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Speaker 1: Hello everybody out there, Welcome to another episode of I

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Speaker 1: Saw What You Did.

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Speaker 2: My name is Millie to Jericho, I'm Danielle Henderson, and

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Speaker 2: we are.

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Speaker 1: Here with you once again to have a little chat

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Speaker 1: about the films of our lives.

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Speaker 2: And we're back. We're back for a little break.

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Speaker 3: Yes, they don't know that, but we took a break.

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Speaker 4: Yeah, we prepped for the break, so we recorded a

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Speaker 4: little bit in advance so that we could take two

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Speaker 4: weeks off, which was only from the podcast, but we

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Speaker 4: actually got some light vacation time in there too.

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Speaker 2: Yeah, how was your break? It was good.

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Speaker 4: I got it was mostly just house like moving in stuff,

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Speaker 4: but it was really relaxing. I got to meet all

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Speaker 4: the animals that hang out in my yard. There's menagerie,

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Speaker 4: there's rabbits, deer, like a roundhog family. There's a whole

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Speaker 4: bunch of things out there.

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Speaker 1: Wait, wait, wait, wait, Chauncey. You're talking about Chauncey does

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Speaker 1: Chauncy family.

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Speaker 4: Chauncey, as it turns out, has a family. He's straight up,

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Speaker 4: straight up played my ass because I'm like one groundhogs.

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Speaker 2: Fucking cute as hell.

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Speaker 4: Look at this little chunky butt moving around the lawn.

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Speaker 2: Uhh.

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Speaker 4: The other day, I was out there sitting on the

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Speaker 4: porch and I saw a little baby groundhog and I

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Speaker 4: was like, oh my god, that's so cute. Then I

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Speaker 4: saw another little baby. Then I saw another big groundhog,

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Speaker 4: and I was like, you got a fucking family in here.

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Speaker 3: So he has a partner. I wouldn't know the status

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Speaker 3: of the partnership.

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Speaker 2: I don't know.

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Speaker 4: Two young children, two young babies, two young little baby children.

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Speaker 2: So okay, am I dumb? What do gophers? Dude? They

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Speaker 2: bury themselves.

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Speaker 4: Gophers are super fucking goth. They just bury themselves alive

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Speaker 4: every day.

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Speaker 1: I feel like the only thing I really know about

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Speaker 1: gophers is like Caddy Shack.

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Speaker 2: Was that a gopher in Caddy Shock? Now I'm questioning

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Speaker 2: whether or not there was a gopher in Caddy Shock.

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Speaker 4: No, I thought it was a gopher, but someone corrected

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Speaker 4: me and said, because I posted a picture of it

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Speaker 4: on Instagram, they said, oh, that's a groundhog, and groundhogs

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Speaker 4: tunnel and burrow, so they're the ones. I think that's

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Speaker 4: the Caddy Shack one. Like they kind of make the holes, okay,

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Speaker 4: then pop up in the holes. So I went out

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Speaker 4: and walked around the yard, and it's like, yeah, his

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Speaker 4: family's been tunneling.

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Speaker 2: All up in this piece.

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Speaker 1: Well, well you know he's got to like teach his

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Speaker 1: children the trade, the family business.

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Speaker 2: Yeah, which is ripping up my fucking shit.

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Speaker 4: He was like, the coast is clear, come out and

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Speaker 4: chew this fucking grass down to a nub.

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Speaker 2: Well, is there a way? Is there like a safe

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Speaker 2: way to like get him out of here?

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Speaker 1: Like can you bring into like a home or something

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Speaker 1: rehome them.

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Speaker 5: I'm sorry, I'm just still stuck on gophers, burying them

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Speaker 5: sous and then being put in a home, or they

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Speaker 5: can just like here's a nice little tub of dirt

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Speaker 5: for you can just bury yourself all day.

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Speaker 4: Oh my god, there are humane ways to get rid

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Speaker 4: of them. I don't mind them too much. I just

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Speaker 4: don't want them in the front part of the yard.

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Speaker 4: I like it would be fine if they burrowed in

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Speaker 4: the back, because I don't like hang out back there

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Speaker 4: too much. But one of the things you can do

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Speaker 4: is put used kitty litter around the holes and then

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Speaker 4: like they won't come out of the hole, so you

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Speaker 4: can kind of direct where they're going. Like if you're like,

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Speaker 4: all right, I'm gonna block off all these sides so

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Speaker 4: you don't come out on this side of any hole.

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Speaker 1: And then so why don't you just do that? And

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Speaker 1: then the hole they end up going to is in

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Speaker 1: another town and another place, you know, and wait, we

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Speaker 1: traveled two thousand miles.

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Speaker 2: We didn't realize. I just want to see. If I

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Speaker 2: don't see four little gopher bindles, little groundhog bindles as

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Speaker 2: they're trudging away, I'm gonna be so upset. None of

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Speaker 2: it will be.

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Speaker 4: Worth it until I see groundhog bindles, I know.

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Speaker 1: And then one of the babies is bringing his little

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Speaker 1: ratty toy bunny rabbit that he drags under the ground,

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Speaker 1: on the ground floor, like the floor of.

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Speaker 2: The hole that they have to travel through.

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Speaker 4: And the other baby has like a little blanky, like

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Speaker 4: a dirty little nub of a blankie, and.

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Speaker 2: It's just like tootle it away with it.

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Speaker 1: And then the father dies, and then the mother gets

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Speaker 1: remarried to a preacher, and the preacher tries to st

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Speaker 1: that's not of the hunter.

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Speaker 2: I don't know why I was thinking that.

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Speaker 4: But there are there also there are also hu main

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Speaker 4: ways to get rid of them, Like they're like, oh,

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Speaker 4: you can trap them in these cages and then you

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Speaker 4: just have to make sure you take them five to

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Speaker 4: ten miles away. And I'm like, that is disorienting as fuck,

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Speaker 4: and it seems really cruel to be like, one, let

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Speaker 4: me take you away from your home and two, hey, neighbor,

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Speaker 4: here's four fucking groundhogs your problem.

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Speaker 1: Now, Well, I'm sure I am for certain, and we

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Speaker 1: are either one Kevin Bacon relations away from a gopher

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Speaker 1: rescuer or some kind of groundhob gopher rescuer.

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Speaker 2: I know we are, just I know these streets.

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Speaker 1: That you and I run in, I know the people

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Speaker 1: that we know. So if there is anybody that actually

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Speaker 1: knows what the fuck they're talking about, because we're just

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Speaker 1: obviously uneducated about this.

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Speaker 2: We can't even get the animal right.

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Speaker 1: Gopher, I don't know what's a prairie dog.

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Speaker 3: I mean, we could go far far down this road.

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Speaker 1: But if you do actually know, you should email us

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Speaker 1: at I saw what you did pot at gmail dot com,

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Speaker 1: and you know, maybe we'll look it up.

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Speaker 2: But yeah, I'll look it up.

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Speaker 4: And anything to keep used kitty litter from being just

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Speaker 4: flung about my yard would be great, because that's not

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Speaker 4: a life I want to live. It's not a smell

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Speaker 4: I want, because they also burrow under the porch, and

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Speaker 4: I'm like, I don't want to be laying use kitty

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Speaker 4: litter under the porch where I sit and like half

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Speaker 4: coffee in the morning.

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Speaker 1: Come on, you don't want Carrot's elegant poops to be

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Speaker 1: scattered around for sure?

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Speaker 4: No, And I think it's just the pee, but even

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Speaker 4: that is like it's strong. Yeah, I don't want to

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Speaker 4: trade one bad thing for another.

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Speaker 2: But yeah, well.

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Speaker 1: I'm glad that you're settling in though it sounds like

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Speaker 1: I mean, I'm looking at you right now, I see

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Speaker 1: that you're in another closet, a much bigger closet than

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Speaker 1: the one that you were in in Los Angeles, California.

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Speaker 2: So that's great.

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Speaker 4: One day I will actually like finish my office, but

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Speaker 4: until then, I'm just going to be in closets all

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Speaker 4: around the goddamn house. And I chose the one closest

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Speaker 4: to the router. I was like, all right, my ethernet

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Speaker 4: cored doesn't stretch. Now, I got to be strategic about this,

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Speaker 4: so you might see me in a lot of different

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Speaker 4: closets before this is done.

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Speaker 1: Listen, let's do a different closet every episode if I mean,

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Speaker 1: I'm like into it.

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Speaker 2: I'm loving it and it feels good. Yeah, it's great.

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Speaker 1: I'm like, I'm so excited because it's like, now, so

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Speaker 1: I know that you dangled out that offer of like

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Speaker 1: me coming to visit you, and now I'm like actually

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Speaker 1: thinking about it because you know, I know, it's like

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Speaker 1: the dead heat of summer. We're in like late July.

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Speaker 1: It couldn't be hotter. But now I'm starting to be like, okay,

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Speaker 1: but then fall comes, and then like what's more charming

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Speaker 1: than fall? In like upstate New York. I only know

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Speaker 1: this from TV and film. I don't know this personally,

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Speaker 1: but it would be great to come see you.

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Speaker 4: There is an apple fest that happens in my town

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Speaker 4: every year because this town is just filth, this lousy

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Speaker 4: with apple orchards and you've got the fall colors and

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Speaker 4: you can just go pick some apples. You can just

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Speaker 4: like you know, everyone just has diarrhear from October first

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Speaker 4: to October thirty at.

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Speaker 2: Just eating apples like ten at a time.

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Speaker 4: It's beautiful and the weather's nice, and you can like

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Speaker 4: go on just a regular drive to the store becomes

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Speaker 4: like a biblical event in terms of the colors and

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Speaker 4: the you know, all of the fall activities.

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Speaker 2: So you gotta you, gotta, you gotta come. I want

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Speaker 2: to do it. And I saw what you did retreat. Oh,

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Speaker 2: get everyone up here. It'll be like dirty dancing.

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Speaker 1: I imagine that your place is like Kellerman's, and there's

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Speaker 1: gonna be like, you know, activities, like somebody's gonna teach

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Speaker 1: us how to like put on wigs. You're gonna have

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Speaker 1: some other one of your friends teach us how to

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Speaker 1: like dance, teach us how to do like ballroom dancing.

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Speaker 2: There'll be fucking pageants.

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Speaker 1: Oh my god, Oh my god, we're gonna do a

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Speaker 1: pageant or like a showcase.

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Speaker 4: You know you're saying dirty dancing, it's gonna be more

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Speaker 4: like dirty John. Someone's gonna get stabbed, someone's gonna get tricked,

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Speaker 4: someone's gonna lose a family member. They're gonna be driven

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Speaker 4: away from a family member.

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Speaker 2: Okay, but there is a creek. We can do a

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Speaker 2: little dancing for a creek, just as long as nobody

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Speaker 2: drowns in the creek. I think we could make this happen.

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Speaker 4: I'm into it. I cannot wait for you to visit.

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Speaker 4: And also, if you come and visit in the fall.

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Speaker 4: You know what that means, bust out that Farmer's Almanac

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Speaker 4: and start planting for the summer for next springs.

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Speaker 1: I am so hard on the Farmer's Almanac right now

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Speaker 1: because you don't know this about me, but in my

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Speaker 1: experience being in Florida, being with my family. You know,

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Speaker 1: my mom, I'm is like a huge gardener, and she

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Speaker 1: kind of taught me everything I know about plant care

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Speaker 1: and all this stuff like that. But like she and

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Speaker 1: I together, now, I'm like reading the Farmer's Almonac constantly.

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Speaker 1: It's been like their website is super informative. Okay, I

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Speaker 1: know that we should be buying the thing with the

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Speaker 1: nail through it, but like, also their website is great.

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Speaker 1: It has all these tips about like how to grow

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Speaker 1: for like different things like containers, raised beds, you know,

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Speaker 1: fucking heartiness, zones, all that shit. And I'm just like

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Speaker 1: really getting into like the nerdiness of gardening where I'm like, yo,

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Speaker 1: I'm starting to make my own soil.

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Speaker 2: Yeah I don't know this. Yeah, you can make dirt.

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Speaker 1: Yes, you can make your own potting mix, okay, and

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Speaker 1: and and there's also like okay, so besides the Farmer's Almanac.

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Speaker 1: I have been obsessed with this television show on brit

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Speaker 1: Box that I get through Amazon. It's called Gardener's World.

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Speaker 6: Yes, I've been on for like seven thousand years, and

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Speaker 6: it is hosted by a man named Monty Dawn, who

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Speaker 6: is literally the greatest dude ever.

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Speaker 1: He's like this super chill gardener. He has two dogs

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Speaker 1: that follow him around the garden. One of them is

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Speaker 1: a Golden Retriever, the other one is some kind of

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Speaker 1: like silky terrier, and they're like, one's a big dog,

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Speaker 1: one's a small dog, and they just like follow him

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Speaker 1: around the garden, sleeping on the dirt, hanging out with him.

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Speaker 1: Only gardens, and he gives us all these tips on

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Speaker 1: how to like plant things. When I tell you it

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Speaker 1: is the chillest, most wonderful show I've ever seen, I

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Speaker 1: can't tell you how much I love it.

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Speaker 2: I love it so much.

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Speaker 4: This makes so much sense, and this is why it

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Speaker 4: is one hundred percent happening that you're gonna come here,

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Speaker 4: We're gonna plant a garden. We're gonna get you a garden.

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Speaker 4: You're gonna show me how to make dirt or soil

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Speaker 4: or potting mix I'm just gonna have like I'm gonna

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Speaker 4: have different stations, Like remember in and if you ever

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Speaker 4: did this in elementary school, where you would just have

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Speaker 4: like a field day and they just set up different events.

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Speaker 2: And you'd be like, I'm gonna do the long jump,

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Speaker 2: I'm gonna do this. We're gonna do that for gardening

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Speaker 2: at both of our homes. Oh my god, I'm happy

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Speaker 2: to do it.

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Speaker 1: I am like a like between the Farmer's Almanac and

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Speaker 1: Gardener's World. I have learned so much over the course

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Speaker 1: of this pandemic. I'm so I'm so excited to bring

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Speaker 1: it out in the world. And your place seems like

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Speaker 1: the best place to do it. We'll figure out what

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Speaker 1: your heartiness zone is. We'll start buying in acquiring plants

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Speaker 1: and seeds according to your zone.

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Speaker 2: It's gonna be great. We're gonna do it. I cannot wait.

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Speaker 4: And I want you to meet my friend Sarah, who

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Speaker 4: I went to high school with and she recently moved

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Speaker 4: back to work within the last couple of years. Her

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Speaker 4: friend constantly makes fun of her because he's like, what

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Speaker 4: are you a witch? Like her garden is so it's

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Speaker 4: like just luscious and wonderful and then she has all

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Speaker 4: these like country charms made out of wood and crystals

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Speaker 4: and shit, and he's like, what is going on here?

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Speaker 4: Are you casting spells or growing vegetables? Oh my god,

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Speaker 4: you guys are gonna meet and it's gonna be like

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Speaker 4: a meeting of the minds.

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Speaker 3: I'm excited. I'm I'm really I mean, you don't even know.

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Speaker 1: I'm starting to look at this like gardener style, this

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Speaker 1: like old lady Gardner style and im and I always

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Speaker 1: thought that was so corny, and now I'm like, oh yeah,

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Speaker 1: I get it. Fucking butterfly moons and shit, like trinkets

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Speaker 1: like things in the yard, like little fucking trinky dinks

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Speaker 1: in the yard.

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Speaker 3: That have like globes like and weird spirals.

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Speaker 2: I'm like, it's kind of kind of the thing. I'm like,

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Speaker 2: oh now I'm getting it. I'm getting the vibe. I

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Speaker 2: love this for you.

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Speaker 4: But if I come to your house and I see

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Speaker 4: more than three wind chimes, we're gonna have to have

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Speaker 4: an intervention to.

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Speaker 1: Find wind chime because there's shells.

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Speaker 2: I understand. I understand.

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Speaker 4: Like the bells, like the loud the bells, the clanging

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Speaker 4: like one or two is cool.

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Speaker 2: But if you got.

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Speaker 4: If you can walk into your yard and it's like

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Speaker 4: a cacophony of sound and you can't hear the houses

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Speaker 4: around you, were gonna talk.

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Speaker 2: Yeah, I listen.

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Speaker 1: You might have to pull the cord at some point.

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Speaker 1: There'll be the little signs that that will emerge. That

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Speaker 1: or that might be the case. But for now, I'm

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Speaker 1: just enjoying my hobby. Not a quarantine passing passion. This

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Speaker 1: is a full on obsession that will stay forever. Yes,

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Speaker 1: please don't tell me I'm being trendy. I'm doing the thing.

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Speaker 2: That I like.

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Speaker 4: And you always have, You always have been interested in this.

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Speaker 4: You just now have the space to like, really go

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Speaker 4: for it. Yes, and you know what, we love to

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Speaker 4: see it.

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Speaker 2: Thank you. All right, So we have we have a

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Speaker 2: little bit of a mail bag today, Yes, we do.

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Speaker 2: We have a mail bag. Do you want to read it? Yeah?

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Speaker 4: I'm going to read this one. Hi, Millie and Danielle.

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Speaker 4: I've listened to the podcast since day one and love it.

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Speaker 4: I love film and film history, but get tired of

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Speaker 4: listening to the same white guys rave about pulp fiction

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Speaker 4: on their podcasts. So listening to the two of you

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Speaker 4: is so refreshing. I wanted to bring an underrated movie

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Speaker 4: that I love deeply to your attention. It's Westward the Women,

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Speaker 4: directed by William Wellman. It has its shortcomings, but for

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Speaker 4: the time period, I think it's extraordinary, especially as a Western.

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Speaker 4: I've shared it with some friends and with my husband,

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Speaker 4: and while they enjoyed it, it seems like it's only

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Speaker 4: really loved by me and my sister. Are there any

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Speaker 4: other underrated old films that you love that maybe others

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Speaker 4: don't get?

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Speaker 2: Shae? Thanks for writing in, Shae. That's a great question. Yeah,

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Speaker 2: say Matt.

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Speaker 1: First of all, I have to say you're not alone

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Speaker 1: in your love for Westward the Women or alliteration. Yes,

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Speaker 1: William Wellman's Westward the Women lots of W's. I think

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Speaker 1: that movie is actually really great. I think it's really

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Speaker 1: thought provoking. There's so many things going on in that movie,

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Speaker 1: and I actually rewatched it recently and man, there's a

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Speaker 1: lot going on.

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Speaker 3: It's like, you know, it's about gender roles.

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Speaker 1: I mean, there's a Japanese cowboy in nineteen fifty one.

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Speaker 2: You know.

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Speaker 1: I actually encourage people, if you haven't seen it, to

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Speaker 1: seek it out. But I also know what it feels

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Speaker 1: like to like something that like no one else gets,

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Speaker 1: and you're like, why doesn't anybody love this, like you know,

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Speaker 1: weird melodrama from the fifties and you know, and I

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Speaker 1: love it, but somebody else is kind of like or.

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Speaker 4: If they just don't, they've never heard of it, Like I,

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Speaker 4: you know, being raised with my grandmother, I'm like, remember

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Speaker 4: that movie and people are like, no, we didn't. We

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Speaker 4: weren't raised by steptagenarians. We have no idea what.

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Speaker 2: You're talking about. We were watching Greece for the ninety

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Speaker 2: fifth time.

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Speaker 1: Yeah, I mean, we won't go on our tangent about

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Speaker 1: you know, movies like Untamed Heart and Cleaning the Cube

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Speaker 1: and that kind of thing. But even within I think

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Speaker 1: the classic film community too, there's also people who just

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Speaker 1: like love weird things within older movies that other classic

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Speaker 1: movie people like don't get and you're kind of like.

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Speaker 2: You've betrayed me.

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Speaker 1: But whatever, you know, I think we have somebody that

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Speaker 1: we can access that would be a great person to

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Speaker 1: answer this question of like, what is a movie that

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Speaker 1: you love or champion that no one else seems to

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Speaker 1: get and we were able to access them, which is great.

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Speaker 2: And so let's bring in the big guns.

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Speaker 4: Yeah, we had to call in the pinnacle of film

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Speaker 4: knowledge and just someone who is so dear to my

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Speaker 4: heart as just in so many ways, but particularly the

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Speaker 4: deep diving into underrated films, underrated producers and directors and

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Speaker 4: Hollywood tales. So we just went ahead and we just

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Speaker 4: went to the best, is what we did.

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Speaker 2: Yes, So let's talk to her.

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Speaker 1: She is a writer, a journalist, a film critic, and

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Speaker 1: the creator and host of the incredible film history podcast.

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Speaker 2: You must remember this. It's Korena Longworth. Everyone.

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Speaker 7: Hi, welcome, Good you guys. I'm blushing that you introduced me.

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Speaker 8: Thank you so much.

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Speaker 4: Oh, We're so happy to have you here. And especially

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Speaker 4: for this question, underrated old films that you love that

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Speaker 4: maybe others don't get. I'm sure that there's there's got

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Speaker 4: to be something in the hopper for Yeah.

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Speaker 7: I mean when I when I first heard the question,

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Speaker 7: I was it was difficult for me because I think

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Speaker 7: a lot of the movies that came to mind immediately

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Speaker 7: were things where it's just like, well, I have this

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Speaker 7: experience that she's talking about all the time. But usually

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Speaker 7: it's because people just haven't seen the movies I'm talking about.

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Speaker 7: It's very rarely that it's like, I really appreciate a

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Speaker 7: movie that other people you know, have maligned or or

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Speaker 7: you know, is considered like a film muddy or whatever.

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Speaker 7: And actually, like, the first thing I came to mind

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Speaker 7: when she said William Wellman was this other William Willman

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Speaker 7: movie called The Purchase Price. Do you guys know that

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Speaker 7: movie where Barbara Stanwyck plays a mail order bride, which

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Speaker 7: is like, I don't know if it's you know, considered

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Speaker 7: to be a bad movie, but I think it's a

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Speaker 7: movie that is probably kind of misrepresented as being pre cody,

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Speaker 7: whereas you know, certainly there are things about it, like

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Speaker 7: like the open use of alcohol and just the fact

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Speaker 7: that she's sort of put in this situation of being

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Speaker 7: a mail order bride like on a frontier. But I,

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Speaker 7: you know, I don't think of it in this as

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Speaker 7: like being sort of a novelty film.

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Speaker 8: I think it's actually, you know, very rich and sophisticated

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Speaker 8: in a lot of ways.

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Speaker 7: But then I was like, well, maybe that's I don't

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Speaker 7: even really know what the reputation of that movie is,

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Speaker 7: so maybe that doesn't count. And then I thought, well,

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Speaker 7: I really like ka Ansis, and a lot of people

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Speaker 7: just like really consider her to not have been a

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Speaker 7: great actress, and I disagree, certainly, and especially in One

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Speaker 7: Way Passage, which is a Tay Garnett boat movie with

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Speaker 7: her and William Powell, and of course Trouble and Paradise.

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Speaker 7: And I just saw one of her homes for the

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Speaker 7: first time recently, Mandalay.

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Speaker 8: Which I also think is really great.

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Speaker 7: And you know, I think that she is somebody who

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Speaker 7: has this reputation of just being a clothes horse and

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Speaker 7: just being good looking, but then she has, you know,

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Speaker 7: this little lisp at which people make fun of and

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Speaker 7: and you know, just don't really take her serious, take

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Speaker 7: maybe take her seriously as a star. But then suggests

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Speaker 7: that Joan Crawford and Betty Davis kind of did what

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Speaker 7: she did better. I'm sure you can. You can say that.

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Speaker 7: But I really enjoy Kate Francis's movies. I've never seen

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Speaker 7: a Kate Francis movie that I didn't think was better

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Speaker 7: because she's in it right right.

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Speaker 4: And also that brings to mind a question, you know,

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Speaker 4: just hearing your response to that is based on this question,

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Speaker 4: I kind of feel like the term underrated has to

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Speaker 4: be examined here a little bit too, because It's like

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Speaker 4: you said, like you could love something to bits, and

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Speaker 4: it might be that somebody hasn't ever seen the film,

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Speaker 4: or if they they saw it and didn't like it,

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Speaker 4: doesn't mean that it's underrated for you, or that you

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Speaker 4: have to kind of throw out someone's entire career because

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Speaker 4: you didn't like this one thing.

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Speaker 2: So I think it's it's interesting also.

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Speaker 4: The way that people pit tend to pit things together

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Speaker 4: when they're trying to decide what's underrated or not.

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Speaker 2: They tend to pit against each other a lot.

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Speaker 7: Oh absolutely, But it's just like when we're talking about

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Speaker 7: classic film, like so many of these things are not

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Speaker 7: even rated, Like so many of these things are just

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Speaker 7: like nobody's even talking about them. So it just feels

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Speaker 7: like like all we we shouldn't worry about what anybody

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Speaker 7: else thinks about anything, you know, we should just celebrate

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Speaker 7: the things that we love.

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Speaker 1: I totally agree, you know, And there's there's certainly things too,

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Speaker 1: because I feel like classic movies is just such a well,

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Speaker 1: Like it's a well that you just plan a fall

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00:22:03,680 --> 00:22:06,400
Speaker 1: down into, and there's always like little discoveries, and there's

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00:22:06,440 --> 00:22:10,239
Speaker 1: always these like little pockets of things, and there are

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00:22:10,400 --> 00:22:13,320
Speaker 1: times where I where you know, I will even be

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Speaker 1: to my TCM coworkers who like, you know, have seen

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00:22:17,280 --> 00:22:19,480
Speaker 1: it all basically, and I'll be like, oh my god,

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Speaker 1: I just saw this like Shirley Booth movie where like

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00:22:23,160 --> 00:22:25,920
Speaker 1: you know, it's a it's a romantic drama and blah

436
00:22:25,920 --> 00:22:28,399
Speaker 1: blah blah blah, and they're just sort of like why, Like,

437
00:22:28,480 --> 00:22:30,959
Speaker 1: and I'm walking around the office like screaming about how

438
00:22:30,960 --> 00:22:33,240
Speaker 1: great it is, and they're just like they would watch

439
00:22:33,280 --> 00:22:36,720
Speaker 1: it and be like it's good, but you know, what's your.

440
00:22:36,760 --> 00:22:37,320
Speaker 2: Deal with it?

441
00:22:37,880 --> 00:22:40,240
Speaker 1: And so you know, it's that kind of thing too,

442
00:22:40,280 --> 00:22:42,639
Speaker 1: where sometimes you just kind of like are in the

443
00:22:42,680 --> 00:22:44,600
Speaker 1: hole and you're looking around and then you just really

444
00:22:44,600 --> 00:22:47,840
Speaker 1: connect with something and you know, you just really want

445
00:22:47,880 --> 00:22:48,760
Speaker 1: to make a case for it.

446
00:22:48,800 --> 00:22:52,000
Speaker 3: And sometimes people are like, okay, cool, but you know what's.

447
00:22:51,800 --> 00:22:52,520
Speaker 2: The passion for?

448
00:22:52,760 --> 00:22:52,840
Speaker 8: So?

449
00:22:53,320 --> 00:22:55,879
Speaker 1: But that's an individual I think, you know, that's a

450
00:22:56,080 --> 00:22:58,840
Speaker 1: behavior that I try not to put that on other people,

451
00:22:58,960 --> 00:23:00,920
Speaker 1: right where I'm like, I'm not the type of person

452
00:23:01,000 --> 00:23:03,199
Speaker 1: to like want to kill your passion for this like

453
00:23:03,320 --> 00:23:05,000
Speaker 1: one random thing, you know what I mean.

454
00:23:05,640 --> 00:23:08,000
Speaker 4: And that's something else that I think say should consider too,

455
00:23:08,119 --> 00:23:09,800
Speaker 4: is like you don't have to show everything you love

456
00:23:09,840 --> 00:23:14,159
Speaker 4: to other people hoard it.

457
00:23:15,440 --> 00:23:17,840
Speaker 7: I definitely used to think that you did, you know.

458
00:23:17,880 --> 00:23:19,919
Speaker 7: I think that I was sort of like, you know,

459
00:23:20,000 --> 00:23:22,720
Speaker 7: the video store version of like high fidelity.

460
00:23:23,760 --> 00:23:25,280
Speaker 8: When I was in graduate.

461
00:23:24,880 --> 00:23:27,080
Speaker 7: School, I used to, you know, like on like the

462
00:23:27,119 --> 00:23:30,439
Speaker 7: third date, I'd show guys kiss me Stupid as like

463
00:23:30,480 --> 00:23:35,159
Speaker 7: a referendum on their personality. Yeah, and I didn't go, well,

464
00:23:35,560 --> 00:23:36,879
Speaker 7: that wasn't a great idea.

465
00:23:37,000 --> 00:23:39,480
Speaker 4: And I feel like it's from from my perspective of

466
00:23:39,560 --> 00:23:43,160
Speaker 4: someone who who's a film enthusiast but definitely not an

467
00:23:43,160 --> 00:23:47,520
Speaker 4: expert by any stretch. I just love that anyone can

468
00:23:47,560 --> 00:23:49,840
Speaker 4: discover a classic movie to begin with, Like, there's so

469
00:23:49,960 --> 00:23:52,520
Speaker 4: much choice out there right now, and I think that

470
00:23:52,680 --> 00:23:57,120
Speaker 4: if if you love old films or interested in older films,

471
00:23:57,200 --> 00:23:58,800
Speaker 4: that you should just go with it and run with

472
00:23:58,840 --> 00:24:01,199
Speaker 4: it and like what you like, discover what you can discover.

473
00:24:01,440 --> 00:24:04,720
Speaker 4: And I think that's why one one of the many,

474
00:24:04,880 --> 00:24:07,200
Speaker 4: many reasons why I love listening to your podcast, because

475
00:24:07,240 --> 00:24:09,679
Speaker 4: there could be things that I think, oh, sure, I

476
00:24:09,680 --> 00:24:11,600
Speaker 4: probably know I know about that, like I've heard about that,

477
00:24:11,640 --> 00:24:14,000
Speaker 4: but then you do such an intense amount of research

478
00:24:14,480 --> 00:24:17,639
Speaker 4: and you help to kind of bring the focus into

479
00:24:17,680 --> 00:24:20,080
Speaker 4: the whole context of what was happening then, So it's

480
00:24:20,119 --> 00:24:22,720
Speaker 4: not just this film, it's let's look at this film

481
00:24:22,960 --> 00:24:25,639
Speaker 4: during this decade, during the you know the pre code

482
00:24:25,720 --> 00:24:28,080
Speaker 4: or you know the Code era. Let's look at you know,

483
00:24:28,119 --> 00:24:30,520
Speaker 4: what was happening with all of these different relationships. Let's

484
00:24:30,520 --> 00:24:32,679
Speaker 4: look what was happening with all these different studios. And

485
00:24:32,720 --> 00:24:34,719
Speaker 4: I think that if you have even a fleeting interest

486
00:24:34,920 --> 00:24:37,479
Speaker 4: in classic film, it's really helpful to think of it

487
00:24:37,480 --> 00:24:40,280
Speaker 4: that way and to kind of put it into context

488
00:24:41,640 --> 00:24:43,600
Speaker 4: of other things that you like or are interested in.

489
00:24:43,680 --> 00:24:44,960
Speaker 2: So I think it's it's.

490
00:24:44,760 --> 00:24:47,199
Speaker 4: Great that Shay that you tried to show this to

491
00:24:47,280 --> 00:24:49,320
Speaker 4: your your husband and your sister. But you can get

492
00:24:49,320 --> 00:24:51,679
Speaker 4: divorced and you can get emancipated and just not have

493
00:24:51,720 --> 00:24:53,479
Speaker 4: a family or a husband. If they don't like what

494
00:24:53,560 --> 00:24:55,320
Speaker 4: you like, just get rid of them.

495
00:24:56,920 --> 00:24:59,720
Speaker 7: Yeah, I mean, I hopefully, Like I mean, I know,

496
00:24:59,720 --> 00:25:03,480
Speaker 7: I've the experience of just not really being necessarily being

497
00:25:03,480 --> 00:25:06,560
Speaker 7: able to share everything with my spouse, and there are

498
00:25:06,600 --> 00:25:09,399
Speaker 7: things that he's interested in that I'm not, and vice versa,

499
00:25:09,480 --> 00:25:13,240
Speaker 7: and especially TV shows, like we have completely different TV shows,

500
00:25:13,280 --> 00:25:16,320
Speaker 7: and I think with movies, we have more in common,

501
00:25:16,400 --> 00:25:20,600
Speaker 7: But I mean, you know, there's definitely like he'll go

502
00:25:20,760 --> 00:25:23,800
Speaker 7: like get really deep into some like some genre or

503
00:25:23,840 --> 00:25:26,000
Speaker 7: some filmmaker or something, and like watch a lot of

504
00:25:26,040 --> 00:25:28,439
Speaker 7: it without me, you know, because you just can't be

505
00:25:28,520 --> 00:25:31,720
Speaker 7: together all the time and vice versa. And so yeah,

506
00:25:31,760 --> 00:25:34,960
Speaker 7: I think that you can have really rich experiences with

507
00:25:35,080 --> 00:25:38,080
Speaker 7: stuff that you don't necessarily share with other people.

508
00:25:38,520 --> 00:25:39,880
Speaker 2: Yeah, I could not agree more.

509
00:25:39,960 --> 00:25:44,160
Speaker 1: Did you get into anything in particular, like maybe during quarantine?

510
00:25:44,280 --> 00:25:46,320
Speaker 1: I was like talking to somebody the other day about that,

511
00:25:46,400 --> 00:25:48,680
Speaker 1: where they're like, oh, I went on this like whole

512
00:25:48,720 --> 00:25:51,040
Speaker 1: tear where I watched like all the James Bond movies

513
00:25:51,080 --> 00:25:53,639
Speaker 1: in a row during quarantine, or like, did you have

514
00:25:53,720 --> 00:25:56,320
Speaker 1: anything like that while you were in lockdown?

515
00:25:56,920 --> 00:25:57,160
Speaker 2: Yeah?

516
00:25:57,200 --> 00:25:59,639
Speaker 7: We start well, we started trying to watch all of

517
00:25:59,680 --> 00:26:02,680
Speaker 7: the Best Picture winners that we hadn't seen. I think

518
00:26:02,720 --> 00:26:07,439
Speaker 7: we only got through like four because so a lot

519
00:26:07,520 --> 00:26:09,119
Speaker 7: of times there's a reason why you hadn't seen them.

520
00:26:09,200 --> 00:26:13,199
Speaker 7: But I would say that a surprise for me was

521
00:26:13,240 --> 00:26:16,640
Speaker 7: actually Around the World in eighty Days, which I had

522
00:26:16,680 --> 00:26:19,560
Speaker 7: just expected that we would turn off after twenty minutes,

523
00:26:20,160 --> 00:26:22,359
Speaker 7: but I actually kind of found a lot of it

524
00:26:22,480 --> 00:26:28,600
Speaker 7: delightful racist. For sure, there's several different types of racism,

525
00:26:28,680 --> 00:26:35,680
Speaker 7: but the like just the technicolor spectacle of it.

526
00:26:34,040 --> 00:26:38,480
Speaker 8: It is pretty great. And David Niven and you know it.

527
00:26:39,080 --> 00:26:42,679
Speaker 7: I found that it wasn't like it certainly bloated, but

528
00:26:42,760 --> 00:26:45,879
Speaker 7: it wasn't boring, and I had definitely expected it to

529
00:26:45,880 --> 00:26:46,320
Speaker 7: be boring.

530
00:26:47,520 --> 00:26:50,360
Speaker 4: Yeah, that's the pitfall of some classic films as you're like, oh,

531
00:26:50,400 --> 00:26:52,359
Speaker 4: sexism and racism on parade.

532
00:26:53,480 --> 00:26:56,680
Speaker 7: But yeah, yeah, well, I mean also, like the whole

533
00:26:56,760 --> 00:26:59,640
Speaker 7: point of that movie is colonialism. It's just to say

534
00:26:59,680 --> 00:27:02,199
Speaker 7: like these rich white people can like go around the

535
00:27:02,200 --> 00:27:07,199
Speaker 7: world literally collect people of other races at certain points.

536
00:27:07,280 --> 00:27:11,239
Speaker 7: And one of those points, Surean McLean is playing a

537
00:27:11,240 --> 00:27:16,639
Speaker 7: person of another race. So you know, certainly some filmmaking

538
00:27:16,680 --> 00:27:18,600
Speaker 7: decisions that I hope would not be made today.

539
00:27:18,960 --> 00:27:19,560
Speaker 2: Yeah.

540
00:27:19,640 --> 00:27:21,480
Speaker 1: Well, and that's kind of like to take it back

541
00:27:21,480 --> 00:27:25,760
Speaker 1: to this like Westward, the women passion that Shay has.

542
00:27:26,560 --> 00:27:28,440
Speaker 1: That was kind of what I was thinking when I

543
00:27:28,480 --> 00:27:31,080
Speaker 1: was rewatching it too, was just this idea of like

544
00:27:31,160 --> 00:27:34,080
Speaker 1: I'm sitting here going like, is this movie sexist? But

545
00:27:34,119 --> 00:27:36,520
Speaker 1: then there's also these like really powerful women who are

546
00:27:36,720 --> 00:27:38,800
Speaker 1: you know, because the film is essentially about you know,

547
00:27:40,680 --> 00:27:44,720
Speaker 1: traveling across the country into like in a stagecoach caravan

548
00:27:44,960 --> 00:27:48,560
Speaker 1: because they want to bring these single women to California

549
00:27:48,640 --> 00:27:53,280
Speaker 1: to like marry these guys, and essentially, you know, they

550
00:27:53,320 --> 00:27:57,400
Speaker 1: have to travel across the country in this very harsh environment,

551
00:27:57,600 --> 00:28:01,240
Speaker 1: like and parts of this movie are so grim, and

552
00:28:01,280 --> 00:28:03,159
Speaker 1: there was this like what I remember, there was this

553
00:28:03,200 --> 00:28:07,639
Speaker 1: one part where when I guess it's Robert Taylor character,

554
00:28:07,720 --> 00:28:11,880
Speaker 1: he's like addressing one of the guys that's gonna receive

555
00:28:12,160 --> 00:28:15,760
Speaker 1: this woman, you know, it was like a wife, and

556
00:28:16,040 --> 00:28:18,719
Speaker 1: he was like, these women have been through hell and

557
00:28:18,800 --> 00:28:20,760
Speaker 1: you should know because you were in the Donner Party.

558
00:28:20,920 --> 00:28:23,800
Speaker 1: And that's you know, basically he was like, you were

559
00:28:23,800 --> 00:28:26,359
Speaker 1: in the Donner Party and made it, and yet these

560
00:28:26,359 --> 00:28:28,399
Speaker 1: women have been through more than you. But it's that

561
00:28:28,480 --> 00:28:30,280
Speaker 1: whole thing where I'm like, Okay, so you have this

562
00:28:30,400 --> 00:28:34,000
Speaker 1: like Robert Taylor character who's basically like trying to tell

563
00:28:34,240 --> 00:28:36,680
Speaker 1: you know, like trying to make these women into men

564
00:28:36,800 --> 00:28:40,400
Speaker 1: so they can survive the harshness of this journey. But

565
00:28:40,480 --> 00:28:45,160
Speaker 1: then they're just like also really powerful, really compelling, interesting,

566
00:28:45,640 --> 00:28:46,720
Speaker 1: take no shit kind of women.

567
00:28:46,760 --> 00:28:47,520
Speaker 2: So I'm sitting here.

568
00:28:47,400 --> 00:28:50,880
Speaker 1: Going like I like this, but this seems a little sexist,

569
00:28:50,920 --> 00:28:53,920
Speaker 1: but it's also not sexist. And it's definitely there is

570
00:28:53,960 --> 00:28:56,760
Speaker 1: some racism with the Japanese cowboy, but the fact that

571
00:28:56,800 --> 00:28:58,920
Speaker 1: there was a Japanese cowboy.

572
00:28:59,120 --> 00:29:01,560
Speaker 2: In a movie, you know. So I'm just like, it's

573
00:29:01,600 --> 00:29:04,040
Speaker 2: always that sort of like dance of you know.

574
00:29:05,080 --> 00:29:08,160
Speaker 4: Yeah, And I definitely I wish I'm going to watch this.

575
00:29:08,200 --> 00:29:09,600
Speaker 4: I haven't watched this film yet, but I am going

576
00:29:09,640 --> 00:29:11,880
Speaker 4: to watch Westward the Women, and I'm glad I didn't

577
00:29:11,920 --> 00:29:15,920
Speaker 4: watch it before I spent four years in Alaska because

578
00:29:16,240 --> 00:29:21,200
Speaker 4: driving women to a strange land for marriage is kind

579
00:29:21,200 --> 00:29:25,360
Speaker 4: of the mo up there, really, well, like women used to.

580
00:29:25,280 --> 00:29:26,800
Speaker 2: Outnumber men by quite a bit there.

581
00:29:26,800 --> 00:29:29,400
Speaker 4: It's not that way anymore, but it used to be

582
00:29:29,520 --> 00:29:31,680
Speaker 4: very much like if you were a woman going to Alaska,

583
00:29:31,800 --> 00:29:34,000
Speaker 4: the thought was you're going to get a man, and

584
00:29:34,040 --> 00:29:37,080
Speaker 4: it's not. Sometimes you're just going because you're a depressed

585
00:29:37,120 --> 00:29:40,120
Speaker 4: weirdo who was in September eleventh and wants to get

586
00:29:40,120 --> 00:29:42,320
Speaker 4: into New York and you're not even thinking about that.

587
00:29:43,040 --> 00:29:45,840
Speaker 2: But this film sounds great, I think again.

588
00:29:45,920 --> 00:29:50,160
Speaker 4: My general steeze is that if you love a classic film,

589
00:29:51,480 --> 00:29:52,760
Speaker 4: just throw yourself into it.

590
00:29:52,840 --> 00:29:53,920
Speaker 2: Throw yourself into more.

591
00:29:54,800 --> 00:29:58,080
Speaker 4: I think that the underratedness of older films is going

592
00:29:58,120 --> 00:30:01,640
Speaker 4: to become It seems like a a gulf that's widening

593
00:30:01,760 --> 00:30:05,360
Speaker 4: as we get older, simply because more films are considered classic,

594
00:30:05,440 --> 00:30:09,640
Speaker 4: but also because more older films are becoming less available

595
00:30:10,000 --> 00:30:12,600
Speaker 4: depending on the format. So I think, you know, it's

596
00:30:12,680 --> 00:30:15,960
Speaker 4: it's in order to find some other films that you

597
00:30:16,000 --> 00:30:18,240
Speaker 4: know that other people might not get, you might have

598
00:30:18,320 --> 00:30:22,800
Speaker 4: to actually go to physical media. You might have to

599
00:30:23,040 --> 00:30:25,960
Speaker 4: like you know, just kind of expand a little bit

600
00:30:26,000 --> 00:30:27,920
Speaker 4: and then share it, share it with us, because.

601
00:30:27,760 --> 00:30:29,920
Speaker 2: We're here for you. We've got a community here.

602
00:30:29,800 --> 00:30:34,080
Speaker 7: On I decided at some point also during quarantine, to

603
00:30:34,960 --> 00:30:36,840
Speaker 7: try to watch all the Douglas Stark movies I had

604
00:30:36,880 --> 00:30:41,280
Speaker 7: never seen, but I had seen everything that was easily available,

605
00:30:41,640 --> 00:30:44,080
Speaker 7: and so then it was like there was one or

606
00:30:44,120 --> 00:30:46,200
Speaker 7: two that I was able to watch on YouTube, and

607
00:30:46,240 --> 00:30:48,320
Speaker 7: then there were a couple of others that I bought,

608
00:30:48,760 --> 00:30:52,520
Speaker 7: like Korean versions of that took for so long to

609
00:30:52,680 --> 00:30:54,600
Speaker 7: arrive that by the time they arrived, like I had

610
00:30:54,600 --> 00:30:56,840
Speaker 7: sort of moved on to something else, so I don't

611
00:30:57,280 --> 00:30:59,120
Speaker 7: watch but like.

612
00:30:59,080 --> 00:31:02,720
Speaker 2: I got the vaccine, I don't need this anymore. They're

613
00:31:02,760 --> 00:31:03,480
Speaker 2: waiting for me.

614
00:31:03,720 --> 00:31:06,680
Speaker 7: You know, when I get back onto it at kick,

615
00:31:06,720 --> 00:31:07,840
Speaker 7: which is inevitable.

616
00:31:08,120 --> 00:31:10,000
Speaker 2: That's great. That's a great idea.

617
00:31:10,960 --> 00:31:13,040
Speaker 4: I am so thrilled with this. I feel like we

618
00:31:13,080 --> 00:31:15,640
Speaker 4: gave Shaye a bunch of options.

619
00:31:16,320 --> 00:31:19,720
Speaker 1: I mean, listen, the purchase price got mentioned. That's that's

620
00:31:19,760 --> 00:31:23,000
Speaker 1: I'm good with that. Like if that was the only recommendation,

621
00:31:23,840 --> 00:31:26,120
Speaker 1: that's great. And and you know, when it comes down

622
00:31:26,120 --> 00:31:27,960
Speaker 1: to it too, I will say this. I mean, and

623
00:31:28,000 --> 00:31:29,800
Speaker 1: I don't know how if you feel this way, Krina,

624
00:31:30,560 --> 00:31:33,240
Speaker 1: I'm not gonna speak for you, but like I'm always

625
00:31:33,280 --> 00:31:36,000
Speaker 1: that person where I'm like when I was growing up,

626
00:31:36,040 --> 00:31:38,240
Speaker 1: liking old movies was weird, Like I was like, none

627
00:31:38,280 --> 00:31:39,720
Speaker 1: of my family likes old movies.

628
00:31:39,760 --> 00:31:41,360
Speaker 2: I like old movies, and I'm kind of like, I'm

629
00:31:41,360 --> 00:31:41,840
Speaker 2: cool with that.

630
00:31:42,200 --> 00:31:45,080
Speaker 1: If I'm the only person that likes it and I'm

631
00:31:45,080 --> 00:31:47,200
Speaker 1: the old I'm the funny duddy that likes old movies

632
00:31:47,200 --> 00:31:51,200
Speaker 1: and my family, fine, I'm cool. So if anybody's gonna

633
00:31:51,240 --> 00:31:56,280
Speaker 1: give you shit for loving Westward the women, I say,

634
00:31:56,480 --> 00:31:59,160
Speaker 1: lean into it and just be like, yes, this is

635
00:31:59,200 --> 00:31:59,520
Speaker 1: what I like.

636
00:31:59,720 --> 00:32:05,000
Speaker 2: Dress like the characters start cosplaying to say about.

637
00:32:04,800 --> 00:32:08,920
Speaker 1: It, just start going around like cracking whips and stuff.

638
00:32:08,560 --> 00:32:12,880
Speaker 9: And that would be like the actual version of you know,

639
00:32:14,120 --> 00:32:18,840
Speaker 9: sort of embracing your uh supposedly oppressed affinity group.

640
00:32:18,680 --> 00:32:21,160
Speaker 7: That like Comic Con thinks it is, or at least

641
00:32:21,200 --> 00:32:21,840
Speaker 7: at one point.

642
00:32:21,680 --> 00:32:22,560
Speaker 2: I thought it was.

643
00:32:25,240 --> 00:32:28,600
Speaker 7: You know, I guess that nobody's like actually filling convention

644
00:32:28,720 --> 00:32:35,160
Speaker 7: halls about William Wellman movies. Yet, Yes, maybe maybe the

645
00:32:35,200 --> 00:32:37,400
Speaker 7: three of us with our podcast can.

646
00:32:39,200 --> 00:32:41,600
Speaker 4: We're going to create a community for Shay that is

647
00:32:41,640 --> 00:32:43,960
Speaker 4: going to be like undeniable.

648
00:32:44,400 --> 00:32:47,560
Speaker 2: And I want that. I want that Comic Con panel

649
00:32:47,760 --> 00:32:53,280
Speaker 2: so bad I would actually go to cosplay. Holy shit,

650
00:32:53,680 --> 00:32:54,760
Speaker 2: that just blew my mind.

651
00:32:56,240 --> 00:32:57,520
Speaker 1: I want to ask you a little bit about the

652
00:32:57,600 --> 00:33:01,160
Speaker 1: last season of your podcast, which was about which was

653
00:33:01,200 --> 00:33:04,520
Speaker 1: called Gossip Girls, and it was about Louella Parsons and

654
00:33:04,520 --> 00:33:05,200
Speaker 1: head of Hopper.

655
00:33:05,840 --> 00:33:08,880
Speaker 3: We actually know somebody who we know, Julie Klausner.

656
00:33:08,920 --> 00:33:11,480
Speaker 1: We were on her podcast recently and I know she

657
00:33:11,560 --> 00:33:14,280
Speaker 1: played on one of the Girls, So I thought it

658
00:33:14,320 --> 00:33:16,080
Speaker 1: was entirely fascinating.

659
00:33:17,320 --> 00:33:18,520
Speaker 2: I'm really glad you did it.

660
00:33:18,560 --> 00:33:22,200
Speaker 1: I mean, you obviously are really great at picking subjects

661
00:33:22,320 --> 00:33:27,520
Speaker 1: that really need like a spotlight and finding these like

662
00:33:27,560 --> 00:33:31,920
Speaker 1: little pockets of old Hollywood is so fantastic, And.

663
00:33:33,240 --> 00:33:35,880
Speaker 3: Are you working on anything else? Like what's the next step.

664
00:33:36,360 --> 00:33:39,000
Speaker 7: Yeah, I'm working on a couple of things right now.

665
00:33:39,440 --> 00:33:43,600
Speaker 8: The next thing that people will hear from me is I.

666
00:33:43,520 --> 00:33:45,320
Speaker 7: Don't think I'm allowed to say what it is, but

667
00:33:45,400 --> 00:33:47,960
Speaker 7: it's a podcast that is sort of in the vein

668
00:33:48,000 --> 00:33:52,000
Speaker 7: of you must remember this. But I'm collaborating with somebody

669
00:33:52,000 --> 00:33:55,600
Speaker 7: who's the granddaughter of the people that it's about figures

670
00:33:55,600 --> 00:33:59,320
Speaker 7: from sort of nineteen thirties through nineteen sixties Hollywood, and

671
00:33:59,480 --> 00:34:01,959
Speaker 7: so I'm doing that like for another company. It's not

672
00:34:01,960 --> 00:34:04,280
Speaker 7: going to be you Must Remember this, but people who

673
00:34:04,320 --> 00:34:06,320
Speaker 7: listen to you must Remember this should look out for

674
00:34:06,400 --> 00:34:08,640
Speaker 7: it in August, and then there's going to be another

675
00:34:08,680 --> 00:34:10,600
Speaker 7: season of You Must Remember This in the Fall, which

676
00:34:11,600 --> 00:34:14,839
Speaker 7: I'm working on right now, and I don't want to

677
00:34:14,840 --> 00:34:17,799
Speaker 7: say exactly what it's about, but it's about it's about

678
00:34:17,840 --> 00:34:21,200
Speaker 7: two men, which is not something I do very often.

679
00:34:21,320 --> 00:34:24,560
Speaker 4: So so intrigued, I can't wait.

680
00:34:24,640 --> 00:34:29,080
Speaker 7: And there's lots of themes of masculinity and music.

681
00:34:29,680 --> 00:34:32,000
Speaker 2: Well, there there are so many seasons to dig into.

682
00:34:32,040 --> 00:34:35,000
Speaker 4: If you have not already listened to all that, you

683
00:34:35,080 --> 00:34:36,640
Speaker 4: must remember this has to offer.

684
00:34:36,880 --> 00:34:39,279
Speaker 2: Your mind is about to be blown. We're just so

685
00:34:39,280 --> 00:34:40,319
Speaker 2: grateful that you were with.

686
00:34:40,280 --> 00:34:43,720
Speaker 4: Us, that you took the time and again, like just huge,

687
00:34:43,960 --> 00:34:46,640
Speaker 4: huge fans of you as as a as a as

688
00:34:46,640 --> 00:34:48,680
Speaker 4: a creator, but also just as a person, Like you're

689
00:34:48,719 --> 00:34:51,279
Speaker 4: just a delight and you're so smart and funny and

690
00:34:52,120 --> 00:34:57,000
Speaker 4: just really really help more people find this this film

691
00:34:57,040 --> 00:35:00,799
Speaker 4: community that you've created, which is impressive and one, well,

692
00:35:00,840 --> 00:35:01,640
Speaker 4: thank you so much.

693
00:35:01,680 --> 00:35:03,560
Speaker 8: This was so fun. I'd love to come back.

694
00:35:07,920 --> 00:35:13,040
Speaker 4: All right, this week we're bringing the thunder. We're rethundering

695
00:35:13,320 --> 00:35:13,600
Speaker 4: to be.

696
00:35:15,360 --> 00:35:15,880
Speaker 2: Thundering.

697
00:35:19,400 --> 00:35:23,680
Speaker 4: We're re thundering because we've got a theme that we've

698
00:35:23,800 --> 00:35:28,520
Speaker 4: we've discussed before, but it is a deep well that

699
00:35:28,560 --> 00:35:30,480
Speaker 4: we can return to again and again.

700
00:35:31,640 --> 00:35:33,480
Speaker 2: And Millie, do you want to tell them what it is?

701
00:35:35,040 --> 00:35:40,040
Speaker 2: The theme is classic movie fuck boys A woo a woo.

702
00:35:40,920 --> 00:35:44,000
Speaker 1: There are so many, so many, and we, like I said,

703
00:35:44,080 --> 00:35:49,480
Speaker 1: we did this. This was episode number six where we

704
00:35:49,640 --> 00:35:55,280
Speaker 1: paired two films that displayed classic movie fuck boys.

705
00:35:55,760 --> 00:36:00,239
Speaker 2: They were reality bites and the way we were And I.

706
00:36:00,160 --> 00:36:01,799
Speaker 1: Know it was an early episode, but if you haven't

707
00:36:01,800 --> 00:36:03,560
Speaker 1: listened to it, you should go back and listen to it.

708
00:36:03,960 --> 00:36:06,080
Speaker 1: And then listen to this, because you know, we sort

709
00:36:06,120 --> 00:36:09,600
Speaker 1: of set up the idea of what a classic movie

710
00:36:09,600 --> 00:36:11,759
Speaker 1: fuck boy is, which is basically just a fuck boy

711
00:36:11,760 --> 00:36:13,080
Speaker 1: but in an old movie.

712
00:36:13,040 --> 00:36:14,480
Speaker 2: Right exactly.

713
00:36:14,760 --> 00:36:17,759
Speaker 4: And there we used in the first episode that we

714
00:36:17,800 --> 00:36:20,520
Speaker 4: talked about this just kind of one definition of fuck

715
00:36:20,600 --> 00:36:24,200
Speaker 4: boy to kind of cover both and it worked out

716
00:36:24,200 --> 00:36:27,400
Speaker 4: well because they were both, you know, equally awful in

717
00:36:27,440 --> 00:36:30,400
Speaker 4: the same way. And I think for this week, for

718
00:36:30,560 --> 00:36:34,320
Speaker 4: my film, I took a different approach, and I took

719
00:36:34,480 --> 00:36:40,200
Speaker 4: an approach that just felt funny to me for my film,

720
00:36:40,480 --> 00:36:43,879
Speaker 4: but also as a definition, I'm taking fuck boy back

721
00:36:43,920 --> 00:36:48,480
Speaker 4: to its origin, which is in black culture, and instead

722
00:36:48,480 --> 00:36:50,680
Speaker 4: of it being just like a guy who fucks around

723
00:36:50,680 --> 00:36:54,120
Speaker 4: on women and it's constantly you know, stringing women along

724
00:36:54,239 --> 00:36:56,600
Speaker 4: to get what they want, I'm using it in the

725
00:36:56,640 --> 00:37:01,000
Speaker 4: traditional black culture sense of using the term fuck boy

726
00:37:01,840 --> 00:37:05,160
Speaker 4: to point out a man who's just kind of just

727
00:37:05,239 --> 00:37:07,640
Speaker 4: kind of sucks. So that's kind of kind of the

728
00:37:07,680 --> 00:37:09,719
Speaker 4: tactic I'm taking this week, is to bring it back

729
00:37:09,760 --> 00:37:12,920
Speaker 4: to its origin to talk about the dude that I've

730
00:37:12,920 --> 00:37:13,960
Speaker 4: picked out for my film.

731
00:37:14,520 --> 00:37:17,800
Speaker 1: Well, I gotta tell you, I think Mine is Mine

732
00:37:17,840 --> 00:37:19,839
Speaker 1: is not too far off that mark I mean, when

733
00:37:19,840 --> 00:37:22,279
Speaker 1: it comes down to it, I would say that the

734
00:37:22,480 --> 00:37:25,279
Speaker 1: first episode six, the first version of this that we did,

735
00:37:26,080 --> 00:37:31,040
Speaker 1: those guys are definitely like play as they enter into

736
00:37:31,080 --> 00:37:36,080
Speaker 1: these sort of like big romantic relationships with the central

737
00:37:36,160 --> 00:37:38,839
Speaker 1: character of the film, and it's just like, you know,

738
00:37:39,120 --> 00:37:41,080
Speaker 1: I guess in the scope of the film it's seen

739
00:37:41,120 --> 00:37:44,040
Speaker 1: as like super swoony, super romantic, but you know, from

740
00:37:44,160 --> 00:37:46,680
Speaker 1: our perspective, it was like, uh uh, that guy's a

741
00:37:46,680 --> 00:37:49,680
Speaker 1: fuck boy, you know, And and that's that was the

742
00:37:50,320 --> 00:37:52,440
Speaker 1: I guess that was sort of the humor of the episode,

743
00:37:52,520 --> 00:37:57,000
Speaker 1: right And in these movies for this time, these guys

744
00:37:57,040 --> 00:38:04,239
Speaker 1: are way more hardcore, I mean, diving into like the

745
00:38:04,320 --> 00:38:06,040
Speaker 1: criminal element, if you will.

746
00:38:06,160 --> 00:38:08,560
Speaker 4: So all that's in my head right now is that

747
00:38:08,719 --> 00:38:10,799
Speaker 4: Billy Joel song. I don't know why I go to

748
00:38:10,880 --> 00:38:14,239
Speaker 4: extremes because we went to extremes this time.

749
00:38:15,640 --> 00:38:17,799
Speaker 1: This is on the other side of the spectrum where

750
00:38:18,040 --> 00:38:19,600
Speaker 1: they are actual bad.

751
00:38:19,400 --> 00:38:22,120
Speaker 2: People, but then you are also boys.

752
00:38:22,480 --> 00:38:24,960
Speaker 1: And that's the humor of it is that we're like, oh,

753
00:38:25,000 --> 00:38:25,759
Speaker 1: they're fuck boys too.

754
00:38:25,800 --> 00:38:27,600
Speaker 2: It's like saying I'm a murderer, but I'm also a

755
00:38:27,640 --> 00:38:31,240
Speaker 2: fuck boy. Okay, right, we're just breaking down layers this time.

756
00:38:31,360 --> 00:38:34,520
Speaker 1: That's right, and ultimately, you know, I think these are

757
00:38:34,520 --> 00:38:40,440
Speaker 1: two movies that are very influential, very much a part

758
00:38:40,560 --> 00:38:43,920
Speaker 1: of that sort of classic film cannon and one is

759
00:38:43,960 --> 00:38:46,520
Speaker 1: like a much older film than the other, but even

760
00:38:46,600 --> 00:38:50,520
Speaker 1: the newer film is classic at this point. Enough time

761
00:38:50,560 --> 00:38:53,879
Speaker 1: has past, okay, So I'm excited to talk about him

762
00:38:53,920 --> 00:38:58,319
Speaker 1: and sort of like create the cases for both of

763
00:38:58,360 --> 00:39:00,680
Speaker 1: our characters and why they're fuck It's going.

764
00:39:00,680 --> 00:39:04,279
Speaker 2: To be fun. I cannot wait at all. And you're

765
00:39:04,320 --> 00:39:05,720
Speaker 2: going first and just lay.

766
00:39:05,560 --> 00:39:08,239
Speaker 4: It off because I have so much to say, Oh

767
00:39:08,320 --> 00:39:09,359
Speaker 4: my god, about.

768
00:39:09,040 --> 00:39:10,120
Speaker 2: Both of these films.

769
00:39:10,280 --> 00:39:12,359
Speaker 1: I was not prepared to go first, but I will

770
00:39:12,400 --> 00:39:18,279
Speaker 1: be because I am rare to go too. So my

771
00:39:18,520 --> 00:39:24,759
Speaker 1: film for the theme of classic movie fuck boys is

772
00:39:24,800 --> 00:39:29,160
Speaker 1: a movie released in nineteen fifty one. It was directed

773
00:39:29,200 --> 00:39:32,319
Speaker 1: by George Stevens and it's called A Place in the Sun.

774
00:39:32,880 --> 00:39:35,759
Speaker 9: This is the unforgettable story of a boy from nowhere

775
00:39:35,960 --> 00:39:39,520
Speaker 9: fighting desperately for his place in the sun, torn between

776
00:39:39,560 --> 00:39:42,040
Speaker 9: the conflicting passions that shaped his destiny.

777
00:39:42,520 --> 00:39:45,640
Speaker 1: Oh my goodness, Okay, so let's get some paperwork out

778
00:39:45,680 --> 00:39:48,200
Speaker 1: of the way. As I like to say, this film

779
00:39:48,320 --> 00:39:52,320
Speaker 1: was based on a book it was a crime fiction

780
00:39:52,520 --> 00:39:56,640
Speaker 1: novel okay, and it was called An American Tragedy. It

781
00:39:56,760 --> 00:40:01,240
Speaker 1: was released in nineteen twenty five and written by Theodore Dreiser,

782
00:40:01,600 --> 00:40:05,279
Speaker 1: and he based the book on a true crime that

783
00:40:05,480 --> 00:40:08,279
Speaker 1: happened in the early twentieth century, and it was the

784
00:40:08,400 --> 00:40:11,720
Speaker 1: murder of this woman named Grace Brown in nineteen oh six.

785
00:40:12,520 --> 00:40:16,759
Speaker 1: And prior to A Place in the Sun, there was

786
00:40:16,800 --> 00:40:19,760
Speaker 1: actually already a film adaptation that had come out in

787
00:40:19,800 --> 00:40:24,400
Speaker 1: the thirties that was called An American Tragedy and it

788
00:40:24,520 --> 00:40:28,319
Speaker 1: was directed by the great director Joseph von Sternberg, and

789
00:40:28,360 --> 00:40:33,480
Speaker 1: it starred the great Sylvia Sidney, whom I think most

790
00:40:33,880 --> 00:40:39,040
Speaker 1: people of a certain age remember as the older woman

791
00:40:39,239 --> 00:40:42,160
Speaker 1: in Beetlejuice that works in like the purgatory with the

792
00:40:42,200 --> 00:40:45,480
Speaker 1: cigarette out of the net. But you know, she had

793
00:40:45,480 --> 00:40:48,360
Speaker 1: a very long career and she was a great actress.

794
00:40:48,760 --> 00:40:51,640
Speaker 1: And I actually haven't seen An American Tragedy because I

795
00:40:51,640 --> 00:40:52,920
Speaker 1: think it's actually pretty.

796
00:40:52,600 --> 00:40:53,160
Speaker 2: Hard to find.

797
00:40:53,719 --> 00:40:58,840
Speaker 1: But it also kind of had this like tumultuous production history,

798
00:40:58,880 --> 00:41:02,799
Speaker 1: and it was like allegedly it was so hated by

799
00:41:02,920 --> 00:41:07,320
Speaker 1: Theodore Dreiser who wrote the book, that he actually sued.

800
00:41:06,960 --> 00:41:09,040
Speaker 2: The filmmakers because he hated it so much.

801
00:41:10,040 --> 00:41:12,320
Speaker 1: So it's just kind of a big mess with that version,

802
00:41:12,440 --> 00:41:14,880
Speaker 1: the thirty one version. But let's talk about the fifty

803
00:41:14,960 --> 00:41:18,680
Speaker 1: one version, which is obviously called A Place in the Sun. Now,

804
00:41:19,640 --> 00:41:23,080
Speaker 1: because Danielle has required us to do this by law,

805
00:41:23,280 --> 00:41:26,440
Speaker 1: I want to give a one sentence synopsis of the story.

806
00:41:28,440 --> 00:41:29,560
Speaker 2: Actually, she doesn't require it.

807
00:41:29,600 --> 00:41:31,080
Speaker 1: I just like it now Now I'm just like, I

808
00:41:31,080 --> 00:41:38,040
Speaker 1: gotta do it right by mutual decree. All right, So

809
00:41:38,280 --> 00:41:41,719
Speaker 1: one sentence synopsis of A Place in the Sun. A

810
00:41:41,760 --> 00:41:46,080
Speaker 1: young man from modest means is given the opportunity to

811
00:41:46,160 --> 00:41:49,040
Speaker 1: work at his rich uncle's company, where he finds himself

812
00:41:49,080 --> 00:41:53,560
Speaker 1: in a dire romantic and moral dilemma involving two women,

813
00:41:53,920 --> 00:41:57,760
Speaker 1: a factory line worker at his workplace and a wealthy,

814
00:41:58,120 --> 00:42:03,040
Speaker 1: beautiful girl about town. Nailed it, Okay, there was there

815
00:42:03,080 --> 00:42:05,799
Speaker 1: was a colon in there. It's technically one sentence. I

816
00:42:05,800 --> 00:42:06,560
Speaker 1: guess it is.

817
00:42:06,719 --> 00:42:07,319
Speaker 2: I love it.

818
00:42:07,440 --> 00:42:08,839
Speaker 4: I love it, and you know what else I love

819
00:42:09,080 --> 00:42:11,520
Speaker 4: Because this is again my favorite thing about watching older

820
00:42:11,560 --> 00:42:13,759
Speaker 4: movies is when they do the whole they roll all

821
00:42:13,840 --> 00:42:16,640
Speaker 4: the credits as the movie is starting in the beginning,

822
00:42:16,680 --> 00:42:19,360
Speaker 4: instead of waiting until the end, and right away I

823
00:42:19,440 --> 00:42:24,480
Speaker 4: noticed that there is an actor named Keith, and I

824
00:42:24,480 --> 00:42:27,560
Speaker 4: don't know why that makes me laugh so hard, but

825
00:42:27,680 --> 00:42:31,759
Speaker 4: his name is Keith. And then there's a character named Bellows,

826
00:42:33,560 --> 00:42:34,640
Speaker 4: and I'm like, I'm in.

827
00:42:38,520 --> 00:42:43,640
Speaker 2: Is it Chief Keith? No, I'm sorry Bellows all right.

828
00:42:44,280 --> 00:42:50,320
Speaker 1: So obviously this film is a movie that I would

829
00:42:50,360 --> 00:42:55,880
Speaker 1: say in big capitol letters, is a big important film

830
00:42:56,200 --> 00:43:00,360
Speaker 1: right on, one of the great classic American films. It

831
00:43:00,480 --> 00:43:03,960
Speaker 1: stars two of the biggest stars of the nineteen fifties,

832
00:43:04,040 --> 00:43:07,640
Speaker 1: Elizabeth Taylor of Montgomery Cliff. They would be good friends

833
00:43:07,680 --> 00:43:10,200
Speaker 1: for the rest of their lives after this film was made.

834
00:43:10,480 --> 00:43:13,040
Speaker 1: More about that later, and it won a ton of

835
00:43:13,040 --> 00:43:15,080
Speaker 1: Oscars when it came out. And I actually didn't know

836
00:43:15,120 --> 00:43:17,920
Speaker 1: this until Danielle and I were on an episode of

837
00:43:18,000 --> 00:43:21,520
Speaker 1: Double Threat, which is the podcast from Julie Klausner and

838
00:43:21,560 --> 00:43:24,960
Speaker 1: Tom Sharpling, and Tom mentioned this in that episode that

839
00:43:24,960 --> 00:43:26,840
Speaker 1: we were on, and actually didn't know this, But this

840
00:43:27,480 --> 00:43:29,879
Speaker 1: movie A Place in the Sun was Mike Nichol's favorite film,

841
00:43:29,920 --> 00:43:32,160
Speaker 1: and apparently he watched it like fifty times or something,

842
00:43:33,600 --> 00:43:35,719
Speaker 1: which I think is really interesting. So I want to

843
00:43:35,719 --> 00:43:37,879
Speaker 1: talk about the director, George Stevens just a little bit.

844
00:43:37,960 --> 00:43:41,120
Speaker 1: Because if you listen to episode sixteen, which is the

845
00:43:41,120 --> 00:43:44,920
Speaker 1: episode where we talked about Gleaming the Cube and Memphis Bell.

846
00:43:46,440 --> 00:43:50,400
Speaker 4: I breathe, right, wait, how is George Stevens factor.

847
00:43:50,040 --> 00:43:52,560
Speaker 2: In come on this journey with me?

848
00:43:54,160 --> 00:43:57,040
Speaker 1: I talked about Memphis Bell, and I talked about Five

849
00:43:57,120 --> 00:44:00,279
Speaker 1: Came Back, which was the book by Mark Harris, but

850
00:44:00,440 --> 00:44:03,600
Speaker 1: also is the general idea of these like five Hollywood

851
00:44:03,600 --> 00:44:07,319
Speaker 1: directors who who went to World War Two and then

852
00:44:07,520 --> 00:44:10,480
Speaker 1: came back, and George Stevens was one of the five came.

853
00:44:10,280 --> 00:44:12,480
Speaker 2: Back, which I think is really interesting. Yea.

854
00:44:12,560 --> 00:44:15,920
Speaker 1: So we begin this film with a man named George

855
00:44:15,920 --> 00:44:18,320
Speaker 1: Eastman who was played by Montgomery Cliff.

856
00:44:19,000 --> 00:44:21,920
Speaker 3: George is the nephew of this wealthy business.

857
00:44:21,520 --> 00:44:24,240
Speaker 1: Owner, and at the beginning of the film, we're told

858
00:44:24,280 --> 00:44:28,520
Speaker 1: that George basically grew up poor and in the church.

859
00:44:29,520 --> 00:44:32,799
Speaker 1: I think, like his mother was a missionary and they

860
00:44:32,880 --> 00:44:36,000
Speaker 1: used to do like Christmas carols or something they used

861
00:44:36,000 --> 00:44:36,719
Speaker 1: to sing for.

862
00:44:36,719 --> 00:44:39,960
Speaker 4: People like on the street, right, Like he was like

863
00:44:39,960 --> 00:44:40,880
Speaker 4: a street performer.

864
00:44:41,480 --> 00:44:44,719
Speaker 1: Yeah, but he grew up poor and in the church,

865
00:44:44,760 --> 00:44:46,880
Speaker 1: and then he left school at a certain point to

866
00:44:46,880 --> 00:44:49,680
Speaker 1: start working, like kind of odd jobs to support the family,

867
00:44:49,719 --> 00:44:51,440
Speaker 1: which is how he gets back in touch with his

868
00:44:51,760 --> 00:44:54,880
Speaker 1: uncle of his and at the beginning of the film,

869
00:44:55,600 --> 00:45:00,879
Speaker 1: George arrives in California, where his uncle Charles Eastman has

870
00:45:00,960 --> 00:45:06,440
Speaker 1: offered him this job at his company, which makes bathing suits.

871
00:45:06,560 --> 00:45:07,800
Speaker 2: I guess that's what they make.

872
00:45:10,239 --> 00:45:13,960
Speaker 4: Love because at first I'm like, oh Eastman, like Eastman Kodak. No,

873
00:45:14,360 --> 00:45:17,800
Speaker 4: it's bathing suit Eastman, not Kodak Eastman. And I also

874
00:45:17,920 --> 00:45:21,040
Speaker 4: love that Montgomery Cliff is like in the beginning, he's

875
00:45:21,080 --> 00:45:23,080
Speaker 4: kind of hitching, he's got his thumb out for a while,

876
00:45:23,440 --> 00:45:26,440
Speaker 4: and he's watching all these beautiful cars pass and then

877
00:45:26,480 --> 00:45:31,360
Speaker 4: he ends up rolling into California in a Beverly hillbilly's Galopi.

878
00:45:31,800 --> 00:45:33,439
Speaker 2: Yeah it's checking truck.

879
00:45:33,960 --> 00:45:37,279
Speaker 4: The only person that stops for him is like this

880
00:45:37,560 --> 00:45:39,680
Speaker 4: pure Galopi and I love it.

881
00:45:40,080 --> 00:45:41,960
Speaker 2: Yeah, it really. It really sets a tone.

882
00:45:43,160 --> 00:45:46,440
Speaker 1: But basically George gets a room at a local boarding

883
00:45:46,480 --> 00:45:49,840
Speaker 1: house and the next day he comes into the factory

884
00:45:49,880 --> 00:45:52,799
Speaker 1: and his cousin Earl, is in charge of putting him

885
00:45:53,120 --> 00:45:55,919
Speaker 1: on the factory line to like box up these swimsuits.

886
00:45:56,520 --> 00:45:59,200
Speaker 1: And this cousin and uncle, so this side of the

887
00:45:59,280 --> 00:46:00,200
Speaker 1: Eastman family.

888
00:46:00,320 --> 00:46:02,560
Speaker 3: Okay, we're told that they are.

889
00:46:03,239 --> 00:46:07,520
Speaker 1: They basically run this town that they're in and they're

890
00:46:07,560 --> 00:46:11,319
Speaker 1: incredibly rich. They sit around in like fancy clothing and

891
00:46:11,360 --> 00:46:14,760
Speaker 1: sip cocktails. I mean it is like a wit Stillman

892
00:46:14,840 --> 00:46:19,120
Speaker 1: movie up in there, right. And one night George is

893
00:46:19,160 --> 00:46:25,120
Speaker 1: invited to his uncle's mansion and when he's there, a

894
00:46:25,200 --> 00:46:29,680
Speaker 1: woman shows up and she is the beautiful and effervescent

895
00:46:30,160 --> 00:46:36,200
Speaker 1: Angela Vickers, who was played by Elizabeth Taylor, who at

896
00:46:36,239 --> 00:46:40,480
Speaker 1: the time was seventeen years old and just like impossibly

897
00:46:41,080 --> 00:46:46,200
Speaker 1: radiant and beautiful, right completely, And she was beautiful her

898
00:46:46,400 --> 00:46:49,720
Speaker 1: entire life. Trust me, I'm like one of the biggest

899
00:46:49,760 --> 00:46:52,239
Speaker 1: Elizabeth Taylor stands, we know, but.

900
00:46:53,880 --> 00:46:54,640
Speaker 2: At this like a.

901
00:46:54,600 --> 00:46:57,560
Speaker 1: Place in the sun was like, you know, she was

902
00:46:57,640 --> 00:47:01,080
Speaker 1: just sort of like young beautiful she was she had

903
00:47:01,120 --> 00:47:02,759
Speaker 1: been a child actor, but this was kind of her

904
00:47:02,840 --> 00:47:04,520
Speaker 1: like big.

905
00:47:04,239 --> 00:47:09,000
Speaker 4: Thing, right, yeah, completely, And that meeting is great, like

906
00:47:09,040 --> 00:47:11,440
Speaker 4: that whole intro. I love it because it's like the

907
00:47:11,520 --> 00:47:13,960
Speaker 4: kind of before he gets there, before George gets there,

908
00:47:13,960 --> 00:47:17,000
Speaker 4: it's like the family sitting around talking about George and

909
00:47:17,120 --> 00:47:18,000
Speaker 4: like who is this guy?

910
00:47:18,000 --> 00:47:19,640
Speaker 2: And why'd you give him a job? And his wife's

911
00:47:19,640 --> 00:47:21,000
Speaker 2: a little bit snobby about it.

912
00:47:21,600 --> 00:47:24,839
Speaker 4: My favorite thing about that whole scene is I just

913
00:47:24,920 --> 00:47:27,480
Speaker 4: I love a man who calls his family you people.

914
00:47:28,160 --> 00:47:31,120
Speaker 4: So he turns to that and his wife's like, how

915
00:47:31,160 --> 00:47:32,960
Speaker 4: are we going to entertain him socially?

916
00:47:33,000 --> 00:47:35,040
Speaker 2: Like we don't know him, and he's like, you people

917
00:47:35,080 --> 00:47:38,799
Speaker 2: don't have to entertain like you people don't have to

918
00:47:38,840 --> 00:47:42,160
Speaker 2: hang out with this guy, Get off my back. I

919
00:47:42,320 --> 00:47:42,640
Speaker 2: love it.

920
00:47:42,960 --> 00:47:47,880
Speaker 1: He's so used to berating his employees at this company that.

921
00:47:47,760 --> 00:47:49,840
Speaker 2: He treats his family like that. Like he's basically like

922
00:47:49,920 --> 00:47:51,439
Speaker 2: you people, Oh, I'm sorry, I'm married.

923
00:47:51,480 --> 00:47:54,960
Speaker 1: You're my wife, and said my son, It's so great.

924
00:47:56,239 --> 00:47:58,640
Speaker 1: Gotta love a shitty old white businessman.

925
00:48:00,080 --> 00:48:02,759
Speaker 4: We'll peek into that world instantly exactly.

926
00:48:03,760 --> 00:48:07,319
Speaker 2: But when Angela wafts into.

927
00:48:07,040 --> 00:48:12,399
Speaker 1: The room, George is like ooh, like he is completely

928
00:48:12,440 --> 00:48:16,000
Speaker 1: taken aback by her beauty and grace, and he gets

929
00:48:16,000 --> 00:48:18,279
Speaker 1: like a ten second little glance of her, and then

930
00:48:18,320 --> 00:48:21,000
Speaker 1: she's off into the night with Earl and their friends,

931
00:48:21,760 --> 00:48:24,840
Speaker 1: and that's kind of their first initial pairing.

932
00:48:25,520 --> 00:48:26,480
Speaker 2: It was very brief.

933
00:48:27,000 --> 00:48:31,279
Speaker 1: Cut to George is back on the factory line and

934
00:48:32,080 --> 00:48:35,680
Speaker 1: he's having this little flirtation with a woman that he

935
00:48:35,719 --> 00:48:39,200
Speaker 1: works with named Alice Tripp, and she is played by

936
00:48:39,480 --> 00:48:43,120
Speaker 1: Shelley Winters, a favorite of the I Saw What She

937
00:48:43,160 --> 00:48:43,600
Speaker 1: Did Crew.

938
00:48:44,040 --> 00:48:44,360
Speaker 2: Yes.

939
00:48:44,840 --> 00:48:49,600
Speaker 1: Now, this is in spite of the fact that his cousin, Earl,

940
00:48:49,680 --> 00:48:51,960
Speaker 1: has told him on the first day that he started

941
00:48:51,960 --> 00:48:56,920
Speaker 1: working there, that workplace romance is absolutely forbidden at this company.

942
00:48:57,080 --> 00:48:58,480
Speaker 2: It's like the only thing he told him.

943
00:48:58,480 --> 00:48:59,840
Speaker 4: He'd even tell him, like how to do his j

944
00:49:00,520 --> 00:49:04,120
Speaker 4: he was like, Hey, welcome, do not fuck anybody here,

945
00:49:05,360 --> 00:49:07,359
Speaker 4: have fun at work. And he's like, when is work?

946
00:49:07,400 --> 00:49:09,239
Speaker 4: What am I doing? He's like, Oh, go over there,

947
00:49:09,280 --> 00:49:11,200
Speaker 4: figure it out. Don't fuck anybody.

948
00:49:11,920 --> 00:49:16,400
Speaker 1: So, in spite of this, of all this information, George

949
00:49:16,800 --> 00:49:20,080
Speaker 1: sees Alice at the movies one night and they end

950
00:49:20,200 --> 00:49:22,959
Speaker 1: up sitting together, and they end up hanging out after

951
00:49:23,000 --> 00:49:28,120
Speaker 1: the movie and like, okay, George is already trying to

952
00:49:28,120 --> 00:49:29,080
Speaker 1: put on the moves.

953
00:49:29,280 --> 00:49:32,920
Speaker 2: Okay. Now, I've seen this movie like several times, and.

954
00:49:34,560 --> 00:49:37,000
Speaker 1: I will say this, when I watched it the other

955
00:49:37,080 --> 00:49:40,080
Speaker 1: night for this episode, I was actually kind of shocked

956
00:49:40,520 --> 00:49:45,640
Speaker 1: by how horny and intense George is on this first date.

957
00:49:45,760 --> 00:49:48,960
Speaker 1: It was like an accidental first date. Yeah, in a

958
00:49:49,040 --> 00:49:51,160
Speaker 1: movie from nineteen fifty one, no doubt.

959
00:49:51,719 --> 00:49:54,400
Speaker 4: Yeah, no, it's like on display, like he is just like,

960
00:49:55,360 --> 00:49:56,600
Speaker 4: oh cool, we're at the movies.

961
00:49:56,719 --> 00:49:59,200
Speaker 2: How about we kiss? No, how about we fuck? What?

962
00:50:00,160 --> 00:50:03,040
Speaker 4: He's just like in the car, like everywhere, he's just

963
00:50:03,160 --> 00:50:05,480
Speaker 4: leading with his boner all over this movie.

964
00:50:06,160 --> 00:50:09,120
Speaker 1: I was like, damn, dude, like you literally you just

965
00:50:09,239 --> 00:50:11,960
Speaker 1: ran into this woman like a couple of hours ago,

966
00:50:13,239 --> 00:50:15,240
Speaker 1: and I have. And it also has to be said,

967
00:50:16,200 --> 00:50:21,680
Speaker 1: so this is a time where normal working class people,

968
00:50:21,960 --> 00:50:25,160
Speaker 1: especially if you were single, lived in these sort of

969
00:50:25,239 --> 00:50:29,360
Speaker 1: roomming or boarding houses where the landlords of.

970
00:50:29,360 --> 00:50:33,040
Speaker 2: These places were like almost like surrogate parents.

971
00:50:33,000 --> 00:50:36,839
Speaker 3: And they were all up in your business all over.

972
00:50:36,920 --> 00:50:39,319
Speaker 4: You can't even you get a piece of mail and

973
00:50:39,320 --> 00:50:41,760
Speaker 4: they're like, who's this, Like that's my cousin?

974
00:50:41,840 --> 00:50:45,200
Speaker 2: All right? Cool? Like I mean, yes, I thought it.

975
00:50:45,360 --> 00:50:49,279
Speaker 1: It's absolutely wild from like a modern perspective, but back

976
00:50:49,320 --> 00:50:53,799
Speaker 1: then it was totally koch for your landlord to kick

977
00:50:53,840 --> 00:50:56,280
Speaker 1: you out of the house, put you on the street

978
00:50:56,920 --> 00:51:00,840
Speaker 1: for seeing you engage in like a French let's kiss

979
00:51:01,280 --> 00:51:03,759
Speaker 1: on the sidewalk in front of their damn house. Like

980
00:51:04,120 --> 00:51:05,960
Speaker 1: it wasn't even like you wouldn't even have to be

981
00:51:06,040 --> 00:51:07,880
Speaker 1: in the house doing anything if they just saw you

982
00:51:07,920 --> 00:51:10,760
Speaker 1: from the window. Hey, that woman lives in my building.

983
00:51:10,880 --> 00:51:13,359
Speaker 1: She's kissing a guy. She's out of here, and you're like,

984
00:51:13,440 --> 00:51:16,400
Speaker 1: what how is I put it on out?

985
00:51:16,960 --> 00:51:19,680
Speaker 4: Also, what I love about this date as well, this

986
00:51:19,280 --> 00:51:22,360
Speaker 4: first date, which is completely accidental, is it made me

987
00:51:22,480 --> 00:51:27,480
Speaker 4: question like, on what date do you reveal your deepest

988
00:51:27,520 --> 00:51:31,000
Speaker 4: fears or your biggest secrets? Because Alice was just like, hey,

989
00:51:31,280 --> 00:51:34,359
Speaker 4: thanks for walking me home. PS, I don't know how

990
00:51:34,360 --> 00:51:38,240
Speaker 4: to swim. I'm afraid of water. I'm like, that feels

991
00:51:38,239 --> 00:51:39,880
Speaker 4: like a date eighteen kind.

992
00:51:39,760 --> 00:51:42,400
Speaker 2: Of thing to me, Like feels like very vulnerable.

993
00:51:43,520 --> 00:51:45,040
Speaker 4: She's like, I grew up on a farm, my family

994
00:51:45,120 --> 00:51:46,840
Speaker 4: superpore and I don't like water and I don't know

995
00:51:46,840 --> 00:51:47,480
Speaker 4: how to swim.

996
00:51:47,560 --> 00:51:49,440
Speaker 2: And I'm like, maybe keep a little bit of that

997
00:51:49,520 --> 00:51:50,720
Speaker 2: under the vest a little bit.

998
00:51:50,960 --> 00:51:53,440
Speaker 1: Right, because this guy's going to bookmark that comment for

999
00:51:53,600 --> 00:51:57,719
Speaker 1: later on in the film. But listen, okay, if we're

1000
00:51:57,760 --> 00:52:00,200
Speaker 1: talking about fuck boys on this episode, and we are,

1001
00:52:00,760 --> 00:52:04,240
Speaker 1: I feel like this date really lays the foundation. Okay,

1002
00:52:04,320 --> 00:52:08,399
Speaker 1: because George is coming in real hot very early on,

1003
00:52:09,080 --> 00:52:12,160
Speaker 1: which of course sets a tone that is going to

1004
00:52:12,200 --> 00:52:15,040
Speaker 1: make things very complicated for him later on, as we

1005
00:52:15,080 --> 00:52:18,279
Speaker 1: will see you. So you've got George Nallis now who

1006
00:52:18,320 --> 00:52:21,480
Speaker 1: are seeing each other on the sly because again no

1007
00:52:21,600 --> 00:52:25,160
Speaker 1: workplace romance, and since they both live in boarding houses,

1008
00:52:25,320 --> 00:52:28,799
Speaker 1: they basically have no place to get busy ever, and

1009
00:52:28,880 --> 00:52:31,600
Speaker 1: since they're not supposed to be dating, they can't even

1010
00:52:31,640 --> 00:52:36,680
Speaker 1: hang out at work. But in spite of these inconveniences,

1011
00:52:36,719 --> 00:52:38,759
Speaker 1: they seem to be very smitten with each other, and

1012
00:52:38,800 --> 00:52:42,600
Speaker 1: one night they actually do find a way to consummate

1013
00:52:42,640 --> 00:52:46,960
Speaker 1: the relationship. And this whole seduction sequence takes place on

1014
00:52:47,120 --> 00:52:50,560
Speaker 1: opposite sides of a window in the dark in one

1015
00:52:50,560 --> 00:52:52,800
Speaker 1: of their rooms, in one of their boarding house rooms.

1016
00:52:53,160 --> 00:52:57,319
Speaker 1: And in the movie, this scene is very evocative, but

1017
00:52:57,560 --> 00:53:02,320
Speaker 1: I also feel like it shows you really how these

1018
00:53:02,320 --> 00:53:06,040
Speaker 1: two grown adults had pretty much little to no privacy

1019
00:53:07,360 --> 00:53:10,440
Speaker 1: in their lives. And it's really because of their economic status.

1020
00:53:10,480 --> 00:53:13,479
Speaker 1: It's because of who they are as people in this world, right, Yeah,

1021
00:53:13,600 --> 00:53:14,520
Speaker 1: total class issues.

1022
00:53:14,560 --> 00:53:14,759
Speaker 2: Yeah.

1023
00:53:14,760 --> 00:53:19,320
Speaker 1: I mean it's almost like, in a way, money gives

1024
00:53:19,320 --> 00:53:22,360
Speaker 1: you privacy, it gives you a place to live your life.

1025
00:53:22,440 --> 00:53:24,840
Speaker 2: And that happens later on in the film, where.

1026
00:53:25,600 --> 00:53:29,640
Speaker 1: You know, like rich people have lakes that no one

1027
00:53:30,160 --> 00:53:33,319
Speaker 1: is on, like the lakes to themselves entire houses and

1028
00:53:33,360 --> 00:53:34,600
Speaker 1: spaces to themselves.

1029
00:53:34,920 --> 00:53:35,840
Speaker 2: It's really interesting.

1030
00:53:36,040 --> 00:53:37,920
Speaker 1: And also, just as a side note, there's something I

1031
00:53:37,920 --> 00:53:40,640
Speaker 1: did notice in his rewatch, which is that there is

1032
00:53:40,719 --> 00:53:43,560
Speaker 1: a lot of use of windows in this movie, which,

1033
00:53:44,080 --> 00:53:46,160
Speaker 1: if you look at it from the class perspective, I

1034
00:53:46,160 --> 00:53:48,640
Speaker 1: think makes a little sense. I mean, this is a

1035
00:53:48,719 --> 00:53:52,080
Speaker 1: movie about people who are looking in and you know,

1036
00:53:52,280 --> 00:53:55,520
Speaker 1: I'm probably not the first person to make this observation,

1037
00:53:55,640 --> 00:53:57,960
Speaker 1: so I digress. But anyway, I just I needed to

1038
00:53:58,040 --> 00:53:59,719
Speaker 1: say that for the record.

1039
00:54:00,040 --> 00:54:02,520
Speaker 4: Sting in observation and from my perspective, you are the

1040
00:54:02,520 --> 00:54:04,080
Speaker 4: first person to say it, so suck it.

1041
00:54:04,160 --> 00:54:05,680
Speaker 2: Anyone else, Thank you.

1042
00:54:06,160 --> 00:54:09,200
Speaker 1: I hope to be footnoted in a Wikipedia article about

1043
00:54:09,520 --> 00:54:11,080
Speaker 1: I'm just kidding, don't do that?

1044
00:54:11,960 --> 00:54:12,759
Speaker 2: So okay.

1045
00:54:12,800 --> 00:54:16,840
Speaker 1: At this point, Alice starts telling George, Hey, this is fun,

1046
00:54:16,960 --> 00:54:21,120
Speaker 1: but you know, eventually, because you're an Eastman, you're gonna

1047
00:54:21,120 --> 00:54:24,399
Speaker 1: get fast tracked and you're gonna forget about me, which

1048
00:54:24,400 --> 00:54:27,759
Speaker 1: is I think it's a reasonable read on the situation

1049
00:54:27,880 --> 00:54:31,600
Speaker 1: on her part, I think, But George and says listen, like,

1050
00:54:31,719 --> 00:54:34,320
Speaker 1: I am actually from the poor part of this family,

1051
00:54:34,400 --> 00:54:36,879
Speaker 1: so I guarantee you I will be boxing up one

1052
00:54:36,920 --> 00:54:40,520
Speaker 1: pieces for a long time, but he's saying this to her,

1053
00:54:40,560 --> 00:54:44,239
Speaker 1: but also at the same time has this kind of

1054
00:54:44,320 --> 00:54:48,440
Speaker 1: natural initiative, and his network and his bosses are noticing

1055
00:54:48,760 --> 00:54:51,120
Speaker 1: that he's doing a good job. And suddenly his uncle

1056
00:54:51,239 --> 00:54:53,880
Speaker 1: is kind of telling him, Hey, come around a little more.

1057
00:54:54,400 --> 00:54:55,680
Speaker 2: And on one of his.

1058
00:54:55,719 --> 00:54:59,239
Speaker 1: Trips up to the mansion, he attends this party and

1059
00:54:59,280 --> 00:55:03,840
Speaker 1: he ends up in a room with Angela Vickers Old

1060
00:55:03,920 --> 00:55:09,000
Speaker 1: Vickers and listeners, let me tell you, George Eastman is shook.

1061
00:55:10,360 --> 00:55:13,000
Speaker 1: He is bumbling and fumbling and he's trying to play

1062
00:55:13,040 --> 00:55:15,320
Speaker 1: pool and she's like standing behind him and she just

1063
00:55:15,400 --> 00:55:18,240
Speaker 1: wants to watch. And you can see in his face.

1064
00:55:19,120 --> 00:55:22,880
Speaker 1: George is like Alice who.

1065
00:55:22,800 --> 00:55:25,799
Speaker 4: And it should be said that this party just so

1066
00:55:25,880 --> 00:55:29,640
Speaker 4: happens to be taking place on his birthday. Alice has

1067
00:55:29,680 --> 00:55:33,000
Speaker 4: already planned a party, and he's like, it's cool. I'm

1068
00:55:33,000 --> 00:55:34,959
Speaker 4: just gonna go to my uncle's house for like five

1069
00:55:35,000 --> 00:55:37,680
Speaker 4: minutes putting an appearance and then I'll be back. Then

1070
00:55:37,760 --> 00:55:41,480
Speaker 4: he's shaken by Angela Vickers and that does not happen.

1071
00:55:42,080 --> 00:55:46,640
Speaker 1: Listen, Okay, Alice plans out this whole thing for him.

1072
00:55:47,360 --> 00:55:50,040
Speaker 1: She makes them a dinner and she sets it out

1073
00:55:50,080 --> 00:55:53,560
Speaker 1: on this like tiny little table, and it's just this

1074
00:55:53,640 --> 00:55:57,520
Speaker 1: thing where the moment that that happens where essentially he

1075
00:55:58,640 --> 00:56:02,480
Speaker 1: gets the last minute invite, He goes up, he meets Angela,

1076
00:56:03,239 --> 00:56:04,839
Speaker 1: they're having a great time, and then he.

1077
00:56:04,960 --> 00:56:08,399
Speaker 2: Shows up like hours and hours later to like.

1078
00:56:08,640 --> 00:56:13,360
Speaker 1: Cold dinner, melted dessert, and Alice is just kind of

1079
00:56:13,400 --> 00:56:15,680
Speaker 1: sitting there like what the fuck?

1080
00:56:16,320 --> 00:56:16,600
Speaker 2: I mean.

1081
00:56:16,719 --> 00:56:21,520
Speaker 1: Basically, this is fuck boy tactic number two in my eyes, okay,

1082
00:56:21,680 --> 00:56:25,200
Speaker 1: because he's telling her, Oh, I'm gonna spoil this amazing

1083
00:56:25,200 --> 00:56:27,200
Speaker 1: dinner that you plan for my birthday, but I'm gonna

1084
00:56:27,200 --> 00:56:31,800
Speaker 1: do it for us, so you know, and I'm like, I'm.

1085
00:56:31,640 --> 00:56:34,239
Speaker 3: Ditching you for us. Is the worst fucking shit in

1086
00:56:34,280 --> 00:56:34,760
Speaker 3: the world.

1087
00:56:35,280 --> 00:56:37,840
Speaker 4: That is my boy hall of fame. That is a

1088
00:56:38,200 --> 00:56:40,520
Speaker 4: boy hall of Fame move exactly.

1089
00:56:41,120 --> 00:56:43,840
Speaker 1: And but when it comes down to it, George is

1090
00:56:43,960 --> 00:56:46,160
Speaker 1: long gone. I mean, he is in love with Angela.

1091
00:56:46,239 --> 00:56:49,080
Speaker 1: He loves her whole life, her whole vibe. And you know,

1092
00:56:49,200 --> 00:56:51,480
Speaker 1: George is horny as we know, but he also has

1093
00:56:51,520 --> 00:56:55,480
Speaker 1: this like crazy status anxiety and you can tell he's thinking,

1094
00:56:55,719 --> 00:56:58,239
Speaker 1: oh man, this is great. I'm trapesing around with this

1095
00:56:58,320 --> 00:57:00,880
Speaker 1: high society set and my new family. They love to

1096
00:57:00,920 --> 00:57:03,680
Speaker 1: hang out with me now, and this boarding house life

1097
00:57:03,760 --> 00:57:08,480
Speaker 1: is looking real unappealing, and the dilemma of this is

1098
00:57:08,560 --> 00:57:11,879
Speaker 1: just like all over his face. And there's this one

1099
00:57:11,920 --> 00:57:14,120
Speaker 1: thing that I want to talk about. There's this one

1100
00:57:14,160 --> 00:57:18,160
Speaker 1: scene with Angela where she notices that he's kind of

1101
00:57:18,240 --> 00:57:21,880
Speaker 1: like preoccupied in thought, and we're, I guess told as

1102
00:57:21,960 --> 00:57:24,520
Speaker 1: viewers that this is his dilemma. Is this sort of

1103
00:57:24,600 --> 00:57:26,440
Speaker 1: like I want this, but I have this, and I

1104
00:57:26,440 --> 00:57:28,720
Speaker 1: don't know what to do. And what we know about

1105
00:57:28,720 --> 00:57:31,160
Speaker 1: Angela up until this point is that she is effifessed.

1106
00:57:31,320 --> 00:57:34,800
Speaker 1: She has the privileges of a rich white girl, and

1107
00:57:34,880 --> 00:57:38,800
Speaker 1: she sort of sees George as a sort of like poor,

1108
00:57:39,040 --> 00:57:42,320
Speaker 1: sort of like wounded little bird or something in this moment,

1109
00:57:43,640 --> 00:57:47,840
Speaker 1: and she takes him and says something to him that

1110
00:57:48,040 --> 00:57:52,760
Speaker 1: rocks me to my core to this very day, which

1111
00:57:52,800 --> 00:57:53,800
Speaker 1: is that she says.

1112
00:57:57,440 --> 00:58:04,840
Speaker 10: Mama ah, tell mama all.

1113
00:58:05,880 --> 00:58:06,800
Speaker 2: Okay, I die.

1114
00:58:07,080 --> 00:58:11,480
Speaker 1: I die when I hear that here, Like somebody needs

1115
00:58:11,560 --> 00:58:13,720
Speaker 1: to make me a T shirt. That says, tell mama all,

1116
00:58:13,800 --> 00:58:16,040
Speaker 1: and I will wear it until it melts.

1117
00:58:15,600 --> 00:58:22,000
Speaker 4: Into my flesh, wear till it disintegrates, tell mama all.

1118
00:58:22,240 --> 00:58:27,320
Speaker 4: Like that is sane, Like first of all, ma'am, you're seventeen,

1119
00:58:29,640 --> 00:58:31,959
Speaker 4: maybe take that mama shit down.

1120
00:58:32,000 --> 00:58:37,520
Speaker 2: And I'm like, wait a second, I think he's over

1121
00:58:37,640 --> 00:58:38,680
Speaker 2: than you. But that's chill.

1122
00:58:39,400 --> 00:58:42,080
Speaker 4: But also just like the like tell mama all what

1123
00:58:42,080 --> 00:58:42,800
Speaker 4: the fuck I mean?

1124
00:58:42,840 --> 00:58:45,040
Speaker 2: That is so insane. I can't.

1125
00:58:46,920 --> 00:58:49,800
Speaker 1: I can literally never imagine say that to another person

1126
00:58:49,800 --> 00:58:52,560
Speaker 1: in my life. Even if I was Summer's actual mama,

1127
00:58:52,600 --> 00:58:57,120
Speaker 1: I would never say that.

1128
00:58:57,120 --> 00:58:58,520
Speaker 2: That alsos me.

1129
00:58:59,520 --> 00:59:02,920
Speaker 4: It's like it's also this is this is part of

1130
00:59:02,960 --> 00:59:06,800
Speaker 4: the fuck boy motif as well, where it's like he

1131
00:59:06,840 --> 00:59:10,280
Speaker 4: will gravitate towards the woman who is offering to take

1132
00:59:10,320 --> 00:59:11,520
Speaker 4: care of him the most.

1133
00:59:12,080 --> 00:59:15,320
Speaker 1: Yep, because this is again this is another example of

1134
00:59:15,360 --> 00:59:16,160
Speaker 1: this fuck boy shit.

1135
00:59:16,240 --> 00:59:19,120
Speaker 2: Because I'm making my he I'm here to make my.

1136
00:59:19,160 --> 00:59:21,120
Speaker 1: Case that he is a classic movie fuck boy and

1137
00:59:21,160 --> 00:59:23,480
Speaker 1: this is this is what I mean. In this moment,

1138
00:59:23,600 --> 00:59:27,280
Speaker 1: Angela thinks that he is just deep as hell, and

1139
00:59:27,320 --> 00:59:30,920
Speaker 1: little does she know, he is just scheming, that's all.

1140
00:59:30,960 --> 00:59:35,720
Speaker 1: It is exactly who's been there? I certainly have you

1141
00:59:35,760 --> 00:59:39,960
Speaker 1: know who's zoom and who Zuman? Who tell mama, Oh.

1142
00:59:43,160 --> 00:59:43,720
Speaker 2: My god.

1143
00:59:43,920 --> 00:59:46,640
Speaker 1: So as you may have guessed, though, I mean, things

1144
00:59:46,720 --> 00:59:50,800
Speaker 1: get much worse for old Alice trip her boyfriend is

1145
00:59:50,800 --> 00:59:53,760
Speaker 1: starting to hang out with his new friends, and she

1146
00:59:53,880 --> 00:59:59,080
Speaker 1: of course finds out that she's pregnant. Okay, and in

1147
00:59:59,160 --> 01:00:03,160
Speaker 1: nineteen fifty one one during the production code in Hollywood,

1148
01:00:03,480 --> 01:00:07,200
Speaker 1: this has to be handled very delicately. Of course, Alice

1149
01:00:07,240 --> 01:00:11,320
Speaker 1: Tripps is a doctor, and in a sneaky production code way,

1150
01:00:11,920 --> 01:00:15,360
Speaker 1: she says, Hello, this is nineteen fifty one and I

1151
01:00:15,400 --> 01:00:18,680
Speaker 1: am an unmarried, poor woman who just got pregnant by

1152
01:00:18,680 --> 01:00:20,840
Speaker 1: a guy who I wasn't even supposed to be dating

1153
01:00:20,880 --> 01:00:23,680
Speaker 1: in the first place, but is currently in the process

1154
01:00:23,720 --> 01:00:25,080
Speaker 1: of ditching me for another woman.

1155
01:00:26,080 --> 01:00:26,680
Speaker 2: I know I.

1156
01:00:26,600 --> 01:00:30,560
Speaker 1: Can't ask for an abortion, and the idea that I

1157
01:00:30,600 --> 01:00:34,120
Speaker 1: would actually raise his child alone is not possible for

1158
01:00:34,200 --> 01:00:35,120
Speaker 1: so many reasons.

1159
01:00:35,600 --> 01:00:37,400
Speaker 2: So like, what do I do?

1160
01:00:38,200 --> 01:00:44,240
Speaker 1: Okay, And this doctor snaps that cabinet door shut and

1161
01:00:44,280 --> 01:00:47,200
Speaker 1: he's basically like, go home to your mom and dad

1162
01:00:47,240 --> 01:00:48,200
Speaker 1: and let them handle it.

1163
01:00:48,840 --> 01:00:52,919
Speaker 4: This is the part if you're rocks by, tell mama all.

1164
01:00:53,520 --> 01:00:56,200
Speaker 4: This is the part where I was like, press pause,

1165
01:00:56,680 --> 01:00:59,520
Speaker 4: I'm sorry what Like it took me five minutes to

1166
01:00:59,520 --> 01:01:02,200
Speaker 4: come back to this movie because this doctor straight up

1167
01:01:02,320 --> 01:01:04,360
Speaker 4: was like, I think you're gonna be a good mother,

1168
01:01:04,800 --> 01:01:08,080
Speaker 4: go home to your fucking parents. I can't talk to

1169
01:01:08,120 --> 01:01:10,400
Speaker 4: you about anything else beyond this point, now that I

1170
01:01:10,440 --> 01:01:13,720
Speaker 4: know that you are not married, yes, and you've been

1171
01:01:13,760 --> 01:01:16,520
Speaker 4: doing some ho shit like he was out.

1172
01:01:17,440 --> 01:01:20,520
Speaker 1: Yeah, it's like thanks for nothing, asshole, Like she comes there,

1173
01:01:21,120 --> 01:01:24,120
Speaker 1: puts her heart on the table, admits all this, Like,

1174
01:01:24,360 --> 01:01:27,560
Speaker 1: I mean, at this time nineteen fifty one, if you're

1175
01:01:27,640 --> 01:01:31,200
Speaker 1: pregnant and the guy's on around like that ain't good

1176
01:01:31,880 --> 01:01:32,280
Speaker 1: at all.

1177
01:01:32,760 --> 01:01:34,960
Speaker 4: And also like don't don't quote me on this, but

1178
01:01:35,080 --> 01:01:37,280
Speaker 4: I'm pretty sure if you go home to your parents

1179
01:01:37,280 --> 01:01:41,520
Speaker 4: in nineteen fifty one, unmarried and pregnant, your parents could

1180
01:01:41,560 --> 01:01:45,200
Speaker 4: legally kill you. Like that is such bad advice all around.

1181
01:01:45,240 --> 01:01:47,440
Speaker 4: They could just she lives on a farm in Arkansas

1182
01:01:47,520 --> 01:01:49,400
Speaker 4: or something. It's like they could kill you, bury you

1183
01:01:49,440 --> 01:01:51,880
Speaker 4: in the yard. No one would ever ask what happened

1184
01:01:51,920 --> 01:01:55,360
Speaker 4: to you. You would just disappear. Yeah, but this was

1185
01:01:55,400 --> 01:01:58,000
Speaker 4: so impressive though, because it's like, not only for nineteen

1186
01:01:58,040 --> 01:02:00,640
Speaker 4: fifty one, but I think that in a realistic way,

1187
01:02:00,640 --> 01:02:02,080
Speaker 4: Like I know, we're having a lot of fun, but

1188
01:02:02,160 --> 01:02:05,120
Speaker 4: you know, but in a realistic way, this is the

1189
01:02:05,120 --> 01:02:07,160
Speaker 4: they found a way around the code to talk about

1190
01:02:07,160 --> 01:02:11,120
Speaker 4: the realities of abortion rights or the lack of abortion

1191
01:02:11,280 --> 01:02:14,760
Speaker 4: rights at that time, which I thought was pretty cool. Yeah,

1192
01:02:14,760 --> 01:02:18,600
Speaker 4: for a movie that was under a lot of restrictions.

1193
01:02:18,040 --> 01:02:20,680
Speaker 1: It was a big deal to even dangle it. I

1194
01:02:20,680 --> 01:02:22,680
Speaker 1: mean they didn't even say the words, but it was

1195
01:02:22,760 --> 01:02:24,360
Speaker 1: dangled in front of us, and it was a big,

1196
01:02:24,720 --> 01:02:27,560
Speaker 1: a big deal. So Shelley Winter's character is in a

1197
01:02:27,600 --> 01:02:31,920
Speaker 1: real bind, and you know, reasonably, I feel, she tells

1198
01:02:31,960 --> 01:02:36,000
Speaker 1: George that she's pregnant, and she says to him in

1199
01:02:36,040 --> 01:02:39,000
Speaker 1: so many words, Hey, this is nineteen fifty one, So

1200
01:02:39,080 --> 01:02:40,680
Speaker 1: I guess we just get married and I had the

1201
01:02:40,680 --> 01:02:45,560
Speaker 1: baby and that's that, which, of course is no bueno

1202
01:02:45,680 --> 01:02:50,080
Speaker 1: for George whatsoever. And he's like freaking out about this news.

1203
01:02:50,920 --> 01:02:53,920
Speaker 1: At the same time, he's listening to the radio and

1204
01:02:53,960 --> 01:02:57,880
Speaker 1: he hears this news report about the rising number of

1205
01:02:58,040 --> 01:03:01,920
Speaker 1: car accidents and drowning that are happening this summer.

1206
01:03:02,520 --> 01:03:06,560
Speaker 2: And you can start to see George process this information.

1207
01:03:07,840 --> 01:03:09,840
Speaker 1: And as he and Angela are spending more and more

1208
01:03:09,880 --> 01:03:12,520
Speaker 1: time together, Alice is at home, she's pregnant.

1209
01:03:13,400 --> 01:03:15,600
Speaker 3: She opens up the newspaper and she.

1210
01:03:15,480 --> 01:03:19,920
Speaker 1: Sees George water skiing with Angela and her friends in

1211
01:03:20,000 --> 01:03:24,400
Speaker 1: the society pages of this newspaper, and she simply flips

1212
01:03:24,440 --> 01:03:25,520
Speaker 1: the fuck out.

1213
01:03:25,560 --> 01:03:28,040
Speaker 4: As she should, because this is also on the heels

1214
01:03:28,120 --> 01:03:30,320
Speaker 4: of like prior to her being like, hey, we should

1215
01:03:30,320 --> 01:03:33,400
Speaker 4: get married, she was like, have you called the doctor yet?

1216
01:03:33,400 --> 01:03:35,720
Speaker 4: Like she's basically asking him, like you need to be

1217
01:03:35,760 --> 01:03:38,200
Speaker 4: the one to schedule this abortion because I can't do it,

1218
01:03:38,720 --> 01:03:40,760
Speaker 4: and he's like, no, I haven't done it yet. He

1219
01:03:41,000 --> 01:03:44,440
Speaker 4: is setting dates with Angela Vickers, And this is a

1220
01:03:44,680 --> 01:03:47,760
Speaker 4: this is a fuck boy moment as well. A fuck

1221
01:03:47,840 --> 01:03:50,600
Speaker 4: boy will be scheduling dates with other women when he

1222
01:03:50,640 --> 01:03:52,240
Speaker 4: should be scheduling your fucking abortion.

1223
01:03:52,560 --> 01:03:55,680
Speaker 2: Like that is a fuck boy mode. That's a fuck

1224
01:03:55,720 --> 01:03:56,160
Speaker 2: boy move.

1225
01:03:56,160 --> 01:03:58,479
Speaker 1: That's a powerfuck boy move that moves into like bad

1226
01:03:58,560 --> 01:03:59,640
Speaker 1: person territory.

1227
01:04:00,240 --> 01:04:02,760
Speaker 3: Yeah, you know what I mean, But it's true.

1228
01:04:02,800 --> 01:04:05,760
Speaker 1: And like again, I think that in a certain way

1229
01:04:05,760 --> 01:04:09,640
Speaker 1: where we were supposed to see Alice as being like

1230
01:04:09,680 --> 01:04:14,400
Speaker 1: a nag, like a drag nag in this moment, but

1231
01:04:15,160 --> 01:04:18,280
Speaker 1: you know, from my eyes, I'm like, uh, yeah, this

1232
01:04:18,320 --> 01:04:23,040
Speaker 1: is some fuck shit that he's pulling. And she's right

1233
01:04:23,120 --> 01:04:26,280
Speaker 1: to like be pissed off that he promised her to

1234
01:04:26,320 --> 01:04:28,360
Speaker 1: be with her and to do something for her and

1235
01:04:28,400 --> 01:04:32,080
Speaker 1: then she sees him in a newspaper like that. To me, man,

1236
01:04:32,120 --> 01:04:35,120
Speaker 1: I felt that so hard when that scene happened.

1237
01:04:35,080 --> 01:04:37,600
Speaker 4: Because it also happened exactly the way she said it would,

1238
01:04:37,640 --> 01:04:39,840
Speaker 4: which is, you're going to rise in the ranks of

1239
01:04:40,000 --> 01:04:42,479
Speaker 4: class because of who your family is, and you're gonna

1240
01:04:42,480 --> 01:04:43,160
Speaker 4: forget about me.

1241
01:04:43,440 --> 01:04:45,120
Speaker 2: And that is exactly what happened.

1242
01:04:45,560 --> 01:04:49,040
Speaker 1: And you know, because she's in this moment, she puts

1243
01:04:49,040 --> 01:04:51,960
Speaker 1: this ultimatum on him, and she says he needs to

1244
01:04:52,000 --> 01:04:55,520
Speaker 1: marry her or she's gonna tell everybody, his new family

1245
01:04:55,520 --> 01:04:59,720
Speaker 1: and his new group of friends that there's this baby

1246
01:04:59,800 --> 01:05:02,240
Speaker 1: cu and that he's been with her and she's this

1247
01:05:02,320 --> 01:05:05,080
Speaker 1: poor factory girl and not this like sidy woman.

1248
01:05:05,200 --> 01:05:07,200
Speaker 2: Right. And here's the thing.

1249
01:05:07,280 --> 01:05:09,040
Speaker 1: So from this point on in the movie, I think

1250
01:05:09,080 --> 01:05:13,480
Speaker 1: that Montgomery Cliff is really clocking in as an actor.

1251
01:05:13,560 --> 01:05:15,920
Speaker 1: And I think that's what makes this movie classic for me,

1252
01:05:16,120 --> 01:05:20,240
Speaker 1: is the notion that Okay, you are seeing, yes, he's

1253
01:05:20,360 --> 01:05:24,560
Speaker 1: been a fuck boy until this point, but also you

1254
01:05:24,640 --> 01:05:29,720
Speaker 1: can see that he's thinking about the dilemma. And I'll

1255
01:05:29,760 --> 01:05:32,320
Speaker 1: tell you right now, I did not feel this with

1256
01:05:32,440 --> 01:05:33,560
Speaker 1: Hubble Gardener.

1257
01:05:33,720 --> 01:05:36,080
Speaker 4: Oh, completely, like the Hubble in the Troy They were

1258
01:05:36,120 --> 01:05:39,920
Speaker 4: so aloof about the situations and it was kind of like,

1259
01:05:40,520 --> 01:05:42,560
Speaker 4: you know, their lives were easy going, they got what

1260
01:05:42,600 --> 01:05:44,840
Speaker 4: they wanted, everything was cool, Like there was just too

1261
01:05:45,080 --> 01:05:47,720
Speaker 4: too aloof, And here you really did get that emotional

1262
01:05:48,360 --> 01:05:50,720
Speaker 4: emotional beat, to the point where there was one scene

1263
01:05:50,720 --> 01:05:53,280
Speaker 4: where I was like, oh, it really must suck to

1264
01:05:53,280 --> 01:05:55,040
Speaker 4: be in that position. Like I kind of fell for

1265
01:05:55,120 --> 01:05:57,760
Speaker 4: him for a minute and I was like, fuck that that's.

1266
01:05:57,640 --> 01:06:02,920
Speaker 2: Another fun Yeah, yes, like that'll get you.

1267
01:06:02,960 --> 01:06:04,800
Speaker 1: And that's that's exactly how I felt, was that I

1268
01:06:04,840 --> 01:06:08,160
Speaker 1: felt kind of like, yeah, because I mean, we know

1269
01:06:08,280 --> 01:06:11,200
Speaker 1: that Montgomery Cliff came from that era of like the

1270
01:06:11,320 --> 01:06:15,560
Speaker 1: James Dean, the Brando the Strasbourg method acting style, right,

1271
01:06:16,200 --> 01:06:18,760
Speaker 1: but he's got chaps, I mean honestly, like in this movie,

1272
01:06:18,800 --> 01:06:21,480
Speaker 1: I think he really he really shows them. And I

1273
01:06:21,520 --> 01:06:23,680
Speaker 1: just want to get back to also, this this thing

1274
01:06:23,720 --> 01:06:27,520
Speaker 1: with him and Elizabeth Taylor, because so this was the

1275
01:06:27,520 --> 01:06:33,000
Speaker 1: first movie that they made together and apparently she fell

1276
01:06:33,040 --> 01:06:35,480
Speaker 1: in love with him when they were filming this movie,

1277
01:06:35,920 --> 01:06:39,240
Speaker 1: and this was obviously before kind of really knowing you know,

1278
01:06:39,520 --> 01:06:43,800
Speaker 1: he was gay, and then they eventually after a certain point,

1279
01:06:44,080 --> 01:06:47,960
Speaker 1: evolved into these kind of soulmates and best friends, and

1280
01:06:48,280 --> 01:06:51,200
Speaker 1: they were like that up until his death. And a

1281
01:06:51,240 --> 01:06:54,000
Speaker 1: lot of what I've read about their friendship was that

1282
01:06:54,080 --> 01:06:55,880
Speaker 1: it was sort of like a place in the sun

1283
01:06:56,160 --> 01:06:59,280
Speaker 1: in a sense that she did sense that there was

1284
01:06:59,360 --> 01:07:01,880
Speaker 1: kind of a turn well within him, and she did

1285
01:07:01,920 --> 01:07:04,400
Speaker 1: feel protective of him in that.

1286
01:07:04,480 --> 01:07:06,640
Speaker 2: Tell moment all kind of way. I mean, honestly, she

1287
01:07:06,760 --> 01:07:07,800
Speaker 2: kind of really felt that.

1288
01:07:09,280 --> 01:07:11,440
Speaker 1: But I think it's one of the most interesting friendships

1289
01:07:11,480 --> 01:07:14,480
Speaker 1: in Hollywood for my money, certainly, And I just love

1290
01:07:14,560 --> 01:07:15,520
Speaker 1: reading about them.

1291
01:07:15,520 --> 01:07:17,800
Speaker 2: Because you can kind of see it in the movie.

1292
01:07:17,840 --> 01:07:20,960
Speaker 1: You can kind of see their chemistry and sort of

1293
01:07:21,040 --> 01:07:23,640
Speaker 1: just the way that he's that they're both playing out

1294
01:07:23,640 --> 01:07:26,000
Speaker 1: these characters and knowing how they felt about each other

1295
01:07:26,080 --> 01:07:28,680
Speaker 1: kind of in real life. And I mean, if you

1296
01:07:28,720 --> 01:07:31,080
Speaker 1: haven't really read about Montgomery Cliff, you really should, because

1297
01:07:31,120 --> 01:07:34,560
Speaker 1: his life was really fascinating and it was quite sad

1298
01:07:34,760 --> 01:07:35,600
Speaker 1: at many parts.

1299
01:07:36,040 --> 01:07:39,240
Speaker 2: Their friendship is really interesting. And if you ever just find.

1300
01:07:39,000 --> 01:07:41,840
Speaker 1: Yourself up at like three o'clock in the morning, wikipedia everything,

1301
01:07:41,920 --> 01:07:45,120
Speaker 1: or just go go on a Google dive, it's really

1302
01:07:45,320 --> 01:07:45,840
Speaker 1: really great.

1303
01:07:46,240 --> 01:07:48,640
Speaker 3: But I won't give away the end of this movie.

1304
01:07:49,080 --> 01:07:50,800
Speaker 1: I know we get asked too, but it's like, I

1305
01:07:50,800 --> 01:07:52,840
Speaker 1: don't know, I want you to watch an old movie,

1306
01:07:52,840 --> 01:07:55,240
Speaker 1: so you got to watch it. But I mean, I'm

1307
01:07:55,240 --> 01:07:58,880
Speaker 1: gonna sum up everything about this film, which is that

1308
01:07:59,640 --> 01:08:02,640
Speaker 1: as a classic movie fuck boy right like George Eastman.

1309
01:08:02,920 --> 01:08:06,240
Speaker 1: Obviously he's making poor choices and his quest for love,

1310
01:08:07,040 --> 01:08:11,240
Speaker 1: but his desire for money and status is the thing

1311
01:08:11,240 --> 01:08:13,400
Speaker 1: that made him, like it moved from a fuck boy

1312
01:08:13,480 --> 01:08:17,200
Speaker 1: to like a bad guy, right right. And I think

1313
01:08:17,240 --> 01:08:19,680
Speaker 1: this movie is important and it is classic for just

1314
01:08:19,760 --> 01:08:22,280
Speaker 1: making us think about how complicated all that is.

1315
01:08:22,960 --> 01:08:27,479
Speaker 4: That's a great way to wrap it up, for sure. However,

1316
01:08:27,920 --> 01:08:30,600
Speaker 4: I'd be remiss if I didn't say another reason to

1317
01:08:30,680 --> 01:08:33,760
Speaker 4: watch this film, not just because it because I think this.

1318
01:08:34,080 --> 01:08:35,639
Speaker 4: I like the way that you set this up, though, Milly,

1319
01:08:35,640 --> 01:08:37,400
Speaker 4: because I think this is a way that people who

1320
01:08:37,400 --> 01:08:39,160
Speaker 4: are like I kind of want to get into old films.

1321
01:08:39,200 --> 01:08:40,479
Speaker 2: But I'm not sure how this is.

1322
01:08:40,520 --> 01:08:42,679
Speaker 4: How Like you watch one movie, you start reading about

1323
01:08:42,720 --> 01:08:44,720
Speaker 4: the characters, you start reading about the actors, you read

1324
01:08:44,760 --> 01:08:47,040
Speaker 4: about the director, You watch something else the director did.

1325
01:08:47,640 --> 01:08:49,600
Speaker 4: You watch something else the actor did, and that like

1326
01:08:49,640 --> 01:08:52,000
Speaker 4: sets you on the path. It's just that easy. Like

1327
01:08:52,120 --> 01:08:54,400
Speaker 4: you just watch a movie and you're on the path.

1328
01:08:55,200 --> 01:08:57,360
Speaker 4: But I will also say though, like I would definitely

1329
01:08:57,400 --> 01:08:59,960
Speaker 4: be remiss if I didn't say another reason to want

1330
01:09:00,160 --> 01:09:04,400
Speaker 4: this film. There is a scene with Raymond Burr. Yes,

1331
01:09:04,439 --> 01:09:08,720
Speaker 4: that is so like, it is so bonkers and it

1332
01:09:08,840 --> 01:09:12,800
Speaker 4: is so shockingly good it is It's worth it for

1333
01:09:12,880 --> 01:09:14,120
Speaker 4: that scene alone.

1334
01:09:14,360 --> 01:09:15,080
Speaker 2: Absolutely.

1335
01:09:15,760 --> 01:09:19,599
Speaker 1: Now, I like, yeah, I think that not giving away

1336
01:09:20,000 --> 01:09:22,599
Speaker 1: the movie requires me to not talk about a lot

1337
01:09:22,640 --> 01:09:24,439
Speaker 1: of the movie because there's kind of a second half

1338
01:09:24,479 --> 01:09:28,280
Speaker 1: to the movie that would be spoiled if I went

1339
01:09:28,320 --> 01:09:30,920
Speaker 1: any further. But anyway, it's got a lot. It's got

1340
01:09:30,960 --> 01:09:34,479
Speaker 1: a lot of great scenes in that Raymond Burr is

1341
01:09:34,600 --> 01:09:38,160
Speaker 1: definitely in That moment that you speak of is on one.

1342
01:09:38,960 --> 01:09:40,840
Speaker 4: I love this pick and I'd never seen it before,

1343
01:09:40,880 --> 01:09:43,720
Speaker 4: so I was so grateful that you picked it. I

1344
01:09:43,760 --> 01:09:46,799
Speaker 4: had read I guess it was last year year earlier

1345
01:09:46,840 --> 01:09:51,240
Speaker 4: this year, I read that book Furious Love, about Elizabeth

1346
01:09:51,280 --> 01:09:53,720
Speaker 4: Taylor and Richard Burton and their marriage and their relationship,

1347
01:09:53,760 --> 01:09:57,120
Speaker 4: and it was just so good and it made me

1348
01:09:57,160 --> 01:09:59,640
Speaker 4: want to know, like see everything that she's ever been in.

1349
01:10:00,240 --> 01:10:03,120
Speaker 2: She's a bass man. Ah, so good this movie.

1350
01:10:03,640 --> 01:10:08,120
Speaker 1: Thanks well, mind the detour, Mine's taking it in a

1351
01:10:08,240 --> 01:10:12,679
Speaker 1: whole other direction, such a good one, such a good detour,

1352
01:10:13,320 --> 01:10:14,400
Speaker 1: and I'm gonna have.

1353
01:10:14,360 --> 01:10:18,240
Speaker 4: To make a federal case like this is this is

1354
01:10:18,520 --> 01:10:21,439
Speaker 4: far from just a casual discussion. I'm like making a

1355
01:10:21,479 --> 01:10:26,320
Speaker 4: case here for why the guy in my film is

1356
01:10:26,360 --> 01:10:27,280
Speaker 4: a pop boy.

1357
01:10:27,800 --> 01:10:30,080
Speaker 2: I think we're on the same page though, so at

1358
01:10:30,120 --> 01:10:30,839
Speaker 2: least there's.

1359
01:10:30,640 --> 01:10:33,960
Speaker 4: That good good Well, I'm just like I'm gonna get

1360
01:10:33,960 --> 01:10:38,120
Speaker 4: into it. My movie for the theme of classic movie

1361
01:10:38,120 --> 01:10:43,160
Speaker 4: fuck Boy, was directed by Stanley Kubrick, based on a

1362
01:10:43,240 --> 01:10:45,680
Speaker 4: novel written by Stephen King, which is you know, one

1363
01:10:45,720 --> 01:10:50,479
Speaker 4: of My Specialties, and the screenplay was written by Stanley

1364
01:10:50,520 --> 01:10:55,200
Speaker 4: Kubrick and Diane Johnson. The movie was released in nineteen

1365
01:10:55,280 --> 01:11:02,560
Speaker 4: eighty and it's called The Shining Can Play with Us Danny.

1366
01:11:05,680 --> 01:11:09,839
Speaker 9: Ever and ever.

1367
01:11:11,640 --> 01:11:12,439
Speaker 8: And Ever.

1368
01:11:14,320 --> 01:11:15,559
Speaker 2: Okay, let me just start.

1369
01:11:15,880 --> 01:11:18,680
Speaker 4: I'm gonna do a one sentence synopsis just off the

1370
01:11:18,720 --> 01:11:20,679
Speaker 4: top of my head. I didn't write it down because

1371
01:11:20,680 --> 01:11:24,040
Speaker 4: I'm like, I'm just gonna practice getting into it real quick.

1372
01:11:25,040 --> 01:11:31,000
Speaker 4: An entire small family is upended when the dad takes

1373
01:11:31,040 --> 01:11:37,360
Speaker 4: a job as a caretaker in a remote Colorado resort,

1374
01:11:37,680 --> 01:11:41,960
Speaker 4: and everyone is kind of mildly possessed, but the kid

1375
01:11:42,040 --> 01:11:45,200
Speaker 4: arrives with secret powers that just gets stronger when he

1376
01:11:45,240 --> 01:11:45,720
Speaker 4: gets there.

1377
01:11:46,040 --> 01:11:53,639
Speaker 2: Oh my god, and then all hell breaks loose. Fuck

1378
01:11:53,680 --> 01:11:57,320
Speaker 2: I forgot to say that shit in mine. We can

1379
01:11:57,360 --> 01:11:58,599
Speaker 2: add it in, we can do a pickup.

1380
01:11:58,960 --> 01:12:04,600
Speaker 1: We are legally bound by Daniel Anderson saying, Oh my gosh.

1381
01:12:04,400 --> 01:12:07,880
Speaker 4: That's just like a little little synopsis of this film, right,

1382
01:12:07,920 --> 01:12:12,000
Speaker 4: And so basically we're dealing with an incredible cast. Jack

1383
01:12:12,120 --> 01:12:16,639
Speaker 4: Nicholson is playing Jack Torrance, Shelley Duval plays Wendy Torrance.

1384
01:12:17,000 --> 01:12:19,759
Speaker 2: You've got Scatman Crothers playing Dick.

1385
01:12:19,720 --> 01:12:25,919
Speaker 4: Callerin It's just a it's a simple cast, but everyone's

1386
01:12:26,080 --> 01:12:30,439
Speaker 4: a rockstar in it. And this is a horror film

1387
01:12:31,000 --> 01:12:33,639
Speaker 4: that is more of a thriller, but it's a horror film,

1388
01:12:34,000 --> 01:12:37,440
Speaker 4: and it's really about this kind of descent into madness

1389
01:12:37,520 --> 01:12:43,200
Speaker 4: based on this hotel that is the source of just.

1390
01:12:43,800 --> 01:12:46,360
Speaker 2: Some incredible supernatural shit going on.

1391
01:12:47,160 --> 01:12:47,320
Speaker 8: Right.

1392
01:12:47,439 --> 01:12:51,639
Speaker 4: So, Jack, who we learn early on in the film,

1393
01:12:52,439 --> 01:12:55,840
Speaker 4: is a former school teacher who has decided to become

1394
01:12:55,840 --> 01:12:59,639
Speaker 4: a writer, has moved the family from Vermont to Boulder,

1395
01:12:59,680 --> 01:13:03,880
Speaker 4: Color and then now move them even further into the

1396
01:13:04,080 --> 01:13:10,200
Speaker 4: isolation by taking a job as the winter caretaker at

1397
01:13:10,320 --> 01:13:14,400
Speaker 4: the Outlook Hotel. And the hotel is actually a real place.

1398
01:13:14,479 --> 01:13:18,679
Speaker 4: It's called the Stanley Hotel. In the beginning of the movie, Allman,

1399
01:13:18,720 --> 01:13:20,760
Speaker 4: who's kind of the guy that hires Jack, says it

1400
01:13:20,760 --> 01:13:22,640
Speaker 4: was built in nineteen oh seven. And the hotel was

1401
01:13:22,680 --> 01:13:25,639
Speaker 4: really built in nineteen oh seven. People have weddings there.

1402
01:13:25,680 --> 01:13:29,760
Speaker 4: It's wonderful and super creepy. Can I ask you a

1403
01:13:29,840 --> 01:13:33,240
Speaker 4: quick question about this? I've always wondered about this. So

1404
01:13:33,360 --> 01:13:34,439
Speaker 4: you used to live in Alaska.

1405
01:13:34,600 --> 01:13:38,320
Speaker 1: I don't know, Like, I just assume since you've lived

1406
01:13:38,320 --> 01:13:42,559
Speaker 1: in a remote northern environment that snows all the time,

1407
01:13:43,560 --> 01:13:47,000
Speaker 1: does this happen, Like, do people actually become winter caretakers

1408
01:13:47,040 --> 01:13:47,840
Speaker 1: for places? Like?

1409
01:13:47,960 --> 01:13:50,160
Speaker 2: Yeah? Really? Oh yeah.

1410
01:13:50,520 --> 01:13:52,800
Speaker 4: I worked in a fishing village in Naknek, which is

1411
01:13:53,240 --> 01:13:57,280
Speaker 4: in the Aleutian Island chain, and it's pretty remote and

1412
01:13:57,320 --> 01:13:59,400
Speaker 4: there aren't a lot. It's not like a big town.

1413
01:13:59,439 --> 01:14:02,080
Speaker 4: There's not like a big city centers kind of people

1414
01:14:02,080 --> 01:14:05,400
Speaker 4: come into fish and leave. But there were definitely people

1415
01:14:05,560 --> 01:14:10,439
Speaker 4: hired to like stay at this fishing company to make

1416
01:14:10,479 --> 01:14:13,400
Speaker 4: sure during the winter that everything ran okay and that

1417
01:14:13,479 --> 01:14:16,599
Speaker 4: the rooms you know were kind of you know, nothing

1418
01:14:16,640 --> 01:14:19,840
Speaker 4: got too frosty or pipes didn't burst. And things like that.

1419
01:14:19,920 --> 01:14:22,080
Speaker 4: So that's it's definitely a thing. It was also a

1420
01:14:22,080 --> 01:14:23,880
Speaker 4: thing when I lived in Rhode Island. People would care

1421
01:14:23,920 --> 01:14:26,760
Speaker 4: take for these giant mansion houses in Newport and like

1422
01:14:26,800 --> 01:14:29,160
Speaker 4: live in the guest house during the winter while the

1423
01:14:29,160 --> 01:14:32,240
Speaker 4: family wasn't there. It's a it's a fucking choice job

1424
01:14:32,280 --> 01:14:34,360
Speaker 4: if you can get it, depending on where you're gonna go.

1425
01:14:35,240 --> 01:14:37,640
Speaker 1: See, I need to go north of the Mice and

1426
01:14:37,680 --> 01:14:40,600
Speaker 1: Dixon because I just don't know the type of thing.

1427
01:14:40,720 --> 01:14:42,160
Speaker 2: You really come on up here.

1428
01:14:42,160 --> 01:14:44,639
Speaker 4: You could be gardening and hanging out a guest house

1429
01:14:44,680 --> 01:14:47,280
Speaker 4: and have like you could have your own like four

1430
01:14:47,280 --> 01:14:51,200
Speaker 4: bedroom house on someone's property all right, just for watching

1431
01:14:51,240 --> 01:14:54,439
Speaker 4: their house, just making sure their house isn't inundated with

1432
01:14:54,560 --> 01:14:56,080
Speaker 4: bats or whatever while they're gone.

1433
01:14:56,240 --> 01:14:59,559
Speaker 2: Yeah, amazing. Wow, I was always curious about that.

1434
01:14:59,760 --> 01:15:03,840
Speaker 4: So yeah, it's a real thing, and in this particular place,

1435
01:15:04,080 --> 01:15:06,120
Speaker 4: you know. Again, like in the beginning, they discussed the

1436
01:15:06,200 --> 01:15:08,719
Speaker 4: fact that the reason they closed down in the winter

1437
01:15:09,040 --> 01:15:11,400
Speaker 4: is because it's impossible to get there. It's like this

1438
01:15:11,479 --> 01:15:14,320
Speaker 4: twenty five mile stretch of road and it can snow

1439
01:15:14,400 --> 01:15:17,920
Speaker 4: up to twenty feet, so it's like you're snowbound.

1440
01:15:17,960 --> 01:15:18,759
Speaker 2: You cannot leave.

1441
01:15:19,200 --> 01:15:21,240
Speaker 4: You know, there's this whole scene where Scatman for others,

1442
01:15:21,240 --> 01:15:24,439
Speaker 4: who plays you know, the cook. He's he's leaving, but

1443
01:15:24,520 --> 01:15:26,960
Speaker 4: he shows them all the food that they're going to need,

1444
01:15:27,160 --> 01:15:30,120
Speaker 4: that they could possibly want for the next five months

1445
01:15:30,439 --> 01:15:32,599
Speaker 4: because they can't go to the store, they can't leave

1446
01:15:32,680 --> 01:15:37,600
Speaker 4: the building or the property, like physically geographically prevented. And

1447
01:15:37,640 --> 01:15:40,439
Speaker 4: I also want to say that because this is a

1448
01:15:41,080 --> 01:15:45,600
Speaker 4: film by Stanley Kubrick, You're going to have access to

1449
01:15:46,880 --> 01:15:53,320
Speaker 4: so many academic style podcasts and texts about every single

1450
01:15:53,479 --> 01:15:56,519
Speaker 4: fucking inch of his films, and this ain't it. I'm

1451
01:15:56,560 --> 01:16:00,880
Speaker 4: talking about fuck Boys, and I'm talking about Jackedlwrence, and

1452
01:16:00,960 --> 01:16:04,800
Speaker 4: I'm making a case I encourage you to go seek

1453
01:16:04,880 --> 01:16:07,720
Speaker 4: those things out. But all I'm saying is I don't

1454
01:16:07,720 --> 01:16:09,559
Speaker 4: want to get a single email. It's like you forgot

1455
01:16:09,600 --> 01:16:11,599
Speaker 4: to mention this thing in the background at this table

1456
01:16:11,640 --> 01:16:13,479
Speaker 4: in the corner of the I don't get.

1457
01:16:13,400 --> 01:16:15,439
Speaker 2: A that's not what we're here for. It's now we're

1458
01:16:15,439 --> 01:16:17,200
Speaker 2: here for today, agreed.

1459
01:16:17,280 --> 01:16:20,960
Speaker 1: And I'll just tell you I took an entire class

1460
01:16:21,160 --> 01:16:24,759
Speaker 1: about The Shining. Yeah, I was in grad school where

1461
01:16:25,360 --> 01:16:28,600
Speaker 1: we watched this movie probably like twenty five times in

1462
01:16:28,640 --> 01:16:32,080
Speaker 1: the course of the semester, and I wrote, I was

1463
01:16:32,120 --> 01:16:34,120
Speaker 1: telling you about this. I think I mentioned this in

1464
01:16:34,400 --> 01:16:37,160
Speaker 1: an episode in the past, but I actually wrote a

1465
01:16:37,200 --> 01:16:39,880
Speaker 1: paper about it, my final paper for the class. I

1466
01:16:39,920 --> 01:16:42,599
Speaker 1: thought I thought I lost it, but actually found it.

1467
01:16:43,160 --> 01:16:46,520
Speaker 2: And the title of I mean, this is so ridiculous.

1468
01:16:46,680 --> 01:16:50,360
Speaker 1: This is to show you can wait, how stupid I am.

1469
01:16:50,920 --> 01:16:52,719
Speaker 1: And when I was in grad school, I was basically

1470
01:16:52,760 --> 01:16:53,799
Speaker 1: like words, words, words.

1471
01:16:53,800 --> 01:16:55,479
Speaker 3: I don't know what I'm saying. I just need twenty

1472
01:16:55,479 --> 01:16:56,040
Speaker 3: five pages.

1473
01:16:56,160 --> 01:16:59,639
Speaker 4: That is what academia is ps exactly. Not that you're stupid,

1474
01:16:59,720 --> 01:17:00,800
Speaker 4: is it? That's what I can see.

1475
01:17:01,520 --> 01:17:06,000
Speaker 1: This is no shade to the professor who Professor Barker,

1476
01:17:06,000 --> 01:17:08,600
Speaker 1: who taught this class. She's a wonderful professor and the

1477
01:17:08,640 --> 01:17:11,000
Speaker 1: class was very interesting. But I'm just saying generally, I'm

1478
01:17:11,560 --> 01:17:16,759
Speaker 1: when I write, I just blah blah blah. The title

1479
01:17:16,800 --> 01:17:21,719
Speaker 1: of it was called the Pacific Northwest and Modernist Time

1480
01:17:21,800 --> 01:17:24,919
Speaker 1: Traps in the Shining and Twin Peaks.

1481
01:17:25,880 --> 01:17:29,519
Speaker 2: Dam What could that mean?

1482
01:17:29,760 --> 01:17:32,960
Speaker 4: Can we we need to start a band called Modernist

1483
01:17:33,000 --> 01:17:33,639
Speaker 4: Time Traps?

1484
01:17:35,240 --> 01:17:39,040
Speaker 1: But anyway, that to your point, you don't need to

1485
01:17:39,120 --> 01:17:41,320
Speaker 1: get her d MS about this fucking movie.

1486
01:17:41,520 --> 01:17:43,080
Speaker 2: The end. Yeah, just just have fun with it.

1487
01:17:43,160 --> 01:17:45,000
Speaker 4: Just go with me on the fuck boy angle, and

1488
01:17:45,280 --> 01:17:46,719
Speaker 4: we'll talk about Kubrick again.

1489
01:17:46,920 --> 01:17:48,439
Speaker 2: He'll come up again. Don't worry about it.

1490
01:17:48,479 --> 01:17:50,840
Speaker 4: But we're just not the We're just not doing a

1491
01:17:50,840 --> 01:17:53,000
Speaker 4: deep dive today because I have I have a little

1492
01:17:53,040 --> 01:17:55,439
Speaker 4: bit of an unorthodox proposition for how to how to

1493
01:17:55,479 --> 01:17:57,240
Speaker 4: make my case and talk about this, which is, I'm

1494
01:17:57,280 --> 01:17:59,000
Speaker 4: just going to talk about certain scenes.

1495
01:18:00,680 --> 01:18:02,520
Speaker 2: I think even if you haven't seen.

1496
01:18:02,280 --> 01:18:05,519
Speaker 4: The movie, which you should, it is a pretty stunning film.

1497
01:18:06,600 --> 01:18:10,120
Speaker 4: There are certain cultural touchstones that I'm sure you know

1498
01:18:10,760 --> 01:18:12,720
Speaker 4: come out of the film, and a lot of that

1499
01:18:12,800 --> 01:18:16,320
Speaker 4: has to do with Danny. Danny Torrents their little kid.

1500
01:18:16,520 --> 01:18:18,559
Speaker 4: So he's a little kid that's kind of on his

1501
01:18:19,120 --> 01:18:23,160
Speaker 4: big wheel rolling around the hotel, but he definitely has

1502
01:18:23,960 --> 01:18:28,320
Speaker 4: something else happening with him that Scatman her others early

1503
01:18:28,400 --> 01:18:34,040
Speaker 4: on calls the shine, and it's basically he's able to

1504
01:18:34,080 --> 01:18:37,920
Speaker 4: have kind of this empathic conversation with people who also

1505
01:18:38,040 --> 01:18:42,080
Speaker 4: have this skill, and he can kind of traverse time

1506
01:18:42,600 --> 01:18:45,840
Speaker 4: in terms of what he sees and things he experiences.

1507
01:18:46,439 --> 01:18:49,120
Speaker 4: He also has, you know, and again he's a very

1508
01:18:49,120 --> 01:18:54,240
Speaker 4: little kid, but he also has this imaginary friend, as

1509
01:18:54,240 --> 01:18:58,960
Speaker 4: Wendy calls it, his mom named Tony, who's the clairvoyant

1510
01:18:59,600 --> 01:19:04,240
Speaker 4: finger ghost that lives in his mouth and sometimes goes

1511
01:19:04,280 --> 01:19:07,040
Speaker 4: to a stomach, which I just love that little.

1512
01:19:06,840 --> 01:19:09,639
Speaker 2: Kid wave explaining like I'm hearing things.

1513
01:19:09,760 --> 01:19:12,479
Speaker 4: He's like, I'm going to express it through my finger,

1514
01:19:13,360 --> 01:19:15,559
Speaker 4: but it's the guy that lives in my mouth. Like,

1515
01:19:15,600 --> 01:19:17,840
Speaker 4: imagine a kid coming to you and saying that today.

1516
01:19:17,880 --> 01:19:20,880
Speaker 4: Imagine your nephew being like, Aunt Millie.

1517
01:19:23,520 --> 01:19:26,320
Speaker 1: I feel like they do things relatively close. But that's

1518
01:19:26,439 --> 01:19:27,240
Speaker 1: very unique and.

1519
01:19:29,960 --> 01:19:33,280
Speaker 4: It's pretty it's pretty awesome because it's like, this is

1520
01:19:33,400 --> 01:19:38,920
Speaker 4: a kid who is just so alone in this, you know,

1521
01:19:38,960 --> 01:19:41,479
Speaker 4: both this skill set and this you know, this kind

1522
01:19:41,560 --> 01:19:44,240
Speaker 4: of feeling and his parents don't know how to deal

1523
01:19:44,280 --> 01:19:47,200
Speaker 4: with it, and he he feels it in bolder but

1524
01:19:47,360 --> 01:19:49,800
Speaker 4: you know, you know, this kind of doctor comes through

1525
01:19:49,840 --> 01:19:52,040
Speaker 4: at one point because he passes out in the bathroom

1526
01:19:52,120 --> 01:19:54,760
Speaker 4: and she asks him, you know, she asked Wendy like,

1527
01:19:54,760 --> 01:19:55,760
Speaker 4: has he always had this? So?

1528
01:19:55,880 --> 01:19:57,599
Speaker 2: Did it start when you moved? And she's like, no,

1529
01:19:57,640 --> 01:19:58,680
Speaker 2: he's kind of always had it.

1530
01:19:58,720 --> 01:20:01,360
Speaker 4: So you get the feeling that the shine or the

1531
01:20:01,400 --> 01:20:04,360
Speaker 4: shining is something that you're just born with and you

1532
01:20:04,360 --> 01:20:07,519
Speaker 4: can either do it or you can't. But that is

1533
01:20:07,560 --> 01:20:09,599
Speaker 4: not what we're talking about today. We're talking about Jack

1534
01:20:09,680 --> 01:20:14,720
Speaker 4: torrence classic movie fuck Boy. Scene Number one that I

1535
01:20:14,760 --> 01:20:18,080
Speaker 4: want to discuss is the first scene in the movie

1536
01:20:18,120 --> 01:20:20,280
Speaker 4: when he's interviewing for the job. So he goes to

1537
01:20:20,320 --> 01:20:22,559
Speaker 4: the hotel and he meets with this guy named Ulmen

1538
01:20:23,120 --> 01:20:27,160
Speaker 4: and is just just his kind of swagger and attitude

1539
01:20:27,200 --> 01:20:29,439
Speaker 4: about it is a little bit off putting because he's

1540
01:20:29,520 --> 01:20:32,559
Speaker 4: kind of like draped in the chair and he's just like, well,

1541
01:20:32,800 --> 01:20:36,680
Speaker 4: I'm a former school teacher, but I have a project.

1542
01:20:36,760 --> 01:20:39,040
Speaker 4: I want a writing project that I want to outline.

1543
01:20:39,080 --> 01:20:42,400
Speaker 4: So I figured I'd move my entire family to a remote,

1544
01:20:42,439 --> 01:20:46,320
Speaker 4: isolated hotel and the wintry snows the snowland of Colorado

1545
01:20:46,400 --> 01:20:49,560
Speaker 4: so that I could work on my book. And Almond's like,

1546
01:20:49,800 --> 01:20:54,080
Speaker 4: sounds legit. That is a fuck boy move in terms

1547
01:20:54,120 --> 01:20:56,960
Speaker 4: of the classic black cultural sense.

1548
01:20:57,439 --> 01:21:00,880
Speaker 2: This guy ain't shit. You're gonna tell me that in

1549
01:21:01,000 --> 01:21:01,400
Speaker 2: order for.

1550
01:21:01,360 --> 01:21:03,760
Speaker 4: You to work on your fucking book, you're gonna give

1551
01:21:03,840 --> 01:21:06,240
Speaker 4: up a career with a pension and move to some

1552
01:21:06,360 --> 01:21:07,439
Speaker 4: haunted ass hotel.

1553
01:21:08,880 --> 01:21:09,400
Speaker 2: Exactly.

1554
01:21:10,080 --> 01:21:12,720
Speaker 1: Oh, listen, every time I think about this, movie. I

1555
01:21:12,760 --> 01:21:15,760
Speaker 1: think about Jack Nicholson, like it comes in with a

1556
01:21:15,800 --> 01:21:18,840
Speaker 1: fucking smarmy attitude, right, and I'm like, how much of

1557
01:21:18,840 --> 01:21:21,960
Speaker 1: that is like his character and then how much is

1558
01:21:21,960 --> 01:21:24,920
Speaker 1: that as just him and his vibe like in the culture.

1559
01:21:24,960 --> 01:21:27,240
Speaker 1: And I'm just sort of like, yeah, so it comes

1560
01:21:27,280 --> 01:21:29,160
Speaker 1: in with a tune and you're just sort of like,

1561
01:21:29,360 --> 01:21:30,719
Speaker 1: who the fuck is this guy?

1562
01:21:31,000 --> 01:21:32,439
Speaker 2: Like who do you think you are?

1563
01:21:32,600 --> 01:21:35,120
Speaker 4: Is like from the jump that is. And I've seen

1564
01:21:35,160 --> 01:21:38,240
Speaker 4: this movie so many times, so many times. I remember

1565
01:21:38,240 --> 01:21:40,880
Speaker 4: first watching it when I was like seven, because that

1566
01:21:40,920 --> 01:21:43,280
Speaker 4: whole red rum scene like fucked me the fuck up

1567
01:21:43,920 --> 01:21:47,240
Speaker 4: for a long ass time. And we had those doors

1568
01:21:47,360 --> 01:21:49,439
Speaker 4: in our house, like that kind of old school door

1569
01:21:49,479 --> 01:21:50,800
Speaker 4: with the cutouts.

1570
01:21:50,280 --> 01:21:52,799
Speaker 2: And the and I'm like, I'm I'm gonna get murked.

1571
01:21:54,600 --> 01:21:56,599
Speaker 4: You can get an acts through these doors. There's no

1572
01:21:56,640 --> 01:22:01,240
Speaker 4: hope for us. So I've seen this movie several times,

1573
01:22:01,360 --> 01:22:05,280
Speaker 4: but that attitude just always catches me off guard, Like

1574
01:22:05,479 --> 01:22:07,519
Speaker 4: I don't under it's not a move that he's making

1575
01:22:07,680 --> 01:22:10,760
Speaker 4: to the benefit of his family. It's a very selfish,

1576
01:22:11,000 --> 01:22:13,519
Speaker 4: entitled move for something that he doesn't even know if

1577
01:22:13,520 --> 01:22:14,280
Speaker 4: he can fucking do.

1578
01:22:15,040 --> 01:22:17,200
Speaker 2: Yeah, he doesn't know if he can write anything.

1579
01:22:17,960 --> 01:22:20,960
Speaker 4: Yeah, and again you can take me to task. Because

1580
01:22:21,000 --> 01:22:23,240
Speaker 4: I know this is very contradictory. I just said it

1581
01:22:23,240 --> 01:22:27,120
Speaker 4: a couple episodes ago that I left La partially because

1582
01:22:27,160 --> 01:22:29,040
Speaker 4: it was really hard to write in a one bedroom

1583
01:22:29,080 --> 01:22:32,120
Speaker 4: apartment in the middle of the city. I get it,

1584
01:22:32,120 --> 01:22:35,320
Speaker 4: it's contradictory, But I'm not dragging any motherfuckers with me

1585
01:22:35,760 --> 01:22:38,920
Speaker 4: when I decided to move to the goddamn woods. I'm

1586
01:22:38,960 --> 01:22:43,040
Speaker 4: not dragging a tiny child who already has psychological issues

1587
01:22:43,080 --> 01:22:45,960
Speaker 4: with me and a wife who's a little bit bugged

1588
01:22:46,000 --> 01:22:51,240
Speaker 4: out by his decision. So first, fuck boy move. Then

1589
01:22:51,600 --> 01:22:54,040
Speaker 4: I feel like this is an extension. This scene is

1590
01:22:54,080 --> 01:22:57,120
Speaker 4: an extension of the first one in terms of a

1591
01:22:57,160 --> 01:23:01,479
Speaker 4: fuck boyenous. But as they're driving to the hotel and

1592
01:23:01,560 --> 01:23:05,080
Speaker 4: Danny's in the backseat and they mentioned that Wendy and

1593
01:23:05,200 --> 01:23:08,280
Speaker 4: Jack are talking and they mentioned the Donner Party. Yeah,

1594
01:23:08,320 --> 01:23:12,960
Speaker 4: and Danny's like, what's that? And Jack just straight up

1595
01:23:13,080 --> 01:23:15,720
Speaker 4: is like, well, it's a family that was traveling. It's

1596
01:23:15,760 --> 01:23:18,559
Speaker 4: a bunch of people that were traveling in the winter

1597
01:23:18,640 --> 01:23:21,120
Speaker 4: and they got snowbound and had to eat each other

1598
01:23:21,200 --> 01:23:25,960
Speaker 4: to survive. They were cannibals, and Wendy's like should you be?

1599
01:23:26,120 --> 01:23:28,040
Speaker 4: And you know, Danny's like it's cool, I learned about

1600
01:23:28,040 --> 01:23:32,200
Speaker 4: cannibalism on TV, and Jack's like, see he learned about

1601
01:23:32,280 --> 01:23:35,439
Speaker 4: cannibalism on TV. It's like, take a fucking interest in

1602
01:23:35,479 --> 01:23:36,920
Speaker 4: your kid's life, motherfucker.

1603
01:23:37,240 --> 01:23:38,599
Speaker 2: That is a fuck boy move.

1604
01:23:39,280 --> 01:23:43,160
Speaker 4: That's some ain't shit shit right there, Like, don't be

1605
01:23:43,280 --> 01:23:46,240
Speaker 4: fucking smug to your kid who's trying to learn and

1606
01:23:46,280 --> 01:23:49,599
Speaker 4: be educated about some shit, like recognize, read the room,

1607
01:23:50,080 --> 01:23:53,680
Speaker 4: know your audience, and maybe treat your kid like he's

1608
01:23:53,680 --> 01:23:54,559
Speaker 4: a fucking kid.

1609
01:23:55,360 --> 01:23:55,479
Speaker 8: Yo.

1610
01:23:55,640 --> 01:23:57,800
Speaker 1: He hasn't even gone nuts yet, and already I'm like,

1611
01:23:57,800 --> 01:24:01,880
Speaker 1: I'm annoyed, like Jack's was from is like, Yo, he's.

1612
01:24:01,840 --> 01:24:05,000
Speaker 2: Smarmy and fucking he can't put up.

1613
01:24:04,920 --> 01:24:08,200
Speaker 1: With his family already, and he's about to be locked

1614
01:24:08,200 --> 01:24:10,400
Speaker 1: into a fucking house with them for months.

1615
01:24:10,680 --> 01:24:12,000
Speaker 2: It's like, this is what I mean.

1616
01:24:12,080 --> 01:24:13,880
Speaker 4: It's like, that is a fuck boy move to go

1617
01:24:13,920 --> 01:24:18,360
Speaker 4: to this hotel knowing you can barely stand these motherfuckers already,

1618
01:24:20,720 --> 01:24:22,760
Speaker 4: like and would have it better off for him to

1619
01:24:22,760 --> 01:24:24,920
Speaker 4: be like, you know what, I gotta leave for five

1620
01:24:24,920 --> 01:24:26,000
Speaker 4: months to try this shit out.

1621
01:24:26,000 --> 01:24:27,599
Speaker 2: You guys gonna be cool and Boulder where.

1622
01:24:27,439 --> 01:24:31,000
Speaker 4: There's like people and schools and stores and just shit

1623
01:24:32,000 --> 01:24:34,120
Speaker 4: like I'll come back and see you when it's done.

1624
01:24:34,560 --> 01:24:36,600
Speaker 4: That I would have had much more respect for that.

1625
01:24:37,160 --> 01:24:40,200
Speaker 4: But no, he's dragging them up there. Off they fucking go.

1626
01:24:40,680 --> 01:24:43,360
Speaker 4: They're in this hotel. They've got a dozen jugs of

1627
01:24:43,400 --> 01:24:47,080
Speaker 4: black molasses to fucking survive.

1628
01:24:47,360 --> 01:24:49,200
Speaker 2: Also, I want that scene.

1629
01:24:48,960 --> 01:24:52,200
Speaker 4: Of scatman Caruthers just going through the inventory of the

1630
01:24:52,240 --> 01:24:54,559
Speaker 4: fridge and the pantry. I want that as my ring tone,

1631
01:24:55,000 --> 01:24:55,960
Speaker 4: Oh yeah, where he's like.

1632
01:24:56,040 --> 01:24:58,840
Speaker 2: You got fifty Sarallois steaks, twenty legs lay.

1633
01:25:00,920 --> 01:25:04,920
Speaker 4: He's just making it sound like a dream, like just

1634
01:25:05,000 --> 01:25:05,680
Speaker 4: a delicacy.

1635
01:25:05,680 --> 01:25:08,320
Speaker 2: He's like, you got post toasties, you got this, you

1636
01:25:08,439 --> 01:25:09,960
Speaker 2: got every kind of cereal.

1637
01:25:10,520 --> 01:25:13,920
Speaker 4: I crack up every time I see that scene. So

1638
01:25:14,280 --> 01:25:18,200
Speaker 4: we're already annoyed. Jack Torrens is already a fuck boy

1639
01:25:18,560 --> 01:25:21,519
Speaker 4: for dragging his goddamn family to this haunted, fucking mansion

1640
01:25:21,560 --> 01:25:23,960
Speaker 4: so we can live out as goddamn writer dreams.

1641
01:25:25,880 --> 01:25:28,880
Speaker 2: That we get into the movie.

1642
01:25:29,800 --> 01:25:31,800
Speaker 4: Jack starts to get a little I guess you would

1643
01:25:31,800 --> 01:25:36,400
Speaker 4: call it mildly possessed by the hotel. Danny is having

1644
01:25:36,520 --> 01:25:41,679
Speaker 4: visions and he's bugged out and can't communicate that Wendy

1645
01:25:42,000 --> 01:25:45,960
Speaker 4: is doing her best. And there are actually one thing

1646
01:25:45,960 --> 01:25:47,839
Speaker 4: that you should look up and read about. I forget

1647
01:25:48,280 --> 01:25:50,439
Speaker 4: where I read it, but I did read something about

1648
01:25:50,479 --> 01:25:55,120
Speaker 4: how Shelley Duval was pretty terrorized during the filming of

1649
01:25:55,160 --> 01:25:55,679
Speaker 4: this movie.

1650
01:25:56,080 --> 01:25:57,280
Speaker 2: Yeah, and how it.

1651
01:25:57,280 --> 01:26:01,280
Speaker 4: Led to a lot of her departure from the industry.

1652
01:26:01,960 --> 01:26:03,000
Speaker 2: It's a big story.

1653
01:26:03,120 --> 01:26:05,040
Speaker 1: Yeah, it's a lot, but.

1654
01:26:06,080 --> 01:26:07,400
Speaker 2: And I'm interested in that.

1655
01:26:07,439 --> 01:26:09,559
Speaker 4: I would I would read about it, especially because I

1656
01:26:09,600 --> 01:26:14,280
Speaker 4: know that there's also I read something about how Kubrick

1657
01:26:15,000 --> 01:26:19,280
Speaker 4: really protected Danny Lloyd, who plays Danny, and because he

1658
01:26:19,320 --> 01:26:20,840
Speaker 4: was a kid, he didn't want him to know he

1659
01:26:20,880 --> 01:26:24,280
Speaker 4: was in like this intense horror movie or this intense,

1660
01:26:24,360 --> 01:26:28,040
Speaker 4: like you know, thriller. So he kind of convinced him

1661
01:26:28,040 --> 01:26:31,599
Speaker 4: it was just like a spooky movie and shielded him

1662
01:26:31,600 --> 01:26:32,280
Speaker 4: from a lot of shit.

1663
01:26:32,360 --> 01:26:36,479
Speaker 2: But he did not shield Shelley Duval from her trauma. Yeah.

1664
01:26:36,920 --> 01:26:37,680
Speaker 2: So interesting.

1665
01:26:38,080 --> 01:26:41,559
Speaker 1: There's just so much history and so many stories about

1666
01:26:41,560 --> 01:26:45,000
Speaker 1: this film, and it's just kind of one of those

1667
01:26:45,080 --> 01:26:47,519
Speaker 1: like those films, I mean, we've talked about them in

1668
01:26:47,560 --> 01:26:50,080
Speaker 1: the past where it's just sort of like the production history,

1669
01:26:50,360 --> 01:26:54,040
Speaker 1: the director, the people involved, the topic. It's just like,

1670
01:26:54,080 --> 01:26:56,639
Speaker 1: you know, one of those films that has a lot

1671
01:26:56,920 --> 01:26:58,960
Speaker 1: you could fall down a whole.

1672
01:27:00,120 --> 01:27:01,920
Speaker 2: I took an entire fucking class about it.

1673
01:27:01,960 --> 01:27:04,320
Speaker 1: I mean, it's it's a it's a it's a there's

1674
01:27:04,360 --> 01:27:06,439
Speaker 1: a lot of meat on that bone. So go in

1675
01:27:06,640 --> 01:27:09,960
Speaker 1: and and and read all these stories because it's it's fascinating.

1676
01:27:10,360 --> 01:27:12,519
Speaker 2: So dig deep, dig deep.

1677
01:27:12,800 --> 01:27:15,240
Speaker 4: And as we get further into this film and you

1678
01:27:15,280 --> 01:27:18,120
Speaker 4: start to realize that Jack is kind of becoming mildly possessed,

1679
01:27:18,120 --> 01:27:20,360
Speaker 4: and he's kind of, you know, he's he's just kind

1680
01:27:20,360 --> 01:27:22,559
Speaker 4: of staring a lot, a lot of staring, like open,

1681
01:27:22,640 --> 01:27:26,559
Speaker 4: open mouthed, slackjaw staring, which is never a good sign. Yes,

1682
01:27:27,120 --> 01:27:30,160
Speaker 4: And he, you know, just clicking away on his typewriter,

1683
01:27:30,600 --> 01:27:39,439
Speaker 4: but he's getting his mild possession makes him so fucking angry. Yes, Wendy.

1684
01:27:39,880 --> 01:27:41,680
Speaker 4: And this is something else I can't stand. This is

1685
01:27:41,680 --> 01:27:43,479
Speaker 4: another scene I want to talk about. So there's an

1686
01:27:43,479 --> 01:27:47,639
Speaker 4: incident where Danny goes into Room two thirty seven, which

1687
01:27:47,680 --> 01:27:51,080
Speaker 4: is like the haunted room so to speak, that is

1688
01:27:51,240 --> 01:27:54,240
Speaker 4: at the center of this film, and he comes out

1689
01:27:54,240 --> 01:27:57,320
Speaker 4: and has these marks on his neck, and Shelley Duval

1690
01:27:57,640 --> 01:28:01,240
Speaker 4: is like, where'd you get those marks, like what's going on?

1691
01:28:01,320 --> 01:28:04,800
Speaker 4: And she instantly thinks that Jack did it because there's

1692
01:28:04,800 --> 01:28:09,320
Speaker 4: a history of abuse. He had apparently at one point

1693
01:28:09,360 --> 01:28:13,040
Speaker 4: gotten drunk and pulled on Danny's arm too hard and

1694
01:28:13,439 --> 01:28:17,000
Speaker 4: dislocated his shoulder. So she sees these marks and she's like,

1695
01:28:17,240 --> 01:28:18,439
Speaker 4: you fucking did this?

1696
01:28:18,600 --> 01:28:18,840
Speaker 2: Jack?

1697
01:28:18,920 --> 01:28:22,360
Speaker 4: Fuck you, Like, how dare you? So she's already on ed,

1698
01:28:22,479 --> 01:28:24,880
Speaker 4: she's already isolated, she has no one. Now she's trying

1699
01:28:24,880 --> 01:28:26,800
Speaker 4: to protect her child from someone who she thinks is

1700
01:28:26,840 --> 01:28:31,200
Speaker 4: being violent to him. Jack has the goddamn nerve When

1701
01:28:31,200 --> 01:28:33,439
Speaker 4: they're in their room talking about it, and she says,

1702
01:28:33,560 --> 01:28:35,479
Speaker 4: I really think we got to get Danny out of here.

1703
01:28:35,600 --> 01:28:38,920
Speaker 4: Something is wrong, like something is up. He has the

1704
01:28:39,000 --> 01:28:43,320
Speaker 4: fucking nerve to say to her, I've already let you

1705
01:28:43,960 --> 01:28:49,400
Speaker 4: ruin my life. I'm not gonna let you ruin this.

1706
01:28:49,400 --> 01:28:54,280
Speaker 4: This being his attempt to write this book. This is again,

1707
01:28:54,880 --> 01:28:57,040
Speaker 4: just like the way Montgomery Cliff went from fuck boy

1708
01:28:57,080 --> 01:29:00,000
Speaker 4: to bad guy. This is a very slippery slope between

1709
01:29:00,120 --> 01:29:01,679
Speaker 4: fuck boy and awful dad.

1710
01:29:02,240 --> 01:29:06,840
Speaker 1: Yeah, oh, one hundred percent, because part of like what, Okay,

1711
01:29:06,880 --> 01:29:08,519
Speaker 1: I don't know if I'm gonna be able to properly

1712
01:29:08,560 --> 01:29:12,000
Speaker 1: communicate this thought, but I'm gonna try. Part of what

1713
01:29:12,320 --> 01:29:16,240
Speaker 1: I think the horror of the story is is that

1714
01:29:16,320 --> 01:29:19,840
Speaker 1: you have this father who takes his family up to

1715
01:29:19,920 --> 01:29:25,120
Speaker 1: the woods to this abandoned house, and he slowly becomes

1716
01:29:25,200 --> 01:29:28,879
Speaker 1: like possessed by the house and turns into this monster. Okay,

1717
01:29:29,680 --> 01:29:32,760
Speaker 1: I think that part of the like, to make that effective,

1718
01:29:32,840 --> 01:29:36,240
Speaker 1: you have to communicate that the guy before going to

1719
01:29:36,280 --> 01:29:37,439
Speaker 1: the house was a good dude.

1720
01:29:37,920 --> 01:29:40,719
Speaker 2: Yes, And I don't think they do that very well.

1721
01:29:40,800 --> 01:29:43,040
Speaker 1: I think you because of what I said before, which

1722
01:29:43,080 --> 01:29:48,120
Speaker 1: is that already like Jack Nicholson comes up from jumping,

1723
01:29:48,280 --> 01:29:52,479
Speaker 1: is like the smarmy artist, he wannabe guy. Then it

1724
01:29:52,800 --> 01:29:55,559
Speaker 1: is revealed that he's actually done some shit before any

1725
01:29:55,600 --> 01:29:57,720
Speaker 1: of this happens. So then when I'm like, oh, so

1726
01:29:57,840 --> 01:30:01,479
Speaker 1: he falls down this hole of possession and he turns

1727
01:30:01,520 --> 01:30:03,479
Speaker 1: into this other person, I'm like, I don't know.

1728
01:30:03,560 --> 01:30:04,880
Speaker 2: I think he was that person to.

1729
01:30:04,840 --> 01:30:07,160
Speaker 1: Begin with, and now she got kind of you know,

1730
01:30:07,600 --> 01:30:08,240
Speaker 1: it got kind.

1731
01:30:08,080 --> 01:30:11,200
Speaker 2: Of perfected in this house, right turns up the dial.

1732
01:30:11,760 --> 01:30:14,320
Speaker 4: This fucking supernatural shit just helped turn up the dial

1733
01:30:14,320 --> 01:30:18,600
Speaker 4: a little bit because he's already a fuck boy, yes exactly,

1734
01:30:18,760 --> 01:30:22,400
Speaker 4: he a't shit and then I completely agree, could not

1735
01:30:22,520 --> 01:30:24,200
Speaker 4: agree with you more, could not agree with they did

1736
01:30:24,240 --> 01:30:26,000
Speaker 4: not make the case for this being a good enough

1737
01:30:26,080 --> 01:30:29,679
Speaker 4: dude that I buy that the house is the only

1738
01:30:29,720 --> 01:30:34,679
Speaker 4: thing that is keeping him in this dickhead role right exactly.

1739
01:30:35,800 --> 01:30:39,000
Speaker 4: Then we've got probably the last scene I want to

1740
01:30:39,040 --> 01:30:41,960
Speaker 4: bring up before all the kind of real drama and

1741
01:30:42,040 --> 01:30:46,120
Speaker 4: horror happens. That incredible scene on the staircase where Shelley

1742
01:30:46,160 --> 01:30:48,760
Speaker 4: Duval is kind of slightly swinging this bat and trying

1743
01:30:48,800 --> 01:30:51,599
Speaker 4: to get him to not come near her, and he's

1744
01:30:51,680 --> 01:30:52,759
Speaker 4: creeping up the stairs.

1745
01:30:52,760 --> 01:30:54,280
Speaker 2: They're both moving very slowly.

1746
01:30:54,400 --> 01:30:59,320
Speaker 4: It really is an incredible scene, especially because the way

1747
01:30:59,360 --> 01:31:02,639
Speaker 4: she's waving the bats in such a realistic, exhausted kind

1748
01:31:02,680 --> 01:31:05,559
Speaker 4: of way, and she's kind of sweating in her Hair's

1749
01:31:05,800 --> 01:31:09,000
Speaker 4: like she's just exhausted by this already, and she just

1750
01:31:09,120 --> 01:31:13,120
Speaker 4: is trying to save herself and her kid. And again,

1751
01:31:13,600 --> 01:31:17,439
Speaker 4: fuck boy Jack Torrence. As she's talking about trying to

1752
01:31:17,520 --> 01:31:20,400
Speaker 4: save their child and get out of this place, and

1753
01:31:20,439 --> 01:31:22,280
Speaker 4: she's like, this is not good for any of us.

1754
01:31:23,000 --> 01:31:26,040
Speaker 4: Has the nerve to say, have you ever thought about

1755
01:31:26,080 --> 01:31:29,679
Speaker 4: my responsibilities? Have you ever thought about what I'm going through?

1756
01:31:30,600 --> 01:31:35,400
Speaker 4: I'm sorry did your whole family just redirect their lives

1757
01:31:35,400 --> 01:31:36,519
Speaker 4: so that you could be here?

1758
01:31:36,680 --> 01:31:36,920
Speaker 2: Or not?

1759
01:31:37,840 --> 01:31:41,720
Speaker 4: Is your responsibility and your thoughts and you Is that

1760
01:31:41,880 --> 01:31:43,599
Speaker 4: the only thing that matters in this family?

1761
01:31:43,680 --> 01:31:45,760
Speaker 2: Yes or no? Because I'm going with yes.

1762
01:31:45,960 --> 01:31:48,639
Speaker 4: The fact that you even ended up here is proof

1763
01:31:49,120 --> 01:31:52,240
Speaker 4: of the fact that she's only thinking about your responsibilities

1764
01:31:52,280 --> 01:31:54,120
Speaker 4: and what you have to do. And when she finally

1765
01:31:54,200 --> 01:31:55,840
Speaker 4: stands up and is like, I need to take care

1766
01:31:55,840 --> 01:31:59,040
Speaker 4: of my goddamn kid, he's like, oh what about me?

1767
01:31:59,680 --> 01:32:00,479
Speaker 2: Fuck boy?

1768
01:32:01,200 --> 01:32:04,559
Speaker 3: Yeah, he's such a dick in the scene.

1769
01:32:04,320 --> 01:32:08,360
Speaker 1: Like like and that's the funny thing too, It's like,

1770
01:32:08,360 --> 01:32:11,160
Speaker 1: like the funny thing about what we're doing right now

1771
01:32:11,240 --> 01:32:13,680
Speaker 1: is that we're like, so Jack Torrance is one at

1772
01:32:13,680 --> 01:32:16,960
Speaker 1: this point, is like one of the most He's like classic.

1773
01:32:16,680 --> 01:32:18,200
Speaker 2: Villain in horror.

1774
01:32:19,160 --> 01:32:21,960
Speaker 1: I mean, when I was in high school, people wore

1775
01:32:22,040 --> 01:32:24,960
Speaker 1: t shirts of Jack Torrance coming out of the door.

1776
01:32:25,680 --> 01:32:27,280
Speaker 2: Yeah, I have to hear's johnny thing.

1777
01:32:27,840 --> 01:32:31,439
Speaker 1: It was like he was like a celebrated bad guy

1778
01:32:31,840 --> 01:32:35,760
Speaker 1: villain type. But at the same time, like there are

1779
01:32:35,840 --> 01:32:38,960
Speaker 1: moments where you're like, god, he's actually a dick, Like okay,

1780
01:32:39,000 --> 01:32:42,240
Speaker 1: he's the huge villain of the film. But then there's

1781
01:32:42,280 --> 01:32:44,559
Speaker 1: all these like, oh, yeah, he's a dick. He's just

1782
01:32:44,600 --> 01:32:46,759
Speaker 1: a dick too, Like he's a fuck boy but also

1783
01:32:46,840 --> 01:32:47,439
Speaker 1: a bad.

1784
01:32:47,280 --> 01:32:48,400
Speaker 2: Person, you know what I mean?

1785
01:32:48,880 --> 01:32:53,120
Speaker 4: Yeah, exactly, And again like this, this, this definition of

1786
01:32:53,200 --> 01:32:55,559
Speaker 4: fuck boy that I'm that I'm utilizing is kind of

1787
01:32:55,600 --> 01:32:57,600
Speaker 4: more towards the guys who were you know, who just

1788
01:32:57,720 --> 01:33:00,360
Speaker 4: suck and they ain't shit. But there's also an urban

1789
01:33:00,439 --> 01:33:03,000
Speaker 4: dictionary on the tail end of the definition of fuck

1790
01:33:03,040 --> 01:33:05,720
Speaker 4: boy that they use. It's someone who should not be

1791
01:33:05,800 --> 01:33:09,760
Speaker 4: trusted and is responsible for other people's trust issues. That

1792
01:33:09,920 --> 01:33:12,240
Speaker 4: is Jack torns to a goddamn tee totally.

1793
01:33:12,320 --> 01:33:15,479
Speaker 1: And it's just like he's just slowly becoming more and

1794
01:33:15,560 --> 01:33:17,200
Speaker 1: more acerbic towards her.

1795
01:33:17,320 --> 01:33:18,840
Speaker 2: He's just like he's pulling.

1796
01:33:18,640 --> 01:33:23,000
Speaker 1: His like I'm a sarcastic guy Jack Nicholson style thing,

1797
01:33:23,040 --> 01:33:26,479
Speaker 1: and it drives me insane because it's just basically like

1798
01:33:26,520 --> 01:33:28,240
Speaker 1: I get it, I get that this is, but it's

1799
01:33:28,280 --> 01:33:31,519
Speaker 1: also like his character is a dick, and I just

1800
01:33:31,880 --> 01:33:36,080
Speaker 1: there's just an extra level of ugh, uncomfortableness whenever I

1801
01:33:36,080 --> 01:33:39,120
Speaker 1: see this movie and just sort of knowing that the

1802
01:33:39,120 --> 01:33:43,639
Speaker 1: Shelley Duval character is so passive and is so gentle

1803
01:33:44,200 --> 01:33:46,560
Speaker 1: and the you know, her character is the sort of

1804
01:33:46,640 --> 01:33:51,160
Speaker 1: antithesis to him, and you can kind of maybe you

1805
01:33:51,200 --> 01:33:53,600
Speaker 1: could kind of say that her and Danny are basically

1806
01:33:53,640 --> 01:33:59,240
Speaker 1: like they are the passive audience to this energy, to

1807
01:33:59,360 --> 01:34:02,240
Speaker 1: this crazy it's not just crazy energy, but it's also

1808
01:34:02,360 --> 01:34:05,479
Speaker 1: he's you know, he's like this guy that's kind of

1809
01:34:05,520 --> 01:34:06,440
Speaker 1: self obsessed.

1810
01:34:06,760 --> 01:34:09,840
Speaker 4: You know, yes, yes, like moving your whole family from

1811
01:34:09,920 --> 01:34:12,240
Speaker 4: Vermont to Boulder for no reason and quitting a job

1812
01:34:12,280 --> 01:34:14,880
Speaker 4: and doing this. It's all about him all the time,

1813
01:34:15,320 --> 01:34:18,120
Speaker 4: and that's not good for any family structure if it's

1814
01:34:18,160 --> 01:34:21,760
Speaker 4: all about one person all the time. And I think

1815
01:34:21,800 --> 01:34:25,880
Speaker 4: that it's really what's I'm probably heavily influenced by the

1816
01:34:25,920 --> 01:34:29,040
Speaker 4: fact that I recently saw Doctor Sleep for the first time.

1817
01:34:29,720 --> 01:34:32,479
Speaker 4: And I don't know how that movie was received or

1818
01:34:32,520 --> 01:34:35,320
Speaker 4: what people think about it, but from my opinion, it's

1819
01:34:35,360 --> 01:34:38,439
Speaker 4: a fantastic movie. And it was really interesting because this

1820
01:34:38,479 --> 01:34:42,040
Speaker 4: is a movie Doctor Sleep. It's not really a sequel

1821
01:34:42,080 --> 01:34:45,799
Speaker 4: in the traditional sense, but it picks up with Danny

1822
01:34:45,880 --> 01:34:50,280
Speaker 4: Torrence as an adult, and from that film you get

1823
01:34:50,280 --> 01:34:52,360
Speaker 4: to see a lot of and kind of revisit a

1824
01:34:52,400 --> 01:34:54,839
Speaker 4: lot of the psychosis and a lot of the trauma

1825
01:34:54,960 --> 01:34:58,640
Speaker 4: and horror that he experienced as a child, and I

1826
01:34:58,760 --> 01:35:00,599
Speaker 4: just think it's it's beautiful done.

1827
01:35:00,960 --> 01:35:02,240
Speaker 2: I think that it is.

1828
01:35:02,479 --> 01:35:05,400
Speaker 4: It's an interesting movie for all of the reasons that

1829
01:35:05,439 --> 01:35:07,559
Speaker 4: they put into the plot that are modern and current

1830
01:35:07,760 --> 01:35:10,559
Speaker 4: and fresh. But the things that they revisit from this

1831
01:35:10,680 --> 01:35:17,879
Speaker 4: film make to me, makes what Jack Torrence does more monstrous.

1832
01:35:17,920 --> 01:35:20,639
Speaker 4: It makes him more of a fuck boy than ever before.

1833
01:35:21,240 --> 01:35:22,599
Speaker 2: Yeah, I would check it out.

1834
01:35:22,880 --> 01:35:25,320
Speaker 1: Oh, I can't wait. I meant to see it when

1835
01:35:25,360 --> 01:35:28,120
Speaker 1: it came out, and then I just didn't. So I'm

1836
01:35:28,120 --> 01:35:29,559
Speaker 1: gonna fix that very quickly.

1837
01:35:29,920 --> 01:35:32,960
Speaker 4: It's really good and you and McGregor plays the adult

1838
01:35:33,520 --> 01:35:34,320
Speaker 4: Danny Torrens.

1839
01:35:35,080 --> 01:35:35,960
Speaker 2: That's a good choice.

1840
01:35:36,600 --> 01:35:40,559
Speaker 4: It's a great cast. It's like it's ugh. I just

1841
01:35:40,600 --> 01:35:44,559
Speaker 4: cannot recommend it enough. And again watching that and then

1842
01:35:44,640 --> 01:35:48,400
Speaker 4: watching this again, it just all really compounds. And I'm

1843
01:35:48,600 --> 01:35:51,080
Speaker 4: I'm definitely biased a little bit because I can't handle

1844
01:35:51,080 --> 01:35:55,640
Speaker 4: seeing kids in traumatic situations and film. But it's just

1845
01:35:55,680 --> 01:35:59,040
Speaker 4: a very interesting cycle. It's an interesting psychological experiment to

1846
01:35:59,080 --> 01:36:02,040
Speaker 4: watch this movie thinking about Jack Torrance as a fuck boy.

1847
01:36:02,720 --> 01:36:03,799
Speaker 2: I totally agree.

1848
01:36:03,840 --> 01:36:06,919
Speaker 1: And I but that the best part about is honestly,

1849
01:36:06,960 --> 01:36:09,760
Speaker 1: like when we when we talked about this. I was like,

1850
01:36:10,640 --> 01:36:12,920
Speaker 1: it is so fucking funny to me to call Jack

1851
01:36:12,960 --> 01:36:16,120
Speaker 1: Torrance a fuck boy just because he's such a like

1852
01:36:16,160 --> 01:36:19,400
Speaker 1: I said, he's such a legendary villain that it's like

1853
01:36:19,520 --> 01:36:21,720
Speaker 1: calling like an evil murderer.

1854
01:36:21,320 --> 01:36:21,920
Speaker 2: A fuck boy.

1855
01:36:21,920 --> 01:36:23,479
Speaker 1: It's that thing of just sort of like, oh, we're

1856
01:36:23,479 --> 01:36:27,280
Speaker 1: gonna call him by the lesser evil. But he's perpetrated

1857
01:36:27,360 --> 01:36:31,360
Speaker 1: so much worse than just simple fit boy ism, I guess.

1858
01:36:32,400 --> 01:36:37,600
Speaker 1: But the point I think is more that if you

1859
01:36:37,720 --> 01:36:42,880
Speaker 1: take the like bad epic end of the movie stuff

1860
01:36:42,880 --> 01:36:45,280
Speaker 1: that he does, and he just pay attention to the

1861
01:36:45,320 --> 01:36:49,439
Speaker 1: beginning part of the little microaggressions and the little things

1862
01:36:49,439 --> 01:36:49,760
Speaker 1: that he.

1863
01:36:49,760 --> 01:36:51,519
Speaker 3: Does, he is a fuck boy.

1864
01:36:51,600 --> 01:36:56,519
Speaker 1: He is like a shitty husband and he does even

1865
01:36:56,840 --> 01:36:59,519
Speaker 1: I mean, you're gonna say, oh, yes, because he's possessed

1866
01:36:59,560 --> 01:37:02,680
Speaker 1: by this and he's under a spell, and that's why

1867
01:37:02,680 --> 01:37:06,799
Speaker 1: he's a dick. I don't actually know if that's entirely

1868
01:37:07,800 --> 01:37:11,559
Speaker 1: I feel like it. He was always a dick, and

1869
01:37:11,600 --> 01:37:15,080
Speaker 1: then the house made it just more present. And you

1870
01:37:15,120 --> 01:37:17,879
Speaker 1: can tell at the beginning, like just the little moments

1871
01:37:17,960 --> 01:37:21,160
Speaker 1: between his inner like the little interactions between him and

1872
01:37:21,200 --> 01:37:25,000
Speaker 1: the family, that there's something there. There's some kind of

1873
01:37:25,080 --> 01:37:28,760
Speaker 1: like tension there, and when you find out that he

1874
01:37:28,920 --> 01:37:31,519
Speaker 1: is trying to be a writer, that to me just

1875
01:37:31,560 --> 01:37:33,800
Speaker 1: like kind of adds to the momentum of that because

1876
01:37:33,800 --> 01:37:36,320
Speaker 1: it's basically like, oh, here's this dude who wants to

1877
01:37:36,320 --> 01:37:38,960
Speaker 1: be like Hemingway or he wants to write this great

1878
01:37:39,000 --> 01:37:42,040
Speaker 1: American novel and he's kind of like it's at the

1879
01:37:42,080 --> 01:37:45,679
Speaker 1: cost of sort of his family and their and their lives.

1880
01:37:46,080 --> 01:37:48,960
Speaker 4: And it brings up the sore point too that I

1881
01:37:49,000 --> 01:37:54,320
Speaker 4: think that the the fuckboyness of it is rooted in

1882
01:37:54,400 --> 01:37:59,960
Speaker 4: my general dismay about men who feel like they're fail

1883
01:38:00,000 --> 01:38:04,040
Speaker 4: families have prevented them from something. Yes, that kind of

1884
01:38:04,160 --> 01:38:08,160
Speaker 4: never adjust it, both in character study and in real life,

1885
01:38:08,320 --> 01:38:11,439
Speaker 4: that they just never adjust to the idea that they

1886
01:38:11,439 --> 01:38:14,720
Speaker 4: don't necessarily deserve to have everything all the time, that

1887
01:38:14,840 --> 01:38:16,839
Speaker 4: if you have a family and you made that choice,

1888
01:38:16,840 --> 01:38:20,240
Speaker 4: that's okay, you don't just necessarily then get to torment

1889
01:38:20,320 --> 01:38:24,679
Speaker 4: your fucking family because you never climbed Kilimanjaro or whatever,

1890
01:38:25,160 --> 01:38:28,880
Speaker 4: like you Just the very notion of people who can't

1891
01:38:28,920 --> 01:38:31,720
Speaker 4: just kind of go with the choice they made and

1892
01:38:31,760 --> 01:38:34,559
Speaker 4: are constantly holding it against the people in their lives.

1893
01:38:34,920 --> 01:38:35,800
Speaker 2: I can't with that shit.

1894
01:38:36,320 --> 01:38:39,599
Speaker 1: I can't because it presents this binary, which is that

1895
01:38:39,680 --> 01:38:43,400
Speaker 1: like you you either have family, or you have freedom,

1896
01:38:44,080 --> 01:38:47,040
Speaker 1: right right, or you have like a creative life, or

1897
01:38:47,080 --> 01:38:50,599
Speaker 1: you have a marriage or have a child. And it's

1898
01:38:50,640 --> 01:38:53,640
Speaker 1: just a thing where I think I think men were

1899
01:38:53,680 --> 01:38:55,760
Speaker 1: always trying to make that argument for so long. I

1900
01:38:55,760 --> 01:38:58,840
Speaker 1: mean this is obviously like within film and TV, but

1901
01:38:58,960 --> 01:39:01,680
Speaker 1: you know also maybe a life too, where it was

1902
01:39:01,720 --> 01:39:04,519
Speaker 1: basically like the men were acting out because of the

1903
01:39:04,520 --> 01:39:05,479
Speaker 1: obligation of the.

1904
01:39:05,439 --> 01:39:08,519
Speaker 3: Family and the and the the.

1905
01:39:08,439 --> 01:39:11,960
Speaker 1: Wife and everything that they were the source of his

1906
01:39:13,000 --> 01:39:16,679
Speaker 1: inability to be a writer, inability to be creative or whatever.

1907
01:39:17,000 --> 01:39:17,960
Speaker 2: Yeah, and it's.

1908
01:39:17,800 --> 01:39:20,559
Speaker 1: Just, you know, it's just that fucking patriarchal bullshit, right.

1909
01:39:20,640 --> 01:39:22,520
Speaker 1: It's just the thing where it's like, okay.

1910
01:39:22,280 --> 01:39:23,720
Speaker 2: It's a total false binary.

1911
01:39:24,080 --> 01:39:26,559
Speaker 4: And it's my favorite thing about second wave feminism is

1912
01:39:26,560 --> 01:39:29,599
Speaker 4: when women jumped up and were like, yeah, us fucking too,

1913
01:39:30,000 --> 01:39:32,000
Speaker 4: Like we don't have any freedom and we didn't get to.

1914
01:39:31,920 --> 01:39:36,200
Speaker 2: Pursue shit like what what are you can pay?

1915
01:39:36,240 --> 01:39:37,640
Speaker 4: At least you get to leave the house and go

1916
01:39:37,680 --> 01:39:39,040
Speaker 4: to work every fucking day.

1917
01:39:40,439 --> 01:39:41,960
Speaker 1: Yeah, what if I just want to sit around of

1918
01:39:41,960 --> 01:39:44,320
Speaker 1: smoke cigarettes and read a novel like, uh, you know,

1919
01:39:44,400 --> 01:39:47,720
Speaker 1: Wendy does Wendy Torrens does that fucking looks great.

1920
01:39:48,439 --> 01:39:50,960
Speaker 3: Well, listen, you don't have to prove it to me.

1921
01:39:51,080 --> 01:39:53,280
Speaker 1: That he's a fuck boy, because I already thought he

1922
01:39:53,320 --> 01:39:56,000
Speaker 1: was a fuck boy. I obviously think he's a dick.

1923
01:39:56,400 --> 01:39:59,920
Speaker 1: But you know, and and and maybe people will be

1924
01:40:00,080 --> 01:40:01,680
Speaker 1: in our fucking mentions being like.

1925
01:40:02,320 --> 01:40:04,920
Speaker 2: But he's not a dick. He's just possessed by a

1926
01:40:05,000 --> 01:40:08,000
Speaker 2: force whatever. He was a dick at the beginning. Ways.

1927
01:40:08,160 --> 01:40:10,280
Speaker 4: We're all entitled to our opinions, and my opinion is

1928
01:40:10,320 --> 01:40:11,920
Speaker 4: this is not someone to be valorized.

1929
01:40:12,280 --> 01:40:14,439
Speaker 2: This is not a good man who's gone bad. This

1930
01:40:14,560 --> 01:40:19,439
Speaker 2: is a bad man who got worse. I could not

1931
01:40:19,600 --> 01:40:23,200
Speaker 2: have said it any better. That is literally the perfect

1932
01:40:23,240 --> 01:40:25,840
Speaker 2: way to describe it, and a good way to end it.

1933
01:40:26,040 --> 01:40:29,120
Speaker 4: I'm cool to leave it there, and we will entertain

1934
01:40:29,160 --> 01:40:31,400
Speaker 4: any and all thoughts about Jack Torrance being a fuck

1935
01:40:31,479 --> 01:40:35,439
Speaker 4: boy and Montgomery Clift as George Eastman being a fuck

1936
01:40:35,520 --> 01:40:39,640
Speaker 4: boy in our social media accounts.

1937
01:40:40,520 --> 01:40:44,879
Speaker 1: Yes, which if you want to travel to the internet

1938
01:40:44,960 --> 01:40:47,240
Speaker 1: and find us on Instagram and Twitter where at I

1939
01:40:47,280 --> 01:40:53,519
Speaker 1: saw pod. Also, we do have merch if you're into it.

1940
01:40:53,560 --> 01:40:55,760
Speaker 1: The t shirts are like super soft. I'm not just

1941
01:40:55,800 --> 01:40:57,679
Speaker 1: saying that because I want you to buy or merch.

1942
01:40:57,840 --> 01:41:01,599
Speaker 1: I'm literally saying that because we're both wearing them right now.

1943
01:41:02,280 --> 01:41:05,640
Speaker 1: Literally like the most comfortable shirts. I hate to say it,

1944
01:41:05,680 --> 01:41:08,360
Speaker 1: they are. But if you want a shirt, if you

1945
01:41:08,360 --> 01:41:10,760
Speaker 1: want a mug, if you want to pin anything, go

1946
01:41:10,840 --> 01:41:14,599
Speaker 1: to the exactly Right shop on exactlyrightmedia dot com.

1947
01:41:14,680 --> 01:41:16,600
Speaker 4: And this is also a really good point for you

1948
01:41:16,640 --> 01:41:18,439
Speaker 4: to go ahead and stop. And if you go to

1949
01:41:18,520 --> 01:41:21,479
Speaker 4: Apple Podcasts and subscribe or leave us a little review,

1950
01:41:21,640 --> 01:41:24,599
Speaker 4: we would love it. And you can also hear more

1951
01:41:24,640 --> 01:41:27,600
Speaker 4: from us if you subscribe to stitch your premium and

1952
01:41:27,640 --> 01:41:32,160
Speaker 4: you can use the promo code saw that's saw.

1953
01:41:31,880 --> 01:41:34,280
Speaker 2: For a free month. So why wouldn't you?

1954
01:41:34,720 --> 01:41:38,360
Speaker 3: And do you want to announce next week's films?

1955
01:41:38,640 --> 01:41:42,080
Speaker 4: By any chance, could not be more excited to announce

1956
01:41:42,280 --> 01:41:46,719
Speaker 4: next week's films. We want you to try to guess

1957
01:41:46,720 --> 01:41:48,960
Speaker 4: the theme because it makes us laugh. It truly cracks

1958
01:41:49,000 --> 01:41:51,400
Speaker 4: us up. It's a beautiful part of this podcast for

1959
01:41:51,520 --> 01:41:55,960
Speaker 4: us our movies next week. And I am going to

1960
01:41:56,000 --> 01:41:58,639
Speaker 4: try to contain my excitement for the next seven days

1961
01:41:58,680 --> 01:42:00,960
Speaker 4: until we get to talk about it, Joe Versus the

1962
01:42:01,000 --> 01:42:06,639
Speaker 4: Volcano from nineteen ninety and Dante's Peak from nineteen ninety seven.

1963
01:42:07,640 --> 01:42:11,040
Speaker 1: Oh my god, Oh my god, guess the theme. Guess

1964
01:42:11,040 --> 01:42:15,960
Speaker 1: the theme? So fun and exciting. I can't wait. Oh

1965
01:42:16,000 --> 01:42:17,559
Speaker 1: and I would be remiss if I didn't mention this.

1966
01:42:17,680 --> 01:42:19,799
Speaker 1: You were on an episode of My Favorite Murder.

1967
01:42:20,760 --> 01:42:21,880
Speaker 2: I was I.

1968
01:42:22,439 --> 01:42:25,760
Speaker 4: Karen and Georgia, our fearless leaders, have decided to take

1969
01:42:25,800 --> 01:42:28,559
Speaker 4: off for June and July on a much needed and

1970
01:42:28,680 --> 01:42:33,799
Speaker 4: much deserved vacation, and they're doing a bunch of guest

1971
01:42:34,000 --> 01:42:36,600
Speaker 4: host spots where they're having people come in and just

1972
01:42:36,680 --> 01:42:40,400
Speaker 4: talk about what were their favorite stories from the podcast.

1973
01:42:40,600 --> 01:42:43,439
Speaker 4: I picked one from Karen and one from Georgia. They're

1974
01:42:43,479 --> 01:42:46,519
Speaker 4: both from two of the earlier episodes, so it's a

1975
01:42:46,520 --> 01:42:49,080
Speaker 4: good way to listen and kind of catch up on

1976
01:42:49,160 --> 01:42:51,040
Speaker 4: what My Favorite Murder is all about.

1977
01:42:51,080 --> 01:42:52,400
Speaker 2: And look, they're the mothership.

1978
01:42:52,439 --> 01:42:55,000
Speaker 4: We wouldn't be here without them, so go give a

1979
01:42:55,000 --> 01:42:58,479
Speaker 4: listen and support. And it was really fun to dig

1980
01:42:58,520 --> 01:43:01,200
Speaker 4: back into the history and kind of rediscover some of

1981
01:43:01,240 --> 01:43:03,519
Speaker 4: my favorite, my favorite stories of theirs.

1982
01:43:04,320 --> 01:43:06,880
Speaker 2: Amazing. Yes, please please check that out.

1983
01:43:07,200 --> 01:43:09,280
Speaker 1: I'm sure you've already heard it. But we're just reminding

1984
01:43:09,320 --> 01:43:10,600
Speaker 1: you again, if you have it.

1985
01:43:10,680 --> 01:43:11,280
Speaker 2: It's out there.

1986
01:43:11,640 --> 01:43:13,920
Speaker 4: Yeah, the truth is out there, just like exiles.

1987
01:43:15,120 --> 01:43:19,080
Speaker 3: Yes, well, I guess that's it for this week.

1988
01:43:19,160 --> 01:43:21,320
Speaker 2: It was so fun to return to this theme. Thank

1989
01:43:21,360 --> 01:43:21,920
Speaker 2: you so much.

1990
01:43:22,439 --> 01:43:26,280
Speaker 1: Glad you're glad we're back, Glad that we're rejuvenated.

1991
01:43:26,760 --> 01:43:30,200
Speaker 2: More episodes. It's gonna be great. I am so excited.

1992
01:43:30,200 --> 01:43:31,479
Speaker 4: I don't want to I don't want to end, but

1993
01:43:31,520 --> 01:43:34,160
Speaker 4: we have to because you know, there's only spoilers from

1994
01:43:34,160 --> 01:43:36,200
Speaker 4: here on out. So let's just end on a kick.

1995
01:43:36,560 --> 01:43:38,160
Speaker 4: And just knowing that we get to come back and

1996
01:43:38,200 --> 01:43:41,479
Speaker 4: talk to each other next week is the best. I

1997
01:43:41,520 --> 01:43:44,720
Speaker 4: missed everyone. I missed our producer, I missed our engineer.

1998
01:43:44,920 --> 01:43:48,000
Speaker 4: I just missed this whole jam. And I can't wait

1999
01:43:48,040 --> 01:43:50,599
Speaker 4: to show you what closet I'm in next week.

2000
01:43:50,920 --> 01:43:53,400
Speaker 2: Oh my god, I'm excited. This summer is going to

2001
01:43:53,439 --> 01:43:53,880
Speaker 2: be sick.

2002
01:43:55,520 --> 01:44:05,840
Speaker 4: Bye bye. This has been an exactly right production. Our

2003
01:44:05,880 --> 01:44:09,639
Speaker 4: producers Alexisa Marissi, our engineers on Alyse Nelson, Our theme

2004
01:44:09,720 --> 01:44:13,040
Speaker 4: songs by Tom bry Fogel, artwork by Garrett Ross. Our

2005
01:44:13,080 --> 01:44:16,799
Speaker 4: executive producers are Georgia Hardstark, Kring Till Gareth and Daniell Kramer.

2006
01:44:17,200 --> 01:44:19,760
Speaker 4: Follow us on Instagram and Twitter at I saw pod

2007
01:44:20,200 --> 01:44:22,519
Speaker 4: email us at I saw what you did pod at Gmail,

2008
01:44:22,840 --> 01:44:25,400
Speaker 4: And please don't forget to listen, subscribe, leave us a

2009
01:44:25,400 --> 01:44:28,599
Speaker 4: review on Apple Podcast, Stitcher, or wherever you listen