1
00:00:01,000 --> 00:00:03,960
Speaker 1: On the Bechde Cast, the questions ask if movies have

2
00:00:04,120 --> 00:00:07,560
Speaker 1: women and them, are all their discussions just boyfriends and

3
00:00:07,640 --> 00:00:11,920
Speaker 1: husbands or do they have individualism? It's the patriarchy, Zephyn

4
00:00:12,119 --> 00:00:16,000
Speaker 1: bast start changing with the Bechdel Cast.

5
00:00:16,280 --> 00:00:17,960
Speaker 2: Hello, Bechdel Cast listeners.

6
00:00:18,320 --> 00:00:20,959
Speaker 3: My name is Caitlin and my name is Jamie, and

7
00:00:21,000 --> 00:00:22,880
Speaker 3: this is the Bechdel Cast. You know what you love it?

8
00:00:22,920 --> 00:00:26,520
Speaker 3: If this is your first time catch up, maybe because

9
00:00:26,560 --> 00:00:29,800
Speaker 3: it's an unusual week, been an unusual months on the cast,

10
00:00:29,920 --> 00:00:34,280
Speaker 3: and I celebrate that. This week we are releasing a

11
00:00:34,320 --> 00:00:36,599
Speaker 3: live show, and not just any live show, a live

12
00:00:36,680 --> 00:00:39,440
Speaker 3: show we just recorded in Los Angeles as of this

13
00:00:39,479 --> 00:00:41,520
Speaker 3: recording less than twenty four hours ago.

14
00:00:42,320 --> 00:00:47,519
Speaker 2: Yes, and speaking of live shows, so we'll get in.

15
00:00:47,600 --> 00:00:49,960
Speaker 2: We'll get to the episode in just a moment, but

16
00:00:50,120 --> 00:00:53,720
Speaker 2: before we do, we want to take this opportunity to

17
00:00:53,840 --> 00:00:57,400
Speaker 2: let you know about more live shows that we are

18
00:00:57,440 --> 00:00:59,960
Speaker 2: going to be doing, because we have a tour planned

19
00:01:00,120 --> 00:01:04,760
Speaker 2: for February twenty twenty four. We are going to the

20
00:01:04,760 --> 00:01:08,080
Speaker 2: Bay Area. We'll be doing a show in San Francisco

21
00:01:08,680 --> 00:01:14,560
Speaker 2: and Sacramento. Then we are heading to Texas for shows

22
00:01:14,640 --> 00:01:18,640
Speaker 2: in Dallas and Austin, and then we were swinging back

23
00:01:18,680 --> 00:01:22,640
Speaker 2: around to California and doing a show in San Diego. Now,

24
00:01:22,680 --> 00:01:26,200
Speaker 2: at the time of us recording this, we're still finalizing

25
00:01:26,360 --> 00:01:29,520
Speaker 2: some of the details, but a few ticket links are

26
00:01:30,000 --> 00:01:34,880
Speaker 2: already live and up on our link tree link Tree

27
00:01:34,920 --> 00:01:36,200
Speaker 2: slash Bechtel Cast.

28
00:01:36,040 --> 00:01:39,280
Speaker 3: Which is also linked in the description. And yeah, we're

29
00:01:39,600 --> 00:01:43,920
Speaker 3: super excited to be back on the road. We hear

30
00:01:44,080 --> 00:01:48,040
Speaker 3: you Bechdel Cast listeners that we need to get off

31
00:01:48,080 --> 00:01:51,200
Speaker 3: our asses and get off the West coast. So you'll

32
00:01:51,200 --> 00:01:53,800
Speaker 3: see a lot of that in the coming months, and

33
00:01:54,320 --> 00:01:57,120
Speaker 3: we're excited. We were particularly excited to go to Austin

34
00:01:57,200 --> 00:02:00,320
Speaker 3: because we had a show in Austin that was sold

35
00:02:00,320 --> 00:02:04,360
Speaker 3: out scheduled for April twenty twenty and you'll never believe

36
00:02:04,720 --> 00:02:07,560
Speaker 3: what happened next. So we are excited to finally, almost

37
00:02:07,600 --> 00:02:12,679
Speaker 3: four years later, make it back to Austin and head

38
00:02:12,680 --> 00:02:15,160
Speaker 3: over to Dallas as well. So and we're just pumped

39
00:02:15,639 --> 00:02:19,160
Speaker 3: to be back on tour. Yes, and for this live show,

40
00:02:19,360 --> 00:02:22,520
Speaker 3: you'll know from the title we covered, it's a wonderful life,

41
00:02:23,480 --> 00:02:30,080
Speaker 3: is it? We spent some time pondering deciding, and another

42
00:02:30,160 --> 00:02:34,880
Speaker 3: important element of this show is that half of the

43
00:02:34,919 --> 00:02:39,119
Speaker 3: proceeds from this show went to ANARA and PCRF. These

44
00:02:39,120 --> 00:02:44,680
Speaker 3: are both nonprofits that are contributing to aid taking place

45
00:02:44,800 --> 00:02:48,040
Speaker 3: in Gaza right now. Of course, if you're listening and

46
00:02:48,400 --> 00:02:52,000
Speaker 3: you are a person in the world, you're very likely

47
00:02:52,040 --> 00:02:54,799
Speaker 3: aware of what's going on in Gaza right now. There

48
00:02:55,000 --> 00:02:58,960
Speaker 3: is not a lot of aid reaching Gaza because of

49
00:02:59,080 --> 00:03:03,720
Speaker 3: the horrific uenocytal practices that are taking place around Gaza. However,

50
00:03:03,760 --> 00:03:07,320
Speaker 3: we wanted to do what we can not just by

51
00:03:07,520 --> 00:03:10,920
Speaker 3: making our politics very clear on the show. I know

52
00:03:10,960 --> 00:03:14,560
Speaker 3: we've referenced it, but for the sake of just being

53
00:03:14,680 --> 00:03:19,120
Speaker 3: explicit about it on the feed. Yeah, So half of

54
00:03:19,160 --> 00:03:22,440
Speaker 3: the money from the show went to the PCRF is

55
00:03:22,480 --> 00:03:25,880
Speaker 3: short for Palestine Children's Relief Fund. An ERA is short

56
00:03:25,919 --> 00:03:29,600
Speaker 3: for America Near East Refugee Aid. So that money has

57
00:03:29,639 --> 00:03:33,680
Speaker 3: been donated and sincerely hope that the aid that is

58
00:03:33,720 --> 00:03:36,920
Speaker 3: being sent is able to actually reach the people of

59
00:03:37,400 --> 00:03:44,320
Speaker 3: Gaza as soon as possible. Free Palestine. America is the

60
00:03:44,360 --> 00:03:48,040
Speaker 3: worst place in the world. So that was what we

61
00:03:49,400 --> 00:03:53,600
Speaker 3: are doing, in addition to continuing to raise awareness as

62
00:03:53,600 --> 00:03:57,800
Speaker 3: we can. That said, we really appreciate everyone who came

63
00:03:57,840 --> 00:04:00,000
Speaker 3: out to the show. We had a really great time.

64
00:04:00,000 --> 00:04:02,760
Speaker 2: And who watched the live stream blog? Yes, bought tickets

65
00:04:02,800 --> 00:04:07,520
Speaker 2: to the live stream. Yes, really appreciate you supporting us,

66
00:04:07,640 --> 00:04:11,760
Speaker 2: supporting this fundraising effort. Thank you so much.

67
00:04:12,320 --> 00:04:16,000
Speaker 3: Yes, we recorded. It was our first show at Dynasty

68
00:04:16,040 --> 00:04:19,400
Speaker 3: Typewriter in Los Angeles, so huge shout out to Dynasty

69
00:04:19,520 --> 00:04:23,240
Speaker 3: and their team. God, it was so cool. The live

70
00:04:23,240 --> 00:04:27,400
Speaker 3: stream setup there is wonderful. The vibes are immaculate, and

71
00:04:27,480 --> 00:04:28,599
Speaker 3: we had the best time.

72
00:04:28,920 --> 00:04:29,560
Speaker 2: We really did.

73
00:04:29,640 --> 00:04:31,800
Speaker 3: If you caught the live stream, thank you. If you

74
00:04:31,839 --> 00:04:35,400
Speaker 3: were there, it got to hang out even better. And

75
00:04:35,760 --> 00:04:40,440
Speaker 3: we're excited to hit more cities and see more listeners soon.

76
00:04:40,720 --> 00:04:41,239
Speaker 2: So true.

77
00:04:41,279 --> 00:04:44,080
Speaker 3: But for now we've got business to do.

78
00:04:44,480 --> 00:04:47,520
Speaker 2: Well and then one more live show for you to

79
00:04:47,560 --> 00:04:48,400
Speaker 2: plug Jamie.

80
00:04:49,120 --> 00:04:52,920
Speaker 3: Okay, Yes, if you're in the Los Angeles area, and

81
00:04:53,000 --> 00:04:56,520
Speaker 3: you should be, please head out to the Allegian Theater,

82
00:04:56,600 --> 00:04:58,880
Speaker 3: where we've also done live shows in the past, the

83
00:04:58,920 --> 00:05:02,000
Speaker 3: Allegiant Theater in LA we will be doing a live

84
00:05:02,400 --> 00:05:07,279
Speaker 3: reading of the first and most recent, certainly not last,

85
00:05:07,880 --> 00:05:11,839
Speaker 3: installment of Santi University. If you're listening to the Bexxel

86
00:05:11,839 --> 00:05:14,240
Speaker 3: cast and you don't know what Santi University.

87
00:05:13,800 --> 00:05:15,480
Speaker 2: Is get with the program.

88
00:05:15,560 --> 00:05:19,719
Speaker 3: Shame on you, Shame on you kind of Santi University

89
00:05:20,040 --> 00:05:23,560
Speaker 3: is a bit, but is it.

90
00:05:23,120 --> 00:05:26,040
Speaker 2: That it's real? It's okay, it's a documentary.

91
00:05:26,400 --> 00:05:29,040
Speaker 3: It's hundreds of pages I've written at this point, so

92
00:05:29,200 --> 00:05:33,080
Speaker 3: I feel like it has to be real. It's a

93
00:05:33,320 --> 00:05:37,479
Speaker 3: scream a six hundred allegedly six hundred page screenplay that

94
00:05:37,560 --> 00:05:40,440
Speaker 3: we've been doing every holiday season. I'll write a new

95
00:05:40,880 --> 00:05:43,800
Speaker 3: twenty to thirty pages, depending on how much time I

96
00:05:43,839 --> 00:05:47,360
Speaker 3: give myself to write it each year. It's super jokey,

97
00:05:47,440 --> 00:05:51,200
Speaker 3: it's super goofy. We can link an example in the description.

98
00:05:51,360 --> 00:05:55,040
Speaker 3: But it's like my favorite thing to do in the world,

99
00:05:55,440 --> 00:05:57,839
Speaker 3: because besides the Bechel cast, of course, it's like the

100
00:05:57,839 --> 00:06:01,080
Speaker 3: most it's the most brain My favorite brain dead activity

101
00:06:01,200 --> 00:06:04,440
Speaker 3: and the entire planet is writing Santa University. I don't

102
00:06:04,520 --> 00:06:08,160
Speaker 3: use one brain cell. I have six panic attacks and

103
00:06:08,200 --> 00:06:11,240
Speaker 3: it's not good, so you should come. Caitlyn will be

104
00:06:11,440 --> 00:06:16,160
Speaker 3: reprising their treasured holiday role of Sully.

105
00:06:16,440 --> 00:06:19,640
Speaker 2: Okay, best character scene, steal it. Where's the spin off?

106
00:06:20,320 --> 00:06:20,520
Speaker 4: You know?

107
00:06:20,920 --> 00:06:24,040
Speaker 2: Six seasons in a movie for Sully, Sully High School,

108
00:06:24,600 --> 00:06:27,520
Speaker 2: Sully High. Oh my gosh, I'll fine I'll write it.

109
00:06:27,640 --> 00:06:28,840
Speaker 2: You don't have to twist my arm.

110
00:06:28,960 --> 00:06:31,600
Speaker 3: Just to give you an idea of the kinds of

111
00:06:31,680 --> 00:06:35,800
Speaker 3: characters found in this world. Sully is a character who's

112
00:06:35,800 --> 00:06:42,400
Speaker 3: from Weston, Massachusetts, who fired the protagonist Dan Santa from

113
00:06:42,560 --> 00:06:49,760
Speaker 3: Lydd's and generally, wait, Kitlyn, will you do Sully's iconic line.

114
00:06:50,520 --> 00:06:52,520
Speaker 2: Oh my god, you're so fucking beautiful?

115
00:06:53,320 --> 00:06:59,760
Speaker 3: So it's also a feminist test. Sully appreciates women and

116
00:06:59,800 --> 00:07:04,200
Speaker 3: he cat calls all the right reasons. Anyways, you should

117
00:07:04,240 --> 00:07:06,839
Speaker 3: come hang out. We're donating all the proceeds from that

118
00:07:06,920 --> 00:07:10,320
Speaker 3: show to a nonprofit that I love very much. I

119
00:07:10,400 --> 00:07:14,120
Speaker 3: volunteer with them, CILA that supports the unhoused community in

120
00:07:14,360 --> 00:07:17,400
Speaker 3: La So, even if it's the worst show on the planet,

121
00:07:17,440 --> 00:07:22,560
Speaker 3: and it might be, your money is going to a

122
00:07:22,600 --> 00:07:26,440
Speaker 3: wonderful place, So come out. We'll link that as well.

123
00:07:26,920 --> 00:07:29,080
Speaker 3: But you know what, show definitely wasn't the worst show

124
00:07:29,120 --> 00:07:30,720
Speaker 3: in the world. It was, in fact one of the best,

125
00:07:30,760 --> 00:07:32,320
Speaker 3: and maybe in fact the best.

126
00:07:32,400 --> 00:07:34,560
Speaker 2: The one that you're about to hear. So, without much

127
00:07:34,600 --> 00:07:39,480
Speaker 2: further ado, please enjoy our live episode of It's a

128
00:07:39,520 --> 00:07:40,960
Speaker 2: Wonderful Life.

129
00:07:53,680 --> 00:07:55,200
Speaker 3: Hi, Welcome to the Bechdelcast.

130
00:07:58,520 --> 00:08:03,240
Speaker 2: Hello La it's us and we live here and you

131
00:08:03,280 --> 00:08:03,800
Speaker 2: live here.

132
00:08:03,880 --> 00:08:08,760
Speaker 3: Maybe we went shopping together this morning to get these

133
00:08:08,840 --> 00:08:09,600
Speaker 3: fits together.

134
00:08:11,800 --> 00:08:16,119
Speaker 2: I have a very cool shirt under this, and maybe

135
00:08:16,120 --> 00:08:20,640
Speaker 2: I'll take this sweater off at some point.

136
00:08:20,720 --> 00:08:24,400
Speaker 3: We haven't done an LA live show in a bit,

137
00:08:25,120 --> 00:08:27,400
Speaker 3: and I think that one of the last ones we did.

138
00:08:27,440 --> 00:08:30,400
Speaker 3: At least you did an actual strip tease because we

139
00:08:30,400 --> 00:08:31,640
Speaker 3: were covering magic mic.

140
00:08:31,880 --> 00:08:37,720
Speaker 2: Yes, round of applause if you were at that show. Wow,

141
00:08:37,840 --> 00:08:39,280
Speaker 2: so you saw that was.

142
00:08:39,200 --> 00:08:42,800
Speaker 3: One of the most wait Titanic quote. It was the

143
00:08:42,840 --> 00:08:45,640
Speaker 3: most erotic experience.

144
00:08:45,920 --> 00:08:49,440
Speaker 2: Of my life up until then, at least last March.

145
00:08:49,800 --> 00:08:51,960
Speaker 3: You and I start making out right now, we start

146
00:08:52,000 --> 00:08:56,120
Speaker 3: making out and then you start drawing me. Yeah, yes,

147
00:08:56,160 --> 00:08:59,560
Speaker 3: that's how that would work. Yes, anyways, thanks for coming.

148
00:09:00,880 --> 00:09:03,000
Speaker 3: Things were coming at four pm. Two We're like, do

149
00:09:03,040 --> 00:09:07,199
Speaker 3: people come out at four pm? Let's find out. It's

150
00:09:07,200 --> 00:09:10,400
Speaker 3: a little scary. It's it's dark out though, so that's

151
00:09:10,520 --> 00:09:14,160
Speaker 3: and it feels like night. And that concludes our kind

152
00:09:14,160 --> 00:09:15,439
Speaker 3: of warm up portion.

153
00:09:15,559 --> 00:09:19,720
Speaker 2: Of the show. Shout out to anyone watching the live stream. Yes,

154
00:09:19,920 --> 00:09:22,600
Speaker 2: I oh yeah, say whoo for them.

155
00:09:25,040 --> 00:09:28,079
Speaker 3: They're so mad they're not in the little seats, aren't

156
00:09:28,120 --> 00:09:33,000
Speaker 3: they there? Okay, give it up if you have if

157
00:09:33,080 --> 00:09:35,840
Speaker 3: you have listened to the Bechdel Cast before, we like

158
00:09:35,880 --> 00:09:41,880
Speaker 3: to take a chance. Okay, free applause. Give it up.

159
00:09:41,960 --> 00:09:44,520
Speaker 3: If you have been dragged here by someone who listens

160
00:09:44,520 --> 00:09:46,400
Speaker 3: to the Bechdel Cast and you're scared and you don't

161
00:09:46,440 --> 00:09:52,240
Speaker 3: know what's gonna happen. Oh oh my, the lights went

162
00:09:52,360 --> 00:09:57,600
Speaker 3: up and I just saw one guy like, whoo if

163
00:09:57,640 --> 00:10:00,640
Speaker 3: you're a god his eyes but he was ready. He's good.

164
00:10:00,760 --> 00:10:02,760
Speaker 2: We're scary, Yeah.

165
00:10:02,559 --> 00:10:05,680
Speaker 3: We're scary. We're scared, but we're wearing nice little outfits.

166
00:10:05,800 --> 00:10:10,319
Speaker 3: So it's all about aesthetics, that's true. So the movie

167
00:10:10,360 --> 00:10:13,720
Speaker 3: we're covering today, if you can't tell from our our

168
00:10:13,880 --> 00:10:16,760
Speaker 3: very festive apparel, is a movie that we have. I

169
00:10:16,760 --> 00:10:19,640
Speaker 3: feel like because our show has been around for so long,

170
00:10:19,720 --> 00:10:23,000
Speaker 3: we have covered so many holiday movies, yes, right down

171
00:10:23,040 --> 00:10:25,040
Speaker 3: to the one that came out on Netflix last year

172
00:10:25,080 --> 00:10:30,200
Speaker 3: where Lindsay Lohan gets bonked on the head, right, But

173
00:10:30,320 --> 00:10:36,800
Speaker 3: we hadn't covered one that is considered a classic, which

174
00:10:36,840 --> 00:10:41,400
Speaker 3: is It's a Wonderful Life. So just to take the

175
00:10:41,480 --> 00:10:45,640
Speaker 3: temp once more, give it up. If you have seen

176
00:10:46,000 --> 00:10:51,840
Speaker 3: and enjoy a wonderful life, all right, and if you

177
00:10:52,040 --> 00:10:57,000
Speaker 3: haven't seen it, okay, brave, brave, I had it. I

178
00:10:57,000 --> 00:11:00,560
Speaker 3: don't know. I haven't seen shit. I watched The Godfather

179
00:11:00,640 --> 00:11:03,160
Speaker 3: in March and I was like, it's pretty good. You guys,

180
00:11:04,840 --> 00:11:07,240
Speaker 3: they're kind of the Godfather's kind of a slave.

181
00:11:09,600 --> 00:11:13,400
Speaker 2: These these frank sees know how to direct a movie.

182
00:11:14,120 --> 00:11:17,000
Speaker 2: That's a reference to this movie directed by Frank Capra

183
00:11:17,200 --> 00:11:21,839
Speaker 2: and Francis Ford Coppola, who maybe was also called Frank.

184
00:11:21,960 --> 00:11:22,440
Speaker 2: I don't know.

185
00:11:22,800 --> 00:11:26,360
Speaker 3: We don't know. There's no way to know, because he's alive.

186
00:11:26,480 --> 00:11:30,400
Speaker 3: I just remembered so we could ask him to get

187
00:11:30,480 --> 00:11:33,400
Speaker 3: to get started. Caitlin, Yes, what is your history with

188
00:11:34,160 --> 00:11:36,959
Speaker 3: the movie? It's a Wonderful Life? Nineteen forty six.

189
00:11:37,480 --> 00:11:41,800
Speaker 2: So I saw the movie for the first time. I

190
00:11:41,840 --> 00:11:44,920
Speaker 2: was like probably eighteen or nineteen. I did not grow

191
00:11:45,000 --> 00:11:48,800
Speaker 2: up with this movie, so I have no nostalgic attachment

192
00:11:48,880 --> 00:11:53,800
Speaker 2: to it, and I controversially.

193
00:11:53,760 --> 00:11:56,760
Speaker 3: Do not really like this movie.

194
00:11:57,880 --> 00:12:03,640
Speaker 2: Sorry, thank you. I have good reasons. I find Jimmy

195
00:12:03,679 --> 00:12:08,280
Speaker 2: Stewart irritating. Sorry, thank you again. He's irritating.

196
00:12:08,600 --> 00:12:10,040
Speaker 3: Okay, I disagree with that.

197
00:12:10,320 --> 00:12:12,720
Speaker 2: A lot of people do. I am in the minority.

198
00:12:12,760 --> 00:12:15,000
Speaker 2: I do think, but I find his character to be

199
00:12:15,080 --> 00:12:19,280
Speaker 2: mostly unlikable, and yeah, I just I'm not a fan,

200
00:12:19,559 --> 00:12:22,960
Speaker 2: but I'm gonna set that aside and look at this

201
00:12:23,040 --> 00:12:28,360
Speaker 2: movie objectively for this episode, I wink.

202
00:12:29,040 --> 00:12:31,080
Speaker 3: Can I just say, I would just want to start

203
00:12:31,240 --> 00:12:35,040
Speaker 3: by commending you for your bravery, thank you for watching

204
00:12:35,440 --> 00:12:39,080
Speaker 3: the movie on Oh I want Okay, wait, my history

205
00:12:39,120 --> 00:12:41,559
Speaker 3: with this movie, Lease tell me is that I had

206
00:12:41,600 --> 00:12:45,920
Speaker 3: not seen it. Like most movies we've covered on the show,

207
00:12:45,920 --> 00:12:49,280
Speaker 3: it's usually my first time watching it, unless it's like

208
00:12:49,280 --> 00:12:51,360
Speaker 3: the Lindzie McGuire movie. I'm like, yeah, I've seen this

209
00:12:51,400 --> 00:12:55,320
Speaker 3: movie five hundred times. I've seen bad movies five hundred times.

210
00:12:55,320 --> 00:12:58,800
Speaker 3: This one I hadn't seen, and I started watching it

211
00:12:59,040 --> 00:13:04,880
Speaker 3: for It's available for free on Roku tv right now asterisk.

212
00:13:05,320 --> 00:13:09,439
Speaker 3: They couldn't afford the music, so they've replaced it with

213
00:13:09,520 --> 00:13:15,160
Speaker 3: like Baby Einstein music, And I would really recommend that

214
00:13:15,320 --> 00:13:21,240
Speaker 3: experience because it's so jarry. If I hadn't been watching

215
00:13:21,280 --> 00:13:23,600
Speaker 3: the movie with someone that was like, hold on, something

216
00:13:23,679 --> 00:13:28,800
Speaker 3: is very wrong because in the Roku TV one, every

217
00:13:28,840 --> 00:13:33,440
Speaker 3: time Clarence not the elf in my mind, Okay, the

218
00:13:33,440 --> 00:13:36,000
Speaker 3: thing is, I'm gonna fuck up repeatedly in this episode.

219
00:13:36,200 --> 00:13:40,040
Speaker 3: I'm gonna call them Clarence the Elf, and I'm gonna

220
00:13:40,040 --> 00:13:45,120
Speaker 3: call Bedford Falls New Bedford, Massachusetts, and that will keep happening,

221
00:13:45,160 --> 00:13:49,560
Speaker 3: and I will not apologize for That's fine. But yeah,

222
00:13:49,600 --> 00:13:52,480
Speaker 3: anytime like in this, I don't even know what happens

223
00:13:52,520 --> 00:13:55,960
Speaker 3: in the original score, but they add in this royalty

224
00:13:56,040 --> 00:14:00,880
Speaker 3: free alphabet song. Every time is on the screen, it

225
00:14:00,880 --> 00:14:06,280
Speaker 3: goes bloom bloom bloom bloom bloom boom boom boom boom boom,

226
00:14:06,400 --> 00:14:08,480
Speaker 3: like and you're just like, this could Twin beIN a

227
00:14:08,480 --> 00:14:11,439
Speaker 3: Little Star ABC DFG. It's the same tune.

228
00:14:11,520 --> 00:14:18,640
Speaker 2: Oh that is it, Caitlin a bct twin? Okay, yeah,

229
00:14:18,640 --> 00:14:21,480
Speaker 2: I see it.

230
00:14:21,560 --> 00:14:26,160
Speaker 3: The lack of trust between us, it's the I only

231
00:14:26,280 --> 00:14:29,080
Speaker 3: learned that from like clickbait in twenty twelve or something.

232
00:14:29,480 --> 00:14:32,960
Speaker 3: I don't know. It's like, did you know some crack

233
00:14:33,040 --> 00:14:36,080
Speaker 3: dot comshit on their on their crack dot comshit. Anyways,

234
00:14:36,600 --> 00:14:39,320
Speaker 3: I had not seen it before. I started watching it

235
00:14:39,320 --> 00:14:42,360
Speaker 3: with the wrong music and I got scared. H And

236
00:14:42,400 --> 00:14:43,920
Speaker 3: then I watched it for a second time with the

237
00:14:43,920 --> 00:14:45,400
Speaker 3: correct music, and I liked it better.

238
00:14:45,800 --> 00:14:45,920
Speaker 5: Uh.

239
00:14:47,320 --> 00:14:50,200
Speaker 3: I I have complicated feelings towards this movie because I

240
00:14:50,240 --> 00:14:54,520
Speaker 3: didn't grow up with it. My family never showed it

241
00:14:54,520 --> 00:14:56,560
Speaker 3: to me, and I asked my mom why and she

242
00:14:56,960 --> 00:14:59,680
Speaker 3: answered with one word, which was boring.

243
00:15:01,320 --> 00:15:03,000
Speaker 2: She's not wrong.

244
00:15:03,240 --> 00:15:05,720
Speaker 3: She's not wrong. The thing is, like, I think this

245
00:15:05,880 --> 00:15:09,120
Speaker 3: is I well, actually, round of applause. If you grew

246
00:15:09,160 --> 00:15:13,920
Speaker 3: up with this movie and watched it as a kid, weirdos.

247
00:15:15,440 --> 00:15:20,320
Speaker 3: This is such a depressing, like weird long movie. It

248
00:15:20,440 --> 00:15:24,960
Speaker 3: opens with with a man about to take his own

249
00:15:25,000 --> 00:15:27,760
Speaker 3: life because he's been told by society that he's worth

250
00:15:27,800 --> 00:15:30,320
Speaker 3: more dead than alive, and you, as a six year old,

251
00:15:31,360 --> 00:15:36,440
Speaker 3: were like, let them cook, Like that's that's interesting. I yeah,

252
00:15:36,480 --> 00:15:37,760
Speaker 3: I think that if I saw this when I was

253
00:15:37,760 --> 00:15:40,240
Speaker 3: a kid, I would have left the room and been like,

254
00:15:40,240 --> 00:15:41,520
Speaker 3: could we turn on SpongeBob?

255
00:15:41,560 --> 00:15:44,360
Speaker 2: But like, you know, not that Christmas Carol the only

256
00:15:44,480 --> 00:15:50,680
Speaker 2: Christmas movie, right, I like, because we're babies and so anyways,

257
00:15:50,720 --> 00:15:52,360
Speaker 2: I hadn't seen it. I watch it for the first

258
00:15:52,400 --> 00:15:54,640
Speaker 2: time to get ready for this episode, and I have

259
00:15:54,720 --> 00:15:57,760
Speaker 2: like complicated feelings towards it because I think in some

260
00:15:57,840 --> 00:16:01,240
Speaker 2: ways there were parts where I felt very emotional. I

261
00:16:01,320 --> 00:16:03,960
Speaker 2: was like, wow, I like, I am surprised that these

262
00:16:04,000 --> 00:16:06,720
Speaker 2: sort of values are being shown in a movie from

263
00:16:06,760 --> 00:16:08,840
Speaker 2: the forties. And then in other ways, I'm like, why

264
00:16:08,920 --> 00:16:12,160
Speaker 2: is he yelling at his wife in every scene there?

265
00:16:12,520 --> 00:16:16,840
Speaker 2: Why is he yelling or aggressively forcing a kiss on.

266
00:16:17,040 --> 00:16:19,960
Speaker 3: To Donna Read in every single scene? And so I

267
00:16:20,000 --> 00:16:23,920
Speaker 3: would say, I don't know. I'm willing to be swayed, okay,

268
00:16:24,240 --> 00:16:26,640
Speaker 3: And I am afraid and and I will also qualify

269
00:16:26,680 --> 00:16:29,280
Speaker 3: that with I am actively afraid of fans of this movie.

270
00:16:31,000 --> 00:16:31,480
Speaker 2: Mm hmmm.

271
00:16:32,600 --> 00:16:36,960
Speaker 3: And I don't want to get yelled at, but I

272
00:16:37,160 --> 00:16:39,440
Speaker 3: but we have a job to do, and we're and

273
00:16:39,520 --> 00:16:42,200
Speaker 3: that is why you're here. And we've famously never been

274
00:16:42,200 --> 00:16:45,640
Speaker 3: wrong before, so true. Why start now?

275
00:16:46,720 --> 00:16:49,320
Speaker 2: All right? Shall I do the recap.

276
00:16:48,920 --> 00:16:50,600
Speaker 3: Caitlin's famous recap? Let's do it?

277
00:16:50,680 --> 00:16:53,640
Speaker 2: Okay? Here we go? Wow, thank you?

278
00:16:55,000 --> 00:16:55,280
Speaker 4: All right.

279
00:16:55,320 --> 00:16:59,920
Speaker 2: So we're gonna place some content warning for suicide right here, which.

280
00:16:59,800 --> 00:17:02,360
Speaker 3: Is a wild way to have to open a holiday movie.

281
00:17:03,120 --> 00:17:11,480
Speaker 2: That's like, yes, okay, so we open in Bedford Falls.

282
00:17:11,760 --> 00:17:14,480
Speaker 2: Ever heard of it? I think it's an upstate New

283
00:17:14,560 --> 00:17:16,320
Speaker 2: York is my best guess.

284
00:17:16,520 --> 00:17:20,679
Speaker 3: That's what upstate New York is really like, I was reading.

285
00:17:20,760 --> 00:17:23,399
Speaker 3: I went in so deep on the parts of this

286
00:17:23,520 --> 00:17:26,440
Speaker 3: movie that don't matter. There's been arguments for the better

287
00:17:26,480 --> 00:17:28,719
Speaker 3: part of a century of like were they referencing this

288
00:17:28,800 --> 00:17:31,479
Speaker 3: town in upstate New York or was it just a

289
00:17:31,560 --> 00:17:36,240
Speaker 3: guy being like there's a town hm, hm, will never matter,

290
00:17:36,280 --> 00:17:39,199
Speaker 3: It doesn't matter. It's New Bedford. Yeah.

291
00:17:39,280 --> 00:17:44,240
Speaker 2: So there are a bunch of voices praying asking that

292
00:17:44,359 --> 00:17:49,199
Speaker 2: George Bailey be helped. Then we see some stars in

293
00:17:49,320 --> 00:17:54,320
Speaker 2: the night sky or is it heaven.

294
00:17:53,840 --> 00:17:59,119
Speaker 4: The heavens even maybe they're talking because the stars are

295
00:17:59,160 --> 00:18:04,119
Speaker 4: actually angels and they hear people's prayers about George Bailey,

296
00:18:04,440 --> 00:18:09,480
Speaker 4: and they send an angel named Clarence to help George, not.

297
00:18:09,560 --> 00:18:14,159
Speaker 3: Before insulting Clarence, Oh my gosh, being like where is

298
00:18:14,440 --> 00:18:18,520
Speaker 3: I feel like Clarence has big Dan Santa energy to me,

299
00:18:19,160 --> 00:18:23,840
Speaker 3: and that they're like, this angel looks like shit, he

300
00:18:23,880 --> 00:18:27,920
Speaker 3: can't even read, can't even read. We don't like him,

301
00:18:27,920 --> 00:18:32,000
Speaker 3: we don't respect him. But and that shows what the

302
00:18:32,040 --> 00:18:35,280
Speaker 3: heavens feel about George Bailey. They're sending him their very worst.

303
00:18:37,240 --> 00:18:40,800
Speaker 2: So true. Okay, so the reason Clarence is going to

304
00:18:40,800 --> 00:18:43,560
Speaker 2: go help George is because he is thinking of ending

305
00:18:43,720 --> 00:18:48,159
Speaker 2: his life. Clarence has not gotten his wings yet, his

306
00:18:48,240 --> 00:18:52,960
Speaker 2: angel wings. So the other angels say that if he's

307
00:18:53,000 --> 00:18:55,520
Speaker 2: able to help George, he will get his wings, So

308
00:18:55,840 --> 00:19:00,560
Speaker 2: ulterior motives they're there. It's true, he doesn't get about

309
00:19:00,560 --> 00:19:04,119
Speaker 2: actually helping someone. He's just like I want my wings, right, And.

310
00:19:04,000 --> 00:19:06,440
Speaker 3: We could argue, you know, the level of like how

311
00:19:06,480 --> 00:19:09,160
Speaker 3: well does Clarence actually do it his job? I mean

312
00:19:09,200 --> 00:19:11,760
Speaker 3: it's kind of up for you know, it's up for

313
00:19:11,840 --> 00:19:13,879
Speaker 3: this guy. And I hear that there's some Clarence heads

314
00:19:13,920 --> 00:19:15,720
Speaker 3: and that are.

315
00:19:15,600 --> 00:19:19,239
Speaker 5: Like he did what he had to do, Clarence, I

316
00:19:19,240 --> 00:19:22,960
Speaker 5: think ultimately spoiler alert at the end, when Clarence does

317
00:19:23,000 --> 00:19:26,080
Speaker 5: get his wings, I just like wanted like a centerfold,

318
00:19:26,160 --> 00:19:28,040
Speaker 5: like a nude centerfold.

319
00:19:30,080 --> 00:19:31,480
Speaker 3: With Clarence and his wings.

320
00:19:31,640 --> 00:19:34,359
Speaker 2: Oh, and you want him to be nude for that?

321
00:19:35,160 --> 00:19:37,680
Speaker 3: For me, he would have to be nude for that there. Okay,

322
00:19:38,240 --> 00:19:44,000
Speaker 3: can you imagine the cover like December nineteen forty six,

323
00:19:44,080 --> 00:19:47,120
Speaker 3: Clarence gets his wings and then you open the magazine

324
00:19:47,119 --> 00:19:49,159
Speaker 3: it is nude Clarence, huge wingspance.

325
00:19:49,200 --> 00:19:53,720
Speaker 2: Wow. And this would be where in like in Playboy

326
00:19:53,760 --> 00:19:55,680
Speaker 2: magazine magazine Okay.

327
00:19:55,480 --> 00:19:58,119
Speaker 3: Yeah, Horny Sex God magazine.

328
00:19:58,680 --> 00:20:04,359
Speaker 2: Okay, all right, Well anyway, so the other angels start

329
00:20:04,440 --> 00:20:07,879
Speaker 2: telling Clarence about George, and so most of the movie

330
00:20:08,119 --> 00:20:13,440
Speaker 2: is flashbacks to George's life, starting with George Bailey as

331
00:20:13,440 --> 00:20:17,000
Speaker 2: a kid. He saved his little brother Harry when he

332
00:20:17,320 --> 00:20:19,159
Speaker 2: fell through some thin ice.

333
00:20:20,080 --> 00:20:20,159
Speaker 4: Uh.

334
00:20:20,600 --> 00:20:27,639
Speaker 2: Then George, who works at a drug store child labor alert.

335
00:20:29,040 --> 00:20:34,080
Speaker 2: He prevents someone from getting poisoned because the druggist mister Gower,

336
00:20:34,240 --> 00:20:39,800
Speaker 2: accidentally tries to give someone poison capsules instead of medicine.

337
00:20:40,160 --> 00:20:44,560
Speaker 3: Because his son died. Caately, I'm his son died, so

338
00:20:44,600 --> 00:20:48,000
Speaker 3: he was crying so he couldn't see the huge jug

339
00:20:48,040 --> 00:20:52,560
Speaker 3: of poison. He got confused. He was having a bad day.

340
00:20:52,600 --> 00:20:55,720
Speaker 3: It could have been any of us among us hasn't

341
00:20:55,760 --> 00:20:57,560
Speaker 3: accidently poisoned the child.

342
00:21:00,119 --> 00:21:02,880
Speaker 2: Okay, So we also meet mister Potter. He's played by

343
00:21:03,000 --> 00:21:07,000
Speaker 2: Lionel Barrymore. He's the richest man in town. He's very mean,

344
00:21:07,080 --> 00:21:10,640
Speaker 2: he's very evil, and he's always trying to put the

345
00:21:10,760 --> 00:21:16,000
Speaker 2: building in loan that George's father and his uncle Billy run.

346
00:21:16,240 --> 00:21:18,160
Speaker 2: Mister Potter is trying to put it out of business

347
00:21:18,200 --> 00:21:18,760
Speaker 2: all the time.

348
00:21:18,920 --> 00:21:22,240
Speaker 3: Mister Potter very much the villain, however, I think one

349
00:21:22,240 --> 00:21:25,400
Speaker 3: of the most like I haven't seen a more iconic

350
00:21:26,119 --> 00:21:30,320
Speaker 3: movie wheelchair than mister Potter. I mean he's had it

351
00:21:30,359 --> 00:21:36,040
Speaker 3: retrofitted into a full thrown throne. Yes, and I respect

352
00:21:36,160 --> 00:21:37,760
Speaker 3: that about him and nothing else.

353
00:21:38,160 --> 00:21:40,760
Speaker 2: Right, Yeah, Okay, So we cut to George Bailey as

354
00:21:40,760 --> 00:21:44,119
Speaker 2: a young man. He's now played by James Stewart. His

355
00:21:44,160 --> 00:21:46,600
Speaker 2: whole thing is he can't wait to get out of

356
00:21:46,640 --> 00:21:51,640
Speaker 2: his town of Bedford Falls aka New bed Massachusetts.

357
00:21:51,760 --> 00:21:53,920
Speaker 3: Yeah, he wants much more than this provincial life.

358
00:21:54,400 --> 00:21:57,760
Speaker 2: I literally wrote that in my Yes, That's why he

359
00:21:57,880 --> 00:21:59,000
Speaker 2: keeps fucking saying it.

360
00:21:59,000 --> 00:22:01,639
Speaker 3: I'm like, have you not seen Beauty the Beast nineteen

361
00:22:01,680 --> 00:22:03,719
Speaker 3: ninety one, bitch?

362
00:22:04,200 --> 00:22:06,520
Speaker 2: Yeah, So he can't wait to get out explore the world.

363
00:22:06,640 --> 00:22:09,440
Speaker 2: He has a trip coming up that he where he's

364
00:22:09,440 --> 00:22:11,679
Speaker 2: gonna go to Europe and then he's gonna go to

365
00:22:11,720 --> 00:22:15,920
Speaker 2: college after that. So then we meet some townspeople such

366
00:22:16,000 --> 00:22:19,760
Speaker 2: as Ernie the cab driver, Bert the cop, and then

367
00:22:19,760 --> 00:22:22,760
Speaker 2: we're like okay, Burt and Ernie.

368
00:22:22,640 --> 00:22:25,560
Speaker 3: And then and then we're like, oh no, Wikipedia is

369
00:22:25,640 --> 00:22:30,560
Speaker 3: ahead of us on this, and it's a coincidence. Sorry, yeah,

370
00:22:30,760 --> 00:22:36,960
Speaker 3: right there, we're gonna start a conspiracy. Jim Hen's a

371
00:22:37,119 --> 00:22:38,399
Speaker 3: you fucking liar.

372
00:22:40,359 --> 00:22:44,960
Speaker 2: Okay. Then we also meet Violet. She's blonde and she's hot,

373
00:22:45,280 --> 00:22:48,560
Speaker 2: and she's an icon. I love Violet. I mean I

374
00:22:48,600 --> 00:22:52,280
Speaker 2: wish we so dirty in this movie. Well we'll get

375
00:22:52,280 --> 00:22:56,359
Speaker 2: back to. Yeah. We also meet George's mother, another woman

376
00:22:56,440 --> 00:22:58,840
Speaker 2: we barely know anything about anyway.

377
00:22:59,440 --> 00:23:02,439
Speaker 3: What's her first what's her first name? Mama?

378
00:23:03,880 --> 00:23:10,080
Speaker 2: Missus? Okay. George heads to his brother Harry's graduation party.

379
00:23:10,359 --> 00:23:14,120
Speaker 2: This is where he reconnects with Mary played by Donna Reid,

380
00:23:14,880 --> 00:23:17,280
Speaker 2: and they see each other and they are both like

381
00:23:17,760 --> 00:23:22,159
Speaker 2: uh wooga, and they start dancing, and then there's this

382
00:23:22,200 --> 00:23:25,440
Speaker 2: whole thing where they fall into a swimming pool.

383
00:23:26,800 --> 00:23:29,680
Speaker 3: This is a like, I'm okay with a swimming pool

384
00:23:29,760 --> 00:23:33,200
Speaker 3: jump scare. That's gonna be good for me in every movie. However,

385
00:23:33,680 --> 00:23:37,080
Speaker 3: this whole sequence, and I know that, like I don't know,

386
00:23:37,160 --> 00:23:39,520
Speaker 3: there's no good way to do this other than truly

387
00:23:39,640 --> 00:23:43,160
Speaker 3: casting a younger actor to play the character when they're younger.

388
00:23:43,640 --> 00:23:46,439
Speaker 3: But there's a whole twenty minute chunk of this movie

389
00:23:46,680 --> 00:23:49,960
Speaker 3: where a visibly forty year old Jimmy Stewart is supposed

390
00:23:50,000 --> 00:23:54,080
Speaker 3: to be twenty one. Yeah, and it's so confusing, it's

391
00:23:54,160 --> 00:23:56,359
Speaker 3: unbelievably confusing, because you have to like go through all

392
00:23:56,400 --> 00:23:58,840
Speaker 3: of these layers of dissonance, which is, first of all,

393
00:23:59,240 --> 00:24:03,640
Speaker 3: like even Riverdale wasn't pushing like this. Yeah, you know,

394
00:24:03,720 --> 00:24:07,320
Speaker 3: it's like he looks his age and that's great, but

395
00:24:07,480 --> 00:24:09,560
Speaker 3: he keeps being like how old are you? And I'm

396
00:24:09,600 --> 00:24:12,920
Speaker 3: like how old are you? And he's like twenty one

397
00:24:13,000 --> 00:24:16,119
Speaker 3: and You're like, no, you're not, you fucking liar. And

398
00:24:16,160 --> 00:24:18,000
Speaker 3: then and then on top of that, you have to

399
00:24:18,080 --> 00:24:22,000
Speaker 3: like weave through the fact that the age gaps between

400
00:24:22,400 --> 00:24:26,280
Speaker 3: hetero Hollywood couples have always been so huge that Donna

401
00:24:26,320 --> 00:24:29,480
Speaker 3: Reid does look closer to the age she's supposed to

402
00:24:29,520 --> 00:24:31,520
Speaker 3: be and Jimmy Stewart looks forty, and like, is this

403
00:24:31,560 --> 00:24:36,160
Speaker 3: canonically predatory or is it just casting predatory And anyways,

404
00:24:36,160 --> 00:24:39,520
Speaker 3: it's casting predatory and Jimmy Stewart's definitely twenty one.

405
00:24:40,160 --> 00:24:45,720
Speaker 2: Yeah, so confusing. Also another movie where at least young characters,

406
00:24:45,800 --> 00:24:48,800
Speaker 2: maybe not young actors, but young characters are in a

407
00:24:48,840 --> 00:24:53,320
Speaker 2: swimming pool thinking fully closed, just like say it with

408
00:24:53,440 --> 00:25:02,200
Speaker 2: me now, Leonardo DiCaprio, fake fans on fuck believable, look

409
00:25:02,240 --> 00:25:02,600
Speaker 2: it up.

410
00:25:04,240 --> 00:25:06,919
Speaker 3: No, yeah, people fully clothed in the pool, having a

411
00:25:06,960 --> 00:25:10,520
Speaker 3: coming of age moment. Yeah, it's a timeless trope, it is.

412
00:25:10,640 --> 00:25:13,879
Speaker 2: Yeah, Well, normally the young people having a coming of

413
00:25:13,920 --> 00:25:16,720
Speaker 2: age moment are in there, like swimwear.

414
00:25:17,480 --> 00:25:21,080
Speaker 3: Yeah, but if you're Leonardo DiCaprio, you're fully clothed every time,

415
00:25:21,080 --> 00:25:22,960
Speaker 3: and we don't know why, yes, exactly.

416
00:25:24,160 --> 00:25:26,919
Speaker 2: Okay, So they fall in a swimming pool, and then

417
00:25:26,960 --> 00:25:30,960
Speaker 2: we cut to later that evening, they're walking around, they're flirting,

418
00:25:31,560 --> 00:25:36,520
Speaker 2: they walk past this old rundown house that Mary loves.

419
00:25:36,680 --> 00:25:39,320
Speaker 2: Will put a pin in that, and she's wearing a

420
00:25:39,440 --> 00:25:42,159
Speaker 2: robe because her clothes got wet from falling in the

421
00:25:42,160 --> 00:25:45,879
Speaker 2: swimming pool. And so there's this part where her robe

422
00:25:45,960 --> 00:25:48,840
Speaker 2: falls off and she's naked and she's hiding in the

423
00:25:48,880 --> 00:25:51,320
Speaker 2: bushes and we will just have to talk about that

424
00:25:51,800 --> 00:25:57,720
Speaker 2: later because it's too much right now. Then George gets

425
00:25:57,800 --> 00:26:02,280
Speaker 2: word that his father had a he dies from it.

426
00:26:02,880 --> 00:26:06,840
Speaker 2: So George feels obligated to cancel his trip to Europe

427
00:26:07,000 --> 00:26:10,840
Speaker 2: and to take over his father's business, the Bailey Building

428
00:26:10,840 --> 00:26:15,040
Speaker 2: and Loan. The evil mister Potter, who is a board member,

429
00:26:15,960 --> 00:26:20,440
Speaker 2: tries to dissolve it, but George makes this impassioned speech

430
00:26:21,080 --> 00:26:23,920
Speaker 2: and the board votes to keep the building and loan

431
00:26:24,400 --> 00:26:27,320
Speaker 2: going as long as George is in charge, which like

432
00:26:27,359 --> 00:26:30,440
Speaker 2: messes with his plans to go to college and explore

433
00:26:30,480 --> 00:26:32,879
Speaker 2: the world. So now he's stuck in Bedford Falls.

434
00:26:33,119 --> 00:26:38,879
Speaker 3: He's a forty year old college freshman. He's way behind.

435
00:26:39,040 --> 00:26:43,040
Speaker 3: He keeps like it really is so watching this movie

436
00:26:43,080 --> 00:26:44,639
Speaker 3: for the first time in the past week was so

437
00:26:44,840 --> 00:26:47,040
Speaker 3: jarring because he's talking to his father and he's like,

438
00:26:47,200 --> 00:26:49,120
Speaker 3: I have to go to college. I'm like, yeah, man,

439
00:26:49,280 --> 00:26:52,639
Speaker 3: hurry up, you're running out of time.

440
00:26:53,720 --> 00:26:57,200
Speaker 2: Yeah, So he feels stuck in his town at least

441
00:26:57,280 --> 00:27:00,639
Speaker 2: until his brother Harry, finishes college so that Harry can

442
00:27:00,680 --> 00:27:04,000
Speaker 2: take over the family business. But four years later, when

443
00:27:04,280 --> 00:27:08,880
Speaker 2: Harry returns from school, Harry's wife's father has offered Harry

444
00:27:08,920 --> 00:27:12,840
Speaker 2: a job, so George has to stay with the building

445
00:27:12,840 --> 00:27:19,080
Speaker 2: and loan. Then George's mother urges him to get with Mary,

446
00:27:19,280 --> 00:27:23,040
Speaker 2: who has also been away at school until now, but

447
00:27:23,119 --> 00:27:27,040
Speaker 2: George doesn't want to compete with his friend Sam Wainwright,

448
00:27:27,480 --> 00:27:30,760
Speaker 2: who was very much like all the adults in the

449
00:27:30,800 --> 00:27:33,480
Speaker 2: graduate who are like, you got to get into plastics.

450
00:27:35,000 --> 00:27:37,280
Speaker 2: That's Sam Waynwright huge.

451
00:27:37,400 --> 00:27:39,440
Speaker 3: Yeah, he started the trend. Yeah.

452
00:27:39,560 --> 00:27:41,840
Speaker 2: Yeah. He's also in love.

453
00:27:41,680 --> 00:27:44,880
Speaker 3: With Mary well, but is he though, because you cut

454
00:27:44,920 --> 00:27:46,679
Speaker 3: to him on the phone and you're like, well, he

455
00:27:46,800 --> 00:27:51,400
Speaker 3: seems to be cheating on her today.

456
00:27:51,520 --> 00:27:55,200
Speaker 2: Yeah, and he more calls for a business proposal than

457
00:27:55,280 --> 00:27:56,840
Speaker 2: like a social calling to talk.

458
00:27:56,800 --> 00:27:59,359
Speaker 3: To George, which is interesting because the house he calls

459
00:27:59,400 --> 00:28:02,639
Speaker 3: George does not live at. I know, but you know,

460
00:28:02,760 --> 00:28:05,159
Speaker 3: I think that that is just like Hollywood coding for

461
00:28:05,359 --> 00:28:08,520
Speaker 3: he's a dog. We don't care, yeah about this Sam

462
00:28:08,560 --> 00:28:11,760
Speaker 3: waying Wright character. George is a good guy. But then

463
00:28:11,800 --> 00:28:15,000
Speaker 3: you're like, is he is it a wonderful life even

464
00:28:16,000 --> 00:28:16,520
Speaker 3: we don't know?

465
00:28:18,200 --> 00:28:22,800
Speaker 2: Anyway, So George goes over to Mary's house and she's

466
00:28:22,920 --> 00:28:25,840
Speaker 2: very excited to see him, but he is such an

467
00:28:25,880 --> 00:28:29,360
Speaker 2: asshole to her in this scene, and she gets visibly

468
00:28:29,440 --> 00:28:32,640
Speaker 2: upset about it, and then he grabs her and screams

469
00:28:32,640 --> 00:28:36,639
Speaker 2: on her face. But don't worry, they will get married.

470
00:28:36,760 --> 00:28:38,360
Speaker 2: In the next scene.

471
00:28:39,840 --> 00:28:46,280
Speaker 3: Cut to their mary wedding. I was watching this with

472
00:28:46,960 --> 00:28:49,560
Speaker 3: someone near dear to my heart, and they were crying

473
00:28:49,600 --> 00:28:53,400
Speaker 3: through that entire scene. I was like, I don't understand

474
00:28:54,200 --> 00:28:57,200
Speaker 3: what is beautiful about the scene. But but you know,

475
00:28:57,240 --> 00:28:58,320
Speaker 3: life comes at you fast.

476
00:28:59,160 --> 00:29:03,760
Speaker 2: Yes, Okay. So then George and Mary are headed to

477
00:29:03,840 --> 00:29:08,960
Speaker 2: their luxurious honeymoon with a stack of cash.

478
00:29:08,040 --> 00:29:10,640
Speaker 3: Which is really cool of them, I think. I mean,

479
00:29:11,480 --> 00:29:14,200
Speaker 3: is that what happened in nineteen forty six, Like, here's

480
00:29:14,320 --> 00:29:17,200
Speaker 3: my budget, Like it's just in your hand. Scary.

481
00:29:17,400 --> 00:29:21,360
Speaker 2: Yeah, this is like pre Venmo certainly I know that.

482
00:29:21,880 --> 00:29:23,800
Speaker 3: Oh my god.

483
00:29:25,320 --> 00:29:31,160
Speaker 2: Okay, then the stock market crash of nineteen twenty nine happens.

484
00:29:31,200 --> 00:29:34,360
Speaker 3: I think that happens in Titanic too. Did it happen

485
00:29:34,360 --> 00:29:42,560
Speaker 3: in real life? But sound up in the comments?

486
00:29:44,800 --> 00:29:49,560
Speaker 2: Uh huh Okay. So everyone's rushing to take their money

487
00:29:49,600 --> 00:29:52,520
Speaker 2: out of the bank. So George turns around and goes

488
00:29:52,560 --> 00:29:54,480
Speaker 2: to the building a loan where a bunch of people

489
00:29:54,520 --> 00:29:58,600
Speaker 2: are demanding their money. But uncle Billy had given away

490
00:29:58,640 --> 00:30:01,640
Speaker 2: all the cash to the bank to pay off a

491
00:30:01,760 --> 00:30:03,520
Speaker 2: loan or I don't know.

492
00:30:03,920 --> 00:30:06,800
Speaker 3: What I love about uncle Billy is that he's professionally

493
00:30:06,880 --> 00:30:11,600
Speaker 3: known as uncle Billy. You never hear anyone call him billy,

494
00:30:12,080 --> 00:30:17,360
Speaker 3: whether they're his peer, his relative, his client, they're all like,

495
00:30:17,520 --> 00:30:21,680
Speaker 3: uncle Billy, you fuck up? Yes, get that bird out

496
00:30:21,720 --> 00:30:23,080
Speaker 3: the way, okay.

497
00:30:23,080 --> 00:30:25,640
Speaker 2: So they don't have any cash on hand to give

498
00:30:25,720 --> 00:30:29,240
Speaker 2: to the customers, and mister Potter is threatening to steal

499
00:30:29,560 --> 00:30:32,800
Speaker 2: all of the customers and close down the business. So

500
00:30:32,880 --> 00:30:35,920
Speaker 2: then George has to shell out his own personal stack

501
00:30:35,960 --> 00:30:38,200
Speaker 2: of cash that he was going to use for his

502
00:30:38,200 --> 00:30:41,239
Speaker 2: honeymoon and he gives it to all the townspeople in

503
00:30:41,320 --> 00:30:44,960
Speaker 2: order to save the business. Then he's like, oh, right,

504
00:30:45,120 --> 00:30:48,360
Speaker 2: it's my wedding day. I have to call my wife.

505
00:30:49,040 --> 00:30:51,160
Speaker 3: He's like, oh, yeah, I left my wife in a

506
00:30:51,280 --> 00:30:55,840
Speaker 3: running car six hours ago. Better check in.

507
00:30:56,720 --> 00:30:59,760
Speaker 2: And she's like, come to this address. So he shows

508
00:30:59,840 --> 00:31:03,160
Speaker 2: up and it's the old Rundown house that Mary has

509
00:31:03,200 --> 00:31:07,280
Speaker 2: always loved, and now it's their house. I think they're

510
00:31:07,480 --> 00:31:08,720
Speaker 2: squatting in it.

511
00:31:09,400 --> 00:31:11,400
Speaker 3: I actually think I have Uh well, I was gonna

512
00:31:11,400 --> 00:31:13,040
Speaker 3: say this later, but like I think that that is

513
00:31:13,120 --> 00:31:15,600
Speaker 3: like if that is because I wasn't able to find

514
00:31:15,720 --> 00:31:20,040
Speaker 3: any maybe some listeners understand the plot reason why that happened,

515
00:31:20,120 --> 00:31:23,160
Speaker 3: But if they really did see an unclaimed house and

516
00:31:23,240 --> 00:31:25,600
Speaker 3: then just reclaimed it, I think that that is like

517
00:31:25,600 --> 00:31:27,720
Speaker 3: one of the more radical things that happens in the movie.

518
00:31:27,880 --> 00:31:29,520
Speaker 2: Truly. Yeah, I'm fine with it.

519
00:31:29,640 --> 00:31:33,080
Speaker 3: Yeah, I mean that happens now and it's like necessary

520
00:31:33,120 --> 00:31:35,720
Speaker 3: and cool because there's so much housing that's just like

521
00:31:35,800 --> 00:31:38,680
Speaker 3: left empty. So I'm like, yeah, this mansion you've been

522
00:31:38,720 --> 00:31:42,080
Speaker 3: throwing rocks at for twenty years. Clearly no one lives here.

523
00:31:42,160 --> 00:31:44,360
Speaker 3: Move the fuck in see who yells at you?

524
00:31:44,640 --> 00:31:48,040
Speaker 2: Yeah, but she has prepared a little honeymoon for them

525
00:31:48,360 --> 00:31:52,280
Speaker 2: at this house. We cut to sometime later. George Bailey

526
00:31:52,480 --> 00:31:55,640
Speaker 2: has set up this place called Bailey Park where a

527
00:31:55,640 --> 00:31:58,960
Speaker 2: lot of his customers have built homes. People who used

528
00:31:59,000 --> 00:32:02,320
Speaker 2: to live in mister Potter shitty houses and you know,

529
00:32:02,400 --> 00:32:05,360
Speaker 2: pay rent to him because he's an evil landlord, but

530
00:32:05,520 --> 00:32:10,160
Speaker 2: now they're homeowners thanks to George. Then mister Potter offers

531
00:32:10,280 --> 00:32:13,600
Speaker 2: George a job, I think in an effort to like

532
00:32:13,720 --> 00:32:17,920
Speaker 2: eliminate him as a competitor, and he's offering George much

533
00:32:17,920 --> 00:32:21,200
Speaker 2: better pay, which would give him the freedom to travel

534
00:32:21,240 --> 00:32:24,960
Speaker 2: around the world. But George is like, no, I just

535
00:32:25,040 --> 00:32:27,680
Speaker 2: remembered that I hate you, so no thanks.

536
00:32:28,000 --> 00:32:30,720
Speaker 3: I I do like that scene though, because he's like offer,

537
00:32:30,840 --> 00:32:32,720
Speaker 3: you know, like he has like a carrot dangled in

538
00:32:32,720 --> 00:32:36,320
Speaker 3: front of him of like, isn't capitalism the best? And

539
00:32:36,360 --> 00:32:42,040
Speaker 3: George is like, yeah, I want a nice shoe. And

540
00:32:42,200 --> 00:32:46,840
Speaker 3: then there's this like great slash weird acting choice from

541
00:32:46,920 --> 00:32:49,480
Speaker 3: Jimmy Stewart where he shakes mister Potter's hand, and then

542
00:32:49,480 --> 00:32:53,880
Speaker 3: he pulls it away because he's decided that capitalism is bad. Actually,

543
00:32:54,040 --> 00:32:56,440
Speaker 3: but he's played away like there's something on the.

544
00:32:56,400 --> 00:32:59,600
Speaker 2: Hand like peepee and pooh pooh.

545
00:32:59,760 --> 00:33:04,160
Speaker 3: It's like they're like, wait a second, mister Potter has

546
00:33:04,200 --> 00:33:09,080
Speaker 3: shit on his like or come or jelly or just

547
00:33:09,120 --> 00:33:13,000
Speaker 3: something unpleasant to find on a hand. Yeah, and that's

548
00:33:13,040 --> 00:33:16,560
Speaker 3: what changed. That's what made him realize capitalism was bad. Yes, yes,

549
00:33:17,120 --> 00:33:17,960
Speaker 3: it was come on that.

550
00:33:18,720 --> 00:33:21,240
Speaker 2: We can all agree with that, yes.

551
00:33:22,120 --> 00:33:24,600
Speaker 3: Added to the Wikipedia.

552
00:33:25,280 --> 00:33:31,320
Speaker 2: So George then goes home and his wife tells him

553
00:33:31,520 --> 00:33:34,120
Speaker 2: that she's gregnant.

554
00:33:34,480 --> 00:33:37,480
Speaker 3: Yeah, and then she just starts t shirt gunning him out.

555
00:33:38,120 --> 00:33:41,560
Speaker 3: Oh my god, right, great, great, great, four greg's in total.

556
00:33:41,800 --> 00:33:42,080
Speaker 2: Yes.

557
00:33:42,480 --> 00:33:42,880
Speaker 3: Yeah.

558
00:33:43,040 --> 00:33:47,400
Speaker 2: But also there's a war on there is so before that,

559
00:33:47,520 --> 00:33:49,520
Speaker 2: you know, they have a couple of kids. Mary fixes

560
00:33:49,680 --> 00:33:53,600
Speaker 2: up their house, George continues working at the building and loan,

561
00:33:53,720 --> 00:33:57,760
Speaker 2: and then World War two begins. A bunch of men

562
00:33:58,000 --> 00:34:01,840
Speaker 2: go to fight in the war. Did that happen in

563
00:34:01,880 --> 00:34:03,320
Speaker 2: real life? I wonder, I don't know.

564
00:34:03,400 --> 00:34:08,040
Speaker 3: It's concept once again, what is this USO they spoke?

565
00:34:08,480 --> 00:34:08,920
Speaker 3: I don't know.

566
00:34:09,360 --> 00:34:13,799
Speaker 2: But George stays behind because of a hearing impairment, that

567
00:34:14,600 --> 00:34:17,120
Speaker 2: when he saved his brother from falling through the ice,

568
00:34:17,360 --> 00:34:20,480
Speaker 2: he lost hearing in one ear. Then his brother Harry

569
00:34:20,560 --> 00:34:24,640
Speaker 2: comes back a war hero, if there's any such thing

570
00:34:25,000 --> 00:34:26,840
Speaker 2: as a hero of war.

571
00:34:28,080 --> 00:34:31,640
Speaker 3: Again, very brief, thank you so much.

572
00:34:32,760 --> 00:34:36,680
Speaker 2: Okay, anyway, it's Christmas Eve now and Uncle Billy is

573
00:34:36,680 --> 00:34:39,319
Speaker 2: about to make a deposit to the bank of eight

574
00:34:39,360 --> 00:34:44,000
Speaker 2: thousand dollars in cash. I did the math. That is

575
00:34:44,040 --> 00:34:46,680
Speaker 2: about one hundred and twenty five thousand dollars in twenty

576
00:34:46,719 --> 00:34:48,840
Speaker 2: twenty three money just for inflation.

577
00:34:49,400 --> 00:34:52,759
Speaker 3: Not to come down too hard on uncle Billy. But

578
00:34:52,800 --> 00:34:56,600
Speaker 3: if you saw how many squirrels are in this man's office,

579
00:34:57,200 --> 00:35:02,360
Speaker 3: would you give him that amount of money cash to deposit.

580
00:35:02,480 --> 00:35:06,040
Speaker 3: He's simply too eccentric to get that amount of money

581
00:35:06,120 --> 00:35:08,560
Speaker 3: in cash.

582
00:35:07,520 --> 00:35:11,200
Speaker 2: It's true. And what he does is absent mindedly tuck

583
00:35:11,440 --> 00:35:14,920
Speaker 2: the cash into a newspaper that he then hands to

584
00:35:15,040 --> 00:35:19,359
Speaker 2: mister Potter, who realizes Uncle Billy's mistake but doesn't tell

585
00:35:19,400 --> 00:35:22,280
Speaker 2: anyone and just steals the money spoiler alert.

586
00:35:22,760 --> 00:35:25,840
Speaker 3: Even with the happy ending of this movie, mister Potter

587
00:35:25,960 --> 00:35:30,120
Speaker 3: gets away with this. It's really interesting, I mean realistic.

588
00:35:30,440 --> 00:35:32,279
Speaker 3: I think, well, yeah, it's another part of the movie.

589
00:35:32,280 --> 00:35:34,880
Speaker 3: I like, not that that happened, but that, like, you know,

590
00:35:35,480 --> 00:35:38,000
Speaker 3: it's realistic. Rich people get away with sheet all the time.

591
00:35:38,160 --> 00:35:45,240
Speaker 2: Yep, oh too real for you. Okay, wait does that happen?

592
00:35:45,440 --> 00:35:46,879
Speaker 3: Sound up in the comments?

593
00:35:49,320 --> 00:35:53,000
Speaker 2: Okay, So Uncle Billy is obviously freaking out about having

594
00:35:53,040 --> 00:35:56,239
Speaker 2: lost this money. George is freaking out. If they don't

595
00:35:56,239 --> 00:35:58,520
Speaker 2: come up with it, they'll go bankrupt and maybe even

596
00:35:58,640 --> 00:36:04,360
Speaker 2: end up in prison. So George goes home. He screams

597
00:36:04,480 --> 00:36:07,839
Speaker 2: at his wife and his children. He kicks some furniture over.

598
00:36:08,040 --> 00:36:10,040
Speaker 2: We'll also talk about this scene.

599
00:36:09,800 --> 00:36:14,320
Speaker 3: In more details, like what why are you upset?

600
00:36:15,400 --> 00:36:19,319
Speaker 2: Then he leaves and goes to mister Potter asking for

601
00:36:19,400 --> 00:36:22,880
Speaker 2: a loan of eight thousand dollars, and mister Potter wants

602
00:36:22,880 --> 00:36:26,520
Speaker 2: some collateral, so George offers up his life insurance policy

603
00:36:26,560 --> 00:36:30,160
Speaker 2: worth fifteen thousand dollars, and he realizes he's worth more

604
00:36:30,480 --> 00:36:36,439
Speaker 2: dead than alive, so George leaves. He gets drunk at

605
00:36:36,560 --> 00:36:40,640
Speaker 2: Martini's bar. He crashes his car into a tree, and

606
00:36:40,680 --> 00:36:42,960
Speaker 2: then he goes to a bridge and is about to

607
00:36:43,080 --> 00:36:48,480
Speaker 2: jump and end his life when suddenly someone else jumps

608
00:36:48,520 --> 00:36:51,960
Speaker 2: in the river. It is Clarence the guardian angel who

609
00:36:52,040 --> 00:36:55,799
Speaker 2: was sent to help him. So George jumps in to

610
00:36:56,040 --> 00:37:02,360
Speaker 2: save Clarence, and we cut to them in some place.

611
00:37:02,520 --> 00:37:04,480
Speaker 3: That part of the movie is like where the Baby

612
00:37:04,480 --> 00:37:10,640
Speaker 3: Einstein gets especially scary, where through this whole like really

613
00:37:10,680 --> 00:37:14,640
Speaker 3: intense not just emotionally charged, but like socially charged scene

614
00:37:14,640 --> 00:37:19,120
Speaker 3: because we're talking about how suicide is perceived in the

615
00:37:19,160 --> 00:37:22,560
Speaker 3: culture at this point, and it's just Baby Einstein, Twinkle

616
00:37:22,600 --> 00:37:26,280
Speaker 3: Twinkle Little Star playing beneath the whole thing. It's interesting.

617
00:37:27,120 --> 00:37:30,080
Speaker 3: You should check it out. Superior cut.

618
00:37:31,400 --> 00:37:36,319
Speaker 2: Yeah, go to Roku dot com. Uh, okay. So as

619
00:37:36,360 --> 00:37:39,200
Speaker 2: they're in this like office, I don't know, they're drying

620
00:37:39,239 --> 00:37:43,400
Speaker 2: off and warming up, and George is like, ough, everybody

621
00:37:43,440 --> 00:37:46,400
Speaker 2: would be better off if I was never born, and

622
00:37:46,440 --> 00:37:49,520
Speaker 2: Clarence is like, oh really, because let me show you

623
00:37:49,560 --> 00:37:52,000
Speaker 2: how things would be if you were never born.

624
00:37:52,320 --> 00:37:55,600
Speaker 3: You're like, wait a second, there's only twenty minutes left

625
00:37:55,640 --> 00:37:59,520
Speaker 3: in the movie. He's starting the Christmas Carol now, yeah,

626
00:37:59,560 --> 00:38:01,560
Speaker 3: and he is doing that.

627
00:38:01,880 --> 00:38:06,279
Speaker 2: I also liken it to the second half of Back

628
00:38:06,320 --> 00:38:08,640
Speaker 2: to the Future two, when Marty goes back to nineteen

629
00:38:08,680 --> 00:38:11,760
Speaker 2: eighty five and like Biff is the president or whatever.

630
00:38:12,080 --> 00:38:16,960
Speaker 3: I haven't seen it. Oh my god, I'm so young. Sorry, guys.

631
00:38:19,320 --> 00:38:23,120
Speaker 2: Okay, so Clarence takes George around town to show him

632
00:38:23,160 --> 00:38:26,800
Speaker 2: this alternate reality if George never existed.

633
00:38:27,360 --> 00:38:28,880
Speaker 3: Hot take it looks fun.

634
00:38:29,000 --> 00:38:32,000
Speaker 2: It looks so much more fun Pottersville.

635
00:38:32,040 --> 00:38:35,000
Speaker 3: They're like, we replaced the loans office with a strip club.

636
00:38:35,040 --> 00:38:38,680
Speaker 2: You're like, great, nice, but that's not what the movie

637
00:38:38,760 --> 00:38:40,520
Speaker 2: would have you think. It's like, oh my god, look

638
00:38:40,520 --> 00:38:42,880
Speaker 2: how disgusting this place is now.

639
00:38:42,800 --> 00:38:44,560
Speaker 3: More municipal buildings here.

640
00:38:46,160 --> 00:38:48,000
Speaker 2: Okay, First of all, the town is no longer called

641
00:38:48,000 --> 00:38:50,160
Speaker 2: Bedford Falls, it's now Pottersville.

642
00:38:50,400 --> 00:38:52,000
Speaker 3: That's bad. Fine.

643
00:38:52,320 --> 00:38:57,680
Speaker 2: Most of the businesses are bars, nightclubs, strip clubs, casinos.

644
00:38:58,120 --> 00:38:58,680
Speaker 2: None of George.

645
00:38:58,760 --> 00:39:02,520
Speaker 3: Fine, Potter, you're the cool guy in yes kind he

646
00:39:02,560 --> 00:39:03,440
Speaker 3: knows how to party.

647
00:39:03,640 --> 00:39:03,839
Speaker 2: Yeah.

648
00:39:05,160 --> 00:39:05,279
Speaker 3: Uh.

649
00:39:05,520 --> 00:39:09,600
Speaker 2: None of Georgia's friends recognize him. Everyone is just kind

650
00:39:09,600 --> 00:39:13,080
Speaker 2: of like mean and in a bad mood. Mister Gower,

651
00:39:13,200 --> 00:39:17,560
Speaker 2: the druggist is an ex con and an alcoholic. Because

652
00:39:17,600 --> 00:39:22,200
Speaker 2: George wasn't around to stop him from accidentally poisoning someone brutal.

653
00:39:22,480 --> 00:39:24,319
Speaker 2: George is like, what the fuck is going on?

654
00:39:24,600 --> 00:39:25,800
Speaker 3: His brother is dead?

655
00:39:26,400 --> 00:39:29,120
Speaker 2: Yeah, yes, but I kept.

656
00:39:29,040 --> 00:39:30,960
Speaker 3: Well, this is like way too far in the weeds.

657
00:39:30,960 --> 00:39:33,680
Speaker 3: But I was like, but really, if we thought about it,

658
00:39:34,080 --> 00:39:37,479
Speaker 3: if George never existed, would his brother have even been

659
00:39:37,520 --> 00:39:41,279
Speaker 3: invited to that ice hang that day? Probably not, and

660
00:39:41,320 --> 00:39:45,240
Speaker 3: maybe the world would be better. Makes you think, yeah,

661
00:39:45,520 --> 00:39:48,400
Speaker 3: maybe it would be better if he didn't exist. But

662
00:39:48,400 --> 00:39:49,520
Speaker 3: that's not the point of the movie.

663
00:39:49,560 --> 00:39:51,480
Speaker 2: Sorry, maybe it does not explore that at all.

664
00:39:53,560 --> 00:39:55,840
Speaker 3: Everyone's upset at that idea. Sorry.

665
00:39:57,560 --> 00:40:02,120
Speaker 2: Okay, So George goes to his house, but it's not

666
00:40:02,320 --> 00:40:05,319
Speaker 2: the nice house that his wife his wife fixed up.

667
00:40:05,760 --> 00:40:08,160
Speaker 2: It's still abandoned like it was when he was a teenager.

668
00:40:09,160 --> 00:40:15,319
Speaker 2: His family isn't there because Mary never got married. She's

669
00:40:15,360 --> 00:40:19,360
Speaker 2: a quote unquote old maid who became a librarian.

670
00:40:19,560 --> 00:40:26,000
Speaker 3: Okay, and this this scene is so iconic, it's so

671
00:40:26,280 --> 00:40:29,759
Speaker 3: awesome where they're like, what if you were thirty one

672
00:40:29,840 --> 00:40:35,319
Speaker 3: years old wearing Warby Parker lenses with a job, and

673
00:40:35,360 --> 00:40:38,880
Speaker 3: you're like, I would fucking kill for that dude. That's like,

674
00:40:39,760 --> 00:40:43,239
Speaker 3: of course, that's great news for her there, and she

675
00:40:43,400 --> 00:40:46,879
Speaker 3: reacts appropriately because there's a man chasing her around, which

676
00:40:46,920 --> 00:40:49,200
Speaker 3: is also how he acted when he was her husband.

677
00:40:50,920 --> 00:40:55,239
Speaker 3: She arguably got a better deal in the dystopia. Absolutely yes,

678
00:40:55,400 --> 00:40:57,960
Speaker 3: because she could just go to bars and strip clubs

679
00:40:58,239 --> 00:40:59,160
Speaker 3: with her own money.

680
00:40:59,320 --> 00:40:59,640
Speaker 5: M M.

681
00:41:00,239 --> 00:41:04,360
Speaker 2: Yeah, George is like chasing her and then she I

682
00:41:04,400 --> 00:41:06,960
Speaker 2: think faints because women be fainting.

683
00:41:07,080 --> 00:41:12,000
Speaker 3: She's also more brunette in a way that felt aggressive, but.

684
00:41:11,960 --> 00:41:15,080
Speaker 2: You know, the movie acts like her like never getting

685
00:41:15,120 --> 00:41:18,600
Speaker 2: married is the is a fate worse than death. Also,

686
00:41:19,000 --> 00:41:22,160
Speaker 2: George's mom does not recognize him. He learns that his

687
00:41:22,239 --> 00:41:26,040
Speaker 2: brother Harry died as a child because George wasn't there

688
00:41:26,160 --> 00:41:28,919
Speaker 2: to save him when he fell through the ice. And

689
00:41:28,960 --> 00:41:33,440
Speaker 2: Clarence is like, see, George, you've touched so many people

690
00:41:34,160 --> 00:41:37,319
Speaker 2: in your life. And if he's referred to all the

691
00:41:37,360 --> 00:41:42,239
Speaker 2: times that George Bailey violently grabs someone, then yes, he

692
00:41:42,360 --> 00:41:49,359
Speaker 2: has touched so many people his ass. But Clarence is like, George,

693
00:41:49,400 --> 00:41:52,600
Speaker 2: You've had such a wonderful life. It's a wonderful life

694
00:41:52,640 --> 00:41:55,640
Speaker 2: and that's the name of the movie, and it would

695
00:41:55,680 --> 00:41:59,640
Speaker 2: be a mistake to throw it all away. So George

696
00:41:59,719 --> 00:42:02,799
Speaker 2: is like, Okay, you're right. So he runs back to

697
00:42:03,040 --> 00:42:07,640
Speaker 2: the bridge and he prays to be alive again, and

698
00:42:07,880 --> 00:42:13,120
Speaker 2: that happens, and then Bert the cop shows up. Parentheses

699
00:42:13,200 --> 00:42:14,040
Speaker 2: ACAB and.

700
00:42:16,160 --> 00:42:20,920
Speaker 3: Yeah, ACAB includes Bert and I and I would say

701
00:42:21,000 --> 00:42:22,839
Speaker 3: like in an obvious way.

702
00:42:22,880 --> 00:42:25,719
Speaker 2: Yeah, yeah, And when you think about it, yes, all

703
00:42:25,760 --> 00:42:29,000
Speaker 2: cops are bastards, but all cops are burt.

704
00:42:32,080 --> 00:42:36,360
Speaker 3: Wow, it's a wonderful life. The Wonderful Hive is gonna

705
00:42:36,400 --> 00:42:40,759
Speaker 3: come for us for this one. Okay, wait for like

706
00:42:40,840 --> 00:42:43,520
Speaker 3: hot take George shouldn't have been born?

707
00:42:45,440 --> 00:42:48,880
Speaker 2: Okay. So Bert the cop is like, hey, George, I

708
00:42:48,960 --> 00:42:51,319
Speaker 2: remember I know you. And then George is like, wow,

709
00:42:51,360 --> 00:42:53,959
Speaker 2: you recognize me. So then he runs back through town.

710
00:42:54,040 --> 00:42:57,960
Speaker 2: He's like, Merry Christmas. He goes back home and then

711
00:42:58,080 --> 00:43:01,279
Speaker 2: some men are there to arrest him for this eight

712
00:43:01,320 --> 00:43:05,720
Speaker 2: thousand dollars deficit, but he doesn't even freaking care because

713
00:43:05,960 --> 00:43:06,719
Speaker 2: he because.

714
00:43:06,480 --> 00:43:08,239
Speaker 3: It's a wonderful life. It turns out.

715
00:43:08,440 --> 00:43:12,120
Speaker 2: Yeah, and then all of his friends show up and

716
00:43:12,200 --> 00:43:14,960
Speaker 2: give him a bunch of money because they heard he

717
00:43:15,080 --> 00:43:16,040
Speaker 2: was in trouble.

718
00:43:16,040 --> 00:43:21,720
Speaker 3: Which is what the minions do with grew Wow, Indespicable

719
00:43:21,800 --> 00:43:25,760
Speaker 3: Me one twenty ten. I've been sitting on this information

720
00:43:25,840 --> 00:43:30,960
Speaker 3: for days. The end of It's a Wonderful Life very

721
00:43:31,080 --> 00:43:33,359
Speaker 3: much mirrors the end of Despicable Me, to the point

722
00:43:33,360 --> 00:43:36,360
Speaker 3: where it may be a direct influence. Wait which part

723
00:43:36,920 --> 00:43:39,520
Speaker 3: where Grew is trying to crowdfund his effort to go

724
00:43:39,560 --> 00:43:42,240
Speaker 3: to the moon, and then the minions give them gives

725
00:43:42,280 --> 00:43:45,040
Speaker 3: Grew their money because at this point it appears that

726
00:43:45,040 --> 00:43:49,720
Speaker 3: the millions are paid, which goes away in later installments. Wow,

727
00:43:50,000 --> 00:43:53,640
Speaker 3: but it installment won. They have money and they crowdfund

728
00:43:53,719 --> 00:43:55,040
Speaker 3: Grew's effort to go to the moon.

729
00:43:55,080 --> 00:43:59,759
Speaker 2: That's right. Anyway, so his friends show up. I liked

730
00:43:59,760 --> 00:44:02,319
Speaker 2: it like the because I feel like they only each

731
00:44:02,360 --> 00:44:04,920
Speaker 2: give like one dollars, so I think he has like

732
00:44:05,239 --> 00:44:07,480
Speaker 2: two hundred and seventy four dollars at the end.

733
00:44:07,600 --> 00:44:11,880
Speaker 3: But anyway, two hundred and seventy four friends, I mean, wow,

734
00:44:12,200 --> 00:44:15,480
Speaker 3: that's I mean, not that many people came to the show. Like,

735
00:44:15,600 --> 00:44:19,080
Speaker 3: that's really cool. You have two hundred and seventy four friends.

736
00:44:19,320 --> 00:44:22,160
Speaker 3: I mean not as a cop for you know, George Bailey.

737
00:44:21,840 --> 00:44:25,120
Speaker 2: But that's so true. But then his rich friend Sam

738
00:44:25,280 --> 00:44:27,839
Speaker 2: Wainwright is like, here's a bunch of money, and then

739
00:44:27,880 --> 00:44:30,640
Speaker 2: so he saved the end. That's the movie.

740
00:44:30,920 --> 00:44:46,160
Speaker 3: Woo. I think it's fun that Sam was like, remember

741
00:44:46,160 --> 00:44:51,200
Speaker 3: when you when you aggressively quote unquote stole my girlfriend.

742
00:44:51,880 --> 00:44:55,200
Speaker 3: Doesn't matter, man, here's a million dollars that's great.

743
00:44:55,440 --> 00:44:56,279
Speaker 2: That's progressive.

744
00:44:56,400 --> 00:44:58,719
Speaker 3: I love that. It's almost like the movie cares what

745
00:44:58,800 --> 00:44:59,520
Speaker 3: Mary wants.

746
00:45:00,120 --> 00:45:04,200
Speaker 2: Yeah, but it doesn't. All right, So we're gonna before

747
00:45:04,200 --> 00:45:07,040
Speaker 2: we get into the discussion, we're gonna do a little

748
00:45:07,280 --> 00:45:12,160
Speaker 2: fun little thing and it's a I'm gonna give you

749
00:45:12,239 --> 00:45:17,160
Speaker 2: the rules to a drinking game that you can play, okay,

750
00:45:17,440 --> 00:45:20,000
Speaker 2: at a later time when you're watching the movie if

751
00:45:20,040 --> 00:45:20,480
Speaker 2: you want.

752
00:45:21,640 --> 00:45:22,280
Speaker 3: I'm excited.

753
00:45:22,400 --> 00:45:24,720
Speaker 2: Okay, So here are the rules. Is everyone ready?

754
00:45:25,800 --> 00:45:33,319
Speaker 3: Okay? So you drink every time? And that one's you're

755
00:45:33,440 --> 00:45:35,480
Speaker 3: right to say this. You're right to say this.

756
00:45:35,719 --> 00:45:36,880
Speaker 2: Thanks, so okay.

757
00:45:37,120 --> 00:45:40,400
Speaker 3: I love that. I also find myself wandering around the

758
00:45:40,440 --> 00:45:43,200
Speaker 3: city being like, can I have a million dollars? Hot Dog?

759
00:45:44,440 --> 00:45:45,280
Speaker 3: I thought it was great.

760
00:45:45,360 --> 00:45:47,399
Speaker 2: Also I realized I didn't say it. And this this

761
00:45:47,440 --> 00:45:50,239
Speaker 2: is a podcast, it's an audio medium people will want

762
00:45:50,280 --> 00:45:53,840
Speaker 2: to know. So it says, drink every time George Bailey

763
00:45:53,920 --> 00:45:58,360
Speaker 2: says hot Dog parentheses by raw Dog by Jamie Loftus. Okay,

764
00:45:58,640 --> 00:46:00,320
Speaker 2: and you're right to say it, and I'm right to

765
00:46:00,320 --> 00:46:06,080
Speaker 2: say that. Next side, please, so drink every time. Every

766
00:46:06,080 --> 00:46:10,399
Speaker 2: time someone insults Clarence the Guardian Angel, the other Angels

767
00:46:10,440 --> 00:46:14,880
Speaker 2: insult him, and then so does George Bailey later on relentlessly.

768
00:46:15,280 --> 00:46:18,399
Speaker 3: It is very like, yeah, they're like, dude, you look

769
00:46:18,480 --> 00:46:22,480
Speaker 3: like shit, no wonder you don't have wings? Yeah, you

770
00:46:22,560 --> 00:46:26,239
Speaker 3: have three brain cells that are currently operational. How are

771
00:46:26,280 --> 00:46:28,400
Speaker 3: you going to stop me from my problems? IQ of

772
00:46:28,400 --> 00:46:30,719
Speaker 3: the Rabbit is how he's literally introduced.

773
00:46:30,760 --> 00:46:36,200
Speaker 2: Literally yes, yes, next line, so drink. When George Bailey

774
00:46:36,239 --> 00:46:38,920
Speaker 2: as a child says he's going to have harems and

775
00:46:39,000 --> 00:46:43,960
Speaker 2: multiple wives. That only happens once in the movie, but

776
00:46:44,560 --> 00:46:46,560
Speaker 2: you should still. But it's a worth it.

777
00:46:46,560 --> 00:46:49,680
Speaker 3: It's a heavy sip, take a heavy zip, finish your

778
00:46:49,760 --> 00:46:51,160
Speaker 3: drink even it's impactful.

779
00:46:51,440 --> 00:46:54,880
Speaker 2: Yeah, yes, okay, next line, so drink. Every time the

780
00:46:54,880 --> 00:46:58,000
Speaker 2: plot is contingent on you understanding how a building and

781
00:46:58,080 --> 00:47:01,520
Speaker 2: loan operates. But unfortunately you I don't understand, and you

782
00:47:01,760 --> 00:47:02,960
Speaker 2: don't know what that is.

783
00:47:04,680 --> 00:47:06,840
Speaker 3: You're just like, shouldn't it be one or the other?

784
00:47:07,600 --> 00:47:08,120
Speaker 3: I don't.

785
00:47:09,360 --> 00:47:11,719
Speaker 2: I read about it, and I still don't understand how

786
00:47:11,719 --> 00:47:14,440
Speaker 2: it works. So this is not a reading podcast. And

787
00:47:14,480 --> 00:47:18,759
Speaker 2: we've said that many times. We hate books except for

788
00:47:18,960 --> 00:47:25,839
Speaker 2: Rad Doug, but we love that Mary becomes a librarian,

789
00:47:26,120 --> 00:47:32,239
Speaker 2: so we contain multitudes. Okay, next slide. Please, so drink

790
00:47:32,280 --> 00:47:35,080
Speaker 2: every time you're reminded that houses used to cost ten

791
00:47:35,160 --> 00:47:40,120
Speaker 2: dollars and that we are all dying of capitalism. Also,

792
00:47:40,520 --> 00:47:43,360
Speaker 2: there's mention of like a house being worth five thousand dollars.

793
00:47:43,400 --> 00:47:45,279
Speaker 2: I also did the math for that. That is the

794
00:47:45,440 --> 00:47:48,600
Speaker 2: equivalent of eighty five thousand dollars more or less in

795
00:47:48,920 --> 00:47:52,160
Speaker 2: twenty twenty three. And once again we are recording this

796
00:47:52,320 --> 00:47:57,120
Speaker 2: in La, where houses cost at least a million dollars. Yeah,

797
00:47:57,160 --> 00:48:01,399
Speaker 2: and that's if they leak, and that's if they're kind

798
00:48:01,400 --> 00:48:05,480
Speaker 2: of shitty and in the valley. No disrespect, Oh my god,

799
00:48:07,440 --> 00:48:11,000
Speaker 2: to the valley.

800
00:48:12,400 --> 00:48:22,359
Speaker 3: I do not stand by the colon. Sorry, we just

801
00:48:22,440 --> 00:48:25,319
Speaker 3: lost fifty Patreon subscribers. How dare you.

802
00:48:26,480 --> 00:48:28,280
Speaker 2: Round of applaza if you live in the valley.

803
00:48:29,640 --> 00:48:34,279
Speaker 3: I'm know your audience games, I'm so sorry, and he

804
00:48:34,440 --> 00:48:35,319
Speaker 3: enjoyed the drive home.

805
00:48:39,480 --> 00:48:48,000
Speaker 2: Okay, next line, Okay, drink. Drink every time there's an

806
00:48:48,120 --> 00:48:54,880
Speaker 2: enormous jar of poison at a pharmacy for some reason. Okay,

807
00:48:55,080 --> 00:48:59,200
Speaker 2: next line, drink every time Violet Bic and George Bailey

808
00:48:59,200 --> 00:49:01,839
Speaker 2: are so horny for each other that they nearly pass out.

809
00:49:01,960 --> 00:49:04,359
Speaker 3: We'll get back to that. Yeah, Yes.

810
00:49:05,480 --> 00:49:09,320
Speaker 2: Next slide, drink every time George and his mother kiss

811
00:49:09,400 --> 00:49:14,520
Speaker 2: on the lips. It happens at least twice.

812
00:49:14,840 --> 00:49:19,799
Speaker 3: It's nuts how much this happens. She's like, and I

813
00:49:19,840 --> 00:49:23,160
Speaker 3: feel like it is indicated in this slide that she

814
00:49:23,400 --> 00:49:28,040
Speaker 3: is an issue. I don't know which version is worse.

815
00:49:29,719 --> 00:49:32,560
Speaker 2: I'm like, is this just like a nineteen forties things

816
00:49:32,680 --> 00:49:34,120
Speaker 2: did did adult?

817
00:49:34,560 --> 00:49:37,239
Speaker 3: Wasn't the Hayes Code in action by now?

818
00:49:37,440 --> 00:49:37,800
Speaker 2: Yeah?

819
00:49:38,080 --> 00:49:42,560
Speaker 3: Yeah? Why can you French kiss your mom? I priorities

820
00:49:42,600 --> 00:49:44,520
Speaker 3: all over the place at this time, truly.

821
00:49:44,920 --> 00:49:48,040
Speaker 2: Yeah, they're like, we can't have gay people on screen,

822
00:49:48,080 --> 00:49:50,239
Speaker 2: but you can kiss your mother on the lips.

823
00:49:50,920 --> 00:49:53,480
Speaker 3: And in fact, you should do it twice.

824
00:49:54,239 --> 00:49:57,920
Speaker 2: Okay, Next slide, drink every time there's a random animal

825
00:49:58,120 --> 00:49:59,600
Speaker 2: at the Bailey building and.

826
00:49:59,640 --> 00:50:02,080
Speaker 3: Loan that's really I have something to say about that.

827
00:50:02,440 --> 00:50:06,560
Speaker 2: Okay, later on, Yes, we see a crow or something

828
00:50:06,760 --> 00:50:08,200
Speaker 2: pictured here, it's.

829
00:50:08,040 --> 00:50:12,400
Speaker 3: The raven but thank you, sorry, that's my friend.

830
00:50:14,400 --> 00:50:17,680
Speaker 2: Next slide, please drink every time Uncle Billy is horrible

831
00:50:17,719 --> 00:50:18,400
Speaker 2: at his job.

832
00:50:19,040 --> 00:50:24,080
Speaker 3: This squirrel is so they okay, well this squirrel. The

833
00:50:24,239 --> 00:50:28,719
Speaker 3: squirrel is like the best actor in the movie, and

834
00:50:28,800 --> 00:50:32,800
Speaker 3: the squirrel is hitting their mark. The second that Billy

835
00:50:32,960 --> 00:50:36,400
Speaker 3: is sad. This squirrel is like, like, it's really exciting,

836
00:50:36,800 --> 00:50:40,200
Speaker 3: and let's the next slide please, it's just a close up.

837
00:50:40,239 --> 00:50:45,600
Speaker 2: Oh yeah, the squirrel. Okay, we agree, Yeah, okay, next

838
00:50:45,640 --> 00:50:49,080
Speaker 2: slide and then drink every time. Annie is the best

839
00:50:49,120 --> 00:50:51,440
Speaker 2: character in the movie.

840
00:50:51,640 --> 00:50:51,839
Speaker 1: Now.

841
00:50:51,880 --> 00:50:56,000
Speaker 2: Annie did not appear in the recap because she's not

842
00:50:56,360 --> 00:50:59,160
Speaker 2: relevant to the plot at all, but she is the

843
00:50:59,160 --> 00:51:03,200
Speaker 2: best character. We will talk about her later. Yes, that's

844
00:51:03,239 --> 00:51:04,279
Speaker 2: the end of my drilling game.

845
00:51:04,360 --> 00:51:13,719
Speaker 3: Okay, okay. Contexts about this movie. So, this movie came

846
00:51:13,719 --> 00:51:16,799
Speaker 3: out in nineteen forty six, just after the end of

847
00:51:16,840 --> 00:51:21,560
Speaker 3: World War Two. It is directed by Frank Capra. We'll

848
00:51:21,840 --> 00:51:25,719
Speaker 3: talk about his whole history because it's weird and complicated.

849
00:51:25,760 --> 00:51:28,960
Speaker 3: But this was a movie that was adapted from a

850
00:51:29,000 --> 00:51:32,279
Speaker 3: short story called The Greatest Gift. The Greatest Gift was

851
00:51:32,320 --> 00:51:35,239
Speaker 3: published in nineteen thirty nine. There were a lot of

852
00:51:35,280 --> 00:51:38,239
Speaker 3: writers that worked on this movie because it went through

853
00:51:38,239 --> 00:51:41,240
Speaker 3: a lot of rounds of casting and basically like every

854
00:51:41,360 --> 00:51:45,640
Speaker 3: famous old Hollywood person was considered for every role, but

855
00:51:46,040 --> 00:51:49,320
Speaker 3: it went to Jimmy Stewart. It feels right for Jimmy Stewart,

856
00:51:49,360 --> 00:51:51,080
Speaker 3: whether you like him or not, like it feels like

857
00:51:51,120 --> 00:51:54,600
Speaker 3: a very classically Jimmy Stewart role. But I think what's

858
00:51:54,640 --> 00:51:58,440
Speaker 3: interesting about it is that a lot of the writers

859
00:51:58,520 --> 00:52:04,480
Speaker 3: for this movie were later accused of being communists. Awesome,

860
00:52:06,040 --> 00:52:08,680
Speaker 3: but there were a lot of leftist writers associated with

861
00:52:08,719 --> 00:52:11,799
Speaker 3: the production of this movie, although none of them were

862
00:52:11,880 --> 00:52:15,680
Speaker 3: finally credited. The final credits on this movie credit the

863
00:52:15,719 --> 00:52:20,799
Speaker 3: screenplay to Francis Goodrich, Albert Hackett, and Frank Capra, with

864
00:52:20,960 --> 00:52:23,759
Speaker 3: some work from Joe Swirling. The two leftists that worked

865
00:52:23,760 --> 00:52:27,399
Speaker 3: on this movie were Dorothy Parker and Dalton Trumbo, who

866
00:52:27,480 --> 00:52:28,960
Speaker 3: is like, you know, one of the one of the

867
00:52:29,040 --> 00:52:32,080
Speaker 3: one of the big ones that makes a movie about him. Yeah,

868
00:52:32,120 --> 00:52:36,880
Speaker 3: and it sucked. I didn't see it, and that's too bad.

869
00:52:37,080 --> 00:52:41,200
Speaker 3: It's for free on Rogu TV and they played Twinkle

870
00:52:41,600 --> 00:52:45,680
Speaker 3: a Little stuff the whole time. What's interesting to me

871
00:52:45,719 --> 00:52:49,919
Speaker 3: about that because this movie flopped when it came out

872
00:52:50,040 --> 00:52:52,399
Speaker 3: in forty six and I.

873
00:52:52,320 --> 00:52:55,040
Speaker 2: Know you do you have, yes, I have some information

874
00:52:55,040 --> 00:52:58,640
Speaker 2: about that. Yeah, a box office failure in the sense

875
00:52:58,680 --> 00:53:02,400
Speaker 2: that it needed to earn twice the production costs, and

876
00:53:02,440 --> 00:53:05,760
Speaker 2: it only earned about the same amount that it costs

877
00:53:05,760 --> 00:53:09,400
Speaker 2: to produce and make the movie. So It was considered

878
00:53:09,440 --> 00:53:12,799
Speaker 2: a flop, so much so that when the copyright of

879
00:53:12,840 --> 00:53:17,279
Speaker 2: this movie lapsed in nineteen seventy four, everyone was like,

880
00:53:17,680 --> 00:53:19,359
Speaker 2: no one liked that movie, no one went to go

881
00:53:19,400 --> 00:53:21,719
Speaker 2: see it, and so we're not even gonna bother to

882
00:53:21,800 --> 00:53:25,400
Speaker 2: renew the copyright, which means it fell into the public domain,

883
00:53:26,000 --> 00:53:32,160
Speaker 2: which allowed TV stations TV networks to broadcast it basically

884
00:53:32,200 --> 00:53:34,520
Speaker 2: for free. They didn't have to pay any licensing or

885
00:53:34,600 --> 00:53:39,880
Speaker 2: royalties on it, which is why it was broadcast so relentlessly.

886
00:53:41,160 --> 00:53:44,880
Speaker 3: Yeah, like decades and like in every Christmas Eve? Was

887
00:53:45,000 --> 00:53:46,920
Speaker 3: it like broadcasts or something like that.

888
00:53:47,400 --> 00:53:50,560
Speaker 2: I use something like that. There's an Adam Ruins everything

889
00:53:50,600 --> 00:53:53,600
Speaker 2: about this if you want to look that up. All

890
00:53:53,640 --> 00:53:56,560
Speaker 2: this to say it was a box office failure.

891
00:53:56,200 --> 00:53:59,280
Speaker 3: Which is interesting because it got like a fair amount

892
00:53:59,280 --> 00:54:02,040
Speaker 3: of attention outside of people who went to see it,

893
00:54:02,200 --> 00:54:05,520
Speaker 3: which was not too many people. There's all these stories

894
00:54:05,520 --> 00:54:08,120
Speaker 3: about how this movie got famous so long after it

895
00:54:08,160 --> 00:54:11,080
Speaker 3: came out that some of the child actors who played

896
00:54:11,160 --> 00:54:14,680
Speaker 3: Jimmy Stewart's kids, Jimmy Stewart and Donna Reid, because she

897
00:54:14,719 --> 00:54:17,640
Speaker 3: will be a raised throughout this movie. There are kids

898
00:54:17,680 --> 00:54:21,200
Speaker 3: like didn't even see it. Until it came out on TV,

899
00:54:22,200 --> 00:54:26,120
Speaker 3: so it didn't become like really popular until yeah, the seventies, eighties, nineties.

900
00:54:26,320 --> 00:54:26,400
Speaker 1: Ye.

901
00:54:26,560 --> 00:54:28,839
Speaker 3: But at the time when it came out, it was

902
00:54:29,360 --> 00:54:36,759
Speaker 3: interrogated by the FBI for espousing communist values, which is,

903
00:54:37,640 --> 00:54:41,080
Speaker 3: you know, Jaedgar Hoover is gonna Jadgar Hoover, right. But

904
00:54:41,200 --> 00:54:47,160
Speaker 3: there's this is I found a piece from Tribune magazine

905
00:54:47,480 --> 00:54:50,600
Speaker 3: by Reese Hadley and that was published in twenty twenty

906
00:54:50,680 --> 00:54:53,360
Speaker 3: one that sort of unpacks the ways. There's a whole

907
00:54:53,520 --> 00:54:58,920
Speaker 3: FBI file for It's a Wonderful Life for being too Communists,

908
00:54:59,000 --> 00:55:02,440
Speaker 3: and the reasons that they lay out are very interesting.

909
00:55:02,520 --> 00:55:07,480
Speaker 3: The first one is that the quote values or institutions

910
00:55:07,600 --> 00:55:12,320
Speaker 3: judge to be particularly anti American or pro communist interesting

911
00:55:12,920 --> 00:55:20,120
Speaker 3: are glorified in a movie examples failure, depravity, the common man,

912
00:55:21,920 --> 00:55:26,120
Speaker 3: the collective, and the FBI hate that we can't be

913
00:55:26,160 --> 00:55:27,200
Speaker 3: having that in a movie.

914
00:55:27,880 --> 00:55:28,360
Speaker 2: Horrible.

915
00:55:28,760 --> 00:55:32,400
Speaker 3: Another reason the FBI had an issue with this movie.

916
00:55:33,040 --> 00:55:36,400
Speaker 3: They argued that the movie may have portrayed mister Potter

917
00:55:36,480 --> 00:55:40,040
Speaker 3: as quote following the rules as laid down by the

918
00:55:40,120 --> 00:55:43,440
Speaker 3: state bank examiners in connection with making loans.

919
00:55:45,480 --> 00:55:49,000
Speaker 2: I didn't even understand that sentence, the.

920
00:55:48,960 --> 00:55:53,919
Speaker 3: FBI was like, what's wrong with predatory loans? Oh?

921
00:55:54,000 --> 00:55:56,759
Speaker 2: Okay, that's what this country was built on.

922
00:55:56,880 --> 00:56:01,960
Speaker 3: It, It's true, okay. And then finally the FBI said

923
00:56:02,080 --> 00:56:04,319
Speaker 3: that It's a Wonderful Life is a problem because it

924
00:56:04,560 --> 00:56:09,480
Speaker 3: espoused quote values or institutions judged to be particularly American

925
00:56:09,560 --> 00:56:13,400
Speaker 3: are smeared or presented as evil in a movie. Examples

926
00:56:13,880 --> 00:56:21,160
Speaker 3: the free enterprise system, industrialist wealth, the profit motive, success,

927
00:56:22,239 --> 00:56:26,840
Speaker 3: the independent man. Wow, And that like speaks to basically

928
00:56:26,920 --> 00:56:30,960
Speaker 3: everything I like about this very same is that is

929
00:56:31,160 --> 00:56:32,920
Speaker 3: and I know we'll talk about it, but like the

930
00:56:33,520 --> 00:56:37,080
Speaker 3: whole the message of this movie that I like is

931
00:56:38,080 --> 00:56:43,120
Speaker 3: encouraging people to work in favor of their collective versus

932
00:56:43,200 --> 00:56:45,239
Speaker 3: the individual, which I think is really cool and like

933
00:56:45,360 --> 00:56:49,560
Speaker 3: not something you see often, especially in American movies. But

934
00:56:49,719 --> 00:56:54,399
Speaker 3: it's it's interesting that this movie specifically was taken down

935
00:56:54,440 --> 00:56:59,640
Speaker 3: for being potentially communist because both Jimmy Stewart and Frank

936
00:56:59,719 --> 00:57:07,080
Speaker 3: Capra were lifelong Republicans, hugely Jimmy Stewart had just I mean,

937
00:57:07,200 --> 00:57:10,959
Speaker 3: Jimmy Stewart served in World War Two and wasn't sure

938
00:57:10,960 --> 00:57:12,640
Speaker 3: if he was going to come back to a movie

939
00:57:12,640 --> 00:57:19,000
Speaker 3: career and Frank Capra, who has a very very interesting background.

940
00:57:19,040 --> 00:57:22,080
Speaker 3: He immigrated from Italy when he was very young. He

941
00:57:22,120 --> 00:57:25,200
Speaker 3: worked his way up in the movie industry and then

942
00:57:25,360 --> 00:57:29,720
Speaker 3: just kind of got America killed in the way unfortunately

943
00:57:30,440 --> 00:57:34,800
Speaker 3: people do. And even though his movies were most popular

944
00:57:34,880 --> 00:57:39,160
Speaker 3: during the Roosevelt era and are very associated with that era,

945
00:57:39,600 --> 00:57:42,120
Speaker 3: he was a lifelong Republican to the point where he

946
00:57:42,560 --> 00:57:46,880
Speaker 3: skewed fascistic where he was, you know, he worked with

947
00:57:47,080 --> 00:57:50,240
Speaker 3: Dalton Trumbo, but he was also like, what about this

948
00:57:50,360 --> 00:57:54,240
Speaker 3: Mussolini guy, seems like he has some good ideas. I'm

949
00:57:55,240 --> 00:58:00,400
Speaker 3: truly like, I'm not being I'm not you know, it's

950
00:58:00,400 --> 00:58:03,320
Speaker 3: interesting he came like his most famous movies I think

951
00:58:03,360 --> 00:58:07,040
Speaker 3: would be it Happened one Night, mister Smith goes to Washington,

952
00:58:07,040 --> 00:58:11,560
Speaker 3: also with Jimmy Stewart and this movie. And in spite

953
00:58:12,000 --> 00:58:15,760
Speaker 3: of you know, he came to the US as an

954
00:58:15,760 --> 00:58:20,120
Speaker 3: immigrant and then he kind of became a nationalist over time,

955
00:58:20,280 --> 00:58:23,320
Speaker 3: as did Jimmy Stewart. And so the main two creative

956
00:58:23,400 --> 00:58:28,960
Speaker 3: voices in this movie are very far from communists. And

957
00:58:29,000 --> 00:58:33,560
Speaker 3: I mean that as an insult, but it's just like

958
00:58:33,600 --> 00:58:36,800
Speaker 3: this weird back and forth because I like that FBI

959
00:58:36,880 --> 00:58:39,280
Speaker 3: File a lot because they're like, why is this movie awesome?

960
00:58:39,440 --> 00:58:44,840
Speaker 3: Let's kill them. It's just like a weird kind of

961
00:58:44,880 --> 00:58:47,520
Speaker 3: web because it's like you, I think that the FBI

962
00:58:47,760 --> 00:58:51,200
Speaker 3: File is very funny and that those values are very

963
00:58:51,240 --> 00:58:53,320
Speaker 3: clear in the movie. But then the fact that the

964
00:58:53,360 --> 00:58:57,760
Speaker 3: director has praised Mussolini, just like, what do we do

965
00:58:57,800 --> 00:59:01,040
Speaker 3: in this? But that I guess from what I've gathered,

966
00:59:01,080 --> 00:59:04,480
Speaker 3: And I'm not a Frank Capra expert by any means,

967
00:59:04,480 --> 00:59:11,840
Speaker 3: but that Frank Capra, who skewed pretty right, I mean Mussolini, Yeah,

968
00:59:12,480 --> 00:59:17,320
Speaker 3: would most often collaborate with leftist writers and they would

969
00:59:17,440 --> 00:59:21,280
Speaker 3: end up with this fucking weirdo in between ay things

970
00:59:21,280 --> 00:59:23,360
Speaker 3: that I feel like is clear and it's a wonderful life.

971
00:59:23,600 --> 00:59:28,160
Speaker 2: Yeah. Number one, I hate Jimmy Stewart even more now

972
00:59:28,360 --> 00:59:31,280
Speaker 2: I did not know that he was a Republican. Number two.

973
00:59:32,240 --> 00:59:35,880
Speaker 2: So one of the credited writers, Francis Goodrich, who is

974
00:59:36,800 --> 00:59:43,400
Speaker 2: a woman nor oh gosh. She worked on a draft

975
00:59:43,520 --> 00:59:49,280
Speaker 2: of this script with her husband Albert Hackett, another credited writer,

976
00:59:49,960 --> 00:59:52,200
Speaker 2: but there was a pretty big dispute between them and

977
00:59:52,280 --> 00:59:57,480
Speaker 2: Frank Capra. So Francis Goodrich is quoted as calling Capra

978
00:59:57,640 --> 01:00:02,760
Speaker 2: a horrid man and a very arrogant son of a bitch.

979
01:00:03,920 --> 01:00:05,600
Speaker 2: So we love to see it.

980
01:00:05,920 --> 01:00:11,560
Speaker 3: We love to see pro Misolini people characterized that way.

981
01:00:12,000 --> 01:00:15,760
Speaker 3: So that's the background. Yeah for the movie. Should we

982
01:00:15,800 --> 01:00:18,280
Speaker 3: start by talking about miss Mary Bailey?

983
01:00:18,680 --> 01:00:23,160
Speaker 2: Let's do it? Okay, So what do we know about her?

984
01:00:23,560 --> 01:00:24,920
Speaker 3: Well, it's a short list.

985
01:00:25,200 --> 01:00:32,480
Speaker 2: Yeah, we know that she is his wife. We know

986
01:00:32,520 --> 01:00:34,920
Speaker 2: that she has loved George Bailey ever since she was

987
01:00:34,960 --> 01:00:39,720
Speaker 2: a child for what reasons, I don't know. She is

988
01:00:39,760 --> 01:00:44,000
Speaker 2: a talented artist and interior decorator.

989
01:00:44,320 --> 01:00:44,640
Speaker 1: Okay.

990
01:00:44,920 --> 01:00:48,240
Speaker 3: This is something that like I think is really I mean,

991
01:00:48,480 --> 01:00:54,560
Speaker 3: so much of Mary Bailey's story is erased in this

992
01:00:54,800 --> 01:00:56,480
Speaker 3: in spite of the fact that she does have like

993
01:00:56,520 --> 01:00:59,320
Speaker 3: a pretty significant like she goes through a lot, but

994
01:00:59,400 --> 01:01:02,480
Speaker 3: you just don't see any of it, including she goes

995
01:01:02,480 --> 01:01:07,560
Speaker 3: through a full extreme home makeover of this busted ass

996
01:01:07,600 --> 01:01:10,760
Speaker 3: house that she's like, we are reclaiming this house that

997
01:01:11,040 --> 01:01:13,240
Speaker 3: is broken and we are a part of the problem

998
01:01:13,280 --> 01:01:16,720
Speaker 3: because we were throwing rocks at it, and she fixes

999
01:01:16,720 --> 01:01:19,280
Speaker 3: the entire house over the course of years. She does

1000
01:01:19,320 --> 01:01:24,440
Speaker 3: like what happens on ABC every week night, and we

1001
01:01:24,480 --> 01:01:26,080
Speaker 3: don't see any of it. I mean, because I feel

1002
01:01:26,120 --> 01:01:29,680
Speaker 3: like the labor that Mary does is assumed that this

1003
01:01:29,840 --> 01:01:32,960
Speaker 3: is just what a woman does, and so it goes

1004
01:01:33,240 --> 01:01:38,720
Speaker 3: unseen and praised, unacknowledged. But she's doing a fucking lot.

1005
01:01:39,200 --> 01:01:41,160
Speaker 2: She's doing a lot. But the main thing we know

1006
01:01:41,360 --> 01:01:43,560
Speaker 2: about that, as far as like fixing up the house,

1007
01:01:43,720 --> 01:01:46,520
Speaker 2: is that George is really ungrateful about it, because he's

1008
01:01:46,880 --> 01:01:49,560
Speaker 2: screams and has a whole monologue about how he hates

1009
01:01:49,640 --> 01:01:52,760
Speaker 2: this house and it's cold and drafty and all of that.

1010
01:01:53,680 --> 01:01:57,080
Speaker 3: Well, she didn't. I Well, that's the other thing, because Mary,

1011
01:01:57,720 --> 01:02:01,280
Speaker 3: as far as we know, like Mary, they grow up together.

1012
01:02:01,360 --> 01:02:04,160
Speaker 3: I think she's the age of Harry, his younger brother,

1013
01:02:04,240 --> 01:02:06,800
Speaker 3: so she's like about four years younger than him, which

1014
01:02:06,840 --> 01:02:10,360
Speaker 3: is very confusing when he's forty and she's twenty three,

1015
01:02:10,920 --> 01:02:14,160
Speaker 3: and you're like, I don't know, is this okay?

1016
01:02:15,240 --> 01:02:15,439
Speaker 2: No?

1017
01:02:16,200 --> 01:02:19,240
Speaker 3: But you know, like she she goes to college in

1018
01:02:19,680 --> 01:02:20,880
Speaker 3: I think New York.

1019
01:02:21,360 --> 01:02:22,240
Speaker 2: Ever heard of it?

1020
01:02:23,840 --> 01:02:27,840
Speaker 3: She has a whole sex in the City era. Yeah,

1021
01:02:28,160 --> 01:02:30,080
Speaker 3: and we don't hear about fucking any of it. We

1022
01:02:30,120 --> 01:02:33,000
Speaker 3: don't know what she majored in. And we only know

1023
01:02:33,120 --> 01:02:35,480
Speaker 3: because I feel like the character of Mary in a

1024
01:02:35,480 --> 01:02:38,640
Speaker 3: way that I find frustrating because I like her, but

1025
01:02:38,960 --> 01:02:43,800
Speaker 3: she ultimately always comes down to these very like American

1026
01:02:43,880 --> 01:02:48,360
Speaker 3: white feminine values of the post war era, which is like, Okay,

1027
01:02:48,920 --> 01:02:52,320
Speaker 3: you had your moment, you got to get some education,

1028
01:02:53,040 --> 01:02:55,240
Speaker 3: you got to run the USO for a little bit,

1029
01:02:55,320 --> 01:02:58,280
Speaker 3: and now you know it should be your priority to

1030
01:02:58,360 --> 01:02:59,560
Speaker 3: settle down to.

1031
01:02:59,560 --> 01:03:01,000
Speaker 2: Be a wife and a mother.

1032
01:03:01,160 --> 01:03:03,360
Speaker 3: And that's right. And we don't know about her ambitions

1033
01:03:03,360 --> 01:03:04,880
Speaker 3: beyond that, right.

1034
01:03:05,480 --> 01:03:08,360
Speaker 2: So yeah, I feel like she's done a very big

1035
01:03:08,720 --> 01:03:13,920
Speaker 2: disservice by the narrative and also by the character of

1036
01:03:14,200 --> 01:03:15,560
Speaker 2: George Bailey.

1037
01:03:16,000 --> 01:03:19,160
Speaker 3: I would like to wait, wait, wait, m M. I

1038
01:03:19,240 --> 01:03:22,040
Speaker 3: want to talk about an important character, Billy Brick.

1039
01:03:22,200 --> 01:03:23,560
Speaker 2: Okay, because I just.

1040
01:03:23,600 --> 01:03:26,040
Speaker 3: Was like ranking the most important characters to me that

1041
01:03:26,120 --> 01:03:29,680
Speaker 3: I wanted to talk about versus Mary. The second was

1042
01:03:30,520 --> 01:03:36,520
Speaker 3: the Crow. Oh do you know about the Crow? Okay, Okay,

1043
01:03:36,760 --> 01:03:41,840
Speaker 3: you guys, I have a slideshow presentation I would like

1044
01:03:41,920 --> 01:03:45,240
Speaker 3: to do. It's about Jimmy the Raven if we can

1045
01:03:45,240 --> 01:03:53,600
Speaker 3: get him up. Bokay, wow, Jimmy the Raven feminist ally

1046
01:03:54,560 --> 01:03:59,760
Speaker 3: or agent of patriarchy. Now, Caitlin, let's start it like

1047
01:03:59,760 --> 01:04:03,160
Speaker 3: a by cast episode. What was your experience with Jimmy

1048
01:04:03,160 --> 01:04:03,640
Speaker 3: the Raven.

1049
01:04:05,800 --> 01:04:07,160
Speaker 2: I had never seen him before.

1050
01:04:08,080 --> 01:04:14,960
Speaker 3: Oh yousilly podcast host Jimmy the Raven is the most

1051
01:04:15,000 --> 01:04:19,320
Speaker 3: famous movie bird of all time. I also didn't know

1052
01:04:19,360 --> 01:04:23,800
Speaker 3: this before three days ago. But no, Jimmy the Raven

1053
01:04:23,880 --> 01:04:28,240
Speaker 3: is very famous movie bird. One of his most famous,

1054
01:04:28,360 --> 01:04:32,040
Speaker 3: but not even his most famous appearance is in It's

1055
01:04:32,040 --> 01:04:34,720
Speaker 3: a Wonderful Life. Let's go to the next slide. We

1056
01:04:34,760 --> 01:04:39,360
Speaker 3: see here Vincent Price with Jimmy and a movie that

1057
01:04:39,440 --> 01:04:42,960
Speaker 3: he is co starring in. It's called The Raven.

1058
01:04:43,920 --> 01:04:44,400
Speaker 2: Wow.

1059
01:04:44,920 --> 01:04:48,240
Speaker 3: Uh, he's an icon. He's a legend. Did you know

1060
01:04:48,280 --> 01:04:52,400
Speaker 3: that ravens lived thirty years? Because I didn't. His movie

1061
01:04:52,440 --> 01:04:57,480
Speaker 3: career spanned eighteen years. So whoa, here's the Okay, someone's

1062
01:04:57,560 --> 01:05:02,880
Speaker 3: laughing at the lifespan of a raven. It's not funny.

1063
01:05:03,400 --> 01:05:07,160
Speaker 3: Here's the thing about Jimmy. Okay. So, Jimmy was born

1064
01:05:07,200 --> 01:05:11,840
Speaker 3: in the Mojave Desert in the nineteen thirties. He was

1065
01:05:11,920 --> 01:05:17,880
Speaker 3: found by a cowboy named Curly Twyford.

1066
01:05:17,400 --> 01:05:18,680
Speaker 2: Because of course he was.

1067
01:05:20,600 --> 01:05:25,080
Speaker 3: Now, don't laugh at the name Curly Twyford. He was

1068
01:05:25,160 --> 01:05:29,560
Speaker 3: found by a cowboy named Curly Twyford, who was a

1069
01:05:29,560 --> 01:05:33,280
Speaker 3: world War one veteran who decided that he was going

1070
01:05:33,360 --> 01:05:39,480
Speaker 3: to make Jimmy a star. Uh huh. Interestingly this worked.

1071
01:05:40,880 --> 01:05:43,560
Speaker 3: You wouldn't expect it, and I was really spread. I

1072
01:05:43,640 --> 01:05:47,120
Speaker 3: did not know about Jimmy the Raven. And I say

1073
01:05:47,120 --> 01:05:50,800
Speaker 3: this as a big fan of famous birds. If you

1074
01:05:50,840 --> 01:05:53,200
Speaker 3: get to the next side, my favorite famous bird is

1075
01:05:53,240 --> 01:05:59,360
Speaker 3: Andy the Goose, who he's wearing shoes. You'll notice, Yeah,

1076
01:05:59,520 --> 01:06:01,600
Speaker 3: he was a actually known as Andy de Goose with

1077
01:06:01,680 --> 01:06:05,360
Speaker 3: no feet, but then this guy put shoes on him

1078
01:06:05,560 --> 01:06:08,280
Speaker 3: and he was Okay. If you go to the next slide,

1079
01:06:08,320 --> 01:06:12,760
Speaker 3: there's me with Andy de Goose. I drove to Nebraska

1080
01:06:12,840 --> 01:06:16,480
Speaker 3: a couple of years ago to go visit his grave site.

1081
01:06:17,920 --> 01:06:19,840
Speaker 3: Andy the Goose. At the time, he was a real

1082
01:06:20,160 --> 01:06:22,520
Speaker 3: icon in the eighties. If you go to the next slide,

1083
01:06:23,160 --> 01:06:27,440
Speaker 3: there he is riding a bike. He was really special.

1084
01:06:27,520 --> 01:06:30,600
Speaker 3: And then unfortunately, next slide he was murdered.

1085
01:06:31,040 --> 01:06:31,800
Speaker 2: Oh my god.

1086
01:06:33,040 --> 01:06:36,000
Speaker 3: And you can google that on your own time. Next slide,

1087
01:06:36,720 --> 01:06:42,320
Speaker 3: back to Jimmy the Raven. I just want to plant

1088
01:06:42,520 --> 01:06:46,400
Speaker 3: Andy the Goose in your mind because he's a fascinating

1089
01:06:46,440 --> 01:06:49,560
Speaker 3: cultural figure. But we're talking about Jimmy the Raven today.

1090
01:06:50,400 --> 01:06:52,360
Speaker 3: He was a star, and he was a star from

1091
01:06:52,360 --> 01:06:55,720
Speaker 3: the beginning. Next slide, here's a news clip jim the Raven,

1092
01:06:55,880 --> 01:07:00,480
Speaker 3: a new flicker Hollywood. One of the hottest stars and

1093
01:07:00,560 --> 01:07:03,520
Speaker 3: pictures is a quaint character named Jim. He is only

1094
01:07:03,560 --> 01:07:06,200
Speaker 3: twenty two but has a life expectancy of one hundred

1095
01:07:06,200 --> 01:07:12,080
Speaker 3: and forty years. Not true? What thirty? Jim, who has

1096
01:07:12,120 --> 01:07:15,000
Speaker 3: stolen every movie scene in which he has appeared, is

1097
01:07:15,040 --> 01:07:19,320
Speaker 3: a raven and boys are true. But is Jimmy the

1098
01:07:19,440 --> 01:07:23,760
Speaker 3: Raven a feminist? That's the question I wanted to ask.

1099
01:07:23,800 --> 01:07:27,400
Speaker 3: He's had a really intense career, you know. Here we

1100
01:07:27,440 --> 01:07:30,120
Speaker 3: have the next slide, is he was in The Wizard

1101
01:07:30,200 --> 01:07:34,200
Speaker 3: of Oz. Yeah, playing, you know, a star turning part

1102
01:07:34,240 --> 01:07:36,680
Speaker 3: as a crow when in fact he is a raven.

1103
01:07:37,440 --> 01:07:37,640
Speaker 5: Right.

1104
01:07:38,320 --> 01:07:44,040
Speaker 3: The next slide, Betty Davis, they're about to fuck. I

1105
01:07:44,080 --> 01:07:48,920
Speaker 3: don't know if that's obvious, but to me it's obvious.

1106
01:07:49,360 --> 01:07:55,080
Speaker 3: Next slide him and Vincent Price and he's drinking wine

1107
01:07:54,480 --> 01:07:58,320
Speaker 3: and cheers to that. The next one, the scariest side

1108
01:07:58,360 --> 01:08:04,800
Speaker 3: of all, in which he is wearing a little soldier's uniform.

1109
01:08:06,080 --> 01:08:08,000
Speaker 3: And then there's one. There's one more. It's him and

1110
01:08:08,080 --> 01:08:14,160
Speaker 3: Curly twy Ford and Jimmy witnessed the birth of Curly

1111
01:08:14,240 --> 01:08:20,400
Speaker 3: Twyford's baby. He became a part of the family. Okay,

1112
01:08:20,800 --> 01:08:23,400
Speaker 3: we're just gonna sort of go through the next few

1113
01:08:23,439 --> 01:08:25,960
Speaker 3: because there's just so many pictures of Jimmy. Okay, the

1114
01:08:26,000 --> 01:08:28,439
Speaker 3: next one, and the next one that's him on TV

1115
01:08:28,920 --> 01:08:33,639
Speaker 3: he's wearing a suit, and then the next one, Okay,

1116
01:08:33,640 --> 01:08:37,160
Speaker 3: that's him and Jimmy Cagney. Finally, I want to go

1117
01:08:37,200 --> 01:08:40,240
Speaker 3: to the next slide, because when the question came down

1118
01:08:40,280 --> 01:08:44,559
Speaker 3: to is Jimmy the Raven a feminist? I was looking

1119
01:08:44,600 --> 01:08:54,280
Speaker 3: into his personal history and he's problematic. Oh no, so

1120
01:08:54,800 --> 01:08:59,120
Speaker 3: I know, like Mussolini is awesome, not that far. He

1121
01:08:59,240 --> 01:09:05,839
Speaker 3: wasn't frank, but he was a problematic guy. You know. Jimmy,

1122
01:09:05,880 --> 01:09:08,519
Speaker 3: he was a very trained actor. He could do things

1123
01:09:08,560 --> 01:09:13,280
Speaker 3: like opening mail, operating a typewriter, letting a cigarette, flipping

1124
01:09:13,320 --> 01:09:20,080
Speaker 3: magazine pages, and dealing a hand of poker. Okay, Jimmy Stewart, Okay,

1125
01:09:20,120 --> 01:09:23,000
Speaker 3: this was kind of fun. Okay. In on the set

1126
01:09:23,040 --> 01:09:25,600
Speaker 3: of It's a Wonderful Life, Jimmy Stewart could not be

1127
01:09:25,680 --> 01:09:31,880
Speaker 3: called Jimmy because Jimmy the Raven would respond. So he's

1128
01:09:31,920 --> 01:09:35,400
Speaker 3: also a bit of a diva. He's the first Jimmy

1129
01:09:35,439 --> 01:09:36,320
Speaker 3: in the college sheet.

1130
01:09:36,880 --> 01:09:37,440
Speaker 2: Wow.

1131
01:09:38,320 --> 01:09:41,080
Speaker 3: I love Jimmy the Ravens so much. He was insured

1132
01:09:41,080 --> 01:09:45,559
Speaker 3: for ten thousand dollars by the Red Cross question mark.

1133
01:09:45,920 --> 01:09:49,360
Speaker 3: We don't know why. He got a Presidential Medal of Honor.

1134
01:09:49,439 --> 01:09:51,400
Speaker 3: Also don't know why.

1135
01:09:52,120 --> 01:09:58,240
Speaker 4: Oh and and people like people talked about Jimmy in

1136
01:09:58,520 --> 01:10:00,400
Speaker 4: ways that we're not always mind.

1137
01:10:01,120 --> 01:10:08,360
Speaker 3: Curly Twyford, for for example, his father explained that Jimmy

1138
01:10:08,560 --> 01:10:13,360
Speaker 3: had no fewer than twenty one stand ins, most of

1139
01:10:13,400 --> 01:10:19,120
Speaker 3: whom were women Ravens, and it has been speculated since

1140
01:10:19,200 --> 01:10:23,439
Speaker 3: that maybe Jimmy was a woman and that there was

1141
01:10:23,760 --> 01:10:27,120
Speaker 3: gender confusion. There were there was uh, you know, we

1142
01:10:27,200 --> 01:10:30,799
Speaker 3: don't know because Jimmy's been dead for a hundred years.

1143
01:10:32,280 --> 01:10:36,320
Speaker 3: But Curly Twyford said, do you guys like this there?

1144
01:10:37,680 --> 01:10:45,519
Speaker 3: Curly Twyford said, I was like in my bed making this,

1145
01:10:45,600 --> 01:10:49,960
Speaker 3: I'm like, well, people play. I think it's interesting. Okay.

1146
01:10:50,960 --> 01:10:55,479
Speaker 3: Curly Twyford, who plumped Jimmy's egg from the Mojave Desert,

1147
01:10:56,160 --> 01:11:01,760
Speaker 3: said Jimmy is a great egotist. He likes variety, and

1148
01:11:01,800 --> 01:11:03,639
Speaker 3: what he means when he says that is that Jimmy

1149
01:11:03,640 --> 01:11:08,520
Speaker 3: would have a different woman delivered to his cage every day,

1150
01:11:09,200 --> 01:11:11,519
Speaker 3: and that Jimmy was insatiable sexually.

1151
01:11:12,760 --> 01:11:14,759
Speaker 2: I'm sorry, when you say a woman, are you talking

1152
01:11:14,760 --> 01:11:21,760
Speaker 2: about a female raven or you talking about well when

1153
01:11:21,840 --> 01:11:22,880
Speaker 2: you say woman.

1154
01:11:23,080 --> 01:11:27,719
Speaker 3: Betty Davis, did you go to his cage?

1155
01:11:27,479 --> 01:11:31,519
Speaker 2: I know that human women don't have probably I hope

1156
01:11:31,920 --> 01:11:32,320
Speaker 2: don't have.

1157
01:11:32,720 --> 01:11:33,639
Speaker 3: You don't know.

1158
01:11:35,600 --> 01:11:39,120
Speaker 2: The use of the word woman when referring to female

1159
01:11:39,280 --> 01:11:41,479
Speaker 2: ravens was just confusing.

1160
01:11:42,000 --> 01:11:45,479
Speaker 3: Jimmy needed a different woman in his cage every day.

1161
01:11:46,080 --> 01:11:50,639
Speaker 3: I mean, he was an polyamorous king, exactly, exactly. Maybe

1162
01:11:50,640 --> 01:11:52,920
Speaker 3: he was simply ahead of his time, but at the

1163
01:11:52,960 --> 01:11:57,960
Speaker 3: time he was referred to as an egotist in a diva.

1164
01:11:58,040 --> 01:12:01,400
Speaker 3: He also wouldn't eat meat strips delivered to him after

1165
01:12:01,479 --> 01:12:03,719
Speaker 3: he'd been in movies for a while because again because

1166
01:12:03,760 --> 01:12:05,040
Speaker 3: they said he was going to live for one hundred

1167
01:12:05,040 --> 01:12:07,600
Speaker 3: and forty years. They're like, Jimmy was in over a

1168
01:12:07,760 --> 01:12:11,840
Speaker 3: thousand movies. He was in thirty, okay, but including The

1169
01:12:11,880 --> 01:12:14,120
Speaker 3: Wizard of Oz and It's a wonderful life. So a

1170
01:12:14,160 --> 01:12:18,000
Speaker 3: great career. Nonetheless, not meaning to cut down Jimmy, but

1171
01:12:18,240 --> 01:12:19,920
Speaker 3: by the end of his career, when he was very,

1172
01:12:20,000 --> 01:12:22,800
Speaker 3: very successful. He wouldn't eat strips of meat that were

1173
01:12:22,800 --> 01:12:25,240
Speaker 3: delivered to him unless they'd been sprinkled with sugar.

1174
01:12:26,640 --> 01:12:27,080
Speaker 2: Wow.

1175
01:12:27,360 --> 01:12:31,760
Speaker 3: And one of his human co stars said, I'm disenchanted

1176
01:12:31,800 --> 01:12:39,400
Speaker 3: by him. I think he's got a star complex. Wow.

1177
01:12:41,000 --> 01:12:43,840
Speaker 3: Jimmy Stewart said, the Raven is the smartest actor on set.

1178
01:12:43,880 --> 01:12:46,120
Speaker 3: They don't have to do as many takes for him

1179
01:12:46,160 --> 01:12:49,320
Speaker 3: as the rest of us, so he's also kind of

1180
01:12:49,400 --> 01:12:54,400
Speaker 3: a genius. He's the Daniel dan Lewis of birds. Frank

1181
01:12:54,479 --> 01:12:58,080
Speaker 3: Capra was especially a fan, and as we don't like

1182
01:12:58,240 --> 01:13:03,040
Speaker 3: Frank Capra, however, Jimmy was basically like Scorsese, de Niro,

1183
01:13:03,280 --> 01:13:06,960
Speaker 3: Frank Capra, Jimmy the Raven. Okay, he's in all of

1184
01:13:06,960 --> 01:13:12,120
Speaker 3: his movies. It's really bizarre. Ultimately, with Jimmy, I was like,

1185
01:13:12,840 --> 01:13:16,120
Speaker 3: is Jimmy a feminist? You know? It was unclear given

1186
01:13:16,280 --> 01:13:21,240
Speaker 3: the information I had, Okay, and I'll tell you I

1187
01:13:21,280 --> 01:13:24,960
Speaker 3: was not able to figure it out. However, the Raven

1188
01:13:25,040 --> 01:13:29,439
Speaker 3: you see in this scene, that is not Jimmy the Raven.

1189
01:13:29,560 --> 01:13:34,720
Speaker 3: Oh scandal, That is Coco the Raven. Who's that one

1190
01:13:34,760 --> 01:13:36,920
Speaker 3: of Jimmy's stand ins, Caitlin of course?

1191
01:13:37,040 --> 01:13:38,160
Speaker 2: Oh my goodness.

1192
01:13:38,280 --> 01:13:40,920
Speaker 3: And so I found this blog from two thousand and

1193
01:13:41,040 --> 01:13:45,320
Speaker 3: nine brag that is strictly around character actors that have

1194
01:13:45,400 --> 01:13:49,839
Speaker 3: been forgotten, called the Unsung Joe, that explains who Coco

1195
01:13:50,040 --> 01:13:54,559
Speaker 3: the Raven is. I'm gonna quote from it. And then

1196
01:13:54,600 --> 01:13:58,599
Speaker 3: there was Coco. More than a stand in, less than

1197
01:13:58,600 --> 01:14:02,760
Speaker 3: a performer. Coco was a slightly older but less versatile

1198
01:14:02,840 --> 01:14:06,280
Speaker 3: bird who deputized for Jimmy in those scenes that called

1199
01:14:06,280 --> 01:14:08,400
Speaker 3: for the presence of a raven, but not for any

1200
01:14:08,400 --> 01:14:12,320
Speaker 3: of the tricks which Jimmy alone was capable of. The

1201
01:14:12,400 --> 01:14:16,600
Speaker 3: only drawback that arose from the lack of activity in

1202
01:14:16,680 --> 01:14:21,439
Speaker 3: Coco's job was a susceptibility for that old actor's complaint

1203
01:14:21,920 --> 01:14:25,759
Speaker 3: cleague eyes. I didn't know about that old actor's complaint.

1204
01:14:26,080 --> 01:14:29,000
Speaker 3: I'll tell you what it is. Coco would find himself

1205
01:14:29,240 --> 01:14:33,759
Speaker 3: fascinated by the huge, bright studio lights and would stare

1206
01:14:33,840 --> 01:14:42,040
Speaker 3: into them, hypnotized until his eyes became inflamed, turning from

1207
01:14:42,040 --> 01:14:45,400
Speaker 3: their inky black to a dark green, whereupon he would

1208
01:14:45,400 --> 01:14:48,760
Speaker 3: become distressed and curly. Twyford would have to remove him

1209
01:14:48,760 --> 01:14:52,920
Speaker 3: from the set. He never learned, though he loved those lights.

1210
01:14:55,000 --> 01:14:57,920
Speaker 3: I love Coco, and I think There's an important scene

1211
01:14:57,920 --> 01:15:01,719
Speaker 3: in the next line where Coco is present, and it's

1212
01:15:01,800 --> 01:15:05,360
Speaker 3: the scene in which Uncle Billy is once again banned

1213
01:15:05,479 --> 01:15:08,719
Speaker 3: his job and there is a raven on the desk.

1214
01:15:08,760 --> 01:15:11,000
Speaker 3: This is not Jimmy the Raven, and don't credit him

1215
01:15:11,040 --> 01:15:14,360
Speaker 3: as such. That is Coco the Raven, because Coco the

1216
01:15:14,439 --> 01:15:16,679
Speaker 3: Raven was good at one thing, and that was standing still.

1217
01:15:18,680 --> 01:15:22,439
Speaker 3: So in conclusion, was Jimmy the Raven and Ally? And

1218
01:15:22,479 --> 01:15:24,680
Speaker 3: I know you were all wondering that when you walked in.

1219
01:15:24,840 --> 01:15:34,440
Speaker 3: The answer is final slide, Jimmy a bitch, Justice for Coco. Okay,

1220
01:15:34,920 --> 01:15:36,760
Speaker 3: that's all I have to say for the show. But

1221
01:15:36,840 --> 01:15:40,479
Speaker 3: if you have anything else to say, feel free. No

1222
01:15:40,640 --> 01:15:45,240
Speaker 3: I think that I've been working on this for seven months.

1223
01:15:45,439 --> 01:15:48,280
Speaker 2: Uh yeah, no, I just have a few more things

1224
01:15:48,400 --> 01:15:53,439
Speaker 2: to say. We are running out of time, but I'll

1225
01:15:53,520 --> 01:15:54,400
Speaker 2: you know, I'll go through.

1226
01:15:54,640 --> 01:15:56,920
Speaker 3: I wouldn't that take twenty five minutes.

1227
01:15:58,760 --> 01:16:01,759
Speaker 2: Look, I have a section called George Bailey and his Crimes.

1228
01:16:02,439 --> 01:16:10,400
Speaker 2: Allow me starting with exhibit A the robe scene. Yes, yes, exactly. So,

1229
01:16:11,520 --> 01:16:14,720
Speaker 2: just to recap this a little further, this is the

1230
01:16:14,760 --> 01:16:18,320
Speaker 2: scene where George and Mary are walking around after the

1231
01:16:18,360 --> 01:16:21,240
Speaker 2: party they had fallen into the pool. So they put

1232
01:16:21,280 --> 01:16:25,559
Speaker 2: on other clothes and Mary put on a robe and

1233
01:16:25,600 --> 01:16:30,519
Speaker 2: she's presumably naked underneath. They're walking around, they're flirting. There's

1234
01:16:30,560 --> 01:16:32,799
Speaker 2: a guy in the neighborhood who is yelling at George

1235
01:16:33,040 --> 01:16:37,040
Speaker 2: and being like kiss her, and George is like, fine,

1236
01:16:37,120 --> 01:16:41,840
Speaker 2: I'll kiss her so freaking hard, and then Mary runs

1237
01:16:41,880 --> 01:16:45,519
Speaker 2: away at that, but George was standing on her robe,

1238
01:16:45,840 --> 01:16:48,679
Speaker 2: so it falls off as she runs away, and now

1239
01:16:48,680 --> 01:16:52,160
Speaker 2: she's naked, so she hides in the bushes. When George

1240
01:16:52,200 --> 01:16:56,880
Speaker 2: realizes this and realizes that he can exploit this situation,

1241
01:16:57,280 --> 01:16:59,280
Speaker 2: he absolutely.

1242
01:16:58,640 --> 01:17:02,040
Speaker 3: Does immediately until he finds out his father died.

1243
01:17:02,600 --> 01:17:06,160
Speaker 2: That's right, because he's like, She's like, please, I beg

1244
01:17:06,200 --> 01:17:09,559
Speaker 2: you give me my robe back, and he's like no.

1245
01:17:10,360 --> 01:17:14,120
Speaker 2: She asks him so many times he refuses. She says

1246
01:17:14,160 --> 01:17:17,879
Speaker 2: she's going to tell his mother and tell the police

1247
01:17:18,080 --> 01:17:19,240
Speaker 2: parentheses acab.

1248
01:17:20,360 --> 01:17:22,759
Speaker 3: Well, then he says, you know, I think the police

1249
01:17:22,760 --> 01:17:24,519
Speaker 3: would be on my side, and you're like, that's kind

1250
01:17:24,520 --> 01:17:26,360
Speaker 3: of an a cab line because they probably would.

1251
01:17:26,479 --> 01:17:29,880
Speaker 2: It would be yes, unfortunately, But the point is she

1252
01:17:30,600 --> 01:17:34,280
Speaker 2: is like feeling very vulnerable and naked, and he's like,

1253
01:17:34,840 --> 01:17:37,400
Speaker 2: I'm gonna just like tease you and exploit this situation

1254
01:17:37,800 --> 01:17:39,839
Speaker 2: in a very cruel awful way.

1255
01:17:39,960 --> 01:17:45,040
Speaker 3: Well, I think that that the two pivotal moments in

1256
01:17:45,120 --> 01:17:49,960
Speaker 3: their early relationship are defined by that dynamic. Right where

1257
01:17:50,560 --> 01:17:54,240
Speaker 3: when they're kids, you can almost write it away by

1258
01:17:54,280 --> 01:17:58,960
Speaker 3: the fact that Mary leans over he says, George, you know,

1259
01:18:00,800 --> 01:18:03,000
Speaker 3: but we know because he cannot hear out of that.

1260
01:18:02,920 --> 01:18:04,960
Speaker 2: Ear, he cannot hear her.

1261
01:18:05,040 --> 01:18:06,960
Speaker 3: And so when he comes up and says I'm gonna

1262
01:18:06,960 --> 01:18:10,800
Speaker 3: have a harem, he's just being weird and he's not,

1263
01:18:11,400 --> 01:18:15,000
Speaker 3: you know, being necessarily antagonistic. But that scene that you're

1264
01:18:15,040 --> 01:18:18,559
Speaker 3: describing where he is actively taking advantage of power over

1265
01:18:19,160 --> 01:18:21,880
Speaker 3: but then also in the scene immediately before cut to

1266
01:18:22,040 --> 01:18:25,479
Speaker 3: them getting married, I think that dynamic is equally present.

1267
01:18:25,680 --> 01:18:29,360
Speaker 3: Like Mary's agency is cut out of this narrative at

1268
01:18:29,439 --> 01:18:33,000
Speaker 3: every possible opportunity. It's cut up by the fact that

1269
01:18:33,040 --> 01:18:37,280
Speaker 3: she's hiding in a bush naked. It's cut out by

1270
01:18:37,320 --> 01:18:39,960
Speaker 3: the fact that her mother is watching, her boyfriend is

1271
01:18:39,960 --> 01:18:42,639
Speaker 3: on the phone, and George has her in his hand.

1272
01:18:44,880 --> 01:18:48,880
Speaker 2: Yeah, I've broken down that scene as well, where so

1273
01:18:48,960 --> 01:18:51,200
Speaker 2: he I don't know why he's in a bad mood,

1274
01:18:51,240 --> 01:18:54,479
Speaker 2: he's just kind of a bad guy. Sorry, but he's like,

1275
01:18:55,200 --> 01:18:58,679
Speaker 2: you know, lumbering around all pissed off, and he clearly

1276
01:18:58,760 --> 01:19:02,200
Speaker 2: deliberately goes over to Mary's house to try to run

1277
01:19:02,240 --> 01:19:05,920
Speaker 2: into her, but he acts like he was just passing by. Well.

1278
01:19:06,040 --> 01:19:09,280
Speaker 3: He also makes it very clear that she was not

1279
01:19:09,479 --> 01:19:12,360
Speaker 3: his first choice because he tries to hook up with

1280
01:19:12,400 --> 01:19:15,000
Speaker 3: her friend, but then gets annoyed when her friend doesn't

1281
01:19:15,000 --> 01:19:16,640
Speaker 3: want to climb a mountain.

1282
01:19:16,479 --> 01:19:19,400
Speaker 2: Right yeah, So he's like, oh, I guess a.

1283
01:19:19,400 --> 01:19:22,400
Speaker 3: Little okay girl who's not gonna climb a mountain.

1284
01:19:23,240 --> 01:19:26,120
Speaker 2: You're like, okay, So and he goes over to Mary.

1285
01:19:26,200 --> 01:19:29,920
Speaker 3: Got a bumble, I can't and he keeps, well, Jamie,

1286
01:19:30,000 --> 01:19:32,479
Speaker 3: this was pre bumble, just like it was pre venmo.

1287
01:19:32,760 --> 01:19:33,400
Speaker 3: Nothing to come in.

1288
01:19:35,240 --> 01:19:37,160
Speaker 2: So he goes over to Mary's house and he keeps

1289
01:19:37,200 --> 01:19:39,400
Speaker 2: being like, I don't even know why I'm here. I

1290
01:19:39,439 --> 01:19:42,519
Speaker 2: wasn't even planning to come here, even though like it

1291
01:19:42,600 --> 01:19:45,960
Speaker 2: was very a very deliberate choice on his part. Mary

1292
01:19:46,040 --> 01:19:49,000
Speaker 2: is trying to give him a warm welcome. She like

1293
01:19:49,120 --> 01:19:53,280
Speaker 2: displays the little drawing she made for him. He doesn't

1294
01:19:53,320 --> 01:19:57,360
Speaker 2: like notice or appreciate anything that she has done. He

1295
01:19:57,400 --> 01:20:00,240
Speaker 2: spends the whole interaction just like feeling very so for

1296
01:20:00,320 --> 01:20:03,960
Speaker 2: himself and being a complete asshole. Then he's jealous that

1297
01:20:03,960 --> 01:20:07,920
Speaker 2: that other guy, Sam calls and is like interested in Mary,

1298
01:20:07,960 --> 01:20:11,320
Speaker 2: so he storms out. He comes back in Sam is

1299
01:20:11,360 --> 01:20:16,200
Speaker 2: like what about plastics? And then George throws a fit.

1300
01:20:16,439 --> 01:20:19,960
Speaker 2: He grabs Mary. He says, I don't care about plastics

1301
01:20:20,120 --> 01:20:22,160
Speaker 2: and I don't want to get married to anyone ever.

1302
01:20:22,280 --> 01:20:25,799
Speaker 2: Do you understand that smash cut to them getting married,

1303
01:20:26,280 --> 01:20:28,439
Speaker 2: So that's Bill, and then.

1304
01:20:28,320 --> 01:20:32,839
Speaker 3: He also like there is a forcible kiss because she's crying.

1305
01:20:33,080 --> 01:20:36,559
Speaker 2: She's crying, she's crying of how mean he's being.

1306
01:20:37,000 --> 01:20:39,599
Speaker 3: I just I yeah, I mean I there comes a

1307
01:20:39,640 --> 01:20:43,360
Speaker 3: point in that dynamic where I don't even understand what's

1308
01:20:43,400 --> 01:20:46,080
Speaker 3: going on, because with Mary it does. It's just like

1309
01:20:46,200 --> 01:20:50,759
Speaker 3: her agency is always undercut by at least one person

1310
01:20:50,800 --> 01:20:53,800
Speaker 3: in the scene, but often multiple people. In this scene,

1311
01:20:53,800 --> 01:20:57,439
Speaker 3: the scene right before they get married, you know, it's

1312
01:20:57,479 --> 01:21:00,760
Speaker 3: it is clear that Mary is interested in George, but

1313
01:21:00,880 --> 01:21:04,360
Speaker 3: he's only terrible to her. In that same scene, we

1314
01:21:04,479 --> 01:21:06,360
Speaker 3: know that she's gone to college, but we are not

1315
01:21:06,439 --> 01:21:09,160
Speaker 3: allowed to know anything other than the thing that I've

1316
01:21:09,200 --> 01:21:13,040
Speaker 3: seen repeatedly written about with Mary and how I feel

1317
01:21:13,080 --> 01:21:16,280
Speaker 3: like her character plays out, is that like, Okay, fine,

1318
01:21:16,360 --> 01:21:19,800
Speaker 3: she went to college, she's a modern woman, but ultimately

1319
01:21:19,840 --> 01:21:22,600
Speaker 3: she just wants to be a mother in her hometown,

1320
01:21:22,920 --> 01:21:25,479
Speaker 3: which is not an inherently bad thing, but I feel

1321
01:21:25,520 --> 01:21:29,240
Speaker 3: like it was reinforcing what the encouraged norm was at

1322
01:21:29,280 --> 01:21:32,960
Speaker 3: that time for a woman who had education, especially you know,

1323
01:21:33,040 --> 01:21:36,960
Speaker 3: coming out of World War Two, where women for the

1324
01:21:37,000 --> 01:21:40,680
Speaker 3: first time had just been encouraged to be working and

1325
01:21:40,840 --> 01:21:44,200
Speaker 3: encouraged to be out there. And it because this movie

1326
01:21:44,240 --> 01:21:46,800
Speaker 3: coming out in nineteen forty six feels really prescient because

1327
01:21:46,800 --> 01:21:50,000
Speaker 3: it's like, Okay, let's reel it in, you know, like

1328
01:21:50,560 --> 01:21:53,040
Speaker 3: know your role. And I feel like the way that

1329
01:21:53,720 --> 01:21:58,320
Speaker 3: that white womanhood specifically moved ahead with Donna Reed sort

1330
01:21:58,360 --> 01:22:01,599
Speaker 3: of at the helm the nineteen fifties. And that's not

1331
01:22:01,720 --> 01:22:05,599
Speaker 3: even a slight to Donna Reed, because it's not her fault,

1332
01:22:05,600 --> 01:22:09,120
Speaker 3: but her show, I feel like, is the most commonly

1333
01:22:09,439 --> 01:22:12,720
Speaker 3: cited in terms of like what a white housewife was

1334
01:22:12,760 --> 01:22:15,600
Speaker 3: perceived as being in the nineteen fifties, in spite of

1335
01:22:15,640 --> 01:22:17,599
Speaker 3: the fact that behind the scenes she was producing her

1336
01:22:17,600 --> 01:22:20,360
Speaker 3: own show and doing all of these things that were

1337
01:22:20,400 --> 01:22:23,800
Speaker 3: not encouraged for women to do. To perpetuate this view,

1338
01:22:24,520 --> 01:22:27,880
Speaker 3: it's just I don't know, it's really it's really really frustrating,

1339
01:22:27,960 --> 01:22:32,920
Speaker 3: especially because at the end of the movie, it's Mary

1340
01:22:33,560 --> 01:22:38,800
Speaker 3: who pulls the community together to give George this experience

1341
01:22:38,920 --> 01:22:41,680
Speaker 3: that makes him want to live again. And so we

1342
01:22:41,760 --> 01:22:45,760
Speaker 3: have this whole sequence with Clarence that is impactful. It's

1343
01:22:46,000 --> 01:22:48,120
Speaker 3: very well staged, you know, Like I don't want to

1344
01:22:48,360 --> 01:22:51,280
Speaker 3: take that away from fans of the movie, but everything

1345
01:22:51,280 --> 01:22:55,439
Speaker 3: that happens off screen is Mary and his family pulling

1346
01:22:55,479 --> 01:23:00,479
Speaker 3: together the community to reward you with the final shot

1347
01:23:00,560 --> 01:23:03,040
Speaker 3: of the movie, right, Mary does all of that, and

1348
01:23:03,080 --> 01:23:07,320
Speaker 3: I feel like that really goes underappreciated and under examined.

1349
01:23:07,479 --> 01:23:09,599
Speaker 3: But she did all that shit. She did so much.

1350
01:23:09,640 --> 01:23:12,320
Speaker 3: I mean, she like renovated a mansion.

1351
01:23:12,560 --> 01:23:15,200
Speaker 2: And he is so ungrateful about it, he hates it.

1352
01:23:15,680 --> 01:23:18,920
Speaker 3: And then she's she like pulls him off the edge.

1353
01:23:18,960 --> 01:23:21,439
Speaker 3: And that is also unacknowledged by the plot. It's made

1354
01:23:21,479 --> 01:23:23,720
Speaker 3: to seem like, well, Clarence got his wings and that's

1355
01:23:23,760 --> 01:23:27,120
Speaker 3: why George, you know, believes in life again. But it's

1356
01:23:27,120 --> 01:23:30,920
Speaker 3: like Mary did all the fucking organizing to make this happen,

1357
01:23:31,520 --> 01:23:33,840
Speaker 3: and she's cut out of so many scenes earlier where

1358
01:23:33,840 --> 01:23:37,000
Speaker 3: it like, I feel like it's always presented as or

1359
01:23:37,040 --> 01:23:40,479
Speaker 3: it's most commonly presented in the movie as like George

1360
01:23:40,560 --> 01:23:44,880
Speaker 3: gave away all of his money to the community from

1361
01:23:45,040 --> 01:23:48,360
Speaker 3: his wedding and that's all him, him, him, and it's

1362
01:23:48,400 --> 01:23:52,120
Speaker 3: like that's Mary's money as well. Yeah, And she is

1363
01:23:52,160 --> 01:23:55,240
Speaker 3: not invited into those scenes. She's not and I think

1364
01:23:55,320 --> 01:23:58,280
Speaker 3: those scenes would be improved by her presence, and she's

1365
01:23:58,400 --> 01:24:01,360
Speaker 3: like not even welcome until the end where George is like, oh,

1366
01:24:01,360 --> 01:24:04,760
Speaker 3: where the fuck is Mary at? And you're like, you

1367
01:24:04,880 --> 01:24:08,280
Speaker 3: left her outside? Man? You know, yeah, I don't know.

1368
01:24:08,560 --> 01:24:11,559
Speaker 2: Yeah. And then there's like there's two other scenes where

1369
01:24:11,920 --> 01:24:15,120
Speaker 2: George in a pretty major way, is being extremely cruel

1370
01:24:15,560 --> 01:24:18,439
Speaker 2: to a loved one. There's the scene where he's like

1371
01:24:18,560 --> 01:24:21,680
Speaker 2: screaming at Uncle Billy after he's lost the money, and

1372
01:24:21,680 --> 01:24:25,360
Speaker 2: then there's the Christmas Eve scene where George comes home

1373
01:24:25,400 --> 01:24:29,120
Speaker 2: after the money has been lost and he is just

1374
01:24:29,160 --> 01:24:33,600
Speaker 2: being extremely cruel to his wife and his children, and

1375
01:24:33,600 --> 01:24:38,040
Speaker 2: then he storms out. So when George Bailey is being

1376
01:24:38,479 --> 01:24:42,280
Speaker 2: pleasant in the movie, which does happen occasionally, it's almost

1377
01:24:42,320 --> 01:24:46,679
Speaker 2: always to his customers. When he's being awful, it's almost

1378
01:24:46,720 --> 01:24:51,280
Speaker 2: always to his family member or to mister Potter. So

1379
01:24:51,320 --> 01:24:55,280
Speaker 2: he basically treats his family the same way he treats

1380
01:24:55,360 --> 01:24:56,280
Speaker 2: the villain of the.

1381
01:24:56,240 --> 01:24:59,479
Speaker 3: Movie, which I don't like. And it's because like the

1382
01:24:59,560 --> 01:25:02,160
Speaker 3: closest I can get to playing Devil's advocate, there is

1383
01:25:02,200 --> 01:25:04,720
Speaker 3: like the way that George's life is shown is so

1384
01:25:05,000 --> 01:25:10,439
Speaker 3: inconsistent that you see him at his worst a lot, yea,

1385
01:25:10,560 --> 01:25:13,720
Speaker 3: and so he does not come off well as like,

1386
01:25:13,840 --> 01:25:17,120
Speaker 3: I don't understand why people are like this guy's awesome.

1387
01:25:17,160 --> 01:25:19,360
Speaker 3: We're like, well, I've seen him yelling as much as

1388
01:25:19,400 --> 01:25:22,439
Speaker 3: I've seen him being nice, Right, I don't know. I

1389
01:25:22,479 --> 01:25:26,479
Speaker 3: mean the things that I know, we are running out

1390
01:25:26,479 --> 01:25:30,519
Speaker 3: of time. The things that I think this movie does

1391
01:25:31,240 --> 01:25:35,400
Speaker 3: very well, or at least very well for nineteen forty

1392
01:25:35,439 --> 01:25:42,320
Speaker 3: six is the commentary on collectiveness and on individualism, like

1393
01:25:42,360 --> 01:25:45,439
Speaker 3: American individualism, which is something that is very very much

1394
01:25:45,479 --> 01:25:50,559
Speaker 3: pushed to this day, to our detriment to working towards

1395
01:25:50,640 --> 01:25:53,120
Speaker 3: the collective. I think that like part of what makes

1396
01:25:53,280 --> 01:25:56,840
Speaker 3: this movie work for me, in spite of its many,

1397
01:25:56,880 --> 01:25:59,880
Speaker 3: many many flaws, down to Capra being like Mussolini. What

1398
01:26:00,120 --> 01:26:06,840
Speaker 3: we think is the core idea of you know, the

1399
01:26:06,880 --> 01:26:13,320
Speaker 3: American dream is inherently rarely achievable, and George's life is

1400
01:26:13,360 --> 01:26:20,040
Speaker 3: not valueless because he spent it making sacrifices for his community.

1401
01:26:20,240 --> 01:26:23,839
Speaker 3: I think that's a really beautiful idea. It's a complicated idea,

1402
01:26:24,080 --> 01:26:25,799
Speaker 3: and we could talk about it more. I mean the scenes.

1403
01:26:25,840 --> 01:26:29,960
Speaker 3: I literally broke down my George discussion into like scenes

1404
01:26:30,000 --> 01:26:34,160
Speaker 3: I liked Georgian versus scenes I don't ye scenes I

1405
01:26:34,240 --> 01:26:38,880
Speaker 3: don't most of them with his wife he goes out

1406
01:26:38,920 --> 01:26:43,479
Speaker 3: of the way to like beret female teacher on the phone, Like, yes,

1407
01:26:43,680 --> 01:26:45,759
Speaker 3: he clearly does not have a lot of respect for women,

1408
01:26:46,479 --> 01:26:50,240
Speaker 3: not to mention that Mary is barely characterized. And then

1409
01:26:50,280 --> 01:26:53,040
Speaker 3: the two mothers we see in this movie, Mary's and George's.

1410
01:26:53,160 --> 01:26:56,479
Speaker 3: Their only interest is husband, and then our mad children

1411
01:26:56,520 --> 01:26:59,880
Speaker 3: getting married. That's all the scenes I liked Georgian and

1412
01:27:00,479 --> 01:27:04,160
Speaker 3: were the ones that were more politically minded and so

1413
01:27:04,280 --> 01:27:06,559
Speaker 3: it like ultimately, I was like, Wow, he's like very

1414
01:27:06,720 --> 01:27:12,599
Speaker 3: dsa bro coded Yeah, like where his politics are awesome,

1415
01:27:12,640 --> 01:27:13,639
Speaker 3: but he hates women.

1416
01:27:13,800 --> 01:27:17,320
Speaker 2: Some scenes I.

1417
01:27:17,280 --> 01:27:23,400
Speaker 3: Like Georgian and I say that as a Doe's paying member. Okay, no,

1418
01:27:23,680 --> 01:27:29,519
Speaker 3: but I'm right. And scenes I like Georgian include when

1419
01:27:29,520 --> 01:27:32,320
Speaker 3: he's a kid, and he defends his dad against Potter.

1420
01:27:33,400 --> 01:27:36,679
Speaker 3: The scene where he his I mean, like, he does

1421
01:27:36,760 --> 01:27:41,519
Speaker 3: make a series of sacrifices in order to hold some

1422
01:27:41,840 --> 01:27:44,960
Speaker 3: like to sort of hold the line to prevent capitalism

1423
01:27:45,000 --> 01:27:49,280
Speaker 3: from completely demolishing his hometown. That is sort of what

1424
01:27:49,400 --> 01:27:52,360
Speaker 3: he's doing throughout. And there's a scene where he i

1425
01:27:52,360 --> 01:27:56,439
Speaker 3: mean early on where he just fucking mows Potter down

1426
01:27:57,920 --> 01:28:01,519
Speaker 3: and tells him that he's treating people like their cattle,

1427
01:28:02,240 --> 01:28:05,519
Speaker 3: and like, I mean that that's really really powerful, and

1428
01:28:05,680 --> 01:28:09,240
Speaker 3: as well as when he turns down Potter for taking

1429
01:28:09,479 --> 01:28:13,080
Speaker 3: you know, the sellout contract for like you could live

1430
01:28:13,120 --> 01:28:16,519
Speaker 3: comfortably forever if you just shut the fuck up about

1431
01:28:16,560 --> 01:28:20,280
Speaker 3: housing people who don't have money, and like, I think

1432
01:28:20,320 --> 01:28:23,599
Speaker 3: that that is like a really cool, core minded thing.

1433
01:28:23,880 --> 01:28:26,120
Speaker 3: As well as the fact that his community in the

1434
01:28:26,160 --> 01:28:30,240
Speaker 3: scenes that we see them in are also like of

1435
01:28:30,280 --> 01:28:32,920
Speaker 3: the same mind, where when George is like, hey, you know,

1436
01:28:33,040 --> 01:28:36,120
Speaker 3: Potter is gonna you know, he's offering you money now,

1437
01:28:36,160 --> 01:28:38,800
Speaker 3: but he is buying you and you will be fucked

1438
01:28:38,800 --> 01:28:40,960
Speaker 3: in the long term, and they listen to each other

1439
01:28:41,280 --> 01:28:43,799
Speaker 3: and they collectively decide we're not going to be okay

1440
01:28:43,840 --> 01:28:45,880
Speaker 3: with this, And then at the end, they pay it

1441
01:28:45,960 --> 01:28:50,040
Speaker 3: forward to George because of Mary, which no one cares about.

1442
01:28:50,400 --> 01:28:53,960
Speaker 3: So I think that like politically it's a really cool

1443
01:28:54,720 --> 01:28:58,120
Speaker 3: movie and everything else basically not as much.

1444
01:29:00,120 --> 01:29:02,320
Speaker 2: Yes, I don't know why I did an evil laugh there,

1445
01:29:02,320 --> 01:29:10,080
Speaker 2: but anyway, so we have to wrap up. There's more

1446
01:29:10,120 --> 01:29:12,160
Speaker 2: to talk about, but you'll just have to listen to

1447
01:29:12,200 --> 01:29:17,120
Speaker 2: the episode because we will just record some pickups later. Yeah,

1448
01:29:17,160 --> 01:29:20,320
Speaker 2: and here are those pickups.

1449
01:29:20,640 --> 01:29:23,160
Speaker 3: So look at us future us.

1450
01:29:23,520 --> 01:29:24,000
Speaker 2: Wow.

1451
01:29:24,160 --> 01:29:26,599
Speaker 3: I know it sounds. It reminds me of YouTubers from

1452
01:29:26,600 --> 01:29:29,240
Speaker 3: like we should be. I guess we are wearing you know,

1453
01:29:29,320 --> 01:29:31,519
Speaker 3: like when you're watching a YouTuber and then they add

1454
01:29:31,520 --> 01:29:33,960
Speaker 3: in a note when they're editing and they're wearing a

1455
01:29:34,000 --> 01:29:39,280
Speaker 3: hoodie and they're like, hey future mom, me here, And

1456
01:29:39,360 --> 01:29:41,800
Speaker 3: I just wanted to add a note. It's what we're doing.

1457
01:29:42,080 --> 01:29:45,320
Speaker 3: That's nice. Yes, no offense to YouTubers, but they all

1458
01:29:45,360 --> 01:29:46,759
Speaker 3: do it anyways.

1459
01:29:47,320 --> 01:29:50,040
Speaker 2: Okay, so just a few things that we didn't have

1460
01:29:50,080 --> 01:29:54,000
Speaker 2: time for in the live show, and so first I

1461
01:29:54,040 --> 01:29:56,640
Speaker 2: just want to kind of we already hinted at this

1462
01:29:56,680 --> 01:29:59,040
Speaker 2: a little bit and made a few references, but just

1463
01:29:59,080 --> 01:30:02,479
Speaker 2: wanted to play little more attention to the way the

1464
01:30:02,520 --> 01:30:07,120
Speaker 2: movie frames his community, his town, George's town, you know,

1465
01:30:07,240 --> 01:30:12,120
Speaker 2: New Bedford, which actually becomes Pottersville, right if George had

1466
01:30:12,120 --> 01:30:16,280
Speaker 2: never existed, and just sort of like the implications there, Right,

1467
01:30:16,479 --> 01:30:19,960
Speaker 2: it's like, look how unsavory this town is. I feel

1468
01:30:20,000 --> 01:30:24,680
Speaker 2: like Violet is implied to be a sex worker of

1469
01:30:24,720 --> 01:30:27,439
Speaker 2: some kind. Yeah, did you get that sense too?

1470
01:30:27,760 --> 01:30:31,320
Speaker 3: I did as well, or like in as explicit a

1471
01:30:31,360 --> 01:30:34,599
Speaker 3: way that you could at that time. Yeah, I noticed,

1472
01:30:34,640 --> 01:30:39,400
Speaker 3: and this was something that was supported in I guess

1473
01:30:39,439 --> 01:30:45,000
Speaker 3: like a round table talk that I encountered from Smithsonian magazine.

1474
01:30:45,160 --> 01:30:48,600
Speaker 3: Ooh ever heard of it about? Yeah, the implications of Pottersfield,

1475
01:30:48,600 --> 01:30:51,040
Speaker 3: because as we said at the show, Pottersville seems like

1476
01:30:51,160 --> 01:30:54,519
Speaker 3: kind of a good time for a weekend. But I think, yeah,

1477
01:30:54,560 --> 01:30:58,840
Speaker 3: like the signifiers and like speaking to the in spite

1478
01:30:58,880 --> 01:31:00,960
Speaker 3: of you know, this movie very much having its moments,

1479
01:31:01,000 --> 01:31:04,960
Speaker 3: there is like an element of rigid like rigidity in

1480
01:31:05,040 --> 01:31:08,439
Speaker 3: terms of like what is considered appropriate society and what isn't.

1481
01:31:08,800 --> 01:31:12,479
Speaker 3: And it feels like this that Pottersville is associating it

1482
01:31:12,560 --> 01:31:17,559
Speaker 3: with sin capitalism. Well, well, it's like TV is like

1483
01:31:17,560 --> 01:31:20,639
Speaker 3: two things where it's like explicitly capitalistic, which I which

1484
01:31:20,720 --> 01:31:23,800
Speaker 3: is as close as I could get to understanding. But yeah,

1485
01:31:23,840 --> 01:31:26,920
Speaker 3: it's like sin meeting sex work and jazz music, which

1486
01:31:26,920 --> 01:31:31,640
Speaker 3: seems like proximity to blackness and like and that is

1487
01:31:32,240 --> 01:31:36,559
Speaker 3: let me just pull up the quote I have here

1488
01:31:36,640 --> 01:31:42,160
Speaker 3: from this piece that was compiled by Christopher Wilson. Quote

1489
01:31:42,240 --> 01:31:44,680
Speaker 3: Capra's hints at the degradation of the town come in

1490
01:31:44,720 --> 01:31:48,160
Speaker 3: the form of the black music jazz heard pouring out

1491
01:31:48,160 --> 01:31:52,000
Speaker 3: of the taverns in Diamond dance halls. Higgins, one of

1492
01:31:52,040 --> 01:31:55,479
Speaker 3: the roundtable participants, also noted that Mary's fate as an

1493
01:31:55,520 --> 01:31:59,080
Speaker 3: old maid in this alternative universe, portrayed as hideous and sad,

1494
01:31:59,400 --> 01:32:03,320
Speaker 3: is presented as perfectly fine, appropriate and desirable for Annie

1495
01:32:03,680 --> 01:32:08,360
Speaker 3: in the real world. Unquote right, It's a world where

1496
01:32:09,080 --> 01:32:13,040
Speaker 3: things that are completely normal and should be socially accepted

1497
01:32:13,120 --> 01:32:16,040
Speaker 3: are presented as a dystopia, which is a sex work

1498
01:32:16,760 --> 01:32:21,559
Speaker 3: and jazz and being a single woman over thirty and

1499
01:32:21,680 --> 01:32:24,519
Speaker 3: having a nice time with your life exactly.

1500
01:32:24,640 --> 01:32:28,840
Speaker 2: Yeah. So again with like Violet implied, because I think

1501
01:32:28,840 --> 01:32:31,400
Speaker 2: you see her coming out of a strip club or

1502
01:32:31,439 --> 01:32:34,080
Speaker 2: something that's implied to be a strip club. It's just

1503
01:32:34,120 --> 01:32:38,800
Speaker 2: all very sex worker shamey. It's shamy of yeah, like

1504
01:32:39,160 --> 01:32:43,879
Speaker 2: unmarried women, and of course, like that reflects the values

1505
01:32:43,960 --> 01:32:47,960
Speaker 2: of the time. And is it strange, you know, to

1506
01:32:48,400 --> 01:32:51,120
Speaker 2: be applying a like twenty twenty three lens to a

1507
01:32:51,240 --> 01:32:54,960
Speaker 2: nineteen forty six movie. Sure, but but I.

1508
01:32:54,880 --> 01:32:59,720
Speaker 3: Feel like it's it's like I get frustrated when, like

1509
01:32:59,760 --> 01:33:02,000
Speaker 3: in caunturing that criticism of like, well, what did you

1510
01:33:02,040 --> 01:33:04,200
Speaker 3: expect it's nineteen forty six. It's like, yeah, we're not

1511
01:33:04,240 --> 01:33:07,800
Speaker 3: saying we expected better of nineteen forty six, but it's

1512
01:33:07,840 --> 01:33:11,519
Speaker 3: like we're having it's still I think the more relevant

1513
01:33:11,520 --> 01:33:15,320
Speaker 3: discussion is it's still wildly popular in twenty twenty three,

1514
01:33:15,640 --> 01:33:18,360
Speaker 3: and that's why it's the relevant discussion.

1515
01:33:18,000 --> 01:33:22,480
Speaker 2: You know, yeah, yeah, these archaic and shamy and patriarchal

1516
01:33:22,600 --> 01:33:26,880
Speaker 2: values haven't gone away, no, so and you know they

1517
01:33:26,920 --> 01:33:31,479
Speaker 2: were perpetuated by movies like this and reinforced by movies

1518
01:33:31,560 --> 01:33:35,760
Speaker 2: like this, and those ideals have lasted for.

1519
01:33:35,840 --> 01:33:38,680
Speaker 3: Millennia, and so are the I mean, I think we

1520
01:33:39,000 --> 01:33:42,000
Speaker 3: talked about this a fair amount during the live show.

1521
01:33:42,080 --> 01:33:45,080
Speaker 3: But also I think that the more the more, like

1522
01:33:45,160 --> 01:33:48,800
Speaker 3: the cooler areas of this movie, which is like the

1523
01:33:49,160 --> 01:33:53,679
Speaker 3: idea of it being a life well lived to work

1524
01:33:54,080 --> 01:33:59,000
Speaker 3: for your community and serve your community instead of working

1525
01:33:59,080 --> 01:34:02,760
Speaker 3: towards individualistic and personal gained, which is such an inherently

1526
01:34:03,000 --> 01:34:08,600
Speaker 3: American value that the bottom falls out of all the

1527
01:34:08,640 --> 01:34:11,559
Speaker 3: fucking time. And that's not to say I mean, I

1528
01:34:11,560 --> 01:34:14,479
Speaker 3: think that it's I kind of like where it falls,

1529
01:34:14,560 --> 01:34:19,559
Speaker 3: because the takeaway from George's experience with Clarence is like

1530
01:34:20,000 --> 01:34:22,600
Speaker 3: the best message that the movie has. Of course, this

1531
01:34:22,760 --> 01:34:27,599
Speaker 3: is only a message that is accessible by a white guy,

1532
01:34:27,800 --> 01:34:30,960
Speaker 3: even though he's a white guy that's suffering a lot

1533
01:34:31,000 --> 01:34:34,479
Speaker 3: of poverty and personal distress. Like that's I don't mean

1534
01:34:34,520 --> 01:34:38,519
Speaker 3: to discount that, but you know that the narrative is

1535
01:34:38,560 --> 01:34:44,000
Speaker 3: only accessible to him, not Mary, who has organized and

1536
01:34:44,040 --> 01:34:46,800
Speaker 3: made this all fucking possible. He wouldn't have a damn

1537
01:34:46,920 --> 01:34:49,679
Speaker 3: roof over his head, and he wouldn't have the money

1538
01:34:49,720 --> 01:34:51,760
Speaker 3: if it wasn't for Mary. We know this, But I

1539
01:34:51,800 --> 01:34:56,680
Speaker 3: think that it being important that George worked for his

1540
01:34:56,760 --> 01:35:01,320
Speaker 3: community and served as community, and that presenting it that

1541
01:35:01,479 --> 01:35:06,120
Speaker 3: they're also like, it's not devaluing his life as an individual,

1542
01:35:06,200 --> 01:35:10,040
Speaker 3: because that's the whole clearance thing is that like, you

1543
01:35:10,080 --> 01:35:13,800
Speaker 3: as an individual are an important part of your community,

1544
01:35:13,880 --> 01:35:19,200
Speaker 3: and without you very passively over emphasizing George's importance. But

1545
01:35:19,240 --> 01:35:23,760
Speaker 3: the message, the message a lot, I think, right, like,

1546
01:35:23,920 --> 01:35:26,960
Speaker 3: but the message feels relevant. That's like one of the

1547
01:35:27,000 --> 01:35:29,479
Speaker 3: more I think that's my guess of like why this

1548
01:35:29,560 --> 01:35:33,160
Speaker 3: movie is other than just being you know, really pummeled

1549
01:35:33,200 --> 01:35:35,880
Speaker 3: over the head. If you live in the US, I

1550
01:35:36,280 --> 01:35:39,760
Speaker 3: understand why that message is still really powerful, that like you,

1551
01:35:40,080 --> 01:35:43,280
Speaker 3: that serving the collective is valuable, and that you are

1552
01:35:43,320 --> 01:35:45,160
Speaker 3: a valuable part of that collective.

1553
01:35:45,240 --> 01:35:48,000
Speaker 2: That's beautiful, and that's fine if a movie, you know,

1554
01:35:48,160 --> 01:35:51,559
Speaker 2: kind of like exaggerates that. But the movie, like especially

1555
01:35:51,560 --> 01:35:57,840
Speaker 2: that section it credits George for like saving women, all

1556
01:35:57,880 --> 01:36:01,040
Speaker 2: the women in the town from these quo unquote horrible

1557
01:36:01,120 --> 01:36:04,880
Speaker 2: fates of you know, sex work and being a quote

1558
01:36:04,920 --> 01:36:09,840
Speaker 2: unquote old maid who's a librarian, who's so undesirable because

1559
01:36:09,880 --> 01:36:11,960
Speaker 2: she wears glasst.

1560
01:36:11,320 --> 01:36:15,880
Speaker 3: Like and that also feels like I don't know. I

1561
01:36:15,880 --> 01:36:19,160
Speaker 3: mean we've talked about this within period pieces too, where

1562
01:36:19,200 --> 01:36:22,759
Speaker 3: like obviously we can't apply a twenty twenty three lens

1563
01:36:23,320 --> 01:36:27,240
Speaker 3: to nineteen forty six. But I think even so, if like,

1564
01:36:27,280 --> 01:36:32,160
Speaker 3: if this movie had any interest in Mary, it could

1565
01:36:32,200 --> 01:36:34,799
Speaker 3: present her. I mean, I think it's very like flat

1566
01:36:34,920 --> 01:36:37,120
Speaker 3: in the way that her being a quote unquote old

1567
01:36:37,160 --> 01:36:41,160
Speaker 3: maid and wearing Warby Parker glasses is presented where it's

1568
01:36:41,160 --> 01:36:43,680
Speaker 3: like the value of the movie is that happening to

1569
01:36:43,760 --> 01:36:46,360
Speaker 3: you is bad, Whereas I think there's a way to

1570
01:36:46,360 --> 01:36:50,240
Speaker 3: present it of like, that's what happens to her, that's

1571
01:36:50,360 --> 01:36:52,960
Speaker 3: her life, that's her choice. She's happy with it, but

1572
01:36:53,040 --> 01:36:56,160
Speaker 3: society isn't happy with her, you know. And I think

1573
01:36:56,160 --> 01:37:00,640
Speaker 3: that there's a way to present a historical reality of

1574
01:37:01,240 --> 01:37:04,280
Speaker 3: the mid twentieth century, which is that, you know, especially

1575
01:37:04,320 --> 01:37:06,840
Speaker 3: post World War Two, it totally makes sense we're like

1576
01:37:06,920 --> 01:37:10,640
Speaker 3: heading towards one of the most sort of rigid housewife

1577
01:37:10,680 --> 01:37:13,840
Speaker 3: eras in the US. It makes sense that you would

1578
01:37:13,840 --> 01:37:18,080
Speaker 3: be treated poorly for wanting to have an independent life.

1579
01:37:18,520 --> 01:37:21,439
Speaker 3: But this movie doesn't show any shade of gray. It's

1580
01:37:21,479 --> 01:37:24,240
Speaker 3: just like, yeah, this happens to you. You're fucked. So

1581
01:37:24,520 --> 01:37:27,720
Speaker 3: thank god George Bailey was born. And you're like, I

1582
01:37:27,760 --> 01:37:28,280
Speaker 3: don't know.

1583
01:37:29,000 --> 01:37:32,519
Speaker 2: Right, because there were movies, like classic Hollywood movies from

1584
01:37:32,520 --> 01:37:37,080
Speaker 2: this era that do examine and like subvert gender roles

1585
01:37:37,120 --> 01:37:41,879
Speaker 2: and sexism and patriarchal values, but this movie just simply

1586
01:37:42,040 --> 01:37:43,679
Speaker 2: is not one of them.

1587
01:37:43,920 --> 01:37:45,479
Speaker 3: It's just like presents it as fact.

1588
01:37:45,640 --> 01:37:52,200
Speaker 2: Yeah, yeah, yeah, so that's rather frustrating. Let's talk about Annie,

1589
01:37:52,840 --> 01:37:58,679
Speaker 2: yes please. So she is the I believe, only person

1590
01:37:58,720 --> 01:38:01,280
Speaker 2: of color in the entire movie with any kind of

1591
01:38:01,320 --> 01:38:04,320
Speaker 2: speaking role, and just kind of the only person of

1592
01:38:04,320 --> 01:38:07,400
Speaker 2: color you see on screen period.

1593
01:38:08,000 --> 01:38:11,000
Speaker 3: There are a few background actors who are people of color,

1594
01:38:11,040 --> 01:38:14,479
Speaker 3: but it's certainly the only speaking role by a country mile.

1595
01:38:14,840 --> 01:38:19,120
Speaker 2: Yes, she's played by Lillian Randolph. So she is the

1596
01:38:19,240 --> 01:38:24,240
Speaker 2: character who works for the Bailey family as like a

1597
01:38:24,280 --> 01:38:28,960
Speaker 2: maid or a housekeeper. So she's in a very you know,

1598
01:38:29,120 --> 01:38:33,719
Speaker 2: stereotypical role for black actors to be in. At this time,

1599
01:38:34,680 --> 01:38:38,280
Speaker 2: roles for black actors were often relegated to service roles

1600
01:38:38,320 --> 01:38:42,120
Speaker 2: helping white people, and that's also a trend that continues

1601
01:38:42,520 --> 01:38:44,000
Speaker 2: still to this day. Still.

1602
01:38:44,200 --> 01:38:48,759
Speaker 3: Yeah, so I think that she's she's also presented as

1603
01:38:49,160 --> 01:38:52,679
Speaker 3: I mean, she's presented as comic relief, yes, and speaking

1604
01:38:52,680 --> 01:38:57,920
Speaker 3: to like Lilian Randolph's performance great. And I was reading

1605
01:38:57,920 --> 01:39:02,639
Speaker 3: more about Lillian Randolph and it she played the comedic

1606
01:39:02,720 --> 01:39:06,960
Speaker 3: relief role many many times because those were the only

1607
01:39:07,040 --> 01:39:09,759
Speaker 3: roles that were made available to her throughout her career,

1608
01:39:10,280 --> 01:39:12,880
Speaker 3: and she does it incredibly well. She's clearly a very

1609
01:39:12,880 --> 01:39:13,960
Speaker 3: talented actor.

1610
01:39:14,080 --> 01:39:17,720
Speaker 2: She has all the best lines in the movie.

1611
01:39:17,560 --> 01:39:20,960
Speaker 3: Well, and I think if they're not delivered with her performance,

1612
01:39:21,120 --> 01:39:23,960
Speaker 3: they would be weird. But like she makes it work

1613
01:39:24,000 --> 01:39:28,599
Speaker 3: and she's not given really anything to work with. But yeah,

1614
01:39:28,600 --> 01:39:32,160
Speaker 3: I mean, she's presented as the help, she is presented

1615
01:39:32,520 --> 01:39:37,160
Speaker 3: as the comic relief, and she's also presented as less

1616
01:39:37,200 --> 01:39:40,120
Speaker 3: smart than the people that she works for. Where I mean,

1617
01:39:40,160 --> 01:39:44,719
Speaker 3: the first exchange she has is with George's mother, who,

1618
01:39:44,840 --> 01:39:46,599
Speaker 3: as we talked about in the live show, also has

1619
01:39:46,720 --> 01:39:49,639
Speaker 3: nothing to do other than my husband, my son, my husband,

1620
01:39:49,640 --> 01:39:52,560
Speaker 3: my son. Right, yeah, but one of the few exchanges

1621
01:39:52,600 --> 01:39:55,320
Speaker 3: they have is I mean, it's so well presented by

1622
01:39:55,320 --> 01:39:57,479
Speaker 3: Annie that you're like, I'm on Annie's side, but it's

1623
01:39:57,479 --> 01:40:02,439
Speaker 3: like presented that like she doesn't understand and why it

1624
01:40:03,280 --> 01:40:06,920
Speaker 3: because she says something like the only girl children, and

1625
01:40:06,960 --> 01:40:08,480
Speaker 3: you're like, George.

1626
01:40:08,160 --> 01:40:11,840
Speaker 2: And Harry are upstairs rough housing, even though they're like

1627
01:40:12,200 --> 01:40:13,880
Speaker 2: adults by this point.

1628
01:40:13,840 --> 01:40:16,920
Speaker 3: It sounds like they're well they're both forty, but you're like, oh,

1629
01:40:16,960 --> 01:40:20,160
Speaker 3: I guess you're eighteen. I know, I know, but you're

1630
01:40:20,200 --> 01:40:24,480
Speaker 3: still like it's distracting, it's distracting.

1631
01:40:24,080 --> 01:40:27,479
Speaker 2: Anyway, they're making a lot of commotion and Annie is like,

1632
01:40:27,880 --> 01:40:31,040
Speaker 2: you know, hitting the broom against the roof, and then

1633
01:40:31,040 --> 01:40:34,120
Speaker 2: she says something like, oh, this is why all children

1634
01:40:34,200 --> 01:40:37,360
Speaker 2: should be girls. And then missus Bailey responds with something like,

1635
01:40:37,720 --> 01:40:41,840
Speaker 2: but if all children were girls, then never mind. Is if,

1636
01:40:41,880 --> 01:40:46,080
Speaker 2: like I think, Annie doesn't understand it, like procreation works

1637
01:40:46,160 --> 01:40:47,440
Speaker 2: like Annie.

1638
01:40:47,000 --> 01:40:49,400
Speaker 3: In the world of the scene, it's delivered as if

1639
01:40:49,400 --> 01:40:52,559
Speaker 3: she is making a joke and the mom doesn't get it.

1640
01:40:52,600 --> 01:40:54,679
Speaker 3: But it doesn't seem like it's written that way because

1641
01:40:54,720 --> 01:40:57,160
Speaker 3: the whole movie is written so disrespectfully towards her. And

1642
01:40:57,200 --> 01:41:01,599
Speaker 3: then shortly after we see her assaulted by Harry, and

1643
01:41:01,680 --> 01:41:03,920
Speaker 3: that's presented as a joke too. I went back to

1644
01:41:03,960 --> 01:41:07,920
Speaker 3: the original script to see if that was in the

1645
01:41:07,960 --> 01:41:13,000
Speaker 3: original script, and Dick was it says quote as he

1646
01:41:13,040 --> 01:41:15,400
Speaker 3: pushes her through the kitchen door, he slaps her fanny,

1647
01:41:15,479 --> 01:41:18,479
Speaker 3: she screams. The noise is cut off by the swinging door,

1648
01:41:18,640 --> 01:41:23,320
Speaker 3: like it's presented as a button to a scene. Yeah,

1649
01:41:23,360 --> 01:41:27,880
Speaker 3: so that is also and she's I mean, not the

1650
01:41:27,880 --> 01:41:31,040
Speaker 3: only woman in the movie to be sexually harassed. I

1651
01:41:31,040 --> 01:41:34,320
Speaker 3: think that that is a pretty evenly. That is an

1652
01:41:34,360 --> 01:41:38,519
Speaker 3: evenly distributed crime throughout the movie. But it's I mean,

1653
01:41:38,600 --> 01:41:40,960
Speaker 3: with a character who is on screen for all but

1654
01:41:41,040 --> 01:41:45,000
Speaker 3: two minutes only in service to white characters and as

1655
01:41:45,080 --> 01:41:50,479
Speaker 3: comic relief, she still is sexually assaulted on screen as

1656
01:41:50,520 --> 01:41:50,880
Speaker 3: a joke.

1657
01:41:51,400 --> 01:41:55,120
Speaker 2: Horrifying. She does have my favorite line of the movie

1658
01:41:55,160 --> 01:41:57,439
Speaker 2: at the very end, when all the community are like

1659
01:41:57,640 --> 01:42:02,840
Speaker 2: pitching in and giving money to the Bailey family, she says,

1660
01:42:03,439 --> 01:42:07,439
Speaker 2: I've been saving this money for a divorce, but you

1661
01:42:07,479 --> 01:42:09,840
Speaker 2: and then like you can have it though, And I'm like, okay,

1662
01:42:09,880 --> 01:42:12,280
Speaker 2: first of all, Annie, keep your money, don't give it

1663
01:42:12,320 --> 01:42:13,360
Speaker 2: to George Bailey.

1664
01:42:13,080 --> 01:42:17,160
Speaker 3: Any get your damn divorce. Whatever he did, whatever he did,

1665
01:42:17,800 --> 01:42:18,760
Speaker 3: he's a dog.

1666
01:42:19,120 --> 01:42:19,200
Speaker 5: No.

1667
01:42:19,320 --> 01:42:22,120
Speaker 2: I read it as like she doesn't even have a

1668
01:42:22,160 --> 01:42:24,920
Speaker 2: partner yet. She's the way that some people will be like, oh,

1669
01:42:24,960 --> 01:42:27,559
Speaker 2: I'm saving up for a wedding. She just like knows

1670
01:42:27,600 --> 01:42:31,080
Speaker 2: that inevitably she will get divorced. I mean, I don't know.

1671
01:42:31,200 --> 01:42:33,840
Speaker 3: I thought she was married. Well that speaks to how

1672
01:42:33,840 --> 01:42:35,599
Speaker 3: little we know about this character. We don't know if

1673
01:42:35,640 --> 01:42:37,800
Speaker 3: she's got a husband, we don't know anything about her.

1674
01:42:37,960 --> 01:42:40,960
Speaker 2: Yeah, it reminds me of the doctor Ian Malcolm quote

1675
01:42:40,960 --> 01:42:42,960
Speaker 2: from Jurassic Park when he says, oh, I'm always on

1676
01:42:43,000 --> 01:42:46,719
Speaker 2: the lookout for a future ex missus Malcolm, and I'm like, yeah,

1677
01:42:46,920 --> 01:42:50,400
Speaker 2: breakups happen, and we all know it anyway.

1678
01:42:50,680 --> 01:42:54,640
Speaker 3: You're prey, you're preve it's true. And then we I

1679
01:42:54,680 --> 01:42:57,400
Speaker 3: guess we didn't really get to talk about Violet very

1680
01:42:57,520 --> 01:43:01,720
Speaker 3: much because we just we didn't have a lot. We

1681
01:43:01,720 --> 01:43:05,840
Speaker 3: were just goofing around so much you wouldn't understand. But

1682
01:43:05,920 --> 01:43:08,840
Speaker 3: speaking to Violet, I mean another character we don't get

1683
01:43:08,920 --> 01:43:13,120
Speaker 3: a lot of screen time with. She does get certainly

1684
01:43:13,240 --> 01:43:15,840
Speaker 3: more of an arc than Annie does, but it's a

1685
01:43:15,960 --> 01:43:21,040
Speaker 3: very charged arc where she's presented as I feel like

1686
01:43:21,120 --> 01:43:25,000
Speaker 3: it is kind of a Madonna horror situation that we're

1687
01:43:25,000 --> 01:43:25,639
Speaker 3: presented with.

1688
01:43:26,120 --> 01:43:29,760
Speaker 2: Yeah, she's like the quote unquote town fluozy.

1689
01:43:30,400 --> 01:43:34,240
Speaker 3: She's Samantha Jones coded. She's like really the Samantha Jones

1690
01:43:34,439 --> 01:43:37,800
Speaker 3: of New Bedford and good for her and good for

1691
01:43:38,000 --> 01:43:41,320
Speaker 3: Hut and so she's I think the way that Platt

1692
01:43:41,360 --> 01:43:45,439
Speaker 3: treats her as very very inconsistent to me, because it's

1693
01:43:45,520 --> 01:43:50,960
Speaker 3: clear that Mary is presented as the you know, angelic

1694
01:43:51,160 --> 01:43:55,719
Speaker 3: alternative to a woman like Violet. However, they are friends

1695
01:43:56,040 --> 01:43:58,920
Speaker 3: and they as far as I can tell, remain friends,

1696
01:43:58,960 --> 01:44:01,599
Speaker 3: although we don't. We would certainly never scene with them together.

1697
01:44:01,800 --> 01:44:04,920
Speaker 2: Well that's the thing. They're friends or maybe even kind

1698
01:44:04,920 --> 01:44:08,200
Speaker 2: of friend of these as children. Yeah, but we don't

1699
01:44:08,320 --> 01:44:10,760
Speaker 2: because we don't see them in any scenes together as

1700
01:44:10,800 --> 01:44:12,960
Speaker 2: an adult, we have no way of knowing if they've

1701
01:44:12,960 --> 01:44:14,519
Speaker 2: actually remained friends.

1702
01:44:14,840 --> 01:44:18,280
Speaker 3: That's true, and that also demonstrates how disinterested the plot

1703
01:44:18,320 --> 01:44:22,360
Speaker 3: is in Mary, which we already know. Yeah, when we

1704
01:44:22,400 --> 01:44:25,280
Speaker 3: see Violet presented as an adult, I mean, she's really

1705
01:44:25,360 --> 01:44:29,800
Speaker 3: slaying in a lot of these scenes. Jimmy Stewart George

1706
01:44:29,920 --> 01:44:33,040
Speaker 3: is always like kind of leering at her in certain

1707
01:44:33,360 --> 01:44:35,640
Speaker 3: like towards the beginning of the movie, like he goes

1708
01:44:35,680 --> 01:44:38,760
Speaker 3: Hammahammadhamana when she walks past the car, she gives a

1709
01:44:38,760 --> 01:44:43,400
Speaker 3: great one liner keeps walking. This in a run of

1710
01:44:43,439 --> 01:44:48,800
Speaker 3: scenes that really troubles me. It's the scene first where

1711
01:44:48,840 --> 01:44:51,720
Speaker 3: I think it's a holiday party, and as we discussed,

1712
01:44:52,040 --> 01:44:56,720
Speaker 3: Jimmy Stewart does kiss his mommy on the mouth hard.

1713
01:44:57,439 --> 01:45:00,240
Speaker 3: During that conversation, she's talking about the one thing that's

1714
01:45:00,600 --> 01:45:04,559
Speaker 3: on her mind, which is her son, and she is like,

1715
01:45:04,680 --> 01:45:08,679
Speaker 3: why don't you marry Mary? And he's like I don't

1716
01:45:09,200 --> 01:45:11,800
Speaker 3: want to. And then he's like, but I'm gonna go

1717
01:45:12,280 --> 01:45:16,120
Speaker 3: fuck tonight is basically the takeaway. And he stops away,

1718
01:45:16,240 --> 01:45:19,160
Speaker 3: being like I'm gonna go fuck mom, and she's like

1719
01:45:19,840 --> 01:45:23,000
Speaker 3: you kids, and I'm like, this sucks, this is weird.

1720
01:45:23,600 --> 01:45:29,599
Speaker 3: And then he goes into town spots Violet. She is

1721
01:45:30,160 --> 01:45:33,160
Speaker 3: interested in him. Arguably the whole movie. You're just like,

1722
01:45:33,200 --> 01:45:36,000
Speaker 3: why didn't you two get together? I think it bumps

1723
01:45:36,040 --> 01:45:39,400
Speaker 3: me up because it presents Violet as kind of a floozy,

1724
01:45:39,479 --> 01:45:43,639
Speaker 3: but also like whatever. They're both horny and walking around,

1725
01:45:43,760 --> 01:45:47,719
Speaker 3: so sure, yeah, have sex. But and then he wants

1726
01:45:47,760 --> 01:45:51,519
Speaker 3: her to climb a mountain and she's like what no,

1727
01:45:52,080 --> 01:45:54,240
Speaker 3: and then he yells at her, which is a very

1728
01:45:54,280 --> 01:45:58,560
Speaker 3: george thing to do experience slight resistance from a woman specifically,

1729
01:45:58,640 --> 01:45:59,920
Speaker 3: and starts screaming at her.

1730
01:46:00,280 --> 01:46:02,719
Speaker 2: He's so fragile. Oh my god.

1731
01:46:03,320 --> 01:46:07,559
Speaker 3: He does that and stops away, as he does in

1732
01:46:08,040 --> 01:46:11,920
Speaker 3: many scenes with women. Yes, and then we see him

1733
01:46:11,960 --> 01:46:14,599
Speaker 3: go to Mary's house and have a scene we talked

1734
01:46:14,600 --> 01:46:17,320
Speaker 3: about in the live show, but like it not only

1735
01:46:17,800 --> 01:46:20,439
Speaker 3: doesn't paint a flattering picture of Violet, because I think

1736
01:46:20,479 --> 01:46:22,799
Speaker 3: we're supposed to leave that scene with a negative picture

1737
01:46:22,840 --> 01:46:25,040
Speaker 3: of Violet, like she doesn't get him right, you know.

1738
01:46:25,840 --> 01:46:31,000
Speaker 3: And then it also presents Mary as not his first choice,

1739
01:46:31,080 --> 01:46:35,200
Speaker 3: and that sucks for a character that we like, like

1740
01:46:35,400 --> 01:46:36,080
Speaker 3: it sucks.

1741
01:46:36,120 --> 01:46:39,160
Speaker 2: Well, well, then I think she would be his first choice,

1742
01:46:39,200 --> 01:46:42,639
Speaker 2: except that again because of his fragility, he's like, well,

1743
01:46:42,720 --> 01:46:46,519
Speaker 2: I can't Mary belongs to another man. She should belong

1744
01:46:46,640 --> 01:46:52,320
Speaker 2: to me. But Sarah right, it's already staked his claim, right.

1745
01:46:52,200 --> 01:46:55,599
Speaker 3: And it's like, you know, in a monogamous relationship, sure,

1746
01:46:55,720 --> 01:47:00,080
Speaker 3: don't actively pursue someone else's partner, but also don't treat

1747
01:47:00,120 --> 01:47:04,639
Speaker 3: them cruelly because you're attracted to them. That is uh,

1748
01:47:04,680 --> 01:47:08,679
Speaker 3: what most men do, and worse and so much worse.

1749
01:47:08,880 --> 01:47:11,680
Speaker 3: And then at the end with Violet, we get a

1750
01:47:11,800 --> 01:47:15,880
Speaker 3: very again weirdly already seed with her and George, but

1751
01:47:15,960 --> 01:47:19,880
Speaker 3: you do get some closure that is taken back. You

1752
01:47:19,920 --> 01:47:21,559
Speaker 3: think you're about to get a cool arc where she

1753
01:47:21,640 --> 01:47:24,920
Speaker 3: goes to George for a loan, a building and loan.

1754
01:47:25,080 --> 01:47:25,719
Speaker 3: We're not sure.

1755
01:47:26,479 --> 01:47:28,799
Speaker 2: I think she doesn't intend to build because she's moving

1756
01:47:28,840 --> 01:47:30,360
Speaker 2: to New York City.

1757
01:47:30,479 --> 01:47:32,960
Speaker 3: I ever heard of it in a move I was

1758
01:47:32,960 --> 01:47:36,920
Speaker 3: not expecting from this story. George is very supportive of that,

1759
01:47:37,160 --> 01:47:40,120
Speaker 3: and he's like, yeah, good, get the fuck out of here.

1760
01:47:40,439 --> 01:47:45,439
Speaker 3: Sucks here, best of luck. Weird kiss fine, not even

1761
01:47:45,520 --> 01:47:48,280
Speaker 3: on the he kisses his mom on the lips, but

1762
01:47:48,520 --> 01:47:50,679
Speaker 3: well he's married by that. I was like, she shouldn't

1763
01:47:50,720 --> 01:47:53,679
Speaker 3: kiss her on the lips, but like a long, lingering kiss.

1764
01:47:53,720 --> 01:47:56,479
Speaker 3: And there's like a kiss mark left on his cheek.

1765
01:47:56,560 --> 01:48:01,200
Speaker 3: And then the bank inspector's there and he's like, hello,

1766
01:48:01,600 --> 01:48:05,000
Speaker 3: I've come here to arrest you. But anyways, like that

1767
01:48:05,080 --> 01:48:07,439
Speaker 3: for me would have been great closure for Violet. She

1768
01:48:07,479 --> 01:48:12,040
Speaker 3: gets out, but instead we first of we first see

1769
01:48:12,400 --> 01:48:15,639
Speaker 3: the flash forward where oh no, if George wasn't born,

1770
01:48:16,000 --> 01:48:19,280
Speaker 3: she might be a sex worker, which is implied by

1771
01:48:19,320 --> 01:48:22,040
Speaker 3: the movie as the worst thing that could happen to someone.

1772
01:48:23,040 --> 01:48:25,600
Speaker 3: And then in the present day by the end, she

1773
01:48:26,280 --> 01:48:29,439
Speaker 3: comes back and is like, actually, I've decided to stay,

1774
01:48:29,640 --> 01:48:32,320
Speaker 3: and you're like a fate worse than death.

1775
01:48:32,680 --> 01:48:35,320
Speaker 2: We don't know why she decided to stay. We don't

1776
01:48:35,360 --> 01:48:37,519
Speaker 2: know what she was intending to do in New York

1777
01:48:37,600 --> 01:48:41,360
Speaker 2: or why she was moving again. She's characterized so little

1778
01:48:41,520 --> 01:48:46,439
Speaker 2: beyond just like the very tropy. Oh she's the you know, hot,

1779
01:48:46,800 --> 01:48:50,679
Speaker 2: busty blonde who walks around town and all the men

1780
01:48:51,280 --> 01:48:54,960
Speaker 2: like Wolf whistle at her like that's just the trope

1781
01:48:55,000 --> 01:48:59,719
Speaker 2: that she adheres to and she's given no interior life

1782
01:48:59,840 --> 01:49:01,840
Speaker 2: or interests or anything like that.

1783
01:49:02,760 --> 01:49:05,280
Speaker 3: Yeah, it sucks, And I feel like that is one

1784
01:49:05,320 --> 01:49:09,479
Speaker 3: of the clearer presentations of what this movie's values are,

1785
01:49:09,600 --> 01:49:12,160
Speaker 3: because on one hand, yes, it is a life well

1786
01:49:12,160 --> 01:49:14,519
Speaker 3: lived to serve your community. But I feel like there

1787
01:49:14,680 --> 01:49:18,080
Speaker 3: is an undertone of this that is like city folks

1788
01:49:18,120 --> 01:49:22,720
Speaker 3: are sinful, don't go there, you know, never leave the

1789
01:49:22,760 --> 01:49:26,439
Speaker 3: place you were born in, which erases so many reasons

1790
01:49:26,439 --> 01:49:30,479
Speaker 3: why you would leave, which in violence case might be

1791
01:49:30,479 --> 01:49:35,160
Speaker 3: because everyone treats her like shit. So there's that.

1792
01:49:35,520 --> 01:49:38,479
Speaker 2: There's that I want to talk really or just mention

1793
01:49:38,960 --> 01:49:42,559
Speaker 2: really the There's another female character who hasn't come up yet,

1794
01:49:42,600 --> 01:49:45,679
Speaker 2: and it's cousin Tilly, who works at the Building and Loan.

1795
01:49:45,920 --> 01:49:49,640
Speaker 2: She's George's cousin, presumably Uncle Billy's daughter, not that you

1796
01:49:49,680 --> 01:49:51,280
Speaker 2: really ever see them interact.

1797
01:49:51,439 --> 01:49:53,320
Speaker 3: She also calls him uncle Billy.

1798
01:49:53,840 --> 01:49:56,639
Speaker 2: Oh so oh why is that?

1799
01:49:56,800 --> 01:49:56,880
Speaker 4: So?

1800
01:49:57,240 --> 01:49:58,120
Speaker 2: Who knows?

1801
01:49:58,479 --> 01:50:02,360
Speaker 3: I think that's his government name because everyone part.

1802
01:50:02,280 --> 01:50:05,599
Speaker 2: Her first name, uncle, last name Billy name.

1803
01:50:05,680 --> 01:50:05,880
Speaker 5: Yeah.

1804
01:50:05,920 --> 01:50:08,360
Speaker 2: Also that means his name is Billy Bailey.

1805
01:50:08,920 --> 01:50:12,640
Speaker 3: That's fun. I love him. I love him and his

1806
01:50:13,080 --> 01:50:16,320
Speaker 3: tiny brain and his little squirrel, his little squirrel and.

1807
01:50:16,240 --> 01:50:18,720
Speaker 2: His little you know, strings around his fingers so that

1808
01:50:18,760 --> 01:50:21,320
Speaker 2: he doesn't forget things, but he still forgets them all

1809
01:50:21,360 --> 01:50:24,720
Speaker 2: the time. Love that anyway. Cousin Tilly, she has like

1810
01:50:24,760 --> 01:50:29,280
Speaker 2: three lines in the movie, and I mean justice for Tilly,

1811
01:50:29,360 --> 01:50:31,920
Speaker 2: I guess, is what I'm saying. Yeah, because she's another

1812
01:50:31,960 --> 01:50:33,719
Speaker 2: person we don't know anything about.

1813
01:50:34,160 --> 01:50:39,000
Speaker 3: I'm ashamed. I didn't even remember, Like she's not I

1814
01:50:39,040 --> 01:50:42,400
Speaker 3: didn't even though it's like, yeah, she's absolutely, she sure

1815
01:50:42,479 --> 01:50:45,680
Speaker 3: is there and she has a whole story that we

1816
01:50:45,720 --> 01:50:48,640
Speaker 3: don't know about, the fault thing that we alluded to

1817
01:50:48,840 --> 01:50:52,120
Speaker 3: in the live show. But it's good to have noted

1818
01:50:52,160 --> 01:50:56,000
Speaker 3: explicitly is that we do have in mister Potter. And

1819
01:50:56,040 --> 01:50:58,519
Speaker 3: also how distracting is it to have a character named

1820
01:50:58,560 --> 01:51:02,280
Speaker 3: Harry and a guy named mister Potter in the same movie.

1821
01:51:02,400 --> 01:51:07,679
Speaker 3: His name's Henry Potter. His little truck says ahe Potter,

1822
01:51:07,800 --> 01:51:11,840
Speaker 3: and you're like, this sucks. Anyways, they should have known

1823
01:51:13,640 --> 01:51:20,479
Speaker 3: that in the future something terrible would happen. But mister

1824
01:51:20,520 --> 01:51:23,120
Speaker 3: Potter is a disabled character and We've talked about this

1825
01:51:23,160 --> 01:51:26,800
Speaker 3: on the show many times of how people with disabilities

1826
01:51:27,000 --> 01:51:31,800
Speaker 3: are extremely frequently coded in fiction and in movies by

1827
01:51:31,920 --> 01:51:38,639
Speaker 3: extension as inherently villainous. Yes, and the counterpoint to that,

1828
01:51:38,800 --> 01:51:41,839
Speaker 3: I think in this movie would be that George himself

1829
01:51:41,880 --> 01:51:45,519
Speaker 3: has a disability. He can't hear out of one ear

1830
01:51:45,600 --> 01:51:48,000
Speaker 3: because of an accident when he was a kid, and

1831
01:51:48,040 --> 01:51:50,800
Speaker 3: it is explicitly stated in the movie that that disability

1832
01:51:50,840 --> 01:51:54,200
Speaker 3: prevents him from serving in the military. So I feel

1833
01:51:54,240 --> 01:51:57,599
Speaker 3: like the at very least, while that trope is present,

1834
01:51:58,400 --> 01:52:03,880
Speaker 3: our hero who's an asshole, also has a disability, and

1835
01:52:04,840 --> 01:52:08,280
Speaker 3: it is not presented. It's presented in a very different

1836
01:52:08,320 --> 01:52:09,679
Speaker 3: way than mister Patters.

1837
01:52:09,880 --> 01:52:14,200
Speaker 2: Yes, that's true, but the fact remains that the movie

1838
01:52:14,280 --> 01:52:20,160
Speaker 2: does attribute a disability to the villain. The villain who

1839
01:52:20,320 --> 01:52:23,799
Speaker 2: is played by Lionel Barrymore, who is the great uncle

1840
01:52:24,360 --> 01:52:25,680
Speaker 2: of Drew Barrymore.

1841
01:52:26,080 --> 01:52:32,680
Speaker 3: Wow, iconic strike disrespect her well anyways, No, but it's

1842
01:52:33,640 --> 01:52:36,639
Speaker 3: that's a whole other story because if I'm remembering correctly,

1843
01:52:36,760 --> 01:52:39,559
Speaker 3: the Barrymore family in general has been very very good

1844
01:52:39,840 --> 01:52:44,160
Speaker 3: historically of respecting strikes. So it was a noted, you know,

1845
01:52:44,320 --> 01:52:49,240
Speaker 3: step away from Barrymore family values for Drew to be

1846
01:52:49,280 --> 01:52:49,960
Speaker 3: a piece of shit.

1847
01:52:49,920 --> 01:52:51,839
Speaker 2: Like that, what the hell Drew?

1848
01:52:52,320 --> 01:52:54,360
Speaker 3: Well anything else?

1849
01:52:56,000 --> 01:52:59,000
Speaker 2: I just I don't think this got brought up in

1850
01:52:59,200 --> 01:53:02,200
Speaker 2: the live show. But in the Christmas Eve scene when

1851
01:53:02,560 --> 01:53:08,240
Speaker 2: George is absolutely throwing a fit and not communicating to

1852
01:53:09,240 --> 01:53:13,120
Speaker 2: his I understand why he wouldn't tell his children this maybe,

1853
01:53:13,120 --> 01:53:15,960
Speaker 2: but why would he not tell his why his wife?

1854
01:53:16,880 --> 01:53:19,960
Speaker 2: What had happened like this? This missing money? He just

1855
01:53:20,000 --> 01:53:24,320
Speaker 2: comes in acts like a complete terror. She's like, what's wrong,

1856
01:53:24,479 --> 01:53:28,320
Speaker 2: what's going on? He does not openly communicate anything to her.

1857
01:53:28,400 --> 01:53:31,559
Speaker 2: He just screams at her. He says, you call this

1858
01:53:31,600 --> 01:53:33,960
Speaker 2: a happy family? And then he's like, why do we

1859
01:53:34,000 --> 01:53:36,799
Speaker 2: have to have all these kids? He says that within

1860
01:53:36,920 --> 01:53:40,800
Speaker 2: earshot of his children, and he says all these other

1861
01:53:40,880 --> 01:53:44,080
Speaker 2: things that I think we did mention in the live show,

1862
01:53:44,160 --> 01:53:47,760
Speaker 2: But I just like, how are we supposed to like

1863
01:53:47,800 --> 01:53:52,960
Speaker 2: this guy? When he screams at Mary tells her that

1864
01:53:53,040 --> 01:53:56,160
Speaker 2: the house and home that she built for this family,

1865
01:53:56,560 --> 01:54:00,519
Speaker 2: sure that the house sucks. He hates it, and why

1866
01:54:00,560 --> 01:54:03,240
Speaker 2: did we have all these kids? Saying that within.

1867
01:54:03,120 --> 01:54:09,640
Speaker 3: You I understand that we are seeing George at the

1868
01:54:09,680 --> 01:54:14,480
Speaker 3: lowest moment in his life. And I know that theoretically

1869
01:54:14,520 --> 01:54:17,000
Speaker 3: you do not judge someone from the worst moment of

1870
01:54:17,040 --> 01:54:19,400
Speaker 3: their life, but he's really swinging for the fences with

1871
01:54:19,520 --> 01:54:23,360
Speaker 3: being a piece of shit here. He apologizes for it,

1872
01:54:23,439 --> 01:54:26,320
Speaker 3: and then he disappears. He does apologize for it, but

1873
01:54:26,360 --> 01:54:27,200
Speaker 3: then he disappears.

1874
01:54:27,280 --> 01:54:30,080
Speaker 2: Well, he apologizes, and then he gets mad again because

1875
01:54:30,560 --> 01:54:34,360
Speaker 2: his family is like appropriately reacting to how awful he's being.

1876
01:54:34,560 --> 01:54:37,160
Speaker 2: And then he yells again, and then he leaves, and.

1877
01:54:37,120 --> 01:54:40,520
Speaker 3: To Mary's credit, she says, why are you torturing the children?

1878
01:54:40,640 --> 01:54:43,440
Speaker 3: And I was like, thank you, Mary, Why is he

1879
01:54:43,520 --> 01:54:45,920
Speaker 3: torturing the children? I know that he's at the lowest

1880
01:54:45,920 --> 01:54:47,840
Speaker 3: part of his life, but I just.

1881
01:54:47,920 --> 01:54:50,760
Speaker 2: Come and give him an excuse to be horrible to

1882
01:54:50,840 --> 01:54:51,440
Speaker 2: his family.

1883
01:54:51,600 --> 01:54:54,360
Speaker 3: Well, I'm not suggesting that, I'm just I'm just saying, like,

1884
01:54:54,400 --> 01:54:58,800
Speaker 3: I think that the issue with his quick to anger

1885
01:54:59,040 --> 01:55:02,000
Speaker 3: is that we have seen him not at the lowest

1886
01:55:02,000 --> 01:55:05,200
Speaker 3: moment of his life also quick to anger. It is

1887
01:55:05,240 --> 01:55:09,080
Speaker 3: not a it is like an escalation of behavior we've

1888
01:55:09,120 --> 01:55:11,800
Speaker 3: seen from him already. And so that's yeah.

1889
01:55:12,640 --> 01:55:16,240
Speaker 2: Yeah, yes, And I think that is all I had.

1890
01:55:16,560 --> 01:55:17,560
Speaker 2: Did you have anything else?

1891
01:55:18,240 --> 01:55:21,640
Speaker 3: No, let's let's return to the stage.

1892
01:55:21,960 --> 01:55:26,480
Speaker 2: Let's do it. Yes, so this brings us to the

1893
01:55:26,720 --> 01:55:29,520
Speaker 2: Bechdel test. So yeah, we're gonna go back to the

1894
01:55:29,560 --> 01:55:35,560
Speaker 2: live show and see if this movie passes the Bechdel test.

1895
01:55:36,240 --> 01:55:44,040
Speaker 3: No, there's no, it definitely doesn't. The only scenes we

1896
01:55:44,160 --> 01:55:46,960
Speaker 3: get are between Mary and her friend and they're like,

1897
01:55:47,080 --> 01:55:51,280
Speaker 3: are boys cools? The answer?

1898
01:55:51,360 --> 01:55:56,320
Speaker 2: So well, missus Bailey, George's mom and Annie briefly talk

1899
01:55:56,520 --> 01:55:59,640
Speaker 2: about how they're going to be old maids. But then

1900
01:55:59,640 --> 01:56:03,240
Speaker 2: Anne is like, speak for yourself. I'm saving up for

1901
01:56:03,560 --> 01:56:05,760
Speaker 2: a divorce and I'm happy about it.

1902
01:56:05,600 --> 01:56:11,480
Speaker 3: Which is like great, yes, but presumably divorce from a man, yes,

1903
01:56:11,640 --> 01:56:14,600
Speaker 3: due to the pology of the time. Yeah. Yeah, So

1904
01:56:14,640 --> 01:56:16,840
Speaker 3: I'm gonna say it doesn't. I mean it doesn't spiritually

1905
01:56:16,880 --> 01:56:17,839
Speaker 3: pass certainly.

1906
01:56:18,080 --> 01:56:23,120
Speaker 2: Yeah, I think definitely that one. Yeah. But our nipple

1907
01:56:23,120 --> 01:56:26,320
Speaker 2: scale the perfect scale, the perfect metric where we rate

1908
01:56:26,360 --> 01:56:30,080
Speaker 2: the movie based on a scale of zero to five

1909
01:56:30,280 --> 01:56:34,880
Speaker 2: nipples and examine the movie through an intersectional feminist lens,

1910
01:56:35,760 --> 01:56:39,160
Speaker 2: and I think I have to give the movie. I'm

1911
01:56:39,160 --> 01:56:43,880
Speaker 2: gonna give it one nipple for its like rejection of

1912
01:56:44,680 --> 01:56:50,080
Speaker 2: the capitalist ideas ideals that mister Potter is projecting. And

1913
01:56:50,120 --> 01:56:52,920
Speaker 2: everyone's like, no, it's actually awesome if we're a community

1914
01:56:53,560 --> 01:56:58,000
Speaker 2: and we like band together and say boo to you,

1915
01:56:58,200 --> 01:57:01,720
Speaker 2: mister capital because, like mister Potter, is capitalism the guy.

1916
01:57:02,480 --> 01:57:02,680
Speaker 3: Yes.

1917
01:57:03,400 --> 01:57:06,760
Speaker 2: In any case, I like, from a class perspective, I

1918
01:57:06,760 --> 01:57:10,680
Speaker 2: think this movie is pretty cool. From an everything else perspective,

1919
01:57:11,400 --> 01:57:15,680
Speaker 2: I don't think it's very cool. And George Bailey is

1920
01:57:15,720 --> 01:57:20,040
Speaker 2: not nice to his wife. His wife, so I'm only

1921
01:57:20,040 --> 01:57:23,800
Speaker 2: giving it one nipple the end, and I'll give it

1922
01:57:23,880 --> 01:57:29,520
Speaker 2: to I'll give it to Annie, who is played by

1923
01:57:29,760 --> 01:57:32,360
Speaker 2: Lillian Randolph.

1924
01:57:32,400 --> 01:57:34,920
Speaker 3: I'm gonna, I'll meet you. I'll give you. I'll give

1925
01:57:34,960 --> 01:57:39,160
Speaker 3: it one nipple. Yeah, I think this movie for women

1926
01:57:39,320 --> 01:57:43,840
Speaker 3: is not good for women. Is is maybe in fact

1927
01:57:44,000 --> 01:57:48,600
Speaker 3: bad and reinforcing a lot of negative stereotizes women at

1928
01:57:48,600 --> 01:57:52,080
Speaker 3: the time, which is that when your husband is on screen,

1929
01:57:52,320 --> 01:57:56,880
Speaker 3: get out of the scene. I don't care for that,

1930
01:57:57,200 --> 01:58:00,480
Speaker 3: and that happens in almost every scene in this movie. However,

1931
01:58:01,840 --> 01:58:03,640
Speaker 3: I agree with you. I mean, I think that the

1932
01:58:03,680 --> 01:58:07,240
Speaker 3: class politics of this movie are at least in step with,

1933
01:58:07,400 --> 01:58:11,000
Speaker 3: if not ahead of its time, in spite of the

1934
01:58:11,000 --> 01:58:14,560
Speaker 3: politics of the director and the star, which feels like

1935
01:58:15,000 --> 01:58:18,520
Speaker 3: really interesting. And I think that like it's endured for

1936
01:58:18,560 --> 01:58:21,280
Speaker 3: a reason. I think that it is really nice to

1937
01:58:21,520 --> 01:58:28,040
Speaker 3: have classics in American canon that are not rooted in

1938
01:58:28,160 --> 01:58:32,200
Speaker 3: individualism and like really remove themselves from the whole idea

1939
01:58:32,400 --> 01:58:35,400
Speaker 3: of the hero's journey. Where like, if there's anyone that

1940
01:58:35,440 --> 01:58:39,360
Speaker 3: goes through a hero's journey in this story, it's George's brother,

1941
01:58:39,880 --> 01:58:42,240
Speaker 3: and you don't see any of it where he goes

1942
01:58:42,240 --> 01:58:44,760
Speaker 3: from humble beginnings to being a war hero and going

1943
01:58:44,760 --> 01:58:46,880
Speaker 3: through all this stuff. You don't see that. You see

1944
01:58:46,920 --> 01:58:51,640
Speaker 3: his brother who is actively remaining kind of trapped in

1945
01:58:51,720 --> 01:58:54,000
Speaker 3: the class and the place that he is born in.

1946
01:58:54,600 --> 01:58:56,880
Speaker 3: And like, I think that there's a lot of value

1947
01:58:56,920 --> 01:58:58,920
Speaker 3: to that, and there's a lot of value to being

1948
01:58:59,480 --> 01:59:02,840
Speaker 3: to a preciating that and to seeing the value in that,

1949
01:59:02,920 --> 01:59:06,200
Speaker 3: because I think that you know, like in most movies

1950
01:59:06,240 --> 01:59:09,880
Speaker 3: and a lot of media in the Western world, you're

1951
01:59:09,960 --> 01:59:14,480
Speaker 3: encouraged to only see success in your life as having

1952
01:59:14,640 --> 01:59:19,440
Speaker 3: ascended in the traditional sense, and that the idea of

1953
01:59:20,720 --> 01:59:23,680
Speaker 3: remaining within your community and serving your community is not

1954
01:59:23,880 --> 01:59:26,160
Speaker 3: valued at the same rate. And I think that you know,

1955
01:59:26,680 --> 01:59:29,520
Speaker 3: It's a wonderful life does that on its face, and

1956
01:59:29,560 --> 01:59:32,520
Speaker 3: that's really nice. It does that for George. It does

1957
01:59:32,560 --> 01:59:34,360
Speaker 3: not do that for Mary, even though she's doing the

1958
01:59:34,400 --> 01:59:36,560
Speaker 3: same shit and it's all offscreen, and for some reason

1959
01:59:36,600 --> 01:59:38,960
Speaker 3: they're like, what if there was an old ass angeling

1960
01:59:39,040 --> 01:59:43,640
Speaker 3: Tom Sawyer, you know, like Mary is doing the same

1961
01:59:43,720 --> 01:59:46,880
Speaker 3: thing the whole movie, but they just don't want to

1962
01:59:46,920 --> 01:59:51,360
Speaker 3: show that. At its core, I think that the movie

1963
01:59:51,400 --> 01:59:54,480
Speaker 3: has a good message. I'll give it one nipple. It's

1964
01:59:54,520 --> 01:59:56,960
Speaker 3: bad for women, it's bad for people who aren't white,

1965
01:59:57,000 --> 01:59:59,640
Speaker 3: and they're and I'm going to give it to Jimmy

1966
01:59:59,680 --> 02:00:01,440
Speaker 3: the Rain and obviously.

1967
02:00:01,600 --> 02:00:10,480
Speaker 2: Okay, yeah, and Coco almost split it with Jimmy and Coke. Okay,

1968
02:00:11,240 --> 02:00:12,200
Speaker 2: do we end the show now?

1969
02:00:12,240 --> 02:00:14,360
Speaker 3: I think I feel like, well, yeah, I mean, I

1970
02:00:14,400 --> 02:00:16,720
Speaker 3: just I just feel like Kaitlyn, Like I was wondering

1971
02:00:16,760 --> 02:00:22,120
Speaker 3: as I was watching this movie with Clarence the flop angel. Yeah,

1972
02:00:22,280 --> 02:00:25,160
Speaker 3: what would the world be like without the Bechtel casts?

1973
02:00:25,840 --> 02:00:28,720
Speaker 2: Oh, what would the world be like without the Bechdel cast?

1974
02:00:29,080 --> 02:00:30,760
Speaker 3: Certainly we don't have anything prepared.

1975
02:00:32,840 --> 02:00:36,360
Speaker 2: Well, I was thinking about, wait, actually.

1976
02:00:36,120 --> 02:00:41,879
Speaker 3: Wait that Dax, could you softly play Dominic the donkey?

1977
02:00:43,520 --> 02:00:48,440
Speaker 3: Thank you so much? Just as we discussed this important topic.

1978
02:00:49,280 --> 02:00:51,440
Speaker 2: Uh huh, Okay, So I was thinking about this too,

1979
02:00:53,440 --> 02:00:57,960
Speaker 2: and uh, if the Bechdel Cast had never existed, what

1980
02:00:58,000 --> 02:01:00,480
Speaker 2: would the world be like. Well, first of all, Michael

1981
02:01:00,480 --> 02:01:03,280
Speaker 2: Bay would be President of the United States of America.

1982
02:01:03,480 --> 02:01:07,160
Speaker 3: That is, you're so right, you know, you're so right.

1983
02:01:08,040 --> 02:01:11,080
Speaker 3: I was thinking that if the Bechdel Cast didn't exist,

1984
02:01:11,720 --> 02:01:14,960
Speaker 3: Alfred Molina would never have learned what an MRA meant

1985
02:01:16,240 --> 02:01:19,640
Speaker 3: true and he would have gone down that path himself.

1986
02:01:19,760 --> 02:01:23,120
Speaker 3: Oh wow, I know, I know, I know.

1987
02:01:23,520 --> 02:01:26,360
Speaker 2: I was thinking if the Bechdel Cast never existed that

1988
02:01:26,440 --> 02:01:33,080
Speaker 2: the Minion's Kevin, Bob, and Stewart, Yeah, would have broken

1989
02:01:33,200 --> 02:01:36,440
Speaker 2: up and we wouldn't have been there to get them

1990
02:01:36,480 --> 02:01:37,120
Speaker 2: back together.

1991
02:01:39,760 --> 02:01:43,760
Speaker 3: I was thinking that in a world without the Bechdel Cast,

1992
02:01:44,360 --> 02:01:46,480
Speaker 3: I would have ended up working at the job I

1993
02:01:46,600 --> 02:01:49,080
Speaker 3: was working at when we started the Bechdel Cast, which

1994
02:01:49,120 --> 02:01:52,360
Speaker 3: was as a fact checker at Playboy magazine Question Work,

1995
02:01:54,720 --> 02:01:57,280
Speaker 3: and I would have worked there forever, and I would

1996
02:01:57,280 --> 02:01:59,560
Speaker 3: have married Hugh Hefner and I would have killed him

1997
02:01:59,600 --> 02:02:03,360
Speaker 3: instead of just him dying. Wow, that would have been

1998
02:02:03,400 --> 02:02:04,960
Speaker 3: so scary if that happened.

1999
02:02:05,040 --> 02:02:08,600
Speaker 2: Yeah, I'm glad it didn't. And also, I think that

2000
02:02:08,680 --> 02:02:12,800
Speaker 2: if the Bechdel Cast had never existed that James Cameron

2001
02:02:12,840 --> 02:02:16,400
Speaker 2: would have never directed Titanic because he specifically made it

2002
02:02:16,480 --> 02:02:23,000
Speaker 2: for Jamie and myself. Yeah, twenty years before we started

2003
02:02:23,000 --> 02:02:26,400
Speaker 2: the podcast, and that's what the world there would be

2004
02:02:26,440 --> 02:02:27,560
Speaker 2: no Titanic. Sorry.

2005
02:02:28,120 --> 02:02:30,200
Speaker 3: And in conclusion, I would like to say in a

2006
02:02:30,280 --> 02:02:32,560
Speaker 3: room without the Bechdel cast and then I just wrote

2007
02:02:32,560 --> 02:02:37,520
Speaker 3: in asterisk Manian joke as risk and so would like

2008
02:02:37,560 --> 02:02:40,080
Speaker 3: to say thanks for coming to the live show.

2009
02:02:42,560 --> 02:02:45,440
Speaker 2: And that was the episode everyone, Thank you for tuning in.

2010
02:02:45,720 --> 02:02:48,520
Speaker 2: Thanks once again to everyone who came to the live

2011
02:02:48,560 --> 02:02:52,320
Speaker 2: show or bought tickets to the stream and watched the stream.

2012
02:02:53,240 --> 02:02:58,800
Speaker 2: Really appreciate you doing that and supporting live podcasting.

2013
02:02:59,000 --> 02:03:02,760
Speaker 3: Wow. What is tree? Yeah? And if you enjoyed that

2014
02:03:02,920 --> 02:03:09,920
Speaker 3: and you live in the following cities San Francisco, Sacramento, Austin, Dallas,

2015
02:03:10,120 --> 02:03:14,280
Speaker 3: San Diego, We're coming to a venue near you soon.

2016
02:03:14,920 --> 02:03:18,160
Speaker 3: Check our link tree right now. Tickets to your city

2017
02:03:18,160 --> 02:03:21,320
Speaker 3: maybe live soon. If not, they will be very soon

2018
02:03:22,200 --> 02:03:25,200
Speaker 3: and we will make a specific post to the feed

2019
02:03:25,520 --> 02:03:28,400
Speaker 3: when that is the case. The live shows are so fun.

2020
02:03:28,960 --> 02:03:32,520
Speaker 3: We always do meet and greets afterwards. We have exclusive

2021
02:03:32,720 --> 02:03:36,920
Speaker 3: march and it's just a great community event I know

2022
02:03:37,080 --> 02:03:41,000
Speaker 3: of at least two serious relationships that have come out

2023
02:03:41,080 --> 02:03:43,240
Speaker 3: of meeting at a backtal cash show. It's a great

2024
02:03:43,240 --> 02:03:50,560
Speaker 3: place to meet a friend or a love And also

2025
02:03:50,600 --> 02:03:52,840
Speaker 3: if you live in LA please come to Santa University

2026
02:03:52,880 --> 02:03:56,520
Speaker 3: at the Allegion on December twenty first at seven thirty pm.

2027
02:03:57,040 --> 02:04:00,280
Speaker 2: That ticket will also be on our link tree. Again

2028
02:04:00,320 --> 02:04:05,000
Speaker 2: it's just link tree slash Bechtel Cast. And speaking of links,

2029
02:04:05,080 --> 02:04:09,160
Speaker 2: you can click on the link patreon dot com slash

2030
02:04:09,360 --> 02:04:14,560
Speaker 2: Bechtel Cast and subscribe to our Patreon. This month it's

2031
02:04:14,880 --> 02:04:19,320
Speaker 2: Zoe Saldonna in Space September.

2032
02:04:20,440 --> 02:04:24,720
Speaker 3: And we swear that the Matreon's voted for that. The

2033
02:04:24,760 --> 02:04:30,520
Speaker 3: matrons voted for that to happen. And there's also over

2034
02:04:30,560 --> 02:04:32,760
Speaker 3: one hundred episode backlog, close to one hundred and fifty.

2035
02:04:32,840 --> 02:04:36,040
Speaker 3: We've had the patreon going for many years and it's

2036
02:04:36,040 --> 02:04:38,320
Speaker 3: a blast. We get goofy, We have a nice time.

2037
02:04:38,840 --> 02:04:40,760
Speaker 3: And also if you want to, you know, gift a

2038
02:04:40,840 --> 02:04:45,520
Speaker 3: subscription to someone for the holidays, it's only five bucks

2039
02:04:45,520 --> 02:04:48,040
Speaker 3: a month and that gets access to everything.

2040
02:04:48,280 --> 02:04:51,320
Speaker 2: Yeah, and speaking of gift ideas, if you need them

2041
02:04:51,560 --> 02:04:58,160
Speaker 2: for either yourself okay, treat yourself or gifting to a

2042
02:04:58,160 --> 02:05:01,920
Speaker 2: friend or lover, you can go to teapublic dot com

2043
02:05:01,920 --> 02:05:06,480
Speaker 2: slash the Bechdel Cast and grab some merch. All of

2044
02:05:06,520 --> 02:05:09,960
Speaker 2: it is designed by a one Jamie Loftus.

2045
02:05:10,320 --> 02:05:13,440
Speaker 3: Ever heard of her? Uh? And we also if you're

2046
02:05:13,440 --> 02:05:17,600
Speaker 3: coming to our tour, we sell exclusive tour exclusive posters

2047
02:05:17,680 --> 02:05:21,240
Speaker 3: and uh. Just so you know, on the tour, we

2048
02:05:21,360 --> 02:05:25,240
Speaker 3: will for the most part in most cities be covering

2049
02:05:25,280 --> 02:05:26,280
Speaker 3: the movie Barbie.

2050
02:05:26,480 --> 02:05:26,600
Speaker 5: Ye.

2051
02:05:27,080 --> 02:05:30,120
Speaker 3: So if you want to hear us talk it since

2052
02:05:30,120 --> 02:05:32,240
Speaker 3: people have been shouting that at us, we were saving

2053
02:05:32,240 --> 02:05:35,240
Speaker 3: it because we want to wear little outfits. Uh, and

2054
02:05:35,280 --> 02:05:39,480
Speaker 3: we will be doing that. So with that, that's an episode, folks.

2055
02:05:40,080 --> 02:05:43,720
Speaker 3: See uh, see you on the flip we got uh.

2056
02:05:43,880 --> 02:05:49,120
Speaker 3: We we have one or two more episodes coming this

2057
02:05:49,640 --> 02:05:52,760
Speaker 3: calendar year and we'll see you next week.

2058
02:05:52,960 --> 02:05:59,880
Speaker 2: We sure will. Bye. The Bechdel Cast is a production

2059
02:06:00,080 --> 02:06:04,200
Speaker 2: of iHeartMedia, hosted by Caitlin Drante and Jamie Loftis, produced

2060
02:06:04,200 --> 02:06:07,880
Speaker 2: by Sophie Lichterman, edited by Moe laboord. Our theme song

2061
02:06:08,000 --> 02:06:11,880
Speaker 2: was composed by Mike Kaplan with vocals by Katherine Voskresenski.

2062
02:06:12,400 --> 02:06:15,720
Speaker 2: Our logo in merch is designed by Jamie Loftis and

2063
02:06:15,800 --> 02:06:19,680
Speaker 2: a special thanks to Aristotle Assevedo. For more information about

2064
02:06:19,680 --> 02:06:22,640
Speaker 2: the podcast, please visit Linktree Slash Bechtelcast