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

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

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

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Speaker 1: start changing it with the beck Del Cast. Hello and

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Speaker 1: welcome to the Bechtel Cast. My name is Caitlin Toronto

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Speaker 1: named Jamie Loftus, and we talk about the representation of

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Speaker 1: women in films. Yeah, what if this started twenty five

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Speaker 1: years from now and we were reflecting on how we

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Speaker 1: used to do the Bechdel Cast and then we always

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Speaker 1: promised that we're going to continue doing to come back

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Speaker 1: and come back any time you discourse to be had,

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Speaker 1: that we would up and start doing it. Jamie, let's

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Speaker 1: make that pact right now. Truth. Truth? Are you happy? No? Sam?

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Speaker 1: All right, I guess we're done here. Uh. This is

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Speaker 1: our funniest movie podcast. We use the Bechdel Test as

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Speaker 1: our jumping out point for discussion. Beckel Tests, I'm times

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Speaker 1: called the Bechtel Wallace test is a media metric invented

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Speaker 1: by cartoonist Alison Bechdel that requires that there be two

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Speaker 1: female identifying characters in a piece of media with names

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Speaker 1: that talk to each other about something other than a

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Speaker 1: man for more than two lines of dialogue? Can it

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Speaker 1: be done? Sometimes? Sometimes in this movie, yeah, quite a bit.

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Speaker 1: I was. I thought you were about to be like,

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Speaker 1: it doesn't. I was like, oh my god. I was like,

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Speaker 1: wait a second, did we see the same movie? O, Well,

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Speaker 1: you're spoiling it at the top. But I mean, I mean,

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Speaker 1: I still think that it's really funny whenever someone is like,

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Speaker 1: so do you just talk about the Becktel test? Like

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Speaker 1: what would that conversation even sound for an hour and

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Speaker 1: a half, which is argue with each other like one

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Speaker 1: text pro when when it's an indisputable thing through every

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Speaker 1: single line of dialogue in the movie, and be like

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Speaker 1: does that one pass? No? It doesn't because Michael Shannon

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Speaker 1: said it. Moving on, Like it's just like what I

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Speaker 1: think I'm getting into Michael Shannon. Oh well not Live's

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Speaker 1: Out is a great film. He's good in it. I

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Speaker 1: didn't really confused him with many other Michaels And you

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Speaker 1: can't blame me, but I think I'm getting into Michael Shannon.

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Speaker 1: It does not. But I'm surprised you weren't into him

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Speaker 1: starting with Shape of Water. I know, well, because I

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Speaker 1: kept confusing him with Michael Stolberg because it's too close,

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Speaker 1: too close to name too much Michael representation in that movie.

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Speaker 1: Just know from me. So yeah, this is the best.

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Speaker 1: And as always, we have a wonderful guest with us,

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Speaker 1: certainly today. She's one of my dearest friends. She's a photographer, extraordinary,

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Speaker 1: she's a circus historian. She's the absolute best. It's Callie Bickerstaff.

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Speaker 1: Welcome to you. Thanks for having me. Well, we're bringing

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Speaker 1: We're doing a movie that you were very very passionate

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Speaker 1: about recommending. And I was like, well, just come on

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Speaker 1: and talk about it because you're like, when are you

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Speaker 1: going to do it? Now? In an episode? So have

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Speaker 1: all of our fans everyone. I did not know that

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Speaker 1: this thing existed and I will disappoint and the website. So, Kelly,

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Speaker 1: what's your history with now? And I think I watched

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Speaker 1: in the theaters and I think, and I told you

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Speaker 1: this that I remember watching it and Demi Moore was

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Speaker 1: smoking and I was like, oh that is cool, and

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Speaker 1: rewatching it, I was like, I definitely started smoking because

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Speaker 1: of this, which is influential, Oh my god, but cool

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Speaker 1: at the time. Um, but yeah, I think to me

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Speaker 1: it seemed like like the sand Lot, stand by me,

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Speaker 1: merge for ladies. I don't know, but it was a

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Speaker 1: sweet teenage film for me. I think it's cute. I mean,

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Speaker 1: it has its moments, and it has it's like camaraderie thing.

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Speaker 1: There's personality for everyone in there, I think. And problematic parts.

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Speaker 1: Oh yes, we'll talk about what what some some be

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Speaker 1: phrased Brent and also is not credited in the movie.

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Speaker 1: I was. I watched it all the way through with

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Speaker 1: the credits. I paused because, like how because I was

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Speaker 1: playing this game I play with myself sometimes called how

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Speaker 1: high in the credits is Brendan Fraser because depending on

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Speaker 1: the year, it really fluctuates, right, And in this movie

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Speaker 1: he's not credited at all. Incredible. I know, Caitlyn, what's

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Speaker 1: your history? And now? And then? I grew up with

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Speaker 1: this movie, although I will say that I have not

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Speaker 1: seen it in probably twenty or more years, not unlike

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Speaker 1: the span of time between when we see them as

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Speaker 1: girls and when we see them as adults, you're now

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Speaker 1: and then ing now and then exactly that is true.

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Speaker 1: Um so I hadn't rewatched it, probably since I was

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Speaker 1: around the age of the characters, which is twelve, But

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Speaker 1: Prior to that, it wasn't a movie that we ever

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Speaker 1: had like on VHS at at my house or anything.

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Speaker 1: But it is a huge, like girls sleepover staple movie.

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Speaker 1: So I would go to sleepovers and it would be

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Speaker 1: on all the time. So I would watch this movie

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Speaker 1: often at sleepovers and I always rather enjoyed it. But again,

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Speaker 1: I haven't seen it in many, many years. What's your history, Jamie.

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Speaker 1: I think this is one of those weird movies that

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Speaker 1: it came out. It's like our age gap was not large,

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Speaker 1: but it I did not know this movie existed until

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Speaker 1: Callie told me it was on Netflix. I didn't know

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Speaker 1: that it existed. I told I did not know it

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Speaker 1: was the genre of movie it was. I don't know

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Speaker 1: who was in it, Yeah I was. I mean I

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Speaker 1: was like two when it came out, so I didn't

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Speaker 1: see it. It just missed me. So I watched it

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Speaker 1: to prepare for this episode. And you know, I love

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Speaker 1: female representation. This is I feel bad because I like,

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Speaker 1: I did the same thing on the The Little Woman

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Speaker 1: episode and you're like, it's wonderful coming of age. I

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Speaker 1: love it, but coming of age for anyone of any gender,

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Speaker 1: it can be kind of boring, not always the most

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Speaker 1: fun thing to watch, especially when like this group of

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Speaker 1: young women, they don't have actual I mean well, I

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Speaker 1: would say maybe one of them has problems that are significant,

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Speaker 1: but most of them are like, oh no, like it's

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Speaker 1: just very You're like, oh, okay, they're going to be fine,

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Speaker 1: and then we see that, guess what. They're fine. They're fine,

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Speaker 1: They're fine, everyone's fine. Sure, I mean the stakes, not

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Speaker 1: the stakes, but they rarely are incoming of age stories.

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Speaker 1: I think that just comes with the territory. Yes, it's

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Speaker 1: not my genre, I see, but yeah, so my history

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Speaker 1: is I watched it. Good great, good history. But this

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Speaker 1: is a widely beloved movie. I would say one of

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Speaker 1: our top requests of all time. We've gotten this request

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Speaker 1: more frequently than almost any movie. So let's dive in,

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Speaker 1: shall we. Let's do it. I've got the recap. Here.

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Speaker 1: We meet the four main characters, who are Roberta. She's

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Speaker 1: played by Christina Ricci as a youth and by Rosie

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Speaker 1: O'Donnell as an adult. Teeny is Thora Birch and Melanie Griffiths.

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Speaker 1: Samantha is Gabby Hoffman and Demi Moore, and Chrissie is

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Speaker 1: Ashley asketon More and Rita Wilson. It's crazy that everyone

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Speaker 1: like hitters, hitters, hitters in the task and you couldn't

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Speaker 1: have known that the child stars we're here there they were.

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Speaker 1: I mean, yeah, every person in this movie delivers a

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Speaker 1: pretty phenomenal performance. I would say, especially Brendan Fresher. I

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Speaker 1: could go on about that for hours. There's so many

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Speaker 1: What is what is this trope of? Because we just

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Speaker 1: covered it in Home Alone as well of like, you

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Speaker 1: know that neighbor that you get bad energy from who's

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Speaker 1: terrifying to you, you should talk to them. I'm like,

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Speaker 1: what the kind of lesson is that? I know what

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Speaker 1: they're going for, but it could lead to death potentially. Yeah,

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Speaker 1: it's the it's the Boo Radley trope. It is. Yeah,

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Speaker 1: so with this movie it is present, I know, and

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Speaker 1: I'm like, I don't want to discourage people from talking

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Speaker 1: to their elders people and and become being empathetic and

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Speaker 1: but in the same token, there is actually do talk

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Speaker 1: to strangers, especially if they are going to save your life.

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Speaker 1: I also, what do they call the neighbor in this movie?

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Speaker 1: Crazy pete? Okay, I think he killed his family. That's

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Speaker 1: my hottest. I think that dear Johnny is the new

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Speaker 1: his wife in terms of gravestone lad absolutely. And I

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Speaker 1: think that Pete killed his family and feels really bad.

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Speaker 1: I did have that thought as well. Really like the

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Speaker 1: way he's presented. I mean, he has a heroic moment

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Speaker 1: he saves Christina Ricchie from the gutter. It's y. I

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Speaker 1: also struggled with that because they look very similar as children.

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Speaker 1: I think it killed his family for sure, not he's

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Speaker 1: living with the I'm like, what about okay? It makes

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Speaker 1: it sound like he was a suspect in the murder

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Speaker 1: because he says to them, oh, I don't like seeing

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Speaker 1: people and people don't like seeing me. I was like,

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Speaker 1: because you went to trial, Like, I think that maybe

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Speaker 1: they should have looked at more micro fusion figured out

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Speaker 1: like was he a top suspect for this because they

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Speaker 1: don't say who killed They don't they don't ever find

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Speaker 1: out who killed. But but he was the one to

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Speaker 1: discover the bodies. And I don't remember what movie it

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Speaker 1: is that I just saw, and it actually might be

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Speaker 1: nives out that the character says you always look at

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Speaker 1: the person who found the body as a suspect. Is

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Speaker 1: that I think it's that in like others an other,

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Speaker 1: but like I was thinking of the staircase because I

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Speaker 1: was always thinking about the staircase. Yeah, the nineteen forties

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Speaker 1: way easier to cover up a murder. Also, and he's

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Speaker 1: and when he was like I shouldn't have been at

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Speaker 1: that bar, I was like, oh, you killed your family

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Speaker 1: in a drunken frenzy. And Melanie Griffith is sending him

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Speaker 1: money for years, this murderer. That is a pretty hot take.

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Speaker 1: Thank you so much. Anyway, So what is the movie about?

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Speaker 1: So um, We first see these characters as girls in

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Speaker 1: nineteen seventy and Shelby, Indiana. They're best friends. We see

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Speaker 1: them playing Red Rover. Then we cut to them as adults.

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Speaker 1: They are getting together because they had made a pact

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Speaker 1: that whenever they needed each other, they would be there

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Speaker 1: for each other. And right now Christie needs them to

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Speaker 1: be around because she is about to have a baby.

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Speaker 1: So we see um teeny. That is again Melanie Griffith,

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Speaker 1: she is a famous actress. Uh Roberta is Rosie o'donnald

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Speaker 1: she's an o b g y n. And Samantha Demimour

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Speaker 1: is a sci fi novelist and also the narrator of

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Speaker 1: the movie. So then we cut back to them in

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Speaker 1: the summer of nineteen seventy when they are twelve. We

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Speaker 1: get little glimpses of their lives, like Samantha's parents are

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Speaker 1: fighting a lot, and then her dad will eventually leave.

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Speaker 1: Roberta doesn't like how big her boobs are getting, so

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Speaker 1: she tapes them down. Um. She lives with her dad

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Speaker 1: and brothers because her mom died when she was four. Um.

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Speaker 1: Tina is the only child. She has rich parents who

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Speaker 1: are never around. She likes to dress up and be glamorous,

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Speaker 1: and Chrissie, whose mom is played by Bonnie Hunt, comes

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Speaker 1: in and gives her the sex talk, but she uses

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Speaker 1: very coded language about flowers and watering cans. Um. Then

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Speaker 1: we meet the Wormers, this group of den This is

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Speaker 1: the same year that Casper comes out, which is another

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Speaker 1: romance between Devin Sawa and Casting Lazy Casting Alert Senior rules. Yes,

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Speaker 1: I like her a lot, but they are this group

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Speaker 1: of I think brothers who tease and torment the girls.

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Speaker 1: They're throwing water balloons full of green jello at them.

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Speaker 1: The leader is Scott Devin Sawa and the girls they're

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Speaker 1: saving up money to buy a treehouse. They're twenty three

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Speaker 1: dollars away. We see them at a diner reading Cosmo.

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Speaker 1: Their server is will Adine Janine Garoffalo. Great bizarre. We're like, yep,

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Speaker 1: the two scenes feels about right for this character. What

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Speaker 1: is going on? So then the girls are like, let's

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Speaker 1: do a seance. They go to the cemetery. They see

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Speaker 1: the grave of Dear Johnny or Dear Johnny Johnny his

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Speaker 1: wife Dear Johnny large font, large large font. Because we

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Speaker 1: find out the character's real name, the boy's real name,

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Speaker 1: which is Jonathan Sims, but that is not what's on

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Speaker 1: his gravestone. On his gravestone says dear Johnny all caps.

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Speaker 1: And this I will say predates the rock by a year.

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Speaker 1: So true. Idea was literally Michael Bay saw now and

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Speaker 1: then and stole There's no way Michael based on now

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Speaker 1: and then. He was like, more than one woman's in

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Speaker 1: it and she's clothed, skipping it like there's no way

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Speaker 1: he saw it. But I like this theory. Dear Johnny.

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Speaker 1: It's such a like prop tub stone. Really yeah, um,

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Speaker 1: So dear Johnny died when he was a child in

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Speaker 1: the nineteen forties, and they think they've conjured up his spirit.

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Speaker 1: I also believed that they had conjured up his spirit.

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Speaker 1: It was pretty because like lightning strikes a nearby tree

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Speaker 1: and in the craft energy from it whend is blowing.

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Speaker 1: It's very was a cop out. My guess was that

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Speaker 1: he came later that night after they had left, and

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Speaker 1: then bro the They were both right, I think, so

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Speaker 1: I thought there was really a magic a foot, and

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Speaker 1: I was disappointed when it was revealed. They're like, anyways,

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Speaker 1: magic isn't real. Fast forward twenty five years. You're like, oh,

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Speaker 1: that's uh, that's so disappointing. Um. And then they also

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Speaker 1: see Crazy Pete as they call him, and he's riding

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Speaker 1: around on his bicycle and they freak out and they

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Speaker 1: run away. And then I think it's later that night

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Speaker 1: or maybe the following night, but what seems like a

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Speaker 1: ghostly presence comes into Samantha's room, so she rounds up

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Speaker 1: the girls and they go back to the cemetery, and

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Speaker 1: this is when they find out that dear Johnny's grave

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Speaker 1: has been smashed, and they think that he's definitely out

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Speaker 1: and about just hanging around town. Um, how as ghosts do,

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Speaker 1: and they want to learn more about dear Johnny's death,

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Speaker 1: but they have to ride their bikes to the nearby

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Speaker 1: town of Greenfield to go through their old newspaper archives.

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Speaker 1: On the way, they stopped for some lunch. They play

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Speaker 1: truth or Dare They talk of sex. Chrissie again doesn't

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Speaker 1: really know how sex works, because she's talking about flowers

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Speaker 1: and watering cants and they kind of they laugh at her.

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Speaker 1: It's cute. Yeah. Then a bird ships on Chrissie's head,

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Speaker 1: so they go to a pond to wash it off,

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Speaker 1: and they go swimming. Roberta fakes her death as a joke.

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Speaker 1: Chrissie gets really mad at her and punches her in

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Speaker 1: the face. There's a lot of punching. I can't wait

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Speaker 1: to talk about all the punching, and I'm not even kidding.

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Speaker 1: And then they see the wormer's skinny dipping nearby, so

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Speaker 1: they steal their clothes as payback from the jellow attack.

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Speaker 1: They finally make their way to the library. They go

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Speaker 1: through the old newspapers. Roberta sees a clipping about her

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Speaker 1: mother's car accident that caused her death and discovers that

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Speaker 1: it was more painful and prolonged than her dad had

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Speaker 1: led her to believe so sad because he she is

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Speaker 1: amazing in those scenes too. It's like, how old did

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Speaker 1: she She's like eleven and giving that kind of I

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Speaker 1: think she's actually like fifteen when he was filmed. Yeah,

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Speaker 1: she's a little bit older than her character. I might

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Speaker 1: be a little off, but I think she's older four Okay.

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Speaker 1: And then they do find something about Jonathan Simms in

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Speaker 1: the newspapers, but a lot of the pages have been

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Speaker 1: torn out Jonathan Sims do you mean? And so they're like, oh,

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Speaker 1: someone wanted to keep this information a secret. On their

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Speaker 1: way home from the library, they run into Brendan Fraser,

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Speaker 1: who is a Vietnam War event. Scene is a lot.

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Speaker 1: It's a lot like it's going for something, and then

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Speaker 1: it takes You're just like, don't give them cigarettes. What

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Speaker 1: do you do it? He's a hippie that he starts

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Speaker 1: smoking cigarette. Yeah. I was like, yeah, if he's doing it,

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Speaker 1: Demi Moore is doing it, I'm gonna do it bad.

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Speaker 1: That's bad. So they're still curious about Dear Johnny, Dear Johnny. Um.

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Speaker 1: So they go to will A Dean who is witchy,

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Speaker 1: and she does a tarot reading and the result of

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Speaker 1: which implied that dear Johnny was murdered. Then there's the

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Speaker 1: softball game. I want to talk all about this scene.

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Speaker 1: There's more punching. Girls are punching some more and totally

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Speaker 1: it's like everything that I didn't like about the sand lot,

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Speaker 1: the opposite happens. It's great. It's very satisfying. Child baseball scene. Yes, um.

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Speaker 1: And then Samith and Teeny have a heart to heart

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Speaker 1: in their new tree house, which they now have. We

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Speaker 1: didnt see them getting it, but they made Yeah. And

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Speaker 1: then Teeny gives Samantha a friendship bracelet, but on their

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Speaker 1: ride home, it falls off and goes down a storm drain,

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Speaker 1: and this is when Samantha goes into the sewer to

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Speaker 1: retrieve it, but she gets stuck because it starts raining

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Speaker 1: really hard. But luckily, crazy Pete shows up and saves her.

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Speaker 1: Uh and then they interact with him a little bit.

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Speaker 1: This is kind of a side note, but the tree

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Speaker 1: house they wanted to buy was a hundred dollars adjusted

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Speaker 1: for inflation. That is an eight hundred fifty dollar treehouse

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Speaker 1: that they were saving up for. No wonder it took

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Speaker 1: so long, yeah, eight hundred. I mean it was a

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Speaker 1: nice treehouse. God, that's rent. Yeah, anyways, we should all

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Speaker 1: live in a treehouse. You don't need to pay a

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Speaker 1: super nice treehouse. I would that they brought an infant

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Speaker 1: into that treehouse and it's very started. It's still there

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Speaker 1: twenty five years later. How did they get that baby

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Speaker 1: up there? How did they do that? How did they

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Speaker 1: get the treehouse up there? Also? That would have had

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Speaker 1: been like a crane or something, and it must have

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Speaker 1: taken days. Yeah, I don't know where parents involved. We

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Speaker 1: don't know. We skipped that entire involved in this movie.

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Speaker 1: Where aren't parents there there occasionally, but parents are not

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Speaker 1: painted in a very good light in this movie in general.

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Speaker 1: That is kind of what you don't mind. So, speaking

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Speaker 1: of parents, we see the girl's going to Samantha's grandmother's

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Speaker 1: house to look through her a gambling Chlorus Leachman. She

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Speaker 1: loves poker, and she wears a wild hairpiece. She that's

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Speaker 1: her classic wighead. I love it. That scene was both

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Speaker 1: not necessary and really fun. I don't think anything happens

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Speaker 1: in that scene really. She's like, oh well, she sort

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Speaker 1: of says like, oh, I know about dear Johnny, but

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Speaker 1: I can't tell you about it anyways, gotta go, and

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Speaker 1: that's basically but then they sneak into the sneak into

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Speaker 1: the attict and then find out more information about dear Johnny,

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Speaker 1: which is that he and his mother had indeed been

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Speaker 1: murdered and they were just the bodies were discovered by

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Speaker 1: Jonathan's father, Peter sa Um, but we don't make the

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Speaker 1: connection quite down my spot. And then Roberta, who had

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Speaker 1: been been like keeping the grief about her mother, kind

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Speaker 1: of bottled up. Let's it all out and starts crying

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Speaker 1: another great perform Samantha's Grandma's mirror. Oh yeah, that's chlorus.

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Speaker 1: Lea is going to find that, like, probably not that day,

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Speaker 1: but at some point, And I would be scared if

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Speaker 1: I were her, I wouldn't guess it was Christina Ricci.

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Speaker 1: She's like, how did this mirror get shattered? Ghosts, ghost

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Speaker 1: heavy ghost, dear Johnny Johnny um. And this is when

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Speaker 1: they make the pact that they will always be there

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Speaker 1: for each other. It's nice, it is nice. And then

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Speaker 1: they have another sance to put dear Johnny back to rest,

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Speaker 1: and then we see like his headstone is floating towards them,

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Speaker 1: but it turns out it's just the graveyard worker installing

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Speaker 1: the new headstone after he had knocked it over with

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Speaker 1: his tractor. And then the girls leave um, but Samantha

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Speaker 1: see's crazy. Pete goes back in and talks to him,

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Speaker 1: and then she realizes that he is Peter Sims, the

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Speaker 1: father of Dear Johnny. Uh. And he's always in the

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Speaker 1: cemetery because he's like paying his respects to his family

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Speaker 1: that he may remain him. I think he's kind of

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Speaker 1: like kind of getting off on it a little bit

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Speaker 1: revisiting and he's like, it's crazy. He goes there every night,

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Speaker 1: like crazy, I got away with that. It just I can't,

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Speaker 1: Dear Johnny, I can't believe that I got away with it.

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Speaker 1: Also never visiting his wife's grave stuff where his wife,

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Speaker 1: his wife, just Dear Johnny there. And then we cut

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Speaker 1: to the present with the adults and Christie's and labor.

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Speaker 1: They go to the hospital she has the baby, and

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Speaker 1: then afterwards they're all in the tree house and they're

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Speaker 1: talking about, you know, whether or not they're happy with

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Speaker 1: their lives. They're talking about the struggles that they're okay.

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Speaker 1: The ending questions, the series of questions is fascinating because

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Speaker 1: we find out we asked Demi Moore if she's happy,

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Speaker 1: she's she's not. We ask Rita will Us, and she's happy.

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Speaker 1: She is. We asked Rosie O'Donnell how big her boobs are?

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Speaker 1: And she doesn't answer. We asked Melanie Griffith, nothing. She

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Speaker 1: tells us she has a boob job. That's the check

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Speaker 1: in five years later, good round up and you're like sure, yeah, yeah, okay,

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Speaker 1: I guess we know what characters we were supposed to

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Speaker 1: care about the I was surprised that we didn't like

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Speaker 1: revisit Rosie o'donnald's character because in the in the flashbacks,

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Speaker 1: or I mean, most of the movie is the flashback,

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Speaker 1: but like, I feel like we spend a lot of

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Speaker 1: time with her character as a kid and then don't

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Speaker 1: really have any interest in her as an adult. Like

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Speaker 1: they're just sort of like, yeah, she's dating someone and

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Speaker 1: she's happy. How big are her boobs? Though? And you're like, what,

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Speaker 1: here's my guests. Um. I learned through my research that

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Speaker 1: her character was written as an out lesbian, but it

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Speaker 1: didn't test well with audiences, So I'm guessing any part

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Speaker 1: about that was cut with there were other scenes. This

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Speaker 1: is like part speculation but if there were other scenes

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Speaker 1: where we got to know her more as an adult,

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Speaker 1: they may have been cut for that reason. That's such

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Speaker 1: a bummer I found. I found an interview with the

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Speaker 1: writer I'm Marlene King a k A mss pretty Little

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Speaker 1: Liars herself saying stuff to that effect, and it's like

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Speaker 1: a bummer. I mean, I hope that those scenes existed,

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Speaker 1: and it kind of and not including it kind of

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00:23:24,359 --> 00:23:27,760
Speaker 1: makes some of the coding that they try to do

387
00:23:28,280 --> 00:23:32,359
Speaker 1: with varying degrees of success, I think ring in this

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Speaker 1: kind of bizarre way because then you flash forward and

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Speaker 1: they're like, she's with someone. Don't worry about it, bigary boobs,

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Speaker 1: Okay bye. Is she a nurse in the future, Um No,

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Speaker 1: she's an okay, because I was just like, should she

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Speaker 1: be delivering the baby? Okay? She she's a doctor. That's legal.

393
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Speaker 1: That's good, friends, you can do it. It's funny. Very

394
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Speaker 1: was that a hospital? I don't know. It was like

395
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Speaker 1: it didn't really look like right. It looks kind of

396
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Speaker 1: like ahow. Also, final note on the birth scene. I

397
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Speaker 1: didn't need to see that realistic of a freshly born baby.

398
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Speaker 1: It was it was very bloody and blood Rosie o'donald

399
00:24:10,720 --> 00:24:12,760
Speaker 1: also covered in blood. I know that that's what it is,

400
00:24:13,200 --> 00:24:16,200
Speaker 1: but I watched movies for a reason. Do not see

401
00:24:16,200 --> 00:24:19,760
Speaker 1: bloody babies. I like to see babies born fresh and

402
00:24:20,080 --> 00:24:24,479
Speaker 1: fresh at three months old. Do you ever wonder gives

403
00:24:24,520 --> 00:24:27,280
Speaker 1: their baby for that role and it's like cover it

404
00:24:27,320 --> 00:24:32,320
Speaker 1: And I feel like it's usually the production. I feel

405
00:24:32,359 --> 00:24:35,840
Speaker 1: like it's like a production baby. Oftentimes two weeks old baby.

406
00:24:36,000 --> 00:24:39,600
Speaker 1: Cover it up. You know what we should do? Cover

407
00:24:39,680 --> 00:24:43,400
Speaker 1: it in fake blood. Were almost out breathe and it's

408
00:24:43,480 --> 00:24:45,960
Speaker 1: freezing on that set. You know, Just hand it to Rita.

409
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Speaker 1: I mean, honestly, I would love to be handed to

410
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Speaker 1: Rita Wilson as an adult. I have that story old

411
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Speaker 1: life that's um anyway, So that they do their truth

412
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Speaker 1: or dearek questions and then they make an other packed

413
00:25:01,040 --> 00:25:03,280
Speaker 1: to see more of each other, and then they play

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Speaker 1: red Rover with some neighborhood kids, which is weird. Wonder

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Speaker 1: the baby, where's the baby at? Is it with that daddy? That? Yeah,

416
00:25:14,520 --> 00:25:19,040
Speaker 1: that was there for because he's a dentist. But anyway,

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00:25:19,040 --> 00:25:21,520
Speaker 1: that's how that's the movie. Let's take a quick break

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Speaker 1: and then we'll be right back. We're back We're back.

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Speaker 1: As much as I was saying that this movie was

420
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Speaker 1: a little boring to me, it reminds me a lot.

421
00:25:33,440 --> 00:25:36,679
Speaker 1: I mean, it's interesting. It seems like it is pulling

422
00:25:36,800 --> 00:25:39,560
Speaker 1: from movies that existed at that time. And you can

423
00:25:39,600 --> 00:25:41,920
Speaker 1: also see kind of its lineage as it goes down,

424
00:25:41,920 --> 00:25:43,400
Speaker 1: because there were a lot of parts of this movie

425
00:25:43,400 --> 00:25:46,119
Speaker 1: where I'm like, oh, Sisterhood of the Traveling Pants stealing

426
00:25:46,160 --> 00:25:48,159
Speaker 1: from now and then at this moment where like a

427
00:25:48,200 --> 00:25:49,680
Speaker 1: lot of the scenes where it's the four of them

428
00:25:49,680 --> 00:25:52,920
Speaker 1: together in a secret location making a packed You're like, oh,

429
00:25:53,560 --> 00:25:58,080
Speaker 1: I see. The production team behind this movie is pretty cool,

430
00:25:58,560 --> 00:26:04,040
Speaker 1: pretty legendary. Directed by a woman, famous director, Leslie Lincoln Gladder,

431
00:26:04,080 --> 00:26:08,240
Speaker 1: who is directed I think primarily in TV, but she's

432
00:26:08,359 --> 00:26:12,560
Speaker 1: directed everything she's did, directing on Twin Peaks. She is

433
00:26:12,600 --> 00:26:15,000
Speaker 1: most famous, I think for Homeland, but she directed episodes

434
00:26:15,040 --> 00:26:18,119
Speaker 1: of Gilmore Girl. She did greg she did West Wang,

435
00:26:18,200 --> 00:26:21,760
Speaker 1: she did Weeds, she did True Blood, she did Pretty

436
00:26:21,760 --> 00:26:25,680
Speaker 1: Little Liars because I'm Marilyn King their Friends, she did

437
00:26:25,680 --> 00:26:28,200
Speaker 1: a ton of I mean, she's like a legendary director

438
00:26:28,280 --> 00:26:31,480
Speaker 1: who is still working all the time. Um, And it's

439
00:26:31,520 --> 00:26:35,000
Speaker 1: written by I'm Marline King who her actual names, I know,

440
00:26:35,280 --> 00:26:39,560
Speaker 1: Marlene King. I think this was her big break at

441
00:26:39,600 --> 00:26:43,879
Speaker 1: the time. This was her first screenplay that was produced,

442
00:26:44,600 --> 00:26:48,000
Speaker 1: and I think now she's most famous for Pretty Little Liars,

443
00:26:48,000 --> 00:26:51,160
Speaker 1: which is really funny because it is like so like

444
00:26:51,960 --> 00:26:55,560
Speaker 1: there was something and now and Then where I'm like, oh,

445
00:26:55,720 --> 00:27:00,520
Speaker 1: I'm Marilyne King loves writing scenes where four age or

446
00:27:00,560 --> 00:27:05,159
Speaker 1: four girls are in a graveyard planning something, because that's

447
00:27:05,200 --> 00:27:09,439
Speaker 1: every scene in Little Liars for ten years. But Little Liars,

448
00:27:09,440 --> 00:27:13,520
Speaker 1: I don't necessarily know that it's a feminist text, but

449
00:27:13,600 --> 00:27:16,280
Speaker 1: I have seen every episode. I have not seen a

450
00:27:16,320 --> 00:27:21,600
Speaker 1: single episode. You can guess what it's like. It's so fa,

451
00:27:21,680 --> 00:27:24,199
Speaker 1: I mean, like this is I had no idea that

452
00:27:24,240 --> 00:27:26,800
Speaker 1: this was written by her, and I've gone to my head.

453
00:27:26,920 --> 00:27:30,359
Speaker 1: Never would guess that Pretty Little Liars and Now and

454
00:27:30,359 --> 00:27:32,320
Speaker 1: Then we're written by one and the same other than

455
00:27:32,440 --> 00:27:35,760
Speaker 1: if I saw pound for pound the graveyard scenes. But

456
00:27:35,840 --> 00:27:38,840
Speaker 1: Pretty Little Liars are usually burying a teacher's body, like

457
00:27:38,880 --> 00:27:41,520
Speaker 1: they're not. It sounds like a good show. Yeah, everything

458
00:27:41,520 --> 00:27:43,679
Speaker 1: that now and that Now and Then girls want to

459
00:27:43,720 --> 00:27:47,879
Speaker 1: happen the prilli Little Liars do every single week. Okay,

460
00:27:48,080 --> 00:27:50,520
Speaker 1: they're killing people, they're conjuring people from the dead, they're

461
00:27:50,520 --> 00:27:54,320
Speaker 1: doing everything. Wow. Okay yeah. And then also the credited

462
00:27:54,359 --> 00:27:58,200
Speaker 1: producers are mostly women. It's also I Marlene King as

463
00:27:58,200 --> 00:28:02,040
Speaker 1: well as done more for Todd and Suzanne Todd and

464
00:28:02,080 --> 00:28:10,320
Speaker 1: then Eric McLeod yeah, man, the token token male, token producer. Um.

465
00:28:10,359 --> 00:28:13,959
Speaker 1: So yeah, it's largely women behind the scenes in the

466
00:28:14,000 --> 00:28:17,760
Speaker 1: major creative roles in this movie. So that's something we

467
00:28:17,840 --> 00:28:20,919
Speaker 1: do not see very often at all. Yes, so we

468
00:28:21,000 --> 00:28:23,320
Speaker 1: love that and it shows. It shows in the way

469
00:28:23,359 --> 00:28:27,680
Speaker 1: that the movie is written and frames. I mean there

470
00:28:27,680 --> 00:28:32,159
Speaker 1: it was not a female cinematographer I checked. But the

471
00:28:32,160 --> 00:28:36,000
Speaker 1: way it's directed is very respectful to its subjects, and

472
00:28:36,119 --> 00:28:38,440
Speaker 1: the way it's written is very respectful to its subjects

473
00:28:38,440 --> 00:28:42,560
Speaker 1: to Okay, So well, there's a lot to talk about.

474
00:28:42,640 --> 00:28:46,160
Speaker 1: As per usual, I wanted to start by just kind

475
00:28:46,160 --> 00:28:51,960
Speaker 1: of talking about how this is one of very few

476
00:28:52,080 --> 00:28:56,960
Speaker 1: stories we get to see about young girls, a group

477
00:28:57,000 --> 00:29:00,800
Speaker 1: of young girls having fun and living life, often being

478
00:29:01,160 --> 00:29:06,000
Speaker 1: like tween girls. Uh, It's really not something that's been

479
00:29:06,040 --> 00:29:09,080
Speaker 1: explored very much. There are a fair number of like

480
00:29:09,120 --> 00:29:12,120
Speaker 1: coming of age stories about women, but they're usually a

481
00:29:12,160 --> 00:29:14,800
Speaker 1: little bit older, and I think a lot of the time,

482
00:29:14,920 --> 00:29:18,240
Speaker 1: and this movie sort of includes this but doesn't really

483
00:29:18,480 --> 00:29:20,040
Speaker 1: harp on it too much. But I feel like a

484
00:29:20,080 --> 00:29:22,840
Speaker 1: lot of times you see movies about young girls, it

485
00:29:23,000 --> 00:29:28,160
Speaker 1: is focused specifically on like an extreme trauma and that

486
00:29:28,280 --> 00:29:31,520
Speaker 1: like young girls are not often allowed to just be,

487
00:29:32,040 --> 00:29:34,440
Speaker 1: like you said, like having fun and like living life,

488
00:29:34,440 --> 00:29:36,520
Speaker 1: and there's problems there always are, but like I feel

489
00:29:36,520 --> 00:29:39,880
Speaker 1: like there, yeah, there is a large amount of teen

490
00:29:39,880 --> 00:29:43,920
Speaker 1: girl movies where it's strictly focused on, especially of this age,

491
00:29:44,520 --> 00:29:47,840
Speaker 1: like twelve thirteen, because once you get to teenagers, then

492
00:29:48,040 --> 00:29:50,600
Speaker 1: it's all about sex and they always objectified a lot.

493
00:29:51,040 --> 00:29:53,120
Speaker 1: But in this age, I feel like sometimes you vote

494
00:29:53,160 --> 00:29:56,520
Speaker 1: just have like an extreme trauma harped on the entire

495
00:29:56,680 --> 00:30:00,720
Speaker 1: I remember the movie thirteen Stable. I mean like movies

496
00:30:00,760 --> 00:30:04,400
Speaker 1: like that where it was like, oh my god, where

497
00:30:04,400 --> 00:30:07,040
Speaker 1: they're like, hey, young girls, the world is out to

498
00:30:07,200 --> 00:30:10,160
Speaker 1: kill you. And so it is like it is kind

499
00:30:10,200 --> 00:30:14,920
Speaker 1: of nice to just see girls growing up being people.

500
00:30:15,040 --> 00:30:17,240
Speaker 1: They're like, yeah, they're turning into who they want to

501
00:30:17,280 --> 00:30:19,360
Speaker 1: be or they're finding themselves. So it's like this weird

502
00:30:20,320 --> 00:30:22,960
Speaker 1: in between time where they're like it seems like they're

503
00:30:23,040 --> 00:30:26,760
Speaker 1: friends because of their location they're all neighbors, and then

504
00:30:26,800 --> 00:30:29,000
Speaker 1: they're all like kind of branching out and finding what

505
00:30:29,080 --> 00:30:31,760
Speaker 1: they like and who they are. And it's nice, it's cute.

506
00:30:31,840 --> 00:30:34,640
Speaker 1: I think it's sweet because it's also a very relatable,

507
00:30:34,640 --> 00:30:39,840
Speaker 1: realistic experience for a lot of people, for very different characters.

508
00:30:40,720 --> 00:30:42,920
Speaker 1: My only confusion the whole movie was that I kept

509
00:30:42,960 --> 00:30:46,720
Speaker 1: mixing up Christina Richie and Gabby Hoffman and it got

510
00:30:46,760 --> 00:30:48,800
Speaker 1: hard for me. I might do it during the podcast too.

511
00:30:48,880 --> 00:30:52,480
Speaker 1: That's okay, I'll be here to set everything straight, Thank

512
00:30:52,520 --> 00:30:55,000
Speaker 1: you so much. Um. But I just wanted to kind

513
00:30:55,000 --> 00:30:57,040
Speaker 1: of talk a little bit about some of the things

514
00:30:57,080 --> 00:31:01,640
Speaker 1: we see them doing, because girls in movies usually we

515
00:31:01,680 --> 00:31:06,680
Speaker 1: see them doing pretty traditionally feminine things or not doing

516
00:31:06,720 --> 00:31:08,760
Speaker 1: anything at all. But in this movie, and there is

517
00:31:08,840 --> 00:31:12,040
Speaker 1: some like you know, traditionally feminine stuff we see them doing,

518
00:31:12,080 --> 00:31:14,200
Speaker 1: but a lot of it is just pretty neutral because

519
00:31:14,280 --> 00:31:18,920
Speaker 1: we see them like riding bikes, swimming, staving up to

520
00:31:18,960 --> 00:31:25,080
Speaker 1: buy a tree house eight hundred fifty dollars so much money. Um,

521
00:31:25,320 --> 00:31:29,200
Speaker 1: They're doing seances, They're hanging out at a diner. They

522
00:31:29,240 --> 00:31:32,040
Speaker 1: sometimes are you know, like talking about boys and sex

523
00:31:32,120 --> 00:31:35,760
Speaker 1: and the reading Cosmo. They're exchanging friendship bracelets. But then

524
00:31:35,800 --> 00:31:38,040
Speaker 1: we see them like painting a garage door. So we

525
00:31:38,080 --> 00:31:40,800
Speaker 1: see like this whole array of just like very normal stuff,

526
00:31:41,040 --> 00:31:44,280
Speaker 1: stuff that I did three teen at that age exactly,

527
00:31:44,360 --> 00:31:47,800
Speaker 1: And it was just really refreshing to see girls doing

528
00:31:48,160 --> 00:31:51,440
Speaker 1: normal things and then like what it felt like a

529
00:31:51,480 --> 00:31:56,400
Speaker 1: pretty realistic way. I mean, there was like more that

530
00:31:56,480 --> 00:31:59,080
Speaker 1: happened in this movie that I didn't expect. I mean

531
00:31:59,120 --> 00:32:03,680
Speaker 1: you saw them hurting each other's feelings sometimes you saw

532
00:32:04,000 --> 00:32:07,440
Speaker 1: them uh and and was that like weren't positive, but

533
00:32:07,480 --> 00:32:10,600
Speaker 1: we're realistic of like how kids that age make fun

534
00:32:10,640 --> 00:32:12,680
Speaker 1: of each other. They were teasing each other. You could

535
00:32:12,680 --> 00:32:15,880
Speaker 1: see moments where they wanted to understand each other, but

536
00:32:16,000 --> 00:32:18,880
Speaker 1: we're not equipped to understand each other quite yet. Like

537
00:32:19,080 --> 00:32:21,440
Speaker 1: just there were all these really cool, like well written

538
00:32:21,480 --> 00:32:24,760
Speaker 1: moments of like, oh, I think maybe I blocked that

539
00:32:24,800 --> 00:32:27,320
Speaker 1: out for like on that, but it felt Yeah, it

540
00:32:27,320 --> 00:32:29,920
Speaker 1: all felt pretty because a lot of what we see

541
00:32:30,120 --> 00:32:31,760
Speaker 1: and if there is like a twelve year old girl

542
00:32:31,800 --> 00:32:33,520
Speaker 1: in a movie, she's doing the thing that we hate,

543
00:32:33,520 --> 00:32:36,320
Speaker 1: which is the precocious child trope where she's like wise

544
00:32:36,360 --> 00:32:39,320
Speaker 1: beyond her years and just somehow knows everything about everything

545
00:32:39,760 --> 00:32:44,840
Speaker 1: but here we see like very realistic, age appropriate depictions

546
00:32:45,080 --> 00:32:49,160
Speaker 1: of these girls, like and yeah, they're not always right.

547
00:32:49,320 --> 00:32:52,520
Speaker 1: Sometimes they behave shitty a lot of times they're being

548
00:32:52,640 --> 00:32:55,640
Speaker 1: mean to each other. Um, but that is kind of

549
00:32:55,680 --> 00:32:58,960
Speaker 1: the human experience, especially when you're that age, and they're

550
00:32:59,000 --> 00:33:01,480
Speaker 1: like dealing with yeah, like how she fakes her own

551
00:33:01,520 --> 00:33:03,280
Speaker 1: death and she just doesn't know how to deal with it,

552
00:33:03,280 --> 00:33:05,840
Speaker 1: and they're just like, don't be an asshole, and but

553
00:33:05,880 --> 00:33:09,080
Speaker 1: they don't know how to communicate that quite And I

554
00:33:09,200 --> 00:33:10,800
Speaker 1: love the scenes when they're on their bikes, so I

555
00:33:10,840 --> 00:33:14,320
Speaker 1: think that's so cute. I love the music. It's yeah

556
00:33:14,360 --> 00:33:17,720
Speaker 1: the music track. I grew up in like a suburban town,

557
00:33:17,800 --> 00:33:20,240
Speaker 1: I guess, even though it's kind of in l a adjacent,

558
00:33:21,040 --> 00:33:22,640
Speaker 1: But we would do that stuff all the time when

559
00:33:22,680 --> 00:33:24,240
Speaker 1: I was like twelve, Like there would be like a

560
00:33:24,320 --> 00:33:27,040
Speaker 1: crew of girls because you know, it wasn't shitty where

561
00:33:27,080 --> 00:33:30,280
Speaker 1: I lived yet, and it was it was awesome. There's

562
00:33:30,280 --> 00:33:32,880
Speaker 1: like nobody around. There was no Brendan Frasier's yet, but

563
00:33:32,920 --> 00:33:36,720
Speaker 1: you know, there definitely was people that bought a cigarettes,

564
00:33:36,760 --> 00:33:41,040
Speaker 1: which is awful. Um. One of the first things you

565
00:33:41,120 --> 00:33:44,120
Speaker 1: see in the movie is they're all playing red rover

566
00:33:44,480 --> 00:33:47,400
Speaker 1: on their side. It's just the four of them, and

567
00:33:47,840 --> 00:33:51,800
Speaker 1: they call over a little boy I forget his name,

568
00:33:52,160 --> 00:33:57,160
Speaker 1: but he can't break their bond, symbolizing the friendship that

569
00:33:57,280 --> 00:34:00,240
Speaker 1: can't be broken. And then also it's like, oh, these

570
00:34:00,240 --> 00:34:02,840
Speaker 1: girls are triumphing over a boy in a game that

571
00:34:03,200 --> 00:34:08,040
Speaker 1: tests physical strength, and then we're just like strong female protectives.

572
00:34:08,600 --> 00:34:10,600
Speaker 1: We got them. It doesn't ring with the same message

573
00:34:10,600 --> 00:34:14,080
Speaker 1: when they do it again five years later, still with

574
00:34:14,239 --> 00:34:16,719
Speaker 1: a twelve year old boy, but you know, I get

575
00:34:16,760 --> 00:34:18,480
Speaker 1: what they were going for. I would have loved if

576
00:34:18,480 --> 00:34:21,040
Speaker 1: they brought back like Devin saw what twenty five years

577
00:34:21,120 --> 00:34:24,360
Speaker 1: later to be like run at our arms and he's like, no,

578
00:34:24,520 --> 00:34:26,400
Speaker 1: you just you just gave birth. I'm not going to

579
00:34:26,480 --> 00:34:29,600
Speaker 1: run at you. Um yeah, I mean. Another thing I

580
00:34:29,640 --> 00:34:32,319
Speaker 1: really like about this movie is that, as you said, Jamie, like,

581
00:34:32,360 --> 00:34:36,520
Speaker 1: they're characterized very differently. They have very different personalities, which

582
00:34:36,560 --> 00:34:40,040
Speaker 1: is kind of remarkable because usually a movie doesn't allow

583
00:34:40,520 --> 00:34:43,000
Speaker 1: more than one woman to be in it, and if

584
00:34:43,040 --> 00:34:45,040
Speaker 1: there are more than one woman, it's kind of hard

585
00:34:45,040 --> 00:34:47,879
Speaker 1: to differentiate them because they're not characterized very well. In

586
00:34:47,960 --> 00:34:51,839
Speaker 1: this movie, you get such strong characterizations of all of them,

587
00:34:51,920 --> 00:34:54,760
Speaker 1: and we get to know quite a bit about each one.

588
00:34:55,400 --> 00:34:59,359
Speaker 1: I think the character we learn least about is Teeny. Yeah,

589
00:34:59,360 --> 00:35:01,960
Speaker 1: I would say that's very thing, which I think again

590
00:35:02,120 --> 00:35:04,640
Speaker 1: is I mean, and this is a very very very

591
00:35:04,760 --> 00:35:08,920
Speaker 1: very very white movie. But I think the only like

592
00:35:08,920 --> 00:35:10,799
Speaker 1: one of the only people of color we see is

593
00:35:10,840 --> 00:35:13,400
Speaker 1: just kicked out of his own limo and left in

594
00:35:13,440 --> 00:35:16,759
Speaker 1: the dust. I was like, Limo driver, they don't even

595
00:35:17,680 --> 00:35:20,520
Speaker 1: drive his limo. He's not even allowed to drive his

596
00:35:20,520 --> 00:35:23,920
Speaker 1: ow damn limo. But so this is a small victory.

597
00:35:24,040 --> 00:35:28,200
Speaker 1: But I think that like a lesser movie would strictly

598
00:35:28,239 --> 00:35:31,920
Speaker 1: focus on Teeny and focus on the most like the

599
00:35:31,960 --> 00:35:35,239
Speaker 1: most hyperfeminine um of Like, I feel like there's a

600
00:35:35,239 --> 00:35:38,759
Speaker 1: tendency of movies to focus on the most hyperfeminine and

601
00:35:39,400 --> 00:35:43,120
Speaker 1: sideline characters who were not that we're in this one.

602
00:35:43,360 --> 00:35:45,919
Speaker 1: It's the exact opposite where it's kind of I think

603
00:35:45,960 --> 00:35:49,040
Speaker 1: that we're supposed to believe. I mean, if Demi Moore's

604
00:35:49,080 --> 00:35:52,840
Speaker 1: wardrobe is to be believed supposed to be a weird girl,

605
00:35:53,040 --> 00:35:55,040
Speaker 1: which is like, I'm never buying Demi Moore is a

606
00:35:55,080 --> 00:35:57,719
Speaker 1: weird girl. But like, I get it. I saw the sunglasses,

607
00:35:59,280 --> 00:36:02,560
Speaker 1: but like it focuses. I think onto like like the

608
00:36:02,600 --> 00:36:06,200
Speaker 1: quote unquote weird girls, and you see there's a little

609
00:36:06,239 --> 00:36:11,440
Speaker 1: bit of body diversity, especially when their kids, where Chrissie

610
00:36:11,760 --> 00:36:17,080
Speaker 1: is bigger and she is mercif for it in a

611
00:36:17,080 --> 00:36:20,080
Speaker 1: way that like almost turned my my stomach a little

612
00:36:20,080 --> 00:36:22,040
Speaker 1: bit because you're like, oh, I you know, like you

613
00:36:22,080 --> 00:36:24,919
Speaker 1: see kids be treated like that when you're a kid,

614
00:36:25,000 --> 00:36:27,640
Speaker 1: like and and and because at first, when I was

615
00:36:27,680 --> 00:36:30,040
Speaker 1: watching the scenes with Christy as an adult, I'm like,

616
00:36:30,440 --> 00:36:33,399
Speaker 1: she she's like kind of like being pretty hard on them,

617
00:36:33,400 --> 00:36:34,920
Speaker 1: and then you flash back and see how they used

618
00:36:34,960 --> 00:36:37,280
Speaker 1: to treat her. I'm like, Oh, she's right, greedy. Wilson's

619
00:36:37,320 --> 00:36:40,279
Speaker 1: totally right to be dumping on them. They she's just

620
00:36:40,320 --> 00:36:44,319
Speaker 1: getting worthy revenge. Here's I feel like my cousins and

621
00:36:44,360 --> 00:36:46,799
Speaker 1: I still do that to each other. Sometimes we're like,

622
00:36:46,840 --> 00:36:48,279
Speaker 1: I'm like, why would she just mean to me? And

623
00:36:48,280 --> 00:36:50,359
Speaker 1: I'm like, oh, probably because of that thing I did

624
00:36:50,400 --> 00:36:55,040
Speaker 1: with the like a thumb print pad into that I

625
00:36:55,160 --> 00:36:57,880
Speaker 1: was just I just had an my cousin bring up

626
00:36:57,920 --> 00:37:01,320
Speaker 1: an argument we had when we were six results about

627
00:37:01,360 --> 00:37:05,000
Speaker 1: one of those ink pads. Yeah, anyways, did you get

628
00:37:05,040 --> 00:37:08,879
Speaker 1: in call over her? No? I poured water on her

629
00:37:08,920 --> 00:37:11,160
Speaker 1: ink pad by mistake, and then there was no more

630
00:37:11,200 --> 00:37:14,840
Speaker 1: ink left in it, and I denied, denied, denied, and

631
00:37:14,880 --> 00:37:17,920
Speaker 1: then she got in trouble with her mom because she

632
00:37:17,960 --> 00:37:19,920
Speaker 1: had to get a new ink pad, and it was

633
00:37:20,480 --> 00:37:23,440
Speaker 1: a whole thing. We're still talking about it today. Apparently

634
00:37:23,680 --> 00:37:27,640
Speaker 1: I'm a liar. But I did like how Christie is like,

635
00:37:27,920 --> 00:37:30,760
Speaker 1: I'm not fat, and like she sticks up for herself

636
00:37:30,800 --> 00:37:32,960
Speaker 1: even though they kind of ras her. She's kind of

637
00:37:33,160 --> 00:37:35,799
Speaker 1: like I'm not I like how she's just like I'm

638
00:37:35,840 --> 00:37:38,440
Speaker 1: not painting that. I'm like I have to eat every

639
00:37:38,480 --> 00:37:44,399
Speaker 1: two hours. I love her character. She's great, Okay, her

640
00:37:44,440 --> 00:37:48,000
Speaker 1: friends are pretty cruel to her and behind her back

641
00:37:48,040 --> 00:37:52,400
Speaker 1: as well. That was most mad. Likewise, when Teeny and

642
00:37:53,239 --> 00:37:56,960
Speaker 1: Samantha Samantha, they're like making fun of Christie behind her

643
00:37:56,960 --> 00:38:00,480
Speaker 1: back as well. I'm like, get oh the scene they're

644
00:38:00,480 --> 00:38:02,640
Speaker 1: talking about, like if you were on an island and

645
00:38:02,680 --> 00:38:04,959
Speaker 1: there's nothing to eat, who of us would you eat?

646
00:38:05,800 --> 00:38:09,879
Speaker 1: And she says, Chrissy because she would feed more people. Yeah,

647
00:38:09,960 --> 00:38:13,160
Speaker 1: there's quite a few scenes like that. Um, it's so

648
00:38:13,280 --> 00:38:16,560
Speaker 1: like cringe e to watch. But you're like, but but

649
00:38:16,640 --> 00:38:20,160
Speaker 1: it's like, not like I'm ruling King's like making something up.

650
00:38:20,760 --> 00:38:24,120
Speaker 1: It's just it's really it's weird. It's it is conflicting

651
00:38:24,120 --> 00:38:26,759
Speaker 1: because it's on one hand, she's like depicting something that

652
00:38:26,960 --> 00:38:31,200
Speaker 1: for sure happens, and probably I would guess happened more

653
00:38:31,239 --> 00:38:34,880
Speaker 1: in the seventies than it would in nineteen because I

654
00:38:34,920 --> 00:38:38,040
Speaker 1: think I'm hoping kids are brought up to be a

655
00:38:38,080 --> 00:38:42,400
Speaker 1: little bit more accepting than they were back in the day. Um,

656
00:38:42,840 --> 00:38:46,520
Speaker 1: but you know woke kids out there. But um, yeah,

657
00:38:46,560 --> 00:38:48,879
Speaker 1: shout out my will kids. Um. I don't have any

658
00:38:48,960 --> 00:38:52,759
Speaker 1: children in my own obviously, none of us. But I

659
00:38:52,800 --> 00:38:55,200
Speaker 1: mean there's a lot of scenes like that where it's

660
00:38:55,239 --> 00:39:00,040
Speaker 1: not only the characters targeting her and being cruel of

661
00:39:00,120 --> 00:39:02,360
Speaker 1: her because of her weight, but it also is the

662
00:39:02,480 --> 00:39:05,719
Speaker 1: movie the narrative makes some choices which are that like

663
00:39:06,160 --> 00:39:10,319
Speaker 1: she when they're like bicycling to Greenfield, which is nine

664
00:39:10,320 --> 00:39:12,200
Speaker 1: miles away by the way, we see on a little

665
00:39:12,320 --> 00:39:15,759
Speaker 1: sign um that like she's the one who needs to

666
00:39:15,800 --> 00:39:19,399
Speaker 1: stop for a break. She's the one who like doesn't

667
00:39:19,440 --> 00:39:22,120
Speaker 1: want to participate in the painting of the garage door

668
00:39:22,160 --> 00:39:25,640
Speaker 1: because she has to eat when the girls are saving

669
00:39:26,000 --> 00:39:29,439
Speaker 1: like swimming really fast because I think Roberta is dead

670
00:39:29,480 --> 00:39:32,960
Speaker 1: in the water. She's like struggling really hard to swim

671
00:39:33,000 --> 00:39:34,560
Speaker 1: and keep up, like she's always just kind of like

672
00:39:34,640 --> 00:39:36,839
Speaker 1: lagging behind. They make her have a head start when

673
00:39:36,840 --> 00:39:42,960
Speaker 1: they steal the voice you better there. It's Yeah, I

674
00:39:43,239 --> 00:39:46,719
Speaker 1: think that like that it's not as sensitively written as

675
00:39:46,760 --> 00:39:49,000
Speaker 1: it should be, which is a bummer because like that

676
00:39:49,040 --> 00:39:50,880
Speaker 1: would be if we were a little more thoughtfully written,

677
00:39:50,880 --> 00:39:54,240
Speaker 1: it would be like that is something that happens with kids,

678
00:39:54,280 --> 00:39:57,400
Speaker 1: and I think it's worthy of exploring. But yeah, I

679
00:39:57,400 --> 00:40:00,400
Speaker 1: don't think she really ever got the chance still like

680
00:40:00,440 --> 00:40:03,440
Speaker 1: stand up for herself in a really meaningful way about

681
00:40:04,760 --> 00:40:10,239
Speaker 1: Gerry O'Connell. You know what I mean. We had a

682
00:40:10,280 --> 00:40:13,520
Speaker 1: discussion similar to this on Book Smart. But what what

683
00:40:13,560 --> 00:40:16,719
Speaker 1: I think a movie like Book Smart course corrects is that, like,

684
00:40:16,960 --> 00:40:18,840
Speaker 1: we do have a plus sized character in the Beanie

685
00:40:18,840 --> 00:40:21,920
Speaker 1: Feldstine character in that movie, and it's never her weight

686
00:40:22,320 --> 00:40:25,879
Speaker 1: and size is never called attention to, it's never made

687
00:40:25,880 --> 00:40:28,640
Speaker 1: fun of. And I think if this if now and

688
00:40:28,680 --> 00:40:32,840
Speaker 1: then we're like remade today, her size would be treated

689
00:40:33,200 --> 00:40:36,520
Speaker 1: very differently. But because it came out in the mid nineties,

690
00:40:37,200 --> 00:40:39,000
Speaker 1: it's treated the way it is and again I wonder

691
00:40:39,239 --> 00:40:43,120
Speaker 1: because it's like I'm rolling King is by all accounts

692
00:40:43,120 --> 00:40:45,920
Speaker 1: a pretty forward thinking writer, and the fact that she

693
00:40:46,640 --> 00:40:50,359
Speaker 1: wrote in an out character in the nineties, even though

694
00:40:50,360 --> 00:40:53,280
Speaker 1: it got you know, taken out, which is very nineties,

695
00:40:53,640 --> 00:40:55,520
Speaker 1: you know, I wonder if there was a draft where

696
00:40:55,560 --> 00:40:57,719
Speaker 1: that was like dealt with more thoughtfully. And then they're like, no,

697
00:40:58,920 --> 00:41:01,799
Speaker 1: body standards are still extremely rigid. I can't do it.

698
00:41:01,800 --> 00:41:03,520
Speaker 1: Could be I don't know, but yeah, I just I

699
00:41:03,920 --> 00:41:07,120
Speaker 1: don't love the way that the movie frames it in flashback.

700
00:41:07,320 --> 00:41:10,360
Speaker 1: I am glad to see her kind of like subtly

701
00:41:10,440 --> 00:41:12,439
Speaker 1: dump on her friends in the future because they were

702
00:41:12,560 --> 00:41:16,720
Speaker 1: assholds to her. Um, we had to take another quick break,

703
00:41:16,719 --> 00:41:25,480
Speaker 1: but then we'll come right back, and we're back just

704
00:41:25,560 --> 00:41:29,600
Speaker 1: to continue the conversation about Chrissie a little bit more.

705
00:41:29,680 --> 00:41:31,240
Speaker 1: And this is just kind of one of the things

706
00:41:31,320 --> 00:41:35,200
Speaker 1: that we see that like differentiates her from her friends

707
00:41:35,280 --> 00:41:38,200
Speaker 1: and that we see all these different personality types, is

708
00:41:38,239 --> 00:41:43,560
Speaker 1: that Chrissie has some somewhat regressive ideas and she really

709
00:41:43,800 --> 00:41:50,360
Speaker 1: subscribes to traditional feminine norms. Um, we're like Robertas splashing

710
00:41:50,360 --> 00:41:54,200
Speaker 1: around in some puddles and then like Chrissie says, like ROBERTA,

711
00:41:54,239 --> 00:41:56,040
Speaker 1: why can't you just act like a girl. And then

712
00:41:56,120 --> 00:41:58,280
Speaker 1: later during the softball fight, which I want to talk

713
00:41:58,480 --> 00:42:02,719
Speaker 1: all about, she's like, remember your lady when she's about

714
00:42:02,719 --> 00:42:05,799
Speaker 1: to go like punch a dude. Yeah, I mean I

715
00:42:05,840 --> 00:42:09,479
Speaker 1: was like I noticed, but it's for me. I'm like, okay,

716
00:42:09,560 --> 00:42:11,759
Speaker 1: First of all, it's nineteen seventy. Second of all, there

717
00:42:11,800 --> 00:42:16,880
Speaker 1: are enough diversities of opinions on what womanhood is. And

718
00:42:16,880 --> 00:42:19,400
Speaker 1: I feel like that's almost like what the whole flashback

719
00:42:19,520 --> 00:42:22,719
Speaker 1: is about, is like about each of them defining like

720
00:42:23,120 --> 00:42:27,080
Speaker 1: who am I and like what is womanhood to me?

721
00:42:27,160 --> 00:42:29,000
Speaker 1: Because they all sort of have like a different and

722
00:42:29,040 --> 00:42:31,640
Speaker 1: then at the end they're like, you know, we were

723
00:42:31,680 --> 00:42:33,760
Speaker 1: all trying to be the same person, but we're very different.

724
00:42:33,840 --> 00:42:36,040
Speaker 1: So I mean, just the fact that you see like

725
00:42:36,120 --> 00:42:38,960
Speaker 1: one of the characters like taping down her boobs and

726
00:42:38,960 --> 00:42:45,000
Speaker 1: then another one trying to augment them, like really just

727
00:42:45,080 --> 00:42:47,840
Speaker 1: telling again of like a very not the same person

728
00:42:48,520 --> 00:42:51,040
Speaker 1: these characters, Like really they really go for it there.

729
00:42:51,040 --> 00:42:54,840
Speaker 1: She's like brushing her hair, counting how many times, and

730
00:42:55,000 --> 00:42:58,239
Speaker 1: like Chris Sie, her mom is so just like put

731
00:42:58,239 --> 00:43:02,200
Speaker 1: this thing down and like yeah, Bonny Hunt and when

732
00:43:02,239 --> 00:43:04,120
Speaker 1: she says that thing about like, oh, I can't French

733
00:43:04,239 --> 00:43:10,279
Speaker 1: kiss the guy because like they want everything, which it's

734
00:43:10,280 --> 00:43:12,879
Speaker 1: such a twelve year old thing to say. My mom

735
00:43:12,920 --> 00:43:15,120
Speaker 1: told me when I was I think about that age.

736
00:43:15,160 --> 00:43:17,680
Speaker 1: She told me and my friend Lindsay that I don't

737
00:43:17,719 --> 00:43:19,680
Speaker 1: know why she would lie about this, but it was

738
00:43:19,840 --> 00:43:21,759
Speaker 1: I so believed her for so long. She was just

739
00:43:21,800 --> 00:43:24,040
Speaker 1: like because I think I read in a magazine about

740
00:43:24,040 --> 00:43:27,279
Speaker 1: French kissing and I must have just said it. And

741
00:43:27,320 --> 00:43:30,719
Speaker 1: she was like, I've never French kissed anyone before. I

742
00:43:30,760 --> 00:43:34,520
Speaker 1: was like what, and she's like, it's gross, there's germs.

743
00:43:34,680 --> 00:43:38,120
Speaker 1: Don't do it. I would never like. She was like

744
00:43:38,560 --> 00:43:42,360
Speaker 1: it was such a weird lie. But I like until

745
00:43:42,560 --> 00:43:45,840
Speaker 1: I was like at French kissing level myself, and I

746
00:43:46,200 --> 00:43:48,239
Speaker 1: was like, wait, there's no way she was telling the

747
00:43:48,400 --> 00:43:51,319
Speaker 1: truth about never having But what if she was telling

748
00:43:51,320 --> 00:43:53,919
Speaker 1: the truth, you know, we're not always never kissed with tongue.

749
00:43:54,719 --> 00:43:57,359
Speaker 1: I think she'll probably listen to this. And I never

750
00:43:57,400 --> 00:43:59,160
Speaker 1: talked to her about it, but later I just was like, oh,

751
00:43:59,200 --> 00:44:02,680
Speaker 1: what a weird lie. Jail tweet at us just the truth?

752
00:44:02,800 --> 00:44:07,279
Speaker 1: Truth or day or jail? Do you ever did you.

753
00:44:09,600 --> 00:44:11,960
Speaker 1: That would be such a cool fact about how are you?

754
00:44:12,640 --> 00:44:17,600
Speaker 1: How are you to children? I've never kissed with tome Um.

755
00:44:17,680 --> 00:44:19,800
Speaker 1: That reminds me kind of of one of my favorite

756
00:44:19,800 --> 00:44:22,800
Speaker 1: scenes in the movie when they have discovered the Wormer's

757
00:44:23,239 --> 00:44:29,120
Speaker 1: skinny dipping, which seeing boys their naked butts, their naked bodies,

758
00:44:29,200 --> 00:44:32,440
Speaker 1: minus we don't see their penises, but like, I don't know,

759
00:44:32,640 --> 00:44:38,840
Speaker 1: it's weird, it's but they're watching the Warmer's skinny dipping,

760
00:44:38,920 --> 00:44:41,800
Speaker 1: which is like a rare example of like a female

761
00:44:41,840 --> 00:44:46,200
Speaker 1: gaze moment in a movie. And then Teeny's like, I

762
00:44:46,280 --> 00:44:49,239
Speaker 1: saw Scott's penis, and then Roberto and Samantha like they

763
00:44:49,280 --> 00:44:52,040
Speaker 1: also sneak a peek, and then Chrissy is like, great,

764
00:44:52,080 --> 00:44:53,879
Speaker 1: now I'm the only one who hasn't seen it. It'll

765
00:44:53,920 --> 00:44:56,040
Speaker 1: be the topic of conversation and I'll be left out.

766
00:44:56,040 --> 00:44:58,200
Speaker 1: So I better see it. But only because you're forcing me,

767
00:44:58,239 --> 00:45:00,000
Speaker 1: and I do this out of protests and they're all,

768
00:45:00,160 --> 00:45:03,319
Speaker 1: we're not enforcing, and she's like, fine, I'll do it.

769
00:45:03,600 --> 00:45:06,480
Speaker 1: You're you're you're forcing my eyes. And then it's like

770
00:45:06,719 --> 00:45:09,879
Speaker 1: you just wanted to see a boy's dick and it's

771
00:45:09,920 --> 00:45:11,640
Speaker 1: not that big she said yeah. She's like it's not

772
00:45:11,680 --> 00:45:14,879
Speaker 1: that big, and then the Sara Birch is like, yeah,

773
00:45:14,920 --> 00:45:16,279
Speaker 1: he has to have a heart on and then she

774
00:45:16,920 --> 00:45:19,080
Speaker 1: puts her hands out as if like a hard on

775
00:45:19,280 --> 00:45:22,440
Speaker 1: is like a foot and a half long. To Suby

776
00:45:22,480 --> 00:45:28,799
Speaker 1: Sandwiches love it. It's adorable. I'm like wondering, I'm like,

777
00:45:28,800 --> 00:45:30,480
Speaker 1: how much did the I mean, I guess the actors

778
00:45:30,480 --> 00:45:33,360
Speaker 1: are like a few, like a year or two older

779
00:45:33,360 --> 00:45:35,879
Speaker 1: than their parts. I'm like, how much do they know

780
00:45:35,960 --> 00:45:39,399
Speaker 1: that this is a joke? Oh? True, don't because they're

781
00:45:39,400 --> 00:45:45,480
Speaker 1: still quite young. They're very young. They're actors brains, that's true.

782
00:45:45,520 --> 00:45:50,480
Speaker 1: They've they've lived many lives. They've grown up fast. Um.

783
00:45:50,640 --> 00:45:52,799
Speaker 1: I wanted to talk about another thing I really like

784
00:45:52,840 --> 00:45:55,640
Speaker 1: about this movie, which is the you see a lot

785
00:45:56,120 --> 00:46:02,520
Speaker 1: of moments where boys are underestimating girl. Um. We see

786
00:46:02,920 --> 00:46:07,000
Speaker 1: the like jello balloon fight, and then Robert is like

787
00:46:07,080 --> 00:46:09,640
Speaker 1: chasing after them and it's like we owe you wormers,

788
00:46:09,640 --> 00:46:11,879
Speaker 1: and we always pay our debts. And then Devin saw

789
00:46:12,160 --> 00:46:15,200
Speaker 1: his character responds um and he says, yeah, look, we're

790
00:46:15,200 --> 00:46:17,520
Speaker 1: really afraid of a bunch of girls. And she's like, yeah,

791
00:46:17,600 --> 00:46:20,520
Speaker 1: you should be. And then later they do enact revenge,

792
00:46:20,560 --> 00:46:24,440
Speaker 1: which is like sweet revenge by stealing their clothes. Again,

793
00:46:24,480 --> 00:46:27,760
Speaker 1: I don't want to see naked boy. Didn't need that shot,

794
00:46:27,920 --> 00:46:32,080
Speaker 1: but I like babies. They're a little yeah it's not.

795
00:46:35,080 --> 00:46:37,959
Speaker 1: And then the red Rover thing when they the little

796
00:46:38,000 --> 00:46:42,120
Speaker 1: boy can't break through their you know, unbreakable friendship and

797
00:46:44,719 --> 00:46:52,520
Speaker 1: dare and then the softball game softball game scene. Can

798
00:46:52,560 --> 00:46:54,520
Speaker 1: I go beat by beat with what happens here because

799
00:46:54,560 --> 00:46:57,439
Speaker 1: I love it so much, Everything except the creepy little

800
00:46:57,480 --> 00:47:02,320
Speaker 1: future husband being like any kind She's like, get lost, loser,

801
00:47:02,440 --> 00:47:07,200
Speaker 1: and now you're going to be my wife like assistance

802
00:47:07,280 --> 00:47:12,919
Speaker 1: and then wear her down. I mean, yes, everything else

803
00:47:12,920 --> 00:47:16,759
Speaker 1: is everything else. Here's here's what happens the girls here

804
00:47:16,800 --> 00:47:19,560
Speaker 1: about a softball game happening off in the distance, and

805
00:47:20,400 --> 00:47:24,520
Speaker 1: Roberta is like, let's go, and it's Roberta's turned to bat.

806
00:47:24,800 --> 00:47:27,439
Speaker 1: And then Devin Sawa was like, all right, everybody move

807
00:47:27,520 --> 00:47:30,600
Speaker 1: in because they are not anticipating that she will hit

808
00:47:30,640 --> 00:47:34,120
Speaker 1: the ball very hard or far. And then feminist icon

809
00:47:34,560 --> 00:47:37,000
Speaker 1: little boy who we've never seen before and we will

810
00:47:37,040 --> 00:47:39,000
Speaker 1: never see again. I don't think it is weird that

811
00:47:39,080 --> 00:47:41,960
Speaker 1: they don't just have one of the warmer brothers say it,

812
00:47:42,000 --> 00:47:46,760
Speaker 1: but they just choose it's a random kid, and he says,

813
00:47:46,600 --> 00:47:49,279
Speaker 1: it's just a pretty good performance. He's like sitting on

814
00:47:49,480 --> 00:47:53,560
Speaker 1: top of a fence with his arms crossed, like, hey, no,

815
00:47:53,640 --> 00:47:56,560
Speaker 1: I'm not even talking about you're not even no. Okay,

816
00:47:56,840 --> 00:48:00,960
Speaker 1: so true feminist icon. Little boy in the field who says,

817
00:48:01,280 --> 00:48:04,960
Speaker 1: come on, Roberta hit it over their heads. And then

818
00:48:04,960 --> 00:48:07,640
Speaker 1: another kids like showed up. He's doing the bare minimum.

819
00:48:07,880 --> 00:48:14,000
Speaker 1: He's a feminist okay um, and then Roberta she hits

820
00:48:14,080 --> 00:48:15,919
Speaker 1: the ball. First one is a foul ball, and then

821
00:48:16,320 --> 00:48:22,120
Speaker 1: shitty boy not feminist icon not playing. Yeah, it's not

822
00:48:22,120 --> 00:48:26,680
Speaker 1: even playing. He had extreme like resting bully face, like

823
00:48:26,840 --> 00:48:29,279
Speaker 1: the kid just looked like a bully and they went

824
00:48:29,440 --> 00:48:32,239
Speaker 1: hey and you're like, oh no, He's like, who are

825
00:48:32,239 --> 00:48:35,839
Speaker 1: you kidding? Girls can't play softball? And then she says

826
00:48:35,880 --> 00:48:39,120
Speaker 1: what did you say? And he says, I said girls

827
00:48:39,160 --> 00:48:42,560
Speaker 1: can't play softball, and then she throws down her bat

828
00:48:42,719 --> 00:48:45,080
Speaker 1: and storms toward him, and this is when Chrissy's like,

829
00:48:45,120 --> 00:48:48,200
Speaker 1: remember you're a lady. And then he's like, why don't

830
00:48:48,239 --> 00:48:50,759
Speaker 1: you go home and play with your dolls? And then

831
00:48:50,840 --> 00:48:53,200
Speaker 1: Chrissie says, the only doll Roberta has is a g

832
00:48:53,400 --> 00:48:58,440
Speaker 1: I Joe and then right, and then Roberta punches him

833
00:48:58,440 --> 00:49:02,520
Speaker 1: in the face. He falls down. She starts wailing on him.

834
00:49:02,680 --> 00:49:06,239
Speaker 1: It's great. Her friends pull her off of him. He

835
00:49:06,280 --> 00:49:10,399
Speaker 1: calls Roberta a crazy bitch. And then Samantha says, how

836
00:49:10,440 --> 00:49:12,440
Speaker 1: does it feel to get the crap kicked out of

837
00:49:12,480 --> 00:49:15,640
Speaker 1: you but a girl? Which I don't necessarily know how

838
00:49:15,640 --> 00:49:18,960
Speaker 1: I feel about that, But he says, too bad, your

839
00:49:18,960 --> 00:49:21,399
Speaker 1: mother's did. Somebody needs to teach you how to act

840
00:49:21,440 --> 00:49:24,719
Speaker 1: like a girl? Like who is this? How does he

841
00:49:24,880 --> 00:49:28,200
Speaker 1: know so much about in the city? Who? He doesn't

842
00:49:28,239 --> 00:49:33,239
Speaker 1: even go here exactly? And then Samantha tackles him and

843
00:49:33,280 --> 00:49:36,359
Speaker 1: then another fight ensues. It's great, love it and you've

844
00:49:36,360 --> 00:49:38,160
Speaker 1: all felt that feeling right. We were like, I'm gonna

845
00:49:38,160 --> 00:49:42,080
Speaker 1: fight for my friend, I mean not physically. Every actor

846
00:49:42,120 --> 00:49:45,239
Speaker 1: involved in this scene is wonderful. I also want to

847
00:49:45,239 --> 00:49:48,440
Speaker 1: shout out whoever edited in the sound effects, because it

848
00:49:48,560 --> 00:49:52,600
Speaker 1: makes the fight sound so brutal, like when Christina Riccie

849
00:49:52,640 --> 00:49:55,080
Speaker 1: throws the first punch and you hear it connects like

850
00:49:55,760 --> 00:49:58,279
Speaker 1: but you're like, oh my god, she like broke his nose,

851
00:49:58,560 --> 00:50:01,800
Speaker 1: Like it's so brutal, it's really good. So just to

852
00:50:01,880 --> 00:50:04,879
Speaker 1: kind of continue off of that sentiment on another thing

853
00:50:04,920 --> 00:50:07,719
Speaker 1: I really like about this movie is that you get

854
00:50:07,760 --> 00:50:12,680
Speaker 1: to see girls kind of misbehaving, not being like the

855
00:50:12,719 --> 00:50:17,120
Speaker 1: prim and proper societal expectation of what girls are supposed

856
00:50:17,160 --> 00:50:20,399
Speaker 1: to be. Because you see them throwing punches. You see

857
00:50:20,440 --> 00:50:24,360
Speaker 1: them smoking cigarettes and perhaps that was too influential and

858
00:50:24,400 --> 00:50:28,560
Speaker 1: it made people start smoking, but you know, you see

859
00:50:28,800 --> 00:50:32,040
Speaker 1: them it's like sneaking out at night being wrong. Yeah,

860
00:50:32,239 --> 00:50:34,359
Speaker 1: Like you get to see them make mistakes, and they

861
00:50:34,360 --> 00:50:37,000
Speaker 1: all make mistakes in different ways, and then you sort

862
00:50:37,040 --> 00:50:40,840
Speaker 1: of get enough background on each character to understand why

863
00:50:40,880 --> 00:50:43,799
Speaker 1: they are making these specific mistakes. I mean, I think

864
00:50:43,880 --> 00:50:47,240
Speaker 1: Roberta is probably the easiest example to draw from there.

865
00:50:47,280 --> 00:50:50,200
Speaker 1: Of um, sometimes you see her act out and it's

866
00:50:50,239 --> 00:50:52,600
Speaker 1: confusing to her friends, but it is like rooted in

867
00:50:52,680 --> 00:50:55,120
Speaker 1: this trauma she has with what happened with her mother,

868
00:50:55,160 --> 00:50:56,800
Speaker 1: And like you just you get to see a wide

869
00:50:56,880 --> 00:51:01,080
Speaker 1: range of emotions and reactions and most of them don't

870
00:51:01,160 --> 00:51:04,759
Speaker 1: seem like rooted in any stereotype because you just know

871
00:51:04,840 --> 00:51:07,800
Speaker 1: the character well enough to understand why they would do it.

872
00:51:07,880 --> 00:51:12,600
Speaker 1: Truly that simple. Yeah, It's almost as if when you

873
00:51:12,960 --> 00:51:17,400
Speaker 1: try hard at writing a female character, we get a

874
00:51:17,440 --> 00:51:22,760
Speaker 1: sense of who they are will come across go fair. Um,

875
00:51:23,120 --> 00:51:25,920
Speaker 1: can we talk about Roberta a little bit? So I

876
00:51:25,960 --> 00:51:30,080
Speaker 1: really liked that this I think the heaviest thing this

877
00:51:30,239 --> 00:51:34,680
Speaker 1: movie really tackles is her grief, right, and I think

878
00:51:34,800 --> 00:51:36,920
Speaker 1: they kind of want you to be equally sad about

879
00:51:36,920 --> 00:51:40,280
Speaker 1: Gabby Hoffman's parents divorce, even though I'm kind of like whatever,

880
00:51:40,800 --> 00:51:43,040
Speaker 1: But although it is like it does seem like it's

881
00:51:43,040 --> 00:51:45,360
Speaker 1: the kind of divorce, like a very nine seventy, like

882
00:51:45,680 --> 00:51:48,440
Speaker 1: dad leaves for milk and doesn't come back kind of divorce,

883
00:51:48,840 --> 00:51:53,320
Speaker 1: which is awful, especially because like divorce wasn't as popular

884
00:51:53,560 --> 00:51:58,239
Speaker 1: back then. Because I even say, it's so hot right now, Um,

885
00:51:58,360 --> 00:52:01,359
Speaker 1: no other families on the block or like that was

886
00:52:01,400 --> 00:52:04,960
Speaker 1: the first family that like divorce kind of thing? Absolutely,

887
00:52:05,000 --> 00:52:07,359
Speaker 1: I mean, but but I think in terms of like

888
00:52:07,600 --> 00:52:10,920
Speaker 1: lifelong drama, I mean, Roberta takes the case in the

889
00:52:10,960 --> 00:52:15,200
Speaker 1: trauma Wars of this movie, she because women being competition,

890
00:52:15,239 --> 00:52:17,799
Speaker 1: women be competing with each other over who's the most traumatized.

891
00:52:19,000 --> 00:52:20,960
Speaker 1: I liked that this movie and I feel like it

892
00:52:21,040 --> 00:52:25,440
Speaker 1: dealt with it pretty responsibly. Um tried to handle a

893
00:52:25,960 --> 00:52:28,479
Speaker 1: child grieving. I feel like that's not something you see

894
00:52:28,520 --> 00:52:32,759
Speaker 1: a lot really ever in a way that is I mean,

895
00:52:32,800 --> 00:52:34,600
Speaker 1: I I kind of I'm curious. I'm like, what kind

896
00:52:34,640 --> 00:52:36,719
Speaker 1: of research did I'm Erilyn King do when she was

897
00:52:36,760 --> 00:52:39,880
Speaker 1: writing this, because it seemed pretty grounded in, like you know,

898
00:52:40,000 --> 00:52:43,719
Speaker 1: she would act out. You would see she was trying to,

899
00:52:43,880 --> 00:52:46,239
Speaker 1: like when she would fake her own death. It was

900
00:52:46,280 --> 00:52:48,520
Speaker 1: like trying to normalize it for herself, trying to have

901
00:52:48,560 --> 00:52:51,400
Speaker 1: a sense of humor about it, and then having like

902
00:52:51,440 --> 00:52:53,919
Speaker 1: these really emotional moments. It was just like I thought

903
00:52:53,920 --> 00:52:57,680
Speaker 1: it was really like well done, beautiful, and especially because

904
00:52:58,120 --> 00:53:02,839
Speaker 1: Roberta's character and and now knowing that Roberta, who grows

905
00:53:02,920 --> 00:53:05,759
Speaker 1: up to be Rosie O'donnald was supposed to be kind

906
00:53:05,760 --> 00:53:08,480
Speaker 1: of this queer coded character that they later kind of

907
00:53:08,560 --> 00:53:10,359
Speaker 1: undo that work and then they're like, Okay, now Devin

908
00:53:10,400 --> 00:53:12,719
Speaker 1: saw what is here. There's there's there's a lot going

909
00:53:12,760 --> 00:53:15,520
Speaker 1: on with her character. I don't know, like Roberta just

910
00:53:15,760 --> 00:53:18,960
Speaker 1: she's such a rich character. And I wish that the

911
00:53:19,000 --> 00:53:20,719
Speaker 1: Devin saw what thing was like. I wish you could

912
00:53:20,760 --> 00:53:23,920
Speaker 1: just be out but the taping down her breasts thing

913
00:53:23,960 --> 00:53:27,080
Speaker 1: when she was younger, I thought was like, I was like, oh,

914
00:53:27,200 --> 00:53:30,440
Speaker 1: what is what are they trying to say here? And

915
00:53:30,480 --> 00:53:32,719
Speaker 1: I feel like that kind of gets a little bit muddled,

916
00:53:33,480 --> 00:53:35,360
Speaker 1: but it was, I mean, it was interesting to see

917
00:53:35,920 --> 00:53:38,440
Speaker 1: that period. You don't see that a lot in movies,

918
00:53:38,520 --> 00:53:41,719
Speaker 1: especially movies that are like directed at children. I don't know,

919
00:53:41,800 --> 00:53:44,760
Speaker 1: I just really like her, But it's just particularly pertaining

920
00:53:44,800 --> 00:53:48,560
Speaker 1: to how the movie tackles the idea of grief with

921
00:53:48,880 --> 00:53:53,040
Speaker 1: kids and doesn't ever really cut away to an adult

922
00:53:53,280 --> 00:53:56,200
Speaker 1: explaining her own grief to her. It's her figuring out

923
00:53:56,239 --> 00:53:59,839
Speaker 1: her grief with the kids that she knows, and them

924
00:54:00,000 --> 00:54:02,680
Speaker 1: all working it out kind of together as well as

925
00:54:02,680 --> 00:54:04,960
Speaker 1: they can. If that was like, it was beautiful. And

926
00:54:05,040 --> 00:54:08,560
Speaker 1: I think it's like suggested that no one is helping

927
00:54:08,560 --> 00:54:12,080
Speaker 1: her deal with it. She's in a nineteen seventies house

928
00:54:12,120 --> 00:54:15,920
Speaker 1: full of boys and dad probably like all emotionally repressed,

929
00:54:15,960 --> 00:54:19,200
Speaker 1: like like I don't know what to do. I mean yeah,

930
00:54:19,239 --> 00:54:21,480
Speaker 1: And I was like and and and seeing her just

931
00:54:21,719 --> 00:54:24,040
Speaker 1: I mean, god, I can't imagine how much that day

932
00:54:24,160 --> 00:54:26,759
Speaker 1: the library fucked her up in the years that followed,

933
00:54:26,760 --> 00:54:32,080
Speaker 1: because of course her dad wouldn't tell herself, so it's

934
00:54:32,080 --> 00:54:33,680
Speaker 1: like that's not a fault of her dad. It just

935
00:54:33,960 --> 00:54:35,680
Speaker 1: seems like her dad's got, you know, a lot on

936
00:54:35,719 --> 00:54:39,680
Speaker 1: his plate, and she just is like trained to suppress.

937
00:54:39,880 --> 00:54:43,879
Speaker 1: It's like sitty to see sad, but it's really nice

938
00:54:43,920 --> 00:54:46,279
Speaker 1: to see her get like support from her friends and

939
00:54:46,640 --> 00:54:48,520
Speaker 1: kind of that like twelve year old thing of like

940
00:54:48,760 --> 00:54:50,799
Speaker 1: they're trying to relate with each other. They're like, I

941
00:54:50,880 --> 00:54:52,880
Speaker 1: get it and they don't, but they want to and

942
00:54:52,920 --> 00:54:55,239
Speaker 1: that's enough. And kind of the same thing with the

943
00:54:55,320 --> 00:54:58,839
Speaker 1: divorce narrative. I guess I have a question about. One

944
00:54:58,840 --> 00:55:01,160
Speaker 1: of the things that felt a little weird to me

945
00:55:01,280 --> 00:55:05,839
Speaker 1: in this movie was how Samantha's mother was treated. I

946
00:55:05,880 --> 00:55:09,680
Speaker 1: didn't really like how they treated Samantha's mother. It's one

947
00:55:09,719 --> 00:55:11,480
Speaker 1: of those things I feel like it almost is like

948
00:55:11,719 --> 00:55:14,200
Speaker 1: I understand what they were going for, but the movie

949
00:55:14,200 --> 00:55:16,879
Speaker 1: seems to decide with the child a little too much,

950
00:55:17,480 --> 00:55:19,839
Speaker 1: and kind of the same way where they almost side

951
00:55:19,840 --> 00:55:22,040
Speaker 1: with the kids that are making fun of young Chrissie's

952
00:55:22,040 --> 00:55:26,080
Speaker 1: body a little too much. Where Samantha is not happy

953
00:55:26,239 --> 00:55:29,759
Speaker 1: that her you know, her parents are split up. Obviously,

954
00:55:29,880 --> 00:55:32,720
Speaker 1: most kids aren't happy when that happens, especially in nineteen seventy.

955
00:55:33,200 --> 00:55:36,279
Speaker 1: But then the way that we see Samantha's mother in

956
00:55:36,280 --> 00:55:39,040
Speaker 1: a different scene where it just all felt a little

957
00:55:39,080 --> 00:55:42,680
Speaker 1: weird and unrealistic, where the mother is inviting a first

958
00:55:42,760 --> 00:55:46,640
Speaker 1: date over to their house dinner or dinner, and then

959
00:55:46,719 --> 00:55:49,400
Speaker 1: like it's it's the writing is weird in this scene

960
00:55:49,640 --> 00:55:52,439
Speaker 1: because I think we're supposed to like interpret Samantha's mother

961
00:55:52,520 --> 00:55:56,520
Speaker 1: is kind of like this irresponsible villain, uh for bringing

962
00:55:56,640 --> 00:55:59,719
Speaker 1: home a first date her kids kind of sad, is

963
00:55:59,760 --> 00:56:03,640
Speaker 1: like she has good intentions but like doesn't really know

964
00:56:03,719 --> 00:56:08,080
Speaker 1: how to execute them adequately or something like that. And

965
00:56:08,160 --> 00:56:10,839
Speaker 1: what what adults brings a first date home to meet

966
00:56:10,840 --> 00:56:16,840
Speaker 1: their children? You know? Like I mean it was and

967
00:56:16,880 --> 00:56:19,560
Speaker 1: I kind of appreciate that this movie doesn't focus on

968
00:56:19,640 --> 00:56:22,560
Speaker 1: the parents significantly at all, and it's mostly about the

969
00:56:22,600 --> 00:56:25,799
Speaker 1: relationship between the girls, but yeah, I just felt like

970
00:56:25,920 --> 00:56:28,360
Speaker 1: it's a very small gripe. But I felt like Samantha's

971
00:56:28,360 --> 00:56:32,520
Speaker 1: mom kind of got shaft and and and no no

972
00:56:32,640 --> 00:56:36,240
Speaker 1: real opportunity to explain, you know, where she was coming

973
00:56:36,320 --> 00:56:39,160
Speaker 1: from or you know. But but also it's like I'm

974
00:56:39,160 --> 00:56:41,240
Speaker 1: sure parents weren't talking to their kids about the details

975
00:56:41,239 --> 00:56:43,920
Speaker 1: of their divorce as much. In these days. She had

976
00:56:43,960 --> 00:56:47,440
Speaker 1: a lot of wigs though, she had and get outfit,

977
00:56:47,920 --> 00:56:50,239
Speaker 1: and that poor guy on the first date was really

978
00:56:50,280 --> 00:56:53,480
Speaker 1: doing everything he got hankaz Area. Why did Hank gaz

979
00:56:53,480 --> 00:56:59,040
Speaker 1: Area accept that invitation? What was n seventy? Like listeners?

980
00:56:59,080 --> 00:57:01,640
Speaker 1: If you were a lot I've and like cognizant during

981
00:57:01,680 --> 00:57:04,399
Speaker 1: this time? Does this track for you at all? Like

982
00:57:04,800 --> 00:57:08,120
Speaker 1: did this happen? I feel like it's not unrealistic. I

983
00:57:08,120 --> 00:57:10,680
Speaker 1: don't know, I was not alive, but like, I just

984
00:57:10,719 --> 00:57:14,360
Speaker 1: think times were really wacky back they just moved a

985
00:57:14,400 --> 00:57:16,440
Speaker 1: little because there I could just come to your house

986
00:57:16,520 --> 00:57:19,360
Speaker 1: and wear are your dad's clothes? I mean that whatever?

987
00:57:19,800 --> 00:57:23,720
Speaker 1: I think so wild? Um what I do like about

988
00:57:23,800 --> 00:57:28,240
Speaker 1: that storyline, it's like the divorced parents and everything. Uh

989
00:57:28,400 --> 00:57:31,960
Speaker 1: Clors Leachman shows up at Samantha's house and she's like

990
00:57:31,960 --> 00:57:34,160
Speaker 1: banging on the doors and stuff like that, and um,

991
00:57:34,200 --> 00:57:36,320
Speaker 1: Samantha's mom is like I could not deal with her

992
00:57:36,440 --> 00:57:40,640
Speaker 1: right now. And then Samantha says, like why is she

993
00:57:40,720 --> 00:57:45,240
Speaker 1: coming here? Let grandma yell at him, meaning like her dad,

994
00:57:45,760 --> 00:57:48,520
Speaker 1: he's the one who left. So she's like she wants

995
00:57:48,720 --> 00:57:51,160
Speaker 1: the man to be accountable in this situation because the

996
00:57:51,240 --> 00:57:55,880
Speaker 1: grandmother is like mad at her mom for like being

997
00:57:56,000 --> 00:58:00,400
Speaker 1: left good to him, and it's like, no, yell the man,

998
00:58:00,520 --> 00:58:03,360
Speaker 1: he's the one who abandoned his family. Um. And then

999
00:58:03,800 --> 00:58:05,760
Speaker 1: there's a few even though like parents aren't the focus

1000
00:58:05,800 --> 00:58:08,640
Speaker 1: of that of this movie, and I am again I'm

1001
00:58:08,680 --> 00:58:11,320
Speaker 1: also fine with that. We get like a few glimpses

1002
00:58:11,400 --> 00:58:14,440
Speaker 1: or a few like lines of dialogue where the girls

1003
00:58:14,440 --> 00:58:17,400
Speaker 1: are learning things like and I think this is one

1004
00:58:17,480 --> 00:58:20,080
Speaker 1: of Brendan Fraser's lines. But the lesson that he teaches

1005
00:58:20,160 --> 00:58:23,120
Speaker 1: them is that, uh, you know, your parents aren't always right.

1006
00:58:23,160 --> 00:58:25,040
Speaker 1: I wish someone had taught me that when I was

1007
00:58:25,080 --> 00:58:27,680
Speaker 1: your age. Um, And there's a bunch of cigarettes. Here's

1008
00:58:27,680 --> 00:58:30,160
Speaker 1: a bunch of cigarettes. I'm gonna drink all of your

1009
00:58:30,160 --> 00:58:34,120
Speaker 1: Fanta and kind of flirt with you a little bit,

1010
00:58:34,560 --> 00:58:37,440
Speaker 1: a little get how much of that is the performance

1011
00:58:37,440 --> 00:58:38,960
Speaker 1: and how much of that is what's on the page

1012
00:58:39,000 --> 00:58:42,760
Speaker 1: it was? What is that scene? I don't know, so

1013
00:58:43,280 --> 00:58:46,720
Speaker 1: it could easily be cut, but listeners who are alive

1014
00:58:46,720 --> 00:58:49,880
Speaker 1: in nineteen seventy that this happened to you again, I

1015
00:58:49,880 --> 00:58:55,960
Speaker 1: think it cigarette. I'm glad girls like hitchhiking and like

1016
00:58:56,000 --> 00:58:58,640
Speaker 1: do a manner of like very dangerous things. This was

1017
00:58:58,680 --> 00:59:02,080
Speaker 1: like Cray Milk Carton. Yeah. But then there's also that

1018
00:59:02,160 --> 00:59:06,360
Speaker 1: scene where Teeny and Samantha are talking because like Teeny

1019
00:59:06,400 --> 00:59:10,560
Speaker 1: has pretty absentee parents, Samantha's parents are getting divorced. Uh,

1020
00:59:10,600 --> 00:59:13,960
Speaker 1: they're siting like all these like TV families who are

1021
00:59:14,040 --> 00:59:16,480
Speaker 1: like I love widowers and stuffing that She's just like,

1022
00:59:16,480 --> 00:59:19,040
Speaker 1: you know, there are no perfect families. It's you know,

1023
00:59:19,120 --> 00:59:21,800
Speaker 1: it's normal for things to be shitty. I loved that

1024
00:59:21,880 --> 00:59:23,920
Speaker 1: they use and I was like, oh, that this scene

1025
00:59:23,960 --> 00:59:27,400
Speaker 1: was written for our podcast because they're trying to normalize

1026
00:59:27,400 --> 00:59:30,680
Speaker 1: her experience based on things they've seen in media, and

1027
00:59:30,800 --> 00:59:32,840
Speaker 1: they're not quite able to do it because they can

1028
00:59:32,880 --> 00:59:35,680
Speaker 1: only name widowers because they couldn't have you couldn't be

1029
00:59:35,680 --> 00:59:38,440
Speaker 1: divorced on TV at this time. But I thought that

1030
00:59:38,440 --> 00:59:40,480
Speaker 1: that was I was like, oh, that's like the perfect

1031
00:59:40,920 --> 00:59:43,040
Speaker 1: Bechdel cast example of like they're trying to be like

1032
00:59:43,080 --> 00:59:46,920
Speaker 1: it's okay because the Beverly Hillbillies did it, but I

1033
00:59:46,920 --> 00:59:52,840
Speaker 1: guess they didn't, but they got kind of clothes. Um. Yeah,

1034
00:59:52,960 --> 00:59:57,000
Speaker 1: that was a great interaction. Can we talk about the

1035
00:59:57,080 --> 01:00:03,120
Speaker 1: Devin Sawa and Roberta kiss consent. Yes, he asked for

1036
01:00:03,120 --> 01:00:06,040
Speaker 1: consent several times. I mean, first of all, I think

1037
01:00:06,080 --> 01:00:08,240
Speaker 1: we all agree with Roberta should have just been allowed

1038
01:00:08,280 --> 01:00:11,480
Speaker 1: to be gay. And well, here's the thing I think, like,

1039
01:00:11,600 --> 01:00:16,120
Speaker 1: I think Rosie O'Donnell definitely should have been out as

1040
01:00:16,120 --> 01:00:18,560
Speaker 1: a lesbian or queer woman in the now part of

1041
01:00:18,560 --> 01:00:22,480
Speaker 1: the now and then storyline. Um. I think I'm like,

1042
01:00:22,480 --> 01:00:26,920
Speaker 1: what if I was like, that's what the title um?

1043
01:00:26,960 --> 01:00:29,800
Speaker 1: And I would love our queer listeners to weigh in here.

1044
01:00:30,040 --> 01:00:32,560
Speaker 1: But I think it is perfectly in the in the

1045
01:00:32,600 --> 01:00:36,680
Speaker 1: realm of possibility, where Roberta, who is twelve and only

1046
01:00:36,800 --> 01:00:40,760
Speaker 1: just starting to discover her sexuality at all, would because

1047
01:00:40,800 --> 01:00:45,400
Speaker 1: it's the norm, especially of Vent that she would be like, oh, well,

1048
01:00:45,440 --> 01:00:48,040
Speaker 1: I'm a girl, so I'm supposed to be attracted to boys,

1049
01:00:49,120 --> 01:00:52,320
Speaker 1: like I should kiss this boy. I get my I

1050
01:00:52,320 --> 01:00:55,800
Speaker 1: guess my curiosity there because it's like I don't object

1051
01:00:55,880 --> 01:00:59,360
Speaker 1: to it. I'm just I just would be cool to see, uh,

1052
01:00:59,400 --> 01:01:01,880
Speaker 1: and it just is not going to happen in but

1053
01:01:02,160 --> 01:01:05,880
Speaker 1: you know, a young girl recognized her sexuality and discuss

1054
01:01:05,920 --> 01:01:08,760
Speaker 1: it definitely in any way. But I guess I'm just

1055
01:01:08,840 --> 01:01:12,120
Speaker 1: curious more from like a production standpoint of like was

1056
01:01:12,160 --> 01:01:16,160
Speaker 1: that added after I'm Rolling's king is told listen, we

1057
01:01:16,200 --> 01:01:18,280
Speaker 1: are not going to have an out character in this movie,

1058
01:01:18,840 --> 01:01:22,480
Speaker 1: Like was that my series? Now? And here is why

1059
01:01:22,960 --> 01:01:24,720
Speaker 1: I want to go another kind of beat by beat

1060
01:01:24,960 --> 01:01:30,720
Speaker 1: analysis of this scene, um, and my theory comes at

1061
01:01:30,720 --> 01:01:33,440
Speaker 1: what happens at the end of the scene. So Roberta

1062
01:01:33,560 --> 01:01:37,400
Speaker 1: is shooting hoops. The oldest Warmer boy ak Devin Swa

1063
01:01:37,760 --> 01:01:41,080
Speaker 1: shows up and she misses a shot. He says, you're

1064
01:01:41,080 --> 01:01:43,720
Speaker 1: not following through, so he's man explaining to her, and

1065
01:01:43,760 --> 01:01:47,400
Speaker 1: then she says, who asked you? Like so applause for that,

1066
01:01:48,320 --> 01:01:51,000
Speaker 1: and then they start playing one on one basketball. She

1067
01:01:51,320 --> 01:01:55,960
Speaker 1: makes two shots, he makes zero shots, and then he's like, hey,

1068
01:01:56,040 --> 01:01:58,880
Speaker 1: you're pretty good at basketball and not just for a girl,

1069
01:01:59,040 --> 01:02:01,920
Speaker 1: which is not a compliment, but you don't realize that

1070
01:02:01,960 --> 01:02:04,800
Speaker 1: when you're twelve years old. And then she just goes like,

1071
01:02:05,080 --> 01:02:07,440
Speaker 1: thank you, good things. And I feel like if she

1072
01:02:07,600 --> 01:02:09,800
Speaker 1: was just based on how we've seen her act already,

1073
01:02:09,840 --> 01:02:13,120
Speaker 1: if she was in a less forgiving mood, she would

1074
01:02:13,160 --> 01:02:16,760
Speaker 1: have yelled at him. She's just like, I'm not choosing

1075
01:02:16,760 --> 01:02:20,160
Speaker 1: this battle. That was um and then they sit down

1076
01:02:20,200 --> 01:02:23,080
Speaker 1: together and he's like, I think you're a really nice girl,

1077
01:02:23,440 --> 01:02:25,080
Speaker 1: and she's like, I thought you always hated me and

1078
01:02:25,080 --> 01:02:27,720
Speaker 1: he's like, so did I. And then he turns towards

1079
01:02:27,720 --> 01:02:30,960
Speaker 1: her and says kiss you. And she says, what are

1080
01:02:30,960 --> 01:02:34,320
Speaker 1: you mumbling? And he says, can I kiss you? So

1081
01:02:34,400 --> 01:02:37,800
Speaker 1: he's again asking for consent. We do not often see

1082
01:02:37,800 --> 01:02:43,280
Speaker 1: this I think three times total right now, because she says,

1083
01:02:43,560 --> 01:02:47,200
Speaker 1: I guess and then he zooms towards her, great, are

1084
01:02:47,200 --> 01:02:48,720
Speaker 1: you ready? And then she's like, oh, you want to

1085
01:02:48,720 --> 01:02:51,280
Speaker 1: do it now? And he's like sure, I mean if

1086
01:02:51,280 --> 01:02:54,560
Speaker 1: you want to. She says okay, and then they kiss

1087
01:02:54,800 --> 01:02:58,320
Speaker 1: and then he pulls away. He's exhilarated. She's like that

1088
01:02:58,400 --> 01:03:02,760
Speaker 1: was great, and she said it was okay. She think

1089
01:03:03,000 --> 01:03:06,360
Speaker 1: she was written as like a queer young girl who

1090
01:03:06,400 --> 01:03:08,840
Speaker 1: doesn't totally know her sexuality yet, but again, because of

1091
01:03:08,880 --> 01:03:11,800
Speaker 1: societal norms, she thinks she's supposed to be kissing boys.

1092
01:03:12,120 --> 01:03:14,520
Speaker 1: And then she says Scott and he turns towards her

1093
01:03:14,600 --> 01:03:17,560
Speaker 1: like rapidly, ready for another kiss, and he's like yeah,

1094
01:03:17,640 --> 01:03:20,360
Speaker 1: and she says, if you mentioned this to anyone, especially

1095
01:03:20,360 --> 01:03:23,920
Speaker 1: your brothers, I will beat the ship out of you. Yes, um,

1096
01:03:23,960 --> 01:03:25,880
Speaker 1: I hope So, I mean that would be that would

1097
01:03:25,920 --> 01:03:28,200
Speaker 1: be cool. I liked, I mean I did like that scene.

1098
01:03:28,280 --> 01:03:32,840
Speaker 1: I do agree with you. That's real and especially inventy like,

1099
01:03:33,640 --> 01:03:36,920
Speaker 1: they wouldn't portray. I don't think you know a woman

1100
01:03:37,280 --> 01:03:39,680
Speaker 1: or you know someone that's twelve like I mean, especially

1101
01:03:39,840 --> 01:03:43,480
Speaker 1: like the small town of Shelby, Indiana in nineteen seventy.

1102
01:03:44,000 --> 01:03:47,360
Speaker 1: I'm I'm guessing again I was not alive, but to

1103
01:03:47,520 --> 01:03:52,880
Speaker 1: be like an out queer teen or preteen would not

1104
01:03:53,000 --> 01:03:57,040
Speaker 1: have gone over well for community, I know, But I

1105
01:03:57,120 --> 01:03:59,360
Speaker 1: just I just think, you know, it's it's it's a movie,

1106
01:03:59,400 --> 01:04:03,040
Speaker 1: and we could have explored it. I mean, but it

1107
01:04:03,160 --> 01:04:06,800
Speaker 1: becomes a null choice because they wouldn't allow it to

1108
01:04:06,840 --> 01:04:11,880
Speaker 1: appear in That's what very frustrating to me about this. Yeah,

1109
01:04:11,960 --> 01:04:16,560
Speaker 1: I mean even wouldn't right. But then again, another thing

1110
01:04:16,560 --> 01:04:19,520
Speaker 1: that like a movie like Book Smart kind of course

1111
01:04:19,520 --> 01:04:21,520
Speaker 1: crux is that we do in those characters a little

1112
01:04:21,520 --> 01:04:24,120
Speaker 1: bit older, but we have and I don't remember the

1113
01:04:24,120 --> 01:04:29,120
Speaker 1: actor's name, so Caitlin Diaver, Yes, well done, But that

1114
01:04:29,200 --> 01:04:31,880
Speaker 1: was like a big deal, right, like to portray not

1115
01:04:31,920 --> 01:04:34,080
Speaker 1: a big deal, but it was like refreshing to see

1116
01:04:34,240 --> 01:04:36,520
Speaker 1: someone in high school being like this is this is

1117
01:04:36,520 --> 01:04:40,479
Speaker 1: not a big deal. It was extremely normalized. Yes, which

1118
01:04:40,520 --> 01:04:44,720
Speaker 1: was And that's the difference between you know, twenty nineteen

1119
01:04:44,880 --> 01:04:50,840
Speaker 1: and exactly Yeah. Something interesting I thought about this movie

1120
01:04:51,000 --> 01:04:54,600
Speaker 1: is if they culled classic now that it was not

1121
01:04:54,680 --> 01:04:59,800
Speaker 1: received well at all. It was very, very very poorly reviewed.

1122
01:05:00,400 --> 01:05:03,920
Speaker 1: I mean, we we've got some pull quotes here. I

1123
01:05:03,960 --> 01:05:06,920
Speaker 1: think the most common criticism, as people are like the

1124
01:05:07,040 --> 01:05:09,440
Speaker 1: vibe is kind of like all female reboot of stand

1125
01:05:09,440 --> 01:05:12,840
Speaker 1: by Me, NOI thank you, which and and and this

1126
01:05:12,920 --> 01:05:18,480
Speaker 1: is it's basically all white male reviewers who are basically saying, like, why,

1127
01:05:18,680 --> 01:05:21,440
Speaker 1: I've already seen this with boys, so I like it better,

1128
01:05:21,880 --> 01:05:25,120
Speaker 1: and like boyhood and girlhood same deaf to me because

1129
01:05:25,160 --> 01:05:29,080
Speaker 1: I only care about boys. Uh, your your boy, Roger Ebert,

1130
01:05:29,760 --> 01:05:31,920
Speaker 1: I think we came on our on the Matreon. I

1131
01:05:31,920 --> 01:05:34,840
Speaker 1: think we came across the first thing that Roger Ebert

1132
01:05:34,840 --> 01:05:38,720
Speaker 1: said that we've ever liked about ja Jack Frost just

1133
01:05:38,720 --> 01:05:42,400
Speaker 1: saying how scary the puppet is. But he has to

1134
01:05:42,440 --> 01:05:46,400
Speaker 1: say on this the adult actresses are completely superfluous to

1135
01:05:46,440 --> 01:05:49,760
Speaker 1: the movie, which is a fully contrived stand by Me

1136
01:05:49,960 --> 01:05:53,120
Speaker 1: kind of story, Like he's just dismissive of literally every

1137
01:05:53,160 --> 01:05:58,880
Speaker 1: part of the movie, and it's just contempt disinterest. Why

1138
01:05:58,680 --> 01:06:00,959
Speaker 1: why is this movie made? Who was it for? Which

1139
01:06:00,960 --> 01:06:03,320
Speaker 1: is the vibe you get from a lot of this,

1140
01:06:03,560 --> 01:06:06,840
Speaker 1: you know period of a hundred years that they were

1141
01:06:06,840 --> 01:06:10,280
Speaker 1: basically only male reviewers of Like you get like who

1142
01:06:10,360 --> 01:06:17,320
Speaker 1: is this for? When it's very clear that it's for me? Well,

1143
01:06:17,360 --> 01:06:23,240
Speaker 1: I'm bored media for girls and women. But um, I

1144
01:06:23,320 --> 01:06:26,480
Speaker 1: have an even more frustrating quote from this same review

1145
01:06:26,520 --> 01:06:30,280
Speaker 1: by Roger Ebert um what distinguished stand by Me was

1146
01:06:30,320 --> 01:06:33,320
Speaker 1: the psychological stundness of the story. We could believe it

1147
01:06:33,360 --> 01:06:35,560
Speaker 1: and care about it now and then? Is made of

1148
01:06:35,720 --> 01:06:39,880
Speaker 1: artificial bits and pieces. The director, Leslie Linka Gladder says

1149
01:06:40,120 --> 01:06:42,720
Speaker 1: in the press notes that she started crying when she

1150
01:06:42,840 --> 01:06:46,320
Speaker 1: first read the script quote because it captured that delicate

1151
01:06:46,360 --> 01:06:50,160
Speaker 1: evolution from girlhood to womanhood. And you so rarely find

1152
01:06:50,160 --> 01:06:53,200
Speaker 1: that end quote. I guess you didn't see Man in

1153
01:06:53,240 --> 01:06:56,200
Speaker 1: the Moon, which has so much more truth and tenderness

1154
01:06:57,040 --> 01:06:59,320
Speaker 1: that it exposes now and then for what it is,

1155
01:06:59,560 --> 01:07:02,400
Speaker 1: a give a key sitcom end quote. Can you imagine

1156
01:07:02,760 --> 01:07:08,120
Speaker 1: a review aging worse? They're like it's so frustrating because

1157
01:07:08,160 --> 01:07:11,680
Speaker 1: it's so clear, like what he's missing and he is

1158
01:07:11,720 --> 01:07:15,200
Speaker 1: so blissfully unaware of what can't believe he's coming. That's

1159
01:07:15,200 --> 01:07:19,720
Speaker 1: a dumb comparison. Yeah, I am not familiar with that movie.

1160
01:07:19,800 --> 01:07:23,400
Speaker 1: But you know, Roger Ebert again, safety assume everything he

1161
01:07:23,400 --> 01:07:27,800
Speaker 1: says is basically wrong, terrible take as it pertains to gender.

1162
01:07:28,000 --> 01:07:30,920
Speaker 1: He we found him to be universally correct about Jack

1163
01:07:30,960 --> 01:07:35,520
Speaker 1: frost Um that all of his takes under like it's

1164
01:07:35,520 --> 01:07:37,640
Speaker 1: not even that he has takes on gender. He just

1165
01:07:37,720 --> 01:07:40,479
Speaker 1: is blissfully unaware that movies are made for people other

1166
01:07:40,560 --> 01:07:44,960
Speaker 1: than him. Um. Anyways, but yeah, this movie was definitely

1167
01:07:45,040 --> 01:07:50,680
Speaker 1: not um recognized in its time, but it was financially successful,

1168
01:07:51,200 --> 01:07:54,560
Speaker 1: not gigantically financially successful, but it but it did you know,

1169
01:07:54,560 --> 01:07:57,720
Speaker 1: it turned a profit. I think it, you know, helped

1170
01:07:57,760 --> 01:08:02,960
Speaker 1: to continue to launch the new generation of young actresses careers.

1171
01:08:03,720 --> 01:08:07,320
Speaker 1: And I mean girls were starved for media for them

1172
01:08:07,400 --> 01:08:10,600
Speaker 1: at this time end always and still yeah, just if

1173
01:08:10,640 --> 01:08:13,920
Speaker 1: you look on Rotten Tomatoes right now, it only has

1174
01:08:13,960 --> 01:08:20,400
Speaker 1: a percent fresh but in audience score, which indicates cult classic.

1175
01:08:20,520 --> 01:08:24,320
Speaker 1: The reviewers didn't understand it. I just wanted to quickly

1176
01:08:24,680 --> 01:08:32,120
Speaker 1: shout out, rumor willis adorable as the little sister to Samantha.

1177
01:08:32,320 --> 01:08:35,000
Speaker 1: Samantha Gabby, I'll get it, you'll get it by the end.

1178
01:08:35,640 --> 01:08:41,080
Speaker 1: Like um, Brendon Fraser isn't credited. We don't know why.

1179
01:08:41,360 --> 01:08:45,840
Speaker 1: What would be his credit? Creepy hippy like it literally

1180
01:08:45,840 --> 01:08:49,360
Speaker 1: says on the Wikipedia page Brendan Fraser as Vietnam veteran

1181
01:08:49,400 --> 01:08:54,840
Speaker 1: parentheses uncredited and you're just like what there? Um. He

1182
01:08:54,920 --> 01:08:57,120
Speaker 1: informs them that although their parents are adults, they're not

1183
01:08:57,160 --> 01:08:59,160
Speaker 1: always right, and that is his narrative purpose. And we

1184
01:08:59,200 --> 01:09:02,280
Speaker 1: do not see him in in the shout out to

1185
01:09:03,640 --> 01:09:08,360
Speaker 1: the actor who played young Chrissie, unfortunately passed away in

1186
01:09:08,439 --> 01:09:12,519
Speaker 1: two thousand and seven. Um so r I p um

1187
01:09:12,880 --> 01:09:15,120
Speaker 1: she was. She was so good in this movie. She

1188
01:09:15,240 --> 01:09:18,080
Speaker 1: was such a good performance. I wish that, I guess

1189
01:09:18,120 --> 01:09:20,840
Speaker 1: I wish that there was a little more of the

1190
01:09:21,520 --> 01:09:24,760
Speaker 1: older group of women. I guess that I like the

1191
01:09:24,800 --> 01:09:27,840
Speaker 1: framing device, but as adults, it felt like a few

1192
01:09:27,880 --> 01:09:31,280
Speaker 1: things kind of fell a little short for me. More

1193
01:09:31,320 --> 01:09:34,639
Speaker 1: now less than the same amount of that would more now.

1194
01:09:34,760 --> 01:09:37,280
Speaker 1: I would have watched a little more movie to see

1195
01:09:37,320 --> 01:09:39,840
Speaker 1: a little more now, Because you're sort of like, given

1196
01:09:39,880 --> 01:09:42,280
Speaker 1: this barrage of information at the end, or in the

1197
01:09:42,320 --> 01:09:47,400
Speaker 1: case of Roberta and teeny non information. Yeah, I don't know,

1198
01:09:47,760 --> 01:09:52,639
Speaker 1: pitch okay ready for this? We get and unfortunately they'll

1199
01:09:52,720 --> 01:09:55,840
Speaker 1: have to be some slight recasting with the actor who

1200
01:09:55,840 --> 01:10:00,599
Speaker 1: played young Chrissy, but we get Thora Birch, b Hoffman

1201
01:10:00,840 --> 01:10:05,600
Speaker 1: and Christina Ricci to play the adult versions in a

1202
01:10:05,640 --> 01:10:11,559
Speaker 1: reboot this film, and then we cast a new squad

1203
01:10:11,880 --> 01:10:16,320
Speaker 1: of young child actors to play the young counterparts of

1204
01:10:16,360 --> 01:10:20,120
Speaker 1: those characters, and we update the not that there are

1205
01:10:20,160 --> 01:10:22,559
Speaker 1: a ton but some of the problematic things that are,

1206
01:10:23,000 --> 01:10:26,280
Speaker 1: and we can we can let riverta be out, Yes exactly,

1207
01:10:26,320 --> 01:10:30,559
Speaker 1: we can have more characters of color, which brings me

1208
01:10:30,680 --> 01:10:33,960
Speaker 1: to I wanted to read a quote from an essay

1209
01:10:34,080 --> 01:10:39,400
Speaker 1: by Zoe s Mudzy. I might have very badly butchered

1210
01:10:39,400 --> 01:10:43,120
Speaker 1: the pronunciation of that, but in a broadly article entitled

1211
01:10:43,560 --> 01:10:46,040
Speaker 1: what white girl Coming of age movies don't do for

1212
01:10:46,080 --> 01:10:50,560
Speaker 1: a black girl quote, These films about white female adolescents

1213
01:10:50,560 --> 01:10:54,640
Speaker 1: and teen hood revolve around particular experiences of and meditations

1214
01:10:54,720 --> 01:10:58,920
Speaker 1: on dissatisfaction and boredom, using nostalgia as their primary pool.

1215
01:10:59,200 --> 01:11:01,799
Speaker 1: And yet For me, a projections of high school misery

1216
01:11:01,920 --> 01:11:04,639
Speaker 1: and endless summers only served as a reminder that black

1217
01:11:04,680 --> 01:11:08,559
Speaker 1: girls are never afforded the kind of ordinariness that would

1218
01:11:08,560 --> 01:11:13,320
Speaker 1: make them relatable to white audiences. Um, which is kind

1219
01:11:13,360 --> 01:11:19,360
Speaker 1: of the thing with almost every coming of age movie ever. Yeah,

1220
01:11:19,479 --> 01:11:23,160
Speaker 1: so that is something that I will continue to be

1221
01:11:23,240 --> 01:11:27,599
Speaker 1: mindful of. Um. And unfortunately, it's like progress is still

1222
01:11:27,680 --> 01:11:33,400
Speaker 1: extremely slow on representing black girlhood at all, which is

1223
01:11:33,880 --> 01:11:36,519
Speaker 1: still very, very frustrating. I think that there's also something

1224
01:11:36,520 --> 01:11:40,920
Speaker 1: to be said for class as well, where definitely we're

1225
01:11:40,960 --> 01:11:43,600
Speaker 1: given a very I mean and it's not it's not

1226
01:11:43,640 --> 01:11:45,800
Speaker 1: even anything against the movie, it's just what we don't

1227
01:11:45,880 --> 01:11:49,120
Speaker 1: get in media at all, Like because we're seeing a

1228
01:11:49,240 --> 01:11:53,160
Speaker 1: solidly like middle class, maybe even a little upper middle class,

1229
01:11:53,160 --> 01:11:56,160
Speaker 1: the scenic Americana La la la. We love it. They

1230
01:11:56,280 --> 01:12:00,519
Speaker 1: have problems, but it's not the kind of problems poor

1231
01:12:00,600 --> 01:12:04,360
Speaker 1: kids have, and you don't really see you know, kids

1232
01:12:04,640 --> 01:12:08,280
Speaker 1: from lower classes ever really represented in movies like this,

1233
01:12:08,320 --> 01:12:11,040
Speaker 1: which is unfortunate because guess what they are also children?

1234
01:12:11,800 --> 01:12:17,439
Speaker 1: Um there, but yeah, I mean there there should I

1235
01:12:17,520 --> 01:12:19,920
Speaker 1: hope that we will continue to progress and get to

1236
01:12:19,920 --> 01:12:24,120
Speaker 1: see more reflections of black girlhood, of of girlhood from

1237
01:12:24,160 --> 01:12:27,719
Speaker 1: different you know, from all walks of life of none

1238
01:12:27,760 --> 01:12:31,439
Speaker 1: of like a gender discovery and like exploring your gender

1239
01:12:31,479 --> 01:12:33,439
Speaker 1: and learning about your gender as your kid. There's there's

1240
01:12:33,479 --> 01:12:36,960
Speaker 1: a lot of work to be done. Definitely. Yeah. Does

1241
01:12:37,000 --> 01:12:40,960
Speaker 1: anyone have any other thoughts about the movie? I thought

1242
01:12:41,000 --> 01:12:43,600
Speaker 1: it was interesting that and maybe either of you have

1243
01:12:43,680 --> 01:12:46,439
Speaker 1: experiences where you have a you know, a circle of

1244
01:12:46,479 --> 01:12:49,200
Speaker 1: friends when you're younger, and then a few stay back.

1245
01:12:53,160 --> 01:12:56,560
Speaker 1: And that's very I think eccentric situation there where it

1246
01:12:56,600 --> 01:12:59,000
Speaker 1: was like two of them were like we got out

1247
01:12:59,000 --> 01:13:00,680
Speaker 1: of here, and then the other to her like, we

1248
01:13:00,760 --> 01:13:04,200
Speaker 1: love it here. Was very funny. I really liked that,

1249
01:13:04,320 --> 01:13:07,320
Speaker 1: especially because it seems like even though this wasn't quite

1250
01:13:07,400 --> 01:13:10,439
Speaker 1: their relationship when they were like Roberta and Chrissie become

1251
01:13:10,560 --> 01:13:14,720
Speaker 1: very codependent as adults like they see, which definitely is

1252
01:13:14,720 --> 01:13:18,200
Speaker 1: something that happens. I liked how they were written as adults,

1253
01:13:18,200 --> 01:13:20,840
Speaker 1: where like you kind of get the vibe from Samantha like, oh,

1254
01:13:20,880 --> 01:13:22,880
Speaker 1: it's so weird here, I'm so glad I don't live here,

1255
01:13:23,120 --> 01:13:24,800
Speaker 1: and then you get the vibe from Chrissie of like

1256
01:13:25,160 --> 01:13:28,640
Speaker 1: she's so weird like everyone like everyone is like I

1257
01:13:28,720 --> 01:13:30,720
Speaker 1: am normal, everyone else is a freak, which is how

1258
01:13:30,720 --> 01:13:33,519
Speaker 1: everyone feels right. And it was nice to see everyone

1259
01:13:33,800 --> 01:13:36,519
Speaker 1: get their moment in of like when Chrissy is just

1260
01:13:36,560 --> 01:13:39,120
Speaker 1: like what are you wearing? What are you doing? What

1261
01:13:39,320 --> 01:13:43,760
Speaker 1: is like yeah, yeah, I like it's lovely. I like.

1262
01:13:43,800 --> 01:13:46,840
Speaker 1: I also liked how just like. A line I liked

1263
01:13:47,080 --> 01:13:51,160
Speaker 1: was how they described Teeny's parents. They basically are, you know,

1264
01:13:51,240 --> 01:13:53,880
Speaker 1: explaining what Teeny's deal is. She's hyper feminine, she wants

1265
01:13:53,880 --> 01:13:55,240
Speaker 1: to be an actor, she wants to be a performer,

1266
01:13:55,600 --> 01:13:58,559
Speaker 1: and Samantha says this is a typical upbringing for actors

1267
01:13:58,600 --> 01:14:03,320
Speaker 1: and pathological liars, like oh ship, yeah, Teeny, who, by

1268
01:14:03,360 --> 01:14:06,479
Speaker 1: the way, has a very fluffy white cat, and I

1269
01:14:06,640 --> 01:14:10,000
Speaker 1: just this to serve as a reminder that cats do

1270
01:14:10,120 --> 01:14:12,960
Speaker 1: have eight nipples and that's cat facts. With Caitlin Alfred

1271
01:14:12,960 --> 01:14:17,400
Speaker 1: Bilena could have tell me he should I won't take

1272
01:14:17,439 --> 01:14:20,840
Speaker 1: this role from Brendan Fraser because he needs it. He

1273
01:14:20,920 --> 01:14:23,840
Speaker 1: needed he needs it because he always needs it. But like,

1274
01:14:24,400 --> 01:14:27,760
Speaker 1: it's also weirdly a very Brendan Fraser role where you're

1275
01:14:27,760 --> 01:14:30,400
Speaker 1: just like, yeah, Brendan Fraser could just wander in here,

1276
01:14:30,600 --> 01:14:33,800
Speaker 1: like that's his vibe. But he could just wander in. Um.

1277
01:14:34,439 --> 01:14:37,280
Speaker 1: He rolled on set and was ready. I'm like, was

1278
01:14:37,320 --> 01:14:40,400
Speaker 1: this scripted? Like did he just come on and improvise?

1279
01:14:40,479 --> 01:14:42,080
Speaker 1: And it's like, don't credit me. I don't want to

1280
01:14:42,080 --> 01:14:44,320
Speaker 1: be paid for this, like like through the script away,

1281
01:14:44,560 --> 01:14:48,559
Speaker 1: like I don't need it. Love Brendan Fraser. Maybe maybe

1282
01:14:48,560 --> 01:14:51,320
Speaker 1: Alfred Bilenda could have been Pete. I think he should

1283
01:14:51,320 --> 01:14:54,559
Speaker 1: have played the He could have played Pete with a

1284
01:14:54,560 --> 01:14:56,599
Speaker 1: lot more pathos. I think that Alpha Blena would have

1285
01:14:56,640 --> 01:14:59,040
Speaker 1: really been like if you if you need an actor

1286
01:14:59,080 --> 01:15:01,799
Speaker 1: who could convince us that Pete didn't kill his family,

1287
01:15:02,320 --> 01:15:05,760
Speaker 1: you gotta break see. I think from Elina should have

1288
01:15:05,760 --> 01:15:10,960
Speaker 1: played the youngest warmer boy. They does have a forty

1289
01:15:11,040 --> 01:15:16,960
Speaker 1: year old man in their crew, like like pen fifteen style.

1290
01:15:17,479 --> 01:15:20,479
Speaker 1: He just plays Devin saw as best friend. I love it.

1291
01:15:21,800 --> 01:15:24,680
Speaker 1: Girls can't play song fall. You're like, is that Alfred?

1292
01:15:26,479 --> 01:15:34,080
Speaker 1: Oh my head? Okay, Well this movie is this movie

1293
01:15:34,240 --> 01:15:36,120
Speaker 1: is a treat. It really is, and it and it

1294
01:15:36,400 --> 01:15:40,520
Speaker 1: for it's doing a whole lot of things right. Indeed,

1295
01:15:40,640 --> 01:15:43,639
Speaker 1: indeed it is um and as we hinted at before,

1296
01:15:43,920 --> 01:15:48,679
Speaker 1: it absolutely passes the Bechdel test almost constantly. I don't

1297
01:15:48,720 --> 01:15:52,840
Speaker 1: think you ever see two men or two boys talking

1298
01:15:52,880 --> 01:15:55,040
Speaker 1: to each other really, or if they do, it's only

1299
01:15:55,040 --> 01:15:58,200
Speaker 1: for a very small amount of time on screen. But

1300
01:15:58,280 --> 01:16:01,840
Speaker 1: it is mostly girls and women interacting with each other,

1301
01:16:02,320 --> 01:16:06,280
Speaker 1: so not something you see very much. But now and

1302
01:16:06,320 --> 01:16:10,200
Speaker 1: then delivers it was fun. I think. I just like

1303
01:16:10,439 --> 01:16:13,439
Speaker 1: sometimes I'm just like, you know what coming of age,

1304
01:16:13,680 --> 01:16:16,360
Speaker 1: I did it. I don't need to see it again.

1305
01:16:16,880 --> 01:16:19,400
Speaker 1: I understand. I'm glad it exists, and I'm especially glad

1306
01:16:19,439 --> 01:16:23,559
Speaker 1: that it existed, and it's time for for like, just

1307
01:16:23,640 --> 01:16:26,240
Speaker 1: like girls getting to see themselves on screen in any way,

1308
01:16:26,280 --> 01:16:29,360
Speaker 1: shape or form is positive. Although it did make Calie

1309
01:16:29,400 --> 01:16:32,000
Speaker 1: a smoker, but but she looked really cool. I mean

1310
01:16:32,840 --> 01:16:36,640
Speaker 1: it's like she's smoking with the windows up, okay, and

1311
01:16:36,680 --> 01:16:40,240
Speaker 1: then there's like points to like a map, and there's

1312
01:16:40,240 --> 01:16:43,040
Speaker 1: a carton of Marlboro's. I'm just like, I know, the

1313
01:16:43,160 --> 01:16:48,040
Speaker 1: constantly smoking like ashtray has like forty butts, and she's like,

1314
01:16:48,120 --> 01:16:51,040
Speaker 1: I chose a bad week to stop smoking, and but

1315
01:16:51,120 --> 01:16:54,679
Speaker 1: she and she is like the cool one of smoking

1316
01:16:54,760 --> 01:16:58,800
Speaker 1: in the backyard with their pregnant friend and just like

1317
01:16:59,520 --> 01:17:03,240
Speaker 1: and she's baby there. I also just this is like

1318
01:17:03,240 --> 01:17:05,640
Speaker 1: a very like side thought. But when they were in

1319
01:17:05,640 --> 01:17:09,200
Speaker 1: the limo driving to also, it's like, could you reunite

1320
01:17:09,240 --> 01:17:11,960
Speaker 1: these women over a more stereotypical woman thing other than

1321
01:17:12,040 --> 01:17:14,640
Speaker 1: like she's about to give birth that's true, which was

1322
01:17:14,680 --> 01:17:16,840
Speaker 1: something that I was like, ding, But this movie does

1323
01:17:16,880 --> 01:17:18,559
Speaker 1: so much right that I gave it a pass. But

1324
01:17:18,600 --> 01:17:23,639
Speaker 1: when they're in the stolen limo going to somewhere, I'm

1325
01:17:23,680 --> 01:17:25,559
Speaker 1: not totally sure where they are in that birth. Maybe

1326
01:17:25,600 --> 01:17:31,519
Speaker 1: it was like a midwifery something like that. There's an

1327
01:17:31,560 --> 01:17:35,519
Speaker 1: ivy so they're not just like anywhere, and Rosie Donald's

1328
01:17:35,520 --> 01:17:37,880
Speaker 1: wearing scrubs, so I'm like, but I'm like where, Yeah,

1329
01:17:37,920 --> 01:17:41,080
Speaker 1: maybe it's against a very comfortable hospital. Maybe she owns

1330
01:17:41,240 --> 01:17:45,760
Speaker 1: the hospital, maybe it's her own hospital. It's a small town.

1331
01:17:45,840 --> 01:17:48,960
Speaker 1: You never know, but but I liked just that. I

1332
01:17:49,000 --> 01:17:51,880
Speaker 1: thought the scene of them in the limo is really funny,

1333
01:17:51,920 --> 01:17:54,640
Speaker 1: where first it seems like a Donald like sort of

1334
01:17:54,640 --> 01:17:56,880
Speaker 1: improvised part where she's like, hey, look it's your uncle

1335
01:17:57,000 --> 01:17:59,160
Speaker 1: just kidding. No it's not. I was like, what was that?

1336
01:17:59,520 --> 01:18:01,960
Speaker 1: It was just like really, and Rita Wilson is She's

1337
01:18:02,000 --> 01:18:05,479
Speaker 1: like great, VCR Look, she's so funn I know. I

1338
01:18:05,560 --> 01:18:06,920
Speaker 1: was just like, what are they? Are they going to

1339
01:18:07,000 --> 01:18:11,160
Speaker 1: watch something? And then r in a limo too. I

1340
01:18:11,200 --> 01:18:13,720
Speaker 1: wouldn't be surprised if Rita Wilson and Ressie Odonnald are

1341
01:18:13,760 --> 01:18:16,080
Speaker 1: just like friends, because it seems like they were sometimes

1342
01:18:16,080 --> 01:18:18,200
Speaker 1: talking about stuff that had nothing to do with anything.

1343
01:18:18,360 --> 01:18:20,639
Speaker 1: She's like, it's a VCR and she's like is there

1344
01:18:20,640 --> 01:18:24,360
Speaker 1: a remote? They're just like, what are you guys talking about?

1345
01:18:25,320 --> 01:18:27,680
Speaker 1: It was a great passing of the Bechdel test. I

1346
01:18:27,720 --> 01:18:32,679
Speaker 1: think it was while she's in labor to um giving

1347
01:18:32,720 --> 01:18:37,920
Speaker 1: birth to a bloody placenta baby and there is like

1348
01:18:38,080 --> 01:18:42,080
Speaker 1: four people in that delivery room and no husband. Yeah,

1349
01:18:43,240 --> 01:18:45,400
Speaker 1: we don't need it. Well that was maybe that was

1350
01:18:45,439 --> 01:18:46,640
Speaker 1: my other thing. It was like it didn't look like

1351
01:18:46,640 --> 01:18:49,000
Speaker 1: a hospital room, and it's very rare that there's just

1352
01:18:49,120 --> 01:18:53,160
Speaker 1: one person attending a birth. It's usually like two or

1353
01:18:53,240 --> 01:18:59,240
Speaker 1: three as far as professionals, not just like friends. Piece.

1354
01:19:00,040 --> 01:19:03,400
Speaker 1: You got this Rosie right like like usually it's you know,

1355
01:19:03,640 --> 01:19:06,360
Speaker 1: like there's a few people. She's just that good. She

1356
01:19:06,800 --> 01:19:09,240
Speaker 1: doesn't need anybody else. Like maybe there's right out of budget.

1357
01:19:09,240 --> 01:19:10,720
Speaker 1: At the end, they're like, just reuse the house set.

1358
01:19:10,800 --> 01:19:15,640
Speaker 1: No one will know we only have one set of scrubs.

1359
01:19:16,720 --> 01:19:19,479
Speaker 1: Shall we rate the movie on a nipple scale? Sure? Okay,

1360
01:19:19,520 --> 01:19:22,360
Speaker 1: so zero to five nipples. Based on its representation of women,

1361
01:19:23,040 --> 01:19:27,960
Speaker 1: I will give this a solid four. Yeah, I have

1362
01:19:28,040 --> 01:19:31,559
Speaker 1: to deduct some nippleage based on the fact that it

1363
01:19:31,640 --> 01:19:36,240
Speaker 1: makes absolutely no attempt whatsoever to meaningfully include any people

1364
01:19:36,240 --> 01:19:41,080
Speaker 1: of color. It did make an attempt to meaningfully include queerness,

1365
01:19:41,240 --> 01:19:46,600
Speaker 1: but because of homophobia in the nineties, audiences are like boo,

1366
01:19:47,280 --> 01:19:50,799
Speaker 1: so that had to be removed from the story and

1367
01:19:51,200 --> 01:19:55,040
Speaker 1: the narrative. Making the choice to characterize Christie in such

1368
01:19:55,040 --> 01:19:58,519
Speaker 1: a way that it is often fat shaming her um

1369
01:19:58,760 --> 01:20:02,439
Speaker 1: is not thing we like to see. But overall, I

1370
01:20:02,479 --> 01:20:07,439
Speaker 1: think it does a pretty spectacular job, especially for in

1371
01:20:08,160 --> 01:20:13,479
Speaker 1: showing a coming of age story of tween girls and

1372
01:20:13,800 --> 01:20:17,880
Speaker 1: their lives and the issues that they would face. It's

1373
01:20:17,920 --> 01:20:22,040
Speaker 1: so relatable, so much realism in the way they're characterized

1374
01:20:22,280 --> 01:20:25,519
Speaker 1: and uh their friendships. I love that you never see

1375
01:20:25,920 --> 01:20:30,439
Speaker 1: like they have conflict within their groups sometimes but it's

1376
01:20:30,479 --> 01:20:34,040
Speaker 1: never about anything like petty or anything like that. The

1377
01:20:34,040 --> 01:20:37,000
Speaker 1: way that we see like girls hating each other for

1378
01:20:37,040 --> 01:20:39,800
Speaker 1: no reason, and it feels realistic for the age to

1379
01:20:40,000 --> 01:20:42,679
Speaker 1: the reasons they have problems with each other seeing both

1380
01:20:42,760 --> 01:20:45,679
Speaker 1: realistic and age appropriate exactly. Yes, that's what I'm trying

1381
01:20:45,720 --> 01:20:50,080
Speaker 1: to say. Yeah, it's just a really wonderful female driven

1382
01:20:50,160 --> 01:20:53,360
Speaker 1: story that you know, has some issues that have been

1383
01:20:53,439 --> 01:20:57,200
Speaker 1: kind of I think course corrected in comparable coming of

1384
01:20:57,240 --> 01:21:00,960
Speaker 1: age stories since I came out even and sister to

1385
01:21:01,000 --> 01:21:03,040
Speaker 1: the Traveling Pants. I feel like, of course corrects a

1386
01:21:03,040 --> 01:21:05,800
Speaker 1: few things that happen here that don't happen in there.

1387
01:21:05,800 --> 01:21:10,080
Speaker 1: And that's like ten years later, right, so incremental progress exactly. Um,

1388
01:21:10,120 --> 01:21:12,759
Speaker 1: but yeah, four nipples and I'll just make it easy,

1389
01:21:12,840 --> 01:21:15,880
Speaker 1: give one to each of the four characters. I'm gonna

1390
01:21:15,880 --> 01:21:18,400
Speaker 1: go four nipples to Um. Yeah. I think that it's

1391
01:21:18,600 --> 01:21:21,200
Speaker 1: just for all the reasons you just described, and think

1392
01:21:21,240 --> 01:21:24,000
Speaker 1: it's like a really not just like a movie that

1393
01:21:24,160 --> 01:21:27,280
Speaker 1: made progress, but move a movie you can trace being

1394
01:21:27,400 --> 01:21:30,959
Speaker 1: used as a template in future movies and being updated

1395
01:21:31,000 --> 01:21:34,959
Speaker 1: for times as things become less societally taboo. I appreciate

1396
01:21:35,000 --> 01:21:38,360
Speaker 1: that I'm Marly and King wanted to include a queer

1397
01:21:38,400 --> 01:21:42,080
Speaker 1: storyline here. She does that, and Pretty Little Liars because

1398
01:21:42,240 --> 01:21:45,679
Speaker 1: every relationship of regardless of gender, and Pretty Little Liars

1399
01:21:45,720 --> 01:21:49,519
Speaker 1: deeply toxic. Yes, but there a all there's all sort

1400
01:21:49,520 --> 01:21:53,679
Speaker 1: of every kind of toxic relationships explored on that show. Um. Yeah,

1401
01:21:53,720 --> 01:21:56,280
Speaker 1: I think that it's like a huge step. I'm glad

1402
01:21:56,280 --> 01:21:59,400
Speaker 1: that it's sort of stood the test of time. And uh,

1403
01:21:59,439 --> 01:22:03,519
Speaker 1: you know, man, male critics very often don't get it. Um,

1404
01:22:03,520 --> 01:22:06,320
Speaker 1: it's really nice seeing I mean it's it's a very

1405
01:22:06,360 --> 01:22:11,320
Speaker 1: like solid middle class white girlhood that's reflected. Um. But

1406
01:22:11,520 --> 01:22:15,400
Speaker 1: unfortunately that tends to be where, um, at least right now,

1407
01:22:15,479 --> 01:22:18,639
Speaker 1: where people start with, like it always the first thing

1408
01:22:18,680 --> 01:22:22,400
Speaker 1: that they're comfortable even seeing reflected. So it's you know,

1409
01:22:22,520 --> 01:22:24,960
Speaker 1: progress need will continue to be built upon the work

1410
01:22:25,000 --> 01:22:27,519
Speaker 1: that this movie did and so and it's just it's

1411
01:22:27,560 --> 01:22:29,720
Speaker 1: it's I really I really liked it. I like that

1412
01:22:29,760 --> 01:22:34,320
Speaker 1: scene in the limo a lot. Uh. Four nippies, um,

1413
01:22:34,360 --> 01:22:36,160
Speaker 1: and I'm gonna give one to each two now they

1414
01:22:36,160 --> 01:22:38,439
Speaker 1: both got a full set, all four of them. Kelly,

1415
01:22:38,720 --> 01:22:41,439
Speaker 1: I agree, four nipples for all the reasons that you

1416
01:22:41,439 --> 01:22:44,840
Speaker 1: guys listed. I really hate that there's no people of

1417
01:22:44,880 --> 01:22:50,720
Speaker 1: color basically except for them stealing that gentleman's car. Why

1418
01:22:50,720 --> 01:22:53,439
Speaker 1: couldn't he they have just let him drive his own limo?

1419
01:22:53,479 --> 01:22:59,160
Speaker 1: Did he offer he's there, it's his car, he knows

1420
01:22:59,439 --> 01:23:02,800
Speaker 1: the ins and yeah, that was very frustrating. But I

1421
01:23:03,439 --> 01:23:07,320
Speaker 1: want to give a nipple to Johnny's mom because like,

1422
01:23:07,479 --> 01:23:12,400
Speaker 1: where the fund is she Johnny? What don't they care

1423
01:23:12,439 --> 01:23:16,599
Speaker 1: about her murder? Nobody cares about her, but Honorable mentioned

1424
01:23:16,640 --> 01:23:20,479
Speaker 1: nipple to her. But for for all the ladies, each one, Yes,

1425
01:23:20,640 --> 01:23:23,880
Speaker 1: she deserves. She deserves nipples at very least after her

1426
01:23:23,920 --> 01:23:26,439
Speaker 1: husband killed her like that, Yeah, and then went out

1427
01:23:26,479 --> 01:23:29,599
Speaker 1: drinking all night with a dick. The reboot also has

1428
01:23:29,640 --> 01:23:33,880
Speaker 1: to address like what actually happens goes to real and

1429
01:23:33,920 --> 01:23:37,200
Speaker 1: the reboot to no, no tractor, no, none of that

1430
01:23:37,640 --> 01:23:42,799
Speaker 1: big That's another thing I'm really in king of course,

1431
01:23:42,800 --> 01:23:45,560
Speaker 1: correct Son. She's like, you know what, I was hesitant

1432
01:23:45,600 --> 01:23:48,720
Speaker 1: on the Supernatural and now and then I've really got

1433
01:23:48,720 --> 01:23:51,680
Speaker 1: to let it loose. Spirits are I guess I got

1434
01:23:51,800 --> 01:23:54,800
Speaker 1: to watch Pretty Little Liars. I would be fascinated to

1435
01:23:55,040 --> 01:23:58,200
Speaker 1: you you will hate it, but I would be fascinated

1436
01:23:58,280 --> 01:24:04,000
Speaker 1: to live tweet. I'll watched the pilot Liveshoot the Teacher.

1437
01:24:04,160 --> 01:24:08,839
Speaker 1: It's illegal and it is the first episode. I always

1438
01:24:09,000 --> 01:24:14,160
Speaker 1: confuse that show and Big Little Lies. So no, Pretty

1439
01:24:14,160 --> 01:24:17,599
Speaker 1: Little Liars is like a CW style. It was ABC

1440
01:24:17,720 --> 01:24:20,320
Speaker 1: Family I think technically or free form whatever they're calling

1441
01:24:20,320 --> 01:24:24,160
Speaker 1: it's it's like it's it's a teen teen like it's

1442
01:24:24,200 --> 01:24:28,719
Speaker 1: like toxic teenage content. The channel. I love it, the channel.

1443
01:24:28,880 --> 01:24:32,240
Speaker 1: The Channel. Yeah, I'm incredible. Well, Callie, thank you so

1444
01:24:32,320 --> 01:24:35,200
Speaker 1: much for being here. You're ruining us. Where can people

1445
01:24:35,320 --> 01:24:40,120
Speaker 1: follow your work? Follow you online? I have my photography Instagram,

1446
01:24:40,160 --> 01:24:45,000
Speaker 1: which is at Callie b Photo, and I have a

1447
01:24:45,080 --> 01:24:51,360
Speaker 1: circus archive Instagram that's just a collection of my grandpa's

1448
01:24:51,479 --> 01:24:55,120
Speaker 1: photos and my mom's photos and my own photos, and

1449
01:24:55,560 --> 01:24:57,920
Speaker 1: you could read more about it on there, but it's

1450
01:24:58,000 --> 01:25:02,920
Speaker 1: at Circus dot stories when it's really cool. Yeah, it's

1451
01:25:02,960 --> 01:25:06,479
Speaker 1: just a bunch of old film circus photos and then

1452
01:25:06,520 --> 01:25:10,519
Speaker 1: they get newer as we age, me and then my mom.

1453
01:25:10,800 --> 01:25:15,400
Speaker 1: Now it's like it is like now and then time.

1454
01:25:19,840 --> 01:25:26,160
Speaker 1: It's a circus, the circus of life. Okay, thank you

1455
01:25:26,240 --> 01:25:29,320
Speaker 1: again so much for joining us. You can follow us

1456
01:25:29,960 --> 01:25:33,679
Speaker 1: at bectel cast. On the social media places. You can

1457
01:25:33,880 --> 01:25:37,760
Speaker 1: subscribe to our patreon a k R Matreon. It's five

1458
01:25:37,800 --> 01:25:40,520
Speaker 1: dollars a month and it gets you to bonus episodes

1459
01:25:40,600 --> 01:25:44,599
Speaker 1: every month, plus our entire backlog of bonus episodes. So

1460
01:25:44,800 --> 01:25:48,360
Speaker 1: now it's the best time to check out our Patreon.

1461
01:25:49,560 --> 01:25:55,519
Speaker 1: I love you guys now and when this is then

1462
01:25:56,160 --> 01:25:59,200
Speaker 1: to my five years from now, we come back getting

1463
01:25:59,200 --> 01:26:01,439
Speaker 1: the limel. No one has to give birth, but one

1464
01:26:01,479 --> 01:26:04,400
Speaker 1: of us does have to pretend. Okay, that's the Volunteers

1465
01:26:04,439 --> 01:26:08,639
Speaker 1: Tribute treehouse. Yes, oh yes, we all have to get

1466
01:26:08,640 --> 01:26:13,040
Speaker 1: a treehouse. That treehouse was gigantic. Yeah, well time shirt

1467
01:26:13,200 --> 01:26:19,360
Speaker 1: okay perfect. We love you gues By