matter is when a man is 205 00:13:17,120 --> 00:13:20,480 Speaker 1: not calling you or paying attention to you, or he's 206 00:13:20,520 --> 00:13:24,080 Speaker 1: being a dick to you, it means he's just not 207 00:13:24,280 --> 00:13:27,040 Speaker 1: that into you. And then so the rest of the 208 00:13:27,080 --> 00:13:31,719 Speaker 1: movie is a bunch of vignettes that are all vaguely connected. 209 00:13:32,040 --> 00:13:35,680 Speaker 1: This movie is trying to be love Actually but worse, 210 00:13:35,840 --> 00:13:39,400 Speaker 1: which is also you can go back to our episode 211 00:13:39,400 --> 00:13:41,959 Speaker 1: on love Actually, I don't have the mental capacity for it. 212 00:13:42,200 --> 00:13:46,400 Speaker 1: No today. Also, for this recap, I'm going to use 213 00:13:46,440 --> 00:13:49,840 Speaker 1: actors names instead of characters names because there are too 214 00:13:49,840 --> 00:13:53,440 Speaker 1: many characters and who cares what their names are. But 215 00:13:53,520 --> 00:13:56,720 Speaker 1: most of the actors are famous, so that should just 216 00:13:56,800 --> 00:14:01,960 Speaker 1: help clarify things. Okay, So we cut to Jennifer Goodwin 217 00:14:02,480 --> 00:14:06,920 Speaker 1: and Kevin Connolly a k from Entourage, which is probably 218 00:14:06,920 --> 00:14:09,720 Speaker 1: what I'm going to call him this whole episode. They're 219 00:14:09,720 --> 00:14:12,480 Speaker 1: on a date. She seems to be more excited about 220 00:14:12,520 --> 00:14:16,559 Speaker 1: it than he is because he is in love with 221 00:14:16,800 --> 00:14:20,800 Speaker 1: Scarlett Johansson, who is a singer slash yoga instructor. I 222 00:14:20,840 --> 00:14:25,200 Speaker 1: was like, oh, we're hitting the tropes early early Yeah, 223 00:14:25,520 --> 00:14:28,480 Speaker 1: who doesn't have yoga pants? By the way, and that 224 00:14:28,760 --> 00:14:32,400 Speaker 1: scene where she's teaching people's sweatpants, I'm like, you didn't 225 00:14:32,400 --> 00:14:35,560 Speaker 1: even do your research, girl, whoa you know you should 226 00:14:35,560 --> 00:14:39,720 Speaker 1: be wearing Lula Lemons or some ship. Her character, her care, 227 00:14:39,880 --> 00:14:45,440 Speaker 1: I mean everyone's character. But good lord, this whole movie. Um. Yeah, 228 00:14:45,480 --> 00:14:50,040 Speaker 1: So Scarlett Johansson meets Bradley Cooper at a supermarket. Not 229 00:14:50,200 --> 00:14:54,360 Speaker 1: just any Bradley Cooper though, Frosty Tips Bradley prosper Tips 230 00:14:56,280 --> 00:15:00,280 Speaker 1: pre fame pretty like super super fame Frosty Tips uber. 231 00:15:00,640 --> 00:15:03,160 Speaker 1: This was his breakout role. Guys, let's just be honest. 232 00:15:03,440 --> 00:15:07,360 Speaker 1: I mean, who could forget him leering at someone in 233 00:15:07,400 --> 00:15:11,120 Speaker 1: the grocery line iconic and it would be several years 234 00:15:11,240 --> 00:15:20,120 Speaker 1: later when he would become another problematic he. I have 235 00:15:20,160 --> 00:15:22,160 Speaker 1: a lot of feelings on Bradley Cooper, most of them 236 00:15:22,200 --> 00:15:27,080 Speaker 1: are not very good. Um, but again another day, when 237 00:15:27,120 --> 00:15:30,800 Speaker 1: when my when my spirit can handle it, right, Um, 238 00:15:30,920 --> 00:15:34,480 Speaker 1: Bradley and Scarlett hit it off, but oh he's married, 239 00:15:35,440 --> 00:15:39,160 Speaker 1: but they exchange numbers anyway. He is also friends with 240 00:15:39,240 --> 00:15:43,880 Speaker 1: Ben Affleck, who is in a long term relationship with 241 00:15:44,000 --> 00:15:48,400 Speaker 1: Jennifer Aniston and she wants to get married, but he doesn't, 242 00:15:48,560 --> 00:15:51,359 Speaker 1: and it's a it's a point of contention in their relationship. 243 00:15:51,800 --> 00:15:55,240 Speaker 1: And yep, that's pretty much the whole thing, except he 244 00:15:55,320 --> 00:15:58,160 Speaker 1: doesn't believe in it. Guys, but he's committed. He doesn't 245 00:15:58,200 --> 00:16:00,200 Speaker 1: believe in it. But but don't worry, she's going to 246 00:16:00,280 --> 00:16:03,480 Speaker 1: change him because that's how that's how things work. That's 247 00:16:03,520 --> 00:16:05,720 Speaker 1: she's going to fix him. I loved so that is 248 00:16:05,760 --> 00:16:08,560 Speaker 1: basically their whole story. But just I like the like 249 00:16:08,680 --> 00:16:11,320 Speaker 1: sometimes I'll just throw a little bit of like spice 250 00:16:11,520 --> 00:16:14,880 Speaker 1: at a storyline that just something else happens that you're like, 251 00:16:14,880 --> 00:16:18,160 Speaker 1: like Chris Christopherson has a heart attack and you're like, huh, 252 00:16:18,800 --> 00:16:21,880 Speaker 1: why is that happening? And then it's immediately resolved, and 253 00:16:21,920 --> 00:16:24,360 Speaker 1: it's like, I feel like we didn't need to give 254 00:16:24,440 --> 00:16:28,440 Speaker 1: Chris christophers In a heart attack. Perhaps it's not necessary, 255 00:16:28,680 --> 00:16:31,480 Speaker 1: but I thought it was pretty I was laughing. I 256 00:16:31,560 --> 00:16:34,760 Speaker 1: was like, what is happen? Why? It was a really 257 00:16:34,840 --> 00:16:39,440 Speaker 1: roundabout way for Jennifer Aniston to be around her like 258 00:16:39,600 --> 00:16:46,320 Speaker 1: in laws, like her sister's husbands and and appreciate then Yeah, 259 00:16:46,440 --> 00:16:49,360 Speaker 1: which like again very roundabout way to go, Like you 260 00:16:49,360 --> 00:16:51,720 Speaker 1: could have done that in like a much tighter, more 261 00:16:51,760 --> 00:16:54,880 Speaker 1: efficient way. Anyway, how do they filled out those two 262 00:16:54,880 --> 00:16:58,600 Speaker 1: hours though they want to the things like, I mean, 263 00:16:58,640 --> 00:17:01,200 Speaker 1: I guess that the only the Chris Christophers and plot 264 00:17:01,200 --> 00:17:04,280 Speaker 1: heart attack. I was cracking up because I was just like, 265 00:17:04,359 --> 00:17:06,439 Speaker 1: what is this for? Like, you know, they're not going 266 00:17:06,520 --> 00:17:12,000 Speaker 1: to kill him, so what's happening? I messy? Messy. Meanwhile, 267 00:17:12,080 --> 00:17:16,320 Speaker 1: in the movie, Jennifer Goodwin who works with Jennifer Aniston 268 00:17:16,560 --> 00:17:20,720 Speaker 1: and also Jennifer Connolly, so all the Jennifers work together 269 00:17:20,760 --> 00:17:24,160 Speaker 1: at the same company. You can only what is their job? 270 00:17:24,560 --> 00:17:27,080 Speaker 1: They have never all they talk about is that one 271 00:17:27,240 --> 00:17:30,640 Speaker 1: nutmet copy, but like, who's the client? Are they? All 272 00:17:30,680 --> 00:17:33,160 Speaker 1: they do is sit around and get paid to talk 273 00:17:33,200 --> 00:17:36,040 Speaker 1: about guys the entire day. I'm like, wow, I want 274 00:17:36,080 --> 00:17:38,399 Speaker 1: to work in that office, which is also wild because 275 00:17:38,440 --> 00:17:41,199 Speaker 1: I'm like, ladies, this is a recession. I feel like 276 00:17:41,480 --> 00:17:44,400 Speaker 1: there would have been some positions cut if the three 277 00:17:44,440 --> 00:17:46,920 Speaker 1: of you are all trying to write one paragraph about 278 00:17:47,080 --> 00:17:51,640 Speaker 1: Nutmeg for several months. It just seems seems like, you know, 279 00:17:52,000 --> 00:17:54,200 Speaker 1: in the middle of the talk of a pitch meeting, 280 00:17:54,680 --> 00:17:57,680 Speaker 1: no stakes, where they're like, we just need to get 281 00:17:57,720 --> 00:18:00,280 Speaker 1: him in the same room, and women do be having 282 00:18:00,359 --> 00:18:06,840 Speaker 1: jobs these days, so Nutmeg, Yeah, and it's advertising. That's cool, right, 283 00:18:06,880 --> 00:18:10,720 Speaker 1: That's something women can do. It's actually the reason why 284 00:18:10,760 --> 00:18:13,159 Speaker 1: I studied advertising. I'm not gonna lie that was my 285 00:18:13,320 --> 00:18:17,159 Speaker 1: undergrad degree, but because I saw, like the mom on 286 00:18:17,200 --> 00:18:21,840 Speaker 1: Who's the Boss was an advertising like Amanda Woodard from 287 00:18:21,840 --> 00:18:24,840 Speaker 1: Meller's Place was in advertising. So I'm like, oh, that's 288 00:18:24,840 --> 00:18:28,680 Speaker 1: what women do. We do advertising. That's why I'm a journalist, 289 00:18:28,880 --> 00:18:34,600 Speaker 1: art curator. Slash there sash she owned a bakery slash Bakery, 290 00:18:34,720 --> 00:18:41,120 Speaker 1: a struggling bakery owner. Oh gosh, okay. So Jennifer Goodwin 291 00:18:41,480 --> 00:18:46,680 Speaker 1: is waiting to hear from E from Entourage, and when 292 00:18:46,720 --> 00:18:50,080 Speaker 1: she doesn't, she decides to go to a bar where 293 00:18:50,280 --> 00:18:52,600 Speaker 1: she knows he hangs out a k a stock him 294 00:18:53,200 --> 00:18:58,280 Speaker 1: and there she meets a bartender, Justin Long, who is 295 00:18:58,359 --> 00:19:02,920 Speaker 1: E from Entourages friend, roommate, I don't know, friend who 296 00:19:03,040 --> 00:19:06,520 Speaker 1: like just walks into his house unannounced. I'm like, yeah, 297 00:19:06,800 --> 00:19:09,040 Speaker 1: I'm mostly yeah. I was like, I was like, are 298 00:19:09,040 --> 00:19:12,720 Speaker 1: they roommates? Because I'm like, oh, you at keys? Or 299 00:19:12,800 --> 00:19:16,280 Speaker 1: does he just leave his door open? I was really 300 00:19:16,320 --> 00:19:20,439 Speaker 1: confused about Justin Long's character. I mean, first of all, 301 00:19:20,960 --> 00:19:24,719 Speaker 1: we've done the definitive Justin rankings before, and we as 302 00:19:24,760 --> 00:19:27,560 Speaker 1: a podcast take the stance that Justin Bartha is better 303 00:19:27,600 --> 00:19:30,520 Speaker 1: than Justin Long. So whenever I see Justin Long, I 304 00:19:30,560 --> 00:19:35,600 Speaker 1: think should have been Justin Bartham. That alone was distracting, 305 00:19:35,960 --> 00:19:40,040 Speaker 1: but on top of that, his his life was confusing 306 00:19:40,080 --> 00:19:41,679 Speaker 1: because it was like he's a bartender. But then he 307 00:19:41,720 --> 00:19:45,240 Speaker 1: was also seen in a large office at one point 308 00:19:45,280 --> 00:19:50,480 Speaker 1: that was his house. What everybody's house has like huge loss. 309 00:19:50,560 --> 00:19:53,400 Speaker 1: I'm like, where are you living? And what is the rent? Yeah, 310 00:19:53,400 --> 00:19:57,000 Speaker 1: everyone is is very wealthy and very wealthy, like his 311 00:19:57,160 --> 00:19:59,520 Speaker 1: parents paid for that house for sure, I mean, and 312 00:19:59,560 --> 00:20:02,360 Speaker 1: it's also they they have to keep reminding you you're 313 00:20:02,400 --> 00:20:05,800 Speaker 1: in Baltimore because there's no visual indication that you're in Baltimore. 314 00:20:06,000 --> 00:20:09,160 Speaker 1: And also it's like, oh it's Baltimore. That's like, but 315 00:20:09,440 --> 00:20:13,520 Speaker 1: like it's all rich white people in Baltimore with gigantic holms, 316 00:20:13,600 --> 00:20:21,960 Speaker 1: and it's like, how why stop confusing? So Justin Long 317 00:20:22,680 --> 00:20:28,600 Speaker 1: is telling Jennifer Goodwin, my roommate slash friend or some 318 00:20:28,680 --> 00:20:33,200 Speaker 1: guy who sometimes comes over e from entourage isn't gonna 319 00:20:33,240 --> 00:20:37,720 Speaker 1: call you because he's just not that into you. Meanwhile, 320 00:20:38,000 --> 00:20:41,840 Speaker 1: Scarlett Johansson, who is friends with Drew Barrymore by the way, 321 00:20:42,760 --> 00:20:48,439 Speaker 1: calls Bradley Cooper, who is married to Jennifer Connelly. You 322 00:20:48,480 --> 00:20:52,840 Speaker 1: see how all the threads are connecting. It's brilliant. The 323 00:20:52,920 --> 00:20:57,080 Speaker 1: payoff is so like every time I was like, oh, 324 00:20:57,320 --> 00:21:00,639 Speaker 1: like it was just I guess I know joy. No 325 00:21:00,840 --> 00:21:05,399 Speaker 1: joy does not spark joy for me. So Bradley Cooper 326 00:21:05,480 --> 00:21:08,800 Speaker 1: decides it will be okay and perfectly harmless to help 327 00:21:08,960 --> 00:21:11,960 Speaker 1: Scarlet with her music career. Is he a manager or 328 00:21:12,000 --> 00:21:15,600 Speaker 1: a lawyer? Right, we don't know, but somebody in his 329 00:21:15,720 --> 00:21:20,119 Speaker 1: office is going to help her. Yeah, but we don't 330 00:21:20,119 --> 00:21:23,000 Speaker 1: know any more than that. Drew Barrymore can't figure out 331 00:21:23,040 --> 00:21:25,080 Speaker 1: how to send an email for the whole movie, Like 332 00:21:25,119 --> 00:21:27,880 Speaker 1: she's or it's like just like her co workers being 333 00:21:27,920 --> 00:21:30,640 Speaker 1: like Drew Barrymore use my Space, and she's like, it's 334 00:21:30,720 --> 00:21:34,280 Speaker 1: so good for using Like she just she's trying to 335 00:21:34,359 --> 00:21:37,760 Speaker 1: send a message to someone that's her whole Like, what's 336 00:21:37,800 --> 00:21:41,280 Speaker 1: going on with her character besides nothing besides going to 337 00:21:41,359 --> 00:21:48,119 Speaker 1: MySpace dot com ads to eat. That's at least she 338 00:21:48,200 --> 00:21:51,520 Speaker 1: does one thing that's work related. What if she is 339 00:21:51,560 --> 00:21:57,400 Speaker 1: selling Nutmeg and it's all connected. That's it. We just 340 00:21:57,440 --> 00:22:00,560 Speaker 1: cracked it. Let's call him up right now, let's them 341 00:22:00,560 --> 00:22:04,000 Speaker 1: know that we need the sequel. Yeah, all about not Meg. 342 00:22:04,880 --> 00:22:08,119 Speaker 1: He is just that into you. That's my pitch for 343 00:22:08,160 --> 00:22:12,760 Speaker 1: the title. Um. Also, this movie was clearly written in 344 00:22:13,200 --> 00:22:16,919 Speaker 1: two thousand four or not two thousand nine, and the 345 00:22:16,960 --> 00:22:21,240 Speaker 1: screenplay was never updated to reflect two thousand nine technology, 346 00:22:21,720 --> 00:22:25,600 Speaker 1: because it acts like everyone still has landlines, everyone still 347 00:22:25,880 --> 00:22:30,600 Speaker 1: like leaves messages on answering machines. Nobody text messages each 348 00:22:30,640 --> 00:22:34,120 Speaker 1: other like my Space. My Space is dated. People knew 349 00:22:34,119 --> 00:22:37,399 Speaker 1: how to send an email by two thousand and nine, 350 00:22:37,760 --> 00:22:42,679 Speaker 1: Like they're just all this. Yeah, it's almost like, yeah, 351 00:22:42,760 --> 00:22:46,080 Speaker 1: it's so. I mean, the book was published in two 352 00:22:46,080 --> 00:22:49,600 Speaker 1: thousand four or two thousand five, I think, and then 353 00:22:49,600 --> 00:22:51,960 Speaker 1: the movie comes out in two thousand nine. But whoever 354 00:22:52,119 --> 00:22:55,560 Speaker 1: was writing these things, we're using technology from like two 355 00:22:55,640 --> 00:23:03,720 Speaker 1: thousand one, and I'm just like this. I was so frustrated. Anyway, Okay, 356 00:23:03,760 --> 00:23:07,640 Speaker 1: So Bradley Cooper is like, yeah, I'm gonna help Scarlet 357 00:23:07,720 --> 00:23:10,960 Speaker 1: with her music career, and then they start getting closer 358 00:23:11,000 --> 00:23:14,520 Speaker 1: and more flirty, and eventually they start sleeping together. And 359 00:23:14,560 --> 00:23:19,320 Speaker 1: then he lies to his wife Jennifer Connelly about it. 360 00:23:19,440 --> 00:23:25,080 Speaker 1: He's actively gaslighting her over in Jennifer Aniston Land. She 361 00:23:25,480 --> 00:23:29,080 Speaker 1: leaves Ben Affleck because he refuses to marry her, so 362 00:23:29,119 --> 00:23:36,920 Speaker 1: now she's single. And meanwhile, Jennifer Goodwin keeps calling Justin 363 00:23:37,160 --> 00:23:41,080 Speaker 1: Long and asking for more dating advice, and it seems 364 00:23:41,119 --> 00:23:44,440 Speaker 1: like maybe he's starting to like her, and he even 365 00:23:44,480 --> 00:23:48,359 Speaker 1: invites her to a party he's throwing, which she interprets 366 00:23:48,400 --> 00:23:51,399 Speaker 1: as him liking her, but then he's like, no, you 367 00:23:51,520 --> 00:23:56,320 Speaker 1: misread this. You've silly fool and she's like, well, at 368 00:23:56,400 --> 00:23:59,479 Speaker 1: least I put myself out there, you're gonna be alone forever, 369 00:23:59,720 --> 00:24:04,520 Speaker 1: and then she storms out, God, that's so messy. That was. 370 00:24:04,600 --> 00:24:08,560 Speaker 1: That was the moment of empowerment. Guys, What a feminist 371 00:24:08,560 --> 00:24:11,760 Speaker 1: text that was. That was when she stood up for herself. 372 00:24:12,320 --> 00:24:14,280 Speaker 1: That was I was like, oh, we were really supposed 373 00:24:14,280 --> 00:24:17,320 Speaker 1: to be cheering when I was like, I can't stand 374 00:24:17,960 --> 00:24:23,520 Speaker 1: both of you. You guys deserve each other. Yeah, true, 375 00:24:23,680 --> 00:24:26,439 Speaker 1: Like I hope you take yourselves off the market so 376 00:24:26,480 --> 00:24:31,640 Speaker 1: no one else has to deal with you. And then meanwhile, 377 00:24:31,760 --> 00:24:35,960 Speaker 1: Bradley Cooper finally does tell Jennifer Connolly that he cheated 378 00:24:36,000 --> 00:24:39,199 Speaker 1: on her, and she's upset at first, but then she's like, 379 00:24:39,240 --> 00:24:42,000 Speaker 1: wait a minute, I'm partly to blame. So she goes 380 00:24:42,040 --> 00:24:46,440 Speaker 1: to his office to try to like re ignite their 381 00:24:46,680 --> 00:24:51,160 Speaker 1: fire and to have sex with him, but oh, Scarlett 382 00:24:51,240 --> 00:24:54,800 Speaker 1: Johansson was already there and she's hiding in the closet 383 00:24:54,840 --> 00:24:58,560 Speaker 1: here with us high Scarlet, what's up. So she comes 384 00:24:58,600 --> 00:25:00,919 Speaker 1: back out afterwards and she's like, we're done, and she 385 00:25:00,960 --> 00:25:05,520 Speaker 1: breaks up with him, and then she goes back to 386 00:25:05,800 --> 00:25:08,439 Speaker 1: E from Entourage because they have this kind of like 387 00:25:08,520 --> 00:25:12,800 Speaker 1: on again, off again casual thing, but she doesn't sleep 388 00:25:12,800 --> 00:25:16,080 Speaker 1: with him anymore. Like she goes to him when she 389 00:25:16,119 --> 00:25:21,560 Speaker 1: needs to boost exactly, yeah, which is not a nice 390 00:25:21,560 --> 00:25:23,600 Speaker 1: thing to do, but I was like, oh why, I 391 00:25:23,760 --> 00:25:28,560 Speaker 1: understand this dynamic, right, So they like then they kind 392 00:25:28,560 --> 00:25:30,679 Speaker 1: of get together for a little while, but then she's like, 393 00:25:30,680 --> 00:25:33,240 Speaker 1: wait a minute, this guy was an Entourage I don't 394 00:25:33,240 --> 00:25:37,680 Speaker 1: like him. Gross, and so she breaks up with him, 395 00:25:37,760 --> 00:25:41,040 Speaker 1: and then Justin Long is starting to realize that he 396 00:25:41,200 --> 00:25:45,720 Speaker 1: does like Jennifer Goodwin, and then the movie ends with 397 00:25:46,200 --> 00:25:50,639 Speaker 1: Jennifer Goodwin and Justin Long getting together. Jennifer Aniston and 398 00:25:50,680 --> 00:25:54,919 Speaker 1: Ben Affleck getting back together because she realizes that she 399 00:25:55,040 --> 00:25:57,600 Speaker 1: doesn't need to be married after all. But then he 400 00:25:57,760 --> 00:26:01,520 Speaker 1: proposes anyway, and then they get married. Sorry, one of 401 00:26:01,560 --> 00:26:06,119 Speaker 1: the most one of the all time dufist proposals I've 402 00:26:06,160 --> 00:26:09,720 Speaker 1: ever seen committed to film. He put the ring in 403 00:26:09,800 --> 00:26:16,040 Speaker 1: his pants cargo, his disgusting cargo, and then she and 404 00:26:16,400 --> 00:26:19,560 Speaker 1: I was like, I was really hoping that that would happen, 405 00:26:20,080 --> 00:26:22,479 Speaker 1: and then Jennifer Anderson would be like, wait a second, 406 00:26:23,560 --> 00:26:31,440 Speaker 1: I'm leaving, like, oh, just the laziest look so gross. 407 00:26:32,320 --> 00:26:37,600 Speaker 1: It was horrifying. And then Jennifer Connelly and Bradley Cooper 408 00:26:37,680 --> 00:26:41,560 Speaker 1: split up, and then also Eat from Entourage hits it 409 00:26:41,600 --> 00:26:47,000 Speaker 1: off with Drew Barrymore and that is how everything concludes. 410 00:26:47,840 --> 00:26:50,160 Speaker 1: Let's take a quick break and then we'll come back 411 00:26:50,320 --> 00:27:06,280 Speaker 1: to discuss, and we're back, Uh, well where should we? Okay? 412 00:27:06,320 --> 00:27:13,560 Speaker 1: I wanna I can see how I can kind of Okay, 413 00:27:14,760 --> 00:27:17,720 Speaker 1: I'm gonna I'm gonna try to phrase this carefully, but 414 00:27:17,840 --> 00:27:22,120 Speaker 1: I can see how some of the things that get 415 00:27:22,240 --> 00:27:27,119 Speaker 1: examined in this movie or start to be examined, could 416 00:27:27,200 --> 00:27:33,440 Speaker 1: be empowering for some people because there are we see 417 00:27:33,520 --> 00:27:37,840 Speaker 1: examples of like women, you know, making their needs known, 418 00:27:38,280 --> 00:27:42,040 Speaker 1: their needs and once known in a relationship, you see 419 00:27:42,760 --> 00:27:46,439 Speaker 1: challenging of men's behavior, especially when they're being dismissive of 420 00:27:46,480 --> 00:27:50,919 Speaker 1: women's feelings. There's some voice over at the end where 421 00:27:51,359 --> 00:27:54,760 Speaker 1: Jennifer Goodwin's like, maybe a happy ending doesn't have to 422 00:27:54,840 --> 00:27:57,800 Speaker 1: include a guy. Maybe it's just you know, you on 423 00:27:57,880 --> 00:28:01,120 Speaker 1: your own, picking up the pieces and and freeing yourself 424 00:28:01,200 --> 00:28:04,760 Speaker 1: up for something better in the future. But the movie 425 00:28:05,520 --> 00:28:09,280 Speaker 1: only very barely scratches the surface of any of these things, 426 00:28:09,520 --> 00:28:14,919 Speaker 1: and um is terrible the rest of the time because, 427 00:28:14,920 --> 00:28:19,160 Speaker 1: like they're there are opportunities in this movie to explore 428 00:28:19,600 --> 00:28:25,919 Speaker 1: like why men mistreat or are disinterested in women, but 429 00:28:26,040 --> 00:28:29,720 Speaker 1: they really don't even touch on that. It's just like, well, 430 00:28:29,840 --> 00:28:33,320 Speaker 1: men are just look, I don't know, men are boys 431 00:28:33,320 --> 00:28:37,080 Speaker 1: will be boys. I mean there is an article that 432 00:28:37,160 --> 00:28:42,520 Speaker 1: I read, God, I'd probably around that was around the 433 00:28:42,520 --> 00:28:45,440 Speaker 1: time this movie came out that was titled like if 434 00:28:45,480 --> 00:28:48,200 Speaker 1: it's not a hell, yes it's a no, And it 435 00:28:48,280 --> 00:28:50,640 Speaker 1: was all and and it kind of mirrors what Justin 436 00:28:50,720 --> 00:28:54,000 Speaker 1: Long is saying, right, like, when men are actually interested, 437 00:28:54,520 --> 00:28:56,520 Speaker 1: they will show up in the ways like you don't 438 00:28:56,520 --> 00:28:59,600 Speaker 1: have to houm them to call you, they just naturally will. 439 00:29:00,200 --> 00:29:02,640 Speaker 1: And I remember reading that article and being like, that's 440 00:29:02,640 --> 00:29:04,880 Speaker 1: a good compass for me, because I think we do 441 00:29:05,080 --> 00:29:09,680 Speaker 1: hear a lot of narrative of like, let's excuse behavior 442 00:29:09,920 --> 00:29:13,040 Speaker 1: and make it about So in some ways I do 443 00:29:13,120 --> 00:29:16,160 Speaker 1: agree with what Justin is saying, like when guys are interested, 444 00:29:16,320 --> 00:29:18,320 Speaker 1: it doesn't mean that I can't approach a guy if 445 00:29:18,360 --> 00:29:21,440 Speaker 1: I'm interested, but it has to be reciprocal and I 446 00:29:21,520 --> 00:29:24,720 Speaker 1: can't be the one driving. So I do agree with that. 447 00:29:25,200 --> 00:29:32,120 Speaker 1: But there's a lot of everybody in this film needs therapy, yes, desperately, 448 00:29:32,360 --> 00:29:36,240 Speaker 1: like y'all everybody needs therapy. There's a lot of anxious 449 00:29:36,280 --> 00:29:39,640 Speaker 1: avoidant type attachment style. There's a lot of codependency. There's 450 00:29:39,640 --> 00:29:43,120 Speaker 1: a lot of lack of boundaries, and none of that 451 00:29:43,280 --> 00:29:47,280 Speaker 1: is addressed. Yeah, and I do agree it's it's so 452 00:29:47,720 --> 00:29:52,240 Speaker 1: it feels like a half step towards something that I 453 00:29:52,280 --> 00:29:57,040 Speaker 1: would agree with, where it's like, you know, I'm very 454 00:29:57,080 --> 00:29:59,680 Speaker 1: pro you know, people not playing games with each other 455 00:29:59,720 --> 00:30:03,080 Speaker 1: and be direct about how they feel. And I do 456 00:30:03,160 --> 00:30:05,360 Speaker 1: think that there there is kind of this tendency of 457 00:30:05,480 --> 00:30:09,200 Speaker 1: like I mean, it's it's introduced and like lightly criticized 458 00:30:09,240 --> 00:30:11,280 Speaker 1: the immediately walked back in the opening scene of the 459 00:30:11,280 --> 00:30:13,520 Speaker 1: movie where it's like if a boy is mean to you, 460 00:30:13,640 --> 00:30:16,120 Speaker 1: that means he likes you, which is one of the 461 00:30:16,240 --> 00:30:21,640 Speaker 1: largest fallacies that is uh spread to usually young girls. 462 00:30:22,160 --> 00:30:25,120 Speaker 1: And I think that it is like encouraging people, like 463 00:30:25,240 --> 00:30:27,280 Speaker 1: people of all genders from a young age to be 464 00:30:27,440 --> 00:30:30,840 Speaker 1: direct and encouraging when you are in the receiving end 465 00:30:30,880 --> 00:30:34,520 Speaker 1: of that to take people at their word. Um, and like, 466 00:30:34,560 --> 00:30:37,320 Speaker 1: if someone is being cruel to me, there is no 467 00:30:37,400 --> 00:30:40,200 Speaker 1: world in which you should you know, view that as 468 00:30:40,560 --> 00:30:42,600 Speaker 1: they like me and I should want to engage with 469 00:30:42,640 --> 00:30:46,360 Speaker 1: them further, Like that is such a toxic idea, and 470 00:30:46,400 --> 00:30:49,120 Speaker 1: so it's like, yeah, like like you're saying, and like 471 00:30:49,160 --> 00:30:54,200 Speaker 1: I do agree with justin long oh God, that sentence 472 00:30:54,960 --> 00:30:57,840 Speaker 1: to the extent that it's like, yeah, like if someone 473 00:30:58,080 --> 00:31:01,640 Speaker 1: is interested in you, they will make known. And you know, 474 00:31:01,720 --> 00:31:05,000 Speaker 1: this isn't like a mind game thing, but it just 475 00:31:05,080 --> 00:31:08,200 Speaker 1: has to go, you know, on both ends of a relationship. 476 00:31:08,240 --> 00:31:11,040 Speaker 1: Because I feel like where this movie lands is like 477 00:31:11,680 --> 00:31:13,880 Speaker 1: and it sounds like Caitlyn, based on what you're describing 478 00:31:13,880 --> 00:31:17,320 Speaker 1: about the book, that like men should be empowered to 479 00:31:17,480 --> 00:31:21,440 Speaker 1: be direct, whereas women need to be doing like this 480 00:31:22,120 --> 00:31:26,400 Speaker 1: calculus problem to figure it out, um, and and they're 481 00:31:26,440 --> 00:31:30,480 Speaker 1: not afforded the same amount of like emotional freedom and 482 00:31:30,760 --> 00:31:37,560 Speaker 1: directness that that men are agency. Yeah. Yeah, the movie 483 00:31:37,800 --> 00:31:41,479 Speaker 1: opening with this commentary about like how women are not 484 00:31:41,520 --> 00:31:45,000 Speaker 1: only programmed but like encouraged to think that if a 485 00:31:45,080 --> 00:31:47,160 Speaker 1: man is a jerk to you, it means he likes you. 486 00:31:47,240 --> 00:31:51,760 Speaker 1: And then so like challenging that notion is like totally legitimate, 487 00:31:51,800 --> 00:31:56,720 Speaker 1: but then the movie doesn't. Everything else the movie does 488 00:31:57,000 --> 00:32:01,440 Speaker 1: is just trash, so right, Like, there there are occasional 489 00:32:01,520 --> 00:32:04,320 Speaker 1: moments when it's I think it's Jennifer Goodwin's I think 490 00:32:04,400 --> 00:32:07,400 Speaker 1: she's supposed to be the protagonist question mark, but she 491 00:32:07,640 --> 00:32:10,840 Speaker 1: it's her. It's her voiceover saying like what a load 492 00:32:10,880 --> 00:32:13,960 Speaker 1: of crap blah blah blah, and it's like, yeah, agree, 493 00:32:14,160 --> 00:32:17,400 Speaker 1: totally agree. But then the movie does not really go 494 00:32:17,480 --> 00:32:21,600 Speaker 1: on to explore that idea in any meaningful way because 495 00:32:21,680 --> 00:32:25,200 Speaker 1: there's and there's also storylines that directly contradict that, because like, 496 00:32:25,240 --> 00:32:28,400 Speaker 1: if you think about Ben Affleck and Jennifer Aniston, who 497 00:32:28,400 --> 00:32:31,320 Speaker 1: I kept forgetting were never actually a real couple, it 498 00:32:31,400 --> 00:32:38,040 Speaker 1: just sounds like it was true, but it wasn't she didn't? Yeah, 499 00:32:38,120 --> 00:32:42,200 Speaker 1: were we ever so young? Butt? And then benefit was 500 00:32:42,480 --> 00:32:48,040 Speaker 1: him and j Loo? They're both single? Now what what? No? 501 00:32:48,640 --> 00:32:52,320 Speaker 1: They're both it's true right now? Yeah, because j Lo 502 00:32:52,480 --> 00:32:57,520 Speaker 1: and a Rod broke up. Telling me about my own people, like, 503 00:32:57,640 --> 00:33:00,440 Speaker 1: what's not on the up and up on this drama? 504 00:33:01,000 --> 00:33:04,120 Speaker 1: She just like showed her wedding ring like a few 505 00:33:04,120 --> 00:33:08,640 Speaker 1: months ago. Yeah, Aroon was cheating on her over Zoom 506 00:33:08,840 --> 00:33:12,920 Speaker 1: because pandemic get some fun ati here, I'm dead? How 507 00:33:12,960 --> 00:33:14,880 Speaker 1: do you cheat? How do you cheat on that woman? 508 00:33:15,280 --> 00:33:18,479 Speaker 1: How do you know? How do you change? People? Just 509 00:33:18,520 --> 00:33:22,080 Speaker 1: get bored and on zoom Triflin, All right, well I 510 00:33:22,160 --> 00:33:26,360 Speaker 1: learned something new, so so you know, benefit it's maybe 511 00:33:26,440 --> 00:33:29,720 Speaker 1: it's not too late. Maybe it's come back benefit part 512 00:33:29,800 --> 00:33:32,960 Speaker 1: two the sequel all that to say, you know, the 513 00:33:33,800 --> 00:33:37,680 Speaker 1: jen Andison ben Affleck storyline is all about him saying 514 00:33:37,760 --> 00:33:40,280 Speaker 1: and being direct, saying I do not want to get married, 515 00:33:40,640 --> 00:33:44,200 Speaker 1: which is like, you know, even if Jennifer Anderson disagrees 516 00:33:44,240 --> 00:33:46,520 Speaker 1: with it, like she should take him at face value. 517 00:33:46,520 --> 00:33:48,360 Speaker 1: There he doesn't seem like he wants to get married, 518 00:33:48,560 --> 00:33:51,760 Speaker 1: but the movie doesn't reinforce that he changes his mind 519 00:33:51,840 --> 00:33:54,320 Speaker 1: and he throws a dirty old ring into his dirty 520 00:33:54,320 --> 00:33:58,800 Speaker 1: old pants, and so that like directly contradicts what you're 521 00:33:58,800 --> 00:34:02,680 Speaker 1: told in the first seen that like, oh, you know, 522 00:34:02,720 --> 00:34:04,880 Speaker 1: when someone's being direct with you take them at their word, 523 00:34:05,120 --> 00:34:08,319 Speaker 1: which is not a bad message. But then it's not 524 00:34:08,360 --> 00:34:12,200 Speaker 1: always true in the movie. It's it's just because the 525 00:34:12,320 --> 00:34:16,839 Speaker 1: way women are written in this movie is that they 526 00:34:16,840 --> 00:34:22,520 Speaker 1: are generally just irrational or reactionary, or clueless or any 527 00:34:22,520 --> 00:34:26,720 Speaker 1: other number of like stereotypical negative traits associated with women. 528 00:34:27,239 --> 00:34:30,600 Speaker 1: The women are all written in these very broad stereotypes. 529 00:34:30,640 --> 00:34:33,919 Speaker 1: So even if Ben Affleck, who I can, I can't 530 00:34:33,920 --> 00:34:36,880 Speaker 1: believe I'm about to say this, but like, as someone 531 00:34:36,920 --> 00:34:41,480 Speaker 1: who like, for me personally, marriage is not something that 532 00:34:41,520 --> 00:34:44,920 Speaker 1: I care about doing. I don't really believe in it 533 00:34:44,960 --> 00:34:49,279 Speaker 1: as an institution for me personally. So the things that 534 00:34:49,320 --> 00:34:51,960 Speaker 1: he's saying about marriage, I was like, yeah, I agree 535 00:34:52,040 --> 00:34:55,640 Speaker 1: with you, Ben Affleck. Yikes, But I was like, yeah, 536 00:34:55,719 --> 00:34:58,600 Speaker 1: I see where he's coming from. It's it's a valid viewpoint. 537 00:34:58,680 --> 00:35:00,560 Speaker 1: And it's like if your partner feel is that way, 538 00:35:01,040 --> 00:35:02,719 Speaker 1: you know, it's like it's okay to feel either way. 539 00:35:02,760 --> 00:35:05,320 Speaker 1: But it's like, don't really like you're gonna come around. 540 00:35:05,560 --> 00:35:08,200 Speaker 1: I can feel it, Like that's so unhealthy. Yeah, and 541 00:35:08,239 --> 00:35:11,640 Speaker 1: it's like it's worth at least listening to and hearing 542 00:35:11,719 --> 00:35:14,239 Speaker 1: him out. But rather than Jennifer Aniston doing that, she's 543 00:35:14,280 --> 00:35:16,719 Speaker 1: just like, well, that obviously means that you don't even 544 00:35:16,800 --> 00:35:19,399 Speaker 1: love me, so we have to break up. And it's like, 545 00:35:19,800 --> 00:35:23,280 Speaker 1: that's not what he's saying, Like what it's The concept 546 00:35:23,320 --> 00:35:27,520 Speaker 1: of compromise in a relationship is completely absent from this movie, 547 00:35:27,600 --> 00:35:31,640 Speaker 1: which is bizarre because that is a big part of 548 00:35:32,040 --> 00:35:35,160 Speaker 1: being in a long term relationship is talking with each 549 00:35:35,160 --> 00:35:41,719 Speaker 1: other and sometimes finding compromises and establishing boundaries. But that 550 00:35:41,880 --> 00:35:44,480 Speaker 1: is just not where they're at. But I think again 551 00:35:44,840 --> 00:35:49,920 Speaker 1: therapy because Jennifer Aniston is being triggered by her sister's wedding, 552 00:35:50,040 --> 00:35:53,960 Speaker 1: which now has become a problem because everyone's perpetually like 553 00:35:54,080 --> 00:35:56,560 Speaker 1: her family is pressuring her to be like what are 554 00:35:56,600 --> 00:35:59,040 Speaker 1: you doing? It's seven years Like I'm sure if this 555 00:35:59,040 --> 00:36:01,760 Speaker 1: would have happened, don't think Jennifer would have been upset 556 00:36:01,800 --> 00:36:04,960 Speaker 1: about it. They lived together, they're sharing a home. He's 557 00:36:04,960 --> 00:36:07,879 Speaker 1: putting up a painting, like do you know what I mean? 558 00:36:08,000 --> 00:36:12,960 Speaker 1: Like he's doing housework. Yeah, So so it's like it's 559 00:36:12,960 --> 00:36:16,200 Speaker 1: not a problem until she let outside forces kind of 560 00:36:16,239 --> 00:36:20,720 Speaker 1: like dictate what her life should be and then listen 561 00:36:20,800 --> 00:36:23,040 Speaker 1: to those things. But then she also is like, I've 562 00:36:23,080 --> 00:36:27,960 Speaker 1: been harboring these feelings for five years, and it's like, maybe, 563 00:36:28,320 --> 00:36:31,279 Speaker 1: like again, therapy girl learned how to express herself early on. 564 00:36:31,320 --> 00:36:36,720 Speaker 1: Exactly do you think that Jennifer Anderson not being married 565 00:36:36,760 --> 00:36:40,440 Speaker 1: to Ben Affleck gave Chris Christofferson a heart attack? Is 566 00:36:40,440 --> 00:36:43,799 Speaker 1: that what set it off? Is it? He's like, oh 567 00:36:43,840 --> 00:36:49,080 Speaker 1: my god, seven years and then he keels over, keels over. Now. 568 00:36:49,160 --> 00:36:51,360 Speaker 1: I feel like they were probably like doing the Congo 569 00:36:51,400 --> 00:36:53,120 Speaker 1: line or something like they were going to dance, and 570 00:36:53,120 --> 00:36:56,080 Speaker 1: it was just too much. That was so out of 571 00:36:56,120 --> 00:36:58,319 Speaker 1: I didn't even rewind the scene. I'm like, because I 572 00:36:58,360 --> 00:37:00,120 Speaker 1: looked down to take a note for a second, I 573 00:37:00,120 --> 00:37:02,920 Speaker 1: looked back up and Chris Christofferson was in cortiac arrest. 574 00:37:02,960 --> 00:37:04,800 Speaker 1: I'm like, I can't, I don't, I don't acting to 575 00:37:04,880 --> 00:37:07,359 Speaker 1: check me out. It was so dramatic. He was like, 576 00:37:08,160 --> 00:37:11,480 Speaker 1: oh and then and then everybody rushed and I'm like, 577 00:37:11,520 --> 00:37:16,279 Speaker 1: somebody call the fucking like ambulance. They're all just like 578 00:37:16,360 --> 00:37:18,759 Speaker 1: talking over each other and no one's calling an ambulance. 579 00:37:19,360 --> 00:37:22,600 Speaker 1: It was yeah, and the music shift where was oh 580 00:37:22,600 --> 00:37:24,960 Speaker 1: there was Oh my god, there's so many This is 581 00:37:24,960 --> 00:37:27,960 Speaker 1: not related, but the mutes some of the music choices. 582 00:37:28,320 --> 00:37:31,520 Speaker 1: So the most two thousand and nine soundtrack I've ever 583 00:37:31,600 --> 00:37:36,000 Speaker 1: heard somewhere only we know playing. I was like, oh 584 00:37:36,040 --> 00:37:39,840 Speaker 1: that was that was a moment my morning jacket. Karen 585 00:37:39,960 --> 00:37:43,400 Speaker 1: Bailey Ray I was like, wow, sophomore year was what 586 00:37:43,560 --> 00:37:49,839 Speaker 1: a time. Wilco like just so so much, so much. 587 00:37:49,960 --> 00:37:52,920 Speaker 1: It takes you back to a terrible time. Yeah, it 588 00:37:52,920 --> 00:37:54,560 Speaker 1: really takes me back to being broken up with by 589 00:37:54,600 --> 00:38:00,480 Speaker 1: a saxophone player. Thanks for nothing. I want to talk 590 00:38:00,480 --> 00:38:03,319 Speaker 1: about the toxic female relationships in this movie as well, 591 00:38:03,360 --> 00:38:05,799 Speaker 1: because it's not just men on men, but I'm like 592 00:38:06,440 --> 00:38:11,000 Speaker 1: Jennifer Connolly's toxic positivity with Jennifer Goodwin, like, at some point, 593 00:38:11,080 --> 00:38:14,280 Speaker 1: stop telling her he's going to call. She's like, don't worry, 594 00:38:14,440 --> 00:38:19,239 Speaker 1: he's gonna call. And Drew Barrymore, girl, you sitting there 595 00:38:19,239 --> 00:38:21,640 Speaker 1: telling this woman to go for it for a for 596 00:38:21,680 --> 00:38:25,640 Speaker 1: a married man. Yeah, it's and then you end up 597 00:38:25,880 --> 00:38:29,080 Speaker 1: hooking up with e who you know slept with Scarlet. 598 00:38:29,120 --> 00:38:31,799 Speaker 1: So I'm like, are you all friends or acquaintances. Why 599 00:38:31,800 --> 00:38:35,120 Speaker 1: are getting your nails done together? I would never even 600 00:38:35,280 --> 00:38:38,960 Speaker 1: like have dinner with somebody who my friend had a 601 00:38:39,000 --> 00:38:42,080 Speaker 1: relationship with. I didn't even connect that. Yeah, where is 602 00:38:42,120 --> 00:38:44,640 Speaker 1: the loyal she? They're not friends. I don't know what 603 00:38:44,760 --> 00:38:48,480 Speaker 1: that is, but they're not friends. Yeah WHOA. I also 604 00:38:48,520 --> 00:38:51,359 Speaker 1: did not catch that because I simply could not keep 605 00:38:51,400 --> 00:38:57,800 Speaker 1: track of like who knew who in which storylines. But 606 00:38:58,000 --> 00:39:02,279 Speaker 1: to your point in it, like these characters are just 607 00:39:02,760 --> 00:39:07,200 Speaker 1: like hurling this toxic positivity at each other, which is 608 00:39:07,239 --> 00:39:11,319 Speaker 1: like not helpful. No one's being constructive, no one is 609 00:39:11,400 --> 00:39:16,520 Speaker 1: being critical about any of their thinking or behavior. Like 610 00:39:16,600 --> 00:39:19,560 Speaker 1: it's just like, that's not what I'm like lifting up 611 00:39:19,640 --> 00:39:22,840 Speaker 1: other women looks like by like lying to them and 612 00:39:22,880 --> 00:39:26,600 Speaker 1: making stuff up. That's not how you do that. And 613 00:39:26,640 --> 00:39:29,480 Speaker 1: also like hold space for Jennifer Goodwin to like spin 614 00:39:29,560 --> 00:39:33,040 Speaker 1: out and then be like, hey, let's talk about how 615 00:39:33,080 --> 00:39:35,919 Speaker 1: how we can make you feel better outside of this, 616 00:39:36,400 --> 00:39:40,839 Speaker 1: you know. Yeah, it's it's the the way that this 617 00:39:40,960 --> 00:39:46,920 Speaker 1: movie has written. It just has such aggressively rigid views 618 00:39:47,000 --> 00:39:51,120 Speaker 1: of what a man's behavior is versus what a woman's 619 00:39:51,160 --> 00:39:55,200 Speaker 1: behavior is that sometimes it's like it's just like there's 620 00:39:55,239 --> 00:39:58,040 Speaker 1: so much cognitive dissonance in the way characters act. It 621 00:39:58,080 --> 00:40:01,000 Speaker 1: feels like sometimes, you know, the writer was like, well, 622 00:40:01,239 --> 00:40:04,719 Speaker 1: women be like this, so even if it doesn't like 623 00:40:04,880 --> 00:40:08,120 Speaker 1: make logical sense in the plot, even though it doesn't 624 00:40:08,160 --> 00:40:11,560 Speaker 1: make sense given this relationship, um, women be like this, 625 00:40:11,760 --> 00:40:14,720 Speaker 1: so she would probably do that. Like it's just so 626 00:40:15,440 --> 00:40:20,920 Speaker 1: binary driven to the point where it's just I was like, what, huh, 627 00:40:21,160 --> 00:40:24,000 Speaker 1: Like what there's like a female writer and a male 628 00:40:24,040 --> 00:40:27,080 Speaker 1: writer right on the book and on the movie. Yeah, 629 00:40:27,160 --> 00:40:31,520 Speaker 1: different teams. So I just feel like, I don't know, 630 00:40:31,600 --> 00:40:34,239 Speaker 1: I feel like the woman was like, sure, that sounds right, 631 00:40:34,400 --> 00:40:38,560 Speaker 1: do it? Or maybe well, because nobody advocated for us 632 00:40:38,600 --> 00:40:42,240 Speaker 1: in this film in the writing process. They the writers 633 00:40:42,239 --> 00:40:44,680 Speaker 1: of the movie, Abby Cone and Mark Silverstein. They seem 634 00:40:44,760 --> 00:40:48,360 Speaker 1: to work together pretty exclusively, and they also wrote movies 635 00:40:48,480 --> 00:40:51,800 Speaker 1: like Never Been Kissed, Valentine's Day, and How to Be Single, 636 00:40:52,480 --> 00:40:57,520 Speaker 1: So they are real connoisseurs of this very specific brand 637 00:40:57,719 --> 00:41:02,719 Speaker 1: of poo um. And then the book was written by 638 00:41:02,800 --> 00:41:07,359 Speaker 1: Greg Burnt and Liz to Chiller to Silo, who were 639 00:41:08,120 --> 00:41:11,719 Speaker 1: like producers slash consultants, you know, behind the scenes people 640 00:41:11,719 --> 00:41:16,200 Speaker 1: on sex in the City. So uh, and you were 641 00:41:16,239 --> 00:41:19,719 Speaker 1: mentioning this off Mike Rape before we started recording. But 642 00:41:19,760 --> 00:41:24,799 Speaker 1: there is like it's always like a little it's frustrating 643 00:41:24,880 --> 00:41:27,560 Speaker 1: to see this kind of writing with with a female 644 00:41:27,560 --> 00:41:30,400 Speaker 1: co writer. But I think it is like a pretty 645 00:41:30,400 --> 00:41:35,040 Speaker 1: clear example that you know, like, representation is important, but 646 00:41:35,120 --> 00:41:38,240 Speaker 1: it's not the endgame because there's a lot of internalized 647 00:41:38,840 --> 00:41:43,319 Speaker 1: misogyny y. Yeah, especially for writers who have been in 648 00:41:43,320 --> 00:41:45,600 Speaker 1: the business for a really long time. And you know, 649 00:41:45,640 --> 00:41:49,080 Speaker 1: if you start out in the eighties, that kind of mentality, 650 00:41:49,080 --> 00:41:51,520 Speaker 1: it just stays with you. And unless you really challenge 651 00:41:51,560 --> 00:41:55,000 Speaker 1: yourself to start seeing storytelling from a different vantage point 652 00:41:55,280 --> 00:41:59,879 Speaker 1: versus like what you're used to working, um, it's it's 653 00:42:00,040 --> 00:42:02,759 Speaker 1: really hard to move forward. So I think the right 654 00:42:02,840 --> 00:42:07,920 Speaker 1: representation matters. And you know, it's interesting because the solo 655 00:42:08,000 --> 00:42:11,320 Speaker 1: show that I wrote, the Oxy Complex, kind of mirrors 656 00:42:11,360 --> 00:42:14,360 Speaker 1: a lot of the anxiety that comes with dating, but um, 657 00:42:14,400 --> 00:42:18,000 Speaker 1: I bring in the scientific facts behind it, and I 658 00:42:18,040 --> 00:42:22,000 Speaker 1: feel like that misses that's completely missed in this thing. 659 00:42:22,120 --> 00:42:26,160 Speaker 1: You know, like when oxytocin gets released, when we start 660 00:42:26,200 --> 00:42:29,040 Speaker 1: forming attachments, it does feel like a high. So I 661 00:42:29,080 --> 00:42:32,160 Speaker 1: was like, yeah, Jennifer Goodwin is behaving in a way 662 00:42:32,239 --> 00:42:35,680 Speaker 1: of somebody having a flood of hormones that's just kind 663 00:42:35,680 --> 00:42:39,000 Speaker 1: of taken over and it does make you a little crazy, right, 664 00:42:39,400 --> 00:42:43,120 Speaker 1: But how do you mitigate that without any awareness or 665 00:42:43,200 --> 00:42:46,920 Speaker 1: like the paradox of choice that is also a scientific 666 00:42:47,000 --> 00:42:50,640 Speaker 1: fact with online dating and having so much more, so 667 00:42:50,680 --> 00:42:54,359 Speaker 1: many more options for people to date that it makes 668 00:42:54,360 --> 00:42:57,000 Speaker 1: it either a impossible to make a choice or be 669 00:42:57,640 --> 00:43:00,640 Speaker 1: it makes you less satisfied when you do ake a choice. 670 00:43:00,960 --> 00:43:04,040 Speaker 1: So like, in so many ways right now, we're kind 671 00:43:04,040 --> 00:43:08,879 Speaker 1: of being set up not to thrive in relationships. Yeah, yeah, 672 00:43:08,960 --> 00:43:10,840 Speaker 1: check out the show. I mean I would love to 673 00:43:10,880 --> 00:43:13,480 Speaker 1: send you guys the link just to watch it. Are 674 00:43:13,480 --> 00:43:18,960 Speaker 1: you both single? I am always single, hashtag forever single, 675 00:43:19,239 --> 00:43:24,319 Speaker 1: as a Zay says famously single, I am bravely I'm 676 00:43:24,320 --> 00:43:32,359 Speaker 1: bravely not single, very brave of you. I am trying 677 00:43:32,400 --> 00:43:35,320 Speaker 1: to get that affleck to marry me. It's been seven years, 678 00:43:35,000 --> 00:43:37,200 Speaker 1: and you know, we're just going to see what happens. 679 00:43:38,040 --> 00:43:40,080 Speaker 1: I think I'm going to be on the lookout for 680 00:43:40,080 --> 00:43:42,600 Speaker 1: those cargo pants that are going to come in the mail. Yeah. 681 00:43:42,840 --> 00:43:44,920 Speaker 1: I can't get over it. It was like I was, 682 00:43:45,920 --> 00:43:48,520 Speaker 1: It's so not even close to the worst thing that 683 00:43:48,560 --> 00:43:51,439 Speaker 1: happens in the movie. But I was like, oh, so 684 00:43:51,640 --> 00:43:56,040 Speaker 1: the disrespect she did not change him if that is 685 00:43:56,080 --> 00:44:00,000 Speaker 1: the proposal, she did not change him. Yeah, I feel 686 00:44:00,080 --> 00:44:02,160 Speaker 1: we should get into like probably like girl, I don't 687 00:44:02,160 --> 00:44:06,879 Speaker 1: want to move my shut out again, so here's the ring. Yeah, 688 00:44:06,880 --> 00:44:09,719 Speaker 1: he's like, I don't. I'm I'm tired of fighting because 689 00:44:09,840 --> 00:44:13,759 Speaker 1: you know, my girlfriend always be fighting me. But yeah, 690 00:44:13,800 --> 00:44:15,319 Speaker 1: I think it might be worth just kind of going 691 00:44:15,360 --> 00:44:19,360 Speaker 1: through each um relationship and just look at it more closely. 692 00:44:19,480 --> 00:44:22,160 Speaker 1: But before we do that, I wanted to Yeah, I 693 00:44:22,200 --> 00:44:27,200 Speaker 1: mean to your point, and about the movie not acknowledging 694 00:44:27,480 --> 00:44:31,719 Speaker 1: a lot of the reason that like people behave in 695 00:44:31,800 --> 00:44:37,239 Speaker 1: certain ways in like romantic settings, and this movie specifically 696 00:44:37,400 --> 00:44:45,480 Speaker 1: hetero romantic situations because five white hetero people, right, But then, like, 697 00:44:45,640 --> 00:44:50,760 Speaker 1: there's also no exploration of why do some men tend 698 00:44:50,840 --> 00:44:54,960 Speaker 1: to behave in certain ways where they are like dismissive 699 00:44:55,239 --> 00:44:59,480 Speaker 1: or they act disinterested or they mistreat women, and it 700 00:44:59,640 --> 00:45:02,520 Speaker 1: just it doesn't ever explore that at all, even though 701 00:45:02,560 --> 00:45:06,719 Speaker 1: there's a whole wide array of reasons, including but not 702 00:45:06,800 --> 00:45:10,480 Speaker 1: limited to good old fashioned misogyny. Well and just like 703 00:45:10,600 --> 00:45:14,520 Speaker 1: extremes like social conditioning, like that, which is also it 704 00:45:14,560 --> 00:45:17,440 Speaker 1: always is so frustrating when you see these like broad 705 00:45:17,560 --> 00:45:21,800 Speaker 1: stereotypes about gender applied as if it is like inherent 706 00:45:21,880 --> 00:45:25,520 Speaker 1: to your DNA and not largely a result of environment 707 00:45:25,560 --> 00:45:30,319 Speaker 1: and social conditioning, right, and things that like people learn 708 00:45:30,520 --> 00:45:32,880 Speaker 1: from the media they consume. But it's yeah, it's like 709 00:45:32,920 --> 00:45:36,520 Speaker 1: things like men tending to think that women are disposable, 710 00:45:36,560 --> 00:45:41,080 Speaker 1: men valuing women mostly for their youth and looks, men 711 00:45:41,520 --> 00:45:44,719 Speaker 1: not trusting women's feelings or don't think they need to 712 00:45:44,760 --> 00:45:50,080 Speaker 1: be bothered with, men feeling intimidated or emasculated by women 713 00:45:50,080 --> 00:45:55,040 Speaker 1: who they perceived to be smarter or more professionally successful, 714 00:45:55,160 --> 00:45:57,680 Speaker 1: things like that, And the movie is just like I 715 00:45:57,680 --> 00:46:00,719 Speaker 1: don't know anything about that. To my girls, can we 716 00:46:00,760 --> 00:46:03,320 Speaker 1: fix this? I mean, we can't fix this in one podcast, 717 00:46:03,560 --> 00:46:06,520 Speaker 1: Like what's going to happen to us trying for five years? 718 00:46:06,760 --> 00:46:10,640 Speaker 1: You know, Um, let's take a quick break and then 719 00:46:10,640 --> 00:46:22,200 Speaker 1: we'll come back for a more discussion and we're back. Um, 720 00:46:22,280 --> 00:46:25,200 Speaker 1: so we I feel is there did anyone else have 721 00:46:25,200 --> 00:46:29,680 Speaker 1: anything else to add about the Jen and Ben relationship 722 00:46:29,840 --> 00:46:36,720 Speaker 1: that was wait, which Jeffer Jeffer, and there's Jennifer Jennifer 723 00:46:36,719 --> 00:46:40,960 Speaker 1: and also don't forget Jennifer. Um, yeah, I think. I 724 00:46:41,000 --> 00:46:44,879 Speaker 1: mean there's a part where Jennifer Anderson even acknowledges like, well, 725 00:46:44,920 --> 00:46:47,520 Speaker 1: I've been kind of like withholding these feelings because I 726 00:46:47,560 --> 00:46:52,800 Speaker 1: didn't want to seem clingy or demanding, which like fair. Again, 727 00:46:53,280 --> 00:46:59,080 Speaker 1: oftentimes in hetero relationships, if a woman like does like 728 00:46:59,320 --> 00:47:02,239 Speaker 1: make her needs and once known she has met with 729 00:47:02,360 --> 00:47:06,799 Speaker 1: resistance and you know, accused of being needy and being 730 00:47:06,880 --> 00:47:10,879 Speaker 1: quote unquote hysterical. But so like the acknowledgment of that, 731 00:47:11,200 --> 00:47:13,120 Speaker 1: I was like, Okay, maybe this is going somewhere. But 732 00:47:13,160 --> 00:47:16,000 Speaker 1: then again, the way she's written is just to like 733 00:47:16,760 --> 00:47:21,640 Speaker 1: not listen to reason, just like not be willing at 734 00:47:21,680 --> 00:47:27,000 Speaker 1: all to compromise jump to really irrational conclusions. Another thing 735 00:47:27,040 --> 00:47:32,440 Speaker 1: I wanted to mention was Jennifer Aniston's character being single 736 00:47:32,600 --> 00:47:35,920 Speaker 1: in the movie, Like the part where she is single 737 00:47:36,000 --> 00:47:40,600 Speaker 1: after she has left ben Affleck is treated by the 738 00:47:40,680 --> 00:47:45,400 Speaker 1: people around her as like being a fate worse than death, 739 00:47:45,680 --> 00:47:49,240 Speaker 1: which is something that happens to Jennifer Annister aniston characters 740 00:47:49,520 --> 00:47:52,040 Speaker 1: all the time in this era of her movies. It 741 00:47:52,080 --> 00:47:56,280 Speaker 1: seems like like thirty what and then they like turned 742 00:47:56,280 --> 00:48:00,560 Speaker 1: to dust. It's ridiculous to the point where in this movie, 743 00:48:01,000 --> 00:48:06,640 Speaker 1: not one but two different cousins of hers aggressively hit 744 00:48:06,760 --> 00:48:12,239 Speaker 1: on her. Yeah, which is disgusting and like why why 745 00:48:12,239 --> 00:48:15,320 Speaker 1: would that be in the movie, And like, to be clear, 746 00:48:15,719 --> 00:48:18,759 Speaker 1: being pressured from friends and family members to find a 747 00:48:18,840 --> 00:48:21,719 Speaker 1: romantic partner and to be in a relationship like that 748 00:48:21,800 --> 00:48:25,040 Speaker 1: pressure is a very real thing for a lot of people. 749 00:48:25,760 --> 00:48:29,239 Speaker 1: What struck me though about this movie is like she 750 00:48:29,320 --> 00:48:34,200 Speaker 1: doesn't really do anything to challenge that. It's not presented 751 00:48:34,239 --> 00:48:37,279 Speaker 1: critically at all. Yeah, the movie, it seems like the 752 00:48:37,320 --> 00:48:40,920 Speaker 1: movie kind of agrees like, well, this is what you 753 00:48:41,040 --> 00:48:44,680 Speaker 1: get when you leave ben Affleck, and you just like 754 00:48:44,880 --> 00:48:47,880 Speaker 1: make that choice, Like yeah, you're everyone's gonna think you're 755 00:48:47,920 --> 00:48:50,520 Speaker 1: a loser and your cousins are gonna hit on you, 756 00:48:50,680 --> 00:48:54,080 Speaker 1: so you better change your ways and get back together 757 00:48:54,160 --> 00:48:57,040 Speaker 1: with ben Affleck. The movie is so focused on the 758 00:48:57,200 --> 00:49:01,800 Speaker 1: end game of like the whole audience being like, oh, well, clearly, 759 00:49:01,920 --> 00:49:04,360 Speaker 1: Jennifer innocent Ben Affleck have to get back together that 760 00:49:04,400 --> 00:49:07,040 Speaker 1: if I feel like they take every lazy writing trope 761 00:49:07,040 --> 00:49:11,680 Speaker 1: along the way to like reinforce that like foregone conclusion, 762 00:49:12,480 --> 00:49:15,160 Speaker 1: and then that means like the takeaway for so many 763 00:49:15,200 --> 00:49:20,880 Speaker 1: of these storylines is just like this bizarro, like really 764 00:49:20,920 --> 00:49:25,760 Speaker 1: old fashioned, like like for this one, for example, is well, 765 00:49:25,880 --> 00:49:28,480 Speaker 1: being single is the worst possible thing that could happen 766 00:49:28,520 --> 00:49:32,360 Speaker 1: to you, so you better get back together with the guys. 767 00:49:32,520 --> 00:49:36,440 Speaker 1: Let's settle baby, let's do it. And then I like 768 00:49:36,520 --> 00:49:39,040 Speaker 1: on the flip side of that, for if you're like 769 00:49:39,120 --> 00:49:42,760 Speaker 1: looking at it from ben Affleck's point of view, which 770 00:49:42,880 --> 00:49:46,680 Speaker 1: like I just never like ideal, but you know, but 771 00:49:46,800 --> 00:49:49,880 Speaker 1: like at the end she comes back to him, she 772 00:49:50,000 --> 00:49:52,160 Speaker 1: was willing to compromise and say like, yes, we don't 773 00:49:52,160 --> 00:49:55,239 Speaker 1: need this formal legal commitment of marriage as long as 774 00:49:55,280 --> 00:49:58,600 Speaker 1: we agree to just to be committed to each other 775 00:49:58,640 --> 00:50:01,920 Speaker 1: in this relationship, like that is fine for me. And 776 00:50:01,960 --> 00:50:06,520 Speaker 1: he's like cool, great, awesome. But then he also folds 777 00:50:06,760 --> 00:50:10,799 Speaker 1: and he's like, no, actually we should get married, and 778 00:50:10,840 --> 00:50:12,920 Speaker 1: I just I feel like like this would have been 779 00:50:12,960 --> 00:50:18,279 Speaker 1: a good opportunity to show on screen like a you know, 780 00:50:18,560 --> 00:50:22,479 Speaker 1: not quite as traditional of a relationship on screen, where 781 00:50:22,560 --> 00:50:25,319 Speaker 1: like people do agree to be committed to each other 782 00:50:25,400 --> 00:50:29,839 Speaker 1: without the like bonds of illegal marriage. But instead this 783 00:50:29,880 --> 00:50:35,320 Speaker 1: movie was like, no hetero marriage that is legally binding 784 00:50:36,360 --> 00:50:40,040 Speaker 1: is the end game and should be for everybody. So 785 00:50:40,120 --> 00:50:44,000 Speaker 1: that's what's going to be like the conclusion. Yeah, they're 786 00:50:44,000 --> 00:50:51,640 Speaker 1: almost like de dey obvious. Yeah, so I just I thought, like, again, 787 00:50:52,200 --> 00:50:56,120 Speaker 1: I don't know why I had any expectations about any thing, 788 00:50:56,160 --> 00:50:58,480 Speaker 1: but I was like, oh, that could have gone somewhere 789 00:50:58,600 --> 00:51:03,759 Speaker 1: interesting there. We could have seen something nuanced here. But 790 00:51:03,840 --> 00:51:09,640 Speaker 1: then the movie just makes like the most basic, uninteresting 791 00:51:09,880 --> 00:51:14,400 Speaker 1: choice every time. And here's the thing, like why I 792 00:51:14,440 --> 00:51:16,560 Speaker 1: find an issue with these stories. I mean, it was 793 00:51:16,640 --> 00:51:19,400 Speaker 1: two hours long, but I still feel like when you 794 00:51:19,480 --> 00:51:21,600 Speaker 1: try to take on so many narratives, like I have 795 00:51:21,640 --> 00:51:25,120 Speaker 1: no understanding what that relationship is even about, Like we 796 00:51:25,160 --> 00:51:29,480 Speaker 1: don't know the history. And maybe that's inherent in like 797 00:51:29,600 --> 00:51:33,480 Speaker 1: the structure of romantic comedies like can they ever pass 798 00:51:33,520 --> 00:51:36,200 Speaker 1: the backdel test or like you know, because they're just 799 00:51:36,280 --> 00:51:39,279 Speaker 1: not structured that way, Like that's not what this is 800 00:51:39,320 --> 00:51:43,160 Speaker 1: about in terms of genre. But I just feel like 801 00:51:43,600 --> 00:51:46,680 Speaker 1: I don't know how they got together why, you know what? 802 00:51:46,719 --> 00:51:50,000 Speaker 1: I mean, I need more information, but I guess that 803 00:51:50,040 --> 00:51:52,839 Speaker 1: doesn't make it dramatic. I don't know, or maybe they 804 00:51:52,960 --> 00:51:55,160 Speaker 1: just like they're like we have been affleck for forty 805 00:51:55,160 --> 00:51:58,640 Speaker 1: five minutes total, Like what are we going to do 806 00:51:58,880 --> 00:52:01,160 Speaker 1: this in three days so that he can go shoot 807 00:52:01,239 --> 00:52:04,080 Speaker 1: the other film? They're like put him on a boat. 808 00:52:04,120 --> 00:52:06,600 Speaker 1: They're like, wait a second, what's Chris Christopherson supposed to do? Um? 809 00:52:06,640 --> 00:52:10,479 Speaker 1: I don't know. I have a heart attack. Did Um? Yeah, 810 00:52:10,480 --> 00:52:12,719 Speaker 1: I totally agree. It's like there there is like if 811 00:52:12,760 --> 00:52:16,320 Speaker 1: you're if if they really want you to take something 812 00:52:16,360 --> 00:52:19,960 Speaker 1: away from this movie that's like applicable. Um, you need 813 00:52:19,960 --> 00:52:23,080 Speaker 1: to have contacts for what this relationship is. And you 814 00:52:23,440 --> 00:52:26,279 Speaker 1: really don't get it. I mean I kindly you do, 815 00:52:26,440 --> 00:52:29,360 Speaker 1: because he says he says, hey, I kind of was 816 00:52:29,480 --> 00:52:31,880 Speaker 1: talked into this marriage. I didn't feel like I was ready. 817 00:52:31,960 --> 00:52:34,399 Speaker 1: So at least we hear from his point of view, 818 00:52:34,440 --> 00:52:37,719 Speaker 1: even though it's fucked up, like perhaps stand up for 819 00:52:37,800 --> 00:52:39,360 Speaker 1: what you want and be like, no, I'm not going 820 00:52:39,400 --> 00:52:43,040 Speaker 1: to do this. Because he says, uh, no, guy actually 821 00:52:43,080 --> 00:52:45,360 Speaker 1: wants to get married, and when he does get married, 822 00:52:45,400 --> 00:52:47,400 Speaker 1: he's just thinking about all the women he's going to 823 00:52:47,520 --> 00:52:50,560 Speaker 1: miss out on. And I'm like, paradox of choice, I know. 824 00:52:50,680 --> 00:52:53,840 Speaker 1: And I'm like, Bradley, was it your idea or Jennifer 825 00:52:53,840 --> 00:52:57,600 Speaker 1: Connolly's idea in regards to the Frosted Tips whose idea 826 00:52:57,680 --> 00:53:03,560 Speaker 1: was that? And this? How can we um? Yeah, it's 827 00:53:03,560 --> 00:53:06,480 Speaker 1: like I guess you you do get like stray lines 828 00:53:06,560 --> 00:53:09,120 Speaker 1: like that. But a character that I really could have 829 00:53:09,239 --> 00:53:13,120 Speaker 1: used that background for was Jennifer Goodwin because she has 830 00:53:13,239 --> 00:53:16,640 Speaker 1: all of these, you know, very kind of clingy behaviors. 831 00:53:16,680 --> 00:53:19,680 Speaker 1: I think she's my My feeling of how she was 832 00:53:19,719 --> 00:53:22,160 Speaker 1: written was kind of this very broad stereotype of like 833 00:53:22,880 --> 00:53:29,120 Speaker 1: desperate and and there's no context for like why might 834 00:53:29,200 --> 00:53:31,760 Speaker 1: she be this way? What is her history? Like there's 835 00:53:31,840 --> 00:53:34,840 Speaker 1: it's stuff that you really could use, but it just 836 00:53:34,840 --> 00:53:36,520 Speaker 1: seems like the way it's written and the way it 837 00:53:36,560 --> 00:53:39,360 Speaker 1: plays out, it just plays out like a very broadly 838 00:53:39,440 --> 00:53:43,120 Speaker 1: written character of like a single woman. Yeah, because when 839 00:53:43,160 --> 00:53:46,279 Speaker 1: she comes in with the with the diary stuff, like 840 00:53:46,440 --> 00:53:48,560 Speaker 1: she's cracked out and she's like, I've gone through all 841 00:53:48,600 --> 00:53:50,919 Speaker 1: of my stuff and I'm the exception, I'm the rule. 842 00:53:50,960 --> 00:53:52,359 Speaker 1: I'm not the exception, you know what I mean. And 843 00:53:52,400 --> 00:53:55,799 Speaker 1: she's like gone through like this type of behavior she's 844 00:53:55,840 --> 00:53:59,360 Speaker 1: been accepting for a long time. Right, that doesn't happen 845 00:53:59,400 --> 00:54:02,120 Speaker 1: in a void. But again, I don't know that these 846 00:54:02,160 --> 00:54:05,040 Speaker 1: are movies are set up to explore those issues. It's 847 00:54:05,120 --> 00:54:08,680 Speaker 1: just like, here's the problem, let's fix it with love. Yeah. Yes, 848 00:54:09,280 --> 00:54:13,640 Speaker 1: And then where her storyline goes with Justin Long, who 849 00:54:15,239 --> 00:54:20,440 Speaker 1: oh my god. I absolutely loathe his characters. Such a smug, 850 00:54:20,480 --> 00:54:23,480 Speaker 1: a little asshole. What a what a piece of ship. 851 00:54:23,880 --> 00:54:27,880 Speaker 1: He spends most of the movie like either be rating 852 00:54:27,920 --> 00:54:31,120 Speaker 1: her or being like down to her a lot talks 853 00:54:31,200 --> 00:54:36,320 Speaker 1: down to her. He tells her that, oh, women love drama, 854 00:54:36,400 --> 00:54:38,640 Speaker 1: they feed off it, which is another again just like 855 00:54:39,520 --> 00:54:44,440 Speaker 1: large generalization, like this is how women be. And he's 856 00:54:44,480 --> 00:54:48,680 Speaker 1: like just like treating her badly, not able to realize 857 00:54:48,719 --> 00:54:53,080 Speaker 1: that he likes her until it's like almost too late, 858 00:54:53,160 --> 00:54:57,120 Speaker 1: and he's like, wait a minute, I've have been dismissive 859 00:54:57,160 --> 00:54:59,560 Speaker 1: of women and I and so much so that I 860 00:54:59,560 --> 00:55:02,200 Speaker 1: didn't eve even know what it feels like to like 861 00:55:02,440 --> 00:55:06,279 Speaker 1: one of them. And then she's like, that's okay, let's 862 00:55:06,360 --> 00:55:08,919 Speaker 1: kiss and be together. And I'm like, it doesn't even 863 00:55:08,960 --> 00:55:12,120 Speaker 1: ask consent, he just goes for well. But she also, 864 00:55:12,160 --> 00:55:14,319 Speaker 1: I mean it's like that that goes both ways. Yeah, 865 00:55:14,360 --> 00:55:17,440 Speaker 1: she I mean that other thing, she like jumped on him. 866 00:55:17,480 --> 00:55:21,120 Speaker 1: We've got two surprise kisses. You're like, wow, wow, you 867 00:55:21,120 --> 00:55:25,279 Speaker 1: guys really are the worst. But they belong together. But 868 00:55:25,320 --> 00:55:27,400 Speaker 1: there I mean, and when you put it that way, Caitlin, 869 00:55:27,520 --> 00:55:30,240 Speaker 1: that's sort of another storyline that contradicts the opening scene 870 00:55:30,239 --> 00:55:33,319 Speaker 1: of the movie because he's being really mean to her, 871 00:55:33,440 --> 00:55:36,000 Speaker 1: and then it turns out he likes her. He did 872 00:55:36,080 --> 00:55:38,319 Speaker 1: like her the whole time. Yeah, I didn't even that 873 00:55:38,360 --> 00:55:41,440 Speaker 1: didn't even pain for me. Of like yet another central 874 00:55:41,520 --> 00:55:44,160 Speaker 1: relationship in this movie that contradicts what the opening of 875 00:55:44,200 --> 00:55:47,799 Speaker 1: the movie says. Yeah, Well was it that line when 876 00:55:47,800 --> 00:55:50,280 Speaker 1: they were at the bar where he's like, don't get excited, 877 00:55:50,360 --> 00:55:53,520 Speaker 1: I mean like you like a puppy. Yeah, And he's like, 878 00:55:53,600 --> 00:55:55,920 Speaker 1: I feel I pity you. I feel bad for you. 879 00:55:56,239 --> 00:55:59,120 Speaker 1: And then and then she comes to the conclusion after 880 00:55:59,239 --> 00:56:05,000 Speaker 1: that converse nation that he's into her because she was 881 00:56:05,040 --> 00:56:08,040 Speaker 1: watching a movie. I forget what the movie is now 882 00:56:08,120 --> 00:56:12,920 Speaker 1: Mary Stuart Masterson's in it. Kind of wonderful, Yeah, and 883 00:56:12,960 --> 00:56:16,040 Speaker 1: she's like influenced by the media that she's consuming, by 884 00:56:16,080 --> 00:56:18,840 Speaker 1: the rom com and she's like, oh my god, I 885 00:56:18,880 --> 00:56:21,080 Speaker 1: had it all wrong. He does like me, and it's 886 00:56:21,120 --> 00:56:23,520 Speaker 1: like like, that's this is not a good yardstick to you, 887 00:56:23,840 --> 00:56:26,440 Speaker 1: and then goes full throttle. It's like, what do you 888 00:56:26,480 --> 00:56:29,279 Speaker 1: know about him? Like, you guys haven't had any conversation 889 00:56:29,440 --> 00:56:32,440 Speaker 1: except him telling you about guys that you should leave alone. 890 00:56:32,600 --> 00:56:36,520 Speaker 1: Do you know how many siblings he has? Like like nothing, 891 00:56:36,920 --> 00:56:39,279 Speaker 1: She's just like he's it for me. Yeah. He just 892 00:56:39,320 --> 00:56:41,960 Speaker 1: talks at her for for weeks. And then she was like, 893 00:56:42,120 --> 00:56:46,000 Speaker 1: I think I'm in love. Also that her her behavior, 894 00:56:46,719 --> 00:56:49,120 Speaker 1: I just her behavior was so confusing to me at 895 00:56:49,160 --> 00:56:51,400 Speaker 1: different points where it's like, maybe if we had some context, 896 00:56:51,840 --> 00:56:55,239 Speaker 1: this could exist in at least there's some justification. But 897 00:56:55,320 --> 00:56:58,640 Speaker 1: when when she goes to his party and she's you know, 898 00:56:58,719 --> 00:57:02,400 Speaker 1: become convinced that he likes her, she immediately defaults to 899 00:57:02,480 --> 00:57:07,640 Speaker 1: like cleaning up and like being the mom at a 900 00:57:07,760 --> 00:57:10,840 Speaker 1: middle school party for some reason, does all these like 901 00:57:11,200 --> 00:57:16,640 Speaker 1: You're like, huh, what the I didn't understand because she's like, oh, 902 00:57:16,680 --> 00:57:19,120 Speaker 1: he wants me to co host it with him because 903 00:57:19,120 --> 00:57:22,280 Speaker 1: we're about to be a couple, and like that's her logic, 904 00:57:22,360 --> 00:57:26,720 Speaker 1: but like the jumping to conclusions her mind map of 905 00:57:26,760 --> 00:57:31,360 Speaker 1: how she got there, I cannot really follow her logic. 906 00:57:31,600 --> 00:57:33,600 Speaker 1: And girl like read the room at the end of 907 00:57:33,640 --> 00:57:36,120 Speaker 1: the party. She's sitting here with garbage bags and he's 908 00:57:36,120 --> 00:57:38,919 Speaker 1: playing video games with some hot chick like I would 909 00:57:38,920 --> 00:57:43,520 Speaker 1: have left two hours ago. Yes, save yourself the aggravation. 910 00:57:43,600 --> 00:57:46,520 Speaker 1: And then and you mentioned this earlier, but like that 911 00:57:47,000 --> 00:57:51,280 Speaker 1: speech that she gives after she does a surprise guest 912 00:57:51,480 --> 00:57:55,000 Speaker 1: lunge just at him. Uh, then she does this thing 913 00:57:55,040 --> 00:57:56,560 Speaker 1: that I think that we were supposed to be like 914 00:57:56,680 --> 00:58:00,600 Speaker 1: standing at the AMC cheering, she says, I made his 915 00:58:00,720 --> 00:58:03,320 Speaker 1: dissect each little thing and put myself out there too much. 916 00:58:03,440 --> 00:58:05,480 Speaker 1: But at least that means I still care. And you 917 00:58:05,520 --> 00:58:07,920 Speaker 1: think you won because women are expendable to you and 918 00:58:08,000 --> 00:58:09,560 Speaker 1: you may not get hurt or make an ass of 919 00:58:09,560 --> 00:58:11,520 Speaker 1: yourself that way, but you don't fall in love that 920 00:58:11,560 --> 00:58:14,480 Speaker 1: way way either. You have not won. And it's like 921 00:58:14,760 --> 00:58:16,760 Speaker 1: I see where they're going with that, but it's still 922 00:58:16,880 --> 00:58:20,520 Speaker 1: such a like binary thing of like there's only one 923 00:58:20,640 --> 00:58:25,040 Speaker 1: right way to be and like it didn't didn't hit, 924 00:58:25,240 --> 00:58:27,040 Speaker 1: didn't hit for me, It was a note. It was 925 00:58:27,080 --> 00:58:29,680 Speaker 1: a note for me on the on the lesson. But 926 00:58:29,720 --> 00:58:31,920 Speaker 1: I also feel like, you know, as much as the 927 00:58:32,040 --> 00:58:36,160 Speaker 1: women are victims in this, the men don't get complexity either, 928 00:58:36,480 --> 00:58:38,000 Speaker 1: do you know what I mean? Like I don't know 929 00:58:38,080 --> 00:58:42,240 Speaker 1: anything about Justin Long's characters issues and why he decided 930 00:58:42,320 --> 00:58:44,560 Speaker 1: to build a wall around his life. You know, he 931 00:58:45,040 --> 00:58:49,600 Speaker 1: has a completely code. I mean, he's Jennifer Goodwin's mirror 932 00:58:49,680 --> 00:58:52,200 Speaker 1: in the way that he's like lusting over somebody who 933 00:58:52,360 --> 00:58:55,320 Speaker 1: clearly doesn't want to be in a relationship with him, 934 00:58:55,360 --> 00:58:58,560 Speaker 1: and you know, like he pretty much tries to bait 935 00:58:58,680 --> 00:59:02,640 Speaker 1: her with a house. Yeah, you know, he's like, I'm 936 00:59:02,680 --> 00:59:05,280 Speaker 1: only gonna talk about an ultimatum. I'm only going to 937 00:59:05,360 --> 00:59:08,320 Speaker 1: buy this if you're gonna be with me, So think 938 00:59:08,360 --> 00:59:10,800 Speaker 1: about moving in with me, not right now, but like 939 00:59:10,920 --> 00:59:15,760 Speaker 1: I and it's like, what, dude, so manipulative. Yeah, I'm 940 00:59:15,880 --> 00:59:18,480 Speaker 1: at least glad that she wasn't like if she would 941 00:59:18,560 --> 00:59:21,440 Speaker 1: be like, wow, what a nice gesture. Okay, let's be 942 00:59:21,480 --> 00:59:24,479 Speaker 1: together forever, and instead she's just like, no, I'm good, 943 00:59:24,520 --> 00:59:26,880 Speaker 1: I don't want any of this, goodbye forever. I was like, 944 00:59:26,920 --> 00:59:29,200 Speaker 1: I didn't appreciate that, yeah, because I would have had 945 00:59:29,200 --> 00:59:31,120 Speaker 1: a panic attack of someone. I was like, do you 946 00:59:31,160 --> 00:59:36,160 Speaker 1: want me to what? No? Yeah, but now let's talk 947 00:59:36,160 --> 00:59:40,720 Speaker 1: about the ironing board. Oh my gosh. Just what He's like, 948 00:59:40,840 --> 00:59:43,120 Speaker 1: that's why I want this hop because it reminds you 949 00:59:43,160 --> 00:59:46,480 Speaker 1: of your childhood home. What's get out of here your 950 00:59:46,520 --> 00:59:50,320 Speaker 1: soccer but yeah, yeah, but very good. Yeah, I mean, 951 00:59:50,480 --> 00:59:53,320 Speaker 1: and you know, we we focus on, or we tend 952 00:59:53,360 --> 00:59:55,640 Speaker 1: to focus on the podcast about like how women are 953 00:59:55,640 --> 01:00:00,160 Speaker 1: represented in movies, but like men also being written in 954 01:00:00,240 --> 01:00:08,000 Speaker 1: these very broad, binary stereotypical ways is obviously also very 955 01:00:08,040 --> 01:00:12,240 Speaker 1: harmful and not doing anyone in any favors. And it's 956 01:00:12,280 --> 01:00:15,080 Speaker 1: just like another element of the patriarchy is the way 957 01:00:15,120 --> 01:00:19,560 Speaker 1: that men are there modeling behavior as well, and women 958 01:00:19,600 --> 01:00:24,600 Speaker 1: are consuming this media. Yes, so men in this movie 959 01:00:24,880 --> 01:00:30,120 Speaker 1: are like, oh, I hate commitment and oh I hate 960 01:00:30,160 --> 01:00:34,640 Speaker 1: my wife and blah blah blah, and then women are like, 961 01:00:37,160 --> 01:00:42,880 Speaker 1: he just hates Jennifer Goodwin. He doesn't think she's hot enough. 962 01:00:44,400 --> 01:00:47,479 Speaker 1: I hate him to like, yeah, he's the worst. He's 963 01:00:47,600 --> 01:00:51,120 Speaker 1: they're all the worst through such and can we talk 964 01:00:51,120 --> 01:00:55,280 Speaker 1: about him trying to dress Okay, yes, let's talk about 965 01:00:55,520 --> 01:01:00,560 Speaker 1: how this is treated. He's doing weird, weird grow stuff. 966 01:01:00,680 --> 01:01:05,760 Speaker 1: So yeah, like we already mentioned earlier, the heteronormativity that 967 01:01:05,760 --> 01:01:09,680 Speaker 1: that is running rampant in this movie is just gross. 968 01:01:10,320 --> 01:01:15,480 Speaker 1: The whole concept of the movie. You know, it's implying, like, well, 969 01:01:15,680 --> 01:01:20,040 Speaker 1: the only relationships worth exploring our hetero one man, one 970 01:01:20,080 --> 01:01:23,360 Speaker 1: woman kind of thing. The movie does acknowledge that queer 971 01:01:23,360 --> 01:01:28,720 Speaker 1: people exist, but but only, but but only in supporting 972 01:01:28,920 --> 01:01:33,800 Speaker 1: roles in very broadly written, stereotyped ways. Yes, very much 973 01:01:33,840 --> 01:01:36,479 Speaker 1: so um and then yeah, so this subplot we're talking 974 01:01:36,520 --> 01:01:41,920 Speaker 1: about is with e from Entourage Drew Barrymore places because 975 01:01:41,920 --> 01:01:45,080 Speaker 1: she's like works in ad sales or something like that. 976 01:01:46,200 --> 01:01:49,880 Speaker 1: She places an ad for his real estate business in 977 01:01:50,360 --> 01:01:54,000 Speaker 1: like a part of the newspaper that gets a lot 978 01:01:54,040 --> 01:01:58,520 Speaker 1: of like traction from gay men, specifically because I don't 979 01:01:58,520 --> 01:02:01,680 Speaker 1: even remember what the ads are, sex like sex act. 980 01:02:01,880 --> 01:02:05,480 Speaker 1: Yeah right, And he's like kind of weirded out by 981 01:02:05,480 --> 01:02:07,959 Speaker 1: it at first, and she's like, no, you can tap 982 01:02:08,040 --> 01:02:14,640 Speaker 1: into this new clientele, so they will come gentrify the neighborhood. 983 01:02:15,880 --> 01:02:20,120 Speaker 1: Even say that. He's like, this is a neighborhood in transition. 984 01:02:20,200 --> 01:02:22,520 Speaker 1: It's like, you mean white people are coming in and 985 01:02:22,600 --> 01:02:30,040 Speaker 1: gentrifying it. Cool. Ye, So to appeal to his gay clientele, 986 01:02:30,360 --> 01:02:35,000 Speaker 1: he starts dressing differently, and of course Justin Long makes 987 01:02:35,000 --> 01:02:40,280 Speaker 1: a bunch of homophobic jokes at his expense. Him just like, 988 01:02:40,480 --> 01:02:47,560 Speaker 1: altering his appearance is just a very It's just supposed 989 01:02:47,560 --> 01:02:52,120 Speaker 1: to be a hilarious homophobic gentrification joke, like you're just like, 990 01:02:52,720 --> 01:02:58,280 Speaker 1: what the fuck two thousand nine come. And then the 991 01:02:58,760 --> 01:03:01,680 Speaker 1: queer characters who use who are either made who are 992 01:03:01,680 --> 01:03:04,720 Speaker 1: either like explicitly queer or queer coded in the case 993 01:03:04,840 --> 01:03:10,680 Speaker 1: of like Drew Barrymore's like friends, Yeah there, their office workers, 994 01:03:10,800 --> 01:03:15,320 Speaker 1: Yeah yeah. They only exist in the narrative to give 995 01:03:15,400 --> 01:03:19,360 Speaker 1: advice to straight people about their straight relationships. But also 996 01:03:19,480 --> 01:03:24,080 Speaker 1: the buyers, the couples at the at at Ease open 997 01:03:24,120 --> 01:03:28,200 Speaker 1: house they were also like and then have their two 998 01:03:28,280 --> 01:03:33,640 Speaker 1: cents about what she ease straight relationship. And then some 999 01:03:33,760 --> 01:03:36,640 Speaker 1: of the guys that Drew Barrymore works with go to 1000 01:03:36,880 --> 01:03:41,960 Speaker 1: Justin Long's party and give advice to Jennifer Goodwin. So 1001 01:03:42,040 --> 01:03:46,320 Speaker 1: it's like three different occasions at least of queer characters 1002 01:03:46,440 --> 01:03:51,280 Speaker 1: only existing in the narrative to give straight people straight advice. 1003 01:03:53,560 --> 01:03:58,400 Speaker 1: Makes add up. I mean, the in terms of representation 1004 01:03:58,480 --> 01:04:01,919 Speaker 1: this movie, it would be hard to do worse then 1005 01:04:02,560 --> 01:04:06,280 Speaker 1: this movie does. Everyone. I mean you can if you have, 1006 01:04:06,440 --> 01:04:09,160 Speaker 1: if you have been blessed by not having seen this movie. 1007 01:04:09,520 --> 01:04:13,120 Speaker 1: Take a look at the poster. It's five hundred says 1008 01:04:13,120 --> 01:04:17,080 Speaker 1: white people, and and then the few people of color 1009 01:04:17,120 --> 01:04:19,920 Speaker 1: we see in the movie there's first of all, there's 1010 01:04:19,920 --> 01:04:23,600 Speaker 1: nothing going on there or I mean you have one 1011 01:04:23,720 --> 01:04:28,440 Speaker 1: scene with um, what is the relationship there is it? 1012 01:04:28,760 --> 01:04:34,440 Speaker 1: Jennifer zo. Jennifer Connelly is like they're remodeling their house 1013 01:04:34,560 --> 01:04:38,439 Speaker 1: because yeah, they're gentrifier house. Oh yeah, that was problematic 1014 01:04:38,480 --> 01:04:41,280 Speaker 1: for me. Yeah, which she was like, we have so 1015 01:04:41,320 --> 01:04:44,720 Speaker 1: many undocumented Why why you got to call him undocumented? 1016 01:04:45,400 --> 01:04:48,280 Speaker 1: A has nothing to do with this story, and you're 1017 01:04:48,280 --> 01:04:51,919 Speaker 1: accusing them of smoking in your house. I mean, talk 1018 01:04:52,000 --> 01:04:56,080 Speaker 1: about cringe. She was a Karen back before there was 1019 01:04:56,120 --> 01:04:58,800 Speaker 1: a Karen. I'm gonna say. I was like, wow, any 1020 01:04:58,920 --> 01:05:02,080 Speaker 1: if you were holding on the any sympathy for the 1021 01:05:02,160 --> 01:05:05,480 Speaker 1: Jennifer Connelly character, that's where it goes all the way 1022 01:05:05,520 --> 01:05:08,960 Speaker 1: out the window. Yes, in a scene where she yea, 1023 01:05:09,040 --> 01:05:12,480 Speaker 1: she just like lays into Luise Goosman and like his 1024 01:05:12,800 --> 01:05:18,040 Speaker 1: sty criminal misuse of Luis Guzman. Okay, So this is 1025 01:05:18,040 --> 01:05:20,600 Speaker 1: another example of like a quote rom com that has 1026 01:05:20,760 --> 01:05:24,840 Speaker 1: absolutely no comedy in it. There are like they're not jokes, 1027 01:05:24,920 --> 01:05:27,680 Speaker 1: or if there are, they like completely fall flat. They 1028 01:05:28,280 --> 01:05:31,360 Speaker 1: never laughed, no, no, but there are well, actually I 1029 01:05:31,560 --> 01:05:37,480 Speaker 1: left when Chris christoffers that was a hilarious, but there's 1030 01:05:37,480 --> 01:05:40,040 Speaker 1: a there are a couple of lines that Louis Goosman 1031 01:05:40,280 --> 01:05:43,520 Speaker 1: says that I was like, that's actually pretty funny, and 1032 01:05:43,680 --> 01:05:45,520 Speaker 1: the rest of the movie is devoid of few. But 1033 01:05:45,560 --> 01:05:49,640 Speaker 1: it's just because Louise Scuzman is funny, great and funny. Yes, exactly, 1034 01:05:49,680 --> 01:05:52,920 Speaker 1: they were, but it's also he's highlighting the ridiculousness. He's like, 1035 01:05:52,960 --> 01:05:54,400 Speaker 1: can I go to work? Can I get back to 1036 01:05:54,440 --> 01:05:57,120 Speaker 1: work now? Because I do with you, like, obviously you're 1037 01:05:57,160 --> 01:06:00,600 Speaker 1: projecting your marriage is shoes on me, and either you 1038 01:06:00,640 --> 01:06:02,760 Speaker 1: pay me ninety dollars an hour to be your therapist 1039 01:06:02,800 --> 01:06:05,160 Speaker 1: and you let me get back to work. It's real 1040 01:06:05,240 --> 01:06:11,200 Speaker 1: simple anyway, So shouts out to Luis Gusman. Yes, but yeah, 1041 01:06:11,280 --> 01:06:16,600 Speaker 1: every other BIPOC character in the movie is written in 1042 01:06:16,640 --> 01:06:22,120 Speaker 1: a broad stereotype, very tertiary, barely has lines. You could 1043 01:06:22,120 --> 01:06:24,520 Speaker 1: take all of them out of the story in the 1044 01:06:24,600 --> 01:06:28,640 Speaker 1: movie would not be any different narratively, Like it's just 1045 01:06:28,880 --> 01:06:31,800 Speaker 1: because the only other representation is those two black women 1046 01:06:32,080 --> 01:06:35,440 Speaker 1: kind of talking about how many people were not even 1047 01:06:35,720 --> 01:06:40,439 Speaker 1: people who are not even related to the plot, Like right, yeah, 1048 01:06:40,480 --> 01:06:42,560 Speaker 1: they were, like I don't know what did they say, 1049 01:06:42,640 --> 01:06:46,000 Speaker 1: Like they make it seem like breaking up was my idea. Yeah, 1050 01:06:46,080 --> 01:06:48,760 Speaker 1: they're they're They have like the whole speech about like 1051 01:06:48,880 --> 01:06:54,600 Speaker 1: how you know when you've been dumped. They're acknowledging inception 1052 01:06:55,040 --> 01:07:01,760 Speaker 1: before Christopher Nolan's inception ever even came out. Just blew 1053 01:07:01,840 --> 01:07:09,680 Speaker 1: my mind. Makes you think, Um, who else do we 1054 01:07:09,720 --> 01:07:12,160 Speaker 1: need to talk about? Is there any can we talk 1055 01:07:12,160 --> 01:07:14,959 Speaker 1: about the fact that at the end it's so Eat 1056 01:07:14,960 --> 01:07:19,240 Speaker 1: Pray Love, but like those confessionals at the end, and 1057 01:07:19,400 --> 01:07:22,080 Speaker 1: Scarlett's like, I'm going on a trip to India with 1058 01:07:22,120 --> 01:07:24,320 Speaker 1: my I'm like, get out of here. Girl. You're supposed 1059 01:07:24,320 --> 01:07:27,280 Speaker 1: to be a struggling singer. How you can afford a 1060 01:07:27,320 --> 01:07:30,640 Speaker 1: trip to India? How long are you going for? Like what? 1061 01:07:31,360 --> 01:07:34,320 Speaker 1: Yoga teachers don't make that much. I know, it's like, 1062 01:07:34,400 --> 01:07:37,200 Speaker 1: what what are you making to She doesn't have yoga 1063 01:07:37,240 --> 01:07:40,080 Speaker 1: pants and yet she has a ton of disposable in 1064 01:07:40,560 --> 01:07:45,120 Speaker 1: Yeah what and you're teaching out a why psyeah? So 1065 01:07:45,400 --> 01:07:48,160 Speaker 1: I know you're not making that much money to afford 1066 01:07:48,800 --> 01:07:53,720 Speaker 1: a whole sabbatical. We haven't really talked too much about 1067 01:07:54,480 --> 01:08:00,320 Speaker 1: Scarlett's character because it's just again a confounding character. A 1068 01:08:00,320 --> 01:08:02,440 Speaker 1: lot of the choices I was like, I don't know, 1069 01:08:02,520 --> 01:08:06,200 Speaker 1: like she is, uh, you know, it seems like she's 1070 01:08:06,240 --> 01:08:09,360 Speaker 1: falling for Bradley Cooper who is cheating on his wife, 1071 01:08:09,360 --> 01:08:13,200 Speaker 1: who is Jennifer Connelly, who is projecting her issues onto 1072 01:08:13,240 --> 01:08:17,439 Speaker 1: Louise Guzman. It's all connected. It's all connected like Babel, 1073 01:08:17,520 --> 01:08:21,679 Speaker 1: but which is like that's you know, that's a storyline, sure, 1074 01:08:22,200 --> 01:08:25,400 Speaker 1: but but it's just I feel like you just don't. 1075 01:08:25,720 --> 01:08:27,840 Speaker 1: I feel like I don't know anything about her other 1076 01:08:27,880 --> 01:08:30,280 Speaker 1: than she's supposed to be a yoga instructor. I think 1077 01:08:30,640 --> 01:08:32,760 Speaker 1: they don't show it because it's PG. Thirteen, but there's 1078 01:08:32,760 --> 01:08:36,320 Speaker 1: that gratuitous like, oh, she's taking her clothes off and 1079 01:08:36,479 --> 01:08:41,320 Speaker 1: jumping in the pool, which just feels exploitative in a 1080 01:08:41,360 --> 01:08:43,200 Speaker 1: way that it's like, well, if you're if you're going 1081 01:08:43,240 --> 01:08:45,160 Speaker 1: to do that, like can I know something about who 1082 01:08:45,200 --> 01:08:50,000 Speaker 1: is this person? What she says you have an ass 1083 01:08:50,040 --> 01:08:52,920 Speaker 1: so tight or whatever that it makes me want to 1084 01:08:53,000 --> 01:08:56,559 Speaker 1: dry hump, and I'm like, I'm sorry what And then 1085 01:08:56,640 --> 01:09:01,479 Speaker 1: he's like, I just fell in love honestly as a 1086 01:09:01,640 --> 01:09:05,160 Speaker 1: seeing this movie as a like a sophomore in high school, 1087 01:09:05,160 --> 01:09:10,040 Speaker 1: I was like, I can relate with that, but I'm 1088 01:09:10,080 --> 01:09:12,640 Speaker 1: just like what you want to Like, what part of 1089 01:09:12,720 --> 01:09:14,320 Speaker 1: him do you want to do? You want to dry 1090 01:09:14,439 --> 01:09:16,920 Speaker 1: hump his ass? Like, what are you talking about? The 1091 01:09:17,040 --> 01:09:20,680 Speaker 1: dry hump his ass? I think it's pretty clear I 1092 01:09:20,680 --> 01:09:23,559 Speaker 1: want to I'm trying to picture that. What I would 1093 01:09:23,720 --> 01:09:26,880 Speaker 1: love to do is like sit down with Scarlett and 1094 01:09:26,960 --> 01:09:29,800 Speaker 1: talk to her about her process, Like how did you 1095 01:09:29,880 --> 01:09:32,479 Speaker 1: make sense of these lines? How did you commit to 1096 01:09:32,560 --> 01:09:36,080 Speaker 1: these lines? Like I would love to have that conversation 1097 01:09:36,200 --> 01:09:38,880 Speaker 1: because listen, this was a job for her, bless her, 1098 01:09:39,120 --> 01:09:41,840 Speaker 1: she had to do it, but damn, that's a hard 1099 01:09:41,920 --> 01:09:46,160 Speaker 1: script to like stand behind it. She just yeah, she's 1100 01:09:46,200 --> 01:09:49,000 Speaker 1: just ping ponging between and it's again, it's like there's 1101 01:09:49,080 --> 01:09:52,880 Speaker 1: the like seeds of potentially an interesting story if you 1102 01:09:52,960 --> 01:09:56,200 Speaker 1: know anything about the character, because if you had context 1103 01:09:56,240 --> 01:09:58,439 Speaker 1: for Scarlett, you would be like, oh, you know, she 1104 01:09:58,560 --> 01:10:01,760 Speaker 1: seems to be in this uttern of you know, like 1105 01:10:02,280 --> 01:10:05,680 Speaker 1: pursuing men who are unavailable and then going back to 1106 01:10:06,000 --> 01:10:09,200 Speaker 1: men she doesn't really care about but wants positive validation 1107 01:10:09,320 --> 01:10:13,120 Speaker 1: from that is like reflective of a real life dynamic 1108 01:10:13,200 --> 01:10:17,360 Speaker 1: that exists, but without context it just becomes too She 1109 01:10:17,360 --> 01:10:19,880 Speaker 1: could have had her own film. Everybody here could have 1110 01:10:19,920 --> 01:10:22,479 Speaker 1: had their own film and not be two hours, and 1111 01:10:22,560 --> 01:10:26,560 Speaker 1: we could have gotten into some deep like healing romantic 1112 01:10:26,600 --> 01:10:29,639 Speaker 1: comedy stuff, but the genre just wasn't there back then, 1113 01:10:29,720 --> 01:10:36,120 Speaker 1: you know, um anything else. Oh, I guess we We 1114 01:10:36,120 --> 01:10:39,240 Speaker 1: were referencing this at the top of the movie. But 1115 01:10:40,000 --> 01:10:43,720 Speaker 1: Bradley Cooper does shove Scarlett Johansson in a closet, and 1116 01:10:43,800 --> 01:10:49,120 Speaker 1: that is feminism, the most disrespectful thing ever it was. Oh, 1117 01:10:51,640 --> 01:10:58,560 Speaker 1: I will say that back in my early twenties, I 1118 01:10:58,600 --> 01:11:02,679 Speaker 1: was spending an night at somebody's house and a girl 1119 01:11:02,720 --> 01:11:05,720 Speaker 1: that he was seeing showed up at three am and 1120 01:11:05,800 --> 01:11:09,040 Speaker 1: I heard them arguing outside the front door while I 1121 01:11:09,160 --> 01:11:11,760 Speaker 1: quietly stayed in the bedroom. So I guess I have 1122 01:11:11,840 --> 01:11:14,200 Speaker 1: been Scarlett Johansson at some point. But at least I 1123 01:11:14,240 --> 01:11:15,920 Speaker 1: wasn't at his job in the middle of the day, 1124 01:11:16,080 --> 01:11:19,680 Speaker 1: do you know what I mean? Yeah, like like he's 1125 01:11:19,720 --> 01:11:25,240 Speaker 1: still relinding playbook another groupers, Like, at least I didn't 1126 01:11:25,320 --> 01:11:29,599 Speaker 1: go that long. Yeah. So many people do so money 1127 01:11:29,760 --> 01:11:35,360 Speaker 1: inappropriate things at their jobs in this movie. Yeah. And 1128 01:11:35,400 --> 01:11:39,960 Speaker 1: also he can't find a piece of paper there. He's 1129 01:11:40,000 --> 01:11:43,840 Speaker 1: he's like in here somewhere, what are you doing? Like 1130 01:11:43,960 --> 01:11:46,519 Speaker 1: go to the office next door and ask him again 1131 01:11:46,600 --> 01:11:49,400 Speaker 1: for the piece of paper and be done with He's gross. 1132 01:11:49,680 --> 01:11:53,000 Speaker 1: He sucks um. One last thing I wanted to say 1133 01:11:53,160 --> 01:11:57,760 Speaker 1: was it felt to me like the Drew Barrymore subplot, 1134 01:11:57,800 --> 01:12:00,960 Speaker 1: because she definitely gets less screen time than most of 1135 01:12:01,000 --> 01:12:05,120 Speaker 1: the other women and him one day of availability right 1136 01:12:05,760 --> 01:12:08,080 Speaker 1: her through line. I got the sense that it was 1137 01:12:08,120 --> 01:12:13,160 Speaker 1: there mostly too shame people who use online dating, and 1138 01:12:13,600 --> 01:12:16,880 Speaker 1: the whole thing was like, oh that grows anyone who 1139 01:12:16,880 --> 01:12:20,000 Speaker 1: does online dating. You're just setting yourself up for failure. 1140 01:12:20,560 --> 01:12:22,240 Speaker 1: What you need to do is go back to the 1141 01:12:22,320 --> 01:12:25,679 Speaker 1: good old fashioned meeting people. I r L. Well, that's 1142 01:12:25,680 --> 01:12:27,720 Speaker 1: a very I think that that's like a very of 1143 01:12:27,840 --> 01:12:30,160 Speaker 1: the time attitude too. But again, like I think by 1144 01:12:30,160 --> 01:12:33,880 Speaker 1: two thousand nine was a little outdated as well. Yeah, 1145 01:12:34,160 --> 01:12:36,800 Speaker 1: because that seems like a like sex in the city thing, 1146 01:12:36,880 --> 01:12:39,360 Speaker 1: Like when online dating was new, it was like perceived 1147 01:12:39,400 --> 01:12:43,240 Speaker 1: as unsafe and desperate behavior, when now it's like the 1148 01:12:43,360 --> 01:12:47,520 Speaker 1: norm norm. Yeah, I took it as like tech overwhelmed 1149 01:12:47,520 --> 01:12:50,680 Speaker 1: in a way, which it can be a little bit. 1150 01:12:50,800 --> 01:12:53,640 Speaker 1: And I don't know, ladies, but I'm maybe call me 1151 01:12:53,680 --> 01:12:55,760 Speaker 1: on fashion, but I'm like, I want to get off 1152 01:12:55,800 --> 01:12:58,920 Speaker 1: these apps, like if I want to. I'm to the 1153 01:12:58,960 --> 01:13:01,280 Speaker 1: point right now where i'd if I don't meet somebody, 1154 01:13:01,320 --> 01:13:04,240 Speaker 1: that's okay, and I'd rather it just happen in person 1155 01:13:04,400 --> 01:13:08,599 Speaker 1: at some point because they are exhausting. As someone who 1156 01:13:08,680 --> 01:13:12,880 Speaker 1: is also on the apps, I'd rather not to be. 1157 01:13:13,360 --> 01:13:16,240 Speaker 1: But I just have someone just meet like a lot. 1158 01:13:16,280 --> 01:13:18,479 Speaker 1: But I don't feel any like shame. Associated No, no, 1159 01:13:18,600 --> 01:13:21,680 Speaker 1: that shouldn't be any shame. Absolutely no shame. But you know, 1160 01:13:22,479 --> 01:13:26,840 Speaker 1: for my show, I took a lot of real profiles, 1161 01:13:26,840 --> 01:13:29,160 Speaker 1: but had my friends who are actors give me an 1162 01:13:29,160 --> 01:13:33,599 Speaker 1: image so that I didn't like shout anybody. But one 1163 01:13:33,680 --> 01:13:36,559 Speaker 1: of them said my love language is dot dot dot 1164 01:13:36,640 --> 01:13:40,519 Speaker 1: anal and that was out in the world. So you know, 1165 01:13:40,880 --> 01:13:44,880 Speaker 1: there is a there is a terrible like wasteland of 1166 01:13:45,600 --> 01:13:49,240 Speaker 1: things happening in these profiles that I just want to be. Yeah. 1167 01:13:49,520 --> 01:13:54,360 Speaker 1: My Hinge profile says my love language is making you 1168 01:13:54,400 --> 01:14:02,200 Speaker 1: watch Paddington too. You love it, You're gonna get snatched up, 1169 01:14:03,479 --> 01:14:10,000 Speaker 1: you just want to cuddle. Hasn't happened anyway, Yeah, any 1170 01:14:10,040 --> 01:14:14,800 Speaker 1: other any final thoughts from anybody? I just want to 1171 01:14:14,800 --> 01:14:17,519 Speaker 1: say that I was hell is surprised because I've heard 1172 01:14:17,560 --> 01:14:20,960 Speaker 1: of the Bechdel test but I just it's so minimal. 1173 01:14:21,880 --> 01:14:23,800 Speaker 1: Do you know what I mean? That? When I see 1174 01:14:23,840 --> 01:14:26,320 Speaker 1: the amount of films that don't meet it, I'm like, 1175 01:14:26,560 --> 01:14:29,679 Speaker 1: what in the hell are you writing that you can't 1176 01:14:29,720 --> 01:14:34,719 Speaker 1: have two lines of women talking about something other than guys. 1177 01:14:35,080 --> 01:14:38,680 Speaker 1: That's just ridiculous to me. It's well that brings us 1178 01:14:38,880 --> 01:14:42,479 Speaker 1: to our discussion of whether or not this movie passes 1179 01:14:42,560 --> 01:14:48,360 Speaker 1: the Bechdel test, And I honestly did not pay close 1180 01:14:48,479 --> 01:14:57,000 Speaker 1: enough attention. Did you? Did? They have one exchange where 1181 01:14:57,360 --> 01:15:02,680 Speaker 1: Jennifer Connolly ask somebody if they want coffee and the 1182 01:15:02,720 --> 01:15:06,360 Speaker 1: other one says yes, wow, oh, and then maybe that 1183 01:15:06,880 --> 01:15:10,000 Speaker 1: the whole like, I can't write this copy about nutmeg, 1184 01:15:10,280 --> 01:15:13,679 Speaker 1: And then one of them is like don't Maybe there's 1185 01:15:13,800 --> 01:15:16,599 Speaker 1: there's that one coffee And I'm like, why is coffee 1186 01:15:16,640 --> 01:15:18,960 Speaker 1: important right now? But I wonder if the writers were like, 1187 01:15:19,000 --> 01:15:22,360 Speaker 1: we gotta pass with test, throw in the coffee sequence. 1188 01:15:22,479 --> 01:15:27,240 Speaker 1: I'm also seeing that someone arguing on famous website backel 1189 01:15:27,320 --> 01:15:32,200 Speaker 1: test dot com. Uh, someone says that the scene where 1190 01:15:33,080 --> 01:15:36,120 Speaker 1: Jennifer Anniston and her sister who is named talk about 1191 01:15:36,120 --> 01:15:43,519 Speaker 1: a bridesmaid dress to marriage, I agree, I agree, Yeah, 1192 01:15:43,600 --> 01:15:48,439 Speaker 1: every single conversation between women in this movie is either 1193 01:15:48,600 --> 01:15:54,320 Speaker 1: explicitly or implicitly about men or relationships with men in 1194 01:15:54,360 --> 01:15:58,080 Speaker 1: the entire movie, even the montage where they're showing all 1195 01:15:58,080 --> 01:16:01,519 Speaker 1: the women, I was like to Asian women talking about dudes. 1196 01:16:01,960 --> 01:16:07,200 Speaker 1: So yeah, oh my gosh, that because it doesn't pass. 1197 01:16:08,120 --> 01:16:12,320 Speaker 1: It doesn't, But like the coffee thing was trash. Yeah. 1198 01:16:12,360 --> 01:16:15,280 Speaker 1: We've also been having discussions on the show recently about 1199 01:16:15,680 --> 01:16:18,160 Speaker 1: sort of upgrade because because there's so many different versions 1200 01:16:18,160 --> 01:16:19,880 Speaker 1: of the Bechdel test, and we've kind of been thinking 1201 01:16:19,920 --> 01:16:23,640 Speaker 1: about upgrading ours to having it be like a meaningful 1202 01:16:23,920 --> 01:16:29,000 Speaker 1: exchange which would exclude you know, just like hey, here's this, thanks, 1203 01:16:29,360 --> 01:16:32,200 Speaker 1: or like exchanges like that, because sometimes I feel like 1204 01:16:32,920 --> 01:16:36,920 Speaker 1: little things like that let really hitty movies get off 1205 01:16:36,960 --> 01:16:40,720 Speaker 1: the yes. So I'm gonna go ahead and say that 1206 01:16:40,760 --> 01:16:44,360 Speaker 1: this movie does not pass the Bechdel test. Um, I'm 1207 01:16:44,439 --> 01:16:48,400 Speaker 1: on board, Thank you so much. Let's let's put it 1208 01:16:48,439 --> 01:16:52,719 Speaker 1: to our test. Our nipple scale, a scale of zero 1209 01:16:52,800 --> 01:16:58,080 Speaker 1: to five nipples based on an examination of intersectional feminism 1210 01:16:58,200 --> 01:17:01,960 Speaker 1: as it applies to the MOVIEV. He's just not that 1211 01:17:02,040 --> 01:17:05,599 Speaker 1: into you guess what. I'm just not that into this movie, 1212 01:17:05,640 --> 01:17:09,040 Speaker 1: and I give it. I'll give it a half nipple, 1213 01:17:09,760 --> 01:17:16,000 Speaker 1: because I think that it very very minimally begins to 1214 01:17:16,840 --> 01:17:25,000 Speaker 1: think about starting some conversations that could be interesting about relationships, 1215 01:17:25,560 --> 01:17:30,400 Speaker 1: but because of just how little follow through there is, 1216 01:17:31,040 --> 01:17:39,439 Speaker 1: how there's only space provided to hetero romantic relationships. They 1217 01:17:39,479 --> 01:17:43,800 Speaker 1: are all rich white people who are given any significant 1218 01:17:43,920 --> 01:17:51,760 Speaker 1: storylines or actively gentrifying the entire to more yes um, 1219 01:17:51,800 --> 01:17:58,479 Speaker 1: and just the very broad, sweeping, reductive stereotypes about men 1220 01:17:58,560 --> 01:18:04,040 Speaker 1: and women the the characters are written within. It's just 1221 01:18:04,240 --> 01:18:08,680 Speaker 1: so broad and binary and regressive, and I hate all 1222 01:18:08,720 --> 01:18:10,760 Speaker 1: of it. And now I'm talking myself out of this 1223 01:18:10,880 --> 01:18:12,680 Speaker 1: even half nipple. I think I'm going to give it 1224 01:18:12,760 --> 01:18:19,000 Speaker 1: zero nipples. Yeah, I've I would feel I don't know, 1225 01:18:19,040 --> 01:18:21,839 Speaker 1: because the only thing that I liked about the movie 1226 01:18:22,080 --> 01:18:24,439 Speaker 1: besides Chris Christophers and I need to give it a 1227 01:18:24,439 --> 01:18:26,160 Speaker 1: half nipple because I need to give that to Chris 1228 01:18:26,200 --> 01:18:31,200 Speaker 1: Christopher shark on the movie. So I'll give it, Okay, 1229 01:18:32,360 --> 01:18:36,160 Speaker 1: I'll give it. I'll give it a half half, No 1230 01:18:36,160 --> 01:18:42,840 Speaker 1: no nipples, one half of Chris Christofferson's fictional heart hears um. 1231 01:18:42,880 --> 01:18:46,240 Speaker 1: But it's it's it's like it's it's bizarre, like we've 1232 01:18:46,320 --> 01:18:51,120 Speaker 1: been discussing there are these few like I liked the 1233 01:18:51,160 --> 01:18:54,720 Speaker 1: beginning idea of the movie if like, here's a lie 1234 01:18:54,800 --> 01:18:59,160 Speaker 1: we've been told our whole lives, it's bullshit. But then 1235 01:18:59,200 --> 01:19:01,479 Speaker 1: the rest of the movie is not about that and 1236 01:19:01,640 --> 01:19:06,960 Speaker 1: contradicts that, and there's so much it's just I don't know, 1237 01:19:07,160 --> 01:19:09,400 Speaker 1: like this, this movie was not made to you know, 1238 01:19:10,560 --> 01:19:12,760 Speaker 1: I hope, I mean, but that's maybe not true that 1239 01:19:12,960 --> 01:19:16,160 Speaker 1: like this movie was it wasn't supposed to change anyone's 1240 01:19:16,200 --> 01:19:19,280 Speaker 1: mind about anything or really challenge anything in a meaningful way. 1241 01:19:20,200 --> 01:19:23,080 Speaker 1: And I don't know. It was very successful. It was 1242 01:19:23,120 --> 01:19:27,000 Speaker 1: extremely so that's funny. Yeah, hundred and seventy eight million 1243 01:19:27,040 --> 01:19:29,920 Speaker 1: dollars at the box office, which is quite a lot 1244 01:19:30,000 --> 01:19:34,280 Speaker 1: for rom comps, especially was all Bradley Cooper though, be 1245 01:19:34,360 --> 01:19:38,360 Speaker 1: honest that that was all the frosty tips. Baby, So 1246 01:19:38,520 --> 01:19:40,639 Speaker 1: I'll give it. I'll give it no nipples and then 1247 01:19:40,680 --> 01:19:46,640 Speaker 1: one half of Chris Christofferson's heart and know what about you. 1248 01:19:47,160 --> 01:19:51,320 Speaker 1: I'm gonna give it a nipple ring, a nipple ring 1249 01:19:52,600 --> 01:19:56,320 Speaker 1: a ring because um, it's shiny. It's nice to look at, 1250 01:19:56,360 --> 01:20:01,040 Speaker 1: but it's completely unnecessary, just like the movie. Although the 1251 01:20:01,080 --> 01:20:04,200 Speaker 1: movie is not just nice to it. So, I mean, 1252 01:20:04,320 --> 01:20:06,400 Speaker 1: you know, it was shot nicely, you know, people put 1253 01:20:06,720 --> 01:20:10,160 Speaker 1: effort into it, but then there's there are okay, they're okay, 1254 01:20:10,200 --> 01:20:13,000 Speaker 1: I just have to get into Jennifer Connelly comes in, 1255 01:20:13,760 --> 01:20:17,240 Speaker 1: tries to seduce her husband. He could not be less 1256 01:20:17,360 --> 01:20:21,000 Speaker 1: interested in it, but he's like I guess, and then 1257 01:20:21,080 --> 01:20:24,760 Speaker 1: they like have sex and then the camera like moves 1258 01:20:24,760 --> 01:20:29,320 Speaker 1: over to the door of the closet that Scarlet is in, 1259 01:20:29,800 --> 01:20:33,080 Speaker 1: but not like why wouldn't you see the camera in 1260 01:20:33,120 --> 01:20:35,960 Speaker 1: the closet and look at her face instead of just 1261 01:20:36,040 --> 01:20:38,760 Speaker 1: shows the door, And I'm just like, what the who? 1262 01:20:38,880 --> 01:20:43,840 Speaker 1: Scarlett was not available that day, but it has to be. 1263 01:20:45,680 --> 01:20:47,400 Speaker 1: Here's how much I was into the movie. I was like, 1264 01:20:47,439 --> 01:20:51,040 Speaker 1: that's a nice boost tche Jennifer Connolly like it was 1265 01:20:51,240 --> 01:20:54,400 Speaker 1: why to show up? It's classy, it's cute. And I 1266 01:20:54,439 --> 01:20:56,880 Speaker 1: also had like those do you hear those straps from 1267 01:20:56,880 --> 01:20:58,960 Speaker 1: the late two thousands that were kind of like fringe E. 1268 01:20:59,320 --> 01:21:02,479 Speaker 1: They had had those like fringe E kind of uncomfortable straps, 1269 01:21:02,479 --> 01:21:06,040 Speaker 1: but they looked cool. I was like, oh, Victoria's Secret 1270 01:21:06,120 --> 01:21:12,840 Speaker 1: high School Edition. I remember these fringe straps. What what 1271 01:21:12,920 --> 01:21:17,320 Speaker 1: a journey? You know? Thank you so much for joining us. 1272 01:21:17,360 --> 01:21:19,920 Speaker 1: Thanks for letting me chat with you, guys. I had 1273 01:21:20,000 --> 01:21:22,920 Speaker 1: so much fun. It's our pleasure. Tell us about your 1274 01:21:22,960 --> 01:21:26,720 Speaker 1: show and tell us about other places that people can 1275 01:21:26,840 --> 01:21:30,639 Speaker 1: check out your stuff and follow you on social media. Yeah, 1276 01:21:31,000 --> 01:21:34,240 Speaker 1: my show is called The Oxy Complex. It's running streaming 1277 01:21:34,320 --> 01:21:38,080 Speaker 1: virtually UM through April eighteen. You can go to I 1278 01:21:38,439 --> 01:21:41,960 Speaker 1: am a theater dot com I A M a theater 1279 01:21:42,080 --> 01:21:44,640 Speaker 1: dot com to get tickets. UM. It's set on the 1280 01:21:44,680 --> 01:21:48,120 Speaker 1: five day of Quarantine, which I didn't think we would 1281 01:21:48,120 --> 01:21:52,320 Speaker 1: ever get to but maybe we will. UM. And the 1282 01:21:52,400 --> 01:21:56,120 Speaker 1: character Viviana is kind of dealing with insomnia and stress 1283 01:21:56,200 --> 01:21:59,120 Speaker 1: and starts having hallucinations which kind of take her back 1284 01:21:59,200 --> 01:22:02,120 Speaker 1: to look at her dating life and UM try to 1285 01:22:02,200 --> 01:22:05,559 Speaker 1: heal some core traumas in her life in order to 1286 01:22:06,720 --> 01:22:10,000 Speaker 1: maybe be a better partner in the future. And you know, 1287 01:22:10,120 --> 01:22:14,320 Speaker 1: it's a dark comedy, so I'm gonna make you laugh. UM. 1288 01:22:14,360 --> 01:22:19,040 Speaker 1: You can follow me on Instagram at the Underscore Analo Madrid. 1289 01:22:19,800 --> 01:22:22,400 Speaker 1: And I'm also an acting coach, so if you're an 1290 01:22:22,439 --> 01:22:26,400 Speaker 1: actor and you're looking for community, we created UM a 1291 01:22:26,400 --> 01:22:30,559 Speaker 1: membership platform called the New Triple Threat UM because now 1292 01:22:30,600 --> 01:22:33,879 Speaker 1: actors have to be kind of all about their business, 1293 01:22:33,920 --> 01:22:36,320 Speaker 1: their craft, and their tech. So we have courses to 1294 01:22:36,360 --> 01:22:39,559 Speaker 1: help you set up your self tape studio, auditioning craft. 1295 01:22:39,680 --> 01:22:42,120 Speaker 1: We're gonna do like budgeting for actors, you know, all 1296 01:22:42,120 --> 01:22:44,679 Speaker 1: the things that they don't teach you in school, uh, 1297 01:22:44,720 --> 01:22:47,040 Speaker 1: the actual skills that you need to be a working actor. 1298 01:22:47,200 --> 01:22:50,360 Speaker 1: And you can go to the new Triple threat dot com. 1299 01:22:50,400 --> 01:22:52,320 Speaker 1: So for as little as like fifty seven bucks a month, 1300 01:22:52,439 --> 01:22:58,400 Speaker 1: you get to access to all this information. Yeah, and 1301 01:22:58,680 --> 01:23:02,400 Speaker 1: you can follow us on Twitter and Instagram at Bechtel Cast. 1302 01:23:02,560 --> 01:23:07,200 Speaker 1: You can check out our Matreon at patreon dot com 1303 01:23:07,280 --> 01:23:10,559 Speaker 1: slash Bechtel Cast, which gets you two bonus episodes every 1304 01:23:10,760 --> 01:23:15,120 Speaker 1: month plus the entire back catalog and it is five 1305 01:23:15,240 --> 01:23:19,120 Speaker 1: dollars a month. Wowee wow, what a treat. What a 1306 01:23:19,120 --> 01:23:22,839 Speaker 1: treat indeed. And then our merch is at t public 1307 01:23:22,880 --> 01:23:27,040 Speaker 1: dot com slash the Bechtel Cast. Crab yourself a mask, 1308 01:23:27,280 --> 01:23:31,559 Speaker 1: crab yourself a shirt, other other wares of your life. 1309 01:23:32,720 --> 01:23:36,559 Speaker 1: You know, well, we're not going to stop you. And 1310 01:23:36,600 --> 01:23:41,479 Speaker 1: then yeah, I guess um, we're just not that into 1311 01:23:42,120 --> 01:23:46,200 Speaker 1: He's just not that into you, r I P. Chris 1312 01:23:46,280 --> 01:23:52,080 Speaker 1: Christofferson just kidding. He lives. Bye, bye,