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

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

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

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Speaker 1: start changing it with the beck Del Cast. Hi, welcome

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Speaker 1: to the beck Del Cast. My name is Jamie, my

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Speaker 1: name is Caitlin. It's a cowboy episode. Haa. It's gonna

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Speaker 1: be a big fun cowboy. We're gonna be roping them

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Speaker 1: up and throwing them back. That's a phishing metapart. You're

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Speaker 1: gonna last at them and then there's gonna be a

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Speaker 1: hole in them, but we're gonna let them go. We're

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Speaker 1: just sadists and we're just trying to kill a Saturday. Right,

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Speaker 1: that's how fishing works. I agree. I was briefly an

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Speaker 1: intern on a tuna boat. Once an intern on a

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Speaker 1: tuna boat. That's what they said. I was just not

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Speaker 1: being paid to work on a tuna boat for like

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Speaker 1: a week. Right, Wait, what did you have to do?

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Speaker 1: It was with my mom's boyfriend. I mean they would

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Speaker 1: catch the fish in large quantities and I would arrange

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Speaker 1: coolers and later we would eat tuna. It was not

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Speaker 1: you get credit for us an intern on a tuna.

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Speaker 1: But that's the thing is like it was during the summer,

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Speaker 1: and I think that they just said they called me

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Speaker 1: an intern because they had no intention of paying me.

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Speaker 1: And I was like staying with my mom and she's like,

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Speaker 1: I would love for you to get to know him

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Speaker 1: batter and so she's just like intern on his tuna thout.

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Speaker 1: So I did for like it was like made four days.

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Speaker 1: It was a bad week because you get up so early. Yeah,

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Speaker 1: that's and they're all like, what if you were like

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Speaker 1: majoring in tuna fish in college? And then you're like

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Speaker 1: I did, clear it was a fish major. Hey do

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Speaker 1: you know what I studied? What? I have a master's

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Speaker 1: degree in screenwriting from Boston University. Big deal to me.

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Speaker 1: I hate to bring an into this, Okay, Mrs Alfred

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Speaker 1: Molina mentioned er, that's not that has nothing to do

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Speaker 1: with education. That's strictly the director of my lines pointment.

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Speaker 1: You have like my bad signal that compass from pirate

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Speaker 1: to the being that Jack Sparrow has. It just like

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Speaker 1: points your crotch to wherever yea word ving my crotch,

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Speaker 1: and I just hovered to wherever he might be. Anyways,

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Speaker 1: welcome to the Cowboy episode that became the fishing episode

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Speaker 1: that became us arguing for a second. Right, Hey, let's

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Speaker 1: introduce our guests. She is a wonderful comic. You've seen

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Speaker 1: her on Viceland and she runs a very funny show

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Speaker 1: in Los Angeles called crab Apples. Caitlin Gili, CAITLINI Hi, Hi,

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Speaker 1: interstinguishable Caitlin's I know, I'm the resure one. I sound

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Speaker 1: like I lived harder. How funny would it be if

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Speaker 1: we were like doing a Highlander and we can be like,

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Speaker 1: there can be only one. That movie is not great

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Speaker 1: for women either, No, it's it's it's not good. We'd

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Speaker 1: probably be dead just at the starting scene, unable to

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Speaker 1: compete with one another to truly establish dominance, because who

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Speaker 1: will let us in the patriarchy? You know, I just

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Speaker 1: want to even let us on the mountain to climate. Nope, yeah,

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Speaker 1: you don't make it to The Highlander sucks fabulously. I

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Speaker 1: hate that movie. I love to hate it. I'll watch it,

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Speaker 1: no problem, only garbage. It's so great. I only saw

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Speaker 1: it once pretty recently, and I did not care for

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Speaker 1: it at all. I have an incredibly high threshold for garbage.

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Speaker 1: I really love garbage films like passionately love b movies.

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Speaker 1: I think terrible movies great, so much fun. If entertainment

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Speaker 1: is the rubric, then I am fully satisfied to measure

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Speaker 1: it by entertainment value. I love watching terrible movies. I

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Speaker 1: don't think the movie we're going to talk about today

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Speaker 1: is terrible. That does not what's your favorite terrible movie?

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Speaker 1: Oh my god. Well, I'm a big fan of roof

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Speaker 1: tecks and mystery signs suits with thousands, So what kind

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Speaker 1: of terrible? Well that's that you want? Like big budget bad?

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Speaker 1: Or do you want a movie that's barely a movie bad?

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Speaker 1: Or is this like a Mac and me situation? Because

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Speaker 1: oh I just saw one. It's like in Hunt of

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Speaker 1: the Yetti or Searching for the Yetti. It starts meat

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Speaker 1: Loaf for real, you're kidding away kidding, meat Low. You're

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Speaker 1: gonna love this movie. I'm a big loaf head. That's

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Speaker 1: because it's it's it hardly functions. When did it come out? Gosh,

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Speaker 1: I don't know. I want to put it at like

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Speaker 1: a ninety one. It's wild because me Love is an

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Speaker 1: excellent actor. Well, yeah, you know, he really carries the

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Speaker 1: cast in this particular faure. I have to say, not

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Speaker 1: a lot of people doing any heavy lifting. The Loaf

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Speaker 1: really does his job. He has a little assistant he

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Speaker 1: drags around called Blubber, who I swear to God is

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Speaker 1: doing a Bobcat called wait impersonation. I swear to god,

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Speaker 1: I have to ask Bob if they pitched that to him,

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Speaker 1: if they came to him with it, and he was

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Speaker 1: he was like hard passed. And then they just found

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Speaker 1: a guy that was like, I can do one of those,

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Speaker 1: and then they threw him in the movie. It's ridiculous.

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Speaker 1: Oh my god. You can't turn down the Loaf, I

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Speaker 1: mean you can. He was in Spice World, which we

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Speaker 1: did was legitimately one of my favorite films. So fun.

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Speaker 1: I think it is excellent. Part like that. It's not

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Speaker 1: even bad, just goods are great. It's a movie, of course.

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Speaker 1: It's not a great film that you're gonna study from

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Speaker 1: someone's bro It's just a fun It's just well done.

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Speaker 1: It is perfectly executed for what it is. It's the

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Speaker 1: perfect example of a movie that could have only been

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Speaker 1: made in like two very specific months. Oh absolutely, yeah.

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Speaker 1: The window sense. But it's great. It's like the picture

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Speaker 1: of that time It's like a still photograph that perfectly

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Speaker 1: encapsulates a two months span. You're my my favorite. I

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Speaker 1: love a big budget bad movie, and my I Frankenstein

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Speaker 1: is one of my favorite big bad Oh it is

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Speaker 1: it is? I love when a bad movie is so

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Speaker 1: sure it's going to get a sequel. Oh God, I

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Speaker 1: set you right up, Godzilla baby. Yeah. Yeah. Matthew Broderick

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Speaker 1: dinosaur Hunter that is not technically a dinosaur. Forgive me,

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Speaker 1: forgive me, don't don't take now, Jamie in the comments,

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Speaker 1: that was that was other Caitlin's time, Other Caitlin, this

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Speaker 1: is your attack me in the comments, I still I

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Speaker 1: reflected on um the one time that I got targeted

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Speaker 1: by this steam bunks. It's still one of my favorite accomplishments.

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Speaker 1: Not enemies you want to make. They have very complicated

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Speaker 1: mechanizations to come after you. They do, and it's like,

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Speaker 1: is it the past is at the future? We don't

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Speaker 1: know what was that? Is it? Yeah? Is that what

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Speaker 1: that movie was called? That's a fun bast steampunk like

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Speaker 1: come staying on a movie real, It's ridiculous. I love it.

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Speaker 1: I love Garbage, I love Carbagge. I know all the

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Speaker 1: words say that song right, we've sung it or you

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Speaker 1: have ys well done. Yikes, dude, that used to be

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Speaker 1: something I would brag about in nice school for some reason,

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Speaker 1: Just so you know, excuse me, us blues traveler hook.

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Speaker 1: I absolutely know all those weird words in the red part.

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Speaker 1: I definitely looked up on early Internet like be. I

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Speaker 1: endured that to get to the real lyrics of hook.

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Speaker 1: Oh god, this is too honest. Let's get to something

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Speaker 1: that's not about We are talking about the movie, Butch

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Speaker 1: Cassidy and the Sundance Kids not a garbage movie. Caitlin, Yes,

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Speaker 1: when did you foresee it? What's your history? Your relationship

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Speaker 1: with this movie? This was Dad had the remote. It

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Speaker 1: came on to like Turner Classic or something, and he

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Speaker 1: just wouldn't change it. So I endured it as a boring, long,

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Speaker 1: quiet movie with like punctuated exciting things when I was

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Speaker 1: a kid, and then I rented it to try to

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Speaker 1: be cool. I don't know why. I what it really was,

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Speaker 1: just like I think I'm supposed to like this. It

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Speaker 1: was like an angsty teenage I only like old things

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Speaker 1: and I know all the cool ones. I didn't read

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Speaker 1: a book, mind you. This was not me going to

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Speaker 1: the library to pick out a classic. This was very

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Speaker 1: much I can be cool, I can be smart. In

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Speaker 1: two hours, that was my Judy Garland face all over. Yeah,

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Speaker 1: I don't like things that are from now. I like

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Speaker 1: what was massively popular that right, But I watched it

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Speaker 1: again and I don't think at the time I had

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Speaker 1: a very critical eye. I just knew it was good.

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Speaker 1: I'm still struggling with that as like a person in

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Speaker 1: the entertainment business. If I can even say that, uh where,

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Speaker 1: I don't know where to stop a fan and start

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Speaker 1: being a critic or a fellow artist or entertainer. Like

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Speaker 1: it changed this the way you experienced taking media. But

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Speaker 1: I'm glad I saw this at a time when I

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Speaker 1: didn't ever try to look behind the scenes of a movie.

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Speaker 1: I didn't want to know who wrote it. I didn't

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Speaker 1: care about who directed it. It just happened and it

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Speaker 1: worked or it didn't work, And that one worked like

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Speaker 1: it's very captivating environment. I was kind of drawn in

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Speaker 1: that had to be like thirteen or fourteen, so I

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Speaker 1: didn't know why the movie was making me want to

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Speaker 1: have sex with everything. But it definitely did well and

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Speaker 1: still has to do with some homo eroticism between maybe

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Speaker 1: the two most attractive men to have ever been born

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Speaker 1: in existence dressing and not just in their prime, but

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Speaker 1: in prime just just definitively it is prime day. That's

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Speaker 1: when we're recording, and I think that is very fittic

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Speaker 1: prime day day. I'm going to get a slurpy two seconds.

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Speaker 1: This is a terrific afternoon. Yeah, And then I saw

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Speaker 1: it one more time. Sorry, I'm not done with my

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Speaker 1: fan really, I said later on after like reading more

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Speaker 1: about story and film structure and like how movies are

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Speaker 1: made and getting more curious about who makes good stuff

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Speaker 1: and how and looking at it from that lens, it

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Speaker 1: is a It's an exceptional work. I think it's just

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Speaker 1: like it's a film school movie. Of course you watched

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Speaker 1: it like it's one of those. It's just sort of

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Speaker 1: a blueprint for a great way to do things. It

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Speaker 1: breaks some rules, it makes some rules. I think it's

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Speaker 1: really pretty. I just think it's a it would look

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Speaker 1: great if you shot it now, and it's from sixty nine.

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Speaker 1: I thought a Hell or High Water. There's a few

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Speaker 1: movies that makes me think of where you can really

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Speaker 1: see its influence. I think you guys talked about you guys.

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Speaker 1: Oh my goodness. Uh, I think y'all talked about right,

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Speaker 1: uh Tolmon Louise already. But there's some obvious parallels that

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Speaker 1: just love it's footprints or it's little fingerprints and films

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Speaker 1: later that I caught. I would like to think that

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Speaker 1: Back to the Future three drew a lot of inspiration from.

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Speaker 1: But to Cassidy and the Sundance Kid, Yes, I agree.

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Speaker 1: I love this movie a lot, although rewatching it through

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Speaker 1: the lens that we critique movies on this podcast, Okay,

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Speaker 1: not so great. We'll get into it. But it's a

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Speaker 1: movie I saw, I think probably for the first time

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Speaker 1: in maybe late high school. My mom was a big

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Speaker 1: fan of this movie. I wonder why, right, how old

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Speaker 1: was your mom in nineteen sixty nine. She was born

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Speaker 1: in fifty four, so she was a man. This is

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Speaker 1: her Titanic. Is her Titanic. She's horny as hell. God damn.

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Speaker 1: She totally went in a one dollar movie theater. Yeah,

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Speaker 1: no kidding, good for Laurie. Shout out to shout out

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Speaker 1: to Laura. But so I saw it and then I

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Speaker 1: and I loved it again. I don't even know if

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Speaker 1: it's a good movie or not. I'm just so horny

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Speaker 1: for Paul Newman and Robert Redford. But I do think

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Speaker 1: it's a good movie. Just the banter between the two

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Speaker 1: of them and their relationship is just really fun to watch.

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Speaker 1: And they're so fun. Yes, everyone in this movie is

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Speaker 1: even though they're everybody's dirty. You can tell they smell bad.

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Speaker 1: And I want to have sex with everyone in every frame,

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Speaker 1: every sex. Yeah I don't. I don't. It wasn't for you.

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Speaker 1: It wasn't for me. I'm not a cowboy gal, and

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Speaker 1: I called a gout. I'm now western gal. I'm not

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Speaker 1: a generally not a a movie movie. Why are we here?

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Speaker 1: I didn't. I watched the whole thing, which compliments which

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Speaker 1: thank you so much. I watched the whole thing. It

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Speaker 1: was long, and there was a lot of anything where

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Speaker 1: there's chasing. I was like, I gotta get up, I

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Speaker 1: gotta I gotta take a lap. I don't know. And

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Speaker 1: because this was my first time seeing it, I don't

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Speaker 1: have any glow around it. And so I was watching

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Speaker 1: it for this podcast. It was like really honed in on,

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Speaker 1: like waiting for the first female character to come on screen,

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Speaker 1: and boy was I waiting for a little bit and

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Speaker 1: then it was like, oh, leader of a whorehouse, cool

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Speaker 1: female character and everyone. I mean, it's fine, it's it's

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Speaker 1: one of those movies that I just know would not

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Speaker 1: be for me at any point. Sure, yeah, I think

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Speaker 1: it's definitely a Western, but it's somebody's era ending while

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Speaker 1: they're living in it, like they're watching the sunset of

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Speaker 1: their kind of heyday and time. They're trying to squeeze

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Speaker 1: the most out of life and they see it escape.

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Speaker 1: Like I mean, it said directly to them twice at

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Speaker 1: the halfway point of the movie. You die at the

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Speaker 1: end of the movie. Die at the end at the

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Speaker 1: you die you pick where I guess I believe it

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Speaker 1: before half, but you die at the end, and they

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Speaker 1: they know, and there's a few points where it suggested

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Speaker 1: they know. And there's something in that that I defind

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Speaker 1: very compelling, regardless whether or not their cowboys, because it's

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Speaker 1: not every Western I love. But like The New True

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Speaker 1: Grit was another film that I would think of for

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Speaker 1: this podcast because again it's not a lot of women,

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Speaker 1: but the women in the film are fascinating and very

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Speaker 1: interesting reflection of the time. Because Edda and Butch castings

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Speaker 1: on his kid is Also, you have to wait a

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Speaker 1: long time to see her. She doesn't have a whole

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Speaker 1: lot of screen time. What a layered and revealing performance.

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Speaker 1: And also what other woman do you right to reflect

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Speaker 1: this time? It be dishonest to suggest that she's a swashbuckling,

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Speaker 1: fun time cow girl. She describes herself as twenty six

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Speaker 1: single school teacher, bottom of the barrel. What a quote. Yeah,

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Speaker 1: that was. It is weird because they do make the

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Speaker 1: most of every line she's given. She doesn't have a

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Speaker 1: lot of lines, but when she speaks, she is amazing.

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Speaker 1: That was inappropriate and I apologize. Also, she is so

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Speaker 1: married to same Elliott and has been for like a

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Speaker 1: gazillion years. He's apparently in this movie. You never see

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Speaker 1: him on screen, but I was watching the credits. He's

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Speaker 1: the other card player at the very beginning, like Sundance,

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Speaker 1: you're cheating, And what a great opening scene. It's like

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Speaker 1: the first one is butcher like in a bank, like

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Speaker 1: what outer the old bank? It was beautiful, people kept

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Speaker 1: Robin and small players to pay for beauty, like you

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Speaker 1: know exactly who he is from the gate. And then

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Speaker 1: as soon as you see Sundance, he's not cheating at

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Speaker 1: cars and winning or was he he wasn't? I think

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Speaker 1: I think he's he just wins and sundance, How good

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Speaker 1: are you? And he's like, but by gun so horny

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Speaker 1: right from that right, oh my god, the color like

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Speaker 1: every it's not only okay. So here's a terrible movie.

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Speaker 1: This is tangential, but I promise I'm gonna get back

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Speaker 1: to where we were. Anybody's seen Samurai Coup. This is

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Speaker 1: a joke from Rift Trexit. I'm kind of stealing, but

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Speaker 1: it is a thousand percent correct that there's a sex

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Speaker 1: scene in Samurai Cup with two physically perfect like a

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Speaker 1: guy who looks like a bodybuilding poster and a woman

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Speaker 1: who looks like a nineties calendar in an auto mechanic shop,

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Speaker 1: and they begin the act of copulation, and it is

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Speaker 1: so absent of any sexuality. Sensuality is a mile and

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Speaker 1: a half away. How you take two beautiful bodies to

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Speaker 1: make them like it would an incompetent or beautifully incompetent

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Speaker 1: filmmaker could to have made that like those two men unsexy.

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Speaker 1: It's possible to shoot Robert Redford and Paul Newman in

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Speaker 1: a way that is unsexy, but they are perfect creatures.

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Speaker 1: That were caught perfectly in this film, and like every step,

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Speaker 1: every time you hear their boots fall every time, like

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Speaker 1: because the stupid eyes, Paul Newman, stupid eyes, dumb, greasy hair.

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Speaker 1: I just it's yeah, he's you can salty they are,

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Speaker 1: and I want to know about it. Yeah, he's stupidly handsome.

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Speaker 1: But but for me, so handsome that I'm like I do.

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Speaker 1: I don't even think I'm horny. I'm just looking. That

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Speaker 1: makes a study almost, Yeah, like I tap out at

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Speaker 1: a certain point of handsome. Understand this like a little

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Speaker 1: bit much, but I will continue to look. But now

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Speaker 1: it feels like a science project. I mean, how handsome

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Speaker 1: they are is borderline inappropriate, like it's not suitable for

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Speaker 1: young eyes. And they're fully clothed the whole time, extremely

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Speaker 1: speaking of their clothes. And then we should also try

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Speaker 1: to pass the test in our conversation and not just hijack.

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Speaker 1: And we didn't. No, no, no, no, not a summary.

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Speaker 1: Okay god no. Yeah. Well, can I just apologize for

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Speaker 1: myself on this podcast about the representation of women in media?

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Speaker 1: I am so sorry I'm occupying this space. You know,

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Speaker 1: we appreciate, we appreciate you coming forward lots of click

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Speaker 1: pay forthcoming about this pretty brave. Yeah, I'll do the

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Speaker 1: recap story. Um, So we meet Butch Cassidy and his

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Speaker 1: partner the sun Dance Kid, and they are bank robbers

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Speaker 1: and that bad boy but they're a good wrestling but

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Speaker 1: which I had to look up. Turns out that is

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Speaker 1: like stealing livestock. That was. So they're bank robbers. They

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Speaker 1: also robbed trains sometimes, and they go to rob the

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Speaker 1: flyer and it belongs to e. H. Harman. So they

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Speaker 1: robbed this train twice and take all the money for

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Speaker 1: There's a little attendant in the train who's so devoted

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Speaker 1: to his job, and you see he would get out

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Speaker 1: of the train, but he's in the employee and he

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Speaker 1: just can't. And that's my type right there. I'm just like,

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Speaker 1: this is this is this is realistically where I would land.

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Speaker 1: I like it's as like because they're too hot. I'm like,

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Speaker 1: this is my speed. I just don't get why he

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Speaker 1: was so loyal to some fucking rich dude. It was

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Speaker 1: annoying to me, But it's the only life he knows.

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Speaker 1: It's just more a more boring version of that. So

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Speaker 1: but and Sundance and his hole in the Wall gang

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Speaker 1: rob this, which is funny. That sounds like a glorial gang. Yeah,

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Speaker 1: apparently I was doing some wikipedia ing and Butch Cassie's

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Speaker 1: actual gang was called the Wild Bunch. They were not

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Speaker 1: called the Home. That's a great name, but that's yeah,

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Speaker 1: I think that's been used elsewhere. Right, But there's a

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Speaker 1: movie called The Wild Bunch, which I have not seen,

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Speaker 1: so I don't know. It is a Western and it's

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Speaker 1: about like cowboys and maybe they're robbers. I'm not sure.

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Speaker 1: I'll go watch that movie and then i'll let everybody know.

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Speaker 1: So anyway, they robbed this train twice and then E. H.

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Speaker 1: Harriman of the Union Pacific Railroad develops a vendetta against

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Speaker 1: Butch and Sundance. So he sends out this team of

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Speaker 1: hired like a guy who's an expert tracker and then

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Speaker 1: a lawman, and they start chasing Butch and Sundance. So

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Speaker 1: they're on on the lamb for a while, and then

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Speaker 1: they meet up with Sundance's girlfriend at a place and

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Speaker 1: they're like, maybe we should go to Bolivia. There's some

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Speaker 1: minds down there. We can steal their payroll. And they

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Speaker 1: go to Bolivia and everything's okay for a while, except

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Speaker 1: that Bolivia, they don't like it, and then um they're stealing.

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Speaker 1: They hate it, right, and then they start robbing banks

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Speaker 1: down there, and then local law enforcement starts to get

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Speaker 1: the Antito's Yankees, so they just they it when and

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Speaker 1: then there's a shootout at the end and they get

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Speaker 1: dead the end or do they very much very much?

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Speaker 1: But we know, we know, So that's the story. Our

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Speaker 1: main female character is at a place, as we already

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Speaker 1: hinted at, doesn't have a ton of screen time. Horses

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Speaker 1: running in the distance have significantly more screen time than

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Speaker 1: the primary female character. The I was taking notes in

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Speaker 1: real time of like how I was viewing at a

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Speaker 1: and here's a little okay. First, I like that she's

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Speaker 1: friends with them. That was not number one. Thot number two,

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Speaker 1: I don't know, maybe this is dynamic. She seems nice

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Speaker 1: and fun. Thought number three all caps, I have been

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Speaker 1: tricked at a place is a guy's gal. I was

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Speaker 1: almost tricked. I won't be tricked again. She's a guy's gal,

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Speaker 1: and and it connected with me as like, uh fuck,

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Speaker 1: that's what I wanted to be in high school. And

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Speaker 1: I'm piste off when she's like hanging out with Butch

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Speaker 1: and they're having so much freaking fun, and she's like,

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Speaker 1: you know, on his horse, like this is so much

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Speaker 1: fun for me, and you know, it's like I like

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Speaker 1: that they're friends, but they're man. I hate the guy's

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Speaker 1: gal of you know, she'll do whatever the guys do

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Speaker 1: because she's she's fun, she's you know, she's just like them.

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Speaker 1: She can hang you know, and like that whole God,

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Speaker 1: it's just it. I find it very frustrating and it's

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Speaker 1: not so agree just because she is not given a

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Speaker 1: ton to do. And then later when they go to Bolivia,

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Speaker 1: she has her role and she is playing the teacher

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Speaker 1: and she's trying to keep them motivated and all this stuff.

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Speaker 1: But that scene with her in but and then that

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Speaker 1: ends with like do you think that we would have

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Speaker 1: ended up together if I hadn't met Sundance first? I'm

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Speaker 1: just like, fuck you, Like you don't have to. I mean,

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Speaker 1: they are the hottest man in the world, but you don't,

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Speaker 1: come on, don't be a guy's gal. Grow up. I

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Speaker 1: really wanted them to be in a three way. That's

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Speaker 1: what was happening. I mean, that's the next line is

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Speaker 1: which we are involved, right but were they like having sex.

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Speaker 1: I don't think it's like you never see who's having

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Speaker 1: sex in this movie, and yet you kind of do.

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Speaker 1: I think that. Butch is like he's the sun. Everybody

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Speaker 1: loves him. He shines on everybody. You could never expect

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Speaker 1: his exclusive attention, and Sundance is this laser who's focused

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Speaker 1: on her. Sun. Danson is in the body house with

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Speaker 1: the ladies of the night, employed keenly in the world's

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Speaker 1: oldest profession, and yet he is not interested in any

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Speaker 1: of the were sold. Uh. Butch indulges adorably and freely,

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Speaker 1: but Sundance goes home. I think everybody's performance, if the

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Speaker 1: movie's tone and the performances carry, everybody's pretty layered, and

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Speaker 1: to me, Eda doesn't have a lot of options. The

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Speaker 1: women that have already kind of slipped it. Slipped is

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Speaker 1: the wrong word. Uh. This is a terrible, shitty time

400
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Speaker 1: for women in which you couldnot own anything, vote or

401
00:21:51,800 --> 00:21:54,480
Speaker 1: have jobs, or do anything. So you either had land

402
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Speaker 1: somehow through inheritance or because you had a man to

403
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Speaker 1: give it to you, or you found a way to

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Speaker 1: make a live being on your own. And the women

405
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Speaker 1: who do that on the other side of the line

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Speaker 1: society drew of appropriate have a camaraderie that's displayed in

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Speaker 1: the film. There's a house full of women, there's a

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Speaker 1: woman keeping them safe. Yes, of course that's not the

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Speaker 1: way it fucking should be, but that's part of what happened.

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Speaker 1: There was way for women to have relationships on kind

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Speaker 1: of that side of the line. And Edda is almost there.

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Speaker 1: She's a school teacher with this boyfriend. She has no husband.

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Speaker 1: She's right on this line where women on the other

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Speaker 1: side of the society's line won't talk to her. She's

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Speaker 1: not cool enough to go to the brothel and chill

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Speaker 1: with those ladies, but she is not allowed in the

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Speaker 1: church house. I think she's very lonely. And sure she's

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Speaker 1: lonely because she's bored with who she grew up with.

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Speaker 1: She doesn't want to be with them. She goes to

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Speaker 1: Olivia without them. Uh. I think she's just too I

421
00:22:44,359 --> 00:22:46,840
Speaker 1: don't know. There's something about her that performance suggests to

422
00:22:46,840 --> 00:22:48,480
Speaker 1: me that she would never look down on a lady

423
00:22:48,720 --> 00:22:52,480
Speaker 1: in a brothel, but also she knows that's not her blueprint.

424
00:22:52,880 --> 00:22:56,480
Speaker 1: She doesn't have. She does rob a bank, and I

425
00:22:56,480 --> 00:22:58,000
Speaker 1: don't think the ladies in the brothel are going to

426
00:22:58,080 --> 00:23:00,359
Speaker 1: do that. It's just women doing whatever the luck they

427
00:23:00,440 --> 00:23:02,480
Speaker 1: can to not die because their husband hit him with

428
00:23:02,520 --> 00:23:06,159
Speaker 1: a stick. Legally, I think they are all involved with

429
00:23:06,200 --> 00:23:08,320
Speaker 1: each other. I think they're committed to each other and

430
00:23:08,359 --> 00:23:11,600
Speaker 1: like they're bonded. I don't know what the languages for it,

431
00:23:11,640 --> 00:23:14,080
Speaker 1: but they you know, they talked about vacations they've taken

432
00:23:14,080 --> 00:23:17,240
Speaker 1: in the past together. The little montage moments with the

433
00:23:17,280 --> 00:23:20,040
Speaker 1: still photographs that kind of flashed by, there's a really

434
00:23:20,119 --> 00:23:23,440
Speaker 1: kind of sweet series of skills where everybody's having fun

435
00:23:23,440 --> 00:23:25,720
Speaker 1: and dancing, and then the party's winding down and it's

436
00:23:25,800 --> 00:23:28,520
Speaker 1: just sundancing Etta dancing and Butch watching. And at first

437
00:23:28,600 --> 00:23:31,640
Speaker 1: he looks lonely and then he smiles. I think, yeah,

438
00:23:31,680 --> 00:23:34,199
Speaker 1: oh I did forget without them. Yeah, she wants the

439
00:23:34,480 --> 00:23:39,719
Speaker 1: exclusive Sunday attention, and Sundance definitely has that laser focus

440
00:23:39,760 --> 00:23:43,440
Speaker 1: on her. But he's also kind of a like drama

441
00:23:43,520 --> 00:23:50,000
Speaker 1: queen whiney bitch, Like there's like, come on, he's sexy,

442
00:23:50,040 --> 00:23:52,920
Speaker 1: he's devoted, uh, and he's very loyal and I think

443
00:23:52,920 --> 00:23:55,320
Speaker 1: he does love her, but you know, he's no fun

444
00:23:55,359 --> 00:23:58,320
Speaker 1: without Butcher room. But Butch is gonna be fucking everything

445
00:23:58,400 --> 00:24:00,920
Speaker 1: and shining on everybody you don't know. Yeah, I really

446
00:24:00,960 --> 00:24:03,800
Speaker 1: thought that that was an interesting three way portrayalbal relationship

447
00:24:03,880 --> 00:24:06,680
Speaker 1: on screen. It's kind of rare. I mean, I feel

448
00:24:06,680 --> 00:24:09,320
Speaker 1: like that would be a controversial relationship to portray how

449
00:24:09,480 --> 00:24:11,680
Speaker 1: we'd all be talking about the threble on some show

450
00:24:11,760 --> 00:24:15,199
Speaker 1: or a movie. No, those are interesting points that I

451
00:24:15,240 --> 00:24:19,760
Speaker 1: didn't think about enough. I was just like, Oh, they're

452
00:24:19,800 --> 00:24:22,880
Speaker 1: so hot, lucky her to be able to be spending

453
00:24:22,920 --> 00:24:27,439
Speaker 1: time with them. So let's backtrack a little bit. So

454
00:24:27,480 --> 00:24:29,679
Speaker 1: the first female characters we see are I think her

455
00:24:29,720 --> 00:24:37,159
Speaker 1: name is Fanny. She's likes and she gets like, I

456
00:24:37,160 --> 00:24:40,600
Speaker 1: don't know, a few moments of screen time like hardly anything.

457
00:24:41,000 --> 00:24:43,320
Speaker 1: You see a whole room full of women, um, but

458
00:24:43,400 --> 00:24:48,320
Speaker 1: they're not really much. And then we meet so Eda's

459
00:24:48,400 --> 00:24:53,080
Speaker 1: introduction is fascinating to me because before we know that

460
00:24:53,320 --> 00:24:57,280
Speaker 1: she and Sundance are involved, he is in a room

461
00:24:57,600 --> 00:25:00,000
Speaker 1: in the dark watching her undressed. And then she realized

462
00:25:00,000 --> 00:25:03,440
Speaker 1: as he's there, and she started and he's keep going

463
00:25:03,480 --> 00:25:05,560
Speaker 1: and then he picks up his gun and points it

464
00:25:05,600 --> 00:25:09,600
Speaker 1: at her to signal her to keep undressing, which she does,

465
00:25:09,720 --> 00:25:12,200
Speaker 1: and we as the audience who's never seen this movie before.

466
00:25:12,240 --> 00:25:17,320
Speaker 1: I think she's in danger. He's a creep, a rapi rapist,

467
00:25:17,800 --> 00:25:20,120
Speaker 1: and this is gonna be scary. And then she keeps

468
00:25:20,160 --> 00:25:23,159
Speaker 1: undressing and then he goes over to and kind of

469
00:25:23,160 --> 00:25:25,000
Speaker 1: starts to pull her clothes the rest of the way off,

470
00:25:25,119 --> 00:25:27,280
Speaker 1: and she's like, you know what, I wish, I wish

471
00:25:27,359 --> 00:25:30,760
Speaker 1: that for once you get here on time. And it's like, oh,

472
00:25:30,800 --> 00:25:34,959
Speaker 1: they know each other. This was like maybe a hot

473
00:25:35,000 --> 00:25:37,439
Speaker 1: thing for them. Maybe this was like a role playing

474
00:25:37,560 --> 00:25:41,719
Speaker 1: thing they do. I don't know, but it was like

475
00:25:41,880 --> 00:25:45,720
Speaker 1: so uncomfortable to watch this happened where he's pointing a

476
00:25:45,920 --> 00:25:52,199
Speaker 1: gun at her while she's presumably like forced to undress, right,

477
00:25:52,280 --> 00:25:54,760
Speaker 1: But then it seems like it was like by the end,

478
00:25:54,800 --> 00:25:56,879
Speaker 1: you're just like, oh, maybe that was like pre planned.

479
00:25:57,040 --> 00:25:59,639
Speaker 1: We don't know. Maybe maybe like maybe this is like

480
00:25:59,680 --> 00:26:01,800
Speaker 1: what it what they do. Maybe she was like, next

481
00:26:01,840 --> 00:26:03,520
Speaker 1: time you come home or I don't know when to

482
00:26:03,520 --> 00:26:06,320
Speaker 1: expect you sit in the corner in the dark and

483
00:26:06,320 --> 00:26:08,239
Speaker 1: then point your gun at me and watch me make

484
00:26:08,280 --> 00:26:10,840
Speaker 1: me undressed. Like maybe that's a game they have. I

485
00:26:10,840 --> 00:26:12,920
Speaker 1: don't I don't know. I don't want to shame their

486
00:26:12,920 --> 00:26:18,000
Speaker 1: weird gun set go for it, but it is weird

487
00:26:18,040 --> 00:26:20,879
Speaker 1: the way it's presented to the audience of like, what

488
00:26:21,280 --> 00:26:24,320
Speaker 1: a weird place to build tension, And I guess I

489
00:26:24,359 --> 00:26:27,240
Speaker 1: mean plant a slight seed of doubt of like, oh,

490
00:26:27,520 --> 00:26:30,199
Speaker 1: day as a good guy or is he Is he

491
00:26:30,320 --> 00:26:33,359
Speaker 1: about to ripe this lady? Oh, she's his girlfriend and

492
00:26:33,400 --> 00:26:35,400
Speaker 1: he loves her. Right, well, he's not rape this cool

493
00:26:35,440 --> 00:26:39,040
Speaker 1: next scene? True, Yeah, Like we've seen him as kind

494
00:26:39,080 --> 00:26:41,520
Speaker 1: of bad guys. They're charming bad guys, but it's kind

495
00:26:41,520 --> 00:26:44,160
Speaker 1: of like, oh no, are they much worse bad guys

496
00:26:44,280 --> 00:26:46,520
Speaker 1: than I thought they were? Uh? And then you know,

497
00:26:46,800 --> 00:26:51,800
Speaker 1: a little switchery like nope, just this guy loves extra

498
00:26:51,920 --> 00:26:57,760
Speaker 1: hot and in the monogamous extended role play fantasy right right, Yeah,

499
00:26:57,840 --> 00:27:01,560
Speaker 1: that scene was a little weird, but I don't know.

500
00:27:01,680 --> 00:27:03,960
Speaker 1: By the end, I was like, Okay, it wouldn't have

501
00:27:04,000 --> 00:27:07,160
Speaker 1: been I think, so bad except that all the other

502
00:27:07,240 --> 00:27:11,040
Speaker 1: scenes after that where she is in them, she is

503
00:27:11,080 --> 00:27:16,120
Speaker 1: treated so poorly by her boyfriend, Yeah, very mean to her,

504
00:27:17,240 --> 00:27:20,400
Speaker 1: Like maybe I could forgive that one time where like, yeah,

505
00:27:20,440 --> 00:27:22,920
Speaker 1: maybe it is like a fantasy role playing thing they

506
00:27:22,920 --> 00:27:26,280
Speaker 1: have going on, or maybe he's just a controlling asshole,

507
00:27:26,280 --> 00:27:29,880
Speaker 1: which is what he seems to be, but only to her,

508
00:27:30,040 --> 00:27:33,720
Speaker 1: Like he and Butcher's will call it maybe a bromance.

509
00:27:34,400 --> 00:27:37,200
Speaker 1: They have like a fun banter. They're they're in love,

510
00:27:38,880 --> 00:27:42,040
Speaker 1: are in love, and I love to watch them for

511
00:27:42,800 --> 00:27:45,240
Speaker 1: great and go for it, but then like leave it

512
00:27:45,320 --> 00:27:48,919
Speaker 1: a lot, like I don't know there There is another

513
00:27:49,040 --> 00:27:52,040
Speaker 1: scene right before with eda Um because there's long stretches

514
00:27:52,040 --> 00:27:54,600
Speaker 1: where we don't see her prior to them going to Oblivia.

515
00:27:54,680 --> 00:27:57,920
Speaker 1: We meet her, then some cowboys ship and then finally

516
00:27:57,920 --> 00:28:01,120
Speaker 1: she comes back. But there is this scene and at

517
00:28:01,160 --> 00:28:03,040
Speaker 1: his house and she's on the porch and she's like

518
00:28:03,400 --> 00:28:06,439
Speaker 1: visibly upset. This is like what bucks me about this

519
00:28:06,520 --> 00:28:09,639
Speaker 1: three relationship is she's visibly upset the whole scene in

520
00:28:09,680 --> 00:28:13,160
Speaker 1: a way that's very clear to us, and no one

521
00:28:13,280 --> 00:28:17,200
Speaker 1: asks her, hey are you okay? You're you're frowned a lot,

522
00:28:17,280 --> 00:28:19,560
Speaker 1: and and Butch and Sundance are talking in the kitchen

523
00:28:19,640 --> 00:28:22,359
Speaker 1: and then they come out to her. And where that

524
00:28:22,480 --> 00:28:26,760
Speaker 1: scene lands is hey, condor Bolivia with us. But you know,

525
00:28:26,920 --> 00:28:29,760
Speaker 1: one could argue they don't know how to treat women well,

526
00:28:29,760 --> 00:28:32,119
Speaker 1: because it seems like no one in this era knew

527
00:28:32,160 --> 00:28:36,080
Speaker 1: how to and it was not even thought of to

528
00:28:36,880 --> 00:28:39,880
Speaker 1: ask a woman, Hey, what's up? But that scene was

529
00:28:39,960 --> 00:28:42,480
Speaker 1: so frustrating for me. It's like, because we it's this

530
00:28:42,600 --> 00:28:47,400
Speaker 1: long shot of her frowning and then them presumably noticing it.

531
00:28:47,960 --> 00:28:50,200
Speaker 1: We come into the middle of like they've probably been

532
00:28:50,240 --> 00:28:52,040
Speaker 1: there for a couple of hours, and then they come

533
00:28:52,080 --> 00:28:54,280
Speaker 1: out of there like, hey, frownie, you won't go on

534
00:28:54,360 --> 00:28:57,720
Speaker 1: vacation with us, And it's just like, funck you there? Well,

535
00:28:57,760 --> 00:28:59,920
Speaker 1: that seems like this is a real dude, Like he's

536
00:29:00,200 --> 00:29:01,840
Speaker 1: he's not nice about it. I don't know what I

537
00:29:01,840 --> 00:29:04,360
Speaker 1: was going for with I don't know where I started

538
00:29:04,600 --> 00:29:07,360
Speaker 1: or I was trying to finish, but it was something yeah,

539
00:29:07,440 --> 00:29:09,640
Speaker 1: like I guess you can come with us, but if

540
00:29:09,680 --> 00:29:14,320
Speaker 1: you get whiny, yeah yeah, he's he's yeah, I want to.

541
00:29:15,040 --> 00:29:18,000
Speaker 1: Before they had that conversation right when they show up

542
00:29:18,040 --> 00:29:20,320
Speaker 1: Sundances like do you have enough to feed us? And

543
00:29:20,360 --> 00:29:22,840
Speaker 1: she's like don't you know that I do? It's like, okay,

544
00:29:23,120 --> 00:29:25,880
Speaker 1: I'm a good Yeah I have food and it's in

545
00:29:25,920 --> 00:29:28,200
Speaker 1: the kitchen and I'm there in a barefoot You're a

546
00:29:28,360 --> 00:29:33,000
Speaker 1: strong and I'm a good I like how that's basically

547
00:29:33,000 --> 00:29:34,920
Speaker 1: the first thing that he said to her like feed

548
00:29:35,040 --> 00:29:39,000
Speaker 1: me woman. And also in the same scene where they

549
00:29:39,040 --> 00:29:41,040
Speaker 1: invite her on vacation, I was like, Okay, they're not

550
00:29:41,080 --> 00:29:43,320
Speaker 1: going to ask her if she's okay. She seems used

551
00:29:43,360 --> 00:29:45,360
Speaker 1: to this, and then they're like, go on vacation with us,

552
00:29:45,560 --> 00:29:47,719
Speaker 1: but the reason we're asking you to come is because

553
00:29:47,760 --> 00:29:50,360
Speaker 1: we think traveling with a woman will be good cover.

554
00:29:50,520 --> 00:29:52,800
Speaker 1: It's like, oh, okay, so she's not. They're not like

555
00:29:54,520 --> 00:29:57,120
Speaker 1: you know, that's like he's maybe I just have a

556
00:29:57,120 --> 00:29:59,680
Speaker 1: family with too much layered trauma. But I just see

557
00:29:59,720 --> 00:30:03,440
Speaker 1: it all over with Sundance that like he loves her

558
00:30:03,520 --> 00:30:06,000
Speaker 1: too much to say it out loud because he knows

559
00:30:06,120 --> 00:30:08,400
Speaker 1: he's going to die and he knows he can probably

560
00:30:08,400 --> 00:30:11,000
Speaker 1: like it's him that's gonna get her killed. I think

561
00:30:11,000 --> 00:30:13,400
Speaker 1: he's afraid of that through the whole movie with us,

562
00:30:13,480 --> 00:30:17,200
Speaker 1: I guess. But instead of saying like I fear losing you,

563
00:30:17,320 --> 00:30:19,040
Speaker 1: I feel that it will be my fault if you

564
00:30:19,080 --> 00:30:21,800
Speaker 1: make this choice because you love me and I love you,

565
00:30:21,920 --> 00:30:24,200
Speaker 1: and then you end up dying because of my actions.

566
00:30:24,400 --> 00:30:27,000
Speaker 1: Like he's not going to say that, He's gonna say,

567
00:30:27,120 --> 00:30:29,320
Speaker 1: come if you want, but I'm not gonna make this easy.

568
00:30:29,400 --> 00:30:32,240
Speaker 1: I'm not gonna make this an easy choice, right, I mean,

569
00:30:32,320 --> 00:30:37,080
Speaker 1: and and and it's they're emotionally repressed because their men

570
00:30:37,200 --> 00:30:40,200
Speaker 1: living in this time, and that makes sense to me.

571
00:30:40,240 --> 00:30:41,960
Speaker 1: But it's just like that, you know, it's this whole

572
00:30:42,720 --> 00:30:45,800
Speaker 1: like that's the only way we see him that there

573
00:30:45,920 --> 00:30:48,840
Speaker 1: is a kind of a tender moment where he's like,

574
00:30:49,080 --> 00:30:51,000
Speaker 1: don't make a big thing of this, and then there's

575
00:30:51,040 --> 00:30:52,920
Speaker 1: just like kind of silence between them, and he's like,

576
00:30:53,760 --> 00:30:55,720
Speaker 1: make a big thing, and then they hug and it's

577
00:30:55,760 --> 00:30:58,720
Speaker 1: like okay, But I just I kind of wanted maybe

578
00:30:58,880 --> 00:31:02,040
Speaker 1: more tender moments like that to remind us that he's

579
00:31:02,120 --> 00:31:04,600
Speaker 1: not just a fucking and yeah, I get it, Like

580
00:31:04,640 --> 00:31:08,480
Speaker 1: there he's a tough cowboy man. He has this prickly

581
00:31:08,560 --> 00:31:10,960
Speaker 1: exterior and he's not gonna like be all mushy with

582
00:31:11,000 --> 00:31:12,600
Speaker 1: how much he loves her and all that stuff. But

583
00:31:12,680 --> 00:31:15,240
Speaker 1: just yeah, he's like, if you want to go, I

584
00:31:15,280 --> 00:31:17,560
Speaker 1: won't stop you. But the manute you start to wine

585
00:31:17,640 --> 00:31:19,160
Speaker 1: or make a nuisance, I don't care where we are,

586
00:31:19,200 --> 00:31:21,600
Speaker 1: I'm dumping you flat. Like what a horrible thing to say.

587
00:31:22,480 --> 00:31:25,360
Speaker 1: And yeah, and I know that that's like that's some

588
00:31:25,480 --> 00:31:28,560
Speaker 1: realism in terms of like that that's more likely than

589
00:31:29,040 --> 00:31:32,080
Speaker 1: an emotionally honest conversation between a man and woman at

590
00:31:32,080 --> 00:31:34,560
Speaker 1: this time. But it's just like h and that's fine.

591
00:31:34,600 --> 00:31:36,880
Speaker 1: But just in terms of like watching it, I was like,

592
00:31:37,040 --> 00:31:41,680
Speaker 1: I'm I'm sad it wasn't. And then this is this,

593
00:31:41,880 --> 00:31:45,840
Speaker 1: I believe the same scene where Edda has her monologue.

594
00:31:46,040 --> 00:31:48,680
Speaker 1: I wrote it down. I'm twenty six and I'm single,

595
00:31:48,680 --> 00:31:50,280
Speaker 1: and I'm a school teacher and that's the bottom of

596
00:31:50,320 --> 00:31:52,520
Speaker 1: the pit. The only excitement I've ever known is with

597
00:31:52,560 --> 00:31:54,920
Speaker 1: me now. So I'll go with you, and I won't wine,

598
00:31:54,960 --> 00:31:56,800
Speaker 1: and i'll stitch your socks, and i'll care for you

599
00:31:56,800 --> 00:31:58,600
Speaker 1: when you're wounded, and i'll do anything you ask of

600
00:31:58,640 --> 00:32:00,719
Speaker 1: me except one thing. I won't watch you die. I'll

601
00:32:00,760 --> 00:32:03,120
Speaker 1: miss that scene if you don't mind. And that is,

602
00:32:03,520 --> 00:32:05,600
Speaker 1: I would guess, probably the longest line she has in

603
00:32:05,600 --> 00:32:08,240
Speaker 1: the movie, and the most kind of like a thesis

604
00:32:08,280 --> 00:32:12,840
Speaker 1: statement of her character too, which is whenever we see

605
00:32:13,160 --> 00:32:15,240
Speaker 1: the scene towards the end when she's like, Hey, I

606
00:32:15,280 --> 00:32:19,760
Speaker 1: think I'm going to go home ahead of you guys

607
00:32:20,240 --> 00:32:22,960
Speaker 1: have to Yeah, and I actually I do think. I

608
00:32:23,000 --> 00:32:25,480
Speaker 1: mean back to that scene where it sundances being a

609
00:32:25,560 --> 00:32:28,520
Speaker 1: jerk about going to Bolivia, Like I think the line

610
00:32:29,240 --> 00:32:32,280
Speaker 1: that he's not saying, I don't think it's just a

611
00:32:32,280 --> 00:32:35,120
Speaker 1: prickly exterior. I think this is when you slam the

612
00:32:35,120 --> 00:32:37,200
Speaker 1: door when you're a teenager your parents because you can't

613
00:32:37,200 --> 00:32:39,120
Speaker 1: tell them what you're really thinking about, Like I don't know,

614
00:32:39,160 --> 00:32:41,400
Speaker 1: I'm afraid of boys in my body. Is what you're

615
00:32:41,400 --> 00:32:44,920
Speaker 1: saying when it's like fuck you, dinner sucks, Like you

616
00:32:44,960 --> 00:32:47,080
Speaker 1: know you're being a ship because there's things you don't

617
00:32:47,120 --> 00:32:48,760
Speaker 1: know how to say, there's things you don't know how

618
00:32:48,800 --> 00:32:52,040
Speaker 1: to process. And I think the performance, I mean, this

619
00:32:52,120 --> 00:32:54,840
Speaker 1: is a lasting film because I think his performance pushes

620
00:32:54,920 --> 00:32:58,040
Speaker 1: past some of that prickly exterior. I'm using air quotes

621
00:32:58,320 --> 00:33:00,600
Speaker 1: thing to show a little bit more of what's actually

622
00:33:00,600 --> 00:33:03,320
Speaker 1: happening underneath the things he can't say. I think you

623
00:33:03,360 --> 00:33:05,800
Speaker 1: can see the things he can't say to her. I

624
00:33:05,800 --> 00:33:09,320
Speaker 1: think the bond between them is not scary or bad,

625
00:33:09,400 --> 00:33:12,480
Speaker 1: but good, and probably they both know it's rare and unique,

626
00:33:12,560 --> 00:33:14,479
Speaker 1: like he's not going to find another one of her,

627
00:33:14,640 --> 00:33:16,680
Speaker 1: she's not going to find another one of him. And

628
00:33:16,720 --> 00:33:20,240
Speaker 1: that's a love story in like any era, and communication

629
00:33:20,280 --> 00:33:23,240
Speaker 1: of emotional communication is hard in any era, like there's

630
00:33:23,240 --> 00:33:25,920
Speaker 1: a two incasion this movie for robots that are like,

631
00:33:26,120 --> 00:33:28,920
Speaker 1: you know, with a sci fi version of this relationship

632
00:33:29,040 --> 00:33:32,400
Speaker 1: or whatever. This relationship is replicatable outside of a cowboy

633
00:33:32,440 --> 00:33:35,800
Speaker 1: prickly exterior movie. If it doesn't carry, if the movie

634
00:33:35,840 --> 00:33:38,600
Speaker 1: is boring and you're not seeing the lay, like, yeah,

635
00:33:38,600 --> 00:33:40,040
Speaker 1: it's just a guy being a dick, and you don't

636
00:33:40,080 --> 00:33:42,400
Speaker 1: really care about his backstory or his trauma. You don't

637
00:33:42,400 --> 00:33:46,160
Speaker 1: care why he can't be emotionally articulate or mature. Uh.

638
00:33:46,200 --> 00:33:48,000
Speaker 1: But if you're in it with the characters, if it

639
00:33:48,080 --> 00:33:50,480
Speaker 1: does suck you in, it's like, just tell her you

640
00:33:50,600 --> 00:33:53,680
Speaker 1: love her, man, come on right, just say it. It's

641
00:33:53,720 --> 00:33:57,360
Speaker 1: like a more beautiful moment than it is painful if

642
00:33:57,360 --> 00:34:00,160
Speaker 1: it's working. If it's not, then like, yeah, that's you

643
00:34:00,200 --> 00:34:02,120
Speaker 1: don't see the here, the line behind the line, you

644
00:34:02,160 --> 00:34:06,160
Speaker 1: don't see the emotional layers or whatever. But the scene

645
00:34:06,200 --> 00:34:08,120
Speaker 1: at the end or closer to the end in Bolivia,

646
00:34:08,160 --> 00:34:11,600
Speaker 1: when it decides to go, I think that is sweet

647
00:34:11,920 --> 00:34:14,359
Speaker 1: and different for the time to have two men say

648
00:34:14,360 --> 00:34:17,040
Speaker 1: to a woman, whatever you want to do, it's what

649
00:34:17,120 --> 00:34:19,359
Speaker 1: you want. I'm not gonna keep you here. I don't

650
00:34:19,400 --> 00:34:22,279
Speaker 1: own you leave because it's safe, steak, because you want

651
00:34:22,280 --> 00:34:24,680
Speaker 1: to stay. There's a place for you, but we're also

652
00:34:24,760 --> 00:34:26,680
Speaker 1: not going to try to make you. I just thought

653
00:34:26,719 --> 00:34:28,919
Speaker 1: that was sweet and it was sundance in that scene.

654
00:34:28,960 --> 00:34:31,279
Speaker 1: It almost seemed like, you know, there was like said,

655
00:34:31,320 --> 00:34:33,120
Speaker 1: but he was also a little bit relieved that she

656
00:34:33,280 --> 00:34:37,279
Speaker 1: was because I mean, I think, yeah, yeah, he sent

657
00:34:37,440 --> 00:34:39,399
Speaker 1: their time was up. It was like only a matter

658
00:34:39,440 --> 00:34:43,319
Speaker 1: of time before they got dead. And then she's like, yeah,

659
00:34:43,360 --> 00:34:46,240
Speaker 1: he's probably thinking better that you're not here to watch

660
00:34:46,320 --> 00:34:49,759
Speaker 1: us die. Yeah that I mean that that was good

661
00:34:49,840 --> 00:34:52,040
Speaker 1: that she got to be the one to say, hey,

662
00:34:52,080 --> 00:34:56,040
Speaker 1: I'm leaving, and it seemed understood in the friendship that

663
00:34:56,040 --> 00:34:59,240
Speaker 1: that was probably how it was always going to go anyways.

664
00:34:59,440 --> 00:35:02,160
Speaker 1: I just like, just for her, I mean, I feel

665
00:35:02,160 --> 00:35:03,760
Speaker 1: like at the end of it, it's like an interesting

666
00:35:03,760 --> 00:35:07,040
Speaker 1: time in her life to reflect on later, where for

667
00:35:07,160 --> 00:35:12,680
Speaker 1: them it's their life and it's going to and any minute.

668
00:35:13,520 --> 00:35:16,680
Speaker 1: I wish there were there was at least one moment

669
00:35:16,719 --> 00:35:19,800
Speaker 1: where she maybe just like stood up for herself a

670
00:35:19,880 --> 00:35:22,319
Speaker 1: little more, like you can't don't treat me like that,

671
00:35:22,360 --> 00:35:24,520
Speaker 1: don't talk to me like that something. I mean, maybe

672
00:35:24,520 --> 00:35:28,280
Speaker 1: that would have made it cheesy and maybe it's not needed,

673
00:35:28,280 --> 00:35:31,480
Speaker 1: but just because there's another scene when they're in Bolivia,

674
00:35:31,920 --> 00:35:34,000
Speaker 1: they have just arrived and they realized what a ship

675
00:35:34,080 --> 00:35:38,239
Speaker 1: hole it is, Sundances complaining about it, and it is like,

676
00:35:38,280 --> 00:35:41,840
Speaker 1: I'm not sure we're accomplishing as much as we might hear,

677
00:35:42,360 --> 00:35:44,879
Speaker 1: and then Sundance says, listen, your job is to back

678
00:35:44,960 --> 00:35:47,480
Speaker 1: me up because you'd starve without me, just like another

679
00:35:47,480 --> 00:35:51,320
Speaker 1: one of those you're a woman and you suck and

680
00:35:51,360 --> 00:35:54,399
Speaker 1: you're annoying me. But again, what you're saying probably just

681
00:35:54,560 --> 00:36:00,440
Speaker 1: you know, he's lashing out because it doesn't like Almas like, right,

682
00:36:00,680 --> 00:36:04,400
Speaker 1: hang out, I'm sorry there are pigs. And then Butch

683
00:36:04,560 --> 00:36:07,600
Speaker 1: says something like, oh yeah, he'll feel better when he's

684
00:36:07,680 --> 00:36:10,600
Speaker 1: robbed a few banks to try to smooth things over.

685
00:36:10,640 --> 00:36:12,200
Speaker 1: But I don't know. I just wanted it to be,

686
00:36:12,239 --> 00:36:17,880
Speaker 1: like I like, just a writing perspective. So that's that

687
00:36:18,120 --> 00:36:20,040
Speaker 1: for me, was like an example of like, oh, here's

688
00:36:20,040 --> 00:36:22,480
Speaker 1: a woman expressing her opinion as a setup for this

689
00:36:22,520 --> 00:36:24,239
Speaker 1: funny goof that two guys are going to do. And

690
00:36:24,280 --> 00:36:25,920
Speaker 1: I know that it goes deeper than that, but just

691
00:36:25,960 --> 00:36:28,319
Speaker 1: like on the page, it's like a lot of times

692
00:36:28,320 --> 00:36:31,120
Speaker 1: when at A does express an opinion, it's a setup

693
00:36:31,200 --> 00:36:33,759
Speaker 1: for Butch to get a good old quip in that

694
00:36:35,160 --> 00:36:37,759
Speaker 1: I'm also trying hard, like I you know, I brought

695
00:36:37,840 --> 00:36:40,920
Speaker 1: this movie to the table for a podcast about women

696
00:36:41,000 --> 00:36:43,760
Speaker 1: in media, and this is an interesting look that has

697
00:36:43,800 --> 00:36:45,920
Speaker 1: goods and beads, and I see a lot of the goods,

698
00:36:45,920 --> 00:36:48,080
Speaker 1: and I've decided to buy the story the way that

699
00:36:48,160 --> 00:36:51,600
Speaker 1: I wanted to be. Uh, but I think that's a

700
00:36:51,600 --> 00:36:54,279
Speaker 1: way to interpret the movie. But yeah, it's I don't

701
00:36:54,280 --> 00:36:57,240
Speaker 1: think you're wrong. I mean, there are movies that treat

702
00:36:57,280 --> 00:37:00,560
Speaker 1: women horribly and have the women characters not stand up

703
00:37:00,560 --> 00:37:03,440
Speaker 1: for themselves and and I hate them because of that,

704
00:37:03,480 --> 00:37:07,400
Speaker 1: and yet I still love this movie and this is

705
00:37:07,440 --> 00:37:10,319
Speaker 1: a good This is an interesting conversation in general because

706
00:37:10,400 --> 00:37:14,279
Speaker 1: usually it's there aren't as many grays in terms of

707
00:37:14,320 --> 00:37:17,320
Speaker 1: how women are, especially in a movie from this era.

708
00:37:17,480 --> 00:37:20,960
Speaker 1: Like usually it's pretty like yeah this sucks, let's let's

709
00:37:21,040 --> 00:37:23,880
Speaker 1: list it, or like wow, this it's mo wanna and

710
00:37:23,920 --> 00:37:27,480
Speaker 1: it's like we're inspired, Like there is a lot of

711
00:37:27,520 --> 00:37:29,880
Speaker 1: gray area here, And there's something to the fact that,

712
00:37:29,960 --> 00:37:32,120
Speaker 1: like if I watch a movie where women are being

713
00:37:32,160 --> 00:37:35,040
Speaker 1: portrayed in a way that's fucking ridiculous and terrible. I'm

714
00:37:35,040 --> 00:37:39,120
Speaker 1: angry on a social level for women, like treat women better?

715
00:37:39,160 --> 00:37:41,319
Speaker 1: What are you doing to her? And in this film,

716
00:37:41,360 --> 00:37:43,960
Speaker 1: it's like at a stand up for yourself. It's the

717
00:37:44,120 --> 00:37:47,840
Speaker 1: character I want to see make that action, which is

718
00:37:48,200 --> 00:37:51,160
Speaker 1: represents an investment in the film and the story that

719
00:37:51,360 --> 00:37:54,240
Speaker 1: like you know, it's a bigger social issue. Women should

720
00:37:54,239 --> 00:37:57,320
Speaker 1: in general speak out for what they want and exhibit

721
00:37:57,400 --> 00:37:59,879
Speaker 1: leadership and do all that ship because it proves help

722
00:38:00,200 --> 00:38:03,080
Speaker 1: it did in Bolivia because she does exert a little

723
00:38:03,080 --> 00:38:05,000
Speaker 1: bit of leadership, just a little bit with teaching Spanish.

724
00:38:05,000 --> 00:38:07,719
Speaker 1: You see how this aspect works. There's some cuping right there.

725
00:38:08,120 --> 00:38:11,040
Speaker 1: But I know I'm rooting for her, and I know

726
00:38:11,200 --> 00:38:14,759
Speaker 1: that like part of her leaving is like Sundance is

727
00:38:14,840 --> 00:38:18,320
Speaker 1: bad for her. Sundance is not only like a shitty boyfriend,

728
00:38:18,480 --> 00:38:21,520
Speaker 1: but he's gonna get her killed. Like sure, it's amazing,

729
00:38:21,560 --> 00:38:23,279
Speaker 1: it's different from the rest of your life, and it's

730
00:38:23,280 --> 00:38:26,920
Speaker 1: fucking Robert Redford or whatever. But like she makes a

731
00:38:27,040 --> 00:38:30,960
Speaker 1: choice for self preservation in a way that I don't

732
00:38:31,000 --> 00:38:33,040
Speaker 1: think you see a lot of female characters do, where

733
00:38:33,080 --> 00:38:35,680
Speaker 1: she's not like ride or Die dumb. I'll get in

734
00:38:35,760 --> 00:38:37,800
Speaker 1: so many car accidents for you, and I love fasting

735
00:38:37,840 --> 00:38:39,960
Speaker 1: for your movies, like I love garbage. But I was

736
00:38:40,000 --> 00:38:44,839
Speaker 1: gonna refer to baby Driver, which I yeah. Where it's

737
00:38:44,920 --> 00:38:47,880
Speaker 1: like a woman who barely knows this dude is like,

738
00:38:47,960 --> 00:38:51,080
Speaker 1: I'll follow you into hell and I don't know, but

739
00:38:51,200 --> 00:38:53,840
Speaker 1: I'll so yeah, that's a good point. I like that

740
00:38:53,880 --> 00:38:56,600
Speaker 1: She's like, well, I'm probably gonna die if I stay

741
00:38:56,680 --> 00:38:59,000
Speaker 1: here with you. Guys. I had my excitement, I had

742
00:38:59,040 --> 00:39:02,400
Speaker 1: my fun. Now it's time to go back to the

743
00:39:02,440 --> 00:39:05,680
Speaker 1: States and get my PhD. Right. That was another That

744
00:39:05,800 --> 00:39:09,440
Speaker 1: was another thing that impressed me about at his character

745
00:39:10,000 --> 00:39:12,359
Speaker 1: because like you're saying, writer or die don like they're

746
00:39:12,520 --> 00:39:15,680
Speaker 1: in big movies when they decided to take the lady along,

747
00:39:16,120 --> 00:39:19,680
Speaker 1: you know she's there to serve a couple of purposes,

748
00:39:19,719 --> 00:39:22,040
Speaker 1: set up a couple of jokes, maybe get one kick

749
00:39:22,080 --> 00:39:26,920
Speaker 1: in and then get squatted and bounce off a wall, right,

750
00:39:27,000 --> 00:39:28,600
Speaker 1: and then at the end get a big old kiss

751
00:39:28,719 --> 00:39:31,640
Speaker 1: and you know that that is how it goes. But

752
00:39:31,760 --> 00:39:37,000
Speaker 1: also a reference transformer as the you know, whichever whichever

753
00:39:37,080 --> 00:39:40,920
Speaker 1: one happens to be in whichever movie it's which is

754
00:39:40,960 --> 00:39:43,960
Speaker 1: a couple of times. So it is interesting to see

755
00:39:44,360 --> 00:39:47,440
Speaker 1: a woman, you know, who is brought along for the

756
00:39:47,520 --> 00:39:51,480
Speaker 1: ride to be like, I'm good, this seems dangerous. That

757
00:39:51,600 --> 00:39:54,880
Speaker 1: was cool and like exerts. I felt like that exerted

758
00:39:55,160 --> 00:39:58,719
Speaker 1: a realistic amount of power that she would have, because

759
00:39:58,760 --> 00:40:00,839
Speaker 1: it would have been weird to see, you know, like

760
00:40:00,880 --> 00:40:03,680
Speaker 1: you were thinking, like guns blazing at a suddenly is

761
00:40:03,719 --> 00:40:06,840
Speaker 1: like she does so like like she has a little

762
00:40:06,880 --> 00:40:09,480
Speaker 1: She dresses up like she's one of the boys, like

763
00:40:09,560 --> 00:40:12,000
Speaker 1: literally one of the boys in there hat, and then

764
00:40:12,000 --> 00:40:13,560
Speaker 1: they're in the tree. They're in the tree, and she

765
00:40:13,600 --> 00:40:16,279
Speaker 1: doesn't shoot a person, but she does shoot, uh, And

766
00:40:16,320 --> 00:40:18,200
Speaker 1: I think that's on purpose, Like I think she could

767
00:40:18,200 --> 00:40:20,600
Speaker 1: shoot a person if she wanted. I have two thoughts,

768
00:40:20,600 --> 00:40:23,160
Speaker 1: but this one's coming up faster that Eda. I got

769
00:40:23,200 --> 00:40:26,200
Speaker 1: a little scared Freedda in the in that second third

770
00:40:26,239 --> 00:40:28,520
Speaker 1: of the movie where she's in Bolivia, I don't know

771
00:40:28,719 --> 00:40:33,560
Speaker 1: acts work, uh and starts to maybe she's done this before.

772
00:40:33,600 --> 00:40:35,440
Speaker 1: We don't know. Maybe she's been robbing banks with them

773
00:40:35,480 --> 00:40:38,680
Speaker 1: the whole time. But I kind of thought when rewatching,

774
00:40:38,920 --> 00:40:41,399
Speaker 1: I got a little scared that like, oh man, this

775
00:40:41,480 --> 00:40:44,239
Speaker 1: is when you have sex in the horror movie or

776
00:40:44,280 --> 00:40:45,719
Speaker 1: you know what I mean, like, this is the thing

777
00:40:45,719 --> 00:40:48,759
Speaker 1: you do that gets you killed? And I think you know,

778
00:40:48,800 --> 00:40:51,759
Speaker 1: as the film progresses, that's not the case. She's that

779
00:40:51,960 --> 00:40:55,200
Speaker 1: is perfectly permissible moral territory. In the story, it's when

780
00:40:55,239 --> 00:40:59,080
Speaker 1: Butch and Sunday it's killed the robbers, That's when fate's

781
00:40:59,120 --> 00:41:02,279
Speaker 1: are sealed and at uh Ed is realizing that there's

782
00:41:02,320 --> 00:41:04,680
Speaker 1: she can't like, they're never going to get out of this,

783
00:41:04,920 --> 00:41:06,680
Speaker 1: no matter what side of the point they're on, because

784
00:41:06,719 --> 00:41:08,640
Speaker 1: she's like, you know, there's other ways to go straight

785
00:41:09,160 --> 00:41:13,640
Speaker 1: farmers ranchers, and they're just like you can steal cattle.

786
00:41:14,840 --> 00:41:18,800
Speaker 1: She's like, all right, I better go, Yeah, yeah, I

787
00:41:18,520 --> 00:41:20,560
Speaker 1: I I do like that the story does not ask

788
00:41:20,600 --> 00:41:24,359
Speaker 1: her to martyr herself, right because she does. I mean,

789
00:41:24,440 --> 00:41:27,600
Speaker 1: it's it's not a perfect life, but she does have

790
00:41:27,719 --> 00:41:30,279
Speaker 1: a life. She has a job, and it's clear that

791
00:41:30,280 --> 00:41:33,400
Speaker 1: that's not enough. I mean a job, who is that

792
00:41:33,560 --> 00:41:37,040
Speaker 1: enough for It's independence? But at a cost, right, right?

793
00:41:37,120 --> 00:41:39,560
Speaker 1: There are other ways in her life to derive purpose,

794
00:41:39,600 --> 00:41:41,880
Speaker 1: and I think she realizes that enough to not like

795
00:41:42,040 --> 00:41:44,960
Speaker 1: martyr herself. For like her two fun boyfriends who are

796
00:41:45,080 --> 00:41:47,439
Speaker 1: who are? She leaves the boys. She leaves the boys

797
00:41:52,320 --> 00:41:54,520
Speaker 1: like looking at the relationship between the three of them,

798
00:41:54,600 --> 00:41:56,759
Speaker 1: can you imagine a Fast and the Furious where Letty

799
00:41:56,960 --> 00:41:59,640
Speaker 1: also loves Paul Walker, whose name I forget in the movie,

800
00:41:59,640 --> 00:42:04,719
Speaker 1: which should just be Paul Walker. It's another one. It's

801
00:42:04,760 --> 00:42:07,000
Speaker 1: another one syllable boydom name that you can hell on

802
00:42:07,040 --> 00:42:09,759
Speaker 1: your knees in the desert. It's not Jake, but it's

803
00:42:09,800 --> 00:42:12,840
Speaker 1: basically it's sort of God, damn it. I love those movies,

804
00:42:12,840 --> 00:42:15,279
Speaker 1: so many movies like, yeah, I should know that. I'm

805
00:42:15,280 --> 00:42:16,799
Speaker 1: meant to say I should know that name, but I

806
00:42:16,840 --> 00:42:19,680
Speaker 1: don't right now. Uh, We're Letty loves both of them,

807
00:42:19,719 --> 00:42:23,040
Speaker 1: and they're okay with it, like they all there's nothing

808
00:42:23,080 --> 00:42:26,239
Speaker 1: they're hiding from each other. It's just I think that's

809
00:42:26,239 --> 00:42:28,879
Speaker 1: an interesting power to give a woman in a relationship

810
00:42:29,000 --> 00:42:32,840
Speaker 1: the license to like have emotions beyond laser focus on

811
00:42:32,880 --> 00:42:35,120
Speaker 1: a man. This film does not pass backtal test by

812
00:42:35,120 --> 00:42:37,160
Speaker 1: a long mile. I would say that there are essentially

813
00:42:37,160 --> 00:42:39,759
Speaker 1: only three characters. Like as much as you don't see

814
00:42:39,800 --> 00:42:41,520
Speaker 1: any of the women in the Brothels the beginning, you

815
00:42:41,560 --> 00:42:43,160
Speaker 1: don't also don't see any of the Hole in the

816
00:42:43,160 --> 00:42:46,880
Speaker 1: Wall gang beyond one scene, like ancillary characters have a

817
00:42:47,120 --> 00:42:51,520
Speaker 1: scene in this movie. It's mostly be character. Yeah, yeah,

818
00:42:51,520 --> 00:42:56,200
Speaker 1: would Cock twice? I think, yes twice. Yeah, that's my boy.

819
00:42:56,400 --> 00:42:59,560
Speaker 1: But it's the three of them totally. I just appreciate

820
00:42:59,600 --> 00:43:02,560
Speaker 1: how much emotional power she had to be able to

821
00:43:03,160 --> 00:43:06,480
Speaker 1: like she doesn't have to. We don't see her lying

822
00:43:06,520 --> 00:43:09,840
Speaker 1: to protect sun Dance. We don't see her avoiding Butch

823
00:43:09,880 --> 00:43:12,880
Speaker 1: because it's just too much like you know, they have

824
00:43:13,000 --> 00:43:16,840
Speaker 1: that whole montage together on the bicycle. Which speaking of

825
00:43:16,880 --> 00:43:20,359
Speaker 1: movies that are inspired by Butch casting a Sundance Kid, uh,

826
00:43:20,480 --> 00:43:26,279
Speaker 1: spider Man too. That was my Alfred will connection for

827
00:43:26,280 --> 00:43:28,359
Speaker 1: that one. Course parts I would have liked to see

828
00:43:28,360 --> 00:43:37,239
Speaker 1: Alfred Molina play in this movie Sun Dance Kid. Yes,

829
00:43:37,400 --> 00:43:39,080
Speaker 1: he's a talent. He can do any of it, he

830
00:43:39,120 --> 00:43:40,880
Speaker 1: can do it all. No, he would have been a

831
00:43:40,920 --> 00:43:43,440
Speaker 1: great big character in this movie if only he weren't

832
00:43:43,520 --> 00:43:47,000
Speaker 1: like whenever like thirteen when this movie came out, right,

833
00:43:47,560 --> 00:43:52,319
Speaker 1: Yeah he was. He was a little old man. I

834
00:43:52,360 --> 00:43:56,200
Speaker 1: bet Alfred Molina loves this movie. If he would only

835
00:43:56,200 --> 00:43:59,319
Speaker 1: tweet back at us, we would know here's the thing,

836
00:43:59,560 --> 00:44:01,440
Speaker 1: here's this thing. We are going to go on strike

837
00:44:01,480 --> 00:44:04,719
Speaker 1: at some point until he pays attention. I do not

838
00:44:04,800 --> 00:44:08,440
Speaker 1: support this strike. Let the record reflect. I am going

839
00:44:08,480 --> 00:44:11,280
Speaker 1: to leave town. I'm gonna I'm gonna leave your country.

840
00:44:11,320 --> 00:44:15,440
Speaker 1: I'm gonna go to Bolivia. I'll get a shabbed. I'm

841
00:44:15,440 --> 00:44:17,279
Speaker 1: gonna get a scab co host. If you're going to

842
00:44:17,400 --> 00:44:21,160
Speaker 1: leave scab Caitlin and Calin, I'm pitching it now. I'm okay,

843
00:44:21,320 --> 00:44:26,479
Speaker 1: scab it up, stepping your pick a lot. Sorry, well

844
00:44:26,520 --> 00:44:29,960
Speaker 1: you'll never hear. Have you seen Angie Tribeca? Yes? Okay, good,

845
00:44:30,000 --> 00:44:31,319
Speaker 1: That's all I wanted to know. We can leave up.

846
00:44:31,520 --> 00:44:33,120
Speaker 1: I just wanted to make sure on the record that

847
00:44:33,160 --> 00:44:35,920
Speaker 1: you have witnessed that Billina performance because I love it

848
00:44:36,000 --> 00:44:39,279
Speaker 1: so much, so good. Ali for Brillin doesn't He's dying

849
00:44:39,360 --> 00:44:43,279
Speaker 1: up here right now. He was in feud this year.

850
00:44:43,880 --> 00:44:47,280
Speaker 1: He was killing it. He's like everybody wants a piece

851
00:44:47,320 --> 00:44:49,600
Speaker 1: of this man, and who can blame him? He's a beefcake.

852
00:44:49,600 --> 00:44:54,640
Speaker 1: There's enough to go around. How much more Lena Caitlin

853
00:44:54,680 --> 00:44:58,920
Speaker 1: will leave? Alright? Wait? I gotta ready not out? Oh really,

854
00:44:59,400 --> 00:45:02,640
Speaker 1: I have enough a thing to say. Yes. The boat

855
00:45:03,000 --> 00:45:10,160
Speaker 1: that they traveled to Bolivia on reminds me of Titanic Titanic. Uh, see,

856
00:45:10,200 --> 00:45:12,360
Speaker 1: we got it in there. We have to always, you know,

857
00:45:13,239 --> 00:45:16,960
Speaker 1: we have to check in about it. Yeah, Titanic, make

858
00:45:17,000 --> 00:45:20,440
Speaker 1: sure that we're doing well. But I wanted to make

859
00:45:20,440 --> 00:45:23,759
Speaker 1: another point about Edda because you could argue that she

860
00:45:24,880 --> 00:45:27,319
Speaker 1: makes all her decisions based on a man. She goes

861
00:45:27,440 --> 00:45:30,279
Speaker 1: with them because like she's involved with them, and she

862
00:45:30,400 --> 00:45:33,279
Speaker 1: has a life there in whatever state there and I

863
00:45:33,320 --> 00:45:36,799
Speaker 1: don't know whatever you want to say no, because I

864
00:45:36,840 --> 00:45:42,480
Speaker 1: think Lord Baltimore or no, which sounds like Lord Baltimore

865
00:45:42,480 --> 00:45:48,279
Speaker 1: every time they say the other guy La Force never

866
00:45:48,360 --> 00:45:51,280
Speaker 1: leaves Montana. Oh I thought it was I don't remember

867
00:45:53,840 --> 00:45:57,400
Speaker 1: where the Buffalo role. So yeah, Eda makes this decision

868
00:45:57,800 --> 00:46:00,839
Speaker 1: based on not really what she wants, what these men

869
00:46:00,960 --> 00:46:02,960
Speaker 1: want and want for her. But then you could also

870
00:46:03,040 --> 00:46:05,040
Speaker 1: kind of argue, well, she's like, well this is the

871
00:46:05,040 --> 00:46:07,480
Speaker 1: only excitement I've ever known. Maybe she's doing it for

872
00:46:08,520 --> 00:46:11,759
Speaker 1: her own fulfill exactly what. That's another thing about the

873
00:46:11,840 --> 00:46:13,920
Speaker 1: character that I thought was like, oh, this is a

874
00:46:13,960 --> 00:46:16,799
Speaker 1: little bit different for for a big movie, is like,

875
00:46:17,040 --> 00:46:19,960
Speaker 1: her motivation is not cut and dry. I have to

876
00:46:20,000 --> 00:46:23,120
Speaker 1: do this because my father or my family or like whatever,

877
00:46:23,160 --> 00:46:27,640
Speaker 1: Like it's she's seeking out she wants something interesting to

878
00:46:27,680 --> 00:46:31,080
Speaker 1: happen in her life, and she wants companions that are interesting.

879
00:46:31,239 --> 00:46:33,760
Speaker 1: She just wants, like you know, to not be bored.

880
00:46:34,160 --> 00:46:37,120
Speaker 1: And that I feel like it's a very realistic motivation

881
00:46:37,160 --> 00:46:40,359
Speaker 1: that you don't you don't usually see. And and then

882
00:46:40,360 --> 00:46:44,160
Speaker 1: on the other hand, but in Sundance, their motivations are

883
00:46:44,239 --> 00:46:46,520
Speaker 1: usually a lot cleaner of like this is what we

884
00:46:46,560 --> 00:46:47,800
Speaker 1: have to do and this is where we have to

885
00:46:47,840 --> 00:46:50,120
Speaker 1: go to do it. I don't know, because I think

886
00:46:50,400 --> 00:46:53,600
Speaker 1: like it's looking at that opening scene with Butch like

887
00:46:54,120 --> 00:46:56,640
Speaker 1: they don't know where to go next. They know that

888
00:46:56,680 --> 00:46:59,680
Speaker 1: they can't, like everything's catching up to them and it's

889
00:46:59,719 --> 00:47:02,800
Speaker 1: beating them. Like we see that happen on the chase scenes,

890
00:47:02,880 --> 00:47:05,680
Speaker 1: which I love, like the thundering horse noises like as

891
00:47:05,719 --> 00:47:07,799
Speaker 1: it pulls up that built tension for me. I can

892
00:47:07,840 --> 00:47:12,440
Speaker 1: also see it not working. But I love the long chases,

893
00:47:12,680 --> 00:47:15,880
Speaker 1: and part of that is like feeling this sense of

894
00:47:15,920 --> 00:47:19,319
Speaker 1: them losing, like it's not gonna last. The gravy train

895
00:47:19,480 --> 00:47:21,319
Speaker 1: is spilling gravy on the tracks and it's gonna show

896
00:47:21,400 --> 00:47:24,160
Speaker 1: up empty, like they just don't have any more options.

897
00:47:24,440 --> 00:47:27,880
Speaker 1: Well that and I left out this scene from the recap.

898
00:47:27,960 --> 00:47:30,080
Speaker 1: But there's the scene where Butch and Sundance go back

899
00:47:30,160 --> 00:47:32,439
Speaker 1: to the Hole in the Wall gang and another dude

900
00:47:32,440 --> 00:47:36,160
Speaker 1: has taken over, so Butch fights him. Harvey. I think

901
00:47:36,760 --> 00:47:39,800
Speaker 1: you can't want Harvey Harvey. It's the guy who plays Jaws.

902
00:47:39,840 --> 00:47:43,360
Speaker 1: I think in uh in Moonraker, in the James Jo

903
00:47:44,800 --> 00:47:46,560
Speaker 1: I think it's the same guy. Might not be, but

904
00:47:46,600 --> 00:47:48,680
Speaker 1: if not, it's like a seven foot tall other guy.

905
00:47:50,360 --> 00:47:53,600
Speaker 1: That's one of my favorite movies. Harvey Harvey. Yeah, oh yeah,

906
00:47:53,680 --> 00:47:57,520
Speaker 1: with James Stewart. Yeah, it's over a second. I thought

907
00:47:57,560 --> 00:48:02,040
Speaker 1: Harvey was milk because Hard and I was taking a

908
00:48:02,160 --> 00:48:04,160
Speaker 1: milk and I was like, oh, I'm not I haven't

909
00:48:04,160 --> 00:48:10,759
Speaker 1: seen any of those, both of those Yeah yeah, yeah, yeah,

910
00:48:10,760 --> 00:48:15,640
Speaker 1: but I know everybody we have nothing. But in that scene,

911
00:48:15,680 --> 00:48:19,160
Speaker 1: so um, he defeats this Harvey guy, but which kicks

912
00:48:19,200 --> 00:48:23,440
Speaker 1: him in the crotch and then he's hits yeah. Um,

913
00:48:23,480 --> 00:48:26,560
Speaker 1: so he remains their leader. And then they're like, well,

914
00:48:26,560 --> 00:48:28,200
Speaker 1: what's going on? And they're like, oh, we were gonna

915
00:48:28,480 --> 00:48:31,120
Speaker 1: rub the flyer on the way there and then on

916
00:48:31,160 --> 00:48:32,719
Speaker 1: the way back, and he's like, haver, we thought of that,

917
00:48:32,960 --> 00:48:34,920
Speaker 1: and they're like, yeah, well that's exactly what we'll do,

918
00:48:35,080 --> 00:48:40,560
Speaker 1: like his glory days are over purpose in a bigger

919
00:48:40,680 --> 00:48:42,960
Speaker 1: way that you don't see a lot I don't know

920
00:48:43,120 --> 00:48:46,800
Speaker 1: like that. I think that that is both something about

921
00:48:46,880 --> 00:48:48,920
Speaker 1: the movie that I think is very cool and different

922
00:48:48,960 --> 00:48:52,440
Speaker 1: and also why it didn't fully work for me just

923
00:48:52,480 --> 00:48:56,200
Speaker 1: because of my own tastes. Sure, yeah, absolutely, yeah. Well,

924
00:48:56,239 --> 00:49:00,040
Speaker 1: and then another thing about that is that in a

925
00:49:00,040 --> 00:49:04,120
Speaker 1: movie like this, especially like a Western where to use

926
00:49:04,160 --> 00:49:10,280
Speaker 1: the phrase pricking exteriors, there's so many cactus men. There's

927
00:49:10,320 --> 00:49:13,960
Speaker 1: like you have your like John Waynes, who like rarely

928
00:49:14,200 --> 00:49:17,200
Speaker 1: showed any sort of vulnerability or was just like I'm

929
00:49:17,239 --> 00:49:19,480
Speaker 1: a man and I'm a tough man. But in this

930
00:49:19,520 --> 00:49:21,960
Speaker 1: movie you see like Butch and Sundance being kind of

931
00:49:22,040 --> 00:49:24,720
Speaker 1: vulnerable with each other. Time I was like, I can't swim.

932
00:49:24,719 --> 00:49:26,400
Speaker 1: I never learned how to swim. I've never taught a

933
00:49:26,400 --> 00:49:29,359
Speaker 1: guy before. Like there were feeling the secrets about themselves.

934
00:49:29,440 --> 00:49:33,000
Speaker 1: It's like kiss, I know, just kiss already, to tell

935
00:49:33,040 --> 00:49:36,440
Speaker 1: each other in their names and where they're from. And

936
00:49:36,640 --> 00:49:38,880
Speaker 1: it was just nice to see because a lot of

937
00:49:39,000 --> 00:49:41,360
Speaker 1: for this genre and for this era, there was just

938
00:49:41,400 --> 00:49:45,839
Speaker 1: like so much like toxic masculinity that was portrayed, and

939
00:49:46,360 --> 00:49:49,400
Speaker 1: so it was these guys are sad and they're scared,

940
00:49:49,719 --> 00:49:52,759
Speaker 1: and they're you know, they know what's coming and they

941
00:49:52,800 --> 00:49:55,360
Speaker 1: can't stop it. I mean it is a Western, but

942
00:49:55,400 --> 00:49:58,239
Speaker 1: it really were like it's also a character piece, like

943
00:49:58,520 --> 00:50:00,880
Speaker 1: about three people who are in inter twined in a

944
00:50:00,960 --> 00:50:03,560
Speaker 1: time that's on a very fine night line. You know

945
00:50:03,920 --> 00:50:07,600
Speaker 1: you're not. This movie came out in six interesting to mention,

946
00:50:07,680 --> 00:50:11,839
Speaker 1: same year as Midnight Cowboy. Oh yeah, yeah, so many

947
00:50:11,840 --> 00:50:15,560
Speaker 1: Cowboy movies that year, the midnight kind you're a little

948
00:50:15,560 --> 00:50:21,759
Speaker 1: different people for money. I guess cowboys did that too.

949
00:50:21,880 --> 00:50:29,000
Speaker 1: Who knows everybody's doing that to We haven't really talked

950
00:50:29,000 --> 00:50:33,360
Speaker 1: about sex way. Sorry cha, I like that you like

951
00:50:33,440 --> 00:50:38,280
Speaker 1: every pun? Give them to me hurts so good. There's

952
00:50:38,320 --> 00:50:40,759
Speaker 1: not a lot of female be characters, but I did

953
00:50:40,760 --> 00:50:43,280
Speaker 1: want to talk about most of the female be characters

954
00:50:43,280 --> 00:50:46,680
Speaker 1: that we see are somehow allied with the whorehouse. And

955
00:50:46,719 --> 00:50:49,680
Speaker 1: there is one scene it is a character with a name.

956
00:50:50,120 --> 00:50:53,520
Speaker 1: I forget exactly what her name is, but any no, no,

957
00:50:53,680 --> 00:50:56,719
Speaker 1: it's it's a girl that how am I supposed to

958
00:50:56,719 --> 00:50:59,399
Speaker 1: give someone the attention she deserves. It's a funny. It's

959
00:50:59,400 --> 00:51:03,279
Speaker 1: like Ronda or something. It's yeah, it's again using a

960
00:51:03,320 --> 00:51:08,560
Speaker 1: woman as a punch, like, but what is the one

961
00:51:08,600 --> 00:51:14,040
Speaker 1: of my there's more than one. That's weird. People are weird.

962
00:51:15,320 --> 00:51:18,880
Speaker 1: That is the Scottish there's but the yeah, Agnes is

963
00:51:18,920 --> 00:51:22,040
Speaker 1: like kind of like dry humping. Paul Newman kind of

964
00:51:22,120 --> 00:51:25,440
Speaker 1: endices the scene where Sundance is like working and you know,

965
00:51:25,520 --> 00:51:28,080
Speaker 1: Butch is litching around. He's looking out the window and

966
00:51:28,120 --> 00:51:30,319
Speaker 1: he's like, are we meeting followed? And yeah, they're dry

967
00:51:30,400 --> 00:51:33,280
Speaker 1: humping on the bed nearby. And then and then Agnes

968
00:51:33,400 --> 00:51:37,160
Speaker 1: is like like, we know, Butch is not fully paying

969
00:51:37,160 --> 00:51:40,600
Speaker 1: attention and whatever. It's silly, but you know, like her

970
00:51:40,680 --> 00:51:42,919
Speaker 1: only lives were like You're the only real man I've

971
00:51:42,920 --> 00:51:45,600
Speaker 1: ever met. But then you're just like and then she

972
00:51:45,719 --> 00:51:47,759
Speaker 1: sort of like makes this weird little speech about how

973
00:51:47,760 --> 00:51:50,600
Speaker 1: she's not like the other girls and he's just not

974
00:51:50,719 --> 00:51:52,719
Speaker 1: listening to her the whole time, where she's like, you're

975
00:51:52,719 --> 00:51:54,839
Speaker 1: the only real man I've ever met, and like all

976
00:51:54,840 --> 00:51:58,000
Speaker 1: the other girls don't understand that about you. And then

977
00:51:58,040 --> 00:52:00,799
Speaker 1: he's like, wait, Sun is what what's going on? Like

978
00:52:00,920 --> 00:52:05,960
Speaker 1: it's just completely ignoring her and it is funny to watch,

979
00:52:06,200 --> 00:52:08,919
Speaker 1: but that is maybe one of the only other lines

980
00:52:08,920 --> 00:52:11,000
Speaker 1: spoken by a woman in the movie, and it's basically

981
00:52:11,000 --> 00:52:13,359
Speaker 1: a joke. There's a there's another one, but before I

982
00:52:13,400 --> 00:52:16,040
Speaker 1: get to that, I love so that scene ends whenever

983
00:52:16,360 --> 00:52:20,880
Speaker 1: they literally like dive out the windows because Lord Baltimore

984
00:52:21,080 --> 00:52:28,200
Speaker 1: and Lauren Baltimore, he used his or he cast a

985
00:52:28,320 --> 00:52:31,560
Speaker 1: fine butch and sundance spell and then he finds them

986
00:52:31,600 --> 00:52:39,760
Speaker 1: and then so he'd But another scene where a woman's

987
00:52:39,800 --> 00:52:45,120
Speaker 1: on screen and even has lines, well they goddamn, is

988
00:52:45,120 --> 00:52:53,040
Speaker 1: that another Titanic. Yeah, that's oh no, wait no, that's

989
00:52:53,040 --> 00:52:57,520
Speaker 1: Glorious Stewart. Oh yeah, and then it's Glorious Stewart's granddaughter,

990
00:52:57,520 --> 00:53:01,680
Speaker 1: who Fox Bill Paxton rest in Paradise. It's remember that's

991
00:53:01,680 --> 00:53:04,439
Speaker 1: like the bit at the beginning where oh, and Bill

992
00:53:04,480 --> 00:53:14,480
Speaker 1: Paxton says it, well, that was what a rush. I

993
00:53:14,520 --> 00:53:19,680
Speaker 1: think it's Bill paxton granddaughter, Gloria Stewart. You never said,

994
00:53:19,719 --> 00:53:24,000
Speaker 1: let's just go watch titan anyway, So a woman there,

995
00:53:24,040 --> 00:53:26,480
Speaker 1: it's the second time they robbed the flyer and a

996
00:53:26,520 --> 00:53:29,440
Speaker 1: woman gets off the train and it's like storming towards them.

997
00:53:29,560 --> 00:53:31,839
Speaker 1: She's like, I'm a grandmother and a female and I've

998
00:53:31,880 --> 00:53:36,960
Speaker 1: got that liquor enough and I can fight you, and

999
00:53:37,000 --> 00:53:41,080
Speaker 1: then cut to her being like restrained by sun Dance

1000
00:53:41,160 --> 00:53:44,320
Speaker 1: with his hand over her mouth. And so she doesn't

1001
00:53:44,320 --> 00:53:45,799
Speaker 1: really do a good job of fighting them, but I

1002
00:53:45,880 --> 00:53:48,200
Speaker 1: like that she makes the effort. She gets off this train,

1003
00:53:48,360 --> 00:53:51,080
Speaker 1: She's yells at them, and I was like, you you go, girl.

1004
00:53:52,080 --> 00:53:55,360
Speaker 1: She doesn't get shot. She doesn't on the train. What

1005
00:53:55,480 --> 00:53:58,680
Speaker 1: a bar to set she does not get It's little.

1006
00:53:58,800 --> 00:54:02,359
Speaker 1: It's but that again, that was another thing where I'm like, oh, man,

1007
00:54:02,400 --> 00:54:06,359
Speaker 1: I wish that that wasn't funny, but I'm laughing rights.

1008
00:54:06,560 --> 00:54:09,960
Speaker 1: It is good performances to like, I mean, I've stopped

1009
00:54:10,000 --> 00:54:11,880
Speaker 1: being able to watch. This is just like a movie

1010
00:54:11,920 --> 00:54:13,960
Speaker 1: happening to me. And it's hard not to step back

1011
00:54:14,000 --> 00:54:16,920
Speaker 1: and look at like each scene and like how it

1012
00:54:17,000 --> 00:54:20,879
Speaker 1: was shot and all the choices, and I mean, it's

1013
00:54:20,880 --> 00:54:23,759
Speaker 1: a lot of fun. It's not enough women. The roles

1014
00:54:23,760 --> 00:54:27,120
Speaker 1: for women are real thin, but I think the performances

1015
00:54:27,160 --> 00:54:29,080
Speaker 1: and the writing was strong enough to bring a lot

1016
00:54:29,280 --> 00:54:31,560
Speaker 1: out of what we do get to see from women

1017
00:54:31,560 --> 00:54:34,360
Speaker 1: in this movie. And Katherine ross Man, I feel like

1018
00:54:34,400 --> 00:54:37,359
Speaker 1: I know so much about that character and she has

1019
00:54:37,400 --> 00:54:40,640
Speaker 1: like lines, she does a lot, she does a lot.

1020
00:54:41,320 --> 00:54:44,320
Speaker 1: That's another point I wanted to make a question I

1021
00:54:44,400 --> 00:54:48,120
Speaker 1: wanted to pose, which is, if you take out her character,

1022
00:54:48,760 --> 00:54:51,200
Speaker 1: how different is the movie. I think it would be

1023
00:54:51,239 --> 00:54:54,120
Speaker 1: a bit totally different. But I don't think like story wise,

1024
00:54:54,640 --> 00:54:57,120
Speaker 1: she doesn't do a lot a lot to actually affect

1025
00:54:57,160 --> 00:55:01,319
Speaker 1: the progression of the story. So well, I think her

1026
00:55:01,400 --> 00:55:04,960
Speaker 1: main function, I mean, if we're to end, correct me

1027
00:55:05,000 --> 00:55:07,839
Speaker 1: if I'm wrong, but the main thing that she does

1028
00:55:07,880 --> 00:55:11,000
Speaker 1: in the movie that no one else could do because

1029
00:55:11,320 --> 00:55:13,640
Speaker 1: she shoots that one time, but Budge and Sun has

1030
00:55:13,680 --> 00:55:15,759
Speaker 1: can shoot. They didn't need her to do that. The

1031
00:55:15,800 --> 00:55:18,440
Speaker 1: one thing she can do is teach, and that is

1032
00:55:18,480 --> 00:55:20,520
Speaker 1: something they cannot do, and she has the knowledge to

1033
00:55:20,560 --> 00:55:23,480
Speaker 1: teach them Spanish. But when she tries to do that,

1034
00:55:23,520 --> 00:55:26,279
Speaker 1: they're like, we don't care. So it's like, well, she

1035
00:55:26,360 --> 00:55:29,080
Speaker 1: also rubs the bank in Bolivia in the most the

1036
00:55:29,160 --> 00:55:33,160
Speaker 1: least violent way, Like it's so not violent. So they

1037
00:55:33,239 --> 00:55:35,799
Speaker 1: dress up super fancy sun dance and at a dress

1038
00:55:35,880 --> 00:55:37,920
Speaker 1: up all posh and then walk into a bank. It's

1039
00:55:37,920 --> 00:55:40,400
Speaker 1: a good con she poses as the concerned wife. This

1040
00:55:40,440 --> 00:55:42,239
Speaker 1: is all music. You don't hear any dialogue for this,

1041
00:55:42,560 --> 00:55:44,520
Speaker 1: but you can tell that she is posing. Is like

1042
00:55:44,560 --> 00:55:48,240
Speaker 1: the concerned wife that doesn't want to hut her jewels

1043
00:55:48,440 --> 00:55:52,600
Speaker 1: in an unsafe bank, and the manager overhears and is

1044
00:55:52,760 --> 00:55:56,920
Speaker 1: completely sweet and load buyer brings them down past all

1045
00:55:56,920 --> 00:55:59,440
Speaker 1: the bank employees down to the vault, goes into the

1046
00:55:59,480 --> 00:56:01,680
Speaker 1: safe and opens the safe for them to show them

1047
00:56:01,680 --> 00:56:03,799
Speaker 1: how safe it is. And that's when the gun comes

1048
00:56:03,800 --> 00:56:05,799
Speaker 1: out and he just kind of puts his hands up.

1049
00:56:05,920 --> 00:56:08,840
Speaker 1: She takes all the money out of the safe. Sundyance

1050
00:56:08,840 --> 00:56:11,880
Speaker 1: locks him behind the gates and he reaches out to

1051
00:56:12,000 --> 00:56:14,239
Speaker 1: hand something. I think it's a little jewel that she

1052
00:56:14,360 --> 00:56:17,560
Speaker 1: left behind, Like he reaches through the bars and then

1053
00:56:17,560 --> 00:56:20,040
Speaker 1: smiles and puts his hands back up, and like her

1054
00:56:20,160 --> 00:56:22,200
Speaker 1: laugh when she's leaving is just one of those like

1055
00:56:22,600 --> 00:56:24,600
Speaker 1: it's again, it's just a great scene. Like it's such

1056
00:56:24,640 --> 00:56:28,440
Speaker 1: a fun performance to watch because you know, like she

1057
00:56:28,600 --> 00:56:30,279
Speaker 1: left for some kind of adventure and to be a

1058
00:56:30,320 --> 00:56:33,000
Speaker 1: part of something, and she's like in it. She's totally

1059
00:56:33,040 --> 00:56:35,120
Speaker 1: doing it. I don't think you can take her out

1060
00:56:35,120 --> 00:56:38,560
Speaker 1: of this movie. She's its axis, like they are spinning

1061
00:56:38,600 --> 00:56:42,040
Speaker 1: out trying to figure out where they land, Like she's

1062
00:56:42,080 --> 00:56:45,600
Speaker 1: the gravity that holds them to life. In general, they

1063
00:56:45,600 --> 00:56:48,200
Speaker 1: don't have a lot. They don't love this life like

1064
00:56:48,640 --> 00:56:51,359
Speaker 1: the love and what they enjoy is like when they

1065
00:56:51,400 --> 00:56:53,600
Speaker 1: get to take trips together when they're too you know,

1066
00:56:53,880 --> 00:56:56,120
Speaker 1: it's I think it's a story about three people, and

1067
00:56:56,160 --> 00:56:58,520
Speaker 1: I don't think you can remove any one of the three,

1068
00:56:58,880 --> 00:57:00,960
Speaker 1: even though they do make all the decisions. But men

1069
00:57:01,040 --> 00:57:03,120
Speaker 1: were the only ones allowed to carry money and ship

1070
00:57:03,200 --> 00:57:05,759
Speaker 1: you could be like it was. I don't think it

1071
00:57:05,800 --> 00:57:07,839
Speaker 1: would be accurate to say that she's the one who's

1072
00:57:07,880 --> 00:57:10,080
Speaker 1: going to be the boss, because that's not the three

1073
00:57:10,120 --> 00:57:11,680
Speaker 1: of them anyway, And I don't think that was women

1074
00:57:11,680 --> 00:57:13,640
Speaker 1: at the time. But I can't imagine it without her.

1075
00:57:13,920 --> 00:57:17,640
Speaker 1: Where would Sundance go? You know? When that's like, I

1076
00:57:17,800 --> 00:57:20,439
Speaker 1: I how would which know where he was gonna be? Like?

1077
00:57:20,600 --> 00:57:24,160
Speaker 1: Why would the memories they share matter beyond because it's

1078
00:57:24,200 --> 00:57:25,560
Speaker 1: not like they're just one in the whole in the

1079
00:57:25,560 --> 00:57:29,120
Speaker 1: wall gang, like they're bonded beyond just being buddies. But

1080
00:57:29,200 --> 00:57:32,440
Speaker 1: then that my where that stops for me, as like, well,

1081
00:57:32,440 --> 00:57:36,160
Speaker 1: then is she just there to give the male characters

1082
00:57:36,200 --> 00:57:39,800
Speaker 1: more depth? And like is she there to write? Like

1083
00:57:40,040 --> 00:57:45,600
Speaker 1: I think that's true? Yeah, right, And and so the

1084
00:57:45,600 --> 00:57:50,040
Speaker 1: balance between her providing them with depth and sensitivity and

1085
00:57:50,080 --> 00:57:53,880
Speaker 1: them providing her with that is not you know, I

1086
00:57:53,920 --> 00:57:55,800
Speaker 1: don't think you can take her out, But I don't

1087
00:57:55,920 --> 00:57:58,600
Speaker 1: think that she's I don't think that she's an equal player.

1088
00:57:58,760 --> 00:58:00,960
Speaker 1: I think you're right, Yeah, Otherwise I don't want to.

1089
00:58:02,600 --> 00:58:04,160
Speaker 1: I don't want to. I don't want to believe that,

1090
00:58:04,680 --> 00:58:07,960
Speaker 1: but I'm filling in. I can spin a web around

1091
00:58:08,040 --> 00:58:10,960
Speaker 1: this movie that suggests yeah, and I want to, so

1092
00:58:11,040 --> 00:58:13,400
Speaker 1: I do. But you're totally right. I mean, I don't know,

1093
00:58:13,480 --> 00:58:16,040
Speaker 1: like we could, like more could have been done to

1094
00:58:16,480 --> 00:58:19,880
Speaker 1: give her a more crucial role or just be like, hey, well,

1095
00:58:19,920 --> 00:58:23,040
Speaker 1: why don't like you were using this method of robbing banks?

1096
00:58:23,040 --> 00:58:25,720
Speaker 1: What if like what if it was her idea to like,

1097
00:58:25,800 --> 00:58:29,480
Speaker 1: let's pose as a married couple and like something like that,

1098
00:58:29,520 --> 00:58:31,600
Speaker 1: Like I don't I just wish that we would have

1099
00:58:31,600 --> 00:58:36,560
Speaker 1: seen some decisions or contributing more to this story, even

1100
00:58:36,560 --> 00:58:38,640
Speaker 1: if they had taken a little interest in Spanish. I

1101
00:58:38,720 --> 00:58:45,120
Speaker 1: was like trying, but he did even yeah, I don't know,

1102
00:58:45,200 --> 00:58:49,520
Speaker 1: he didn't change classic. But I also don't read great,

1103
00:58:49,680 --> 00:58:51,320
Speaker 1: Like it takes them a long time to read a

1104
00:58:51,320 --> 00:58:53,720
Speaker 1: newspaper article and they still have to ask her to

1105
00:58:53,720 --> 00:58:55,880
Speaker 1: say it that out loud for exposition, and also because

1106
00:58:55,920 --> 00:58:58,800
Speaker 1: they can't. They can't, I mean maybe not. Man don't

1107
00:58:58,880 --> 00:59:02,000
Speaker 1: date in the literate has some stake, I mean options

1108
00:59:02,040 --> 00:59:04,960
Speaker 1: did you have. He's handsome, but this was like, you know,

1109
00:59:05,920 --> 00:59:10,320
Speaker 1: we were building houses out of sticks in the Woodcock

1110
00:59:10,680 --> 00:59:15,520
Speaker 1: Woodcock definitely Woodcock. But what if she goes home? Yeah?

1111
00:59:15,560 --> 00:59:19,560
Speaker 1: That was his arms heeled. They both love Flitch and son, Nancy.

1112
00:59:19,560 --> 00:59:21,760
Speaker 1: You remember what Willcox said, listen, if there was my money,

1113
00:59:21,760 --> 00:59:24,840
Speaker 1: there's nobody I'd rather love stealing. Literally, they were both charmed.

1114
00:59:24,880 --> 00:59:28,160
Speaker 1: I love him Woodcock. I hope you would have found

1115
00:59:28,160 --> 00:59:30,640
Speaker 1: each other. I think, yeah, he would be. That's a

1116
00:59:30,640 --> 00:59:32,560
Speaker 1: man who would listen to a woman, you know, and

1117
00:59:32,720 --> 00:59:36,000
Speaker 1: like he was a wood bab man goes down on

1118
00:59:36,040 --> 00:59:39,439
Speaker 1: you for an entire episode of Woodcock was the only

1119
00:59:39,440 --> 00:59:42,240
Speaker 1: man in that town that knew where the clitteress was?

1120
00:59:42,360 --> 00:59:48,040
Speaker 1: For sure? For sure? Like what was the name? Like Woodcock?

1121
00:59:48,320 --> 00:59:51,240
Speaker 1: How could you know? That's just the plot that occurred

1122
00:59:51,320 --> 00:59:56,040
Speaker 1: you on Switchers Glasscock. You look for a man named

1123
00:59:56,040 --> 00:59:58,800
Speaker 1: glass Cock and then just hope he doesn't go too hard.

1124
01:00:00,040 --> 01:00:06,800
Speaker 1: Are you're a blade wood Cock too? Guy? That's true fire,

1125
01:00:06,960 --> 01:00:11,080
Speaker 1: that's true. I'm gonna make up a name called skin cock,

1126
01:00:11,280 --> 01:00:17,160
Speaker 1: and that would be human flesh cock. I am missus

1127
01:00:17,280 --> 01:00:22,520
Speaker 1: human flesh cock. Perfect. I'm married into the human flesh cocks. Oh,

1128
01:00:22,560 --> 01:00:25,440
Speaker 1: the human flesh cocks in Connecticut. Oh no, we're the

1129
01:00:25,520 --> 01:00:28,400
Speaker 1: new Hampshire human flesh cocks. Are you have the Boston

1130
01:00:28,480 --> 01:00:36,800
Speaker 1: Dawson's No, the chip actually, and you're just like, I

1131
01:00:36,840 --> 01:00:38,520
Speaker 1: know what I was fishing is You're going to go

1132
01:00:38,560 --> 01:00:46,720
Speaker 1: down with this ship, aren't you? Ladies? Okay, does anyone

1133
01:00:46,760 --> 01:00:50,160
Speaker 1: have any final thoughts about the movie? Thanks for doing

1134
01:00:50,200 --> 01:00:52,040
Speaker 1: this one. I know it's weird. I like what you

1135
01:00:52,040 --> 01:00:54,360
Speaker 1: said about Gray Area. I think that's I think I

1136
01:00:54,360 --> 01:00:57,640
Speaker 1: think that that is what's interesting about talking about this movie. Yeah,

1137
01:00:58,000 --> 01:01:00,280
Speaker 1: I love it, but I know that I'm sending a

1138
01:01:00,400 --> 01:01:01,880
Speaker 1: light on it and I want to see it from

1139
01:01:01,880 --> 01:01:05,240
Speaker 1: a certain perspective. But I think it is a worthy watch.

1140
01:01:05,320 --> 01:01:08,000
Speaker 1: And I think if you're curious about a movie, especially

1141
01:01:08,040 --> 01:01:11,800
Speaker 1: from a time when from a different time, about a

1142
01:01:11,840 --> 01:01:15,040
Speaker 1: different time where women have a little bit more complexity

1143
01:01:15,160 --> 01:01:18,240
Speaker 1: or control or are allowed to have a life that's

1144
01:01:18,280 --> 01:01:20,720
Speaker 1: different from a cookie cutter, I think this is a

1145
01:01:20,760 --> 01:01:24,040
Speaker 1: good exploration of that and it's watching an actress really

1146
01:01:24,080 --> 01:01:28,080
Speaker 1: make the most. A different performance would have made this

1147
01:01:28,200 --> 01:01:34,080
Speaker 1: character insufferably bad. But her reserve and her face and

1148
01:01:34,120 --> 01:01:39,600
Speaker 1: how much sadness and hope and unstaking herself like you

1149
01:01:39,640 --> 01:01:42,640
Speaker 1: see her do it. I just think it's her performance

1150
01:01:42,640 --> 01:01:45,480
Speaker 1: stands up with In fact, there's something to be said

1151
01:01:45,520 --> 01:01:47,720
Speaker 1: for having less on the page and getting just as

1152
01:01:47,800 --> 01:01:51,400
Speaker 1: much out of a character as to big name, highly

1153
01:01:51,400 --> 01:01:53,400
Speaker 1: paid actors that are given on the screen time in

1154
01:01:53,440 --> 01:01:55,600
Speaker 1: your movie. You know, I think you can't take her

1155
01:01:55,600 --> 01:01:57,400
Speaker 1: out of that story. But I think that's a lot

1156
01:01:57,440 --> 01:02:00,160
Speaker 1: because of what kath Ross brought to the table. Keep

1157
01:02:00,160 --> 01:02:03,920
Speaker 1: wearing him saying her name on She's Catherine Ross, another

1158
01:02:03,960 --> 01:02:05,880
Speaker 1: one of my middle names. It's weird. Scott, just Scotti.

1159
01:02:05,960 --> 01:02:10,280
Speaker 1: People are weird. Wait, you have Caitlin and Caitlin Raskills

1160
01:02:10,320 --> 01:02:13,160
Speaker 1: the name on my what Agnes Calbert. It's just a

1161
01:02:13,200 --> 01:02:15,640
Speaker 1: bunch of old lady names. Stuff in the Mary name.

1162
01:02:15,760 --> 01:02:18,880
Speaker 1: For some reason that has to do with a crest

1163
01:02:18,920 --> 01:02:20,880
Speaker 1: with a fucking lion on it. I don't know. Scott's

1164
01:02:20,880 --> 01:02:26,160
Speaker 1: a weird crest. Love a good crest. I've just got

1165
01:02:26,160 --> 01:02:30,240
Speaker 1: the one, the one crest. Oh, I don't know where

1166
01:02:30,320 --> 01:02:33,720
Speaker 1: Irish probably have a crest I wanted. I have two

1167
01:02:33,720 --> 01:02:37,240
Speaker 1: final points I would like to late share. One is

1168
01:02:37,360 --> 01:02:40,760
Speaker 1: whenever Sundance. Early on in the movie, they get to

1169
01:02:40,800 --> 01:02:44,400
Speaker 1: the brothel and Butch is, you know, smooching a lady,

1170
01:02:44,640 --> 01:02:48,800
Speaker 1: a prostitute that he has, uh, sex works. I don't

1171
01:02:48,800 --> 01:02:51,000
Speaker 1: know what's appropriate. Do you use the term that was

1172
01:02:51,040 --> 01:02:53,080
Speaker 1: appropriate at the time, or do you use the term

1173
01:02:53,080 --> 01:02:57,960
Speaker 1: that is appropriate now. I want sex works, sex worker,

1174
01:02:58,280 --> 01:03:02,439
Speaker 1: sex man. Women in that era hats off, right, so

1175
01:03:02,680 --> 01:03:09,280
Speaker 1: they're coodling, but like, sorry, they're cooling, and Sundance he

1176
01:03:09,400 --> 01:03:11,120
Speaker 1: stands up and he's like, I'm gonna go find myself

1177
01:03:11,120 --> 01:03:16,040
Speaker 1: a woman, and I'm not picky as long as she's smart, pretty,

1178
01:03:16,120 --> 01:03:20,000
Speaker 1: pretty sweet and gentle and tender and refined. Anyone just

1179
01:03:20,000 --> 01:03:24,400
Speaker 1: find themselves slowly raising their hands as he made that speech.

1180
01:03:24,600 --> 01:03:26,080
Speaker 1: But I would just like to point out that the

1181
01:03:26,120 --> 01:03:29,120
Speaker 1: first thing he said, it's smart. So I want to

1182
01:03:29,160 --> 01:03:32,040
Speaker 1: have sex with the sleeve. I want to get this

1183
01:03:32,080 --> 01:03:34,520
Speaker 1: movie erect, and I wanted to be inside my buttet

1184
01:03:34,920 --> 01:03:36,640
Speaker 1: I even, I mean, I'll do it as a lady.

1185
01:03:36,680 --> 01:03:40,800
Speaker 1: I want to eat this movie out. See that's how

1186
01:03:40,840 --> 01:03:49,400
Speaker 1: I feel about Spiderman. Too sure. I want to I

1187
01:03:49,440 --> 01:03:54,840
Speaker 1: want to close put the clowns ivy. I'll stop for

1188
01:03:54,880 --> 01:04:01,000
Speaker 1: the consequences and get mad, but I'll take about chances.

1189
01:04:01,440 --> 01:04:04,400
Speaker 1: The other one I want to make is that while

1190
01:04:04,480 --> 01:04:06,880
Speaker 1: you pointed out women of this era that the movie

1191
01:04:07,160 --> 01:04:10,920
Speaker 1: is said and couldn't own land or you know, do

1192
01:04:11,080 --> 01:04:14,720
Speaker 1: much of anything, voute anything. But you know what else

1193
01:04:14,760 --> 01:04:18,160
Speaker 1: you weren't allowed to do Rob Banks, And that's what

1194
01:04:18,640 --> 01:04:22,600
Speaker 1: Butch and Sundance do. So I feel like you could

1195
01:04:22,600 --> 01:04:25,040
Speaker 1: have written a character where she was, like I don't know,

1196
01:04:25,120 --> 01:04:28,520
Speaker 1: just more being a badass or doing things that she

1197
01:04:28,680 --> 01:04:30,880
Speaker 1: wasn't that wasn't proper for her to do because the

1198
01:04:30,960 --> 01:04:33,800
Speaker 1: guys were okay to do it. So I don't know.

1199
01:04:33,960 --> 01:04:37,040
Speaker 1: That's just some food for thought. But who am I

1200
01:04:37,080 --> 01:04:41,560
Speaker 1: to say? I feel you Yeah, you're just a dumb lady,

1201
01:04:41,840 --> 01:04:44,440
Speaker 1: Just a dumb lady with a small brain. I mean

1202
01:04:44,480 --> 01:04:46,400
Speaker 1: I want to Yeah, I want to think of her

1203
01:04:46,440 --> 01:04:48,920
Speaker 1: as more than like the board teacher who takes a

1204
01:04:49,000 --> 01:04:52,400
Speaker 1: pole dancing class to feel interesting. And no shade on

1205
01:04:52,480 --> 01:04:55,280
Speaker 1: you girl, hit that pole. It's a plunk. Class is

1206
01:04:55,280 --> 01:04:57,280
Speaker 1: a great workout. You're gonna look great. You just describe

1207
01:04:57,360 --> 01:05:00,840
Speaker 1: three of my cousins. Oh, I'm thinking of people that

1208
01:05:00,880 --> 01:05:04,600
Speaker 1: I love and care about. But like, there's folks who

1209
01:05:04,640 --> 01:05:06,400
Speaker 1: get kind of trapped into a life and wish they

1210
01:05:06,440 --> 01:05:08,720
Speaker 1: could have something more exciting. And there's people who are

1211
01:05:08,760 --> 01:05:12,480
Speaker 1: perfectly happy and don't want any more excitement. And then

1212
01:05:12,480 --> 01:05:13,960
Speaker 1: we all know weirdos who live on the edge all

1213
01:05:13,960 --> 01:05:15,240
Speaker 1: the time. And I have never been trapped in any

1214
01:05:15,280 --> 01:05:19,520
Speaker 1: kind of normal life. And good for him. Good thinks

1215
01:05:19,560 --> 01:05:21,120
Speaker 1: she's one in the middle. I gotta be a little

1216
01:05:21,160 --> 01:05:23,560
Speaker 1: I mean, I gotta be a little bit boring. There's

1217
01:05:23,600 --> 01:05:24,840
Speaker 1: parts of my life where I'm like, we're going to

1218
01:05:24,960 --> 01:05:28,640
Speaker 1: keep this boring as one paper. I am so exciting.

1219
01:05:28,760 --> 01:05:32,680
Speaker 1: In reality, I am unwalking netflix cute, I am as sentient.

1220
01:05:34,640 --> 01:05:39,360
Speaker 1: I am a couch in motion, sometimes a couch with

1221
01:05:39,400 --> 01:05:43,360
Speaker 1: a pulse. Yeah. So we, as we have mentioned, the

1222
01:05:43,360 --> 01:05:47,600
Speaker 1: movie does not pass the Bechtel test. There's no close

1223
01:05:47,640 --> 01:05:50,600
Speaker 1: calls to discussion, only three characters. Though for real, I

1224
01:05:50,800 --> 01:05:54,560
Speaker 1: I keep over like there is a central female character

1225
01:05:54,840 --> 01:05:57,280
Speaker 1: that could have been more, but what I would not

1226
01:05:57,360 --> 01:05:59,680
Speaker 1: describe her as less than there are I mean there are,

1227
01:06:00,040 --> 01:06:02,400
Speaker 1: but it doesn't at least two scenes where it's like, okay,

1228
01:06:02,440 --> 01:06:04,320
Speaker 1: we are we're at a brothel, but we are in

1229
01:06:04,360 --> 01:06:06,400
Speaker 1: a room full of women. Yeah, give us a give

1230
01:06:06,440 --> 01:06:10,160
Speaker 1: us a throwaway. What do you have for dinner? Roast beef?

1231
01:06:10,440 --> 01:06:15,960
Speaker 1: And this was my name and Jack? But then why're

1232
01:06:15,960 --> 01:06:18,520
Speaker 1: talking about about mine? Is that line? And then and

1233
01:06:18,520 --> 01:06:21,120
Speaker 1: then she's like, what's your name again, Jenny? What's yours?

1234
01:06:21,240 --> 01:06:27,360
Speaker 1: I'm Susanne? And then the thing is it was every

1235
01:06:27,400 --> 01:06:29,760
Speaker 1: time we have to write a becdel scene into a movie,

1236
01:06:29,760 --> 01:06:35,360
Speaker 1: it's very boring. Its characters like that have actual character.

1237
01:06:35,520 --> 01:06:38,360
Speaker 1: That's that would be great. But this was written by

1238
01:06:38,360 --> 01:06:43,360
Speaker 1: William Goldman, who was mentor to Aaron Sorkin, So we

1239
01:06:43,400 --> 01:06:46,439
Speaker 1: can watch the long finger of the inability to write

1240
01:06:46,440 --> 01:06:48,520
Speaker 1: women who can relate to each other stretch into the

1241
01:06:48,520 --> 01:06:52,439
Speaker 1: modern day. Like so many women who do so well

1242
01:06:52,480 --> 01:06:54,400
Speaker 1: with being on par with men like A C. J.

1243
01:06:54,560 --> 01:06:56,760
Speaker 1: Craig or whatever. But when you when it gets down

1244
01:06:56,760 --> 01:07:01,600
Speaker 1: to like two women doing two women things, that is like, uh,

1245
01:07:01,640 --> 01:07:03,680
Speaker 1: that's when the girls go to the bathroom together. We

1246
01:07:03,760 --> 01:07:08,800
Speaker 1: don't know what they're doing. Huh uh. Aaron does blow

1247
01:07:08,880 --> 01:07:15,400
Speaker 1: punches a mirror. Um, I'm writing here, he's dying up

1248
01:07:15,440 --> 01:07:23,200
Speaker 1: there man. Well. William Goldman also wrote The Princess Bride

1249
01:07:24,320 --> 01:07:30,920
Speaker 1: also fails. Yeah, that's yeah and has definitely Yeah, I

1250
01:07:30,920 --> 01:07:32,680
Speaker 1: should listen to that one because I'm sure you said

1251
01:07:32,720 --> 01:07:34,760
Speaker 1: all the things that I'm about to say now. I

1252
01:07:34,760 --> 01:07:36,320
Speaker 1: do like the cast, but I haven't listened to that one.

1253
01:07:36,320 --> 01:07:38,160
Speaker 1: That movie makes me send really scared me when I

1254
01:07:38,200 --> 01:07:40,680
Speaker 1: was a kid. So what that was another one that

1255
01:07:40,720 --> 01:07:44,040
Speaker 1: I just rack. Man, it's like seven or something when

1256
01:07:44,040 --> 01:07:46,400
Speaker 1: that came out in the theater, like, no, you're tearing.

1257
01:07:46,480 --> 01:07:49,320
Speaker 1: I didn't like. Also Robin Hood Princess Thieves anyway, now

1258
01:07:49,320 --> 01:07:52,200
Speaker 1: we're going so I saw those a way too. Really,

1259
01:07:52,400 --> 01:07:54,840
Speaker 1: let's uh, Antonio Bender Zoro was the first movie that

1260
01:07:54,880 --> 01:07:56,440
Speaker 1: really scared me. That's a good one. I also got

1261
01:07:56,480 --> 01:07:59,280
Speaker 1: scared and Crocodile Dundee. So don't use me as a judge.

1262
01:07:59,400 --> 01:08:01,400
Speaker 1: Lots of scary summer movies are talking about right now.

1263
01:08:03,680 --> 01:08:08,520
Speaker 1: Halloween specials. That's real. That's real. Let's get back on

1264
01:08:08,600 --> 01:08:11,720
Speaker 1: track and right to the movie with our nipple scale,

1265
01:08:12,160 --> 01:08:14,440
Speaker 1: our scale of zero to five nipples, where we rate

1266
01:08:14,520 --> 01:08:18,280
Speaker 1: the movie based on its portrayal of women. I'm going

1267
01:08:18,360 --> 01:08:22,479
Speaker 1: to give it a god. You brought up some interesting

1268
01:08:22,520 --> 01:08:24,439
Speaker 1: points that because I was gonna give it like a

1269
01:08:24,520 --> 01:08:27,599
Speaker 1: one nipple, and then I was like, well, you know,

1270
01:08:27,840 --> 01:08:32,439
Speaker 1: she does have a tiny smidge of agency whereby she's like,

1271
01:08:32,479 --> 01:08:35,800
Speaker 1: I'm making this choice because I want excitement. But I

1272
01:08:35,920 --> 01:08:40,560
Speaker 1: just it's so frustrating to see her treated so poorly

1273
01:08:40,760 --> 01:08:45,320
Speaker 1: by her boyfriend. And even though there's subtext to the

1274
01:08:45,360 --> 01:08:49,720
Speaker 1: things he's saying, he's still rarely, if ever, actually comes

1275
01:08:49,720 --> 01:08:51,640
Speaker 1: out and says like I love you, I cherish you,

1276
01:08:51,680 --> 01:08:55,439
Speaker 1: I appreciate you. So it's frustrating to just see her

1277
01:08:55,720 --> 01:08:58,760
Speaker 1: constantly be treated poorly by the man who's supposed to

1278
01:08:58,760 --> 01:09:03,200
Speaker 1: love her. So I'm gonna stick with I'm gonna stick

1279
01:09:03,200 --> 01:09:05,840
Speaker 1: with the one. As much as I really liked this movie,

1280
01:09:05,920 --> 01:09:08,719
Speaker 1: I just there could have it just could have been better.

1281
01:09:09,520 --> 01:09:12,240
Speaker 1: Who are you given the nipple to the nipple belongs?

1282
01:09:12,360 --> 01:09:15,320
Speaker 1: Oh maybe I should give it two nipples, just so

1283
01:09:16,160 --> 01:09:19,160
Speaker 1: Paul Newman can have one and Robert Redford you can

1284
01:09:19,200 --> 01:09:22,920
Speaker 1: have one, can touch and then Okay, here's here's what

1285
01:09:22,960 --> 01:09:27,160
Speaker 1: it is. It's one nipple, but it's a hybrid between

1286
01:09:27,400 --> 01:09:30,519
Speaker 1: Paul Newman and Robert Redfern. Do kind of want that?

1287
01:09:30,520 --> 01:09:32,200
Speaker 1: I didn't know it did, But I've got one. Half

1288
01:09:32,200 --> 01:09:38,840
Speaker 1: is scare. It's like Harrier. Yeah, but we'll have to

1289
01:09:38,920 --> 01:09:41,920
Speaker 1: watch other movies to find out. I'm pretty sure cool

1290
01:09:42,000 --> 01:09:45,320
Speaker 1: named Luke Rus. It reveals a lot about Paul Newman's flipples.

1291
01:09:45,320 --> 01:09:48,679
Speaker 1: Oh yeah, you do you see his after he eats

1292
01:09:48,680 --> 01:09:50,840
Speaker 1: all the eggs. He's shirtless and he's like he's got

1293
01:09:50,840 --> 01:09:53,960
Speaker 1: that bulging stomach. But anyway, it's a hybrid between the

1294
01:09:54,000 --> 01:09:56,719
Speaker 1: two of their nipples, and it's the most perfect nipple

1295
01:09:57,000 --> 01:10:01,679
Speaker 1: to have ever raised the planet Earth, the most perfect

1296
01:10:01,760 --> 01:10:06,439
Speaker 1: nipple to never drip a drop. Men can lact it?

1297
01:10:07,040 --> 01:10:09,400
Speaker 1: You don't, really? I think so. I have a lot

1298
01:10:09,400 --> 01:10:12,240
Speaker 1: to learn. I only know. The only thing I know

1299
01:10:12,280 --> 01:10:16,000
Speaker 1: about nipples is that cats have eight of them. This

1300
01:10:16,120 --> 01:10:22,120
Speaker 1: has been cat facts with Caitlin. Can men lactate? My

1301
01:10:22,200 --> 01:10:26,360
Speaker 1: web search turns something up for can man lactate? Strange

1302
01:10:26,400 --> 01:10:31,240
Speaker 1: for true males can lactate? The Scientific American. That's incredible

1303
01:10:31,280 --> 01:10:33,800
Speaker 1: source to get me one of those. I want to

1304
01:10:33,800 --> 01:10:35,720
Speaker 1: milk my boyfriend? What do you thinks in the middle

1305
01:10:35,760 --> 01:10:39,559
Speaker 1: of Newmanos? What do you think is in those salad

1306
01:10:39,640 --> 01:10:48,719
Speaker 1: dressing bottles? Milk of Newman? Yes? Okay? Who else wants

1307
01:10:48,760 --> 01:10:51,280
Speaker 1: to rate the movie? I'll give it a one and

1308
01:10:51,320 --> 01:10:54,800
Speaker 1: a half because Caitlyn, you sold me on a lot

1309
01:10:54,800 --> 01:10:58,439
Speaker 1: of points about edit that I had, which can throw

1310
01:10:58,560 --> 01:11:03,320
Speaker 1: up there Caitlin and mother, But there was a lot

1311
01:11:03,360 --> 01:11:05,240
Speaker 1: that I hadn't thought about that sort of made me

1312
01:11:05,280 --> 01:11:07,479
Speaker 1: think of edit in a different way. And then the

1313
01:11:07,479 --> 01:11:10,160
Speaker 1: rest of the nipples are just like, this is not

1314
01:11:10,400 --> 01:11:13,360
Speaker 1: a women's story. There's not a lot of women included

1315
01:11:13,400 --> 01:11:17,519
Speaker 1: in it. Which happens, get it especially happens a lot.

1316
01:11:17,720 --> 01:11:20,840
Speaker 1: But as usual, all the b character women we see,

1317
01:11:21,000 --> 01:11:24,519
Speaker 1: we could have gotten way more interesting, better mileage out

1318
01:11:24,560 --> 01:11:26,880
Speaker 1: of and that is, you know, failed to do so.

1319
01:11:26,920 --> 01:11:29,400
Speaker 1: And when women are there, they're either there is a

1320
01:11:29,400 --> 01:11:33,519
Speaker 1: a joke or be to deliver some exposition. Yeah, every

1321
01:11:33,560 --> 01:11:36,200
Speaker 1: line that Fanny has the one woman who is not

1322
01:11:36,760 --> 01:11:42,080
Speaker 1: fucked is to give information to Butch or Sundance, so

1323
01:11:42,280 --> 01:11:45,800
Speaker 1: that you know, not something we've never encountered. When I

1324
01:11:45,840 --> 01:11:48,720
Speaker 1: have nipples, I'm given I'm giving him the woodcock like

1325
01:11:48,760 --> 01:11:53,040
Speaker 1: a cock. Yeah, he mean human flash cock for shore

1326
01:11:53,120 --> 01:12:00,880
Speaker 1: line teams. He wakes up every morning bulging and has

1327
01:12:00,920 --> 01:12:03,479
Speaker 1: to like Pump, never has to go to the story

1328
01:12:03,479 --> 01:12:12,160
Speaker 1: to eat cereal. He just shakes himself around. Oh, it's

1329
01:12:12,200 --> 01:12:13,840
Speaker 1: a great actor whose name I forget, but it's in A.

1330
01:12:13,960 --> 01:12:16,960
Speaker 1: He's in a million things. Yeah. Oh, he's so funny.

1331
01:12:16,960 --> 01:12:19,720
Speaker 1: He's I feel like he's in Blazing Saddles too. I'm

1332
01:12:19,720 --> 01:12:21,160
Speaker 1: not gonna get that name, but I will tell you

1333
01:12:21,160 --> 01:12:23,680
Speaker 1: that I would give it three nipples um less than

1334
01:12:23,720 --> 01:12:25,240
Speaker 1: what I want, because when I look at it the

1335
01:12:25,240 --> 01:12:28,880
Speaker 1: way I want to not acknowledging all the very accurate

1336
01:12:29,200 --> 01:12:32,320
Speaker 1: things you've said about like the structure of the film

1337
01:12:32,400 --> 01:12:35,200
Speaker 1: and what role women serve in the narrative of the film.

1338
01:12:35,240 --> 01:12:37,800
Speaker 1: I appreciate that they're not doing lip service to like

1339
01:12:38,360 --> 01:12:40,920
Speaker 1: there's no easy lady in this movie. There's no lady

1340
01:12:40,960 --> 01:12:44,719
Speaker 1: that's like shows that this era was like fun or excited.

1341
01:12:45,160 --> 01:12:48,479
Speaker 1: It all looks pretty bleak for women, but there is

1342
01:12:48,520 --> 01:12:50,320
Speaker 1: a lot more we could have done with those characters.

1343
01:12:50,360 --> 01:12:52,480
Speaker 1: I just think that at A is a very interesting

1344
01:12:52,520 --> 01:12:54,600
Speaker 1: look at I don't know what it was like to

1345
01:12:54,600 --> 01:12:56,519
Speaker 1: be a woman in that time, and also sort of

1346
01:12:56,520 --> 01:12:58,840
Speaker 1: a timeless look at what it's like to be in

1347
01:12:58,960 --> 01:13:02,519
Speaker 1: love with complicated people and what love looks like and

1348
01:13:02,520 --> 01:13:05,640
Speaker 1: how many weird shapes and forms it takes. And it's

1349
01:13:05,680 --> 01:13:08,719
Speaker 1: an interesting look. She's an amazing character and we've talked

1350
01:13:08,720 --> 01:13:11,360
Speaker 1: a lot about for a movie with like that deserves

1351
01:13:11,400 --> 01:13:13,639
Speaker 1: one nipple. There's a lot to say about the women

1352
01:13:13,640 --> 01:13:15,639
Speaker 1: in this movie and what's going on with him. I'm

1353
01:13:15,640 --> 01:13:17,200
Speaker 1: gonna give it three and I will hand them out

1354
01:13:17,479 --> 01:13:19,759
Speaker 1: to the three in the triad. So everybody has a nipple,

1355
01:13:19,880 --> 01:13:24,000
Speaker 1: like a single nip. That woman who's like, I'm a

1356
01:13:24,080 --> 01:13:26,439
Speaker 1: grandmother and a female and I know my rights. I

1357
01:13:26,479 --> 01:13:29,760
Speaker 1: just want to know what rights she thinks. She exactly right. Yeah,

1358
01:13:29,800 --> 01:13:32,320
Speaker 1: you have the right to yell at a man, that's essentially,

1359
01:13:32,360 --> 01:13:34,280
Speaker 1: and he has a legal right to hit you. So

1360
01:13:35,040 --> 01:13:41,519
Speaker 1: let's not forget his rights because they are longer. I

1361
01:13:41,600 --> 01:13:44,080
Speaker 1: will say that I think there are women in movies

1362
01:13:44,120 --> 01:13:46,479
Speaker 1: that have a lot more screen time, a lot more lines,

1363
01:13:46,760 --> 01:13:48,479
Speaker 1: and a lot more kind of to do, even with

1364
01:13:48,560 --> 01:13:51,920
Speaker 1: a plot, that are a far worse portrayal of women

1365
01:13:51,960 --> 01:13:54,519
Speaker 1: and femininity. Like I think her screen time is not

1366
01:13:54,680 --> 01:13:57,559
Speaker 1: points against her. Yeah, I would agree with that for sure.

1367
01:13:57,960 --> 01:14:03,519
Speaker 1: I'm defending it like good, it's good change. I think

1368
01:14:03,600 --> 01:14:07,439
Speaker 1: my hybrid nipple counts for two nipples, So yeah, let's

1369
01:14:07,800 --> 01:14:09,720
Speaker 1: go with that. I don't need to twist anybody's arm.

1370
01:14:09,720 --> 01:14:12,800
Speaker 1: You're right, Well, Caitlin Gil thank you so much for

1371
01:14:12,840 --> 01:14:16,080
Speaker 1: being here. This was a treasure. Thank you. I'm gonna

1372
01:14:16,120 --> 01:14:19,280
Speaker 1: go get It's seven eleven, guys, I'm gonna go get time.

1373
01:14:22,120 --> 01:14:24,200
Speaker 1: It's like what you said about going down on the movie.

1374
01:14:24,400 --> 01:14:28,479
Speaker 1: Hell yeah, I want to eat this movie and it's

1375
01:14:28,479 --> 01:14:30,599
Speaker 1: going to sound. I want to pour it like it's cool,

1376
01:14:30,760 --> 01:14:33,240
Speaker 1: like like warm, not hot. I want to pour like

1377
01:14:33,320 --> 01:14:35,720
Speaker 1: movie butter on it, you know, movie popcorn butter. And

1378
01:14:35,760 --> 01:14:38,479
Speaker 1: I want to eat that movie's box. Okay, good break good.

1379
01:14:38,479 --> 01:14:42,400
Speaker 1: That movie would be so lucky. Hey, I mean ask

1380
01:14:42,439 --> 01:14:47,280
Speaker 1: my girlfriend. That was gross. Where can people find you

1381
01:14:47,320 --> 01:14:49,840
Speaker 1: on God? He can find me at robot Caitlin on

1382
01:14:49,880 --> 01:14:55,639
Speaker 1: Twitter at Caitlin on Instagram. Uh and also Upcoming performances include,

1383
01:14:55,640 --> 01:14:59,280
Speaker 1: but are not limited to, uh the uh what is

1384
01:14:59,320 --> 01:15:02,640
Speaker 1: the name of that guy? Damn festival. I'm doing pagathon.

1385
01:15:02,880 --> 01:15:05,719
Speaker 1: Thank you you think I know, But I'm a woman

1386
01:15:05,800 --> 01:15:10,160
Speaker 1: in my brains Soft Pickathon in Portland August five, and

1387
01:15:10,200 --> 01:15:12,240
Speaker 1: then uh later in August I'll be a number for

1388
01:15:12,280 --> 01:15:14,439
Speaker 1: the High Plants Comedy Festival. And I'm excited about both

1389
01:15:14,439 --> 01:15:18,200
Speaker 1: of us. You can find us on the web as well. Hey,

1390
01:15:18,240 --> 01:15:21,320
Speaker 1: I've got i realized I've got some dates coming out

1391
01:15:21,320 --> 01:15:24,479
Speaker 1: in early August two. Please, yeah, you wanna? Hey, you

1392
01:15:24,520 --> 01:15:29,160
Speaker 1: live in Fort Wayne, Indiana? Do you interesting choice? You

1393
01:15:29,320 --> 01:15:33,960
Speaker 1: can see me at Let's Fest on August fourth and fifth.

1394
01:15:34,040 --> 01:15:37,040
Speaker 1: I'll be out there and I'm going I'm going to Detroit,

1395
01:15:37,120 --> 01:15:40,640
Speaker 1: going to far going North Dakota, going up to Winnipeg.

1396
01:15:40,800 --> 01:15:43,240
Speaker 1: At some point, I don't have the it in front

1397
01:15:43,240 --> 01:15:46,400
Speaker 1: of me because my calendar makes no sense and is

1398
01:15:46,439 --> 01:15:48,599
Speaker 1: mostly typos. But you weren' going to write it down anyway,

1399
01:15:48,640 --> 01:15:50,760
Speaker 1: so you go find it on crying out loud. You

1400
01:15:50,880 --> 01:15:53,639
Speaker 1: figure it out. I don't know coming to Fort Wayne.

1401
01:15:53,680 --> 01:15:56,679
Speaker 1: That's the only place I know I can remember. Hey,

1402
01:15:56,760 --> 01:15:59,280
Speaker 1: and we are doing a live episode of the Bechtel

1403
01:15:59,360 --> 01:16:04,000
Speaker 1: Cast Yeah for the cinder Block Comedy Festival on September nine,

1404
01:16:04,240 --> 01:16:06,439
Speaker 1: So you can see us live there if you live

1405
01:16:06,479 --> 01:16:09,680
Speaker 1: in Brooklyn or somewhere nearby, and you can follow us

1406
01:16:09,720 --> 01:16:12,240
Speaker 1: at Pactol Cast on Twitter and on Instagram. And if

1407
01:16:12,280 --> 01:16:15,439
Speaker 1: you like us and you want to see us struggle

1408
01:16:15,560 --> 01:16:20,160
Speaker 1: financially less it's like they love to see us financially.

1409
01:16:21,360 --> 01:16:23,839
Speaker 1: But if you don't love that and you want to

1410
01:16:23,840 --> 01:16:26,479
Speaker 1: give us some money, we have a PayPal account, and

1411
01:16:26,520 --> 01:16:29,360
Speaker 1: I know that paypals and evil corporation and it funds

1412
01:16:29,439 --> 01:16:33,120
Speaker 1: Trump and oh honey, what isn't right? I gotta live.

1413
01:16:33,320 --> 01:16:35,320
Speaker 1: You can write us a check and send it to

1414
01:16:35,360 --> 01:16:37,960
Speaker 1: me by mail if you don't want to go through PayPal,

1415
01:16:38,080 --> 01:16:40,679
Speaker 1: but but your checks are coming from a bank, that's

1416
01:16:40,760 --> 01:16:43,599
Speaker 1: just you know, there's no winning. We need money right now.

1417
01:16:44,160 --> 01:16:46,439
Speaker 1: Whatever is the easiest way to give us your money,

1418
01:16:46,800 --> 01:16:48,720
Speaker 1: use it. I want to. But we do have a

1419
01:16:48,720 --> 01:16:50,880
Speaker 1: PayPal account. So if you go to PayPal dot me,

1420
01:16:51,040 --> 01:16:53,360
Speaker 1: slash Pacto cast, if you like our podcast and you

1421
01:16:53,400 --> 01:16:55,720
Speaker 1: want to just throw us a few dollars, we'd appreciate it.

1422
01:16:55,720 --> 01:17:00,200
Speaker 1: That would be super. Otherwise, give up, because that's a

1423
01:17:00,280 --> 01:17:02,680
Speaker 1: cow boy thing to say. H