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Speaker 1: On the Doodcast, the questions asked if movies have women

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Speaker 1: in um, are all their discussions just boyfriends and husbands

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Speaker 1: or do they have individualism the patriarchy? Zef and Best

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Speaker 1: start changing it with the bec del Cast pop quiz, Jamie,

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Speaker 1: what You're a host on a podcast, but the podcast

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Speaker 1: can't be under ninety minutes per episode? What do you do?

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Speaker 1: I give away a lot of my life to the podcast.

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Speaker 1: I use moments of my precious one human life podcasting. Alright,

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Speaker 1: hot shot sounds good to me. Are you the Dennist

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Speaker 1: Hopper in that situation? Yes, I'm I'm the I'm the

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Speaker 1: villainy and you are Kiana Reeves? Are you the Dunnert?

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Speaker 1: You're not the Dennis Hopper of the show. I don't

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Speaker 1: think our show has a Dennis Hopper. I hope not. No,

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Speaker 1: it's just two busses, yeah, bus number one, Bus number two,

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Speaker 1: yea and yeah, and then sometimes a third bus pulls

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Speaker 1: on up and we just cruise down the one oh five, baby,

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Speaker 1: even though we're calling it the one thin it's the

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Speaker 1: one oh five, which is for some reason not in use. Okay,

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Speaker 1: there's there. We don't even have time to talk about

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Speaker 1: all the like l A infrastructure stuff. I was like,

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Speaker 1: kind of interested in watching this movie. But I guess

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Speaker 1: that's another this isn't a regional podcast, but I was

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Speaker 1: very interested in a lot. I was like, wow, that's

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Speaker 1: what it looked like. Interesting. Welcome to the Beachtel Cast.

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Speaker 1: Wait was at the end of the intro. Yeah, that

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Speaker 1: was that was my brilliant intro. You're welcome. You're an

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Speaker 1: iconic Dennis, Thank you so much. Dennis Hopper is having

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Speaker 1: so much fun in this movie. Oh my gosh. He

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Speaker 1: it's the role of a lifetime for him. He's like

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Speaker 1: a Melina level villain. And that's like compliment, huge compliment,

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Speaker 1: of course. So this is the Bechtel Cast. Today is

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Speaker 1: our speed episode, which is exciting. Yeah oh yeah from

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Speaker 1: from Okay, get ready because this podcast just got above

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Speaker 1: fifty miles per hour and it's not the podcast will explode.

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Speaker 1: I the first time I watched this movie, I was

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Speaker 1: driving back. I was in the back seat. My aunt

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Speaker 1: was driving from Maryland to Massachusetts and she was driving

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Speaker 1: above fifty miles hour. So I felt really actively engaged

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Speaker 1: with the movie. I was like, wow, now if we

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Speaker 1: stopped to pe, you'll explode. Will explode, The super will explode.

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Speaker 1: You know anyways? Incredible? Should I have been talking this

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Speaker 1: whole time? Or you can if you want to? I

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Speaker 1: was like, should I be quiet? So okay, well we

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Speaker 1: will give you a proper introduction. You're returning guests. Do

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Speaker 1: you have open privileges? I was like, I was like,

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Speaker 1: it's been like a couple of minutes. Should I still

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Speaker 1: be quiet? Like? Or am I supposed to be talking?

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Speaker 1: What do other guests talk to? Now? We well, here's

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Speaker 1: what we'll do. This is the backdol as. My name

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Speaker 1: is Caitlin Darante. My name is Jamie Loftus, And let's

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Speaker 1: introduce our guests and then we'll tell you what the

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Speaker 1: podcast is. So from from third bus in the room,

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Speaker 1: our guest is a filmmaker. Half of the podcast ethnically ambiguous.

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Speaker 1: It's Sharine Lonnie Units. It's me pulling up in my

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Speaker 1: big bus. Wow, so happy to Busses used to look

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Speaker 1: so cool. Yeah, buses used to look way cooler. They

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Speaker 1: took so many hits like they were they were made

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Speaker 1: of metal like it, there's nothing stopping them. They kind

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Speaker 1: of looked kind of VW bussy. They looked like an

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Speaker 1: old like, they're pretty cute. It looks like an old

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Speaker 1: tour van. I was like, damn, they should have kept

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Speaker 1: those things. They're so they're all big and ugly. Now.

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Speaker 1: I was just so surprised how durable they were. They

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Speaker 1: crashed into everything. Such a sturdy bus, very sturdy, very sturdy. Look,

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Speaker 1: I'm so stuck to be talking about speed. It ultimately

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Speaker 1: is capaganda. However, they're is public transit in movies. I

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Speaker 1: feel like there's there hasn't been a bigger moment for

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Speaker 1: public transit in and as a public transit user and lover,

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Speaker 1: I was like, wow, we never see the bus, never

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Speaker 1: underrepresented in cinema. I agree. I mean yeah, I was

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Speaker 1: really happy to rewatch this. I'm glad that we went

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Speaker 1: with this Kanu movie because I just love him and

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Speaker 1: I will watch anything with him, even if it's copaganda.

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Speaker 1: It's which which in the nineties it really was. He's

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Speaker 1: in quite a few coppaganda films because he was. He

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Speaker 1: was hired for this movie off of the strength of

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Speaker 1: where the perceived strength whatever of Point Break, where he

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Speaker 1: was also in the l apt cop after cop Okay,

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Speaker 1: so real quick. The show we examine movies through an

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Speaker 1: intersectional feminist lens using the Bechdel Tests simply as a

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Speaker 1: jumping off point. The Bechdel Test, of course, is a

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Speaker 1: medium met created by queer cartoonist Alison Bechtel, sometimes called

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Speaker 1: the Bechtel Wallace Test. Our variation on the test is

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Speaker 1: two people of any marginalized gender I have to have names,

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Speaker 1: have to speak to each other, and that conversation has

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Speaker 1: to be about something other than a man. Ideally it's

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Speaker 1: a meaningful, narratively relevant conversation. But if it's a like

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Speaker 1: two line exchange, you know, we will allow it. I

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Speaker 1: guess depends on the situation. I understand why you're being

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Speaker 1: so specifically because I encounter that say, I was like, okay, there,

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Speaker 1: so I just I think it. I think it does

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Speaker 1: pass between Annie and a woman we later learn as Helen.

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Speaker 1: She said her name did later test, you know, right

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Speaker 1: before moments before Helen's death, where she's like Helen No.

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Speaker 1: I was like, wow, Wow, they did it. And I

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Speaker 1: would argue that that exchange is narratively relevant because we

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Speaker 1: need to find out that Helen is a very anxious

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Speaker 1: person on the road, which is partially why she ultimately

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Speaker 1: meets her demise and that's relevant enough for me. Did

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Speaker 1: we skip ahead? Should we have saved that that reveal?

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Speaker 1: I see, I don't mind if we blow our load

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Speaker 1: earlier in the show. Yeah, okay, yeah, our show is

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Speaker 1: not really despite the name which we came up with

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Speaker 1: five years ago. Our show is not about the beckd

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Speaker 1: Old test, which which this movie does pass, which does

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Speaker 1: pass exactly once, about road anxiety exactly what. I don't

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Speaker 1: think Sandra Bullock talks to another woman the entire movie.

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Speaker 1: I don't believe so well. And I have a huge

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Speaker 1: issue with that too, because there's so many women on

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Speaker 1: that bus, I mostly women of color as well, and

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Speaker 1: it's like it was, yeah, only the men talked, only

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Speaker 1: the men passengers. There were more names other than Helen right,

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Speaker 1: there were like five male passengers that had full arcs

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Speaker 1: like and then the women in the background are like,

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Speaker 1: I like that all you get not fair? Yes? Okay, So, Sharne,

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Speaker 1: what is your relationship history experience with this movie? I

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Speaker 1: just remember watching it as a kid with my parents,

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Speaker 1: and it's been at least two decades since I've seen

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Speaker 1: it since then, and so I was really happy to

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Speaker 1: rewatch it. I didn't remember a lot, so I was

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Speaker 1: still pretty like engaged with the plot because I was like,

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Speaker 1: I knew there was I knew the like the images, right,

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Speaker 1: I just like I didn't know how it ended. I

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Speaker 1: forgot until I saw it, you know, like I remembered like, oh,

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Speaker 1: they're there, but yeah, I really I was a Kianu

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Speaker 1: fan very young, and then I am still a Kianu fan.

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Speaker 1: And I really liked watching Kanu give orders when I

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Speaker 1: was a kid. That's all I remember. He Kianu is incredible. God,

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Speaker 1: he's incredible. He's an incredible person. And he's like Caitlin

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Speaker 1: and I were text me about this earlier. He's like,

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Speaker 1: he's so hot in this movie. It's so he was

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Speaker 1: twenty nine. Isn't that wild? Oh my god? There there?

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Speaker 1: I mean, okay, is the love story shoe who burned in? Yes?

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Speaker 1: Do I want these characters to fuck? Yes? So it's complicated.

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Speaker 1: Kanu Reeves, according to director Jan de bon John, I'm

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Speaker 1: not sure how to say his name. Um Keanu Reeves

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Speaker 1: was cast in the movie Speed because he is quote

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Speaker 1: vulnerable on the screen. He's not threatening to men because

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Speaker 1: he's not that bulky, and he looks great to women,

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Speaker 1: which is obviously an extremely like gender and heteronormative way

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Speaker 1: to describe somebody. But he's right, he's extremely vulnerable and

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Speaker 1: sweet and sensitive and hot beautiful. I was reading about

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Speaker 1: the casting process and he was like the sixth choice

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Speaker 1: for this part. Who are the top choices? So and

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Speaker 1: all of these would be lesser movies except one or

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Speaker 1: two that I would be interested in seeing versions of

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Speaker 1: Kanu ultimately wins, but they wanted Steven Baldwin. That would

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Speaker 1: have been terrible. God. Steven Baldwin said no, too much

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Speaker 1: like die Hard, which isn't the worst point, but I

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Speaker 1: prefer this movie to die Hard because it's on the

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Speaker 1: bus and it's with Kany Reeves. Next they asked, are

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Speaker 1: they considered Tom Cruise and Tom Hanks. No, No, Wesley Snipes.

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Speaker 1: I think that could have been interesting. I would be

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Speaker 1: a fan of that, and Woody Harrelson, which also would

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Speaker 1: have been interesting. It would have been different. It would

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Speaker 1: have been a little goofier or something. I don't know

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Speaker 1: what has Yeah, yeah, I would have been joke here.

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Speaker 1: I think like Wesley Snipes or Woody Harrelson's speed would

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Speaker 1: have been good. But the Tom's and Steven Baldwin, I'm like, no,

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Speaker 1: put it in the trash. Not interesting. I can't imagine

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Speaker 1: watching two hours of them do anything. But it's so

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Speaker 1: interesting that he wasn't the first choice. It is because

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Speaker 1: I feel like his biggest some of his biggest movies

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Speaker 1: that like catapulted him, he was not the first choice.

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Speaker 1: Like he wasn't the first choice in this or in

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Speaker 1: the Matrix. It was I just think that's wild, but

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Speaker 1: like Wild Wild West, yeah, the movie Will Smith did

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Speaker 1: instead of the Matrix. It's like wild that he's like

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Speaker 1: not the first pick, but then he ends up like

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Speaker 1: just going above and beyond it, being like, well, this

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Speaker 1: is what I can do. And then then were like, oh,

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Speaker 1: we see you, Kian. You know what I mean. Yeah,

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Speaker 1: they realized, Wow, we should have gone to you first.

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Speaker 1: I can't believe we didn't. Our mistake, Jamie, what's your

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Speaker 1: relationship with Speed? I have a fun history with this movie.

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Speaker 1: I saw this movie for the first time in college.

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Speaker 1: I did this is all very goofy, but I did

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Speaker 1: a semester abroad brag. But we were allowed to take

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Speaker 1: little weekend trips with just our like friends, and so

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Speaker 1: my friend, my dear friend Kyle, and I shout out,

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Speaker 1: I'll decided we were going to go to Milan, Italy,

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Speaker 1: even though we had no money, and we're like, we'll

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Speaker 1: just figure it out when we get to Milan, which

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Speaker 1: is so dangerous, and so we ended up staying at

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Speaker 1: this hostel that was very unsafe. There were all of

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Speaker 1: these rules. They're like, you can't leave the hostile after

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Speaker 1: seven pm or we'll lock you out. It was I

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Speaker 1: don't think it was actually a hostile. I don't know

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Speaker 1: what it was. We were very scared. We were very

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Speaker 1: scared and very like whatever, Like nineteen had no idea

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Speaker 1: what we were doing. I like whatever. It was a

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Speaker 1: long time ago. But they did have a really good

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Speaker 1: WiFi signal for whatever reason. And we were so nervous,

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Speaker 1: and we didn't have any food because it was after

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Speaker 1: seven pm, and we're just like, oh, we can't leave.

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Speaker 1: We won't be able to get back. So we were

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Speaker 1: like hungry and tired and confused and didn't speak Italian.

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Speaker 1: And I was just like, can we just like watch

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Speaker 1: a movie or something. I'm so nervous, And Kyle was like,

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Speaker 1: you know what, movie always really calms me down. And

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Speaker 1: then he turned on Speed and we watched it together

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Speaker 1: and it's such and I loved it, and it was

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Speaker 1: such a nice memory and I had it. I only

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Speaker 1: thought that one time, and then I returned to that

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Speaker 1: memory and this really fun movie. It's a fun movie.

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Speaker 1: It's so fun it makes me want to text Kyle.

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Speaker 1: I'm gonna text Kyle, text Kyle. But yeah, that's my

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Speaker 1: that's my history with Speed. What's HER's, Caitlin. This was

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Speaker 1: a movie that my family had on VHS in the

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Speaker 1: nineties when I was growing up. It wasn't in my

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Speaker 1: heavy rotation the same way that like Back to the

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Speaker 1: Future or Jurassic Park was, but it was occasionally in

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Speaker 1: the rotation. So I saw it a few times as

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Speaker 1: a kid, but not since then. So there, I shream

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Speaker 1: like you. I had like a twenty year gap or

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Speaker 1: so between screenings of this movie, and I was reminded

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Speaker 1: that it is an extremely fun and watchable piece of coppaganda.

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Speaker 1: It is this movie is I forgot, very much, forgot

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Speaker 1: to the extent that this movie is an L A

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Speaker 1: p D specific copaganda piece. I also forget that they

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Speaker 1: also just made them look way cooler than they did.

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Speaker 1: They do, like, their outfits are cooler there, I don't know,

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Speaker 1: they're hot they're just they're hot, they're they're KIANU reeves,

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Speaker 1: they're smart and capable. They're always yelling about how they

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Speaker 1: have sex and like none of this is true to

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Speaker 1: let like, let's all be could all three of us

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Speaker 1: very firmly. I think we can all agree that the

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Speaker 1: l a p D a cab but like extra for them,

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Speaker 1: it's a it's a special kind of hatred that we

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Speaker 1: saved for the l a p D. And this is

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Speaker 1: very effective copaganda for them, And I think, I mean,

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Speaker 1: we'll talk about this later in the episode, but the

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Speaker 1: like exact moment that this movie came out was a

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Speaker 1: time where the l a p D needed some image rehabilitation,

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Speaker 1: let's say, because this movie was written and produced the

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Speaker 1: year after Rodney King and oh my god, so it's

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Speaker 1: that's a good point. I did not put that together.

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Speaker 1: And it was released the week before the O. J.

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Speaker 1: Simpson Highway Chase. So I think that when this movie

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Speaker 1: came out, I was seeing that a lot of people

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Speaker 1: were like, how did the movie Speed know that we

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Speaker 1: were going to be really interested in highway chases? Because

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Speaker 1: it happened literally the week after Speed came out. What

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Speaker 1: if that inspired O. J. Simpson. What like, like I

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Speaker 1: saw this amazing movie. God, what if speed was the

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Speaker 1: catalyst for that. I mean, movies are influential, so it

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Speaker 1: could be it could be a subconscious choice to you know,

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Speaker 1: he wouldn't even really realize. I think he did. I think,

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Speaker 1: I mean r I pinicle. But it's just yeah, it's

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Speaker 1: so the the exact moment that this came out was

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Speaker 1: such a I don't know, it was just a very bizarre.

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Speaker 1: But also I would guess fairly strategic timing for the

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Speaker 1: l PEG to have a really popular piece of copaganda

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Speaker 1: come out around because this movie was shot in so

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Speaker 1: it would have been like less than a year after

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Speaker 1: RANDI King. That is very intentional for sure. I mean

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Speaker 1: that just goes to show it's like there's no really

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Speaker 1: accidents with what I not usually with like what gets

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Speaker 1: picked up as far as like it's political or not.

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Speaker 1: I think what movies get picked up by means So

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Speaker 1: that's unsettling. Yeah, sure, and yet it's a rob It's

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Speaker 1: God damn it. What I think we can replace, Like

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Speaker 1: I think we can make a universe or like a

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Speaker 1: group of people that aren't cops but are badasses. I

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Speaker 1: can't figure out who they are. But it totally would

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Speaker 1: have worked. It totally would have worked if like Keanu

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Speaker 1: was just like Mr. I don't know, like whatever in

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Speaker 1: that nineties action movie way of like I'm Mr. Action

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Speaker 1: and like he didn't. I don't know. I don't think

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Speaker 1: it was necessary, But the way the movie is written,

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Speaker 1: it's very like and all the cops worked together in

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Speaker 1: cups are amazing heroes and they're like hitting that point

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Speaker 1: over and over and they're so smart and they figure

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Speaker 1: out puzzles. But I'm also thinking back to so many

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Speaker 1: action movies of this decade of decades before and after

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Speaker 1: it that have protagonists who are cops. Like that is

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Speaker 1: so many action movies. So that's what I'm saying. It's

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Speaker 1: like a lot of movies make they need like a

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Speaker 1: group of good guys, you know, a group of heroes

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Speaker 1: you could root for. And this was all before obviously

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Speaker 1: Marvel and like comic book movies. So I feel like

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Speaker 1: people just wanted a good group of guys to root for,

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Speaker 1: and they were happy to be cops. That's why I

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Speaker 1: think there has to be a different group, Like it

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Speaker 1: doesn't happen to know who it should be, who it

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Speaker 1: should be a group of vigilante podcasters. Oh yeah, yeah,

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Speaker 1: but Robert might be listening. Do let's say it? Oh no,

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Speaker 1: oh no, yeah, please don't at least Robert. I'm talking

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Speaker 1: specifically about the three of us. We should be action heroes,

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Speaker 1: We should be the ki of our generation. Yes, there

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Speaker 1: are so many moments in this movie where I'm like, well,

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Speaker 1: that's where I would have jumped out a window, Like,

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Speaker 1: that's where I would have just leapt out the bus. Yeah,

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Speaker 1: I mean, I guess it's we're already kind of having

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Speaker 1: this conversation in anyways. I mean that, Yeah, the the

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Speaker 1: amount of copaganda is so wild, and it sent me

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Speaker 1: back into the amount of times that coppaganda sneaks into

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Speaker 1: genres you wouldn't even expect, because in the action genre

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Speaker 1: at least, it's a pretty expected trope basically where I

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Speaker 1: think that really people's only criticism of this movie at

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Speaker 1: the time was that it was like, oh, I'm seeing

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Speaker 1: the die Hard similarities here, which you definitely do. But

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Speaker 1: I was going back and reading any pieces on like

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Speaker 1: how I mean, Katelie, We've talked about this in the

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Speaker 1: past episode, how like the movie Bridesmaids includes elements of

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Speaker 1: coppaganda with like and just like the extent that like

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Speaker 1: the good like sweet goofy cop is built into I

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Speaker 1: mean specifically, American storytelling is so disturbing, I don't very disturbing.

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Speaker 1: And the way that Kanu's character behaves in this movie,

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Speaker 1: it sometimes feels like a fantasy where it's like, oh

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Speaker 1: an l a p D officer d escalating a situation.

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Speaker 1: Um Like it's interesting because so the director first time directing,

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Speaker 1: but he was a cinematographer of die Hard. I think

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Speaker 1: that's also why there are so many visual similarities. That's

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Speaker 1: why he got brought onto the project. Yeah, that they're like,

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Speaker 1: you're you're an experienced coppaganda filmmaker. Come on, and Keanu

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Speaker 1: Reeves was an experienced coppaganda actor. They're like, Okay, we'll

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Speaker 1: just shave your head this time, and you're you're a

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Speaker 1: new man. Although some of the Kianu line reads in

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Speaker 1: this movie are so iconically confusing, it was Ken's. It

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Speaker 1: was Ken. Yeah, he was like when he said that

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Speaker 1: there is a line that is like very clear in

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Speaker 1: writing copaganda because someone says, are they gonna help us?

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Speaker 1: And then the reply is sure they are there the police. Yes,

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Speaker 1: it was so like, it was so like I don't know,

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Speaker 1: and I was getting like galaxy brainy at the time,

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Speaker 1: where I was like, are they trying to say something?

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Speaker 1: And I'm just not like because moments like that that

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Speaker 1: was like the character who says that is like the

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Speaker 1: out of town er, he like self identifies as a yokel,

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Speaker 1: And I was like, Oh, is this supposed to be

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Speaker 1: like a naive view of the police, But that's definitely

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Speaker 1: not with the movie. Thinks Nope, They're they're like even

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Speaker 1: this man, this man from Minnesota knows that cops are

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Speaker 1: the greatest people to ever be born. Like I don't

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Speaker 1: know if it all it all was very just so frustrating,

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Speaker 1: And then I thought again that I was like, oh,

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Speaker 1: maybe there's some commentary being made when when you find

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Speaker 1: out when it's revealed that Dennis Hopper is a former cop,

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Speaker 1: and I'm like, you will get into something, but it

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Speaker 1: kind of it just goes nowhere. They're just like he

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Speaker 1: was he was he was a cop, which is like,

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Speaker 1: I mean, it's still a piece of copaganda at that

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Speaker 1: point in the movie, no matter what. But I was like, Oh,

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Speaker 1: maybe they're going to try to comment on something. But

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Speaker 1: then they're just but then that just as kind of

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Speaker 1: they're like, he's a cop. Nope, is that interesting. Yeah,

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Speaker 1: they're just sort of like they're like, well, you know,

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Speaker 1: one bad apple, but the rest of them are great. Yeah.

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Speaker 1: It totally ends up buying into that entire bad apple narrative.

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Speaker 1: I mean, and then before this, like like the Golden

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Speaker 1: State Killer and then like a couple of cops did

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Speaker 1: become like these villains in real life, right, So it's

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Speaker 1: it's interesting, they're just like, we're just saying that. It's

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Speaker 1: like there's one bad apple, right, and the rest are

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Speaker 1: good apples versus the opposite where it's like very much true.

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Speaker 1: But there are a few moments in this movie where

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Speaker 1: I think it was like I just kept looking for

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Speaker 1: something because I enjoy watching the movie where I'm like, oh,

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Speaker 1: maybe they're trying to say something and it was really subtle.

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Speaker 1: But um, ultimately that is not true. That's not true.

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Speaker 1: Let's take a quick break and then we'll come back

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Speaker 1: and recap the movie. And we are back and here

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Speaker 1: comes the recap of speed Beep from Beep Beep, Why

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Speaker 1: the heck is this bus going so fast? Okay, so

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Speaker 1: the movie opens on a long chunk where we are

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Speaker 1: not on a bus. By the way, I forgot that

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Speaker 1: there's like two different action movies at the beginning and

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Speaker 1: end of this movie. Yeah, I totally forgot about that,

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Speaker 1: no recollection at all. I just remember it was Cans

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Speaker 1: and the Bizarrow. You remember the Cans line. Oh, the

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Speaker 1: Cans is unforgettable. Kyle and I had a ball with

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Speaker 1: the Cans line. And then I remember to my credit

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Speaker 1: all the way back and like whatever year, I was

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Speaker 1: being like, they're making out in a train car and

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Speaker 1: people are just taking pictures, Like that's what I was thinking,

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Speaker 1: Like your friend, just a friend died. And then also

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Speaker 1: the way that was. But like when Sandra Bullock is

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Speaker 1: like flirting, but also her friend the bus driver is

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Speaker 1: like bleeding to death behind her, I'm like, yes, there's

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Speaker 1: some total dissance. Love is more important, you know what

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Speaker 1: I mean. Love Trump's everything, even when you're even when

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Speaker 1: your friend is actively dying. I totally forgot about the

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Speaker 1: Cans So just imagine me being like, what the fuck

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Speaker 1: it was? Kens it was? But though the two of

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Speaker 1: the fact that there are two action movies on either side,

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Speaker 1: I mean, it's a great action film for that reason,

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Speaker 1: Like I had they just combined so many different elements

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Speaker 1: of action movies. It's just I don't know. Well. Also,

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Speaker 1: the original script was just having the whole movie be

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Speaker 1: on a bus, but then the studio was like, audiences

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Speaker 1: are going to get bored if we're just on a

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Speaker 1: bus the whole time, so let's do a long sequence

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Speaker 1: before and a long sequence after the bus. Then that's

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Speaker 1: when they green lit it. So originally it was just

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Speaker 1: a bus. I do kind of appreciate that they I mean, also,

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Speaker 1: this movie is like one of those nineties movies that

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Speaker 1: you watch and you're like, this looks so expensive, Oh

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Speaker 1: my good. So many explosions, so many cars getting damaged,

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Speaker 1: airplane exploded. I'm glad that they milked. I mean, that

401
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Speaker 1: shot was five hundred hours long. But I'm like, I

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Speaker 1: would I guess if I were the director of this movie,

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Speaker 1: I would milk that shot to what a nightmare. I

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Speaker 1: did appreciate the like the added intro in the backstory,

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Speaker 1: because it did make Jeff daniels demise a little bit

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Speaker 1: more like sad, you know, like their backstory of being

407
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Speaker 1: like good friends and the weird banter they have. Everything's

408
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Speaker 1: a joke. But yeah, the added intro isn't bad to

409
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Speaker 1: me or the ending. I liked it. I liked it all.

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Speaker 1: I just forgot that there was I first ever and

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Speaker 1: I was like, oh, at the beginning, Kiana gets then

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Speaker 1: a bus. I forgot he was a cop. I forgot

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Speaker 1: there was a setup. I forgot there was a second

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Speaker 1: climax of the movie. I forgot she got damseled all

415
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Speaker 1: this stuff. Yeah for sure. Okay, So we do open

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Speaker 1: on Dennis Hopper putting a bomb on an elevator in

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Speaker 1: an office building. He then holds a bunch of people

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Speaker 1: hostage on the elevator and demands a three million dollar

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Speaker 1: ransom from the l A p D. Several officers show up.

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Speaker 1: Among them is Jack Travin played by Kiana Reeves, who

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Speaker 1: he doesn't really play by the rules, but he feels

422
00:24:38,680 --> 00:24:41,640
Speaker 1: so kind of nice. But like we're introduced to him

423
00:24:41,640 --> 00:24:44,800
Speaker 1: like chewing gum for the first like fifteen minutes. He's

424
00:24:44,840 --> 00:24:49,200
Speaker 1: so cool, he's so laid back, so chill, just chewing gum.

425
00:24:49,320 --> 00:24:53,560
Speaker 1: I just really liked that addition. I feel like they

426
00:24:53,600 --> 00:24:56,879
Speaker 1: did like take the die hard character and they like

427
00:24:57,320 --> 00:25:00,640
Speaker 1: Kiana Reeves defied him. They just made him like more

428
00:25:00,720 --> 00:25:05,359
Speaker 1: fun to be around right for sure. His partner is

429
00:25:05,640 --> 00:25:09,880
Speaker 1: Harry Temple played by Jeff Daniels and Daniel The name

430
00:25:09,880 --> 00:25:16,280
Speaker 1: Harry Temple is funny um last name was Temple until

431
00:25:16,320 --> 00:25:19,960
Speaker 1: he just said it. I didn't catch them. Yeah, okay,

432
00:25:20,000 --> 00:25:23,760
Speaker 1: So they managed to save the hostages and find Dennis Hopper,

433
00:25:24,359 --> 00:25:28,160
Speaker 1: but then Dennis Hopper blows himself up. But it turns

434
00:25:28,160 --> 00:25:31,480
Speaker 1: out that Dennis Hopper is not dead. I still don't

435
00:25:31,520 --> 00:25:34,399
Speaker 1: fully understand that. I don't understand how they said he

436
00:25:34,440 --> 00:25:37,200
Speaker 1: was dead, Like they didn't find anything. He just called

437
00:25:37,240 --> 00:25:40,240
Speaker 1: He's like, guess what, I'm alive, and I was like, oh,

438
00:25:40,920 --> 00:25:43,240
Speaker 1: I was thinking, like in my mind, I was like, okay,

439
00:25:43,240 --> 00:25:45,159
Speaker 1: it has to be believable. So maybe he left a

440
00:25:45,200 --> 00:25:47,399
Speaker 1: tooth there or something like, maybe he like left a

441
00:25:47,400 --> 00:25:50,960
Speaker 1: body part, but no, he didn't do that. It's really confusing.

442
00:25:51,520 --> 00:25:54,120
Speaker 1: Hopper is like low key a magician, like he has

443
00:25:54,200 --> 00:25:58,080
Speaker 1: magical elements to his character, where like his motive seems

444
00:25:58,119 --> 00:26:00,560
Speaker 1: to be changing a lot of time times. I feel

445
00:26:00,560 --> 00:26:04,560
Speaker 1: like he's almost like the Joker of Speed, where he's

446
00:26:04,680 --> 00:26:08,239
Speaker 1: you're You're like, he just wants chaos. It seems like

447
00:26:08,320 --> 00:26:10,040
Speaker 1: I don't know what he wants and we know his

448
00:26:10,160 --> 00:26:12,960
Speaker 1: origin story. We know the origin story. It's revealed to

449
00:26:13,040 --> 00:26:15,679
Speaker 1: us later, so which I wish that they used that

450
00:26:15,760 --> 00:26:18,320
Speaker 1: origin story more effectively in story. I feel like they

451
00:26:18,359 --> 00:26:20,480
Speaker 1: could have at least tried to say something with his

452
00:26:20,560 --> 00:26:23,600
Speaker 1: origin story, because they do provide it, but then it's

453
00:26:23,600 --> 00:26:26,920
Speaker 1: like then it goes nowhere. Anyways, Dennis Hopper is fun

454
00:26:26,960 --> 00:26:31,119
Speaker 1: to watch. We talked about this on our episode on

455
00:26:31,480 --> 00:26:36,080
Speaker 1: the Rock, where the Ed Harris character is like ex

456
00:26:36,359 --> 00:26:42,480
Speaker 1: military I think the Marines or something like his wife

457
00:26:42,560 --> 00:26:48,120
Speaker 1: and his wife and he didn't receive the you know, support,

458
00:26:48,560 --> 00:26:52,800
Speaker 1: whether financial or whatever, that he was expecting after having

459
00:26:52,840 --> 00:26:56,120
Speaker 1: served in the military, and it was like not that

460
00:26:56,119 --> 00:26:58,679
Speaker 1: that movie was actively making commentary on like wow, we

461
00:26:58,720 --> 00:27:02,600
Speaker 1: need like better social programs and support systems for the

462
00:27:02,720 --> 00:27:05,520
Speaker 1: veterans and stuff like that, but that is like that

463
00:27:05,600 --> 00:27:07,679
Speaker 1: was his motivation in the movie, and I feel like

464
00:27:07,680 --> 00:27:10,439
Speaker 1: there's like they're kind of trying to do that or

465
00:27:10,480 --> 00:27:13,399
Speaker 1: like there was a seed of that and speed, but

466
00:27:13,680 --> 00:27:16,400
Speaker 1: it doesn't go anywhere. Saying something that if Michael Bay

467
00:27:16,520 --> 00:27:21,760
Speaker 1: was making stronger commenting, that's interesting. I mean, but what

468
00:27:22,040 --> 00:27:25,400
Speaker 1: we know they get compensated extremely fairly, like they make

469
00:27:25,400 --> 00:27:27,480
Speaker 1: more than teachers. So I'm a little confused, like why

470
00:27:27,520 --> 00:27:29,560
Speaker 1: they're still bitter about it, you know what I mean,

471
00:27:29,680 --> 00:27:32,439
Speaker 1: Like these like people are writing these characters kind of

472
00:27:32,440 --> 00:27:34,720
Speaker 1: thing like yeah, I don't know. Yeah, And that's like

473
00:27:35,040 --> 00:27:39,080
Speaker 1: referenced repeatedly to like that the police officers feel that

474
00:27:39,119 --> 00:27:43,200
Speaker 1: they're getting a raw deal because they're doing stunts every day,

475
00:27:43,240 --> 00:27:45,160
Speaker 1: and it's like, well, yeah, most cops are not doing

476
00:27:45,320 --> 00:27:50,320
Speaker 1: stunts every day. They're just antagonizing people. Maybe we're watching

477
00:27:50,359 --> 00:27:52,520
Speaker 1: these and people are like, oh, cops need more funding,

478
00:27:52,680 --> 00:27:55,479
Speaker 1: like they should make more. So the general public is like,

479
00:27:55,800 --> 00:27:58,840
Speaker 1: let's give cops more money that I feel sorry for them. Well,

480
00:27:58,840 --> 00:28:01,119
Speaker 1: that was a huge plot issue that I was having,

481
00:28:01,119 --> 00:28:05,320
Speaker 1: where whatever, we're not rooting for Dennis Hopper obviously, but

482
00:28:05,520 --> 00:28:10,480
Speaker 1: he's asking for I mean, comparatively to a police station budget,

483
00:28:11,280 --> 00:28:13,560
Speaker 1: he's asking for a very low amount. He's asking for

484
00:28:13,720 --> 00:28:16,600
Speaker 1: three point seven million dollars. The l a p D

485
00:28:16,680 --> 00:28:20,960
Speaker 1: and their last round of funding received over one billion dollars.

486
00:28:21,280 --> 00:28:24,600
Speaker 1: They have three point seven millions. So the fact that

487
00:28:24,640 --> 00:28:27,600
Speaker 1: people's lives are and I feel like the tension there

488
00:28:27,680 --> 00:28:29,199
Speaker 1: is like, well, we don't want to give him what

489
00:28:29,240 --> 00:28:32,080
Speaker 1: he wants. It's like, well, there's twenty lives of working

490
00:28:32,080 --> 00:28:34,280
Speaker 1: class people in the balance. You might want to just

491
00:28:34,320 --> 00:28:37,040
Speaker 1: give this guy what he wants and find him later,

492
00:28:37,440 --> 00:28:39,960
Speaker 1: you know. Like so the fact that the whole plot

493
00:28:39,960 --> 00:28:42,800
Speaker 1: of this movie is the l a p D counting

494
00:28:42,840 --> 00:28:45,160
Speaker 1: their pennies, like, oh, we don't have enough a money

495
00:28:45,560 --> 00:28:50,480
Speaker 1: is like bullshit, they have a billion dollars. Oh God,

496
00:28:50,520 --> 00:28:52,080
Speaker 1: I hate the l a p D so much. It's

497
00:28:52,080 --> 00:28:55,520
Speaker 1: like creeping in your mind. They're trying to influence you subconsciously,

498
00:28:55,640 --> 00:28:59,120
Speaker 1: and it works because yeah, I totally. And and the

499
00:28:59,160 --> 00:29:01,640
Speaker 1: fact that like and they're also implying this entire movie

500
00:29:01,680 --> 00:29:07,800
Speaker 1: that the average cop is Jack Traven Draven Traven. I

501
00:29:07,920 --> 00:29:10,200
Speaker 1: kept calling him Jack Tavern, which I think is a

502
00:29:10,200 --> 00:29:13,040
Speaker 1: way better name, especially if his partner's name is Harry Temple.

503
00:29:13,440 --> 00:29:16,800
Speaker 1: You got a Temple, you got a Tavern? Big miss

504
00:29:16,840 --> 00:29:20,640
Speaker 1: on the last name Travin, Yeah, Travin was was absolutely

505
00:29:20,640 --> 00:29:23,120
Speaker 1: miss But they're also like in that the beginning that

506
00:29:23,160 --> 00:29:26,960
Speaker 1: beginning sequence with Jeff Daniels and Keanu, like Keanus like,

507
00:29:27,160 --> 00:29:29,320
Speaker 1: remind me why I do this job? Agin He's like,

508
00:29:29,360 --> 00:29:31,680
Speaker 1: oh for a pinsion in through two years and like

509
00:29:31,880 --> 00:29:36,360
Speaker 1: cops aren't doing this this doesn't happen. Were they like

510
00:29:36,480 --> 00:29:38,840
Speaker 1: a special unit, Like were they swat or like I

511
00:29:38,960 --> 00:29:42,080
Speaker 1: feel like they were like bomb squad or something. But

512
00:29:42,400 --> 00:29:47,200
Speaker 1: still cops. Okay. So it turns out that Dennis Hopper

513
00:29:47,280 --> 00:29:49,680
Speaker 1: is not dead. He plants a bomb on a bus

514
00:29:49,680 --> 00:29:55,320
Speaker 1: in Santa Monica, right where Jack tavern. It's travern. Wait.

515
00:29:55,400 --> 00:29:59,880
Speaker 1: Before before that happens, Dennis Hopper says, don't funk with daddy,

516
00:30:00,120 --> 00:30:02,440
Speaker 1: don't work with daddy. I have to mention that. I

517
00:30:02,560 --> 00:30:07,160
Speaker 1: just have to He's daddy, He's daddy, Daddy. I love

518
00:30:07,240 --> 00:30:11,400
Speaker 1: when people say daddy in movies. So anyway, that's all

519
00:30:11,400 --> 00:30:15,960
Speaker 1: I wanted to interject, don't funk with daddy. Oh God, okay.

520
00:30:16,160 --> 00:30:19,280
Speaker 1: So Jack just happens to be right where this bus is,

521
00:30:19,840 --> 00:30:24,360
Speaker 1: and then Dennis Hopper calls Jack on a pay phone

522
00:30:24,360 --> 00:30:26,960
Speaker 1: and tells him that he still wants his money and

523
00:30:27,000 --> 00:30:29,920
Speaker 1: that he has planted another bomb on a different bus,

524
00:30:30,000 --> 00:30:33,040
Speaker 1: and once that bus goes fifty miles an hour, it's

525
00:30:33,080 --> 00:30:36,280
Speaker 1: going to arm the bomb. And after that, if the

526
00:30:36,320 --> 00:30:39,640
Speaker 1: bus goes below fifty miles an hour, the bomb will detonate.

527
00:30:39,920 --> 00:30:42,680
Speaker 1: The most amazing concept for a movie of all time.

528
00:30:44,520 --> 00:30:48,760
Speaker 1: I hate that it's cops, because that's such a good idea.

529
00:30:48,920 --> 00:30:51,560
Speaker 1: We'll talk about later where that idea is stolen from.

530
00:30:51,560 --> 00:30:53,800
Speaker 1: Oh okay, not so creative, but I thought it was.

531
00:30:53,880 --> 00:30:56,000
Speaker 1: It was stolen from like it was like, I mean

532
00:30:56,040 --> 00:30:58,200
Speaker 1: it was. It wasn't like stolen. It was like a

533
00:30:58,240 --> 00:31:01,280
Speaker 1: cool like line of influence. But yeah, it's such an

534
00:31:01,320 --> 00:31:06,920
Speaker 1: amazing concept. Yeah, okay, So the police are not allowed

535
00:31:06,920 --> 00:31:10,400
Speaker 1: to take any passengers off the bus or Dennis Hopper

536
00:31:10,400 --> 00:31:12,760
Speaker 1: will blow it up, and they have three hours to

537
00:31:12,800 --> 00:31:15,840
Speaker 1: get Dennis Hopper his money, which is now three point

538
00:31:15,920 --> 00:31:20,200
Speaker 1: seven million dollars. I guess he's charging interest for pissing

539
00:31:20,280 --> 00:31:23,240
Speaker 1: him off. Yeah, exactly. I would have doubled it. I

540
00:31:23,400 --> 00:31:27,400
Speaker 1: was like if I was Dennis Hopper, which would be interesting.

541
00:31:27,640 --> 00:31:29,400
Speaker 1: I was like the fact that he only went up

542
00:31:29,440 --> 00:31:33,120
Speaker 1: seven hundred thousand dollars was like I was literal. I

543
00:31:33,160 --> 00:31:36,239
Speaker 1: was like I wrote down, like, seems reasonable given the

544
00:31:36,240 --> 00:31:40,960
Speaker 1: whole elevator chaft thing. Yeah right, And it also makes

545
00:31:41,200 --> 00:31:44,080
Speaker 1: three point seven million. It's such an arbitrary number, Like

546
00:31:44,080 --> 00:31:46,040
Speaker 1: why wouldn't he go up to like four million? I

547
00:31:46,080 --> 00:31:50,200
Speaker 1: would have been like ten million dollars like Dr Evil style.

548
00:31:50,920 --> 00:31:54,080
Speaker 1: There's a moment where we find out that Jack eats muffins,

549
00:31:54,200 --> 00:31:56,080
Speaker 1: and I think that just helps us think he's like

550
00:31:56,480 --> 00:31:58,880
Speaker 1: a nice guy or something. I don't know, I really

551
00:31:58,880 --> 00:32:01,200
Speaker 1: picked up on that, Like why at that moment, Yeah,

552
00:32:01,400 --> 00:32:06,360
Speaker 1: this cop doesn't eat donuts, he eats muffins. He's not

553
00:32:06,480 --> 00:32:12,719
Speaker 1: like the other cops. He's he choose gum and he

554
00:32:12,840 --> 00:32:15,760
Speaker 1: eats muffins. Ever seen a cop like this before. I

555
00:32:15,760 --> 00:32:18,600
Speaker 1: guess the cops must be good. He knows the bus

556
00:32:18,680 --> 00:32:20,800
Speaker 1: driver's name, you know what I mean, good terms on

557
00:32:20,840 --> 00:32:23,280
Speaker 1: the like the one that in the beginning, Oh the

558
00:32:23,400 --> 00:32:26,000
Speaker 1: yeah who then immediately die? Oh my god, the one

559
00:32:26,040 --> 00:32:28,760
Speaker 1: they set up to die? That was I mean. But

560
00:32:28,840 --> 00:32:31,360
Speaker 1: again I was like, I was like, that was effective storytelling.

561
00:32:31,480 --> 00:32:36,760
Speaker 1: But what bummer? Yes, So then we cut to the

562
00:32:36,840 --> 00:32:39,720
Speaker 1: bus with the bomb on it. We see Annie. That's

563
00:32:39,840 --> 00:32:43,200
Speaker 1: Sandra Bullock. She gets on the bus. Sam the bus

564
00:32:43,280 --> 00:32:46,720
Speaker 1: driver and the other passengers have no reason to suspect

565
00:32:46,720 --> 00:32:48,640
Speaker 1: anything is wrong. They have no idea that the bomb

566
00:32:48,680 --> 00:32:50,960
Speaker 1: is on this bus. They're just loving life on l

567
00:32:51,000 --> 00:32:54,520
Speaker 1: A metro been there, that's right. They're going from downtown

568
00:32:54,600 --> 00:32:59,840
Speaker 1: to Venice, which is a long trip. Okay, Keanu rushes

569
00:32:59,880 --> 00:33:02,280
Speaker 1: to find the bus. He eventually catches up with it,

570
00:33:02,480 --> 00:33:07,560
Speaker 1: he manages to get on it. He communicates to everyone

571
00:33:07,600 --> 00:33:10,840
Speaker 1: with the situation is and by that point the bus

572
00:33:10,880 --> 00:33:13,320
Speaker 1: has gone over fifty miles, so now they have to

573
00:33:13,320 --> 00:33:17,400
Speaker 1: make sure they never go back below fifty. One of

574
00:33:17,440 --> 00:33:22,360
Speaker 1: the passengers has a gun and is freaking out because

575
00:33:23,360 --> 00:33:26,520
Speaker 1: he So this is like very problematic in a lot

576
00:33:26,520 --> 00:33:29,959
Speaker 1: of ways. I think that he thinks he's being arrested

577
00:33:30,400 --> 00:33:34,400
Speaker 1: for something else that he's done. He misreads the situation

578
00:33:34,760 --> 00:33:38,240
Speaker 1: and panics. That was how I was reading that too. Yeah,

579
00:33:38,480 --> 00:33:42,720
Speaker 1: and that's very whatever. That's a very charged writing choice

580
00:33:42,720 --> 00:33:45,200
Speaker 1: that we'll talk about. But I also think maybe it

581
00:33:45,240 --> 00:33:47,560
Speaker 1: was the beginning of being like this is what people

582
00:33:47,600 --> 00:33:52,520
Speaker 1: do when they're afraid. They like people are irrational situations.

583
00:33:52,560 --> 00:33:55,000
Speaker 1: Maybe I'm like over analyzing it, but like that's not

584
00:33:55,000 --> 00:33:57,880
Speaker 1: Now looking back on it, I'm thinking that I totally agree.

585
00:33:57,920 --> 00:34:00,560
Speaker 1: It's like there's like this was kind of a throw

586
00:34:00,640 --> 00:34:02,160
Speaker 1: I note, but it was like this movie is an

587
00:34:02,200 --> 00:34:06,080
Speaker 1: interesting examination of what your average person would do if

588
00:34:06,120 --> 00:34:11,239
Speaker 1: they were faced with the plot of speed like a

589
00:34:11,239 --> 00:34:13,520
Speaker 1: lot of different but yeah, like he he's I guess

590
00:34:13,520 --> 00:34:17,560
Speaker 1: the first bus passenger to the panic before everyone even

591
00:34:17,600 --> 00:34:21,120
Speaker 1: knows what's going on, right, so he pulls out a gun.

592
00:34:21,320 --> 00:34:24,680
Speaker 1: The gun ends up going off and hits Sam the driver.

593
00:34:25,360 --> 00:34:28,280
Speaker 1: Um so then Annie is right there. She takes the wheel.

594
00:34:28,800 --> 00:34:31,440
Speaker 1: Things are kind of back under control for a moment.

595
00:34:31,560 --> 00:34:35,560
Speaker 1: Jack finds the bomb but realizes he can't dismantle it.

596
00:34:36,080 --> 00:34:39,600
Speaker 1: Annie meanwhile is driving the bus speeding through the city.

597
00:34:39,800 --> 00:34:45,120
Speaker 1: It's it's pretty chaotic. She has to blow through any obstructions,

598
00:34:45,520 --> 00:34:52,880
Speaker 1: road blockagees, other cars, a baby carriage full of cass.

599
00:34:53,000 --> 00:34:59,200
Speaker 1: It was what a flimsy, confusing set up because it's like, yeah,

600
00:34:59,280 --> 00:35:01,160
Speaker 1: it makes no sense. I mean, I feel like the

601
00:35:01,239 --> 00:35:04,920
Speaker 1: ultimate implication was that one woman was going to go

602
00:35:05,080 --> 00:35:09,160
Speaker 1: redeem the cans for money, which implies that she doesn't

603
00:35:09,200 --> 00:35:12,399
Speaker 1: have a lot of money at very least. But but

604
00:35:12,640 --> 00:35:16,200
Speaker 1: I don't know that. It's just such a bizarro movie

605
00:35:16,239 --> 00:35:20,120
Speaker 1: set up. I think that Sandra Bullock genuinely does an

606
00:35:20,160 --> 00:35:23,080
Speaker 1: awesome job in this movie where she's like, she does

607
00:35:23,120 --> 00:35:26,080
Speaker 1: a good job of being like did I just kill somebody?

608
00:35:26,120 --> 00:35:29,480
Speaker 1: And then Kiana was like no, no, and she's like okay,

609
00:35:29,640 --> 00:35:34,320
Speaker 1: and then she keeps driving like iconic duo Sandra Bullock

610
00:35:34,360 --> 00:35:38,120
Speaker 1: who's also in another compaganda movie, I think a couple

611
00:35:38,160 --> 00:35:42,879
Speaker 1: of years before this Demolition Man. So yeah, yeah, yeah, yeah,

612
00:35:42,920 --> 00:35:47,160
Speaker 1: you're right. I forgot that she had compaganda prior experience.

613
00:35:47,239 --> 00:35:49,120
Speaker 1: I mean, she goes on to play a lot of cops,

614
00:35:49,400 --> 00:35:55,760
Speaker 1: you know, congeniality, Miss Congeniality, that is compaganda as well. Yeah,

615
00:35:55,840 --> 00:36:01,040
Speaker 1: and the heat and the heat, Oh my gosh. I

616
00:36:01,080 --> 00:36:03,839
Speaker 1: guess having a woman driving and like controlling the bus

617
00:36:03,920 --> 00:36:06,560
Speaker 1: the whole time is kind of badass. I thought that

618
00:36:06,560 --> 00:36:10,399
Speaker 1: that was like, I thought that we'll talk about that. Yeah,

619
00:36:10,400 --> 00:36:14,279
Speaker 1: there's some I didn't hate that choice. But then the

620
00:36:14,320 --> 00:36:16,440
Speaker 1: more I learned about the production and writing process of

621
00:36:16,480 --> 00:36:18,440
Speaker 1: the movie, then where I was like, it could have

622
00:36:18,480 --> 00:36:21,800
Speaker 1: been better, but whatever, I don't I don't hold Sandra

623
00:36:21,880 --> 00:36:24,520
Speaker 1: Bullock personally accountable. I think she did a great job,

624
00:36:25,200 --> 00:36:27,920
Speaker 1: right right, right, Okay, So then they get onto a

625
00:36:28,000 --> 00:36:32,120
Speaker 1: freeway that is not in use and Jack and Annie

626
00:36:32,640 --> 00:36:36,799
Speaker 1: flirt while Sam is dying. There was a point in

627
00:36:36,800 --> 00:36:38,880
Speaker 1: the movie where I'm like, did Sam die? And we

628
00:36:38,920 --> 00:36:40,799
Speaker 1: didn't even find out because I would have been really

629
00:36:41,120 --> 00:36:43,000
Speaker 1: but but I don't know. I mean, I guess, like

630
00:36:43,719 --> 00:36:46,600
Speaker 1: we're talking loose, but I'm like if I were writing

631
00:36:46,640 --> 00:36:48,760
Speaker 1: this movie, I would have no idea when to shift

632
00:36:48,840 --> 00:36:52,000
Speaker 1: the focus to each character, like, because for a long

633
00:36:52,040 --> 00:36:54,760
Speaker 1: swath of the movie, I'm like, what happened to Sam?

634
00:36:54,880 --> 00:36:58,440
Speaker 1: He seemed like he was pretty mortally wounded, and then

635
00:36:58,440 --> 00:37:02,480
Speaker 1: they just like whenever that whenever the writer is like, oh, Okay,

636
00:37:02,520 --> 00:37:04,239
Speaker 1: now we're going to bring him back. You know, I

637
00:37:04,239 --> 00:37:06,040
Speaker 1: would have liked to see this movie in theaters. It

638
00:37:06,040 --> 00:37:08,000
Speaker 1: sounds like it would have been a fun theater experience.

639
00:37:10,320 --> 00:37:13,200
Speaker 1: So then the l a p. D Show up alongside

640
00:37:13,239 --> 00:37:15,360
Speaker 1: the bus and they're figuring out how to get the

641
00:37:15,360 --> 00:37:18,840
Speaker 1: passengers off, but the news helicopters that are following the

642
00:37:18,880 --> 00:37:23,640
Speaker 1: bus are like broadcasting what's happening, and Dennis Hopper is

643
00:37:23,760 --> 00:37:27,680
Speaker 1: watching the news so he knows everything that they're doing. Um,

644
00:37:27,760 --> 00:37:32,960
Speaker 1: So then Jack negotiates with Dennis Hopper to let Sam

645
00:37:33,000 --> 00:37:36,600
Speaker 1: the driver off the bus. But then a woman named

646
00:37:36,600 --> 00:37:40,600
Speaker 1: Helen also tries to get off the bus, and the

647
00:37:40,640 --> 00:37:44,200
Speaker 1: bomber activates a small bomb that kills her. He has

648
00:37:44,200 --> 00:37:47,840
Speaker 1: all these mini bombs around just in case the plot

649
00:37:47,840 --> 00:37:52,480
Speaker 1: of the movie Speed happens and he needs it. He's

650
00:37:52,520 --> 00:37:55,960
Speaker 1: got a bomb for every occasion and still it has

651
00:37:56,000 --> 00:38:00,279
Speaker 1: all these little like Tamagotchi style style bombs, just in

652
00:38:00,400 --> 00:38:05,640
Speaker 1: random locations in case something happens. Right, yes, then up

653
00:38:05,680 --> 00:38:09,640
Speaker 1: ahead there's a large gap in the freeway, but they

654
00:38:09,640 --> 00:38:13,840
Speaker 1: managed to jump over it thanks to some good driving.

655
00:38:13,920 --> 00:38:15,920
Speaker 1: That was like one of the three things I remembered

656
00:38:15,920 --> 00:38:19,760
Speaker 1: about this movie was that they jump a highway so

657
00:38:19,800 --> 00:38:25,759
Speaker 1: good they would have been such gonners. This movie, like

658
00:38:25,920 --> 00:38:29,440
Speaker 1: many action movies, I'm not saying anything new here, but

659
00:38:29,640 --> 00:38:35,799
Speaker 1: the defying of gravity and other laws of physics is staggering.

660
00:38:36,239 --> 00:38:38,560
Speaker 1: I kind of like that this movie really goes for

661
00:38:38,600 --> 00:38:41,520
Speaker 1: it though, where it's like there's just like so many

662
00:38:41,520 --> 00:38:43,680
Speaker 1: points in this movie where not only would they have died,

663
00:38:43,719 --> 00:38:46,720
Speaker 1: but they would have died like by a wide margin.

664
00:38:47,760 --> 00:38:51,719
Speaker 1: But but the movie is like, no, fifty ft it

665
00:38:51,880 --> 00:38:54,719
Speaker 1: is what it is. Yeah, they're trying to make you

666
00:38:54,800 --> 00:38:56,719
Speaker 1: convinced like they're not going to make it, Like at

667
00:38:56,719 --> 00:38:58,839
Speaker 1: the edge of your seat watching they're like, they can't

668
00:38:58,840 --> 00:39:02,080
Speaker 1: make that jump. You know it works, they do. I

669
00:39:02,160 --> 00:39:04,279
Speaker 1: do wish I could have seen this moviea theaters for

670
00:39:04,320 --> 00:39:07,279
Speaker 1: the first time. Like it's uh, there's so many moments

671
00:39:07,320 --> 00:39:08,680
Speaker 1: where you're like, oh, if you're in a theater, you

672
00:39:08,680 --> 00:39:12,320
Speaker 1: would have been like like the baby moment, the highway

673
00:39:12,360 --> 00:39:18,719
Speaker 1: jump moment. Yeah, why is it? Cop agandem man? So

674
00:39:18,800 --> 00:39:22,520
Speaker 1: they eventually get to the airport because that is restricted

675
00:39:22,560 --> 00:39:27,520
Speaker 1: airspace where the helicopters can't go, and then Jack directs

676
00:39:27,560 --> 00:39:30,919
Speaker 1: Annie to drive around the tarmac for a while. He

677
00:39:31,000 --> 00:39:35,560
Speaker 1: tries to dismantle the bomb but is unsuccessful. Uh, they

678
00:39:35,560 --> 00:39:40,160
Speaker 1: are leaking gas now um. And then meanwhile, Harry Temple

679
00:39:40,320 --> 00:39:42,920
Speaker 1: figures out who the bomber is, so they go to

680
00:39:43,000 --> 00:39:46,439
Speaker 1: his house, but he has rigged it to explode and

681
00:39:46,600 --> 00:39:50,200
Speaker 1: Harry dies in the explosion. So back at L a X,

682
00:39:50,520 --> 00:39:55,080
Speaker 1: the cops unload the passengers off the bus to safety,

683
00:39:55,560 --> 00:39:58,279
Speaker 1: which happens after they figure out that, like, there's also

684
00:39:58,320 --> 00:40:01,680
Speaker 1: a camera on the bus that the bomber is watching,

685
00:40:01,719 --> 00:40:04,880
Speaker 1: so they have to create this like fake loop so

686
00:40:04,920 --> 00:40:07,759
Speaker 1: that he doesn't notice that they're unloading. The passengers love

687
00:40:07,840 --> 00:40:12,719
Speaker 1: that plot point right. Jack and Annie are the last

688
00:40:12,760 --> 00:40:16,239
Speaker 1: to get off the bus, which is the first climax

689
00:40:16,280 --> 00:40:19,320
Speaker 1: of the movie. The empty bus runs into a plane

690
00:40:19,440 --> 00:40:24,200
Speaker 1: on the tarmac that I guess was empty, and there's

691
00:40:24,200 --> 00:40:27,600
Speaker 1: a huge explosion, and then Jack and Annie share a

692
00:40:27,760 --> 00:40:32,000
Speaker 1: horny moment together. I was surprised that that Sandra Bullocks

693
00:40:32,040 --> 00:40:36,799
Speaker 1: first question wasn't were there people on that plane? Like yeah,

694
00:40:36,800 --> 00:40:38,880
Speaker 1: because I watched them twice, and I'm like, am I

695
00:40:39,000 --> 00:40:42,600
Speaker 1: missing something? Like did they estacide that they had evacuated

696
00:40:42,640 --> 00:40:45,239
Speaker 1: the that they had evacuated L A X. I'm sure

697
00:40:45,280 --> 00:40:48,080
Speaker 1: that that's what happened, or would have had to have happened.

698
00:40:48,400 --> 00:40:52,319
Speaker 1: So it was a courier plane, so they wouldn't have passengers,

699
00:40:52,320 --> 00:40:55,600
Speaker 1: but there would still you would think, be like personnel.

700
00:40:55,760 --> 00:41:00,879
Speaker 1: There was a worker who was like shit, like yeah,

701
00:41:01,080 --> 00:41:04,000
Speaker 1: he runs away. The first time that Kanu and Sandra

702
00:41:04,280 --> 00:41:07,759
Speaker 1: tumbled together, yes, there's there are two tumbles and there

703
00:41:07,760 --> 00:41:10,120
Speaker 1: are two climaxes, and we just saw the first of both.

704
00:41:10,719 --> 00:41:13,040
Speaker 1: I supposed to say when they tumbled, I thought that

705
00:41:13,239 --> 00:41:17,400
Speaker 1: I was like, well, it's not ideal, but it's a

706
00:41:17,480 --> 00:41:21,239
Speaker 1: charismatic exchange, and Okay, I guess I'll accept this ending

707
00:41:21,640 --> 00:41:24,720
Speaker 1: a romantic thing like that would happen in a romcom

708
00:41:24,880 --> 00:41:27,120
Speaker 1: or something. But also I thought it was funny. But

709
00:41:27,239 --> 00:41:29,480
Speaker 1: the only person that ever got hurt with Sandra Bullock,

710
00:41:29,680 --> 00:41:34,040
Speaker 1: like Kanu never had a scratch on right strange, I

711
00:41:34,200 --> 00:41:39,600
Speaker 1: was like having trouble remembering exactly what, like the specifics

712
00:41:39,600 --> 00:41:42,279
Speaker 1: of the movie. So there's that moment where Kanu is

713
00:41:42,280 --> 00:41:45,520
Speaker 1: trying to disarm the bomb on the bus and then

714
00:41:45,960 --> 00:41:49,880
Speaker 1: his little skateboard thing comes out from under him, and

715
00:41:49,920 --> 00:41:52,120
Speaker 1: I thought his ass, like his ass would have been

716
00:41:52,440 --> 00:41:55,440
Speaker 1: bleeding scraped off. He would have been bleeding out of

717
00:41:55,520 --> 00:41:59,400
Speaker 1: his butt cheeks death. And I wondered if that was

718
00:41:59,440 --> 00:42:01,520
Speaker 1: going to be like I thought. I thought, at least

719
00:42:01,560 --> 00:42:03,200
Speaker 1: you were going to get a shot to his pants

720
00:42:03,200 --> 00:42:05,920
Speaker 1: to be like, wow, my pants are gone, but my

721
00:42:05,920 --> 00:42:08,239
Speaker 1: my cheeks are great or whatever, like I don't know

722
00:42:08,520 --> 00:42:11,359
Speaker 1: what would have happened, like missed opportunity for a cheesy joke.

723
00:42:11,640 --> 00:42:15,720
Speaker 1: His ass was dragging on cement at like sixty miles,

724
00:42:16,600 --> 00:42:19,120
Speaker 1: like his ass would have been damn mint for several

725
00:42:19,160 --> 00:42:22,360
Speaker 1: minutes for a while, he was still without a scratch.

726
00:42:22,480 --> 00:42:25,440
Speaker 1: And Sandra Bullock was cut up like she was because

727
00:42:25,440 --> 00:42:28,919
Speaker 1: she's a delicate lady and Jack is a tough man.

728
00:42:29,480 --> 00:42:32,320
Speaker 1: But I am glad that Sandy Sandy drives the bus

729
00:42:32,360 --> 00:42:37,920
Speaker 1: till the fucking finish. Like that's kind of feminism that

730
00:42:38,160 --> 00:42:42,720
Speaker 1: it's I mean that feminism right there, Maybe spice girls

731
00:42:42,760 --> 00:42:49,000
Speaker 1: feminism Okay, So the bus explodes, but the bomber doesn't

732
00:42:49,040 --> 00:42:53,200
Speaker 1: know it exploded, and he is still demanding his money.

733
00:42:53,360 --> 00:42:57,440
Speaker 1: So they're basically setting up this sting operation to catch

734
00:42:57,520 --> 00:43:00,280
Speaker 1: him and capture him at the drop off Lokay San.

735
00:43:01,000 --> 00:43:04,400
Speaker 1: But then Dennis Hopper figures out what's going on, like

736
00:43:04,480 --> 00:43:07,200
Speaker 1: that video loop was made, you know, he's one step

737
00:43:07,239 --> 00:43:10,960
Speaker 1: ahead of them. He gets the money and he takes Annie,

738
00:43:11,000 --> 00:43:14,680
Speaker 1: who for some reason was hanging out at this handoff location.

739
00:43:14,800 --> 00:43:18,640
Speaker 1: We'll talk about that, but he takes her hostage and

740
00:43:18,719 --> 00:43:22,200
Speaker 1: brings her onto the l A Metro. So Jack chases

741
00:43:22,239 --> 00:43:26,200
Speaker 1: after them her. She's got a bomb strap to her.

742
00:43:26,400 --> 00:43:31,799
Speaker 1: Now she's that's feminism. I totally forgot about this and

743
00:43:31,880 --> 00:43:34,920
Speaker 1: it I was so frustrated because I was like, okay,

744
00:43:35,040 --> 00:43:38,880
Speaker 1: you know what. It wasn't perfect, but Sandra Bullock's character

745
00:43:39,160 --> 00:43:43,080
Speaker 1: was like critical and making the entire plot happen. Okay,

746
00:43:43,120 --> 00:43:45,759
Speaker 1: there's much worse movies from this era. And then they

747
00:43:46,000 --> 00:43:49,160
Speaker 1: I totally forgot that she's completely damseled at the end.

748
00:43:49,200 --> 00:43:53,120
Speaker 1: I was so frustrated. Yes, and it sucks because you

749
00:43:53,160 --> 00:43:57,360
Speaker 1: could still have that train sequence without damseling her. Yeah,

750
00:43:58,239 --> 00:44:02,360
Speaker 1: but she is completely in capacitated because she's a Bomba's

751
00:44:02,440 --> 00:44:05,319
Speaker 1: chap to her and then she's handcuffed to a like

752
00:44:05,400 --> 00:44:09,279
Speaker 1: pull on the metro, so she's completely immobile. She can't

753
00:44:09,320 --> 00:44:13,719
Speaker 1: do anything, but just like wait for Jack to you know,

754
00:44:13,920 --> 00:44:18,440
Speaker 1: find the metro fight Dennis Hopper. They're fighting on the roof.

755
00:44:18,520 --> 00:44:24,480
Speaker 1: Dennis Hopper gets decapitated. That was incredible though, Like and

756
00:44:24,560 --> 00:44:27,400
Speaker 1: I I really I must have like rewound that shot

757
00:44:27,560 --> 00:44:32,120
Speaker 1: like five hundred It's very good. Loved it. I love

758
00:44:32,280 --> 00:44:34,600
Speaker 1: they It was really well done where you see it

759
00:44:34,640 --> 00:44:37,480
Speaker 1: coming and then you they I don't know why I'm

760
00:44:37,520 --> 00:44:40,200
Speaker 1: about to be like, why don't we get a satisfying,

761
00:44:40,360 --> 00:44:43,319
Speaker 1: like campy decapitation shot, But when you get it with

762
00:44:43,360 --> 00:44:47,480
Speaker 1: Dennis Hopper, it's so satisfying. I'm so glad you got

763
00:44:47,520 --> 00:44:52,400
Speaker 1: to see his head gets it falls off. Several jokes

764
00:44:52,520 --> 00:44:57,680
Speaker 1: are made at the expense of his decapitation. It's beautiful.

765
00:44:58,040 --> 00:45:03,560
Speaker 1: It took me. Maybe I'm the one brain cell person here,

766
00:45:03,760 --> 00:45:06,440
Speaker 1: but it took me. It took me a few times.

767
00:45:06,600 --> 00:45:09,319
Speaker 1: When Kanu kept saying like when he didn't keep saying,

768
00:45:09,360 --> 00:45:14,120
Speaker 1: I kept rewinding it. Uh he said, he said, like, well,

769
00:45:14,160 --> 00:45:16,920
Speaker 1: I'm taller than you and I was like, what is

770
00:45:16,960 --> 00:45:19,440
Speaker 1: he talking about? I was like, oh, I don't understand

771
00:45:19,480 --> 00:45:23,399
Speaker 1: what that means. Dennis Hopper lost his head, so now

772
00:45:23,480 --> 00:45:25,799
Speaker 1: Keanu is taller. I think he was implying they were

773
00:45:25,840 --> 00:45:29,480
Speaker 1: once the same height, but now Dennis doesn't have a head,

774
00:45:29,560 --> 00:45:32,960
Speaker 1: so ki him. I did not understand that at all.

775
00:45:33,320 --> 00:45:35,720
Speaker 1: I have all these notes that were like, his comeback

776
00:45:35,840 --> 00:45:41,319
Speaker 1: is unrelated to the plot. It is nonsensical. Yeah, there

777
00:45:41,320 --> 00:45:44,359
Speaker 1: are there are a lot of quips, but I don't

778
00:45:44,400 --> 00:45:46,480
Speaker 1: think that one's the best. I don't like that one.

779
00:45:46,719 --> 00:45:48,839
Speaker 1: It's possibly the worst. You know. I think it's the word.

780
00:45:48,960 --> 00:45:52,279
Speaker 1: Kiana's delivery doesn't help either, because it doesn't emphasize a

781
00:45:52,320 --> 00:45:55,040
Speaker 1: single word. And so you're just like, what is he

782
00:45:55,160 --> 00:45:59,279
Speaker 1: talking about? Does that mean now I'm taller than you?

783
00:46:00,280 --> 00:46:02,200
Speaker 1: Or no? He's like, well I'm taller than you. Yeah,

784
00:46:02,239 --> 00:46:04,919
Speaker 1: there's no like now, just like I guess I thought

785
00:46:04,920 --> 00:46:07,319
Speaker 1: he was always taller than I. I was just like, right,

786
00:46:07,400 --> 00:46:09,640
Speaker 1: I was like, I thought Dennis Hopper was like always,

787
00:46:10,280 --> 00:46:12,520
Speaker 1: But I guess that. I guess that maybe that line

788
00:46:12,560 --> 00:46:17,439
Speaker 1: was written before anyone was cast, maybe and they didn't know.

789
00:46:17,880 --> 00:46:20,440
Speaker 1: I also feel Dennis Hopper was four inches shorter than

790
00:46:20,520 --> 00:46:22,840
Speaker 1: him to begin with. I think so I feel like

791
00:46:22,880 --> 00:46:27,160
Speaker 1: Dennis Hopper is probably like five ten and Kiana Reeves

792
00:46:27,280 --> 00:46:29,960
Speaker 1: is like six three. So like, I mean, I'm getting

793
00:46:30,120 --> 00:46:32,120
Speaker 1: this is a pure guest, but I feel like I

794
00:46:32,160 --> 00:46:34,560
Speaker 1: could be right about this. He does have six three energy.

795
00:46:34,760 --> 00:46:36,799
Speaker 1: He does have six three energy. I've seen him in

796
00:46:36,800 --> 00:46:40,080
Speaker 1: real life. He's very tall. How where did you see

797
00:46:40,160 --> 00:46:44,439
Speaker 1: him in real life? We've both had personal interactions with

798
00:46:44,719 --> 00:46:47,560
Speaker 1: Keiana Reeves, Jamie and I have Let's repeat them, let's

799
00:46:47,560 --> 00:46:52,200
Speaker 1: repeat them, Let's I love them. You go first, Caitlin, Okay,

800
00:46:52,400 --> 00:46:54,880
Speaker 1: there was a I don't know if it was like

801
00:46:55,120 --> 00:46:58,719
Speaker 1: special features for something or just like some kind of

802
00:46:59,000 --> 00:47:00,520
Speaker 1: or if it was like a document to read, but

803
00:47:00,560 --> 00:47:02,839
Speaker 1: it was some kind of. It was an interview with

804
00:47:03,320 --> 00:47:07,799
Speaker 1: the two leads of Bill and Ted, Kiana Reeves and

805
00:47:08,200 --> 00:47:11,000
Speaker 1: that other guy whose name I always forget, Alex Winters.

806
00:47:11,160 --> 00:47:14,840
Speaker 1: Alex Winters. Yes, So whoever was making whoever was like

807
00:47:14,840 --> 00:47:17,920
Speaker 1: producing this like video interview needed a place to shoot

808
00:47:17,960 --> 00:47:21,359
Speaker 1: and I was the program director of Nerd Melt at

809
00:47:21,360 --> 00:47:24,200
Speaker 1: the time, this comedy venue in l A. And they

810
00:47:24,239 --> 00:47:27,600
Speaker 1: asked if they could shoot there and I was like

811
00:47:27,800 --> 00:47:32,720
Speaker 1: absolutely yes, without a moment's hesitation, and so Kiana Reeves

812
00:47:32,719 --> 00:47:36,200
Speaker 1: and Alex Winters show up, they get interviewed. I have

813
00:47:36,280 --> 00:47:39,839
Speaker 1: a picture of Kiana Reeves on my phone. He drove

814
00:47:39,920 --> 00:47:44,120
Speaker 1: up to the interview on his motorcycle. Oh my god,

815
00:47:44,480 --> 00:47:47,319
Speaker 1: it was the coolest moment of my life, Jamie. What's

816
00:47:47,360 --> 00:47:51,960
Speaker 1: your story? KIANU Reeves? So, when I first moved to

817
00:47:52,160 --> 00:47:55,560
Speaker 1: l A, I got a job working at book Soup

818
00:47:55,680 --> 00:47:58,880
Speaker 1: in West Hollywood, which I didn't realize at the time

819
00:47:59,160 --> 00:48:02,239
Speaker 1: was the books store to the Stars. So we had

820
00:48:02,320 --> 00:48:05,000
Speaker 1: a lot of because it's like on the Sunset Strip

821
00:48:05,480 --> 00:48:07,919
Speaker 1: and so it was like to this day, I still

822
00:48:07,960 --> 00:48:12,239
Speaker 1: have not had as many celebrity encounters a cumulatively as

823
00:48:12,280 --> 00:48:15,439
Speaker 1: I did in my first like six months living there,

824
00:48:15,480 --> 00:48:18,040
Speaker 1: because it was it was a very cool place to work.

825
00:48:18,080 --> 00:48:20,759
Speaker 1: I liked it a lot. But Kiana Reeves was one

826
00:48:20,800 --> 00:48:25,239
Speaker 1: of our regulars and like he reads books first of all,

827
00:48:25,400 --> 00:48:28,160
Speaker 1: he reads books, and he and I was like briefed

828
00:48:28,160 --> 00:48:30,120
Speaker 1: because I worked in the back most of the time

829
00:48:30,160 --> 00:48:32,600
Speaker 1: at the back counter, and they were like okay. So

830
00:48:32,719 --> 00:48:37,839
Speaker 1: Kiana Reeves comes every Wednesday to buy a new like

831
00:48:37,960 --> 00:48:41,359
Speaker 1: he buy. He would buy one fiction book and one

832
00:48:41,360 --> 00:48:46,600
Speaker 1: book of Sudoku puzzles and he would do sudoku on set.

833
00:48:46,680 --> 00:48:49,040
Speaker 1: I guess he didn't tell that to me, but like

834
00:48:49,360 --> 00:48:53,520
Speaker 1: he he would come on his motorcycle every Wednesday evening,

835
00:48:53,760 --> 00:48:56,160
Speaker 1: so if you're doing the closing shift, you knew that

836
00:48:56,920 --> 00:48:58,480
Speaker 1: he was going to come. And he would always call

837
00:48:58,560 --> 00:49:01,799
Speaker 1: in advance and he'd be like, Hi, this is Mr Reeves,

838
00:49:01,920 --> 00:49:05,719
Speaker 1: Um are my Are my books ready? And I would

839
00:49:05,719 --> 00:49:08,520
Speaker 1: be like, yes, they're ready, and then he would like

840
00:49:08,640 --> 00:49:14,200
Speaker 1: come and he would give him his like his new

841
00:49:14,600 --> 00:49:17,680
Speaker 1: fiction book and his new Sudoku book, and then he

842
00:49:17,719 --> 00:49:20,719
Speaker 1: would take off. It was so nice. There were so

843
00:49:20,719 --> 00:49:24,920
Speaker 1: many celebrities that were very, very not nice at that store,

844
00:49:25,000 --> 00:49:28,760
Speaker 1: and Kiana Reeves was like a standout icon. Kiana Reeves,

845
00:49:29,000 --> 00:49:33,319
Speaker 1: Emma Roberts, Amy Adams, the three nicest in Miranda July

846
00:49:33,719 --> 00:49:39,279
Speaker 1: all very nice, loves, Ellen de generous and Elton John nice.

847
00:49:39,480 --> 00:49:42,280
Speaker 1: That doesn't surprise me. They made us evacuate the stores

848
00:49:42,360 --> 00:49:44,200
Speaker 1: so they could show. Of course Ellen is like the

849
00:49:44,239 --> 00:49:47,480
Speaker 1: worst person. Elton John. I'll give Elton John a pass

850
00:49:47,560 --> 00:49:50,880
Speaker 1: because I even though he did make us evacuate the store,

851
00:49:51,200 --> 00:49:53,400
Speaker 1: I'm obsessed with him, so I don't care like I

852
00:49:53,440 --> 00:49:55,080
Speaker 1: was like, you know what, you deserve it, you deserve

853
00:49:55,120 --> 00:49:58,319
Speaker 1: the story. Yeah. He and Ellen made us empty out

854
00:49:58,320 --> 00:50:00,120
Speaker 1: the store for him to come in, and Ring a

855
00:50:00,120 --> 00:50:02,840
Speaker 1: Star came once. He was nice. Oh I wouldn't know

856
00:50:02,880 --> 00:50:04,799
Speaker 1: what he looked like, to be honest, I know, he

857
00:50:04,880 --> 00:50:07,120
Speaker 1: just I was like, this could be any old British man,

858
00:50:07,280 --> 00:50:11,680
Speaker 1: but he was very nice. Yeah. Wow, that Kiana experience

859
00:50:11,760 --> 00:50:15,480
Speaker 1: is so beautiful. It's just so beautiful and all it's

860
00:50:15,520 --> 00:50:21,879
Speaker 1: regular and and he reads most importantly, he reads and sudoku.

861
00:50:22,160 --> 00:50:25,320
Speaker 1: He's a puzzle boy. He's a puzzle boy. I was

862
00:50:25,360 --> 00:50:29,000
Speaker 1: a puzzle boy too. I tweeted about that once and

863
00:50:29,040 --> 00:50:32,160
Speaker 1: I got so many responses from people who had had

864
00:50:32,560 --> 00:50:34,840
Speaker 1: random encounters with Kiana and they were all, I just

865
00:50:34,840 --> 00:50:37,600
Speaker 1: want to really quickly list my top two because I

866
00:50:37,640 --> 00:50:39,480
Speaker 1: forget if I've said this on the show before, but

867
00:50:39,560 --> 00:50:43,240
Speaker 1: they both made me very happy. The first one someone

868
00:50:43,320 --> 00:50:46,680
Speaker 1: who had worked at an l A movie theater and

869
00:50:46,800 --> 00:50:50,120
Speaker 1: Kiana Reeves came in in the late two thousand's with

870
00:50:50,320 --> 00:50:54,239
Speaker 1: like I believe the anecdote included he was wearing his

871
00:50:54,320 --> 00:50:58,880
Speaker 1: motorcycle helmet when he walked in, and he like ordered

872
00:50:58,880 --> 00:51:01,359
Speaker 1: a bunch of food and got one ticket for Vicky

873
00:51:01,440 --> 00:51:06,640
Speaker 1: Christina Barcelona. He saw it alone. That's a Woody Ellen movie.

874
00:51:06,680 --> 00:51:10,040
Speaker 1: But I want to move on. The second one is

875
00:51:10,080 --> 00:51:12,120
Speaker 1: that there was once in like I think the late

876
00:51:12,239 --> 00:51:16,080
Speaker 1: nineties early two thousand's a struggling actress's car broke down

877
00:51:16,719 --> 00:51:19,399
Speaker 1: and she didn't know what to do. She's broken down

878
00:51:19,440 --> 00:51:21,040
Speaker 1: on the side of an l A like a busy

879
00:51:21,200 --> 00:51:25,080
Speaker 1: l A street and who comes along But Keanu reeves

880
00:51:25,520 --> 00:51:27,919
Speaker 1: and he knows how to help her, and he like says,

881
00:51:28,160 --> 00:51:31,000
Speaker 1: get out of the car, don't worry, get yourself a coffee, whatever,

882
00:51:31,120 --> 00:51:34,000
Speaker 1: I'll help. He knows how to fix stuff. He fixes it.

883
00:51:34,480 --> 00:51:36,799
Speaker 1: And then the best part of the story at the

884
00:51:36,840 --> 00:51:41,239
Speaker 1: end is and who was that actress bought Octavia Spencer?

885
00:51:42,120 --> 00:51:47,240
Speaker 1: It was pre famous Octavia Spencer. Oh my god. Wild

886
00:51:47,400 --> 00:51:51,040
Speaker 1: is that he's an angel from heaven? That is an angel.

887
00:51:51,080 --> 00:51:55,520
Speaker 1: He's not real, he can't be real's perfect. He's a

888
00:51:55,640 --> 00:52:00,560
Speaker 1: perfect person. Also, that's an amazing story. That is so

889
00:52:00,600 --> 00:52:02,600
Speaker 1: amazing because he didn't know that was going to be

890
00:52:02,640 --> 00:52:05,759
Speaker 1: a famous person. She just did it for anybody. He's

891
00:52:05,800 --> 00:52:08,600
Speaker 1: just got a good heart. Yeah, can you imagine like

892
00:52:08,920 --> 00:52:11,319
Speaker 1: being on the road and someone's needs help and the

893
00:52:11,360 --> 00:52:13,279
Speaker 1: first thing, the first thought you have is like I'm

894
00:52:13,280 --> 00:52:15,759
Speaker 1: going to help them, and then you do it. I

895
00:52:15,880 --> 00:52:18,400
Speaker 1: mean I feel like how I don't know how different

896
00:52:18,440 --> 00:52:21,319
Speaker 1: a person anyone could be if they knew how to

897
00:52:21,360 --> 00:52:24,800
Speaker 1: fix cars. I guess if I knew how to fix cars,

898
00:52:24,840 --> 00:52:26,920
Speaker 1: I would be like, I'll fix any car just to

899
00:52:27,000 --> 00:52:30,000
Speaker 1: show what I can do. But I don't know. But

900
00:52:30,080 --> 00:52:32,640
Speaker 1: also like if you see a broken down car, even

901
00:52:32,680 --> 00:52:35,480
Speaker 1: if you know how to fix cars, the probability that

902
00:52:35,480 --> 00:52:38,080
Speaker 1: you can you can fix any car with any problem, like,

903
00:52:38,120 --> 00:52:41,319
Speaker 1: that's PROFI you have a lot of that's a lot

904
00:52:41,320 --> 00:52:45,120
Speaker 1: of skills to a lot of skills. Yeah, well, thank

905
00:52:45,160 --> 00:52:47,960
Speaker 1: you for sharing, Thank you for sharing. So that was

906
00:52:48,000 --> 00:52:50,520
Speaker 1: a lot of Kian. But yeah, he's I mean we've

907
00:52:50,600 --> 00:52:56,280
Speaker 1: said it multiple times in the show. He's an amazing person. Yes, absolutely. Okay,

908
00:52:56,280 --> 00:52:58,360
Speaker 1: so just a little bit of the recap left, Um,

909
00:52:58,719 --> 00:53:02,839
Speaker 1: Dennis Hopper has been to appitated then, But but the

910
00:53:02,880 --> 00:53:07,560
Speaker 1: train that they're on won't stop and there's a gap

911
00:53:07,719 --> 00:53:10,719
Speaker 1: in the tracks ahead. The tracks are not finished. There's

912
00:53:10,719 --> 00:53:14,360
Speaker 1: always a gap, and it seems like he got a

913
00:53:14,600 --> 00:53:18,640
Speaker 1: speed up. I mean, alas always under construction. They got

914
00:53:18,640 --> 00:53:21,600
Speaker 1: that right, it's true. That is true, and it seems

915
00:53:21,640 --> 00:53:23,960
Speaker 1: like Annie might die because he can't get her loose

916
00:53:24,160 --> 00:53:26,239
Speaker 1: from like being handcuffed to the poll. But he's like,

917
00:53:26,239 --> 00:53:29,279
Speaker 1: wait a minute, I'm going to speed up, and somehow

918
00:53:29,680 --> 00:53:34,400
Speaker 1: that makes it so the train goes upward onto street

919
00:53:34,480 --> 00:53:39,600
Speaker 1: level and crashes up from underground onto the street, and

920
00:53:39,680 --> 00:53:42,680
Speaker 1: so they're safe. As a red Line user, I could

921
00:53:42,760 --> 00:53:45,200
Speaker 1: not make heads or tails of this, but also this

922
00:53:47,560 --> 00:53:52,040
Speaker 1: so maybe I don't know who knows, but they are

923
00:53:52,239 --> 00:53:55,440
Speaker 1: safely make it onto the street, and then Jack and

924
00:53:55,480 --> 00:53:59,879
Speaker 1: Annie make out on the street, and then the credits

925
00:54:00,000 --> 00:54:03,520
Speaker 1: aren't rolling. So that is the story. Let's take another

926
00:54:03,560 --> 00:54:05,960
Speaker 1: quick break and then we will come back to discuss,

927
00:54:12,560 --> 00:54:15,960
Speaker 1: and we're back. So we have I think we kind

928
00:54:15,960 --> 00:54:19,279
Speaker 1: of had the copy Ganda discussion at the beginning of

929
00:54:19,320 --> 00:54:23,399
Speaker 1: this movie um or episode, but I wanted to touch

930
00:54:23,440 --> 00:54:27,960
Speaker 1: on really quickly just um some production history notes on

931
00:54:28,040 --> 00:54:30,440
Speaker 1: this movie. Some of it is just like interesting and

932
00:54:30,480 --> 00:54:34,319
Speaker 1: then others are more relevant to our discussions. So the

933
00:54:34,880 --> 00:54:40,080
Speaker 1: I mean top to bottom. This movie is a male

934
00:54:40,520 --> 00:54:46,279
Speaker 1: production directed by Jean Dabant, who is a Dutch filmmaker

935
00:54:46,360 --> 00:54:49,520
Speaker 1: who Sharne, as you pointed out, started as a cinematographer,

936
00:54:49,560 --> 00:54:52,319
Speaker 1: became a director, went on to direct another ROMP that

937
00:54:52,400 --> 00:54:56,400
Speaker 1: I haven't watched in five hundred years, Twisters. That's another

938
00:54:56,480 --> 00:55:02,800
Speaker 1: big movie. Was written by Graham Yost, who is uh nepotism,

939
00:55:02,840 --> 00:55:07,759
Speaker 1: but also is a very accomplished writer. Uh he's Canadian nepotism.

940
00:55:07,800 --> 00:55:11,960
Speaker 1: Imagine it. He did, he did. Uh. This was his

941
00:55:12,040 --> 00:55:14,879
Speaker 1: first like major production, but he went on to make

942
00:55:15,600 --> 00:55:21,560
Speaker 1: I'm pretty sure several beloved coppaganda series such as Justified,

943
00:55:21,600 --> 00:55:24,279
Speaker 1: which I haven't seen, so correct me if that's not capaganda.

944
00:55:24,400 --> 00:55:28,920
Speaker 1: I'm pretty sure it is, and The Americans, which is

945
00:55:29,160 --> 00:55:33,600
Speaker 1: it's complicated, several layers of copaganda, but there are elements

946
00:55:33,640 --> 00:55:37,120
Speaker 1: of it. There's definitely elements of like serving your country

947
00:55:37,239 --> 00:55:41,000
Speaker 1: nationalism to a lot of his work. But that said,

948
00:55:41,080 --> 00:55:43,279
Speaker 1: I've seen the first three seasons of the Americans and

949
00:55:43,320 --> 00:55:46,640
Speaker 1: I enjoyed it. But anyways, this was his script. He

950
00:55:47,200 --> 00:55:50,440
Speaker 1: started writing the script when he heard about a movie

951
00:55:50,560 --> 00:55:58,040
Speaker 1: called Runaway Train by John That started John that song

952
00:55:58,400 --> 00:56:01,040
Speaker 1: that wait, I wonder if it is because there is

953
00:56:01,040 --> 00:56:03,840
Speaker 1: an original song for Speed by Billy Idol that's the

954
00:56:03,960 --> 00:56:10,760
Speaker 1: ending credits song. Really I didn't want lyrics are really amazing.

955
00:56:10,920 --> 00:56:13,600
Speaker 1: It's speed give me what I need, Blast me to

956
00:56:13,719 --> 00:56:18,960
Speaker 1: Heaven just for loving you. Okay, that's that's very fun

957
00:56:19,200 --> 00:56:23,200
Speaker 1: up that I agree. Original Billy Idol song, Yeah it um.

958
00:56:23,239 --> 00:56:27,439
Speaker 1: I of course was referring to the Soul Asylum song

959
00:56:27,600 --> 00:56:33,760
Speaker 1: Runaway Train, with such lyrics as runaway Train never going back,

960
00:56:34,360 --> 00:56:38,279
Speaker 1: wrong way on a long way track that song. I

961
00:56:38,400 --> 00:56:40,640
Speaker 1: was thinking of the Ozzy Osbourne song and I had

962
00:56:40,640 --> 00:56:45,319
Speaker 1: the wrong title in my mind. So I have conversation, yes,

963
00:56:46,200 --> 00:56:48,600
Speaker 1: and he went back to Runaway Train, the movie. So

964
00:56:48,719 --> 00:56:52,200
Speaker 1: Graham Yost heard from his nepotism daddy about this movie

965
00:56:52,280 --> 00:56:55,880
Speaker 1: called Runaway Train that started John Voight that has a

966
00:56:55,960 --> 00:57:00,680
Speaker 1: similar ish premise. The premise of Runaway Train is from

967
00:57:00,840 --> 00:57:04,560
Speaker 1: You're not going to see this coming Akira Kurosawa. So

968
00:57:04,840 --> 00:57:10,000
Speaker 1: Speed owes its success to a concept by Akira Kurosawa.

969
00:57:10,160 --> 00:57:12,880
Speaker 1: So maybe that's fine, it's good. I don't know, but

970
00:57:13,040 --> 00:57:15,000
Speaker 1: never think you would say that. I would never think

971
00:57:15,000 --> 00:57:17,440
Speaker 1: that's where that was going, right, So it's like this

972
00:57:17,600 --> 00:57:20,720
Speaker 1: kind of it's an interesting way that this movie was conceived,

973
00:57:20,800 --> 00:57:23,880
Speaker 1: Like part of it has to do with the screenwriter's

974
00:57:23,920 --> 00:57:28,600
Speaker 1: father misremembering the plot to Runaway train and in the

975
00:57:28,640 --> 00:57:33,880
Speaker 1: process of misremembering it kind of conceiving of a of speed. Um.

976
00:57:34,160 --> 00:57:37,320
Speaker 1: So that anyways, I thought that that that the way

977
00:57:37,320 --> 00:57:39,560
Speaker 1: that this movie was conceived of was pretty interesting and

978
00:57:39,680 --> 00:57:43,520
Speaker 1: was clearly produced because die Hard had been such a success,

979
00:57:44,480 --> 00:57:49,560
Speaker 1: and so there were there's a whole uh scholarly journal

980
00:57:49,600 --> 00:57:52,439
Speaker 1: Wikipedia section on the various changes that went on during

981
00:57:52,440 --> 00:57:56,520
Speaker 1: this movie. The one that I thought was particularly worth

982
00:57:56,760 --> 00:58:00,320
Speaker 1: mentioning is that Joss Whedon was brought on to write

983
00:58:00,320 --> 00:58:05,360
Speaker 1: this movie. And we've discussed the paradox of Josh Weeden

984
00:58:05,520 --> 00:58:09,080
Speaker 1: and male writers who present themselves as feminists and later

985
00:58:09,320 --> 00:58:12,200
Speaker 1: you learned that they were actually deeply abusive towards women.

986
00:58:12,240 --> 00:58:18,040
Speaker 1: We've we've had this discussion. It's the absolute worst. We're

987
00:58:18,080 --> 00:58:20,320
Speaker 1: not vouching for him in any way here. I think

988
00:58:20,360 --> 00:58:22,640
Speaker 1: that we've had I mean, I guess our deepest discussion

989
00:58:22,680 --> 00:58:24,920
Speaker 1: was on the Matreon for the Cabin in the Woods episode,

990
00:58:24,920 --> 00:58:28,040
Speaker 1: but we've had this discussion um in the Avengers episode

991
00:58:28,040 --> 00:58:32,120
Speaker 1: as well. All that to say, Josh Weeden, I guess,

992
00:58:32,200 --> 00:58:36,560
Speaker 1: is responsible for the majority of the dialogue in this movie.

993
00:58:36,760 --> 00:58:40,240
Speaker 1: Is what the credited screenwriter Graham Yost said is that

994
00:58:40,520 --> 00:58:43,240
Speaker 1: Josh Weeden was brought in a couple of weeks before production,

995
00:58:43,720 --> 00:58:47,000
Speaker 1: and he basically rewrote the dialogue to fit the actors

996
00:58:47,000 --> 00:58:50,200
Speaker 1: who had been cast, which makes sense to me, Like

997
00:58:50,280 --> 00:58:54,320
Speaker 1: he rewrote the villain lines to sound more like Dennis

998
00:58:54,320 --> 00:58:58,560
Speaker 1: Hopper lines, and rewrote the Jack lines to sound more

999
00:58:58,640 --> 00:59:02,680
Speaker 1: like Keanu Reeves line, and he rewrote and thee's lines

1000
00:59:02,760 --> 00:59:05,680
Speaker 1: to sound like a love interest, which is I wanted

1001
00:59:05,720 --> 00:59:10,400
Speaker 1: to hit on. There is that, um, the casting and

1002
00:59:10,440 --> 00:59:14,800
Speaker 1: the writing for this movie, it seemed like deeply studio

1003
00:59:14,920 --> 00:59:18,479
Speaker 1: notes and how it ended the way it ended where

1004
00:59:18,960 --> 00:59:24,280
Speaker 1: originally and this is uh scholarly journal Wikipedia, but also

1005
00:59:24,640 --> 00:59:29,560
Speaker 1: um is from an Entertainment Weekly article from for the

1006
00:59:29,640 --> 00:59:34,280
Speaker 1: Speed twentieth anniversary. But the anti character was originally a

1007
00:59:34,360 --> 00:59:38,800
Speaker 1: black woman and a paramedic, Oh my god. Yeah, and

1008
00:59:38,960 --> 00:59:41,680
Speaker 1: which which actually makes a lot more sense because a

1009
00:59:41,720 --> 00:59:46,480
Speaker 1: paramedic would understand how to get somewhere fast in an emergency,

1010
00:59:48,040 --> 00:59:50,520
Speaker 1: which is why she was That character was written that

1011
00:59:50,560 --> 00:59:52,880
Speaker 1: way to like justify why she'd be able to like

1012
00:59:53,440 --> 00:59:57,320
Speaker 1: take control of the right. Yeah. Right, And so so

1013
00:59:57,880 --> 01:00:00,680
Speaker 1: this is like a very frustrating point where yeah, the

1014
01:00:00,680 --> 01:00:05,760
Speaker 1: the original script had Annie as a black paramedic, and

1015
01:00:05,800 --> 01:00:10,240
Speaker 1: then the role was offered to Halle Berry. She said no.

1016
01:00:10,680 --> 01:00:13,680
Speaker 1: I don't know why, but she said no. And then

1017
01:00:13,720 --> 01:00:19,120
Speaker 1: instead of pursuing other black actors, they decided to change

1018
01:00:19,120 --> 01:00:23,120
Speaker 1: the character entirely, and the character was then rewritten to

1019
01:00:23,160 --> 01:00:26,400
Speaker 1: be a driver's ed teacher that was more comic relief,

1020
01:00:26,600 --> 01:00:30,520
Speaker 1: and that role was offered to Ellen Degenerous. Speaking of

1021
01:00:30,600 --> 01:00:37,440
Speaker 1: book soup, customers did not see that twist. Twist, I

1022
01:00:37,480 --> 01:00:40,080
Speaker 1: don't think I would have enjoyed that, but like so,

1023
01:00:40,120 --> 01:00:44,240
Speaker 1: then Ellen was offered the part. Presumably Ellen passed. I

1024
01:00:44,280 --> 01:00:47,080
Speaker 1: don't really have info on that. And then I feel

1025
01:00:47,120 --> 01:00:50,880
Speaker 1: like the final phase of studio notes took hold when

1026
01:00:50,880 --> 01:00:54,240
Speaker 1: they said, well, let's reimagine Annie as a love interest,

1027
01:00:54,760 --> 01:00:59,520
Speaker 1: and then the part was whitewashed and removed of all

1028
01:00:59,640 --> 01:01:06,240
Speaker 1: prof national authority or knowledge and it became a random

1029
01:01:06,560 --> 01:01:11,440
Speaker 1: white woman played by Sandra Bullock named Annie. And so essentially,

1030
01:01:11,520 --> 01:01:14,360
Speaker 1: as far as I can understand, Josh Weeden wrote, basically

1031
01:01:14,400 --> 01:01:19,800
Speaker 1: that entire part based off of Sandra Bullocks existing persona

1032
01:01:19,880 --> 01:01:23,360
Speaker 1: at that time. Also like her, like the drivers and

1033
01:01:23,480 --> 01:01:26,840
Speaker 1: teacher can drive, the paramedic can drive, and Sandra Bullock

1034
01:01:27,080 --> 01:01:29,320
Speaker 1: has gotten a ticket for speed. Her license were both

1035
01:01:29,400 --> 01:01:31,840
Speaker 1: for speeding, and that's why she's good at driving this

1036
01:01:31,920 --> 01:01:34,880
Speaker 1: buss and that's all we know about her too, that's

1037
01:01:34,880 --> 01:01:38,479
Speaker 1: all we know. And then she she misses her car. Yeah,

1038
01:01:38,480 --> 01:01:40,959
Speaker 1: so I found I mean, I'm glad that that. It's

1039
01:01:41,160 --> 01:01:43,160
Speaker 1: I feel like we were talking all the time about

1040
01:01:43,200 --> 01:01:47,200
Speaker 1: how like studio notes potentially influenced scripts, but this one

1041
01:01:47,280 --> 01:01:50,720
Speaker 1: is like pretty well documented. And the way that this

1042
01:01:50,800 --> 01:01:54,960
Speaker 1: character of Vault was is just like so typical and

1043
01:01:55,000 --> 01:01:57,280
Speaker 1: frustrating where it was like for sure, it sounds like

1044
01:01:57,320 --> 01:02:00,600
Speaker 1: the originally written version would have been the most effective

1045
01:02:00,960 --> 01:02:06,320
Speaker 1: and was ditched because here's one of my big issues. Well,

1046
01:02:06,360 --> 01:02:10,560
Speaker 1: I mean, I've got many issues with this otherwise perfect movie.

1047
01:02:10,640 --> 01:02:17,320
Speaker 1: That's amazing, um that her becoming the like de facto

1048
01:02:17,360 --> 01:02:23,160
Speaker 1: bus driver happens almost randomly, where like while it is

1049
01:02:23,240 --> 01:02:25,560
Speaker 1: cool that like we do see a woman driving a

1050
01:02:25,600 --> 01:02:27,960
Speaker 1: bus and like, you know, for the most part, keeping

1051
01:02:27,960 --> 01:02:31,920
Speaker 1: her cool under pressure and like keeping the bus going

1052
01:02:31,960 --> 01:02:34,800
Speaker 1: the speed it needs to be going, and like helping

1053
01:02:35,080 --> 01:02:38,800
Speaker 1: everyone stay alive and stuff like that's cool to see

1054
01:02:39,360 --> 01:02:41,720
Speaker 1: in this like way that you know, it's it's this

1055
01:02:41,920 --> 01:02:44,840
Speaker 1: prolonged part of the movie too, you know, she's necessary

1056
01:02:44,920 --> 01:02:48,800
Speaker 1: to the plot of the movie, but her being the

1057
01:02:49,160 --> 01:02:54,880
Speaker 1: bus driver basically happens randomly, where like Jack is highly

1058
01:02:55,000 --> 01:02:57,479
Speaker 1: skilled or so we are led to believe, and that's

1059
01:02:57,480 --> 01:03:01,360
Speaker 1: why he's that's why it's important. He's an active participant

1060
01:03:01,360 --> 01:03:05,640
Speaker 1: in the story. But Annie wasn't given any special skills

1061
01:03:05,720 --> 01:03:08,120
Speaker 1: or training by the screenwriter, unless you count that she

1062
01:03:08,280 --> 01:03:12,360
Speaker 1: like speeds and then gets pulled over for it, and like, yeah,

1063
01:03:12,840 --> 01:03:14,920
Speaker 1: maybe it was like they were trying to be subtle

1064
01:03:15,320 --> 01:03:17,840
Speaker 1: when she first when Jack first gets on the train,

1065
01:03:17,920 --> 01:03:21,120
Speaker 1: she stands up to him and she's like trying to

1066
01:03:21,160 --> 01:03:24,240
Speaker 1: take charge. So I mean that's I'm I'm reaching. I

1067
01:03:24,240 --> 01:03:26,880
Speaker 1: am reaching, But like I have the same that though,

1068
01:03:27,000 --> 01:03:31,080
Speaker 1: like she was like at least had the confidence to

1069
01:03:31,760 --> 01:03:37,480
Speaker 1: put herself into that. Yeah, yeah, yeah, I I sort of.

1070
01:03:37,760 --> 01:03:40,240
Speaker 1: I was. I feel like it would have really helped

1071
01:03:40,280 --> 01:03:44,240
Speaker 1: the story, truly only helped the story if she had

1072
01:03:44,240 --> 01:03:49,480
Speaker 1: had more knowledge of driving or just like more character.

1073
01:03:49,800 --> 01:03:51,800
Speaker 1: Like I just like we don't we we knew nothing

1074
01:03:51,840 --> 01:03:55,840
Speaker 1: about her really, and Sandra Bulok is a great actress

1075
01:03:55,840 --> 01:03:57,960
Speaker 1: and that you still kind of like liked watching her

1076
01:03:58,000 --> 01:04:00,600
Speaker 1: and she was like funny and stuff. But yeah, we

1077
01:04:00,640 --> 01:04:03,480
Speaker 1: don't know details, like she's on her way to work,

1078
01:04:03,520 --> 01:04:06,120
Speaker 1: which is why she's catching the bus, but what's her job?

1079
01:04:06,240 --> 01:04:10,200
Speaker 1: We never Also, she is not creditive with the last name.

1080
01:04:10,240 --> 01:04:14,880
Speaker 1: I noticed that immediately. She and three Okay, so she

1081
01:04:15,000 --> 01:04:17,880
Speaker 1: doesn't have a last name, which gave me very Ali

1082
01:04:18,120 --> 01:04:21,840
Speaker 1: from Lady Gaga a star is born vibes where it's

1083
01:04:21,840 --> 01:04:24,360
Speaker 1: like Jackson Maine. That's a part of what everything we

1084
01:04:24,400 --> 01:04:28,120
Speaker 1: know about that character, that's cannon Ali period, Like that's

1085
01:04:28,120 --> 01:04:33,120
Speaker 1: all you know. I mean, I hate that, so complete

1086
01:04:33,120 --> 01:04:38,160
Speaker 1: garbage but heart degree. But anyways, like I mean, the

1087
01:04:38,440 --> 01:04:41,320
Speaker 1: female protagonists not having a last name is pretty glaring.

1088
01:04:41,440 --> 01:04:44,760
Speaker 1: And then on top of that, the only three passengers

1089
01:04:44,880 --> 01:04:48,280
Speaker 1: on the bus that don't have any name at all

1090
01:04:48,600 --> 01:04:51,520
Speaker 1: or even a nickname are women of color on the bus,

1091
01:04:51,560 --> 01:04:55,080
Speaker 1: which is like, that's something that I don't know. I mean,

1092
01:04:55,080 --> 01:04:56,840
Speaker 1: I guess we should we should talk about Annie and

1093
01:04:56,880 --> 01:05:00,600
Speaker 1: then get to the people on the bus. But Annie,

1094
01:05:00,640 --> 01:05:03,600
Speaker 1: I mean, it sucks because it's like I totally agree

1095
01:05:03,640 --> 01:05:06,760
Speaker 1: with you shearine that everything I like about Annie has

1096
01:05:06,960 --> 01:05:10,400
Speaker 1: more to do with Sandra Bullocks performance that how the

1097
01:05:10,520 --> 01:05:15,120
Speaker 1: character is actually because there's really not much there. There's

1098
01:05:15,160 --> 01:05:17,280
Speaker 1: nothing there. And this happens a lot in action movies

1099
01:05:17,320 --> 01:05:22,760
Speaker 1: where the protagonist is a man with action movie skills,

1100
01:05:22,800 --> 01:05:25,120
Speaker 1: like he's good at fighting, he's good at shooting guns,

1101
01:05:25,200 --> 01:05:28,360
Speaker 1: or whatever other like action movie skills you might have,

1102
01:05:28,880 --> 01:05:31,920
Speaker 1: and then the one female character usually is just kind

1103
01:05:31,920 --> 01:05:35,120
Speaker 1: of like along for the ride, or if she does

1104
01:05:35,200 --> 01:05:38,800
Speaker 1: have a special skill, it's not really anything that allows

1105
01:05:38,800 --> 01:05:41,400
Speaker 1: her to participate in the action parts of this movie.

1106
01:05:41,720 --> 01:05:44,160
Speaker 1: This movie doesn't really fall into that category because, like

1107
01:05:44,400 --> 01:05:47,720
Speaker 1: she does end up driving the whole thing. So the

1108
01:05:47,760 --> 01:05:49,880
Speaker 1: fact that she ends up driving the bus and like

1109
01:05:50,200 --> 01:05:53,920
Speaker 1: her actions are very important to this movie. But again

1110
01:05:53,960 --> 01:05:57,400
Speaker 1: it's kind of random. But she, again she's not equipped

1111
01:05:57,440 --> 01:06:01,400
Speaker 1: with any like special training or action movie skills. She

1112
01:06:01,680 --> 01:06:04,120
Speaker 1: ended up needing a lot of like help and guidance

1113
01:06:04,520 --> 01:06:09,560
Speaker 1: from the man who does have these skills. She's constantly

1114
01:06:09,600 --> 01:06:12,040
Speaker 1: like asking Jack what she should do. But if she

1115
01:06:12,160 --> 01:06:14,960
Speaker 1: was given if she was like a paramedic for example,

1116
01:06:15,120 --> 01:06:19,040
Speaker 1: and like had to drive an ambulance for her job,

1117
01:06:19,280 --> 01:06:22,200
Speaker 1: like she would just have more agency, even a driver's

1118
01:06:22,240 --> 01:06:25,240
Speaker 1: at teacher, she would have had a like an authoritative

1119
01:06:25,280 --> 01:06:28,920
Speaker 1: view of the road, Like yeah, multiple elements, Like first,

1120
01:06:29,240 --> 01:06:32,440
Speaker 1: the fact that this character was whitewashed from the first draft,

1121
01:06:32,960 --> 01:06:36,320
Speaker 1: and then that she was also stripped of her agency

1122
01:06:36,520 --> 01:06:39,400
Speaker 1: or authority in the situation. On top of that, I

1123
01:06:39,400 --> 01:06:43,520
Speaker 1: thought it was really interesting and like frustrating that the

1124
01:06:43,680 --> 01:06:47,680
Speaker 1: two additional action movies, in this action movie at the

1125
01:06:47,720 --> 01:06:51,280
Speaker 1: beginning and the end, we're not in that original draft

1126
01:06:51,400 --> 01:06:54,240
Speaker 1: that included a paramedic. And so I think that by

1127
01:06:54,240 --> 01:06:58,520
Speaker 1: the time the character had been whitewashed and stripped of agency,

1128
01:06:58,560 --> 01:07:01,040
Speaker 1: that made it all the easy year for people doing

1129
01:07:01,080 --> 01:07:05,720
Speaker 1: rewrites to damsel her, because theoretically previous versions of the

1130
01:07:05,800 --> 01:07:08,680
Speaker 1: character would have been much more difficult to damsel because

1131
01:07:08,680 --> 01:07:11,480
Speaker 1: you knew more about her, And like, I feel like

1132
01:07:11,560 --> 01:07:13,960
Speaker 1: they almost take advantage of the fact that the audience

1133
01:07:14,000 --> 01:07:18,360
Speaker 1: knows nothing about Annie to make it plausible that she

1134
01:07:18,400 --> 01:07:21,800
Speaker 1: would be easily damseled by the Dennis Hopper character because

1135
01:07:22,440 --> 01:07:24,960
Speaker 1: we don't know is she a very naive person. We

1136
01:07:25,000 --> 01:07:28,800
Speaker 1: have kind of no idea, and so when that happens,

1137
01:07:28,840 --> 01:07:32,080
Speaker 1: it's like, I guess I have I don't really understand

1138
01:07:32,120 --> 01:07:34,120
Speaker 1: whether this is something the character. I didn't think it

1139
01:07:34,120 --> 01:07:35,840
Speaker 1: would be something that character would go for it. But

1140
01:07:35,920 --> 01:07:38,960
Speaker 1: also it's a police authority figure intervening and maybe she

1141
01:07:39,000 --> 01:07:42,920
Speaker 1: would say, Okay, I'll go with you. It just it

1142
01:07:43,000 --> 01:07:46,280
Speaker 1: obscures what she's about so much that it almost that

1143
01:07:46,360 --> 01:07:49,240
Speaker 1: it makes it believable that she would be damseled like that,

1144
01:07:49,320 --> 01:07:53,200
Speaker 1: and that sucks, I know. Yeah, another drawback of not

1145
01:07:53,440 --> 01:07:57,959
Speaker 1: equipping her with any special skills or training or agency,

1146
01:07:58,240 --> 01:08:01,000
Speaker 1: like if she did have some reason that would justify

1147
01:08:01,320 --> 01:08:04,480
Speaker 1: her being at that like money drop off location, like

1148
01:08:04,520 --> 01:08:08,000
Speaker 1: if she was actively helping out with that situation, the

1149
01:08:08,080 --> 01:08:11,480
Speaker 1: story would make more sense because right now there's absolutely

1150
01:08:11,480 --> 01:08:15,560
Speaker 1: no reason why a civilian would have been brought. They're like,

1151
01:08:15,640 --> 01:08:17,639
Speaker 1: she probably I don't know, admittedly, I don't know anything

1152
01:08:17,680 --> 01:08:20,519
Speaker 1: about like police procedure. I don't know yet. It seems

1153
01:08:20,520 --> 01:08:23,479
Speaker 1: like she's like waiting for Jack for like a date

1154
01:08:23,640 --> 01:08:25,960
Speaker 1: to get off work. Like if I received a bullock,

1155
01:08:26,360 --> 01:08:29,240
Speaker 1: I'd be like bring me home. I'll like look up

1156
01:08:29,280 --> 01:08:32,439
Speaker 1: your badge number later or whatever, like if I need

1157
01:08:32,479 --> 01:08:35,280
Speaker 1: to date a cop. Well, because she's in the ambulance

1158
01:08:35,320 --> 01:08:37,439
Speaker 1: and he's like I'll be right back, and then he's

1159
01:08:37,479 --> 01:08:40,439
Speaker 1: not right back, and she's concerned, like where is But

1160
01:08:40,520 --> 01:08:43,479
Speaker 1: that makes no sense. She would have been probably taken

1161
01:08:43,520 --> 01:08:47,360
Speaker 1: to a hospital because she did sustain injuries. They just

1162
01:08:47,400 --> 01:08:51,160
Speaker 1: put like nail polish remover on her. They're like, she's fine.

1163
01:08:51,760 --> 01:08:56,200
Speaker 1: So it makes absolutely no sense that she is there.

1164
01:08:56,560 --> 01:08:59,880
Speaker 1: And literally the only reason the script brings her along

1165
01:09:00,160 --> 01:09:03,599
Speaker 1: is so that she can be kidnapped and damseled. Right,

1166
01:09:04,120 --> 01:09:08,520
Speaker 1: She's just so frustrating and accessory. For sure. It's stinks.

1167
01:09:08,560 --> 01:09:12,400
Speaker 1: It's stinks, especially because up to that point not and

1168
01:09:12,479 --> 01:09:15,080
Speaker 1: this was prior to me knowing about the writing history

1169
01:09:15,120 --> 01:09:19,280
Speaker 1: of the anti character. My general feeling was like, Okay,

1170
01:09:19,280 --> 01:09:22,759
Speaker 1: it's definitely not perfect, but this could have been way worse.

1171
01:09:24,080 --> 01:09:26,240
Speaker 1: And then and then the more you learn, and then

1172
01:09:26,280 --> 01:09:28,920
Speaker 1: the more the movie goes on, you're like, God. But

1173
01:09:29,000 --> 01:09:32,760
Speaker 1: the third act definitely like reeks to me of studio notes,

1174
01:09:32,920 --> 01:09:35,760
Speaker 1: which is like a good and bad thing, because do

1175
01:09:35,840 --> 01:09:39,120
Speaker 1: I dislike the train sequence, Not at all. I think

1176
01:09:39,120 --> 01:09:42,080
Speaker 1: the train sequence is awesome. I love seeing Kioto be

1177
01:09:42,240 --> 01:09:47,760
Speaker 1: like speed it up, like whatever the he said, You're like, oh,

1178
01:09:47,960 --> 01:09:51,719
Speaker 1: he's doing it again. So we never see the dead

1179
01:09:51,800 --> 01:09:54,400
Speaker 1: driver ever, there's there's no remorse for the dead driver

1180
01:09:54,680 --> 01:09:59,160
Speaker 1: or anything, even when they crash, and do we ever

1181
01:09:59,240 --> 01:10:01,240
Speaker 1: find out I say him is like oh no, I

1182
01:10:01,280 --> 01:10:04,240
Speaker 1: mean the driver of the train. Yeah, yeah, I mean

1183
01:10:04,280 --> 01:10:07,600
Speaker 1: Sam is okay, he got help, he was good. We

1184
01:10:07,680 --> 01:10:11,200
Speaker 1: hope that he made it out alive and well, but yeah,

1185
01:10:11,240 --> 01:10:15,320
Speaker 1: a lot of people die and there's not Sometimes a

1186
01:10:15,360 --> 01:10:18,280
Speaker 1: tear is shed, but otherwise it's like, all right, let's

1187
01:10:18,280 --> 01:10:21,559
Speaker 1: move along. Even Harry Temple, no one cried for Harry Temple,

1188
01:10:21,840 --> 01:10:27,120
Speaker 1: not even did have like a breakdown. He went good.

1189
01:10:27,880 --> 01:10:31,200
Speaker 1: I mean, he had an outburst, but like then Annie

1190
01:10:31,240 --> 01:10:34,679
Speaker 1: quickly calmed him down because she does that as a woman,

1191
01:10:35,960 --> 01:10:39,800
Speaker 1: and she's very nurturing, so she fixed him. The romantic

1192
01:10:39,960 --> 01:10:43,280
Speaker 1: couple in this movie do have the superpower to get

1193
01:10:43,360 --> 01:10:48,880
Speaker 1: over extreme trauma very quickly because Sam, like realistically, which

1194
01:10:48,920 --> 01:10:50,840
Speaker 1: obviously it's like, what's even the point of having that

1195
01:10:50,880 --> 01:10:53,200
Speaker 1: discussion for this movie, But like, if you were Annie,

1196
01:10:53,240 --> 01:10:55,559
Speaker 1: and it's clue that she and Sam are friends. They

1197
01:10:55,600 --> 01:10:59,360
Speaker 1: see each other every day. He's shot, it's very unclear,

1198
01:10:59,520 --> 01:11:02,240
Speaker 1: at least me as an audience member, if like if

1199
01:11:02,280 --> 01:11:04,880
Speaker 1: it's something he will survive or not. And then she's

1200
01:11:04,960 --> 01:11:07,200
Speaker 1: kind of up friend like la la am I going

1201
01:11:07,280 --> 01:11:12,800
Speaker 1: fast enough, you're cute and there's like your friend and

1202
01:11:12,800 --> 01:11:15,040
Speaker 1: he's and then and then when you do find out

1203
01:11:15,120 --> 01:11:18,920
Speaker 1: that Sam is going to survive. He's directly behind her,

1204
01:11:19,280 --> 01:11:23,000
Speaker 1: like if she didn't even talk to him once, you know, yeah,

1205
01:11:23,280 --> 01:11:25,400
Speaker 1: she'll we talk about the bus passengers. I mean, I

1206
01:11:25,800 --> 01:11:28,360
Speaker 1: have a whole yes, Do you have anything else? Does

1207
01:11:28,360 --> 01:11:31,640
Speaker 1: anyone have anything else to say about Andy's character? Um,

1208
01:11:31,680 --> 01:11:34,599
Speaker 1: I'll just I mean, like I do think it's so

1209
01:11:35,080 --> 01:11:38,800
Speaker 1: hilarious that flirting is still a thing, even in the

1210
01:11:38,840 --> 01:11:41,880
Speaker 1: face like certain death. And like there's a moment where

1211
01:11:41,880 --> 01:11:44,320
Speaker 1: she takes off her cardigan and Kanu was like looking

1212
01:11:44,360 --> 01:11:46,839
Speaker 1: at her, being like, oh, she's taking off her cardigan

1213
01:11:47,080 --> 01:11:52,320
Speaker 1: like hit and He's like wow. Yeah. And it's also

1214
01:11:52,400 --> 01:11:56,920
Speaker 1: like trauma bodging is real, Like that's there's there's a

1215
01:11:56,920 --> 01:12:00,040
Speaker 1: lot there. It is real. But it but this is

1216
01:12:00,080 --> 01:12:04,840
Speaker 1: like the most wedged in love story for sure. I

1217
01:12:04,880 --> 01:12:09,120
Speaker 1: agree and disagree, like of all of that, like we've

1218
01:12:09,160 --> 01:12:13,439
Speaker 1: we've dealt with so many implausible forest love stories. But Sharie,

1219
01:12:13,680 --> 01:12:18,439
Speaker 1: I agree, trauma bonding could be a strong argument for this.

1220
01:12:18,640 --> 01:12:22,799
Speaker 1: And they they do call attention to yeah yeah twice

1221
01:12:23,000 --> 01:12:25,599
Speaker 1: and but and then again they are just too hot people,

1222
01:12:26,000 --> 01:12:29,240
Speaker 1: you know, they found each other. Hot people near each

1223
01:12:29,280 --> 01:12:31,679
Speaker 1: other will fall in love and kiss in a movie

1224
01:12:31,880 --> 01:12:34,559
Speaker 1: happens every time. I mean the ending. The last thing

1225
01:12:34,600 --> 01:12:37,880
Speaker 1: she says is she wants to base the relationship off sex.

1226
01:12:38,040 --> 01:12:39,880
Speaker 1: I kind of loved that for them. I was like,

1227
01:12:39,920 --> 01:12:42,640
Speaker 1: you know what, iconic have a ton of sex. And

1228
01:12:42,640 --> 01:12:44,880
Speaker 1: then then maybe they stopped talking a week from the

1229
01:12:45,000 --> 01:12:47,280
Speaker 1: end of the movie. We don't know, we have no idea.

1230
01:12:47,360 --> 01:12:49,799
Speaker 1: I mean, speed Too didn't have Kyoto. She is dating

1231
01:12:49,800 --> 01:12:53,240
Speaker 1: someone else and speed To so I mean, yeah, I

1232
01:12:53,280 --> 01:12:57,320
Speaker 1: guess canonically buddies and then they weren't. I kind of

1233
01:12:57,360 --> 01:13:02,040
Speaker 1: love that, So that's Annie whatever. The love story is very,

1234
01:13:02,160 --> 01:13:05,040
Speaker 1: very forced, but that's don't Maybe it's just because that's

1235
01:13:05,080 --> 01:13:08,720
Speaker 1: like far from one of my my more intense criticisms

1236
01:13:08,800 --> 01:13:11,080
Speaker 1: of the movie that the love story like is so

1237
01:13:11,200 --> 01:13:14,719
Speaker 1: corny and sucks. But like, I don't know, it didn't

1238
01:13:14,880 --> 01:13:18,200
Speaker 1: bother me as much as other elements. Well, I think

1239
01:13:18,240 --> 01:13:20,679
Speaker 1: maybe that was on purpose because part of the reason

1240
01:13:20,720 --> 01:13:23,439
Speaker 1: that Cascian it was because he's attractive to the ladies,

1241
01:13:23,479 --> 01:13:26,200
Speaker 1: as they say, and so maybe they added that element

1242
01:13:26,280 --> 01:13:30,479
Speaker 1: also to appeal to their women. They're like what they

1243
01:13:30,520 --> 01:13:32,920
Speaker 1: imagine straight women watchers, you know what I mean. So

1244
01:13:33,000 --> 01:13:35,680
Speaker 1: it's like, maybe that's what they were going for to

1245
01:13:36,200 --> 01:13:39,760
Speaker 1: like everyone's satisfied with this movie. We ticked all the boxes. Yeah,

1246
01:13:39,880 --> 01:13:43,320
Speaker 1: that is a thing in Hollywood where like executives and

1247
01:13:43,479 --> 01:13:46,120
Speaker 1: you know, people who are giving all these studio notes

1248
01:13:46,120 --> 01:13:49,040
Speaker 1: are like, well, this is an action movies and girls

1249
01:13:49,320 --> 01:13:52,719
Speaker 1: hate action. They like love and those are the rules.

1250
01:13:52,920 --> 01:13:54,960
Speaker 1: So we have to put love in the action movie

1251
01:13:55,000 --> 01:13:57,080
Speaker 1: so that women will come to see this. And it's like,

1252
01:13:57,280 --> 01:13:59,160
Speaker 1: you know that all genders will come for both of

1253
01:13:59,200 --> 01:14:04,679
Speaker 1: those themes exactly. Everyone wants to see Kanu and Sandy.

1254
01:14:04,720 --> 01:14:09,760
Speaker 1: Fuck like, that's that desire knows no no bounds. The

1255
01:14:09,840 --> 01:14:13,240
Speaker 1: sequel to Speed is not Speed to Cruise Control. It

1256
01:14:13,360 --> 01:14:18,040
Speaker 1: is actually The lake House. So it is I saw

1257
01:14:18,080 --> 01:14:22,040
Speaker 1: The lake House in theaters same so did I Do

1258
01:14:22,120 --> 01:14:25,759
Speaker 1: you know that Sandra Bullock won the MTV Movie Award

1259
01:14:25,800 --> 01:14:31,320
Speaker 1: for Most Desirable Woman for Speed Most Desirable Woman. That's

1260
01:14:31,320 --> 01:14:35,160
Speaker 1: a category that was where it was the MTV movie

1261
01:14:35,240 --> 01:14:38,400
Speaker 1: words are like so, I mean I covered that briefly

1262
01:14:38,400 --> 01:14:42,839
Speaker 1: in Lolita podcast, where there was an adaptation of Lolita

1263
01:14:42,920 --> 01:14:46,839
Speaker 1: that was nominated for Best Movie. Kiss Like the MTV

1264
01:14:46,920 --> 01:14:52,160
Speaker 1: Movie Awards fucking suck, Like I'm most desirable woman is

1265
01:14:52,400 --> 01:14:57,280
Speaker 1: also the most creepy way to phrase that award. Truly, Yeah,

1266
01:14:57,560 --> 01:15:01,280
Speaker 1: that's the award, that is the award most desirable Women.

1267
01:15:01,400 --> 01:15:04,040
Speaker 1: I hope she uses it as like a toilet paper dispenser.

1268
01:15:06,320 --> 01:15:08,840
Speaker 1: But yeah, it's like every action movie you can think

1269
01:15:08,880 --> 01:15:11,519
Speaker 1: of it. I mean not everyone, but like every James

1270
01:15:11,520 --> 01:15:14,599
Speaker 1: Bond movie, every Mission Impossible, there's some type of like

1271
01:15:15,520 --> 01:15:19,360
Speaker 1: hotness for the guy and also romance for the ladies,

1272
01:15:19,560 --> 01:15:25,200
Speaker 1: like assumed ladies, but you know it's the same um.

1273
01:15:25,200 --> 01:15:28,880
Speaker 1: But yeah, as far as the secondary and tertiary characters

1274
01:15:28,960 --> 01:15:33,680
Speaker 1: who are women, as far as like the opening elevator sequence,

1275
01:15:34,439 --> 01:15:37,000
Speaker 1: there's a woman who is really scared to get off

1276
01:15:37,040 --> 01:15:41,200
Speaker 1: the elevator and she's basically presented as this like woman

1277
01:15:41,360 --> 01:15:45,320
Speaker 1: being quote unquote hysterical and that being treated as an

1278
01:15:45,320 --> 01:15:49,080
Speaker 1: obstacle like it often is in movies. That same woman

1279
01:15:49,400 --> 01:15:54,080
Speaker 1: loses her shoe that that's what I was laughing about

1280
01:15:54,120 --> 01:16:01,160
Speaker 1: my shoe, and it's like it's because women be loving shoes. Also,

1281
01:16:01,240 --> 01:16:04,320
Speaker 1: the way that that sequence is shot, well for I

1282
01:16:04,360 --> 01:16:09,040
Speaker 1: had I had I had written down uh feminist icon

1283
01:16:09,160 --> 01:16:12,599
Speaker 1: ha ha he he lady, where there's a woman in

1284
01:16:12,800 --> 01:16:16,880
Speaker 1: that first sequence where she's like she's got this very

1285
01:16:16,960 --> 01:16:21,080
Speaker 1: like she has a blonde blowout because it and every

1286
01:16:21,120 --> 01:16:22,880
Speaker 1: time we see her, we don't know anything about her,

1287
01:16:22,920 --> 01:16:25,080
Speaker 1: but she's always going ha ha or he or she's

1288
01:16:25,080 --> 01:16:29,800
Speaker 1: whispering to a man like she's flirting. She's just like,

1289
01:16:29,800 --> 01:16:33,840
Speaker 1: we're right. And then when you see her pulled out

1290
01:16:33,840 --> 01:16:36,640
Speaker 1: of the elevator, eventually it's like you see up a

1291
01:16:36,680 --> 01:16:39,840
Speaker 1: woman's skirt. During the elevator scene, you see like a

1292
01:16:39,920 --> 01:16:43,479
Speaker 1: woman's but when she's being pulled out like the way

1293
01:16:43,520 --> 01:16:47,080
Speaker 1: that particularly in that sequence. It doesn't happen quite as

1294
01:16:47,120 --> 01:16:50,879
Speaker 1: much in the bus sequence, but particularly in the elevator sequence,

1295
01:16:50,920 --> 01:16:54,000
Speaker 1: there's a lot of like like very I felt like

1296
01:16:54,080 --> 01:16:58,760
Speaker 1: intentionally shot up the skirt or like skirts riding up

1297
01:16:58,840 --> 01:17:02,680
Speaker 1: of the female characters for sure, like they did not

1298
01:17:02,800 --> 01:17:06,720
Speaker 1: need to position the camera that way. The wardrobe could

1299
01:17:06,720 --> 01:17:10,560
Speaker 1: have been different, like you know, women wear pants sometimes

1300
01:17:10,560 --> 01:17:13,920
Speaker 1: it was very intentional to like to show these like

1301
01:17:14,000 --> 01:17:18,479
Speaker 1: this hot but sexualized this little underwear. Yeah, it reminded

1302
01:17:18,520 --> 01:17:21,000
Speaker 1: me of the office scene in die Hard at the beginning,

1303
01:17:21,000 --> 01:17:25,080
Speaker 1: where you see a woman topless for no reason other

1304
01:17:25,200 --> 01:17:28,800
Speaker 1: than they're like we had to titilate the crowd at

1305
01:17:28,800 --> 01:17:31,799
Speaker 1: the beginning, like I think it was like very similar

1306
01:17:32,720 --> 01:17:36,719
Speaker 1: motivations there for sure. And then as far as the

1307
01:17:36,760 --> 01:17:40,000
Speaker 1: women on the bus, Jamie, you mentioned that many of

1308
01:17:40,080 --> 01:17:42,920
Speaker 1: them are women of color, but they do not speak

1309
01:17:43,280 --> 01:17:46,120
Speaker 1: ever really though, you just see like close up shots

1310
01:17:46,120 --> 01:17:49,400
Speaker 1: of them being afraid. Right, we do not know their

1311
01:17:49,479 --> 01:17:52,479
Speaker 1: names or any information about them. The only thing do

1312
01:17:53,000 --> 01:17:58,639
Speaker 1: be afraid, yes, and they're great. One more like kind

1313
01:17:58,640 --> 01:18:02,760
Speaker 1: of secondary character who is given a name and a

1314
01:18:02,960 --> 01:18:09,960
Speaker 1: small arc I suppose is Helen played by Beth Grant,

1315
01:18:10,600 --> 01:18:14,840
Speaker 1: a notable character actor. She is made to be similarly

1316
01:18:15,120 --> 01:18:18,880
Speaker 1: quote unquote hysterical to the point that it gets her

1317
01:18:19,160 --> 01:18:21,840
Speaker 1: killed because she's trying to get off the bus after

1318
01:18:22,000 --> 01:18:25,160
Speaker 1: being repeatedly told that she can't get off the bus

1319
01:18:25,320 --> 01:18:29,400
Speaker 1: or the bus will explode. But she's just painted as

1320
01:18:29,880 --> 01:18:34,320
Speaker 1: again a very common thing in action movies. This happens

1321
01:18:34,320 --> 01:18:38,960
Speaker 1: in horror movies to where like a woman will just

1322
01:18:39,240 --> 01:18:44,480
Speaker 1: be her again quote unquote hysteria that has been ascribed

1323
01:18:44,560 --> 01:18:50,479
Speaker 1: to this character makes her abandon all like logic and

1324
01:18:50,920 --> 01:18:55,320
Speaker 1: sense of reason. And that's what women do, That's what

1325
01:18:55,360 --> 01:18:58,280
Speaker 1: they're saying. Women put up, We put ourselves in danger,

1326
01:18:58,840 --> 01:19:02,920
Speaker 1: and it's the only no, only not hysterical woman in

1327
01:19:02,960 --> 01:19:05,720
Speaker 1: this movie. Is that one lady cop that I don't

1328
01:19:05,760 --> 01:19:07,559
Speaker 1: think she has a name, maybe it's on her shirt

1329
01:19:07,680 --> 01:19:09,719
Speaker 1: or something. But the one lady cop that's like talking

1330
01:19:09,760 --> 01:19:13,000
Speaker 1: to Jeff Daniels for one, Yeah, I wrote that too,

1331
01:19:13,080 --> 01:19:17,599
Speaker 1: and I was like, well, ultimately it's a compaghetti pizza, Like, well,

1332
01:19:17,640 --> 01:19:19,640
Speaker 1: I guess it's a wash, but yeah, it's like the

1333
01:19:19,760 --> 01:19:23,760
Speaker 1: lady cop does all this investigative work off screen and

1334
01:19:23,760 --> 01:19:25,400
Speaker 1: then to show that and she's like, I figured out

1335
01:19:25,439 --> 01:19:27,680
Speaker 1: who the bad guy is. And then Jeff Daniels is like,

1336
01:19:27,880 --> 01:19:32,639
Speaker 1: that's feminism, and that's feminism. Oh my god. I mean

1337
01:19:32,640 --> 01:19:34,400
Speaker 1: I wanted to could just give another shout out to

1338
01:19:34,680 --> 01:19:38,040
Speaker 1: uh Beth Grant, who is also in another movie we

1339
01:19:38,120 --> 01:19:41,800
Speaker 1: covered recently at Too Wong Foo. Yes she is. She's

1340
01:19:41,800 --> 01:19:44,360
Speaker 1: in that as well. She's also in Little Miss Sunshine.

1341
01:19:44,520 --> 01:19:46,879
Speaker 1: But we had the bench cast love a good character actor,

1342
01:19:47,760 --> 01:19:50,240
Speaker 1: so there's that there. There are a number of good

1343
01:19:50,320 --> 01:19:52,679
Speaker 1: character actors in this movie. But yeah, I mean there's

1344
01:19:52,720 --> 01:19:54,880
Speaker 1: I would say that there's for me, there were like

1345
01:19:55,120 --> 01:19:59,240
Speaker 1: four passengers that had discernible arcs, and it was Helen,

1346
01:19:59,640 --> 01:20:01,720
Speaker 1: who is the only other one when we meet, which

1347
01:20:01,760 --> 01:20:06,840
Speaker 1: isn't another white woman who has killed immediately. Then there

1348
01:20:06,960 --> 01:20:10,799
Speaker 1: is Ortiz, who the most we learned about his background

1349
01:20:10,840 --> 01:20:15,120
Speaker 1: is that he has a wife and he's tough. The

1350
01:20:15,160 --> 01:20:17,040
Speaker 1: first thing he out says to him is he calls

1351
01:20:17,120 --> 01:20:20,360
Speaker 1: him gigant Or, which I did not like. That was like,

1352
01:20:21,400 --> 01:20:24,639
Speaker 1: sir at least or Ties is like, my name is Ortiz,

1353
01:20:24,720 --> 01:20:27,200
Speaker 1: and he's like, okay, or I guess I'll call you

1354
01:20:27,240 --> 01:20:31,360
Speaker 1: that instead of gigant Or. That was so like what

1355
01:20:33,360 --> 01:20:36,880
Speaker 1: gigantic was, like, was that established in anyway? That's a

1356
01:20:37,040 --> 01:20:42,320
Speaker 1: draw sweeded and Ortiz like has at least some sort

1357
01:20:42,360 --> 01:20:45,160
Speaker 1: of like he is like actively involved in the plot

1358
01:20:45,800 --> 01:20:50,080
Speaker 1: from there on. The same goes for the yokel guy,

1359
01:20:50,360 --> 01:20:53,559
Speaker 1: who I will say like that was like one of

1360
01:20:53,600 --> 01:20:56,240
Speaker 1: the first things that I noticed once Sandra Book was

1361
01:20:56,240 --> 01:20:59,519
Speaker 1: on screen is that he's like low key. I feel

1362
01:20:59,520 --> 01:21:04,040
Speaker 1: like it wasn't known as like harassment, like public transit harassment,

1363
01:21:04,160 --> 01:21:06,280
Speaker 1: but he was harassing her at the beginning of that movie.

1364
01:21:06,320 --> 01:21:10,519
Speaker 1: And she's like, um, I'm and honestly like, unfortunately I

1365
01:21:10,600 --> 01:21:12,840
Speaker 1: took note of her strategy because I'm like, that's not

1366
01:21:12,880 --> 01:21:14,439
Speaker 1: the worst thing I've ever heard. She's like, there's gun

1367
01:21:14,520 --> 01:21:16,280
Speaker 1: on my seat, I have to move. I was like, oh,

1368
01:21:16,320 --> 01:21:18,760
Speaker 1: I might use that in the future. So that guy,

1369
01:21:19,080 --> 01:21:21,400
Speaker 1: they gave him so much character though, like he was

1370
01:21:21,400 --> 01:21:26,120
Speaker 1: taking pictures of the of the disaster part and then

1371
01:21:26,160 --> 01:21:29,240
Speaker 1: he was just like he had this weird intense moment.

1372
01:21:29,280 --> 01:21:31,439
Speaker 1: He's like I shouldn't be here, and it's just like

1373
01:21:31,680 --> 01:21:34,439
Speaker 1: they could have spent that time making a woman talk

1374
01:21:35,600 --> 01:21:41,559
Speaker 1: absolutely shit about him. The most hated character to me, Yeah,

1375
01:21:41,560 --> 01:21:43,479
Speaker 1: I didn't give a shit about him when he almost

1376
01:21:43,479 --> 01:21:47,000
Speaker 1: died at the end of like by like whatever, who cares? Sorry?

1377
01:21:47,120 --> 01:21:50,559
Speaker 1: But and then the last character that you learned something

1378
01:21:50,560 --> 01:21:52,439
Speaker 1: about I don't know if you ever learned his name

1379
01:21:52,720 --> 01:21:56,800
Speaker 1: is the guy who mistakenly shoots Sam the bus driver

1380
01:21:57,000 --> 01:21:59,479
Speaker 1: at the beginning of the movie, which I had a

1381
01:21:59,520 --> 01:22:02,120
Speaker 1: lot of like issues with where it's like, Okay, you're

1382
01:22:02,120 --> 01:22:05,000
Speaker 1: putting this movie on a bus, which is going to

1383
01:22:05,200 --> 01:22:09,720
Speaker 1: imply lower income people are going to be on this

1384
01:22:10,120 --> 01:22:13,880
Speaker 1: and I feel like they it's a diverse group of

1385
01:22:13,920 --> 01:22:16,720
Speaker 1: people on the bus, so you're like, Okay, where is

1386
01:22:16,760 --> 01:22:19,639
Speaker 1: this going. And then immediately the first person of color

1387
01:22:19,680 --> 01:22:21,880
Speaker 1: you get to know on the bus pulls a gun

1388
01:22:22,840 --> 01:22:27,280
Speaker 1: is assumed to have committed a crime and that's why

1389
01:22:27,360 --> 01:22:30,479
Speaker 1: he pulls the gun and then shoot somebody. And I

1390
01:22:30,520 --> 01:22:33,559
Speaker 1: was like, this fucking sucks. Like I don't know who

1391
01:22:33,640 --> 01:22:35,680
Speaker 1: is responsible for writing this, but it was. It was

1392
01:22:35,760 --> 01:22:41,120
Speaker 1: just like so where this setting specifically gives you such

1393
01:22:41,160 --> 01:22:45,559
Speaker 1: an interesting opportunity to get to know like working class

1394
01:22:45,600 --> 01:22:49,720
Speaker 1: Angelino's and it just kind of it misses that opportunity

1395
01:22:49,760 --> 01:22:53,320
Speaker 1: and then like reinforces negative stereotypes on top of that.

1396
01:22:53,400 --> 01:22:56,880
Speaker 1: I was just so bummed out by just every writing

1397
01:22:56,920 --> 01:23:00,200
Speaker 1: instinct with the characters on the bus, right because said

1398
01:23:00,200 --> 01:23:03,639
Speaker 1: they spend way more time on the tourist guy from

1399
01:23:03,720 --> 01:23:06,679
Speaker 1: who knows where, but like it's like this white guy

1400
01:23:06,760 --> 01:23:09,920
Speaker 1: played by Alan Ruck doesn't even go here, doesn't even

1401
01:23:11,040 --> 01:23:14,280
Speaker 1: out of town, Like who can no disrespect to Allan

1402
01:23:14,360 --> 01:23:19,040
Speaker 1: Rock whatever, live your life. And clearly Jehan de Borne

1403
01:23:19,080 --> 01:23:22,719
Speaker 1: liked him because he was also a twister. Oh yeah

1404
01:23:22,760 --> 01:23:26,799
Speaker 1: he was. And then even before Kiana gets on the bus,

1405
01:23:26,840 --> 01:23:29,280
Speaker 1: there's that there's a chunk of the movie where like

1406
01:23:29,760 --> 01:23:33,960
Speaker 1: Kanu common Deer's a guy's vehicle to try to catch

1407
01:23:34,000 --> 01:23:40,080
Speaker 1: up with the bus. He is credited as Jaguar owner.

1408
01:23:40,640 --> 01:23:43,760
Speaker 1: He's played by actor Glenn Plummer. Who shows up in

1409
01:23:43,960 --> 01:23:47,840
Speaker 1: Speed to Cruise Control BT. He was great in this movie.

1410
01:23:47,880 --> 01:23:50,640
Speaker 1: I liked watching him, but but his license plate did

1411
01:23:50,680 --> 01:23:52,920
Speaker 1: say Tuned Man. It did stay Tuned Man. And then

1412
01:23:52,960 --> 01:23:59,160
Speaker 1: he also at one point he does identify as Maurice. Okay,

1413
01:23:59,200 --> 01:24:01,920
Speaker 1: he does have name, but he's not credited as that

1414
01:24:02,040 --> 01:24:05,240
Speaker 1: name in the credits. But then I went back and

1415
01:24:05,280 --> 01:24:07,439
Speaker 1: watched that, like I wrote him down as Maurice. But

1416
01:24:07,520 --> 01:24:10,360
Speaker 1: then apparently whoever made the credits wasn't even watching the

1417
01:24:10,439 --> 01:24:14,639
Speaker 1: movie very carefully because they're just like Jaguar on But like,

1418
01:24:15,040 --> 01:24:19,960
Speaker 1: so you've got Kanu who's like waving his badge and

1419
01:24:20,160 --> 01:24:24,400
Speaker 1: gun around, points a gun in this black man's face,

1420
01:24:24,479 --> 01:24:27,519
Speaker 1: being like, I need your car, and just like I

1421
01:24:27,600 --> 01:24:30,400
Speaker 1: was like, how is this going to? Like because I

1422
01:24:30,400 --> 01:24:34,080
Speaker 1: didn't remember exactly what happened during that moment. Well there's

1423
01:24:34,080 --> 01:24:36,519
Speaker 1: a moment because he says, the cop comes up and

1424
01:24:36,680 --> 01:24:40,040
Speaker 1: the Maurice immediately says, this car isn't stolen, like I said,

1425
01:24:40,040 --> 01:24:43,120
Speaker 1: if that's what he's going to with a black man

1426
01:24:43,200 --> 01:24:46,160
Speaker 1: driving a Jaguar, and then Kanu has another quip he

1427
01:24:46,200 --> 01:24:49,800
Speaker 1: said it is now because I'm stealing it, and then

1428
01:24:49,840 --> 01:24:53,200
Speaker 1: he ruins his car. Oh my gosh, it was. It

1429
01:24:53,280 --> 01:24:56,920
Speaker 1: was difficult to watch. Yeah, that scene was really fresh

1430
01:24:56,960 --> 01:24:59,040
Speaker 1: because because it felt again like that was a scene

1431
01:24:59,040 --> 01:25:00,880
Speaker 1: where I was like, Okay, the is being shot in

1432
01:25:02,439 --> 01:25:05,559
Speaker 1: is there going to be some attempt at commentary on

1433
01:25:06,080 --> 01:25:09,160
Speaker 1: how l a p D officers would have very rightfully

1434
01:25:09,240 --> 01:25:14,400
Speaker 1: been perceived at this time, especially, But then it did

1435
01:25:14,400 --> 01:25:17,880
Speaker 1: like you're sancuying. It just like devolves into quips and

1436
01:25:18,080 --> 01:25:22,360
Speaker 1: they take that really charged set up and they just

1437
01:25:22,680 --> 01:25:25,559
Speaker 1: they're like, well and they and they just turn it

1438
01:25:25,560 --> 01:25:28,519
Speaker 1: into like t he ha ha, and well that makes

1439
01:25:28,520 --> 01:25:33,439
Speaker 1: me think about the casting of Joe Morton as Mac,

1440
01:25:33,680 --> 01:25:37,360
Speaker 1: the police captain. He's also a black man. And I'm

1441
01:25:37,360 --> 01:25:40,640
Speaker 1: not saying there weren't any like black police officers on

1442
01:25:41,520 --> 01:25:45,200
Speaker 1: absolutely at this time, but I wonder, because this is

1443
01:25:45,240 --> 01:25:49,040
Speaker 1: like such a capaganda piece and this was happening in

1444
01:25:49,080 --> 01:25:53,360
Speaker 1: the wake of the Rodney King riots, I wonder if

1445
01:25:53,360 --> 01:25:54,760
Speaker 1: that was a very Yeah, I feel like that was

1446
01:25:54,800 --> 01:25:57,760
Speaker 1: a very intentional choice to be like, well, how can

1447
01:25:57,800 --> 01:26:00,519
Speaker 1: the l a p D be racist? You've got a

1448
01:26:00,560 --> 01:26:05,160
Speaker 1: black police captain in the movie Speed, And it's like, yeah, right,

1449
01:26:05,520 --> 01:26:07,760
Speaker 1: I wanna yeah, I want to link to a few

1450
01:26:07,840 --> 01:26:10,960
Speaker 1: resources on that topic in in the notes of this

1451
01:26:11,000 --> 01:26:14,320
Speaker 1: episode as well, because that definitely, like is at this point,

1452
01:26:14,360 --> 01:26:17,800
Speaker 1: like it's been a trope that has been recognized and

1453
01:26:17,880 --> 01:26:20,920
Speaker 1: written about. There are a lot of black police officers

1454
01:26:21,560 --> 01:26:25,320
Speaker 1: police in movies and TV. Yeah, like particularly now too,

1455
01:26:26,040 --> 01:26:30,440
Speaker 1: even in like Brooklyn or even in these funny copaganda

1456
01:26:30,800 --> 01:26:35,679
Speaker 1: sitcoms or whatever. Watchman is a big one. Watchman. Watchman

1457
01:26:35,760 --> 01:26:38,800
Speaker 1: was a big one. I Black Klansman was one that

1458
01:26:38,880 --> 01:26:41,639
Speaker 1: I saw brought up a lot. I just watched Mayra

1459
01:26:41,720 --> 01:26:45,120
Speaker 1: Vise Town. Uh, that's the other show where the chief

1460
01:26:45,160 --> 01:26:49,000
Speaker 1: of police is. There so many Yeah, there there is

1461
01:26:49,040 --> 01:26:55,080
Speaker 1: like a huge trend of casting black actors as influential

1462
01:26:55,360 --> 01:26:59,000
Speaker 1: cops and not and Caitlin Lakers like there. It's not

1463
01:26:59,080 --> 01:27:01,960
Speaker 1: as if that doesn't happen. It absolutely does, But just

1464
01:27:02,960 --> 01:27:07,320
Speaker 1: making that choice in media and like popular media specifically,

1465
01:27:07,360 --> 01:27:10,680
Speaker 1: it's like it comes with a lot of baggage that

1466
01:27:11,600 --> 01:27:16,040
Speaker 1: intentional because it's because you're assuming that they have to

1467
01:27:16,040 --> 01:27:18,759
Speaker 1: climb up the ranks to even get to that position.

1468
01:27:18,840 --> 01:27:20,920
Speaker 1: They have a lot of respect, you know, and then

1469
01:27:21,600 --> 01:27:24,040
Speaker 1: they can't be racist because they're being told to do

1470
01:27:24,120 --> 01:27:25,719
Speaker 1: by black man, you know what I mean? Like it's

1471
01:27:26,320 --> 01:27:30,360
Speaker 1: I don't know bad boys. That's another that's another big yeah.

1472
01:27:30,479 --> 01:27:34,280
Speaker 1: I mean there's there's a really good article I read

1473
01:27:34,320 --> 01:27:37,240
Speaker 1: about it from Black Art in America by a writer

1474
01:27:37,360 --> 01:27:40,479
Speaker 1: named Steve Chambers that I want to link in the

1475
01:27:40,479 --> 01:27:44,080
Speaker 1: description because yeah, I don't feel like I can talk

1476
01:27:44,120 --> 01:27:46,960
Speaker 1: about it with any amount of authority. But it definitely

1477
01:27:47,080 --> 01:27:50,120
Speaker 1: is like a trope that has been kind of on,

1478
01:27:50,920 --> 01:27:55,040
Speaker 1: if not on the rise, definitely continued up to like

1479
01:27:55,640 --> 01:27:59,360
Speaker 1: right as we're recording this episode with no real sign

1480
01:27:59,400 --> 01:28:01,800
Speaker 1: of stopping. Yeah, and yeah, And I feel like that

1481
01:28:01,960 --> 01:28:06,080
Speaker 1: is like that kind of speaks to the limitations that

1482
01:28:06,160 --> 01:28:10,280
Speaker 1: like having strictly a representation conversation can have at times,

1483
01:28:10,400 --> 01:28:14,800
Speaker 1: as like the view of like well, if there is

1484
01:28:15,080 --> 01:28:17,479
Speaker 1: a woman or a person of color or a queer

1485
01:28:17,520 --> 01:28:21,840
Speaker 1: person apart, then I have no more questions. Like we

1486
01:28:21,880 --> 01:28:24,040
Speaker 1: did it, We did it, We did our job. Yeah,

1487
01:28:24,160 --> 01:28:27,360
Speaker 1: like that our asses are covered kind of thing. Yeah, yeah,

1488
01:28:27,400 --> 01:28:31,400
Speaker 1: where it's like, well that there's clearly like context is necessary,

1489
01:28:31,439 --> 01:28:34,519
Speaker 1: as there would be for any actor. And imagine if

1490
01:28:34,560 --> 01:28:38,600
Speaker 1: Wesley Snipes was the lead, Like I wonder like that

1491
01:28:38,640 --> 01:28:43,679
Speaker 1: would be a huge copaganda piece, right, especially after Rodney King.

1492
01:28:43,840 --> 01:28:47,920
Speaker 1: That's sure to think about. And then on the other end,

1493
01:28:47,960 --> 01:28:50,120
Speaker 1: it's like, yeah, I would have liked to see Wesley

1494
01:28:50,160 --> 01:28:52,479
Speaker 1: Snipes in this part. Like it's just he would have

1495
01:28:52,520 --> 01:28:55,200
Speaker 1: been great. I love Wesley Snips. He would have been great,

1496
01:28:55,400 --> 01:28:58,800
Speaker 1: but it's it would be a much different movie. Yeah,

1497
01:28:58,920 --> 01:29:01,240
Speaker 1: And it's like and I feel again, it's like, it

1498
01:29:01,240 --> 01:29:04,080
Speaker 1: would have been cool to see actors in in the

1499
01:29:04,160 --> 01:29:09,120
Speaker 1: part of Jack as like renegade guy versus l APG

1500
01:29:09,400 --> 01:29:13,360
Speaker 1: cop who we love and respect. I do want to

1501
01:29:13,360 --> 01:29:16,000
Speaker 1: shout out Joe Morton, who plays the police captain, because

1502
01:29:16,000 --> 01:29:21,120
Speaker 1: he's another iconic character actor who's been in a bajillion movies.

1503
01:29:21,600 --> 01:29:24,600
Speaker 1: I know he rules. He's an iconic character actor and

1504
01:29:24,800 --> 01:29:30,200
Speaker 1: is I was looking through his UM whatever his IMDb. Yes, yes,

1505
01:29:30,560 --> 01:29:34,160
Speaker 1: and he has played cops and like high ranking cops

1506
01:29:34,280 --> 01:29:36,640
Speaker 1: several times in his career. And he also plays a

1507
01:29:36,680 --> 01:29:40,160
Speaker 1: lot of doctors. So um, but I'm always happy to

1508
01:29:40,200 --> 01:29:44,160
Speaker 1: see Joe Morton. It's this is just the fucking worst. Yeah.

1509
01:29:44,360 --> 01:29:46,439
Speaker 1: Do you think the police chief would still be black

1510
01:29:46,560 --> 01:29:49,599
Speaker 1: if halle Berry was cast? I bet not. I bet

1511
01:29:49,600 --> 01:29:52,800
Speaker 1: they'd be like, well, we filled our quota. They tried

1512
01:29:52,840 --> 01:29:55,280
Speaker 1: with one black woman. The only woman they can think

1513
01:29:55,280 --> 01:29:57,800
Speaker 1: of it popular and then they moved right along. That's

1514
01:29:57,800 --> 01:30:01,280
Speaker 1: what they knew no other black women. They just didn't

1515
01:30:01,320 --> 01:30:03,519
Speaker 1: know any other black women. That's kind of what that

1516
01:30:03,560 --> 01:30:06,200
Speaker 1: says to me, too, is just like, oh, well, Hallie

1517
01:30:06,200 --> 01:30:08,400
Speaker 1: Berry can't do it. Well, I guess we better start

1518
01:30:08,439 --> 01:30:12,160
Speaker 1: asking white women as if there were no extremely talented

1519
01:30:12,240 --> 01:30:15,439
Speaker 1: black actresses working at that time. I bet it was

1520
01:30:15,479 --> 01:30:18,320
Speaker 1: also like a box office draw thing too, which is

1521
01:30:18,360 --> 01:30:21,800
Speaker 1: like literally like, well, you know, there aren't any other

1522
01:30:21,840 --> 01:30:24,920
Speaker 1: black actresses who will pull, like be a box office draw.

1523
01:30:25,120 --> 01:30:29,400
Speaker 1: But Hollywood, that's your fault for never giving black women

1524
01:30:30,000 --> 01:30:33,680
Speaker 1: the opportunity to be in like big budget movies and

1525
01:30:33,720 --> 01:30:37,880
Speaker 1: like develop a box office draw. But also, Sandra Bullock

1526
01:30:38,000 --> 01:30:40,439
Speaker 1: wasn't a big huge deal back then, like she had

1527
01:30:40,479 --> 01:30:44,800
Speaker 1: been Demolition Man. But I think this really catapulted her

1528
01:30:45,000 --> 01:30:47,000
Speaker 1: career in a different way. So it wasn't like she

1529
01:30:47,160 --> 01:30:50,800
Speaker 1: was a huge box office draw, that's true, yeah, but

1530
01:30:50,840 --> 01:30:53,080
Speaker 1: they were willing to They were like more willing to

1531
01:30:53,080 --> 01:30:56,720
Speaker 1: see her potential as a white woman, that's right, And

1532
01:30:56,880 --> 01:31:00,560
Speaker 1: it's very seldom that they would give the same opportunity

1533
01:31:00,640 --> 01:31:04,000
Speaker 1: to a black woman or any woman of color. And

1534
01:31:04,040 --> 01:31:06,599
Speaker 1: that goes back to a conversation that we've been having

1535
01:31:06,960 --> 01:31:10,080
Speaker 1: for years, and I'm sure we will be having for

1536
01:31:10,920 --> 01:31:15,519
Speaker 1: more years of the fact that the entire at least

1537
01:31:15,520 --> 01:31:19,320
Speaker 1: the upper production team in this movie, we're all white guys,

1538
01:31:19,479 --> 01:31:23,160
Speaker 1: and and so it stands to reason that no one

1539
01:31:23,240 --> 01:31:27,479
Speaker 1: was even thinking to ask these questions. And it seems

1540
01:31:27,479 --> 01:31:31,960
Speaker 1: like it was a very cookie cutter nineties. Um, okay,

1541
01:31:32,000 --> 01:31:34,639
Speaker 1: this is our representation quota. We're not going to think

1542
01:31:34,680 --> 01:31:39,160
Speaker 1: about the context of representation whatsoever, and we'll just shift

1543
01:31:39,200 --> 01:31:42,040
Speaker 1: these puzzle pieces around until we've like done whatever the

1544
01:31:43,720 --> 01:31:47,919
Speaker 1: equation for a box office hit is, and it worked.

1545
01:31:48,240 --> 01:31:52,080
Speaker 1: Is The frustrating thing too, is that this movie was

1546
01:31:52,600 --> 01:31:56,240
Speaker 1: wildly successful. It made back it's budget ten times. It

1547
01:31:56,280 --> 01:32:00,960
Speaker 1: made three hundred and fifty million dollars in money on

1548
01:32:01,040 --> 01:32:04,280
Speaker 1: a The numbers are a little unclear. It was budget

1549
01:32:04,320 --> 01:32:07,559
Speaker 1: was like somewhere between thirty and thirties seven million dollars.

1550
01:32:08,160 --> 01:32:11,400
Speaker 1: I do think it's interesting because Kianu is biracial, Like

1551
01:32:11,560 --> 01:32:14,400
Speaker 1: he's not a white guy, but I think Hollywood treats

1552
01:32:14,479 --> 01:32:16,519
Speaker 1: him as a white guy, you know what I mean. Like,

1553
01:32:16,880 --> 01:32:19,720
Speaker 1: I don't think that they don't think they were like

1554
01:32:19,760 --> 01:32:22,080
Speaker 1: we're casting a biracial person. They were just like, we're

1555
01:32:22,120 --> 01:32:24,400
Speaker 1: casting counter Reeves. He's cool, you know what I mean, Like,

1556
01:32:24,439 --> 01:32:30,400
Speaker 1: I don't think they think that critically about anything because

1557
01:32:30,439 --> 01:32:37,640
Speaker 1: he's he has native Hawaiian and Chinese ancestry, but Hollywood

1558
01:32:37,680 --> 01:32:42,120
Speaker 1: codes him white. Yeah, very wide passing. Yeah. God, I

1559
01:32:42,120 --> 01:32:46,080
Speaker 1: love k He Also Kanu was also Morning River Phoenix

1560
01:32:46,160 --> 01:32:49,920
Speaker 1: on the side of this movie. He's had a hard life.

1561
01:32:50,160 --> 01:32:53,479
Speaker 1: I love him so much. That was the reason I

1562
01:32:53,520 --> 01:32:55,519
Speaker 1: wanted to pick this movie. Just I told you in

1563
01:32:55,520 --> 01:32:59,879
Speaker 1: the email. Anything with Kean, I'm honestly, I'm so thrilled

1564
01:33:00,040 --> 01:33:02,080
Speaker 1: that you did pick this movie because there's so much

1565
01:33:02,080 --> 01:33:07,120
Speaker 1: more to talk about than I remembered never was. And um,

1566
01:33:07,160 --> 01:33:10,639
Speaker 1: on that note, we've got to speed up this bus. Yes, yeah,

1567
01:33:10,640 --> 01:33:12,080
Speaker 1: you're going to speed at this bus because I have

1568
01:33:12,120 --> 01:33:15,480
Speaker 1: therapy in six minutes. Oh yeah, Okay, So we established

1569
01:33:15,479 --> 01:33:19,679
Speaker 1: that it does pass the Bechtel tests. Between Annie and Helen,

1570
01:33:19,800 --> 01:33:23,000
Speaker 1: they talk about their commute to work, which is not

1571
01:33:23,240 --> 01:33:29,000
Speaker 1: a man so amazing feminist moment in famous community is

1572
01:33:29,080 --> 01:33:33,280
Speaker 1: genderless incredible. Um, as far as our nipple scale zero

1573
01:33:33,320 --> 01:33:37,000
Speaker 1: to five nipples. Based on how the movie Fair is

1574
01:33:37,040 --> 01:33:40,800
Speaker 1: looking at it from an intersectional feminist lens. I mean,

1575
01:33:40,920 --> 01:33:45,679
Speaker 1: I suppose I would give this like a one point five.

1576
01:33:46,479 --> 01:33:48,920
Speaker 1: It gets a little hot because there are kind of

1577
01:33:48,960 --> 01:33:53,320
Speaker 1: comparable nineties action movies that usually get like a half

1578
01:33:53,320 --> 01:33:55,800
Speaker 1: a nipple or zero nipples. This one gets a little

1579
01:33:55,800 --> 01:33:59,280
Speaker 1: bit more because you do have a woman as a

1580
01:33:59,560 --> 01:34:05,559
Speaker 1: dry ving force of the movie pun intended and is

1581
01:34:05,600 --> 01:34:09,920
Speaker 1: made to be far more important than many other The

1582
01:34:10,040 --> 01:34:15,360
Speaker 1: single woman in an action movie is she's helping to

1583
01:34:15,479 --> 01:34:19,640
Speaker 1: drive the narrative again literally, but she is damseled. She

1584
01:34:19,840 --> 01:34:23,880
Speaker 1: is forced into this like very wedged in love story

1585
01:34:24,320 --> 01:34:27,200
Speaker 1: that didn't need to be there. The few women who

1586
01:34:27,479 --> 01:34:30,559
Speaker 1: get to speak at all are white women. The women

1587
01:34:30,600 --> 01:34:35,080
Speaker 1: of color are relegated to the background, and you know,

1588
01:34:35,160 --> 01:34:39,880
Speaker 1: we learned nothing about them. Other women are made to

1589
01:34:40,240 --> 01:34:44,080
Speaker 1: seem hysterical as an obstacle for the men to deal with.

1590
01:34:44,720 --> 01:34:49,080
Speaker 1: So lots of problems still that are very typical of

1591
01:34:49,200 --> 01:34:52,880
Speaker 1: the genre. Um, so I'll give it one point five.

1592
01:34:53,160 --> 01:34:57,920
Speaker 1: I will give one nipple to Keanu and I will

1593
01:34:57,960 --> 01:35:04,280
Speaker 1: give my half nipple to Joe Morton at the end. Um,

1594
01:35:04,320 --> 01:35:07,160
Speaker 1: I guess, yeah, I guess I'll give this a one

1595
01:35:07,880 --> 01:35:12,640
Speaker 1: nipple because it's which has nothing to do with the

1596
01:35:12,680 --> 01:35:17,120
Speaker 1: movie's watchability, which it's like it pains me to say that,

1597
01:35:17,320 --> 01:35:19,280
Speaker 1: in spite of the fact of the like all these

1598
01:35:19,320 --> 01:35:22,639
Speaker 1: issues we've been talking about this movie, I'll still watch

1599
01:35:22,640 --> 01:35:26,439
Speaker 1: it again. It's so fun to fucking there are very

1600
01:35:26,479 --> 01:35:30,599
Speaker 1: few movies that can like make me feel like I'm

1601
01:35:30,600 --> 01:35:33,519
Speaker 1: watching it for the first time again. I don't know,

1602
01:35:33,640 --> 01:35:37,160
Speaker 1: Like it's just really well they did. They convinced us

1603
01:35:37,439 --> 01:35:40,360
Speaker 1: to like this movie. Like they did their jobs. That's

1604
01:35:40,400 --> 01:35:43,680
Speaker 1: saying something. We're yeah, you're totally right, like we're not

1605
01:35:44,040 --> 01:35:47,160
Speaker 1: prime candidates to really want to watch this movie again.

1606
01:35:47,200 --> 01:35:50,680
Speaker 1: But it's like we're cop haters and they tricked us

1607
01:35:50,680 --> 01:35:54,000
Speaker 1: to loving this movie. It's I love this rude. It's

1608
01:35:54,320 --> 01:35:59,160
Speaker 1: the copaganda hit so hard, Like it's uh, so yeah,

1609
01:35:59,200 --> 01:36:03,439
Speaker 1: I can't this movie much higher because just the more

1610
01:36:03,560 --> 01:36:05,639
Speaker 1: I learned about the production about the movie, the more

1611
01:36:05,680 --> 01:36:09,840
Speaker 1: frustrating it becomes. Of the fact that the female lead

1612
01:36:10,080 --> 01:36:14,440
Speaker 1: was whitewashed and stripped of agency in advance of shooting,

1613
01:36:15,360 --> 01:36:18,440
Speaker 1: the fact that it is such a clear piece of coppaganda,

1614
01:36:18,560 --> 01:36:21,160
Speaker 1: the fact that the bus is half populated by people

1615
01:36:21,160 --> 01:36:23,000
Speaker 1: of color who we never get to know, and yet

1616
01:36:23,000 --> 01:36:24,880
Speaker 1: we're like talking to this guy for this white guy

1617
01:36:24,880 --> 01:36:28,679
Speaker 1: from Wisconsin for large swaths of scenes for some reason,

1618
01:36:28,880 --> 01:36:32,520
Speaker 1: like there's just all this stuff that is so nineties.

1619
01:36:32,600 --> 01:36:35,080
Speaker 1: And also the context of like when it was filmed

1620
01:36:35,080 --> 01:36:39,200
Speaker 1: and came out just strikes me as so such a

1621
01:36:39,320 --> 01:36:43,680
Speaker 1: gross overt piece of specific copaganda for the L A

1622
01:36:43,800 --> 01:36:49,040
Speaker 1: p D specifically, that is just upsetting. It's just it

1623
01:36:49,200 --> 01:36:52,360
Speaker 1: fucking sucks. And then on the other hand, it's so

1624
01:36:52,439 --> 01:36:55,720
Speaker 1: much fun to watch. I do appreciate that, like, and

1625
01:36:56,000 --> 01:36:57,559
Speaker 1: I do think most of the things that I like

1626
01:36:57,720 --> 01:37:01,559
Speaker 1: about Annie are that I like Sandra Bulk and her

1627
01:37:01,600 --> 01:37:05,120
Speaker 1: performance is really fun and Keanu is so funny and

1628
01:37:05,280 --> 01:37:09,080
Speaker 1: good and hot, and I'm gonna give it one nipple,

1629
01:37:09,439 --> 01:37:13,640
Speaker 1: and I'm gonna give the nipple to feminist icon the

1630
01:37:13,760 --> 01:37:18,519
Speaker 1: bus hell. Yeah, Cherine, what about you. I want to

1631
01:37:18,520 --> 01:37:21,680
Speaker 1: give Kanu five nipples, but I won't do that. Um.

1632
01:37:23,160 --> 01:37:25,880
Speaker 1: I will give Keanu a single nipple. And I agree

1633
01:37:25,880 --> 01:37:28,479
Speaker 1: with everything that Jamie said. I will give half a

1634
01:37:28,600 --> 01:37:31,200
Speaker 1: nipple to just the fact that Sandra Bullock is a

1635
01:37:31,240 --> 01:37:37,479
Speaker 1: badass driver, which I appreciated, But that's about it. Yeah,

1636
01:37:37,520 --> 01:37:40,080
Speaker 1: it's just the fact that this happened so quickly after

1637
01:37:40,120 --> 01:37:43,120
Speaker 1: the Rodney King riots just so fucked up to me,

1638
01:37:43,240 --> 01:37:47,599
Speaker 1: like that is another level of capaganda, that is that's

1639
01:37:47,640 --> 01:37:52,400
Speaker 1: fucked up. So I mean, but they still managed to

1640
01:37:52,439 --> 01:37:55,559
Speaker 1: make me have a good time, and that's that is

1641
01:37:55,600 --> 01:37:59,800
Speaker 1: troubling that it worked so well. I know it's only

1642
01:37:59,800 --> 01:38:01,720
Speaker 1: been of Kanu. I really think so if it was

1643
01:38:01,760 --> 01:38:06,400
Speaker 1: like that guy was or whatever. Yeah, like fun, No,

1644
01:38:06,760 --> 01:38:08,599
Speaker 1: like I want to give a shit about this movie.

1645
01:38:08,840 --> 01:38:11,839
Speaker 1: Yeah right again, this movie is basically the same premise

1646
01:38:11,960 --> 01:38:15,559
Speaker 1: as die Hard, and I would not vouch for die

1647
01:38:15,600 --> 01:38:19,280
Speaker 1: Hard for a second, no, but it is Keanu really

1648
01:38:19,520 --> 01:38:23,000
Speaker 1: carries this movie. That's a game changer. Well, Sharine, thank

1649
01:38:23,000 --> 01:38:26,080
Speaker 1: you so much for joining us, Thanks for having me,

1650
01:38:26,600 --> 01:38:30,360
Speaker 1: thanks for having me just fangirl about Kanu. And I

1651
01:38:30,400 --> 01:38:32,400
Speaker 1: love the stories that Jamie said. I'm wanting to think

1652
01:38:32,400 --> 01:38:34,880
Speaker 1: of those for the rest of my life. There's more

1653
01:38:34,920 --> 01:38:38,800
Speaker 1: where that came from. There's I mean, I'm waiting for

1654
01:38:38,920 --> 01:38:43,200
Speaker 1: my interaction. It will happen one day If there is,

1655
01:38:44,479 --> 01:38:49,719
Speaker 1: it's it's Sharne workin. People follow you online, check out

1656
01:38:49,760 --> 01:38:55,040
Speaker 1: any stuff, any plug plug away. Okay, I'm on Twitter

1657
01:38:55,200 --> 01:38:59,439
Speaker 1: at Shiro hero six six six s H E E R.

1658
01:38:59,520 --> 01:39:03,040
Speaker 1: O A g R oh than and I want Instagram

1659
01:39:03,040 --> 01:39:06,240
Speaker 1: at just shiro Hero. My website is in one of

1660
01:39:06,240 --> 01:39:09,920
Speaker 1: those bios, and yeah, if you you can just google

1661
01:39:09,920 --> 01:39:12,600
Speaker 1: me if you want to. I don't. I have a

1662
01:39:12,640 --> 01:39:14,880
Speaker 1: poetry book on Amazon, but I'm trying to make my

1663
01:39:14,920 --> 01:39:17,599
Speaker 1: second one happen because the first one is on Amazon,

1664
01:39:18,280 --> 01:39:23,040
Speaker 1: and uh, it's also like very um it's like from

1665
01:39:23,080 --> 01:39:25,960
Speaker 1: when I was sixteen to so it's kind of like

1666
01:39:26,040 --> 01:39:30,800
Speaker 1: not my best writing. So hoping another one comes out soon.

1667
01:39:30,920 --> 01:39:32,240
Speaker 1: But if you want the first one, you can go

1668
01:39:32,240 --> 01:39:35,880
Speaker 1: get it on Amazon if you want to. Uh, you

1669
01:39:35,960 --> 01:39:41,679
Speaker 1: can follow us on Twitter and Instagram at Bechtel Cast.

1670
01:39:42,040 --> 01:39:48,400
Speaker 1: We've also got a Patreon a k A Matreon ever

1671
01:39:48,560 --> 01:39:54,479
Speaker 1: ever heard of it, which has an enormous backlog of

1672
01:39:54,520 --> 01:40:00,400
Speaker 1: bonus episodes triple digits, my goodness. If you subscribe, get

1673
01:40:00,479 --> 01:40:03,880
Speaker 1: two of those bonus episodes a month, plus access to

1674
01:40:03,960 --> 01:40:07,439
Speaker 1: that back catalog. It's five dollars a month and you

1675
01:40:07,479 --> 01:40:13,080
Speaker 1: can access that via patreon dot com, slash backtel Cast

1676
01:40:13,760 --> 01:40:15,920
Speaker 1: and hey, while you're at it, if you're in the

1677
01:40:16,000 --> 01:40:20,720
Speaker 1: mood for a little slice of merch, you can go

1678
01:40:20,880 --> 01:40:23,400
Speaker 1: to our t public store and that's the T public

1679
01:40:23,439 --> 01:40:28,040
Speaker 1: dot com, slash the backtel cast because sometimes you gotta

1680
01:40:28,160 --> 01:40:32,160
Speaker 1: throw the the in there to really funk with people's heads,

1681
01:40:32,240 --> 01:40:36,080
Speaker 1: keep them on their toe. Remember in the social network

1682
01:40:36,120 --> 01:40:40,040
Speaker 1: when justin timber Like is like drop the the it

1683
01:40:40,120 --> 01:40:45,320
Speaker 1: should just be Facebook. It's cleaner, that's what That's what

1684
01:40:45,439 --> 01:40:48,439
Speaker 1: we should have said to T Public. But we did it. Yeah,

1685
01:40:48,479 --> 01:40:51,200
Speaker 1: we did not say drop the We should have gone

1686
01:40:51,200 --> 01:40:53,920
Speaker 1: to T public headquarters wherever the hell that is have

1687
01:40:54,040 --> 01:40:58,479
Speaker 1: been like, drop the it's clean it's cleaner. That's the

1688
01:40:58,520 --> 01:41:01,719
Speaker 1: only redeeming moment of Jeff into her like entire life,

1689
01:41:01,800 --> 01:41:06,960
Speaker 1: which is wild. Um, so that's where you can find us. Uh,

1690
01:41:07,200 --> 01:41:09,920
Speaker 1: if you'll excuse us, We have to go. I think

1691
01:41:09,920 --> 01:41:13,000
Speaker 1: the bus is about to get here, Caitlin, Yeah, yeah, yeah,

1692
01:41:13,040 --> 01:41:16,080
Speaker 1: we've got to get on the bus to go to work.

1693
01:41:16,160 --> 01:41:21,879
Speaker 1: I'm sure it'll be fine. Nothing to feed here, Bye bye,