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Speaker 1: On the beck dol Cast, the questions asked if movies

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Speaker 1: have wenen inum, are all their discussions just boyfriends and husbands,

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

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Speaker 1: start changing it with the Bedel Cast. Oh I wish

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Speaker 1: I pretend I'm opening a can of Mike's Hard. Hello,

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Speaker 1: and welcome to the Bechdel Cast retro version. My name

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Speaker 1: is Jane. I haven't drank Mike's during a Bechtel Cast

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Speaker 1: episode in literally a year and a half. It's been

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Speaker 1: a while, but I had two cold bruise this morning,

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Speaker 1: and so I'm just I'm like a young Judy Garland.

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Speaker 1: I'm just upping and downing all damn day and I'm

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Speaker 1: going to die before in fifty I think that that

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Speaker 1: all tracks that works for me. How are you, Caitlin?

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Speaker 1: I mean, I don't want you to die ever. Thank

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Speaker 1: you stay alive. I think that the world I forget

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Speaker 1: what that article said. I think the world's gonna die

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Speaker 1: when I'm like forty seven. The world will die before

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Speaker 1: we do. Yes, so that's great anyway. Hi, I'm Caitlin Dron.

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Speaker 1: This is the Bechtel Cast. This is our podcast about

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Speaker 1: women in movie, and we use the Bechdel test to

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Speaker 1: initiate a larger conversation. I think most of the things

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Speaker 1: we just said past you did say Mike's hard lemonades Mike.

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Speaker 1: We don't know how Mike that's true. I don't. I don't.

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Speaker 1: I honestly don't even know if Mike is a person

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Speaker 1: or an idea. Wow makes you think that's right? And also,

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Speaker 1: how does the world how does the planet Earth identify? Genderless? Icon?

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Speaker 1: That's what I say anyway, So the Pectel test requires

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Speaker 1: that a movie, for example, has two named female identifying

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Speaker 1: characters who must speak to each other about something other

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Speaker 1: than a man. And our version is just a two

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Speaker 1: line exchange. That's all the needs to happen. And you

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Speaker 1: know some movies do it and some movies don't. Let's

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Speaker 1: let's try it. Okay, Okay, here we got here's a

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Speaker 1: Bextel test test. Hey, Caitlin, Hey Jamie, you know what

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Speaker 1: I love when it happens in a movie. Tell me

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Speaker 1: when New York is not just a place but a character.

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Speaker 1: I how does New York identify, Oh my god, as

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Speaker 1: a fucking asshole? I don't know. There. I just love

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Speaker 1: when New York That's my favorite piece of film criticism

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Speaker 1: when they're like, the location is actually also a character, um,

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Speaker 1: which you know, I love that. I think it's just

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Speaker 1: a gorgeous, very thoughtful original definitely, and it's it's what's

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Speaker 1: crazy about this is that New York City because it's

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Speaker 1: a character is my best friend? Wow? I love that.

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Speaker 1: Well that passed, We did it. It doesn't have to

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Speaker 1: be a good exchange. That's always the lesson. Um. I'm

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Speaker 1: so psyched for today's episode. It's been uh request we've

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Speaker 1: gotten quite a few times. Yes, we have hatten this

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Speaker 1: request for quite a few times. And I'm so thrilled

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Speaker 1: to have our guests on today. Good one of my Yes, dude,

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Speaker 1: what a delight she is. She's an art critic, she's

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Speaker 1: a comedian. She's got a book coming out called Aesthetical

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Speaker 1: Relations It's Christina Katherine Martinez. Can I talk now? You

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Speaker 1: can't remove. We have ganged you. I'm so excited. Welcome,

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Speaker 1: thank you, thanks for being here. Uh. And today we

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Speaker 1: were talking about the I guess it's kind of hard

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Speaker 1: to tell when this movie came out. People say between okay,

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Speaker 1: it was released, you know what is closed? We're talking

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Speaker 1: about Frances Hay today. The way I think most people

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Speaker 1: met Gertie Gerwig, you know, I ever heard of her

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Speaker 1: is confusing. It does have a lot of early vibes

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Speaker 1: to it, having come out in twelve and I think

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Speaker 1: this movie to me, I like, this movie came out

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Speaker 1: while I was in college, so and this is people

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Speaker 1: in college bait uh because it's it comes out. But honey,

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Speaker 1: it's in black and white. So you're like, so I

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Speaker 1: go into this movie and I'm ready to think real hard. Sure, Yeah,

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Speaker 1: it's it's a black and white movie. Um directed by

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Speaker 1: Noah bomb Boch and written by him and Gretit Gerwig,

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Speaker 1: who I think by the time this movie comes out

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Speaker 1: are an item, which they are to this day. Good

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Speaker 1: for them. Yeah, he left who did he leave for? Grenford?

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Speaker 1: Jason Lee? Really? Did she have his baby? No, that

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Speaker 1: was Tom Brady left his pregnant. Oh god, Bridget moynihan.

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Speaker 1: I think, yeah, my god, I mean this Trump supporter.

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Speaker 1: So we don't know, we simply can't with Tom Brady

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Speaker 1: difficult difficult. Yeah, I wish it made me mad, the like,

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Speaker 1: of course he left his wife for a younger lady.

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Speaker 1: But I'm like, they work really well together. Yeah, and

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Speaker 1: it's just I mean, two very cool women that he's

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Speaker 1: been in at least a public relationship that no, I

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Speaker 1: okay that no, now we're not let's just promise to

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Speaker 1: never talk about Tommerty. No, but I don't know, no

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Speaker 1: a bomb back, you know, I think what you want

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Speaker 1: about him? He s datedd some cool ladies. But yeah,

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Speaker 1: this is I feel like, um, does this movie qualify

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Speaker 1: as mumblecore? I feel like it's adjacent to it, but not.

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Speaker 1: There's more plot to it than mumblecore, although there's not

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Speaker 1: all that much plot. I would call this, oh, you

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Speaker 1: know what we haven't said in a while. This is

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Speaker 1: really a tone poem that was I thought goes all

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Speaker 1: the way back to our Josh Fadum episode. Yes, it

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Speaker 1: really is a tone poet and there's a lot of

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Speaker 1: horny tub and it's an actor's film. It's mumble adjacent.

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Speaker 1: I haven't because Greta Gerwigs character is pretty Jeremy. But

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Speaker 1: I have seen a clip of her acting in an

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Speaker 1: actual mumblicore movie and she's literally in a bathtub with goggles,

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Speaker 1: you know, spouting her friend like why you know, can

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Speaker 1: we connect? It's mumblecore, is starting five sentences and not

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Speaker 1: finishing any of them. Sure, right, and this mumblecore, I

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Speaker 1: mean I had quite a bit of contempt for that genre,

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Speaker 1: and I feel like everyone has dated a douche bag

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Speaker 1: who is two into mumblecore. And like my college boyfriend was, like,

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Speaker 1: you haven't seen the puffy chair, Like the puffy chair,

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Speaker 1: the puffy chair. I guess I don't know what really

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Speaker 1: classifies literally just about like it's like Italian neo realism

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Speaker 1: but bad. It's like it's usually about people in Brooklyn,

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Speaker 1: usually a white hetero couple in Brooklyn, or brothers or

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Speaker 1: like brothers working through their issues together. It's always really long,

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Speaker 1: it's semi scripted. It's what else is there? I think

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Speaker 1: it's it's yeah, plot lists, semi scripted, and I think,

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Speaker 1: in an effort to come off as naturalized, I think

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Speaker 1: the dialogue tends to be overly awkward, you know, like,

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Speaker 1: give people some credit. People are articulate in real life

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Speaker 1: at some points. Right, Um, Okay, I'm looking at a list.

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Speaker 1: I don't recognize a lot of these moves. Oh, Jeff

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Speaker 1: who lives at home? I've saying that I've seen drinking buddies.

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Speaker 1: These are on this list, those are yeah, and I

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Speaker 1: feel like Francis Ha and the two movies you just

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Speaker 1: mentioned are on the more scripted side of that genre

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Speaker 1: because like early, like Gregia Garwood got her start in

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Speaker 1: mumblecore movies, and most of her early stuff and most

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Speaker 1: early mumblecore in general is I feel completely unwatchable and annoying. Oh,

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Speaker 1: Before Sunset is on this list, I don't think that's

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Speaker 1: it doesn't make this Wikipedia page that before the Before

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Speaker 1: Sunset to me is like the opposite. It's so stylized

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Speaker 1: because their their dialogue is so pithy. And I love Sunrise.

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Speaker 1: I hate it, but I still wouldn't call it mumblecore.

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Speaker 1: But I think Francis Hall, I think is maybe one

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Speaker 1: of the more polished, if you could even call it,

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Speaker 1: of the genre. I wasn't really sure. I don't think so.

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Speaker 1: I think it's her graduation from Bolkore. She's you know,

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Speaker 1: collaborating with it. I was going to say, real filmmaker,

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Speaker 1: that's a horrible put it, you know, like because he's

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Speaker 1: a man. I don't know if you were an m R. Yeah,

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Speaker 1: I don't. I'm an enemy to my own sex and

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Speaker 1: I will just maybe stay off the bat. I like

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Speaker 1: this movie. I do. So what's what's your history your

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Speaker 1: relationship with this movie? I think I saw it in

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Speaker 1: the theater and I thought it was amazing, and I

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Speaker 1: was I've been subject to a lot of movies with

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Speaker 1: like a manic Pixie dream character kind of thing, so

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Speaker 1: I was ready to like totally hate it, but because

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Speaker 1: I think it was a little more subtle than I

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Speaker 1: was expecting, I freaking loved it. And then I watched

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Speaker 1: it again this week years later, maybe liked it slightly less.

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Speaker 1: There was a few cringing moments of like, here's here's

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Speaker 1: a sincerity egg pie in your face. But but I

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Speaker 1: really it's it's charming, it's you know, it's the coming

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Speaker 1: of age story. But also I think the main thing,

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Speaker 1: which is why it's fun to talk about on this podcast,

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Speaker 1: is the romances between, like is a female friendships, and

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Speaker 1: so I think it's a lot even the more stylized moments,

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Speaker 1: like if they had these montages of like playing and eating,

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Speaker 1: and if they had that with a straight white couple,

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Speaker 1: it would be so bar bar horrific. Yeah, but there

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Speaker 1: is something kind of sweet that it's just two friends

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Speaker 1: and you don't really see that kind of intimacy too

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Speaker 1: much in films. Well, that's because movies don't like to

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Speaker 1: have women in them no more, only in certain ways.

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Speaker 1: I yeah, I did. Like. My history with this movie

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Speaker 1: is I saw it. It It came out when I was

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Speaker 1: in college and I went to uh film school and

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Speaker 1: everyone was pause it really, did you go to film

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Speaker 1: school twice? Though, Jamie, No, I did. I wasn't quite

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Speaker 1: that financially reckless. I I was, it was, and I

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Speaker 1: did go to film school twice. It's not movie school,

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Speaker 1: it's still I actually go a step further and I

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Speaker 1: call it cinema school. I would like cinema. I go

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Speaker 1: a step further. I just stayed in French. I went

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Speaker 1: to an call the cinema. It's like and it sounds

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Speaker 1: like there's less debt involved when you say it that way.

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Speaker 1: Point of that being that everyone I knew at this

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Speaker 1: time I saw this movie loved this movie, and I

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Speaker 1: was like, I don't know. I was like kind of

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Speaker 1: an edge lord about it. And I remember watching it

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Speaker 1: and being like, it's dumb. She's dumb, Like I didn't,

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Speaker 1: I don't know. I I didn't like it when I

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Speaker 1: first saw it. I think because I had it in

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Speaker 1: my head. I was like, oh, these are umblecore people.

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Speaker 1: I don't like it very much. Um, even though I

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Speaker 1: liked the squid in the whale, but whatever. But yeah,

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Speaker 1: and I just didn't take it very seriously and I

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Speaker 1: didn't under and I genuinely didn't understand most of the

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Speaker 1: character's motivations. And then I rewatched it this week with

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Speaker 1: a friend of the cast, Melissa Losatta Olivia, and we

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Speaker 1: both we both hadn't seen it since college, were the

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Speaker 1: same age, and this time we're pretty much the same

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Speaker 1: age as the protagonist of the movie. And it made

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Speaker 1: a lot more sense to me this time. The whole

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Speaker 1: vibe of like, I feel insecure and like lesser than

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Speaker 1: to my friends. I'm just gonna put a reckless vacation

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Speaker 1: on credit card because I'm feeling uncomfortable with myself makes

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Speaker 1: a lot more sense to me than it did when

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Speaker 1: I was nine. Um, and I got more out of

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Speaker 1: it this time. I thought, I, I I, you know, it

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Speaker 1: has it has its things, and they are are like

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Speaker 1: definitely cringing moments, but I feel like I get it now,

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Speaker 1: all right. I saw it probably sometime around m I

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Speaker 1: think I was in Boston still when I watched half

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Speaker 1: of it. It popped up on that'slex at some point,

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Speaker 1: and I think it's probably never left. It's been on

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Speaker 1: Netflix for nine ers. Yeah, so it's a guy maybe

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Speaker 1: saw it in like watched the first half of it.

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Speaker 1: And it's not that I wasn't enjoying myself, but I

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Speaker 1: wasn't like super fully engaged and then got sidetracked and

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Speaker 1: then never felt compelled to finish it. So I had

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Speaker 1: only seen half of this movie before prepping for the episode.

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Speaker 1: And uh, yeah, I guess I wasn't very compelled by it.

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Speaker 1: Because I've said it before, I'll say it again. I

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Speaker 1: love a good romp. I would not call this movie.

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Speaker 1: He's not quite a romp. It's not like a shaggy

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Speaker 1: dog story, but just sort of like a shaggy teacup poodle. Also,

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Speaker 1: I paid it's on Netflix because I paid to watch

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Speaker 1: this on Amazon Prime. Christine, it's been on Netflix for

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Speaker 1: six years. Do you guys have an expense account? Is there? Like?

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Speaker 1: Um no, Actually that's unacceptable. I think that that people

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Speaker 1: would be like, Wow, this is the first time anyone's

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Speaker 1: rented this movie in five years. Can I just like

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Speaker 1: kicked up some server in Iowa that like this hasn't

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Speaker 1: made a move in years. Can I give you a

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Speaker 1: tip and all of our listeners a tip. There is

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Speaker 1: an app called just Watch. This is not an ad.

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Speaker 1: By the way, this is not an ad. We're not

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Speaker 1: sponsored by just Watch. But if you want to buy

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Speaker 1: smart food popcorn, if you download this app called just

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Speaker 1: Watch and type in the name of any movie or

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Speaker 1: TV show or anything like that, it will tell you

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Speaker 1: what platforms it is streaming for free on. It'll tell

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Speaker 1: you where you can rent it, and it tells you

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Speaker 1: where you can buy it. That's amazing. I feel like

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Speaker 1: i'm dB should be doing that right. There's a few

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Speaker 1: movies you can watch for free on IMDb. You can

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Speaker 1: watch Paddington One on i amdb for free. Yeah. I

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Speaker 1: think they're going to become the new Amazon. They're going

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Speaker 1: to start something's I mean, capitalism is all around us

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Speaker 1: and there. So if you can get anything for free,

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Speaker 1: do it? Do Yeah? Touch, I d to install take

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Speaker 1: my fingerprint, Lord Bezos. Yes, everyone pause and he yes,

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Speaker 1: please take my identity and identify me, Lord Bezos. So yeah,

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Speaker 1: should I just should we go into the recap? Yeah?

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Speaker 1: Go from there, which is difficult because there's kind of

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Speaker 1: no plot. I was trying to figure this out. You're

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Speaker 1: not wrong. Also, the one thing I was surprised at

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Speaker 1: that I totally forgot about from my first watch of

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Speaker 1: this movie is Adam Driver Fedora. It is weird now

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Speaker 1: to watch early Adam Driver knowing he is now an

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Speaker 1: animatronic at Disney World and be like a mirror six

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Speaker 1: or seven years ago he was Fedora guy in a

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Speaker 1: Noah bomb Box movie, A man we were used to

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Speaker 1: coming on. Lena Donham is now an animatronic. Truly a

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Speaker 1: marvel you Also, did you notice that the other roommate

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Speaker 1: is the husband, the crappy husb and from Marvelous Mrs

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Speaker 1: Mazel No I have Yeah, okay, well I just added

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Speaker 1: myself as a watcher of that show. Thank you, Lord Bezos.

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Speaker 1: Christina is sponsored by Jeff Beezza. She's actually a mot

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Speaker 1: that he made incredible. Alexa is actually based on Christina. Yeah,

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Speaker 1: it's it's just my brain. It's just there's a little

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Speaker 1: Alexa in there. Talk about the Ultimate Mannic Pixy, dream Girl,

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Speaker 1: Alexa girl. Yeah, there is a movie about Alexa. Validate

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Speaker 1: me artistically. Yeah, what happens in the movie, because not

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Speaker 1: really anything I'll do my best. So Francis is a

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Speaker 1: young woman living in New York City ever heard of it,

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Speaker 1: and her roommate and best friend is Sophie. Shout out

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Speaker 1: to our super producer Sophie who shares the same name,

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Speaker 1: who's played by Mickey Sumner, who was not familiar with,

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Speaker 1: and Francis is of course Greta Gerwig Gerberg, who co

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Speaker 1: wrote the movie. Francis's boyfriend Dan asks her to move

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Speaker 1: in with him, but she would rather continue living with

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Speaker 1: Sophie and just do everything with Sophie really, so this

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Speaker 1: this causes her and Dan to break up in a

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Speaker 1: very sne that I watched twice because I was like,

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Speaker 1: are they really? Are they? Very where? He was such

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Speaker 1: a He was just like, well, then maybe we shouldn't

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Speaker 1: be together anymore. I was like, jeez. He's also talking

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Speaker 1: about wanting to get cats, like two cats for the

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Speaker 1: both of the expensive together, to be fair, But that's

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Speaker 1: a very real point in a relationship that maybe, like

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Speaker 1: as a young nineteen year old, you could not relate to,

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Speaker 1: but like, you know, especially when you're you're late twenties.

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Speaker 1: I think this character is twenty seven, which just maybe

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Speaker 1: still too early for this talk. It's kind of like, yeah, well,

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Speaker 1: if we're not going to move in together, then what's

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Speaker 1: the point of keeping going? Yeah? Who splits custody with

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Speaker 1: a dog? I've had that breakup, you know that, Like, well,

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Speaker 1: we're not going to get married, so why are we here?

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Speaker 1: Why are we How much longer will this happen? If

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Speaker 1: we're not going to share cats together? Then what's the

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Speaker 1: fucking point? Yeah? The cats are are a metaphor. Cats

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Speaker 1: do have eight nipples. This is cat facts with Caitlin.

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Speaker 1: She didn't seem too broken up about the breakup though, No,

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Speaker 1: it seems like it was. That was like one of

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Speaker 1: the interesting scenes that I that I enjoyed of Like

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Speaker 1: it was like a weird like whose idea wasn't to

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Speaker 1: break up? They sort of just mutually we're like, well,

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Speaker 1: I like that. I like she's kind of like he

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Speaker 1: says this isn't working, meaning the discussion of them talking

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Speaker 1: about moving in together, and she interprets that is like

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Speaker 1: our relationship isn't working. And then he's like, oh, okay,

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Speaker 1: I guess we're going to break up then if that's

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Speaker 1: how you feel about it, And then she thinks about

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Speaker 1: it for a second she's like, yeah, that's fine, and

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Speaker 1: then later Sophie is like, when you know, like Greta

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Speaker 1: Growingg's character, Frances I'm gonna keep calling her Greta growing

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Speaker 1: GRETI Growig is like, well, like I only broke up

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Speaker 1: with Dan because I thought we were going to keep

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Speaker 1: living together, and Sophie kind of immediately is like, that's

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Speaker 1: not the only reason that Greta is like, no, I

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Speaker 1: guess not right. So she wanted to bring out this

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Speaker 1: the good. I want to get into this later, but

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Speaker 1: Francis is codependent behaviors will just oh they are. And

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Speaker 1: that's the first scene where we see her apologize a

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Speaker 1: hundred times, which is a type of visibility. I feel

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Speaker 1: like this is one of the good Like mumble Corey

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Speaker 1: elements is she apologizes like seven times for no reason

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Speaker 1: in that scene, But you don't get to see female

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Speaker 1: characters do a lot even then. That's something that like

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Speaker 1: we're hardware to do do Yeah for passing the Bechdel test.

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Speaker 1: She does say I feel bad all the time in

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Speaker 1: the movie, Yeah, yeah, which is like, I mean there's different,

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Speaker 1: Like I feel like there's a big pressure on female

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Speaker 1: characters to set an example and it's kind of like

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Speaker 1: nice and refreshing to see a character who's just kind

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Speaker 1: of reflecting a certain type of women at a moment

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Speaker 1: in time. And I liked, I mean, the constant apologizing

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Speaker 1: can relate. Yes, So she and Dan have broken up,

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Speaker 1: and then one day Francis and Sophie are on the

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Speaker 1: train together and Sophie is like, I want to move

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Speaker 1: in with my friend Lisa and it's great apartment that

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Speaker 1: we found in Tribeca. Hey, Francis, are you okay with that?

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Speaker 1: And Francis is clearly not okay with that, but she's like, yeah,

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Speaker 1: I'm okay with that. And then so this is the

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Speaker 1: beginning of their friendship crumbling. So now that for now.

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Speaker 1: So now that Francis is single, she goes on a

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Speaker 1: date with this guy Lev that's Adam Driver's character. This

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Speaker 1: doesn't go anywhere romantically, but she does move in with

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Speaker 1: him and his friend Benji, just like sleeping on their couch.

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Speaker 1: Who is and Benji is Beni from Marvel's Missus Me.

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Speaker 1: I'm sure a lot of our listeners will know. We

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Speaker 1: just haven't seen it. Yeah, cute is a button? Yeah,

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Speaker 1: I mean I don't care. She's moved in with them.

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Speaker 1: She has not seen that much of Sophie recently. And

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Speaker 1: then Sophie finally does come over to Francis's new place,

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Speaker 1: but she's like, all judge, she has stay very long.

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Speaker 1: She's got this boyfriend Patch that she like hangs out

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Speaker 1: with a lot now and Francis is having some money struggles.

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Speaker 1: She's in this dance company because she does ballet or

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Speaker 1: she's an understudy I guess in the dance company, and

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Speaker 1: she's thinking that they'll be able to use her in

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Speaker 1: this Christmas show and that will make her that will

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Speaker 1: earn her more money. But they're not able to use

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Speaker 1: her after all. So she's proud of herself for asking.

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Speaker 1: So she doesn't have this money that she thought was

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Speaker 1: coming in. And then she and Sophie getting this big

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Speaker 1: fight and Sophie seems to be withdrawing from their friendship

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Speaker 1: more and more. Meanwhile, the roommate Benji keeps calling Frances

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Speaker 1: totally undateable, which is like one of the eye rolly

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Speaker 1: elements of that yeah stuck out is like a little yeah, yeah,

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Speaker 1: we can we can have that talk about that was

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Speaker 1: like one of the funds like this didn't age well,

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Speaker 1: this isn't as cute as I thought it was. And

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Speaker 1: then Francis can't afford to stay with Levi and Benji anymore,

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Speaker 1: so she goes to stay with her friend Rachel from

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Speaker 1: the dance company, who clearly does not seem to really

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Speaker 1: like is a Kazan Because sorry, I'm not, That's just

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Speaker 1: what we're saying in the art work on Christina is

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Speaker 1: our representative from the art work, and so if we

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Speaker 1: if we're sucking it up, let us or just put

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Speaker 1: the emphascists on a different syllable or pedestrian heathens. I'm

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Speaker 1: sorry you meant to. So she is hanging out with

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Speaker 1: Rachel and Rachel's friends and she finds out from these

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Speaker 1: people that Sophie and her boyfriend Patch are moving to

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Speaker 1: Japan in a few weeks, and Sophie hasn't told this

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Speaker 1: directly to Francis, so she's like, oh, no, some of

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Speaker 1: these problems are so bronn that you're just like, sure,

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Speaker 1: my boyfriend and I moving to Japan in a few weeks.

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Speaker 1: I'm sorry, Francis. They're just like sure. I do take

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Speaker 1: this movie as like Brooklyn Gospel. Maybe that's totally misguided,

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Speaker 1: but I'm like, oh, I feel like that happens all

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Speaker 1: the time, that you would go on a date with someone.

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Speaker 1: If it doesn't work out, you can just become roommates. Yeah,

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Speaker 1: I think so. So then Francis decides to spontaneously go

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Speaker 1: to Paris, and it's basically a wasted trip because she

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Speaker 1: like sleeps the whole time accidentally and doesn't do anything.

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Speaker 1: That's the part Melissa and I started crying. This is

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Speaker 1: actually we could go into there. I think this is

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Speaker 1: the best part of the movie. This is when it's

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Speaker 1: actually kind of subverting its own romanticism. Sure locked up

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Speaker 1: this character is yeah, let's let's talk about that. Let's

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Speaker 1: put a pin in that um And then so really quick,

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Speaker 1: I meant rachel I confuse my Kazan's and my gummers.

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Speaker 1: Grace Gummer plays rachel A k A. What is a

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Speaker 1: gummer a Meryl Streep's daughter is what it is? Sorry,

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Speaker 1: Meryl Streep or Maryle Meryll st welcome and take a

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Speaker 1: left onto Meryl Street. Well, last season two might be

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Speaker 1: over by the time streets. Okay, So she's in Paris,

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Speaker 1: and then very French Sophie calls her to finally tell

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Speaker 1: her that she's moving to Japan. Their conversation, it's very tense.

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Speaker 1: And then she gets back to the US. She has

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Speaker 1: a meeting with a dance company owner and she thinks

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Speaker 1: she's going to be made a part of the touring company,

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Speaker 1: but instead she has offered an office job, which she

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Speaker 1: turns down immediately. Also a devastating I don't know. That

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Speaker 1: seems also like devastating, but I also like that because

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Speaker 1: she was like, no, I don't want that job. I

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Speaker 1: know what I want, and I'm gonna immediately stand up.

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Speaker 1: She turns it down. Yeah, but that was a tough

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Speaker 1: scene to watch her process what was happening, because she

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Speaker 1: she had already started telling people She's like, I'm going

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Speaker 1: to be worring soon, and she's like, god, as someone

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Speaker 1: who has jumped the gun before. And then it was

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Speaker 1: even sadder because her saying touring company was playing down

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Speaker 1: her own expectations, like, oh, I'm definitely going to join

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Speaker 1: the company, but probably just a touring right, And then

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Speaker 1: she doesn't even get that. Yeah. I think gret Growing

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Speaker 1: is really good in this movie the way she's like yeah.

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Speaker 1: So then we cut to Frances having moved to Poughkeepsie

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Speaker 1: to be an r A at the college where she

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Speaker 1: went to school. Um, and she worked. I think, is it?

420
00:24:32,840 --> 00:24:35,000
Speaker 1: That's what I saw and that's what the Wikipedia said.

421
00:24:35,640 --> 00:24:38,240
Speaker 1: All colleges east of the Mississippi kind of blend together

422
00:24:38,280 --> 00:24:42,040
Speaker 1: for me. Yeah, it's very it's it's very like Neil

423
00:24:42,080 --> 00:24:44,240
Speaker 1: the Family. You're like, oh, this is a female friendly space.

424
00:24:44,280 --> 00:24:47,600
Speaker 1: It's she it's she returns to vassor her Almo my tear?

425
00:24:47,720 --> 00:24:56,640
Speaker 1: Is that how you say it? Mam? Well we have fun. Um.

426
00:24:56,680 --> 00:25:00,359
Speaker 1: So she's at this school in Pokeepsie a k mass her.

427
00:25:00,680 --> 00:25:04,080
Speaker 1: She is working various events around campus to make money,

428
00:25:04,200 --> 00:25:08,520
Speaker 1: and at one of them, Sophie and Patch are in attendance,

429
00:25:08,720 --> 00:25:12,600
Speaker 1: and like Francis is lurking around until she overhears Sophie

430
00:25:12,600 --> 00:25:15,320
Speaker 1: say that she and Patch are engaged, and she's like, what,

431
00:25:15,640 --> 00:25:19,240
Speaker 1: you're gay, right, because she's she's a She's lurking around

432
00:25:19,240 --> 00:25:21,119
Speaker 1: because she's a caterer and she doesn't want to be

433
00:25:21,160 --> 00:25:26,120
Speaker 1: exposed as working as a caterer. But then like record scratch, Yeah,

434
00:25:26,240 --> 00:25:29,359
Speaker 1: well well what what that really is? How them find out?

435
00:25:29,680 --> 00:25:34,000
Speaker 1: She actually does a triple take with Neon sunglasses and

436
00:25:34,160 --> 00:25:37,439
Speaker 1: just the sunglasses are in color. Yeah, it's kind of

437
00:25:37,480 --> 00:25:42,679
Speaker 1: it's kind of like she loves listening. That way go on,

438
00:25:43,680 --> 00:25:47,879
Speaker 1: So she and Sophie get to talking. At this event,

439
00:25:48,000 --> 00:25:51,440
Speaker 1: Sophie is drunk. She and Patch are not getting along.

440
00:25:51,560 --> 00:25:54,080
Speaker 1: And then later that night, Sophie shows up to Francis's

441
00:25:54,160 --> 00:25:57,280
Speaker 1: dorm room and they kind of rekindle their friendship a

442
00:25:57,280 --> 00:26:01,560
Speaker 1: little bit. And then Sophie said, is that she wants

443
00:26:01,600 --> 00:26:05,080
Speaker 1: to leave Tokyo. She wants to leave Patch. She wants

444
00:26:05,119 --> 00:26:09,760
Speaker 1: to move back to New York. Yes, I think I'm

445
00:26:09,760 --> 00:26:12,000
Speaker 1: going to leave you are New York. I think I'm

446
00:26:12,040 --> 00:26:14,679
Speaker 1: going to leave Patch because I just figured out New

447
00:26:14,720 --> 00:26:17,880
Speaker 1: York is a character in the movie, and I want

448
00:26:17,880 --> 00:26:19,520
Speaker 1: to leave Patch, but I don't want to leave my

449
00:26:19,760 --> 00:26:23,080
Speaker 1: friend character New York. I couldn't help, but wonder was

450
00:26:23,200 --> 00:26:27,280
Speaker 1: New York my boyfriend? It sounds like a Carrie Bradshaw

451
00:26:27,560 --> 00:26:32,639
Speaker 1: us over. That's exactly what I was trying to um.

452
00:26:32,720 --> 00:26:36,159
Speaker 1: And then sometime later, Frances has moved back to New

453
00:26:36,240 --> 00:26:40,119
Speaker 1: York City. She is choreographing dances she puts on a show.

454
00:26:40,600 --> 00:26:44,560
Speaker 1: All of her friends are there, including Sophie and Patched,

455
00:26:44,560 --> 00:26:48,680
Speaker 1: who have gotten married. Her old roommates Leve and Benji

456
00:26:48,760 --> 00:26:53,520
Speaker 1: are there. Her the dance company instructor owner person is there,

457
00:26:54,160 --> 00:26:58,720
Speaker 1: and then that's when I stopped writing down my version

458
00:26:58,720 --> 00:27:00,680
Speaker 1: of the recap. And then I don't know if anything

459
00:27:00,760 --> 00:27:04,640
Speaker 1: happens after that, so if there's any blanks to fill

460
00:27:04,640 --> 00:27:06,280
Speaker 1: in it, the only thing that I alsought that was

461
00:27:06,320 --> 00:27:08,480
Speaker 1: a little I thought it was a really lovely ending

462
00:27:08,520 --> 00:27:10,760
Speaker 1: in terms of, you know, it was because it's a

463
00:27:10,800 --> 00:27:15,040
Speaker 1: movie about like an artist finding themselves but also within

464
00:27:15,359 --> 00:27:18,639
Speaker 1: the limits of her own artistic capacity, which is like

465
00:27:18,680 --> 00:27:21,560
Speaker 1: her coming to grips with that she's not she's not

466
00:27:21,560 --> 00:27:24,360
Speaker 1: going to be the great dancer that she wants to be,

467
00:27:24,560 --> 00:27:26,960
Speaker 1: but she's actually has a voice as a choreographer, and

468
00:27:27,000 --> 00:27:30,920
Speaker 1: it's this adjacent thing which feels like a compromise. That

469
00:27:30,960 --> 00:27:33,400
Speaker 1: is why she resists it. But then you know there's

470
00:27:33,400 --> 00:27:36,040
Speaker 1: something in the end is the only time you actually see,

471
00:27:36,320 --> 00:27:38,719
Speaker 1: you know, a piece of her work, so it kind

472
00:27:38,760 --> 00:27:40,760
Speaker 1: of celebrates that, and I think that and then the

473
00:27:40,920 --> 00:27:44,040
Speaker 1: I guess where she the storyline about her and her

474
00:27:44,040 --> 00:27:47,720
Speaker 1: friendship with Sophie ends is that they like I think

475
00:27:47,720 --> 00:27:50,400
Speaker 1: they're on the subway again and they're talking about like,

476
00:27:50,440 --> 00:27:52,639
Speaker 1: oh what if we got apartments like really close to

477
00:27:52,680 --> 00:27:56,679
Speaker 1: each other, but they live alone yeah, it seems like

478
00:27:56,760 --> 00:28:01,120
Speaker 1: I thought the ending was lovely. Yeah, there is what

479
00:28:00,840 --> 00:28:03,639
Speaker 1: I remember. There's a little bit of a shoehorning of

480
00:28:03,640 --> 00:28:06,080
Speaker 1: a romantic element, and that her and Benji connect again

481
00:28:06,119 --> 00:28:08,960
Speaker 1: and he's like, I'm saying all and she's like, ah,

482
00:28:09,040 --> 00:28:11,639
Speaker 1: me too, and I guess we're on your ball. And

483
00:28:11,640 --> 00:28:13,919
Speaker 1: then it's implied that they're going to get together. But

484
00:28:14,000 --> 00:28:17,879
Speaker 1: the ending ending is a moment that Francis refers to

485
00:28:18,000 --> 00:28:21,160
Speaker 1: during the dinner party, you know, half an hour earlier,

486
00:28:21,200 --> 00:28:23,760
Speaker 1: about you know, what she wants out of a relationship,

487
00:28:23,840 --> 00:28:26,200
Speaker 1: and she's like talks about this was a little cringe

488
00:28:26,240 --> 00:28:28,840
Speaker 1: e and hard to watch, but it's true, and it

489
00:28:28,960 --> 00:28:31,919
Speaker 1: made me very uncomfortable to watch it. She's like, you know,

490
00:28:32,040 --> 00:28:33,840
Speaker 1: talking about like, you know, when that feeling like when

491
00:28:33,840 --> 00:28:36,080
Speaker 1: you're at a party and like you and your person

492
00:28:36,160 --> 00:28:39,600
Speaker 1: are both being charming and amazing and then you just

493
00:28:39,640 --> 00:28:42,520
Speaker 1: catch each other's eye, you share a moment and it's

494
00:28:42,560 --> 00:28:44,840
Speaker 1: just you and your person having your own little world

495
00:28:44,880 --> 00:28:48,440
Speaker 1: blah blah blah. Yeah, and it's cute callback because she

496
00:28:48,520 --> 00:28:51,720
Speaker 1: has that moment with Sophie and that's the end of

497
00:28:51,720 --> 00:28:55,360
Speaker 1: the movie. Okay, got it? Yeah, it's yeah, I liked.

498
00:28:55,560 --> 00:28:59,760
Speaker 1: I mean in like, I feel like this movie, I

499
00:28:59,800 --> 00:29:02,160
Speaker 1: don't know, I'm like, even seven years later, I wonder

500
00:29:02,240 --> 00:29:05,480
Speaker 1: if like the Benji of it all would have gotten

501
00:29:05,520 --> 00:29:09,720
Speaker 1: the attention that it does at the end. But it's

502
00:29:09,840 --> 00:29:13,200
Speaker 1: it stays pretty well within the bounds of like the

503
00:29:13,280 --> 00:29:16,040
Speaker 1: friendship is where the emphasis is, which feels like it belongs.

504
00:29:16,600 --> 00:29:18,840
Speaker 1: And we can talk more about that right after this

505
00:29:18,920 --> 00:29:28,320
Speaker 1: break break. Okay, so a few things right at the jump.

506
00:29:28,400 --> 00:29:30,560
Speaker 1: I mean, this also takes place in an all white

507
00:29:30,600 --> 00:29:34,719
Speaker 1: New York City. Like many movies like New York is

508
00:29:36,600 --> 00:29:39,240
Speaker 1: it is not the true reflection of he was like

509
00:29:39,280 --> 00:29:44,239
Speaker 1: hold on a second um, which is I think like

510
00:29:44,320 --> 00:29:49,280
Speaker 1: one of them more glaring like things about it this movie,

511
00:29:49,400 --> 00:29:53,040
Speaker 1: Like there are class elements addressed in it that I

512
00:29:53,040 --> 00:29:57,080
Speaker 1: thought were kind of cool and where it's I feel

513
00:29:57,080 --> 00:29:59,280
Speaker 1: like this movie brings up something that not a lot

514
00:29:59,280 --> 00:30:01,920
Speaker 1: of movies or really people do, which is like kind

515
00:30:01,920 --> 00:30:05,360
Speaker 1: of like what the difference between being broke and being

516
00:30:05,520 --> 00:30:09,240
Speaker 1: poor is? And this movie calls that out pretty directly,

517
00:30:09,640 --> 00:30:15,400
Speaker 1: where like Francis ha is broke but not poor per se,

518
00:30:15,520 --> 00:30:19,200
Speaker 1: where like she's a struggling artist, but we see, you know,

519
00:30:19,240 --> 00:30:24,600
Speaker 1: in Sacramento ak gretitor Wig cannon Um. She has a

520
00:30:24,640 --> 00:30:27,360
Speaker 1: loving family who it we think that you know and

521
00:30:27,560 --> 00:30:29,720
Speaker 1: they're like, oh, we're sorry, we can't help you out more.

522
00:30:30,680 --> 00:30:34,240
Speaker 1: But like, worst case she's got a support system. Worst

523
00:30:34,240 --> 00:30:36,400
Speaker 1: case she can move home. And I think that that's

524
00:30:36,440 --> 00:30:38,800
Speaker 1: like a cool thing to see reflected also the fact

525
00:30:38,800 --> 00:30:41,600
Speaker 1: that she's she's the most broke of her friend group,

526
00:30:41,640 --> 00:30:44,160
Speaker 1: but the fact that I mean it even speaks to her.

527
00:30:44,320 --> 00:30:46,560
Speaker 1: I guess like talent or drives and like, wait a minute,

528
00:30:46,600 --> 00:30:49,640
Speaker 1: you're a full time dancer, you know, with no day

529
00:30:49,720 --> 00:30:51,520
Speaker 1: job in New York City and you have a roof

530
00:30:51,560 --> 00:30:55,600
Speaker 1: over your head's a miracle. And Benji has maybe only

531
00:30:55,640 --> 00:30:57,240
Speaker 1: his true function is to call her out on that.

532
00:30:57,320 --> 00:30:59,560
Speaker 1: She talks about being poor and he's like, you are

533
00:30:59,600 --> 00:31:01,760
Speaker 1: not poor. He's like, there are four people in New

534
00:31:01,840 --> 00:31:04,360
Speaker 1: York and you are not one of them. Exactly. Yeah,

535
00:31:04,480 --> 00:31:06,080
Speaker 1: And like that scene of it was like kind of

536
00:31:06,080 --> 00:31:08,880
Speaker 1: a relief to see that addressed, because it's like, I

537
00:31:08,880 --> 00:31:11,920
Speaker 1: don't know, I've been the brokest of But there's there's

538
00:31:11,960 --> 00:31:15,440
Speaker 1: a difference. There's definitely a difference of having no alternative.

539
00:31:16,200 --> 00:31:17,880
Speaker 1: Like what we're seeing in her with her is like

540
00:31:17,920 --> 00:31:20,920
Speaker 1: she's definitely struggling, but it's more of an X like

541
00:31:21,000 --> 00:31:25,040
Speaker 1: it's worst case she could pony up and take the

542
00:31:25,120 --> 00:31:28,200
Speaker 1: office job, you know, like exactly. I also see, yeah,

543
00:31:28,280 --> 00:31:32,160
Speaker 1: the I'm ambivalent about the people who sort of refuse

544
00:31:32,280 --> 00:31:34,840
Speaker 1: to get day jobs because like I'm an artist and

545
00:31:34,880 --> 00:31:37,760
Speaker 1: this is I mean, there's something that I want to

546
00:31:37,760 --> 00:31:40,320
Speaker 1: say is admirable about that, But it's also a privilege.

547
00:31:40,400 --> 00:31:43,080
Speaker 1: Just so, yeah, you can only do you simply can't

548
00:31:43,160 --> 00:31:46,959
Speaker 1: do anything else. It's people who and we know plenty

549
00:31:46,960 --> 00:31:52,880
Speaker 1: of them here in you know, l A. But I

550
00:31:52,880 --> 00:31:56,240
Speaker 1: mean the people who are able to do that come

551
00:31:56,320 --> 00:32:00,280
Speaker 1: from a place of privilege, and people who have ane

552
00:32:00,280 --> 00:32:03,320
Speaker 1: where can actually deal with a lot more scarcity day

553
00:32:03,360 --> 00:32:06,520
Speaker 1: to day just knowing that it's there. It's a psychological thing. Yeah,

554
00:32:06,600 --> 00:32:10,640
Speaker 1: like having having the option of I mean, like I've

555
00:32:10,960 --> 00:32:13,160
Speaker 1: always been kind of scanted, but like worst case, i

556
00:32:13,160 --> 00:32:16,719
Speaker 1: could go back to Brockton, Massachusetts and live in my

557
00:32:16,760 --> 00:32:19,280
Speaker 1: Pappy's house. You know, Like that sort of thing, which

558
00:32:19,360 --> 00:32:21,400
Speaker 1: is like a sort of privilege that is not checked

559
00:32:21,440 --> 00:32:25,720
Speaker 1: in movies very often. Definitely Pappy's shack and literally in

560
00:32:25,800 --> 00:32:30,120
Speaker 1: Pappy's crumbling home. It's a Peppy s anyone who's ever

561
00:32:30,120 --> 00:32:36,040
Speaker 1: been to my Pappy's crumbling home. Pappy shatew Jamie's safe

562
00:32:36,080 --> 00:32:39,600
Speaker 1: space every time I called my father gently takes out

563
00:32:39,600 --> 00:32:43,520
Speaker 1: of his teeth and says, it's always an option, um,

564
00:32:43,800 --> 00:32:46,320
Speaker 1: to remove your to have no teeth, you know, to

565
00:32:46,360 --> 00:32:48,600
Speaker 1: move back into his crumbling check all that to say,

566
00:32:48,920 --> 00:32:52,600
Speaker 1: it is an option, and I am fortunate to have it, certainly,

567
00:32:52,640 --> 00:32:55,200
Speaker 1: And it is kind of like I felt checked in

568
00:32:55,240 --> 00:32:57,560
Speaker 1: that way too, and I was like, yes, like that

569
00:32:57,720 --> 00:33:02,240
Speaker 1: is not something that's called out very often. Good. This

570
00:33:02,280 --> 00:33:06,800
Speaker 1: is I think pretty standard for this genre. But so

571
00:33:06,880 --> 00:33:09,840
Speaker 1: many movies that you know, take place in New York

572
00:33:09,920 --> 00:33:14,440
Speaker 1: and or are about artists or otherwise future people who

573
00:33:14,560 --> 00:33:18,360
Speaker 1: appear to be so abundantly wealthy that you're just confused

574
00:33:18,360 --> 00:33:21,840
Speaker 1: about how how do you afford this apartment? And so Yeah,

575
00:33:21,840 --> 00:33:25,200
Speaker 1: the fact that it's even her you know, struggling financial

576
00:33:25,240 --> 00:33:28,760
Speaker 1: situation is called attention to in the through line of

577
00:33:28,800 --> 00:33:31,640
Speaker 1: the plot is just yeah, her her real estate struggles,

578
00:33:31,640 --> 00:33:33,680
Speaker 1: because I think the plot is separated by the different

579
00:33:33,720 --> 00:33:37,880
Speaker 1: locations that she has to live. Yeah, it's address next

580
00:33:37,920 --> 00:33:42,000
Speaker 1: act right there. The money aspects of this movie that

581
00:33:42,240 --> 00:33:45,840
Speaker 1: were like more realistic than most things you would see

582
00:33:45,840 --> 00:33:48,680
Speaker 1: because that one of the scenes that like hit for me,

583
00:33:48,920 --> 00:33:51,800
Speaker 1: I think when I first saw it, even more so

584
00:33:51,840 --> 00:33:55,560
Speaker 1: than now, was her having to remind her wealthier roommates

585
00:33:55,640 --> 00:34:00,000
Speaker 1: like yeah, that she's paying less and that they agree

586
00:34:00,000 --> 00:34:02,320
Speaker 1: read to that, because I think that was maybe the

587
00:34:02,320 --> 00:34:04,880
Speaker 1: only thing I related with this movie the first time around,

588
00:34:05,200 --> 00:34:07,840
Speaker 1: was like she it's implied that Adam Driver and the

589
00:34:07,840 --> 00:34:10,840
Speaker 1: guy from Marvelous Mrs Maizel are like to kind of

590
00:34:10,880 --> 00:34:13,720
Speaker 1: trust fund babies who don't have much to worry about,

591
00:34:14,080 --> 00:34:16,960
Speaker 1: and they're artists too, so their peers, but they're not

592
00:34:17,080 --> 00:34:20,440
Speaker 1: really class wise because she's from kind of like a

593
00:34:20,480 --> 00:34:25,120
Speaker 1: middle class family who support her but can't support her,

594
00:34:25,360 --> 00:34:28,440
Speaker 1: and so she has to remind them from the couch

595
00:34:29,520 --> 00:34:31,799
Speaker 1: that she's only paying nine fifty and that they said

596
00:34:31,840 --> 00:34:34,000
Speaker 1: that that was okay, right, And then it's like this

597
00:34:34,160 --> 00:34:36,879
Speaker 1: awkward interact like I was like, oh, yeah, I forgot okay.

598
00:34:36,920 --> 00:34:41,399
Speaker 1: So I'm like, wow, who has like an extra three months, right,

599
00:34:42,760 --> 00:34:48,480
Speaker 1: which I mean Adam Driver. I like him. I like him.

600
00:34:50,320 --> 00:34:53,399
Speaker 1: Are you trying to convince yourself still? No? I don't

601
00:34:53,440 --> 00:34:55,600
Speaker 1: want to like him. I want to because his career

602
00:34:55,960 --> 00:35:01,120
Speaker 1: trajectory is fucking baffling. He was in the army. He

603
00:35:01,239 --> 00:35:06,120
Speaker 1: puts on operas for the army tremor so like, I'm like,

604
00:35:06,400 --> 00:35:10,160
Speaker 1: is he like a testament to male mediocrity? And if so,

605
00:35:10,239 --> 00:35:13,240
Speaker 1: why do I like it? Like he it's just weird,

606
00:35:13,400 --> 00:35:15,400
Speaker 1: but whatever, I like it, And I think he's a

607
00:35:15,400 --> 00:35:16,719
Speaker 1: good He does a good job in this movie. I

608
00:35:16,719 --> 00:35:19,839
Speaker 1: think he might. I think he's on track to be

609
00:35:19,960 --> 00:35:24,719
Speaker 1: our our nation's next Kanu. Interesting. Yeah, we're like, well,

610
00:35:24,760 --> 00:35:26,480
Speaker 1: I think he's like Kanu in that, And I'm like,

611
00:35:26,560 --> 00:35:29,520
Speaker 1: I don't know if he's good, but I never hate

612
00:35:29,520 --> 00:35:32,480
Speaker 1: to see him. Yeah, there's he's so compelling and for

613
00:35:32,520 --> 00:35:34,759
Speaker 1: being sort of a big star, there's actually something still

614
00:35:34,880 --> 00:35:38,560
Speaker 1: kind of enigmatic. He's about Oscar nominated as like that.

615
00:35:38,719 --> 00:35:41,600
Speaker 1: I'm just like, we've gone too far. Maybe he shouldn't

616
00:35:41,600 --> 00:35:43,880
Speaker 1: have been nominated for an Oscar. What was he nominated?

617
00:35:44,400 --> 00:35:48,640
Speaker 1: Nominated for Black Klansmen. I didn't know Adam Driver. Yeah,

618
00:35:48,719 --> 00:35:51,799
Speaker 1: I didn't even know he was in Black Klansmen. You

619
00:35:51,840 --> 00:35:55,160
Speaker 1: hate to see it, but he is. There's a moment.

620
00:35:55,480 --> 00:35:58,200
Speaker 1: I think it's at the end of the day, the

621
00:35:58,239 --> 00:36:02,799
Speaker 1: one day that of Adam Driver's character and Francisco on.

622
00:36:03,480 --> 00:36:06,879
Speaker 1: He basically tries to give her not a surprise kiss,

623
00:36:06,880 --> 00:36:09,560
Speaker 1: but it's like a surprise touch on her shoulder and

624
00:36:09,640 --> 00:36:14,719
Speaker 1: she just goes and then like tightens up, and which

625
00:36:14,760 --> 00:36:16,839
Speaker 1: is like one of the many moments in this movie

626
00:36:16,840 --> 00:36:18,640
Speaker 1: where we're like, that was a little too man like

627
00:36:18,680 --> 00:36:21,680
Speaker 1: Pixie Dreamgirl on the execution, but I appreciate what you

628
00:36:21,680 --> 00:36:24,680
Speaker 1: were doing. He was exaggerated, but I have, you know,

629
00:36:24,800 --> 00:36:27,680
Speaker 1: pulled that move. Sure, I'm not trying to say that,

630
00:36:27,719 --> 00:36:32,640
Speaker 1: like the aartriistic merit of this movie is completely predicated

631
00:36:32,719 --> 00:36:36,600
Speaker 1: on me relating to it, but I have listen, Okay,

632
00:36:36,960 --> 00:36:40,240
Speaker 1: like I'm a cancer survivor, but like nothing really prepares

633
00:36:40,280 --> 00:36:44,439
Speaker 1: you for being diagnosed as quirky. And I think that's

634
00:36:44,440 --> 00:36:47,640
Speaker 1: something that every woman in this room has struggled with. Yes,

635
00:36:47,760 --> 00:36:51,600
Speaker 1: you know, we're all recovering, we're all recovering adorables all,

636
00:36:52,560 --> 00:36:54,760
Speaker 1: we're all recovering, not like the other girls. It's funny

637
00:36:54,760 --> 00:36:57,000
Speaker 1: because I felt like that was a good It was

638
00:36:57,000 --> 00:36:59,160
Speaker 1: maybe exaggerated, but I thought that was a really real

639
00:36:59,239 --> 00:37:03,279
Speaker 1: moment in that I feel like most encounters, if they're

640
00:37:03,280 --> 00:37:05,360
Speaker 1: not if they are consensual, but you're not on the

641
00:37:05,400 --> 00:37:09,000
Speaker 1: same page, they're not very articulate, where it's like may

642
00:37:09,040 --> 00:37:11,080
Speaker 1: I touch you here? And then it's like yes. It's

643
00:37:11,200 --> 00:37:14,440
Speaker 1: usually someone having the sense through body language that this

644
00:37:14,520 --> 00:37:17,759
Speaker 1: is not okay, and sometimes that can like erupt in

645
00:37:18,200 --> 00:37:20,480
Speaker 1: awkward ways. Well, what we always see. I don't even

646
00:37:20,480 --> 00:37:22,680
Speaker 1: mind her reaction, um, and I would like to get

647
00:37:22,680 --> 00:37:25,160
Speaker 1: into the kind of like you know, Manning Pixie discussion

648
00:37:25,160 --> 00:37:27,840
Speaker 1: of this. But what I enjoy is that we see

649
00:37:28,200 --> 00:37:32,360
Speaker 1: so much in movies a you know, surprise kiss or

650
00:37:32,440 --> 00:37:35,760
Speaker 1: surprise touch, which is framed as being this like wonderfully

651
00:37:35,920 --> 00:37:41,640
Speaker 1: romantic moment that happens even though only one party is

652
00:37:41,800 --> 00:37:44,080
Speaker 1: privy to what's about to happen and no one has

653
00:37:44,120 --> 00:37:46,640
Speaker 1: given consent. But it's like to look like a gesture

654
00:37:46,680 --> 00:37:48,920
Speaker 1: and not a yet right, not a like you know,

655
00:37:49,320 --> 00:37:53,160
Speaker 1: borderline sexual assault kind of thing. Yeah, So I like

656
00:37:53,239 --> 00:37:57,120
Speaker 1: that she gives like a reaction because you know, she

657
00:37:57,160 --> 00:38:00,239
Speaker 1: didn't consent and and she reacts appropriate. I think that

658
00:38:00,320 --> 00:38:04,360
Speaker 1: whole scene with their date, though, I enjoyed in general

659
00:38:04,440 --> 00:38:08,480
Speaker 1: because I like he is a master at being at

660
00:38:08,520 --> 00:38:12,239
Speaker 1: as acting like a Brooklyn douchebag and is playing in

661
00:38:12,280 --> 00:38:16,520
Speaker 1: that part masterfully and in this scene and like made

662
00:38:16,520 --> 00:38:18,759
Speaker 1: me laugh at a lot of different points because he's

663
00:38:18,800 --> 00:38:21,719
Speaker 1: playing this douchebag that she's like kind of visibly not

664
00:38:21,840 --> 00:38:26,839
Speaker 1: impressed by. Where there's that whole thing where he you know,

665
00:38:27,040 --> 00:38:29,560
Speaker 1: he's showing herself on his phone. It's so cringe e.

666
00:38:29,760 --> 00:38:32,000
Speaker 1: He's like, yeah, this meal into a basketball game once.

667
00:38:32,280 --> 00:38:33,920
Speaker 1: You like basketball, right, And she's like, oh, I went

668
00:38:33,960 --> 00:38:37,600
Speaker 1: to a game once, and he's like yeah, anyways, motorcycle. Yeah,

669
00:38:37,640 --> 00:38:40,759
Speaker 1: anyways is me and jay Leno keeps and then she

670
00:38:40,800 --> 00:38:42,719
Speaker 1: goes back to his apartment. I love the way the

671
00:38:43,120 --> 00:38:45,640
Speaker 1: way the male characters kind of flattened, but they're like kids,

672
00:38:45,640 --> 00:38:47,640
Speaker 1: like showing her their toys, Like when they go back

673
00:38:47,640 --> 00:38:49,759
Speaker 1: to the apartment, Benji's always showing her like, look at

674
00:38:49,800 --> 00:38:51,759
Speaker 1: these things. I go, look at my old camera. It's

675
00:38:51,800 --> 00:38:55,759
Speaker 1: so it's showing like traditional flirting tactics that I think

676
00:38:55,800 --> 00:38:57,800
Speaker 1: in a different movie would be made out to seem

677
00:38:57,840 --> 00:39:00,960
Speaker 1: like really cute or cool, and it like makes them

678
00:39:00,960 --> 00:39:03,799
Speaker 1: look kind of pathetic in this context. And it's kind

679
00:39:03,840 --> 00:39:06,160
Speaker 1: of nice to see like a Brooklyn trust fund boy

680
00:39:06,560 --> 00:39:11,439
Speaker 1: look pathetic because they very often are. Or like when

681
00:39:11,520 --> 00:39:14,959
Speaker 1: she she insists on paying for dinner for their date,

682
00:39:16,680 --> 00:39:18,439
Speaker 1: and it is very funny because it's like that's another

683
00:39:18,480 --> 00:39:21,600
Speaker 1: way that her brokenness comes into play because her card

684
00:39:21,640 --> 00:39:23,799
Speaker 1: gets rejected, she has to like go pay a three

685
00:39:23,800 --> 00:39:26,200
Speaker 1: dollar fee at an a t M, which is a

686
00:39:26,239 --> 00:39:29,480
Speaker 1: triggering experience we've all had. But then he like is

687
00:39:29,520 --> 00:39:31,839
Speaker 1: also a dick about that in a way where he's like,

688
00:39:32,200 --> 00:39:34,640
Speaker 1: you know, a sleepie right, and she's like what and

689
00:39:34,680 --> 00:39:36,879
Speaker 1: he's like, oh, I'm just pretending to be a liberated woman,

690
00:39:37,120 --> 00:39:40,040
Speaker 1: and and then and she's like and she's like ha

691
00:39:40,040 --> 00:39:42,719
Speaker 1: ha okay, Like I don't know. The way that date

692
00:39:42,800 --> 00:39:46,600
Speaker 1: scene played out, I thought was like at least, I mean,

693
00:39:47,080 --> 00:39:48,880
Speaker 1: I guess that's kind of the point of movies like this.

694
00:39:49,200 --> 00:39:52,239
Speaker 1: Like in a movie where the female character is there

695
00:39:52,239 --> 00:39:54,239
Speaker 1: to set an example for other women, she would be like,

696
00:39:54,280 --> 00:39:56,719
Speaker 1: you're full of shit. But in a movie that I

697
00:39:56,800 --> 00:39:59,800
Speaker 1: think that it's reflecting an awkward situation that has happened

698
00:39:59,800 --> 00:40:03,280
Speaker 1: to lot of people. She's kind of just like whatever,

699
00:40:03,760 --> 00:40:05,919
Speaker 1: like and trying to get through it, which is cool

700
00:40:05,960 --> 00:40:08,920
Speaker 1: to see. Two in terms of I mean movies, I

701
00:40:08,960 --> 00:40:11,160
Speaker 1: mean even not having a style as a style, so

702
00:40:11,200 --> 00:40:13,799
Speaker 1: it's like you have to like pick and shoes when

703
00:40:13,840 --> 00:40:16,600
Speaker 1: your character is going to have the like the articulate breakthrough,

704
00:40:16,680 --> 00:40:19,160
Speaker 1: and that's like, that wasn't the moment for it, because

705
00:40:19,239 --> 00:40:22,280
Speaker 1: it's not about her relationship with minutes about her relationship

706
00:40:22,320 --> 00:40:25,920
Speaker 1: with her friends. So that's why her big articulate moment

707
00:40:26,080 --> 00:40:29,400
Speaker 1: is that this dinner party talking about a hypothetical relationship

708
00:40:29,440 --> 00:40:33,680
Speaker 1: and it turns out it's with her. Yeah, can we

709
00:40:33,719 --> 00:40:36,960
Speaker 1: talk more about that. Let's talk about it in conclusion.

710
00:40:37,000 --> 00:40:43,240
Speaker 1: Adam Driver is Milady. The character Mr Good good job

711
00:40:44,040 --> 00:40:47,960
Speaker 1: my man anyway has a motorcycle. I think, yeah, they

712
00:40:47,960 --> 00:40:50,680
Speaker 1: have kind of a weird I just wrote down. Francis

713
00:40:50,800 --> 00:40:55,000
Speaker 1: is codependent behavior. It is definitely contrasted, obviously in the

714
00:40:55,000 --> 00:40:56,920
Speaker 1: first two scenes where she's like, I can't move in

715
00:40:56,960 --> 00:40:59,959
Speaker 1: with you because I have to stay with my friend,

716
00:41:00,000 --> 00:41:03,040
Speaker 1: and the whole just just just the apologizing and the

717
00:41:03,360 --> 00:41:06,040
Speaker 1: I feel bad, I feel bad, I feel guilty. It's

718
00:41:06,120 --> 00:41:09,400
Speaker 1: so but her friend, and I know she's sort of

719
00:41:09,440 --> 00:41:11,520
Speaker 1: maybe the Sophie character. I feel like it's flattened to

720
00:41:11,560 --> 00:41:15,000
Speaker 1: be a little more like, not as artsy or weird,

721
00:41:15,840 --> 00:41:18,920
Speaker 1: but she's definitely more self possessed in that, you know,

722
00:41:19,040 --> 00:41:21,279
Speaker 1: she has her own thing that she wants to do,

723
00:41:21,440 --> 00:41:23,360
Speaker 1: and it's like checking in with Francis, but it is

724
00:41:23,400 --> 00:41:25,399
Speaker 1: like I'm going to do this. I want to move

725
00:41:25,400 --> 00:41:29,600
Speaker 1: out because I've o my dream of living in this neighborhood,

726
00:41:29,640 --> 00:41:32,640
Speaker 1: which is maybe longer than I've known you, is like important,

727
00:41:32,680 --> 00:41:34,320
Speaker 1: So I'm checking in, but I'm telling you this is

728
00:41:34,360 --> 00:41:37,480
Speaker 1: what I want. And that's something that I didn't understand

729
00:41:37,560 --> 00:41:39,440
Speaker 1: about the movie when I first thought that I understand

730
00:41:39,480 --> 00:41:43,040
Speaker 1: now of just like I guess, just like this friendship

731
00:41:43,080 --> 00:41:45,399
Speaker 1: as adorable as it is in the opening, but it's

732
00:41:45,440 --> 00:41:48,480
Speaker 1: like they're twenty seven years old. They need boundaries, and

733
00:41:48,520 --> 00:41:53,600
Speaker 1: that's something that I think that Sophie recognizes first. And

734
00:41:53,680 --> 00:41:55,719
Speaker 1: so it's weird because I think when I first watched

735
00:41:55,760 --> 00:41:58,239
Speaker 1: this movie, you sort of view her as like, oh,

736
00:41:58,280 --> 00:42:01,040
Speaker 1: why is she hurting francis Is feelings the sex? But

737
00:42:01,080 --> 00:42:03,560
Speaker 1: then it's just like no, she just like it's not

738
00:42:03,600 --> 00:42:06,560
Speaker 1: that she's breaking off the friendship. She just needs to

739
00:42:06,640 --> 00:42:08,920
Speaker 1: change the boundaries of it. And that makes sense for

740
00:42:09,000 --> 00:42:11,200
Speaker 1: what we see in the opening sequence. Yeah, the first

741
00:42:11,200 --> 00:42:13,719
Speaker 1: you just her she's the unsympathetic, non artsy character and

742
00:42:13,760 --> 00:42:16,000
Speaker 1: there's a really low moment I thought it was actually

743
00:42:16,080 --> 00:42:18,959
Speaker 1: kind of mean where frances Is like, oh, Sophie's not smart.

744
00:42:19,000 --> 00:42:21,279
Speaker 1: She doesn't even read, and I was like, so mean

745
00:42:22,000 --> 00:42:24,480
Speaker 1: she does at work. A big thing is like because

746
00:42:24,480 --> 00:42:28,240
Speaker 1: the character like Patch, like Sophie's kind of crappy boyfriend.

747
00:42:28,280 --> 00:42:32,080
Speaker 1: That's sort of in the background, the fact that Sophie's

748
00:42:32,160 --> 00:42:34,600
Speaker 1: character just continues to stay with him, and it's not

749
00:42:34,719 --> 00:42:37,359
Speaker 1: so flattened that it's like he's horrible. It's just that

750
00:42:37,400 --> 00:42:40,319
Speaker 1: Frances doesn't like him, and it's probably implied he doesn't

751
00:42:40,360 --> 00:42:44,520
Speaker 1: like him just because she takes up right, which I

752
00:42:44,600 --> 00:42:47,200
Speaker 1: also didn't recognize on first watch. The whole just that

753
00:42:47,440 --> 00:42:51,000
Speaker 1: she recognizes what Frances doesn't like about her boyfriend, and

754
00:42:51,000 --> 00:42:55,080
Speaker 1: it's just like okay, noted, like I'm staying with this person.

755
00:42:55,920 --> 00:42:58,040
Speaker 1: And there's a cute moment kind of where she's just

756
00:42:58,160 --> 00:43:01,120
Speaker 1: finally like I do like you, like I like you too,

757
00:43:01,640 --> 00:43:05,400
Speaker 1: And it's like that complicated, Like Frances, she is not

758
00:43:05,560 --> 00:43:10,239
Speaker 1: totally wrong about Patch, but she's saying it for the

759
00:43:10,280 --> 00:43:12,839
Speaker 1: wrong reasons. She's expressing it for the wrong reasons, and

760
00:43:12,840 --> 00:43:15,279
Speaker 1: that does play out where like Sophie and Patch don't

761
00:43:15,360 --> 00:43:17,640
Speaker 1: end up together, so Ifie ends up like a lot

762
00:43:17,680 --> 00:43:20,879
Speaker 1: of like everyone's had a friend's significant other that you're

763
00:43:20,920 --> 00:43:23,000
Speaker 1: not crazy about, don't Sophie and Patch they do end

764
00:43:23,080 --> 00:43:26,400
Speaker 1: up together. Didn't they get married? Oh wait, she says

765
00:43:26,480 --> 00:43:28,880
Speaker 1: she's going to leave. Then she doesn't, but then we

766
00:43:28,960 --> 00:43:31,280
Speaker 1: cut till later and they're like, yeah, we got married,

767
00:43:31,360 --> 00:43:33,799
Speaker 1: Which is funny because it makes me feel like that

768
00:43:34,000 --> 00:43:36,600
Speaker 1: sort of behavior something maybe like that comes up with

769
00:43:36,640 --> 00:43:39,359
Speaker 1: Sophie just when they're together. They like to have this.

770
00:43:39,920 --> 00:43:42,239
Speaker 1: They do their like little New York fantasy thing when

771
00:43:42,239 --> 00:43:44,560
Speaker 1: they're together, and then when they were apart, she's like, well,

772
00:43:44,560 --> 00:43:47,520
Speaker 1: maybe I should just like be with this dude. Yeah.

773
00:43:47,760 --> 00:43:50,640
Speaker 1: I was like super cool to see not like a

774
00:43:50,760 --> 00:43:54,560
Speaker 1: merry Sue female friendship where like and again it's it's

775
00:43:54,600 --> 00:43:56,719
Speaker 1: just like the kind of movie this is where some

776
00:43:56,800 --> 00:44:00,160
Speaker 1: movies you want to see a perfectly functioning female friendship,

777
00:44:00,320 --> 00:44:02,200
Speaker 1: like in Captain Marvel, that's what you want to see

778
00:44:02,760 --> 00:44:05,520
Speaker 1: because it is a setting example of movie. This is

779
00:44:06,080 --> 00:44:09,439
Speaker 1: more of like a Marble Corey realist thing, and it's

780
00:44:09,560 --> 00:44:14,560
Speaker 1: nice to see a friendship between women that is like complicated.

781
00:44:14,600 --> 00:44:16,759
Speaker 1: There are different points in their hand and in their life,

782
00:44:16,760 --> 00:44:19,600
Speaker 1: and it's just like more of a reflection of and

783
00:44:19,680 --> 00:44:21,239
Speaker 1: as much as like there are some of the very

784
00:44:21,280 --> 00:44:24,040
Speaker 1: Sioux friendships that I really enjoy. But in a way,

785
00:44:24,160 --> 00:44:26,960
Speaker 1: I feel like it's a little bit limiting in that

786
00:44:27,160 --> 00:44:30,080
Speaker 1: it just leads to the idea that all female friendships

787
00:44:30,080 --> 00:44:32,040
Speaker 1: have to be perfect, which of course they're not. I mean,

788
00:44:32,080 --> 00:44:34,560
Speaker 1: it's the testament that even like, even if your feelings

789
00:44:34,640 --> 00:44:36,520
Speaker 1: change about the movie, like we all, I think we

790
00:44:36,520 --> 00:44:39,160
Speaker 1: all feel a little bit differently from the first time

791
00:44:39,200 --> 00:44:42,239
Speaker 1: we saw it years ago too, now that it's uh,

792
00:44:42,840 --> 00:44:45,040
Speaker 1: it's more nuance. It's not like the real the friendship

793
00:44:45,160 --> 00:44:48,239
Speaker 1: is horrible or toxic either. It's just it's freaking there.

794
00:44:48,280 --> 00:44:52,400
Speaker 1: I mean, they're they're growing as people at different rates.

795
00:44:52,440 --> 00:44:57,880
Speaker 1: Like you said, there's like Sophie realizes that maybe they're

796
00:44:57,880 --> 00:45:01,239
Speaker 1: too codependent for she's the first one to realize this,

797
00:45:01,440 --> 00:45:05,600
Speaker 1: or that she like they've just sort of entwined each

798
00:45:05,600 --> 00:45:08,239
Speaker 1: other in their lives a bit too too much all

799
00:45:08,239 --> 00:45:12,799
Speaker 1: that stuff. They've been character development wise developed enough that

800
00:45:13,280 --> 00:45:18,000
Speaker 1: you know, they've been given these nuances that we don't see.

801
00:45:18,520 --> 00:45:21,440
Speaker 1: It's it's cool, I mean, and just like in general

802
00:45:21,520 --> 00:45:25,200
Speaker 1: of any gender seeing a friendship that is like, yeah,

803
00:45:25,280 --> 00:45:28,560
Speaker 1: like not completely black and white toxic, but just like

804
00:45:28,719 --> 00:45:31,200
Speaker 1: these characters are growing apart a little bit is something

805
00:45:31,239 --> 00:45:33,640
Speaker 1: that happens to people all the time that I feel

806
00:45:33,640 --> 00:45:36,399
Speaker 1: like it's really hard to communicate on screen, Like it's

807
00:45:36,400 --> 00:45:40,719
Speaker 1: hard to dramatize like the natural you know, widening of

808
00:45:40,840 --> 00:45:44,560
Speaker 1: friendship or someone who's like feeling a little bit left behind,

809
00:45:45,239 --> 00:45:47,400
Speaker 1: or the other person who's feeling a little frustrated and

810
00:45:47,480 --> 00:45:50,080
Speaker 1: being like, why don't you get it? Like I mean,

811
00:45:50,160 --> 00:45:53,400
Speaker 1: I just still happened to me sometimes just in my

812
00:45:53,760 --> 00:45:58,080
Speaker 1: personal life, where I have a friend that I just

813
00:45:58,239 --> 00:46:00,320
Speaker 1: kind of don't want to be friends with anymore, and

814
00:46:00,400 --> 00:46:03,600
Speaker 1: there's no it's sorry, Jamie, I started telling you that

815
00:46:03,760 --> 00:46:05,640
Speaker 1: I don't want to be your friend. Anywhere she told me,

816
00:46:07,280 --> 00:46:10,000
Speaker 1: people grow apart or there maybe their interests were never

817
00:46:10,120 --> 00:46:12,080
Speaker 1: that similar to begin with, but you end up in

818
00:46:12,120 --> 00:46:14,680
Speaker 1: a friendship with someone. But there's no etiquette for like

819
00:46:15,320 --> 00:46:19,480
Speaker 1: breaking up with a friend that hasn't been established in

820
00:46:19,880 --> 00:46:23,279
Speaker 1: in the world, or even like renegotiating the boundaries of

821
00:46:23,320 --> 00:46:26,239
Speaker 1: a friendship. Right it only takes one person to do

822
00:46:26,400 --> 00:46:28,759
Speaker 1: that though. I mean, however the other person reacts, is

823
00:46:29,160 --> 00:46:31,160
Speaker 1: that's true? Sure? Have you ever had to do something

824
00:46:31,239 --> 00:46:33,680
Speaker 1: like that? I'm really I'm doing it with like five

825
00:46:33,719 --> 00:46:36,680
Speaker 1: different people right now, Well, what I end up doing

826
00:46:36,800 --> 00:46:39,080
Speaker 1: is just basically what Sophie does is just to kind

827
00:46:39,080 --> 00:46:42,239
Speaker 1: of withdraw and like avoid the person and like just

828
00:46:42,360 --> 00:46:45,800
Speaker 1: not share as much with them. And then so I

829
00:46:46,000 --> 00:46:48,000
Speaker 1: really feel bad for the people who are on the

830
00:46:48,120 --> 00:46:51,719
Speaker 1: receiving end of this, which in this movie Francis is,

831
00:46:52,760 --> 00:46:55,120
Speaker 1: which is like and that's a sign, but that's a

832
00:46:55,160 --> 00:46:57,680
Speaker 1: sign of codependence as well. Is that when someone else,

833
00:46:58,000 --> 00:47:00,600
Speaker 1: not even saying that the Sophie after was doing it

834
00:47:00,640 --> 00:47:05,000
Speaker 1: in exactly the perfect or sensitive way that codependent people

835
00:47:05,040 --> 00:47:09,400
Speaker 1: will react to other people's boundaries with offense and you know,

836
00:47:09,640 --> 00:47:14,400
Speaker 1: we'll be just reactionary and take everything personally right, and

837
00:47:14,520 --> 00:47:17,000
Speaker 1: it's like and it is it was a little like

838
00:47:17,600 --> 00:47:19,880
Speaker 1: I've only successfully done those ones or twice, but like

839
00:47:20,120 --> 00:47:22,719
Speaker 1: when you do sort of like say like this is

840
00:47:22,800 --> 00:47:26,279
Speaker 1: my new boundary, like whatever, and then seeing like you're like,

841
00:47:26,360 --> 00:47:28,040
Speaker 1: I know I'm hurting this other person but you never

842
00:47:28,120 --> 00:47:29,880
Speaker 1: see it. But in France of how you see it

843
00:47:30,160 --> 00:47:33,279
Speaker 1: and you see her going the sad vacation and you

844
00:47:33,400 --> 00:47:36,239
Speaker 1: see her be like like it's just a lot of

845
00:47:36,320 --> 00:47:39,160
Speaker 1: this movie truly, Like watching it with my friend, it

846
00:47:39,280 --> 00:47:42,720
Speaker 1: was like tough to watch, but then after we stopped

847
00:47:42,760 --> 00:47:45,640
Speaker 1: watching it and it was over, like we were talking

848
00:47:45,719 --> 00:47:47,480
Speaker 1: about it for a full hour, and I was just like,

849
00:47:47,560 --> 00:47:50,320
Speaker 1: I feel so I feel bad after watching that. She's like,

850
00:47:50,360 --> 00:47:53,799
Speaker 1: I think it's because we understand it's hard to make

851
00:47:53,800 --> 00:47:56,440
Speaker 1: the Sophie character sympathetic when it's like, I don't know,

852
00:47:56,600 --> 00:47:59,160
Speaker 1: maybe she's the healthy one. I mean obviously not. No

853
00:47:59,280 --> 00:48:02,080
Speaker 1: one's perfect. Quick shout out to Mickey Sumner. I don't

854
00:48:02,080 --> 00:48:04,000
Speaker 1: know what she did after this movie. Just the actress

855
00:48:04,040 --> 00:48:07,759
Speaker 1: who played Sophie. She was so good. She's really really good. Yeah,

856
00:48:07,800 --> 00:48:09,560
Speaker 1: I I let me see it. I don't know what

857
00:48:09,719 --> 00:48:16,240
Speaker 1: she's done since, but I mean I saw She's Nandy Gales.

858
00:48:16,320 --> 00:48:18,719
Speaker 1: It was even weirder. I watched it with my boyfriend,

859
00:48:18,960 --> 00:48:20,719
Speaker 1: like in bed, and I don't know why that was.

860
00:48:24,160 --> 00:48:26,640
Speaker 1: And especially there's a part where she's she does her

861
00:48:26,719 --> 00:48:29,960
Speaker 1: big thing about like, you know, finding your person, which

862
00:48:30,000 --> 00:48:33,080
Speaker 1: is weird because it's very Gray's anatomy. Isn't that to

863
00:48:33,280 --> 00:48:36,000
Speaker 1: like dogs, Like you know, when I talk about like

864
00:48:36,320 --> 00:48:39,719
Speaker 1: my dog being too anxious or attached. He's like, oh, well,

865
00:48:39,800 --> 00:48:41,440
Speaker 1: you're just her person, And I'm like, yeah, that's a

866
00:48:41,719 --> 00:48:45,960
Speaker 1: thing for dogs, no for people. It's tight. Yeah, like

867
00:48:46,080 --> 00:48:48,399
Speaker 1: this is I don't know. This was like a way

868
00:48:48,560 --> 00:48:52,479
Speaker 1: more effective coming of age story than I remembered it. Yeah,

869
00:48:53,200 --> 00:48:56,520
Speaker 1: and especially because it's it's for the second coming of

870
00:48:56,600 --> 00:48:58,800
Speaker 1: age that people do, because most coming of age stories

871
00:48:58,840 --> 00:49:02,160
Speaker 1: are around like Tea means like oh I'm the high Yeah,

872
00:49:02,160 --> 00:49:05,680
Speaker 1: and then interesting, which she did later with like Ladybird.

873
00:49:06,160 --> 00:49:07,680
Speaker 1: I think Melissa said up and where she was like,

874
00:49:07,920 --> 00:49:10,440
Speaker 1: oh so like lady Bird is like the prequel to

875
00:49:10,520 --> 00:49:13,919
Speaker 1: Frances Ha and Lady Bird eventually becomes Francis Hall because

876
00:49:13,920 --> 00:49:16,200
Speaker 1: we've already seen her family in Sacramento and she like

877
00:49:16,280 --> 00:49:21,759
Speaker 1: started to galaxy headcanon right there. We got to take

878
00:49:21,760 --> 00:49:24,359
Speaker 1: another quick break, but then hey, guess what, We'll come

879
00:49:24,480 --> 00:49:33,120
Speaker 1: right back. Can we talk Frances undateable really quick? Because

880
00:49:33,160 --> 00:49:35,719
Speaker 1: that was like the one part of this movie other

881
00:49:35,800 --> 00:49:38,400
Speaker 1: than like the I mean it was the fly in

882
00:49:38,480 --> 00:49:41,840
Speaker 1: my soup of the cinematic experience. Yes, like it was.

883
00:49:42,400 --> 00:49:49,719
Speaker 1: I didn't like the implied potential romance with what's his

884
00:49:49,840 --> 00:49:53,920
Speaker 1: name Benji. I didn't like that, but it remained in

885
00:49:54,080 --> 00:49:57,840
Speaker 1: the background enough of the movie that it wasn't like distracting.

886
00:49:57,920 --> 00:50:01,160
Speaker 1: It certainly didn't ruin it for me. But the whole

887
00:50:01,360 --> 00:50:04,439
Speaker 1: like them trying to catch fright, Like, haven't she said

888
00:50:04,480 --> 00:50:06,960
Speaker 1: this before that like a character as like a living

889
00:50:07,080 --> 00:50:10,600
Speaker 1: studio note. It feels like maybe that's like, you know,

890
00:50:10,800 --> 00:50:14,880
Speaker 1: someone at Prison Pictures was like, well, there has to

891
00:50:14,920 --> 00:50:18,520
Speaker 1: be some kind of you know, he love story in there.

892
00:50:18,600 --> 00:50:21,319
Speaker 1: I want to give Greta Gerwig the credit and say

893
00:50:21,400 --> 00:50:24,239
Speaker 1: that I don't think that this was her idea, like,

894
00:50:24,560 --> 00:50:27,319
Speaker 1: because the focus of the movie from the most part

895
00:50:27,400 --> 00:50:31,160
Speaker 1: remains on Francis and Francis and Sophie's friendship and like

896
00:50:31,239 --> 00:50:35,719
Speaker 1: Francis sort of having to accept that compromises a part

897
00:50:35,840 --> 00:50:38,560
Speaker 1: of life. But with the Benji stuff, yeah, like it

898
00:50:38,640 --> 00:50:41,600
Speaker 1: does sort of he serves. The best part of him

899
00:50:41,640 --> 00:50:44,359
Speaker 1: I thought was him pointing out that she's not as

900
00:50:44,480 --> 00:50:47,880
Speaker 1: like extremely poor she makes herself out to be. That

901
00:50:48,120 --> 00:50:50,200
Speaker 1: was like a cool, valid use of him. But then

902
00:50:50,320 --> 00:50:52,400
Speaker 1: like I didn't like the scenes where they're supposed to

903
00:50:52,440 --> 00:50:58,600
Speaker 1: be flirting there because he's into each other and they're

904
00:50:58,600 --> 00:51:03,040
Speaker 1: making it seem like whoa may be. But at the

905
00:51:03,120 --> 00:51:05,600
Speaker 1: time we at the time we see them together here

906
00:51:05,719 --> 00:51:08,920
Speaker 1: he's totally nugging her. And then there's that weird scene

907
00:51:08,920 --> 00:51:11,560
Speaker 1: where they're talking and he's in there, oh God, and

908
00:51:11,640 --> 00:51:13,040
Speaker 1: it's like I've I mean, I feel like a lot

909
00:51:13,040 --> 00:51:14,880
Speaker 1: of people have had an experience like this that is

910
00:51:14,920 --> 00:51:17,800
Speaker 1: just very uncomfortable, where the guys, like, you know, everyone

911
00:51:17,880 --> 00:51:20,640
Speaker 1: says we should date and then you're like, oh really

912
00:51:22,120 --> 00:51:25,080
Speaker 1: he's like yeah, but I was like no, she's just cool.

913
00:51:25,360 --> 00:51:28,319
Speaker 1: And like that whole scene, I mean, maybe bros Right,

914
00:51:28,960 --> 00:51:32,200
Speaker 1: maybe cringe because it's like, you know, I've had that experience.

915
00:51:32,520 --> 00:51:34,960
Speaker 1: But then but then the fact that they still kind

916
00:51:34,960 --> 00:51:37,799
Speaker 1: of present him is romantically viable after you find out

917
00:51:37,840 --> 00:51:42,400
Speaker 1: he's that kind of like weird guy just didn't feel great.

918
00:51:43,719 --> 00:51:47,279
Speaker 1: And the fact that he's constantly nugging her as what

919
00:51:47,719 --> 00:51:52,399
Speaker 1: I think the movie frames as a flirtation technique for him,

920
00:51:52,560 --> 00:51:55,000
Speaker 1: he's like, oh yeah, just by implying that he's still

921
00:51:55,040 --> 00:51:58,279
Speaker 1: on the table. I feel like that it's funny, like, OK,

922
00:51:58,880 --> 00:52:02,800
Speaker 1: let's try to reframe this as artistic merits. So what

923
00:52:03,200 --> 00:52:05,680
Speaker 1: isn't isn't it? So like true to life though that, like,

924
00:52:05,960 --> 00:52:09,120
Speaker 1: you know, even though she finds her voice artistically, which

925
00:52:09,440 --> 00:52:11,440
Speaker 1: in and of itself is a compromise of what she

926
00:52:11,640 --> 00:52:14,279
Speaker 1: saw as her artistic she still end up she still

927
00:52:14,360 --> 00:52:17,800
Speaker 1: might end up with like just some guy some like naggy,

928
00:52:18,000 --> 00:52:22,239
Speaker 1: tiny little man like kind of you know, teases her,

929
00:52:22,320 --> 00:52:24,799
Speaker 1: and probably the more successful as she gets as a choreographer,

930
00:52:24,840 --> 00:52:26,560
Speaker 1: he's gonna like it's gonna be a little weirder and

931
00:52:26,640 --> 00:52:31,279
Speaker 1: more resentful. Where I decided I was done with that character. Officially,

932
00:52:31,280 --> 00:52:33,759
Speaker 1: it was when he was like, you should leave your

933
00:52:34,239 --> 00:52:36,719
Speaker 1: door open, like with that part when he at the

934
00:52:36,880 --> 00:52:38,920
Speaker 1: end of the scene where he's been nagging her the

935
00:52:38,960 --> 00:52:40,600
Speaker 1: whole time, he's like, we should date, but no, we

936
00:52:40,640 --> 00:52:44,200
Speaker 1: shouldn't like that whole fucking I mean truly coming from

937
00:52:44,440 --> 00:52:47,440
Speaker 1: I I have here's my deep shame. I have dated

938
00:52:47,520 --> 00:52:51,000
Speaker 1: a Brooklyn trust fund boy. His father used to be

939
00:52:51,080 --> 00:52:56,719
Speaker 1: the president of something called um and Ron. No, it

940
00:52:56,880 --> 00:52:59,560
Speaker 1: was like called the Patriotic Millionaires. It was really bad,

941
00:53:00,080 --> 00:53:02,319
Speaker 1: it was some of it was a very troubling seven

942
00:53:02,360 --> 00:53:06,120
Speaker 1: weeks of my life. Anyways, like most trust fund boys

943
00:53:06,160 --> 00:53:10,560
Speaker 1: in Brooklyn, he very abruptly married a graphic designer. Okay, okay,

944
00:53:11,040 --> 00:53:13,640
Speaker 1: you just you go to the you go to the wing.

945
00:53:14,520 --> 00:53:16,640
Speaker 1: They put him all in the window. You go to

946
00:53:16,719 --> 00:53:18,800
Speaker 1: the wing. All the graphic designers are just kind of

947
00:53:18,840 --> 00:53:20,320
Speaker 1: lined up in the window like puppies. They have a

948
00:53:20,320 --> 00:53:23,080
Speaker 1: little cut up newspaper from the play around her and

949
00:53:23,160 --> 00:53:26,359
Speaker 1: he's past and you're like that one eat, yeah there

950
00:53:26,440 --> 00:53:30,719
Speaker 1: she is. So anyways, wish him the best whatever, But

951
00:53:30,880 --> 00:53:34,759
Speaker 1: like that that like a whole that whole vibe being

952
00:53:34,920 --> 00:53:38,600
Speaker 1: presented as like maybe this will work out. I'm just like, no,

953
00:53:38,800 --> 00:53:42,480
Speaker 1: this shouldn't even for like a realist movie. Please, let's

954
00:53:42,560 --> 00:53:46,360
Speaker 1: just like let's let's spare Francis has the potential funny.

955
00:53:46,960 --> 00:53:48,719
Speaker 1: I felt a little bit the opposite in that moment

956
00:53:48,760 --> 00:53:51,400
Speaker 1: that after he was a dick, the one even though

957
00:53:51,480 --> 00:53:53,680
Speaker 1: it was didn't come off right. The one nice thing

958
00:53:53,760 --> 00:53:55,960
Speaker 1: he said was like, I'll leave it open in case

959
00:53:56,040 --> 00:53:58,759
Speaker 1: you need anything, And I was like, okay, see I

960
00:53:59,000 --> 00:54:02,440
Speaker 1: hated that she's she said closed, and then he convinced

961
00:54:02,440 --> 00:54:05,480
Speaker 1: her to leave it open like he was she because

962
00:54:05,520 --> 00:54:07,680
Speaker 1: he was like open her, open her clothes and she's

963
00:54:07,680 --> 00:54:09,719
Speaker 1: like probably close and he's like, well but what if

964
00:54:09,760 --> 00:54:12,799
Speaker 1: you need me? Right? And then she and then she's

965
00:54:12,800 --> 00:54:15,759
Speaker 1: like okay open like that, I was just like, oh,

966
00:54:15,840 --> 00:54:18,960
Speaker 1: you tried a newspaper to play around. And I was

967
00:54:19,040 --> 00:54:20,600
Speaker 1: done with him as soon as he said, yeah, my

968
00:54:20,600 --> 00:54:22,160
Speaker 1: buddy at SNL is going to get me a job.

969
00:54:22,239 --> 00:54:24,960
Speaker 1: Oh my god, it's so upset. We all have a

970
00:54:25,000 --> 00:54:28,160
Speaker 1: buddy at SNL. Literally everyone in this room has a

971
00:54:28,200 --> 00:54:32,960
Speaker 1: buddy at SNL and we're not to Yeah, and like,

972
00:54:33,680 --> 00:54:37,839
Speaker 1: guess what, they're not getting you a job. I mean

973
00:54:38,000 --> 00:54:40,759
Speaker 1: that at least that was Yeah, that sort of posturing.

974
00:54:40,840 --> 00:54:43,440
Speaker 1: You're just like, yep, that man exists. It was such

975
00:54:43,480 --> 00:54:46,680
Speaker 1: a good character portrait though, we're just like, here's me

976
00:54:46,840 --> 00:54:50,239
Speaker 1: floating through life. Yeah, it's going to happen. That doesn't happen.

977
00:54:50,360 --> 00:54:52,240
Speaker 1: Then you know this other thing that I'm doing, different

978
00:54:52,280 --> 00:54:55,200
Speaker 1: takes on. Then that's the thing. This movie does a

979
00:54:55,280 --> 00:55:01,080
Speaker 1: really good job at showcasing mostly unlikable people because well,

980
00:55:01,160 --> 00:55:05,040
Speaker 1: maybe this is the time to get into like Francis

981
00:55:05,200 --> 00:55:09,960
Speaker 1: as a Manning pixie dreamgirl type, but she because she

982
00:55:10,280 --> 00:55:16,040
Speaker 1: is a more realistic, less exaggerated version of this trouble

983
00:55:16,040 --> 00:55:19,239
Speaker 1: because I actually, I mean, she has those tendencies, but

984
00:55:19,280 --> 00:55:22,520
Speaker 1: I feel like I know people basically just like her,

985
00:55:23,040 --> 00:55:26,120
Speaker 1: So it didn't feel like she was like this caricature. Yeah.

986
00:55:26,160 --> 00:55:29,000
Speaker 1: What sucks is it suffers because I think it did

987
00:55:29,040 --> 00:55:31,800
Speaker 1: a pretty good job of just creating a sort of

988
00:55:32,440 --> 00:55:36,880
Speaker 1: slightly eccentric character. But that is living under this looming

989
00:55:37,000 --> 00:55:40,279
Speaker 1: shadow of this broad, shitty archetype that we've lived with

990
00:55:40,400 --> 00:55:42,000
Speaker 1: for so long. I did. I did do a bit

991
00:55:42,040 --> 00:55:44,680
Speaker 1: of homework. I wrote something now, please Please, which I

992
00:55:44,760 --> 00:55:46,800
Speaker 1: think this is like some weird noah bum back. I

993
00:55:46,840 --> 00:55:49,400
Speaker 1: don't know whose idea. It is, like sort of easter

994
00:55:49,480 --> 00:55:51,279
Speaker 1: egg as to like, this is this is the key

995
00:55:51,320 --> 00:55:55,880
Speaker 1: to the movie, sort of please Okay. The opening montage

996
00:55:55,920 --> 00:55:58,719
Speaker 1: where it's sort of like the Friendship montage. They're kind of,

997
00:55:58,880 --> 00:56:00,960
Speaker 1: you know, hanging out, they're playing in the park, they're talking,

998
00:56:01,400 --> 00:56:02,840
Speaker 1: and I think this is on purpose. There's a lot

999
00:56:02,880 --> 00:56:04,640
Speaker 1: of moments where it just shows them talking, but the

1000
00:56:04,760 --> 00:56:08,399
Speaker 1: dialogue is unintelligible. And then there's one moment where they're

1001
00:56:08,400 --> 00:56:10,120
Speaker 1: sitting on the couch and Frances like looks at from

1002
00:56:10,120 --> 00:56:11,960
Speaker 1: a book. She goes, oh, this is interesting. Listen to this,

1003
00:56:12,160 --> 00:56:14,120
Speaker 1: and this is the quote she reads from the book

1004
00:56:14,160 --> 00:56:16,200
Speaker 1: that she's reading, which I don't know if it was

1005
00:56:16,280 --> 00:56:18,479
Speaker 1: made up for the movie or it's actually from something,

1006
00:56:18,600 --> 00:56:21,359
Speaker 1: but she says, to praise a work of literature by

1007
00:56:21,400 --> 00:56:24,120
Speaker 1: calling it sincere is now at best a way of

1008
00:56:24,239 --> 00:56:26,800
Speaker 1: saying that although it may be given no esthetic or

1009
00:56:26,880 --> 00:56:30,319
Speaker 1: intellectual admiration, and then it cuts off into the next shot.

1010
00:56:31,280 --> 00:56:34,520
Speaker 1: So I'm kind of like it's a weird thing to

1011
00:56:34,640 --> 00:56:37,320
Speaker 1: bring up with a lot of qualifiers about like although

1012
00:56:37,600 --> 00:56:42,440
Speaker 1: or that sincerity is now an excuse for basically I

1013
00:56:42,480 --> 00:56:44,719
Speaker 1: think it's saying that, like to say that sincerity is

1014
00:56:44,760 --> 00:56:46,800
Speaker 1: a compliment is to just sort of um, you know,

1015
00:56:46,880 --> 00:56:50,279
Speaker 1: avoid the question of like intellectual or aesthetic merit. So

1016
00:56:50,400 --> 00:56:53,560
Speaker 1: to say something says something has artistic merit by dint

1017
00:56:53,600 --> 00:56:56,160
Speaker 1: of just being sincere is basically just say it's not

1018
00:56:56,640 --> 00:57:00,359
Speaker 1: good any other way. It's like if you're describing person

1019
00:57:00,480 --> 00:57:03,960
Speaker 1: who is like very boring, you say, oh, but they're

1020
00:57:04,000 --> 00:57:07,359
Speaker 1: really nice, they're really down to earth. But she also,

1021
00:57:07,440 --> 00:57:09,520
Speaker 1: like it also cuts off the quote. It's implied that

1022
00:57:09,560 --> 00:57:13,080
Speaker 1: there's a whole other clouds of that sentence for this author,

1023
00:57:13,280 --> 00:57:15,360
Speaker 1: who may or be real or someone they invented for

1024
00:57:15,480 --> 00:57:19,520
Speaker 1: the shot, is going to explain or finish that thought,

1025
00:57:19,600 --> 00:57:25,040
Speaker 1: or just like these guys that they're tricky. I mean,

1026
00:57:26,080 --> 00:57:28,880
Speaker 1: I wonder if that's in response to like maybe one

1027
00:57:28,920 --> 00:57:32,480
Speaker 1: of Noah bombox previous movies having been called sincere, and

1028
00:57:32,600 --> 00:57:36,320
Speaker 1: he's like, well, here's what I think about I'm gonna

1029
00:57:36,360 --> 00:57:39,360
Speaker 1: I'm going to rewatch Squid in the Whale I hated

1030
00:57:40,440 --> 00:57:42,200
Speaker 1: I saw when I was like fifteen. I feel like

1031
00:57:42,280 --> 00:57:43,880
Speaker 1: that might be why I liked it. I don't know.

1032
00:57:44,360 --> 00:57:46,720
Speaker 1: I remember that someone masturbates in a library in that movie,

1033
00:57:46,760 --> 00:57:51,120
Speaker 1: and that's legitimately all I remembers. The coolest thing. I'm like,

1034
00:57:51,200 --> 00:57:54,920
Speaker 1: they masturbated on screen, and it's about divorce. I'm masturbated.

1035
00:57:55,680 --> 00:57:59,920
Speaker 1: My parents are divorced. I'm good for me. I had

1036
00:58:00,000 --> 00:58:10,320
Speaker 1: i f C Channel. Not to bragging in this subscribe listen, Honestly, canonically,

1037
00:58:10,400 --> 00:58:12,880
Speaker 1: if you had the I f C Channel when you

1038
00:58:13,040 --> 00:58:16,520
Speaker 1: were in middle school, high school, you will end up

1039
00:58:16,640 --> 00:58:20,600
Speaker 1: dating a Brooklyn Tussac someday. It's unfortunately one of the

1040
00:58:20,600 --> 00:58:24,520
Speaker 1: sad facts of life. I washed my hands of them. Yes,

1041
00:58:25,200 --> 00:58:28,360
Speaker 1: moving right along. I think that Francis. Another thing that

1042
00:58:28,680 --> 00:58:30,400
Speaker 1: I picked up on a second watch was that I

1043
00:58:30,400 --> 00:58:32,680
Speaker 1: feel like she's kind of in some ways, she's kind

1044
00:58:32,720 --> 00:58:36,640
Speaker 1: of supposed to be annoying, Like there's there's that whole

1045
00:58:36,760 --> 00:58:40,080
Speaker 1: dinner scene that at the time when I first saw it,

1046
00:58:40,080 --> 00:58:43,160
Speaker 1: I was like, Oh, this is like Manic Pixie dream girl, boring, dumb.

1047
00:58:43,400 --> 00:58:46,280
Speaker 1: But if she were a true manic Pixie dream girl.

1048
00:58:46,440 --> 00:58:50,080
Speaker 1: People would be very charmed and really like her, or

1049
00:58:50,160 --> 00:58:52,160
Speaker 1: they would be like or they would be painted as

1050
00:58:52,240 --> 00:58:55,400
Speaker 1: like broad like asshole, so that you sympathize with the character,

1051
00:58:56,000 --> 00:58:58,840
Speaker 1: but you're you're like on the side of the people

1052
00:58:58,880 --> 00:59:02,600
Speaker 1: who have to endore whatever for weird. They're like nice

1053
00:59:02,680 --> 00:59:06,840
Speaker 1: people trying not to let this girl like ruin their

1054
00:59:06,880 --> 00:59:10,000
Speaker 1: dinner party. And then there's another scene where I think

1055
00:59:10,040 --> 00:59:13,440
Speaker 1: it's Rachel, her Dan's friend who she stays with. She's like,

1056
00:59:13,600 --> 00:59:15,680
Speaker 1: I guess trying to find a new best friend because

1057
00:59:16,160 --> 00:59:20,960
Speaker 1: Sophie is effectively another thing that happened. And then so

1058
00:59:21,120 --> 00:59:23,800
Speaker 1: she's like, Okay, you're my new best friend, Rachel. Let's

1059
00:59:23,840 --> 00:59:26,800
Speaker 1: play fight. And Rachel's like what And then she keeps

1060
00:59:26,880 --> 00:59:28,400
Speaker 1: like kind of trying to push her and do this

1061
00:59:28,560 --> 00:59:30,680
Speaker 1: like playfight thing that she and Sophie used to do

1062
00:59:30,840 --> 00:59:33,480
Speaker 1: that we saw, but like Rachel is not into it

1063
00:59:33,560 --> 00:59:36,520
Speaker 1: at all. She's just like, dude, what the hell? Because

1064
00:59:36,520 --> 00:59:38,440
Speaker 1: she like pushes her out of friend and it's so

1065
00:59:38,560 --> 00:59:41,040
Speaker 1: awkward and it's like, oh, you're just hitting a woman,

1066
00:59:43,040 --> 00:59:45,800
Speaker 1: and she does, You're you're striking another grown adults, and

1067
00:59:45,880 --> 00:59:48,120
Speaker 1: like Rachel's being like I don't want to do this,

1068
00:59:48,240 --> 00:59:51,760
Speaker 1: please stop, And then she's just like very annoyingly continuing

1069
00:59:51,880 --> 00:59:53,720
Speaker 1: to do it. So, yeah, that's just like Frances go

1070
00:59:53,840 --> 00:59:59,120
Speaker 1: to alan On, come on there. Yeah, it's it's a

1071
00:59:59,200 --> 01:00:02,440
Speaker 1: unique low. At least, I don't know, quit wearing leggings

1072
01:00:02,560 --> 01:00:05,480
Speaker 1: under dresses. If you're not going to go to alan

1073
01:00:05,600 --> 01:00:08,760
Speaker 1: On and recover from Coat of Fantasy, at least, I'll

1074
01:00:08,800 --> 01:00:12,640
Speaker 1: just go to L Labo there. I don't know what

1075
01:00:12,720 --> 01:00:15,200
Speaker 1: that is. You don't know the cult of La Labo.

1076
01:00:15,680 --> 01:00:18,200
Speaker 1: Just like Christina shows me everything she brought she brought

1077
01:00:18,200 --> 01:00:20,240
Speaker 1: me to Moogie for the first time. I don't know

1078
01:00:20,280 --> 01:00:22,280
Speaker 1: what that is either. All I know is that, like,

1079
01:00:22,480 --> 01:00:25,120
Speaker 1: if you're a woman and you live in Brooklyn and

1080
01:00:25,160 --> 01:00:27,439
Speaker 1: you have any money whatsoever. Actually, even if you don't

1081
01:00:27,480 --> 01:00:30,600
Speaker 1: have money, you like you're supposed to wear scent from

1082
01:00:30,680 --> 01:00:34,120
Speaker 1: La Labo. It's just like fancy perfume. Specifically, if you

1083
01:00:34,360 --> 01:00:38,120
Speaker 1: walk through like bush Wick or Ridgewood, you're just gonna

1084
01:00:38,120 --> 01:00:40,200
Speaker 1: get this general vibe. But it was just thick with

1085
01:00:40,320 --> 01:00:42,320
Speaker 1: the waft of us of something that you can't quite

1086
01:00:42,360 --> 01:00:44,320
Speaker 1: put your finger on, and it's it's on to all

1087
01:00:44,360 --> 01:00:49,720
Speaker 1: thirty three. Oh, there's trends in perfume. Yeah, and it's

1088
01:00:49,760 --> 01:00:52,880
Speaker 1: only means so much coming from pack a flock of

1089
01:00:52,920 --> 01:00:55,080
Speaker 1: women who live in Los Angeles. But I'm very glad

1090
01:00:55,080 --> 01:00:59,240
Speaker 1: I don't live there. Hey, I read the cut there, listen.

1091
01:00:59,280 --> 01:01:00,800
Speaker 1: I read the cut and run out of five three

1092
01:01:00,880 --> 01:01:03,800
Speaker 1: articles and I hardly stop. You are not getting five

1093
01:01:03,880 --> 01:01:07,400
Speaker 1: dollars a month, no, ma'am um. Yeah, I don't know.

1094
01:01:07,480 --> 01:01:10,960
Speaker 1: I think that it is like what I first interpreted

1095
01:01:11,040 --> 01:01:13,840
Speaker 1: to be a manic pixie dream girl, I think is

1096
01:01:13,960 --> 01:01:16,800
Speaker 1: actually more interesting, which is a woman who seems to

1097
01:01:16,880 --> 01:01:20,240
Speaker 1: be like kind of aping manic pixie dream girls and

1098
01:01:20,360 --> 01:01:23,560
Speaker 1: it being annoying to see, which is kind of cool

1099
01:01:24,120 --> 01:01:27,120
Speaker 1: because I feel like a lot of young women, I mean,

1100
01:01:27,240 --> 01:01:28,960
Speaker 1: and I can't speak to it right now, but it's

1101
01:01:29,000 --> 01:01:32,320
Speaker 1: like I definitely had friends in like high school and

1102
01:01:32,400 --> 01:01:35,280
Speaker 1: college who were going for that that it did not

1103
01:01:35,520 --> 01:01:37,800
Speaker 1: you know, they saw Garden State and they're like, oh

1104
01:01:37,880 --> 01:01:39,840
Speaker 1: what if I'm like that. They're like, what if it does?

1105
01:01:39,960 --> 01:01:43,400
Speaker 1: Made no sense? And like you just and you see

1106
01:01:43,560 --> 01:01:45,680
Speaker 1: you see people have to course correct and have to

1107
01:01:46,120 --> 01:01:48,240
Speaker 1: like kind of like friends. Does she has to grow up?

1108
01:01:48,800 --> 01:01:50,760
Speaker 1: I think that's a that's a big part of like

1109
01:01:51,120 --> 01:01:55,560
Speaker 1: anyone's artistic awakening is realizing that you can't just act

1110
01:01:55,720 --> 01:01:59,560
Speaker 1: like an artist or be eccentric as a way of

1111
01:02:00,240 --> 01:02:06,760
Speaker 1: like masking your right the can we talk about the

1112
01:02:06,880 --> 01:02:09,080
Speaker 1: you have to earn it, okay, And of course there's

1113
01:02:09,320 --> 01:02:11,560
Speaker 1: like of the I feel like a lot of tropes

1114
01:02:11,680 --> 01:02:14,080
Speaker 1: are commented on in this movie in a way that

1115
01:02:14,280 --> 01:02:16,240
Speaker 1: I think it's like really cool and interesting, like it

1116
01:02:16,320 --> 01:02:19,120
Speaker 1: seems like in retrospect them. I feel like the manic

1117
01:02:19,160 --> 01:02:21,840
Speaker 1: Pixie dreamgirl trope is pretty heavily commented on in this

1118
01:02:22,000 --> 01:02:24,680
Speaker 1: movie in a way that I thought was generally pretty effective.

1119
01:02:25,360 --> 01:02:28,440
Speaker 1: One of the things that I just I'm just exhausted

1120
01:02:28,520 --> 01:02:30,960
Speaker 1: by and it will be done forever is just like

1121
01:02:31,440 --> 01:02:34,120
Speaker 1: New York as a character, and I it is my

1122
01:02:34,320 --> 01:02:38,160
Speaker 1: understanding based on some bare bones research that the scene

1123
01:02:38,360 --> 01:02:40,960
Speaker 1: there's like really the only scene I remembered from this

1124
01:02:41,040 --> 01:02:44,800
Speaker 1: movie was GREGI Grewig dancing in the crosswalk to Modern Love,

1125
01:02:45,160 --> 01:02:48,600
Speaker 1: which I guess is paying homage to a different movie.

1126
01:02:48,680 --> 01:02:50,440
Speaker 1: Every time I go into a crosswalk in New York,

1127
01:02:50,440 --> 01:02:57,320
Speaker 1: I end up punching a car. Why But yeah, so

1128
01:02:57,840 --> 01:03:00,120
Speaker 1: so the whole, Like I feel like the whole this

1129
01:03:00,360 --> 01:03:02,360
Speaker 1: movie would have been cool to see, like New York,

1130
01:03:02,400 --> 01:03:05,200
Speaker 1: the whole New York is a character trope, like commented

1131
01:03:05,240 --> 01:03:08,440
Speaker 1: on more thoroughly, but it didn't really And I don't know,

1132
01:03:08,520 --> 01:03:10,840
Speaker 1: I mean, I mean New York is one character in

1133
01:03:11,240 --> 01:03:14,080
Speaker 1: movies all the time. We were talking about the like

1134
01:03:14,440 --> 01:03:16,600
Speaker 1: because I was watching my boyfriend and we were trying

1135
01:03:16,600 --> 01:03:18,560
Speaker 1: to think of, like, is there an l A equivalent

1136
01:03:18,640 --> 01:03:20,960
Speaker 1: to this movie? Just like a low key I mean,

1137
01:03:21,000 --> 01:03:23,280
Speaker 1: there's so many movies set in and about l A

1138
01:03:23,440 --> 01:03:25,120
Speaker 1: with like l A is a character, but they're they're

1139
01:03:25,160 --> 01:03:27,600
Speaker 1: fucking crazy, And I think like the best ones that

1140
01:03:27,680 --> 01:03:29,920
Speaker 1: are about l A, like Maholland Drive and Repo Man,

1141
01:03:30,000 --> 01:03:33,000
Speaker 1: I'm like, yeah, they got it, but but where's the

1142
01:03:33,040 --> 01:03:35,680
Speaker 1: one that's just like maybe it would be too bad,

1143
01:03:35,880 --> 01:03:39,240
Speaker 1: Like yeah, white kids lolling around talking about their dreams

1144
01:03:40,200 --> 01:03:42,200
Speaker 1: and like not in a way that's making fun of

1145
01:03:42,320 --> 01:03:44,840
Speaker 1: people who want to be actors. Like I don't know,

1146
01:03:45,320 --> 01:03:47,000
Speaker 1: I mean, I don't know if this is a good example,

1147
01:03:47,080 --> 01:03:51,440
Speaker 1: but like Ingrid Goes West does that sort of I

1148
01:03:51,520 --> 01:03:53,880
Speaker 1: think I think I think that the commentary was a

1149
01:03:53,920 --> 01:03:58,400
Speaker 1: little hamphased because but I thought, yeah, I feel there's

1150
01:03:58,440 --> 01:04:02,480
Speaker 1: a few visually they got the lifestyle pretty good, you know, um,

1151
01:04:02,600 --> 01:04:06,600
Speaker 1: I don't know, there's well Christina, is there not a oh,

1152
01:04:06,720 --> 01:04:10,200
Speaker 1: there's a well it's There's a really good three hour

1153
01:04:11,520 --> 01:04:15,440
Speaker 1: video essay by this filmmaker Tom Anderson called Los Angeles

1154
01:04:15,520 --> 01:04:19,800
Speaker 1: Plays Itself and it's a really beautiful commentary about how

1155
01:04:19,960 --> 01:04:24,000
Speaker 1: Los Angeles is depicted in movies, kind of large. L

1156
01:04:24,040 --> 01:04:26,200
Speaker 1: A is a character, but also l A disguised as

1157
01:04:26,240 --> 01:04:29,520
Speaker 1: other cities, which is a big part of making movies here.

1158
01:04:30,120 --> 01:04:32,760
Speaker 1: But it's amazing because the whole movie, it's three hours

1159
01:04:33,280 --> 01:04:37,960
Speaker 1: and it's completely cut from other movies, with Tom Maison

1160
01:04:38,040 --> 01:04:41,919
Speaker 1: just sort of narrating and analyzing over it. That's really cool.

1161
01:04:42,200 --> 01:04:43,959
Speaker 1: And we don't need we don't need that movie about

1162
01:04:44,000 --> 01:04:47,080
Speaker 1: New York. So I feel like it's made itself over

1163
01:04:47,120 --> 01:04:49,200
Speaker 1: and ever, well, we'll tweet out a link to that.

1164
01:04:49,560 --> 01:04:52,160
Speaker 1: That sounds. Yeah, I'm excited. Isn't it just like Philip

1165
01:04:52,360 --> 01:04:54,240
Speaker 1: at The equivalent would be like a Philip Ross novel.

1166
01:04:54,280 --> 01:04:58,600
Speaker 1: I don't know, speaking of of cities that play themselves

1167
01:04:58,640 --> 01:05:01,240
Speaker 1: in movies constantly at nausea him Gretig Garwood goes to

1168
01:05:01,320 --> 01:05:04,720
Speaker 1: Paris in this movie. I feel like it's really new

1169
01:05:04,760 --> 01:05:06,680
Speaker 1: York and Paris are the cities that do it to

1170
01:05:06,680 --> 01:05:08,160
Speaker 1: the point where you're like, I just never need to

1171
01:05:08,160 --> 01:05:10,480
Speaker 1: see this again in my entire life, or at least

1172
01:05:10,560 --> 01:05:13,520
Speaker 1: the kind that is presented. But I feel like in

1173
01:05:13,680 --> 01:05:17,560
Speaker 1: this movie, Paris as a character is commented on where

1174
01:05:17,720 --> 01:05:20,200
Speaker 1: this was one of the four like this, yeah, we

1175
01:05:20,280 --> 01:05:22,640
Speaker 1: were talking about like this was a scene that I

1176
01:05:23,200 --> 01:05:25,680
Speaker 1: think I was. I don't really remember, but I didn't.

1177
01:05:25,840 --> 01:05:29,240
Speaker 1: I definitely didn't understand the point of her going to

1178
01:05:29,320 --> 01:05:32,480
Speaker 1: Paris by herself and being miserable. And I think my

1179
01:05:32,640 --> 01:05:36,920
Speaker 1: first read of it when I was much younger, was like, oh, like,

1180
01:05:37,040 --> 01:05:40,200
Speaker 1: what a whiner she's in Paris, Like this is so cool,

1181
01:05:40,320 --> 01:05:42,800
Speaker 1: And then I like the way that it's framed in

1182
01:05:42,880 --> 01:05:45,160
Speaker 1: the movie now though, where it's clear that she can't

1183
01:05:45,200 --> 01:05:47,800
Speaker 1: afford to be doing this, it seems to be a

1184
01:05:47,880 --> 01:05:52,240
Speaker 1: knee jerk reaction to her feeling insecure about her place

1185
01:05:52,280 --> 01:05:54,040
Speaker 1: in life. She's just going into debt kind of for

1186
01:05:54,120 --> 01:05:56,640
Speaker 1: no reason to seem like she's doing better than she is. Well,

1187
01:05:56,640 --> 01:05:59,200
Speaker 1: it seems like I thought that it was even smart

1188
01:05:59,280 --> 01:06:01,960
Speaker 1: and that like she's going because she's seen too many

1189
01:06:02,040 --> 01:06:05,920
Speaker 1: movies where people find themselves in Paris, and she does

1190
01:06:06,000 --> 01:06:09,200
Speaker 1: this immediately after she hears from someone else that Sophie

1191
01:06:09,320 --> 01:06:14,440
Speaker 1: is moving abroad to Tokyo. So she's like, well, I

1192
01:06:14,680 --> 01:06:17,400
Speaker 1: can go somewhere else too, is what it feels like

1193
01:06:17,520 --> 01:06:21,000
Speaker 1: she's doing. And the lesson is, wherever you go, you're

1194
01:06:21,040 --> 01:06:25,640
Speaker 1: still there. And so she sleeps through almost the entire

1195
01:06:25,760 --> 01:06:27,840
Speaker 1: time that she's because she like stays up all night

1196
01:06:27,880 --> 01:06:30,040
Speaker 1: because she's like probably has like whatever, she's on a

1197
01:06:30,120 --> 01:06:32,800
Speaker 1: different time zone. She stays up way too late, doesn't

1198
01:06:32,800 --> 01:06:34,760
Speaker 1: do anything. She's just like hanging out in the apartment,

1199
01:06:34,840 --> 01:06:37,360
Speaker 1: and then she sleeps to like four pm the next day,

1200
01:06:37,440 --> 01:06:39,400
Speaker 1: and like has wasted pretty much the whole day, and

1201
01:06:39,440 --> 01:06:42,400
Speaker 1: then she's calling her friend who's there can't get ahold

1202
01:06:42,440 --> 01:06:47,120
Speaker 1: of her, so like essentially does nothing the last minute

1203
01:06:47,680 --> 01:06:50,040
Speaker 1: when she's already on her way back to New York,

1204
01:06:50,440 --> 01:06:53,120
Speaker 1: Like it's I think the worst part, and I think

1205
01:06:53,160 --> 01:06:55,320
Speaker 1: this speaks to her codependent behavior. The only reason why

1206
01:06:55,400 --> 01:06:58,080
Speaker 1: her trip is so short because she's blowing all her

1207
01:06:58,120 --> 01:06:59,760
Speaker 1: money on the plane ticket she has a free place

1208
01:06:59,840 --> 01:07:02,840
Speaker 1: to stay, is she's like, I have to go now,

1209
01:07:02,920 --> 01:07:05,120
Speaker 1: but I have to be back Monday at three pm

1210
01:07:05,200 --> 01:07:09,000
Speaker 1: to have this important meeting with my boss and she

1211
01:07:09,240 --> 01:07:13,440
Speaker 1: can't even doesn't even have the wherewithal to reschedule it

1212
01:07:13,480 --> 01:07:15,280
Speaker 1: ahead of time. And even when she gets here, her

1213
01:07:15,320 --> 01:07:17,280
Speaker 1: boss is like, I almost canceled it this morning, but

1214
01:07:17,440 --> 01:07:22,240
Speaker 1: like I had gas or whatever. Yeah, God, that that done.

1215
01:07:22,280 --> 01:07:25,080
Speaker 1: That I rushed back from somewhere to be disappointed and

1216
01:07:25,240 --> 01:07:27,400
Speaker 1: dismissed like it, or just to be at a thing

1217
01:07:27,520 --> 01:07:29,560
Speaker 1: that you felt was more important than the other person.

1218
01:07:29,880 --> 01:07:33,120
Speaker 1: Did that, like it could have been changed. Oh, it's

1219
01:07:33,160 --> 01:07:35,640
Speaker 1: so embarrassing, Like, wait, you flew back from Paris to

1220
01:07:35,800 --> 01:07:38,880
Speaker 1: be at business meeting. It all has to do with

1221
01:07:39,000 --> 01:07:43,240
Speaker 1: the fact that her character has not fully grown up.

1222
01:07:43,360 --> 01:07:47,520
Speaker 1: Even though she has seven she's still rather immature. She's

1223
01:07:47,560 --> 01:07:50,200
Speaker 1: not very self aware. She needs to have a second

1224
01:07:50,280 --> 01:07:54,320
Speaker 1: coming of age. As you know, many people, it would

1225
01:07:54,360 --> 01:07:58,520
Speaker 1: be adorable, right right, but maybe because she's a handful

1226
01:07:58,560 --> 01:08:02,280
Speaker 1: of years older, it starts to look I don't know,

1227
01:08:02,400 --> 01:08:04,600
Speaker 1: I mean, but that was what I really like. Something

1228
01:08:04,640 --> 01:08:07,680
Speaker 1: I really liked about the video is like, I mean,

1229
01:08:07,760 --> 01:08:10,840
Speaker 1: having to learn how to head your expectations. We talked that,

1230
01:08:11,080 --> 01:08:13,240
Speaker 1: and I mean we talked about this here and there,

1231
01:08:13,360 --> 01:08:18,759
Speaker 1: but representation of female mediocrity. But we will not achieve

1232
01:08:18,840 --> 01:08:25,920
Speaker 1: equality until mediocre are as interesting as mediocre men. Exactly totally,

1233
01:08:26,080 --> 01:08:30,799
Speaker 1: which is like most of these Brooklyn movies as mediocre

1234
01:08:30,880 --> 01:08:33,479
Speaker 1: men feeling bad for themselves. So almost not the goodest

1235
01:08:33,560 --> 01:08:37,760
Speaker 1: denim company in New York, I don't know. Oh yes

1236
01:08:37,800 --> 01:08:39,519
Speaker 1: there is. There was one called Making It in America

1237
01:08:39,520 --> 01:08:41,760
Speaker 1: and it was about two It was a show. It

1238
01:08:41,920 --> 01:08:44,680
Speaker 1: was on HBO about two guys trying to start a

1239
01:08:44,800 --> 01:08:49,639
Speaker 1: denim company. I feel sick, gritty, you know, crime ridden

1240
01:08:49,720 --> 01:08:54,320
Speaker 1: denim company a really ground breaking but they do the

1241
01:08:54,360 --> 01:08:58,320
Speaker 1: distressing by just firing a K forty seven's at it um.

1242
01:09:00,680 --> 01:09:03,479
Speaker 1: But like, how crazy would it be to pitch a

1243
01:09:03,520 --> 01:09:05,639
Speaker 1: show about like a woman trying to start an etc.

1244
01:09:05,800 --> 01:09:09,240
Speaker 1: Store in Brooklyn? I mean, but have it not be

1245
01:09:09,360 --> 01:09:11,760
Speaker 1: a joke. This is a very serious light. Have you

1246
01:09:11,800 --> 01:09:15,200
Speaker 1: seen the show Girl Boss? Well it was bad. It

1247
01:09:15,280 --> 01:09:17,720
Speaker 1: was canceled off. It was but it was like that

1248
01:09:17,920 --> 01:09:19,840
Speaker 1: was I mean, that movie was that. I mean that

1249
01:09:19,920 --> 01:09:22,080
Speaker 1: show was dogship, but it was it was female media,

1250
01:09:22,360 --> 01:09:24,280
Speaker 1: but it was dogshit just because everyone did a bad

1251
01:09:24,360 --> 01:09:29,040
Speaker 1: job on it. The idea itself is not horrible, like

1252
01:09:29,560 --> 01:09:33,120
Speaker 1: I like seeing and I feel like again it's it's

1253
01:09:33,200 --> 01:09:36,840
Speaker 1: like representing women in movies should not be this hard,

1254
01:09:37,000 --> 01:09:39,519
Speaker 1: but it is where I feel like we have sort

1255
01:09:39,520 --> 01:09:44,440
Speaker 1: of had in recent years and influx of hashtag inspirational

1256
01:09:44,960 --> 01:09:48,080
Speaker 1: Mary Sue type characters who we need to see succeed

1257
01:09:48,160 --> 01:09:50,400
Speaker 1: at the end of the movie, because that is the

1258
01:09:50,520 --> 01:09:54,160
Speaker 1: first step of representation, is seeing someone in the most

1259
01:09:54,240 --> 01:09:58,360
Speaker 1: perfect light possible to justify their existence at all, Right,

1260
01:09:58,720 --> 01:10:02,520
Speaker 1: and then and then and trickle down to more nuanced representations,

1261
01:10:02,800 --> 01:10:06,000
Speaker 1: right and then in this way, it's like it does

1262
01:10:06,080 --> 01:10:08,920
Speaker 1: still feel like it's like, well, we can only see

1263
01:10:08,920 --> 01:10:12,560
Speaker 1: it when it's like a pretty like western beauty standards,

1264
01:10:13,240 --> 01:10:16,519
Speaker 1: middle class white lady. But you still see like a

1265
01:10:16,680 --> 01:10:20,280
Speaker 1: more nuanced female character than you normally would. You are

1266
01:10:20,360 --> 01:10:23,160
Speaker 1: allowed to see her fail and like struggle with that

1267
01:10:23,479 --> 01:10:26,240
Speaker 1: and need to like it's cool. I don't know, I do,

1268
01:10:26,439 --> 01:10:28,040
Speaker 1: like I think about this a lot, and I'm like,

1269
01:10:29,000 --> 01:10:32,200
Speaker 1: the wider, wider question is like and I think it

1270
01:10:32,320 --> 01:10:34,439
Speaker 1: just gets to the heart of like the idea of

1271
01:10:34,520 --> 01:10:37,680
Speaker 1: the individual in a western social manager And is that like,

1272
01:10:38,120 --> 01:10:41,760
Speaker 1: why do I have to see myself reflected in media? Yeah?

1273
01:10:42,240 --> 01:10:44,240
Speaker 1: And that is but that is so deep. I don't

1274
01:10:44,240 --> 01:10:45,600
Speaker 1: think we'll ever go to the point where we can

1275
01:10:45,640 --> 01:10:49,080
Speaker 1: actually interrogate that because it is important. But and now

1276
01:10:49,120 --> 01:10:50,360
Speaker 1: we're at the point where you kind of have to

1277
01:10:50,439 --> 01:10:53,080
Speaker 1: just cherry pick at one at the time, like, okay,

1278
01:10:53,160 --> 01:10:55,479
Speaker 1: Francis Hawk, Okay, we're gonna have a character that's like

1279
01:10:55,560 --> 01:10:58,240
Speaker 1: kind of doesn't succeed and it's about compromise. But she

1280
01:10:58,320 --> 01:11:00,760
Speaker 1: has to be like blond and cute, the like if

1281
01:11:00,840 --> 01:11:04,080
Speaker 1: she's maybe a person of color, well then well we

1282
01:11:04,160 --> 01:11:06,040
Speaker 1: gotta like up it here, you know what I mean.

1283
01:11:06,400 --> 01:11:09,360
Speaker 1: It feels like I don't know if we're obviously we're

1284
01:11:09,400 --> 01:11:12,200
Speaker 1: not there because even when it happens, it feels like

1285
01:11:12,400 --> 01:11:15,160
Speaker 1: a balancing acts of like I have to check these

1286
01:11:15,200 --> 01:11:19,320
Speaker 1: boxes and unchecked these to make this cultural product palatable

1287
01:11:19,640 --> 01:11:21,840
Speaker 1: and marketable. I mean, we kind of talked about that

1288
01:11:21,920 --> 01:11:24,880
Speaker 1: on the Book Smart episode where they like they clearly

1289
01:11:24,960 --> 01:11:28,800
Speaker 1: had like a quote wokealist where it's like, all right,

1290
01:11:28,840 --> 01:11:30,920
Speaker 1: we want to talk about these things as it as

1291
01:11:31,000 --> 01:11:34,800
Speaker 1: it pertains to you know, women and feminism and things

1292
01:11:34,840 --> 01:11:37,639
Speaker 1: like that. But then they like erased women of color

1293
01:11:37,800 --> 01:11:40,760
Speaker 1: from the whole movie. So it's like, if you know,

1294
01:11:41,000 --> 01:11:44,439
Speaker 1: and that's the question of like ethics versus artistic merricks.

1295
01:11:44,479 --> 01:11:46,559
Speaker 1: It's like, okay, well, if you're going to make there's

1296
01:11:46,560 --> 01:11:48,719
Speaker 1: a reason why we make fun of after school specials

1297
01:11:48,800 --> 01:11:52,720
Speaker 1: because their morality plays like they are moral statements disguised

1298
01:11:52,800 --> 01:11:56,919
Speaker 1: as entertainment. And there was a fine line between creating

1299
01:11:57,040 --> 01:12:00,680
Speaker 1: like equitable representation versus like, well, I'm just checking the

1300
01:12:00,880 --> 01:12:04,840
Speaker 1: like the morality boxes at the expense of you know,

1301
01:12:05,840 --> 01:12:07,960
Speaker 1: but maybe that's bullshit too, because if if the whole

1302
01:12:08,080 --> 01:12:11,720
Speaker 1: history of the medium is predicated on exclusion, then the

1303
01:12:11,840 --> 01:12:14,800
Speaker 1: question of good or bad does become moral as well.

1304
01:12:15,280 --> 01:12:19,479
Speaker 1: You sound like such a scholar. I wrote this down.

1305
01:12:19,680 --> 01:12:22,320
Speaker 1: I was having a text I think this is true.

1306
01:12:22,360 --> 01:12:24,240
Speaker 1: I was having a text conversation with my boyfriend. We

1307
01:12:24,320 --> 01:12:31,240
Speaker 1: were arguing about like craft and no boys allowed. Sorry

1308
01:12:31,439 --> 01:12:34,759
Speaker 1: my headeral life partner supplied to me by Lord Bezos

1309
01:12:36,800 --> 01:12:38,880
Speaker 1: what saying. I was just getting so mad, I mean,

1310
01:12:38,960 --> 01:12:41,200
Speaker 1: and he I don't know how this started, but we

1311
01:12:41,280 --> 01:12:43,360
Speaker 1: were he was like trying to buy a rug from Afghanistan.

1312
01:12:43,439 --> 01:12:45,680
Speaker 1: Then we got into this whole argument about ethics and art,

1313
01:12:45,800 --> 01:12:49,120
Speaker 1: and I just tried to like end it by saying,

1314
01:12:49,200 --> 01:12:51,400
Speaker 1: like the ethics of art is just a mobia strip

1315
01:12:51,479 --> 01:12:53,600
Speaker 1: of necessary and good on one side, and then the

1316
01:12:53,640 --> 01:12:55,640
Speaker 1: immoral on the other side, and history just kind of

1317
01:12:55,680 --> 01:13:00,800
Speaker 1: paints them both different colors until they bump into each other. Like, dude,

1318
01:13:00,800 --> 01:13:02,680
Speaker 1: I saw the Avengers with you. We both know that's

1319
01:13:02,680 --> 01:13:07,960
Speaker 1: how Robert Downey Jr. Invinced time travel. I mean, these

1320
01:13:08,000 --> 01:13:11,800
Speaker 1: things are, it's it's also historically determined. So who knows,

1321
01:13:11,960 --> 01:13:16,200
Speaker 1: like twenty years from now, this movie or book smart

1322
01:13:16,240 --> 01:13:20,080
Speaker 1: are going to seem like so pat and cloying, right,

1323
01:13:20,320 --> 01:13:23,680
Speaker 1: I mean, when we're still doing the podcast from now

1324
01:13:24,960 --> 01:13:34,880
Speaker 1: a garbage can fight, But my sugar crystals are actually

1325
01:13:34,880 --> 01:13:37,360
Speaker 1: just parts of the barrier reef of they melt in

1326
01:13:37,439 --> 01:13:40,919
Speaker 1: my coffee. We'll have a little generator and a floaty

1327
01:13:41,360 --> 01:13:44,200
Speaker 1: and it's gonna be Isaac on a bicycle. That's how

1328
01:13:44,360 --> 01:13:47,519
Speaker 1: we run the and that's our feminism at this point,

1329
01:13:47,600 --> 01:13:53,800
Speaker 1: that men are electricity. Now there. It's I think it's

1330
01:13:53,880 --> 01:13:58,720
Speaker 1: interesting that you're describing almost as a scale or of like, well,

1331
01:13:58,800 --> 01:14:01,439
Speaker 1: if this is true, and this needs to because it

1332
01:14:01,479 --> 01:14:05,600
Speaker 1: does seem like female representation in general, Like it is

1333
01:14:05,960 --> 01:14:08,840
Speaker 1: like if if these things are flawed, then these things

1334
01:14:09,040 --> 01:14:12,439
Speaker 1: need to be quote unquote not flawed. And like, I mean,

1335
01:14:12,880 --> 01:14:15,800
Speaker 1: could you make a movie like Francis hot with a

1336
01:14:16,000 --> 01:14:18,280
Speaker 1: non white character at this time. I don't know that

1337
01:14:18,439 --> 01:14:21,240
Speaker 1: that would have experienced success in the same way that

1338
01:14:21,320 --> 01:14:23,040
Speaker 1: this movie did, or that it would have been accepted

1339
01:14:23,080 --> 01:14:26,400
Speaker 1: in the same way this movie did. And that's worth discussing.

1340
01:14:26,479 --> 01:14:28,160
Speaker 1: And I think that that is like something that is

1341
01:14:28,200 --> 01:14:30,960
Speaker 1: still present in as much as I like enjoyed it

1342
01:14:31,040 --> 01:14:32,320
Speaker 1: and I thought it was a fun ramp of a

1343
01:14:32,439 --> 01:14:35,559
Speaker 1: movie like Book Smart to me felt like to an extent,

1344
01:14:35,680 --> 01:14:39,160
Speaker 1: like kind of a checklist kind of movie. And the

1345
01:14:39,320 --> 01:14:42,600
Speaker 1: good thing about that means that at least hitting some

1346
01:14:42,760 --> 01:14:46,080
Speaker 1: points like that is now marketable and is now like

1347
01:14:46,560 --> 01:14:50,680
Speaker 1: something that people will give you money to make if

1348
01:14:50,960 --> 01:14:54,080
Speaker 1: you're a very famous white lady already. But you know,

1349
01:14:54,160 --> 01:14:57,920
Speaker 1: it's like, at least the idea of movies that feature

1350
01:14:58,439 --> 01:15:01,240
Speaker 1: women that are flawed to an ext gent as marketable

1351
01:15:01,680 --> 01:15:05,160
Speaker 1: is really cool and indicates progress. And I don't know,

1352
01:15:05,200 --> 01:15:07,760
Speaker 1: I feel like this movie, like Francis House, almost like

1353
01:15:07,800 --> 01:15:09,760
Speaker 1: a little bit of an outlier. I mean, it also

1354
01:15:09,880 --> 01:15:11,760
Speaker 1: helps that it was really cheap to make. Is three

1355
01:15:11,800 --> 01:15:16,360
Speaker 1: million dollar budget, yea, so super super cheap. You know,

1356
01:15:17,800 --> 01:15:20,400
Speaker 1: no one in this movie was really famous. Yet I

1357
01:15:20,520 --> 01:15:23,320
Speaker 1: feel like Noah bomb Back is most likely the reason

1358
01:15:23,400 --> 01:15:25,280
Speaker 1: that this got made because he had had a few

1359
01:15:25,320 --> 01:15:27,880
Speaker 1: successes already, and it was like, I think it's her

1360
01:15:27,920 --> 01:15:30,400
Speaker 1: first movie that she co wrote. That let me just

1361
01:15:30,479 --> 01:15:32,479
Speaker 1: assuming a lot. She probably think did she write any

1362
01:15:32,479 --> 01:15:35,759
Speaker 1: of these mumblecore Also, she's a very good actress, because

1363
01:15:36,439 --> 01:15:39,679
Speaker 1: I think this movie, I just felt like, oh my gosh,

1364
01:15:39,760 --> 01:15:41,920
Speaker 1: she's just being sort of awkwardly herself. But then I

1365
01:15:42,040 --> 01:15:45,479
Speaker 1: saw twentieth Century Women, I'm like, oh, Gretor, she's a

1366
01:15:45,520 --> 01:15:48,080
Speaker 1: real actress because she plays a much more also a

1367
01:15:48,120 --> 01:15:51,760
Speaker 1: weird artist, but more articulate kind of together. I'm like, oh,

1368
01:15:51,840 --> 01:15:54,800
Speaker 1: a character that I don't conflate with Gretor gerwigs. So

1369
01:15:55,560 --> 01:15:59,519
Speaker 1: I don't know. Her first credited writing thing is like

1370
01:15:59,560 --> 01:16:02,240
Speaker 1: because she made a bunch of Joe Swanberg movies. So

1371
01:16:03,120 --> 01:16:07,639
Speaker 1: for those Joe Swanberg was like Mr Mumblecore. He lived

1372
01:16:07,640 --> 01:16:10,280
Speaker 1: in Chicago. He made that shitty Netflix show Easy, so

1373
01:16:10,479 --> 01:16:13,280
Speaker 1: if you liked it, I thought it was shitty, but whatever.

1374
01:16:13,720 --> 01:16:16,479
Speaker 1: He made a bunch of these early mumblecore movies. So

1375
01:16:16,960 --> 01:16:20,040
Speaker 1: her first credited writing credit was on a two thousand

1376
01:16:20,080 --> 01:16:22,560
Speaker 1: seven movie called Hannah Takes the Stairs. Haven't seen it,

1377
01:16:23,200 --> 01:16:27,759
Speaker 1: but that was can and then she directed her first movie.

1378
01:16:28,000 --> 01:16:31,479
Speaker 1: She directed a mumblecore movie in OH eight that she

1379
01:16:31,600 --> 01:16:33,320
Speaker 1: wrote as well. But this is I mean it was

1380
01:16:33,400 --> 01:16:35,560
Speaker 1: Lady Burden on her first director. I thought that was

1381
01:16:35,600 --> 01:16:39,040
Speaker 1: her directorial debut. But I'm gonna go ahead and say

1382
01:16:39,120 --> 01:16:42,160
Speaker 1: I think no Uh and Greta greater than the some

1383
01:16:42,320 --> 01:16:46,600
Speaker 1: of their parts. Oh, I agree, because I like this

1384
01:16:46,720 --> 01:16:48,479
Speaker 1: better than Lady Brod and I definitely liked it better

1385
01:16:48,520 --> 01:16:51,240
Speaker 1: than anything Noah bum Box has done. I definitely like

1386
01:16:51,320 --> 01:16:53,719
Speaker 1: this is my favorite. I mean, I've only I'm pretty

1387
01:16:53,760 --> 01:16:56,120
Speaker 1: sure I've only seen two or three. He made that

1388
01:16:56,360 --> 01:17:00,320
Speaker 1: shitty movie with Ben Stiller, right, Greenberg? Is that right? Okay?

1389
01:17:00,360 --> 01:17:02,320
Speaker 1: I mix up Noah Bomba and Joe Swanberg all the

1390
01:17:02,360 --> 01:17:04,760
Speaker 1: time because I just really don't know what makes more money.

1391
01:17:05,479 --> 01:17:07,960
Speaker 1: That's true. That's true, and for a man, we gotta

1392
01:17:08,000 --> 01:17:12,800
Speaker 1: hand it to them. Greta Gerwiggs directorial debut was a

1393
01:17:12,960 --> 01:17:15,960
Speaker 1: mumblecore flop with Joe Swanberg, but it was made for

1394
01:17:16,040 --> 01:17:19,840
Speaker 1: fifteen dollars um, so you know, like I think Lady

1395
01:17:19,880 --> 01:17:23,200
Speaker 1: Bird was her like her big her. It's yeah, it's

1396
01:17:23,240 --> 01:17:28,200
Speaker 1: credited solo directorial debut directed in a way either way

1397
01:17:28,320 --> 01:17:31,160
Speaker 1: this was. This was Greta Gerwig's big break. I think

1398
01:17:31,439 --> 01:17:33,760
Speaker 1: is like it's viewed as and I think that that

1399
01:17:33,960 --> 01:17:37,920
Speaker 1: is that is a great and a slight, a very

1400
01:17:38,000 --> 01:17:39,960
Speaker 1: slight tip of the hat to know a bombok for

1401
01:17:40,880 --> 01:17:45,080
Speaker 1: um really featuring her and giving her the credit she deserves,

1402
01:17:45,080 --> 01:17:48,360
Speaker 1: because it seems like there's if this movie. I would

1403
01:17:48,400 --> 01:17:50,439
Speaker 1: guess if this movie was just written by Noah Bamba,

1404
01:17:50,600 --> 01:17:53,759
Speaker 1: it wouldn't have had the focus on the female friendship,

1405
01:17:53,880 --> 01:17:56,120
Speaker 1: it wouldn't have had the focus on her, and it

1406
01:17:56,120 --> 01:18:00,200
Speaker 1: wouldn't have reflected her experience as well as it does. Um. No,

1407
01:18:00,360 --> 01:18:02,400
Speaker 1: it's funny. I remember when it came out reading an

1408
01:18:02,439 --> 01:18:05,880
Speaker 1: interview with Noah bum Back, which if I remember correctly,

1409
01:18:05,960 --> 01:18:08,200
Speaker 1: it's funny that they was a magazine piece just about

1410
01:18:08,280 --> 01:18:10,760
Speaker 1: Noah Bumba for the release of this movie, of course,

1411
01:18:13,120 --> 01:18:15,080
Speaker 1: but he did say that, yeah, it was kind of

1412
01:18:15,360 --> 01:18:18,400
Speaker 1: he had to coax her into writing it because at

1413
01:18:18,439 --> 01:18:20,320
Speaker 1: that time in her life, I think she was probably

1414
01:18:20,360 --> 01:18:23,160
Speaker 1: like twenty seven or maybe in her maybe a little later,

1415
01:18:23,280 --> 01:18:27,160
Speaker 1: almost thirty, and she was sort of venting about these

1416
01:18:27,240 --> 01:18:29,720
Speaker 1: frustrations in her own career, and he was just like,

1417
01:18:29,920 --> 01:18:33,920
Speaker 1: that's fascinating write it down, but so um, which is

1418
01:18:34,120 --> 01:18:35,760
Speaker 1: the point. The point is that like you need a

1419
01:18:35,880 --> 01:18:39,280
Speaker 1: man to point out to what's interesting about you and

1420
01:18:39,400 --> 01:18:42,080
Speaker 1: what's worthy about you artistically in order to put it

1421
01:18:42,120 --> 01:18:44,160
Speaker 1: out into the world. And I feel like it's almost

1422
01:18:44,200 --> 01:18:47,240
Speaker 1: a reflection of the Okay, I'm going to give an

1423
01:18:47,280 --> 01:18:50,479
Speaker 1: example from a friend that who may or may not

1424
01:18:50,600 --> 01:18:52,439
Speaker 1: have been on this podcast previously, but I don't know

1425
01:18:52,439 --> 01:18:53,920
Speaker 1: if she wants me to put her in blast that way,

1426
01:18:54,280 --> 01:18:58,280
Speaker 1: but an example of like how I think women very

1427
01:18:58,400 --> 01:19:02,880
Speaker 1: often are are trained to underestimate themselves for things that

1428
01:19:03,040 --> 01:19:04,680
Speaker 1: men will just be like, oh, of course I can

1429
01:19:04,720 --> 01:19:07,920
Speaker 1: do this, And how at times having a male ally

1430
01:19:08,080 --> 01:19:10,840
Speaker 1: to tell you, you know, no, you are ready to

1431
01:19:10,960 --> 01:19:14,280
Speaker 1: do this is important and I think, like that is cool.

1432
01:19:14,360 --> 01:19:18,320
Speaker 1: Like my, but my, my, my dear friend was considering

1433
01:19:18,960 --> 01:19:23,080
Speaker 1: running for office inside of like this social group that

1434
01:19:23,240 --> 01:19:24,960
Speaker 1: she had she had been a part of for almost

1435
01:19:25,000 --> 01:19:27,840
Speaker 1: two years, but then was repeatedly saying like, I don't

1436
01:19:27,880 --> 01:19:29,320
Speaker 1: know if I'm ready. I don't know if like people

1437
01:19:29,360 --> 01:19:31,200
Speaker 1: think seriously enough, I don't know if I've proven myself

1438
01:19:31,360 --> 01:19:34,639
Speaker 1: in this group quite enough. And then when they were announcing, Okay,

1439
01:19:34,640 --> 01:19:36,680
Speaker 1: who's going to run for this position. Three guys who

1440
01:19:36,720 --> 01:19:39,360
Speaker 1: had been there less than a month. We're like, I

1441
01:19:39,439 --> 01:19:42,400
Speaker 1: think I'm ready. And so then that was what comms

1442
01:19:42,479 --> 01:19:44,920
Speaker 1: sort of like, no, I've fucking been ready for this.

1443
01:19:45,040 --> 01:19:48,439
Speaker 1: All these people who just got here think that they're ready,

1444
01:19:48,560 --> 01:19:51,000
Speaker 1: and so I mean, for better or worse, that's the

1445
01:19:51,080 --> 01:19:53,600
Speaker 1: real thing, and that's important, Like yeah, slide props to

1446
01:19:53,760 --> 01:19:56,320
Speaker 1: to know a bomb box for you know, saying what

1447
01:19:56,600 --> 01:19:58,719
Speaker 1: does it really needed to be said? Because she was ready.

1448
01:19:59,720 --> 01:20:01,439
Speaker 1: So I'm gonna I'm gonna go onto the street and

1449
01:20:01,560 --> 01:20:05,000
Speaker 1: ask all the dudes if I'm ready, only they will

1450
01:20:05,000 --> 01:20:06,600
Speaker 1: be able to tell you. Well, all I have to

1451
01:20:06,680 --> 01:20:09,240
Speaker 1: say if you are a man with any power or

1452
01:20:09,320 --> 01:20:13,679
Speaker 1: influence that is in a position to you know, encourage, Yeah,

1453
01:20:14,080 --> 01:20:16,960
Speaker 1: lift up, produce put that Yeah, like put the spot

1454
01:20:17,479 --> 01:20:20,720
Speaker 1: on the money who deserves it, that hasn't had it

1455
01:20:20,840 --> 01:20:23,800
Speaker 1: go down on without expecting anything in return. Don't always

1456
01:20:23,840 --> 01:20:27,120
Speaker 1: choose the person who has exactly your experience, or nothing

1457
01:20:27,160 --> 01:20:33,240
Speaker 1: will ever happen. Ding Uh. One little just quick thing

1458
01:20:33,360 --> 01:20:37,080
Speaker 1: I wanted to point out is in the beginning, when

1459
01:20:37,360 --> 01:20:42,320
Speaker 1: Francis and Sophie are still getting along splendidly, um, they're

1460
01:20:42,360 --> 01:20:44,760
Speaker 1: talking about their futures and the things that they want,

1461
01:20:44,880 --> 01:20:47,400
Speaker 1: and they're like, yeah, we'll do this, and I think

1462
01:20:47,439 --> 01:20:49,160
Speaker 1: this is when this it's did a point in the

1463
01:20:49,280 --> 01:20:53,040
Speaker 1: movie where they're getting along and they're close, they say,

1464
01:20:53,479 --> 01:20:57,640
Speaker 1: we'll have lovers and no children. And I just appreciate

1465
01:20:58,080 --> 01:21:01,639
Speaker 1: visibility for women who don't want to have kids. As

1466
01:21:01,720 --> 01:21:04,880
Speaker 1: someone as a woman who does not want to have children,

1467
01:21:05,320 --> 01:21:11,360
Speaker 1: it's always refreshing to see that represented. Yeah, so the end,

1468
01:21:11,920 --> 01:21:13,800
Speaker 1: I like it. I like at all? Is there is

1469
01:21:13,840 --> 01:21:17,080
Speaker 1: there anything else that anyone wanted to hit on before me?

1470
01:21:17,400 --> 01:21:21,760
Speaker 1: I've been to Paris there, How could you have gone

1471
01:21:21,800 --> 01:21:24,439
Speaker 1: this far into this announce So I just wanted to

1472
01:21:24,479 --> 01:21:27,400
Speaker 1: say that as someone who kind of found herself in

1473
01:21:27,479 --> 01:21:30,639
Speaker 1: Paris at one point actually a year for this movie.

1474
01:21:31,160 --> 01:21:33,200
Speaker 1: I mean, it couldn't have happened, but it was the

1475
01:21:33,320 --> 01:21:35,439
Speaker 1: kind of thing where I got off the plane and

1476
01:21:35,560 --> 01:21:38,920
Speaker 1: I remember thinking, oh my god, like it actually does

1477
01:21:39,200 --> 01:21:41,880
Speaker 1: look Paris looks like Paris. It looks like exactly like

1478
01:21:42,040 --> 01:21:45,080
Speaker 1: every postcard and movie and thing you've seen. And there's

1479
01:21:45,120 --> 01:21:48,360
Speaker 1: something deeply sad about that. And I just I haven't

1480
01:21:48,479 --> 01:21:50,519
Speaker 1: I haven't recovered. I have to go back every month,

1481
01:21:50,920 --> 01:21:53,960
Speaker 1: absolutely so well, luckily you have that free place to stay.

1482
01:21:54,479 --> 01:21:57,280
Speaker 1: And I like to blurt that out at dinner to Paris.

1483
01:21:58,320 --> 01:22:01,160
Speaker 1: Just I mean, honestly, Yeah, if if we're out and

1484
01:22:01,280 --> 01:22:05,240
Speaker 1: more than two seconds passes, she says, it's any any

1485
01:22:05,360 --> 01:22:09,360
Speaker 1: love silence in the car. I've been to Paris. Do

1486
01:22:09,439 --> 01:22:11,880
Speaker 1: you have an iPhone charge where I can use? May

1487
01:22:11,920 --> 01:22:18,280
Speaker 1: I just say that I've been to parents money, I've

1488
01:22:18,280 --> 01:22:20,759
Speaker 1: been to Paris. If you lose on a slot machine,

1489
01:22:20,880 --> 01:22:26,280
Speaker 1: I've been to Paris, knocked the whole thing over. May

1490
01:22:26,320 --> 01:22:30,640
Speaker 1: I just say that I've been to Paris. There can

1491
01:22:30,720 --> 01:22:36,439
Speaker 1: only be one female protagonists fight each other. Regretfully, I

1492
01:22:36,520 --> 01:22:40,639
Speaker 1: went in two, so I went there first. Okay, well clearly, yeah,

1493
01:22:40,720 --> 01:22:44,000
Speaker 1: someone who does things the first time is the only

1494
01:22:44,080 --> 01:22:46,680
Speaker 1: time that it matters. So okay, I can see thank you,

1495
01:22:46,800 --> 01:22:48,920
Speaker 1: thank you so much, thank you so much. Who won

1496
01:22:49,000 --> 01:22:52,479
Speaker 1: the podcast today is a question? Um? Yeah, I think

1497
01:22:52,520 --> 01:22:54,559
Speaker 1: that was all I had to say about the failed

1498
01:22:55,280 --> 01:22:57,880
Speaker 1: I just I guess. Yeah. This was one of the

1499
01:22:57,960 --> 01:23:00,880
Speaker 1: few examples in the history of this podcast that I

1500
01:23:01,040 --> 01:23:04,400
Speaker 1: have gone back and rewatched a movie and looked on

1501
01:23:04,520 --> 01:23:06,519
Speaker 1: it fonder than I did when I first watched it.

1502
01:23:07,320 --> 01:23:08,800
Speaker 1: I did want to say I mean, I had a

1503
01:23:08,880 --> 01:23:11,040
Speaker 1: fabulous time when it was really great discussing movie. It

1504
01:23:11,120 --> 01:23:14,000
Speaker 1: was pretty low on my list, yes for five options,

1505
01:23:14,240 --> 01:23:16,759
Speaker 1: and this was like the probably fifth and I was like, really,

1506
01:23:17,479 --> 01:23:20,439
Speaker 1: we already did dressing the pussy Cat. I thought, I

1507
01:23:20,479 --> 01:23:25,000
Speaker 1: looked at the thing, well you've done, and we have

1508
01:23:25,120 --> 01:23:32,160
Speaker 1: to guests had to save me Lord Bezos. She just

1509
01:23:32,280 --> 01:23:37,200
Speaker 1: got themes up. Yeah, ship Now I'm glad we reviewed

1510
01:23:37,240 --> 01:23:39,240
Speaker 1: this though, and I think, yeah, I'm glad we did

1511
01:23:39,320 --> 01:23:42,080
Speaker 1: it to those who requested it. I hope you enjoyed it.

1512
01:23:42,640 --> 01:23:47,760
Speaker 1: But ladies, does it pass the Bechtel test? Oh? I

1513
01:23:47,880 --> 01:23:52,600
Speaker 1: don't think no yet, I think so. Yeah, there's some

1514
01:23:52,840 --> 01:23:55,960
Speaker 1: really quirky grading passes in the Bechtel tested, just a

1515
01:23:56,040 --> 01:23:59,240
Speaker 1: new subsection of the test. Is it a quirky pass

1516
01:23:59,640 --> 01:24:01,720
Speaker 1: but there is a lot of But yeah, it's like,

1517
01:24:02,040 --> 01:24:05,479
Speaker 1: you know, Sophie and Francis are talking, Rachel and Francis

1518
01:24:05,560 --> 01:24:09,400
Speaker 1: are talking. It passes in like the first ten seconds, Yeah,

1519
01:24:09,600 --> 01:24:11,560
Speaker 1: and continues to do. She's like, I wouldn't eat a

1520
01:24:11,640 --> 01:24:14,639
Speaker 1: dog and he's like, yeah, you add Oh. The last

1521
01:24:14,640 --> 01:24:17,280
Speaker 1: thing I did want to say is I liked representation

1522
01:24:17,560 --> 01:24:19,920
Speaker 1: of a failed attempt at being a guy's gal for

1523
01:24:20,000 --> 01:24:24,040
Speaker 1: a couple of months. I have also I've also tried

1524
01:24:24,080 --> 01:24:26,160
Speaker 1: to be a guy scale first band of months. It

1525
01:24:26,280 --> 01:24:30,320
Speaker 1: never ends well. And I was like, make me not

1526
01:24:30,479 --> 01:24:34,720
Speaker 1: like other girls exactly. She is, Oh, it is nice

1527
01:24:34,760 --> 01:24:36,439
Speaker 1: to see a girl like I'm not like the other

1528
01:24:36,479 --> 01:24:38,840
Speaker 1: girls and see it be like, oh, it would actually

1529
01:24:38,840 --> 01:24:40,560
Speaker 1: be really chill if I could hang out with my

1530
01:24:40,920 --> 01:24:45,400
Speaker 1: friend who's a girl again. Um, much much better. Um

1531
01:24:45,640 --> 01:24:49,719
Speaker 1: it does pass. And shall we just a little rating,

1532
01:24:49,800 --> 01:24:54,840
Speaker 1: get a little rating? Sure, nip scale. Yeah, so we've

1533
01:24:55,160 --> 01:24:58,439
Speaker 1: we've got a nipple scale zero to five nipples. Based

1534
01:24:58,479 --> 01:25:02,559
Speaker 1: on its representation and tree mint of women, i'd sam

1535
01:25:02,760 --> 01:25:04,679
Speaker 1: between like a three and a three and a half

1536
01:25:05,120 --> 01:25:11,400
Speaker 1: on this where largely the movie is about a female friendship, which,

1537
01:25:11,960 --> 01:25:14,920
Speaker 1: as we've said before and we'll see again, is not

1538
01:25:15,080 --> 01:25:18,920
Speaker 1: the focus of most movies. So it's because most movies

1539
01:25:19,080 --> 01:25:22,320
Speaker 1: the focus is either a hetero relationship between a man

1540
01:25:22,439 --> 01:25:26,519
Speaker 1: and a woman or it is two boys. The boys

1541
01:25:26,560 --> 01:25:30,280
Speaker 1: are there and they're having a friendship. So nice to

1542
01:25:30,320 --> 01:25:33,920
Speaker 1: see female friendship celebrated, and as we've discussed, in a

1543
01:25:34,000 --> 01:25:38,000
Speaker 1: way that is not like a perfect Mary Sue kind

1544
01:25:38,040 --> 01:25:40,200
Speaker 1: of thing where it's just like, oh, look how awesome

1545
01:25:40,280 --> 01:25:42,280
Speaker 1: these women are and they're just so they get along

1546
01:25:42,360 --> 01:25:45,519
Speaker 1: so well, because that is not representative of real life.

1547
01:25:45,600 --> 01:25:49,160
Speaker 1: So we get to see these two different characters grow apart,

1548
01:25:49,280 --> 01:25:52,080
Speaker 1: come back together again, all this stuff because of their

1549
01:25:52,560 --> 01:25:57,519
Speaker 1: you know, individual nuances and issues that they have and

1550
01:25:57,800 --> 01:26:02,000
Speaker 1: are you know, trying to grow from and move through

1551
01:26:02,120 --> 01:26:05,479
Speaker 1: and all that stuff. So nice to see fairly well

1552
01:26:05,640 --> 01:26:09,640
Speaker 1: rounded characters and in their friendship and that be the

1553
01:26:09,720 --> 01:26:13,760
Speaker 1: focus of the movie. Um, you know, female mediocrity is

1554
01:26:14,160 --> 01:26:21,640
Speaker 1: something that we do appreciate. And Frances, I don't know,

1555
01:26:21,800 --> 01:26:24,439
Speaker 1: I'm like, I'm like, she's not mediocre. She's just had

1556
01:26:24,479 --> 01:26:27,000
Speaker 1: to accept that she's not good at everything and had

1557
01:26:27,080 --> 01:26:29,960
Speaker 1: to find out what she was good at and accepted. Yes,

1558
01:26:30,479 --> 01:26:34,639
Speaker 1: that was cool and again realistic. Yes, yes, so I'm

1559
01:26:34,680 --> 01:26:38,479
Speaker 1: addicted to accepting my limitation. Just kidding. Very refreshing to

1560
01:26:38,560 --> 01:26:40,760
Speaker 1: see you on screen. Yeah, but the but then you

1561
01:26:40,840 --> 01:26:45,559
Speaker 1: know there's some issues and that it's you know, oh boy,

1562
01:26:45,680 --> 01:26:47,680
Speaker 1: is it a white movie. There's they they don't have

1563
01:26:47,800 --> 01:26:51,000
Speaker 1: any friends who are people of color, and uh, I

1564
01:26:51,080 --> 01:26:54,439
Speaker 1: don't think that I remember seeing not to open a

1565
01:26:54,479 --> 01:26:56,400
Speaker 1: can of worms, But like, is that that's kind of

1566
01:26:56,479 --> 01:26:58,400
Speaker 1: like a moral fear. But is it an artistic failure

1567
01:26:58,400 --> 01:27:00,639
Speaker 1: because these kind of people probably don't don't have friends

1568
01:27:00,680 --> 01:27:04,000
Speaker 1: of color, right, Yeah, I just feel like there's always

1569
01:27:04,000 --> 01:27:06,439
Speaker 1: they're always in a position just to do a little

1570
01:27:06,479 --> 01:27:11,479
Speaker 1: boring too. It's just boring. Yeah, I mean I would

1571
01:27:11,560 --> 01:27:15,080
Speaker 1: like a like a Brooklyn Trust Front bro have like

1572
01:27:15,800 --> 01:27:19,360
Speaker 1: a black friend. I don't know, maybe not, but why

1573
01:27:19,400 --> 01:27:21,680
Speaker 1: are we making movies about people like that? Then? I

1574
01:27:21,760 --> 01:27:23,519
Speaker 1: just any all Wight New York movie. I'm just like

1575
01:27:23,600 --> 01:27:26,360
Speaker 1: you were in a creative position to make this not

1576
01:27:26,560 --> 01:27:29,559
Speaker 1: the game, right, Yes, So I feel like the most

1577
01:27:29,600 --> 01:27:32,519
Speaker 1: diverse scene we saw was when she's teaching the ballet class,

1578
01:27:33,400 --> 01:27:35,200
Speaker 1: her ballet class. The little girls were It was a

1579
01:27:35,280 --> 01:27:40,240
Speaker 1: very diverse group of little Ballerina's cute. So yeah, I

1580
01:27:40,400 --> 01:27:43,360
Speaker 1: think I'll think I'll settle on a three point five

1581
01:27:43,800 --> 01:27:48,360
Speaker 1: and I'll give one to Greta, I'll give one to

1582
01:27:49,560 --> 01:27:53,519
Speaker 1: the actor who plays Sophie. I'll give one to our

1583
01:27:53,640 --> 01:28:00,960
Speaker 1: super producer Sophie. And I'll give my fine half nipple

1584
01:28:01,640 --> 01:28:06,840
Speaker 1: to the hairless cat that maybe maybe the boyfriend and

1585
01:28:07,000 --> 01:28:10,639
Speaker 1: up getting maybe No, we don't know. I'm going between

1586
01:28:11,120 --> 01:28:14,000
Speaker 1: three and a half feels right, but I don't I'm

1587
01:28:14,080 --> 01:28:16,519
Speaker 1: tempted to go for four. I don't know. I guess

1588
01:28:16,600 --> 01:28:20,400
Speaker 1: I'll for the for whoever's making the Wikipedia page, you've

1589
01:28:20,400 --> 01:28:22,479
Speaker 1: put down three and a half or four, up to you,

1590
01:28:22,760 --> 01:28:27,200
Speaker 1: I'll give you the editorial power because I do agree

1591
01:28:27,280 --> 01:28:31,439
Speaker 1: that I think, you know, whenever there is a director, writer,

1592
01:28:31,920 --> 01:28:35,920
Speaker 1: you're you're in a position to be inclusive, and when

1593
01:28:36,000 --> 01:28:38,360
Speaker 1: you make the choice not to, that choice should be

1594
01:28:38,479 --> 01:28:41,840
Speaker 1: justified in a way that's more than like, well it

1595
01:28:41,920 --> 01:28:43,920
Speaker 1: wouldn't you know, like it just kind of like a

1596
01:28:44,040 --> 01:28:46,960
Speaker 1: Wincy kind of response to it doesn't really it just

1597
01:28:47,040 --> 01:28:50,439
Speaker 1: seems like it's kind of like, I don't know, it

1598
01:28:50,439 --> 01:28:54,080
Speaker 1: doesn't work for me. But but but I I got

1599
01:28:54,160 --> 01:28:57,000
Speaker 1: this movie wrong the first time, and I have grown

1600
01:28:57,040 --> 01:28:59,080
Speaker 1: to really appreciate it. There were parts of this movie

1601
01:28:59,160 --> 01:29:01,640
Speaker 1: that were genuinely ficult for me to watch because I

1602
01:29:01,720 --> 01:29:05,280
Speaker 1: saw elements of myself or my own friends or just

1603
01:29:05,640 --> 01:29:08,719
Speaker 1: I mean, I think that it is a pretty accurate

1604
01:29:08,840 --> 01:29:13,960
Speaker 1: depiction of a like I and and I hesitate to

1605
01:29:14,040 --> 01:29:16,800
Speaker 1: put the word millennial into this podcast at all, but

1606
01:29:17,320 --> 01:29:20,840
Speaker 1: we're out into the world further. But like, but someone

1607
01:29:20,880 --> 01:29:24,120
Speaker 1: who has been you know, grew up being told they

1608
01:29:24,160 --> 01:29:29,280
Speaker 1: could do anything, uh, then encounter the financial and personal

1609
01:29:29,439 --> 01:29:31,640
Speaker 1: obstacles that make it clear that that is kind of

1610
01:29:31,680 --> 01:29:35,360
Speaker 1: an empty promise, and navigating their way and finding their place.

1611
01:29:35,560 --> 01:29:38,920
Speaker 1: It is something that is really hashtag relatable um to

1612
01:29:39,280 --> 01:29:41,680
Speaker 1: a lot of women and also people. I think that

1613
01:29:41,840 --> 01:29:44,439
Speaker 1: this is like that men can also take a lot

1614
01:29:44,520 --> 01:29:48,120
Speaker 1: away from this movie and it's not specifically a women's movie,

1615
01:29:48,360 --> 01:29:51,000
Speaker 1: which is really cool. And I think Gredi Gerwig does

1616
01:29:51,040 --> 01:29:55,120
Speaker 1: a great job. It's like mumblecore ish in a way

1617
01:29:55,200 --> 01:29:58,720
Speaker 1: that isn't like distracting to me, And I don't know,

1618
01:29:58,880 --> 01:30:00,439
Speaker 1: I think it was like just the right amount of

1619
01:30:00,479 --> 01:30:04,800
Speaker 1: pathetic in a way that made me uncomfortable for hours afterwards,

1620
01:30:05,280 --> 01:30:08,680
Speaker 1: because everyone is a little bit pathetic and seeing it

1621
01:30:08,800 --> 01:30:14,000
Speaker 1: on screen is not a not a comfortable experience. But one. Um,

1622
01:30:14,360 --> 01:30:16,080
Speaker 1: so I'll go with a three and a half or

1623
01:30:16,240 --> 01:30:19,599
Speaker 1: a four, and you know, let's let history decide which

1624
01:30:19,640 --> 01:30:23,920
Speaker 1: I chose. I'll give I'll give one to Francis Hall,

1625
01:30:24,000 --> 01:30:29,360
Speaker 1: give one is so Fie. I'll give one to the

1626
01:30:29,520 --> 01:30:32,599
Speaker 1: lady that Greti Garwick works for, who's like, I don't

1627
01:30:32,640 --> 01:30:34,880
Speaker 1: even remember my workout. I don't even remember. It's my

1628
01:30:35,000 --> 01:30:40,080
Speaker 1: work after it happens, uh arge the woman in charge, um,

1629
01:30:40,240 --> 01:30:42,639
Speaker 1: and then I'll give half a nipple to the City

1630
01:30:42,720 --> 01:30:45,400
Speaker 1: of New York, or I have a nible orful nipple,

1631
01:30:45,680 --> 01:30:51,040
Speaker 1: depending on who. Okay, Christina, all right? Quadron nipples. One

1632
01:30:51,120 --> 01:30:55,000
Speaker 1: nipples for Nickey Summer, one nipple for Benjie's friends at

1633
01:30:55,120 --> 01:30:59,679
Speaker 1: s one nipple, one nipple for taking the whole crew

1634
01:30:59,760 --> 01:31:03,719
Speaker 1: to Paris to film a three minutes seem Half nipple

1635
01:31:05,360 --> 01:31:07,240
Speaker 1: for saying the name of a movie in the movie

1636
01:31:07,320 --> 01:31:08,920
Speaker 1: all the way at the very end, and you're like

1637
01:31:11,000 --> 01:31:14,639
Speaker 1: and obligatory half nipple tithing to my Lord and Savior

1638
01:31:14,760 --> 01:31:21,559
Speaker 1: Jeff Bezos. Oh I love it, Christina, thank you? Where

1639
01:31:21,600 --> 01:31:26,280
Speaker 1: can we try shopping for myself? Did you? We? We

1640
01:31:26,439 --> 01:31:30,559
Speaker 1: genuinely did clap when Frances hug and we're like, yes,

1641
01:31:31,439 --> 01:31:34,519
Speaker 1: it all makes sense. Come together. Oh, it's like when

1642
01:31:34,560 --> 01:31:38,080
Speaker 1: they say the Winter Soldier. You're like, like you you

1643
01:31:38,120 --> 01:31:39,800
Speaker 1: want to know where you can find me on the lear?

1644
01:31:39,880 --> 01:31:45,360
Speaker 1: Where are you follow me on Instagram? I put everything

1645
01:31:45,400 --> 01:31:47,800
Speaker 1: there links to Usually if I write something or I'm

1646
01:31:47,840 --> 01:31:49,640
Speaker 1: doing shows, I put it all there. I'm bad at

1647
01:31:49,720 --> 01:31:53,519
Speaker 1: updating my website, but there's my comedy videos and writing there,

1648
01:31:53,560 --> 01:31:56,680
Speaker 1: which is linked from Instagram anyway, so it's at us.

1649
01:31:56,720 --> 01:32:02,280
Speaker 1: The at symbol ex Tina underscore Catherine with a C

1650
01:32:03,000 --> 01:32:05,599
Speaker 1: because Christina Catherine doesn't fit in the user name box.

1651
01:32:05,920 --> 01:32:09,120
Speaker 1: See but that's good stuff. You should follow me, please follow.

1652
01:32:09,840 --> 01:32:13,000
Speaker 1: You can find us on All the All the Stuff

1653
01:32:13,439 --> 01:32:17,040
Speaker 1: Facebook and the Twitter on Instagram. At bachtel Cast you

1654
01:32:17,080 --> 01:32:21,400
Speaker 1: can find our patreon a Matreon Patreon dot com slash Bytelcast.

1655
01:32:21,560 --> 01:32:23,879
Speaker 1: Five dollars a month, we'll get you two extra episodes

1656
01:32:23,960 --> 01:32:26,599
Speaker 1: and access to the full back catalog. What a darn

1657
01:32:26,680 --> 01:32:29,880
Speaker 1: good special. You can also check out our merch store

1658
01:32:30,120 --> 01:32:34,920
Speaker 1: at t public dot com slash the Bechtel Cast Class.

1659
01:32:35,280 --> 01:32:38,639
Speaker 1: Oh my goodness, the Betel Class. Konda, back to class.

1660
01:32:40,520 --> 01:32:45,120
Speaker 1: Do you see where I was going? The econoclassy? Is

1661
01:32:45,160 --> 01:32:49,680
Speaker 1: it a lurch store? There is a lady merch go on?

1662
01:32:50,760 --> 01:32:55,960
Speaker 1: Am I? Am I doing it right? Yes? This is feminism. Yeah,

1663
01:32:56,040 --> 01:32:59,000
Speaker 1: thank you for listening. As always in Rushi next week,

1664
01:32:59,160 --> 01:33:00,320
Speaker 1: See you next week, Abbey