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Speaker 1: On the Doll Cast, the questions asked if movies have

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

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Speaker 1: or do they have individualism the patriarchy zef in best

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Speaker 1: start changing it with the Bedel Cast. Hi, and welcome

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Speaker 1: to the Backtel Cast. My name is Caitlin Drante, my

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Speaker 1: name is Jamie Lofton, and we are your hosts of

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Speaker 1: this podcast about the portrayal of women in movie. You're

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Speaker 1: damn right, we are. Hell yeah, I'm coming from Chuck

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Speaker 1: E Cheese. You come from Chucky Cheese. I'm not coming

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Speaker 1: from there. That's on you. I know it's on my bad. Um. Sorry,

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Speaker 1: it's Thursday afternoon. Where the why am I not at

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Speaker 1: Chuck e Cheese? You're right, Well, we have a podcast

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Speaker 1: we talk about how women are represented and treated in

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Speaker 1: a film cinema cinema. We use the Bechtel test as

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Speaker 1: just sort of a jumping off point yard stick, a yardstick,

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Speaker 1: if you will, And our version of the Becktel test

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Speaker 1: requires that movie has two female characters who speak to

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Speaker 1: each other. They also have names, and the conversation has

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Speaker 1: to be about something other than a man. It's really

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Speaker 1: only a two line exchange. That's all we need here

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Speaker 1: at the Bechtel Cast. Hey, we're not We're not putting

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Speaker 1: you out now, h Wood. Not that difficult. Oh Hollywood,

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Speaker 1: I see Okay, I was like, h Wood, who's that?

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Speaker 1: I'm sorry, I'm coming from Chucky cheese. I'm like full

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Speaker 1: of hubris and like just have a wild energy at

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Speaker 1: this time. I ate pancakes like an hour ago. So

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Speaker 1: I'm actually very tired. Nice. That's like a nap food. Yeah. Well,

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Speaker 1: we've really established that we have pretty leisurely chill lives.

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Speaker 1: That's great, good for us. Yeah. Wow. Anyways, I'm excited

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Speaker 1: for to talk about the movie we're talking about today

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Speaker 1: because it is a polarizing film. Yes, in every conceivable.

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Speaker 1: I was reading have you seen the Rotten Tomatoes page

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Speaker 1: for this movie? No? But I know that it got

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Speaker 1: an F on Cinema score. The I mean the reviews

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Speaker 1: between like the positive and the negative. I mean it's

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Speaker 1: like both. Some people loved this movie, other people like

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Speaker 1: it truly made them want to walk into the sea,

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Speaker 1: which is we'll get to it. Yeah. Well that's how

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Speaker 1: I felt, and I believe that's also how our guest felt.

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Speaker 1: But I will let her for herself. And let us

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Speaker 1: introduce her. She's an actress. You've seen her on Comedy

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Speaker 1: Central's Corporate and she's starring in a show on YouTube

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Speaker 1: Red called Youth and Consequences and a Conna. Hi, thanks

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Speaker 1: for being here, Thanks for having me guys. So you

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Speaker 1: brought us the movie Mother Mother exclamation point. I hated

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Speaker 1: it so much that I was like, I want to

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Speaker 1: talk about how much I fucking hate this. That's just

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Speaker 1: like my favorite kind of episode, just like pull out

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Speaker 1: the bloodied corns and then just whack it. Yeah, so

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Speaker 1: you did you see it in the theater? I did

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Speaker 1: see it in theater. I was also nega high, so

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Speaker 1: I do. I thought I would enjoy it from that

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Speaker 1: perspective at the very least, because I heard about the

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Speaker 1: polarizing review is before going in. So it's like, you know,

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Speaker 1: go in with really low expectations and it's still managed

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Speaker 1: to shatter those low expectations and have a whole new

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Speaker 1: bar of just terrible movie. But yeah, it was six

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Speaker 1: in the movie felt like it was just a close

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Speaker 1: up on Jennifer Lawrence. That is that is I I

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Speaker 1: think it was very deliberately shot that way. And then

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Speaker 1: like the last half hour is straight up biblical torture

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Speaker 1: porn and it's just God of can't like. As the

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Speaker 1: movie goes on, I hate it more and more, like

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Speaker 1: there's no I saw this movie very high as well,

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Speaker 1: higher than I was expecting to be, and so the

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Speaker 1: first time, I'm like, I don't know if I just

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Speaker 1: really hated that movie or if I thought I could

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Speaker 1: hear everyone's skin and that was the problem because it

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Speaker 1: was that kind of high. I'm like, oh, there's a

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Speaker 1: bald man in front of me, and I can hear

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Speaker 1: his scalp. That was like drug you want? No, it

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Speaker 1: was like I think it was like a really strong

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Speaker 1: because I don't drug that much. So when I do,

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Speaker 1: how many units of drug did you do? A couple

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Speaker 1: too many? I don't know. But the people I was

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Speaker 1: with were better at drugs than me, and so they

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Speaker 1: were like having a great time hating the movie, and

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Speaker 1: I was like, I can hear this man scalp, and

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Speaker 1: I cannot tell anyone, least of all him, although I

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Speaker 1: want to tell him so bad that his skull can

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Speaker 1: speak and it's speaking and wants to get out. But yeah,

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Speaker 1: the sound, I would for what it's worth. The sound

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Speaker 1: editing in this movie is a lot. Well it's there,

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Speaker 1: so yeah, seeing it. Seeing it in theaters was definitely.

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Speaker 1: I mean it's like, did you feel trapped? Yes, yes, okay, yeah,

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Speaker 1: it's like it feels like you can leave, but I

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Speaker 1: don't know. It's I mean, it's very grating and it's okay.

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Speaker 1: It felt like it would never end to It almost

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Speaker 1: felt like the movie was like, you think it's going

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Speaker 1: to end here, because I would have been I wouldn't

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Speaker 1: have been shocked at any runtime on that movie. It

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Speaker 1: could have been an hour, fifteen or three hours, and

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Speaker 1: it just felt like forever because no real narrative is

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Speaker 1: set up. It's just an extended metaphor. It will get

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Speaker 1: into it, but like there's no goal that any characters

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Speaker 1: trying to achieve necessarily that we know about, so we

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Speaker 1: don't know anything that's going to happen, Like any event

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Speaker 1: that happens, we're just like, oh wait, what, oh this

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Speaker 1: is happening now? Okay? Like and were you a fan

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Speaker 1: of Darren Aronovski going into it? I was. I loved

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Speaker 1: Black Swan, I loved Reccoman for a dream. Um, I

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Speaker 1: was excited to hear this, especially because I'd read some

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Speaker 1: interviews with Jennifer Lawrence, and she was like, I thought

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Speaker 1: this was a masterpiece. I loved this script. I loved

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Speaker 1: his idea, and so I went in knowing like, okay, well,

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Speaker 1: I'm a fan of his work, Like I'm I want

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Speaker 1: to be open at least to what's going to happen.

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Speaker 1: But the moment they ate the baby, I was just like,

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Speaker 1: they really bad, really bad. And and even Jennifer Lawrence

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Speaker 1: later turns on this movie because when during the I

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Speaker 1: don't know like at what point it started. But I

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Speaker 1: didn't realize until after I saw the movie the first

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Speaker 1: time and was less high and able to google things. Uh,

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Speaker 1: that she and Darren Aronovski were like hot and heavy

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Speaker 1: while this movie was being made through when it came out,

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Speaker 1: and then from and I'm sure it's not this simple,

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Speaker 1: but they broke up shortly after the movie came out,

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Speaker 1: partially because uh, and Jennifer Lawrence sort of said this.

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Speaker 1: She was just like, yeah, he couldn't handle how much

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Speaker 1: people hated Mother, and he wouldn't shut up about it.

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Speaker 1: So I was like, actually, I have to be going.

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Speaker 1: I thought was pretty badass, like um, calm down, which

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Speaker 1: there was an interesting parallel of in the movie where

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Speaker 1: our Barden is like my writing and she's like, well

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Speaker 1: what about me, Except unlike her character Jennifer Lawrence dipped immediately,

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Speaker 1: which you've got to hand at her that pretty Yeah,

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Speaker 1: I mean, you don't offer someone your weird glass heard

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Speaker 1: at the end of a relationship become dusted. Every time

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Speaker 1: I see that on screen, I want to call it

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Speaker 1: the heart of the ocean references. It doesn't deserve it,

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Speaker 1: You're right, yeah, so I don't feel right calling it that. Yeah,

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Speaker 1: the only metaphor, like I've read like some fan conspiracy

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Speaker 1: theories after seeing it, because for those of you who

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Speaker 1: haven't seen the movie, it's so heavy handed in biblical

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Speaker 1: references and literally just the whole message of the movie

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Speaker 1: is humans are bad, We're killing Mother Earth. Were so

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Speaker 1: self centered and God is this like self absorbed asshole?

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Speaker 1: Thank you, Mr Aronofski. I really love your your classic

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Speaker 1: original viewpoint take. But the one that I did like

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Speaker 1: is someone said, if you look at this movie through

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Speaker 1: the lens of being with an abusive narcissist, it actually

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Speaker 1: is good, and so like they kind of ran through

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Speaker 1: the movie of like, you know, like your love is

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Speaker 1: never enough for somebody and they absolutely have to have

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Speaker 1: the adoration of others, and they're going to put the

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Speaker 1: family second. They don't even care how much you're family

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Speaker 1: life is completely destroyed by your art um. And so

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Speaker 1: through that, Lens I was like, Oh, that would be

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Speaker 1: a much better metaphor movie than this, right, which I mean,

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Speaker 1: I guess I can work on that level. I don't

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Speaker 1: think that that had anything to do with the intent,

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Speaker 1: which just speaks to how fucking clueless Darren Aronowski must

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Speaker 1: be where that he's like, hum, your partym not so bad,

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Speaker 1: pretty smart guy, seems cool, seems kind of hot, has

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Speaker 1: a stone right, they're god, I mean, the one good

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Speaker 1: takeaway and then you get into the recap. But the

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Speaker 1: one takeaway for me is you do get to see

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Speaker 1: Ed Harris and Michelle Phifer essentially raw dogging on more

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Speaker 1: than one occasion, which you never see coming, and there's

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Speaker 1: always like a little weird It's kind of like in

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Speaker 1: the Shape of Water where they're like no ay, or

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Speaker 1: they're gonna let us watch the fish funk and then

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Speaker 1: you're like, oh, I guess they're gonna gonna let us

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Speaker 1: watch the fish fun. Like there they linger on Ed

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Speaker 1: Harris and Michelle Phip for raw dogging and so you know,

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Speaker 1: not that not worth the price of admission, but one

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Speaker 1: of the more interesting parts of them sure to be,

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Speaker 1: and shockingly one of the least graphic yeah right of

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Speaker 1: the movie. At least, I do enjoy the representation of

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Speaker 1: like people over fifty canoodling very sensuously. Yeah, but it's like, yeah,

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Speaker 1: I guess representation. I did not need to see it.

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Speaker 1: I did not need to see and maybe this will

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Speaker 1: not age well because I'm really I'm really giving it

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Speaker 1: to bald people today. But I didn't need to see

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Speaker 1: Ed Harris's bald head in coitas I didn't I'll say

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Speaker 1: I didn't mean it. Well, it's I mean, this is

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Speaker 1: that scene is one of many that does not serve

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Speaker 1: the story. What story? There isn't one? Okay, well tell yeah,

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Speaker 1: let me do the recap of Mother exclamation Point, and

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Speaker 1: I feel free to interrupt anytime. The recap is the

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Speaker 1: most plant Yeah. So Mother exclamation Point is about a

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Speaker 1: woman who's we don't know. Jennifer Lawrence is character's name,

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Speaker 1: although I am dB lists her as mother. She is married.

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Speaker 1: She goes I am his mother. At that one point,

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Speaker 1: you're like, all the title. That's the name of the movie.

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Speaker 1: So she is married to a character played by Heavier Bardem,

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Speaker 1: whose name we also don't know. I am dB lists

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Speaker 1: him as him I think, right, mother and him Yeah, okay,

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Speaker 1: him capital h like that Powerpuff Girl's character. I do

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Speaker 1: not know what you're referring to. Oh wait, yeah, yeah,

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Speaker 1: the gay devil. Yeah yeah, yeah, okay, I'm a board. Yeah.

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Speaker 1: So they are married and they live in a house,

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Speaker 1: and the entire movie takes place within this house. At first,

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Speaker 1: you don't really know what's going on, and then in

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Speaker 1: the rest of the movie you don't know what's going on.

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Speaker 1: But so Caitlin, so mother, they live in a house.

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Speaker 1: Heavier is a poet, she is a homemakers far as

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Speaker 1: we know. She's fixing up this house because there was

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Speaker 1: a fire, and we see a glimpse of this fire

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Speaker 1: in the very beginning. And then she wakes up and

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Speaker 1: she's like, better go downstairs and put some ship on

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Speaker 1: the wall. How did they meet? Doesn't serve the metaphor,

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Speaker 1: we're not Yeah, And then there's a visitor at the

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Speaker 1: house played by Ed Harris. He's like, hey, can I

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Speaker 1: stay here? And she's like, you're a stranger, but Heavier

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Speaker 1: is like, yeah, stay, you're it's fine. That puts me

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Speaker 1: so much. Is like, almost immediately the second the movie starts,

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Speaker 1: people start behaving nothing like people exactly, to the point

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Speaker 1: where it's just like, well, then what are we supposed

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Speaker 1: to be like holding onto here? Because that would never happen, right,

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Speaker 1: Only a relatable factor was Jennifer Lawrence badly wanting a

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Speaker 1: baby and Javier every time the conversation came up, pushing

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Speaker 1: it off, and so you're like, okay, like they're kind

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Speaker 1: of this is a stereotype, but I at least understand it. Yeah.

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Speaker 1: So Ed Harris shows up, and then his wife played

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Speaker 1: by Michelle Peiffer, shows up and turns out they're kind

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Speaker 1: of metaphors for Adam and Eve, and then they too,

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Speaker 1: uns that show up, who may or may not be

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Speaker 1: cane and able. I will say that it took me

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Speaker 1: into the first viewing, it took me a little while

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Speaker 1: to figure out exactly what the metaphor because I did

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Speaker 1: no reading on it. And then someone in the movie

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Speaker 1: theater I was in was like, oh, the Bible, and

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Speaker 1: everyone was like oh, like genuinely for me was helpful, Yeah,

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Speaker 1: because I didn't get it in the first well, the

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Speaker 1: moment when the brother killed the other brother, I was like, okay,

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Speaker 1: all right now. For me, it was the rib when

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Speaker 1: Ed Harris is getting sick and his rib is bleeding.

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Speaker 1: I was like, oh, got it, got it, but was

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Speaker 1: hoping it would take a sci fi turn and the like, no,

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Speaker 1: it's just the Bible. Yeah, I don't know what turn

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Speaker 1: I thought it was going to take. I thought it

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Speaker 1: was just like a straight up horror movie, and like

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Speaker 1: the trailers made it seem like, oh, maybe there's going

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Speaker 1: to be like a visitor they like comes and Fox

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Speaker 1: shut up and they have to like fight off this intruder.

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Speaker 1: But think it must be so hard to have made

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Speaker 1: a trailer for it too. It was all whispering over black. Yeah,

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Speaker 1: like what else are you gonna do? Like just get

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Speaker 1: people in with the injury, because no one's going to

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Speaker 1: want to see this, right, So the Sun's show up

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Speaker 1: and one of the murders the other one. So then

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Speaker 1: like this is kind of when all hell breaks loose

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Speaker 1: and more people start showing up and Jennifer Lawrence is like, hey, wait,

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Speaker 1: you can't be here, this is my house. Hey, hey,

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Speaker 1: do that I can't sit there stop. The sink isn't

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Speaker 1: brave down from there so much. She's like, that's like

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Speaker 1: the lowest level act of you can possibly be. It's

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Speaker 1: like she's saying it and she knows no one's going

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Speaker 1: to listen to her, but she's like, well, hey, so

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Speaker 1: things come down because she's like get out of here.

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Speaker 1: There's like a funeral sort of thing that happens for

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Speaker 1: the day, which one is, Oh God, I'm going to

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Speaker 1: say his name around the cute one yeah, and then

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Speaker 1: the other Gleason plays his brother, Oh really yeah? And

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Speaker 1: you know there's more than one Gleason. There's two Gleasons.

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Speaker 1: I'm learning and is their dad the other Gleason who

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Speaker 1: is in Paddington too. Don't even tell me there's a

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Speaker 1: third Gleason. I'll pass out, Okay anyway, Okay, So things

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Speaker 1: calm down, and she's like, oh, I want a baby,

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Speaker 1: but you won't even fuck me, and he's like, yeah,

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Speaker 1: I will, and then they have sex and then we'll

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Speaker 1: get to that and then suddenly she wakes up and

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Speaker 1: she's like, I'm pregnant. I just know that I am.

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Speaker 1: And then this inspires him a k god a testament

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Speaker 1: I get started. So he get started, and it's like

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Speaker 1: this beautiful masterpiece. And then his publisher calls and she's like,

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Speaker 1: oh my god, it's great. The twist is it's Kristin

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Speaker 1: wigg for some reason, who is like wigging out in

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Speaker 1: this movie. So then a whole new horde of people

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Speaker 1: show up and they're like, oh my god, God, you

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Speaker 1: did such a great thing. We love you. More. Chaos

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Speaker 1: breaks loose, and Jennifer Lawrence says, hey, hey, you being

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Speaker 1: here up and then all comes to a head. Gives

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Speaker 1: birth in public. She gives birth, well, she's in a room,

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Speaker 1: but then her baby immediately gets stolen and eaten, passed around, passed,

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Speaker 1: ripped limb from limb, and eaten by now the fans

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Speaker 1: who are in robes. Yeah, but there's also a rave

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Speaker 1: happening in the corner. A rave. There's like execution, people

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Speaker 1: have guns. Yeah, it's like and God's like, it's fine

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Speaker 1: that they ate our baby like they love me. It's fine. Also,

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Speaker 1: so I think most people agree that Jennifer Lawrence's character

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Speaker 1: is a metaphor for Mother Earth, right, so like all

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Speaker 1: these people showing up is ruining no resper and her

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Speaker 1: mother room. Yeah, they're breaking her sink breaks one of

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Speaker 1: my favorite lines in that movie. Excuse me, that's not brains,

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Speaker 1: like Jeffcose most the movie trying to fix up this

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Speaker 1: house and then people come and funk it all up.

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Speaker 1: So there's the metaphor where humans are just fucking up

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Speaker 1: Mother Earth. So at the very very end, she goes

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Speaker 1: from being all like hey to hey, and she like

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Speaker 1: basically lights the whole house on fire. She's all burnt

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Speaker 1: up and she's all funked up and everyone's like dead.

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Speaker 1: And then God carries her and he's like, oh no,

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Speaker 1: what have I done? And she's like I have nothing

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Speaker 1: left to give, and then he reaches into her abdomen

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Speaker 1: and pulls out Allah the fifth element. When Bruce Willis's

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Speaker 1: character takes some stones out of the opera singer, you

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Speaker 1: guys know what I'm talking about, right, No? No, he

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Speaker 1: takes out the heart of the ocean, the like this

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Speaker 1: weird this like crystal from her and then I guess

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Speaker 1: it resets time. It fixes the house, and then there's

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Speaker 1: a new woman and baby baby. So God, this movie

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Speaker 1: is so annoying. That's the story, if you can call

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Speaker 1: it that. Yeah, yeah, And so it's a. It's an

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Speaker 1: extended metaphor, it's allegorical. It's the laziest screenwriting I've ever seen.

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Speaker 1: Well he wrote, so yeah, like the best left in

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Speaker 1: the ever note is my review of this movie. Like,

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Speaker 1: I was reading an interview with their in Aronowski and

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Speaker 1: he said that he wrote the I know, did he

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Speaker 1: read the draft in like a day? He said, five days?

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Speaker 1: And it shows Yeah. I feel like every time someone

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Speaker 1: is bragging about how quickly they wrote something and then

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Speaker 1: you see it, you're just like, yeah, maybe do a

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Speaker 1: second draft, take a little time. Yeah, Like what was

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Speaker 1: the rush to make Mother Like? It's not an urgent

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Speaker 1: piece of anything? Five days? Wow? Wow. So as far

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Speaker 1: as the treatment of the female character goes, I don't

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Speaker 1: even know where to start, because this movie is such

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Speaker 1: a heavy allegory. You could say, well, like she's personifying

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Speaker 1: mother Earth and mother Earth is you know, just a

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Speaker 1: place she can't be that active, But then why bother

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Speaker 1: making a movie where your main character can't be active

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Speaker 1: Because the whole movie is her reacting to stuff. She

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Speaker 1: does not play an active role, and pretty much anything

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Speaker 1: decisions are made heavier. Bardem is always like calling the shots,

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Speaker 1: inviting people in not running anything by her, and then

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Speaker 1: she just has to keep being like, wait a minute, Hey,

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Speaker 1: you can't do that, you can't be here. So it's

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Speaker 1: her being completely reactionary. So even though she's the protagonist,

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Speaker 1: she has no specific goal in the story, and she

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Speaker 1: had except to, I guess, be a mother, and that's

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Speaker 1: sort of hinted at every now and then. She wants children,

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Speaker 1: and she wants to be fixing up this house, but

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Speaker 1: it's nothing that specific and then and she's not active

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Speaker 1: in the pursuit of any goal, so she's just reacting

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Speaker 1: to all the things that are happening, which is one

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Speaker 1: of the reasons this movie might not be very good. Yeah,

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Speaker 1: so you have a very passive protagonist until like literally

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Speaker 1: the last five minutes in the movie, right, and at

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Speaker 1: which point her goal just changes to like either survive

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Speaker 1: and then failing that to like, you know, wipe everybody out.

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Speaker 1: It's just, yeah, it's not fun to watch. And it's like,

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Speaker 1: there's almost every point when we were watching this movie together,

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Speaker 1: there's no real moment with with this character that you

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Speaker 1: can't counterpoint with like, oh, but how would the metaphor

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Speaker 1: work if that didn't? But I feel like that just

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Speaker 1: speaks to the fact that then don't tell that story.

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Speaker 1: It should have been a short film. It would have

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Speaker 1: been a beautiful short film. But also like the running

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Speaker 1: time of this movie was like what two and a

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Speaker 1: half hours. It did not need to be that fucking long.

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Speaker 1: It was very long. I mean the closest I think that,

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Speaker 1: like the gas lighting between Javier Burdham and Jennifer Launce,

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Speaker 1: there are parts of that that are very interesting and

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Speaker 1: and like his avoidance is interesting, and there's i mean

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Speaker 1: a number of scenes where she's like, hey, this is

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Speaker 1: wrong and he's like, what are you talking about? No,

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Speaker 1: it's not. Everything's great anyways, make toast goodbye, and you're

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Speaker 1: just like, okay that there's some sort of but even

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Speaker 1: that is like barely paid off and paid off on

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Speaker 1: isn't even the word. I think my favorite scene in

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Speaker 1: this movie, even though it happens as the movie is

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Speaker 1: getting exceptionally bad, but like the scene that worked for

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Speaker 1: me was the scene where Javier Burden steals the baby.

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Speaker 1: That was like the part of the movie where I

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Speaker 1: felt like the most like my blood pressure was extremely high,

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Speaker 1: and that was like, I don't know, that was like

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Speaker 1: the moment for me where Jennifer Lawrence's character felt most

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Speaker 1: motivated and most threatened and like most able to control

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Speaker 1: the situation, and you have such anxiety of like he's

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Speaker 1: going to take the baby. He's going to take the

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Speaker 1: baby the second she falls asleep, and then she fall asleep,

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Speaker 1: and then he takes the baby, and then things get

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Speaker 1: really bad. They eat the baby, the baby, like the yeah,

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Speaker 1: the worst thing you can do to all fucking baby,

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Speaker 1: and they're very bad, very bad. It's one of those

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Speaker 1: weird things where I don't regret watching the movie, but

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Speaker 1: I never want to see it again. I saw it

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Speaker 1: twice now, and it was even more painful the second time.

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Speaker 1: So okay. So there's things about it that I'm like, Okay,

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Speaker 1: Like you said, if you sort of look at it

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Speaker 1: through the lens of it being an abusive relationship, there's

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Speaker 1: maybe some things to take away from it. I think

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Speaker 1: there's also some things to take away if you sort

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Speaker 1: of examine it from He's supposed to be God, she

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Speaker 1: is Mother Earth. But I think you also make an

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Speaker 1: argument for her being just sort of like a metaphor

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Speaker 1: for just like womanhood in general, Like if he's the

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Speaker 1: patriarchy ish sort of thing, like her whole world is

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Speaker 1: strictly domestic. It is, and I guess if you look

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Speaker 1: at it like that, you could argue that the movie

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Speaker 1: kind of makes a comment on how no one takes

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Speaker 1: her seriously, no one listens to her. She's mistreated and

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Speaker 1: it's bad, and and then she retaliates and sort of

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Speaker 1: like there's like some sort of catharsis there. I don't know.

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Speaker 1: I was thinking that too, but then reaching maybe because

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Speaker 1: then in the end she still offers up the very

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Speaker 1: last thing she has, which is weird crystal heart, and

400
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Speaker 1: you're like, Okay, she never takes something for herself. I

401
00:22:29,680 --> 00:22:32,920
Speaker 1: don't know. I I was thinking that too before I

402
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Speaker 1: had figured out the Bible thing when I was seeing

403
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Speaker 1: it the first time, and I was like listening to

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Speaker 1: this man's head. Um. But but at the beginning, I

405
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Speaker 1: was like, okay, there, maybe there's some sort of gender

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Speaker 1: commentary happening. But then Michelle Peiffer's character comes in and

407
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Speaker 1: it's just as awful, that's true, if not worse, to

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Speaker 1: Jennifer Lawrence's character, and I was like, Okay, so maybe

409
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Speaker 1: that's not what is trying to be said here, because

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Speaker 1: the second woman we see on screen is just as

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Speaker 1: dismissive and means in a way that feels if you

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Speaker 1: don't recognize the stupid fucking metaphor, Like most of what

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Speaker 1: Michelle Peiffer does, especially feels crazy, unmotivated of just like

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Speaker 1: why are you being mean? Why are you asking this

415
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Speaker 1: woman about her sex life, like her home right right?

416
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Speaker 1: Like why are you getting drunk? Like what I drinking

417
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Speaker 1: a mich Hard lemonade? Though she is drinking a mice

418
00:23:30,440 --> 00:23:34,040
Speaker 1: Hard lemonade. But it's Michelle's Hard lemonade. It's yeah, that's true.

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Speaker 1: If we found it up, it's weird. I I really

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Speaker 1: enjoyed Michelle Peiffer's performance in this movie because I feel

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Speaker 1: like she was possibly one of the only actors who

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Speaker 1: knew that she was kind of in a campy movie,

423
00:23:51,600 --> 00:23:53,640
Speaker 1: because I like she gives a kind of campy performance

424
00:23:53,640 --> 00:23:56,200
Speaker 1: because she's like always like draping herself over a piza

425
00:23:56,240 --> 00:24:01,160
Speaker 1: furniture and it's like, so tell me everything, okay, relax,

426
00:24:01,359 --> 00:24:04,560
Speaker 1: but I don't know, like it's and also like this

427
00:24:04,600 --> 00:24:06,960
Speaker 1: movie could have been more fun if it was if

428
00:24:07,000 --> 00:24:10,920
Speaker 1: it had a more campy tone, but there's no fun.

429
00:24:11,080 --> 00:24:14,840
Speaker 1: It takes itself extremely seriously, yes, and it makes it

430
00:24:15,119 --> 00:24:18,560
Speaker 1: for not a fun watch, Like it is nothing entertaining

431
00:24:18,600 --> 00:24:22,480
Speaker 1: about this movie, And I think like the whole message

432
00:24:22,520 --> 00:24:25,639
Speaker 1: of the movie is almost so immature and juvenile, like

433
00:24:25,680 --> 00:24:27,760
Speaker 1: a thought that we all have when we're like thirteen

434
00:24:27,800 --> 00:24:31,640
Speaker 1: of like oh we're bacteria, man, we're ruining the first

435
00:24:31,840 --> 00:24:35,720
Speaker 1: Like like so it's like, what exactly motivated you to

436
00:24:35,800 --> 00:24:39,960
Speaker 1: make something that's saying something that everybody has already thought

437
00:24:39,960 --> 00:24:43,240
Speaker 1: and like kind of dismissed, right, And it's like, yeah,

438
00:24:43,280 --> 00:24:46,679
Speaker 1: who who is the intended audience for this? Who's supposed

439
00:24:46,680 --> 00:24:48,479
Speaker 1: to be learning? Right? And what are we what are

440
00:24:48,480 --> 00:24:51,680
Speaker 1: we even supposed to take away apart from the very

441
00:24:51,720 --> 00:24:53,840
Speaker 1: obvious like yeah, we're fucking up the ears, but then

442
00:24:53,880 --> 00:24:57,639
Speaker 1: like because it's a metaphor for Old Testament and then

443
00:24:57,680 --> 00:25:00,840
Speaker 1: New Testament. But then also like Odd is married to

444
00:25:00,920 --> 00:25:04,160
Speaker 1: mother Earth, Like her character doesn't really fit into that

445
00:25:04,359 --> 00:25:09,240
Speaker 1: allegory because almost is mother Earth because that's what they're destroying,

446
00:25:10,080 --> 00:25:14,520
Speaker 1: Like you're trying he's like doing metaphor hats on metaphor hats. Yeah,

447
00:25:14,560 --> 00:25:17,120
Speaker 1: it's like too many layers and none of it really

448
00:25:17,200 --> 00:25:19,800
Speaker 1: works out, especially because so many of the characters in

449
00:25:19,800 --> 00:25:23,120
Speaker 1: this movie behave in ways that people do not behave.

450
00:25:23,440 --> 00:25:25,240
Speaker 1: So fine, if you want to make a movie that's

451
00:25:25,240 --> 00:25:28,600
Speaker 1: an allegory for something, For example, Paddington One, it's an

452
00:25:28,600 --> 00:25:31,960
Speaker 1: allegory for immigration and racism, and it's done very well.

453
00:25:32,600 --> 00:25:37,840
Speaker 1: But mother exclamation point is like all these metaphors mashed

454
00:25:37,880 --> 00:25:39,840
Speaker 1: up together in a way that like none of it

455
00:25:39,880 --> 00:25:43,040
Speaker 1: makes sense, none of it works. Yeah, it's letters are

456
00:25:43,080 --> 00:25:45,840
Speaker 1: like doing things that no one would do ever in

457
00:25:45,880 --> 00:25:48,280
Speaker 1: behaving in ways that no one would ever behave. It's

458
00:25:48,359 --> 00:25:52,520
Speaker 1: literally like UCB one oh one ship of like you

459
00:25:52,560 --> 00:25:56,879
Speaker 1: have to map something on something else that makes sense,

460
00:25:57,240 --> 00:26:00,199
Speaker 1: and if it doesn't make sense, find something different to

461
00:26:01,119 --> 00:26:03,720
Speaker 1: you know, fit it into. You can't just make something

462
00:26:04,160 --> 00:26:06,560
Speaker 1: like it's just so forced. The whole thing is so

463
00:26:06,640 --> 00:26:10,800
Speaker 1: forth And I think that he tried to possibly I'm curious,

464
00:26:11,119 --> 00:26:14,280
Speaker 1: what do you think that Jennifer Lawrence was a metaphor

465
00:26:14,320 --> 00:26:17,240
Speaker 1: for Earth, but so was the house and they both

466
00:26:17,280 --> 00:26:21,000
Speaker 1: sort of had a weird pulsing something where the house

467
00:26:21,080 --> 00:26:24,200
Speaker 1: had a womb in the basement. But then also you

468
00:26:24,359 --> 00:26:26,440
Speaker 1: like you would touch the walls and then there would

469
00:26:26,440 --> 00:26:29,600
Speaker 1: be like a heartbeat. They were connected somehow. I was like,

470
00:26:30,560 --> 00:26:33,439
Speaker 1: it just didn't quite make it. I think that, but

471
00:26:33,480 --> 00:26:35,480
Speaker 1: I'm like, what is the takeaway from that? She is

472
00:26:35,640 --> 00:26:39,120
Speaker 1: the house. Also, the movie seems to be saying that

473
00:26:39,280 --> 00:26:43,879
Speaker 1: religion destroyed Mother Earth, which like, what was Kristen Wigs

474
00:26:43,880 --> 00:26:47,200
Speaker 1: supposed to represent? I don't know what? Was she a metaphor?

475
00:26:47,600 --> 00:26:51,359
Speaker 1: For see? I so like popular religion or something. Maybe

476
00:26:51,520 --> 00:26:54,919
Speaker 1: I've never read the Bible brag so I did not

477
00:26:55,080 --> 00:26:58,040
Speaker 1: pick up on the Bible. I can't stop reading the Bible.

478
00:26:59,000 --> 00:27:00,680
Speaker 1: I didn't pick up on other time I saw it.

479
00:27:01,080 --> 00:27:02,600
Speaker 1: I watched the whole thing, and I was like, what

480
00:27:02,640 --> 00:27:04,640
Speaker 1: the funk? I was like, I know there's a metaphor here,

481
00:27:04,800 --> 00:27:07,000
Speaker 1: I just don't know what it is. I started reading

482
00:27:07,000 --> 00:27:10,000
Speaker 1: about it, and I was like, oh, it's a Bible thing.

483
00:27:10,880 --> 00:27:13,080
Speaker 1: And then I was like, because I was I'm not

484
00:27:13,240 --> 00:27:16,000
Speaker 1: super familiar with the various stories of the Bible. I

485
00:27:16,000 --> 00:27:17,919
Speaker 1: didn't pick up on it. They're not great. But I

486
00:27:17,960 --> 00:27:21,960
Speaker 1: also like, but now that I know it, I was like, oh, yes,

487
00:27:22,000 --> 00:27:23,800
Speaker 1: this movie does bash you over the head with all

488
00:27:23,800 --> 00:27:28,240
Speaker 1: these metaphors. But also, I don't know, well, that's that's

489
00:27:28,280 --> 00:27:30,000
Speaker 1: something that we were talking about. Two it was like,

490
00:27:30,600 --> 00:27:33,480
Speaker 1: it really bothers me, and this is part of why,

491
00:27:33,600 --> 00:27:37,480
Speaker 1: Like some David Lynch movies don't do it for me

492
00:27:37,560 --> 00:27:39,879
Speaker 1: at all. Of just like I don't like when you

493
00:27:40,080 --> 00:27:42,600
Speaker 1: go into a movie and it's like, whoever made this

494
00:27:42,880 --> 00:27:45,920
Speaker 1: wants me to feel dumb as rocks for at least

495
00:27:45,920 --> 00:27:48,920
Speaker 1: part of it, and I don't like that, Like it's

496
00:27:48,960 --> 00:27:52,880
Speaker 1: not a good feeling. It's a very pretentious movie as well,

497
00:27:53,040 --> 00:27:54,960
Speaker 1: which really it was like it felt like I was

498
00:27:55,040 --> 00:27:59,800
Speaker 1: being condescended to the whole time, Like the same thing

499
00:27:59,800 --> 00:28:02,400
Speaker 1: happen to me when I watched like I've watched eraser Head,

500
00:28:02,440 --> 00:28:04,639
Speaker 1: and I'm just like, what am I supposed to be

501
00:28:04,720 --> 00:28:07,600
Speaker 1: getting from this? What does this mean? I just I

502
00:28:07,600 --> 00:28:10,480
Speaker 1: don't like doing stupid. It's kind of interesting how a

503
00:28:10,600 --> 00:28:14,600
Speaker 1: director and his script can just be so condescending and

504
00:28:15,160 --> 00:28:17,960
Speaker 1: dumb at the same time you're like, wow, this is

505
00:28:17,960 --> 00:28:19,680
Speaker 1: a feat. You should getting a word for this. His

506
00:28:19,800 --> 00:28:22,240
Speaker 1: mother also reads is like a short story that someone

507
00:28:22,280 --> 00:28:26,000
Speaker 1: in ninth grade was like a little subversive would have written. Right,

508
00:28:26,560 --> 00:28:31,480
Speaker 1: it takes but also it's a metaphor and they eat

509
00:28:31,520 --> 00:28:34,520
Speaker 1: the baby. Yeah, this for my life. I'm just like, oh,

510
00:28:34,640 --> 00:28:38,760
Speaker 1: I'm sure my brother's film school friends are roughing over this.

511
00:28:39,000 --> 00:28:42,320
Speaker 1: They're like oh my god, he's a genius. It's interesting

512
00:28:42,320 --> 00:28:44,880
Speaker 1: because I feel like, you know, Aroonowski is like, whatever

513
00:28:44,960 --> 00:28:49,280
Speaker 1: this male outour ever heard of a male tour? They

514
00:28:49,280 --> 00:28:53,440
Speaker 1: exist on this exclusively. Who chose to have a female

515
00:28:53,480 --> 00:28:58,200
Speaker 1: protagonist and chose to do nothing with her? That really

516
00:28:58,240 --> 00:29:01,000
Speaker 1: bothers me, and I feel like sets a fall precedent

517
00:29:01,320 --> 00:29:04,920
Speaker 1: of you know, I'm sure you know. And unless he's

518
00:29:05,080 --> 00:29:08,840
Speaker 1: more woke than I give him credit for that, Aroonowski

519
00:29:08,880 --> 00:29:11,680
Speaker 1: would look at this and be like, female protagonist, So

520
00:29:12,000 --> 00:29:14,400
Speaker 1: I'm a feminist icon. I did it. I did it

521
00:29:14,560 --> 00:29:17,280
Speaker 1: because she's there, and I don't photograph her like she's

522
00:29:17,320 --> 00:29:20,120
Speaker 1: porn and I did it. You see her face, I

523
00:29:20,160 --> 00:29:22,520
Speaker 1: did like And that just that bugs me so much

524
00:29:22,520 --> 00:29:26,600
Speaker 1: because I feel like that just lets future directors get

525
00:29:26,640 --> 00:29:29,760
Speaker 1: away with a being like a man can have a

526
00:29:29,760 --> 00:29:33,200
Speaker 1: female protagonist, wh stress woman direct all the movies. And

527
00:29:33,200 --> 00:29:36,240
Speaker 1: and also it's like that that character Jennifer lawng as

528
00:29:36,280 --> 00:29:39,160
Speaker 1: the character, that person doesn't exist. That person is never mean,

529
00:29:39,480 --> 00:29:43,240
Speaker 1: none of these characters have ever. It's just I mean,

530
00:29:43,760 --> 00:29:47,440
Speaker 1: that bugs me. And then it's just bad writing. As

531
00:29:47,440 --> 00:29:50,480
Speaker 1: I mentioned before, she's reacting to things that happen. But

532
00:29:50,480 --> 00:29:52,840
Speaker 1: she's not driving the story forward. Things are happening around her,

533
00:29:52,840 --> 00:29:55,480
Speaker 1: and she's reacting to them, and she's putting up She's

534
00:29:55,520 --> 00:29:58,600
Speaker 1: protesting sometimes, but almost never in a way that it

535
00:29:58,640 --> 00:30:01,440
Speaker 1: actually gets results or or anything happens because of a

536
00:30:01,520 --> 00:30:04,160
Speaker 1: choice she makes. Like she's just reacting to the things

537
00:30:04,160 --> 00:30:07,200
Speaker 1: that are happening around her. She never alters her approach. No,

538
00:30:07,480 --> 00:30:13,280
Speaker 1: that either approaches universally, Hey stop stop that. Which, like again,

539
00:30:13,360 --> 00:30:17,520
Speaker 1: because she's personifying Mother Earth, you could maybe argue, well,

540
00:30:17,800 --> 00:30:21,560
Speaker 1: the Earth doesn't fight back, but actually it doesn't, like deliberately,

541
00:30:21,640 --> 00:30:24,080
Speaker 1: the Earth is never like making a conscious choice to

542
00:30:24,120 --> 00:30:26,320
Speaker 1: be like, oh, well you did this thing to me,

543
00:30:26,440 --> 00:30:30,880
Speaker 1: I'm gonna fucking have a hurricane. But it's just so

544
00:30:30,960 --> 00:30:35,520
Speaker 1: weird to make the choice to personify something like that.

545
00:30:35,840 --> 00:30:39,360
Speaker 1: But also like that character, just rendering her so passive

546
00:30:39,560 --> 00:30:41,280
Speaker 1: is like, what's the point why you even tell a story?

547
00:30:41,320 --> 00:30:43,800
Speaker 1: If you want to make a movie about people and

548
00:30:43,800 --> 00:30:48,360
Speaker 1: how they've fucked up the earth Watch Koyana Scotsy. It's

549
00:30:48,360 --> 00:30:51,840
Speaker 1: a weird experimental movie from the early eighties, but it

550
00:30:51,880 --> 00:30:55,600
Speaker 1: does a better job getting this message across anyway. Shout

551
00:30:55,600 --> 00:30:58,880
Speaker 1: out to all my Koyana Scots heads out there. Wow, really,

552
00:30:59,000 --> 00:31:04,480
Speaker 1: flero that man master's degree today, Jesus Christ. I think

553
00:31:04,480 --> 00:31:06,720
Speaker 1: the problem was a he wrote it way too quickly,

554
00:31:06,840 --> 00:31:09,840
Speaker 1: and is soul was so passionate about it and had

555
00:31:09,880 --> 00:31:14,240
Speaker 1: the resources to make a film immediately that he probably

556
00:31:14,240 --> 00:31:18,040
Speaker 1: spent no time actually thinking about it or putting it

557
00:31:18,040 --> 00:31:19,760
Speaker 1: in the drawer and waiting on it for a couple

558
00:31:19,800 --> 00:31:22,000
Speaker 1: of months. I mean, in a a lot of the interviews,

559
00:31:22,000 --> 00:31:24,280
Speaker 1: I know you haven't read them, but he's so fucking

560
00:31:24,320 --> 00:31:26,520
Speaker 1: psyched on this. He's like, you know, because we ruined

561
00:31:26,680 --> 00:31:29,080
Speaker 1: Mother Earth with climate change, and we we do all

562
00:31:29,120 --> 00:31:31,240
Speaker 1: these and we're drilling into her and then and then

563
00:31:31,280 --> 00:31:33,960
Speaker 1: all the an overpopulation, and you're like, oh, wow, like

564
00:31:34,120 --> 00:31:36,840
Speaker 1: you this is a little passion project for you. You

565
00:31:36,880 --> 00:31:39,760
Speaker 1: think you're being so hashtag deep. Yeah. I think he

566
00:31:39,800 --> 00:31:41,840
Speaker 1: didn't take the time that he should have to really

567
00:31:41,840 --> 00:31:45,120
Speaker 1: evaluate this movie. Yeah, I mean, just in general, like

568
00:31:45,160 --> 00:31:48,840
Speaker 1: the more famous filmmakers and writers get, the more they

569
00:31:48,840 --> 00:31:51,720
Speaker 1: should like make sure the people around them are being

570
00:31:51,800 --> 00:31:55,400
Speaker 1: honest with them before they start something. Because I'm sure

571
00:31:55,440 --> 00:31:58,760
Speaker 1: that you know, most famous people have enough yes men

572
00:31:58,760 --> 00:32:02,880
Speaker 1: around them to be like, yeah, real hack biblical metaphor

573
00:32:03,040 --> 00:32:07,080
Speaker 1: love it amazing great, But yeah, I mean, that's that

574
00:32:07,200 --> 00:32:09,719
Speaker 1: sucks if you genuinely I mean, and it sounds like

575
00:32:09,720 --> 00:32:13,040
Speaker 1: he genuinely didn't know how like juvenile and silly it

576
00:32:13,240 --> 00:32:17,320
Speaker 1: was because perhaps no one said, um, hi, excuse me,

577
00:32:17,480 --> 00:32:20,880
Speaker 1: this is dumb. Hey, you stop that, Darren kiss it

578
00:32:20,960 --> 00:32:26,320
Speaker 1: a race, Darren stopped writing that scrab your dad needs

579
00:32:26,360 --> 00:32:30,960
Speaker 1: another dross. Hey that he's like, too late, I'm print again.

580
00:32:33,520 --> 00:32:38,520
Speaker 1: And then they eat the baby. Can we talk about

581
00:32:38,720 --> 00:32:43,040
Speaker 1: the scene where so it starts with Ed Harris and

582
00:32:43,080 --> 00:32:46,960
Speaker 1: all those people have left, and she's like, my life

583
00:32:46,960 --> 00:32:49,640
Speaker 1: didn't turn out the way I wanted it to. You

584
00:32:49,720 --> 00:32:51,680
Speaker 1: talk about wanting to have kids, but you won't even

585
00:32:51,720 --> 00:32:54,880
Speaker 1: fuck me. And then he like lunges at her and

586
00:32:55,240 --> 00:32:58,040
Speaker 1: is like grabbing her and kissing her, and she is

587
00:32:58,560 --> 00:33:03,720
Speaker 1: very vocally physically resisting. She's saying no nos, and she's

588
00:33:03,760 --> 00:33:05,560
Speaker 1: fighting back, She's trying to push him off, and he

589
00:33:05,640 --> 00:33:08,680
Speaker 1: keeps doing it. He continues, and then it changes from

590
00:33:08,680 --> 00:33:13,680
Speaker 1: her resisting to her being into it suddenly, which I

591
00:33:13,720 --> 00:33:16,719
Speaker 1: think sends a very dangerous message. And I think this

592
00:33:16,760 --> 00:33:19,080
Speaker 1: is another hint that this is a movie with a

593
00:33:19,080 --> 00:33:22,360
Speaker 1: female protagonist but directed by a man. It sends a

594
00:33:22,440 --> 00:33:25,000
Speaker 1: dangerous message. You see this all the time, all the time.

595
00:33:25,200 --> 00:33:27,719
Speaker 1: There's a really good lade Runners, the one I always

596
00:33:27,720 --> 00:33:32,360
Speaker 1: go straight to resist, Resist, Resist, and now she loves you.

597
00:33:32,840 --> 00:33:35,840
Speaker 1: Like it happens in like Empire Strikes back to with

598
00:33:35,880 --> 00:33:38,920
Speaker 1: Han Solo trying to come on to lay Um. Pop

599
00:33:39,000 --> 00:33:41,600
Speaker 1: Culture Detective has a really great video essay about this,

600
00:33:41,640 --> 00:33:45,600
Speaker 1: about how a lot of movies will paint this scene

601
00:33:45,800 --> 00:33:49,520
Speaker 1: of a man kind of aggressively coming on to a woman.

602
00:33:49,920 --> 00:33:54,440
Speaker 1: She is resisting, but then something happens all of a

603
00:33:54,440 --> 00:33:57,520
Speaker 1: sudden because he keeps trying and then suddenly she's into

604
00:33:57,560 --> 00:34:00,280
Speaker 1: it and she thinks it's hot. And what you or

605
00:34:00,360 --> 00:34:04,320
Speaker 1: not mentioning is that every single character that this video,

606
00:34:04,360 --> 00:34:09,480
Speaker 1: I say explores is a Harrison Fords and Fordson Ford

607
00:34:09,760 --> 00:34:15,200
Speaker 1: You're fired your own notice, predatory icon. He did not

608
00:34:15,280 --> 00:34:20,200
Speaker 1: write those scenes, but he accepted every sele and check. Yeah, yeah,

609
00:34:20,360 --> 00:34:22,200
Speaker 1: I feel like it was more acceptable back in the day,

610
00:34:22,239 --> 00:34:25,600
Speaker 1: Like say anything was this huge romantic and it's like

611
00:34:25,640 --> 00:34:28,080
Speaker 1: if a fucker was outside of your house blasting music,

612
00:34:28,239 --> 00:34:30,040
Speaker 1: you would be like, leave me alone. I'm getting a

613
00:34:30,080 --> 00:34:33,760
Speaker 1: restraining on the ya. I was thinking of that recently

614
00:34:33,800 --> 00:34:35,560
Speaker 1: because I live on the first floor, so if someone

615
00:34:35,560 --> 00:34:37,279
Speaker 1: did that to me would be extra crazy because I'd

616
00:34:37,280 --> 00:34:42,719
Speaker 1: just be like making direct eye contact. But yeah, so

617
00:34:42,760 --> 00:34:45,359
Speaker 1: many movies have done this and continue to do this,

618
00:34:45,440 --> 00:34:48,560
Speaker 1: where it's basically what starts out as a rape scene

619
00:34:48,600 --> 00:34:51,200
Speaker 1: and then it turns into this romantic thing where all

620
00:34:51,239 --> 00:34:53,359
Speaker 1: all of a sudden, she's very hot because he just

621
00:34:53,480 --> 00:34:56,760
Speaker 1: kept persisting and suddenly she's into it. So it obasually

622
00:34:56,840 --> 00:34:59,080
Speaker 1: sends a message is like, men, if a woman is

623
00:34:59,120 --> 00:35:02,640
Speaker 1: resisting at first, just keep trying, try a little harder,

624
00:35:02,680 --> 00:35:04,560
Speaker 1: and then she'll be into it. I mean, granted, at

625
00:35:04,600 --> 00:35:06,440
Speaker 1: this point in the movie, if any man is watching

626
00:35:06,480 --> 00:35:08,600
Speaker 1: Javier bar dem and is like, wow, it seems like

627
00:35:08,600 --> 00:35:13,080
Speaker 1: a good example to be following they're already lost. But

628
00:35:13,080 --> 00:35:15,840
Speaker 1: but the way this scene, this movie's attitude towards sex

629
00:35:15,840 --> 00:35:19,240
Speaker 1: in general is very bizarro of like this is this movie.

630
00:35:19,640 --> 00:35:22,960
Speaker 1: This movie seems like anti sex in a lot of ways,

631
00:35:23,160 --> 00:35:27,560
Speaker 1: because anytime that Ed Harris and Michelle Pfeiffer going at

632
00:35:27,600 --> 00:35:31,480
Speaker 1: it there like like the movie I felt was like, right,

633
00:35:32,120 --> 00:35:34,719
Speaker 1: that's a weird thing they're doing, right, And then there's

634
00:35:34,719 --> 00:35:39,520
Speaker 1: this weirdly violent sex scene and then them having sex

635
00:35:39,960 --> 00:35:49,040
Speaker 1: whatever God and Earth, Like God sucks the planet such

636
00:35:49,080 --> 00:35:53,320
Speaker 1: a bad metaphor, but so and then when they have sex,

637
00:35:53,920 --> 00:35:58,160
Speaker 1: it results in disaster because it results in the baby

638
00:35:58,200 --> 00:36:01,960
Speaker 1: and the baby getting fucked up. Well, it's it's a

639
00:36:01,960 --> 00:36:06,319
Speaker 1: disaster because of like God's hubris and like wanting to

640
00:36:06,360 --> 00:36:11,320
Speaker 1: be loved by his followers, basically sacrificing the baby because

641
00:36:11,360 --> 00:36:20,160
Speaker 1: of that. And right, this movie is stupid. It's just like,

642
00:36:20,280 --> 00:36:22,520
Speaker 1: sometimes I have a bunch of bullet point I'm like,

643
00:36:22,600 --> 00:36:27,560
Speaker 1: do we even tackle it? My notes are also so just.

644
00:36:27,920 --> 00:36:34,080
Speaker 1: I mean the narratives like that was straight up distracting

645
00:36:34,160 --> 00:36:35,840
Speaker 1: of like every time she because she would show up

646
00:36:35,840 --> 00:36:37,439
Speaker 1: every once in a while, he'd be like, oh yeah,

647
00:36:37,520 --> 00:36:39,880
Speaker 1: wait what and then she magically turns into like a

648
00:36:39,920 --> 00:36:42,960
Speaker 1: military person in the basement and they're all all at

649
00:36:43,040 --> 00:36:45,359
Speaker 1: war and bombs are going off, and you're like, what

650
00:36:45,400 --> 00:36:49,520
Speaker 1: the fuck this is? Yeah, this is a bad thesis film.

651
00:36:49,520 --> 00:36:52,239
Speaker 1: It's not great. Can we talk about I guess the

652
00:36:52,280 --> 00:36:55,799
Speaker 1: relationship between Jennifer Lawrence's character and Michelle Peiffer a little bit,

653
00:36:55,800 --> 00:36:59,279
Speaker 1: because that's relevant to hard discussion. I mean it does

654
00:36:59,680 --> 00:37:03,120
Speaker 1: you know, well, we'll get into does anyone have names?

655
00:37:03,120 --> 00:37:06,080
Speaker 1: And therefore can it ever pass the back? Right? Yeah? So,

656
00:37:06,120 --> 00:37:09,279
Speaker 1: but there is a there's a sequence where gen Law

657
00:37:09,560 --> 00:37:14,080
Speaker 1: and Michelle talk, and it's usually Michelle Pfiffer like prying

658
00:37:14,120 --> 00:37:17,040
Speaker 1: about her sex life or sort of judging her for

659
00:37:17,120 --> 00:37:20,760
Speaker 1: other choices she's making, and everything she does is wrong,

660
00:37:21,160 --> 00:37:24,160
Speaker 1: it's the thing. Yeah, yeah, She like makes all these

661
00:37:24,160 --> 00:37:27,080
Speaker 1: bad hand of remarks like yeah, no, he probably still

662
00:37:27,120 --> 00:37:30,480
Speaker 1: loves you, like yeah, your husband, I guess maybe likes you,

663
00:37:30,600 --> 00:37:33,280
Speaker 1: and and uh, do you want some of my Michelle's

664
00:37:33,280 --> 00:37:38,000
Speaker 1: hard lemonade family recipe? And later on when she returns

665
00:37:38,040 --> 00:37:40,920
Speaker 1: after like the random murder that happens in the how,

666
00:37:41,040 --> 00:37:46,239
Speaker 1: like oh yeah, which leads to feminist icon floor vagina

667
00:37:46,640 --> 00:37:49,279
Speaker 1: right when the floor of the house just has a

668
00:37:49,360 --> 00:37:53,040
Speaker 1: vagina all of a sudden, Yeah, and it's bleeding. It's

669
00:37:53,080 --> 00:37:59,480
Speaker 1: free bleeding all over the place floor vagina, also feminist

670
00:37:59,600 --> 00:38:02,480
Speaker 1: icon ed Harris whenever he at one point is like,

671
00:38:02,560 --> 00:38:04,959
Speaker 1: Jennifer Lawrence, do you redid this whole house? And she's

672
00:38:05,000 --> 00:38:07,840
Speaker 1: like yeah, and he's like every detail and she's like

673
00:38:07,920 --> 00:38:10,040
Speaker 1: m m and he's like, so you're not just a

674
00:38:10,040 --> 00:38:16,439
Speaker 1: pretty face feminist icon head hair just kidding. So the relationship. Yeah,

675
00:38:16,520 --> 00:38:20,160
Speaker 1: Michelle Phifer and Jennifer Lawrence are just like a very

676
00:38:20,280 --> 00:38:25,040
Speaker 1: bizarre situation where no strangers would talk like that. And

677
00:38:25,600 --> 00:38:28,040
Speaker 1: I means mostly a Michelle Fiber's part where she's just like,

678
00:38:28,080 --> 00:38:30,279
Speaker 1: why do you do your laundry so fucked up? What

679
00:38:30,440 --> 00:38:32,879
Speaker 1: is this? What is this? I'm drunk bol and you're

680
00:38:32,920 --> 00:38:35,839
Speaker 1: just like whoa, Like where what do you want? Like

681
00:38:36,280 --> 00:38:42,360
Speaker 1: it's unclear to me outside of the metaphor what Michelle Phifer,

682
00:38:42,600 --> 00:38:46,200
Speaker 1: why she's being so antagonistic and what kind of reaction

683
00:38:46,280 --> 00:38:48,880
Speaker 1: she's hoping to get out of Jennifer Lawrence, Like it

684
00:38:48,920 --> 00:38:51,319
Speaker 1: doesn't Well, they're all just yeah, they're all props for

685
00:38:51,360 --> 00:38:54,440
Speaker 1: the metaphor. They literally don't make sense or don't exist

686
00:38:54,520 --> 00:38:56,480
Speaker 1: outside of it. Well, like, I mean again, I have

687
00:38:56,480 --> 00:38:59,160
Speaker 1: a very limited understanding of the Bible. But it's Eve

688
00:38:59,360 --> 00:39:02,600
Speaker 1: who takes the flight of the Apple. That's like the

689
00:39:02,640 --> 00:39:05,640
Speaker 1: original sin thing, and that's basically the fall of man.

690
00:39:05,719 --> 00:39:10,480
Speaker 1: She's temptation, she's belligerent, she didn't listen. It's like the

691
00:39:10,520 --> 00:39:15,160
Speaker 1: whole why why emulate that in a fucking current movie?

692
00:39:15,320 --> 00:39:22,239
Speaker 1: Like that's not how it's just stupid. They're one of

693
00:39:22,280 --> 00:39:26,000
Speaker 1: the things about Jennifer Lawrence's character, and it's like this

694
00:39:26,000 --> 00:39:29,400
Speaker 1: whole time, we're like like, we're really really reaching for

695
00:39:29,440 --> 00:39:34,000
Speaker 1: things here. But the the idea of the female protagonists

696
00:39:34,160 --> 00:39:37,360
Speaker 1: trying to be polite and like a good hostess and

697
00:39:37,440 --> 00:39:41,840
Speaker 1: respectful to all at all costs was something that was like, Okay,

698
00:39:41,880 --> 00:39:46,480
Speaker 1: there was another moment during Kristen Wiggs press conference, you know,

699
00:39:46,560 --> 00:39:49,399
Speaker 1: when Kristin Wick just starts having a press conference during

700
00:39:49,400 --> 00:39:52,759
Speaker 1: this terrible movie, when there's like a mom and her

701
00:39:52,800 --> 00:39:55,880
Speaker 1: son and she Jennifer Lawrence is like trying to be like,

702
00:39:55,960 --> 00:39:58,480
Speaker 1: you cannot come in. She's like, but my son's pissing,

703
00:39:59,360 --> 00:40:02,080
Speaker 1: and she's okay, fine, you can come in, but you

704
00:40:02,160 --> 00:40:04,280
Speaker 1: have to leave. And then it turns out everyone's pissing

705
00:40:04,280 --> 00:40:07,640
Speaker 1: for some reason. I was like paining and understank. Anyways,

706
00:40:07,680 --> 00:40:08,960
Speaker 1: I thought I had a point, but it turns out

707
00:40:09,000 --> 00:40:12,239
Speaker 1: I didn't. Well, I mean, maybe it's kind of what

708
00:40:12,280 --> 00:40:15,480
Speaker 1: I was touching on earlier, where if this maybe this

709
00:40:15,600 --> 00:40:18,239
Speaker 1: character is a metaphor for like the way women have

710
00:40:18,520 --> 00:40:22,160
Speaker 1: historically been treated, where you know, we're conditioned to be

711
00:40:22,200 --> 00:40:25,520
Speaker 1: accommodating and we have to be helpful and and and

712
00:40:25,520 --> 00:40:28,200
Speaker 1: and delicate and all of this stuff and and how

713
00:40:28,360 --> 00:40:31,520
Speaker 1: that's not really serving anybody, and like that's not good

714
00:40:31,520 --> 00:40:33,440
Speaker 1: and that's not how it should be. But like, I

715
00:40:33,480 --> 00:40:37,440
Speaker 1: don't think that Dannia Rondowski was necessarily thinking that, Like

716
00:40:37,600 --> 00:40:42,880
Speaker 1: I think that's all, but it is, like it is

717
00:40:42,920 --> 00:40:46,000
Speaker 1: so infuriating to see the only things you see Jennifer

718
00:40:46,080 --> 00:40:49,840
Speaker 1: Lawrence's character doing is either cleaning stuff up or making

719
00:40:49,880 --> 00:40:54,920
Speaker 1: breakfast or fixing up the house or just like endless

720
00:40:54,960 --> 00:40:58,640
Speaker 1: domestic chores, doing laundry, you know, Jennifer and cleaning up

721
00:40:58,640 --> 00:41:01,719
Speaker 1: a mess. Um. We touched on this a little earlier,

722
00:41:01,760 --> 00:41:05,320
Speaker 1: but I did want to mention like how the female

723
00:41:05,360 --> 00:41:09,040
Speaker 1: protagonist is framed in this movie, and that like almost

724
00:41:09,040 --> 00:41:11,840
Speaker 1: every shot is either a close up of her face

725
00:41:12,360 --> 00:41:15,320
Speaker 1: or a shot from her, like an over the shoulder

726
00:41:15,560 --> 00:41:17,520
Speaker 1: or just a straight up point of view shot from

727
00:41:17,520 --> 00:41:20,839
Speaker 1: her perspective, which I think is I guess you could

728
00:41:20,840 --> 00:41:23,840
Speaker 1: call it interesting. It's unusual. It's not what we usually

729
00:41:24,040 --> 00:41:27,839
Speaker 1: see in most movies, especially because most movies are not

730
00:41:28,280 --> 00:41:31,560
Speaker 1: told from a woman's point of view, like and this

731
00:41:31,560 --> 00:41:34,799
Speaker 1: this one is yeah, literally her point of view. It's

732
00:41:34,800 --> 00:41:37,359
Speaker 1: like a point of view shot from I mean, it's

733
00:41:37,400 --> 00:41:38,759
Speaker 1: kind of I guess kind of an even split of

734
00:41:38,760 --> 00:41:40,920
Speaker 1: looking at her and looking from her point of view, right,

735
00:41:41,200 --> 00:41:44,080
Speaker 1: So I mean maybe something I can take away from

736
00:41:44,120 --> 00:41:49,040
Speaker 1: this movie is Okay, that's interesting that that choice was made,

737
00:41:49,160 --> 00:41:53,840
Speaker 1: because often if it's a male director framing a female character,

738
00:41:54,120 --> 00:41:57,120
Speaker 1: it's usually sexualized in some way or like, and I

739
00:41:57,160 --> 00:41:59,920
Speaker 1: never find you get to see her share night gaw

740
00:42:00,000 --> 00:42:02,239
Speaker 1: in a couple of times, you do. I mean, they

741
00:42:02,239 --> 00:42:04,640
Speaker 1: do have that scene where all the people are attacking

742
00:42:04,640 --> 00:42:07,040
Speaker 1: her on the floor and like her boob comes out

743
00:42:07,080 --> 00:42:10,239
Speaker 1: and they're like grab which like why what what? What

744
00:42:10,400 --> 00:42:13,120
Speaker 1: is that serving? Why is that scene? And being in

745
00:42:13,120 --> 00:42:16,480
Speaker 1: a room with your boyfriend and he's like, yeah, yeah,

746
00:42:16,640 --> 00:42:23,279
Speaker 1: hit her And I was like, ah no, no, how

747
00:42:23,280 --> 00:42:25,840
Speaker 1: did he know that scarf? He's like, hey, Jennifer, just

748
00:42:26,000 --> 00:42:29,920
Speaker 1: um lie here on the floor and get your face beaten.

749
00:42:29,960 --> 00:42:33,799
Speaker 1: In all of these extras for my awesome, freaking you're

750
00:42:33,840 --> 00:42:38,720
Speaker 1: gonna love it mother, I felt like I could see

751
00:42:39,080 --> 00:42:42,240
Speaker 1: the male gaze on Jennifer Lawrence the whole movie, because

752
00:42:42,239 --> 00:42:47,000
Speaker 1: she was completely perfect the entire time, Like she never

753
00:42:47,080 --> 00:42:50,080
Speaker 1: got more in disarray as the movie went on until

754
00:42:50,120 --> 00:42:52,080
Speaker 1: that very very ending section. But even then, like when

755
00:42:52,120 --> 00:42:54,160
Speaker 1: she was running around. Her hair was perfectly in place,

756
00:42:54,400 --> 00:42:57,040
Speaker 1: Like all the shots were like so close and intimate

757
00:42:57,080 --> 00:43:01,560
Speaker 1: and like this gorgeous lighting, so it didn't were like sexualized,

758
00:43:01,600 --> 00:43:04,920
Speaker 1: but it felt like Darren's way of viewing her almost.

759
00:43:05,320 --> 00:43:07,040
Speaker 1: That's a really good point. Yeah, I hadn't thought of

760
00:43:07,080 --> 00:43:09,799
Speaker 1: it that way. It's too bad because I I don't

761
00:43:09,840 --> 00:43:13,560
Speaker 1: think this movie got nominated for every Razzie pretty much.

762
00:43:13,840 --> 00:43:18,200
Speaker 1: I think he got the most nomination. And it's too

763
00:43:18,200 --> 00:43:21,040
Speaker 1: bad because I don't think Jennifer Lawrence does a bad

764
00:43:21,160 --> 00:43:23,960
Speaker 1: job in this movie with what she's given, which is

765
00:43:24,040 --> 00:43:27,080
Speaker 1: not a lot. If seventy percent of the dialogue you're

766
00:43:27,120 --> 00:43:30,080
Speaker 1: given is hey, like there's only so much you can do,

767
00:43:30,320 --> 00:43:33,160
Speaker 1: and and given the fact that the camera is focused

768
00:43:33,200 --> 00:43:35,960
Speaker 1: on her for so much of the movie, I feel

769
00:43:35,960 --> 00:43:39,200
Speaker 1: like she and like Michelle Peiffer, felt like that at

770
00:43:39,280 --> 00:43:42,759
Speaker 1: least an interesting job with what they were given. However,

771
00:43:42,800 --> 00:43:45,279
Speaker 1: your burden, I don't know. I was like not loving

772
00:43:45,360 --> 00:43:48,319
Speaker 1: him in this movie, Kristen Wig, what are you doing here?

773
00:43:49,960 --> 00:43:54,840
Speaker 1: Ed Harris? I'm maybe like afraid of bald men's time,

774
00:43:56,000 --> 00:43:57,840
Speaker 1: so like I don't have a good game fan of

775
00:43:57,880 --> 00:44:03,040
Speaker 1: bald women test, but bald women are in charge every

776
00:44:03,040 --> 00:44:07,040
Speaker 1: single time they appear on screen. Bald men, their scalps

777
00:44:07,040 --> 00:44:10,799
Speaker 1: can talk, and they have really scary secrets to tell you.

778
00:44:11,600 --> 00:44:13,959
Speaker 1: I mean, one of the huge problems is this movie

779
00:44:14,000 --> 00:44:17,600
Speaker 1: boils down to because the director was like, we gotta

780
00:44:17,760 --> 00:44:21,520
Speaker 1: have this metaphor. It's at the expense of characterization. So

781
00:44:21,600 --> 00:44:25,240
Speaker 1: none of these characters feel like real people and therefore

782
00:44:25,280 --> 00:44:27,520
Speaker 1: it's I mean, it's kind of hard to talk about them.

783
00:44:27,520 --> 00:44:29,960
Speaker 1: So like before we started recording, I was like, what

784
00:44:30,040 --> 00:44:32,000
Speaker 1: am I even going to say about this movie? Like

785
00:44:32,040 --> 00:44:34,399
Speaker 1: how can I even talk about the female characters because

786
00:44:34,400 --> 00:44:38,080
Speaker 1: they're like, they're not real people. They don't resemble human

787
00:44:38,120 --> 00:44:40,880
Speaker 1: behavior at all. So it's just like, how do you

788
00:44:40,920 --> 00:44:44,240
Speaker 1: even talk about the portrayal of women when these female

789
00:44:44,320 --> 00:44:48,880
Speaker 1: characters they're just like metaphors and allegories and personifications of

790
00:44:49,760 --> 00:44:52,480
Speaker 1: the ship. And no one's relationship makes sense. We don't know.

791
00:44:53,000 --> 00:44:57,080
Speaker 1: There's very little evident about like why have your Bret

792
00:44:57,200 --> 00:44:59,719
Speaker 1: m and Jennifer Lawrence would love each other in this

793
00:44:59,800 --> 00:45:03,680
Speaker 1: for relationship? What keeps their relationship together other than her

794
00:45:03,719 --> 00:45:07,759
Speaker 1: constant service. One of the more baffling character connections was

795
00:45:07,800 --> 00:45:10,160
Speaker 1: like Ed Harris showing up in Javier Bardim just being

796
00:45:10,200 --> 00:45:13,919
Speaker 1: like I love this guy, and that that goes through

797
00:45:13,960 --> 00:45:16,640
Speaker 1: every single time. Ed Harris is like, I've been lying,

798
00:45:16,760 --> 00:45:20,279
Speaker 1: and how your bards like you're so fucking real like

799
00:45:20,320 --> 00:45:23,480
Speaker 1: and they're they're weirdly. I guess it is because like,

800
00:45:23,520 --> 00:45:27,759
Speaker 1: because God loved those were his creations, so he loved

801
00:45:27,840 --> 00:45:29,920
Speaker 1: he had, he loved them, and he's like, Wow, look

802
00:45:30,040 --> 00:45:31,800
Speaker 1: what a good job I did with all this stuff.

803
00:45:31,800 --> 00:45:34,560
Speaker 1: And I guess the movie is saying, oh no, God

804
00:45:34,640 --> 00:45:37,280
Speaker 1: didn't maybe do a good job because everything got fucked

805
00:45:37,360 --> 00:45:41,000
Speaker 1: up by the end Aronowski second draft. Come on, come on,

806
00:45:41,160 --> 00:45:44,200
Speaker 1: it have been great to see the third, fourth, fifty

807
00:45:44,280 --> 00:45:47,279
Speaker 1: second draft or I think that that would have ended

808
00:45:47,280 --> 00:45:50,000
Speaker 1: in the trash if anyone had taken a good, long,

809
00:45:50,120 --> 00:45:53,400
Speaker 1: hard look at what this movie is like, maybe skip it.

810
00:45:53,560 --> 00:45:55,239
Speaker 1: He should have sent his script to me for notes.

811
00:45:55,239 --> 00:45:58,040
Speaker 1: I would have given him great notes. Doesn't even have

812
00:45:58,160 --> 00:46:07,239
Speaker 1: any other thoughts about the portrayal of women in all Right, Well,

813
00:46:07,280 --> 00:46:09,000
Speaker 1: how about we talk about whether or not the movie

814
00:46:09,040 --> 00:46:12,799
Speaker 1: passes the Bechdel test. I say no. I would say

815
00:46:12,840 --> 00:46:17,640
Speaker 1: no to because the characters aren't named. Yes, if they

816
00:46:17,680 --> 00:46:21,160
Speaker 1: had names, it would have to pass. I'm pretty sure

817
00:46:21,200 --> 00:46:25,240
Speaker 1: because of the scenes with Jennifer Lawrence and Michelle Peiffer,

818
00:46:26,320 --> 00:46:30,040
Speaker 1: but they don't have names, no matter whether I AMDB

819
00:46:30,080 --> 00:46:33,920
Speaker 1: Page says sometimes I AMDDB Page says, Hey, the twist

820
00:46:33,960 --> 00:46:35,960
Speaker 1: is they did have a name, but we'd never find

821
00:46:36,000 --> 00:46:38,239
Speaker 1: out what it is. We never find out in the movie. Yeah,

822
00:46:38,280 --> 00:46:40,160
Speaker 1: and we never and it's you know, I'd be more

823
00:46:40,160 --> 00:46:42,200
Speaker 1: inclined to give it a benefit of the doubt if

824
00:46:42,200 --> 00:46:44,359
Speaker 1: we knew, like, well, at least we knew a lot

825
00:46:44,440 --> 00:46:46,360
Speaker 1: about the characters, but we didn't know anything about the

826
00:46:46,640 --> 00:46:50,440
Speaker 1: characters either. So so I'm gonna not to come to

827
00:46:50,520 --> 00:46:53,319
Speaker 1: this movie's defense at all, but I'm gonna argue that

828
00:46:53,360 --> 00:46:58,000
Speaker 1: the caveat of the characters having to have names implies that, oh,

829
00:46:58,080 --> 00:47:00,919
Speaker 1: these characters have to be important enough that we would

830
00:47:01,040 --> 00:47:02,520
Speaker 1: know their names. So it can't just be like a

831
00:47:02,640 --> 00:47:05,680
Speaker 1: random person we see and one scene that has one line,

832
00:47:06,160 --> 00:47:09,200
Speaker 1: and if that character talks to another woman with a name, like,

833
00:47:09,440 --> 00:47:12,160
Speaker 1: I think that's what that that caveat of the backdo

834
00:47:12,360 --> 00:47:14,799
Speaker 1: test is saying. So it's like it has to be

835
00:47:14,880 --> 00:47:17,919
Speaker 1: two main characters speaking to each other. So these are

836
00:47:18,000 --> 00:47:19,920
Speaker 1: two main characters in the movie. So the fact that

837
00:47:19,960 --> 00:47:22,400
Speaker 1: they don't have names, I think is just like whatever,

838
00:47:22,719 --> 00:47:25,520
Speaker 1: and the artistic choice and the fact that they don't

839
00:47:25,560 --> 00:47:27,960
Speaker 1: have names is an a gender decision because no one

840
00:47:28,040 --> 00:47:32,799
Speaker 1: has names, correct. But but test is extremely flawed and

841
00:47:32,840 --> 00:47:37,200
Speaker 1: I don't write so it doesn't. Yeah, I mean, I'm

842
00:47:37,239 --> 00:47:40,440
Speaker 1: fine with saying it doesn't because of the name caveat,

843
00:47:40,440 --> 00:47:42,360
Speaker 1: because otherwise, I mean, let's say they do have names.

844
00:47:42,640 --> 00:47:45,560
Speaker 1: And then those two characters, Yeah, they talk about Mike's

845
00:47:45,560 --> 00:47:50,120
Speaker 1: hard lemonade. They talk about like you suck just like sorry,

846
00:47:50,440 --> 00:47:52,239
Speaker 1: and a lot of what they talk about are like

847
00:47:52,400 --> 00:47:55,040
Speaker 1: domestic chores. And again that's a lot of what you

848
00:47:55,080 --> 00:47:58,319
Speaker 1: see Jennifer Lawrence's character doing in the movie. But they

849
00:47:58,320 --> 00:48:00,719
Speaker 1: are talking about saying they do mention man. But there

850
00:48:00,760 --> 00:48:03,520
Speaker 1: are plenty of two line exchanges between those two characters

851
00:48:03,560 --> 00:48:05,920
Speaker 1: that would pass the test if we knew their names.

852
00:48:06,280 --> 00:48:08,239
Speaker 1: I don't want to give anyone a reason to be like, yeah,

853
00:48:08,360 --> 00:48:10,120
Speaker 1: maybe I'll give this movie a chance. Yeah I'm not.

854
00:48:10,160 --> 00:48:12,320
Speaker 1: I'm not gonna. I think I won't give it a

855
00:48:12,360 --> 00:48:14,640
Speaker 1: pass just because they don't have names in this movie

856
00:48:14,760 --> 00:48:20,239
Speaker 1: sucks really bad and it yeah, fuck it. In conclusion,

857
00:48:21,560 --> 00:48:24,200
Speaker 1: let's write the movie on our nipple scale zero to five.

858
00:48:24,320 --> 00:48:28,840
Speaker 1: Nipples where we rate the movie based on its portrayal

859
00:48:29,000 --> 00:48:35,919
Speaker 1: of women go negative to nipples. Uh yeah, I'm gonna

860
00:48:35,920 --> 00:48:38,799
Speaker 1: have to give it a zero just because of how

861
00:48:38,920 --> 00:48:43,520
Speaker 1: inactive the protagonist is, how the relationship with the one

862
00:48:43,560 --> 00:48:47,320
Speaker 1: other main female character is just like bonkers and doesn't

863
00:48:47,320 --> 00:48:51,400
Speaker 1: make any sense. But the movie isn't like pro man either.

864
00:48:51,480 --> 00:48:53,239
Speaker 1: That's the thing. It's not like, Wow, look how good

865
00:48:53,360 --> 00:48:56,200
Speaker 1: a job men are doing. Isn't even like it's not

866
00:48:56,320 --> 00:49:00,200
Speaker 1: specifically insensitive to women in a point a way. It's

867
00:49:00,239 --> 00:49:05,000
Speaker 1: just insensitive to filmmaking and things that are good, a

868
00:49:05,080 --> 00:49:08,080
Speaker 1: slab in the face to anything that's ever been good. Yeah.

869
00:49:08,160 --> 00:49:10,600
Speaker 1: And then even at the end when she sort of

870
00:49:10,640 --> 00:49:14,040
Speaker 1: has her like, oh, actually I do have a little

871
00:49:14,120 --> 00:49:16,200
Speaker 1: tiny bit of agency and I'm going to blow the

872
00:49:16,200 --> 00:49:19,680
Speaker 1: whole house up, and then she dies and then gets

873
00:49:19,880 --> 00:49:22,640
Speaker 1: reborn into this other woman, so she doesn't even get

874
00:49:22,680 --> 00:49:26,040
Speaker 1: to like have a cathartic moment that she actually gets

875
00:49:26,040 --> 00:49:29,160
Speaker 1: to like enjoy and like reap the benefits of, because

876
00:49:29,160 --> 00:49:31,960
Speaker 1: when she just dies, and then it's the whole thing

877
00:49:31,960 --> 00:49:34,200
Speaker 1: of like, oh, well, God gets to start over because

878
00:49:34,200 --> 00:49:37,200
Speaker 1: he's God. I give this movie zero nipples, but I

879
00:49:37,280 --> 00:49:41,839
Speaker 1: give it one floor of Va China. There's no way

880
00:49:41,880 --> 00:49:47,560
Speaker 1: around it. Great. Um, well that'll do it for our

881
00:49:47,680 --> 00:49:51,719
Speaker 1: discussion about Mother, and I thank you so much for

882
00:49:51,760 --> 00:49:55,040
Speaker 1: being here, thanks for having Where can people follow you online?

883
00:49:55,600 --> 00:49:59,000
Speaker 1: It's just my name Anna Ancona great a right, Twitter, Instagram,

884
00:49:59,080 --> 00:50:02,040
Speaker 1: check it out. All the stuff you can go to

885
00:50:02,239 --> 00:50:04,279
Speaker 1: our website back tocast dot com. You can follow us

886
00:50:04,280 --> 00:50:06,120
Speaker 1: on Twitter and Instagram, and all the places you can

887
00:50:06,160 --> 00:50:11,879
Speaker 1: buy our merch merch now hot merch or where you can.

888
00:50:12,000 --> 00:50:16,239
Speaker 1: You can make those purchases on our website. You can

889
00:50:16,520 --> 00:50:19,560
Speaker 1: subscribe to our Patreon. It's five dollars a month to

890
00:50:19,560 --> 00:50:23,000
Speaker 1: get to bonus episodes. It helps us out, helps you out.

891
00:50:23,280 --> 00:50:26,320
Speaker 1: It's a win win, you can't lose. All right, Well,

892
00:50:26,840 --> 00:50:30,319
Speaker 1: what a rousing discussion about Mother as we did not

893
00:50:30,400 --> 00:50:33,720
Speaker 1: like this movie, all right, well bye bye