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Speaker 1: On the dol Cast. The questions asked if movies have

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Speaker 1: women and um are all their discussions just boyfriends and

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Speaker 1: husbands or do they have individualism? The patriarchy? Zef and

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Speaker 1: best start changing it with the beck Del Cast. Jamie please, Jamie, please,

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Speaker 1: Jamie wait. Let' trying to get Jammy please, Jimmy please, Jimmie,

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Speaker 1: Jamie wait? How does it go? You have to get

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Speaker 1: the cadences an iambic pentameter is baby baby, please, baby baby?

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Speaker 1: I forget their order now anyway? Hi, Well, I'm dumping

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Speaker 1: you anyway, so it doesn't matter. Sorry, I'm dumping you

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Speaker 1: on the bridge. I deserve it, honestly, who in this

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Speaker 1: movie doesn't Welcome to the Bechdel Cast. My name is

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Speaker 1: Jamie Loftus, my name is Caitlin Drante, and welcome to

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Speaker 1: our I don't know where that was going to our podcast.

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Speaker 1: We're okay, so we are like there's a bit of

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Speaker 1: a frenetic, exciting energy to the episode today be us

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Speaker 1: and we'll let you in on the biggest secret that

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Speaker 1: is allowed is we're recording together today, which it were

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Speaker 1: physically together with our guest. This has not happened in

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Speaker 1: almost two years, and I'm truly like, I'm excited, and

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Speaker 1: I also like it's like weird and different, I know,

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Speaker 1: and we have such and we have such an like

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Speaker 1: there's so much to talk about today too. On top,

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Speaker 1: and we watched the movie together and our guests made

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Speaker 1: was incredible dinner. Twice Caitlin got ice, scream, I got wine.

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Speaker 1: That's just okay, And and we're here, we're together. I

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Speaker 1: don't know, it's all very excited, truly. So what is

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Speaker 1: the podcast about. It is our podcast in which we

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Speaker 1: examine movies through an intersectional feminist lens. Yeah, we use

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Speaker 1: the Bechtel test as a inspiration, a jumping off point

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Speaker 1: to initiate a larger discussion. And the Bechtel Test of

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Speaker 1: worse is a media metric created by a queer cartoonist,

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Speaker 1: Alison Becktel, sometimes called the Beckdel Wallace test. It requires

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Speaker 1: the version that we use that two characters of a

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Speaker 1: marginalized gender have names, they speak to each other, and

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Speaker 1: that conversation is about something other than a man, and

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Speaker 1: ideally it is a meaningful, narratively relevant conversation. Right, um,

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Speaker 1: And today, I mean I think we we uh, we

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Speaker 1: have a movie that's been requested for many years. We're

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Speaker 1: very excited to be covering it, and even more so

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Speaker 1: than the movie. We have a guest who is I mean,

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Speaker 1: so amazing. But even as it pretends to this show

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Speaker 1: record breaking guests shattering through through things, we didn't realize

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Speaker 1: we're possible, I know. And we should be presenting her

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Speaker 1: with a jacket that we promised a year ago. We

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Speaker 1: had plenty of time to get this jacket, but we

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Speaker 1: sucked up. It's because we actually contracted some moths to

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Speaker 1: make some silk for the jacket. And it's a supply

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Speaker 1: chain issue and the moths are on strike and that's

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Speaker 1: this whole thing, and we want to reach in equitable

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Speaker 1: contract with them. Yeah, so it's all good. Jack us

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Speaker 1: on the way, Like, where is this going? As soon

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Speaker 1: as you said moths, moths make silk? Do they? Yeah,

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Speaker 1: that's a spider thing. Oh my god. Wait I just

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Speaker 1: started to be like, am I oh no worms silk world?

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Speaker 1: No moths do they? They they'll just tear it up

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Speaker 1: cheap wine. And now I think that moths make silk.

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Speaker 1: That's okay, Well, Kenneth, that's why we don't have a jacket,

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Speaker 1: because I hired moth Yeah, Thatstmas and they're on strike. Yeah,

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Speaker 1: because they're like, why are you asking us to do

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Speaker 1: I can't And they're like, you need to be paying

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Speaker 1: us more because we cannot physically do what you're asking. Wow,

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Speaker 1: they've got a subcontract with the worms and that costs money.

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Speaker 1: I'm gott in the middle of God and this is

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Speaker 1: the life of a she e o and it's turns

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Speaker 1: out moths don't make silk um well. Recovering, recovering, She's

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Speaker 1: gotta have it today six film Vice Spike Lee and

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Speaker 1: we're bringing back the whole time. I really fumbled your intro,

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Speaker 1: but Kaitlin, you have the correct I've god, yes, I've

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Speaker 1: got all the details. She is a Vulture comic. You

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Speaker 1: should know she's got some headlining shows coming up in

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Speaker 1: February on the East Coast. You know her from our

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Speaker 1: episodes on How Stella Got Her Groove Back, Casino Royale,

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Speaker 1: among others. It's Kenny smoably five timer, five time. I'm

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Speaker 1: so excited you're back. Welcome to l A. By the way,

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Speaker 1: do you I told you guys it was because sketches

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Speaker 1: was rescheduled, but really it was because of this here

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Speaker 1: to do this I love this pot, let's do it.

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Speaker 1: We've really reached s to your podcast where we fly

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Speaker 1: our guests out. We flying guests out and don't say that.

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Speaker 1: People will request to be um excuse trip, Like, oh

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Speaker 1: well no, but but we were so stoked they are here.

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Speaker 1: It's still I'm still like acclimating to be in the

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Speaker 1: same room with other you know, it's like I have

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Speaker 1: to look over here, and then I have to look

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Speaker 1: over here. We were doing this for years, I know,

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Speaker 1: and it and I've lost the skills, but we are covering.

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Speaker 1: She's got to have it. We just watched it together

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Speaker 1: two times in a row. We had a two course meal. Um,

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Speaker 1: and here we are and we're doing great. All right, Denise,

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Speaker 1: what is your history? I was like, how does this

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Speaker 1: show here? But I'm too excited. I was like, wow,

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Speaker 1: I wonder what's going to happen. I shouldn't get us

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Speaker 1: your your history, your relationship with this movie. So I

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

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Speaker 1: think I took my first film course junior year and

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Speaker 1: we watched this And I'm beginning to think that the

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Speaker 1: guy just had us watch movies that he liked. Because

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Speaker 1: we watched this movie in the two thousand and five

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Speaker 1: Pride and Prejudice and maybe like two other movies, and

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Speaker 1: I'm like, I don't understand what this class was. But

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Speaker 1: we watched that movie and we talked about it and

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Speaker 1: like in the history of like black and white New

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Speaker 1: York movies, where we talked a little bit about what

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Speaker 1: the Allen as well, and I was like, oh, wow, okay,

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Speaker 1: well I like this more than that. Yeah, so yeah, yeah,

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Speaker 1: nice Jamie. What about you? What's your relationship? I had

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Speaker 1: ever seen this movie. Um, I I knew it was

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Speaker 1: like it was one of those I don't know, I

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Speaker 1: have a very poor track record with watching oh toour movies.

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Speaker 1: I get overwhelmed, and I feel like will bring so

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Speaker 1: much to tours that they love that I I'm like,

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Speaker 1: you're probably right. And then I never watched the movie. Um,

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Speaker 1: which is why, like I never watched a Wes Anderson

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Speaker 1: movie before this show, Like I've seen very little, like

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Speaker 1: all of the tours of this era, I hadn't seen

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Speaker 1: and um, I've seen a number of Spike Lean movies now,

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Speaker 1: but I hadn't seen this one. And so I saw

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Speaker 1: it for the first time with you both, and I

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Speaker 1: was really on board with it for a for a

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Speaker 1: chunk and then and then and then it was like,

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Speaker 1: oh my god. Um, But there's I mean, I'm I

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Speaker 1: generally like really enjoyed it, and I think it's like

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Speaker 1: I mean, especially for like the way it was made too,

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Speaker 1: It's just like kind of an unbelievable accomplishment. I'm excited

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Speaker 1: to talk about it. Long story short, I hadn't seen it.

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Speaker 1: Caitlin same, I've never seen this. Yeah, I had seen

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Speaker 1: other Spike Lean movies, but this one, I don't know.

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Speaker 1: It just never came across my desk. Your dask there, Yeah,

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Speaker 1: Caitlin's desk. It's just full right now. Accurate. Yeah, thanks,

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Speaker 1: there's um. But yeah, I watched it for the first

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Speaker 1: time a few days ago, doing knowing that we would

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Speaker 1: watch this, and I just had to be extra prepared.

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Speaker 1: But and then I started watching the series as well

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Speaker 1: because this correct and I got like four episodes into that,

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Speaker 1: and I have a little bit of like stuff to

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Speaker 1: mention about the series at some point. But yeah, generally

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Speaker 1: I enjoy this intellectual property, be it the movie or

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Speaker 1: the TV series. But yeah, I'm also excited to talk

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Speaker 1: about it. I'm very Yeah, there's so much, especially I

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Speaker 1: don't know, like Speke Lee is such a fascinating figure two,

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Speaker 1: and it's like he's one of the few oh Tours

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Speaker 1: that I feel like is very willing to interact with

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Speaker 1: conversations about his past work in a way that most

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Speaker 1: men are. Like, No, I was right, which I mean,

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Speaker 1: we were just talking about one of them. What Allen

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Speaker 1: is an excellent example of someone who has made a

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Speaker 1: movie in this aesthetic style and refuses to acknowledge any

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Speaker 1: of the problems with this passwork. And that's the most

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Speaker 1: problematic thing about him. Um. But in any case, I'm

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Speaker 1: very excited to talk about this movie and and the history.

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Speaker 1: Should I just dive into the recap and we'll go

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Speaker 1: from there. Yeah, let's do it. All I still can't

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Speaker 1: get over this. I know so wild. I have to

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Speaker 1: make sure here it's that's so nice. Okay. So we

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Speaker 1: open on some still images of Brooklyn taken by Spike

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Speaker 1: Lee's brother. Spike Lee's family is very present in this

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Speaker 1: movie movie. Then we cut to Nola Darling played by

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Speaker 1: Tracy Camilla John's. She's waking up in bed and then

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Speaker 1: begins to directly address the camera, saying that she wants

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Speaker 1: to clear her name. She considers her self normal even

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Speaker 1: though other people have called her a freak. And then

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Speaker 1: she's like, but here's the deal. Then we cut to

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Speaker 1: a man named Jamie over Street and the Jamie representation

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Speaker 1: with this character Jamie. I think very poor Jamie representation

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Speaker 1: in this movie. You bring in a Jamie character automatically,

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Speaker 1: I'm rooting for them, and things really take a turn certainly.

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Speaker 1: He's played by Tommy Redmond Hicks. He's also addressing the

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Speaker 1: camera saying that he believes each person has only one

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Speaker 1: soul mate, and for him, Nola was that person. We

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Speaker 1: see a very sensual sex scene between Nola and Jamie.

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Speaker 1: Then we cut to Nola's ex roommate, Clorinda Bradford played

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Speaker 1: by his sister. Yes, how is her name? I thought

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Speaker 1: it was Joy, but then it's Jually she's telling us

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Speaker 1: that when she lived with Nola, there'd be all these

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Speaker 1: strange men in their apartment that Nola was having sex with,

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Speaker 1: and it caused day falling out between Nola and Clorinda,

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Speaker 1: and then put a pin in that character because she's

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Speaker 1: not gonna be back for so long. One of the

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Speaker 1: problems with this movie, it's like, let's introduce a woman

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Speaker 1: and then disappear her. Can I don't want to interrupt

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Speaker 1: the we can, but the first scene, the first sex scene,

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Speaker 1: Jamie is so sweaty, and to pick that up in

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Speaker 1: low light, in black and white, that he's truly dripping

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Speaker 1: sweat on this poor woman. You're right, that is can

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Speaker 1: You pointed out all these incredibly insightful things about shooting

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Speaker 1: on film as we were watching this, I was like, oh, yeah,

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Speaker 1: it would be really hard to like, you have to

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Speaker 1: be sweating a lot for it to pick up through

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Speaker 1: so many yes things. I was just like, oh, no,

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Speaker 1: poor her, because she didn't look that sweaty. Like she

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Speaker 1: touches his back and you can see like droplets move,

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Speaker 1: moving and being spread out over skin. And I was like, look,

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Speaker 1: not all Jamie's have sex like that. Some Jamie's are

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Speaker 1: very dry. It's also weird because they almost not everywhere,

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Speaker 1: not where it counts, but in other areas. You know,

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Speaker 1: it's fine, but they would have only been simulating six

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Speaker 1: So like, why is he so sweaty? Was there some

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Speaker 1: was there someone like with a spray bottle? Like maybe

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Speaker 1: we need to make this realistic. Maybe that yeah, I

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Speaker 1: don't know. I mean not to shame sex sweaters. Your

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Speaker 1: body is your body, but it was a lot of

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Speaker 1: sweats of sweat. There humans, human bodies, you know. Yeah,

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Speaker 1: there's a lot of naked ones in this movie. Um, okay,

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Speaker 1: So Nola tells us about how men come up with

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Speaker 1: some really off putting pickup lines. But Jamie was different.

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Speaker 1: And then we see the scene where they first he

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Speaker 1: had that. He was absolutely not different and in fact,

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Speaker 1: was maybe even weirder than you see. This really funny, um,

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Speaker 1: this really funny montage. Oh my god, I can't remember

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Speaker 1: any words today. For the listeners. I was starting to

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Speaker 1: ken he said the word alter and I was in

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Speaker 1: my notes four different times. It says Nola's meaningful shelf

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Speaker 1: and I'm just suffering. Um. But yeah, that the montage

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Speaker 1: of like shitty pickup lines, but with the guys who

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Speaker 1: were like locking eyes with the camera and trying to

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Speaker 1: like fuck you through this. It's just so funny. It's

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Speaker 1: really good. Some of those lines have not changed. I

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Speaker 1: live in Brooklyn now, and I'm like, yep, he still

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Speaker 1: lives there. He still lives here. This guy definitely still here.

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Speaker 1: What's up. He's just fifty five now, he's hanging out

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Speaker 1: at the same bars. Yeah, this movie is thirty five

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Speaker 1: years old. Came out in eighties six, which is also

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Speaker 1: the year I came out. Wow, nasty way to put that.

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Speaker 1: I came out of my mom's I was like, okay,

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Speaker 1: you could specify what kind of coming up, but Laurie,

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Speaker 1: you know you're listening anyway. Okay, So right, Jamie meets

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Speaker 1: her by spotting her while he's waiting for the bus

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Speaker 1: and then following her to a to a fun jazz

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Speaker 1: soundtrack by Spike Lee's dad. He goes from what I

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Speaker 1: presume to be j Street Metro Tech down Fulton Mall.

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Speaker 1: These are all New York places, but you can still

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Speaker 1: go shopping there if you want to, and that it's

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Speaker 1: like they're not like right beside each other. Just to

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Speaker 1: be clear, they're like So he's following her for a while.

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Speaker 1: He goes from the f entrance and he walks down

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Speaker 1: this Fulton Mall road to an entrance of the two three. Okay,

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Speaker 1: so that's totally different train lines to get Yeah, yeah, yeah,

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Speaker 1: I can relate, and I understand same you. And then yeah,

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Speaker 1: but did you live in Manhattan? I did. I lived

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Speaker 1: in East Harlem. Then I take back the that's normal, Okay.

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Speaker 1: So then we meet Mars Blackman played by Spike Lee himself.

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Speaker 1: He talks about how Nola was a freaking the sheets

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Speaker 1: quote unquote, and he's like, well that's something that men want, yeah,

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Speaker 1: but not for our wife. You can say the most

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Speaker 1: vile things in character, and he's so lovable, like just

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Speaker 1: you're just like I can fix him. Yeah. He's also

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Speaker 1: I put this in my notes, he's more attractive than

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Speaker 1: the other guys, like more than Jamie, more than everyone

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Speaker 1: in that weird montage. And it was just kind of

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Speaker 1: like what a self centered thing to do as the director,

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Speaker 1: to be like, is he hotter than me? Well he's not.

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Speaker 1: In the picture of it, No way would happen'd stand

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Speaker 1: next today? I thought that that was no. I mean,

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Speaker 1: I feel like that's a good use of power. I

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Speaker 1: would be like, no one hotter than me in the movie,

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Speaker 1: I'm gonna look amazing. Well he got over that because

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Speaker 1: in the show everyone is the most beautiful person you've

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Speaker 1: ever seen, but he's not it, and he stopped being

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Speaker 1: people kept getting hotter and hotter, and he's like, I'm

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Speaker 1: just gonna stay back here, I feel But Spike's hot.

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Speaker 1: It's like to this day, he's hot. He looks the

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Speaker 1: way he did in this movie. So then we cut

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Speaker 1: back to Jamie over Street, who mentions a woman who

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Speaker 1: seems to be interested in Nola, though Nola denies that

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Speaker 1: anything that's going on between them. Then we meet this

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Speaker 1: woman Opal gil Strap. Everyone you said this while we

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Speaker 1: were watching. Every character in this movie has such a

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Speaker 1: good movie name, Like it's so movie it's great. Nola

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Speaker 1: asks her what it's like to have sex with a woman,

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Speaker 1: and Opel is like, well, you should just try it

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Speaker 1: parentheses with me, which Nola does not do. Then we

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Speaker 1: meet Greer child's played by John or Canada Terrell, which

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Speaker 1: is an even faker name somehow. Oh my god, I

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Speaker 1: need to like put a pin in that and be like,

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Speaker 1: just name you give your kid the middle name Canada,

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Speaker 1: and just see what happens. What happens, like, see how

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Speaker 1: they turn out. You know, that's fun, probably gonna be cool,

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Speaker 1: you know, like I feel like it will elevate someone,

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Speaker 1: not a middle not a middle girl, Nada. He talks

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Speaker 1: about how he molded Nola into a refined young woman.

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Speaker 1: He's very judgy and elitist. He has a perm he does,

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Speaker 1: and a series of suits that he wears. I think

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Speaker 1: each and every time in a situation that that does

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Speaker 1: not call for it. Yeah, not at all. Every Mars

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Speaker 1: is wearing a jersey of some kind. Yeah. I was like,

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Speaker 1: I'm sorry, but Thanksgiving at a studio apartment, you don't

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Speaker 1: need to don't wear a suit. He don't. And just

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Speaker 1: for the listeners, A PERM in the way that black

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Speaker 1: people use it, not in the way that white people

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Speaker 1: use it, which makes hair curlier. A PERM in the

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Speaker 1: way that it relaxes the hair, a relaxer or a texturizer. Okay,

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Speaker 1: now you guys got someone else would be like, I

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Speaker 1: don't notice, like Sigourney Weaver used to do. Honestly, it

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Speaker 1: kind of meets in the middle there because his hair

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Speaker 1: has a little bit of wave to it that some coirrels.

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Speaker 1: There are some Sigourney roles. Yeah. Then we see a

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Speaker 1: sex scene between Greer and Nola, which is mostly him

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Speaker 1: taking his clothes off very slowly and folded. That was

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Speaker 1: I like. When I got there watching that scene, I'm like,

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Speaker 1: not enough sex scenes are funny. I agree. Yeah. So

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Speaker 1: then Jamie gives Nola a birthday gift he had hired

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Speaker 1: some dancers to do a dance scene. That is the

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Speaker 1: only scene in the movie that's in color, because the

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Speaker 1: rest of the movie is in black and white, which

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Speaker 1: I guess was I read a little more about it,

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Speaker 1: and I guess that Spike Ley was really into MGM

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Speaker 1: musicals when he grew up, and so that was like

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Speaker 1: his MGM musical moment. He wanted to have like a

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Speaker 1: musical dance scene because that was like what he liked

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Speaker 1: growing up. But I thought that was really cool. Nice. Also,

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Speaker 1: the song that the dancers are dancing too is about

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Speaker 1: howla Fox a bunch of dudes. Unfortunately, the song absolutely

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Speaker 1: sucks ship. It's not that sorry Mr Lee, Mrs Dad,

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Speaker 1: but I don't like it. He's listening. His name was

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Speaker 1: Bill Bills Alive. He's ninety three years old and kicking.

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Speaker 1: When I get back to Brooklyn, I'll reach out and

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Speaker 1: I'll say, but it's also just wild. That's the song

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Speaker 1: that they're dancing to. That like about something that Jamie

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Speaker 1: is very threatened by. He's like, yeah, my girlfriend is

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Speaker 1: sucking a bunch of other dudes, And I constantly bring

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Speaker 1: up how I hate that, but I wrote a song

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Speaker 1: about it. I do think that like ties into I mean,

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Speaker 1: especially because we watched it back twice, and watching that

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Speaker 1: scene back the second time knowing where Jamie's storyline goes,

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Speaker 1: is like, this is a very fucked up way to behave.

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Speaker 1: But even so, it's like so much of this movie

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Speaker 1: is like knowingly so this isn't even a criticism of

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Speaker 1: Just like different men with different backgrounds and different personalities

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Speaker 1: lash hang out at the same woman for not giving

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Speaker 1: them what she wants, even though she repeatedly tells them

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Speaker 1: that's not what she's going to do. And it's just

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Speaker 1: like they become more and more conniving and like strategic

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Speaker 1: and expensive like what he composed and like rented out

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Speaker 1: space and hired dancers. They had to rehearse, probably to

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Speaker 1: criticize her at her like that was her birthday President,

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Speaker 1: but hey, you funk a lot and I don't like it.

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Speaker 1: Happy birthday, and you're just like this is so much

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Speaker 1: work anyways. Meanwhile, Greer is recommending that Nola see a

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Speaker 1: sex therapist because he thinks that she has a sex

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Speaker 1: addiction because but and she thinks that because she's not

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Speaker 1: giving him what he wants. Yes, then Nola invites her

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Speaker 1: three boyfriends over for Thanksgiving dinner so that they can

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Speaker 1: all meet each other, and again they're all quite reatened

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Speaker 1: to buy each other. Can we discuss how this seems

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Speaker 1: like a nice thing to you and a truly terrible

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Speaker 1: thing to wee. I was like I would do that.

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Speaker 1: Oh my god. I think we really learned about each

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Speaker 1: I truly, like in a good friendship way where Kenneth

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Speaker 1: and I were like, oh wow, this is the stuff

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Speaker 1: of nightmares. It's like, this is kind of a sexual fantasy.

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Speaker 1: It's true, but you know, it's good to know now

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Speaker 1: we know each other and now so facilitate that. You know,

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Speaker 1: I will if one of your ex is or currents

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Speaker 1: is like, hey, we'll do that for your birthday. Yeah,

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Speaker 1: thank Yeah, We'll get all your ex is in the

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Speaker 1: room and then be like we're going to see ourselves exes.

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Speaker 1: You have to have partners to have an ex Okay,

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Speaker 1: now it's getting personal. I'm gonna no anyway. So they

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Speaker 1: have Thanksgiving dinner together and then they all play Scrabbled together.

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Speaker 1: That's my favorite part list. Okay, So then Nola has

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Speaker 1: a dream that Jamie's greers and Mars's girlfriends all come over.

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Speaker 1: Accused Nola of stealing their men and then set Nola

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Speaker 1: on fire, but it's just a nightmare. Then Jamie confides

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Speaker 1: that he started to see another woman and that he's

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Speaker 1: not like Nola and he can't see multiple people at once,

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Speaker 1: so she has to make a choice. So she's still

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Speaker 1: kind of like, as far as he sees it, she

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Speaker 1: is stringing him along, so he leaves her. Then Opal

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Speaker 1: tries to make a move on Nola while she's like, hey,

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Speaker 1: I'm having a tough time. I know I'm not working

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Speaker 1: out with the guys. This is the moment, yeah yeah,

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Speaker 1: and like does fully surprise kiss Nolah, who is not

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Speaker 1: responsive to the kiss at all, and then it's like, hey,

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Speaker 1: you should go uh. Then Nola calls Jamie and tells

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Speaker 1: him to come over, she really needs him. Then he

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Speaker 1: does him over and trigger warning, he rapes her. Unclear

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Speaker 1: if the movie really understands what's happening or not, which

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Speaker 1: is like the whole discussion will have yes. Then Nola

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Speaker 1: reconnects with her former roommate Clarinda, she breaks up with

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Speaker 1: Greer and Mars. She goes back to Jamie and asks

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Speaker 1: him to take her back, which he presumably does, but

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Speaker 1: the next and final scene of the movie is her

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Speaker 1: addressing the camera one last time, saying that it didn't

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Speaker 1: work out with Jamie. She's not a one man woman,

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Speaker 1: and she's like, you know, this is my mind, this

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Speaker 1: is my body. We can kind of unpack the whole

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Speaker 1: monologue later, but she gives this like powerful monologue and

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Speaker 1: then she gets into bed by herself, and that is

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Speaker 1: the end of the movie. Let's take a quick break

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Speaker 1: and then we will come back to discuss, and we're

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Speaker 1: bad back in the same room. While we're still all

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Speaker 1: here together. Wow, we didn't leave. Where shall we start?

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Speaker 1: Is anything jumping out? There's so much to talk about,

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Speaker 1: I know, I guess just to kind of generally speaking,

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Speaker 1: I appreciate that it is a movie about a woman

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Speaker 1: who likes to have sex. She wants a number of

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Speaker 1: different partners, something that like most people judge her for.

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Speaker 1: But as she's constantly staying in the movie like this

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Speaker 1: is my life, my body, my choice, and ultimately like

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Speaker 1: the movie allows her to do whatever she wants. She's

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Speaker 1: not judged by the movie. She's judged by the other characters.

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Speaker 1: You know. It's just like it's her setting the record

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Speaker 1: straight and showing people that she's not some like quote

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Speaker 1: deviant or like quote freak, and that that's a perfectly

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00:24:53,760 --> 00:24:57,040
Speaker 1: fine thing for a woman to have a large sexual appetite.

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Speaker 1: I have a weird question who is Like I know

407
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Speaker 1: Spike Lee is the maker of this movie, but the

408
00:25:03,240 --> 00:25:06,159
Speaker 1: person behind the camera has like even an interaction with

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Speaker 1: Spike Lee where he's like bone in, oh, you know,

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Speaker 1: like this, so it indicates that there is someone there,

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Speaker 1: And I I was just like, what is this? That's

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00:25:13,720 --> 00:25:15,480
Speaker 1: a really good question. I don't really know the answer,

413
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Speaker 1: like who was who was supposed to be making this?

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Speaker 1: And is it because this is such a strange thing

415
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Speaker 1: that this woman has sex or like yeah, I don't

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Speaker 1: I didn't totally get that. I didn't even I think that.

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Speaker 1: I think I that didn't even register for me because

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Speaker 1: it's so normal for someone to talk to like talking

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Speaker 1: head and avoid now where it's like what was the

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Speaker 1: office being filmed for? Um, I don't know. I didn't

421
00:25:39,640 --> 00:25:42,400
Speaker 1: even think about that, and like a woman whose sexual

422
00:25:42,520 --> 00:25:48,400
Speaker 1: habits are so abnormal for that we're making a documentary

423
00:25:49,320 --> 00:25:53,120
Speaker 1: like I WHOA, I don't know. And then because I

424
00:25:53,160 --> 00:25:55,280
Speaker 1: asked that partially because at first I was a little

425
00:25:55,280 --> 00:25:59,159
Speaker 1: bit confused about the chronology because everyone's scenes where they

426
00:25:59,160 --> 00:26:01,920
Speaker 1: are looking directly to Cameron talking seemed to be happening

427
00:26:01,960 --> 00:26:05,040
Speaker 1: after the events of the film, right they're telling the story. Yeah,

428
00:26:05,080 --> 00:26:07,040
Speaker 1: so then they jump back and I'd be like, wait

429
00:26:07,280 --> 00:26:10,040
Speaker 1: where part of me was like maybe I'm just like

430
00:26:10,160 --> 00:26:12,400
Speaker 1: not smart enough, but like I was like a little

431
00:26:12,400 --> 00:26:15,000
Speaker 1: bit thrown in some scenes like when is this is

432
00:26:15,040 --> 00:26:18,359
Speaker 1: this when we see her sleeping with these different people?

433
00:26:18,400 --> 00:26:20,119
Speaker 1: Is this before the other thing? Oh, this is all

434
00:26:20,119 --> 00:26:23,600
Speaker 1: happening simultaneously. Okay, No, I think you're too smart because

435
00:26:23,600 --> 00:26:26,320
Speaker 1: I didn't even then, didn't even occur to me. I

436
00:26:26,359 --> 00:26:29,679
Speaker 1: was just like boeing, Yeah, the way that like a

437
00:26:29,720 --> 00:26:33,440
Speaker 1: reality show will have, like the talking head interviews where

438
00:26:33,440 --> 00:26:36,080
Speaker 1: they're talking about something that clearly happened in the past,

439
00:26:36,200 --> 00:26:38,520
Speaker 1: but they're talking about it like it's currently happening, where

440
00:26:38,520 --> 00:26:42,119
Speaker 1: it's like Kim is like Chloe obviously has an issue

441
00:26:42,240 --> 00:26:46,359
Speaker 1: with shirt and like which could be a person or

442
00:26:46,400 --> 00:26:48,920
Speaker 1: a shirt, and then and it's like making it seem

443
00:26:49,000 --> 00:26:51,760
Speaker 1: like this just happened or like they're just talking but

444
00:26:51,800 --> 00:26:55,199
Speaker 1: it's like clearly it's weeks later, but the tense of

445
00:26:55,240 --> 00:26:57,919
Speaker 1: it talks about like I don't know. Yeah, but now

446
00:26:58,000 --> 00:26:59,840
Speaker 1: that con that's a great question as far as like

447
00:27:00,280 --> 00:27:05,120
Speaker 1: who is like the characters who are directly addressing someone

448
00:27:05,119 --> 00:27:09,640
Speaker 1: who is presumably asking questions, who is that person? Who?

449
00:27:09,800 --> 00:27:13,840
Speaker 1: What is that entity? We don't have to answer, but

450
00:27:13,880 --> 00:27:17,280
Speaker 1: that is a really good question. I feel good about myself.

451
00:27:18,960 --> 00:27:21,320
Speaker 1: But yeah, I mean I think especially like having to

452
00:27:21,400 --> 00:27:24,720
Speaker 1: like repeatedly put myself in the mindset of this movie

453
00:27:24,960 --> 00:27:27,560
Speaker 1: and these themes coming out in six it's like that

454
00:27:27,680 --> 00:27:31,399
Speaker 1: is a pretty huge thing to have happened and to

455
00:27:31,520 --> 00:27:35,600
Speaker 1: have been extremely successful. And we'll talk about the production

456
00:27:35,640 --> 00:27:38,000
Speaker 1: of this movie. Basically this movie was made for like

457
00:27:38,920 --> 00:27:41,040
Speaker 1: very very very little money and then ended up making

458
00:27:41,080 --> 00:27:44,640
Speaker 1: seven million dollars in nineteen eighties money and like became

459
00:27:44,760 --> 00:27:47,359
Speaker 1: this huge thing and like launched Spike Lee's career and

460
00:27:47,400 --> 00:27:50,800
Speaker 1: the fact that his first movie was about the sex

461
00:27:50,880 --> 00:27:54,560
Speaker 1: life of black woman who was very empowered and like

462
00:27:55,160 --> 00:27:59,040
Speaker 1: was I don't know, Like it's like this just didn't happen.

463
00:27:59,160 --> 00:28:01,680
Speaker 1: Like it's really cool. And I think, like from like

464
00:28:01,800 --> 00:28:04,560
Speaker 1: a male otour, I've we got to think of a

465
00:28:04,600 --> 00:28:06,240
Speaker 1: better way to say that, because it feels bad coming

466
00:28:06,280 --> 00:28:09,840
Speaker 1: out of my mouth, but like from from an otur

467
00:28:09,920 --> 00:28:12,400
Speaker 1: who's a guy, you know, A first movie where it's

468
00:28:12,400 --> 00:28:16,160
Speaker 1: like Spike Lee puts a lot of his own himself

469
00:28:16,359 --> 00:28:20,000
Speaker 1: in his main character, who is a woman, and like

470
00:28:20,160 --> 00:28:23,399
Speaker 1: gives her the agency he would give himself in that

471
00:28:23,520 --> 00:28:26,679
Speaker 1: like where it's like there's just like details of Spike

472
00:28:26,760 --> 00:28:29,200
Speaker 1: Lee's young life that are in Nolah's where it's like

473
00:28:29,240 --> 00:28:32,840
Speaker 1: he's raised by artists and like I was raised with

474
00:28:32,880 --> 00:28:36,199
Speaker 1: this very strong sense of artistic integrity and like was

475
00:28:36,480 --> 00:28:38,560
Speaker 1: you know and what you can tell because his family

476
00:28:38,640 --> 00:28:41,560
Speaker 1: is literally in the movie supporting his art and contributing

477
00:28:41,560 --> 00:28:44,120
Speaker 1: their own art into it, and it's like those are

478
00:28:44,160 --> 00:28:47,000
Speaker 1: all qualities that he gives to Nola And I feel

479
00:28:47,000 --> 00:28:50,520
Speaker 1: like that's like I don't want to like over credit.

480
00:28:51,120 --> 00:28:53,760
Speaker 1: But also it's like you just don't see it a

481
00:28:53,760 --> 00:28:57,040
Speaker 1: lot of like a male or turn not one to

482
00:28:57,200 --> 00:29:01,000
Speaker 1: one ing themselves into a movie, which as I feel like,

483
00:29:01,720 --> 00:29:03,800
Speaker 1: I mean, oh, tours in general are kind of just like,

484
00:29:04,040 --> 00:29:06,960
Speaker 1: well here I am, this is me pretty interesting, right,

485
00:29:07,520 --> 00:29:11,240
Speaker 1: And it's like he's like, you know, thinking, I don't know, yeah, imagine.

486
00:29:11,520 --> 00:29:14,719
Speaker 1: I totally agree. Although that said, would I like to

487
00:29:14,720 --> 00:29:18,240
Speaker 1: see a movie about a like very sexually free and

488
00:29:18,320 --> 00:29:23,400
Speaker 1: empowered woman having been written and directed by a woman. Yes, yes,

489
00:29:23,440 --> 00:29:27,520
Speaker 1: I would like um because they're like, there are specific

490
00:29:27,560 --> 00:29:30,920
Speaker 1: things about this movie that like aren't great, they're very

491
00:29:30,960 --> 00:29:33,920
Speaker 1: of the time, but the general promise I can still

492
00:29:33,920 --> 00:29:36,320
Speaker 1: get behind, like a dude like come in Spike Lee

493
00:29:36,520 --> 00:29:39,719
Speaker 1: for you know, like not having such an enormous ego

494
00:29:39,840 --> 00:29:42,160
Speaker 1: that he ye what it is, because it's like, I

495
00:29:42,160 --> 00:29:44,680
Speaker 1: mean the scenes that are between women in this movie,

496
00:29:44,720 --> 00:29:47,760
Speaker 1: of which there are not many. I you know, even

497
00:29:47,840 --> 00:29:49,600
Speaker 1: if I didn't know this is a Spike Lee movie,

498
00:29:49,600 --> 00:29:51,640
Speaker 1: I'd be like, I don't think this was written by

499
00:29:51,720 --> 00:29:56,040
Speaker 1: a woman? Does I'm not feeling that I don't know.

500
00:29:56,480 --> 00:29:58,600
Speaker 1: I do want to say before we moved past it

501
00:29:59,560 --> 00:30:06,120
Speaker 1: that a apartment has twenty foot ceilings at least full windows,

502
00:30:06,240 --> 00:30:10,000
Speaker 1: multiple windows. I looked for an apartment in Brooklyn at

503
00:30:10,000 --> 00:30:12,440
Speaker 1: the beginning of last year, and they would be like,

504
00:30:12,480 --> 00:30:15,440
Speaker 1: you have one window. Okay, it's the living room window.

505
00:30:15,480 --> 00:30:17,600
Speaker 1: And we actually built a wall halfway through the window

506
00:30:17,840 --> 00:30:20,320
Speaker 1: so that technically the bedroom also has a window, which

507
00:30:20,440 --> 00:30:24,000
Speaker 1: is required by law. Okay, So the idea that this

508
00:30:24,040 --> 00:30:26,280
Speaker 1: woman has, like I wasn't counting, but I did. I

509
00:30:26,320 --> 00:30:31,800
Speaker 1: think I clocked at least like six windows, twenty ceilings,

510
00:30:31,920 --> 00:30:34,760
Speaker 1: enough space for a queen size bed to have a

511
00:30:34,800 --> 00:30:38,440
Speaker 1: whole altar built around it. And that's not well phantom

512
00:30:38,440 --> 00:30:41,440
Speaker 1: of the opera style, like burning candles. It's a it's

513
00:30:41,440 --> 00:30:44,400
Speaker 1: a big old metaphor, but it's dangerous. It's dangerous. I

514
00:30:44,440 --> 00:30:51,520
Speaker 1: believe the word is meaningful shells and it's overlooking the

515
00:30:51,560 --> 00:30:56,600
Speaker 1: Brooklyn Bridge. Today. Today they would have that would be

516
00:30:56,840 --> 00:30:59,640
Speaker 1: that would have been divided into like four one bedroom

517
00:30:59,680 --> 00:31:04,680
Speaker 1: apart because they would have built up the floor like

518
00:31:05,320 --> 00:31:08,240
Speaker 1: millions of dollars now and she lives there by herself.

519
00:31:08,520 --> 00:31:12,120
Speaker 1: As someone who does layouts in magazines, I wished her

520
00:31:12,600 --> 00:31:14,880
Speaker 1: I think, so, yeah, she's a graphic designer and it's

521
00:31:14,920 --> 00:31:18,680
Speaker 1: like I do. I'm like, I wonder it sounds like

522
00:31:18,720 --> 00:31:21,920
Speaker 1: based on your description that it was also unrealistic when

523
00:31:21,920 --> 00:31:25,480
Speaker 1: it came out. But I wonder how unrealistic, because I

524
00:31:25,520 --> 00:31:29,240
Speaker 1: think it's hard. How do I put this? Now? White

525
00:31:29,280 --> 00:31:32,600
Speaker 1: people live in Brooklyn, and I guess in the fifties,

526
00:31:32,640 --> 00:31:34,680
Speaker 1: based on the movie with Churcheronan they did too, but

527
00:31:34,800 --> 00:31:38,800
Speaker 1: like for a while, right for a while, they did

528
00:31:38,840 --> 00:31:42,800
Speaker 1: it heavily, heavily gentrified. Yeah, yeah, so I was like,

529
00:31:43,680 --> 00:31:45,760
Speaker 1: maybe maybe this is sucked up, but we're like white

530
00:31:45,800 --> 00:31:48,960
Speaker 1: people so afraid of black people that they were like, no,

531
00:31:49,080 --> 00:31:52,240
Speaker 1: not even with good real estate. No, I wouldn't do it. Sorry, Nope,

532
00:31:52,280 --> 00:31:56,440
Speaker 1: not gonna do it. Just there is some commentary in

533
00:31:56,480 --> 00:31:59,200
Speaker 1: the show in the in the series that got adapted

534
00:31:59,240 --> 00:32:01,680
Speaker 1: from this movie about like because it takes place in

535
00:32:01,720 --> 00:32:05,560
Speaker 1: the same neighborhood. But there's a lot of commentary online gentrification,

536
00:32:05,640 --> 00:32:07,680
Speaker 1: and there's a lot more like class commentary and stuff

537
00:32:07,720 --> 00:32:09,800
Speaker 1: like that. So a lot of the things that I

538
00:32:09,880 --> 00:32:13,480
Speaker 1: don't care for about the movie get course corrected in

539
00:32:13,480 --> 00:32:15,520
Speaker 1: the show. Although the show is not perfect, and I've

540
00:32:15,520 --> 00:32:17,880
Speaker 1: read some criticism about that that I was like, oh, yes,

541
00:32:18,040 --> 00:32:23,680
Speaker 1: good point, but does it have the language of like polyamory, ethical, nonmonogamy,

542
00:32:23,760 --> 00:32:27,720
Speaker 1: all that stuff. Yes, So in the show, Nola Darling

543
00:32:28,000 --> 00:32:34,800
Speaker 1: identifies as a sex positive, polyamorous pan sexual okay, got it, okay,

544
00:32:34,960 --> 00:32:37,920
Speaker 1: which does not happen in the movie. And I and

545
00:32:37,920 --> 00:32:40,520
Speaker 1: I don't even like personally fault Spike Lee for that.

546
00:32:40,520 --> 00:32:44,600
Speaker 1: That just wasn't popular. Lee understood language and not that

547
00:32:44,640 --> 00:32:46,840
Speaker 1: it wasn't being discussed, but it wasn't being discussed in

548
00:32:46,840 --> 00:32:50,080
Speaker 1: popular movies. Yeah, I mean should we should we talk

549
00:32:50,120 --> 00:32:54,680
Speaker 1: about that element of the movie. Yeah. Again, Like, this

550
00:32:54,760 --> 00:32:58,080
Speaker 1: is a story about a woman who like embraces her

551
00:32:58,200 --> 00:33:04,280
Speaker 1: large sexual appetite. It's not like demonizing a sexually liberated

552
00:33:04,320 --> 00:33:07,920
Speaker 1: woman the way that like whole genres of movies do,

553
00:33:08,800 --> 00:33:11,760
Speaker 1: Like we talked about like film noir, this happens in

554
00:33:11,800 --> 00:33:14,240
Speaker 1: a lot of like horror slasher movies. But this is

555
00:33:14,240 --> 00:33:18,840
Speaker 1: just like a character study about a woman who likes

556
00:33:18,880 --> 00:33:22,000
Speaker 1: to have sex. She's extremely open not only about her sexuality,

557
00:33:22,040 --> 00:33:25,680
Speaker 1: but like with her partners, about the other partners. She

558
00:33:25,760 --> 00:33:32,480
Speaker 1: has the names giving together like I yeah, and again

559
00:33:32,480 --> 00:33:36,440
Speaker 1: it's like I'll qualify this by saying I'm not polyamorous,

560
00:33:36,480 --> 00:33:39,360
Speaker 1: and I might not get things right, and I apologize

561
00:33:39,360 --> 00:33:43,360
Speaker 1: if so. I want to understand more. But it's it's

562
00:33:43,400 --> 00:33:47,920
Speaker 1: interesting to see a character who, like Nola is so

563
00:33:48,280 --> 00:33:50,200
Speaker 1: it's it's part of what makes the three men so

564
00:33:50,240 --> 00:33:55,640
Speaker 1: frustrating is Noah is extremely straightforward. She's very honest, Like

565
00:33:55,720 --> 00:33:59,880
Speaker 1: even in moments where in my head, just with movie brain,

566
00:34:00,040 --> 00:34:03,000
Speaker 1: I think she's going to lie she doesn't like and

567
00:34:03,040 --> 00:34:05,920
Speaker 1: there there's a there's a moment where she's in bed

568
00:34:06,080 --> 00:34:10,120
Speaker 1: with Jamie and Mars calls her and they have a

569
00:34:10,200 --> 00:34:12,640
Speaker 1: quick talk. She hangs up. Jamie says, who was that?

570
00:34:12,719 --> 00:34:14,600
Speaker 1: And in my movie brand I'm like, she's gonna lie,

571
00:34:14,960 --> 00:34:17,320
Speaker 1: but she says it was Mars. I was like, she's

572
00:34:17,400 --> 00:34:20,840
Speaker 1: giving you all the information. She tells Mars, Mr. Police,

573
00:34:20,880 --> 00:34:24,239
Speaker 1: I gave you all the clues. She's literally writing a

574
00:34:24,320 --> 00:34:28,719
Speaker 1: snowman note every morning, noon, and night, multiple people so much.

575
00:34:28,760 --> 00:34:31,880
Speaker 1: Sometimes she's reveling in it, just being like when he's like,

576
00:34:31,880 --> 00:34:33,359
Speaker 1: do you want to go to the Caribbean with me?

577
00:34:33,480 --> 00:34:35,080
Speaker 1: And she's like, I don't think I could stand being

578
00:34:35,120 --> 00:34:38,040
Speaker 1: alone with you for more than for two weeks and

579
00:34:38,000 --> 00:34:40,640
Speaker 1: a time, and she's like smiles and she said it

580
00:34:40,760 --> 00:34:46,239
Speaker 1: like you're the worst. I was like, damn. But she

581
00:34:46,440 --> 00:34:49,840
Speaker 1: like she's very honest and upfront with all of her partners,

582
00:34:49,840 --> 00:34:52,000
Speaker 1: and so the fact that they are like in that

583
00:34:52,520 --> 00:34:56,560
Speaker 1: whatever like mental loop of like let me try the

584
00:34:56,640 --> 00:34:58,359
Speaker 1: same thing over and over even though I have all

585
00:34:58,360 --> 00:35:01,000
Speaker 1: the information I need and I'm expect a different result.

586
00:35:01,160 --> 00:35:05,239
Speaker 1: It's like until they become angry at her for something,

587
00:35:05,840 --> 00:35:08,520
Speaker 1: listen like they weren't listening, and they trust that they

588
00:35:08,600 --> 00:35:11,480
Speaker 1: know her better than she knows her, and it's this

589
00:35:11,520 --> 00:35:14,520
Speaker 1: thing that's like the underlying assumption is like you're saying that,

590
00:35:14,560 --> 00:35:16,279
Speaker 1: but you don't really mean it. And I'm going to

591
00:35:16,400 --> 00:35:18,680
Speaker 1: go based on because I know you so well, I'm

592
00:35:18,680 --> 00:35:22,200
Speaker 1: gonna assume what your actual intentions are. I'm going to

593
00:35:22,280 --> 00:35:25,480
Speaker 1: assume what you actually mean, and I'll go based on

594
00:35:25,520 --> 00:35:27,480
Speaker 1: my assumption. And when you don't do the things that

595
00:35:27,560 --> 00:35:31,640
Speaker 1: I assumed, I will accuse you of being sick. Like

596
00:35:31,680 --> 00:35:34,120
Speaker 1: in the case of Greer, I mean, that's like something

597
00:35:34,160 --> 00:35:37,080
Speaker 1: that really I mean it is. It's I don't think

598
00:35:37,080 --> 00:35:39,880
Speaker 1: it's like callously played for laughs. I think it works

599
00:35:39,880 --> 00:35:43,320
Speaker 1: in the way it's presented. But it's very clear because

600
00:35:43,600 --> 00:35:45,759
Speaker 1: the three men in this movie are just like in

601
00:35:45,880 --> 00:35:51,440
Speaker 1: different ways, also embarrassing and like hard to watch. Um.

602
00:35:51,480 --> 00:35:54,040
Speaker 1: But Greer, I mean his I mean, he has he

603
00:35:54,080 --> 00:35:56,080
Speaker 1: has a lot of stuff going on, but like he's

604
00:35:56,280 --> 00:36:01,200
Speaker 1: very very classist. He is insulted that um, that Nola

605
00:36:01,239 --> 00:36:03,839
Speaker 1: would have sex with someone of a lower class than

606
00:36:03,920 --> 00:36:07,719
Speaker 1: he does. It clearly really really bothers him. So it's

607
00:36:07,719 --> 00:36:10,680
Speaker 1: like you just watched all these different characters find ways

608
00:36:10,719 --> 00:36:13,440
Speaker 1: to attack each other and the woman that they are

609
00:36:13,480 --> 00:36:16,279
Speaker 1: saying that they're in love with and to shame her

610
00:36:16,360 --> 00:36:19,560
Speaker 1: into being with them exclusively. And there's a scene where

611
00:36:20,080 --> 00:36:22,960
Speaker 1: Greer's new approach is that he's going to say that

612
00:36:23,040 --> 00:36:25,839
Speaker 1: she's addicted to sex and that something is wrong with her.

613
00:36:25,880 --> 00:36:28,000
Speaker 1: And that's something that comes up again again with Nola.

614
00:36:28,200 --> 00:36:31,640
Speaker 1: That the movie for the most part, and but like

615
00:36:31,960 --> 00:36:34,720
Speaker 1: the most part, seems aware that it's like the people

616
00:36:34,760 --> 00:36:38,440
Speaker 1: accusing Nolah of deviants are projecting their own insecurities on

617
00:36:38,520 --> 00:36:42,360
Speaker 1: to her. She's not deviant. She is a horny person

618
00:36:42,440 --> 00:36:46,120
Speaker 1: who is being very honest, like, so what do you

619
00:36:46,200 --> 00:36:48,760
Speaker 1: want from her? She's giving She's giving you all the clues,

620
00:36:48,840 --> 00:36:53,160
Speaker 1: Mr policemen Um. But in that scene, like Greer says, like,

621
00:36:53,239 --> 00:36:56,120
Speaker 1: I think you need to see a doctor, Like cut

622
00:36:56,160 --> 00:36:58,440
Speaker 1: to Nola, I'm like, why did Nolah agree to go

623
00:36:58,480 --> 00:37:01,000
Speaker 1: see the doctor? That was a rushion I had of

624
00:37:01,080 --> 00:37:04,000
Speaker 1: Like she clearly knows, but she like whatever, if she's

625
00:37:04,000 --> 00:37:07,480
Speaker 1: appeasing him, whatever it is. She goes to the sex therapist,

626
00:37:07,520 --> 00:37:11,520
Speaker 1: who's also this very like comedy character and very like

627
00:37:11,719 --> 00:37:13,560
Speaker 1: I feel like in the way that a lot of

628
00:37:13,960 --> 00:37:17,320
Speaker 1: eighties and nineties and even like two thousand's and sometimes

629
00:37:17,320 --> 00:37:22,120
Speaker 1: two thousands tens therapists are like stylized of like they're

630
00:37:22,239 --> 00:37:25,359
Speaker 1: very arrogant and they're talking down to you and they

631
00:37:25,560 --> 00:37:28,120
Speaker 1: think they know it's best for you. But even so,

632
00:37:28,360 --> 00:37:30,680
Speaker 1: even though it's like you have this like therapist who's

633
00:37:30,719 --> 00:37:33,759
Speaker 1: like n y U accreditation is very prominently displayed on

634
00:37:33,840 --> 00:37:36,520
Speaker 1: the wall, and it's like when I Spike Lee went

635
00:37:36,560 --> 00:37:38,560
Speaker 1: to n I, I'm sure that's a loaded thing to

636
00:37:38,640 --> 00:37:43,160
Speaker 1: do whatever, But even so, the arrogant therapist is like,

637
00:37:43,680 --> 00:37:45,919
Speaker 1: there's nothing wrong with her. She's a perfectly healthy person.

638
00:37:46,160 --> 00:37:52,040
Speaker 1: Cut to Greer being like women doctors right, like so

639
00:37:52,280 --> 00:37:56,920
Speaker 1: just like these men could not have more information, and

640
00:37:57,000 --> 00:37:59,879
Speaker 1: Nolan is being I think like in some cases over

641
00:38:00,040 --> 00:38:03,560
Speaker 1: really generous with her energy to like put their minds

642
00:38:03,560 --> 00:38:09,399
Speaker 1: at ease and to accommodating. She's I'm just like who accommodating? Yeah,

643
00:38:09,400 --> 00:38:13,360
Speaker 1: Because they're either like accusing her of saying she's sick,

644
00:38:13,480 --> 00:38:16,360
Speaker 1: she's a freak, she's a sex addict, saying things like

645
00:38:16,400 --> 00:38:20,760
Speaker 1: she's not capable of loyalty or devotion or commitment or love.

646
00:38:20,880 --> 00:38:24,560
Speaker 1: Even they're all threatened by each other, and just like

647
00:38:24,680 --> 00:38:29,240
Speaker 1: they're constantly attacking her for things that again, she's always

648
00:38:29,360 --> 00:38:32,680
Speaker 1: been extremely upfront about and that they just refused to

649
00:38:32,719 --> 00:38:36,080
Speaker 1: understand because, like he said, cans, they are making assumptions

650
00:38:36,680 --> 00:38:38,399
Speaker 1: about her and they think that they know her better

651
00:38:38,640 --> 00:38:41,279
Speaker 1: than she knows herself. But I also think that they're

652
00:38:41,280 --> 00:38:45,480
Speaker 1: probably they're just like pulling from stereotypes about women in

653
00:38:45,560 --> 00:38:48,839
Speaker 1: general police because that's not allowed anymore. They're like, we

654
00:38:48,920 --> 00:38:54,319
Speaker 1: didn't have all the clues where they're like, you know,

655
00:38:54,400 --> 00:38:57,160
Speaker 1: just like the idea that like women want marriage and

656
00:38:57,239 --> 00:39:00,160
Speaker 1: babies and to have a very domestic life and to

657
00:39:00,280 --> 00:39:04,040
Speaker 1: want it. So from the moment you see Jamie, you're like,

658
00:39:04,280 --> 00:39:07,400
Speaker 1: this guy wants to be a wife, guy so fucking hard,

659
00:39:07,840 --> 00:39:10,480
Speaker 1: which is just like and there's nothing wrong with that,

660
00:39:10,520 --> 00:39:13,200
Speaker 1: but the fact that he's like weaponizing that and projecting

661
00:39:13,200 --> 00:39:16,080
Speaker 1: that onto a person who keeps telling him that's not

662
00:39:16,400 --> 00:39:19,120
Speaker 1: what she wants, at least at this phase in her life.

663
00:39:19,120 --> 00:39:22,400
Speaker 1: Because I do like how the script gives us like

664
00:39:22,520 --> 00:39:27,080
Speaker 1: little insights into into Nolah's life, where like she hints

665
00:39:27,080 --> 00:39:29,839
Speaker 1: it like I want a family someday, but I just

666
00:39:29,880 --> 00:39:31,319
Speaker 1: that's not where I'm at right now. That's not how

667
00:39:31,360 --> 00:39:33,800
Speaker 1: I want to live right now, and so have five

668
00:39:34,320 --> 00:39:38,359
Speaker 1: kids right which I'm like, well, run that back and

669
00:39:38,400 --> 00:39:40,479
Speaker 1: see how you feel in a couple of years. She's

670
00:39:40,480 --> 00:39:44,040
Speaker 1: in her like mid twenties. You know that'll scale down

671
00:39:44,040 --> 00:39:47,960
Speaker 1: over time. But even so, it's like she repeatedly was like,

672
00:39:48,200 --> 00:39:50,520
Speaker 1: that's not where I'm at right now, Like I don't

673
00:39:50,560 --> 00:39:56,040
Speaker 1: I want to it's so frustrating. I want to unpack

674
00:39:56,640 --> 00:40:01,680
Speaker 1: her like closing monologue. Sure, so she starts by explaining

675
00:40:02,040 --> 00:40:05,000
Speaker 1: that the celibacy thing didn't work out because she had

676
00:40:05,040 --> 00:40:07,840
Speaker 1: told Jamie that she was gonna be celibate for a while.

677
00:40:08,440 --> 00:40:10,839
Speaker 1: And then she says that she shouldn't have gone back

678
00:40:10,840 --> 00:40:13,560
Speaker 1: to Jamie in the first place, implying that things didn't

679
00:40:13,600 --> 00:40:16,279
Speaker 1: work out with him, and she's absolutely correct that she

680
00:40:16,280 --> 00:40:20,680
Speaker 1: shouldn't have gone back again. And then she says about Jamie,

681
00:40:21,160 --> 00:40:24,760
Speaker 1: he wanted a wife, a mythic, old fashioned girl next door.

682
00:40:25,360 --> 00:40:28,520
Speaker 1: But it's more than that. It's about control my body,

683
00:40:28,680 --> 00:40:32,279
Speaker 1: my mind. Who is going to own it them or me?

684
00:40:32,760 --> 00:40:34,880
Speaker 1: I am not a one man woman. And then she

685
00:40:34,920 --> 00:40:36,759
Speaker 1: goes on to say, you know, so there you have

686
00:40:36,840 --> 00:40:38,600
Speaker 1: it from a number of people who all claim to

687
00:40:38,640 --> 00:40:41,520
Speaker 1: know what makes Nola Darling tick. And then she says,

688
00:40:41,520 --> 00:40:44,680
Speaker 1: I think they might know parts of me dot dot

689
00:40:44,760 --> 00:40:47,439
Speaker 1: dot and then she gets into bed and the great

690
00:40:47,480 --> 00:40:49,960
Speaker 1: I really love the ending, and it comes after such

691
00:40:50,040 --> 00:40:55,920
Speaker 1: a tumultuously frustrating ten to fifteen minutes before that. It

692
00:40:56,040 --> 00:40:58,160
Speaker 1: is shocking to me that he sticks the landing at

693
00:40:58,200 --> 00:41:02,120
Speaker 1: the end of something that Okay, so should we do?

694
00:41:02,120 --> 00:41:04,560
Speaker 1: Do you have more to unpack on that just to

695
00:41:04,640 --> 00:41:07,200
Speaker 1: say that, like, I'm pleased that that is like the

696
00:41:07,239 --> 00:41:10,200
Speaker 1: final note of the movie, that that's like the button

697
00:41:10,360 --> 00:41:13,960
Speaker 1: we end on, because again, like the movie had been

698
00:41:13,960 --> 00:41:17,719
Speaker 1: building up that we're seeing her, like we see the

699
00:41:17,760 --> 00:41:20,440
Speaker 1: men that she's with getting worse and worse as the

700
00:41:20,480 --> 00:41:24,080
Speaker 1: movie goes on. She's getting more and more frustrated with them.

701
00:41:24,160 --> 00:41:27,240
Speaker 1: She breaks up with all of them at one point,

702
00:41:27,360 --> 00:41:31,160
Speaker 1: but then gets back together with Jamie in a decision

703
00:41:31,200 --> 00:41:36,240
Speaker 1: that we all find baffling. But then for the final

704
00:41:36,520 --> 00:41:38,360
Speaker 1: moment to be like, Yep, that was a mistake. I

705
00:41:38,400 --> 00:41:41,680
Speaker 1: shouldn't have gone back to him, Um, setting the record straight.

706
00:41:41,880 --> 00:41:45,160
Speaker 1: This is who I am. It's about me, my body,

707
00:41:45,239 --> 00:41:48,719
Speaker 1: my mind, my choices. I own all of this. So

708
00:41:48,760 --> 00:41:51,200
Speaker 1: I was very pleased that that's like Kenny's I mean,

709
00:41:51,239 --> 00:41:53,239
Speaker 1: the more that he's like, I'm just going back to

710
00:41:53,560 --> 00:41:56,640
Speaker 1: what are they filming her for? Because that brings me

711
00:41:56,680 --> 00:41:58,440
Speaker 1: back to I was just looking at I had some

712
00:41:58,520 --> 00:42:02,040
Speaker 1: of the opening monologue in my notes, and she starts

713
00:42:02,080 --> 00:42:04,000
Speaker 1: by saying, I want you to know the only reason

714
00:42:04,080 --> 00:42:06,120
Speaker 1: I'm consenting to this is because I wish to clear

715
00:42:06,160 --> 00:42:09,440
Speaker 1: my name. I'm like, so whoever has a vested interest

716
00:42:09,680 --> 00:42:15,680
Speaker 1: in her having more than one boyfriend? Like it's so confusing,

717
00:42:15,719 --> 00:42:17,800
Speaker 1: But I do think like those whatever that the movie

718
00:42:17,880 --> 00:42:22,480
Speaker 1: very intentionally begins and ends in the same place, and

719
00:42:22,520 --> 00:42:25,319
Speaker 1: I like, there's now I find the beginning of that

720
00:42:25,400 --> 00:42:28,480
Speaker 1: monologue at the start of the movie to be I

721
00:42:28,520 --> 00:42:32,160
Speaker 1: have questions, but she ends it on like some people

722
00:42:32,200 --> 00:42:33,919
Speaker 1: call me a freak. I hate that word. I don't

723
00:42:33,920 --> 00:42:36,200
Speaker 1: believe in it. Better yet, I don't believe in labels,

724
00:42:36,200 --> 00:42:38,920
Speaker 1: which is like another great thesis statement for her character.

725
00:42:39,000 --> 00:42:42,200
Speaker 1: And then also when any other time you cut to her,

726
00:42:42,280 --> 00:42:46,719
Speaker 1: like talking head in her bed, she's really like reading

727
00:42:46,920 --> 00:42:50,080
Speaker 1: these men very very clearly, where she's just like, you know,

728
00:42:50,120 --> 00:42:52,160
Speaker 1: I found two types of men, the decent ones and

729
00:42:52,200 --> 00:42:55,239
Speaker 1: the dogs. She calls them weak, she calls them all

730
00:42:55,280 --> 00:42:58,440
Speaker 1: these like and I feel like it's implied in that

731
00:42:58,560 --> 00:43:02,160
Speaker 1: montage that she's so aware that all of these men

732
00:43:02,200 --> 00:43:05,200
Speaker 1: are shitty that she's just like, yeah, I'm I'm not

733
00:43:05,320 --> 00:43:08,480
Speaker 1: in no rush to settle down with any of these guys.

734
00:43:09,320 --> 00:43:13,600
Speaker 1: Like yeah, Like, I I like how she is. She

735
00:43:13,760 --> 00:43:16,200
Speaker 1: has like those moments, and I wish that she got

736
00:43:16,360 --> 00:43:18,279
Speaker 1: I mean, she does get a lot of opportunities to

737
00:43:19,239 --> 00:43:21,279
Speaker 1: stand up for herself to these men, but they just

738
00:43:21,320 --> 00:43:23,640
Speaker 1: stick around. And it's like to the point where I'm like,

739
00:43:23,680 --> 00:43:25,640
Speaker 1: I don't know why she keeps talking to them. I

740
00:43:25,680 --> 00:43:28,520
Speaker 1: don't know why they're still hanging around. We gotta break

741
00:43:28,600 --> 00:43:31,560
Speaker 1: up this group. It's not working because there are moments

742
00:43:31,560 --> 00:43:35,000
Speaker 1: where it's like when Greer is aggressively like you are

743
00:43:35,239 --> 00:43:39,239
Speaker 1: sick for having sex with people who aren't me, and

744
00:43:39,320 --> 00:43:41,919
Speaker 1: she she like fires right back, and it's like, well

745
00:43:41,920 --> 00:43:44,640
Speaker 1: fuck you, I'll never see you again basically, But then

746
00:43:44,680 --> 00:43:46,680
Speaker 1: she goes to the doctor anyways, and I'm just like,

747
00:43:46,719 --> 00:43:49,560
Speaker 1: this is a little confusing. I love the scene when

748
00:43:49,560 --> 00:43:51,520
Speaker 1: she does finally break up with Green at the end

749
00:43:51,680 --> 00:43:55,440
Speaker 1: and he's like, I'm so, He's like, you don't mean

750
00:43:55,520 --> 00:43:59,160
Speaker 1: any but you're the worst. You don't know anything. They

751
00:43:59,160 --> 00:44:06,000
Speaker 1: don't like woman. It was like, Wow, he's a terrible person,

752
00:44:06,040 --> 00:44:07,920
Speaker 1: but he was I think maybe one of my favorite

753
00:44:07,960 --> 00:44:10,840
Speaker 1: characters in this but yeah, because like they're on the

754
00:44:10,920 --> 00:44:13,239
Speaker 1: roof and he's like, come to the Caribbean with me

755
00:44:13,560 --> 00:44:17,439
Speaker 1: and she's like no. He's like whatever, you it's right now.

756
00:44:17,680 --> 00:44:19,960
Speaker 1: You gotta tell me yes or now. And she's like no,

757
00:44:20,400 --> 00:44:22,080
Speaker 1: and he's like, okay, you don't have to rush, like

758
00:44:22,120 --> 00:44:24,520
Speaker 1: you let me know. By the way, took some time

759
00:44:25,080 --> 00:44:27,440
Speaker 1: think about in the same way where it's like in

760
00:44:27,480 --> 00:44:29,920
Speaker 1: that scene where she's like, okay, I'm having sex with

761
00:44:29,960 --> 00:44:32,160
Speaker 1: too many people. I'll start by not having sex with you.

762
00:44:32,280 --> 00:44:35,000
Speaker 1: He's like, well that's not rush. I don't know. Maybe

763
00:44:35,040 --> 00:44:36,719
Speaker 1: maybe I only have sex with me. I don't know,

764
00:44:37,040 --> 00:44:40,000
Speaker 1: Like it's yeah, there. The writing of the movie is

765
00:44:40,040 --> 00:44:43,520
Speaker 1: so fun and like we we kept talking, I mean

766
00:44:43,680 --> 00:44:47,600
Speaker 1: whatever Mars's character, how he can't not repeat back what

767
00:44:47,760 --> 00:44:50,120
Speaker 1: it's just been said to him or what also what

768
00:44:50,280 --> 00:44:54,560
Speaker 1: he just said. Um, it's so good, Like all the

769
00:44:54,640 --> 00:44:58,080
Speaker 1: characters are so distinct and it's so like again it's

770
00:44:58,080 --> 00:45:00,880
Speaker 1: like you don't want to like hand it to a

771
00:45:00,880 --> 00:45:04,120
Speaker 1: man for identifying male behavior too much, but it's like

772
00:45:04,200 --> 00:45:06,600
Speaker 1: it is so funny to me how and funny in

773
00:45:07,040 --> 00:45:10,879
Speaker 1: the bad way, But how like all three of these men,

774
00:45:11,160 --> 00:45:13,879
Speaker 1: they're so different, but they all have a different version

775
00:45:13,920 --> 00:45:17,200
Speaker 1: of the same problem, and the way that it manifests

776
00:45:17,520 --> 00:45:19,680
Speaker 1: is very different, which is just like what you're saying.

777
00:45:20,080 --> 00:45:22,919
Speaker 1: They think that they know what this woman wants better

778
00:45:22,960 --> 00:45:25,560
Speaker 1: than she does, which is of course not true, and

779
00:45:25,600 --> 00:45:28,839
Speaker 1: so it works out for none of them because why

780
00:45:29,000 --> 00:45:32,239
Speaker 1: would they? I just wish um before we move on

781
00:45:32,280 --> 00:45:36,240
Speaker 1: to like the heavy heavy discussion, I would like to ask,

782
00:45:37,040 --> 00:45:39,000
Speaker 1: did you guys feel like there were any scenes that

783
00:45:39,200 --> 00:45:42,080
Speaker 1: set up these relationships in a positive way? Like I

784
00:45:42,080 --> 00:45:43,480
Speaker 1: feel like all of them were set up in like

785
00:45:43,520 --> 00:45:46,440
Speaker 1: a here's clearly a failure, or like this is like

786
00:45:46,480 --> 00:45:50,080
Speaker 1: how it's incongruous, But like, was there a moment and

787
00:45:50,120 --> 00:45:52,799
Speaker 1: I think it's supposed to be after he stalks her

788
00:45:52,880 --> 00:45:55,359
Speaker 1: down the street and they have a conversation. Is that

789
00:45:55,400 --> 00:45:57,880
Speaker 1: the moment we're supposed to see them together and have

790
00:45:58,000 --> 00:46:00,920
Speaker 1: something positive that we then root for. That was one

791
00:46:00,960 --> 00:46:03,560
Speaker 1: of the moments in the movie where I didn't necessarily

792
00:46:03,600 --> 00:46:07,040
Speaker 1: feel like the movie knew that that was fucking mixtreme.

793
00:46:07,440 --> 00:46:10,120
Speaker 1: That movie doesn't understand that because there's like dodel do

794
00:46:10,239 --> 00:46:14,359
Speaker 1: do do do? And there the man actively stalking and

795
00:46:14,400 --> 00:46:17,040
Speaker 1: even the shots are kind of like leering and you're

796
00:46:17,120 --> 00:46:20,360
Speaker 1: seeing her from behind like it's true crime footage. And

797
00:46:20,400 --> 00:46:23,520
Speaker 1: then at the end, Nola's just like waiting for him

798
00:46:23,840 --> 00:46:26,719
Speaker 1: near a subway stop and she's like like TV, you

799
00:46:26,800 --> 00:46:29,080
Speaker 1: were following, you get here, and then he's like, I

800
00:46:29,120 --> 00:46:32,600
Speaker 1: gotta see you again. You're like, this is not this

801
00:46:32,680 --> 00:46:36,000
Speaker 1: is not good. So what happens here is that before

802
00:46:36,200 --> 00:46:38,440
Speaker 1: we know how they met, we see a scene with

803
00:46:38,480 --> 00:46:41,520
Speaker 1: them together. It's a very like sensual scene where they're

804
00:46:41,520 --> 00:46:44,960
Speaker 1: like making love. I'm so sorry I just said that

805
00:46:46,480 --> 00:46:50,960
Speaker 1: I'm a virgin again. We grew. I'm sorry. It's cos

806
00:46:51,080 --> 00:46:56,560
Speaker 1: a lie. I get that, but it's but and she

807
00:46:56,640 --> 00:46:59,359
Speaker 1: says something like, you know, most men don't know how

808
00:46:59,520 --> 00:47:02,239
Speaker 1: to like touch a woman, but like you're really good

809
00:47:02,280 --> 00:47:05,920
Speaker 1: at it. Whatever his massage, look, his hands are angles,

810
00:47:05,960 --> 00:47:10,840
Speaker 1: you can get the strength to get like that was awesome.

811
00:47:11,680 --> 00:47:14,480
Speaker 1: So I felt I thought as though that their relationship

812
00:47:14,640 --> 00:47:16,879
Speaker 1: was like from the first scene, I was like, oh,

813
00:47:16,920 --> 00:47:20,200
Speaker 1: this does seem like mutually respectful, and you know, it

814
00:47:20,280 --> 00:47:24,200
Speaker 1: seems sweet and nice. And then that's when Nola is

815
00:47:24,280 --> 00:47:26,560
Speaker 1: like she makes a comment like it seems that men

816
00:47:26,640 --> 00:47:29,160
Speaker 1: are taught not to be in touch with themselves and

817
00:47:29,200 --> 00:47:33,120
Speaker 1: their true feelings. I was like, cool, yes, generally very true.

818
00:47:33,800 --> 00:47:36,480
Speaker 1: Then she says, and then you should hear some of

819
00:47:36,480 --> 00:47:38,200
Speaker 1: the things that men say. And then that's when we

820
00:47:38,200 --> 00:47:41,000
Speaker 1: get that montage of a bunch of different men delivering

821
00:47:41,080 --> 00:47:43,640
Speaker 1: very corny pickup lines. There's a hot dog joke in there.

822
00:47:44,600 --> 00:47:51,359
Speaker 1: Us a certified tenage premium beef tubes steak steak. Oh,

823
00:47:51,480 --> 00:47:54,600
Speaker 1: I forgot the tubes stick. I don't want to think

824
00:47:54,760 --> 00:47:57,640
Speaker 1: tube when I think of a penis. I really don't.

825
00:47:58,040 --> 00:48:00,640
Speaker 1: I think about tubes steak a lot. But it's not sexual.

826
00:48:02,560 --> 00:48:08,240
Speaker 1: It's because that's my job. All this to say, Nola

827
00:48:08,760 --> 00:48:12,720
Speaker 1: is clearly not impressed with this tactic of picking up women.

828
00:48:12,880 --> 00:48:14,840
Speaker 1: And then she's like, but one guy was different, And

829
00:48:14,880 --> 00:48:17,359
Speaker 1: then we cut to a scene where Jamie stalks her,

830
00:48:18,040 --> 00:48:21,360
Speaker 1: and then you're like, this is the different guy. It

831
00:48:21,520 --> 00:48:24,880
Speaker 1: is different, but in a horrible way. But yeah, like

832
00:48:25,280 --> 00:48:28,839
Speaker 1: those guys were creepy. This guy is stalking you. It's

833
00:48:28,840 --> 00:48:32,120
Speaker 1: a different I was kind of I mean, and I

834
00:48:32,160 --> 00:48:34,440
Speaker 1: honestly thought we were being set up with something a

835
00:48:34,480 --> 00:48:38,160
Speaker 1: little bit different with Jamie that I mean, well, this

836
00:48:38,200 --> 00:48:39,880
Speaker 1: isn't a criticism of the movie. But I sort of

837
00:48:39,920 --> 00:48:42,040
Speaker 1: thought it was like the premise of the movie was

838
00:48:42,360 --> 00:48:45,120
Speaker 1: something that you wouldn't see in movies of the eighties,

839
00:48:45,160 --> 00:48:47,520
Speaker 1: of like a woman who is not interested in a

840
00:48:47,520 --> 00:48:50,839
Speaker 1: monogamous relationship and a man who very much is like

841
00:48:50,960 --> 00:48:52,920
Speaker 1: that's not something you get very often. And I was like, Oh,

842
00:48:52,960 --> 00:48:55,080
Speaker 1: we're being set up with these characters that you know

843
00:48:55,160 --> 00:49:00,440
Speaker 1: don't have the socially prescribed desires. But then Jamie just

844
00:49:00,480 --> 00:49:03,520
Speaker 1: turns out to be a rapist, and so I didn't

845
00:49:03,560 --> 00:49:07,160
Speaker 1: see that happening. But but I do think that that

846
00:49:07,360 --> 00:49:11,040
Speaker 1: is like I don't know, I mean, it's so complicated,

847
00:49:11,040 --> 00:49:14,480
Speaker 1: because I do think that in some ways, and I

848
00:49:14,480 --> 00:49:18,200
Speaker 1: wouldn't include the rape scene. I just I mean, I

849
00:49:18,200 --> 00:49:20,919
Speaker 1: feel at least better than Spike Lee regrets it because

850
00:49:20,920 --> 00:49:23,840
Speaker 1: I think it just like complicates so much in the

851
00:49:23,880 --> 00:49:27,400
Speaker 1: movie in a way that is not necessary and turned

852
00:49:27,440 --> 00:49:32,000
Speaker 1: my stomach and was triggering. So but um, but in

853
00:49:32,040 --> 00:49:35,080
Speaker 1: the way that like, Okay, I'm talking to this on

854
00:49:35,200 --> 00:49:38,480
Speaker 1: real time. But when you're presented with a character who's

855
00:49:38,520 --> 00:49:40,799
Speaker 1: like a man who wants an anogamous relationship, I feel

856
00:49:40,840 --> 00:49:45,439
Speaker 1: like they're almost presented to you like they're from then

857
00:49:45,440 --> 00:49:48,560
Speaker 1: on or above criticism because that's so unusual and like, oh,

858
00:49:48,640 --> 00:49:51,799
Speaker 1: a man who just wants to be with one person, well,

859
00:49:51,840 --> 00:49:54,359
Speaker 1: then I guess we love this guy. So the fact

860
00:49:54,400 --> 00:49:58,319
Speaker 1: that Jamie wants an anogymous relationship and turns out to

861
00:49:58,320 --> 00:50:03,399
Speaker 1: be a fucking despicable person like also not something that

862
00:50:03,600 --> 00:50:06,920
Speaker 1: you see in movies very often. However, I think that

863
00:50:06,960 --> 00:50:10,440
Speaker 1: he's still a despicable person even if you don't include

864
00:50:10,560 --> 00:50:13,680
Speaker 1: a rape scene of our protagonist. That is upsetting and

865
00:50:13,680 --> 00:50:16,879
Speaker 1: shouldn't be in the movie totally, because again, the whole

866
00:50:16,880 --> 00:50:22,000
Speaker 1: movie is him and the other two men constantly sucking,

867
00:50:22,640 --> 00:50:26,680
Speaker 1: sucking and being mean to her. It's like she sticks

868
00:50:26,719 --> 00:50:30,319
Speaker 1: around even though your meat, Like, come on, it's very

869
00:50:30,360 --> 00:50:35,160
Speaker 1: frustrating guys. But can we uh we got that discussion

870
00:50:35,160 --> 00:50:38,800
Speaker 1: out of the way. Yeah, I you know, trigger warning again,

871
00:50:38,840 --> 00:50:41,439
Speaker 1: because we do have to talk about the rape scene

872
00:50:41,440 --> 00:50:43,960
Speaker 1: in this movie that I just did not see coming

873
00:50:44,000 --> 00:50:48,360
Speaker 1: at all. There's been a lot written about this movie,

874
00:50:48,400 --> 00:50:53,800
Speaker 1: but like this scene in particular, because it is like shown,

875
00:50:53,920 --> 00:50:57,319
Speaker 1: I mean very clearly, it is a rape scene where

876
00:50:57,680 --> 00:51:02,279
Speaker 1: and it's a violent rape scene. And when you mate

877
00:51:02,360 --> 00:51:04,839
Speaker 1: or whatever, when when you see like that decision being made,

878
00:51:04,880 --> 00:51:09,239
Speaker 1: You're like, what is even more important is like what

879
00:51:09,360 --> 00:51:11,840
Speaker 1: happens in the scene after, And like, how is this

880
00:51:11,880 --> 00:51:13,920
Speaker 1: movie going to handle the Because if you're making that

881
00:51:13,960 --> 00:51:17,680
Speaker 1: creative choice, you better fucking know what is going to

882
00:51:17,760 --> 00:51:21,759
Speaker 1: happen after and you better deal with that hugely triggering

883
00:51:21,920 --> 00:51:25,480
Speaker 1: creative decision you just made. And this movie does not

884
00:51:25,600 --> 00:51:27,439
Speaker 1: do that. They make you know, they make you really

885
00:51:27,480 --> 00:51:31,759
Speaker 1: sit in this horrible moment for Nola and then the

886
00:51:31,800 --> 00:51:35,160
Speaker 1: next scene and this just felt like a knife twist

887
00:51:35,160 --> 00:51:37,600
Speaker 1: in a way that was so frustrating as a viewer.

888
00:51:38,239 --> 00:51:41,680
Speaker 1: Is the only scene you get with her and her

889
00:51:41,760 --> 00:51:46,000
Speaker 1: friend is her name and Clarinda who you've seen Clorinda

890
00:51:46,080 --> 00:51:51,040
Speaker 1: before because she's participating in this grad students documentary about

891
00:51:51,080 --> 00:51:55,560
Speaker 1: some lady he met um and we find out that,

892
00:51:55,640 --> 00:51:58,560
Speaker 1: you know, the Clorinda and no Lower roommates. They had

893
00:51:58,560 --> 00:52:01,440
Speaker 1: a falling out, and then it seems like Nola reaches

894
00:52:01,480 --> 00:52:04,799
Speaker 1: out to Clarinda in the fallout of this rape, and

895
00:52:04,840 --> 00:52:07,360
Speaker 1: I was like, Okay, maybe this is going to be

896
00:52:07,400 --> 00:52:10,839
Speaker 1: a scene where let's see what happens, you know, like

897
00:52:10,960 --> 00:52:15,520
Speaker 1: let's see how Nola brings it up. But she kind

898
00:52:15,560 --> 00:52:18,799
Speaker 1: of doesn't like what happens is very I don't know.

899
00:52:18,880 --> 00:52:20,080
Speaker 1: This was a scene to me that I was like,

900
00:52:20,200 --> 00:52:23,480
Speaker 1: this was written by a man who did not know

901
00:52:23,640 --> 00:52:27,880
Speaker 1: how to write this scene because Nolah is saying things

902
00:52:27,920 --> 00:52:31,560
Speaker 1: like I think I really fucked up this time, Jamie

903
00:52:31,640 --> 00:52:36,600
Speaker 1: really hates me, and Clarinda replies by saying, oh, I

904
00:52:36,640 --> 00:52:38,560
Speaker 1: don't even want to know what you did to make

905
00:52:38,640 --> 00:52:40,960
Speaker 1: him feel that way, and it's like they're kind of

906
00:52:41,000 --> 00:52:45,440
Speaker 1: like circling around. They don't even talk about what actually

907
00:52:45,800 --> 00:52:50,440
Speaker 1: happened really, and it's implied in the scene that Nola

908
00:52:50,560 --> 00:52:53,480
Speaker 1: feels like what happened to her was her fault, which

909
00:52:53,520 --> 00:52:56,400
Speaker 1: again is something that a lot of people who have

910
00:52:56,440 --> 00:52:59,800
Speaker 1: been assaulted like feel. But this movie is not in

911
00:53:00,040 --> 00:53:02,799
Speaker 1: sit in that conversation, and that's not what's happening in

912
00:53:02,800 --> 00:53:05,239
Speaker 1: this scene. It's I think one of the few and

913
00:53:05,360 --> 00:53:09,399
Speaker 1: like a really egregious moment of the movie being out

914
00:53:09,400 --> 00:53:11,600
Speaker 1: of its own depth, Like it's just not equipped to

915
00:53:11,640 --> 00:53:15,080
Speaker 1: handle this plot point and I don't understand why fucking

916
00:53:15,280 --> 00:53:18,440
Speaker 1: put it there, Like it's so yeah, It's what did

917
00:53:18,480 --> 00:53:22,160
Speaker 1: take me by surprise is that she then in the

918
00:53:22,239 --> 00:53:26,520
Speaker 1: scene after that, I think is talking to Jamie uh,

919
00:53:26,560 --> 00:53:30,440
Speaker 1: and she's saying, she's telling him that she wants to

920
00:53:30,440 --> 00:53:35,399
Speaker 1: be celibate for a while he's questioning why, like this

921
00:53:35,560 --> 00:53:42,040
Speaker 1: rape like prompts a change in her and like inspires monogamous,

922
00:53:42,160 --> 00:53:45,239
Speaker 1: Like that happening to her is what changes her mind

923
00:53:45,320 --> 00:53:49,799
Speaker 1: quote unquote between wanting to date multiple people into just

924
00:53:50,320 --> 00:53:53,839
Speaker 1: wanting to date Jamie. Like it's just such a it's

925
00:53:53,880 --> 00:53:55,760
Speaker 1: a dangerous creative choice to make to be like okay,

926
00:53:55,800 --> 00:53:59,200
Speaker 1: and then he, I mean, he rapes her, and then

927
00:53:59,239 --> 00:54:01,520
Speaker 1: all of a sudden she's like, you know what, I'm

928
00:54:01,560 --> 00:54:04,400
Speaker 1: dismantling my Phantom of the Opera bed. Like there's all

929
00:54:04,400 --> 00:54:07,120
Speaker 1: these symbolic things that happened to indicate that her getting

930
00:54:07,200 --> 00:54:09,759
Speaker 1: raped was actually a good thing, like the wake up,

931
00:54:09,920 --> 00:54:13,480
Speaker 1: She's the wake up or something like that. So you

932
00:54:13,520 --> 00:54:16,440
Speaker 1: guys both saw this movie more recently. I saw it

933
00:54:16,680 --> 00:54:20,279
Speaker 1: well before me too, and just how we discussed it

934
00:54:20,320 --> 00:54:24,279
Speaker 1: was fundamentally different, as though like this is this is

935
00:54:24,600 --> 00:54:26,279
Speaker 1: kind of like what you play with firing get burn.

936
00:54:26,400 --> 00:54:28,920
Speaker 1: It was just like very much so like the discussion was,

937
00:54:29,200 --> 00:54:32,680
Speaker 1: this is the wages of Hordom and if you whore around,

938
00:54:32,680 --> 00:54:35,040
Speaker 1: this is what's going to happen, and just I'm so

939
00:54:35,160 --> 00:54:40,040
Speaker 1: happy to rewatch it under like a not super Christian,

940
00:54:40,160 --> 00:54:43,000
Speaker 1: not super like southern, not all of these other lenses

941
00:54:43,000 --> 00:54:45,560
Speaker 1: that I was viewing it. So because yeah, that was

942
00:54:45,920 --> 00:54:48,800
Speaker 1: And like so when she meets up with Clarinda, Clarinda

943
00:54:48,920 --> 00:54:51,200
Speaker 1: is playing the upright based or the cello. It's gotta

944
00:54:51,200 --> 00:54:52,680
Speaker 1: be the upright base based on the thing ring. But

945
00:54:53,120 --> 00:54:55,799
Speaker 1: she's playing that song Nola, And so for it to

946
00:54:55,880 --> 00:54:59,120
Speaker 1: go right from like a violent rape scene to be like,

947
00:54:59,239 --> 00:55:02,160
Speaker 1: here's the theme of a movie, you know, just to

948
00:55:02,120 --> 00:55:05,720
Speaker 1: the natural course of progression and the song about how

949
00:55:06,000 --> 00:55:09,600
Speaker 1: she she focks around. Oh, Mike, I didn't even connect that.

950
00:55:10,200 --> 00:55:12,399
Speaker 1: God that is I would love to hear. I mean

951
00:55:12,880 --> 00:55:15,640
Speaker 1: the nature of the discussion you were having in school.

952
00:55:15,760 --> 00:55:17,680
Speaker 1: That's like, I feel like we've had stuff like that

953
00:55:17,719 --> 00:55:19,680
Speaker 1: pop up on the show quite a bit of Like

954
00:55:19,719 --> 00:55:23,000
Speaker 1: just the conversation that we had like ten years ago

955
00:55:23,640 --> 00:55:27,480
Speaker 1: was just so fucking wildly different. Um. I went to

956
00:55:28,880 --> 00:55:31,319
Speaker 1: UM and a lot of the like modern and most

957
00:55:31,400 --> 00:55:33,879
Speaker 1: of them were written when the Netflix series came out.

958
00:55:35,960 --> 00:55:39,880
Speaker 1: About how this plot point was originally reviewed when the

959
00:55:39,880 --> 00:55:42,680
Speaker 1: movie came out in six I think it's also very

960
00:55:42,680 --> 00:55:48,480
Speaker 1: telling about just where discourse was at at this time,

961
00:55:48,600 --> 00:55:52,600
Speaker 1: and and also keeping in mind that in six the

962
00:55:52,719 --> 00:55:57,279
Speaker 1: vast majority of movie critics were white guys. So this

963
00:55:57,360 --> 00:56:00,920
Speaker 1: was from the New York Times. In eight, he says,

964
00:56:01,440 --> 00:56:04,759
Speaker 1: Mr Hicks, the actor who plays Jamie. Mr Hicks gives

965
00:56:04,840 --> 00:56:07,360
Speaker 1: Jamie a depth and passion that escapes other men. It

966
00:56:07,480 --> 00:56:10,239
Speaker 1: is telling that when Jamie's patience gives out and he

967
00:56:10,280 --> 00:56:14,040
Speaker 1: turns rather shockingly brutal to Nola, his violence seems natural

968
00:56:14,160 --> 00:56:17,320
Speaker 1: and does not diminish interest in or sympathy with the character.

969
00:56:18,360 --> 00:56:27,040
Speaker 1: Uhlass review Uh, Mr Times, I don't know, but it was.

970
00:56:27,560 --> 00:56:30,640
Speaker 1: It was a white male film reviewer at the at

971
00:56:30,640 --> 00:56:33,040
Speaker 1: the New York Times at that time. Um. But even

972
00:56:33,080 --> 00:56:36,320
Speaker 1: the fact that it's like it was such a prevalent,

973
00:56:36,880 --> 00:56:39,200
Speaker 1: like it's exactly what you're describing, kinne of like, well,

974
00:56:39,760 --> 00:56:42,560
Speaker 1: she took things too far, and this is what happens

975
00:56:42,600 --> 00:56:44,520
Speaker 1: to women who take things too far, where it's like

976
00:56:44,640 --> 00:56:50,160
Speaker 1: they just, uh, you've lost your power, where here was

977
00:56:50,160 --> 00:56:52,840
Speaker 1: a way to get it back, like right, like and

978
00:56:53,000 --> 00:56:55,840
Speaker 1: just implying that like yeah, he implied, like, well, of

979
00:56:55,880 --> 00:56:59,319
Speaker 1: course that would happen when it's like there's not I

980
00:56:59,320 --> 00:57:01,479
Speaker 1: don't think a him of this movie where she's being

981
00:57:01,520 --> 00:57:05,000
Speaker 1: dishonest or not completely straightforward with him, and it is.

982
00:57:05,360 --> 00:57:07,360
Speaker 1: It's it's interesting because I think that there's moments in

983
00:57:07,360 --> 00:57:10,600
Speaker 1: the movie where it felt clear to me that the

984
00:57:10,640 --> 00:57:13,440
Speaker 1: movie was like he's getting in his own way, his

985
00:57:13,920 --> 00:57:18,560
Speaker 1: false expectations and his like ego and his masculinity is like,

986
00:57:18,600 --> 00:57:23,880
Speaker 1: what's preventing him from listening to her? But then but

987
00:57:23,960 --> 00:57:25,880
Speaker 1: then it takes this turn at the end and like

988
00:57:25,960 --> 00:57:29,880
Speaker 1: gives him the power back and then at the last

989
00:57:29,960 --> 00:57:32,480
Speaker 1: second gives it back to Nola. But it just doesn't

990
00:57:32,520 --> 00:57:36,600
Speaker 1: deal with what happened, and I just don't understand. Yeah,

991
00:57:36,880 --> 00:57:40,440
Speaker 1: should we tell? So? Spike Lee has been asked about

992
00:57:40,440 --> 00:57:43,760
Speaker 1: this in at least two interviews that I found. One

993
00:57:43,800 --> 00:57:48,800
Speaker 1: was from fourteen and then another was from m seventeen

994
00:57:48,800 --> 00:57:51,480
Speaker 1: when the show came out. He's he's basically it was

995
00:57:51,520 --> 00:57:53,360
Speaker 1: a question that he was asked about, like, do you

996
00:57:53,400 --> 00:58:00,800
Speaker 1: regret anything any to quote my favorite misspelled tattoo, any regrets? Um?

997
00:58:00,840 --> 00:58:04,160
Speaker 1: So he says, it's, you know what, my biggest regret

998
00:58:04,200 --> 00:58:05,960
Speaker 1: is the rape scene, and she's got to have it.

999
00:58:06,000 --> 00:58:08,280
Speaker 1: If I was able to have any doovers that would

1000
00:58:08,280 --> 00:58:12,200
Speaker 1: be it. It was just totally stupid. I was immature.

1001
00:58:12,400 --> 00:58:14,560
Speaker 1: It made light of rape, and that's the one thing

1002
00:58:14,600 --> 00:58:17,200
Speaker 1: I would take back. I was immature, and I hate

1003
00:58:17,200 --> 00:58:19,560
Speaker 1: that I did not view rape as the vile act

1004
00:58:19,840 --> 00:58:24,600
Speaker 1: that it is. He qualifies in. There will be nothing

1005
00:58:24,640 --> 00:58:26,439
Speaker 1: like that, and she's got to have at the TV show,

1006
00:58:26,480 --> 00:58:30,120
Speaker 1: that's for sure, which it sounds like is very true, right.

1007
00:58:30,320 --> 00:58:32,320
Speaker 1: I mean, I've only seen the first four episodes, but

1008
00:58:32,480 --> 00:58:35,960
Speaker 1: I don't imagine. There is a scene in which Nola

1009
00:58:36,080 --> 00:58:39,960
Speaker 1: gets street harassed and then assaulted, and then that's actually

1010
00:58:40,040 --> 00:58:44,600
Speaker 1: what prompts her female friend to suggest that she starts

1011
00:58:44,680 --> 00:58:48,240
Speaker 1: seeing a therapist, and that therapist character becomes someone that

1012
00:58:48,760 --> 00:58:52,120
Speaker 1: Nola sees in multiple episodes. So that whole thing was

1013
00:58:52,160 --> 00:58:57,000
Speaker 1: handled differently. Is it handled perfectly? I would say no,

1014
00:58:57,640 --> 00:59:00,760
Speaker 1: but it is certainly handle handle better than it was

1015
00:59:00,920 --> 00:59:04,920
Speaker 1: in the movie. The Sorry I cut you off earlier.

1016
00:59:04,960 --> 00:59:07,640
Speaker 1: You were talking about what happens in the last scene together,

1017
00:59:07,720 --> 00:59:09,880
Speaker 1: where I think, do we get to the point where

1018
00:59:10,120 --> 00:59:13,439
Speaker 1: Nola does say to Jamie, like, so that's what took

1019
00:59:13,480 --> 00:59:16,760
Speaker 1: me by surprise? Yes, where so she calls it a

1020
00:59:16,840 --> 00:59:20,080
Speaker 1: near rape and she's saying that's why I'm going to

1021
00:59:20,120 --> 00:59:23,480
Speaker 1: be celibate for a while, or that she says like,

1022
00:59:23,560 --> 00:59:25,600
Speaker 1: that's you know, I'd rather not get into it. But

1023
00:59:25,800 --> 00:59:28,920
Speaker 1: don't you think that your near rape of me is

1024
00:59:28,960 --> 00:59:34,600
Speaker 1: a good enough reason. I was surprised that, yeah, it

1025
00:59:34,680 --> 00:59:41,720
Speaker 1: even gets mentioned and identified, although near rape is not

1026
00:59:42,160 --> 00:59:45,960
Speaker 1: how I would response by saying, I've never done something

1027
00:59:46,000 --> 00:59:49,160
Speaker 1: like that in my life, which I think implies like,

1028
00:59:49,360 --> 00:59:51,800
Speaker 1: well maybe if you hadn't like it just implies that

1029
00:59:51,840 --> 00:59:56,200
Speaker 1: she her behavior forced him to do that to her. Yes, yes,

1030
00:59:56,800 --> 01:00:00,960
Speaker 1: I agree, which so he's still acting like on that bench,

1031
01:00:01,320 --> 01:00:05,640
Speaker 1: he is still acting very much so like the wrong party. Yeah, yeah,

1032
01:00:05,880 --> 01:00:08,600
Speaker 1: like the blame is on you, Nola, and you've got

1033
01:00:08,600 --> 01:00:12,800
Speaker 1: to convince me to let you back into my life.

1034
01:00:12,960 --> 01:00:15,720
Speaker 1: And then that weird slow motion shot that isn't slowly

1035
01:00:16,760 --> 01:00:19,920
Speaker 1: not it's not slow enough. It needed to be slower.

1036
01:00:20,520 --> 01:00:23,760
Speaker 1: I think that they're just like um our editing budget

1037
01:00:23,800 --> 01:00:27,240
Speaker 1: we ran out just walk real slow. But then Kenisi

1038
01:00:27,360 --> 01:00:32,040
Speaker 1: pointed out there's a bird that flies past, and I

1039
01:00:32,120 --> 01:00:35,720
Speaker 1: was like, I don't I don't like it. I was like,

1040
01:00:35,920 --> 01:00:38,680
Speaker 1: I get the spirit of it as a budget movie,

1041
01:00:39,960 --> 01:00:45,240
Speaker 1: but yeah, So in conclusion, the handling of the assault

1042
01:00:45,280 --> 01:00:49,480
Speaker 1: in this movie was really wretched, and but at the

1043
01:00:49,600 --> 01:00:52,920
Speaker 1: very least Spike Lee acknowledging that it was a mistake,

1044
01:00:53,080 --> 01:00:56,120
Speaker 1: saying he regrets it didn't view it the way it

1045
01:00:56,120 --> 01:00:59,640
Speaker 1: should be viewed. You know, It's more than you get

1046
01:00:59,720 --> 01:01:03,880
Speaker 1: from most director you're back in their work. Like again,

1047
01:01:03,920 --> 01:01:06,200
Speaker 1: it's like, I don't mean to over do it, but

1048
01:01:06,280 --> 01:01:09,120
Speaker 1: I just like, no one is willing to have that discussion.

1049
01:01:09,160 --> 01:01:11,720
Speaker 1: It's so frustrating, Yeah, exactly. And it's another like ego

1050
01:01:11,840 --> 01:01:15,840
Speaker 1: thing where most you know, towards who are men, are

1051
01:01:16,680 --> 01:01:20,760
Speaker 1: unwilling to acknowledge that anything they ever did was wrong

1052
01:01:21,000 --> 01:01:25,160
Speaker 1: or a mistake or they're constantly defending their choices and

1053
01:01:25,920 --> 01:01:30,880
Speaker 1: that is horrible, like to the detriment of their life.

1054
01:01:31,000 --> 01:01:36,000
Speaker 1: Like it's just so um. Yeah, So I'm glad that

1055
01:01:36,080 --> 01:01:39,440
Speaker 1: Spike Lee is willing to have the discussion and just

1056
01:01:39,720 --> 01:01:43,440
Speaker 1: and also like apply it to the next version of

1057
01:01:43,440 --> 01:01:48,440
Speaker 1: of the of the intellectual property almost. I know, I

1058
01:01:48,480 --> 01:01:50,000
Speaker 1: was like, I don't want to say I p out loud.

1059
01:01:50,040 --> 01:01:54,560
Speaker 1: That makes me feel ill. It's the world we're living in, baby,

1060
01:01:54,800 --> 01:01:57,520
Speaker 1: I p universe. Baby. Let's take a quick break and

1061
01:01:57,560 --> 01:02:08,440
Speaker 1: then we'll come back for a more discussion and we're back. Okay,

1062
01:02:08,640 --> 01:02:14,200
Speaker 1: let's banish Jamie from the should should we have? And

1063
01:02:14,240 --> 01:02:18,480
Speaker 1: I think we've kind of covered me And I was like,

1064
01:02:18,960 --> 01:02:27,200
Speaker 1: but I'm leaving. Let's Spanish Jamie. I'm Jamie. I'm I'm tired.

1065
01:02:28,040 --> 01:02:32,920
Speaker 1: I'm going home. We've covered I. I think it. Does

1066
01:02:32,920 --> 01:02:36,080
Speaker 1: anyone else have anything for the Jamie character. I'm gonna stay.

1067
01:02:37,240 --> 01:02:40,400
Speaker 1: I'm glad you're saying thank you. I will now call

1068
01:02:41,360 --> 01:02:44,800
Speaker 1: air quotes nice guys toxic nice guys, you know, I

1069
01:02:44,840 --> 01:02:47,640
Speaker 1: will now call them Jamie over streets because that was

1070
01:02:47,680 --> 01:02:50,880
Speaker 1: a wonderful example of exactly things. So like when she's

1071
01:02:50,880 --> 01:02:54,160
Speaker 1: talking about like how lame other dudes are who asked

1072
01:02:54,200 --> 01:02:56,520
Speaker 1: her out and how he was different, it is also

1073
01:02:56,600 --> 01:02:58,800
Speaker 1: this psychotomy that she's talking about where like air quotes

1074
01:02:58,880 --> 01:03:02,840
Speaker 1: nice guys, and because like the dogs are coming up

1075
01:03:02,880 --> 01:03:05,200
Speaker 1: to her and like you want to touch my penis,

1076
01:03:05,640 --> 01:03:10,320
Speaker 1: but the nice guy will literally stalk you, take everything

1077
01:03:10,360 --> 01:03:15,440
Speaker 1: you do personally, and then like, yeah, that's that's a

1078
01:03:15,520 --> 01:03:18,800
Speaker 1: nice guy. That's the sweet guy. I think it almost

1079
01:03:18,880 --> 01:03:21,560
Speaker 1: like it. It almost feels like it ties to like

1080
01:03:21,640 --> 01:03:26,280
Speaker 1: the nerd thing too, of like feeling like, oh, I'm

1081
01:03:26,320 --> 01:03:32,520
Speaker 1: not the traditionally extremely egotistical masculine personality. Therefore, you should

1082
01:03:32,560 --> 01:03:35,360
Speaker 1: be thrilled that I'm interested in you and in fact

1083
01:03:35,800 --> 01:03:38,600
Speaker 1: you belong to me and like, and he gets so

1084
01:03:39,040 --> 01:03:42,440
Speaker 1: I think that he like, yeah, like almost overestimates the

1085
01:03:42,560 --> 01:03:47,520
Speaker 1: value of his performance of niceness. Nice guys always do that. Yeah, Like,

1086
01:03:47,680 --> 01:03:51,360
Speaker 1: I'm not like those other guys. I'm a different kind

1087
01:03:51,400 --> 01:03:55,320
Speaker 1: of unstable. And if you don't respond to me the

1088
01:03:55,320 --> 01:03:58,240
Speaker 1: way that I want you to, I will lash out

1089
01:03:58,280 --> 01:04:02,320
Speaker 1: in ways you couldn't imagine. Like it's just it's yeah,

1090
01:04:02,360 --> 01:04:03,960
Speaker 1: it's not like a one to one there, but it

1091
01:04:04,000 --> 01:04:07,320
Speaker 1: does feel like just in terms of a level of entitlement,

1092
01:04:08,040 --> 01:04:11,400
Speaker 1: it feels kind of similar. And and then with Greer

1093
01:04:11,400 --> 01:04:14,280
Speaker 1: you've got something totally different where he literally refers to

1094
01:04:14,320 --> 01:04:16,800
Speaker 1: her as an object in his opening monologue, where he's like,

1095
01:04:16,840 --> 01:04:19,600
Speaker 1: she was the clay, I was the sculptor. Like he's

1096
01:04:19,680 --> 01:04:23,240
Speaker 1: literally like, women in ways are hunks of horny clay.

1097
01:04:23,520 --> 01:04:26,480
Speaker 1: And you make him a statue, and sometimes they don't

1098
01:04:26,480 --> 01:04:28,600
Speaker 1: want to be a statue. It's like it's weird, like

1099
01:04:28,640 --> 01:04:35,840
Speaker 1: a statue. I put her on a pedestal. Um. But

1100
01:04:36,040 --> 01:04:41,280
Speaker 1: we haven't talked very much about Mars, who is another

1101
01:04:42,000 --> 01:04:48,080
Speaker 1: fun flavor of Mars black Man. That is his name.

1102
01:04:48,120 --> 01:04:51,400
Speaker 1: I'm not just saying that is his name, It's true.

1103
01:04:51,600 --> 01:04:57,720
Speaker 1: And he's like immature misogynist like that like asogynist. Yeah,

1104
01:04:57,760 --> 01:05:00,160
Speaker 1: where he's like his his whole thing is like mean,

1105
01:05:00,200 --> 01:05:03,080
Speaker 1: I think that he we're supposed to think, you know,

1106
01:05:03,160 --> 01:05:06,320
Speaker 1: he's like the character that's closest an age. It is

1107
01:05:06,320 --> 01:05:09,120
Speaker 1: more I think that it's implied that like Greer and

1108
01:05:09,720 --> 01:05:13,040
Speaker 1: Jamie are like in their thirties and that like Mars

1109
01:05:13,120 --> 01:05:15,840
Speaker 1: is a little bit younger, and like he's kind of

1110
01:05:15,840 --> 01:05:18,680
Speaker 1: a mess. He doesn't have a job. He's like he

1111
01:05:18,800 --> 01:05:21,080
Speaker 1: has more of a traditional ego where he's always like

1112
01:05:21,200 --> 01:05:26,360
Speaker 1: over like clearly overstating his impact on the world and

1113
01:05:26,400 --> 01:05:29,360
Speaker 1: like making ship up and like saying he knows famous people,

1114
01:05:29,520 --> 01:05:32,320
Speaker 1: but like doesn't have a job or has nothing going on,

1115
01:05:32,480 --> 01:05:35,400
Speaker 1: and so it's like, well, well that's not true, you know.

1116
01:05:35,520 --> 01:05:38,960
Speaker 1: Like the movie also immediately undercuts because he's like women

1117
01:05:38,960 --> 01:05:40,880
Speaker 1: who act like this is problems that they're dead, and

1118
01:05:40,880 --> 01:05:43,240
Speaker 1: then they do this wonderful nice thing about her family

1119
01:05:43,240 --> 01:05:46,000
Speaker 1: and how she was raised very well, and it was

1120
01:05:46,080 --> 01:05:49,960
Speaker 1: very effective commentary. Right, there's like this he says something like,

1121
01:05:50,200 --> 01:05:52,200
Speaker 1: I think one of the reasons Nola was having all

1122
01:05:52,240 --> 01:05:56,800
Speaker 1: that sex is because doing all that boning. He says, right, yeah,

1123
01:05:56,800 --> 01:06:00,160
Speaker 1: he's he's the baby, He's the baby. It's because her

1124
01:06:00,240 --> 01:06:05,680
Speaker 1: doing that is because she has a bad relationship with

1125
01:06:05,680 --> 01:06:08,320
Speaker 1: her father, um, which is obviously like a very common

1126
01:06:08,360 --> 01:06:11,840
Speaker 1: attitude that like, you know, women have daddy issues, especially

1127
01:06:11,920 --> 01:06:15,280
Speaker 1: the ones that are out there fucking um. And then

1128
01:06:15,320 --> 01:06:17,200
Speaker 1: we cut to a scene where we meet Nola's dad,

1129
01:06:17,960 --> 01:06:21,800
Speaker 1: who was played by Billy spike LEAs cut from son

1130
01:06:22,320 --> 01:06:26,800
Speaker 1: to dad this is kind of fun um, and Nola's

1131
01:06:26,840 --> 01:06:29,760
Speaker 1: dad is saying how much affection and love they gave

1132
01:06:29,760 --> 01:06:32,840
Speaker 1: her when she was growing up. They paid for music

1133
01:06:32,920 --> 01:06:36,400
Speaker 1: lessons and dance lessons and all this stuff. And then

1134
01:06:37,200 --> 01:06:39,440
Speaker 1: right after that is a scene where Nola was like,

1135
01:06:39,640 --> 01:06:42,880
Speaker 1: you know, reminiscing about her childhood and the love her

1136
01:06:42,880 --> 01:06:45,520
Speaker 1: parents gave her and all that stuff, which is obviously

1137
01:06:45,560 --> 01:06:52,560
Speaker 1: like dispelling the issue, right the Yeah, yeah, that like um,

1138
01:06:52,680 --> 01:06:56,120
Speaker 1: mars is this belief that he has, you know, like

1139
01:06:57,080 --> 01:07:00,640
Speaker 1: horny women seek the affection of men because they have

1140
01:07:00,760 --> 01:07:03,400
Speaker 1: a daddy issues. Women are the devil. And I think

1141
01:07:03,440 --> 01:07:06,240
Speaker 1: that like he takes that opportunity to kind of like

1142
01:07:06,280 --> 01:07:08,720
Speaker 1: go a step further to in a way that isn't

1143
01:07:08,760 --> 01:07:12,240
Speaker 1: totally necessary, but I kind of liked it. Um of,

1144
01:07:12,480 --> 01:07:17,640
Speaker 1: like what Mars is implying is like she's not marriage material,

1145
01:07:18,240 --> 01:07:20,680
Speaker 1: which he says in his opening monologue. He is like, oh,

1146
01:07:20,800 --> 01:07:22,600
Speaker 1: you you know, you want to be around a freak,

1147
01:07:22,640 --> 01:07:24,880
Speaker 1: but you don't want her to be your wife or

1148
01:07:25,000 --> 01:07:26,959
Speaker 1: that's whatever. I think. That's like basically what he says.

1149
01:07:27,480 --> 01:07:30,120
Speaker 1: And he's implying that, like, oh, this woman is not

1150
01:07:30,360 --> 01:07:33,480
Speaker 1: family material. And then at the end, Nola is like,

1151
01:07:33,560 --> 01:07:35,640
Speaker 1: and I want a family someday. I had a great

1152
01:07:35,720 --> 01:07:38,000
Speaker 1: childhood and I love my parents and they love me,

1153
01:07:38,080 --> 01:07:39,800
Speaker 1: and we see that that's true. And then she's like,

1154
01:07:39,840 --> 01:07:41,480
Speaker 1: and I would like kids of my own someday. And

1155
01:07:41,480 --> 01:07:42,880
Speaker 1: so it's like it's like, well, this guy is just

1156
01:07:42,920 --> 01:07:49,080
Speaker 1: fucking wrong. What a goof Um he also uses the

1157
01:07:49,160 --> 01:07:55,240
Speaker 1: very ablest our word word and seen he's in so

1158
01:07:55,640 --> 01:07:59,800
Speaker 1: eighties word and then yeah, that was kind of all

1159
01:07:59,800 --> 01:08:04,400
Speaker 1: I um Mars, Okay, yeah, that's all I had to

1160
01:08:04,480 --> 01:08:06,720
Speaker 1: I mean I also think just like he in the

1161
01:08:06,760 --> 01:08:09,400
Speaker 1: same way that the others guys do, just like can't

1162
01:08:09,400 --> 01:08:11,360
Speaker 1: take the hint and keeps pushing back on stuff. Like

1163
01:08:11,400 --> 01:08:14,560
Speaker 1: there's one scene where he I don't even really fault

1164
01:08:14,640 --> 01:08:16,920
Speaker 1: him for this, but he's just like, I love you,

1165
01:08:17,120 --> 01:08:19,200
Speaker 1: I think of falling in love with you, and she

1166
01:08:19,280 --> 01:08:21,840
Speaker 1: sets the boundary again. She's like, well, that's not where

1167
01:08:21,840 --> 01:08:26,240
Speaker 1: I'm at, Like we are like, yeah, yeah, that's how

1168
01:08:26,240 --> 01:08:29,639
Speaker 1: you feel, like hit the bricks kind of and then

1169
01:08:29,720 --> 01:08:32,080
Speaker 1: he said he accepts it in the moment, but then

1170
01:08:32,120 --> 01:08:34,360
Speaker 1: in the next scene is still like, I hate these

1171
01:08:34,360 --> 01:08:39,000
Speaker 1: other guys you're dating, like protecting on her again and

1172
01:08:39,280 --> 01:08:41,200
Speaker 1: like it's just trying to find all these Like he

1173
01:08:41,320 --> 01:08:44,240
Speaker 1: and Jamie have this bizarre rapport between the two of

1174
01:08:44,280 --> 01:08:47,840
Speaker 1: them because Greer is like so classes towards Jamie and

1175
01:08:48,760 --> 01:08:51,639
Speaker 1: uh and and Mars that that's a nonstarter. They're they're

1176
01:08:51,680 --> 01:08:54,559
Speaker 1: never going to talk about. Jamie and Mars kind of

1177
01:08:54,560 --> 01:09:01,040
Speaker 1: have this like weird anger based friendship misogyny being because

1178
01:09:01,040 --> 01:09:05,040
Speaker 1: they meet up again. They talk about basketball, they talk

1179
01:09:05,080 --> 01:09:10,840
Speaker 1: about Larry Bird is ugly, they have a whole I

1180
01:09:10,880 --> 01:09:12,320
Speaker 1: thought it was a fun way for spect Lea to

1181
01:09:12,320 --> 01:09:17,720
Speaker 1: get his basketball opinions into his first movie. Um I'm

1182
01:09:17,800 --> 01:09:20,280
Speaker 1: doing that. I know He's like you might as well,

1183
01:09:21,080 --> 01:09:23,599
Speaker 1: but you know, to the point where Mars is like, oh,

1184
01:09:23,680 --> 01:09:26,600
Speaker 1: let's split her up by days of the week, and

1185
01:09:26,680 --> 01:09:29,120
Speaker 1: you're just like, oh my god, you're so sick. And

1186
01:09:29,320 --> 01:09:32,000
Speaker 1: so we did not involve her in this conversation. No,

1187
01:09:32,120 --> 01:09:33,920
Speaker 1: of course not, because he's like, you get it for

1188
01:09:33,960 --> 01:09:36,160
Speaker 1: four days, I get it for three. And it's like

1189
01:09:36,240 --> 01:09:38,599
Speaker 1: that means that Nola has to see one of you

1190
01:09:38,720 --> 01:09:41,520
Speaker 1: every day of the week, Like what about the alone

1191
01:09:41,640 --> 01:09:45,120
Speaker 1: time she needs? And also, I mean and I think

1192
01:09:45,120 --> 01:09:46,920
Speaker 1: that like his character is such a goof that it's

1193
01:09:46,960 --> 01:09:54,000
Speaker 1: like he's half joking, but he's not totally, which doesn't okay,

1194
01:09:54,040 --> 01:09:56,599
Speaker 1: he'd be like cool and just again I read I

1195
01:09:56,600 --> 01:10:03,840
Speaker 1: get weekends. I told you that on a it's awesome. Wow.

1196
01:10:04,120 --> 01:10:09,200
Speaker 1: Men are so funny, they're so cool, they have such

1197
01:10:09,240 --> 01:10:12,640
Speaker 1: good ideas. And we talked about the other women in

1198
01:10:12,680 --> 01:10:15,280
Speaker 1: the movie. With the other women in the movie, there's

1199
01:10:15,400 --> 01:10:18,479
Speaker 1: not that much just say, it's like, let's just roll.

1200
01:10:18,640 --> 01:10:24,400
Speaker 1: Let's we get Clarinda, who is the former roommate that

1201
01:10:24,520 --> 01:10:29,599
Speaker 1: Nola had, and right away, yes, um, they've stayed friends,

1202
01:10:29,720 --> 01:10:31,920
Speaker 1: but she's like I couldn't live with her anymore because

1203
01:10:31,920 --> 01:10:35,760
Speaker 1: she was just always having different dudes over at the

1204
01:10:35,800 --> 01:10:39,040
Speaker 1: apartment and then they, like you said, Jamie, they don't

1205
01:10:39,040 --> 01:10:43,840
Speaker 1: even interact until the end of the movie. They looking

1206
01:10:43,880 --> 01:10:47,120
Speaker 1: past the scene that had just happened right before it.

1207
01:10:47,360 --> 01:10:51,160
Speaker 1: If you can kind of like just isolate that scene

1208
01:10:51,200 --> 01:10:56,439
Speaker 1: between Nola and Clarinda, you know, it's fairly sweet. It's

1209
01:10:56,479 --> 01:11:00,840
Speaker 1: you know, Clorinda seems like a supportive friend. Although and

1210
01:11:00,880 --> 01:11:03,160
Speaker 1: I think that it's like and I don't wanna because

1211
01:11:03,200 --> 01:11:05,960
Speaker 1: I don't necessarily think that the movie is like operating

1212
01:11:06,000 --> 01:11:09,160
Speaker 1: on this level of like thinking of how women relate

1213
01:11:09,200 --> 01:11:11,360
Speaker 1: to each other. But I was like, I could see

1214
01:11:11,439 --> 01:11:14,920
Speaker 1: Clarenda's point of view from like an annoyed roommate stance

1215
01:11:15,040 --> 01:11:18,360
Speaker 1: of like, if your roommate is having really loud sex

1216
01:11:18,479 --> 01:11:20,320
Speaker 1: all the time to the point where it's interrupting with

1217
01:11:20,360 --> 01:11:22,920
Speaker 1: your quality of life, that's a discussion. But it doesn't.

1218
01:11:23,080 --> 01:11:25,560
Speaker 1: But it sounds like he wasn't maybe thinking about it

1219
01:11:25,600 --> 01:11:27,280
Speaker 1: that hard. It made it sound like you're having too

1220
01:11:27,360 --> 01:11:30,519
Speaker 1: much sex, and it bothers me as opposed to like

1221
01:11:31,040 --> 01:11:33,960
Speaker 1: I'm you know, maybe and I'm not pulling from my

1222
01:11:33,960 --> 01:11:37,360
Speaker 1: own experience here. Maybe you podcast for a living, and

1223
01:11:39,240 --> 01:11:42,120
Speaker 1: so audio quality is actually kind of important here and

1224
01:11:42,120 --> 01:11:45,000
Speaker 1: then someone's just fucking, fucking, fucking you know against and

1225
01:11:45,040 --> 01:11:48,120
Speaker 1: you're just like, well, this is actually a problem, and

1226
01:11:48,160 --> 01:11:50,240
Speaker 1: then it's a discussion and then you and then you move.

1227
01:11:51,000 --> 01:11:54,360
Speaker 1: I will admit I would be pissed if I was like, Hey,

1228
01:11:54,680 --> 01:11:57,920
Speaker 1: I truly don't feel safe because of the I don't

1229
01:11:57,920 --> 01:12:00,519
Speaker 1: know any of these men. I know none of their tales,

1230
01:12:00,680 --> 01:12:02,639
Speaker 1: and they're in my bathroom when I'm in a robe

1231
01:12:02,640 --> 01:12:05,400
Speaker 1: and I'm coming in and given what I know that

1232
01:12:05,439 --> 01:12:07,559
Speaker 1: you've told me, and for that roommate, you just be

1233
01:12:07,640 --> 01:12:11,120
Speaker 1: like you're not down, You're not cool. I'm on the

1234
01:12:11,200 --> 01:12:14,240
Speaker 1: lea's I would be kind of like, You're like, well,

1235
01:12:14,240 --> 01:12:17,320
Speaker 1: can we have a discussion? And it also did I

1236
01:12:17,320 --> 01:12:20,439
Speaker 1: mean again, I just I'm like, is it even worth

1237
01:12:20,479 --> 01:12:22,400
Speaker 1: because I'm like, I just think that like maybe Spike

1238
01:12:22,479 --> 01:12:24,559
Speaker 1: Lee is not thinking about it that hard and it's

1239
01:12:24,600 --> 01:12:30,040
Speaker 1: like women don't like when other women have sex multiple

1240
01:12:30,080 --> 01:12:32,840
Speaker 1: sexual partners. Like I think it's more like he is

1241
01:12:32,880 --> 01:12:36,240
Speaker 1: assuming it's a monogamy brain thing and I could be

1242
01:12:36,240 --> 01:12:38,400
Speaker 1: wrong there. That was my read of it. Well, we

1243
01:12:38,439 --> 01:12:41,519
Speaker 1: would know maybe if we had just seen more scenes

1244
01:12:41,560 --> 01:12:45,000
Speaker 1: between Nola and Clarinda, which which we don't get. I

1245
01:12:45,040 --> 01:12:48,000
Speaker 1: will say this is another thing that the series improves on,

1246
01:12:48,080 --> 01:12:51,920
Speaker 1: where we meet several of Nola's friends who are women.

1247
01:12:52,040 --> 01:12:54,719
Speaker 1: Some of them even have like arcs throughout the show,

1248
01:12:55,640 --> 01:12:59,360
Speaker 1: although I did read some criticism about that and other

1249
01:12:59,360 --> 01:13:01,760
Speaker 1: aspects of the show. Again, so it's I don't want

1250
01:13:01,760 --> 01:13:03,240
Speaker 1: to be like the show is a perfect and it

1251
01:13:03,400 --> 01:13:06,200
Speaker 1: fixes all the problems of the movie. Um, but it

1252
01:13:06,240 --> 01:13:10,360
Speaker 1: certainly does improve upon them. Um. But yeah, with Nola

1253
01:13:10,439 --> 01:13:14,080
Speaker 1: and Clorinda, we like, well, yeah, it really almost nothing.

1254
01:13:14,720 --> 01:13:16,040
Speaker 1: It's the thing. It's like to the point where I

1255
01:13:16,040 --> 01:13:18,599
Speaker 1: guess we do have to like be grasping at straws

1256
01:13:18,600 --> 01:13:20,240
Speaker 1: here to be like, what does she mean when she

1257
01:13:20,280 --> 01:13:23,200
Speaker 1: said that? Because you just have no information of why

1258
01:13:23,479 --> 01:13:27,519
Speaker 1: she said that. Um. The other women that we see

1259
01:13:27,520 --> 01:13:31,519
Speaker 1: in the movie, we see the therapist for one scene, um,

1260
01:13:31,560 --> 01:13:34,280
Speaker 1: which is kind of more of an extended joke about therapy.

1261
01:13:34,439 --> 01:13:39,600
Speaker 1: I thought of like, it's not a completely negative interaction,

1262
01:13:39,760 --> 01:13:42,280
Speaker 1: but it's like whatever, I just thought it was like

1263
01:13:42,280 --> 01:13:44,760
Speaker 1: playing on a lot of like therapists be like this

1264
01:13:45,640 --> 01:13:48,960
Speaker 1: and they're always like they think they're so much smarter

1265
01:13:49,000 --> 01:13:52,040
Speaker 1: than you, and you don't want to go back, which

1266
01:13:52,600 --> 01:13:57,000
Speaker 1: is I mean there's way more egregious versions of that commentary,

1267
01:13:57,120 --> 01:13:58,720
Speaker 1: but it wasn't my favorite. And also it's like that

1268
01:13:58,760 --> 01:14:02,280
Speaker 1: the character never comes back. Sure, um yeah. What struck

1269
01:14:02,320 --> 01:14:07,599
Speaker 1: me about that is the therapist Dr Jamison says something like,

1270
01:14:07,800 --> 01:14:11,719
Speaker 1: you know what we're Jamie energy on this. Yes, seriously,

1271
01:14:12,200 --> 01:14:15,360
Speaker 1: she says, what we're all looking for is love and

1272
01:14:15,400 --> 01:14:19,040
Speaker 1: if you if what you want is total female sexuality,

1273
01:14:19,520 --> 01:14:22,639
Speaker 1: the beautiful sex organ is between your ears, not between

1274
01:14:22,680 --> 01:14:26,000
Speaker 1: your legs, and it's like your head right, it's just

1275
01:14:26,040 --> 01:14:30,479
Speaker 1: like again, as Nola clearly states she's not necessarily interested

1276
01:14:30,600 --> 01:14:36,000
Speaker 1: in love. Again, she's like, I want a connection with someone, sure,

1277
01:14:36,520 --> 01:14:38,280
Speaker 1: and I want to have sex with people. Yes, it

1278
01:14:38,360 --> 01:14:41,280
Speaker 1: doesn't necessarily have to be love. So I was like, alright,

1279
01:14:41,280 --> 01:14:43,719
Speaker 1: sex therapists seems like you don't really understand your drop

1280
01:14:43,760 --> 01:14:47,120
Speaker 1: that well. But then I do believe that eighties sex

1281
01:14:47,160 --> 01:14:50,240
Speaker 1: therapists we're saying. I was like, I don't think it

1282
01:14:50,520 --> 01:14:53,439
Speaker 1: still existed in the eighties. Yeah, I think they're still

1283
01:14:53,439 --> 01:14:56,439
Speaker 1: out there. All of them have gotten no additional training,

1284
01:14:56,640 --> 01:15:01,360
Speaker 1: and I've talked to them as they're arapists. They don't

1285
01:15:01,400 --> 01:15:04,720
Speaker 1: give you booster packs. I was told I had a

1286
01:15:04,720 --> 01:15:07,400
Speaker 1: porn addiction because I watch porn when I masturbate. Oh

1287
01:15:07,479 --> 01:15:10,960
Speaker 1: my god. Yeah. He was like, do you think you

1288
01:15:11,280 --> 01:15:13,120
Speaker 1: I think we should start talking about addiction here, and

1289
01:15:13,160 --> 01:15:17,880
Speaker 1: I was like, addiction addiction because I wanted Okay, I

1290
01:15:18,560 --> 01:15:21,160
Speaker 1: there there's I do think that that's well. If we

1291
01:15:21,200 --> 01:15:23,200
Speaker 1: have therapists who listened to the show, I would actually

1292
01:15:23,240 --> 01:15:25,559
Speaker 1: be curious of like, are you encouraged to get booster

1293
01:15:25,600 --> 01:15:30,120
Speaker 1: packs because and I know that that's not an act term.

1294
01:15:30,160 --> 01:15:33,320
Speaker 1: And then I'm talking in pokemon terms because my i

1295
01:15:33,479 --> 01:15:37,200
Speaker 1: Q is too, but um, but I have curious because

1296
01:15:37,240 --> 01:15:40,080
Speaker 1: it's like my mom is a teacher, and teachers have

1297
01:15:40,120 --> 01:15:42,679
Speaker 1: to get booster packs all the time to remain employed,

1298
01:15:42,680 --> 01:15:44,160
Speaker 1: like that you have to be con like to the

1299
01:15:44,200 --> 01:15:47,120
Speaker 1: point where it's like, you know, a burden to the teacher,

1300
01:15:47,640 --> 01:15:50,360
Speaker 1: of like you have to be constantly taking new classes

1301
01:15:50,360 --> 01:15:52,760
Speaker 1: and learned about new educational techniques, and like, if you're

1302
01:15:52,800 --> 01:15:55,000
Speaker 1: the same teacher you are when you start and when

1303
01:15:55,040 --> 01:15:58,000
Speaker 1: you end, you weren't doing your job correctly because you

1304
01:15:58,000 --> 01:16:00,920
Speaker 1: should be getting booster packs all the time. Therapists should

1305
01:16:00,960 --> 01:16:04,400
Speaker 1: be getting but are maybe some of them are, I

1306
01:16:04,400 --> 01:16:06,320
Speaker 1: don't know. I'll look at the a p A guidelines

1307
01:16:06,320 --> 01:16:09,720
Speaker 1: for certification please hit us up. And that's just for psychologists.

1308
01:16:09,720 --> 01:16:14,559
Speaker 1: It's like different for psychiatrists and counselors. Right. I have

1309
01:16:14,640 --> 01:16:18,519
Speaker 1: the same question for medical doctors. Are you getting updated

1310
01:16:18,560 --> 01:16:21,559
Speaker 1: information because it seems like sometimes you really aren't. They're

1311
01:16:21,560 --> 01:16:24,640
Speaker 1: getting boosters from the pharmaceutical companies. Okay, I'm not going

1312
01:16:24,680 --> 01:16:29,360
Speaker 1: to go with a whole I guess what I'm saying

1313
01:16:29,439 --> 01:16:34,760
Speaker 1: is teachers are godlike figures and they're paid significantly less

1314
01:16:34,760 --> 01:16:38,840
Speaker 1: than therapists and doctors. Um, not that we don't love

1315
01:16:38,880 --> 01:16:44,360
Speaker 1: therapists and doctors in in theory. Listen to the episode

1316
01:16:44,479 --> 01:16:48,080
Speaker 1: that you were on on Sludge, a podcast that I

1317
01:16:48,160 --> 01:16:52,760
Speaker 1: did retire from. I mean, and we say this, you know,

1318
01:16:52,880 --> 01:16:58,240
Speaker 1: as God's True Soldiers podcast podcasters. So you have to

1319
01:16:58,240 --> 01:17:01,400
Speaker 1: take what we're saying really seriously because we went to

1320
01:17:01,400 --> 01:17:05,880
Speaker 1: school for twenty years. I have a master's degree in

1321
01:17:06,120 --> 01:17:10,719
Speaker 1: screenwriting from Boston University and I have a master's degree

1322
01:17:10,800 --> 01:17:15,479
Speaker 1: in film production from Boston University. We do hate to

1323
01:17:15,520 --> 01:17:19,639
Speaker 1: bring it up. That was okay, I feel like ship

1324
01:17:19,720 --> 01:17:24,600
Speaker 1: and I think that I went to the university that

1325
01:17:24,640 --> 01:17:32,160
Speaker 1: graduates people who actually work in the field. Emersy, you know,

1326
01:17:32,240 --> 01:17:37,200
Speaker 1: I don't disagree. I had a terrible experience there. I

1327
01:17:37,360 --> 01:17:40,519
Speaker 1: don't like it. Um, that's okay. I I enjoy saying

1328
01:17:40,520 --> 01:17:42,679
Speaker 1: it on Mike. I relish saying it Mike. I owe

1329
01:17:42,720 --> 01:17:48,040
Speaker 1: them so much money. Um, all right, let's talk. Should

1330
01:17:48,040 --> 01:17:50,760
Speaker 1: we talk about Opal? We were talking about openly? That's

1331
01:17:50,960 --> 01:17:54,720
Speaker 1: that's I think our last remains woman big thing, I

1332
01:17:54,720 --> 01:17:58,439
Speaker 1: would say, So what, as far as my interpretation goes

1333
01:17:58,600 --> 01:18:03,760
Speaker 1: with Opel, you have pretty standard predatory lesbian trope at

1334
01:18:03,760 --> 01:18:08,599
Speaker 1: play here, where Opel also says some very strange, very

1335
01:18:08,600 --> 01:18:12,320
Speaker 1: incorrect things about human sexuality. She says that you are

1336
01:18:12,360 --> 01:18:16,479
Speaker 1: neither born a lesbian or heterosexual. We all have the

1337
01:18:16,520 --> 01:18:19,960
Speaker 1: capacity to go either way, because those are the only

1338
01:18:20,160 --> 01:18:24,080
Speaker 1: two choicest sexuality goes and the most nineteen eight six

1339
01:18:24,560 --> 01:18:33,160
Speaker 1: like Guide dialogue, and again suggesting that sexuality is a choice.

1340
01:18:33,560 --> 01:18:37,680
Speaker 1: So that's of course sexuality is fluid, but um not

1341
01:18:37,840 --> 01:18:41,360
Speaker 1: a choice. So there's a scene early on I think

1342
01:18:41,360 --> 01:18:44,000
Speaker 1: they are. There are only two scenes between Opel and Nola.

1343
01:18:44,560 --> 01:18:49,720
Speaker 1: The first one is Opal actively coercing Nola to have

1344
01:18:49,840 --> 01:18:52,559
Speaker 1: sex with her, because Nola is expressing curiosity about like

1345
01:18:52,600 --> 01:18:54,400
Speaker 1: what is it like to have sex with a woman

1346
01:18:54,479 --> 01:18:57,840
Speaker 1: as another woman, and Opal is just being like, well,

1347
01:18:57,880 --> 01:18:59,519
Speaker 1: you could find out if you just have sex with

1348
01:18:59,600 --> 01:19:05,960
Speaker 1: me right now? Um as perfect perfect. At no point

1349
01:19:06,000 --> 01:19:10,360
Speaker 1: did they actually describe the ways in which lesbians have sex,

1350
01:19:10,880 --> 01:19:14,960
Speaker 1: And so I'm wondering did Spike Lee know? Was he

1351
01:19:15,120 --> 01:19:19,720
Speaker 1: like I also wrote that, I was like, asks the

1352
01:19:19,840 --> 01:19:25,280
Speaker 1: question does not have a character answer question right where

1353
01:19:25,320 --> 01:19:28,920
Speaker 1: he just put it in the movies, He's just like,

1354
01:19:29,160 --> 01:19:31,360
Speaker 1: he's like, I'm listening in the original, Yeah, and the

1355
01:19:31,400 --> 01:19:33,559
Speaker 1: original cut his addresses at the end of the movie

1356
01:19:33,560 --> 01:19:35,880
Speaker 1: in because you want to write him. It's like a

1357
01:19:35,960 --> 01:19:39,120
Speaker 1: po box of like, if you know women have sex,

1358
01:19:41,240 --> 01:19:44,160
Speaker 1: do you send a self addressed stamped envelope to the

1359
01:19:44,240 --> 01:19:48,120
Speaker 1: following so? And then in her later scene when we

1360
01:19:48,160 --> 01:19:51,280
Speaker 1: touched on this, where Nolah is upset about her relationships

1361
01:19:51,280 --> 01:19:55,560
Speaker 1: falling apart, Ople seems to take advantage of Nola's vulnerable

1362
01:19:55,800 --> 01:20:00,479
Speaker 1: state and kisses her without Nola's consent, and then that's

1363
01:20:00,520 --> 01:20:03,439
Speaker 1: the last we see of Opal. She like walks out

1364
01:20:03,439 --> 01:20:09,480
Speaker 1: of this scene and the movie, so obviously that's extremely

1365
01:20:09,680 --> 01:20:13,559
Speaker 1: toxic to portray a queer character this way. The series

1366
01:20:13,600 --> 01:20:16,479
Speaker 1: again does update and improve on this, where Opel is

1367
01:20:16,520 --> 01:20:20,479
Speaker 1: still a character, but rather than being coercive and like

1368
01:20:20,560 --> 01:20:23,240
Speaker 1: always trying to get Nola to have sex with her again,

1369
01:20:23,280 --> 01:20:27,599
Speaker 1: Nola is pan sexual and gets into a like loving

1370
01:20:27,680 --> 01:20:32,320
Speaker 1: and consensual relationship with Opel for a while. Yeah, so

1371
01:20:32,600 --> 01:20:34,360
Speaker 1: I do. I mean, I think that again, it's like

1372
01:20:35,800 --> 01:20:40,400
Speaker 1: when you say, like Opal's character is a stereotypically predatory

1373
01:20:40,479 --> 01:20:42,800
Speaker 1: lesbian trope character, like it couldn't be more true. And

1374
01:20:42,800 --> 01:20:45,080
Speaker 1: it also like it doesn't feel like the movie has

1375
01:20:45,120 --> 01:20:47,719
Speaker 1: any idea that that trope even exists. And I feel

1376
01:20:47,720 --> 01:20:50,120
Speaker 1: like it's because it's an otura movie that was made

1377
01:20:50,160 --> 01:20:52,599
Speaker 1: on such a low budget. I'm assuming that Spike Lee

1378
01:20:52,680 --> 01:20:55,439
Speaker 1: was not consulting with anybody about this, and so it's

1379
01:20:55,479 --> 01:20:59,280
Speaker 1: like the very nineteen eighties prejudices are coming to the

1380
01:20:59,320 --> 01:21:03,160
Speaker 1: table in a way that has a cultural effect. If

1381
01:21:03,200 --> 01:21:07,559
Speaker 1: your first movie made for you know, as happens to be,

1382
01:21:08,040 --> 01:21:10,160
Speaker 1: you know, put in the fucking Library of Congress, which

1383
01:21:10,200 --> 01:21:13,559
Speaker 1: I believe this movie is. Um. Yeah, I found I

1384
01:21:13,560 --> 01:21:15,760
Speaker 1: found that to be so frustrating. And also because it's

1385
01:21:15,760 --> 01:21:18,920
Speaker 1: like there's moments where it seems like the script is

1386
01:21:19,240 --> 01:21:24,000
Speaker 1: trying to characterize not care I mean not really characterize

1387
01:21:24,000 --> 01:21:27,000
Speaker 1: her very much. But there's that scene with Jamie and

1388
01:21:27,080 --> 01:21:30,160
Speaker 1: Opal where Jamie is so clearly in the wrong and

1389
01:21:30,200 --> 01:21:34,680
Speaker 1: again projecting onto Opal and yeah, he says, Opal, you're

1390
01:21:34,680 --> 01:21:36,519
Speaker 1: a very beautiful woman. I never would have thought you

1391
01:21:36,520 --> 01:21:39,519
Speaker 1: were gay, like saying things that I think the movie

1392
01:21:39,560 --> 01:21:43,439
Speaker 1: does recognize that he is the prejudice asshole and that scene,

1393
01:21:43,479 --> 01:21:46,040
Speaker 1: but then there's other but then the way that Opal's

1394
01:21:46,120 --> 01:21:50,920
Speaker 1: character behaves, the movie doesn't have any idea that because

1395
01:21:50,920 --> 01:21:53,479
Speaker 1: like Opal responds to that comment from Jamie saying like

1396
01:21:53,880 --> 01:21:57,960
Speaker 1: how a person looks has no bearing on their sexuality,

1397
01:21:58,040 --> 01:22:00,720
Speaker 1: and then he's like, yeah, I guess you're right, which

1398
01:22:00,760 --> 01:22:02,639
Speaker 1: I think, yeah, as the movie's attempt to be like

1399
01:22:03,080 --> 01:22:06,439
Speaker 1: I know about lesbians. See, but then the but then

1400
01:22:06,520 --> 01:22:09,639
Speaker 1: everything else about Opel's character is like, no, you don't,

1401
01:22:09,760 --> 01:22:12,360
Speaker 1: and then Spike clearly does not. Again it's just like

1402
01:22:12,360 --> 01:22:14,200
Speaker 1: it just seems like Spike LEAs out of his depth

1403
01:22:14,520 --> 01:22:18,960
Speaker 1: with that storyline. Um in a way that has a

1404
01:22:19,040 --> 01:22:23,320
Speaker 1: consequence because it's a very famous movie. UM, I want

1405
01:22:23,320 --> 01:22:24,519
Speaker 1: to I just wanted to give a little bit bit

1406
01:22:24,560 --> 01:22:27,320
Speaker 1: of context for the movie and how it was received

1407
01:22:27,360 --> 01:22:30,360
Speaker 1: because we were talking about this off Mike, but this

1408
01:22:30,479 --> 01:22:34,680
Speaker 1: movie was made for very little money. It was originally

1409
01:22:34,680 --> 01:22:38,280
Speaker 1: shot on a budget of around twenty ish dollars and

1410
01:22:38,320 --> 01:22:41,519
Speaker 1: then eventually raised enough money for it to have I

1411
01:22:41,560 --> 01:22:44,280
Speaker 1: guess a total budget of a d seventy five dollars.

1412
01:22:44,320 --> 01:22:46,400
Speaker 1: But it just mean we've talked about this with a

1413
01:22:46,479 --> 01:22:49,720
Speaker 1: number of filmmakers in the past, but just how marginalized

1414
01:22:49,760 --> 01:22:52,519
Speaker 1: filmmakers have such a steeper hill to climb to have

1415
01:22:52,560 --> 01:22:55,799
Speaker 1: their first project produced. Um, I forget what our last

1416
01:22:56,040 --> 01:22:59,920
Speaker 1: conversation about this was. And but in comparison to Ann

1417
01:23:00,080 --> 01:23:02,400
Speaker 1: Burt of White Male Au Tours, I think that Wes

1418
01:23:02,479 --> 01:23:04,920
Speaker 1: Anderson is always the one that we jumped to because

1419
01:23:04,920 --> 01:23:07,960
Speaker 1: it was like he got a multimillion dollar project based

1420
01:23:07,960 --> 01:23:10,240
Speaker 1: off of a two minute short film that he made

1421
01:23:10,280 --> 01:23:13,600
Speaker 1: and they're like, King, like you've done it. You're a

1422
01:23:13,680 --> 01:23:16,040
Speaker 1: wonder kid. Give it to his child, because I think

1423
01:23:16,040 --> 01:23:18,040
Speaker 1: he was like twenty six when he made his first movie,

1424
01:23:18,160 --> 01:23:21,160
Speaker 1: and it's and it's just like framed as like this

1425
01:23:21,360 --> 01:23:24,439
Speaker 1: hero's journey and Spike Lee is in his twenties when

1426
01:23:24,439 --> 01:23:27,479
Speaker 1: he makes this movie. But it just like listening to

1427
01:23:28,080 --> 01:23:31,519
Speaker 1: the significantly more difficult time that he had in getting

1428
01:23:31,560 --> 01:23:34,799
Speaker 1: the movie made. Um, I'm seeing here from our favorite

1429
01:23:34,840 --> 01:23:41,920
Speaker 1: scholarly journal Wikipedia. The original like twelve day shoot began

1430
01:23:42,120 --> 01:23:45,840
Speaker 1: with eight dollars from the New York State Council on

1431
01:23:45,880 --> 01:23:49,640
Speaker 1: the Arts, a ten dollar grant from the Jerome Foundation,

1432
01:23:50,040 --> 01:23:53,679
Speaker 1: and five hundred dollars from the Brooklyn Arts and Cultural

1433
01:23:53,720 --> 01:23:59,519
Speaker 1: Association Crafty for the day. I'm sure that's all they

1434
01:23:59,560 --> 01:24:02,680
Speaker 1: could have word who knows, but um, and then consulting

1435
01:24:03,840 --> 01:24:09,880
Speaker 1: I'd be like, keep it, use it, um. And then

1436
01:24:09,920 --> 01:24:12,840
Speaker 1: that wasn't enough to get the movie through post production.

1437
01:24:13,320 --> 01:24:16,640
Speaker 1: So then Spike Lee showed a rough cut at n

1438
01:24:16,760 --> 01:24:19,400
Speaker 1: y U and he said, I'm Spike Lee, and I

1439
01:24:19,439 --> 01:24:21,960
Speaker 1: hope you liked this film. I'll be calling you soon

1440
01:24:22,000 --> 01:24:25,760
Speaker 1: about money. You can give me money, which I mean,

1441
01:24:26,200 --> 01:24:27,519
Speaker 1: it's the money he had to. He did what he

1442
01:24:27,560 --> 01:24:29,920
Speaker 1: had to do. But it's all that to say it

1443
01:24:29,960 --> 01:24:33,160
Speaker 1: shouldn't have been that hard. I just that Wes Anderson's

1444
01:24:33,160 --> 01:24:34,960
Speaker 1: story always breaks my brain. It makes me so mad.

1445
01:24:35,479 --> 01:24:39,400
Speaker 1: I'm never gonna get over it. It haunts me so yeah.

1446
01:24:39,479 --> 01:24:43,160
Speaker 1: But I meanfortunately this movie was extremely successful. It like

1447
01:24:43,280 --> 01:24:45,519
Speaker 1: made seven million dollars at the box office off of

1448
01:24:45,880 --> 01:24:49,599
Speaker 1: a shoe string budget and then completely you know, like

1449
01:24:49,800 --> 01:24:54,439
Speaker 1: launched Spike Lee's career into the stratosphere. Another word that

1450
01:24:54,479 --> 01:24:56,880
Speaker 1: I feel like it is a kind of like goofy word,

1451
01:24:56,960 --> 01:25:11,160
Speaker 1: but I meaningful sky bitch. I was gonna say with

1452
01:25:11,240 --> 01:25:14,800
Speaker 1: my words that I have control of her. Um that

1453
01:25:14,880 --> 01:25:16,799
Speaker 1: we didn't mention this when we talked about the Mars character,

1454
01:25:17,320 --> 01:25:19,479
Speaker 1: But this is just such a bizarre I'm like, I

1455
01:25:19,520 --> 01:25:21,679
Speaker 1: don't even know what to do with this. The Mars

1456
01:25:22,000 --> 01:25:28,400
Speaker 1: black Men character was later used in Nike commercials with

1457
01:25:28,520 --> 01:25:31,680
Speaker 1: Michael Jordan's so like someone at Nike. I mean, I'm

1458
01:25:31,720 --> 01:25:33,880
Speaker 1: sure a lot of people in Nike he saw She's

1459
01:25:33,920 --> 01:25:38,360
Speaker 1: got to have it, and their takeaway from the movie was, Wow,

1460
01:25:38,520 --> 01:25:41,040
Speaker 1: Mars black Man is such a cool character and he

1461
01:25:41,080 --> 01:25:45,679
Speaker 1: wears Nikes. We should have him make commercials with Michael

1462
01:25:45,760 --> 01:25:50,960
Speaker 1: Jordan's for shoes. Like it's such a weird idea, but

1463
01:25:51,000 --> 01:25:53,800
Speaker 1: the commercials are really funny. Isn't okay? Correct me if

1464
01:25:53,800 --> 01:25:56,719
Speaker 1: I'm wrong? I might be completely misremembering this. But wasn't

1465
01:25:56,720 --> 01:26:00,680
Speaker 1: the movie Space Jam basically made because there were commercials

1466
01:26:00,720 --> 01:26:04,120
Speaker 1: with again Michael Jordan's and like Bugs Bunny, and then

1467
01:26:04,160 --> 01:26:06,280
Speaker 1: they were like, we should make a whole movie about this.

1468
01:26:06,360 --> 01:26:08,960
Speaker 1: Am I is that something, or am I I completely

1469
01:26:08,960 --> 01:26:12,560
Speaker 1: remembering that incorrect? I don't know. I was literally like,

1470
01:26:12,600 --> 01:26:16,120
Speaker 1: ask Princess, I don't know. I like, I assume that

1471
01:26:16,160 --> 01:26:19,080
Speaker 1: Princess knows most fun facts about space jams. We might

1472
01:26:19,120 --> 01:26:22,120
Speaker 1: have talked. I'll just go back and listen to the episode.

1473
01:26:22,160 --> 01:26:23,840
Speaker 1: But I'm like that. I was like that, and if

1474
01:26:23,920 --> 01:26:27,520
Speaker 1: that's true for like Mars black Man in a commercial

1475
01:26:27,560 --> 01:26:30,360
Speaker 1: with Michael Jordan Michael Jordan in a later commercial Bugs

1476
01:26:30,360 --> 01:26:35,760
Speaker 1: Bunny Space Jam. Michael Jordan is an effective marketer, It's

1477
01:26:35,920 --> 01:26:38,760
Speaker 1: always been. But just like, I just think it's so

1478
01:26:38,800 --> 01:26:41,519
Speaker 1: bizarre that I don't know, Like just the cultural impact

1479
01:26:41,520 --> 01:26:44,200
Speaker 1: of this movie is so gigantic that a a b

1480
01:26:44,520 --> 01:26:47,879
Speaker 1: character from an indie movie was in a Nike conversion.

1481
01:26:48,360 --> 01:26:51,439
Speaker 1: That's so bizarre. I love it. I say, oh my gosh,

1482
01:26:51,520 --> 01:26:54,479
Speaker 1: that's so wild. But like, truly, the show that has

1483
01:26:54,600 --> 01:26:57,680
Speaker 1: one best comedy for like two years is based on

1484
01:26:57,760 --> 01:27:06,080
Speaker 1: an ESPN two commercial. You know that we just have

1485
01:27:06,200 --> 01:27:08,479
Speaker 1: to accept Yep, this is going to be the basis

1486
01:27:08,520 --> 01:27:12,559
Speaker 1: and sometimes the result of art. I love intellectual property.

1487
01:27:13,920 --> 01:27:18,040
Speaker 1: It's beautiful. Um, does anyone have any other thoughts on

1488
01:27:18,360 --> 01:27:24,720
Speaker 1: the film of two Hit? A small closing. Did you

1489
01:27:24,760 --> 01:27:28,320
Speaker 1: guys like her art? Her art? I thought it was

1490
01:27:28,439 --> 01:27:32,400
Speaker 1: very eighties, Okay, cool. I was like, I'm watching this

1491
01:27:32,479 --> 01:27:34,720
Speaker 1: and I'm looking at this art, and I'm like, I

1492
01:27:34,760 --> 01:27:37,000
Speaker 1: don't think this is supplementing her income to the point

1493
01:27:37,040 --> 01:27:41,599
Speaker 1: where she could afford this apart bit I just looked

1494
01:27:41,600 --> 01:27:43,559
Speaker 1: at it. I'm like, I think I literally looked at

1495
01:27:43,600 --> 01:27:45,400
Speaker 1: it and it it was like, I guess that's what art

1496
01:27:45,439 --> 01:27:47,599
Speaker 1: was like in the eighties, which is wild because I've

1497
01:27:47,640 --> 01:27:50,880
Speaker 1: seen art from the eighties and it doesn't look like that. Um,

1498
01:27:50,920 --> 01:27:52,639
Speaker 1: I've heard that is one thing that we didn't say.

1499
01:27:52,680 --> 01:27:56,040
Speaker 1: It's like, I appreciated it sounds like that it's given

1500
01:27:56,040 --> 01:28:00,160
Speaker 1: a lot more narrative significance in the TV show, but

1501
01:28:00,240 --> 01:28:03,160
Speaker 1: that we do know what Nola does, even though it

1502
01:28:03,240 --> 01:28:05,439
Speaker 1: is kind of a Cary Bradshaw situation of like how

1503
01:28:05,479 --> 01:28:08,680
Speaker 1: could this lead to this home? But we know what

1504
01:28:08,720 --> 01:28:11,000
Speaker 1: she does, and we see that it matters to her.

1505
01:28:11,120 --> 01:28:13,639
Speaker 1: We see her working on it, and we see enough

1506
01:28:13,680 --> 01:28:15,720
Speaker 1: of it that we can be like, it's not even

1507
01:28:15,760 --> 01:28:19,080
Speaker 1: that good. I wouldn't hang it in my apartment. Think

1508
01:28:19,120 --> 01:28:22,240
Speaker 1: it's not for me, but I'm happy that it's afforded

1509
01:28:22,240 --> 01:28:26,320
Speaker 1: her a million dollar apartment. So that's so someone's loving it.

1510
01:28:28,080 --> 01:28:32,880
Speaker 1: And then what was your other I've completely forgotten it.

1511
01:28:32,880 --> 01:28:35,720
Speaker 1: It's got I'm so sorry. My last thought was the

1512
01:28:35,800 --> 01:28:40,960
Speaker 1: real protagonist sosist movie is New York City. I love

1513
01:28:41,000 --> 01:28:44,440
Speaker 1: what don't you love? I love let her to the City.

1514
01:28:44,800 --> 01:28:48,120
Speaker 1: But also seriously, Spike Lee like used his own brother's

1515
01:28:48,160 --> 01:28:51,519
Speaker 1: photography of like Brooklyn to like mark the passage of time.

1516
01:28:51,520 --> 01:28:54,280
Speaker 1: I just the family elements to this movie I thought

1517
01:28:54,320 --> 01:28:57,519
Speaker 1: were very sweet. That's like nepotism I can get behind,

1518
01:28:57,600 --> 01:29:00,439
Speaker 1: because it's not even nepotism if you need your family

1519
01:29:00,680 --> 01:29:04,040
Speaker 1: as employees on your movie, like he had like multiple

1520
01:29:04,200 --> 01:29:07,280
Speaker 1: people in his family he had working as like production assistance,

1521
01:29:07,280 --> 01:29:09,160
Speaker 1: and it's like I will pay you if I can

1522
01:29:09,200 --> 01:29:12,559
Speaker 1: get the money. And so it's like it just seemed

1523
01:29:12,560 --> 01:29:16,280
Speaker 1: more like a I don't know, like Mickey Rooney, Judy Garland,

1524
01:29:16,280 --> 01:29:18,519
Speaker 1: like we gotta put on a show folks, like by

1525
01:29:18,520 --> 01:29:21,280
Speaker 1: any means necessary, and like got it done. And then

1526
01:29:21,680 --> 01:29:23,679
Speaker 1: I I mean, I hope Spike Ly at this point

1527
01:29:23,680 --> 01:29:26,160
Speaker 1: has paid his family for working on She's got to

1528
01:29:26,200 --> 01:29:30,640
Speaker 1: have it right. He is a multimillionaire. I guess my

1529
01:29:30,680 --> 01:29:34,080
Speaker 1: final thought is that and I'm also I'm like basically

1530
01:29:34,640 --> 01:29:38,400
Speaker 1: horizontal right now. I'm like lying down so much. You

1531
01:29:38,479 --> 01:29:41,360
Speaker 1: have started to you were eye to eye and not.

1532
01:29:43,000 --> 01:29:44,880
Speaker 1: Part of it is I and I might cut this out,

1533
01:29:44,920 --> 01:29:46,519
Speaker 1: but part of it is I have to poop so badly,

1534
01:29:46,560 --> 01:29:48,559
Speaker 1: and I'm just kind of like sitting here trying to

1535
01:29:48,640 --> 01:29:54,320
Speaker 1: like lead in it. I made those vegetables and chocked you,

1536
01:29:56,240 --> 01:30:01,519
Speaker 1: and I've got blowing our asses up. I'm gonna go

1537
01:30:01,600 --> 01:30:05,479
Speaker 1: home and haven't experienced Yeah, So mostly this posture is

1538
01:30:05,520 --> 01:30:11,800
Speaker 1: me just holding God. Okay, let's it passes. The Bechtel says, No,

1539
01:30:11,960 --> 01:30:15,120
Speaker 1: I have this important thing to say that okay, okay,

1540
01:30:18,800 --> 01:30:22,960
Speaker 1: which is that that this is a movie again directed

1541
01:30:23,000 --> 01:30:27,760
Speaker 1: by a man in the eighties, a famously not very

1542
01:30:27,800 --> 01:30:34,240
Speaker 1: progressive time, that is mostly commenting on the toxicity of

1543
01:30:34,320 --> 01:30:39,920
Speaker 1: a lot of different types of men and empowering a woman,

1544
01:30:40,400 --> 01:30:44,760
Speaker 1: especially in a way that women have historically been so disempowered.

1545
01:30:45,600 --> 01:30:48,479
Speaker 1: That's very cool. Again, there were missed deps along the way.

1546
01:30:48,680 --> 01:30:52,599
Speaker 1: It wasn't handled perfectly in every regard, but that that

1547
01:30:52,760 --> 01:30:55,800
Speaker 1: is like what this movie boils down to. It's cool.

1548
01:30:56,160 --> 01:30:58,160
Speaker 1: I agree, And I also this was something that like

1549
01:30:58,360 --> 01:31:02,439
Speaker 1: was again and this is like extreme grain assault because

1550
01:31:02,439 --> 01:31:04,200
Speaker 1: this is what was brought up more in the time

1551
01:31:04,200 --> 01:31:07,400
Speaker 1: when it was first being reviewed. But a movie that

1552
01:31:07,479 --> 01:31:11,960
Speaker 1: focuses on the sex life of a like middle to

1553
01:31:12,080 --> 01:31:15,200
Speaker 1: upper middle class black women, which is like, wasn't really happening,

1554
01:31:15,240 --> 01:31:18,200
Speaker 1: And um, a lot of reviewers sort of made note

1555
01:31:18,280 --> 01:31:22,479
Speaker 1: of like many of the popular stereotypes around black American

1556
01:31:22,560 --> 01:31:24,720
Speaker 1: characters at this time, and how this movie just like

1557
01:31:24,880 --> 01:31:28,280
Speaker 1: existed outside of that world entirely, and it's like, here's

1558
01:31:28,280 --> 01:31:31,960
Speaker 1: our protagonist, here are three shitty dudes. Let's go right,

1559
01:31:31,960 --> 01:31:34,240
Speaker 1: And it always goes back to like who's making the

1560
01:31:34,280 --> 01:31:40,240
Speaker 1: movies that perpetuate those stereotypes shitty uneducated white people, right,

1561
01:31:40,400 --> 01:31:45,320
Speaker 1: and sometimes highly educated. They're like, I have so many

1562
01:31:45,360 --> 01:31:47,800
Speaker 1: degrees and I still have not learned what black people are.

1563
01:31:47,880 --> 01:31:51,080
Speaker 1: What are they? Do? You know? Any looking? And then

1564
01:31:51,120 --> 01:31:53,040
Speaker 1: they put their po box at the end of the movie.

1565
01:31:53,400 --> 01:31:59,000
Speaker 1: If you have any insight, please s A s s um. Yes,

1566
01:31:59,240 --> 01:32:03,040
Speaker 1: it does pass. The Bay still tests, but not too much,

1567
01:32:03,200 --> 01:32:07,040
Speaker 1: very much, not enough that it gets scary. I would see.

1568
01:32:07,120 --> 01:32:12,120
Speaker 1: It's mostly between her and Opal, and those conversations are

1569
01:32:12,160 --> 01:32:16,599
Speaker 1: again Opeal trying to coerce her into sex so it's

1570
01:32:16,640 --> 01:32:19,400
Speaker 1: not good. And then as far as our nipple scale

1571
01:32:19,520 --> 01:32:23,120
Speaker 1: zero to five nipples based on examining the movie through

1572
01:32:23,160 --> 01:32:28,160
Speaker 1: an intersectional Femis lens, oh, I would go with like

1573
01:32:28,680 --> 01:32:32,920
Speaker 1: a three and a half. I think for this one. Um,

1574
01:32:32,960 --> 01:32:38,400
Speaker 1: it's obviously getting some nippleage docked off for the extreme

1575
01:32:38,520 --> 01:32:44,839
Speaker 1: mishandling of the sexual assault and the predatory lesbian character,

1576
01:32:45,840 --> 01:32:53,760
Speaker 1: the failure to further explore Nola's relationships with any female friends,

1577
01:32:53,840 --> 01:32:56,519
Speaker 1: and only just like getting a very small glimpse of

1578
01:32:56,560 --> 01:32:58,880
Speaker 1: that aspect of her life. This is a small thing,

1579
01:32:58,960 --> 01:33:01,719
Speaker 1: and I'm sure it is like related to budget stuff,

1580
01:33:01,920 --> 01:33:03,760
Speaker 1: but I just thought it was like interesting that they

1581
01:33:03,800 --> 01:33:06,200
Speaker 1: showed her dad and they made mention of her mom

1582
01:33:06,200 --> 01:33:09,160
Speaker 1: being alive and well but at work and like could

1583
01:33:09,160 --> 01:33:13,320
Speaker 1: not comment. Can we get like a shot shot that was?

1584
01:33:13,720 --> 01:33:15,840
Speaker 1: It would have been nice. Weird when he said that,

1585
01:33:16,040 --> 01:33:19,280
Speaker 1: he was like, my wife, we're still together. She's I

1586
01:33:19,360 --> 01:33:21,479
Speaker 1: kind of wonder if that was like a production thing

1587
01:33:21,479 --> 01:33:23,840
Speaker 1: of like we were supposed to but like Spike's mom

1588
01:33:23,840 --> 01:33:26,400
Speaker 1: couldn't make it today and so they're like he's like

1589
01:33:26,640 --> 01:33:30,400
Speaker 1: just say she's at working, or like if if spike

1590
01:33:30,439 --> 01:33:32,800
Speaker 1: Ley's mom is anything like my mom. She does not

1591
01:33:32,920 --> 01:33:36,120
Speaker 1: want to be photographed. So maybe she was just like

1592
01:33:36,200 --> 01:33:40,839
Speaker 1: I shouted at your mom's vagina on Mike today, Caitlin,

1593
01:33:42,520 --> 01:33:47,439
Speaker 1: what's no wonder? Oh that was the other thing. It's

1594
01:33:47,479 --> 01:33:51,800
Speaker 1: not about, although I do think she was like, if

1595
01:33:51,840 --> 01:33:54,280
Speaker 1: you can't pay me, honey, I'm gonna go to my

1596
01:33:54,439 --> 01:33:59,519
Speaker 1: job where I support was at work, Like I'm not

1597
01:33:59,560 --> 01:34:02,920
Speaker 1: gonna take at day off to not like the rest

1598
01:34:02,960 --> 01:34:05,680
Speaker 1: of the family is working on your little projects, so

1599
01:34:05,920 --> 01:34:08,240
Speaker 1: someone's gotta go to work. But the other thing that

1600
01:34:08,280 --> 01:34:10,840
Speaker 1: I wanted to say is bold move to have your

1601
01:34:10,880 --> 01:34:15,559
Speaker 1: first movie feature like a nice close up of you

1602
01:34:15,720 --> 01:34:18,760
Speaker 1: sucking on a nip. That is something that it was,

1603
01:34:18,880 --> 01:34:22,400
Speaker 1: you know, the movies choice. I don't know, like I

1604
01:34:22,439 --> 01:34:26,800
Speaker 1: wasn't like I feel like sometimes when again, God, we

1605
01:34:26,920 --> 01:34:32,519
Speaker 1: gotta when men who make movies by themselves, there's another

1606
01:34:32,600 --> 01:34:35,519
Speaker 1: tendency usually when you're not inviting a lot of feedback

1607
01:34:35,800 --> 01:34:38,960
Speaker 1: that sometimes the sex scenes are leering and creepy and gross.

1608
01:34:39,080 --> 01:34:42,280
Speaker 1: I didn't think that this movie fell into that, even

1609
01:34:42,320 --> 01:34:44,400
Speaker 1: though I did, I mean Kidney's and I think it

1610
01:34:44,439 --> 01:34:46,559
Speaker 1: was a personal preference thing. We didn't love the belly

1611
01:34:46,600 --> 01:34:50,280
Speaker 1: button thing. I don't think it was offensive. Sticks his

1612
01:34:50,400 --> 01:34:54,040
Speaker 1: tongue fully into a belly button, inclined a swizzes it

1613
01:34:54,080 --> 01:35:01,599
Speaker 1: around belly button. I just love it. But again that's

1614
01:35:01,600 --> 01:35:07,479
Speaker 1: not criticism, that's just a well it didn't it didn't

1615
01:35:07,479 --> 01:35:09,720
Speaker 1: feel good for it. But that's you know, but that's

1616
01:35:09,760 --> 01:35:13,640
Speaker 1: why there's all sorts of people. That's true. Three and

1617
01:35:13,640 --> 01:35:19,960
Speaker 1: a half, you were saying, reminder, I have to poop

1618
01:35:23,640 --> 01:35:27,600
Speaker 1: no um. Yeah, so three and a half nipples. I

1619
01:35:27,680 --> 01:35:33,800
Speaker 1: will give one to Nola, one to Clarinda. I would

1620
01:35:33,800 --> 01:35:38,080
Speaker 1: have loved to see that friendship more on screen. I'll

1621
01:35:38,120 --> 01:35:42,720
Speaker 1: give one to Nola's mom, who presumably would have been

1622
01:35:42,720 --> 01:35:45,519
Speaker 1: played by Spike Lee's mom, but she was like, no, thanks,

1623
01:35:45,680 --> 01:35:49,320
Speaker 1: I don't want to be busy. And then I'll give

1624
01:35:49,840 --> 01:35:53,880
Speaker 1: the half nipple to the scene where Nola and her

1625
01:35:53,920 --> 01:35:58,519
Speaker 1: three lovers are playing scrabble together, which is again a

1626
01:35:58,760 --> 01:36:01,960
Speaker 1: sexual fantasy. I have, I will, I'll meet you there

1627
01:36:02,080 --> 01:36:04,040
Speaker 1: at three and a half. I think this movie is

1628
01:36:04,080 --> 01:36:07,639
Speaker 1: doing so much that no movie in six with doing.

1629
01:36:08,439 --> 01:36:11,599
Speaker 1: I think that the mistakes we have unpacked and are

1630
01:36:11,640 --> 01:36:16,599
Speaker 1: extremely glaring and I found very upsetting. I was gently

1631
01:36:16,720 --> 01:36:19,680
Speaker 1: encouraged that at least Spike Lee has you know, engaged

1632
01:36:19,800 --> 01:36:23,280
Speaker 1: in the discussion around it and has admitted where he

1633
01:36:23,400 --> 01:36:25,160
Speaker 1: is wrong, and it seems like has course corrected in

1634
01:36:25,200 --> 01:36:27,040
Speaker 1: his future work. I haven't seen all of his future work,

1635
01:36:27,120 --> 01:36:28,960
Speaker 1: but um, I don't. I don't think that this is

1636
01:36:28,960 --> 01:36:32,640
Speaker 1: a recurring problem for him. So I think that we

1637
01:36:32,880 --> 01:36:34,679
Speaker 1: sort of I want Caitlin to be able to poop,

1638
01:36:34,760 --> 01:36:37,679
Speaker 1: So I'll say three and a half. I'm gonna give

1639
01:36:38,400 --> 01:36:42,400
Speaker 1: I'll give two tenola, and I will give one to

1640
01:36:42,640 --> 01:36:46,040
Speaker 1: the Phantom of the Opera bed and I will give

1641
01:36:46,320 --> 01:36:50,120
Speaker 1: the last half nipple to New York City. M hmmm,

1642
01:36:50,280 --> 01:36:52,000
Speaker 1: I ever heard of it? I ever heard of it.

1643
01:36:53,960 --> 01:36:57,640
Speaker 1: I am gonna ride this three and a half. I

1644
01:36:57,640 --> 01:37:00,800
Speaker 1: think if you had asked me when I first saw

1645
01:37:00,840 --> 01:37:02,840
Speaker 1: it ten years ago, it was more than ten years ago.

1646
01:37:02,880 --> 01:37:04,680
Speaker 1: You said, like ten years ago, and I was like,

1647
01:37:05,280 --> 01:37:09,400
Speaker 1: I wish, I like being my agent's great, but I'm

1648
01:37:09,439 --> 01:37:11,800
Speaker 1: gonna hurry up because I need to poop. So it's

1649
01:37:11,840 --> 01:37:14,360
Speaker 1: honestly fine, Okay, I really do want you to to tell us,

1650
01:37:14,520 --> 01:37:18,200
Speaker 1: because now we're so invested, we will sit around while

1651
01:37:18,240 --> 01:37:21,400
Speaker 1: you do it. And I wonder how hashtag going in there?

1652
01:37:21,439 --> 01:37:26,040
Speaker 1: Girl women supporting women let's get a hashtag going. Let

1653
01:37:26,200 --> 01:37:29,400
Speaker 1: Caitlin poop, Let's get I'll get I'll get the merch

1654
01:37:29,479 --> 01:37:32,719
Speaker 1: drafted tonight. I know I haven't made new Merchant two years,

1655
01:37:32,760 --> 01:37:34,080
Speaker 1: but I think that this is really going to bring

1656
01:37:34,080 --> 01:37:37,600
Speaker 1: me out of retirement. I would love that. Yeah. I

1657
01:37:37,600 --> 01:37:40,479
Speaker 1: would have been given it three nips when I first

1658
01:37:40,520 --> 01:37:43,160
Speaker 1: saw it, just because I was like, well, this seems

1659
01:37:43,240 --> 01:37:46,000
Speaker 1: kind of fucked up, but because we were interpreting it

1660
01:37:46,040 --> 01:37:49,519
Speaker 1: as her getting her comemuppets versus like her. Like it's

1661
01:37:49,560 --> 01:37:52,200
Speaker 1: still again very dad, but at least she has like

1662
01:37:52,439 --> 01:37:54,519
Speaker 1: power and agency at the end of this, and it

1663
01:37:54,600 --> 01:37:58,599
Speaker 1: is her story throughout. So right now three and a half.

1664
01:37:58,680 --> 01:38:03,599
Speaker 1: Okay to to Nola half. To Mars Blackman as a character,

1665
01:38:03,600 --> 01:38:06,160
Speaker 1: because that was he was in a Nike commercial. I mean,

1666
01:38:06,200 --> 01:38:08,040
Speaker 1: you can't take that from him. He does suck, but

1667
01:38:08,080 --> 01:38:11,240
Speaker 1: he's also so likable as a just like Spike Leaves

1668
01:38:11,320 --> 01:38:14,240
Speaker 1: is extremely likable. The closing track because they do like

1669
01:38:14,560 --> 01:38:17,960
Speaker 1: the cast basically like introduces themselves with the slate at

1670
01:38:18,000 --> 01:38:19,880
Speaker 1: the end and then Spike Leaves the last one. You're like, man,

1671
01:38:19,920 --> 01:38:23,719
Speaker 1: he's a fun Yeah, it's fun because he's like action. Okay,

1672
01:38:23,800 --> 01:38:27,000
Speaker 1: my name because he's the director, and you're like, that's you, dude,

1673
01:38:27,520 --> 01:38:30,200
Speaker 1: is your That's like the correct amount of ego. I

1674
01:38:30,240 --> 01:38:32,479
Speaker 1: don't know how he struck the balance, but that is

1675
01:38:32,520 --> 01:38:35,519
Speaker 1: like the exact you can't go more, Yeah, you can't

1676
01:38:35,520 --> 01:38:40,400
Speaker 1: go more, but that was perfect. So and the that

1677
01:38:40,520 --> 01:38:44,760
Speaker 1: was two Mr Police, the police. I can't I just

1678
01:38:44,800 --> 01:38:48,559
Speaker 1: have to say something bad and then I'll give one

1679
01:38:48,560 --> 01:38:51,000
Speaker 1: to Okay, the remaining nipples. I can't do maths, so

1680
01:38:51,040 --> 01:38:54,760
Speaker 1: don't ask me to the remaining nipples. Go to the

1681
01:38:54,920 --> 01:38:59,080
Speaker 1: scene between well, actually all of the sex scenes, because

1682
01:38:59,720 --> 01:39:02,880
Speaker 1: even now, it is not super common for like a

1683
01:39:02,960 --> 01:39:06,760
Speaker 1: black woman and a black man to be naked together

1684
01:39:06,880 --> 01:39:10,280
Speaker 1: having sex, especially like neither of them is light skinned,

1685
01:39:10,280 --> 01:39:11,599
Speaker 1: and that's always like a thing. They're like, we got

1686
01:39:11,640 --> 01:39:14,040
Speaker 1: a black person, I mean, and then you can barely tell,

1687
01:39:14,120 --> 01:39:16,880
Speaker 1: but come on, we got one. But this is like, no,

1688
01:39:17,040 --> 01:39:20,800
Speaker 1: these people are definitely black. They're they're dark, dark dark.

1689
01:39:20,800 --> 01:39:22,439
Speaker 1: Although Spekey is the only one who doesn't show us,

1690
01:39:22,479 --> 01:39:23,960
Speaker 1: but and I was like, we see everyone else's but

1691
01:39:23,960 --> 01:39:26,599
Speaker 1: but we don't see how can we catch wow? See,

1692
01:39:26,760 --> 01:39:29,200
Speaker 1: Now that's the kind of ego that it's like everyone

1693
01:39:29,200 --> 01:39:30,400
Speaker 1: else showed there, but do you want to be in

1694
01:39:30,439 --> 01:39:33,200
Speaker 1: the movie or not. It's like you can't be hotter

1695
01:39:33,240 --> 01:39:35,160
Speaker 1: than me, and you all have to show your butts

1696
01:39:35,160 --> 01:39:39,040
Speaker 1: and I don't. Okay, and I'm the director, Okay, but yeah,

1697
01:39:39,080 --> 01:39:42,120
Speaker 1: I like that because I feel like she's strong, she's

1698
01:39:42,160 --> 01:39:45,240
Speaker 1: empowered so many other images, especially at that time, of

1699
01:39:45,360 --> 01:39:48,479
Speaker 1: darker skin black women, and darker skin in American sense,

1700
01:39:48,520 --> 01:39:51,120
Speaker 1: not in the African sense. You get it. We're like

1701
01:39:51,600 --> 01:39:56,599
Speaker 1: these like sex crazed, deficient people. And to show someone

1702
01:39:56,600 --> 01:39:58,439
Speaker 1: who's like I had a good family, I had a

1703
01:39:58,439 --> 01:40:01,000
Speaker 1: good childhood. I like sex. I know how I live.

1704
01:40:01,080 --> 01:40:02,960
Speaker 1: Is it for everybody? But this is how I live,

1705
01:40:03,240 --> 01:40:05,360
Speaker 1: and I'm very upfront about it. And I really, I

1706
01:40:05,400 --> 01:40:08,479
Speaker 1: really appreciated that she's not getting her value from them

1707
01:40:08,479 --> 01:40:10,680
Speaker 1: and she's having sex with which is what a lot

1708
01:40:10,680 --> 01:40:12,760
Speaker 1: of portrayals of black women were before that. Okay, I'm done,

1709
01:40:13,080 --> 01:40:17,200
Speaker 1: please go poop. Well, you gotta tell first of all,

1710
01:40:17,360 --> 01:40:23,080
Speaker 1: thanks for being on the show, Cannie. Tell all those

1711
01:40:23,080 --> 01:40:25,280
Speaker 1: other people who were like close to me in the

1712
01:40:25,360 --> 01:40:27,439
Speaker 1: number of times that they've been on the show that

1713
01:40:27,479 --> 01:40:29,400
Speaker 1: they Okay, they can try to come from me, but

1714
01:40:29,439 --> 01:40:31,760
Speaker 1: come on, come on, we will have to set up

1715
01:40:31,760 --> 01:40:37,080
Speaker 1: a duel. I will fight them. Um. So, yes, thank

1716
01:40:37,080 --> 01:40:39,880
Speaker 1: you for coming back for a fifth time. Always such

1717
01:40:39,920 --> 01:40:43,160
Speaker 1: a treat to have you. How can people follow you

1718
01:40:43,200 --> 01:40:45,439
Speaker 1: online and check out your stuff? Plug all of your

1719
01:40:45,880 --> 01:40:49,519
Speaker 1: upcoming show dates? Okay, I will, Okay, so you can

1720
01:40:49,520 --> 01:40:52,200
Speaker 1: find information about me at cannesemli dot com. That's why

1721
01:40:52,200 --> 01:40:55,479
Speaker 1: you'll see show dates and were information. Okay. First off,

1722
01:40:55,520 --> 01:40:58,439
Speaker 1: on Thursday's ten pm, check out my show Caitlin's Done

1723
01:40:58,439 --> 01:41:00,000
Speaker 1: It Twice. You're the only person who's done it twice.

1724
01:41:00,880 --> 01:41:07,800
Speaker 1: Make yourself smoking. It'll be a jacket good at Will.

1725
01:41:07,960 --> 01:41:09,640
Speaker 1: I'll get it at good Will and I'll sew a

1726
01:41:09,640 --> 01:41:14,439
Speaker 1: little patch on in anything. Yeah, if we gotta get

1727
01:41:14,720 --> 01:41:16,800
Speaker 1: I mean, you gotta figure out your union. But I'll

1728
01:41:16,840 --> 01:41:19,519
Speaker 1: let you know. I'm I'm busting it. So it's been hard.

1729
01:41:19,880 --> 01:41:21,600
Speaker 1: But yeah, the show is called Make Yourself Cry. It

1730
01:41:21,680 --> 01:41:25,519
Speaker 1: is on Planet Scum, which is Chris Gether's Twitch channel.

1731
01:41:25,640 --> 01:41:28,000
Speaker 1: I did not know those words before, but you should come.

1732
01:41:28,080 --> 01:41:30,840
Speaker 1: You should watch it. It's funny, it's heartfelt, et cetera.

1733
01:41:31,000 --> 01:41:32,920
Speaker 1: Watch the episodes of Caitlin. I think one of them

1734
01:41:32,960 --> 01:41:37,559
Speaker 1: is still on my Instagram, so check that out on February,

1735
01:41:37,760 --> 01:41:40,840
Speaker 1: come see me at club coming in New York City.

1736
01:41:40,920 --> 01:41:43,200
Speaker 1: I will be running my hour in preparation for an

1737
01:41:43,280 --> 01:41:48,840
Speaker 1: album recording. Also in Boston, February whatever, the weekend of

1738
01:41:48,920 --> 01:41:50,599
Speaker 1: Valentine's Day. I don't keep it in my heart because

1739
01:41:50,600 --> 01:41:52,760
Speaker 1: I don't have someone I love. I will be in

1740
01:41:53,439 --> 01:41:56,640
Speaker 1: Boston doing comedy. So come there. And then if you

1741
01:41:56,680 --> 01:42:00,880
Speaker 1: happen to live in Tennessee a city called Bristol, if

1742
01:42:00,880 --> 01:42:03,360
Speaker 1: you haven't lived there, I'll be doing a weekend there

1743
01:42:04,400 --> 01:42:08,400
Speaker 1: in March, so you know incredible. I bet we have

1744
01:42:08,439 --> 01:42:11,439
Speaker 1: at least one listener who lives in Bristol, Tennessee. You

1745
01:42:11,479 --> 01:42:15,040
Speaker 1: do please come because your presence will make me feel safer.

1746
01:42:15,080 --> 01:42:17,439
Speaker 1: I'm one of those terrible city people that is terrified

1747
01:42:17,479 --> 01:42:19,120
Speaker 1: as soon as I go to a place with trees.

1748
01:42:19,439 --> 01:42:21,719
Speaker 1: So I need women and I need black people. Please

1749
01:42:21,760 --> 01:42:26,120
Speaker 1: come so I feel safe. Okay, I haven't wait. Can

1750
01:42:26,120 --> 01:42:28,000
Speaker 1: I plug your show? I just go, Oh my god,

1751
01:42:28,240 --> 01:42:36,679
Speaker 1: I do have to poop, but I took no. Please Jamie, no, Caitlyn,

1752
01:42:37,439 --> 01:42:44,080
Speaker 1: please please, Ji please, you can come see my solo show.

1753
01:42:44,080 --> 01:42:45,800
Speaker 1: I never I don't know why I don't play it.

1754
01:42:46,160 --> 01:42:48,400
Speaker 1: You can come see my solo show that I'm working

1755
01:42:48,439 --> 01:42:51,200
Speaker 1: on in Los Angeles at the Allegian Theater. It's called

1756
01:42:51,360 --> 01:42:55,479
Speaker 1: Mrs Joseph Chestnut America USA. I play hot Tag eating

1757
01:42:55,560 --> 01:42:59,920
Speaker 1: champion Joey Chestnut's ex wife and he steals my intestine

1758
01:43:00,040 --> 01:43:01,680
Speaker 1: and then I kill him and that's what that's the

1759
01:43:01,720 --> 01:43:05,360
Speaker 1: whole show. UM. So if you can't see it, that's

1760
01:43:05,360 --> 01:43:11,080
Speaker 1: what happens. But that's gonna be on February seventeen at

1761
01:43:11,160 --> 01:43:14,479
Speaker 1: nine o'clock at the Allegian Theater and we would love

1762
01:43:14,479 --> 01:43:17,120
Speaker 1: to have some betel Cast listeners there. And you know,

1763
01:43:17,200 --> 01:43:19,800
Speaker 1: perfect way to come off of Valentine's Day is watch

1764
01:43:19,800 --> 01:43:23,880
Speaker 1: a show about hot dog divorce. UM. And as far

1765
01:43:23,920 --> 01:43:26,280
Speaker 1: as the backtel Cast goes, you can find us everywhere

1766
01:43:26,360 --> 01:43:31,080
Speaker 1: that you get your social media addiction scratched. UM. We've

1767
01:43:31,120 --> 01:43:33,240
Speaker 1: got an Instagram, we've got a Twitter. They're both backtel Cast.

1768
01:43:33,320 --> 01:43:36,479
Speaker 1: You can sign up for a Patreon ak Matreon at

1769
01:43:36,800 --> 01:43:40,320
Speaker 1: patreon dot com slash backtel Cast. You get two extra

1770
01:43:40,439 --> 01:43:43,120
Speaker 1: episodes every month. We're doing what are we calling it

1771
01:43:43,920 --> 01:43:52,040
Speaker 1: Jane Debruary, Jane January, slash Austin August, Ember, and so

1772
01:43:52,200 --> 01:43:55,640
Speaker 1: we're covering um ONNYA Taylor Joy Emma and Pride and

1773
01:43:55,680 --> 01:44:00,559
Speaker 1: Prejudice the other movie. Um, so, for everyone who's been

1774
01:44:00,600 --> 01:44:03,719
Speaker 1: requesting Jane Austen episodes for five years, we finally decided

1775
01:44:03,800 --> 01:44:08,080
Speaker 1: to listen once. Yes, and then you can get our

1776
01:44:08,280 --> 01:44:11,840
Speaker 1: merch at t public dot com slash the Epectol Cast.

1777
01:44:11,920 --> 01:44:17,839
Speaker 1: Be on the lookout for hashtag let Caitlin poop shirts.

1778
01:44:18,920 --> 01:44:22,360
Speaker 1: I'm going to get these texts every day. Where's my

1779
01:44:22,400 --> 01:44:30,720
Speaker 1: poop shirt? What an amazing friendship? Oh wow? So yeah,

1780
01:44:30,800 --> 01:44:33,320
Speaker 1: that's you can get our merch. Um and wow, what

1781
01:44:33,439 --> 01:44:41,960
Speaker 1: a what a joyful time. Our first in person recording.

1782
01:44:42,160 --> 01:44:44,599
Speaker 1: I couldn't have asked for a better one, probably honestly

1783
01:44:44,600 --> 01:44:47,720
Speaker 1: our last for a while. That's very often. We all

1784
01:44:47,760 --> 01:44:50,559
Speaker 1: got tested. We're all very satter, etcetera. Please don't come

1785
01:44:50,560 --> 01:44:52,360
Speaker 1: from me. Okay, yeah, no, we were. We were saying

1786
01:44:52,360 --> 01:44:55,519
Speaker 1: about this. This This just worked out perfectly. So, um, you know,

1787
01:44:55,840 --> 01:45:00,160
Speaker 1: happy day you're having and Caitlin's got a poop b

1788
01:45:00,439 --> 01:45:01,160
Speaker 1: by Nas