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

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Speaker 1: You Did. My name is Millie to Jericho, I'm Danielle

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Speaker 1: Henderson and how do folks. We're here with you again

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Speaker 1: to talk about film. Danielle, what is up?

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Speaker 2: I have been thinking about something that might just be

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Speaker 2: a real bummer of a question, but I'm interested in

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Speaker 2: your thoughts about it. I'm kind of curious about what

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Speaker 2: is grief now, Like what does grief look and feel

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Speaker 2: like now? Because I feel like, you know, a couple

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Speaker 2: of years ago, I had a really good grasp on

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Speaker 2: the difference between grief, depression, sadness, and just kind of malaise,

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Speaker 2: and now I just feel like they're all jumbled together.

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Speaker 2: Like for the past couple of years, I'm like, I

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Speaker 2: don't know. Am I sad? Am I depressed? Am I

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Speaker 2: grief stricken? I feel like I'm I'm just experiencing a

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Speaker 2: lot of grief lately. It's not enough to immobilize me,

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Speaker 2: but it's enough to make me wonder, like, is this

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Speaker 2: just how we're gonna feel now? Like just cycles of grief?

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Speaker 2: Do you think it's age possibly?

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Speaker 3: Do you think that like maybe when we were younger.

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Speaker 1: We we never had the sense that things would end

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Speaker 1: or die, and not just like people, but just like

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Speaker 1: things like segments of life, like realities. So I don't know,

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Speaker 1: part of me thinks that that's like something that happens

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Speaker 1: as you get older, is just just more things just

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Speaker 1: sort of end and yeah fall apart.

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Speaker 2: I mean that is definitely a more eloquent way to

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Speaker 2: state that than I what I was thinking, which is

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Speaker 2: just like I'm fucking tired and sad.

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Speaker 1: Well, now I want to know what brought this on, though,

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Speaker 1: because it's a lot.

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Speaker 3: I'm not saying it's a bummer.

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Speaker 1: Ain't no bummer big enough to keep me from getting

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Speaker 1: to you, babe.

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Speaker 2: Ain't no Bama high enough, ain't no Bomba low enough.

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Speaker 1: But it is, like it is like a big question,

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Speaker 1: So I'm just curious, like, yeah, details.

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Speaker 2: Partially the change of the season. Yeah, it's been really

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Speaker 2: rainy and dark here, which always puts me in, you know,

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Speaker 2: a mood. Partially my house is overwhelming and has been

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Speaker 2: overwhelming me for a couple of months now straight. Yeah,

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Speaker 2: so the you know, the darkness and the rain has

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Speaker 2: also brought leaks and the roof and new problems for

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Speaker 2: me to address, which has made me panic about money

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Speaker 2: and question whether or not this was the right decision.

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Speaker 2: I think it's a grief too that, like, you know,

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Speaker 2: you know, the reason I bought this house, which is

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Speaker 2: so that my grandmother could move in with me, And

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Speaker 2: the fact that she's not here yet makes me sad

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Speaker 2: because I think that if she was here, or was

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Speaker 2: able to live here, I would at least see the

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Speaker 2: usefulness of all the work. I'm like, I'm doing it

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Speaker 2: for a reason. So instead, I you know, I have

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Speaker 2: to go visit her. Well, I don't have to. I

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Speaker 2: shouldn't say it that way, but it's you know, I

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Speaker 2: visit her at her you know, retirement village apartment, and

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Speaker 2: she's just so tiny now, and just like I hug

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Speaker 2: her and she's just kind of like a tiny lady

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Speaker 2: and I can like feel her little bony shoulders and

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Speaker 2: you know, she's fine, She's fine. Let me just say

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Speaker 2: that as well. But I've watched her age so dramatically

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Speaker 2: in my life. Yeah, and every time I see her now,

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Speaker 2: it hits me that she's just aged so much and

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Speaker 2: she's not like the little power tank of a person

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Speaker 2: that I used to know.

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Speaker 1: Yeah, I totally understand that feeling. I think that moment

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Speaker 1: hit me, like with my own grandmother when she stopped

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Speaker 1: dyeing her hair. M Yeah, and that only happened when

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Speaker 1: she went to assisted living. She was pretty much dying

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Speaker 1: her hair up until she went into a facility and

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Speaker 1: they didn't dye her hair for her. Yeah, And it

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Speaker 1: was that thing where I was like, oh, wow, I

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Speaker 1: guess I knew that she was gray and that she

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Speaker 1: did dye her hair black, right, but seeing it, but

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Speaker 1: seeing it, I think was jarring for me. And then

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Speaker 1: it just immediately made me feel like, wow, she just

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Speaker 1: has aged so rapidly, like in a very short period

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Speaker 1: of time. And so yeah, I feel like I understand

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Speaker 1: what you're talking about. Just the notion of somebody just

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Speaker 1: sort of physically looking and feeling older.

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Speaker 2: Absolutely, it's yeah, it's really it is jarring. It's jarring,

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Speaker 2: and it's you know, make sure aware of your own

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Speaker 2: mortality in a way, and you know, also look for real.

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Speaker 2: Like one of the main things that brought this question

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Speaker 2: on for me is that I have been fighting with

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Speaker 2: men for like five days street and I'm just so

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Speaker 2: tired of fighting with men that I'm like, is this

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Speaker 2: how I interact with men now? Is just yelling at

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Speaker 2: them to treat me better. Is that the point of

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Speaker 2: life that I'm at right now? Or I just have

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Speaker 2: to constantly remind men not to treat me like a

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Speaker 2: piece of shit?

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Speaker 3: Are you experiencing the loss of good dudes in your life?

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Speaker 3: Is that kind of how it feels? Is that where

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Speaker 3: the grief is coming from?

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Speaker 2: I love how that was phrased like the beginning of

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Speaker 2: an infomercial, like, are you experiencing the loss of good

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Speaker 2: dudes in your life? If so, call us it's Seleno

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Speaker 2: and Barnes. But yeah, I definitely I think I am.

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Speaker 2: I'm experiencing a loss of communication in a way that

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Speaker 2: I never expressed or never thought I would experience. I

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Speaker 2: was rewatching over the past couple of weeks. I rewatched

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Speaker 2: all of six feet under.

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Speaker 3: Oh God, well, no, wonder you want to talk about grief?

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Speaker 4: I know my therapist said the same thing.

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Speaker 2: She was like, lady, you watched five seasons of people

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Speaker 2: dying every.

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Speaker 3: Okay, why did.

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Speaker 1: You not reveal that detail at the beginning of this episode?

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Speaker 1: Because I was sitting here going like, oh my god,

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Speaker 1: like what is bringing about this?

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Speaker 3: Like very deep important question?

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Speaker 1: And then I'm like, oh, she just watched every season

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Speaker 1: of Six Feet Under.

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Speaker 4: I watched the whole thing. I love that show.

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Speaker 2: But I can only do that rewatch like once every

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Speaker 2: decade because it levels me.

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Speaker 4: It still levels me, that's how good that show was.

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Speaker 2: But yeah, I was watching that season where Kathy Bates

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Speaker 2: becomes friends with Ruth Fisher, and it's like such a

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Speaker 2: phenomenal season, so many great episodes, but she talks very

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Speaker 2: vividly about how nobody pays attention to women their age,

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Speaker 2: so they could just steal things and do whatever they want.

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Speaker 2: And it's always been such a funny scene to me,

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Speaker 2: but this time I saw that and I just started

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Speaker 2: like crying, Like Ruth Fisher made me cry so hard

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Speaker 2: this time around. And uh, I'm approaching a point in

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Speaker 2: my life where I am both invisible but not invisible enough,

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Speaker 2: like I wish it was either or, and I'm kind

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Speaker 2: of stuck in a weird middle spot where I don't

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Speaker 2: really matter, but I also have to do things. I

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Speaker 2: don't know how to express it, like I don't matter

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Speaker 2: to a certain segment of the population.

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Speaker 1: Well, I mean, listen that episode that you're talking about

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Speaker 1: where they're like shoplifting and Kathy Bates is like, fuck it,

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Speaker 1: Like we can literally steal whatever we want to because

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Speaker 1: we're ghosts. We're middle aged women, AKA, we're ghosts. And

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Speaker 1: that was one of the most profound things I've ever

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Speaker 1: heard on a television show. And I never forget it ever.

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Speaker 1: In fact, did we even mention that in the Misery episode.

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Speaker 1: I feel like we might have.

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Speaker 4: I think so.

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Speaker 3: But it fucking rocked me to the core and still

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Speaker 3: does every time I think about it.

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Speaker 4: Absolutely.

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Speaker 1: But there's a moment too where that also feels weirdly

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Speaker 1: exhilarating to me, like where I'm like, oh, this entire

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Speaker 1: part of the population doesn't know I exist anymore. I

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Speaker 1: have nothing of value because I'm not this like young

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Speaker 1: beautiful woman who is adored by the culture or something.

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Speaker 3: But also, yes, pressure's off.

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Speaker 1: Yeah, I can fucking be the whoever the fuck I

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Speaker 1: want to be now. And there's some kind of like,

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Speaker 1: I don't know, it feels sort of exhilarating, but I

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Speaker 1: also know that it is hard to think about at

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Speaker 1: the same time, like it's hard to think, wow, like

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Speaker 1: who am I and how how do people see me?

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Speaker 3: And how do I matter? And how do I not matter?

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Speaker 2: Yeah, And it's compounded by this fact that I've I've

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Speaker 2: done so much of my life alone. Yeah, and a

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Speaker 2: lot of it has been intentional, but not all of it.

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Speaker 2: And now I feel like, oh, it's not even an

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Speaker 2: option anymore for me to not do things alone, Like

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Speaker 2: that whole part of my life is slid by and

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Speaker 2: I didn't even know what was happening.

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Speaker 1: But also by being a homeowner by yourself, that is

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Speaker 1: like the ultimate test of your resilience.

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Speaker 3: As an independent person.

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Speaker 1: Yeah, okay, and you've been through the fucking ringer with

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Speaker 1: this house. We hear about it all the time, and

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Speaker 1: there is a moment where I wonder, as somebody who

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Speaker 1: wants to go down this road, am I strong enough

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Speaker 1: to own my own house and be by myself and

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Speaker 1: have the ultimate It's kind of like the feeling.

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Speaker 3: Of going to on vacation by yourself or.

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Speaker 1: Doing these very extreme things that require you to have

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Speaker 1: kind of a stealliness or something. Yeah, And I just

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Speaker 1: feel like you shouldn't. I don't think you should be

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Speaker 1: too hard on yourself in that regard because it is, you.

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Speaker 3: Know, tough, it's extra tough.

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Speaker 1: It's tough to be on your own and go to

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Speaker 1: weddings and go eat and all the little bullshit. Let

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Speaker 1: alone have to like figure out how to get wild

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Speaker 1: animals out of your house.

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Speaker 2: Thank you for that. It's very true, and I think

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Speaker 2: you are absolutely strong enough to go down this road

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Speaker 2: and go through this process. I will say, do not

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Speaker 2: buy a farm under any circumstances. If you need that

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Speaker 2: country air and that country life, you can stay here

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Speaker 2: for half a year at a time, knock yourself out.

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Speaker 2: Do not buy a goddamn house that is designed to

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Speaker 2: have animals all over it.

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Speaker 3: What about a country duplex?

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Speaker 4: And we have the title of our episode.

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Speaker 1: Well, but like, listen, that's what I mean. Is that,

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Speaker 1: like it's a huge undertaking and it's a farm.

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Speaker 4: Yeah, and it's.

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Speaker 3: In a rural area and it's in your hometown.

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Speaker 1: I mean, come on, there's a lot of things going on,

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Speaker 1: and don't beat yourself up.

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Speaker 3: I mean I know that. Again.

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Speaker 1: You said something the other week that really it forces

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Speaker 1: a perspective, right, It's like, yeah, these situations force you

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Speaker 1: to sort of examine a lot of things about your

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Speaker 1: life and who you are. And that's what life is,

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Speaker 1: I guess, is to just sort of constantly question like

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Speaker 1: who am I and how I am I?

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Speaker 3: And what am I doing.

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Speaker 1: But the grief part I think definitely is informed by

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Speaker 1: six seasons of Six Feet Under.

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Speaker 4: It was such a mistake.

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Speaker 2: I should have parsed that out over the course of

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Speaker 2: a year or four. If you're gonna rewatch Six Feet Under,

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Speaker 2: if you're someone who's interested in that, you should watch

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Speaker 2: it the way it was aired and let it take

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Speaker 2: you four or five years to watch the whole thing,

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Speaker 2: because watching it all at once in the space of

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Speaker 2: two weeks is devastating.

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Speaker 1: There are two shows on Heritage HBO that I do

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Speaker 1: not think I can return to. One of them is

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Speaker 1: OZ Yes, and the other is Six Feet Under OZ.

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Speaker 1: For many reasons. When I watched all the seasons of OZ,

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Speaker 1: I binged them. This was listen kids, this was before

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Speaker 1: we knew what binging was. Okay, All I did was

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Speaker 1: just buy the DVD box set and then just sit

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Speaker 1: there and watch every disc all day long for an

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Speaker 1: entire summer with my roommates. And I felt so insane,

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Speaker 1: Like you know how like when you watch a TV

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Speaker 1: for too long, you feel like you're in a dream

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Speaker 1: state where you're in the world that the TV.

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Speaker 3: Show is in.

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Speaker 1: Absolutely that's how I felt with OZ, where I was

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Speaker 1: basically just like, am I in jail right now? I

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Speaker 1: would I would be so dead if I went to

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Speaker 1: this jail, Like, I just wouldn't be able to be

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Speaker 1: able to hang with the gangs and all of the

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Speaker 1: indoctrination bullshit, and I would just not do the right

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Speaker 1: thing and I would definitely get merked. But with Six

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Speaker 1: Feet Under, it felt kind of like the same thing

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Speaker 1: where I was like, I think if I rewatched it again,

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Speaker 1: I would feel like, oh, everything starts with death, which

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Speaker 1: every episode starts with death.

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Speaker 4: Every episode creative deaths.

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Speaker 1: Yes, And then I'm in these families and I'm in

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Speaker 1: these relationships Nate, and what is that Rachel Griffith's character Brenda,

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Speaker 1: that whole relationship. I mean, yes, it's too much. That

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Speaker 1: shit was tough to watch this time around. And let

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Speaker 1: me let me just give you a glimpse of my

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Speaker 1: last month.

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Speaker 2: Of TV to really compound why I'm thinking about grief

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Speaker 2: right now. I watched all of Squid Game, I watched

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Speaker 2: all of Midnight Mass, I watched the entire third season

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Speaker 2: of You, and I watched five seasons of Six Feet Under.

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Speaker 3: Okay, what are we gonna have to do here?

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Speaker 2: I need some goddamn joy in my life. Yes, I

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Speaker 2: need some joy in my life that is not Bridgerton.

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Speaker 2: I just can't go that down that road.

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Speaker 1: I mean, do they have another like Great British Bake

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Speaker 1: Off season coming up? Like you gotta get out of

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Speaker 1: this cycle?

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Speaker 2: There is a new season at the Great British bakeuff

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Speaker 2: But I usually wait until the last episode airs so

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Speaker 2: I can watch them all at once.

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Speaker 3: You know what I'm gonna suggest, I gotta say.

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Speaker 1: I don't know if this is your steas necessarily, but

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Speaker 1: I know a lot of people really into the Hallmark

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Speaker 1: Christmas movies.

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Speaker 3: Maybe this is for you.

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Speaker 4: You know, I've never tried it.

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Speaker 3: It's a thing.

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Speaker 2: Maybe I don't need to judge it too harshly. Maybe

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Speaker 2: I need to get into it.

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Speaker 1: Look, there's like a whole segment of our population that

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Speaker 1: are obsessed with Hallmark films and Christmas movies and the

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Speaker 1: whole It's a juggernaut, it really is. It's a fucking juggernaut.

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Speaker 1: And I feel like I'm never at the moment where

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Speaker 1: I'm there. But I know people like I have coworkers,

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Speaker 1: and you know, we know people in the podcast world

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Speaker 1: that do podcasting about Hallmark Christmas movies, And I'm always like,

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Speaker 1: should I go down that road?

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Speaker 3: Am I at that point? Yet?

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Speaker 5: What?

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Speaker 3: Am I? Who? Am I? And I'm almost there?

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Speaker 2: Is this the other side of the grief Penny Hallmark movies?

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Speaker 4: Though?

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Speaker 2: Because that is the question. It's like, I'm very comfortable

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Speaker 2: being the grief person. Am I comfortable being the romantic

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Speaker 2: like the romantically positive person?

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Speaker 4: The hopeful I guess it's hope. Am I hopeful? Am

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Speaker 4: I hopeful? Is what those movies make me think.

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Speaker 3: I don't think you know it's true.

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Speaker 1: It really you really As the type of hardcore bitch

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Speaker 1: as we are, it's kind of a stretch sometimes to

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Speaker 1: believe that there's a world where people have meat cutes

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Speaker 1: and they kiss underneath snow while on ice skates in

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Speaker 1: their hometowns and shit, it's hard to imagine if we're

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Speaker 1: just talking about it. But sometimes when you're just in it,

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Speaker 1: like when you're watching the movie, you're like, oh, I'm

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Speaker 1: in it, like I can yeah, I can find myself there.

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Speaker 1: But that's why I'm saying, it's kind of tvd on

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Speaker 1: whether or not this could be you. But I'm just

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Speaker 1: trying to think of the complete fucking opposite of those

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Speaker 1: fucking four TV shows that you just mentioned.

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Speaker 4: I'm willing to throw it to the listeners.

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Speaker 2: What would you watch if you need to wind down

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Speaker 2: at the end of a day and you're not gonna

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Speaker 2: want to watch a murder show or a death show

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Speaker 2: or a show that just makes you very sad for humanity? Like,

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Speaker 2: what are you guys watching right now? That's joyful? I'm thinking,

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Speaker 2: give me a nailed it, give me a great British

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Speaker 2: bake off, give me. I don't know, Daniel Tiger. I'll

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Speaker 2: watch a cartoon. I'll watch a cartoon. Fuck, tell me

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Speaker 2: what you're watching.

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Speaker 1: Listen, you could go so far down the Daniel Tiger

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Speaker 1: rabbit hole if you really wanted to do.

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Speaker 2: You say this with such intense knowledge, like you have

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Speaker 2: done this yourself.

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Speaker 3: Yes, I have.

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Speaker 1: Two young nephews and they have been there, done that

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Speaker 1: with that little tiger, little code.

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Speaker 3: What was what is he?

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Speaker 4: What is Daniel Tigers? Is he a doctor? Does he

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Speaker 4: do anything? Or is he just a tiger?

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Speaker 2: Like? Is he a garbage man, a doctor, a child?

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Speaker 3: Well he was.

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Speaker 1: He was a fucking puppet from mister Rogers that now

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Speaker 1: has his own story in his own world.

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Speaker 3: And I was always like, what is Daniel Tiger? How

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Speaker 3: did that happen?

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Speaker 2: Wait a minute, this is the same Daniel Tiger for

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Speaker 2: mister Rogers.

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Speaker 4: Yes, are you fucking kidding me?

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Speaker 3: Yes?

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Speaker 1: Yes, And he's out there teaching kids how to try

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Speaker 1: new foods and how to, you know, go to the

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Speaker 1: bathroom when you start feeling like you have to take

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Speaker 1: a dump. I mean it's like life lessons. But yeah,

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Speaker 1: so Daniel Tiger or was a puppet from the neighborhood

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Speaker 1: of make believe? But then now is he not in

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Speaker 1: that neighborhood anymore? And he's got his own neighborhood and

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Speaker 1: he's doing his own thing. He's like his own franchise now.

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Speaker 1: So it's a well you can fall into and never

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Speaker 1: get out of, is what I'm saying.

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Speaker 2: I mean, what I am hearing is that I should

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Speaker 2: be watching Daniel Tiger even though I don't have children,

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Speaker 2: because anyone who teaches me how to do anything. At

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Speaker 2: this point I'm on board, Like, give me a cartoon

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Speaker 2: that teaches me life. I still need it. We all

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Speaker 2: still need it. Is he showing people like the motorcycle

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Speaker 2: position for pooping?

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Speaker 4: Like what is he on? What kind of what's his

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Speaker 4: Ste's what's he on out there?

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Speaker 3: I mean, listen.

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Speaker 1: As much as I would love for you to be

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Speaker 1: that creep that watches a cartoon about a four year

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Speaker 1: old preschool character, I don't know. I mean it's a

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Speaker 1: little like you need something to get out of the funk.

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Speaker 1: This might do the trick, but it comes with a consequence.

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Speaker 1: You're gonna have to learn about taking a bath.

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Speaker 5: And maybe you already know how to do that, but

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Speaker 5: it could be one of those things where you think

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Speaker 5: you know, and then Daniel Tiger's like, watch those pits

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Speaker 5: getting that crack and you're like.

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Speaker 4: You know, I'm assuming that's Elie's talks. He's like, hey, kids,

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Speaker 4: get in those cracks, get.

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Speaker 3: In those cracks.

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Speaker 4: Ah.

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Speaker 1: If only if that was the messaging, I would definitely

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Speaker 1: be watching with my nephews. I would not be like

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Speaker 1: running out of the room with AirPods on, being like

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Speaker 1: I have to listen to megaeth now.

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Speaker 2: Well, the fact that Daniel Tiger exists is already helping

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Speaker 2: lift me out of my funk. I just need to

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Speaker 2: find a lilting British accent in a fun show to

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Speaker 2: take me all the way home to my non grief

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Speaker 2: state and I'll find it. I'll find it. I might

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Speaker 2: have to rewatch which like Friday night dinner or something. Yeah,

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Speaker 2: I feel like our movies this week. Strangely, the theme

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Speaker 2: really hits a theme I've been working with in my

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Speaker 2: own life, which has led me into this grief talk

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Speaker 2: because our theme this week is watch how You Talk

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Speaker 2: to Me?

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Speaker 1: Which is such a great phrase, such a great phrase.

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Speaker 1: I've been saying it pretty much on the hour every

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Speaker 1: hour since we pitched this topic.

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Speaker 2: Ah, it is. It's very all encompassing. It is a

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Speaker 2: multi purpose phrase, and I've been kind of saying this

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Speaker 2: to a lot of people for the past couple of

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Speaker 2: weeks as I as I fire them from working on

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Speaker 2: my home.

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Speaker 3: Well, and that's that's I think.

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Speaker 4: Mainly.

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Speaker 1: What I want to ask you about is what is

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Speaker 1: the essence of watch how You talk to Me?

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Speaker 4: Hm?

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Speaker 2: Very good question for me. It is it's an admonition,

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Speaker 2: but it's also a warning. So it's like a like,

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Speaker 2: if you don't watch how you talk to me, shit

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Speaker 2: will go down that you are not prepared for. It's

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Speaker 2: like a blanket statement warning because if once you say that,

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Speaker 2: anything could happen. It could be a windmill of hands

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Speaker 2: It could be biting your shins, it could be I'm

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Speaker 2: ruining your credit report, it could be anything after that phrase,

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Speaker 2: So watch how you talk to me is basically to me,

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Speaker 2: it's like the ultimate feminist phrase. Yeah, like you do

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Speaker 2: not have my permission to speak to me that way,

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Speaker 2: but if you continue, your life could be ruined.

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Speaker 3: Yeah. I think you're exactly right.

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Speaker 1: And I think I thought that by putting these two

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Speaker 1: movies together it might have been too powerful for this podcast,

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Speaker 1: Like what do you mean? They're so fucking good? Yeah,

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Speaker 1: and so fucking exhilarating, uplifting. There's horrible shit happening in

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Speaker 1: both these films, but the ways that the characters in

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Speaker 1: these movies find something to celebrate, yes, is exhilarating. And

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Speaker 1: I was like, I don't know if I can handle it.

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Speaker 1: I don't know if I can handle watching these two

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Speaker 1: movies back to fucking back and talk about them back

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Speaker 1: to back, like I'm.

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Speaker 3: Just like, so keen up. Yeah, by both these films.

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Speaker 2: I feel you so hard because I watched I did

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Speaker 2: watch these as a double feature, like back to back,

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Speaker 2: and I felt like I could lift a car off

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Speaker 2: of a baby at the end of it.

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Speaker 1: Exactly, and it's not enough that one of the films

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Speaker 1: actually references the other at some point, but they also

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Speaker 1: became these kind of like lexicon films, like movies that

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Speaker 1: became part of our popular culture and a lot of ways,

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Speaker 1: and they're kind of working in the same way because

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Speaker 1: ultimately these are movies about women who were participating in

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Speaker 1: crime and also a part of these friend groups or

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Speaker 1: these friend pairings. And it's just like, it's so like

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Speaker 1: interesting to know that these movies came out within a

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Speaker 1: couple of years of each other, and there was a

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Speaker 1: moment I think in the nineties where there might have

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Speaker 1: been like a kind of emphasis on women within movies

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Speaker 1: and certainly within music. I mean, the nineties was had

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Speaker 1: a lot of like female musicians, and you know, we

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Speaker 1: talk about this all the time when we talk about

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Speaker 1: the nineties, and so there's a part of me that

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Speaker 1: thinks that like this was sort of this like flash

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Speaker 1: in the pan moment within film, but also like they

442
00:23:51,080 --> 00:23:55,560
Speaker 1: became like kind of these amazing movies that other generations

443
00:23:55,600 --> 00:23:58,920
Speaker 1: of women still talk about, yes and get inspired by.

444
00:23:59,000 --> 00:24:01,520
Speaker 1: So it's kind of like and sended that little moment,

445
00:24:01,680 --> 00:24:04,680
Speaker 1: you know, the industry moment that we talk about where

446
00:24:05,200 --> 00:24:07,840
Speaker 1: there's like a proliferation of a certain type of film

447
00:24:08,480 --> 00:24:10,800
Speaker 1: and that you know, there are movies that are made

448
00:24:10,880 --> 00:24:13,200
Speaker 1: today that are in the spirit of movies like this,

449
00:24:13,880 --> 00:24:17,520
Speaker 1: and I think people still love watching these films.

450
00:24:17,840 --> 00:24:21,120
Speaker 2: Oh, these are two films that are in very They're

451
00:24:21,200 --> 00:24:24,560
Speaker 2: great in conversation with each other, and you're seeing, you know,

452
00:24:24,680 --> 00:24:28,600
Speaker 2: many sides of a very very There's a thin line

453
00:24:28,600 --> 00:24:31,760
Speaker 2: that kind of separates these films in some ways and

454
00:24:31,800 --> 00:24:35,240
Speaker 2: then there's like a cavern that separates them in others. Yes,

455
00:24:35,280 --> 00:24:37,879
Speaker 2: but I really think that they're great in conversation with

456
00:24:37,920 --> 00:24:40,560
Speaker 2: each other because it's not just you know, it's kind

457
00:24:40,600 --> 00:24:43,640
Speaker 2: of marketed as they're both kind of marketed as one thing,

458
00:24:44,040 --> 00:24:46,919
Speaker 2: but then both films take a very sharp turn to

459
00:24:46,960 --> 00:24:51,280
Speaker 2: be about something else entirely that's much more empowering. And

460
00:24:51,920 --> 00:24:54,920
Speaker 2: you know, even Roger Ebert said that in his review

461
00:24:55,080 --> 00:24:58,200
Speaker 2: of my film that you know, you think you're going

462
00:24:58,240 --> 00:25:00,680
Speaker 2: in watching this movie about these or women who rub

463
00:25:00,680 --> 00:25:02,920
Speaker 2: a bank, but it ends up being something else entirely.

464
00:25:03,520 --> 00:25:06,000
Speaker 2: And yeah, I think they're in you know, watching them

465
00:25:06,000 --> 00:25:10,480
Speaker 2: back to back made me feel powerful and really focused

466
00:25:10,640 --> 00:25:12,679
Speaker 2: in a way that I haven't felt in a long time,

467
00:25:12,800 --> 00:25:14,760
Speaker 2: because I think that it's nice to have these two

468
00:25:14,840 --> 00:25:19,800
Speaker 2: examples of something that is still all too relevant to

469
00:25:19,880 --> 00:25:22,560
Speaker 2: our lives, a conversation at least that's still relevant.

470
00:25:23,040 --> 00:25:26,000
Speaker 1: Well, I'm excited to talk about them. It's like I said,

471
00:25:26,520 --> 00:25:31,040
Speaker 1: I hope that I can contain my excitement this episode.

472
00:25:31,600 --> 00:25:33,240
Speaker 4: You're going first, so kick us off.

473
00:25:34,160 --> 00:25:40,560
Speaker 1: Okay, So my movie for the theme watch How You

474
00:25:40,640 --> 00:25:43,600
Speaker 1: Talk To Me as a movie from nineteen ninety one.

475
00:25:44,240 --> 00:25:48,800
Speaker 1: It was written by Calli Curry, directed by Ridley Scott,

476
00:25:49,320 --> 00:25:51,480
Speaker 1: and it's called Thelma and Louise.

477
00:25:52,080 --> 00:25:54,680
Speaker 4: Thelma and Louise are going to catch hell.

478
00:25:55,000 --> 00:25:57,120
Speaker 2: I'll have a wild turkey straight up and a coke

479
00:25:57,240 --> 00:25:57,800
Speaker 2: back place.

480
00:25:58,040 --> 00:26:00,760
Speaker 1: Thelma, Oh, tell me something.

481
00:26:00,840 --> 00:26:02,320
Speaker 2: Is this my vacation or is it?

482
00:26:03,359 --> 00:26:04,879
Speaker 3: I don't even know how to begin.

483
00:26:05,560 --> 00:26:09,280
Speaker 1: I wrote so many notes for this episode that I deleted.

484
00:26:09,720 --> 00:26:11,840
Speaker 1: I deleted half of it because it was probably like

485
00:26:11,880 --> 00:26:12,840
Speaker 1: eight pages long.

486
00:26:14,880 --> 00:26:16,640
Speaker 3: I know, I was like.

487
00:26:16,760 --> 00:26:19,520
Speaker 4: I have so much sense, but I understand, I understand,

488
00:26:19,680 --> 00:26:19,960
Speaker 4: I know.

489
00:26:20,440 --> 00:26:22,520
Speaker 1: I know, so, I mean I can listen. I know

490
00:26:22,600 --> 00:26:25,240
Speaker 1: I talk a lot, so I have to curb my

491
00:26:25,400 --> 00:26:30,640
Speaker 1: enthusiasm sometimes, and I certainly did with this film right

492
00:26:30,640 --> 00:26:33,280
Speaker 1: off the bat. Okay, yes, This film is directed by

493
00:26:33,280 --> 00:26:37,240
Speaker 1: the Hollywood legend Ridley Scott, director of Alien Blade Runner,

494
00:26:37,760 --> 00:26:42,840
Speaker 1: What have You. However, we got to talk about Callie Curry,

495
00:26:43,040 --> 00:26:46,600
Speaker 1: the writer of this film. Big fan over here, Southern gal,

496
00:26:46,960 --> 00:26:50,399
Speaker 1: which I love. She was born in Texas, raised in Kentucky.

497
00:26:51,000 --> 00:26:52,679
Speaker 1: You know, I think when she first started out in

498
00:26:52,720 --> 00:26:54,639
Speaker 1: the business, she thought she was going to be an actor,

499
00:26:54,680 --> 00:26:57,320
Speaker 1: but then she hated it, so she moved into production.

500
00:26:57,920 --> 00:27:00,520
Speaker 1: She was doing commercials and music videos and stuff, and

501
00:27:00,520 --> 00:27:03,800
Speaker 1: then wrote the screenplay for Film and Louise while she

502
00:27:03,880 --> 00:27:07,280
Speaker 1: was working on those sets. And you know, since then,

503
00:27:07,560 --> 00:27:10,120
Speaker 1: she's directed and written a handful of films and TV

504
00:27:10,200 --> 00:27:13,240
Speaker 1: shows and you know, almost all of them, I would say,

505
00:27:13,280 --> 00:27:18,200
Speaker 1: are about friendships between women. And you know, she's a feminist.

506
00:27:18,280 --> 00:27:21,080
Speaker 1: She's an advocate for women working in the business. You know,

507
00:27:21,200 --> 00:27:23,679
Speaker 1: all the stuff we love. And she said that writing

508
00:27:23,760 --> 00:27:27,320
Speaker 1: Thelm and Louise was the greatest writing experience of her

509
00:27:27,400 --> 00:27:31,160
Speaker 1: life and the most fun she's had in her life.

510
00:27:31,240 --> 00:27:34,520
Speaker 1: And hey, she won the Oscar for Best Original Screenplay

511
00:27:34,560 --> 00:27:38,399
Speaker 1: that year, so she definitely had fun. And she worked

512
00:27:38,440 --> 00:27:40,320
Speaker 1: really hard and did a great job.

513
00:27:40,720 --> 00:27:42,440
Speaker 2: And that was in a year when Silence of the

514
00:27:42,520 --> 00:27:46,760
Speaker 2: lambs cleaned up. Yeah, at most award shows, so that's impressive.

515
00:27:47,320 --> 00:27:50,920
Speaker 3: Yeah. Well, a one sentence synopsis of Thelma and Louise

516
00:27:51,280 --> 00:27:53,280
Speaker 3: is coming at you. Here.

517
00:27:53,280 --> 00:27:57,760
Speaker 1: It is two female friends set off to have the

518
00:27:57,840 --> 00:28:01,720
Speaker 1: vacation of their lives, but instead come out laws, driving

519
00:28:01,760 --> 00:28:06,119
Speaker 1: across the southwest to Mexico to avoid being caught. And

520
00:28:06,320 --> 00:28:08,919
Speaker 1: are there still men who are upset about this movie?

521
00:28:09,440 --> 00:28:13,800
Speaker 1: Please get over it? Was that part of the synopsis

522
00:28:13,920 --> 00:28:20,119
Speaker 1: or just yes, that was there's no punctuation.

523
00:28:20,560 --> 00:28:24,960
Speaker 3: There's only one punctuation at the end period, Please get

524
00:28:25,000 --> 00:28:25,480
Speaker 3: over it.

525
00:28:26,640 --> 00:28:29,080
Speaker 2: I love this question, and I want you to talk.

526
00:28:29,119 --> 00:28:31,280
Speaker 2: Do you want to talk more about that? Because I

527
00:28:31,280 --> 00:28:33,760
Speaker 2: I guess I didn't realize when this film came out

528
00:28:33,840 --> 00:28:36,560
Speaker 2: that there was any controversy around it at all.

529
00:28:37,280 --> 00:28:38,920
Speaker 3: Yes, there was.

530
00:28:39,040 --> 00:28:42,239
Speaker 1: A huge controversy in fact, because I feel like at

531
00:28:42,240 --> 00:28:45,680
Speaker 1: the time, I mean, this is ninety one, maybe we

532
00:28:45,680 --> 00:28:49,360
Speaker 1: were still like suffering through our eighties cocaine hangover.

533
00:28:49,600 --> 00:28:50,360
Speaker 3: I don't know.

534
00:28:50,440 --> 00:28:53,120
Speaker 1: Why this movie was such a controversy because to me,

535
00:28:53,320 --> 00:28:57,120
Speaker 1: from a modern perspective, like you know, we've had a

536
00:28:57,160 --> 00:29:02,120
Speaker 1: story like this before. However, at the time this was

537
00:29:02,160 --> 00:29:04,200
Speaker 1: a big deal, and I think a lot of people

538
00:29:04,280 --> 00:29:09,200
Speaker 1: thought that this movie was just gonna inspire this rampant

539
00:29:09,720 --> 00:29:12,800
Speaker 1: massandry and that women all over the world were gonna

540
00:29:12,840 --> 00:29:15,000
Speaker 1: run around killing men or something. I mean, I have

541
00:29:15,080 --> 00:29:15,960
Speaker 1: no idea what.

542
00:29:16,440 --> 00:29:19,240
Speaker 3: Yeah, that's what the controversy was, I think. So.

543
00:29:19,320 --> 00:29:21,840
Speaker 1: I mean, honestly, like, I was pretty young when this

544
00:29:21,880 --> 00:29:25,800
Speaker 1: movie came out, but I definitely heard it being described

545
00:29:25,840 --> 00:29:27,800
Speaker 1: as like two women go around killing men.

546
00:29:28,320 --> 00:29:31,240
Speaker 3: That's kind of how it was presented to me.

547
00:29:31,560 --> 00:29:34,280
Speaker 2: So did I And I was like Grandma and she's like, yeah,

548
00:29:34,280 --> 00:29:34,840
Speaker 2: we're in.

549
00:29:36,440 --> 00:29:37,880
Speaker 4: We're like, oh, two women killing men.

550
00:29:38,280 --> 00:29:39,440
Speaker 3: Let's ride.

551
00:29:39,920 --> 00:29:41,760
Speaker 1: Well yeah, And that's what I'm saying is that from

552
00:29:41,800 --> 00:29:44,840
Speaker 1: a modern perspective, you look at that and you're going like, okay, yeah,

553
00:29:44,920 --> 00:29:48,360
Speaker 1: we that's like an episode of thirty Rock at this point, right,

554
00:29:48,800 --> 00:29:52,600
Speaker 1: But from back then, you know, it was it was

555
00:29:52,680 --> 00:29:55,160
Speaker 1: kind of a big deal. And you know, again, like

556
00:29:55,240 --> 00:29:59,120
Speaker 1: we are in a culture now with marketplace feminism and

557
00:29:59,280 --> 00:30:02,840
Speaker 1: I'm sure they are our t shirts of screen grabs

558
00:30:02,880 --> 00:30:04,680
Speaker 1: from Thelm and Luis that you can buy for like

559
00:30:04,760 --> 00:30:08,000
Speaker 1: fifty five bucks at urban outfitters or something like that, right,

560
00:30:08,280 --> 00:30:10,880
Speaker 1: But I think at the time it made people feel

561
00:30:10,880 --> 00:30:15,000
Speaker 1: at a little uncomfortable. But I'm also here to say though,

562
00:30:15,120 --> 00:30:18,040
Speaker 1: that there are many other reasons to love this movie.

563
00:30:18,200 --> 00:30:20,760
Speaker 1: I mean, it is for me, one of the best

564
00:30:20,760 --> 00:30:23,360
Speaker 1: movies about female friendship that I've ever seen.

565
00:30:24,240 --> 00:30:26,560
Speaker 3: And it's just a fucking great road movie.

566
00:30:26,720 --> 00:30:29,600
Speaker 1: Yeah, you know, I mean to me, it almost kind

567
00:30:29,600 --> 00:30:32,960
Speaker 1: of feels also a little bit like a revisionist Western,

568
00:30:33,320 --> 00:30:35,680
Speaker 1: which I don't know, I don't remember if we've actually

569
00:30:35,720 --> 00:30:39,360
Speaker 1: talked about revisionist westerns before as a genre. I don't

570
00:30:39,360 --> 00:30:42,680
Speaker 1: think so, But whatever, I think it's kind of working

571
00:30:42,720 --> 00:30:45,680
Speaker 1: in that sort of genre as well. I mean, this

572
00:30:45,720 --> 00:30:48,640
Speaker 1: movie hits a lot of different notes for me. And yeah,

573
00:30:49,040 --> 00:30:52,360
Speaker 1: with movies I think we've talked about and just others

574
00:30:52,520 --> 00:30:55,720
Speaker 1: that we watch, I mean, sometimes we love a big

575
00:30:55,760 --> 00:30:59,080
Speaker 1: message film, right with like a movie that's just making

576
00:30:59,120 --> 00:31:03,040
Speaker 1: a very big state about something. Sometimes we like movies

577
00:31:03,080 --> 00:31:05,520
Speaker 1: that have no statement at all and are just fucking

578
00:31:05,600 --> 00:31:10,240
Speaker 1: stylish and cool looking. But I like that in film

579
00:31:10,280 --> 00:31:14,840
Speaker 1: and Luise, you get to discuss feminism and sexual violence

580
00:31:14,880 --> 00:31:19,440
Speaker 1: and revenge. But then also it's beautiful and it's romantic

581
00:31:19,560 --> 00:31:20,600
Speaker 1: and it's exhilarating.

582
00:31:20,840 --> 00:31:21,040
Speaker 4: You know.

583
00:31:21,720 --> 00:31:24,280
Speaker 2: Yes, I love that you said this is a great

584
00:31:24,360 --> 00:31:27,080
Speaker 2: road movie. Because that's the thing that I always think

585
00:31:27,120 --> 00:31:29,040
Speaker 2: of when I think of this film first, is just

586
00:31:29,760 --> 00:31:32,520
Speaker 2: the forward motion, the momentum that these two women have.

587
00:31:33,040 --> 00:31:37,920
Speaker 2: And I think the controversy surrounding the film sounds like

588
00:31:38,120 --> 00:31:42,160
Speaker 2: it kind of directly ignored the reason for the violence

589
00:31:42,280 --> 00:31:45,200
Speaker 2: in the first place, which is crucial to the telling

590
00:31:45,440 --> 00:31:46,160
Speaker 2: of this film.

591
00:31:46,400 --> 00:31:49,520
Speaker 1: I totally agree. So I'll just do a little bit

592
00:31:49,520 --> 00:31:51,640
Speaker 1: of a plot. I mean, not much, because I feel

593
00:31:51,640 --> 00:31:53,320
Speaker 1: like a lot of people have already seen this movie

594
00:31:53,360 --> 00:31:54,840
Speaker 1: or they just sort of know what the movie is

595
00:31:54,880 --> 00:31:59,280
Speaker 1: generally about. But the protagonists of this film are Thelma

596
00:31:59,560 --> 00:32:03,200
Speaker 1: played by Geena Davis and Louise played by Susan Sarandon.

597
00:32:03,560 --> 00:32:06,640
Speaker 1: They're both living in a small town in Arkansas, and

598
00:32:06,960 --> 00:32:10,480
Speaker 1: Thelma is a housewife who married the guy schmandn high

599
00:32:10,520 --> 00:32:14,200
Speaker 1: school and really hasn't done much beyond that.

600
00:32:14,360 --> 00:32:16,560
Speaker 3: It seems like initially she's.

601
00:32:16,640 --> 00:32:22,240
Speaker 1: Very naive and sort of selflessly devoted to her husband, Daryl,

602
00:32:22,560 --> 00:32:25,280
Speaker 1: who is played by Christopher McDonald. And let me just

603
00:32:25,320 --> 00:32:27,920
Speaker 1: talk about Darryl for a second, because, like you said,

604
00:32:28,360 --> 00:32:31,840
Speaker 1: so much of the motivation for this road trip is

605
00:32:31,920 --> 00:32:34,760
Speaker 1: based on these experiences that they're having with the men

606
00:32:34,800 --> 00:32:37,320
Speaker 1: in their lives. Yes, and I just want to talk

607
00:32:37,360 --> 00:32:38,800
Speaker 1: to you a little bit about Darryl.

608
00:32:39,120 --> 00:32:41,400
Speaker 3: Okay. Besides the fact that he's.

609
00:32:41,200 --> 00:32:45,040
Speaker 1: Controlling and mean, he is also the kind of guy

610
00:32:45,080 --> 00:32:48,440
Speaker 1: who has a personalized license plate on his corvette that

611
00:32:48,560 --> 00:32:52,200
Speaker 1: says the one. He is the kind of guy who

612
00:32:52,200 --> 00:32:55,600
Speaker 1: wears a gold chain around his neck with the number

613
00:32:55,680 --> 00:32:58,720
Speaker 1: one on it. He is the kind of guy who

614
00:32:58,840 --> 00:33:04,480
Speaker 1: shamelessly cheats on his wife and likely leverages his position

615
00:33:04,560 --> 00:33:08,840
Speaker 1: as a regional manager of a carpet store to get women.

616
00:33:09,560 --> 00:33:12,400
Speaker 1: He's the kind of guy that holds a towel over

617
00:33:12,600 --> 00:33:16,600
Speaker 1: a phone as he's talking to his missing wife so

618
00:33:16,640 --> 00:33:20,600
Speaker 1: he can scream about a football game on TV. And

619
00:33:20,840 --> 00:33:22,920
Speaker 1: he's the kind of guy that has to be told

620
00:33:23,560 --> 00:33:26,760
Speaker 1: that he needs to act like he loves and misses

621
00:33:26,800 --> 00:33:31,400
Speaker 1: his wife by the FBI when she calls him, and

622
00:33:31,480 --> 00:33:33,960
Speaker 1: he is like, oho, gay if you say so.

623
00:33:34,800 --> 00:33:39,840
Speaker 2: I guess this character is so great because Christopher MacDonald

624
00:33:40,080 --> 00:33:43,680
Speaker 2: is hilarious. Yes, he is a very funny actor, and

625
00:33:43,720 --> 00:33:46,480
Speaker 2: he played this role to a tee and I read

626
00:33:46,560 --> 00:33:49,320
Speaker 2: something about how I guess he and Gina Davis had

627
00:33:49,440 --> 00:33:52,000
Speaker 2: dated and she recommended him for the part because she's

628
00:33:52,040 --> 00:33:55,320
Speaker 2: like he is so great and funny, but he is

629
00:33:55,800 --> 00:33:59,200
Speaker 2: a mess. He is an absolute mess of a human being. Yes,

630
00:33:59,320 --> 00:34:02,800
Speaker 2: and just that phrase all hat and no cattle comes

631
00:34:02,800 --> 00:34:03,240
Speaker 2: to mind.

632
00:34:05,000 --> 00:34:05,720
Speaker 4: And he thinks.

633
00:34:05,960 --> 00:34:08,600
Speaker 2: The fact that he thinks he's pulling one over on

634
00:34:08,680 --> 00:34:11,040
Speaker 2: her is what really gets me, because he's like, I

635
00:34:11,080 --> 00:34:12,480
Speaker 2: might be home late tonight and she's like, yeah, I

636
00:34:12,480 --> 00:34:15,640
Speaker 2: guess you're selling a lot of carpets on Friday night. Yeah,

637
00:34:15,680 --> 00:34:19,280
Speaker 2: Like that's just what you do and that's your busiest time, really, dude.

638
00:34:19,560 --> 00:34:22,120
Speaker 2: So I just I love that he thinks he's smarter

639
00:34:22,280 --> 00:34:24,560
Speaker 2: than she is, and he kind of has this built

640
00:34:24,640 --> 00:34:28,840
Speaker 2: in air of entitlement that is very gendered that he

641
00:34:28,920 --> 00:34:31,120
Speaker 2: thinks allows him to do whatever he wants with no

642
00:34:31,239 --> 00:34:34,320
Speaker 2: thought to Thelma. He gives her no thought. She's secondary

643
00:34:34,320 --> 00:34:35,000
Speaker 2: in his life.

644
00:34:35,239 --> 00:34:37,399
Speaker 1: Yeah, And it was funny because I've seen this movie

645
00:34:37,480 --> 00:34:40,799
Speaker 1: multiple times at multiple points in my life, and this

646
00:34:41,040 --> 00:34:44,480
Speaker 1: most recent watch, I was like, I thought it was

647
00:34:44,520 --> 00:34:47,640
Speaker 1: he was almost like two cartoonish, But then I stepped

648
00:34:47,680 --> 00:34:50,520
Speaker 1: back and thought, Nah, there are guys still all out

649
00:34:50,520 --> 00:34:51,120
Speaker 1: there like him.

650
00:34:51,239 --> 00:34:54,239
Speaker 3: Don't get it twisted. Absolutely, But here's the thing.

651
00:34:54,560 --> 00:34:57,200
Speaker 1: Her best friend, Louise, on the other hand, is a

652
00:34:57,320 --> 00:34:58,320
Speaker 1: much different person.

653
00:34:58,520 --> 00:34:58,920
Speaker 3: Okay.

654
00:34:59,400 --> 00:35:04,600
Speaker 1: Louise has the kind of world wariness that only comes

655
00:35:04,719 --> 00:35:08,520
Speaker 1: from working long years in the service industry. You know,

656
00:35:09,040 --> 00:35:13,360
Speaker 1: she's orderly, she's sharp with a cigarette in her mouth.

657
00:35:13,440 --> 00:35:16,560
Speaker 1: She's just kind of a take no shit type of goal. Okay,

658
00:35:17,160 --> 00:35:21,560
Speaker 1: And she recently left her boyfriend Jimmy, has zero qualms

659
00:35:21,560 --> 00:35:24,440
Speaker 1: about it, and honestly, she just kind of wants to

660
00:35:24,520 --> 00:35:27,680
Speaker 1: like get out there and live life a little bit.

661
00:35:27,920 --> 00:35:29,560
Speaker 3: And at the beginning of.

662
00:35:29,520 --> 00:35:33,000
Speaker 1: The movie, Louise convinces Thelma to go to a cabin

663
00:35:33,040 --> 00:35:35,280
Speaker 1: in the mountains for the weekend, which, of course Thelma

664
00:35:35,360 --> 00:35:38,560
Speaker 1: is hemn and haun about because of dumbass Darryl Okay,

665
00:35:39,360 --> 00:35:42,200
Speaker 1: But eventually she starts loosening up and they end up

666
00:35:42,200 --> 00:35:46,320
Speaker 1: making this pit stop at a country music like roadhouse

667
00:35:46,400 --> 00:35:47,040
Speaker 1: type of place.

668
00:35:47,360 --> 00:35:48,520
Speaker 3: They start having drinks.

669
00:35:48,719 --> 00:35:52,520
Speaker 1: They're listening to Charlie Sexton play Everyone's two Step.

670
00:35:52,280 --> 00:35:53,719
Speaker 3: In the works, right.

671
00:35:54,040 --> 00:35:56,040
Speaker 2: The very notion of having to ask a man for

672
00:35:56,080 --> 00:35:59,200
Speaker 2: permission to go hang out with my friends, I can't. Yes, like,

673
00:35:59,239 --> 00:36:01,880
Speaker 2: the fact that she does left without telling him is perfect.

674
00:36:02,520 --> 00:36:05,080
Speaker 1: Yeah, And as it's revealed, he didn't even come home

675
00:36:05,120 --> 00:36:07,840
Speaker 1: that night that they left, so it's that thing where

676
00:36:08,120 --> 00:36:10,840
Speaker 1: he gets to stay out yep, and she has to

677
00:36:10,880 --> 00:36:14,360
Speaker 1: be there waiting for him when he's not coming home.

678
00:36:14,480 --> 00:36:18,200
Speaker 1: It's like fucking crazy, right, But again, I think that

679
00:36:18,239 --> 00:36:21,400
Speaker 1: this was her lot in life at this point. She

680
00:36:21,560 --> 00:36:25,319
Speaker 1: kind of accepted it as the status quo.

681
00:36:25,520 --> 00:36:26,320
Speaker 4: Rightah.

682
00:36:26,600 --> 00:36:29,000
Speaker 1: But at the bar, Thelma gets approached by this real

683
00:36:29,120 --> 00:36:33,160
Speaker 1: scuzzy barfly type guy named Harlan, and Thelma gets a

684
00:36:33,200 --> 00:36:36,360
Speaker 1: little tipsy and she starts dancing with him, and Harlan

685
00:36:36,520 --> 00:36:39,320
Speaker 1: convinced her to go out back, and eventually he forces

686
00:36:39,400 --> 00:36:41,560
Speaker 1: himself on her in the parking lot, which is a

687
00:36:41,640 --> 00:36:47,600
Speaker 1: very harrowing scene indeed, very tough to watch, and Louise

688
00:36:47,680 --> 00:36:50,839
Speaker 1: suddenly comes out of the bar sees what's going on,

689
00:36:51,320 --> 00:36:54,920
Speaker 1: and she effectively saves Thelma from Harlan by pulling a

690
00:36:54,960 --> 00:36:55,560
Speaker 1: gun on him.

691
00:36:55,920 --> 00:36:56,120
Speaker 4: Yep.

692
00:36:56,880 --> 00:37:02,160
Speaker 1: And even though the immediate violence stops in that moment,

693
00:37:02,719 --> 00:37:07,560
Speaker 1: Harlan starts saying all this terrible, awful shit to them,

694
00:37:08,000 --> 00:37:11,000
Speaker 1: and I think it's the purest notion of Watch How

695
00:37:11,000 --> 00:37:11,680
Speaker 1: You Talk to Me?

696
00:37:12,239 --> 00:37:14,960
Speaker 3: Louise shoots him and he dies.

697
00:37:16,600 --> 00:37:21,520
Speaker 2: That is exactly what happens Watch How You Talk to Me? Boom, Yes, And.

698
00:37:21,960 --> 00:37:24,920
Speaker 1: After This is when the movie I think gets kicked

699
00:37:25,000 --> 00:37:29,200
Speaker 1: up a notch. Thelma and Louise quickly decide that they're

700
00:37:29,200 --> 00:37:30,759
Speaker 1: not going to go to the police because of something

701
00:37:30,800 --> 00:37:33,399
Speaker 1: I think we've heard many times by this point. They

702
00:37:33,480 --> 00:37:37,440
Speaker 1: just felt like nobody would believe them, that Thelma couldn't

703
00:37:37,480 --> 00:37:41,040
Speaker 1: possibly be assaulted by someone who was seen having fun

704
00:37:41,120 --> 00:37:45,440
Speaker 1: with earlier in the evening, So instead they decided to

705
00:37:45,600 --> 00:37:48,520
Speaker 1: just start running, and the rest of the film is

706
00:37:48,600 --> 00:37:51,160
Speaker 1: essentially about the two of them fleeing the law after

707
00:37:51,200 --> 00:37:56,040
Speaker 1: committing this murder, and Louise insists on not going through Texas,

708
00:37:56,680 --> 00:38:00,279
Speaker 1: which is never actually revealed, but I think it hints

709
00:38:00,280 --> 00:38:02,840
Speaker 1: to something pretty bad for her. So they kind of

710
00:38:02,840 --> 00:38:05,600
Speaker 1: have to go round Texas to get to Mexico. I

711
00:38:05,600 --> 00:38:07,960
Speaker 1: think they go through like New Mexico and Arizona. So

712
00:38:07,960 --> 00:38:10,919
Speaker 1: they're out like in this, you know, very deserted part

713
00:38:10,960 --> 00:38:15,160
Speaker 1: of the country, but also very picturesque and look. I mean,

714
00:38:15,440 --> 00:38:17,319
Speaker 1: we know that this road trip is happening because of

715
00:38:17,360 --> 00:38:21,360
Speaker 1: some very unfortunate circumstances, but it's also this kind of

716
00:38:21,400 --> 00:38:25,120
Speaker 1: transformative experience for them, Yes, because I think that once

717
00:38:25,160 --> 00:38:28,880
Speaker 1: they're out there, they're sort of locking into the freedom

718
00:38:29,120 --> 00:38:32,759
Speaker 1: and exhilaration of being on this trip and being on

719
00:38:32,800 --> 00:38:36,000
Speaker 1: the road. And Thelma especially, I mean, she just had

720
00:38:36,040 --> 00:38:38,479
Speaker 1: this terrible experience happened to her, and she just really

721
00:38:38,480 --> 00:38:42,319
Speaker 1: starts to find herself on this trip. And I have

722
00:38:42,360 --> 00:38:46,319
Speaker 1: to say, them on the Run is just simply the

723
00:38:46,440 --> 00:38:47,600
Speaker 1: fucking best.

724
00:38:48,040 --> 00:38:51,680
Speaker 2: They have such great banter, they're so fun even again,

725
00:38:51,920 --> 00:38:54,799
Speaker 2: like you said, and they're more harrowing moments they are

726
00:38:55,360 --> 00:38:58,200
Speaker 2: they have such a rapport that makes this such a

727
00:38:58,200 --> 00:38:59,560
Speaker 2: great friendship movie.

728
00:38:59,719 --> 00:39:01,920
Speaker 4: And I think that something.

729
00:39:01,560 --> 00:39:05,200
Speaker 2: That I really appreciate about it during this viewing because

730
00:39:05,200 --> 00:39:06,719
Speaker 2: I'm the same way. I've seen it a bunch of

731
00:39:06,760 --> 00:39:10,120
Speaker 2: times at many different points in my life, and I

732
00:39:10,200 --> 00:39:14,799
Speaker 2: really appreciated how committed they were to each other. There

733
00:39:14,840 --> 00:39:16,920
Speaker 2: was never a moment where it's like I'm gonna bail

734
00:39:17,000 --> 00:39:20,200
Speaker 2: your on your own, fuck you. They definitely had tough

735
00:39:20,239 --> 00:39:23,160
Speaker 2: moments where they questioned each other and kind of butted

736
00:39:23,280 --> 00:39:25,600
Speaker 2: heads and had they had some watch how You Talk

737
00:39:25,640 --> 00:39:29,200
Speaker 2: to Me moments amongst themselves, but they always worked it

738
00:39:29,239 --> 00:39:31,319
Speaker 2: out and kind of saw that greater good. And I

739
00:39:31,360 --> 00:39:35,799
Speaker 2: think that it was really empowering and exciting this time

740
00:39:35,840 --> 00:39:39,680
Speaker 2: around to watch these characters come into their own. It's

741
00:39:39,719 --> 00:39:43,520
Speaker 2: like you could see the shells cracking off of them

742
00:39:43,800 --> 00:39:46,640
Speaker 2: of like how they'd just been encased in this life

743
00:39:47,280 --> 00:39:49,880
Speaker 2: that wasn't really meant for them. They were meant to

744
00:39:49,920 --> 00:39:53,000
Speaker 2: be bigger than they were, they were meant to do

745
00:39:53,040 --> 00:39:55,840
Speaker 2: different things, and they kind of lived within these confines.

746
00:39:55,920 --> 00:39:58,560
Speaker 2: And this trip it's just it's a really beautiful and

747
00:39:58,640 --> 00:40:01,680
Speaker 2: miraculous image that's used in this film in a way

748
00:40:01,680 --> 00:40:04,200
Speaker 2: that I hadn't tapped into in any of my other viewings.

749
00:40:04,200 --> 00:40:08,279
Speaker 2: That really helped exemplify like just how much freedom they

750
00:40:08,280 --> 00:40:10,840
Speaker 2: were chasing. And I think that that notion of freedom

751
00:40:11,120 --> 00:40:13,680
Speaker 2: is very prevalent in my film as well.

752
00:40:13,920 --> 00:40:17,400
Speaker 1: Yes, I agree, And look, I mean I've driven across

753
00:40:17,440 --> 00:40:21,080
Speaker 1: the country multiple times at this point in my life

754
00:40:21,640 --> 00:40:25,400
Speaker 1: and have been through the parts of the country that

755
00:40:25,600 --> 00:40:30,719
Speaker 1: they were presumably going through, like the Southwest, and I've

756
00:40:30,760 --> 00:40:34,120
Speaker 1: been through Oklahoma City and Arkansas in my life, and

757
00:40:34,440 --> 00:40:39,319
Speaker 1: I mean there's a romance to road tripping, I mean,

758
00:40:39,360 --> 00:40:42,359
Speaker 1: and this movie just really crystallizes it for me. Like

759
00:40:43,239 --> 00:40:47,200
Speaker 1: I immediately was like, I need to get a classic

760
00:40:47,239 --> 00:40:49,160
Speaker 1: car and head towards the desert.

761
00:40:49,640 --> 00:40:51,479
Speaker 3: I want the sweat and the dust in my hair.

762
00:40:51,920 --> 00:40:55,120
Speaker 1: They have this very kind of like Root sixty six

763
00:40:55,320 --> 00:40:57,799
Speaker 1: version of a road trip where they're staying in these

764
00:40:57,840 --> 00:41:01,000
Speaker 1: like Tachim motels and they're eating in like fifties diners

765
00:41:01,040 --> 00:41:04,759
Speaker 1: and they're wearing jeans and boots and cool sunglasses, and

766
00:41:04,800 --> 00:41:08,359
Speaker 1: there's a lot of magic hour lighting, which is no

767
00:41:08,480 --> 00:41:12,320
Speaker 1: doubt because of Ridley Scott or honestly just the Scott

768
00:41:12,360 --> 00:41:15,040
Speaker 1: brothers in general, both Tony and Ridley. I mean, they

769
00:41:15,080 --> 00:41:16,319
Speaker 1: really know how to light a.

770
00:41:16,239 --> 00:41:19,879
Speaker 3: Film, in my opinion, And it is.

771
00:41:19,880 --> 00:41:21,840
Speaker 1: That moment where you're like, oh my gosh, I like

772
00:41:22,360 --> 00:41:24,400
Speaker 1: imagine being on the road with your best friend and

773
00:41:24,440 --> 00:41:27,600
Speaker 1: you're just like out of this old, boring life that

774
00:41:27,680 --> 00:41:31,080
Speaker 1: you had and you're just having the time of your lives.

775
00:41:31,239 --> 00:41:33,279
Speaker 3: And so what ends up.

776
00:41:33,239 --> 00:41:36,480
Speaker 1: Happening is that they the police have figured out now

777
00:41:36,640 --> 00:41:40,200
Speaker 1: that they are wanted for this murder, and there's this

778
00:41:40,680 --> 00:41:44,040
Speaker 1: seemingly sympathetic detective that's on the case that's played by

779
00:41:44,600 --> 00:41:47,759
Speaker 1: Or who's played by Harvey Kaitel, and he seems to

780
00:41:47,800 --> 00:41:50,440
Speaker 1: be the only person who sort of understands her situation

781
00:41:50,960 --> 00:41:53,880
Speaker 1: in a way, or he at least sort of understands

782
00:41:53,920 --> 00:41:57,360
Speaker 1: that these two women have had it. Yes, with the

783
00:41:57,440 --> 00:41:59,560
Speaker 1: men in their lives. I think he kind of picks

784
00:41:59,640 --> 00:41:59,880
Speaker 1: up on that.

785
00:42:00,440 --> 00:42:04,040
Speaker 2: He also understands that they've been pushed to the brink, yes,

786
00:42:04,480 --> 00:42:08,640
Speaker 2: in several situations, both in the crime that they were

787
00:42:08,640 --> 00:42:12,560
Speaker 2: involved in in their lives and in what happens later

788
00:42:12,600 --> 00:42:13,600
Speaker 2: when he picks up JD.

789
00:42:14,160 --> 00:42:15,200
Speaker 3: Well, and that's the thing.

790
00:42:15,360 --> 00:42:18,640
Speaker 1: I would be remiss if I didn't mention that this

791
00:42:18,800 --> 00:42:22,360
Speaker 1: was the movie that gave us Brad Pitt, who plays

792
00:42:22,480 --> 00:42:27,240
Speaker 1: JD a drifter, grifter, a robber of liquor and convenience stores,

793
00:42:27,280 --> 00:42:29,480
Speaker 1: and he's got an upper body like you wouldn't believe.

794
00:42:29,760 --> 00:42:33,600
Speaker 1: And Thelma convinces Louise to let him hang out for

795
00:42:33,640 --> 00:42:37,480
Speaker 1: a bit, which then leads to Thelma getting properly laid

796
00:42:37,520 --> 00:42:38,440
Speaker 1: for the first time.

797
00:42:39,120 --> 00:42:40,759
Speaker 4: That's, of course so excited.

798
00:42:41,360 --> 00:42:44,840
Speaker 1: Yeah, the quote from Louise where she congratulates her for

799
00:42:44,880 --> 00:42:46,480
Speaker 1: getting properly laid.

800
00:42:46,200 --> 00:42:47,040
Speaker 4: For the first time.

801
00:42:48,280 --> 00:42:51,200
Speaker 1: But then it also leads to JD robbing her of

802
00:42:51,280 --> 00:42:54,080
Speaker 1: all of their money that they needed to get to Mexico.

803
00:42:54,440 --> 00:42:57,239
Speaker 2: Okay exactly, and that's when Harvey k I tell like,

804
00:42:57,440 --> 00:42:59,440
Speaker 2: when they catch up with him later, he says, do

805
00:42:59,480 --> 00:43:01,920
Speaker 2: you think they have committed the crime? That they committed

806
00:43:02,200 --> 00:43:05,279
Speaker 2: if you hadn't taken all their money. Like he's sympathetic

807
00:43:05,320 --> 00:43:06,319
Speaker 2: in that way.

808
00:43:06,239 --> 00:43:07,400
Speaker 3: Right, yes.

809
00:43:08,000 --> 00:43:10,880
Speaker 1: And look on the topic of Brad Pitt, you know

810
00:43:10,920 --> 00:43:13,520
Speaker 1: how I feel about Brad Pitt. We've talked about it

811
00:43:13,560 --> 00:43:16,760
Speaker 1: many times in this podcast. Y'all can have young Brad Pitt,

812
00:43:16,800 --> 00:43:19,240
Speaker 1: as you know, because for me, the big heart throb

813
00:43:19,280 --> 00:43:22,520
Speaker 1: of this movie is Michael Madson. He plays Jimmy, who

814
00:43:22,600 --> 00:43:26,920
Speaker 1: is Louise's old flame. He shows up to give Louise

815
00:43:26,960 --> 00:43:31,239
Speaker 1: the money that Jad eventually stole, okay, and he's just

816
00:43:31,280 --> 00:43:35,560
Speaker 1: this real tall drink of rockabilly water. And the thing

817
00:43:35,600 --> 00:43:39,480
Speaker 1: about their sayings together that I love are mostly because

818
00:43:39,520 --> 00:43:43,480
Speaker 1: they're just melancholy and a little bit bittersweet because you

819
00:43:43,520 --> 00:43:46,960
Speaker 1: can tell she left and he's kind of like, what

820
00:43:47,160 --> 00:43:51,759
Speaker 1: happened to you? And he wants her back, and he

821
00:43:52,040 --> 00:43:54,680
Speaker 1: shows up and he even has a ring, and you

822
00:43:54,719 --> 00:43:58,279
Speaker 1: can just tell she's just moved on. And there's this

823
00:43:58,360 --> 00:44:01,920
Speaker 1: phrase that Louise keeps saying in the movie, which is

824
00:44:01,960 --> 00:44:04,560
Speaker 1: that she keeps saying, you get what you settle for,

825
00:44:05,480 --> 00:44:09,359
Speaker 1: And I think that's kind of the perfect encapsulation of

826
00:44:09,360 --> 00:44:12,919
Speaker 1: what she's feeling about him about Jimmy.

827
00:44:12,960 --> 00:44:13,840
Speaker 2: And about life.

828
00:44:14,440 --> 00:44:15,200
Speaker 3: Yeah, about life.

829
00:44:15,239 --> 00:44:17,120
Speaker 1: I mean this is she doesn't want to settle. She

830
00:44:17,160 --> 00:44:19,799
Speaker 1: wants to live on her own terms. And you know,

831
00:44:20,120 --> 00:44:22,839
Speaker 1: I think after a while, as they're both on the road,

832
00:44:23,120 --> 00:44:27,480
Speaker 1: Thelma starts to believe this too. And it's so funny.

833
00:44:27,480 --> 00:44:30,000
Speaker 1: There's this line that Thelma says as she's just robbed

834
00:44:30,000 --> 00:44:33,040
Speaker 1: the convenience store, she's loading a gun while driving, which

835
00:44:33,080 --> 00:44:34,760
Speaker 1: is such a great look, and she's.

836
00:44:34,640 --> 00:44:35,880
Speaker 2: Like, no, no, it's crazy.

837
00:44:38,000 --> 00:44:39,080
Speaker 3: I just feel like I got a.

838
00:44:39,040 --> 00:44:39,839
Speaker 2: Neck for this shit.

839
00:44:40,680 --> 00:44:43,680
Speaker 3: It just cracks me up because she The evolution of.

840
00:44:43,640 --> 00:44:46,240
Speaker 1: Thelma is I think one of the most pleasing things

841
00:44:46,360 --> 00:44:47,560
Speaker 1: about this film.

842
00:44:47,840 --> 00:44:49,960
Speaker 4: Completely. Oh good, it's so funny.

843
00:44:50,160 --> 00:44:51,719
Speaker 1: But I gotta tell you, my favorite scene in the

844
00:44:51,840 --> 00:44:55,719
Speaker 1: entire movie is the one where they finally confront the

845
00:44:55,920 --> 00:45:01,640
Speaker 1: gross trucker guy that they've been seeing, Yes, Captain Muffdiver

846
00:45:02,320 --> 00:45:07,120
Speaker 1: as he calls himself okay with that tongue. Oh god,

847
00:45:07,400 --> 00:45:09,520
Speaker 1: And there's the scene of the two of them so

848
00:45:09,640 --> 00:45:12,840
Speaker 1: they like pull them over, and the scene of Thelman

849
00:45:12,920 --> 00:45:15,799
Speaker 1: Louise sitting on the car with their guns as he's

850
00:45:15,840 --> 00:45:18,160
Speaker 1: approaching them is so hot.

851
00:45:18,600 --> 00:45:21,239
Speaker 3: I can barely fucking stand it.

852
00:45:21,640 --> 00:45:26,000
Speaker 1: Like it's so hot, and what happens right after is

853
00:45:26,160 --> 00:45:28,360
Speaker 1: the ultimate watch How You Talk to Me moment.

854
00:45:28,440 --> 00:45:29,760
Speaker 3: I mean, it's just so epic.

855
00:45:30,320 --> 00:45:32,560
Speaker 2: Yes, I feel like you can say it because people

856
00:45:32,560 --> 00:45:33,520
Speaker 2: have seen this movie.

857
00:45:33,800 --> 00:45:36,120
Speaker 3: Yeah. Well, basically he comes up.

858
00:45:36,600 --> 00:45:39,680
Speaker 1: They're like, do you think you're fucking cute and sexy

859
00:45:39,760 --> 00:45:43,279
Speaker 1: with that disgusting tongue, you big pig, And he's just.

860
00:45:43,320 --> 00:45:44,439
Speaker 2: Like, fuck you.

861
00:45:44,719 --> 00:45:47,840
Speaker 1: And then they just blow up his fucking eighteen wheeler

862
00:45:48,719 --> 00:45:54,120
Speaker 1: tanker truck and it explodes and they just do donuts

863
00:45:54,200 --> 00:45:57,000
Speaker 1: in his fucking face, and it's so awesome.

864
00:46:00,280 --> 00:46:04,080
Speaker 2: I wish I could do donuts out of every conversation.

865
00:46:04,560 --> 00:46:07,719
Speaker 4: Yes, that is they watch How You Talk to Me conversation.

866
00:46:07,719 --> 00:46:11,560
Speaker 3: Exactly exactly and listen at the end of the day.

867
00:46:11,640 --> 00:46:13,960
Speaker 1: I mean, like I said, I have to really edit

868
00:46:14,040 --> 00:46:16,880
Speaker 1: myself with how I talk about this movie because I

869
00:46:16,920 --> 00:46:22,879
Speaker 1: could go weekends and months and years on this film.

870
00:46:23,440 --> 00:46:25,600
Speaker 3: Every time I watch it, I like it more and more.

871
00:46:26,440 --> 00:46:28,440
Speaker 1: And you know, most people probably know the ending by

872
00:46:28,440 --> 00:46:31,360
Speaker 1: this point since it is such a part of pop culture.

873
00:46:31,920 --> 00:46:34,080
Speaker 1: But the thing that I think is interesting is that

874
00:46:34,160 --> 00:46:36,440
Speaker 1: there is a similarity to your film, which I know

875
00:46:36,440 --> 00:46:38,920
Speaker 1: you're about to talk about and I just think that

876
00:46:39,000 --> 00:46:41,320
Speaker 1: at the end of the day, this movie is about

877
00:46:41,360 --> 00:46:43,719
Speaker 1: these two women who just want to create their own legacies,

878
00:46:44,000 --> 00:46:49,400
Speaker 1: and they just find inspiration from being out on the

879
00:46:49,480 --> 00:46:52,600
Speaker 1: road and being with each other and making their own rules.

880
00:46:52,920 --> 00:46:56,759
Speaker 1: And I think the ending is the perfect ending for

881
00:46:56,960 --> 00:46:58,439
Speaker 1: that in the spirit.

882
00:46:58,120 --> 00:46:59,160
Speaker 3: Of that, do you know what I mean?

883
00:46:59,400 --> 00:47:04,400
Speaker 2: Absolutely, And it is talked about, it is on lists.

884
00:47:04,640 --> 00:47:09,240
Speaker 2: That ending is iconic for a reason, and it's easy

885
00:47:09,280 --> 00:47:11,640
Speaker 2: to forget, you know. This is again like the joy

886
00:47:11,680 --> 00:47:14,279
Speaker 2: of going back and watching some of these films, It's

887
00:47:14,320 --> 00:47:18,960
Speaker 2: easy to forget that this movie was the catalyst for

888
00:47:19,120 --> 00:47:22,280
Speaker 2: seeing a lot of kind of endings that were beginnings

889
00:47:22,320 --> 00:47:24,480
Speaker 2: in their own way or kind of you know, this

890
00:47:24,920 --> 00:47:27,920
Speaker 2: movie set of tone for sure when it comes to

891
00:47:28,040 --> 00:47:32,120
Speaker 2: discussing how women conceive of their own lives. And I

892
00:47:32,320 --> 00:47:34,719
Speaker 2: just absolutely the ending of this movie will always bring

893
00:47:34,760 --> 00:47:38,080
Speaker 2: me to tears, you know. And Gena Davis and Susan

894
00:47:38,080 --> 00:47:42,440
Speaker 2: Sarandon have both had very long and storied careers. This

895
00:47:42,560 --> 00:47:45,239
Speaker 2: is their best work individually, I think, for each of

896
00:47:45,280 --> 00:47:48,120
Speaker 2: them as far as I'm concerned. I mean, Gena Davis

897
00:47:48,120 --> 00:47:52,239
Speaker 2: has gone on to do incredibly cool things with her foundation,

898
00:47:52,800 --> 00:47:58,200
Speaker 2: you know, she's like this mensa level like genius who

899
00:47:58,360 --> 00:48:01,960
Speaker 2: has really focused her career are on building the lives

900
00:48:02,000 --> 00:48:04,880
Speaker 2: of women and girls and building the brains of women

901
00:48:04,880 --> 00:48:07,720
Speaker 2: and girls and giving people opportunities. But I just feel

902
00:48:07,760 --> 00:48:11,120
Speaker 2: like this movie. It gets me going, it makes me,

903
00:48:11,520 --> 00:48:13,800
Speaker 2: it's inspiring. It's an inspiring film.

904
00:48:14,760 --> 00:48:15,279
Speaker 6: That is.

905
00:48:15,680 --> 00:48:17,600
Speaker 2: You know that these are two women who were cast

906
00:48:17,960 --> 00:48:20,920
Speaker 2: in their thirties and forties, which was older than the

907
00:48:21,000 --> 00:48:26,400
Speaker 2: characters originally set out by Callie Corey, which is unheard

908
00:48:26,440 --> 00:48:28,960
Speaker 2: of that they cast women who are older.

909
00:48:28,520 --> 00:48:29,480
Speaker 4: Than they're supposed to be.

910
00:48:29,719 --> 00:48:33,800
Speaker 2: But yeah, I just I truly appreciate this movie for

911
00:48:34,200 --> 00:48:36,919
Speaker 2: launching Brad Pitt. Which, again, this is something that's also

912
00:48:36,960 --> 00:48:39,600
Speaker 2: interesting to me about this movie is that Brad Pitt

913
00:48:39,600 --> 00:48:43,040
Speaker 2: is definitely talked about as like a very crucial or

914
00:48:43,120 --> 00:48:44,959
Speaker 2: critical part of this film.

915
00:48:45,320 --> 00:48:46,640
Speaker 4: But the movie is not about him.

916
00:48:46,719 --> 00:48:51,120
Speaker 2: Yes, the movie is about Thelma and Louise, it is

917
00:48:51,120 --> 00:48:53,000
Speaker 2: not about so I love that they were able to

918
00:48:53,719 --> 00:48:57,400
Speaker 2: walk that line that he is not so big in

919
00:48:57,440 --> 00:49:00,440
Speaker 2: this film that he overshadows it. He's just a fun

920
00:49:00,560 --> 00:49:03,760
Speaker 2: and interesting part of the life cycle that's much more

921
00:49:04,040 --> 00:49:04,759
Speaker 2: more important.

922
00:49:05,080 --> 00:49:06,720
Speaker 4: But yeah, I love it. I'm glad you picked.

923
00:49:06,560 --> 00:49:10,000
Speaker 1: It thanks, though, I think he plays just a part

924
00:49:10,239 --> 00:49:13,440
Speaker 1: of the evolution of her. Yeah, I think that started

925
00:49:13,480 --> 00:49:17,319
Speaker 1: before he showed up and really gets going after he leaves. Yeah.

926
00:49:17,440 --> 00:49:19,480
Speaker 1: So it's that thing where like, yeah, you could hinge

927
00:49:19,480 --> 00:49:22,720
Speaker 1: this entire characters like awakening on this like one fucking

928
00:49:22,800 --> 00:49:26,080
Speaker 1: hunky blonde guy, but it's it becomes so much.

929
00:49:25,920 --> 00:49:29,120
Speaker 3: More than that, and I think I appreciate that. Plus,

930
00:49:29,880 --> 00:49:31,160
Speaker 3: from what I've seen.

931
00:49:31,560 --> 00:49:34,479
Speaker 1: In interviews with Kelly Curry and sort of reading about

932
00:49:34,480 --> 00:49:38,120
Speaker 1: this film, I think she wanted to create characters that

933
00:49:38,200 --> 00:49:40,759
Speaker 1: were these women that she wanted to hang out with

934
00:49:40,840 --> 00:49:44,000
Speaker 1: and that were cool to her, because there wasn't that

935
00:49:44,239 --> 00:49:47,480
Speaker 1: sort of that representation for her. I think she felt like, oh,

936
00:49:47,600 --> 00:49:49,960
Speaker 1: I want to write a movie about these women that

937
00:49:50,040 --> 00:49:52,640
Speaker 1: I would admire and hang out with and think we're cool.

938
00:49:52,960 --> 00:49:55,319
Speaker 1: And I don't know, that's a cool notion to me.

939
00:49:55,480 --> 00:49:58,200
Speaker 1: So I'm I'm so glad to have seen it again.

940
00:49:58,360 --> 00:50:01,200
Speaker 1: I mean, I watch it once in a while, and

941
00:50:01,480 --> 00:50:03,760
Speaker 1: every time I like it more and more. Like I said,

942
00:50:03,760 --> 00:50:06,239
Speaker 1: and I think it's ties in really nicely with your

943
00:50:06,440 --> 00:50:07,720
Speaker 1: film in a way.

944
00:50:07,960 --> 00:50:08,839
Speaker 2: I think it does too.

945
00:50:09,200 --> 00:50:09,719
Speaker 3: Yeah.

946
00:50:09,800 --> 00:50:14,319
Speaker 2: So my film for our theme of watch how You

947
00:50:14,360 --> 00:50:17,839
Speaker 2: Talk To Me was released in nineteen ninety six. It

948
00:50:17,880 --> 00:50:21,719
Speaker 2: was directed by f Gary Gray and written by Kate

949
00:50:21,800 --> 00:50:26,160
Speaker 2: Lanier and Takashi Buford. The story is also by Takashi Buford.

950
00:50:26,480 --> 00:50:30,200
Speaker 2: And my film is Set It Off. Please do not

951
00:50:30,239 --> 00:50:33,800
Speaker 2: be misled by the fact that these four bandits are female.

952
00:50:34,320 --> 00:50:38,520
Speaker 1: Twelve thousand, ninety seconds.

953
00:50:38,760 --> 00:50:41,360
Speaker 4: I absolutely love this movie.

954
00:50:41,680 --> 00:50:44,680
Speaker 2: Yeah, and I will give you a one sentence synopsis

955
00:50:44,719 --> 00:50:46,279
Speaker 2: because I have so much to say, I just want

956
00:50:46,280 --> 00:50:49,239
Speaker 2: to get right into it. So my one sentence synopsis

957
00:50:49,280 --> 00:50:53,680
Speaker 2: of Set It Off. A lifetime of systemic oppression overflows

958
00:50:53,800 --> 00:50:58,680
Speaker 2: into completely appropriate rage for four Southern Los Angeles women

959
00:50:59,000 --> 00:51:03,240
Speaker 2: who decide to get their own reparations by robbing banks.

960
00:51:03,800 --> 00:51:05,640
Speaker 3: Yes, man, that's perfect.

961
00:51:06,239 --> 00:51:06,759
Speaker 4: Ah.

962
00:51:06,800 --> 00:51:12,240
Speaker 2: I just I adore this film for being so secretively

963
00:51:12,719 --> 00:51:15,960
Speaker 2: very inspiring. Like I said, when I looked at the

964
00:51:16,040 --> 00:51:19,640
Speaker 2: Roger Ebert review, he said that it's advertised as a

965
00:51:19,640 --> 00:51:22,200
Speaker 2: thriller about four black women who rob banks, but it's

966
00:51:22,239 --> 00:51:24,839
Speaker 2: a lot more than that. And to continue to quote him,

967
00:51:24,920 --> 00:51:27,399
Speaker 2: it creates a portrait of the lives of these women

968
00:51:27,440 --> 00:51:30,680
Speaker 2: that's so observant and informed. He says, it's like waiting

969
00:51:30,719 --> 00:51:34,040
Speaker 2: to exhale with a strong jolt of reality. Thank you

970
00:51:34,120 --> 00:51:34,840
Speaker 2: Roger Ebert.

971
00:51:34,640 --> 00:51:35,120
Speaker 3: For saying that.

972
00:51:35,160 --> 00:51:37,439
Speaker 2: But I have my own thoughts about this movie, which

973
00:51:37,480 --> 00:51:41,040
Speaker 2: is that it makes me so mad about the plight

974
00:51:41,160 --> 00:51:44,000
Speaker 2: of black women in society. It makes me so mad

975
00:51:44,040 --> 00:51:47,080
Speaker 2: about the treatment of black women in society, and it

976
00:51:47,120 --> 00:51:49,640
Speaker 2: makes me want to do something about the way that

977
00:51:49,680 --> 00:51:53,800
Speaker 2: black women are denigrated in the society. I have experienced

978
00:51:53,840 --> 00:51:56,560
Speaker 2: some of these things myself, but I thought that the

979
00:51:56,600 --> 00:51:59,160
Speaker 2: way that each woman, it was portrayed in such a

980
00:51:59,200 --> 00:52:03,080
Speaker 2: way that each woman had her own specific battle to

981
00:52:03,160 --> 00:52:06,200
Speaker 2: fight within the system. But when you put it all together,

982
00:52:06,239 --> 00:52:08,799
Speaker 2: it's like they were all kind of fighting the same

983
00:52:08,800 --> 00:52:12,640
Speaker 2: injustice time and time again. And so the movie is

984
00:52:12,680 --> 00:52:18,440
Speaker 2: directed by f Gary Gray, who directed Friday. He directed

985
00:52:19,160 --> 00:52:24,920
Speaker 2: the Italian Job remake. He is a primarily South La

986
00:52:25,120 --> 00:52:30,839
Speaker 2: raised guy. He's, you know, directed music videos, namely Waterfalls

987
00:52:30,840 --> 00:52:34,879
Speaker 2: by TLC I Mean and mimss Jackson by Outcasts where

988
00:52:35,040 --> 00:52:35,920
Speaker 2: Atlian's at.

989
00:52:38,360 --> 00:52:38,799
Speaker 3: Right here.

990
00:52:39,000 --> 00:52:39,880
Speaker 4: Oh gosh.

991
00:52:40,120 --> 00:52:44,320
Speaker 2: So he's had this great career and he's an incredible director,

992
00:52:44,680 --> 00:52:48,440
Speaker 2: Like he has a real style. There's a stylistic element

993
00:52:48,520 --> 00:52:52,960
Speaker 2: to his directing that makes even the most common scenes

994
00:52:53,280 --> 00:52:56,000
Speaker 2: they're lifted into like a very extraordinary place. So he,

995
00:52:56,400 --> 00:52:58,920
Speaker 2: you know, will be filming images of these women hanging

996
00:52:58,920 --> 00:53:01,480
Speaker 2: out in front of a you know, just sitting in

997
00:53:01,600 --> 00:53:05,319
Speaker 2: Queen Latifa's car and drinking, and it takes on this

998
00:53:05,440 --> 00:53:08,560
Speaker 2: artistic quality of like a Renaissance paint saying the way

999
00:53:08,560 --> 00:53:11,239
Speaker 2: that he directs them. I just I really love that

1000
00:53:11,680 --> 00:53:16,000
Speaker 2: he seemed to have the language to make this film

1001
00:53:16,280 --> 00:53:18,560
Speaker 2: as important as it actually is. He kind of had

1002
00:53:18,560 --> 00:53:23,200
Speaker 2: the language to elevate it. And it's an incredible film

1003
00:53:23,239 --> 00:53:27,440
Speaker 2: to work with. It's got a rock star cast. I mean,

1004
00:53:27,480 --> 00:53:32,600
Speaker 2: you've got Jada Pinkett Smith playing Stony, Vivica Fox plays

1005
00:53:32,640 --> 00:53:38,120
Speaker 2: Frankie Kimberly Elise plays to Sean, and Queen Latifa plays Cleo.

1006
00:53:38,480 --> 00:53:41,280
Speaker 2: And let me tell you, Queen Latifah is a national

1007
00:53:41,480 --> 00:53:44,320
Speaker 2: goddamn treasure. I will hear nothing else.

1008
00:53:45,200 --> 00:53:48,120
Speaker 3: I feel like Cleo is her truest form.

1009
00:53:48,280 --> 00:53:51,640
Speaker 2: Absolutely was going to say, like this is the most

1010
00:53:52,040 --> 00:53:54,239
Speaker 2: I'm so glad we're on the same wavelength because like,

1011
00:53:54,960 --> 00:53:57,919
Speaker 2: this is the most Queen Latifa that we have seen

1012
00:53:58,000 --> 00:54:03,520
Speaker 2: on screen to date. If you ask me, like just fun,

1013
00:54:03,560 --> 00:54:09,239
Speaker 2: loving and forceful and directed and motivated and queer and

1014
00:54:09,360 --> 00:54:12,960
Speaker 2: just like out there doing her shit, and she's gonna

1015
00:54:13,000 --> 00:54:17,840
Speaker 2: get hers however she can. I love Cleo, and I

1016
00:54:17,880 --> 00:54:21,080
Speaker 2: think that this is these ensembles that are made up before.

1017
00:54:21,120 --> 00:54:23,520
Speaker 2: It's very easy to kind of pick and choose who

1018
00:54:23,520 --> 00:54:26,520
Speaker 2: you think you are, But there's elements of each and

1019
00:54:26,640 --> 00:54:29,040
Speaker 2: every single one of these women in me, Like each

1020
00:54:29,160 --> 00:54:31,240
Speaker 2: each and every single one of these characters is something

1021
00:54:31,239 --> 00:54:35,719
Speaker 2: that I think has been pulled out in a way

1022
00:54:35,760 --> 00:54:37,920
Speaker 2: that if it were put back together, it could be

1023
00:54:38,400 --> 00:54:41,920
Speaker 2: any of us, any of us just truly beautiful. But

1024
00:54:42,000 --> 00:54:44,560
Speaker 2: the way that the movie starts is that Frankie, the

1025
00:54:44,640 --> 00:54:47,839
Speaker 2: Vivica Fox character, is a bank teller. She works at

1026
00:54:47,840 --> 00:54:52,200
Speaker 2: a bank and the bank is robbed by someone she

1027
00:54:52,360 --> 00:54:55,040
Speaker 2: knows from where she lives. And his name is Darnell,

1028
00:54:55,719 --> 00:54:59,320
Speaker 2: and he is like, this is not a joke, because

1029
00:54:59,320 --> 00:55:01,680
Speaker 2: she keeps telling and please, don't do this, don't do this.

1030
00:55:02,480 --> 00:55:05,840
Speaker 2: And he's there with a couple of accomplices and he

1031
00:55:05,880 --> 00:55:09,839
Speaker 2: grabs a patron in a headlock and shoots this woman

1032
00:55:09,920 --> 00:55:12,480
Speaker 2: in the head right in front of her, and she

1033
00:55:12,719 --> 00:55:17,120
Speaker 2: is too shocked to move. She is traumatized. Instantly, Darnell

1034
00:55:17,320 --> 00:55:19,760
Speaker 2: and his crew hop up on you know, the counter

1035
00:55:19,880 --> 00:55:22,560
Speaker 2: and they're taking all the money and a couple of

1036
00:55:22,560 --> 00:55:25,160
Speaker 2: them get shot. They get shot and die in the

1037
00:55:25,200 --> 00:55:27,480
Speaker 2: same way that I feel like everyone in the nineties

1038
00:55:27,520 --> 00:55:30,200
Speaker 2: got shot, which is like they got eighteen bullets in

1039
00:55:30,239 --> 00:55:32,720
Speaker 2: them and they were just like convulsing the whole time.

1040
00:55:32,640 --> 00:55:33,439
Speaker 3: Ping, ping, ping ping.

1041
00:55:33,760 --> 00:55:38,440
Speaker 1: Yeah, it's such a nineties style, you know, of death.

1042
00:55:38,520 --> 00:55:40,480
Speaker 3: I don't know what yeah that is. It was weird.

1043
00:55:40,480 --> 00:55:42,359
Speaker 2: I didn't recognize it until I walked to this movie

1044
00:55:42,400 --> 00:55:43,840
Speaker 2: and then I'm like, oh, yeah, people don't die like

1045
00:55:43,840 --> 00:55:47,959
Speaker 2: that anymore. Yeah, that's a very nineties death. But yeah,

1046
00:55:48,000 --> 00:55:52,960
Speaker 2: Frankie is traumatized and totally shocked. And after the event,

1047
00:55:53,040 --> 00:55:57,200
Speaker 2: she survives and she's talking to the bank branch manager

1048
00:55:57,400 --> 00:56:02,600
Speaker 2: and the cops, namely John C. McGinley who plays Detective

1049
00:56:02,640 --> 00:56:06,960
Speaker 2: Strode of the LAPD, and the cops are like, we

1050
00:56:07,000 --> 00:56:09,280
Speaker 2: know you were in on it, and she's like, I'm sorry.

1051
00:56:09,560 --> 00:56:13,759
Speaker 2: What She's like, you know the protocol for you know,

1052
00:56:13,800 --> 00:56:15,839
Speaker 2: you didn't follow the procedure at all for what to

1053
00:56:15,880 --> 00:56:18,560
Speaker 2: do during a bank robbery, and it's like, hello, it's

1054
00:56:18,640 --> 00:56:21,840
Speaker 2: very different when you're in the situation and someone's getting

1055
00:56:21,920 --> 00:56:24,400
Speaker 2: shot in the head in front of you. But the

1056
00:56:24,440 --> 00:56:27,399
Speaker 2: cops insist that she was involved, to the point where

1057
00:56:27,440 --> 00:56:30,920
Speaker 2: her bank manager on the spot. She still has blood

1058
00:56:31,440 --> 00:56:35,879
Speaker 2: caked on her suit, and the bank manager says, we're

1059
00:56:35,880 --> 00:56:38,720
Speaker 2: gonna let you go. Oh man, And that's my first

1060
00:56:38,760 --> 00:56:41,000
Speaker 2: like watch how you talk to me moment because she

1061
00:56:41,080 --> 00:56:43,880
Speaker 2: gets in his face and it's like, really, you're not

1062
00:56:43,920 --> 00:56:46,400
Speaker 2: even gonna give me a minute to recover from what

1063
00:56:46,560 --> 00:56:49,640
Speaker 2: I've been through, and you think that you can't trust

1064
00:56:49,719 --> 00:56:51,480
Speaker 2: me all of a sudden because I live in the

1065
00:56:51,480 --> 00:56:54,359
Speaker 2: same area as the guy that robbed you. Because again,

1066
00:56:54,520 --> 00:56:57,480
Speaker 2: instead of that telegraphing to this bank manager, hey, it

1067
00:56:57,600 --> 00:57:01,239
Speaker 2: sucks that, you know, we pay people so little they

1068
00:57:01,280 --> 00:57:06,960
Speaker 2: have to live in places that are somehow unsustainable, instead

1069
00:57:06,960 --> 00:57:10,000
Speaker 2: he thinks it's your fault for knowing this guy. Yeah,

1070
00:57:10,040 --> 00:57:12,760
Speaker 2: and it's this really covert racism. It's just it's very

1071
00:57:13,200 --> 00:57:15,000
Speaker 2: it's a very fraught scene. And this is just like

1072
00:57:15,040 --> 00:57:17,640
Speaker 2: within the first five minutes of the movie. Yeah gosh,

1073
00:57:17,840 --> 00:57:20,080
Speaker 2: but you know, she really lays into him and it

1074
00:57:20,160 --> 00:57:22,720
Speaker 2: was exciting to see, but it also felt dangerous, Like

1075
00:57:22,960 --> 00:57:25,200
Speaker 2: every time I see this movie, I feel like, yes,

1076
00:57:25,720 --> 00:57:29,360
Speaker 2: tell him what's up, but also, ooh girl, be careful,

1077
00:57:29,600 --> 00:57:32,200
Speaker 2: like it is a very strange position to be in

1078
00:57:32,720 --> 00:57:36,440
Speaker 2: feeling that juxtaposition. But that's all right. She's like cool,

1079
00:57:36,640 --> 00:57:40,320
Speaker 2: she's unemployed. Now she's been traumatized, and the cops basically

1080
00:57:40,320 --> 00:57:42,360
Speaker 2: are like trying to pin her for a crime that

1081
00:57:42,400 --> 00:57:44,920
Speaker 2: she had no pardon. Then we kind of get to

1082
00:57:44,920 --> 00:57:48,280
Speaker 2: meet the rest of the characters at this party that

1083
00:57:48,360 --> 00:57:52,440
Speaker 2: Stony is throwing for her brother, Stevie. Stevie's a high

1084
00:57:52,480 --> 00:57:58,000
Speaker 2: school student, graduated, got into UCLA, and she's throwing this

1085
00:57:58,040 --> 00:58:01,520
Speaker 2: party to celebrate. Everyone else came dressed as like a

1086
00:58:01,600 --> 00:58:05,920
Speaker 2: seventies inspired person, and Cleo comes basically dressed as herself

1087
00:58:06,400 --> 00:58:07,200
Speaker 2: because she's like, it's.

1088
00:58:07,120 --> 00:58:08,280
Speaker 3: Halloween, what do you want for me?

1089
00:58:12,120 --> 00:58:15,160
Speaker 2: And then you come to learn that these three women

1090
00:58:15,960 --> 00:58:19,680
Speaker 2: that Stony, Cleo, and to Sean all work for this

1091
00:58:19,760 --> 00:58:23,320
Speaker 2: man named Luther at Luther's janitorial and they each have

1092
00:58:24,240 --> 00:58:30,280
Speaker 2: reasons to need money fast. So to Sean's reason is

1093
00:58:30,320 --> 00:58:33,160
Speaker 2: that Luther said he would pay her under the table,

1094
00:58:33,440 --> 00:58:36,240
Speaker 2: and he starts taking taxes out of her check, so

1095
00:58:36,280 --> 00:58:38,560
Speaker 2: she can't afford to pay her babysitter because she has

1096
00:58:38,600 --> 00:58:41,720
Speaker 2: a very small son. She has a toddler that she's

1097
00:58:41,760 --> 00:58:44,320
Speaker 2: trying to take care of on her own. Stony needs

1098
00:58:44,360 --> 00:58:49,000
Speaker 2: money because her brother did not get a scholarship to

1099
00:58:49,040 --> 00:58:52,360
Speaker 2: get into UCLA and she wants to send him to college.

1100
00:58:52,440 --> 00:58:54,440
Speaker 2: Is very important to her. Both of their parents have

1101
00:58:54,520 --> 00:58:58,680
Speaker 2: died and she's been taking care of him. Cleo needs

1102
00:58:58,680 --> 00:59:00,640
Speaker 2: money because, you know, in that Cleo way, it's like,

1103
00:59:00,680 --> 00:59:02,040
Speaker 2: I want to get my car fixed, I want to

1104
00:59:02,040 --> 00:59:04,800
Speaker 2: treat my girl right, I want to like a bigger

1105
00:59:04,840 --> 00:59:08,960
Speaker 2: life than what I have. And then Frankie starts working

1106
00:59:08,960 --> 00:59:10,960
Speaker 2: with them as well because she just lost her job

1107
00:59:11,000 --> 00:59:13,320
Speaker 2: and can't get a recommendation because of the bank. So

1108
00:59:13,360 --> 00:59:16,000
Speaker 2: they're all pushed into the situation where you get to

1109
00:59:16,080 --> 00:59:20,960
Speaker 2: instantly see how socially they are set up to fail.

1110
00:59:21,240 --> 00:59:24,080
Speaker 2: And I think the most heartbreaking scene in the beginning

1111
00:59:24,120 --> 00:59:27,360
Speaker 2: of this movie for me is when Stony is like,

1112
00:59:28,120 --> 00:59:30,640
Speaker 2: I need money. Nate wants to hire me to work

1113
00:59:30,640 --> 00:59:34,200
Speaker 2: at his car lot, but he also wants something else,

1114
00:59:34,600 --> 00:59:38,400
Speaker 2: and she basically has sex with this guy Nate, and

1115
00:59:38,560 --> 00:59:42,280
Speaker 2: Nate is Mac from Night Court. He's the actor Charles Robinson.

1116
00:59:43,000 --> 00:59:45,320
Speaker 3: God, it's a much different role than Mac.

1117
00:59:45,440 --> 00:59:51,040
Speaker 4: I will say that quite a turn, but she does.

1118
00:59:51,120 --> 00:59:54,120
Speaker 2: It's so heartbreaking because she has sex with him to

1119
00:59:54,240 --> 00:59:57,480
Speaker 2: get a check to send her brother to college. And

1120
00:59:57,520 --> 01:00:00,640
Speaker 2: then she comes home and he's like, look lied to you.

1121
01:00:00,800 --> 01:00:04,040
Speaker 2: I didn't actually get into UCLA. So she was put

1122
01:00:04,080 --> 01:00:07,000
Speaker 2: in a position where she had to trade sex for money.

1123
01:00:07,400 --> 01:00:10,560
Speaker 2: And you can tell that while it's happening, it's crushing

1124
01:00:10,560 --> 01:00:14,440
Speaker 2: her spirit, but especially afterwards, she's like a different person

1125
01:00:15,480 --> 01:00:19,560
Speaker 2: and she's incredibly upset with her brother. He leaves the

1126
01:00:19,600 --> 01:00:24,000
Speaker 2: house and he goes to hang out with this guy

1127
01:00:24,080 --> 01:00:26,040
Speaker 2: named Lorenz, who just happened to be one of the

1128
01:00:26,080 --> 01:00:29,320
Speaker 2: guys who robbed the bank. And this is a guy

1129
01:00:29,320 --> 01:00:32,520
Speaker 2: who had these very specific initials kind of cut into

1130
01:00:32,520 --> 01:00:36,160
Speaker 2: the back of his hairdoo ap, and Stevie gets the

1131
01:00:36,160 --> 01:00:38,360
Speaker 2: same initials to be cool and hang out with his friend,

1132
01:00:38,360 --> 01:00:40,600
Speaker 2: and he's getting his bottle of champagne. His friends want

1133
01:00:40,600 --> 01:00:43,040
Speaker 2: to celebrate him graduating high school and going to college.

1134
01:00:43,480 --> 01:00:46,360
Speaker 2: He gets his haircut, gets his bottle of champagne, leaves,

1135
01:00:46,960 --> 01:00:50,360
Speaker 2: and the cops have been surveilling this apartment, so when

1136
01:00:50,400 --> 01:00:52,880
Speaker 2: he comes out and they see his haircut, they assume

1137
01:00:52,920 --> 01:00:56,240
Speaker 2: that he's Lorenz and they shoot and kill him. And

1138
01:00:56,640 --> 01:00:59,720
Speaker 2: this is a movie more than any other. And I'm

1139
01:00:59,720 --> 01:01:03,320
Speaker 2: about to say something that I absolutely will not retract

1140
01:01:03,560 --> 01:01:05,720
Speaker 2: and that I want one hundred percent think that if

1141
01:01:05,760 --> 01:01:09,360
Speaker 2: you disagree with me, you should do your research to

1142
01:01:09,520 --> 01:01:12,760
Speaker 2: understand why I feel this way, even in film, but

1143
01:01:12,920 --> 01:01:17,840
Speaker 2: especially in real life. Absolutely fuck the LAPD. They are

1144
01:01:17,880 --> 01:01:24,400
Speaker 2: a gang of racists and they are the worst of

1145
01:01:24,440 --> 01:01:28,360
Speaker 2: what law enforcement has to offer. There are many documentaries

1146
01:01:28,360 --> 01:01:30,840
Speaker 2: and articles you can read if you want to understand

1147
01:01:30,840 --> 01:01:34,919
Speaker 2: the history of their cruelty and how murderous they are.

1148
01:01:35,280 --> 01:01:38,160
Speaker 2: I would start with the article that's actually a fifteen

1149
01:01:38,200 --> 01:01:43,800
Speaker 2: part investigative series by Cerese Castle on knock LA called

1150
01:01:43,840 --> 01:01:47,400
Speaker 2: a Tradition of Violence, the History of Deputy Gangs in

1151
01:01:47,440 --> 01:01:51,760
Speaker 2: the Los Angeles County Sheriff's Department. And I would also,

1152
01:01:52,040 --> 01:01:55,520
Speaker 2: if you are able to access it, watch the OJ

1153
01:01:56,000 --> 01:02:00,360
Speaker 2: Made in America documentary. It's a film by Ezra Laman,

1154
01:02:01,120 --> 01:02:07,240
Speaker 2: and in talking about the OJ Simpson case, it gives

1155
01:02:06,800 --> 01:02:14,480
Speaker 2: a shocking history of the LAPD. The LAPD is truly horrible,

1156
01:02:14,520 --> 01:02:16,680
Speaker 2: and they are terrible in this scene, even though I

1157
01:02:16,720 --> 01:02:20,600
Speaker 2: think they're trying to get us to be sympathetic with

1158
01:02:20,680 --> 01:02:22,880
Speaker 2: the Detective Strode character because he's like.

1159
01:02:22,880 --> 01:02:25,600
Speaker 6: Oh, oh God, we messed up. It's just a cat,

1160
01:02:25,600 --> 01:02:27,640
Speaker 6: it's just a bottle of champagne. And I'm like, it's

1161
01:02:27,640 --> 01:02:31,320
Speaker 6: too fucking late. You gun down somebody in cold blood.

1162
01:02:31,680 --> 01:02:35,840
Speaker 6: And to see Stony's reaction to seeing her brother gunned down,

1163
01:02:35,920 --> 01:02:39,720
Speaker 6: her brother who was a college bound, you know, good kid.

1164
01:02:40,040 --> 01:02:43,000
Speaker 6: But even if he wasn't you know her that was

1165
01:02:43,040 --> 01:02:48,200
Speaker 6: her brother, And it was just truly ridiculous to me

1166
01:02:48,600 --> 01:02:52,160
Speaker 6: and heartbreaking to see something on film that is still

1167
01:02:52,600 --> 01:02:55,479
Speaker 6: replicated in real life twenty years later, time and time again.

1168
01:02:55,720 --> 01:02:58,959
Speaker 6: It's it's heartbreaking that this is still nobody has learned

1169
01:02:59,000 --> 01:03:01,840
Speaker 6: anything from these enough to do anything about it.

1170
01:03:02,120 --> 01:03:02,400
Speaker 3: Yeah.

1171
01:03:02,480 --> 01:03:06,800
Speaker 1: I gotta say that the Strode character is really interesting

1172
01:03:07,240 --> 01:03:11,600
Speaker 1: in this film, and I think that at a certain

1173
01:03:11,680 --> 01:03:17,240
Speaker 1: point he is supposed to have some kind of transformative

1174
01:03:17,320 --> 01:03:21,480
Speaker 1: moment or some like aha moment about what's going on right,

1175
01:03:21,720 --> 01:03:23,959
Speaker 1: and I still don't buy it. I don't know what's

1176
01:03:24,000 --> 01:03:26,760
Speaker 1: going like I to me, it's I think maybe like

1177
01:03:27,080 --> 01:03:29,960
Speaker 1: when I first watched this movie in the nineties, I

1178
01:03:30,120 --> 01:03:34,200
Speaker 1: just didn't have enough patience to kind of really figure

1179
01:03:34,240 --> 01:03:36,400
Speaker 1: it out. I just thought, Okay, he's the bad cop

1180
01:03:36,440 --> 01:03:38,959
Speaker 1: that's trying to bust these women that I want to win.

1181
01:03:39,520 --> 01:03:41,840
Speaker 1: So I don't give a shit about him beyond that.

1182
01:03:42,520 --> 01:03:45,480
Speaker 1: But I think now that I watched it again in

1183
01:03:45,560 --> 01:03:48,960
Speaker 1: like a more recent modern context, I was like, yeah,

1184
01:03:48,960 --> 01:03:51,480
Speaker 1: I don't know what this character is like. I feel

1185
01:03:51,480 --> 01:03:54,640
Speaker 1: like they're trying to make him multifaceted, and I just

1186
01:03:54,680 --> 01:03:57,000
Speaker 1: don't think I buy it. I think by the end

1187
01:03:57,080 --> 01:03:59,280
Speaker 1: of it, I don't feel any differently than I did

1188
01:03:59,320 --> 01:04:00,720
Speaker 1: when I when first came in.

1189
01:04:01,000 --> 01:04:04,080
Speaker 2: You know, absolutely, that is a very again, very astute

1190
01:04:04,120 --> 01:04:06,680
Speaker 2: and eloquent way to say what I just cursed my

1191
01:04:06,720 --> 01:04:11,080
Speaker 2: way through, because I agree with you, I do not

1192
01:04:11,120 --> 01:04:13,760
Speaker 2: feel any differently about this character at the end than

1193
01:04:13,760 --> 01:04:15,960
Speaker 2: I do at the beginning, which is fuck this guy. Yeah,

1194
01:04:15,960 --> 01:04:18,960
Speaker 2: fuck this guy. And it's also my kind of second

1195
01:04:19,040 --> 01:04:22,800
Speaker 2: moment of Watch How You Talk to Me. Stony is wailing.

1196
01:04:23,320 --> 01:04:25,960
Speaker 2: She's wailing at the loss of her brother. Her friends

1197
01:04:25,960 --> 01:04:29,840
Speaker 2: are holding her and hugging her, and all this motherfucker

1198
01:04:29,880 --> 01:04:32,760
Speaker 2: has to say to her is there will be an investigation,

1199
01:04:33,160 --> 01:04:37,600
Speaker 2: and she goes for his throat as she should. Just

1200
01:04:37,680 --> 01:04:39,880
Speaker 2: that that again, like the Watch How You Talk To Me?

1201
01:04:39,920 --> 01:04:43,400
Speaker 2: For this film for me takes so many different shapes

1202
01:04:43,480 --> 01:04:47,000
Speaker 2: because yeah, it's partially like a you know, don't start,

1203
01:04:47,080 --> 01:04:47,880
Speaker 2: none won't be none.

1204
01:04:48,360 --> 01:04:50,600
Speaker 4: But it's also like, you know, you need to be.

1205
01:04:50,600 --> 01:04:54,840
Speaker 2: Less cavalier about your approach to how you treat black

1206
01:04:54,880 --> 01:04:57,640
Speaker 2: people and black women, and you need to, you know,

1207
01:04:57,640 --> 01:04:59,720
Speaker 2: when it comes to medical racism, when it comes to

1208
01:05:00,040 --> 01:05:02,000
Speaker 2: all of these different things that we that we deal

1209
01:05:02,000 --> 01:05:03,960
Speaker 2: with on a regular basis, it's like, you need to

1210
01:05:04,040 --> 01:05:07,480
Speaker 2: watch how you talk to me. You need to treat

1211
01:05:07,520 --> 01:05:11,120
Speaker 2: me first and foremost like a human being, which is

1212
01:05:11,160 --> 01:05:13,200
Speaker 2: sad to say, a lot of us do not get

1213
01:05:13,200 --> 01:05:15,400
Speaker 2: that treatment right out of the gates the way some

1214
01:05:15,440 --> 01:05:17,280
Speaker 2: other people might. So I felt like that was a

1215
01:05:17,400 --> 01:05:20,440
Speaker 2: very watch how you talk to me moment. But the

1216
01:05:20,520 --> 01:05:23,480
Speaker 2: movie really kicks into high gear after this.

1217
01:05:24,000 --> 01:05:24,520
Speaker 4: There was a.

1218
01:05:24,440 --> 01:05:27,720
Speaker 2: Scene of all four of them kind of sitting on

1219
01:05:27,760 --> 01:05:31,280
Speaker 2: the roof getting high and looking at this old factory,

1220
01:05:31,280 --> 01:05:34,160
Speaker 2: this old plant that had closed down and talking about how,

1221
01:05:34,200 --> 01:05:36,080
Speaker 2: like man, they used to pay people fifteen dollars an

1222
01:05:36,120 --> 01:05:38,680
Speaker 2: hour then and you know, talking about what they would

1223
01:05:38,680 --> 01:05:40,880
Speaker 2: do with the money. But it's also when they come

1224
01:05:40,960 --> 01:05:43,920
Speaker 2: up with this plan to rob a bank, and at

1225
01:05:43,960 --> 01:05:48,160
Speaker 2: first it's kind of like a chuckle haha thing because

1226
01:05:48,360 --> 01:05:50,480
Speaker 2: Frankie's like, if you want to rob a bank, I

1227
01:05:50,480 --> 01:05:52,080
Speaker 2: can tell you how to rob a bank because I

1228
01:05:52,120 --> 01:05:55,480
Speaker 2: worked at a bank, And Cleo's like, whatever I'm in.

1229
01:05:55,600 --> 01:05:56,280
Speaker 4: I'm fucking in.

1230
01:05:56,880 --> 01:05:59,400
Speaker 2: And you know, Stony and to Sean are kind of reluctant,

1231
01:05:59,760 --> 01:06:02,600
Speaker 2: but again, they've all been pushed to this point where

1232
01:06:02,600 --> 01:06:04,680
Speaker 2: they need money that they will never be able to

1233
01:06:04,720 --> 01:06:07,760
Speaker 2: get in order for their lives to be different than

1234
01:06:07,760 --> 01:06:10,640
Speaker 2: they are, and they are working so hard for so

1235
01:06:10,800 --> 01:06:15,200
Speaker 2: little for so long, and the idea becomes a reality

1236
01:06:15,320 --> 01:06:19,040
Speaker 2: after Stevie is murdered and that's all that Sotny needs

1237
01:06:19,080 --> 01:06:23,120
Speaker 2: to kick her over into this life of crime. And

1238
01:06:23,200 --> 01:06:26,440
Speaker 2: Cleo says something that I think a lot of people feel,

1239
01:06:26,640 --> 01:06:29,960
Speaker 2: which is, we're just taking away from the system that's

1240
01:06:30,080 --> 01:06:33,280
Speaker 2: fucking us all anyway. So it really is kind of

1241
01:06:33,280 --> 01:06:38,400
Speaker 2: a very reparations motivated robbery. And their plan right off

1242
01:06:38,400 --> 01:06:42,120
Speaker 2: the bat is to just be smarter than the other

1243
01:06:42,200 --> 01:06:46,400
Speaker 2: bank robbers, like the Darnell's of the world. So there's

1244
01:06:46,440 --> 01:06:49,640
Speaker 2: a lot of planning that is that ultimately goes out

1245
01:06:49,680 --> 01:06:52,000
Speaker 2: the window during their first robbery in a very funny

1246
01:06:52,040 --> 01:06:54,640
Speaker 2: way where they're kind of like, they plan, they plan,

1247
01:06:54,720 --> 01:06:57,000
Speaker 2: they plan, and then they pick this bank and Stony's

1248
01:06:57,040 --> 01:06:58,800
Speaker 2: nervous to Sean is nervous because they're.

1249
01:06:58,640 --> 01:07:00,560
Speaker 4: Like, we didn't case this bank, no know what's up.

1250
01:07:00,560 --> 01:07:03,200
Speaker 2: We should wait, And Frankie's like, oh really, we should wait,

1251
01:07:03,240 --> 01:07:04,160
Speaker 2: and then she just cocks her.

1252
01:07:04,080 --> 01:07:05,640
Speaker 4: Gun and goes yes.

1253
01:07:06,920 --> 01:07:09,840
Speaker 2: After they've already made eight mistakes, like they're putting on

1254
01:07:09,880 --> 01:07:12,840
Speaker 2: their wigs in the lobby, they're talking very loudly about

1255
01:07:12,840 --> 01:07:14,280
Speaker 2: the crime, and she's like, oh really, and then she

1256
01:07:14,320 --> 01:07:17,560
Speaker 2: just goes in and robs it. But it becomes this

1257
01:07:17,760 --> 01:07:22,040
Speaker 2: real cat and mouse kind of chase with the cops

1258
01:07:22,040 --> 01:07:25,880
Speaker 2: and these four women. And what's really surprising is that

1259
01:07:25,920 --> 01:07:29,600
Speaker 2: you root for these women throughout and in different ways.

1260
01:07:29,680 --> 01:07:34,080
Speaker 2: Like I rooted for Stony to get together with Blair Underwood,

1261
01:07:34,520 --> 01:07:35,200
Speaker 2: you know, like I.

1262
01:07:35,160 --> 01:07:37,960
Speaker 4: Wanted that relationship to happen so hard.

1263
01:07:38,640 --> 01:07:42,560
Speaker 2: They are from completely opposite size of the track, but

1264
01:07:42,680 --> 01:07:44,480
Speaker 2: I wanted that relationship to work.

1265
01:07:44,600 --> 01:07:46,320
Speaker 4: And he works at a bank.

1266
01:07:46,520 --> 01:07:49,720
Speaker 2: He works at a bank, but like you know, this

1267
01:07:49,800 --> 01:07:54,000
Speaker 2: is a dune relationship from the start. But Blair Underwood

1268
01:07:54,080 --> 01:07:57,080
Speaker 2: can pull off a pencil mustache. He is the krem

1269
01:07:57,120 --> 01:07:59,880
Speaker 2: de la creme. I've met him briefly in person, and

1270
01:08:00,000 --> 01:08:04,000
Speaker 2: and I just gotta say that he looked fantastic and

1271
01:08:04,120 --> 01:08:05,160
Speaker 2: was very very kind.

1272
01:08:05,440 --> 01:08:10,680
Speaker 1: Yeah, COVID, please don't take our hot eternally young king.

1273
01:08:10,800 --> 01:08:14,600
Speaker 1: Oh my god, Blair Underwood, the vest that he wears

1274
01:08:14,640 --> 01:08:20,360
Speaker 1: in this movie sends me into a tizzy, Like, Ah,

1275
01:08:20,560 --> 01:08:26,280
Speaker 1: that fucking vest is like so insane. He's got like

1276
01:08:26,680 --> 01:08:29,920
Speaker 1: just the right amount of corniness to where I'm like,

1277
01:08:30,120 --> 01:08:32,559
Speaker 1: I love it, you know what I mean, Like it's

1278
01:08:32,600 --> 01:08:36,400
Speaker 1: not completely like ridiculous, but it's also like he's a

1279
01:08:36,400 --> 01:08:40,920
Speaker 1: little corny, and you're right, you want them to work out,

1280
01:08:41,120 --> 01:08:45,240
Speaker 1: despite the fact that they're like nothing alike, and despite

1281
01:08:45,240 --> 01:08:47,360
Speaker 1: the fact that he wears that fucking vest. You just

1282
01:08:47,400 --> 01:08:48,400
Speaker 1: want them to work.

1283
01:08:48,760 --> 01:08:51,400
Speaker 2: Keith he plays a character named Keith, and he is

1284
01:08:51,680 --> 01:08:54,719
Speaker 2: just a delight, just a true delight.

1285
01:08:55,000 --> 01:08:56,519
Speaker 4: And it's also where we get some of the.

1286
01:08:56,520 --> 01:09:00,920
Speaker 2: Deeper conversations with Stony that she then turned around and

1287
01:09:01,360 --> 01:09:05,559
Speaker 2: asks her friends. So there's a point where she's walking

1288
01:09:05,560 --> 01:09:08,120
Speaker 2: around his apartment and she's looking at some of his artwork,

1289
01:09:08,240 --> 01:09:12,280
Speaker 2: and she says, do you feel free, and he immediately answers, yeah,

1290
01:09:12,320 --> 01:09:14,640
Speaker 2: of course, yeah, I feel free. Of course I feel free,

1291
01:09:15,000 --> 01:09:18,840
Speaker 2: and she absolutely doesn't. She feels trapped. She feels trapped

1292
01:09:18,840 --> 01:09:21,280
Speaker 2: in a system. She feels trapped in a culture, and

1293
01:09:21,320 --> 01:09:24,679
Speaker 2: it's again like heartbreaking to watch. It's very tender scene.

1294
01:09:25,360 --> 01:09:28,240
Speaker 2: But the fact that she could even think to ask

1295
01:09:28,400 --> 01:09:31,040
Speaker 2: something that poignant in the midst of her own misery,

1296
01:09:31,200 --> 01:09:33,400
Speaker 2: I thought was just a really good, a really nice

1297
01:09:33,520 --> 01:09:36,920
Speaker 2: character move, yeah for Stony because she kind of and

1298
01:09:36,960 --> 01:09:38,840
Speaker 2: you know, it's something that Keith comments on where he's like,

1299
01:09:38,880 --> 01:09:41,840
Speaker 2: I can't believe you're like this such a hard, hard motherfucker,

1300
01:09:41,960 --> 01:09:45,040
Speaker 2: because you're really not. He's like, You're really not that

1301
01:09:45,040 --> 01:09:48,280
Speaker 2: that person. But she's had to be to survive. She's

1302
01:09:48,320 --> 01:09:50,840
Speaker 2: had to be that hard to survive, so it's nice

1303
01:09:50,880 --> 01:09:53,439
Speaker 2: that you can kind of bring that tenderness out of her.

1304
01:09:53,760 --> 01:09:56,080
Speaker 2: He also asks her where do you think you're going

1305
01:09:56,160 --> 01:09:58,040
Speaker 2: to be in five years? And he has this whole

1306
01:09:58,080 --> 01:10:01,320
Speaker 2: speech about how black people are not used to thinking

1307
01:10:01,360 --> 01:10:05,200
Speaker 2: about the future, and surprisingly, to me on this watch,

1308
01:10:05,240 --> 01:10:08,439
Speaker 2: on this viewing, that really got to me the most.

1309
01:10:08,560 --> 01:10:11,000
Speaker 2: I think that, you know, in other times I've watched

1310
01:10:11,000 --> 01:10:12,880
Speaker 2: this film, that line is just kind of slid by,

1311
01:10:13,640 --> 01:10:16,360
Speaker 2: but he really makes a case for how, you know,

1312
01:10:16,400 --> 01:10:18,280
Speaker 2: black people are not used to thinking about the future

1313
01:10:18,360 --> 01:10:21,680
Speaker 2: because the future is not for us and so it

1314
01:10:21,720 --> 01:10:24,000
Speaker 2: was very again like eloquent the way that he said it.

1315
01:10:24,200 --> 01:10:26,719
Speaker 2: And I think that that line of thinking is changing

1316
01:10:26,800 --> 01:10:30,320
Speaker 2: or has started to change, for sure. You know, I

1317
01:10:30,360 --> 01:10:32,240
Speaker 2: see it a lot in you know, like books by

1318
01:10:32,320 --> 01:10:35,400
Speaker 2: Jenna Wortham and and you know, there's there's definitely a

1319
01:10:35,439 --> 01:10:38,120
Speaker 2: conversation to be had about how how black people are

1320
01:10:38,160 --> 01:10:40,840
Speaker 2: the future, but it's still rare for a lot of

1321
01:10:40,840 --> 01:10:44,160
Speaker 2: black people to feel like they have a future, even

1322
01:10:44,200 --> 01:10:47,120
Speaker 2: if they can say that they are the future. I

1323
01:10:47,160 --> 01:10:49,679
Speaker 2: feel like I have a future finally. For a long time,

1324
01:10:49,720 --> 01:10:51,439
Speaker 2: I didn't. You know, for a long time, I didn't.

1325
01:10:51,560 --> 01:10:54,080
Speaker 2: I think it was both a culmination of my depression

1326
01:10:54,120 --> 01:10:57,559
Speaker 2: but also just looking at what society had laid out

1327
01:10:57,600 --> 01:10:59,519
Speaker 2: for me as what was possible and not really knowing

1328
01:10:59,520 --> 01:11:01,880
Speaker 2: where I fit in and how to fit in my

1329
01:11:01,960 --> 01:11:05,920
Speaker 2: ambition and my desires with this world that told me like, now,

1330
01:11:05,920 --> 01:11:07,320
Speaker 2: we're never gonna let you do that, or we're not

1331
01:11:07,320 --> 01:11:09,640
Speaker 2: gonna help you do that. So I don't know, that

1332
01:11:09,680 --> 01:11:13,639
Speaker 2: conversation really hit me hard this time, and it maybe

1333
01:11:13,720 --> 01:11:16,800
Speaker 2: appreciate their relationship so much more because let me tell you,

1334
01:11:17,760 --> 01:11:21,519
Speaker 2: they do rob this bank, they don't get a lot

1335
01:11:21,560 --> 01:11:24,600
Speaker 2: of money, but they get just enough to survive, you know,

1336
01:11:24,640 --> 01:11:26,599
Speaker 2: when it's split up four ways, it's enough to take

1337
01:11:26,600 --> 01:11:28,759
Speaker 2: care of everyone's problems when it split up four ways.

1338
01:11:29,320 --> 01:11:33,439
Speaker 2: They hide the money an event at work, and then Luther,

1339
01:11:33,840 --> 01:11:38,479
Speaker 2: their boss, finds it and steals it, and all hell

1340
01:11:38,880 --> 01:11:45,160
Speaker 2: truly breaks loose. It includes murder, it includes mayhem, and

1341
01:11:45,400 --> 01:11:49,639
Speaker 2: they have to rob another bank in order to survive.

1342
01:11:50,360 --> 01:11:52,439
Speaker 2: They have to rob another bank in order to get

1343
01:11:52,479 --> 01:11:54,800
Speaker 2: the money they need, and it has to be a

1344
01:11:54,840 --> 01:11:58,240
Speaker 2: big hit, and it has to be one and done,

1345
01:11:58,320 --> 01:11:59,880
Speaker 2: like they don't want to do it again after this.

1346
01:12:00,560 --> 01:12:04,479
Speaker 2: It's that one last job trope that they play so

1347
01:12:04,600 --> 01:12:07,479
Speaker 2: well in this film, And the end.

1348
01:12:07,360 --> 01:12:10,120
Speaker 4: Of the film is devastating in many ways.

1349
01:12:10,120 --> 01:12:11,559
Speaker 2: And I don't want to ruin it for anyone who

1350
01:12:11,560 --> 01:12:16,200
Speaker 2: hasn't seen it, but it is truly remarkable. This movie

1351
01:12:16,600 --> 01:12:19,200
Speaker 2: is a classic. I think it doesn't get half of

1352
01:12:19,240 --> 01:12:21,800
Speaker 2: the credit it deserves for being a classic.

1353
01:12:22,080 --> 01:12:23,519
Speaker 4: And I absolutely love it.

1354
01:12:23,600 --> 01:12:26,160
Speaker 2: And it is a watch how You Talk to Me

1355
01:12:26,400 --> 01:12:29,000
Speaker 2: Bible from top to bottom.

1356
01:12:29,200 --> 01:12:34,200
Speaker 1: Yeah, I loved watching this again. I mean the part

1357
01:12:34,240 --> 01:12:38,040
Speaker 1: where they're all sitting around that office building and they're

1358
01:12:38,080 --> 01:12:43,000
Speaker 1: doing their Godfather impressions is so adorable. I laughed so hard,

1359
01:12:43,760 --> 01:12:46,559
Speaker 1: so cute and funny. It's just it was a really

1360
01:12:46,600 --> 01:12:50,480
Speaker 1: like light moment that happened, because you know, the reality

1361
01:12:50,560 --> 01:12:53,000
Speaker 1: is that there's a lot going on in this film.

1362
01:12:53,040 --> 01:12:56,400
Speaker 1: It's really depressing in a lot of parts, and their

1363
01:12:56,840 --> 01:13:01,120
Speaker 1: individual breaking points are really tough. Like it's tough to

1364
01:13:01,200 --> 01:13:04,880
Speaker 1: watch to Sean go through the situation with her son.

1365
01:13:05,040 --> 01:13:08,120
Speaker 1: It's it's tough to watch stony obviously, and obviously at

1366
01:13:08,120 --> 01:13:11,080
Speaker 1: the very beginning with Frankie, that part really was like, wow,

1367
01:13:11,120 --> 01:13:12,960
Speaker 1: that's the first five minutes of the movie, and it's

1368
01:13:13,000 --> 01:13:17,439
Speaker 1: just already super sad in hardcore. But you know, there

1369
01:13:17,439 --> 01:13:21,360
Speaker 1: are moments where it's absolutely exhilarating to watch these four

1370
01:13:21,400 --> 01:13:25,600
Speaker 1: women like commit fucking crimes, like when they first like

1371
01:13:25,680 --> 01:13:27,880
Speaker 1: do the big job and then they all just like

1372
01:13:28,280 --> 01:13:30,360
Speaker 1: sit around with a pile of money and they're hugging

1373
01:13:30,400 --> 01:13:35,519
Speaker 1: each other, like the part where fucking Cleo drives the

1374
01:13:35,560 --> 01:13:41,240
Speaker 1: suburban through the bank, beautiful screaming on my feet, clapping

1375
01:13:41,880 --> 01:13:43,800
Speaker 1: like I'm at the oscars.

1376
01:13:43,920 --> 01:13:46,400
Speaker 3: I'm like fucking screaming for these women.

1377
01:13:46,760 --> 01:13:49,679
Speaker 1: And I think that what you said earlier, I think

1378
01:13:49,800 --> 01:13:52,800
Speaker 1: in the intro to the theme is really interesting because

1379
01:13:52,840 --> 01:13:56,200
Speaker 1: it feels like, yes, there are similarities between my movie

1380
01:13:56,200 --> 01:14:00,320
Speaker 1: and your movie, completely different ways of getting there and

1381
01:14:00,439 --> 01:14:05,639
Speaker 1: completely different circumstances obviously. I mean with Thelman Louise, you've

1382
01:14:05,640 --> 01:14:08,880
Speaker 1: got two white women. They're in another space dealing with

1383
01:14:08,960 --> 01:14:13,400
Speaker 1: their kind of like feelings of being trapped right in

1384
01:14:13,880 --> 01:14:18,400
Speaker 1: whatever circumstances they're in. These women have a completely different

1385
01:14:18,439 --> 01:14:23,880
Speaker 1: reality obviously, and their feelings of being trapped. There's just

1386
01:14:24,000 --> 01:14:29,120
Speaker 1: so much higher stakes for them. And yet the exhilaration

1387
01:14:29,320 --> 01:14:33,920
Speaker 1: that I felt with the women working together and seeing

1388
01:14:34,040 --> 01:14:38,800
Speaker 1: like their friendship, you know, was exhilarating just as much

1389
01:14:38,840 --> 01:14:40,920
Speaker 1: as it was in Thelma Louise, Like I just loved

1390
01:14:41,160 --> 01:14:45,840
Speaker 1: y seeing that, And just these little moments like Queen Latifa,

1391
01:14:46,560 --> 01:14:50,599
Speaker 1: like she gets when Cleo gets the money and she's

1392
01:14:50,680 --> 01:14:51,920
Speaker 1: like having.

1393
01:14:51,840 --> 01:14:55,479
Speaker 3: A ball with her girlfriend, You're just like, holy shit, like.

1394
01:14:55,920 --> 01:14:57,800
Speaker 4: And she's broke almost instantly.

1395
01:14:58,400 --> 01:15:01,439
Speaker 2: Yes, she does exactly what wants, which is like, I

1396
01:15:01,439 --> 01:15:03,280
Speaker 2: am not going to use this money to plan any

1397
01:15:03,360 --> 01:15:04,040
Speaker 2: kind of future.

1398
01:15:04,120 --> 01:15:06,080
Speaker 4: I'm going to use this money to have fun right now.

1399
01:15:06,320 --> 01:15:09,000
Speaker 1: That's the interesting thing too about when you put like

1400
01:15:09,040 --> 01:15:13,000
Speaker 1: the four characters together, right, you just have the quadrant

1401
01:15:13,080 --> 01:15:18,760
Speaker 1: of personalities, right, Yes, Frankie is like, I am absolutely

1402
01:15:18,800 --> 01:15:21,240
Speaker 1: doing this. I know how to do it. I'm very

1403
01:15:21,280 --> 01:15:24,120
Speaker 1: confident that I can rob a bank. Cleo will always

1404
01:15:24,200 --> 01:15:27,120
Speaker 1: rob a bank with you, like, no, no problem, no

1405
01:15:27,280 --> 01:15:31,240
Speaker 1: questions asked, It's it's not a problem, you know. And

1406
01:15:31,280 --> 01:15:34,040
Speaker 1: then from there it goes like Stony is kind of

1407
01:15:34,080 --> 01:15:36,360
Speaker 1: on the fence, and then to Sean is definitely like

1408
01:15:36,840 --> 01:15:38,879
Speaker 1: the I don't know about this guy's person.

1409
01:15:40,000 --> 01:15:41,880
Speaker 3: There always is one in a group.

1410
01:15:41,760 --> 01:15:46,200
Speaker 1: Right, And to me that is like something that is

1411
01:15:46,479 --> 01:15:48,080
Speaker 1: interesting to see a play out of sort of their

1412
01:15:48,120 --> 01:15:51,439
Speaker 1: personalities kind of together and their friendship group.

1413
01:15:51,800 --> 01:15:55,000
Speaker 2: Yeah, because there's always someone with nothing to lose and

1414
01:15:55,040 --> 01:15:58,920
Speaker 2: somebody who has something incredibly important to lose. Those are

1415
01:15:58,920 --> 01:16:01,599
Speaker 2: the most interesting dynamic and to jam them all together

1416
01:16:01,680 --> 01:16:04,800
Speaker 2: on that spectrum is it just creates a group of

1417
01:16:04,840 --> 01:16:08,559
Speaker 2: women like I've never seen before on screen before or since. Right,

1418
01:16:09,880 --> 01:16:14,439
Speaker 2: I want to talk about briefly just this idea that

1419
01:16:15,000 --> 01:16:18,000
Speaker 2: for me, what is controversial about these movies is the

1420
01:16:18,120 --> 01:16:22,040
Speaker 2: idea that for women freedom equals death. Yeah, and that

1421
01:16:22,160 --> 01:16:25,520
Speaker 2: death is the only pathway to freedom. It's fucking depressing,

1422
01:16:26,080 --> 01:16:27,160
Speaker 2: It is so upsetting.

1423
01:16:27,600 --> 01:16:31,479
Speaker 1: Yeah, and you know, without we're gonna dance around some

1424
01:16:31,720 --> 01:16:35,919
Speaker 1: spoilers maybe so if you're not into it, fast forward.

1425
01:16:36,800 --> 01:16:42,920
Speaker 1: But I think that Cleo and Frankie in particular feel

1426
01:16:43,000 --> 01:16:47,720
Speaker 1: like they're the way that they end up at the

1427
01:16:47,800 --> 01:16:51,080
Speaker 1: end of this film is a little of the drive

1428
01:16:51,120 --> 01:16:54,400
Speaker 1: off the cliff moment or something. It's this kind of

1429
01:16:54,479 --> 01:17:00,080
Speaker 1: thing where I think with Cleo especially, but those moments

1430
01:17:00,120 --> 01:17:02,599
Speaker 1: both in Thelm and Louise ann and set it off

1431
01:17:03,120 --> 01:17:09,000
Speaker 1: for those four characters that do this is yeah, it's

1432
01:17:09,200 --> 01:17:12,439
Speaker 1: like exhilarating, but then you're like, oh, but then also

1433
01:17:13,040 --> 01:17:18,040
Speaker 1: they died to be free? Yeah, and what does that mean?

1434
01:17:18,520 --> 01:17:18,760
Speaker 2: Yeah?

1435
01:17:19,000 --> 01:17:21,519
Speaker 3: You know, like it's kind of a terrible thought.

1436
01:17:21,720 --> 01:17:24,000
Speaker 2: You know, is a terrible thought because I feel like

1437
01:17:24,040 --> 01:17:27,479
Speaker 2: there are metaphorical ways that that happens for a lot

1438
01:17:27,479 --> 01:17:30,880
Speaker 2: of women, and that's what's upsetting as well. It's like

1439
01:17:30,920 --> 01:17:32,599
Speaker 2: we get to see it play out on the screen

1440
01:17:33,160 --> 01:17:36,679
Speaker 2: in this more grandiose way of you know, death equals freedom.

1441
01:17:37,120 --> 01:17:40,360
Speaker 2: But I think that for a lot of women, tiny

1442
01:17:40,439 --> 01:17:45,240
Speaker 2: deaths and small decisions and small mercies and you know,

1443
01:17:45,400 --> 01:17:48,840
Speaker 2: just these tiny cuts in their lives is what makes

1444
01:17:48,880 --> 01:17:51,559
Speaker 2: their lives livable. But it also takes away from so

1445
01:17:51,680 --> 01:17:55,519
Speaker 2: much from them, and it's just really really depressing. So

1446
01:17:55,560 --> 01:17:58,559
Speaker 2: I think that it's important to see that play out

1447
01:17:58,600 --> 01:18:02,280
Speaker 2: on screen and important seeing these two films, especially how

1448
01:18:02,360 --> 01:18:06,240
Speaker 2: that can look from different socioeconomic backgrounds and different you know,

1449
01:18:06,280 --> 01:18:09,759
Speaker 2: cultural points of view. But I guess it's just upsetting

1450
01:18:09,800 --> 01:18:12,120
Speaker 2: to know that it is it is an ongoing trope

1451
01:18:12,360 --> 01:18:15,479
Speaker 2: that will outlive us, that in order for women to

1452
01:18:15,680 --> 01:18:19,640
Speaker 2: survive and live in a free way, they have to

1453
01:18:19,640 --> 01:18:20,200
Speaker 2: lose something.

1454
01:18:20,800 --> 01:18:23,920
Speaker 1: Yeah, well, listen, I know this is kind of a

1455
01:18:23,920 --> 01:18:24,760
Speaker 1: heavy episode.

1456
01:18:25,240 --> 01:18:27,400
Speaker 4: Started on a bummer, ended on a bummer.

1457
01:18:28,040 --> 01:18:30,760
Speaker 3: Look, it's gonna happen. What are we gonna do?

1458
01:18:31,240 --> 01:18:33,800
Speaker 4: Like, it's winter? What do you expect from us?

1459
01:18:33,840 --> 01:18:36,280
Speaker 1: It's winter, We're back on the East Coast, the holidays

1460
01:18:36,320 --> 01:18:41,360
Speaker 1: are upon us. Like, it's what's gonna happen? And I mean, honestly,

1461
01:18:41,400 --> 01:18:44,360
Speaker 1: when I when I joked about this episode being too

1462
01:18:44,479 --> 01:18:47,920
Speaker 1: powerful for this podcast, it was really just the joy

1463
01:18:48,040 --> 01:18:51,400
Speaker 1: that I felt watching these two films despite all of

1464
01:18:51,439 --> 01:18:54,479
Speaker 1: the big questions and everything that we just discussed. I mean,

1465
01:18:54,520 --> 01:18:59,040
Speaker 1: like as pure movie going, as pure cinema, if you will,

1466
01:18:59,120 --> 01:19:01,800
Speaker 1: like it was it great to watch these back to back.

1467
01:19:02,200 --> 01:19:04,599
Speaker 3: I loved it and I'm glad we did it.

1468
01:19:04,680 --> 01:19:07,360
Speaker 2: Me too, and I'm glad we're gonna do it again.

1469
01:19:07,479 --> 01:19:10,240
Speaker 2: And maybe next week I will not be watching fucking

1470
01:19:10,320 --> 01:19:14,479
Speaker 2: six feet Under and I'll be bringing more energy and

1471
01:19:14,640 --> 01:19:17,320
Speaker 2: my usual absurdity to the table.

1472
01:19:18,479 --> 01:19:21,759
Speaker 3: Oh and hey, we should tell everybody about the Wexer

1473
01:19:21,840 --> 01:19:23,559
Speaker 3: event that we just came back from.

1474
01:19:23,840 --> 01:19:25,479
Speaker 4: Oh, it was so much fun.

1475
01:19:25,520 --> 01:19:27,719
Speaker 2: We were invited to the Wexner Center for the Arts

1476
01:19:27,760 --> 01:19:31,599
Speaker 2: in Columbus, Ohio, and we presented two movies on Friday.

1477
01:19:32,280 --> 01:19:34,280
Speaker 2: Nine to five was one of them, and so was

1478
01:19:34,400 --> 01:19:37,519
Speaker 2: Thelma and Louise, which we just heard heard us talk

1479
01:19:37,560 --> 01:19:41,879
Speaker 2: about in great detail. Yes, and it was a blast.

1480
01:19:42,840 --> 01:19:48,360
Speaker 2: Cannot thank the Wexner Center enough. So chrys Staltz, Layla

1481
01:19:48,600 --> 01:19:53,240
Speaker 2: Dave everyone involved in making that such an incredible event

1482
01:19:53,320 --> 01:19:57,839
Speaker 2: for us. We felt very welcomed. We had so much fun,

1483
01:19:58,439 --> 01:20:01,240
Speaker 2: and also we finely. She gave a shout out to

1484
01:20:01,280 --> 01:20:04,240
Speaker 2: the audience. We had a lot of people who traveled

1485
01:20:04,640 --> 01:20:08,120
Speaker 2: from farther away than I would have, and I'm grateful

1486
01:20:08,160 --> 01:20:11,160
Speaker 2: for that. We got a lot of gifts and your

1487
01:20:11,240 --> 01:20:12,680
Speaker 2: questions were incredible.

1488
01:20:12,960 --> 01:20:17,759
Speaker 1: Yeah, totally the best experience. We loved seeing you guys.

1489
01:20:17,880 --> 01:20:19,920
Speaker 1: We hope to do more of this in the future.

1490
01:20:20,080 --> 01:20:23,200
Speaker 1: We're kind of cooking up some ideas, so maybe when

1491
01:20:23,640 --> 01:20:27,400
Speaker 1: the new year rolls around and it stops snowing, we

1492
01:20:27,479 --> 01:20:30,960
Speaker 1: can start thinking about coming to see you in your town.

1493
01:20:31,680 --> 01:20:34,799
Speaker 1: And just got to say, Danielle, it was a pleasure

1494
01:20:34,920 --> 01:20:37,679
Speaker 1: to be with you. I hadn't seen you in person

1495
01:20:38,160 --> 01:20:41,760
Speaker 1: since we started this podcast, and it was, I know,

1496
01:20:42,080 --> 01:20:44,439
Speaker 1: such a treat. I mean, I was just like the

1497
01:20:44,479 --> 01:20:47,479
Speaker 1: old gangs back together again and I had a blast.

1498
01:20:47,640 --> 01:20:50,720
Speaker 4: So thanks, it was really great. Thanks to them and

1499
01:20:50,760 --> 01:20:51,320
Speaker 4: thanks to you.

1500
01:20:51,439 --> 01:20:55,760
Speaker 2: I thank you for just being so wonderful that people

1501
01:20:55,800 --> 01:20:57,680
Speaker 2: want to invite us places because it ain't for this

1502
01:20:57,760 --> 01:20:58,280
Speaker 2: old lady.

1503
01:20:58,520 --> 01:21:01,120
Speaker 3: Oh shut your mouth, Shut your mouth.

1504
01:21:02,120 --> 01:21:06,280
Speaker 2: But we got to see so many fun people and friends,

1505
01:21:05,720 --> 01:21:08,519
Speaker 2: and again like, thank you for everyone who came, who

1506
01:21:08,600 --> 01:21:10,639
Speaker 2: gave us anything, even if it was just your time.

1507
01:21:10,720 --> 01:21:11,479
Speaker 4: We had a blast.

1508
01:21:11,760 --> 01:21:15,920
Speaker 1: Yes, listen, we've got a couple of beggars next week.

1509
01:21:16,000 --> 01:21:18,479
Speaker 4: I have to say lay it on them all right.

1510
01:21:18,800 --> 01:21:23,200
Speaker 1: For next week, you are to watch Big Night from

1511
01:21:23,320 --> 01:21:28,120
Speaker 1: nineteen ninety six and The Trip from twenty ten.

1512
01:21:28,960 --> 01:21:29,719
Speaker 3: What is the theme?

1513
01:21:30,080 --> 01:21:30,960
Speaker 4: What is that theme?

1514
01:21:31,040 --> 01:21:33,360
Speaker 2: You can guess on our social media if you'd like

1515
01:21:33,840 --> 01:21:36,519
Speaker 2: we are at I saw pot on Instagram and Twitter.

1516
01:21:37,200 --> 01:21:39,000
Speaker 1: Yeah, if you want to email us, I saw what

1517
01:21:39,040 --> 01:21:41,000
Speaker 1: you did pod at gmail dot com.

1518
01:21:41,360 --> 01:21:45,160
Speaker 2: We have a bunch of premium episodes up at Stitcher

1519
01:21:45,240 --> 01:21:47,920
Speaker 2: Premium and you can use the promo codesaw for a

1520
01:21:48,080 --> 01:21:49,280
Speaker 2: free month.

1521
01:21:49,760 --> 01:21:54,639
Speaker 1: Yes, fun episodes there, and we got some merch. It's

1522
01:21:55,240 --> 01:21:58,639
Speaker 1: in the exactly Right shop at exactlyrightmedia dot com.

1523
01:21:58,960 --> 01:22:05,160
Speaker 2: Thank you for bearing with me during the grimmest episode episode.

1524
01:22:05,360 --> 01:22:09,280
Speaker 1: Well, listen, I am here for you all the time.

1525
01:22:09,400 --> 01:22:13,400
Speaker 1: I take you anyway I can get you and listen

1526
01:22:13,439 --> 01:22:15,679
Speaker 1: when it comes down to it, like I would definitely

1527
01:22:15,960 --> 01:22:19,280
Speaker 1: rob a bank with you, I would drive a classic

1528
01:22:19,360 --> 01:22:23,200
Speaker 1: car across the country with you, and so much more.

1529
01:22:23,400 --> 01:22:25,800
Speaker 2: I think we have our plans for summer twenty twenty two.

1530
01:22:26,120 --> 01:22:26,880
Speaker 2: That's all I'm hearing.

1531
01:22:27,160 --> 01:22:30,240
Speaker 1: I mean, look, you will see me in a rhyme

1532
01:22:30,400 --> 01:22:33,679
Speaker 1: stone country blouse, that is all.

1533
01:22:33,600 --> 01:22:34,200
Speaker 3: I have to say.

1534
01:22:35,280 --> 01:22:38,479
Speaker 2: And I will be wearing Brad Pitt like a backpack.

1535
01:22:41,960 --> 01:22:52,439
Speaker 2: That note goodbye bye. This has been an exactly right production.

1536
01:22:52,720 --> 01:22:56,360
Speaker 2: Our producer is Alexis Aamersi. Our engineers onlyse Nelson. Our

1537
01:22:56,439 --> 01:22:59,679
Speaker 2: theme songs by Tom bry Fogel. Artwork by Garrett Ross.

1538
01:23:00,000 --> 01:23:03,000
Speaker 2: Our executive producers are Georgia Hardstark, Caring Till Gareth and

1539
01:23:03,040 --> 01:23:06,160
Speaker 2: Danielle Kramer. Follow us on Instagram and Twitter at I

1540
01:23:06,280 --> 01:23:09,000
Speaker 2: sawpod email us at I Saw what you did pod

1541
01:23:09,040 --> 01:23:12,160
Speaker 2: at Gmail, and please don't forget to listen, subscribe, leave

1542
01:23:12,240 --> 01:23:15,200
Speaker 2: us a review on Apple Podcast, Stitcher, or wherever you

1543
01:23:15,320 --> 01:23:15,639
Speaker 2: listen