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Speaker 1: On the Bechdelcast. The questions asked if movies have women

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

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Speaker 1: or do they have individualism? The patriarchy, zeph and best

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Speaker 1: start changing with the Bechdel Cast.

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Speaker 2: WU we woo. Another plug for our upcoming Midwest tour.

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Speaker 3: It's gonna be a great one, guys. For the first time,

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Speaker 3: we are touring with the Bechdel Cast throughout the Midwest

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Speaker 3: in the following four locations at the end of the

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Speaker 3: summer and your summa with us. First in Indianapolis, Indiana.

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Speaker 3: Ever heard of it? I have? I have two. That's

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Speaker 3: where they raced the Weirdermobiles a couple of months ago.

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Speaker 3: It's also where Let's Fest is going to be happening

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Speaker 3: the last weekend of August, and we will be performing

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Speaker 3: on August thirtieth at two pm. And that is going

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Speaker 3: to be at the Fountain Square Theater as a part

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Speaker 3: of Let's Fest. I'll also be doing a solo show

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Speaker 3: also at the Fountain Square Theater. So come all day,

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Speaker 3: come all weekend. It's going to be It's a great lineup.

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Speaker 3: Some past guests of the show will be there. It'll

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Speaker 3: be a blast.

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Speaker 2: Our next show is in Chicago. Oh, is that where

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Speaker 2: today's movie takes place.

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Speaker 3: It's all tied together. Our web connects them all.

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Speaker 2: Our web indeed connects them all. So the following day,

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Speaker 2: on August thirty first, our show is in Chicago at

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Speaker 2: the Den Theater.

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Speaker 3: We're so stoked. Chicago heads in particular, you guys have

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Speaker 3: been asking for this four years and we are finally

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Speaker 3: doing it. From there, we are going to be headed

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Speaker 3: to Madison, Wisconsin at the Burrough Theater a couple days later,

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Speaker 3: on Thursday, September fourth.

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Speaker 2: We're also so stoked for that show. I've never been

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Speaker 2: to Madison. I've never been to Wisconsin.

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Speaker 3: Decided Wisconsin rocks.

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Speaker 2: I have also never been to Minneapolis, which is where

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Speaker 2: our final show of the tour is on September seventh.

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Speaker 2: It's at Dudley Riggs Theater and we are going to

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Speaker 2: have a blast. We are still deciding on what movies

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Speaker 2: to cover, but we will announce that very soon.

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Speaker 3: Sound off in the comments if you have particular Midwestern

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Speaker 3: you know classics that you would like to see covered.

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Speaker 3: No John Hughes this time, chill out.

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Speaker 2: Yeah, we've done enough.

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Speaker 3: We've suffered long enough. But We are very, very excited

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Speaker 3: to keep your eyes peeled for our movie announcements, but

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Speaker 3: in the meantime, get your tickets because our live shows

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Speaker 3: are always a blast. We're so excited to bring them

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Speaker 3: to the Midwest. Not only do we do our classic discussion,

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Speaker 3: we do bits, we do audience involvement, we have exclusive

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Speaker 3: tour merch, we do meet and greets afterwards. They're always really,

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Speaker 3: really fun and we hope to see you there.

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Speaker 2: Grab your tickets at link tree slash Bechdel Cast. We'll

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Speaker 2: also stick the link in the description of this episode.

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Speaker 2: Tickets will likely sell out for all of these shows.

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Speaker 2: Not to brag, but people love us.

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Speaker 3: But we really have never toured here before. So you

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Speaker 3: got it. So if you're if you're on the fence,

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Speaker 3: just just get it done now and we'll see it

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Speaker 3: at the shows.

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Speaker 2: See there, cast, Jamie, don't fuck with the Babuchdel Cast.

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Speaker 2: I almost said babysitter, and then it turned into the

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Speaker 2: name of our show.

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Speaker 3: Ooh me, I'm just a guy from the city. I'm scary.

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Speaker 2: You're so scary.

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Speaker 3: I'm what a kid thinks of when they think of

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Speaker 3: a scary guy. Yeah, welcome to the Babytail Cast.

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Speaker 2: That's I think what I was trying to say, and

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Speaker 2: then I just couldn't.

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Speaker 3: Don't mess with the Bechdel sitter.

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Speaker 2: Okay, there it is, that's it. Anyway, we figured it out.

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Speaker 3: We're you know, that's the beauty of podcasting. You don't

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Speaker 3: really need to know what you're saying when you open

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Speaker 3: your mouth.

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Speaker 2: Yeah, that's ninety nine percent of podcasting.

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Speaker 3: I would say, yeah, yeah, I think we actually think

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Speaker 3: harder than ninety nine percent of podcasters. And that's not

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Speaker 3: saying very much.

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Speaker 2: No, the bar is low. Yeah, So welcome to the

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Speaker 2: bechel Cast listeners. My name is Caitlin Durante.

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Speaker 3: My name is Jamie Loftus, and this is our show

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Speaker 3: where we take a look at your favorite movies using

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Speaker 3: an intersectional feminist lens, using the Bechdel Test as a

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Speaker 3: jumping off point for discussion. But Caitlin, the hell is

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Speaker 3: the Bechdel Test?

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Speaker 2: Well, it originated in our best friend Alison Bechdel's comic

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Speaker 2: Dix to Watch Out For.

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Speaker 3: I love that we can adjust the show to reflect

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Speaker 3: that we have spent exactly forty five seconds with the

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Speaker 3: real life Alison Bechdel.

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Speaker 2: I would say, it's more like forty five minutes plus

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Speaker 2: a different encounter.

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Speaker 3: I mean, I guess I meant physically physically physically forty

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Speaker 3: five seconds, okay to the till.

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Speaker 2: Yes, forty five minutes and forty five seconds when you

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Speaker 2: combine our recording with her and are in person meet

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Speaker 2: and greet. Anyway, we are best friends. The Bechdel tests,

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Speaker 2: there are many versions of it. The one that we

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Speaker 2: use requires that two people of a marginalized gender have names,

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Speaker 2: they speak to each other, and their conversation is about

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Speaker 2: something other than a man. And ideally we like it

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Speaker 2: when it's substantial dialogue and not just a throwaway oh hey.

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Speaker 3: Girl or whatever, unless that is very meaningful, and it depends.

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Speaker 2: It could be, it could be.

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Speaker 3: Your mileage may vary. Yeah, but yes, that is the show.

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Speaker 3: And today we are covering a request that has been

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Speaker 3: around for really as long as our show has. It's

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Speaker 3: I want to say it's it's it's a classic for many.

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Speaker 3: We're covering Adventures in Babysitting. Chris columb Is first movie Yeah,

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Speaker 3: from nineteen eighty seven.

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Speaker 2: And our guest today. She's the first drag queen elected

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Speaker 2: to a public office. She has been serving on the

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Speaker 2: Silver Lake neighborhood council since twenty nineteen. She works professionally

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Speaker 2: as the operations manager for cila neighborhood homeless coalition, and

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Speaker 2: she just announced a run for California State Senate in

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Speaker 2: District twenty six. It's maybe a girl.

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Speaker 4: Hello, Hello, Hey, everybody, super excited to be here.

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Speaker 2: Thank you for coming.

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Speaker 3: Such a pleasure to have you. Maybe before we get

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Speaker 3: into the movie, yes, tell us a little bit more

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Speaker 3: about your campaign and let the listeners know what you're

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Speaker 3: all about.

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Speaker 5: Yeah.

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Speaker 4: So, I've been involved in local politics since about twenty nineteen.

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Speaker 4: That's when I was elected to the Silver Lake Neighborhood

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Speaker 4: Council and I actually just recently got re elected for

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Speaker 4: my fourth and final term. We actually we have term limits,

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Speaker 4: which is remarkable that we have term limits on the

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Speaker 4: micro governmental level.

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Speaker 3: I didn't realize that until you got elected to a

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Speaker 3: fourth term.

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Speaker 4: Yeah, yep, so this will be my final two years

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Speaker 4: in the neighborhood council. It's been a really awesome experience.

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Speaker 4: You know, a lot of local organizing and getting your

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Speaker 4: neighbors to get together and care about the community. You know,

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Speaker 4: we also influence legislation at the city level through community

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Speaker 4: impact statements. We do neighborhood purpose grants. It's been a

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Speaker 4: really awesome experience. I definitely have my complaints as well.

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Speaker 4: You know, when it comes down to it, we're supposed

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Speaker 4: to act as advisory boards to city Council, and whether

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Speaker 4: or not city Council actually takes our advice very much

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Speaker 4: up for debates. So we are an advisory body, We're

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Speaker 4: not a legislative body. And having been involved at this

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Speaker 4: level for over six years now, I am ready to

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Speaker 4: move on to something bigger and larger. So by the

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Speaker 4: time anybody is listening to this, I will have announced

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Speaker 4: a run for California State Senate District twenty six in

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Speaker 4: twenty twenty six, and basically that covers the Hollywood area,

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Speaker 4: Silver Lake, Echo Park, parts of downtown ky Town, Eagle Rock,

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Speaker 4: Highland Park, and I'm very excited to get back on

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Speaker 4: the campaign trail. Many of you might know I ran

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Speaker 4: for Congress. I ran for US Congress. We came pretty close.

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Speaker 4: In twenty twenty two. I came in second place out

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Speaker 4: of nine candidates advanced to the general election. It was

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Speaker 4: the first time that an openly trans, non binary person

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Speaker 4: has ever advanced to a general election for a seat

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Speaker 4: in US Congress, and this time we're ready to make

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Speaker 4: it happen. I think it couldn't be any more necessary

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Speaker 4: than the politically tumultuous time that we're going through right

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Speaker 4: now to have progressive representation truly.

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Speaker 3: And as a maybe head, I would like to add,

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Speaker 3: I just I have I admired you from afar and

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Speaker 3: then as a friend over the years, as I've been

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Speaker 3: lucky to both campaign for you and then also work

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Speaker 3: with you hands on at Celia, I mean maybe works

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Speaker 3: day in and day out with our neighborhood's unhoused population

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Speaker 3: and in a way that I have never seen anyone

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Speaker 3: running for office do in earnest actually get to know

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Speaker 3: the most disenfranchised people in their districts and try to

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Speaker 3: understand more meaningfully, like what are the issues they're experiencing

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Speaker 3: and what can we do to help and how are

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Speaker 3: they being failed at every level, whether that's community, city, state,

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Speaker 3: and federal. So I just we love you. I just

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Speaker 3: am so happy you're here.

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Speaker 5: Thank you, Jamie. It really means a lot to me,

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Speaker 5: thank you.

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Speaker 3: Of course. And then there's the feature film Adventures and Babies,

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Speaker 3: which I was actually really surprise is it how much

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Speaker 3: overlap there is in this conversation.

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Speaker 2: Weirdly enough, Yeah, for sure. So maybe what is your

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Speaker 2: relationship with this movie?

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Speaker 4: So I will say this is it's one of my

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Speaker 4: favorite movies of all time. It's probably I've probably seen

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Speaker 4: this movie more than any other movie I've seen. It's

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Speaker 4: at least in the top five in terms of the

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Speaker 4: number of times that I've seen it. I can pretty

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Speaker 4: much watch the whole thing and just I could lip

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Speaker 4: sync the movie. Actually, maybe I should do that.

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Speaker 2: I'm a drag quin Woa lipstick for your life.

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Speaker 5: Yeah, so I think I don't know.

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Speaker 4: I just I loved it as a kid, and I

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Speaker 4: still watch it probably at least once a year. For me,

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Speaker 4: it's like a comfort movie, you know. We talked earlier

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Speaker 4: before we started recording. I'm originally from Pittsburgh, Pennsylvania, but

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Speaker 4: my family moved to Chicago when I was nine. That's

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Speaker 4: where I grew up sort of came of age, if

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Speaker 4: you will. So having been in La now for over

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Speaker 4: twelve years, I think it's also very ste for me,

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Speaker 4: like nostalgic childhood wise, but also for Chicago.

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Speaker 3: Yeah. Wow, I didn't know that you spent time as

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Speaker 3: a kid in Chicago. Mm hmm. It seems like such

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Speaker 3: a cool I don't know. It's so wild that like

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Speaker 3: the Midwest and Chicago specifically the Greater Chicago area is

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Speaker 3: the basis for so many seminal movies because of movies

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Speaker 3: like this totally and everything John Hughes has ever done. Basically, Yes, Kitlin,

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Speaker 3: what's your experience with this movie?

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Speaker 2: I did not grow up with it.

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Speaker 3: Interesting.

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Speaker 2: Yeah, the eighties movie that Elizabeth Shoe was in that

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Speaker 2: I watched all the time was Back to the Future too,

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Speaker 2: so that.

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Speaker 3: There's a fair amount of Back to the Future overlap,

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Speaker 3: because isn't Marty McFly's little sister plays Sarah.

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Speaker 2: Oh wait, Marty McFly has a little sister, question Mark.

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Speaker 3: I think it might be in one of like the

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Speaker 3: alternate timeline things.

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Speaker 2: Okay, yeah, I'm like my mind is being blown right

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Speaker 2: now because I'm like, I didn't recognize that little girl

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Speaker 2: at all. Anyway. Yes, so, I had not watched Adventures

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Speaker 2: in Babysitting until maybe two years ago. I think it

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Speaker 2: was just because I was like, oh, we'll need to

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Speaker 2: cover this eventually, let me familiarize myself with it vaguely,

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Speaker 2: and I remember thinking that it was different than what

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Speaker 2: I was expecting it's like grittier. It's like a teen

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Speaker 2: version of After Hours, which is what the screenwriter was

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Speaker 2: going for. But I was like, oh, I thought this

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Speaker 2: would be like way more lighthearted. I was like, WHOA,

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Speaker 2: I didn't. I thought they would just like, I don't know,

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Speaker 2: hang around a jungle gym or go to the park

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Speaker 2: or I don't know. But I was like, they get

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Speaker 2: into some some misadventures, I would say, But I still

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Speaker 2: thought it was a romp.

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Speaker 3: It definitely is a romp. I mean it's like a

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Speaker 3: Chris Columbus movie. It's like even when it's some things

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Speaker 3: that are fucked up of like the pacing's pretty incredible, like.

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Speaker 2: Yeah, ten out of ten on the rampometer. But I

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Speaker 2: have a lot of thoughts otherwise. And yeah, I just

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Speaker 2: watched it again to prep for this episode. And then

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Speaker 2: I also did some extra credit and watched the twenty

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Speaker 2: sixteen d com reboot starring Sabrina Carpenter among other child

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Speaker 2: stars who I have no idea who they are and

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Speaker 2: have some stress thoughts on that one too that we'll

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Speaker 2: get into eventually. But yeah, I don't have much of

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Speaker 2: a history with this movie, but I'm excited to dig

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Speaker 2: in Jamie, what's your relationship with it?

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Speaker 3: I first wanted to just correct so the reason that

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Speaker 3: it's not Marty McFly's little sister, it's Lorraine Bain's little sister.

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Speaker 2: Oh yes, Okay.

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Speaker 3: The actor, the child actor who plays Sarah Maya Brutten

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Speaker 3: is a character in Back to the Future. I'm not

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Speaker 3: a Back to the Future head. I can't answer to

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Speaker 3: this shit.

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Speaker 2: Okay, No, that's all.

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Speaker 3: And I feel guilty in advance because I feel like

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Speaker 3: I am going to be a micro generational hater on

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Speaker 3: this movie. I have seen adventures in babysitting once at

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Speaker 3: like a middle school sleepover. I remember really vividly because

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Speaker 3: it was like such a fun night, and we took

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Speaker 3: a sip of vodka from someone's mom's bottle, and it

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Speaker 3: was the only time I tasted vodka before college. So

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Speaker 3: I associate this movie with my first sip of vodka.

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Speaker 3: And the hot dog joke, which is the only thing

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Speaker 3: I remembered about this movie. Is then no wiener and

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Speaker 3: we were laughing.

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Speaker 2: You don't have money for me, I don't have a

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Speaker 2: wiener for you, or whatever it is.

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Speaker 3: And so we were twelve, and so we were laughing,

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Speaker 3: and that was. And the other connection that I had

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Speaker 3: to this was I was a big fan of Rent

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Speaker 3: as a middle schooler. When I saw this and rilled

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Speaker 3: to see Anthony Rap a very young Anthony Rap, who

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Speaker 3: plays Marcus in the original Broadbay cast of Rent and

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Speaker 3: also plays Mark. Probably shouldn't have because everyone was so

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Speaker 3: old in the movie adaptation, but Chris Columbus goes on

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Speaker 3: to adapt Rent for the screen in two thousand and

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Speaker 3: five not well, but I loved it, and Anthony Rap

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Speaker 3: is in that as well. So I think that that

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Speaker 3: was probably why I was like wanting to watch this

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Speaker 3: movie as a kid, because I was like, there's Rent connections,

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Speaker 3: and that's about my only connections to it. But I

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Speaker 3: do I have a lot of thoughts about it. I

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Speaker 3: think that there's like a lot going on in this

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Speaker 3: movie that makes it a very interesting time capsule.

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Speaker 2: Definitely. Yeah, Well, let's take a quick break and then

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Speaker 2: we'll come back for the recap. And we're back, okay,

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Speaker 2: So here's the recap of Adventures in Babysitting nineteen eighty seven.

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Speaker 2: I just want to place a quick note at the

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Speaker 2: top as far as the version I watched, slash Am

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Speaker 2: doing the recap on is the Disney Plus version, which

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Speaker 2: is slightly edited from the original version. I don't think

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Speaker 2: the Disney Plus version cuts any scenes. I think it's

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Speaker 2: mostly just like slight changes to dialogue. I think so

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Speaker 2: based on what I was finding. Yeah, and we'll talk

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Speaker 2: about these changes later, but just wanted to give that

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Speaker 2: little disclaimer in case I am leaving something out that

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Speaker 2: people are like, what about that moment or that scene,

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Speaker 2: because the theatrical version and the Disney Plus version are

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Speaker 2: slightly different. So just FYI, Okay. So we are in

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Speaker 2: the suburbs of Chicago.

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Speaker 3: We so often are movies, and this time truly in

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Speaker 3: Chris Columbus movie specifically, Yes so often are.

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Speaker 2: Yes, And we meet Chris Parker played by Elizabeth Shu.

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Speaker 2: She is a seventeen year old high school senior and

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Speaker 2: she's getting ready for a big dinner date because it's

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Speaker 2: her anniversary with her boyfriend, Mike Todwell, played by a

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Speaker 2: young Bradley Whitford.

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Speaker 3: And not to shame him, but when we say young,

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Speaker 3: he's like twenty nine years old in this movie. He's like,

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Speaker 3: you know, he's I guess young in the span of

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Speaker 3: like between here and The Ming Dynasty. But he's certainly

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Speaker 3: not you know, a teenager?

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Speaker 2: Yes, true, And he shows up in his car with

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Speaker 2: a license plate that says so cool to tell Chris

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Speaker 2: that he has to cancel their date because his little

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Speaker 2: sister sick and he has to stay home and take

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Speaker 2: care of her. So Chris is really bummed if she

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Speaker 2: was really looking forward to the anniversary dinner, and her

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Speaker 2: friend Brenda comes over to console her and also to

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Speaker 2: complain about her overbearing mother in a scene that passes

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Speaker 2: the Bechdel test. And then a missus Anderson calls wanting

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Speaker 2: to know if Chris can babysit her daughter tonight, and

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Speaker 2: Chris reluctantly agrees. We cut to the Andersons. We meet Sarah,

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Speaker 2: the I don't know nine year old girl.

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Speaker 3: She's a little stinker. She's got the best outfits.

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Speaker 2: Oh yeah, she loves Thor.

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Speaker 3: Before it was cool.

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Speaker 2: Yeah, before Thor was Chris Hemsworth. Right, So this is

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Speaker 2: who Chris will be babysitting. And then Sarah's fifteen year

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Speaker 2: old brother, Brad played by Keith Coogan, is also there

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Speaker 2: and he has a huge crush on Chris. The Anderson

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Speaker 2: parents give Chris a few instructions on how to care

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Speaker 2: for Sarah, like make sure she has cough syrup and

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Speaker 2: stuff like that, and they say they'll be home by

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Speaker 2: one am, and then they head out. Now, Brad is

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Speaker 2: supposed to sleep over at his friend Darryl's that night,

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Speaker 2: but now that he knows Chris is gonna be at

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Speaker 2: his house, he wants to stay home. And Darryl shows up,

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Speaker 2: played by Anthony Rapp, he wants to hang out. He's like, hey, Brad,

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Speaker 2: look at this centerfold model in this month's issue of Playboy.

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Speaker 2: She looks just like Chris, and so we're like, oh,

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Speaker 2: he's like you know that like eighties pervert kids stock character.

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Speaker 3: Yeah, poor Anthony rap he's really putting a box on

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Speaker 3: this one. Yeah.

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Speaker 2: I also just mention this Playboy issue during the recap

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Speaker 2: because it keeps up throughout the movie.

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Speaker 3: It's Daa's ex Playboys as a former Playboy employee. M

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Speaker 3: M I support.

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Speaker 2: Yeah, Chekoff's Playboy issue. Then Chris's friend Brenda calls, saying

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Speaker 2: that she decided to run away from home because her

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Speaker 2: mom is that awful, and she made it as far

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Speaker 2: as the bus station in the city, but she's freaked

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Speaker 2: out and she needs Chris to come pick her up

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Speaker 2: because she doesn't have any more money for a bus

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Speaker 2: or a cab ride home. And Chris agrees. But the

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Speaker 2: only way she can really make this work without anyone

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Speaker 2: like telling on her that she like left these kids

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Speaker 2: to go into the city is if she takes Sarah

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Speaker 2: and Brad and Darryl along. So they all pile in

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Speaker 2: Chris's mom's car and she drives them to the big

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Speaker 2: skinyy city.

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Speaker 3: I did love a good station wagon. That's something that

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Speaker 3: I genuinely get nostalgic for. It's like, where the hell

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Speaker 3: did those cars go? I liked them. We knew they

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Speaker 3: were made out of wood, but I liked the effort. Oh.

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Speaker 2: I loved that game you would play when like, yeah,

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Speaker 2: the wood paneling on the side, have we caught it?

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Speaker 2: Like woody whacker or woody whack back or something like that.

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Speaker 3: Ohit, I don't know this game.

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Speaker 2: Yeah, you'd be in the car your parent was driving,

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Speaker 2: and then you'd see one of those like wood sided

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Speaker 2: paneled station wagons and then you'd hit the person next

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Speaker 2: to you and you'd say, woody whacker, no whack backs

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Speaker 2: or something.

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Speaker 3: I don't remember, Caitlin, what you were hitting cars?

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Speaker 2: I was hitting my sister.

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Speaker 3: What do you want, Oh, you hit your sister? Yeah yeah, yeah, yeah,

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Speaker 3: oh yeah. I guess it's okay to hit your sister. Yes,

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Speaker 3: I thought you were leaning out of the car and

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Speaker 3: hitting the car. No no, no, no, no, no, no, okay, yeah, no,

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Speaker 3: you can hit your sister. That's okay.

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Speaker 2: Yeah, thank you.

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Speaker 3: She turned out fine.

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Speaker 2: Yea, yea yeah, yeah, she's great. Okay. So on the

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Speaker 2: way into the city, they get a flat tire and

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Speaker 2: have to pull over, and there's no spare in the car,

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Speaker 2: and Chris realizes she forgot her purse back at the house,

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Speaker 2: so they don't have any money to get like a

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Speaker 2: tow truck or anything like that, but a tow truck

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Speaker 2: driver conveniently shows up. Anyway. This is John Pruitt. There

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Speaker 2: is a lot of ableism around this character, and we'll

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Speaker 2: talk about that later. But out of the kindness of

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Speaker 2: his heart, he hooks up the car and drives them

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Speaker 2: into the city. But before they reach Dawson's garage where

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Speaker 2: he's taking them too, he gets a call about another

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Speaker 2: man being over at his house who's like fucking his wife,

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Speaker 2: so he drives everyone to his house and starts shooting

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Speaker 2: this other man who his wife is having an affair with.

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Speaker 3: He's having a day. It's like that he's just having

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Speaker 3: the wildest day. I want to show him grace, but

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Speaker 3: he's having a difficulty.

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Speaker 2: He is I want to see a spinoff movie like

401
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Speaker 2: Adventures in Tow truck Driving.

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Speaker 3: It is demonstrated repeatedly. He's got a good heart, yeah,

403
00:23:25,720 --> 00:23:28,000
Speaker 3: but it escalates very quickly with him.

404
00:23:28,320 --> 00:23:30,639
Speaker 2: Yeah, he has a gun and he's not afraid to

405
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Speaker 2: use it. Sure, and so the kids dash into the

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Speaker 2: first car they see, which is in the process of

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Speaker 2: being stolen by a man named Joe Gibbs, and Chris

408
00:23:45,040 --> 00:23:48,240
Speaker 2: starts freaking out, but she realizes that she has to

409
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Speaker 2: be level headed. You know, she's the responsible one in

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Speaker 2: this situation. So she puts her babysitter hat back on.

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Speaker 2: She keeps her cool. She's like, Sarah, take your cough syrup, Brad,

412
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Speaker 2: don't eat chocolate, it'll you acne.

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Speaker 3: Darryl, put your.

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Speaker 2: Seat belt on, and we're like, wow, she's such a

415
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Speaker 2: good babys She's doing great. So then Joe takes them

416
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Speaker 2: to this warehouse full of stolen cars where this group

417
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Speaker 2: of crime bosses is having a meeting and They're like,

418
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Speaker 2: what the fuck are these kids doing here? They're gonna

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Speaker 2: rat us out to the cops.

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Speaker 3: It's so wild that I mean, and we'll get into

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Speaker 3: the implications of these stock characters, but it's like every

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Speaker 3: possible stock character that could appear in this movie does

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Speaker 3: because then you just get to like a Godfather pestige

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00:24:44,320 --> 00:24:47,399
Speaker 3: in the middle of You're like, yeah, I guess, like

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Speaker 3: I don't know.

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Speaker 2: Right, So these crime bosses lock Chris and the kids

427
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Speaker 2: up in like their office, but the kids escape through

428
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Speaker 2: a hole in the ceiling, but not before Darryl takes

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Speaker 2: a copy of the Playboy magazine that he finds in

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Speaker 2: the office. But oh no, that's where the crime bosses

431
00:25:08,800 --> 00:25:11,960
Speaker 2: have written all of their crime notes.

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Speaker 3: Wait, how does he refer to it? Where he was like,

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Speaker 3: that's the Philadelphia idea is you're like the what, yeah,

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Speaker 3: deis ex Playboy magazine?

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00:25:26,560 --> 00:25:27,680
Speaker 2: Yeah, yeah, certainly.

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Speaker 4: I Also I want to add that I remember them

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Speaker 4: saying those notes were so important, and I think they

438
00:25:33,480 --> 00:25:35,520
Speaker 4: would have let the kids go if not for taking

439
00:25:35,520 --> 00:25:38,439
Speaker 4: that magazine because they said that if they had the

440
00:25:38,480 --> 00:25:41,600
Speaker 4: magazine that the information could put them away for twenty years.

441
00:25:42,560 --> 00:25:45,160
Speaker 2: So the stakes are very high. For these crime bosses.

442
00:25:45,280 --> 00:25:48,800
Speaker 3: They shouldn't have put the Philadelphia plan in there. That

443
00:25:48,960 --> 00:25:50,160
Speaker 3: was a big mistake.

444
00:25:50,359 --> 00:25:55,119
Speaker 2: Yeah, their Philadelphia story needed to go elsewhere. Yeah, okay,

445
00:25:55,200 --> 00:25:59,080
Speaker 2: So when the bosses discover the kids have escaped, they

446
00:25:59,240 --> 00:26:04,120
Speaker 2: start chasing them. Chris and company run into a blues

447
00:26:04,200 --> 00:26:08,359
Speaker 2: club and accidentally end up on the stage, and so

448
00:26:08,480 --> 00:26:13,240
Speaker 2: the owner of this club, played by Albert Collins, won't

449
00:26:13,320 --> 00:26:16,000
Speaker 2: let them leave until they sing the blues.

450
00:26:16,840 --> 00:26:20,680
Speaker 3: This is a pretty iconic scene. Yeah.

451
00:26:20,440 --> 00:26:25,080
Speaker 2: Yeah. It is also replicated in the Sabrina Carpenter twenty

452
00:26:25,119 --> 00:26:27,720
Speaker 2: sixteen Adventures and Babysitting, where she has to.

453
00:26:27,880 --> 00:26:31,160
Speaker 3: Oh and she can actually sing no offense to this.

454
00:26:31,760 --> 00:26:38,919
Speaker 2: Well, she has to improvise a rap. No, she and

455
00:26:39,000 --> 00:26:41,760
Speaker 2: the other kids, and in the reboot there are like

456
00:26:42,720 --> 00:26:45,800
Speaker 2: eight kids for some reason, it's double the number of children,

457
00:26:46,400 --> 00:26:50,359
Speaker 2: and they all improv a rap. They freestyle wrap their

458
00:26:50,400 --> 00:26:54,919
Speaker 2: way through this, needing to get out of the whatever

459
00:26:54,960 --> 00:26:58,480
Speaker 2: club they find themselves in, and it's a very bad song.

460
00:26:58,520 --> 00:27:05,520
Speaker 2: I would say it's a argument for producing original stories. Yes, absolutely.

461
00:27:06,000 --> 00:27:06,800
Speaker 3: Yeah.

462
00:27:06,840 --> 00:27:11,680
Speaker 2: Anyway, so Chris improvs a blues song about how hard

463
00:27:11,720 --> 00:27:13,960
Speaker 2: it is to be a babysitter, and I believe the

464
00:27:14,000 --> 00:27:16,080
Speaker 2: song is called babysitter Blues.

465
00:27:16,680 --> 00:27:18,480
Speaker 5: Is that right, babysitting blues.

466
00:27:18,480 --> 00:27:23,520
Speaker 2: Babysitting blues? Okay, yes, yes, yes, important important. Yeah. And

467
00:27:23,640 --> 00:27:27,960
Speaker 2: so after that, Chris and friends leave the blues joint

468
00:27:28,520 --> 00:27:33,720
Speaker 2: and Brad is like, hey, Chris, your boyfriend sucks. You

469
00:27:33,760 --> 00:27:37,480
Speaker 2: should be interested in me instead, especially because I just

470
00:27:37,640 --> 00:27:41,439
Speaker 2: noticed that you're more than a pretty face and you

471
00:27:41,720 --> 00:27:48,160
Speaker 2: actually have a personality as it turns out, and she's like, Okay,

472
00:27:48,880 --> 00:27:49,480
Speaker 2: that's one of.

473
00:27:49,440 --> 00:27:52,399
Speaker 3: The only ways I mean, not totally, but one of

474
00:27:52,440 --> 00:27:56,240
Speaker 3: the only ways in which this movie slightly subverts eighties

475
00:27:56,320 --> 00:28:00,920
Speaker 3: plot lines, where usually that would just confer end game

476
00:28:00,960 --> 00:28:03,760
Speaker 3: between these two characters is like, hey, I just realized

477
00:28:03,800 --> 00:28:08,119
Speaker 3: you had two brain cells and you should probably be

478
00:28:08,320 --> 00:28:11,679
Speaker 3: my wife. And usually that means that that will happen,

479
00:28:12,240 --> 00:28:16,399
Speaker 3: very true, but spoiler alert, she's just gonna end up

480
00:28:16,400 --> 00:28:18,240
Speaker 3: being with some other.

481
00:28:18,160 --> 00:28:19,919
Speaker 2: Yay, a different guy. Yeah.

482
00:28:20,280 --> 00:28:21,240
Speaker 3: Yeah.

483
00:28:21,280 --> 00:28:25,399
Speaker 2: Meanwhile, back at the bus station, Brenda is having a time.

484
00:28:26,160 --> 00:28:29,959
Speaker 2: Someone takes her glasses so now she can't see, and

485
00:28:30,000 --> 00:28:33,240
Speaker 2: she picks up what she thinks is a cute little kitten,

486
00:28:33,760 --> 00:28:39,200
Speaker 2: but it's actually a huge rat and she's like, yuckye

487
00:28:39,960 --> 00:28:44,440
Speaker 2: and then back to the babysitting Adventure, the two crime

488
00:28:44,520 --> 00:28:49,280
Speaker 2: boss guys plus Joe Gibbs are still chasing the kids,

489
00:28:49,760 --> 00:28:53,920
Speaker 2: who managed to evade them again by getting on the

490
00:28:53,960 --> 00:28:58,000
Speaker 2: metro the l If You Will, where they find themselves

491
00:28:58,080 --> 00:29:01,720
Speaker 2: in the middle of a turf war between rival gangs.

492
00:29:02,320 --> 00:29:05,720
Speaker 3: It's literally like the amount of thought put into this

493
00:29:05,800 --> 00:29:09,600
Speaker 3: sequence is like sharks versus jets, Like they might as

494
00:29:09,600 --> 00:29:10,600
Speaker 3: well be snapping.

495
00:29:11,080 --> 00:29:14,120
Speaker 2: Yes, but they're wearing blue and red, so I think

496
00:29:14,120 --> 00:29:17,800
Speaker 2: it's implied that it's like maybe a bloods and crips thing.

497
00:29:18,680 --> 00:29:23,520
Speaker 3: Yeah, but it's so musical theater coded. Absolutely, I'm curious

498
00:29:23,560 --> 00:29:25,640
Speaker 3: where the edits are coming in. Were there edits in

499
00:29:25,680 --> 00:29:26,160
Speaker 3: that scene?

500
00:29:26,280 --> 00:29:26,480
Speaker 1: Oh?

501
00:29:26,720 --> 00:29:29,360
Speaker 3: This is the big edit. This is the big edit. Okay,

502
00:29:29,360 --> 00:29:31,920
Speaker 3: in terms of dialogue, I wasn't aware that there was

503
00:29:32,400 --> 00:29:33,479
Speaker 3: edits to that extent.

504
00:29:33,680 --> 00:29:36,520
Speaker 2: Yeah. So basically, they're about to kill each other, these

505
00:29:36,560 --> 00:29:41,760
Speaker 2: two gangs, but Chris intervenes and she in the original

506
00:29:41,840 --> 00:29:45,560
Speaker 2: version says, don't fuck with the babysitter, and that's like

507
00:29:46,120 --> 00:29:49,320
Speaker 2: the famous line of the movie. They should let her

508
00:29:49,360 --> 00:29:52,080
Speaker 2: say that, I know, but the Disney Plus version has

509
00:29:52,120 --> 00:29:55,600
Speaker 2: her says don't fool with the babysitter.

510
00:29:57,960 --> 00:30:01,920
Speaker 3: I can't believe, like we should have left that behind

511
00:30:01,960 --> 00:30:05,680
Speaker 3: with TNT edits. Yeah, I always still do it because

512
00:30:05,760 --> 00:30:09,840
Speaker 3: at this point Disney Plus is such and they should

513
00:30:09,840 --> 00:30:13,080
Speaker 3: still hire me. But there's such a shithole that, like

514
00:30:13,200 --> 00:30:16,720
Speaker 3: I watched Secret Lives of Mormon Wives on that same

515
00:30:16,760 --> 00:30:19,960
Speaker 3: platform yesterday. You can just let her say, don't fuck

516
00:30:20,000 --> 00:30:23,840
Speaker 3: with the babysitter. There's no laws on this platform anymore.

517
00:30:24,040 --> 00:30:27,720
Speaker 2: Come on, there are movies with like nudity in them

518
00:30:27,880 --> 00:30:29,080
Speaker 2: on Disney Plus.

519
00:30:29,200 --> 00:30:34,800
Speaker 3: Yeah, Tetan. We watched Titan on Disney Plus. Like it's

520
00:30:35,200 --> 00:30:38,680
Speaker 3: it's silly. Yeah, there's no need to like do a

521
00:30:38,680 --> 00:30:39,480
Speaker 3: PG edit.

522
00:30:39,600 --> 00:30:42,120
Speaker 2: I don't know, yeah, especially because well the movie is

523
00:30:42,160 --> 00:30:44,840
Speaker 2: still rate a PG thirteen and PG thirteen movies I

524
00:30:44,840 --> 00:30:48,400
Speaker 2: think are allowed one fuck maybe two because there's.

525
00:30:48,240 --> 00:30:50,640
Speaker 3: I wonder how that's changed. Yeah, I think it's like

526
00:30:50,800 --> 00:30:52,120
Speaker 3: one hard swear.

527
00:30:52,920 --> 00:30:56,640
Speaker 4: I think it's two because in the original, the reason

528
00:30:56,720 --> 00:31:00,440
Speaker 4: that Chris says that is because one of the gangsters says,

529
00:31:00,920 --> 00:31:04,360
Speaker 4: don't fuck with the Lords of Hell. Oh yeah, yeah,

530
00:31:04,360 --> 00:31:07,400
Speaker 4: it stabs Brad in the foot with the knife. She

531
00:31:07,600 --> 00:31:11,360
Speaker 4: pulls the knife out and says, don't fuck with the babysitters,

532
00:31:11,400 --> 00:31:12,480
Speaker 4: So I guess that's two right.

533
00:31:12,520 --> 00:31:16,200
Speaker 3: There is true, yeah, but that's also just a really

534
00:31:16,280 --> 00:31:20,040
Speaker 3: good callback, so right, there.

535
00:31:19,960 --> 00:31:22,920
Speaker 2: Should be an exception. There should be an exception also

536
00:31:23,200 --> 00:31:26,320
Speaker 2: in this scene, and I couldn't totally confirm this, but

537
00:31:27,360 --> 00:31:33,680
Speaker 2: different gang members call Chris a witch, which I imagine

538
00:31:33,800 --> 00:31:35,000
Speaker 2: the original line would have been.

539
00:31:35,080 --> 00:31:38,160
Speaker 3: They say bitch the first time. They say bitch once.

540
00:31:38,360 --> 00:31:41,440
Speaker 3: Oh I rewatched and I was like, I assume that

541
00:31:41,560 --> 00:31:45,400
Speaker 3: was edited. Yeah, they say bitch once and then they

542
00:31:45,440 --> 00:31:47,720
Speaker 3: say which the rest of the time. But I'm assuming,

543
00:31:48,240 --> 00:31:51,840
Speaker 3: based on your description in the original that there was

544
00:31:51,920 --> 00:31:54,320
Speaker 3: no witch. It was all bitch.

545
00:31:54,480 --> 00:31:56,920
Speaker 2: It was all bitch, and then all bitch, no witch.

546
00:31:58,520 --> 00:32:04,720
Speaker 2: Well new merch maybe. Anyway. The point of this scene

547
00:32:04,840 --> 00:32:08,480
Speaker 2: is that a knife gets dropped on Brad's foot or

548
00:32:08,560 --> 00:32:10,760
Speaker 2: he gets stabbed in the foot, so they rush to

549
00:32:10,800 --> 00:32:14,400
Speaker 2: the hospital. It turns out Brad only needs one stitch,

550
00:32:14,720 --> 00:32:18,360
Speaker 2: but there is a misunderstanding between the hospital staff and

551
00:32:18,440 --> 00:32:21,800
Speaker 2: the kids, and for a moment, Chris thinks that Brad

552
00:32:21,880 --> 00:32:25,719
Speaker 2: died from his knife wound, and so she faints because

553
00:32:25,840 --> 00:32:32,560
Speaker 2: women be fainting, but he's not dead, and everyone rejoices.

554
00:32:34,080 --> 00:32:34,120
Speaker 3: No.

555
00:32:34,320 --> 00:32:38,920
Speaker 2: Meanwhile, the toe. Truck guy John Pruitt is also at

556
00:32:38,960 --> 00:32:44,000
Speaker 2: the hospital because he was previously in a gunfight a

557
00:32:44,040 --> 00:32:48,280
Speaker 2: few scenes ago, and he's like, oh, come with me, kids.

558
00:32:48,480 --> 00:32:52,560
Speaker 2: Your car is fixed and it's at Dawson's garage by

559
00:32:52,600 --> 00:32:55,160
Speaker 2: the way. He you know, mister Dawson's going to make

560
00:32:55,160 --> 00:32:59,200
Speaker 2: you pay fifty dollars for the tire repair. But the

561
00:32:59,280 --> 00:33:01,960
Speaker 2: kids don't have fifty dollars, so they have to figure

562
00:33:02,000 --> 00:33:04,760
Speaker 2: out a way to get some money. So they come

563
00:33:04,840 --> 00:33:09,560
Speaker 2: upon a frat party where Chris meets a college guy

564
00:33:09,880 --> 00:33:15,280
Speaker 2: named I Think Dan, who at first thinks she's Miss

565
00:33:15,320 --> 00:33:21,480
Speaker 2: March from this month's issue of Playboy magazine, so he

566
00:33:21,640 --> 00:33:26,160
Speaker 2: like approaches her and they start chatting and flirting and dancing,

567
00:33:26,960 --> 00:33:32,160
Speaker 2: and Brad, who again is in love with Chris, is like, meanwhile,

568
00:33:32,360 --> 00:33:39,200
Speaker 2: a drunk college girl is kissing, aka assaulting, a visibly

569
00:33:39,320 --> 00:33:44,120
Speaker 2: fifteen year old Darryl, so we have that. Then Chris

570
00:33:44,160 --> 00:33:47,800
Speaker 2: asks Dan if she can borrow fifty dollars and he's like,

571
00:33:48,080 --> 00:33:52,440
Speaker 2: no problem, here's free money, except he only has forty

572
00:33:52,480 --> 00:33:56,040
Speaker 2: five dollars on him, and he also drives them to

573
00:33:56,800 --> 00:33:57,920
Speaker 2: Dawson's garage.

574
00:33:58,400 --> 00:34:02,320
Speaker 3: It does feel like you're gonna say every time Dawson's Creek,

575
00:34:02,560 --> 00:34:05,200
Speaker 3: and then it keeps being garage.

576
00:34:05,400 --> 00:34:08,520
Speaker 2: Yeah yeah, yea yeah yeah. So Kristen friends go to

577
00:34:08,560 --> 00:34:12,880
Speaker 2: the garage and meet mister Dawson no relation to Jack Dawson.

578
00:34:13,080 --> 00:34:14,480
Speaker 3: Yeah sure, Yeah.

579
00:34:14,680 --> 00:34:18,480
Speaker 2: He's played by a young Vincent Dinofrio, which what a

580
00:34:18,600 --> 00:34:21,840
Speaker 2: what a thrill? What are the rill to see?

581
00:34:22,080 --> 00:34:22,360
Speaker 1: Right?

582
00:34:22,600 --> 00:34:26,920
Speaker 3: Yeah, move over, Chris Hemsworth. Tanafrio had it all figured

583
00:34:26,960 --> 00:34:28,680
Speaker 3: out in nineteen eighty seven.

584
00:34:29,120 --> 00:34:32,760
Speaker 2: Right, because he has long blonde hair and is holding

585
00:34:32,800 --> 00:34:38,600
Speaker 2: a sledgehammer, which is famously a tool that auto mechanics

586
00:34:39,080 --> 00:34:39,960
Speaker 2: use all the time.

587
00:34:41,000 --> 00:34:44,120
Speaker 3: I also like, I mean, we'll get into this afterwards,

588
00:34:44,160 --> 00:34:46,080
Speaker 3: but I feel like so much of this For Better

589
00:34:46,120 --> 00:34:50,279
Speaker 3: and for Worse is written from a suburban kid's perspective

590
00:34:50,400 --> 00:34:53,160
Speaker 3: of how they would view the city versus how cities

591
00:34:53,200 --> 00:34:56,040
Speaker 3: actually are. Oh yeah, for sure, And so I feel

592
00:34:56,040 --> 00:34:58,240
Speaker 3: like it's like, if you're a ten year old seeing

593
00:34:58,239 --> 00:35:02,120
Speaker 3: this movie, you're like, sure mechanics thor hammers, they could,

594
00:35:02,640 --> 00:35:03,520
Speaker 3: you know, right?

595
00:35:03,560 --> 00:35:06,959
Speaker 2: Because the idea here is that Sarah thinks this guy

596
00:35:07,360 --> 00:35:13,520
Speaker 2: is Thor and she accidentally insults him based on another

597
00:35:13,640 --> 00:35:16,759
Speaker 2: line that was edited so earlier in the movie. When

598
00:35:16,760 --> 00:35:21,000
Speaker 2: we first meet Sarah and her brother Brad. Brad calls

599
00:35:21,200 --> 00:35:25,960
Speaker 2: Thor a homophobic slur, but the Disney Plus edit of

600
00:35:26,000 --> 00:35:30,480
Speaker 2: that is Thors a weirdo and Sarah's like, no, he's

601
00:35:30,520 --> 00:35:36,240
Speaker 2: not take that back, and so in this scene she's like, oh, yeah,

602
00:35:36,239 --> 00:35:40,120
Speaker 2: my brother said that you're a homophobic slur, but again

603
00:35:40,120 --> 00:35:45,520
Speaker 2: it gets edited to weirdo. So this really upsets mister Dawson,

604
00:35:46,400 --> 00:35:48,680
Speaker 2: and he also is upset that they shortchange him with

605
00:35:48,800 --> 00:35:51,279
Speaker 2: the forty five dollars instead of fifty, so he gets

606
00:35:51,360 --> 00:35:54,319
Speaker 2: pissed and refuses to give their car back.

607
00:35:54,640 --> 00:35:59,880
Speaker 3: And these are reasonable reactions to what happened in script.

608
00:35:59,680 --> 00:36:05,040
Speaker 2: Ye right, But then Sarah is like, wait for you're

609
00:36:05,080 --> 00:36:09,399
Speaker 2: my hero, you're a good guy, and she gives him

610
00:36:09,840 --> 00:36:15,000
Speaker 2: her helmet, and this endears mister Dawson to the kids,

611
00:36:15,440 --> 00:36:18,560
Speaker 2: and he's like, you little stinkers, here you go. Here's

612
00:36:18,600 --> 00:36:23,319
Speaker 2: the keys. So they drive off and head to the

613
00:36:23,360 --> 00:36:26,839
Speaker 2: bus station to pick up Brenda, who has gotten her

614
00:36:26,880 --> 00:36:30,239
Speaker 2: glasses back. By the way, she's trying to get a

615
00:36:30,280 --> 00:36:34,560
Speaker 2: hot dog, et cetera. But before Chris and the others

616
00:36:34,920 --> 00:36:38,880
Speaker 2: reach the bus station, they drive past the restaurant that

617
00:36:39,000 --> 00:36:41,960
Speaker 2: Chris's boyfriend was supposed to take her for their anniversary

618
00:36:41,960 --> 00:36:45,880
Speaker 2: dinner because they see his car parked outside with the

619
00:36:46,400 --> 00:36:48,759
Speaker 2: so cool license.

620
00:36:48,440 --> 00:36:52,160
Speaker 3: No mistaking it if you're cheating, If you're a Cereal cheater,

621
00:36:53,120 --> 00:36:56,319
Speaker 3: here's my advice to you. Don't get a vanity license plate.

622
00:36:56,800 --> 00:37:01,439
Speaker 2: Don't drive a red Camaro with a very recognizable license plate.

623
00:37:01,640 --> 00:37:05,400
Speaker 3: Just drive a nondescript Prius. No one will know.

624
00:37:05,680 --> 00:37:09,640
Speaker 2: Why do you think I drive a Prius because you're

625
00:37:09,680 --> 00:37:13,920
Speaker 2: a Liared. I mean, I'm freaking all the time, but

626
00:37:14,000 --> 00:37:16,400
Speaker 2: everyone else knows about everyone else.

627
00:37:16,280 --> 00:37:21,080
Speaker 3: Everyone else. That's your bumper sticker part, because I'm fucking.

628
00:37:24,360 --> 00:37:30,480
Speaker 2: Exactly. Okay. So they go inside the restaurant and Chris

629
00:37:30,640 --> 00:37:35,399
Speaker 2: finds her boyfriend Mike with another girl and she confronts him.

630
00:37:35,880 --> 00:37:42,440
Speaker 2: He gaslights her and belittles Chris. So Brad yells at

631
00:37:42,440 --> 00:37:45,960
Speaker 2: this shitty dude Mike, Daryl kicks him in the ass,

632
00:37:46,640 --> 00:37:49,480
Speaker 2: and everyone runs out of the restaurant, except they've kind

633
00:37:49,480 --> 00:37:54,040
Speaker 2: of lost Sarah, and the crime boss guys find Sarah

634
00:37:54,120 --> 00:37:57,560
Speaker 2: and chase her to the building where her parents' event

635
00:37:57,880 --> 00:38:02,279
Speaker 2: is and Sarah like this. There's high jinks where she

636
00:38:02,920 --> 00:38:07,960
Speaker 2: has climbed onto the roof slashes like dangling from the

637
00:38:08,000 --> 00:38:11,400
Speaker 2: side of the building. She's like thirty stories up. It's

638
00:38:11,440 --> 00:38:15,960
Speaker 2: like YadA YadA. It's the third act. You know, kids

639
00:38:16,000 --> 00:38:19,600
Speaker 2: on a roof. Yeah, yeah, yeah, And one of the

640
00:38:19,600 --> 00:38:23,360
Speaker 2: bad guys is still chasing after Sarah. The other bad

641
00:38:23,560 --> 00:38:29,160
Speaker 2: crime boy is the other what the bad crime boy?

642
00:38:29,520 --> 00:38:32,560
Speaker 2: Oh okay, yeah yeah. He ends up at the event

643
00:38:33,160 --> 00:38:37,560
Speaker 2: with Sarah and Brad's parents, as do the rest of

644
00:38:37,960 --> 00:38:41,480
Speaker 2: the teens, and they see Sarah outside of the window.

645
00:38:41,520 --> 00:38:44,959
Speaker 2: They save her. Joe Gibbs shows up, the one who

646
00:38:45,040 --> 00:38:47,120
Speaker 2: had stolen the car toward the beginning of the movie,

647
00:38:47,760 --> 00:38:51,240
Speaker 2: and he gets the Playboy magazine from them, but he's friendly.

648
00:38:51,320 --> 00:38:54,640
Speaker 2: He's like, I'll help you guys, and then he punches

649
00:38:55,200 --> 00:38:59,880
Speaker 2: his bad crime boy boss and so Chris and Brad

650
00:39:00,040 --> 00:39:05,360
Speaker 2: and Sarah and Darryl are safe. Cut to them picking

651
00:39:05,480 --> 00:39:08,239
Speaker 2: up Brenda at the bus station and driving like a

652
00:39:08,280 --> 00:39:11,960
Speaker 2: bat out of hell back to the Anderson house. They arrive,

653
00:39:12,440 --> 00:39:16,719
Speaker 2: Chris hurriedly cleans everything up while the kids rush to

654
00:39:16,760 --> 00:39:19,880
Speaker 2: get ready for bed, and then Chris sits down just

655
00:39:19,920 --> 00:39:23,840
Speaker 2: in time for mister and Missus Anderson to open the

656
00:39:23,880 --> 00:39:28,759
Speaker 2: door and return home, completely unaware of the adventure the

657
00:39:28,880 --> 00:39:34,760
Speaker 2: kids just had. Then Chris says goodbye to Sarah, Brad

658
00:39:34,840 --> 00:39:39,120
Speaker 2: and Darryl, and as she's leaving, that frat guy Dan

659
00:39:39,840 --> 00:39:43,160
Speaker 2: shows up because Sarah had left her roller skate in

660
00:39:43,239 --> 00:39:47,200
Speaker 2: his car with her address on it, which is how

661
00:39:47,239 --> 00:39:48,719
Speaker 2: he knew where to go.

662
00:39:49,400 --> 00:39:52,000
Speaker 3: Yeah, bischemy tests that, see how it does?

663
00:39:53,200 --> 00:39:59,440
Speaker 2: Yeah, exactly, And Dan is like, oh, maybe you could

664
00:39:59,480 --> 00:40:04,480
Speaker 2: baby it me sometime baby sit on my face that is.

665
00:40:05,640 --> 00:40:07,040
Speaker 2: And then they kiss.

666
00:40:06,880 --> 00:40:08,400
Speaker 3: And that's exactly what he says.

667
00:40:08,880 --> 00:40:11,080
Speaker 2: That's exactly what he says. And it's so weird that

668
00:40:11,120 --> 00:40:12,520
Speaker 2: Disney Plus didn't edit that.

669
00:40:13,360 --> 00:40:16,479
Speaker 3: They didn't edit that. They actually added that in, which

670
00:40:16,480 --> 00:40:17,080
Speaker 3: is wild.

671
00:40:19,360 --> 00:40:22,080
Speaker 2: And then they kiss and that's how the movie ends. Yeah,

672
00:40:22,120 --> 00:40:24,760
Speaker 2: so let's take a quick break and we'll come back

673
00:40:24,800 --> 00:40:36,560
Speaker 2: to discuss. We're back.

674
00:40:36,800 --> 00:40:39,200
Speaker 3: Yeah, maybe where would you like to start the discussion?

675
00:40:39,440 --> 00:40:41,600
Speaker 3: What's jumping out to you?

676
00:40:41,600 --> 00:40:45,279
Speaker 4: You know, let's start at the beginning. You know, I

677
00:40:45,320 --> 00:40:48,640
Speaker 4: want to point out, as I was rewatching this for

678
00:40:48,719 --> 00:40:53,319
Speaker 4: the umpteenth time last night, I saw a plot hole

679
00:40:53,520 --> 00:40:55,040
Speaker 4: really really early on that could.

680
00:40:54,920 --> 00:40:57,440
Speaker 5: Have just made the movie not even happen.

681
00:40:58,880 --> 00:41:03,200
Speaker 4: So, you know, Chris is at home, she's depressed, she's sulking,

682
00:41:03,280 --> 00:41:05,799
Speaker 4: she's talking to Brenda, and when her mom comes in

683
00:41:05,840 --> 00:41:08,319
Speaker 4: and she's like, oh, missus Anderson just called wants to

684
00:41:08,320 --> 00:41:10,520
Speaker 4: know if you can babysit to night. And you know,

685
00:41:10,600 --> 00:41:13,200
Speaker 4: that almost doesn't even happen, but she agrees. She shows

686
00:41:13,280 --> 00:41:16,880
Speaker 4: up and missus Anderson is just like, oh, you know,

687
00:41:16,920 --> 00:41:19,400
Speaker 4: thanks for agreeing to babysit at the last minute. And

688
00:41:19,719 --> 00:41:24,080
Speaker 4: there was just something unbelievable to me that the Andersons

689
00:41:24,160 --> 00:41:26,440
Speaker 4: and they live in a nicer home. It's you know,

690
00:41:27,080 --> 00:41:29,480
Speaker 4: it's very like up at East Suburbia. I think it's

691
00:41:29,520 --> 00:41:33,160
Speaker 4: Oak Park, and I just I could not believe that

692
00:41:33,239 --> 00:41:36,680
Speaker 4: they were going to this fancy event and didn't think

693
00:41:37,280 --> 00:41:40,440
Speaker 4: until twenty minutes before, oh we should get a babysitter.

694
00:41:41,600 --> 00:41:46,000
Speaker 3: Right, It's like just as simple, like the babysitter is

695
00:41:46,080 --> 00:41:49,080
Speaker 3: sick or some some half assed something.

696
00:41:49,160 --> 00:41:50,960
Speaker 2: Yeah, they had to cancel last minute.

697
00:41:51,080 --> 00:41:53,440
Speaker 4: Yeah, I was searching for some sort of throwaway line

698
00:41:53,480 --> 00:41:54,560
Speaker 4: as to why.

699
00:41:54,760 --> 00:41:59,399
Speaker 3: And yeah, there's no reason, given they're just negligent parents. Yeah,

700
00:41:59,440 --> 00:42:01,640
Speaker 3: which actually it does kind of come up later when

701
00:42:01,640 --> 00:42:05,040
Speaker 3: we see them again. They're like, well, they're probably fine, and.

702
00:42:04,960 --> 00:42:08,319
Speaker 5: Like literally the daughter's dangling outside of the party.

703
00:42:09,520 --> 00:42:13,160
Speaker 3: Parenting in the eighties seemed very chill based on what

704
00:42:13,280 --> 00:42:17,399
Speaker 3: I've seen in movies. Yeah, but I do think that

705
00:42:17,400 --> 00:42:21,239
Speaker 3: that opening scene, I mean, we've seen so many versions

706
00:42:21,640 --> 00:42:24,799
Speaker 3: of that type of scene to open a movie. The

707
00:42:24,800 --> 00:42:27,400
Speaker 3: other two that jump directly to mind, I think are

708
00:42:27,400 --> 00:42:31,600
Speaker 3: both from the early two thousands. It's Charlie's Angels one

709
00:42:32,040 --> 00:42:35,799
Speaker 3: with Cameron Diaz, which is full panties, like kind of

710
00:42:35,840 --> 00:42:39,319
Speaker 3: more exploitive version of this scene, and then also the

711
00:42:39,400 --> 00:42:41,960
Speaker 3: Lizzie McGuire movie two thousand and three that is I

712
00:42:42,000 --> 00:42:44,719
Speaker 3: think ripping off this scene directly and is fairly wholesome.

713
00:42:45,040 --> 00:42:48,040
Speaker 3: I don't know that the Adventures in Babysitting scene is

714
00:42:48,080 --> 00:42:53,640
Speaker 3: the blueprint for girl twirling around in bedroom to a

715
00:42:53,680 --> 00:42:57,320
Speaker 3: pop classic, but I think this is my favorite version

716
00:42:57,360 --> 00:42:59,440
Speaker 3: of it that I've seen. I like it.

717
00:42:59,640 --> 00:43:03,120
Speaker 4: Yeah, Yeah, it's a really iconic opening, I do have

718
00:43:03,160 --> 00:43:06,279
Speaker 4: to say that. And even at the beginning, like as

719
00:43:06,280 --> 00:43:10,680
Speaker 4: soon as you see like the logo of the production company,

720
00:43:10,680 --> 00:43:12,920
Speaker 4: I think it was Touchstone, and you just hear like

721
00:43:12,960 --> 00:43:15,719
Speaker 4: the first few like chords of the song, you just

722
00:43:15,800 --> 00:43:17,000
Speaker 4: you know exactly what's coming.

723
00:43:19,120 --> 00:43:23,160
Speaker 3: Yeah, Yeah, it's great. And Elizabeth shu is awesome in

724
00:43:23,200 --> 00:43:26,480
Speaker 3: this movie. I feel like she brings more to the

725
00:43:26,600 --> 00:43:30,640
Speaker 3: character than is necessarily on the page.

726
00:43:31,960 --> 00:43:36,160
Speaker 2: Right, So speaking of I'll give a little. There's not

727
00:43:36,320 --> 00:43:42,799
Speaker 2: much like production stuff that's very relevant here. But as

728
00:43:42,800 --> 00:43:46,560
Speaker 2: we mentioned, this is Chris Columbus's directorial debut. The screenplay

729
00:43:46,640 --> 00:43:52,520
Speaker 2: was written by writer David Simkins, produced by Deborah Hill Yes,

730
00:43:52,760 --> 00:43:54,920
Speaker 2: who we've talked about on the podcast before.

731
00:43:54,800 --> 00:43:59,480
Speaker 3: And Linda Owes, two really iconic women producers. Because Deborah

732
00:43:59,560 --> 00:44:04,680
Speaker 3: Hill like obviously got her start with John Carpenter doing Halloween,

733
00:44:04,760 --> 00:44:07,239
Speaker 3: she started super young and then went on to work

734
00:44:07,280 --> 00:44:12,799
Speaker 3: with Cronenberg and then also on Big Top Peewee as

735
00:44:12,840 --> 00:44:17,319
Speaker 3: in Babysitting, Escape from La Like Clue, so many of

736
00:44:17,320 --> 00:44:20,120
Speaker 3: my favorite movies she had a hand in. And then

737
00:44:20,200 --> 00:44:25,200
Speaker 3: Linda Obst, who I think passed away fairly recently and

738
00:44:25,280 --> 00:44:28,520
Speaker 3: went on to work I think with Christopher Nolan. She

739
00:44:28,600 --> 00:44:31,719
Speaker 3: also worked on Sleepless in Seattle, How to Lose a

740
00:44:31,719 --> 00:44:34,560
Speaker 3: Guy in Ten Days, Angus songs in Perfect Snogging, a

741
00:44:34,680 --> 00:44:40,000
Speaker 3: recent cover, and Interstellar. Okay, there, Chris Columbus weirdly kind

742
00:44:40,000 --> 00:44:42,000
Speaker 3: of closes it, and but that was her last credit

743
00:44:42,000 --> 00:44:42,480
Speaker 3: before she.

744
00:44:42,440 --> 00:44:46,840
Speaker 2: Passed Okay, Yeah, so yeah, some iconic people behind the scenes.

745
00:44:47,360 --> 00:44:51,759
Speaker 2: It seems as though David Simkins, a screenwriter, drew inspiration

746
00:44:52,000 --> 00:44:55,680
Speaker 2: from Ferris Bueller's Day Off and again after Hours. Like

747
00:44:55,719 --> 00:45:02,920
Speaker 2: I mentioned, No, Also, several critics compared Adventures in Babysitting

748
00:45:02,960 --> 00:45:06,839
Speaker 2: to Risky Business. My point here is that a lot

749
00:45:06,880 --> 00:45:09,880
Speaker 2: of movies like this, where there's like a series of

750
00:45:10,000 --> 00:45:13,399
Speaker 2: misadventures that happen over the course of a day or

751
00:45:13,480 --> 00:45:17,440
Speaker 2: a night, have a protagonist who is a man or

752
00:45:17,480 --> 00:45:20,719
Speaker 2: a teen boy, and Adventures in Babysitting feels like one

753
00:45:20,719 --> 00:45:24,000
Speaker 2: of the few movies from this era with a female protagonist.

754
00:45:24,120 --> 00:45:27,960
Speaker 2: So that's something. Yeah, So that's pretty much the kind

755
00:45:28,000 --> 00:45:30,800
Speaker 2: of relevant production context.

756
00:45:30,960 --> 00:45:33,360
Speaker 3: Yeah, they wanted Molly Ringwall to be the lead, but

757
00:45:33,440 --> 00:45:36,400
Speaker 3: she couldn't do it. All of the nineteen eighties facts

758
00:45:36,400 --> 00:45:40,680
Speaker 3: that you could almost make up predict yeah.

759
00:45:40,840 --> 00:45:46,680
Speaker 2: Yeah. So basically, the general premise of the movie, to me,

760
00:45:47,000 --> 00:45:52,759
Speaker 2: the narrative thrust, if you will, yeah, is what would

761
00:45:52,800 --> 00:45:57,440
Speaker 2: be so scary and create so much conflict for a

762
00:45:57,480 --> 00:46:01,600
Speaker 2: group of middle class white kids from the suburbs. Put

763
00:46:01,640 --> 00:46:05,520
Speaker 2: them in this city where there are black people and

764
00:46:05,719 --> 00:46:10,160
Speaker 2: poor people, and that's like the logic this movie is

765
00:46:10,200 --> 00:46:17,280
Speaker 2: operating on where like, basically, here's who this movie thinks

766
00:46:17,400 --> 00:46:22,520
Speaker 2: is scary. People of color and especially black people, people

767
00:46:22,560 --> 00:46:28,640
Speaker 2: with physical disabilities, people dealing with drug addiction, people who

768
00:46:28,680 --> 00:46:33,840
Speaker 2: are unhoused, people who take public transit, working class people,

769
00:46:34,400 --> 00:46:38,720
Speaker 2: sex workers, immigrants, Like, It's just everything you'd expect from

770
00:46:38,920 --> 00:46:43,160
Speaker 2: a movie of this era. Almost every group of marginalized

771
00:46:43,160 --> 00:46:44,359
Speaker 2: people is like.

772
00:46:44,760 --> 00:46:50,480
Speaker 3: So scary but also very I mean not uniquely tied

773
00:46:50,520 --> 00:46:54,120
Speaker 3: to Chris Columbus's catalog during this time, but like a

774
00:46:54,160 --> 00:46:58,719
Speaker 3: lot of his early work encapsulates these themes directly right

775
00:46:58,760 --> 00:47:04,000
Speaker 3: where he wrote Gremlins, which the inciting incident is an

776
00:47:04,200 --> 00:47:08,680
Speaker 3: encounter with an Asian person, and that is what like

777
00:47:08,800 --> 00:47:12,960
Speaker 3: reeks Havoc into this otherwise quiet white suburban life in

778
00:47:13,000 --> 00:47:15,960
Speaker 3: the eighties. Aventures in babysitting, even though he didn't write it,

779
00:47:15,960 --> 00:47:18,040
Speaker 3: feels like an escalation of this. I think you could

780
00:47:18,040 --> 00:47:21,160
Speaker 3: make the same argument for Home alone. This idea of

781
00:47:21,200 --> 00:47:23,920
Speaker 3: like this city life and the idea of like poverty

782
00:47:24,960 --> 00:47:28,880
Speaker 3: making its way into the quote unquote safe lives of

783
00:47:28,920 --> 00:47:32,920
Speaker 3: this like Oak Park white suburban community, Like it seems

784
00:47:32,960 --> 00:47:37,759
Speaker 3: so connected to his early work in general, which also

785
00:47:37,840 --> 00:47:40,399
Speaker 3: makes it even Wilder that they were like, yeah, let's

786
00:47:40,440 --> 00:47:43,759
Speaker 3: let this get a direct rent. I don't know, right,

787
00:47:44,160 --> 00:47:47,240
Speaker 3: And I mean there's a lot of you know, direct

788
00:47:47,880 --> 00:47:51,520
Speaker 3: overlap in like region and people that he worked with

789
00:47:51,520 --> 00:47:54,720
Speaker 3: with John Hughes's work. But I feel like John Hughes,

790
00:47:54,800 --> 00:47:57,919
Speaker 3: for all of the criticism we have loved at John

791
00:47:57,960 --> 00:48:01,080
Speaker 3: Hughes on this show, I think he has made a

792
00:48:01,120 --> 00:48:03,880
Speaker 3: couple of like just kind of evil movies and then

793
00:48:03,880 --> 00:48:08,320
Speaker 3: a couple of really good ones. But there isn't really

794
00:48:08,360 --> 00:48:10,920
Speaker 3: as much the like shades of gray that you could

795
00:48:10,960 --> 00:48:15,040
Speaker 3: see in a John Hughes movie in Chris Columbus movies

796
00:48:15,160 --> 00:48:17,480
Speaker 3: or I'm not sure, because I feel like as I

797
00:48:17,520 --> 00:48:20,160
Speaker 3: was going through like taking notes for this movie and

798
00:48:20,239 --> 00:48:23,000
Speaker 3: listing sort of like you were saying, Kuelen the list

799
00:48:23,160 --> 00:48:27,920
Speaker 3: of others quote unquote, not because they actually are others,

800
00:48:27,920 --> 00:48:31,640
Speaker 3: but because that's how the movie presents these characters to us.

801
00:48:31,800 --> 00:48:35,759
Speaker 3: Where totally it feels like this movie is written from

802
00:48:35,880 --> 00:48:41,080
Speaker 3: the perspective of a white suburban kid in the way

803
00:48:41,080 --> 00:48:43,600
Speaker 3: that they would imagine a city versus the way that

804
00:48:43,640 --> 00:48:48,200
Speaker 3: a city actually is. Where it's not that all of

805
00:48:48,239 --> 00:48:52,320
Speaker 3: the characters who are like you're saying, like who are black,

806
00:48:52,320 --> 00:48:54,680
Speaker 3: who are immigrants, who are poor, who are sex workers,

807
00:48:54,760 --> 00:48:58,320
Speaker 3: like any other quote unquote other character in this movie,

808
00:48:58,800 --> 00:49:02,480
Speaker 3: anyone who we come to love, we only come to

809
00:49:02,600 --> 00:49:06,400
Speaker 3: love because they help. These white characters, Like, it's not

810
00:49:06,480 --> 00:49:09,920
Speaker 3: because we come to know anything about them and the

811
00:49:10,320 --> 00:49:15,600
Speaker 3: systemic issues that create cities are you know, this movie

812
00:49:15,680 --> 00:49:17,520
Speaker 3: doesn't have an interest in and it's not the job

813
00:49:17,560 --> 00:49:20,600
Speaker 3: of a single movie, but it just feels like it's

814
00:49:20,640 --> 00:49:24,759
Speaker 3: a lot of stock characters that like, well, if this

815
00:49:24,920 --> 00:49:27,960
Speaker 3: character helps. I mean, I think Joe's a good example

816
00:49:28,080 --> 00:49:32,799
Speaker 3: where they literally present the fact that he exists as

817
00:49:32,880 --> 00:49:36,760
Speaker 3: a jump scare, like with the music where it's like bloop,

818
00:49:37,600 --> 00:49:40,759
Speaker 3: here's a black teenager. You're like, well, we didn't need

819
00:49:40,800 --> 00:49:45,439
Speaker 3: to choose that music. Cute, right, But like, because over

820
00:49:45,480 --> 00:49:49,520
Speaker 3: the period of the movie, we realize that he we

821
00:49:49,600 --> 00:49:53,080
Speaker 3: don't know his circumstances, we don't know anything about him

822
00:49:53,080 --> 00:49:55,800
Speaker 3: other than he decides that he's going to be kind

823
00:49:55,960 --> 00:49:59,440
Speaker 3: to these white suburban kids, and that's why we like him.

824
00:49:59,480 --> 00:50:01,680
Speaker 3: And I feel like we kind of see that in

825
00:50:01,760 --> 00:50:04,400
Speaker 3: the characters that we come to like, we only like

826
00:50:04,480 --> 00:50:08,640
Speaker 3: them because from the like very white perspective of the movie.

827
00:50:09,000 --> 00:50:12,719
Speaker 3: They quote unquote like earn our trust the same thing.

828
00:50:12,760 --> 00:50:15,719
Speaker 3: I mean, that whole Blues sequence I feel like illustrates

829
00:50:15,760 --> 00:50:18,680
Speaker 3: that really well, where it's presented as like, this is

830
00:50:18,719 --> 00:50:22,640
Speaker 3: a really hostile environment. Why doesn't anyone want Elizabeth Shoe here?

831
00:50:22,840 --> 00:50:26,360
Speaker 3: And it's like, well, but when it turns out the

832
00:50:26,400 --> 00:50:29,440
Speaker 3: club really likes her, all of a sudden, it's safe

833
00:50:29,440 --> 00:50:31,160
Speaker 3: and they're comfortable, and I don't know, I mean, it's

834
00:50:31,200 --> 00:50:33,600
Speaker 3: just it feels like a very kind of like Reagan

835
00:50:33,719 --> 00:50:36,680
Speaker 3: era time capsule in that way where it's like the

836
00:50:36,920 --> 00:50:41,160
Speaker 3: systemic issues that affect a city, and a very specific

837
00:50:41,200 --> 00:50:44,719
Speaker 3: city Chicago in the eighties is presented as like this

838
00:50:44,880 --> 00:50:48,760
Speaker 3: is just how it is, and ultimately, like the movie

839
00:50:48,800 --> 00:50:51,400
Speaker 3: is presented as like it's so cool that these like

840
00:50:52,520 --> 00:50:57,920
Speaker 3: young white teenagers survived this experience. I don't know, I

841
00:50:57,920 --> 00:50:59,719
Speaker 3: don't know what to make of it. I was like

842
00:51:00,080 --> 00:51:01,920
Speaker 3: a hard time with this movie.

843
00:51:02,520 --> 00:51:06,240
Speaker 5: Yeah, well now I feel bad for liking it. No no, no, no,

844
00:51:06,080 --> 00:51:10,359
Speaker 5: no, no no no no.

845
00:51:10,560 --> 00:51:13,719
Speaker 2: We always say you can like whatever you like. We

846
00:51:13,920 --> 00:51:18,120
Speaker 2: just encourage people to think about the media they consume critically.

847
00:51:18,200 --> 00:51:21,520
Speaker 2: But I mean, again, like back to the Future to one,

848
00:51:21,760 --> 00:51:26,000
Speaker 2: all of them totally I have the same a similar

849
00:51:26,120 --> 00:51:29,280
Speaker 2: slew of problems, and you know, they're still my favorites.

850
00:51:29,280 --> 00:51:32,959
Speaker 2: But also I kept saying, Joe Gibbs, it's Joe gipp

851
00:51:33,200 --> 00:51:35,560
Speaker 2: is the character's name, so my bad.

852
00:51:35,680 --> 00:51:39,840
Speaker 3: Yeah. Played by Calvin Levels, who was I think mainly

853
00:51:40,000 --> 00:51:45,800
Speaker 3: a Broadway actor prior to this, he was a Tony

854
00:51:45,840 --> 00:51:48,919
Speaker 3: nominated actor. So there you go, there you go.

855
00:51:49,360 --> 00:51:53,840
Speaker 2: Yeah, And then the kind of subplot with Brenda being

856
00:51:53,880 --> 00:51:58,560
Speaker 2: stuck at the bus station and it feels like most

857
00:51:58,600 --> 00:52:01,160
Speaker 2: of the characters that she and hunters there and this

858
00:52:01,320 --> 00:52:04,360
Speaker 2: is relevant to so much of the work that you

859
00:52:04,440 --> 00:52:06,920
Speaker 2: have done, maybe as far as like it seems like

860
00:52:06,960 --> 00:52:08,200
Speaker 2: they're all implied to.

861
00:52:08,160 --> 00:52:11,000
Speaker 4: Be unhoused totally, yeah.

862
00:52:10,680 --> 00:52:17,719
Speaker 2: And therefore like they're crazy and like all of those tropes.

863
00:52:17,560 --> 00:52:20,359
Speaker 3: Right, or they're like fie. I was like, oh, maybe

864
00:52:20,400 --> 00:52:22,520
Speaker 3: you can really speak to yeah, like just the way

865
00:52:22,560 --> 00:52:25,040
Speaker 3: that unhouse people are presented totally.

866
00:52:25,160 --> 00:52:25,279
Speaker 2: Uh.

867
00:52:25,880 --> 00:52:29,040
Speaker 4: I definitely was thinking about that as I was rewatching it,

868
00:52:29,160 --> 00:52:33,960
Speaker 4: and just the tropes of the characters, they're very they're caricatures,

869
00:52:34,200 --> 00:52:37,640
Speaker 4: and I think, you know, watching it as a little kid,

870
00:52:37,680 --> 00:52:39,400
Speaker 4: I thought, you know, some of it was funny, but

871
00:52:39,440 --> 00:52:42,840
Speaker 4: I think absolutely from that perspective of how you described

872
00:52:42,880 --> 00:52:46,279
Speaker 4: it earlier, Jamie, as a you know, a white kid

873
00:52:46,280 --> 00:52:49,200
Speaker 4: that grew up in the suburbs of Chicago. I feel

874
00:52:49,239 --> 00:52:53,040
Speaker 4: as if I viewed it through that lens, sure, and

875
00:52:53,080 --> 00:52:55,279
Speaker 4: not really knowing what. You know, I didn't have many

876
00:52:55,360 --> 00:52:59,840
Speaker 4: interactions with people experiencing homelessness when I was probably until

877
00:52:59,840 --> 00:53:03,160
Speaker 4: I was, you know, a late teenager, and you know,

878
00:53:03,239 --> 00:53:05,680
Speaker 4: watching it now, you can definitely see that these are

879
00:53:05,719 --> 00:53:09,279
Speaker 4: just caricatures of human beings. And you know, working in

880
00:53:09,280 --> 00:53:13,359
Speaker 4: a field with people experiencing homelessness, you realize these are

881
00:53:13,480 --> 00:53:16,440
Speaker 4: human beings, and you can just make these assumptions about

882
00:53:16,480 --> 00:53:20,360
Speaker 4: what people are like simply by knowing their housing status.

883
00:53:21,160 --> 00:53:24,080
Speaker 4: But yeah, the characters at the bus station, definitely, we're

884
00:53:24,120 --> 00:53:27,880
Speaker 4: all implied to be either unhoused, dangerous, or both.

885
00:53:29,480 --> 00:53:32,719
Speaker 3: Yeah, that's just how unhouse people lifeel like are presented

886
00:53:32,760 --> 00:53:35,000
Speaker 3: to us from the time that we're very, very young.

887
00:53:35,120 --> 00:53:38,839
Speaker 3: I'm trying to think of like the first I want

888
00:53:38,840 --> 00:53:40,840
Speaker 3: to say it was the movie Big Daddy for me,

889
00:53:40,960 --> 00:53:45,759
Speaker 3: which feels embarrassing, but just the way that is specifically

890
00:53:45,800 --> 00:53:49,840
Speaker 3: in like comedy, that unhouse people are presented as either

891
00:53:49,880 --> 00:53:53,640
Speaker 3: a part for an extra or a cameo to basically

892
00:53:53,719 --> 00:53:57,000
Speaker 3: just like mock the Endhouse. It's so normalized and still is.

893
00:53:58,160 --> 00:54:01,280
Speaker 3: I just saw what was the Key Palmer movie Kiki

894
00:54:01,360 --> 00:54:03,759
Speaker 3: Palmer and says that one of them days, Yeah, there's

895
00:54:03,800 --> 00:54:06,560
Speaker 3: a character like that in that movie, a movie I

896
00:54:06,600 --> 00:54:11,000
Speaker 3: otherwise liked that came out this year, like this year. Yeah,

897
00:54:11,000 --> 00:54:16,279
Speaker 3: this is still a very very common trope that is like,

898
00:54:16,640 --> 00:54:21,839
Speaker 3: you know, just deployed in comedy in this like lazy way.

899
00:54:21,880 --> 00:54:23,200
Speaker 3: And I feel like that's part of why it's like,

900
00:54:23,239 --> 00:54:27,600
Speaker 3: I paradoxically like this is a well made movie, Like

901
00:54:27,719 --> 00:54:31,399
Speaker 3: it's paced super well, the jokes are constant, the performances

902
00:54:31,440 --> 00:54:34,080
Speaker 3: are good, and it also just sort of like takes

903
00:54:34,080 --> 00:54:38,760
Speaker 3: you through this sort of like walking tour of white

904
00:54:38,760 --> 00:54:42,960
Speaker 3: suburban anxieties in nineteen eighty seven. Like there's so many

905
00:54:43,080 --> 00:54:47,040
Speaker 3: where I think about the they meet a seventeen year

906
00:54:47,080 --> 00:54:49,359
Speaker 3: old sex worker and a scene that felt like an

907
00:54:49,360 --> 00:54:54,120
Speaker 3: opportunity and then ended up not being used in that

908
00:54:54,160 --> 00:54:57,560
Speaker 3: way where you know, Anthony Rap's character because he's the

909
00:54:57,760 --> 00:55:01,440
Speaker 3: you know, like little eighties piece of shit kid is

910
00:55:01,600 --> 00:55:05,359
Speaker 3: talking to a sex worker and not realizing that she's

911
00:55:05,400 --> 00:55:09,279
Speaker 3: a sex worker, and Elizabeth Shoe comes over, they have

912
00:55:09,320 --> 00:55:12,160
Speaker 3: a brief conversation, they realize that they're the same age.

913
00:55:13,440 --> 00:55:15,360
Speaker 3: The sex worker, who does not get a name, I

914
00:55:15,400 --> 00:55:18,880
Speaker 3: don't think, says like I think Elizabeth Shoe asks like,

915
00:55:19,120 --> 00:55:21,520
Speaker 3: how did you like come to be doing this, and

916
00:55:21,560 --> 00:55:23,799
Speaker 3: then she's just like, oh, well, I ran away from home,

917
00:55:23,840 --> 00:55:26,520
Speaker 3: which is also like overly simplistic we don't know why,

918
00:55:26,640 --> 00:55:30,560
Speaker 3: like you know, but but she's just more positioned as

919
00:55:30,640 --> 00:55:36,000
Speaker 3: like a warning about what could happen to Brenda exactly

920
00:55:36,200 --> 00:55:38,440
Speaker 3: if they don't pick her up from the bus station

921
00:55:39,440 --> 00:55:42,840
Speaker 3: and then they just say bye and they don't.

922
00:55:43,440 --> 00:55:43,520
Speaker 1: Like.

923
00:55:43,920 --> 00:55:45,640
Speaker 3: As I was watching this, like it would have been

924
00:55:45,719 --> 00:55:49,640
Speaker 3: fun to start with just like even with like one kid,

925
00:55:49,760 --> 00:55:54,960
Speaker 3: instead of forcing this weird like two teenage nerds trying

926
00:55:55,000 --> 00:55:57,400
Speaker 3: to fuck the lead, which is every eighties movie of

927
00:55:57,440 --> 00:56:01,560
Speaker 3: all time. If you just started with the babysit and Sarah,

928
00:56:01,880 --> 00:56:04,720
Speaker 3: Chris and Sarah and then they sort of meet people

929
00:56:04,920 --> 00:56:07,719
Speaker 3: and they form a Wizard of Oz kind of coalition

930
00:56:07,920 --> 00:56:10,600
Speaker 3: as they go along versus these kind of like two

931
00:56:10,880 --> 00:56:15,120
Speaker 3: useless suburban teenage boys no offense. I almost feel like

932
00:56:15,120 --> 00:56:19,520
Speaker 3: like you could, you know, still be dated to an extent,

933
00:56:19,560 --> 00:56:23,920
Speaker 3: but like this movie had the opportunity to have kind

934
00:56:23,920 --> 00:56:28,799
Speaker 3: of the stereotypical protagonist in like kid comedies of this

935
00:56:28,920 --> 00:56:33,919
Speaker 3: time actually interact with people, you know. Yeah, but it's

936
00:56:33,960 --> 00:56:35,960
Speaker 3: sort of like they meet people and then they're like,

937
00:56:36,080 --> 00:56:40,080
Speaker 3: well bye, you know, like that's kind of what the

938
00:56:40,200 --> 00:56:42,279
Speaker 3: movie because it's so like episodic.

939
00:56:43,920 --> 00:56:48,120
Speaker 2: Yeah, And I mean, as we've talked about many times

940
00:56:48,120 --> 00:56:52,880
Speaker 2: on the podcast before, especially with comedies or movies with

941
00:56:52,960 --> 00:56:56,840
Speaker 2: a lot of comic relief for such a long time

942
00:56:57,280 --> 00:57:02,239
Speaker 2: and again sometimes still to this day, the comedy is

943
00:57:02,320 --> 00:57:09,600
Speaker 2: relying pretty solely on punching down type jokes, and this

944
00:57:10,120 --> 00:57:14,400
Speaker 2: movie certainly does that. It feels as though basically every

945
00:57:15,280 --> 00:57:18,280
Speaker 2: kind of like eighties trope or any like you know,

946
00:57:18,720 --> 00:57:25,200
Speaker 2: status quo upholding thing is done here where you know,

947
00:57:25,240 --> 00:57:27,440
Speaker 2: it's the stuff that we've already talked about. It's the

948
00:57:28,240 --> 00:57:35,000
Speaker 2: you know, adults hitting on or kissing teenagers is totally

949
00:57:35,120 --> 00:57:37,080
Speaker 2: fine according to this movie.

950
00:57:37,400 --> 00:57:40,360
Speaker 3: Well, it's like, particularly without getting too into it, but

951
00:57:40,480 --> 00:57:43,560
Speaker 3: like particularly that happening to a young Anthony rap which

952
00:57:43,640 --> 00:57:49,440
Speaker 3: becomes such a large part of his story that he

953
00:57:49,680 --> 00:57:51,800
Speaker 3: started speaking on when he was an adult, Like it

954
00:57:51,920 --> 00:57:56,520
Speaker 3: just feels especially like not that there's an appropriate way

955
00:57:56,520 --> 00:57:59,520
Speaker 3: for that to happen, but just because of Anthony Rap's

956
00:57:59,520 --> 00:58:03,720
Speaker 3: personal hiss, that felt especially like pointed, yeah, Jesus Christ,

957
00:58:03,800 --> 00:58:05,560
Speaker 3: like who was looking out for these kids?

958
00:58:05,960 --> 00:58:09,240
Speaker 2: Yeah, and then his character is written to be someone

959
00:58:09,320 --> 00:58:12,560
Speaker 2: who for example, after they've picked up Brenda and she's

960
00:58:12,600 --> 00:58:15,640
Speaker 2: sleeping in the car on the way home, he tries

961
00:58:15,720 --> 00:58:20,200
Speaker 2: to like peek under her shirt and at least Brad stops.

962
00:58:19,880 --> 00:58:23,000
Speaker 3: Him, which is presented as like, well, she should be

963
00:58:23,120 --> 00:58:27,400
Speaker 3: with him because he's not trying to assault her. I've

964
00:58:27,400 --> 00:58:29,680
Speaker 3: seen a lot of I don't know, it's because our

965
00:58:29,680 --> 00:58:34,280
Speaker 3: show's been on for since twenty sixteen, and a lot

966
00:58:34,480 --> 00:58:38,520
Speaker 3: of the kind of feminist arguments for movies around twenty

967
00:58:38,560 --> 00:58:44,480
Speaker 3: sixteen when we started the show, we're basically like, well,

968
00:58:45,000 --> 00:58:48,560
Speaker 3: if there is a female lead and she didn't get assaulted,

969
00:58:48,960 --> 00:58:55,240
Speaker 3: that's a feminist win. And yeah, yeah, and that was

970
00:58:55,280 --> 00:58:56,880
Speaker 3: a lot of that because I was interested in, like

971
00:58:56,920 --> 00:58:59,280
Speaker 3: what because it's like this movie has been through a

972
00:58:59,280 --> 00:59:03,560
Speaker 3: lot of, you know, rounds of discourse because it's been

973
00:59:03,600 --> 00:59:06,440
Speaker 3: around for a long time. And yeah, the last round

974
00:59:06,480 --> 00:59:08,480
Speaker 3: of discourse with this movie I think was in like

975
00:59:08,560 --> 00:59:10,760
Speaker 3: the late twenty tents where they're like this movie is

976
00:59:10,800 --> 00:59:15,160
Speaker 3: a feminist sleigh because she does not end up with

977
00:59:15,400 --> 00:59:18,480
Speaker 3: Brad question mark. Although I do think that that is

978
00:59:18,840 --> 00:59:23,080
Speaker 3: interesting for the time because the movie is telegraphing, and

979
00:59:23,120 --> 00:59:24,680
Speaker 3: I also feel like a lot of movies at this

980
00:59:24,720 --> 00:59:28,880
Speaker 3: time telegraph like the cool girl has to tate the

981
00:59:28,920 --> 00:59:33,640
Speaker 3: nerd because he just realized that she can think it's

982
00:59:33,720 --> 00:59:38,120
Speaker 3: a human. Yes, yes, and that doesn't happen here. But

983
00:59:38,200 --> 00:59:41,640
Speaker 3: then something else happens that I think is like annoying

984
00:59:41,680 --> 00:59:43,040
Speaker 3: in a totally different way.

985
00:59:43,160 --> 00:59:48,400
Speaker 2: Yeah, basically, we're to believe he's an adult man. He's

986
00:59:48,560 --> 00:59:51,560
Speaker 2: eighteen or nineteen, you know, legally an adult.

987
00:59:51,680 --> 00:59:53,840
Speaker 3: I'm not upset about like an age gap, but it's

988
00:59:53,880 --> 00:59:56,400
Speaker 3: just like, who is this guy? And he's also kind

989
00:59:56,440 --> 00:59:59,320
Speaker 3: of following her to her house? That was the issue

990
00:59:59,320 --> 01:00:01,440
Speaker 3: that I had. I was like, because I don't know,

991
01:00:01,640 --> 01:00:04,880
Speaker 3: when I was sixteen, I dated a nineteen year old,

992
01:00:05,240 --> 01:00:08,440
Speaker 3: and you know, I think that that dynamic can differ.

993
01:00:08,600 --> 01:00:11,880
Speaker 3: But like it's someone within two years of her age range,

994
01:00:11,920 --> 01:00:14,280
Speaker 3: I'm not super upset. I mean, also, Brad is within

995
01:00:14,400 --> 01:00:16,600
Speaker 3: two years of her age range on the other side,

996
01:00:17,640 --> 01:00:21,120
Speaker 3: but this guy followed her home. That's what I'm more

997
01:00:21,280 --> 01:00:25,200
Speaker 3: concerned about. Because it's like, what if she wasn't into

998
01:00:25,280 --> 01:00:27,520
Speaker 3: him and then he simply followed her home.

999
01:00:28,360 --> 01:00:32,840
Speaker 2: Yeah, it's there's definitely some stalking happening. There is the

1000
01:00:32,920 --> 01:00:37,400
Speaker 2: movie ending with this, like I think very wedged in

1001
01:00:38,440 --> 01:00:41,200
Speaker 2: hetero kiss because like, that's not what the movie is about.

1002
01:00:41,200 --> 01:00:43,360
Speaker 2: The movie's about. I mean, I guess it does open

1003
01:00:43,400 --> 01:00:48,160
Speaker 2: with she gets ditched by her boyfriend. So if the

1004
01:00:48,400 --> 01:00:51,520
Speaker 2: arc is like, oh, well, who's gonna kiss her now

1005
01:00:51,520 --> 01:00:54,400
Speaker 2: that her boyfriend ditched her? Oh, she meets this other guy,

1006
01:00:55,000 --> 01:00:57,520
Speaker 2: but the core of the movie is about her as

1007
01:00:57,520 --> 01:01:00,000
Speaker 2: a babysitter and the adventures they get in. I don't know,

1008
01:01:00,240 --> 01:01:01,680
Speaker 2: I just felt a little unnecessary.

1009
01:01:01,840 --> 01:01:03,600
Speaker 5: And then he kissed me, and then.

1010
01:01:03,520 --> 01:01:06,960
Speaker 3: He kissed me, and then he kissed her, and then

1011
01:01:06,960 --> 01:01:09,120
Speaker 3: you're like, but wait, who kissed her?

1012
01:01:09,200 --> 01:01:14,560
Speaker 2: Who's this guy? Just a couple other things, you know, again,

1013
01:01:14,640 --> 01:01:18,840
Speaker 2: tropes that are adhered to that are extremely reductive. There's

1014
01:01:18,840 --> 01:01:22,840
Speaker 2: that doctor in the hospital who speaks English with a

1015
01:01:23,440 --> 01:01:28,000
Speaker 2: not American accent, and he is characterized as being goofy

1016
01:01:28,160 --> 01:01:32,560
Speaker 2: and cartoonish and not smart or good at his doctor job.

1017
01:01:33,600 --> 01:01:37,720
Speaker 2: You have that scene where Chris sees her boyfriend with

1018
01:01:37,840 --> 01:01:41,760
Speaker 2: another girl, and Chris's first instinct is to insult the

1019
01:01:42,080 --> 01:01:45,720
Speaker 2: other girl and slut shame her rather than like be

1020
01:01:46,520 --> 01:01:49,520
Speaker 2: pissed at her boyfriend, which she is in the next moment,

1021
01:01:49,680 --> 01:01:51,680
Speaker 2: but like her first thing is like, I mean.

1022
01:01:51,600 --> 01:01:53,200
Speaker 3: It's very nineteen eighty seven.

1023
01:01:53,400 --> 01:01:56,520
Speaker 2: Yeah, yeah, yeah, for sure, So you know a bunch

1024
01:01:56,520 --> 01:01:58,880
Speaker 2: of things like that. Maybe I'm sorry, I feel badly

1025
01:01:59,000 --> 01:01:59,800
Speaker 2: we're just.

1026
01:01:59,760 --> 01:02:02,880
Speaker 3: Like, no, no, it's piling on totally.

1027
01:02:02,920 --> 01:02:04,800
Speaker 5: It's I mean, I recognize that.

1028
01:02:04,880 --> 01:02:07,720
Speaker 4: I mean, you know, that's it not as an excuse,

1029
01:02:07,800 --> 01:02:10,560
Speaker 4: but it's just very of that time, where.

1030
01:02:10,480 --> 01:02:12,760
Speaker 3: Like, definitely, yeah, I would be.

1031
01:02:13,200 --> 01:02:16,120
Speaker 4: You know, a little shocked to find, you know, some

1032
01:02:16,240 --> 01:02:20,680
Speaker 4: movies where we don't see those kinds of tropes, and.

1033
01:02:20,000 --> 01:02:23,960
Speaker 5: But yeah, there is a lot to unpack about a lot.

1034
01:02:23,800 --> 01:02:27,840
Speaker 4: Of the characters and scenes, and yeah, at the expense

1035
01:02:27,920 --> 01:02:29,600
Speaker 4: of marginalized communities.

1036
01:02:31,560 --> 01:02:34,400
Speaker 2: I did note a couple exceptions to the you know,

1037
01:02:34,440 --> 01:02:39,080
Speaker 2: pretty tropy nature of the writing, which is that, I mean,

1038
01:02:39,120 --> 01:02:42,520
Speaker 2: I guess aside from like, the protagonist of a movie

1039
01:02:42,560 --> 01:02:45,360
Speaker 2: from the nineteen eighties is a go go ga girl,

1040
01:02:46,280 --> 01:02:50,840
Speaker 2: but then there's also the little girl Sarah. She is

1041
01:02:50,920 --> 01:02:56,560
Speaker 2: obsessed with thor slash like superhero stuff like rather than

1042
01:02:56,600 --> 01:03:02,040
Speaker 2: something traditionally hyper feminine, and you know, superhero and comic

1043
01:03:02,040 --> 01:03:04,000
Speaker 2: books and all that kind of stuff is like it

1044
01:03:04,040 --> 01:03:08,360
Speaker 2: has been pigeonholed into a quote unquote masculine interest.

1045
01:03:08,680 --> 01:03:12,680
Speaker 3: I love Sarah. She's so chaos. I love her. I

1046
01:03:12,760 --> 01:03:15,240
Speaker 3: love that she's like a little bit evil in a

1047
01:03:15,280 --> 01:03:18,960
Speaker 3: fun way. She's always laughing when they're getting into car crashes.

1048
01:03:20,400 --> 01:03:24,480
Speaker 4: Yeah, and then even you know, like at the restaurants

1049
01:03:24,560 --> 01:03:28,560
Speaker 4: when she's like being all sneaky and sneaking the pastries

1050
01:03:28,600 --> 01:03:31,480
Speaker 4: off the pastry cart, and then she just decides, you

1051
01:03:31,520 --> 01:03:32,840
Speaker 4: know what, I'm leaving.

1052
01:03:32,960 --> 01:03:34,280
Speaker 5: I'm going to the toy store.

1053
01:03:35,240 --> 01:03:38,040
Speaker 3: Yeah, this is none of my business.

1054
01:03:37,960 --> 01:03:41,080
Speaker 5: And that this is how the whole building moment happens.

1055
01:03:41,800 --> 01:03:45,600
Speaker 3: Right. Yeah. I really appreciated her character. I feel like

1056
01:03:45,640 --> 01:03:49,680
Speaker 3: this is like precocious young kid done right, because she

1057
01:03:49,760 --> 01:03:53,360
Speaker 3: still feels like a kid, right, Like she still wants

1058
01:03:53,440 --> 01:03:57,280
Speaker 3: ice cream and toys and has very like kid like interest.

1059
01:03:57,360 --> 01:04:01,000
Speaker 3: But she's also like, I don't know, like moment at

1060
01:04:01,000 --> 01:04:05,440
Speaker 3: the beginning where she I guess that I am pro Disney.

1061
01:04:05,320 --> 01:04:08,680
Speaker 2: Edit, but yeah, in this case, yes.

1062
01:04:08,480 --> 01:04:11,880
Speaker 3: That edit at the beginning, sure, I'm pro that, but

1063
01:04:12,240 --> 01:04:16,360
Speaker 3: that she basically tricks her older brother into admitting that

1064
01:04:16,400 --> 01:04:19,760
Speaker 3: he has a crush on Chris, and like, it's just

1065
01:04:20,200 --> 01:04:25,640
Speaker 3: it's like it's younger sibling, devious, done well, and I

1066
01:04:25,680 --> 01:04:28,720
Speaker 3: really like her and I like Chris too. I think

1067
01:04:28,720 --> 01:04:32,680
Speaker 3: that there were opportunities for Chris that weren't really taken

1068
01:04:33,000 --> 01:04:36,320
Speaker 3: in again in a way that is very of the time,

1069
01:04:36,600 --> 01:04:40,520
Speaker 3: right where the moment I was like, I think just

1070
01:04:40,720 --> 01:04:45,480
Speaker 3: Bachtel cast frustrated by was There's a moment towards the

1071
01:04:45,520 --> 01:04:48,720
Speaker 3: beginning of the movie when Chris has just come over

1072
01:04:49,600 --> 01:04:52,760
Speaker 3: and Sarah asks her, what are you going to major

1073
01:04:52,800 --> 01:04:53,920
Speaker 3: it in college? Oh?

1074
01:04:54,000 --> 01:04:54,240
Speaker 2: Yeah?

1075
01:04:54,280 --> 01:04:58,200
Speaker 3: And she just goes like, what, I'm not going to college. Well,

1076
01:04:58,400 --> 01:05:00,640
Speaker 3: I don't even know if that's the implication. I like,

1077
01:05:00,680 --> 01:05:05,240
Speaker 3: it's like unclear she even heard it. And then Chris's

1078
01:05:05,560 --> 01:05:10,520
Speaker 3: life outside of babysitting and having crushes is never brought

1079
01:05:10,600 --> 01:05:14,520
Speaker 3: up again, which is like, you know, if you're seventeen,

1080
01:05:14,760 --> 01:05:18,600
Speaker 3: obviously your life is small in ways that are to

1081
01:05:18,680 --> 01:05:21,760
Speaker 3: be expected, right, But it was just like and I

1082
01:05:21,760 --> 01:05:24,400
Speaker 3: wouldn't advocate for like a change that would be like

1083
01:05:24,400 --> 01:05:27,120
Speaker 3: an over correction, Like here's a question, Kila, did they

1084
01:05:27,200 --> 01:05:30,560
Speaker 3: add a weird woman in stem ambition for the Sabrina

1085
01:05:30,600 --> 01:05:33,160
Speaker 3: Carbonder character. Was she like, I really want to be

1086
01:05:33,280 --> 01:05:34,520
Speaker 3: a chemist.

1087
01:05:34,480 --> 01:05:36,960
Speaker 2: Not women and so, but she she wants to be

1088
01:05:37,120 --> 01:05:41,000
Speaker 2: a photographer or an artist. She's like vying for an

1089
01:05:41,480 --> 01:05:44,120
Speaker 2: art or photography internship or something like that.

1090
01:05:44,480 --> 01:05:48,200
Speaker 3: Okay, I appreciate that. Does it ever come into the plot?

1091
01:05:48,360 --> 01:05:50,800
Speaker 3: Probably not, But I just thought it was funny that

1092
01:05:50,880 --> 01:05:53,440
Speaker 3: in the eighty seven version, she's like what and then

1093
01:05:53,480 --> 01:05:57,120
Speaker 3: it never comes up again, like an external life for her.

1094
01:05:57,360 --> 01:06:00,200
Speaker 2: That scene is is Sarah being like, Yo, what are

1095
01:06:00,200 --> 01:06:03,520
Speaker 2: you going to major in or something? And Chris responds

1096
01:06:03,560 --> 01:06:07,040
Speaker 2: by saying, I'm not going to college. She's like college. Oh,

1097
01:06:08,120 --> 01:06:10,160
Speaker 2: and it's kind of like, I mean, it was more

1098
01:06:10,160 --> 01:06:12,000
Speaker 2: affordable in the eighties, so if you were going to

1099
01:06:12,040 --> 01:06:14,080
Speaker 2: go to college, that was the time to do it.

1100
01:06:14,160 --> 01:06:17,600
Speaker 3: But well it seems like, I mean, given their socioeconomic like,

1101
01:06:18,160 --> 01:06:20,720
Speaker 3: she probably could. I don't know, I don't know. Yeah, sorry,

1102
01:06:20,720 --> 01:06:21,600
Speaker 3: maybe we cut you off.

1103
01:06:21,760 --> 01:06:23,040
Speaker 5: No, No, I was just gonna say.

1104
01:06:23,120 --> 01:06:25,520
Speaker 4: I mean Sarah was digging through her purse, which also

1105
01:06:25,680 --> 01:06:27,720
Speaker 4: sort of lends to that you know, sort of tvous

1106
01:06:27,760 --> 01:06:31,720
Speaker 4: little character, little sister character you were talking about, and

1107
01:06:32,320 --> 01:06:35,040
Speaker 4: she directly asks Chris. She goes, are you going to

1108
01:06:35,120 --> 01:06:39,560
Speaker 4: go to college? And Chris is like what, no, thanks mom,

1109
01:06:39,720 --> 01:06:42,040
Speaker 4: and like obviously like her mom is trying to convince

1110
01:06:42,040 --> 01:06:43,920
Speaker 4: her to go to college and she's.

1111
01:06:43,800 --> 01:06:45,720
Speaker 5: Just not having it.

1112
01:06:46,080 --> 01:06:50,400
Speaker 4: And I think it's because she's so preoccupied with so cool,

1113
01:06:50,600 --> 01:06:52,040
Speaker 4: mister so Cool.

1114
01:06:52,200 --> 01:06:55,680
Speaker 2: But to the Sarah being a little stinker and like

1115
01:06:55,840 --> 01:06:58,600
Speaker 2: ragging on her older brother about the little crush that

1116
01:06:58,680 --> 01:07:02,920
Speaker 2: he has. I think another subversion is that a teen

1117
01:07:03,080 --> 01:07:08,200
Speaker 2: boy is characterized almost entirely by his crush on a girl,

1118
01:07:08,240 --> 01:07:11,600
Speaker 2: where normally you would see a male character be way

1119
01:07:11,600 --> 01:07:14,600
Speaker 2: more fleshed out, and that then a teen girl be

1120
01:07:14,760 --> 01:07:18,880
Speaker 2: solely defined by her crush on a boy. But that

1121
01:07:19,120 --> 01:07:21,400
Speaker 2: feels like there's a little bit of a flip there.

1122
01:07:22,080 --> 01:07:24,840
Speaker 3: That's true. I guess that there is like some equity

1123
01:07:24,880 --> 01:07:28,720
Speaker 3: there where it's like Chris has more dimension than most

1124
01:07:28,760 --> 01:07:32,120
Speaker 3: of the kids because she also has a friend named

1125
01:07:32,160 --> 01:07:37,480
Speaker 3: Brenda who's at the bus station. And then the two

1126
01:07:37,600 --> 01:07:41,360
Speaker 3: teenage boys are horny Horny Horney and Sarah lex Thor

1127
01:07:42,120 --> 01:07:45,120
Speaker 3: And that is really what we have. And I don't

1128
01:07:45,160 --> 01:07:47,480
Speaker 3: I'm not complaining about it. I do like a like

1129
01:07:47,720 --> 01:07:50,800
Speaker 3: low concept like these are the characters. This is what

1130
01:07:50,840 --> 01:07:51,240
Speaker 3: we've got.

1131
01:07:51,480 --> 01:07:51,880
Speaker 2: Mm hmm.

1132
01:07:52,240 --> 01:07:55,400
Speaker 3: Yeah, I guess it's just like the whole idea that, like,

1133
01:07:55,440 --> 01:08:00,480
Speaker 3: I feel like with some very slight additions to Chris's character,

1134
01:08:01,040 --> 01:08:03,560
Speaker 3: even I don't know watching it through this time, like

1135
01:08:03,640 --> 01:08:07,160
Speaker 3: maybe you were saying, like the promise of like the

1136
01:08:07,280 --> 01:08:10,760
Speaker 3: and then he kissed me at the very beginning is

1137
01:08:10,800 --> 01:08:13,560
Speaker 3: fulfilled by the end. But that's like not really her

1138
01:08:14,000 --> 01:08:17,040
Speaker 3: central goal the whole time, and so I wish that

1139
01:08:17,080 --> 01:08:19,600
Speaker 3: there was like just a slightly different ending. I'm not

1140
01:08:19,720 --> 01:08:21,880
Speaker 3: upset that she ends up with a boyfriend. It seems

1141
01:08:21,880 --> 01:08:24,679
Speaker 3: like that's something that she wants, is like someone who

1142
01:08:25,080 --> 01:08:28,040
Speaker 3: is thoughtful and treats her well, which this movie interprets

1143
01:08:28,040 --> 01:08:32,280
Speaker 3: as following you to your house, who is nineteen eighty seven.

1144
01:08:34,040 --> 01:08:36,320
Speaker 3: But I don't know, Yeah, how did everyone feel about

1145
01:08:36,360 --> 01:08:38,679
Speaker 3: the ending? I mean, it's obviously very dated.

1146
01:08:39,800 --> 01:08:40,759
Speaker 5: I mean it's interesting.

1147
01:08:40,920 --> 01:08:43,439
Speaker 4: It's kind of like you know, in the last like

1148
01:08:43,520 --> 01:08:47,320
Speaker 4: fifteen minutes they like wrap up everything, I mean, from

1149
01:08:47,400 --> 01:08:50,840
Speaker 4: getting the car back to racing home, to cleaning up

1150
01:08:51,000 --> 01:08:54,400
Speaker 4: to pretending like nothing happened who end of the evening?

1151
01:08:54,560 --> 01:08:55,760
Speaker 5: Uh, and then he kissed me.

1152
01:08:56,840 --> 01:09:00,360
Speaker 4: So it feels like not necessarily, Like it feels like

1153
01:09:00,439 --> 01:09:03,040
Speaker 4: the finale is not just the kiss, but like sort

1154
01:09:03,080 --> 01:09:06,120
Speaker 4: of the scene where they're like, Okay, we're getting out

1155
01:09:06,120 --> 01:09:08,360
Speaker 4: of the city, We're going back to the suburbs, like

1156
01:09:09,000 --> 01:09:11,040
Speaker 4: that's the beginning of the finale, and then like the

1157
01:09:11,520 --> 01:09:14,640
Speaker 4: kiss at the end is just sort of like what

1158
01:09:14,680 --> 01:09:17,679
Speaker 4: they probably thought was like the cherry on top, right.

1159
01:09:18,200 --> 01:09:23,120
Speaker 2: Yeah, No, I totally agree the twenty sixteen decom reboot for.

1160
01:09:23,160 --> 01:09:26,760
Speaker 3: A Sabrina as a Sabrina fan. She had to go

1161
01:09:26,840 --> 01:09:30,320
Speaker 3: through so much to get to Shortened Sweet.

1162
01:09:30,200 --> 01:09:33,639
Speaker 2: She really did. But I don't think like the final

1163
01:09:33,680 --> 01:09:37,880
Speaker 2: frame of the movie are like teens kissing each other.

1164
01:09:38,479 --> 01:09:44,680
Speaker 2: But there are various hetero love interests sprinkled throughout the

1165
01:09:44,720 --> 01:09:49,320
Speaker 2: movie where Sabrina Carpenter's character has a crush on a

1166
01:09:49,320 --> 01:09:51,720
Speaker 2: boy and there's a misunderstanding where oh no, someone told

1167
01:09:51,760 --> 01:09:54,040
Speaker 2: him that she wasn't interested, but she is interested in

1168
01:09:54,040 --> 01:09:57,640
Speaker 2: that you know, culminates and she like lets him know

1169
01:09:57,680 --> 01:10:00,240
Speaker 2: that she does like him after all, and that's nice.

1170
01:10:00,520 --> 01:10:05,320
Speaker 2: The other babysitter, because there are two babysitters in this one, and.

1171
01:10:05,600 --> 01:10:07,679
Speaker 3: There's two babysitters, two.

1172
01:10:07,640 --> 01:10:11,240
Speaker 2: Babysitters, two families two sets of kids, oh too much.

1173
01:10:11,400 --> 01:10:16,200
Speaker 2: One of the younger girls likes one of the younger

1174
01:10:16,360 --> 01:10:20,240
Speaker 2: boys from the other family, so there's another hetero love

1175
01:10:20,240 --> 01:10:21,040
Speaker 2: interest in that one.

1176
01:10:21,080 --> 01:10:24,120
Speaker 3: And then they just like double down. They're like more more,

1177
01:10:24,240 --> 01:10:26,120
Speaker 3: more teenage couples.

1178
01:10:26,520 --> 01:10:30,160
Speaker 2: So the other babysitter, and again I'm probably supposed to

1179
01:10:30,200 --> 01:10:32,559
Speaker 2: know who that is. I don't have the tab open.

1180
01:10:32,840 --> 01:10:35,800
Speaker 2: I don't know who plays her, but it's the other babysitter.

1181
01:10:36,760 --> 01:10:40,719
Speaker 2: She is given a love interest who is a cop.

1182
01:10:41,640 --> 01:10:45,920
Speaker 2: So it's, uh, you know, it's bad. And I think

1183
01:10:45,920 --> 01:10:48,519
Speaker 2: that's all I really had to say about the reboot,

1184
01:10:48,520 --> 01:10:52,400
Speaker 2: except that the nineteen eighty seven movie, like you said, Jamie, like,

1185
01:10:52,479 --> 01:10:54,240
Speaker 2: it's well made, it's a good script.

1186
01:10:54,680 --> 01:10:58,479
Speaker 3: I think it's like directed well too. Like it's I

1187
01:10:58,520 --> 01:11:01,080
Speaker 3: get why people really like it totally.

1188
01:11:01,200 --> 01:11:04,040
Speaker 2: Yeah, it's a fun romp. It's easy to follow. Yeah,

1189
01:11:04,080 --> 01:11:09,840
Speaker 2: we're having fun. The Dcon reboot is so convoluted it

1190
01:11:09,920 --> 01:11:14,839
Speaker 2: is nonsensical. It loses the thread almost immediately. I somehow

1191
01:11:14,880 --> 01:11:17,759
Speaker 2: could not follow along. I was like, what is happening?

1192
01:11:18,000 --> 01:11:21,760
Speaker 3: I'm sure that the budget was like twelve dollars and

1193
01:11:22,600 --> 01:11:25,320
Speaker 3: I recently read I've actually to get ready for our

1194
01:11:25,760 --> 01:11:29,559
Speaker 3: upcoming Camp Rock episode. I just read a book about

1195
01:11:29,560 --> 01:11:32,160
Speaker 3: the history of dcons that came out I think last

1196
01:11:32,240 --> 01:11:35,920
Speaker 3: year called Disney High that said that The Adventures in

1197
01:11:36,000 --> 01:11:39,640
Speaker 3: Babysitting reboot was in the works at Distey for so

1198
01:11:39,920 --> 01:11:42,360
Speaker 3: long that I think by the time it actually came out,

1199
01:11:42,400 --> 01:11:45,840
Speaker 3: they very much just kind of sharded it out because

1200
01:11:45,840 --> 01:11:49,160
Speaker 3: it was originally supposed to start Raven Simone in like

1201
01:11:49,240 --> 01:11:52,880
Speaker 3: two thousand and seven or something, and then like it

1202
01:11:52,960 --> 01:11:56,479
Speaker 3: just kept not happening, and then poor Sabrina Carpenter, her

1203
01:11:56,560 --> 01:11:59,439
Speaker 3: number came up and she had to be in. Yeah,

1204
01:11:59,479 --> 01:12:02,920
Speaker 3: whatever of shit you had to watch, But this movie

1205
01:12:03,000 --> 01:12:05,120
Speaker 3: isn't a piece of shit, and I actually do. I mean,

1206
01:12:05,160 --> 01:12:10,000
Speaker 3: it's like Chris Columbus. I am constantly frustrated and impressed

1207
01:12:10,040 --> 01:12:12,640
Speaker 3: by him because he directed this when he was like

1208
01:12:12,800 --> 01:12:17,080
Speaker 3: twenty eight, he'd already written Gremlins. He would go on

1209
01:12:17,320 --> 01:12:19,400
Speaker 3: to I mean, yeah, like a couple of years after

1210
01:12:19,479 --> 01:12:22,640
Speaker 3: he directs Home Alone. Like obviously he went on to

1211
01:12:22,680 --> 01:12:27,800
Speaker 3: have a ridiculous career, But it's interesting to seeing kind

1212
01:12:27,840 --> 01:12:31,600
Speaker 3: of how much of what his kind of thumbprint in,

1213
01:12:32,400 --> 01:12:35,200
Speaker 3: Like American family movies are kind of right from the

1214
01:12:35,320 --> 01:12:39,120
Speaker 3: jump with even before this, with Gremblins of like, you

1215
01:12:39,200 --> 01:12:43,920
Speaker 3: have this quote unquote like allegedly idyllic suburban life, and

1216
01:12:43,960 --> 01:12:46,880
Speaker 3: then there is this sort of outside factor. I mean,

1217
01:12:46,880 --> 01:12:50,320
Speaker 3: you could even attribute this to his Harry Potter movies

1218
01:12:50,880 --> 01:12:54,759
Speaker 3: of like this idyllic suburban life that with complicated families

1219
01:12:54,800 --> 01:12:58,960
Speaker 3: inside being disrupted in some way by an other force.

1220
01:12:59,080 --> 01:13:04,520
Speaker 3: You're a wizard, Harry, whether it's a gremlin or wizards

1221
01:13:04,640 --> 01:13:09,280
Speaker 3: or Robin Williams in Drag and Missus Doubtfire, Like there's

1222
01:13:09,360 --> 01:13:13,519
Speaker 3: so many outside like that is just his playbook, and

1223
01:13:13,560 --> 01:13:15,920
Speaker 3: I guess that never like fully came together for me

1224
01:13:16,080 --> 01:13:20,839
Speaker 3: until Sitting With like his first the first movie he directed.

1225
01:13:20,960 --> 01:13:24,599
Speaker 2: But this is very much a through line babysitting with it.

1226
01:13:24,840 --> 01:13:29,080
Speaker 3: I babysat with it. Yeah wow? Yeah did we all?

1227
01:13:29,120 --> 01:13:32,719
Speaker 3: Do we all babysit at different points? Any babysitting stories

1228
01:13:32,760 --> 01:13:33,240
Speaker 3: to swap?

1229
01:13:34,360 --> 01:13:36,040
Speaker 5: No, I didn't really babysit.

1230
01:13:36,040 --> 01:13:39,560
Speaker 4: I mean, I've watched my little brother sometimes, but I

1231
01:13:39,560 --> 01:13:42,800
Speaker 4: don't know if I it didn't feel like babysiting. I

1232
01:13:42,880 --> 01:13:46,160
Speaker 4: never babysat for non family members.

1233
01:13:46,560 --> 01:13:50,439
Speaker 2: Okay, yeah, neither did I I didn't want to be

1234
01:13:50,479 --> 01:13:51,360
Speaker 2: around children.

1235
01:13:51,680 --> 01:13:55,840
Speaker 3: Okay, Well, never mind, No, but tell yours. No, I

1236
01:13:55,840 --> 01:13:59,120
Speaker 3: don't have any. I babysat a lot because I had

1237
01:13:59,320 --> 01:14:02,679
Speaker 3: a huge fan and that's what they do. They exploit

1238
01:14:02,720 --> 01:14:05,360
Speaker 3: your labor. But you get to know your cousins really well,

1239
01:14:05,560 --> 01:14:07,120
Speaker 3: and so that's the upside of it.

1240
01:14:07,680 --> 01:14:08,000
Speaker 2: True.

1241
01:14:08,360 --> 01:14:13,200
Speaker 3: Yeah, I wiped all my cousins butts. Whoa fun I've Wow,

1242
01:14:13,360 --> 01:14:14,840
Speaker 3: have you ever wiped the baby's butt?

1243
01:14:15,400 --> 01:14:17,040
Speaker 2: I never have and I never will.

1244
01:14:17,400 --> 01:14:18,080
Speaker 5: No.

1245
01:14:18,520 --> 01:14:21,479
Speaker 3: Sorry, everyone, I'm really good at it. I learned this

1246
01:14:21,600 --> 01:14:22,840
Speaker 3: when I was quite young.

1247
01:14:24,439 --> 01:14:25,320
Speaker 2: I love that for you.

1248
01:14:25,800 --> 01:14:27,600
Speaker 3: That was I think that was Honestly, this is a

1249
01:14:27,600 --> 01:14:29,479
Speaker 3: separate this is a side tanded, but I think that's

1250
01:14:29,520 --> 01:14:32,400
Speaker 3: part of why I One of the many reasons I

1251
01:14:32,400 --> 01:14:36,679
Speaker 3: connected to American Girl books was they were always having

1252
01:14:36,680 --> 01:14:39,920
Speaker 3: a wipe baby butts and I was like, Wow, she's

1253
01:14:40,120 --> 01:14:44,960
Speaker 3: so me. She wiped a butt today, I'm just like kirstone.

1254
01:14:45,280 --> 01:14:49,920
Speaker 2: Wow, visibility of wiping baby butts? Yeah, does anyone have

1255
01:14:50,000 --> 01:14:51,679
Speaker 2: anything else they'd like to talk about?

1256
01:14:52,320 --> 01:14:55,280
Speaker 3: No? I mean this is this is like a tricky

1257
01:14:55,400 --> 01:14:58,920
Speaker 3: movie in a fun way where it Yeah, like I

1258
01:14:58,920 --> 01:15:02,000
Speaker 3: I like it. It's a fun movie to watch. It's

1259
01:15:02,040 --> 01:15:06,360
Speaker 3: well made, it's funny, and there's all this nineteen eighty

1260
01:15:06,400 --> 01:15:08,560
Speaker 3: seven stuff going on inside.

1261
01:15:08,120 --> 01:15:11,759
Speaker 4: Of it, you know, the only thing that I wanted

1262
01:15:11,760 --> 01:15:13,400
Speaker 4: to mention. I know, we talked a little bit about

1263
01:15:14,200 --> 01:15:18,280
Speaker 4: some of the vocal dialogue that was altered in the

1264
01:15:18,320 --> 01:15:23,200
Speaker 4: Disney edits, and I got to say, I, as a homo,

1265
01:15:23,520 --> 01:15:27,080
Speaker 4: I never felt offended by that joke.

1266
01:15:27,200 --> 01:15:27,759
Speaker 5: That line.

1267
01:15:28,360 --> 01:15:30,799
Speaker 4: I actually like, I don't know, I thought it was funny. Yeah,

1268
01:15:30,880 --> 01:15:35,200
Speaker 4: it definitely is rooted in homophobia. But I also feel

1269
01:15:35,200 --> 01:15:39,280
Speaker 4: like I take issue with pretending that that never existed,

1270
01:15:39,360 --> 01:15:41,680
Speaker 4: that that never that that line was never there. It

1271
01:15:41,760 --> 01:15:46,000
Speaker 4: sort of feels like it's glossing over, you know, the

1272
01:15:46,080 --> 01:15:51,360
Speaker 4: prevalence of homophobic throwaway comments, you know, from the eighties

1273
01:15:51,760 --> 01:15:54,639
Speaker 4: that went until like the two thousands, I mean still today,

1274
01:15:55,120 --> 01:15:57,080
Speaker 4: So it kind of I don't know, for that reason,

1275
01:15:57,120 --> 01:15:58,120
Speaker 4: I wish it was still there.

1276
01:15:58,600 --> 01:16:02,800
Speaker 2: Yeah, Yeah, I see your point. And it's interesting that

1277
01:16:02,840 --> 01:16:07,760
Speaker 2: the like what this movie shows to censor and edit

1278
01:16:08,000 --> 01:16:14,200
Speaker 2: and not because it's like I understand maybe the feeling

1279
01:16:14,280 --> 01:16:19,200
Speaker 2: inclined to want to censor homophobic remarks, but like you're saying,

1280
01:16:19,520 --> 01:16:23,120
Speaker 2: that ends up just sort of like erases the fact

1281
01:16:23,400 --> 01:16:27,320
Speaker 2: that there was rampant homophobia during this time that was

1282
01:16:27,320 --> 01:16:31,840
Speaker 2: so normalized, and like we need to contend with that

1283
01:16:32,160 --> 01:16:36,760
Speaker 2: because it it has lasted and informs homophobia today, so

1284
01:16:36,840 --> 01:16:40,280
Speaker 2: to pretend like it never existed is weird. But then

1285
01:16:40,320 --> 01:16:42,439
Speaker 2: there's all these you know, there's these moments that are

1286
01:16:42,479 --> 01:16:47,040
Speaker 2: shaming of sex workers and that are implying that all

1287
01:16:47,080 --> 01:16:49,439
Speaker 2: the people of color in the movie are in a gang,

1288
01:16:50,120 --> 01:16:56,680
Speaker 2: or they are unfriendly, or they're car thieves or uneducated.

1289
01:16:56,880 --> 01:16:57,760
Speaker 5: Yep, they're in a.

1290
01:16:57,680 --> 01:17:01,960
Speaker 2: Blues club and absolutely love these white teens sing a

1291
01:17:02,000 --> 01:17:03,120
Speaker 2: shitty song.

1292
01:17:03,840 --> 01:17:07,479
Speaker 3: And that's what makes us like them is that they

1293
01:17:07,760 --> 01:17:11,400
Speaker 3: like Elizabeth Shoe improvising. I also feel that we have

1294
01:17:11,400 --> 01:17:16,880
Speaker 3: a Joe GiB where like Joe is a lovable character

1295
01:17:17,400 --> 01:17:18,120
Speaker 3: from the.

1296
01:17:17,920 --> 01:17:20,360
Speaker 5: Moment we meet him, Yeah, from the beginning.

1297
01:17:20,280 --> 01:17:22,920
Speaker 3: Like he is a very very sweet person. I wish

1298
01:17:23,000 --> 01:17:25,439
Speaker 3: that we got to know him better because at the end,

1299
01:17:25,600 --> 01:17:28,639
Speaker 3: at least in the cut that's on Disney Plus, he

1300
01:17:28,880 --> 01:17:32,439
Speaker 3: is I think the kindest that we see a man

1301
01:17:32,800 --> 01:17:36,479
Speaker 3: really be to Chris in the entire movie, where she

1302
01:17:36,640 --> 01:17:41,479
Speaker 3: is once again like compared to this playboy model and

1303
01:17:41,600 --> 01:17:44,000
Speaker 3: he's just like I forget what the exact wording was,

1304
01:17:44,040 --> 01:17:46,960
Speaker 3: but it was like, oh, you're you're even better. She's

1305
01:17:47,000 --> 01:17:50,000
Speaker 3: got nothing on you, right, like and he he says

1306
01:17:50,040 --> 01:17:53,000
Speaker 3: it in a way that doesn't like aggressively sexualize her

1307
01:17:53,120 --> 01:17:55,400
Speaker 3: in the way that everyone else who has made this

1308
01:17:55,560 --> 01:17:59,519
Speaker 3: comparison has totally. But it also feels like the movie

1309
01:18:00,360 --> 01:18:03,920
Speaker 3: in a way that like I can't really articulate, but

1310
01:18:04,080 --> 01:18:08,400
Speaker 3: like he's never seen as a viable interest for her,

1311
01:18:09,320 --> 01:18:14,240
Speaker 3: and that feels very pointed in this like aggressively white

1312
01:18:14,240 --> 01:18:17,640
Speaker 3: suburban movie, because I think if he were not a

1313
01:18:17,680 --> 01:18:21,080
Speaker 3: black actor, he would of course be that's the guy

1314
01:18:21,200 --> 01:18:23,800
Speaker 3: that you would go with as the person who is

1315
01:18:23,800 --> 01:18:28,000
Speaker 3: sweet with you, if we absolutely need this teenage girl

1316
01:18:28,120 --> 01:18:30,800
Speaker 3: to end up with a guy at the end of

1317
01:18:30,840 --> 01:18:35,880
Speaker 3: the movie, adding that moment felt very interesting because in

1318
01:18:36,000 --> 01:18:38,360
Speaker 3: ten minutes she ends up with this college guy who

1319
01:18:38,400 --> 01:18:41,120
Speaker 3: is also nice to her. But like, Joe is like

1320
01:18:41,439 --> 01:18:43,880
Speaker 3: so present in the story, but I feel like there's

1321
01:18:44,000 --> 01:18:47,800
Speaker 3: almost this like and this is me galaxy braining it

1322
01:18:47,840 --> 01:18:50,720
Speaker 3: so feel free to be like shut up, but like

1323
01:18:51,080 --> 01:18:53,439
Speaker 3: it just feels like there's this implication that they really

1324
01:18:53,479 --> 01:18:57,360
Speaker 3: the one place that the kids go that isn't presented

1325
01:18:57,400 --> 01:19:04,280
Speaker 3: as like actively horrifically dangerous is a mostly white frat party, which.

1326
01:19:04,120 --> 01:19:09,320
Speaker 2: Is hilarious because those can be incredibly hostile and dangerous places.

1327
01:19:09,479 --> 01:19:12,200
Speaker 3: It's maybe one of the most dangerous places a teenage

1328
01:19:12,200 --> 01:19:16,800
Speaker 3: girl could be. But it's presented as almost like I

1329
01:19:16,840 --> 01:19:18,360
Speaker 3: don't even know if he has a name, but the

1330
01:19:18,400 --> 01:19:21,920
Speaker 3: guy she kisses at the end, Dan, it's almost implied that,

1331
01:19:22,040 --> 01:19:25,280
Speaker 3: like he's passing through the city, you know, like he'll

1332
01:19:25,280 --> 01:19:30,080
Speaker 3: be back to the suburbs. He's quote unquote safe for her, whereas.

1333
01:19:29,680 --> 01:19:32,880
Speaker 2: Yeah, he's a yuppie, like fucking boat shoes wearing.

1334
01:19:32,680 --> 01:19:34,880
Speaker 5: Yeah, attending the University.

1335
01:19:34,439 --> 01:19:38,240
Speaker 3: Of shut right where it's like where Joe is presented

1336
01:19:38,520 --> 01:19:42,000
Speaker 3: as not a viable of interest in spite of being equally,

1337
01:19:42,080 --> 01:19:46,839
Speaker 3: if not more, kind to her. Yeah, it just feels

1338
01:19:47,120 --> 01:19:51,800
Speaker 3: very of the moment and kind of quietly racist in

1339
01:19:51,840 --> 01:19:55,759
Speaker 3: the way that he's not presented as viable because based

1340
01:19:55,800 --> 01:19:59,479
Speaker 3: on everything that happens and this movie's insistence on her

1341
01:19:59,600 --> 01:20:02,160
Speaker 3: having a love interest, he should be in the running,

1342
01:20:02,240 --> 01:20:03,240
Speaker 3: Like why wouldn't he be.

1343
01:20:03,520 --> 01:20:09,640
Speaker 2: Totally Yeah, So it's all the things like that that

1344
01:20:10,280 --> 01:20:11,320
Speaker 2: make this movie.

1345
01:20:11,080 --> 01:20:17,960
Speaker 3: Glaringly Reagan was president also not for nothing. Brenda, played

1346
01:20:18,000 --> 01:20:23,559
Speaker 3: by Penelope Anne Miller, went on to play Nancy Reagan

1347
01:20:24,040 --> 01:20:29,160
Speaker 3: opposite Dennis quaidas Reagan last year. Whoa so, because I

1348
01:20:29,640 --> 01:20:31,320
Speaker 3: was like, this is like one of the most like

1349
01:20:31,840 --> 01:20:35,640
Speaker 3: Reagan coded family comedies I've seen. And then I was like,

1350
01:20:35,680 --> 01:20:37,799
Speaker 3: and she literally played Nancy Reagan.

1351
01:20:38,280 --> 01:20:42,879
Speaker 2: There you go the quaids. What a family anyway?

1352
01:20:44,040 --> 01:20:46,519
Speaker 3: What a web they weave? She's also she was also

1353
01:20:46,640 --> 01:20:51,480
Speaker 3: in she her I don't know, but her her filmography

1354
01:20:51,520 --> 01:20:55,840
Speaker 3: is very Republican coded. She also was in Rudy, The

1355
01:20:56,000 --> 01:21:00,920
Speaker 3: Rudy Giuliani Story, which was a TV movie. Oh yeah,

1356
01:21:00,920 --> 01:21:01,400
Speaker 3: I don't know.

1357
01:21:02,040 --> 01:21:06,960
Speaker 2: I'm also saying she was in Kindergarten Cop and Carlito's Way.

1358
01:21:06,840 --> 01:21:08,720
Speaker 3: Which are just I guess facts about her.

1359
01:21:09,479 --> 01:21:11,559
Speaker 2: Yeah, nothing nothing to see here.

1360
01:21:11,880 --> 01:21:15,120
Speaker 3: Not quite as republican cudit. Yeah.

1361
01:21:15,400 --> 01:21:20,920
Speaker 2: Anyway, Okay, does the movie pass the Bechdel test technically?

1362
01:21:21,000 --> 01:21:21,719
Speaker 3: Yes? It does.

1363
01:21:21,920 --> 01:21:26,000
Speaker 2: Yeah, I mean Chris talks to Brenda about Brenda's mom,

1364
01:21:26,600 --> 01:21:30,080
Speaker 2: you know, Chris and missus Anderson talk about Sarah. Chris

1365
01:21:30,120 --> 01:21:35,280
Speaker 2: and Sarah talk about roller skates and ice cream. So,

1366
01:21:35,439 --> 01:21:38,320
Speaker 2: you know, quite a bit of passing the Bechdel test.

1367
01:21:38,439 --> 01:21:42,160
Speaker 4: You know, I have a slight argument in there. I

1368
01:21:42,240 --> 01:21:46,559
Speaker 4: mean I've heard you know, the Bechdel test being a

1369
01:21:46,600 --> 01:21:52,040
Speaker 4: conversation between two women, and technically Brenda and Chris are

1370
01:21:52,320 --> 01:21:56,080
Speaker 4: our teenagers. They're seventeen, you know, they're not full adult

1371
01:21:56,080 --> 01:21:59,160
Speaker 4: women yet, and so if you take that out, I

1372
01:21:59,200 --> 01:22:02,240
Speaker 4: don't know if they if it passes. I mean, I

1373
01:22:02,240 --> 01:22:05,599
Speaker 4: don't think there's any you know, mature adult women who

1374
01:22:05,600 --> 01:22:08,000
Speaker 4: have a conversation between each other. But we definitely see,

1375
01:22:08,439 --> 01:22:11,880
Speaker 4: you know, lots of men having conversations, like the bad

1376
01:22:11,920 --> 01:22:12,759
Speaker 4: guys who.

1377
01:22:12,840 --> 01:22:15,480
Speaker 5: Run the car operations.

1378
01:22:15,560 --> 01:22:18,800
Speaker 4: So that's sort of my only arguments where I'm like,

1379
01:22:18,960 --> 01:22:21,439
Speaker 4: I it feels like it does, but I don't know.

1380
01:22:21,479 --> 01:22:24,360
Speaker 5: It's a little between pass and fail for me.

1381
01:22:25,000 --> 01:22:28,280
Speaker 3: I feel like spiritually, for me, it definitely doesn't because

1382
01:22:28,360 --> 01:22:30,840
Speaker 3: it's such a bummer, especially because we're set up with

1383
01:22:32,040 --> 01:22:34,479
Speaker 3: what you would help. Because I also, like, didn't really

1384
01:22:34,520 --> 01:22:37,120
Speaker 3: remember the details of this movie. We really Oh, we're

1385
01:22:37,120 --> 01:22:41,840
Speaker 3: starting with these like two teenage friends, and you want

1386
01:22:41,880 --> 01:22:44,759
Speaker 3: their friendship to be a more driving force in the movie,

1387
01:22:44,920 --> 01:22:48,760
Speaker 3: but it just isn't, which sucks because they're opening I

1388
01:22:48,760 --> 01:22:52,040
Speaker 3: thought their opening exchange was really funny where Brenda was

1389
01:22:52,080 --> 01:22:55,599
Speaker 3: not afraid to be like, yeah, Bradley Whitford's a liar,

1390
01:22:56,080 --> 01:23:00,200
Speaker 3: Like I was hoping for more of that dynamic, but

1391
01:23:00,240 --> 01:23:03,320
Speaker 3: then she just gets stranded at the bus station and

1392
01:23:03,840 --> 01:23:07,000
Speaker 3: she's just like a plot factor versus a character for

1393
01:23:07,040 --> 01:23:07,759
Speaker 3: the most part.

1394
01:23:08,040 --> 01:23:12,360
Speaker 2: Yeah, she's also like, I'm gonna spike my mom's soda

1395
01:23:12,400 --> 01:23:18,200
Speaker 2: with draino. I'm gonna murder my mom. Is Brenda's vibe.

1396
01:23:19,600 --> 01:23:23,920
Speaker 3: So she's hard, she's hard, She's so hard.

1397
01:23:24,240 --> 01:23:28,200
Speaker 2: Yeah, until she goes into the city and then she's

1398
01:23:28,240 --> 01:23:30,759
Speaker 2: the softest motherfucker scene.

1399
01:23:31,640 --> 01:23:31,800
Speaker 3: You know.

1400
01:23:31,880 --> 01:23:35,120
Speaker 5: I guess that explains though, why she ran away. You know.

1401
01:23:35,439 --> 01:23:37,360
Speaker 4: Yeah, that's why she ended up at the bus stop.

1402
01:23:37,360 --> 01:23:40,840
Speaker 4: That's why the whole adventure ended up happening. So you know,

1403
01:23:40,880 --> 01:23:44,000
Speaker 4: it almost required Brenda having a poor relationship with her mother.

1404
01:23:44,360 --> 01:23:45,920
Speaker 3: Yeah, it's true anyway.

1405
01:23:45,960 --> 01:23:49,759
Speaker 2: As far as rating the movie on the Bechdel Cast

1406
01:23:49,960 --> 01:23:53,800
Speaker 2: Nipple scale, where we rate zero to five nipples based

1407
01:23:53,800 --> 01:23:59,080
Speaker 2: on examining the movie through an intersectional feminist lens, I

1408
01:23:59,120 --> 01:24:01,960
Speaker 2: would say that this movie.

1409
01:24:02,240 --> 01:24:02,320
Speaker 3: M.

1410
01:24:04,200 --> 01:24:09,320
Speaker 2: I think like one nipple. It's not it's not doing great.

1411
01:24:09,680 --> 01:24:14,439
Speaker 2: It is again adhering to many many tropes that punch

1412
01:24:14,520 --> 01:24:19,639
Speaker 2: down to marginalize people and communities. It is just making

1413
01:24:19,720 --> 01:24:23,479
Speaker 2: the easy choice almost every single time, the tropy reductive

1414
01:24:23,560 --> 01:24:28,160
Speaker 2: choice almost every single time, and not really subverting anything significant.

1415
01:24:28,560 --> 01:24:31,519
Speaker 2: But it is fun. I like that. It is yeah,

1416
01:24:31,560 --> 01:24:35,120
Speaker 2: like a wild little caper kind of thing, or you know,

1417
01:24:35,200 --> 01:24:39,120
Speaker 2: just a wild story of a night of misadventures that

1418
01:24:39,520 --> 01:24:41,800
Speaker 2: does center a woman. And yes it is a white

1419
01:24:41,800 --> 01:24:46,400
Speaker 2: woman from the suburbs, and but you know she she

1420
01:24:46,520 --> 01:24:52,280
Speaker 2: takes initiative, she has agency. She drives the narrative quite

1421
01:24:52,360 --> 01:24:55,120
Speaker 2: a bit. So there's I don't know, there's something there

1422
01:24:55,280 --> 01:25:00,120
Speaker 2: in the car, and she drives the car literally. So

1423
01:25:00,160 --> 01:25:02,439
Speaker 2: I'll give the movie one nipple, and I will give

1424
01:25:02,560 --> 01:25:07,720
Speaker 2: it to the shirt worn by one of the like

1425
01:25:07,960 --> 01:25:12,519
Speaker 2: car thief guys who's just in the warehouse that says

1426
01:25:12,840 --> 01:25:16,000
Speaker 2: eat the Rich, and Brad is like kind of like

1427
01:25:16,040 --> 01:25:18,640
Speaker 2: looking at everyone, he's like, cool shirt, but he's like

1428
01:25:18,680 --> 01:25:21,880
Speaker 2: not really being serious. He's frightened, and that is meant

1429
01:25:21,960 --> 01:25:25,080
Speaker 2: to be like a shirt that's scary. Oh no, eat

1430
01:25:25,120 --> 01:25:27,840
Speaker 2: the rich. But I'm like, no, that is a cool shirt,

1431
01:25:27,920 --> 01:25:31,280
Speaker 2: and I'm giving my nipple to that the end.

1432
01:25:32,360 --> 01:25:34,599
Speaker 3: I'll meet you there. I'll give it one nipple. I'm

1433
01:25:34,680 --> 01:25:36,880
Speaker 3: tempted to give it one point five, but I don't

1434
01:25:36,920 --> 01:25:39,639
Speaker 3: know why and so I guess I was kind of

1435
01:25:40,200 --> 01:25:42,920
Speaker 3: there too. Okay, well then I'll do it. I'll go

1436
01:25:43,000 --> 01:25:46,800
Speaker 3: one point five. I do think that with Chris and Sarah,

1437
01:25:46,840 --> 01:25:49,600
Speaker 3: well they are, you know, like white suburban kids, we

1438
01:25:49,680 --> 01:25:53,000
Speaker 3: do get a little more depth and centering than we

1439
01:25:53,120 --> 01:25:58,799
Speaker 3: do in your average eighties movie. I think I like Chris.

1440
01:25:58,840 --> 01:26:01,040
Speaker 3: I wish I knew more about her. I think Elizabeth

1441
01:26:01,080 --> 01:26:04,160
Speaker 3: she brings a lot to that performance. I could take

1442
01:26:04,160 --> 01:26:07,800
Speaker 3: your leave Brenda to be perfectly honest. But Sarah. I

1443
01:26:07,880 --> 01:26:13,600
Speaker 3: love Sarah. I love a little tomboy kid with a

1444
01:26:13,720 --> 01:26:18,040
Speaker 3: very specific interest. I feel seen by that. Uh huh same.

1445
01:26:18,320 --> 01:26:22,200
Speaker 3: I love that she has this weird cronenberry. She loves

1446
01:26:22,240 --> 01:26:26,439
Speaker 3: getting into car crashes. She's so weirdo. Like, I just

1447
01:26:27,320 --> 01:26:31,160
Speaker 3: I really appreciated that character. I remember that being like

1448
01:26:31,240 --> 01:26:33,120
Speaker 3: the big standout to me when I watched it when

1449
01:26:33,120 --> 01:26:36,479
Speaker 3: I was younger. And yeah, I mean there in like

1450
01:26:36,520 --> 01:26:38,679
Speaker 3: we've been talking about for an hour and a half,

1451
01:26:38,720 --> 01:26:42,479
Speaker 3: there is I think this element of this to me

1452
01:26:42,680 --> 01:26:46,320
Speaker 3: time capsule of white suburban anxieties at this very particular

1453
01:26:46,360 --> 01:26:52,160
Speaker 3: moment that acknowledges but doesn't state a lot of things

1454
01:26:52,160 --> 01:26:55,040
Speaker 3: that we now historically know were going on in the

1455
01:26:55,080 --> 01:26:58,719
Speaker 3: mid to late eighties in a lot of cities, which

1456
01:26:58,800 --> 01:27:02,519
Speaker 3: is there are drug epidemics that were being pushed by

1457
01:27:02,600 --> 01:27:05,040
Speaker 3: the government. There's like all of these you know, the

1458
01:27:05,120 --> 01:27:07,599
Speaker 3: AIDS epidemic was happening, Like, there are all of these

1459
01:27:07,720 --> 01:27:12,320
Speaker 3: very very serious issues happening in the background of these

1460
01:27:12,360 --> 01:27:15,640
Speaker 3: scenarios that are I think presented more as like what

1461
01:27:15,680 --> 01:27:18,880
Speaker 3: would a white suburban kid think this scenario would be like,

1462
01:27:19,200 --> 01:27:22,720
Speaker 3: versus what it actually would be. And so I feel

1463
01:27:22,760 --> 01:27:26,840
Speaker 3: like this movie is best consumed when you frame it

1464
01:27:26,880 --> 01:27:33,720
Speaker 3: as like a fantasy versus any reflection of like reality. Anyways,

1465
01:27:33,760 --> 01:27:35,479
Speaker 3: I'll give it one and a half. I don't really

1466
01:27:35,520 --> 01:27:39,639
Speaker 3: know why, but I'm giving one to Sarah, and then

1467
01:27:39,680 --> 01:27:43,160
Speaker 3: I'm giving one to Sarah's mom because she's just phoning

1468
01:27:43,200 --> 01:27:43,519
Speaker 3: it in.

1469
01:27:46,479 --> 01:27:49,639
Speaker 2: Yeah, She's like, who's the caterer at that party?

1470
01:27:49,840 --> 01:27:52,160
Speaker 3: She's like, if she dies, she dies. It was like

1471
01:27:53,080 --> 01:27:53,960
Speaker 3: love that energy.

1472
01:27:55,520 --> 01:27:56,320
Speaker 2: Maybe how about you.

1473
01:27:56,680 --> 01:27:58,840
Speaker 4: I'm going to say three and a half. And I'm

1474
01:27:58,920 --> 01:28:03,439
Speaker 4: saying this based off of my love, my early love

1475
01:28:03,479 --> 01:28:05,960
Speaker 4: for this movie. I would have given it. I would

1476
01:28:05,960 --> 01:28:08,599
Speaker 4: have given it five as a kid. But you know,

1477
01:28:08,640 --> 01:28:12,240
Speaker 4: it's always you know, revisiting these things. For that reason,

1478
01:28:12,280 --> 01:28:14,640
Speaker 4: I'm going to deduct one and a half nipples.

1479
01:28:14,960 --> 01:28:17,719
Speaker 2: Excellent. Well, thank you so much for joining us.

1480
01:28:17,920 --> 01:28:19,680
Speaker 5: Of course, I really enjoyed this.

1481
01:28:20,040 --> 01:28:22,320
Speaker 3: And where can we where can we find you? Where

1482
01:28:22,360 --> 01:28:24,320
Speaker 3: can we find more about the campaign?

1483
01:28:24,640 --> 01:28:25,080
Speaker 5: Amazing?

1484
01:28:25,160 --> 01:28:28,760
Speaker 4: Yeah, you can find me on Instagram. It's at maybe

1485
01:28:28,840 --> 01:28:31,880
Speaker 4: a Girl that's m A E B E A G

1486
01:28:32,040 --> 01:28:35,640
Speaker 4: I R L. And then our website is maybe for

1487
01:28:35,760 --> 01:28:37,479
Speaker 4: State Senate dot com.

1488
01:28:37,560 --> 01:28:40,360
Speaker 3: Yay, amazing, We're so excited.

1489
01:28:40,840 --> 01:28:41,880
Speaker 5: Thank you.

1490
01:28:41,880 --> 01:28:47,280
Speaker 2: You can follow us on Instagram mostly at Bechdelcast. You

1491
01:28:47,360 --> 01:28:52,120
Speaker 2: can subscribe to our Patreon a k a. Matreon, where

1492
01:28:52,400 --> 01:28:56,479
Speaker 2: you get two bonus episodes every month, plus access to

1493
01:28:56,520 --> 01:29:00,760
Speaker 2: the back catalog of Matreon bonuses. It always sent her

1494
01:29:00,840 --> 01:29:05,000
Speaker 2: an amazing genius, hilarious theme and then that's all for

1495
01:29:05,080 --> 01:29:07,840
Speaker 2: five dollars a month. You can go to our link

1496
01:29:07,960 --> 01:29:11,439
Speaker 2: tree for different important things.

1497
01:29:12,840 --> 01:29:16,280
Speaker 3: And with that, was piled in the station wagon and

1498
01:29:16,360 --> 01:29:19,920
Speaker 3: get home and pretend we've never been to a city before.

1499
01:29:20,640 --> 01:29:29,360
Speaker 2: Yeah, the city's too scary. I'm skewed. Bye bye. The

1500
01:29:29,400 --> 01:29:32,920
Speaker 2: Bechdel Cast is a production of iHeartMedia, hosted by Caitlin

1501
01:29:33,000 --> 01:29:36,760
Speaker 2: Derante and Jamie Loftis, produced by Sophie Lichterman, edited by

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Speaker 2: Mola Board. Our theme song was composed by Mike Kaplan

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Speaker 2: with vocals by Katherine Volskrosenski. Our logo in merch is

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Speaker 2: designed by Jamie Loftis and a special thanks to Aristotle Acevedo.

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Speaker 2: For more information about the podcast, please visit link Tree

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Speaker 2: Slash Bechdel Cast