1
00:00:00,520 --> 00:00:03,480
Speaker 1: On the Doll Cast, the questions asked if movies have

2
00:00:03,640 --> 00:00:07,520
Speaker 1: women in them, are all their discussions just boyfriends and husbands,

3
00:00:07,560 --> 00:00:12,639
Speaker 1: or do they have individualism? The patriarchy? Zef invest start

4
00:00:12,760 --> 00:00:17,160
Speaker 1: changing it with the beck Del Cast. Hey, Caitlin, Yes,

5
00:00:17,239 --> 00:00:21,799
Speaker 1: Jamie starting to think capitalism might be dot dot dot

6
00:00:22,160 --> 00:00:27,280
Speaker 1: not so great with Wait what? Um? Well, that was

7
00:00:27,320 --> 00:00:30,319
Speaker 1: what I got for an opening love? You know, I

8
00:00:30,400 --> 00:00:33,800
Speaker 1: just I feel like I've really like my my opening

9
00:00:33,920 --> 00:00:35,879
Speaker 1: game has really diminished lately. And I don't know if

10
00:00:35,920 --> 00:00:39,120
Speaker 1: it's just because like my it's nine trillion degrees in

11
00:00:39,200 --> 00:00:42,400
Speaker 1: my brain is just boiling inside of my skull, or

12
00:00:43,200 --> 00:00:45,440
Speaker 1: or if it's all finally getting to me, you know.

13
00:00:45,720 --> 00:00:51,120
Speaker 1: Personal apologies for that real lukewarm opening. I could have

14
00:00:51,159 --> 00:00:53,720
Speaker 1: done better, and I will strive to do better. Jamie,

15
00:00:53,840 --> 00:00:57,360
Speaker 1: don't apologize. I mean this is a this is a

16
00:00:57,360 --> 00:01:00,280
Speaker 1: difficult time. Well, welcome to the Bectel Cast. Name is

17
00:01:00,320 --> 00:01:03,400
Speaker 1: Jamie Loftus, my name is Caitlin Darante, and this is

18
00:01:03,400 --> 00:01:07,479
Speaker 1: our our little podcast where we talk about some incredible

19
00:01:07,520 --> 00:01:11,720
Speaker 1: movies and some not incredible movies using an intersectional feminist

20
00:01:11,880 --> 00:01:17,640
Speaker 1: lens for discussion. That's right, and we use the Bechdel Tests,

21
00:01:17,680 --> 00:01:20,760
Speaker 1: often known as the Bechtel Wallace Test, as a way

22
00:01:20,800 --> 00:01:26,039
Speaker 1: to just inspire a larger conversation in That is a

23
00:01:26,160 --> 00:01:30,200
Speaker 1: media metric created by queer cartoonist Alison Bechtel, and it

24
00:01:30,319 --> 00:01:34,280
Speaker 1: requires that, for our purposes are sort of modified version

25
00:01:34,360 --> 00:01:40,399
Speaker 1: of the test. Two people from a marginalized gender must

26
00:01:40,600 --> 00:01:43,679
Speaker 1: have names, they must speak to each other, and they

27
00:01:44,120 --> 00:01:49,880
Speaker 1: must not talk about a man. Many movies don't do it,

28
00:01:49,920 --> 00:01:52,800
Speaker 1: but but but some movies do. But sometimes it happens.

29
00:01:53,040 --> 00:01:55,360
Speaker 1: That's just the nature. It's kind of a past failed test.

30
00:01:55,400 --> 00:01:58,680
Speaker 1: There's not really un middling, although sometimes there's those fun

31
00:01:58,720 --> 00:02:00,480
Speaker 1: ones like like the one we have to have a

32
00:02:00,480 --> 00:02:04,400
Speaker 1: whole conversation about it. Sometimes two women with with names,

33
00:02:04,480 --> 00:02:07,840
Speaker 1: or just apologizing over nothing like like I was doing,

34
00:02:08,040 --> 00:02:10,880
Speaker 1: you know, just two minutes ago. So um, you know

35
00:02:10,960 --> 00:02:13,640
Speaker 1: there there are shades of gray there as well. But

36
00:02:13,720 --> 00:02:17,880
Speaker 1: I'm really really really excited to talk about today's movie

37
00:02:18,160 --> 00:02:22,360
Speaker 1: popular request and uh and one of my face yes,

38
00:02:22,560 --> 00:02:26,600
Speaker 1: And we have a terrific guest joining us today. She

39
00:02:26,960 --> 00:02:30,600
Speaker 1: is a comedian. She is a PhD candidate in Cinema

40
00:02:30,639 --> 00:02:34,960
Speaker 1: and Media studies, and her academic publications have covered such

41
00:02:35,040 --> 00:02:40,080
Speaker 1: things as television studies, Korean media, Asian American history, gender

42
00:02:40,120 --> 00:02:46,799
Speaker 1: and sexuality. It's Grace Young. Hello, Hi, welcome, Thank you

43
00:02:47,000 --> 00:02:49,880
Speaker 1: so happy to be here. We're happy to have you

44
00:02:50,440 --> 00:02:55,640
Speaker 1: so Grace. Tell us about your general relationship with the

45
00:02:55,680 --> 00:02:59,919
Speaker 1: film Parasite. Oh yeah, we did. Also we're covering Parasite.

46
00:03:00,200 --> 00:03:03,040
Speaker 1: We were like, we were like, um, a popular request,

47
00:03:03,600 --> 00:03:06,600
Speaker 1: but leave your guessing as to what movie. I know.

48
00:03:06,639 --> 00:03:10,880
Speaker 1: I was like, why am I here? Who are these people? Yeah? Yeah,

49
00:03:11,000 --> 00:03:15,560
Speaker 1: I I love this movie Parasite. Um. I've been I've

50
00:03:15,600 --> 00:03:19,480
Speaker 1: been following the filmmaker poem Jun host career for a

51
00:03:19,520 --> 00:03:22,799
Speaker 1: long time, and I would say that he's like the

52
00:03:22,840 --> 00:03:28,600
Speaker 1: first Korean filmmaker to really make it into the mainstream

53
00:03:28,720 --> 00:03:32,960
Speaker 1: zeitgeist in the United States and other parts of the world. Yeah,

54
00:03:33,000 --> 00:03:37,560
Speaker 1: and I really love his filmmaking. Um. Interesting side note

55
00:03:37,760 --> 00:03:41,680
Speaker 1: on Punch. You know, he studied sociology in college, so

56
00:03:41,800 --> 00:03:46,000
Speaker 1: he actually did not study filmmaking per se. But yeah,

57
00:03:46,400 --> 00:03:50,320
Speaker 1: I would say because of his educational background, a lot

58
00:03:50,400 --> 00:03:54,400
Speaker 1: of his movies cover sort of that, like the sociological

59
00:03:54,480 --> 00:03:58,320
Speaker 1: kind of critique of Korean society and capitalism a lot.

60
00:03:59,280 --> 00:04:02,520
Speaker 1: And uh yeah, I mean I I was very excited

61
00:04:02,520 --> 00:04:05,320
Speaker 1: to see the movie because I saw in the trades

62
00:04:05,360 --> 00:04:08,680
Speaker 1: that he had won the Palm door for his latest movie, Parasite,

63
00:04:09,120 --> 00:04:11,480
Speaker 1: and I was like, Okay, that's a big deal because

64
00:04:11,520 --> 00:04:13,400
Speaker 1: you know, like a Korean filmmaker, to win a palm

65
00:04:13,400 --> 00:04:16,480
Speaker 1: door I can is a big deal. And then um,

66
00:04:16,520 --> 00:04:19,080
Speaker 1: I went to see it in theaters with a friend,

67
00:04:19,160 --> 00:04:22,000
Speaker 1: another creative American friend. It was her birthday. I went

68
00:04:22,080 --> 00:04:25,080
Speaker 1: to see it. I thought the movie was so astounding,

69
00:04:25,200 --> 00:04:27,880
Speaker 1: like such a such an amazing movie. You know, like

70
00:04:28,000 --> 00:04:30,400
Speaker 1: I watch a lot of films because you know, I

71
00:04:30,440 --> 00:04:32,919
Speaker 1: work in film and write about film, but like I

72
00:04:32,960 --> 00:04:36,120
Speaker 1: hadn't seen a movie that made me feel that like

73
00:04:36,400 --> 00:04:40,560
Speaker 1: elated and so long and um. Yeah. Right after the

74
00:04:40,560 --> 00:04:43,080
Speaker 1: movie ended, as we were leaving, my friend immediately wanted

75
00:04:43,080 --> 00:04:44,240
Speaker 1: to talk to me about and I was like, you

76
00:04:44,240 --> 00:04:47,400
Speaker 1: have to stop talking right now. I just I just

77
00:04:47,440 --> 00:04:52,080
Speaker 1: need to go home and process this alone. And so

78
00:04:52,200 --> 00:04:55,400
Speaker 1: I just I just went home processed it, and then

79
00:04:55,440 --> 00:04:59,279
Speaker 1: I texted like like two other creative American friends of mine,

80
00:04:59,720 --> 00:05:02,880
Speaker 1: and I just like Parasite, you have to see it.

81
00:05:03,560 --> 00:05:06,560
Speaker 1: We have to see it together, and like they want

82
00:05:06,640 --> 00:05:09,880
Speaker 1: to see it by themselves. And then we went as

83
00:05:09,880 --> 00:05:12,560
Speaker 1: a group together to go and see it again, and

84
00:05:12,760 --> 00:05:16,040
Speaker 1: um yeah, it's like a film that I could keep

85
00:05:16,120 --> 00:05:20,000
Speaker 1: returning to. I think it's really well done for sure.

86
00:05:20,120 --> 00:05:24,440
Speaker 1: Hell yeah, Jimmie, what about you? This was one of

87
00:05:24,600 --> 00:05:26,960
Speaker 1: I mean, this is in no way a hot take.

88
00:05:27,040 --> 00:05:29,400
Speaker 1: It was one of my favorite movies I saw last year.

89
00:05:30,120 --> 00:05:34,440
Speaker 1: I saw it a couple of different times in theaters

90
00:05:34,600 --> 00:05:39,720
Speaker 1: and this was kind of embarrassingly my first movie from

91
00:05:39,760 --> 00:05:44,160
Speaker 1: from this director. I hadn't seen anything else because before

92
00:05:44,200 --> 00:05:47,040
Speaker 1: this podcast started, I didn't watch a ton of movies. Um.

93
00:05:47,080 --> 00:05:51,640
Speaker 1: But after seeing Parasite, I went back into his film

94
00:05:51,680 --> 00:05:54,120
Speaker 1: catalog and now I've seen the majority and I haven't

95
00:05:54,120 --> 00:05:58,200
Speaker 1: seen um I think two of his films. But um yeah,

96
00:05:58,200 --> 00:06:02,000
Speaker 1: I just kind of uh swiveled into becoming a stand

97
00:06:02,160 --> 00:06:04,599
Speaker 1: and I love this movie. I hadn't seen it in

98
00:06:04,600 --> 00:06:07,680
Speaker 1: a couple of months, and it was really fun to

99
00:06:07,720 --> 00:06:10,640
Speaker 1: go back to after not having been watching it like

100
00:06:10,839 --> 00:06:14,599
Speaker 1: once a week towards the beginning of the year. Um yeah,

101
00:06:14,600 --> 00:06:17,400
Speaker 1: but I really love it. Yeah, Caitlin, what is your

102
00:06:17,400 --> 00:06:21,200
Speaker 1: experience with this movie? Pretty similar? Um? I had seen

103
00:06:21,600 --> 00:06:24,760
Speaker 1: a few of his films in the past, uh, And

104
00:06:24,839 --> 00:06:29,520
Speaker 1: I went into Parasite not knowing anything about it, and

105
00:06:29,600 --> 00:06:32,880
Speaker 1: because I had seen the host and because the movie

106
00:06:32,960 --> 00:06:35,320
Speaker 1: is called Parasite, I thought it was also going to

107
00:06:35,400 --> 00:06:39,440
Speaker 1: be like a monster movie. I was like, oh no,

108
00:06:39,720 --> 00:06:42,560
Speaker 1: just kidding, it's not that at all. Um. I'd also

109
00:06:42,600 --> 00:06:45,720
Speaker 1: seen snow Piercer, and I was like, Okay, it's more

110
00:06:45,760 --> 00:06:52,680
Speaker 1: aligned thematically with snow Piercer because of like the class commentary. Um,

111
00:06:52,760 --> 00:06:56,200
Speaker 1: but I hadn't seen Oakcha, which I saw. I watched

112
00:06:56,240 --> 00:06:59,880
Speaker 1: over the weekend, and I have never I've just saw

113
00:07:00,080 --> 00:07:02,360
Speaker 1: being at the end of like the kind of sobbing

114
00:07:02,560 --> 00:07:09,000
Speaker 1: where you're just you can't breathe because you're crying so hard. Anyways, Caitlin,

115
00:07:10,640 --> 00:07:14,200
Speaker 1: did you need an out Did you need outlet? I

116
00:07:14,200 --> 00:07:18,760
Speaker 1: mean it's very sad, but the animals, those super piglets

117
00:07:18,840 --> 00:07:23,240
Speaker 1: and anyway, Um, I was traumatized. In any case, I

118
00:07:23,600 --> 00:07:27,560
Speaker 1: I do really enjoy his filmography and I love to Parasite.

119
00:07:27,560 --> 00:07:29,680
Speaker 1: I only saw it once in theaters, but I've seen

120
00:07:29,720 --> 00:07:33,240
Speaker 1: it a number of times since then because it came

121
00:07:33,280 --> 00:07:39,000
Speaker 1: out on Hulu, so I was very thankful. Feminist icon Hulu,

122
00:07:42,000 --> 00:07:49,840
Speaker 1: owned by Fox was like Disney Capitalist. Have you seen

123
00:07:49,920 --> 00:07:57,080
Speaker 1: those Disney reboots for sure. They're feminists cash grab at all. Okay, So,

124
00:07:57,360 --> 00:08:00,560
Speaker 1: um uh should I just dive into of the recap

125
00:08:00,560 --> 00:08:02,760
Speaker 1: and we'll go from there. Yeah, let's do it. I

126
00:08:02,840 --> 00:08:05,440
Speaker 1: like how we asked that question every single episode. O,

127
00:08:05,520 --> 00:08:09,600
Speaker 1: thank you for asking for consent before starting to recap. Well,

128
00:08:09,640 --> 00:08:11,440
Speaker 1: you know, I just want to make sure we're all

129
00:08:11,480 --> 00:08:16,960
Speaker 1: on the same page. Alright. So we meet the Kim family.

130
00:08:17,560 --> 00:08:22,480
Speaker 1: It's a mother, father, son, and daughter. I believe the

131
00:08:22,640 --> 00:08:26,920
Speaker 1: son and daughter are in their late teens, maybe early twenties.

132
00:08:27,760 --> 00:08:32,520
Speaker 1: Not entirely sure early because at the end you find

133
00:08:32,559 --> 00:08:35,920
Speaker 1: out how old the daughter was because it says she

134
00:08:36,000 --> 00:08:41,440
Speaker 1: was born. Got it, I missed that detail. Good to

135
00:08:41,480 --> 00:08:44,640
Speaker 1: know in any case. Um, they come from a low

136
00:08:44,760 --> 00:08:49,880
Speaker 1: socio economic background. They live in this like semi basement

137
00:08:50,280 --> 00:08:53,520
Speaker 1: level apartment. Their phones have been shut off, they don't

138
00:08:53,600 --> 00:08:57,280
Speaker 1: have access to WiFi anymore. They do kind of odd

139
00:08:57,360 --> 00:09:02,760
Speaker 1: jobs like folding pizza boxes for work for money. Then

140
00:09:02,880 --> 00:09:06,080
Speaker 1: one day and apologies in advance for all of the

141
00:09:06,240 --> 00:09:10,880
Speaker 1: horrible pronunciations I'm going to do of these Korean characters names.

142
00:09:10,920 --> 00:09:16,080
Speaker 1: But k the Sun gets a visit from his friend Min,

143
00:09:16,480 --> 00:09:19,520
Speaker 1: who brings the family this stone that is meant to

144
00:09:19,559 --> 00:09:22,679
Speaker 1: bring like wealth and prosperity to the family, and he

145
00:09:22,760 --> 00:09:25,720
Speaker 1: is also leaving to study abroad. It's fun when the

146
00:09:25,760 --> 00:09:28,040
Speaker 1: when the stone comes in, You're like, oh, it's a

147
00:09:28,040 --> 00:09:31,040
Speaker 1: metaphor stone. I wonder what the metaphor will be, but

148
00:09:31,200 --> 00:09:33,120
Speaker 1: it just even when I don't know, you know, you

149
00:09:33,160 --> 00:09:35,160
Speaker 1: can sometimes tell it's a metaphor just by the way

150
00:09:35,160 --> 00:09:38,040
Speaker 1: it's framed. You're like, well, it's fun because like it's

151
00:09:38,040 --> 00:09:40,839
Speaker 1: but it's also like plant and payoff, so it's like

152
00:09:40,880 --> 00:09:44,200
Speaker 1: it has a narrative purpose, it has a symbolic purpose.

153
00:09:44,679 --> 00:09:51,640
Speaker 1: Even Ques is like, this is metaphorical. Um, just making

154
00:09:51,679 --> 00:09:54,280
Speaker 1: fun of people watching the movie in the all time.

155
00:09:54,320 --> 00:09:58,160
Speaker 1: It's great. Um. So anyway, so Min is leaving to

156
00:09:58,240 --> 00:10:04,160
Speaker 1: study abroad and he wants to recommend Q for his

157
00:10:04,200 --> 00:10:09,000
Speaker 1: old job tutoring a girl from a rich family. Q's

158
00:10:09,040 --> 00:10:14,440
Speaker 1: sister helps him forge a college degree I think um

159
00:10:14,520 --> 00:10:17,400
Speaker 1: or some kind of official academic document, and he goes

160
00:10:17,440 --> 00:10:21,079
Speaker 1: in for an interview and he meets Mrs Park, who

161
00:10:21,280 --> 00:10:26,000
Speaker 1: is naive and gullible. She interviews him and gives him

162
00:10:26,000 --> 00:10:29,400
Speaker 1: the job. He also meets the teen girl that he'll

163
00:10:29,400 --> 00:10:33,000
Speaker 1: be tutoring, and the young son, we also would think.

164
00:10:33,000 --> 00:10:37,320
Speaker 1: At this point meet the Park's housekeeper, so Mrs Park

165
00:10:37,480 --> 00:10:42,800
Speaker 1: then also tells him that her son, let me check

166
00:10:42,800 --> 00:10:48,520
Speaker 1: the pronunciation here, her son Dosson, needs an art teacher,

167
00:10:49,120 --> 00:10:51,640
Speaker 1: and Q is like, I know of someone who might

168
00:10:51,640 --> 00:10:55,600
Speaker 1: be a good fit this classmate of my cousin, and

169
00:10:55,640 --> 00:11:00,920
Speaker 1: who he really means is his sister Key young and

170
00:11:01,360 --> 00:11:06,120
Speaker 1: Um Illinois, Chicago. Yes, yes, And so Mrs Park gives

171
00:11:06,160 --> 00:11:10,880
Speaker 1: them English names, Kevin and Jessica, which I might default

172
00:11:10,920 --> 00:11:13,880
Speaker 1: to using for the sake of again not continuing to

173
00:11:13,960 --> 00:11:17,959
Speaker 1: embarrass myself every time I fail and pronounce pronounced them

174
00:11:18,000 --> 00:11:21,839
Speaker 1: just fine so far, Okay, thank you so much. I'm

175
00:11:21,920 --> 00:11:26,640
Speaker 1: very self conscious about it, but you're welcome. You're so welcome.

176
00:11:27,480 --> 00:11:31,400
Speaker 1: I just don't want to be disrespectful. Okay. So Jessica,

177
00:11:31,600 --> 00:11:37,160
Speaker 1: pretending to have the necessary credentials and experience, gets the

178
00:11:37,320 --> 00:11:41,160
Speaker 1: job doing art therapy for the young son Um. And

179
00:11:41,160 --> 00:11:43,760
Speaker 1: then we also meet the father of the rich family,

180
00:11:44,000 --> 00:11:48,439
Speaker 1: Mr Park, and his driver takes Jessica home and she

181
00:11:48,520 --> 00:11:53,040
Speaker 1: leaves her underwear in the car, planting it as incriminating evidence,

182
00:11:53,120 --> 00:11:56,319
Speaker 1: knowing that it will probably get him fired, which it does.

183
00:11:56,880 --> 00:12:01,240
Speaker 1: So now that driver position is open for Mr. Kim

184
00:12:01,280 --> 00:12:05,800
Speaker 1: to be able to get that job. Now, the only

185
00:12:05,880 --> 00:12:08,160
Speaker 1: thing they have left to do is to get rid

186
00:12:08,320 --> 00:12:12,320
Speaker 1: of the Park family's housekeeper, um so that their mom,

187
00:12:12,760 --> 00:12:17,320
Speaker 1: Mrs Kim, can have that job. Enter the Peach. Yes,

188
00:12:17,600 --> 00:12:20,959
Speaker 1: this one's a little trickier because the housekeeper has been

189
00:12:21,000 --> 00:12:23,959
Speaker 1: working in this home for years and years, but they

190
00:12:24,080 --> 00:12:27,880
Speaker 1: use her peach allergy against her, and they're able to

191
00:12:27,920 --> 00:12:31,800
Speaker 1: get her fired by convincing Mrs Park that the housekeeper

192
00:12:31,840 --> 00:12:36,960
Speaker 1: has tuberculosis. Just like one of the funniest secrets in

193
00:12:37,000 --> 00:12:40,000
Speaker 1: the movie that the whole sequence is just so fucking funny.

194
00:12:40,080 --> 00:12:42,920
Speaker 1: It's like when they're like shaving the little peach fuzz

195
00:12:43,000 --> 00:12:45,319
Speaker 1: off the peaches and collecting it in like a tiny

196
00:12:45,360 --> 00:12:49,480
Speaker 1: little vial the house at the end. It's just great. Yeah.

197
00:12:49,520 --> 00:12:52,880
Speaker 1: So then Mrs Kim gets tired as the Park family housekeeper,

198
00:12:53,600 --> 00:12:57,160
Speaker 1: and now they're all working for this rich family and

199
00:12:57,360 --> 00:13:00,160
Speaker 1: one day the Parks go on a camping trip up

200
00:13:00,559 --> 00:13:02,280
Speaker 1: the Kims are like, well, let's see what it's like

201
00:13:02,400 --> 00:13:06,600
Speaker 1: to live lavishly in this upscale home. So they're eating,

202
00:13:06,640 --> 00:13:10,240
Speaker 1: they're drinking, they're carrying on. But then someone shows up

203
00:13:10,280 --> 00:13:13,360
Speaker 1: at the door and it's the old housekeeper who says

204
00:13:13,520 --> 00:13:18,200
Speaker 1: she left something behind, so Mrs Kim reluctantly lets her

205
00:13:18,280 --> 00:13:21,880
Speaker 1: in the house. She goes down into the basement and

206
00:13:21,880 --> 00:13:24,440
Speaker 1: it turns out there is a secret bunker down there.

207
00:13:24,520 --> 00:13:28,040
Speaker 1: This is what we would call the midpoint of the film. Um,

208
00:13:28,200 --> 00:13:33,640
Speaker 1: and it's not as though I have a screenwriting master's

209
00:13:33,640 --> 00:13:36,720
Speaker 1: degree or anything like that. I'm the least educated person

210
00:13:36,800 --> 00:13:43,760
Speaker 1: in the chat and killing me, Okay. So they go

211
00:13:43,960 --> 00:13:49,000
Speaker 1: down into this secret bunker where the former housekeeper's husband

212
00:13:49,040 --> 00:13:51,840
Speaker 1: has been living for the past four years because he

213
00:13:51,960 --> 00:13:56,040
Speaker 1: is hiding from debt collectors. Now Mrs Kim threatens to

214
00:13:56,160 --> 00:14:00,640
Speaker 1: call the police on the former housekeeper and her husband,

215
00:14:00,760 --> 00:14:04,480
Speaker 1: but just then her family, who had been eavesdropping on

216
00:14:04,559 --> 00:14:08,640
Speaker 1: this whole interaction like like tumble down the stairs, uh

217
00:14:08,679 --> 00:14:14,120
Speaker 1: and accidentally reveal themselves, and the old housekeeper, who recognizes

218
00:14:14,200 --> 00:14:17,800
Speaker 1: all of them and realizes that they have been lying

219
00:14:17,840 --> 00:14:21,880
Speaker 1: about who they are, threatens to expose them to the

220
00:14:21,880 --> 00:14:26,120
Speaker 1: Park family. A big fight breaks out between them, and

221
00:14:26,160 --> 00:14:30,640
Speaker 1: then the Park family calls to be like, hey, it's raining.

222
00:14:31,000 --> 00:14:33,680
Speaker 1: The camping trip has been cut short. We're on our

223
00:14:33,680 --> 00:14:36,160
Speaker 1: way home. We're we'll be there in eight minutes, so

224
00:14:36,200 --> 00:14:39,800
Speaker 1: everyone has to scramble. The Kim's drag the housekeeper and

225
00:14:39,840 --> 00:14:43,560
Speaker 1: her husband back down into the basement. There's violence, and

226
00:14:43,600 --> 00:14:47,160
Speaker 1: then the Park family arrives back home and the meal

227
00:14:47,320 --> 00:14:51,920
Speaker 1: is made. It looked so good. The Kim family hides

228
00:14:52,400 --> 00:14:54,960
Speaker 1: in the living room under the coffee table. Uh. They

229
00:14:54,960 --> 00:14:58,120
Speaker 1: try to escape, but get delayed because Mr and Mrs

230
00:14:58,160 --> 00:15:01,480
Speaker 1: Park are right there jerking each other off on the

231
00:15:01,560 --> 00:15:07,400
Speaker 1: couch in matching pajamas. Too. It is just never not

232
00:15:07,560 --> 00:15:10,720
Speaker 1: disturbing to watch. And I'm like, I know, you're like,

233
00:15:11,000 --> 00:15:13,320
Speaker 1: I don't know, I'm do do your thing, but in

234
00:15:13,400 --> 00:15:17,440
Speaker 1: matching pajamas the realist portrayal of a married couple of

235
00:15:17,520 --> 00:15:24,080
Speaker 1: sex life. Yeah, imagining gray pajamas jerking each other off, joylessly,

236
00:15:24,320 --> 00:15:26,600
Speaker 1: each other off like their their son is an a

237
00:15:26,720 --> 00:15:35,200
Speaker 1: tent mirror yards away, like alright, gang, do you? So

238
00:15:35,240 --> 00:15:38,320
Speaker 1: they're right there and Mr Park thinks that he can

239
00:15:38,360 --> 00:15:42,560
Speaker 1: smell Mr Kim's smell because he has commented on how

240
00:15:43,240 --> 00:15:46,040
Speaker 1: different members of the family have commented on how the

241
00:15:46,280 --> 00:15:51,040
Speaker 1: Kim family has a distinct kind of foul smell about them.

242
00:15:51,080 --> 00:15:56,240
Speaker 1: So eventually the Kim family are able to escape, so Kevin, Jessica,

243
00:15:56,360 --> 00:15:59,960
Speaker 1: and Mr Kim return home, but their basement level apartment

244
00:16:00,200 --> 00:16:04,880
Speaker 1: has been flooded with sewage water because of this storm

245
00:16:04,920 --> 00:16:07,080
Speaker 1: that's happening. And then they're trying to figure out what

246
00:16:07,080 --> 00:16:10,240
Speaker 1: to do about this situation with the previous housekeeper and

247
00:16:10,320 --> 00:16:14,200
Speaker 1: her husband. Then the next day, the Park's throw an

248
00:16:14,240 --> 00:16:19,080
Speaker 1: impromptu birthday party for the Sun and they invite Kevin

249
00:16:19,080 --> 00:16:23,360
Speaker 1: and Jessica and Mr and Mrs Kim are there working

250
00:16:23,520 --> 00:16:26,960
Speaker 1: and helping out with the party. And then during the party,

251
00:16:27,200 --> 00:16:31,760
Speaker 1: Kevin goes down to the basement. He discovers the old

252
00:16:31,800 --> 00:16:35,960
Speaker 1: housekeeper who has died from her head injury, and the

253
00:16:35,960 --> 00:16:40,280
Speaker 1: housekeeper's husband bashes Kevin on the head, and then he

254
00:16:40,320 --> 00:16:43,400
Speaker 1: goes out into the party. Also she's she's told her

255
00:16:43,480 --> 00:16:47,280
Speaker 1: husband to like vow to kill Mrs Kim or at

256
00:16:47,320 --> 00:16:51,000
Speaker 1: least attempt to kill Mrs Kim right yes, And then

257
00:16:51,040 --> 00:16:55,360
Speaker 1: the housekeeper's husband goes out into the party and stabs Jessica.

258
00:16:55,680 --> 00:16:59,360
Speaker 1: All hell breaks loose. Then Mr Kim sees Mr Park

259
00:16:59,560 --> 00:17:04,040
Speaker 1: being disgusted by the smell that he smells on like

260
00:17:04,119 --> 00:17:07,960
Speaker 1: the housekeeper's husband. So Mr Kim stabs Mr Park and

261
00:17:08,000 --> 00:17:10,439
Speaker 1: then runs off and no one knows where he is

262
00:17:11,040 --> 00:17:15,080
Speaker 1: at first, but then some time passes, Q has survived

263
00:17:15,160 --> 00:17:18,800
Speaker 1: his head injury. He figures out that his dad is

264
00:17:18,960 --> 00:17:22,719
Speaker 1: in the bunker, and he forms a plan to become

265
00:17:23,320 --> 00:17:25,639
Speaker 1: rich enough that he can buy the house that his

266
00:17:25,760 --> 00:17:28,520
Speaker 1: dad is hiding in and then they can all reunite.

267
00:17:28,560 --> 00:17:30,919
Speaker 1: And we see this play out as a kind of

268
00:17:30,920 --> 00:17:34,720
Speaker 1: flash forward, but it cuts back to the present. He

269
00:17:35,160 --> 00:17:40,120
Speaker 1: is still in like the basement level apartment, implying that

270
00:17:40,119 --> 00:17:45,080
Speaker 1: that's probably never going to happen. The end. That the end,

271
00:17:45,119 --> 00:17:50,960
Speaker 1: it's a very uplifting film. Yeah, just brings joy. Um,

272
00:17:51,000 --> 00:17:52,840
Speaker 1: So that's the story. Let's take a quick break and

273
00:17:52,880 --> 00:18:03,400
Speaker 1: then we'll come right back to discuss and we're back. Um.

274
00:18:03,520 --> 00:18:07,639
Speaker 1: Something that I wasn't totally aware of before I started

275
00:18:07,640 --> 00:18:11,760
Speaker 1: researching for this episode was I mean, I know that

276
00:18:11,800 --> 00:18:15,600
Speaker 1: this movie really resonated with American audiences, but I didn't

277
00:18:15,600 --> 00:18:20,879
Speaker 1: know that much about the socioeconomics of uh, South Korea.

278
00:18:21,640 --> 00:18:25,160
Speaker 1: I am kind of running on like a basic subpar

279
00:18:25,320 --> 00:18:30,040
Speaker 1: American history education as it is. So I prior to

280
00:18:30,160 --> 00:18:33,760
Speaker 1: preparing for this episode, only new kind of the basics

281
00:18:33,840 --> 00:18:38,080
Speaker 1: on South Korean history like next to nothing, And so

282
00:18:38,720 --> 00:18:40,520
Speaker 1: for those of you that are in the same boat

283
00:18:40,560 --> 00:18:43,240
Speaker 1: as me on that. Uh. Here are a couple of

284
00:18:43,320 --> 00:18:47,840
Speaker 1: quick facts. This is from uh literally socialist dot net,

285
00:18:47,880 --> 00:18:51,920
Speaker 1: if you can believe feminist icon socialist it's a little

286
00:18:51,960 --> 00:18:55,760
Speaker 1: website called socialist dot net. But just to contextualize the

287
00:18:55,920 --> 00:18:59,080
Speaker 1: class disparity in South Korea. So this is from a

288
00:18:59,080 --> 00:19:02,959
Speaker 1: piece by Andy south work about parasite. Quote. Korea had

289
00:19:02,960 --> 00:19:06,240
Speaker 1: barely developed under the yoke of Japanese imperialism at the

290
00:19:06,320 --> 00:19:08,639
Speaker 1: end of the Korean War in nineteen fifty three. The

291
00:19:08,680 --> 00:19:11,640
Speaker 1: South remained a largely rural economy with a very low

292
00:19:11,640 --> 00:19:14,480
Speaker 1: standard of living. In the period immediately following the war,

293
00:19:14,560 --> 00:19:17,080
Speaker 1: the South was totally dependent on the US. It followed

294
00:19:17,080 --> 00:19:19,760
Speaker 1: the guidance of their American masters by relying on the

295
00:19:19,880 --> 00:19:24,600
Speaker 1: quote unquote free market to provide development. This growth was

296
00:19:24,680 --> 00:19:28,480
Speaker 1: driven by the rise of state sponsored conglomerates called I

297
00:19:28,520 --> 00:19:30,879
Speaker 1: don't know if I'm seeing this correctly UM shy balls

298
00:19:31,680 --> 00:19:36,159
Speaker 1: uh C, H A, E, B O, L S, Shabou,

299
00:19:36,440 --> 00:19:40,000
Speaker 1: which came to totally dominate the economy. The shade balls

300
00:19:40,040 --> 00:19:43,400
Speaker 1: were run by the country's elite families, who use corruption

301
00:19:43,480 --> 00:19:47,000
Speaker 1: and their state contacts to a mass humongous fortunes. They

302
00:19:47,040 --> 00:19:48,840
Speaker 1: of course made sure that their wealth was passed on

303
00:19:48,880 --> 00:19:52,040
Speaker 1: to their children. On the basis of this development, a

304
00:19:52,080 --> 00:19:54,199
Speaker 1: new working class was formed in the cities and a

305
00:19:54,240 --> 00:19:58,399
Speaker 1: massive wealth divide opened up with skyrocketing inequality. After the

306
00:19:59,480 --> 00:20:02,840
Speaker 1: Asia find aancial crisis, several shape balls went bankrupt, and

307
00:20:02,920 --> 00:20:07,399
Speaker 1: Korea entered a period of mass unemployment. Parasite hints that

308
00:20:07,440 --> 00:20:09,520
Speaker 1: this is the background to both the Park's wealth and

309
00:20:09,560 --> 00:20:13,680
Speaker 1: the Kim's poverty unquote. So that was just I wasn't

310
00:20:13,680 --> 00:20:18,040
Speaker 1: aware of the context of I mean, I guess that

311
00:20:18,160 --> 00:20:22,439
Speaker 1: this story certainly reads to any audience that has a

312
00:20:22,520 --> 00:20:26,560
Speaker 1: background of mass you know, income inequality. But yeah, I

313
00:20:26,600 --> 00:20:29,400
Speaker 1: just didn't know that for listeners that don't know, Yeah,

314
00:20:29,520 --> 00:20:34,360
Speaker 1: tip is the word, not shape boat, but yeah, tip

315
00:20:34,760 --> 00:20:38,439
Speaker 1: is a it's a it's a huge problem in South Korea, Like,

316
00:20:38,520 --> 00:20:43,080
Speaker 1: for instance, Samsung is a chip boy corporate conglomerate, Samsung,

317
00:20:43,160 --> 00:20:46,119
Speaker 1: you could kind of imagine it to be like a

318
00:20:46,240 --> 00:20:50,280
Speaker 1: massive it's like, you know, you have Apple iPhones and tablets,

319
00:20:50,280 --> 00:20:53,159
Speaker 1: you have Samsung mobile phones and tablets. In fact, I

320
00:20:53,160 --> 00:20:57,280
Speaker 1: saw a Samsung cell phone that blew my mind. It's

321
00:20:58,040 --> 00:21:01,000
Speaker 1: it's a it's just it's a glass, you know, typical,

322
00:21:01,080 --> 00:21:05,320
Speaker 1: but it folds. My god, oh I've yeah, I've heard

323
00:21:05,359 --> 00:21:07,760
Speaker 1: about these or like say no, no, no, no, you

324
00:21:07,800 --> 00:21:10,679
Speaker 1: have to see it. You have to see it with

325
00:21:10,800 --> 00:21:16,000
Speaker 1: your own eyeballs. It's like watching it is still mind blowing.

326
00:21:16,160 --> 00:21:18,920
Speaker 1: Like I would see this in Korean dramas a lot

327
00:21:19,040 --> 00:21:22,760
Speaker 1: because that's you know, embedded marketing. And when I saw that,

328
00:21:22,840 --> 00:21:25,480
Speaker 1: I was just like, I want that phone so badly,

329
00:21:26,640 --> 00:21:29,919
Speaker 1: you know, funck Apple, I don't care anymore. Samsung, you

330
00:21:29,920 --> 00:21:33,040
Speaker 1: have outdone yourself. But yeah, others are a huge problem.

331
00:21:33,119 --> 00:21:37,400
Speaker 1: For instance, some this film was executive produced by Mickey Lee.

332
00:21:37,920 --> 00:21:42,760
Speaker 1: Mickey Lee is the daughter of Samsung. Corporate conglomerate because

333
00:21:42,960 --> 00:21:48,280
Speaker 1: Samsung is associated with c J and c J well

334
00:21:48,359 --> 00:21:51,840
Speaker 1: it's actually a food conglomerate, but c J has a

335
00:21:51,880 --> 00:21:58,159
Speaker 1: subdivision called c J Entertainment, which handles filmmaking, TV and

336
00:21:58,240 --> 00:22:00,840
Speaker 1: some music, so they have a lot of cable channels.

337
00:22:00,840 --> 00:22:04,720
Speaker 1: They own a newspaper, so it's a huge corporate conglomerate.

338
00:22:05,160 --> 00:22:08,879
Speaker 1: Damn um. So yeah, these tippos are a problem, and

339
00:22:08,920 --> 00:22:11,320
Speaker 1: there are a problem because it's again it's like a

340
00:22:11,359 --> 00:22:14,480
Speaker 1: family based thing, right, So Nepotism is a big issue.

341
00:22:14,720 --> 00:22:17,960
Speaker 1: Corruption is a big issue. Cronyism is a big issue.

342
00:22:18,400 --> 00:22:22,440
Speaker 1: And so Mickey Lee, what's ironic about this film winning

343
00:22:22,480 --> 00:22:25,600
Speaker 1: an oscar and some I saw some people on social

344
00:22:25,600 --> 00:22:28,160
Speaker 1: media talk about this too, is that Mickey Lee is

345
00:22:28,240 --> 00:22:33,040
Speaker 1: like this daughter of this huge tipo establishment and yet

346
00:22:33,119 --> 00:22:36,360
Speaker 1: she's the one that's executive producing a film that has

347
00:22:36,400 --> 00:22:41,199
Speaker 1: a very sharp social critique of capitalism, right, And that

348
00:22:41,240 --> 00:22:44,760
Speaker 1: goes to asking like, well, how, like what's what parallels

349
00:22:44,760 --> 00:22:47,320
Speaker 1: do we have in the United States? Like you know,

350
00:22:47,520 --> 00:22:49,960
Speaker 1: I mean Fox is now owned by Disney, but before that,

351
00:22:50,000 --> 00:22:52,840
Speaker 1: like you know, when when you have The Simpsons or

352
00:22:52,920 --> 00:22:56,200
Speaker 1: Family Guy on on Fox, which always has a critique

353
00:22:56,240 --> 00:23:01,240
Speaker 1: of these mega corporations, right, it's like, how how impactful

354
00:23:01,440 --> 00:23:05,160
Speaker 1: is that critique when it is owned under the umbrella

355
00:23:05,359 --> 00:23:09,639
Speaker 1: of a huge corporate conglomerate. Right. Yeah. The irony, the

356
00:23:10,080 --> 00:23:16,560
Speaker 1: like perhaps hypocrisy of it all is yeah, But then

357
00:23:16,560 --> 00:23:21,119
Speaker 1: it comes into that whole discussion of like it feels

358
00:23:21,160 --> 00:23:24,680
Speaker 1: fucking impossible to make to get anything funded without some

359
00:23:24,760 --> 00:23:28,840
Speaker 1: sort of corporate underlying It is possible, but it's like

360
00:23:29,000 --> 00:23:33,240
Speaker 1: the hill is infinitely higher, and like, you know, imagine

361
00:23:34,040 --> 00:23:36,200
Speaker 1: how much harder it would have been for this movie

362
00:23:36,200 --> 00:23:39,520
Speaker 1: to get funded without the corporate underwriting. And I mean

363
00:23:39,520 --> 00:23:41,800
Speaker 1: it just goes back to like the no no ethical

364
00:23:41,840 --> 00:23:46,840
Speaker 1: consumption argument. Yeah it's I mean, even even if a

365
00:23:46,960 --> 00:23:49,960
Speaker 1: person does make a film without any of those corporate ties,

366
00:23:50,200 --> 00:23:53,800
Speaker 1: the goal is still to sell it, you know, to

367
00:23:53,840 --> 00:23:57,399
Speaker 1: have it distributed. And if that film, let's say, a

368
00:23:57,480 --> 00:24:02,520
Speaker 1: pure little film grassroots right, somehow made it big. The

369
00:24:02,600 --> 00:24:05,080
Speaker 1: first person that's going to be on the phone contacting

370
00:24:05,080 --> 00:24:08,720
Speaker 1: the filmmaker is somebody who is going to compromise all

371
00:24:08,760 --> 00:24:11,600
Speaker 1: of those things for that person. And will that person

372
00:24:11,840 --> 00:24:15,200
Speaker 1: say no? Most likely no, they will say yes all right,

373
00:24:15,200 --> 00:24:17,240
Speaker 1: if you want to if you want to be successful

374
00:24:17,320 --> 00:24:19,120
Speaker 1: as an artist, if you want to pay off your

375
00:24:19,520 --> 00:24:21,680
Speaker 1: your three credit cards that you maxed out in order

376
00:24:21,720 --> 00:24:25,480
Speaker 1: to make that film, you're gonna say yes. And um yeah,

377
00:24:25,560 --> 00:24:28,640
Speaker 1: I don't blame Punju at all for for doing that.

378
00:24:28,680 --> 00:24:31,919
Speaker 1: You know, it is like how much awareness do you

379
00:24:31,960 --> 00:24:34,000
Speaker 1: have of that? Like do you make these things with

380
00:24:34,040 --> 00:24:37,480
Speaker 1: that full awareness? You know? Um, knowing that all of us,

381
00:24:37,600 --> 00:24:41,040
Speaker 1: all of us are are tied to that. We're still

382
00:24:41,080 --> 00:24:44,160
Speaker 1: bound to that, um whether we like it or not.

383
00:24:44,680 --> 00:24:48,920
Speaker 1: I mean, we're on iHeart radio right now, Like exactly,

384
00:24:48,960 --> 00:24:53,840
Speaker 1: I noticed there is quite honestly no escaping it, right,

385
00:24:53,880 --> 00:24:56,399
Speaker 1: And how do you like without that funding, Like it

386
00:24:56,400 --> 00:24:59,240
Speaker 1: would have been as difficult to make as it would

387
00:24:59,240 --> 00:25:02,919
Speaker 1: have been for Q to like earn enough money to

388
00:25:03,000 --> 00:25:06,240
Speaker 1: buy the that Park house and like rescue his dad.

389
00:25:06,320 --> 00:25:11,400
Speaker 1: Like it's just it's not in the socio economic structures

390
00:25:11,400 --> 00:25:15,760
Speaker 1: that many countries operate under. It's simply not possible social

391
00:25:15,840 --> 00:25:20,960
Speaker 1: mobile like upboard mobility, damn near impossible. Yeah, And I

392
00:25:21,000 --> 00:25:24,080
Speaker 1: think that's so important to highlight. Like, first of all,

393
00:25:24,359 --> 00:25:27,959
Speaker 1: what that shows, or what this discussion shows, is that

394
00:25:28,080 --> 00:25:31,680
Speaker 1: capitalism is actually a lot more complex, right, It's more

395
00:25:31,720 --> 00:25:34,639
Speaker 1: complex than us just saying capitalism is the evil of all.

396
00:25:34,760 --> 00:25:37,200
Speaker 1: It's like, yeah, okay, that's true, but we're still working

397
00:25:37,200 --> 00:25:41,520
Speaker 1: within this framework of capitalism. What what can we do?

398
00:25:41,800 --> 00:25:44,119
Speaker 1: You know? And then what you just said about social

399
00:25:44,160 --> 00:25:47,600
Speaker 1: mobility is like I think it's so it's key to

400
00:25:47,840 --> 00:25:50,720
Speaker 1: this film. It's like a key marker of this film,

401
00:25:50,760 --> 00:25:54,880
Speaker 1: this concept of the odor, right, this odor that offends

402
00:25:55,840 --> 00:25:58,399
Speaker 1: Mr Park so much. And then Mr Park goes and

403
00:25:58,440 --> 00:26:00,600
Speaker 1: tells his wife, Mrs Park about she didn't even have

404
00:26:00,640 --> 00:26:03,719
Speaker 1: any awareness of it, he tells her about it, and

405
00:26:03,760 --> 00:26:07,720
Speaker 1: then the next day she notices the stench of Mr.

406
00:26:07,800 --> 00:26:11,320
Speaker 1: Kim right, which goes to show like, oh, well, she's

407
00:26:11,400 --> 00:26:14,600
Speaker 1: really under the thumb of her husband, you know, a

408
00:26:14,840 --> 00:26:20,480
Speaker 1: very impressionable wife. And he says something very interesting about

409
00:26:20,480 --> 00:26:24,280
Speaker 1: this odor. He's like, I like Mr Kim because he

410
00:26:24,480 --> 00:26:27,320
Speaker 1: never crosses that line. I don't like GI when people

411
00:26:27,320 --> 00:26:30,520
Speaker 1: across the line. But that odor crosses the line. And

412
00:26:30,600 --> 00:26:34,919
Speaker 1: that's a very very like clear cut rationale that all

413
00:26:35,040 --> 00:26:37,720
Speaker 1: rich people have. They don't want the poor to be

414
00:26:37,840 --> 00:26:41,320
Speaker 1: socially mobile. They simply do not, because as soon as

415
00:26:41,359 --> 00:26:44,480
Speaker 1: a person is socially mobile, right they crossed this so

416
00:26:44,640 --> 00:26:49,800
Speaker 1: called line, they loose that person to to continue to

417
00:26:50,240 --> 00:26:53,600
Speaker 1: function in their big houses, with their cars, you know,

418
00:26:53,680 --> 00:26:58,280
Speaker 1: with their with their regular lavish, convenient lifestyle, and so

419
00:26:58,400 --> 00:27:02,200
Speaker 1: they do not want social People with power do not

420
00:27:02,440 --> 00:27:05,560
Speaker 1: want the poor to be socially mobile, because then they

421
00:27:05,560 --> 00:27:10,280
Speaker 1: don't have anyone left to exploit. The smell works on

422
00:27:10,359 --> 00:27:14,000
Speaker 1: so many levels on like I don't know, when I

423
00:27:14,040 --> 00:27:17,119
Speaker 1: first saw the movie, I was like, I I guess

424
00:27:17,200 --> 00:27:20,119
Speaker 1: like semi triggered myself because that was, like, I don't know,

425
00:27:20,200 --> 00:27:22,639
Speaker 1: I grew up in like a family with that smell,

426
00:27:23,280 --> 00:27:26,880
Speaker 1: and it's a literal metaphor in some ways where it's

427
00:27:26,920 --> 00:27:32,159
Speaker 1: like the most deeply humiliating thing. You Like, it's one

428
00:27:32,200 --> 00:27:34,800
Speaker 1: of the most deeply humiliating feelings I've ever felt, is

429
00:27:34,920 --> 00:27:37,439
Speaker 1: hearing someone else talking about how you smell, thinking you

430
00:27:37,480 --> 00:27:40,960
Speaker 1: can't hear them, like it's the worst feeling in the world.

431
00:27:41,400 --> 00:27:43,280
Speaker 1: And then on top of that, I thought it was

432
00:27:43,720 --> 00:27:48,320
Speaker 1: really interesting that even when I mean it's also metaphorical right,

433
00:27:48,359 --> 00:27:51,080
Speaker 1: where there's nothing they can do to get the smell off,

434
00:27:51,160 --> 00:27:55,439
Speaker 1: they actively try to use different soaps. They're like trying

435
00:27:55,440 --> 00:27:58,920
Speaker 1: to strategically. That's like the one part of this whole

436
00:27:59,440 --> 00:28:03,200
Speaker 1: ruse that the Kim family has going that gives them away.

437
00:28:03,240 --> 00:28:07,280
Speaker 1: It's like that somehow being poor is you can't wash

438
00:28:07,320 --> 00:28:10,600
Speaker 1: it off, you can't hide it. Yeah, yeah, yeah, you

439
00:28:10,640 --> 00:28:15,119
Speaker 1: can't hide smells and a smell offense, right, it's a well,

440
00:28:15,320 --> 00:28:16,880
Speaker 1: it depends on the smell. But if it's a smell

441
00:28:16,920 --> 00:28:20,640
Speaker 1: you don't like, it offends and it's something you can't hide, yeah,

442
00:28:20,720 --> 00:28:23,639
Speaker 1: like you said, it gives it away, gives your status away.

443
00:28:24,400 --> 00:28:27,639
Speaker 1: And yeah, I thought this use of the odor was

444
00:28:27,840 --> 00:28:30,080
Speaker 1: really clever. I thought it was a really clever device

445
00:28:30,119 --> 00:28:33,399
Speaker 1: in the film. Yeah, And like I was reading this

446
00:28:33,520 --> 00:28:37,360
Speaker 1: piece by Laura Marks. She writes it's like a it's

447
00:28:37,359 --> 00:28:41,120
Speaker 1: a it's an academic piece, a journal article, but she

448
00:28:41,200 --> 00:28:47,320
Speaker 1: talks about the smell as a potential sensory tool for analysis,

449
00:28:47,360 --> 00:28:51,320
Speaker 1: like analyzing a film or media. And I was just

450
00:28:51,360 --> 00:28:56,720
Speaker 1: thinking about like colonization to a certain extent. So, like

451
00:28:56,880 --> 00:29:01,200
Speaker 1: Korea is. South Korea is now a developed a nation.

452
00:29:02,000 --> 00:29:05,200
Speaker 1: It's one of the wealthier nations in the world now,

453
00:29:05,880 --> 00:29:09,000
Speaker 1: but there is still such a thing as global hierarchy, right,

454
00:29:09,320 --> 00:29:13,000
Speaker 1: And as we as we know, after the Korean Civil War,

455
00:29:13,920 --> 00:29:18,040
Speaker 1: South Korea and North Korea were separated because of USSR

456
00:29:18,080 --> 00:29:21,520
Speaker 1: and US Cold War tensions. So Russia Soviet Union was like,

457
00:29:21,560 --> 00:29:24,520
Speaker 1: will take care of North Korea. US, you take South

458
00:29:24,560 --> 00:29:29,040
Speaker 1: Korea and will be cool. Right, So Korea was divided

459
00:29:29,120 --> 00:29:34,200
Speaker 1: because of foreign Cold War tensions, and you know, South

460
00:29:34,280 --> 00:29:38,880
Speaker 1: Korea was pretty much right after its liberation from Japanese colonation,

461
00:29:38,920 --> 00:29:43,000
Speaker 1: which lasted from nineteen to nine, South Korea was like, okay, well,

462
00:29:43,040 --> 00:29:45,400
Speaker 1: I mean, I guess we're technically free, but now they

463
00:29:45,440 --> 00:29:49,600
Speaker 1: weren't free, right, Like USSR and US took over all

464
00:29:49,600 --> 00:29:54,960
Speaker 1: of those spaces and occupations and roles that Japan was occupying, right,

465
00:29:55,680 --> 00:30:00,680
Speaker 1: And when the Japanese colonized South Korea, they had this

466
00:30:01,240 --> 00:30:04,240
Speaker 1: notion that like, oh, Japan was going to be the

467
00:30:04,280 --> 00:30:07,280
Speaker 1: new imperial empire in Asia, and they were going to

468
00:30:07,520 --> 00:30:11,600
Speaker 1: colonize all these countries and you know, they were going

469
00:30:11,640 --> 00:30:13,840
Speaker 1: to become just as successful as the West, just as

470
00:30:14,080 --> 00:30:16,120
Speaker 1: you know, imperial as the West. That was the dream

471
00:30:16,200 --> 00:30:19,040
Speaker 1: Japan had. And then of course, you know, the United

472
00:30:19,080 --> 00:30:21,960
Speaker 1: States bombed the ship out of Japan and destroyed the

473
00:30:22,000 --> 00:30:26,360
Speaker 1: country and you know, lost World War Two. But Japan,

474
00:30:26,600 --> 00:30:30,440
Speaker 1: the Japanese, like during this colonization process with Korea, they

475
00:30:30,440 --> 00:30:34,640
Speaker 1: had this sanitation policy. So the Japanese would look down

476
00:30:34,680 --> 00:30:36,960
Speaker 1: on the Koreans and say, you know, they're so backward,

477
00:30:37,000 --> 00:30:40,360
Speaker 1: and you know they're very agrarian. Like you said that

478
00:30:40,720 --> 00:30:43,080
Speaker 1: it was a rural economy. South Korea's full of mountains

479
00:30:43,120 --> 00:30:47,000
Speaker 1: and fields, a lot of farming um, and they were like,

480
00:30:47,040 --> 00:30:50,360
Speaker 1: they don't know sanitation, you know. And and the Japanese

481
00:30:50,360 --> 00:30:54,000
Speaker 1: didn't like the smells of of South Koreans because of

482
00:30:54,240 --> 00:30:58,320
Speaker 1: what whatever their lifestyle was like. And so not only

483
00:30:58,400 --> 00:31:00,760
Speaker 1: do you have that, but you also have this the

484
00:31:00,840 --> 00:31:03,240
Speaker 1: cuisine of South Korea, where there's a lot of fermentation.

485
00:31:03,720 --> 00:31:05,560
Speaker 1: So you have like you know, ten jong, which is

486
00:31:05,560 --> 00:31:09,280
Speaker 1: a soybean fermentus soy being paste, and then you have kimchi.

487
00:31:09,440 --> 00:31:14,240
Speaker 1: As everybody now knows. Back in when I first immigrated

488
00:31:14,280 --> 00:31:17,360
Speaker 1: to the United States and I brought my Korean food

489
00:31:17,760 --> 00:31:25,920
Speaker 1: lunch to my ps Brooklyn Public School, Okay, the horror, right,

490
00:31:26,080 --> 00:31:31,200
Speaker 1: the trauma that it left on everybody because I brought

491
00:31:31,240 --> 00:31:33,120
Speaker 1: a role of keep up to class. I mean, it

492
00:31:33,240 --> 00:31:36,920
Speaker 1: was just unbelievable, right, the smell of sesame oil, the

493
00:31:36,920 --> 00:31:40,280
Speaker 1: smell of fermented kimchi. The smell and this this lunch

494
00:31:40,400 --> 00:31:43,600
Speaker 1: story is like universal. You could ask, you could literally

495
00:31:43,640 --> 00:31:45,800
Speaker 1: grab any Asian off the street and be like, do

496
00:31:45,840 --> 00:31:48,040
Speaker 1: you have a lunch story with white people? And they

497
00:31:48,120 --> 00:31:50,840
Speaker 1: would be like, yes, yes, I do. It's like a

498
00:31:50,920 --> 00:31:53,640
Speaker 1: childhood it's like a ritual. It's a rite of passage

499
00:31:53,640 --> 00:31:58,200
Speaker 1: into childhood, immigrant childhood trauma in the United States. And

500
00:31:58,280 --> 00:32:01,560
Speaker 1: so you have the smell that fence, the fermentic cabbage

501
00:32:01,600 --> 00:32:06,640
Speaker 1: smelled a fence. But today you have white people eating

502
00:32:06,720 --> 00:32:11,200
Speaker 1: kinchi in their cars like a salad with no problem.

503
00:32:11,280 --> 00:32:15,120
Speaker 1: Why how how does that happen? Right? And so like

504
00:32:15,160 --> 00:32:19,720
Speaker 1: South Korea went through this huge globalization process in the

505
00:32:20,040 --> 00:32:23,040
Speaker 1: in the nineties, this president in Kim Yong's ham was like,

506
00:32:23,160 --> 00:32:26,880
Speaker 1: I want South Korea to be just as globally branded

507
00:32:27,160 --> 00:32:30,240
Speaker 1: and successful as Japan. Right, because by the nineties, like

508
00:32:30,440 --> 00:32:33,640
Speaker 1: Japan was kicking as like Sony was global. You know,

509
00:32:33,880 --> 00:32:37,960
Speaker 1: Japan had a huge steak in Hollywood through Sony. Um.

510
00:32:38,000 --> 00:32:41,440
Speaker 1: You know, you know they had Walkman okay, Walkman's you

511
00:32:41,480 --> 00:32:44,360
Speaker 1: know that came from Japan. It Hello Kitty everywhere, right,

512
00:32:44,560 --> 00:32:49,560
Speaker 1: Japanese fashion sushi was a huge thing, right, and um,

513
00:32:49,600 --> 00:32:52,560
Speaker 1: you know, everybody was getting down with Japanese products, and

514
00:32:52,640 --> 00:32:55,320
Speaker 1: Korea was like, we need to get there, right because

515
00:32:55,400 --> 00:32:57,960
Speaker 1: you know, the Korea doesn't have a lot of natural resources,

516
00:32:58,280 --> 00:33:00,640
Speaker 1: they don't have a lot to explore, and they needed

517
00:33:00,680 --> 00:33:04,040
Speaker 1: to make it economically and so um, they started, you know,

518
00:33:04,400 --> 00:33:08,840
Speaker 1: doing this global branding process and kimchi was a big

519
00:33:08,880 --> 00:33:11,880
Speaker 1: part of that. So it's it's no accident that's suddenly

520
00:33:11,880 --> 00:33:14,200
Speaker 1: white people are eating kimchi in their cars like a salad. Okay.

521
00:33:14,240 --> 00:33:18,320
Speaker 1: This was very much like a step by step procedure

522
00:33:18,400 --> 00:33:21,520
Speaker 1: that South Korea went through as a government. K Pop

523
00:33:21,520 --> 00:33:25,040
Speaker 1: being global that's also not an accident. Korean dramas being

524
00:33:25,040 --> 00:33:29,120
Speaker 1: on Netflix is not an accident. Korean films winning a

525
00:33:29,240 --> 00:33:31,719
Speaker 1: can palm door is not an accident. You know, like

526
00:33:31,760 --> 00:33:35,719
Speaker 1: the Korea has been trying Korean films Finally winning an

527
00:33:35,720 --> 00:33:37,840
Speaker 1: oscar is not an accident. Korea has been trying to

528
00:33:37,840 --> 00:33:41,200
Speaker 1: win an oscar for decades and they finally was able

529
00:33:41,240 --> 00:33:45,560
Speaker 1: to do this and so um, yeah, globalization is a

530
00:33:45,640 --> 00:33:48,840
Speaker 1: big part of this. And uh, I will also say,

531
00:33:48,920 --> 00:33:51,400
Speaker 1: you know, US neo colonialism is also a big part

532
00:33:51,400 --> 00:33:53,760
Speaker 1: of this because it's like Korea had to convince the

533
00:33:53,840 --> 00:33:57,120
Speaker 1: United States that, you know, Korea was not a stinky

534
00:33:57,160 --> 00:33:59,360
Speaker 1: country or you can get down with the stink. You know,

535
00:33:59,400 --> 00:34:02,920
Speaker 1: it's an acquire your stench. It's an acquired odor, acquired taste,

536
00:34:03,240 --> 00:34:04,840
Speaker 1: and you can get down with it. And it's like

537
00:34:04,880 --> 00:34:07,440
Speaker 1: this the branding thing tricks to you, you know, it

538
00:34:07,520 --> 00:34:10,319
Speaker 1: gets people on board and South Korea has been doing

539
00:34:10,360 --> 00:34:14,240
Speaker 1: it for thirty years and they finally did it. Damn wow.

540
00:34:14,280 --> 00:34:18,760
Speaker 1: That yeah, that's such helpful context. Thank you for truly

541
00:34:18,840 --> 00:34:21,080
Speaker 1: like there, we we are very much on a learning

542
00:34:21,200 --> 00:34:24,239
Speaker 1: learning curve here, so that is incredibly helpful for I

543
00:34:24,239 --> 00:34:28,040
Speaker 1: mean even in understanding how the Parks behave in this

544
00:34:28,320 --> 00:34:31,040
Speaker 1: movie where there's like I had I was sort of

545
00:34:31,040 --> 00:34:33,800
Speaker 1: guessing my way around it previous in my previous reads

546
00:34:34,440 --> 00:34:38,080
Speaker 1: of the movie, where I mean they are very responsive

547
00:34:38,320 --> 00:34:42,200
Speaker 1: to Western culture. I think that there's like that commentary

548
00:34:42,239 --> 00:34:45,720
Speaker 1: in there with their son's fixation on Native American culture

549
00:34:45,800 --> 00:34:49,360
Speaker 1: and the native culture and also the cowboy culture that

550
00:34:49,520 --> 00:34:54,080
Speaker 1: is kind of the you know, false colonial inverse to it,

551
00:34:54,719 --> 00:34:58,160
Speaker 1: and as well as how easily they're fooled. So like

552
00:34:58,239 --> 00:35:01,480
Speaker 1: one of the themes that I really that like hit

553
00:35:01,520 --> 00:35:04,600
Speaker 1: for me more on this viewing, um, just having read

554
00:35:04,640 --> 00:35:08,719
Speaker 1: through more interviews with the director is the fact that

555
00:35:08,840 --> 00:35:11,759
Speaker 1: the Parks aren't necessarily They're not made out to be

556
00:35:12,160 --> 00:35:17,120
Speaker 1: these villains necessarily, which is cool. I mean, you still

557
00:35:17,440 --> 00:35:20,560
Speaker 1: aren't extremely upset when Mr Park dies at the end,

558
00:35:20,680 --> 00:35:23,960
Speaker 1: like he has it coming. It is cathartic, uh to

559
00:35:24,040 --> 00:35:28,640
Speaker 1: see him go down for treating poor people so dismissively.

560
00:35:29,280 --> 00:35:34,520
Speaker 1: But I there is a quote from Bung junho Uh

561
00:35:34,680 --> 00:35:39,520
Speaker 1: that he did in a really incredible Vulture profile from

562
00:35:39,600 --> 00:35:43,879
Speaker 1: last year where he says basically that it is a

563
00:35:43,920 --> 00:35:49,080
Speaker 1: movie with no heroes and no villains. And even though

564
00:35:49,200 --> 00:35:52,879
Speaker 1: the Parks are made out to be more gullible, dismissive,

565
00:35:53,080 --> 00:35:59,680
Speaker 1: and ignorant of the lower classes, rather than actively whatever

566
00:35:59,760 --> 00:36:03,600
Speaker 1: rubbing their hands together, patting the cat and saying like

567
00:36:03,680 --> 00:36:08,120
Speaker 1: I know exactly what they'll do, they're completely unaware, uninterested

568
00:36:08,320 --> 00:36:11,520
Speaker 1: and I mean even to bring back the smell metaphor

569
00:36:11,600 --> 00:36:16,000
Speaker 1: like upset when a reminder of the lower classes is

570
00:36:16,120 --> 00:36:19,840
Speaker 1: intrusive in the smallest way to their to their daily life,

571
00:36:20,680 --> 00:36:24,600
Speaker 1: especially because like the Park family only wants to deal

572
00:36:24,840 --> 00:36:28,279
Speaker 1: with anyone from the lower class as long as they

573
00:36:28,360 --> 00:36:31,960
Speaker 1: seem also like elite, you know what I mean, We're

574
00:36:32,000 --> 00:36:34,560
Speaker 1: like they he gets that little business card for like

575
00:36:34,719 --> 00:36:38,960
Speaker 1: the care which is like this elite housekeeping membership service

576
00:36:39,160 --> 00:36:43,080
Speaker 1: and with a lot of gates. Yeah, right exactly, And

577
00:36:43,239 --> 00:36:47,600
Speaker 1: they find Mr Kim as the driver appealing because he

578
00:36:47,680 --> 00:36:51,000
Speaker 1: was working for this wealthy family of and like the

579
00:36:51,719 --> 00:36:54,920
Speaker 1: forgery of the college degree document you know you had,

580
00:36:54,960 --> 00:36:57,839
Speaker 1: like in the and the two kids uh Kei Jung

581
00:36:57,960 --> 00:37:01,359
Speaker 1: and Q Jessica and Kevin, they actually presented themselves as

582
00:37:01,520 --> 00:37:06,640
Speaker 1: fellow equals, like fellow socio economic equals, like to say

583
00:37:06,680 --> 00:37:10,160
Speaker 1: that they studied abroad like Jessica says she studied in Illinois,

584
00:37:10,400 --> 00:37:14,560
Speaker 1: you know, to say that as a marker of elitism,

585
00:37:14,640 --> 00:37:20,279
Speaker 1: the way that Mrs Park specles in English whenever she can,

586
00:37:20,840 --> 00:37:25,640
Speaker 1: you know, to give these people, like to address them

587
00:37:25,680 --> 00:37:29,560
Speaker 1: in English names, Jessica and Kevin. You know, it's it's

588
00:37:29,600 --> 00:37:31,560
Speaker 1: a marker of elitism. And that's why I say that

589
00:37:31,760 --> 00:37:36,960
Speaker 1: US neo colonial kind of tones are in there, because Korea,

590
00:37:37,080 --> 00:37:47,719
Speaker 1: South Korea equates elitism and success and financial security with America. Well,

591
00:37:47,719 --> 00:37:52,400
Speaker 1: it's not working out for anybody in this concept of

592
00:37:52,520 --> 00:37:55,760
Speaker 1: I mean, I really like that poem mentioned that because

593
00:37:56,440 --> 00:37:58,960
Speaker 1: in the context of like I don't know, I don't

594
00:37:59,000 --> 00:38:00,560
Speaker 1: know if this might get two head, but in the

595
00:38:00,640 --> 00:38:05,239
Speaker 1: context of in a melodrama as a frame, right, melodrama

596
00:38:05,320 --> 00:38:08,320
Speaker 1: is oftentimes used. They say that there is a narrative

597
00:38:08,320 --> 00:38:11,759
Speaker 1: mode within melodrama. So when you watch a melodrama, there's

598
00:38:11,800 --> 00:38:16,520
Speaker 1: a very clear evil person and a very clear hero. Right,

599
00:38:16,880 --> 00:38:19,800
Speaker 1: Like a young girl, an orphan girl working class, works

600
00:38:19,800 --> 00:38:24,000
Speaker 1: so hard, so honest, you know, so beautiful, so caring, right,

601
00:38:24,360 --> 00:38:27,960
Speaker 1: but she just can't get out of the ships, right,

602
00:38:28,080 --> 00:38:29,800
Speaker 1: So what does she do. He's just to meet a hot,

603
00:38:29,920 --> 00:38:33,400
Speaker 1: rich guy and she does, and the hot rich guy

604
00:38:33,440 --> 00:38:37,160
Speaker 1: likes her because she's so honest and hard working. But

605
00:38:37,320 --> 00:38:41,240
Speaker 1: there's always an evil bitch who likes that rich guy too,

606
00:38:41,480 --> 00:38:44,640
Speaker 1: and she'll do anything to bring her down, right, And

607
00:38:44,680 --> 00:38:46,920
Speaker 1: so it's very clear who the villain is and who

608
00:38:46,960 --> 00:38:51,279
Speaker 1: the victim is. But in a neoliberal context of melodrama,

609
00:38:51,440 --> 00:38:55,560
Speaker 1: there's no clear villain. There's just a victim. You know,

610
00:38:56,040 --> 00:38:59,120
Speaker 1: nobody ever names the villain. Everybody always names the victimhood

611
00:38:59,160 --> 00:39:02,479
Speaker 1: like my victim and my plate. But and that that's

612
00:39:02,520 --> 00:39:05,759
Speaker 1: just a very clever way to present that, is to

613
00:39:05,840 --> 00:39:09,319
Speaker 1: say that, yeah, like in in capitalism, maybe there is

614
00:39:09,520 --> 00:39:12,719
Speaker 1: no villain after all, you know, to say, like all

615
00:39:12,719 --> 00:39:18,319
Speaker 1: these people are evil doers, is you know, perhaps not realistic.

616
00:39:18,640 --> 00:39:22,840
Speaker 1: Right to vilify these people would make it the characters

617
00:39:22,880 --> 00:39:27,719
Speaker 1: would be caricatures. They wouldn't be relatable at all. And

618
00:39:27,760 --> 00:39:30,560
Speaker 1: that's something we talked about on the podcast quite a bit,

619
00:39:30,719 --> 00:39:34,480
Speaker 1: although in a different context. We usually have discussed it

620
00:39:34,840 --> 00:39:39,320
Speaker 1: from the point of view of like certain male characters

621
00:39:39,400 --> 00:39:44,440
Speaker 1: in movies being predators and then being so cartoonishly evil

622
00:39:44,920 --> 00:39:47,360
Speaker 1: that no one would ever be able to see themselves

623
00:39:47,760 --> 00:39:51,439
Speaker 1: in someone so cartoonishly evil and they're like, well I can't.

624
00:39:51,480 --> 00:39:54,080
Speaker 1: I'm not a predator like that, So I'm not a predator.

625
00:39:54,680 --> 00:40:00,680
Speaker 1: But like exactly, not all men like you would never

626
00:40:00,800 --> 00:40:03,359
Speaker 1: make and it's I mean, it's and in a frustrating way,

627
00:40:03,440 --> 00:40:06,400
Speaker 1: it's just like good business to make that choice, because

628
00:40:06,680 --> 00:40:09,200
Speaker 1: you don't want your average consumer to look at something

629
00:40:09,239 --> 00:40:12,000
Speaker 1: and be like, wait a second, I feel called out.

630
00:40:12,120 --> 00:40:16,440
Speaker 1: I'm leaving, you know, like yeah, so it's easier to

631
00:40:16,480 --> 00:40:19,200
Speaker 1: go to the cartoon route exactly. And like Amy Schumer

632
00:40:19,280 --> 00:40:22,040
Speaker 1: talked about that too, where when she was like, you know,

633
00:40:22,640 --> 00:40:26,160
Speaker 1: people think that like rape is, you know, or sexual

634
00:40:26,160 --> 00:40:29,480
Speaker 1: assault is like they think of it very conveniently, you know,

635
00:40:29,560 --> 00:40:32,040
Speaker 1: like a stranger attacks you and an assaults you, r

636
00:40:32,120 --> 00:40:35,759
Speaker 1: rapes you. But most sexual assault happens with people you know,

637
00:40:36,000 --> 00:40:39,520
Speaker 1: people you trust, you know, somebody that's completely human in

638
00:40:39,560 --> 00:40:42,080
Speaker 1: your life. And that's what makes sexual assault all the

639
00:40:42,120 --> 00:40:46,000
Speaker 1: more traumatic and confusing. But it's not almost never depicted

640
00:40:46,040 --> 00:40:51,080
Speaker 1: that way in media. Never. It's never your beloved, handsome

641
00:40:51,120 --> 00:40:54,560
Speaker 1: boyfriend who has a stable job and knows your parents

642
00:40:54,680 --> 00:40:57,279
Speaker 1: really well and takes care of your younger brother. It's

643
00:40:57,320 --> 00:41:01,080
Speaker 1: never that guy. But in reality, it but more often

644
00:41:01,120 --> 00:41:05,880
Speaker 1: than that it is. It is, it's actually the prime candidate.

645
00:41:06,480 --> 00:41:08,800
Speaker 1: And that's what's so interesting to me about this movie

646
00:41:08,960 --> 00:41:12,400
Speaker 1: is that a lot of movies that comment on class

647
00:41:12,719 --> 00:41:17,319
Speaker 1: will be like rich people bad poor people good, poor

648
00:41:17,360 --> 00:41:21,600
Speaker 1: people can do no wrong, and it's the poor people

649
00:41:21,800 --> 00:41:24,560
Speaker 1: taking down the rich people. Which, don't get me wrong,

650
00:41:24,680 --> 00:41:27,160
Speaker 1: I like a lot of those movies, and I think

651
00:41:27,200 --> 00:41:29,120
Speaker 1: they have a lot of value and I find them

652
00:41:29,120 --> 00:41:33,160
Speaker 1: to be very catartic. But on the other hand, this

653
00:41:33,239 --> 00:41:36,759
Speaker 1: movie has a much more complex examination of that where

654
00:41:36,760 --> 00:41:40,239
Speaker 1: it's like it's almost like, well, the desperation of poverty

655
00:41:40,520 --> 00:41:44,320
Speaker 1: makes you have to compete with other lower class people,

656
00:41:44,840 --> 00:41:48,000
Speaker 1: and that's why that's when see to push a second

657
00:41:48,000 --> 00:41:50,640
Speaker 1: family into the basement so that you can live upstairs,

658
00:41:51,840 --> 00:41:55,560
Speaker 1: get other people fired so you could take their place. Yes, exactly.

659
00:41:55,600 --> 00:42:00,720
Speaker 1: There that there's the scene where the Kim family is drunk.

660
00:42:00,960 --> 00:42:04,080
Speaker 1: I feel like this is stated most succinctly where they

661
00:42:04,120 --> 00:42:06,719
Speaker 1: have this conversation. There's a few different poll quotes from

662
00:42:06,719 --> 00:42:09,319
Speaker 1: this conversation that you're like, Okay, this is kind of

663
00:42:09,360 --> 00:42:12,360
Speaker 1: the thesis, or it felt to me what the thesis

664
00:42:12,360 --> 00:42:14,600
Speaker 1: of the movie is. But one of the moments that

665
00:42:14,880 --> 00:42:17,759
Speaker 1: really stuck with me that I hadn't I don't know,

666
00:42:17,760 --> 00:42:19,960
Speaker 1: I hadn't given a ton of attention to in previous

667
00:42:20,239 --> 00:42:24,319
Speaker 1: watchings were when they're talking about I think it is

668
00:42:24,520 --> 00:42:27,520
Speaker 1: Q and Mr Kim start to talk about how the

669
00:42:27,640 --> 00:42:29,160
Speaker 1: driver got fired, and they're like, oh, what do you

670
00:42:29,160 --> 00:42:30,799
Speaker 1: think he's doing now? He probably got a good job,

671
00:42:30,800 --> 00:42:35,680
Speaker 1: he's fine. Their conscience plagues them, Yeah, but but then uh,

672
00:42:35,719 --> 00:42:39,680
Speaker 1: the daughter, who is more drunk than everyone interrupts and says,

673
00:42:40,520 --> 00:42:43,600
Speaker 1: we're the ones who need help, worry about us, okay,

674
00:42:43,760 --> 00:42:45,760
Speaker 1: And that line it never really jumped out to me before,

675
00:42:45,800 --> 00:42:48,360
Speaker 1: But that is so much of what it seems like

676
00:42:48,400 --> 00:42:51,000
Speaker 1: it's trying to be said about. Like you can't really

677
00:42:51,000 --> 00:42:54,440
Speaker 1: fault her for that mindset, because this is a family

678
00:42:54,480 --> 00:42:58,040
Speaker 1: that's trying to lift themselves out of poverty, and that

679
00:42:58,200 --> 00:43:03,480
Speaker 1: is a brutal experience that often requires pushing other people

680
00:43:03,520 --> 00:43:06,440
Speaker 1: down to get there, Like it grat we we we

681
00:43:06,440 --> 00:43:08,600
Speaker 1: were just saying about, I don't know, just kind of

682
00:43:08,640 --> 00:43:11,319
Speaker 1: the narrative we're presented with over and over and over

683
00:43:11,880 --> 00:43:14,560
Speaker 1: of you know, being lifted out of poverty, and then

684
00:43:14,560 --> 00:43:16,520
Speaker 1: you're just you've taken the place of the rich people

685
00:43:16,600 --> 00:43:19,160
Speaker 1: and you're probably gonna do the right thing. Uh, and

686
00:43:19,239 --> 00:43:21,759
Speaker 1: it's very easy and it's you know, but but this

687
00:43:21,880 --> 00:43:25,960
Speaker 1: is like the most one of the most brutal, like

688
00:43:26,239 --> 00:43:31,040
Speaker 1: funny interpretations of that experience, to the point where it's like, yeah,

689
00:43:31,040 --> 00:43:32,759
Speaker 1: she kind of has to say, we're the ones who

690
00:43:32,800 --> 00:43:36,240
Speaker 1: need help, worry about us, because if the Kim family

691
00:43:36,960 --> 00:43:40,640
Speaker 1: was worrying and doting on these other people, they wouldn't

692
00:43:40,680 --> 00:43:43,719
Speaker 1: be where they are. And that's not to say that

693
00:43:44,080 --> 00:43:47,200
Speaker 1: poor people are not helping each other out. That's certainly

694
00:43:47,239 --> 00:43:51,799
Speaker 1: not true. I mean we're seeing around us currently, um,

695
00:43:51,800 --> 00:43:54,719
Speaker 1: how much mutual aid is going on and how people are.

696
00:43:54,760 --> 00:43:57,080
Speaker 1: It's it's not to say that people are completely disinterested

697
00:43:57,120 --> 00:43:59,320
Speaker 1: in helping each other, even if they don't have a

698
00:43:59,360 --> 00:44:02,320
Speaker 1: lot of privilege themselves. But in this example and in

699
00:44:02,440 --> 00:44:06,640
Speaker 1: this large metaphor, it totally makes sense and it's like

700
00:44:06,640 --> 00:44:09,960
Speaker 1: brutal to hear. But yeah, I don't know that line

701
00:44:09,960 --> 00:44:13,400
Speaker 1: had never really jumped out to me before this viewing. Yeah,

702
00:44:13,760 --> 00:44:17,840
Speaker 1: I totally agree with everything you said. Statistically, it's the

703
00:44:17,880 --> 00:44:22,320
Speaker 1: people with a lower income who have more compassion and empathy.

704
00:44:22,719 --> 00:44:26,759
Speaker 1: This is this is factually true. The more money you have,

705
00:44:26,960 --> 00:44:30,719
Speaker 1: the less in touch you are with humanity and compassion

706
00:44:30,800 --> 00:44:32,799
Speaker 1: and all of that, no matter how many you know,

707
00:44:32,880 --> 00:44:37,680
Speaker 1: text adaptable charity donations in the person makes right. But

708
00:44:38,000 --> 00:44:41,840
Speaker 1: h so you have this sense of guilt, this conscience

709
00:44:41,960 --> 00:44:45,640
Speaker 1: that Mr Kim and and Q both kind of share.

710
00:44:46,239 --> 00:44:49,799
Speaker 1: And then ke Junk gets angry and says, you know,

711
00:44:49,880 --> 00:44:53,040
Speaker 1: focus on us, you know, we're the ones living in poverty,

712
00:44:53,120 --> 00:44:56,319
Speaker 1: and Mrs Kim also says that she's like, there's so

713
00:44:56,480 --> 00:44:59,319
Speaker 1: everybody in the family is so sweet and kind. They

714
00:44:59,320 --> 00:45:04,680
Speaker 1: have no goals because if you're wealthy, you of course

715
00:45:04,680 --> 00:45:07,400
Speaker 1: you'll be kind. Of course you'll be happy, you'll be nice.

716
00:45:07,760 --> 00:45:09,319
Speaker 1: You know. She was like, if I had money, I'd

717
00:45:09,320 --> 00:45:11,880
Speaker 1: be just as nice. It's like, yeah, it's kind of true.

718
00:45:11,920 --> 00:45:13,600
Speaker 1: You know, when you come from the ships, you're gonna

719
00:45:13,640 --> 00:45:16,560
Speaker 1: have some of the ship marks, the odors, and you

720
00:45:16,560 --> 00:45:19,160
Speaker 1: know you're gonna have more wrinkles, You're gonna seem a

721
00:45:19,160 --> 00:45:23,280
Speaker 1: little more refrainda edges, you know. Yeah, I loved that exchange. Yeah,

722
00:45:23,680 --> 00:45:26,960
Speaker 1: the whole as a family unit, it's like that that

723
00:45:27,040 --> 00:45:32,800
Speaker 1: dialogue was like, uh, it's a commentary on how complicated

724
00:45:32,840 --> 00:45:35,799
Speaker 1: it is to live in a capital society as a

725
00:45:35,840 --> 00:45:39,359
Speaker 1: low income household. And I like that it's Kei Jung

726
00:45:39,480 --> 00:45:43,120
Speaker 1: and Mrs Kim that point these things out because there

727
00:45:43,160 --> 00:45:45,960
Speaker 1: I mean in general, and this is it's not even

728
00:45:45,960 --> 00:45:47,919
Speaker 1: a criticism of the movie. I think it's just kind

729
00:45:47,960 --> 00:45:50,800
Speaker 1: of like, uh, something that shows up in male autour

730
00:45:50,920 --> 00:45:52,920
Speaker 1: movies all the time. It's like, at the end of

731
00:45:52,960 --> 00:45:56,799
Speaker 1: the day, it's about fathers and sons. Uh. And that's

732
00:45:56,840 --> 00:45:59,600
Speaker 1: so many movies, and that is I mean, it's not

733
00:45:59,719 --> 00:46:02,399
Speaker 1: from June Hoo's fault. It's just the fact that men

734
00:46:02,480 --> 00:46:04,120
Speaker 1: make most movies, and so this is a theme we

735
00:46:04,160 --> 00:46:07,520
Speaker 1: see a lot. So I don't know if on this

736
00:46:07,600 --> 00:46:12,000
Speaker 1: viewing looking for those like really clarify, like most of

737
00:46:12,000 --> 00:46:14,840
Speaker 1: those clarifying moments come from the women in the family

738
00:46:15,440 --> 00:46:19,680
Speaker 1: um and the fact that Kei Jung is the mastermind

739
00:46:19,719 --> 00:46:23,520
Speaker 1: of basically this entire plan and gets them to where

740
00:46:23,560 --> 00:46:26,480
Speaker 1: they are, which I think probably contributes to her frustration

741
00:46:26,520 --> 00:46:29,040
Speaker 1: that they're talking about something else when she is like

742
00:46:29,920 --> 00:46:33,920
Speaker 1: basically gotten them to all this in the first place.

743
00:46:34,000 --> 00:46:36,600
Speaker 1: That yeah, I don't know. I mean, I guess one

744
00:46:36,640 --> 00:46:38,560
Speaker 1: of the only things that I wish I had we

745
00:46:38,640 --> 00:46:41,920
Speaker 1: had more of in this movie. I wish that there

746
00:46:41,960 --> 00:46:45,120
Speaker 1: was a little more Mrs Kim, Like, I feel like

747
00:46:45,120 --> 00:46:50,040
Speaker 1: she steals every scene that she's in. She's amazing, and

748
00:46:50,239 --> 00:46:52,759
Speaker 1: but of the four, I feel like she's kind of

749
00:46:52,760 --> 00:46:55,880
Speaker 1: the least present. She's the last family member to get hired,

750
00:46:56,040 --> 00:46:57,799
Speaker 1: and then I don't know, I mean I think it's

751
00:46:57,800 --> 00:47:00,400
Speaker 1: just the father son dynamic that kind of takes up

752
00:47:00,440 --> 00:47:02,759
Speaker 1: more of the air in that plot, which again isn't

753
00:47:02,760 --> 00:47:05,000
Speaker 1: a problem. I just swished it you saw a little

754
00:47:05,000 --> 00:47:08,239
Speaker 1: more of her. I like her. I just really like that. Yeah,

755
00:47:08,320 --> 00:47:12,920
Speaker 1: she's Yeah. The actress's name is Um Tongue Hid and

756
00:47:13,000 --> 00:47:17,480
Speaker 1: she's actually in a very very popular Korean drama right

757
00:47:17,480 --> 00:47:20,399
Speaker 1: now on Netflix called Crash Landing Onto You Anyway, Yeah,

758
00:47:20,440 --> 00:47:24,840
Speaker 1: she's remarkable and her character is also really interesting. I

759
00:47:24,840 --> 00:47:27,399
Speaker 1: mean she was like, what is it, like a shot

760
00:47:27,440 --> 00:47:29,680
Speaker 1: put thrower. Yeah, I don't know what sport that is,

761
00:47:29,719 --> 00:47:33,400
Speaker 1: but she was like an Olympic athlete maybe, like she

762
00:47:33,560 --> 00:47:35,960
Speaker 1: was like she was an athlete. She was a silver

763
00:47:36,040 --> 00:47:39,879
Speaker 1: medal winning athlete, and like sports is such a big

764
00:47:39,920 --> 00:47:43,640
Speaker 1: deal for Korean's. You know, it's like sports is usually

765
00:47:43,640 --> 00:47:47,759
Speaker 1: a form of way out of poverty. Usually, you know,

766
00:47:47,840 --> 00:47:50,439
Speaker 1: it's like what went wrong? What we're what were wrong?

767
00:47:50,520 --> 00:47:54,160
Speaker 1: For her. I'm so curious, you know, like a silver medalist.

768
00:47:54,280 --> 00:47:57,200
Speaker 1: Like and the father, it's like he's done a bunch

769
00:47:57,239 --> 00:47:59,799
Speaker 1: of objects. Maybe he's the person who brought her to

770
00:48:00,000 --> 00:48:01,640
Speaker 1: and you know, she married the wrong piece of ship,

771
00:48:01,920 --> 00:48:06,400
Speaker 1: and you know, and oh and another interesting parallel was

772
00:48:06,480 --> 00:48:10,520
Speaker 1: that the Kim family they were also like they also

773
00:48:10,600 --> 00:48:14,799
Speaker 1: faced financial ruin with the cake shop. They say, like

774
00:48:14,840 --> 00:48:18,799
Speaker 1: a Castella Taiwanese cake shop, and like Costella is like

775
00:48:18,880 --> 00:48:22,880
Speaker 1: this this sponge cake pastry that like Koreans loved, you know,

776
00:48:23,120 --> 00:48:25,520
Speaker 1: like in the eighties and nineties because it was so

777
00:48:25,680 --> 00:48:28,239
Speaker 1: airy and fluffy and delicious, and like it was a

778
00:48:28,280 --> 00:48:32,880
Speaker 1: popular cultural product that they were selling in a lot

779
00:48:32,920 --> 00:48:36,359
Speaker 1: of bakeries. But anyway, that went bust and then they

780
00:48:36,360 --> 00:48:39,400
Speaker 1: were just stuck in you know, financial ruin. And in

781
00:48:39,440 --> 00:48:42,799
Speaker 1: the basement, the guys says the same thing. He's like,

782
00:48:42,800 --> 00:48:47,640
Speaker 1: oh my Costella bakery went bust and and then the

783
00:48:47,680 --> 00:48:49,680
Speaker 1: wife was like, yeah, and we took out money with

784
00:48:49,760 --> 00:48:53,080
Speaker 1: loan sharks, you know, it's much more severe than debt collectors.

785
00:48:53,080 --> 00:48:56,640
Speaker 1: Loan sharking is a huge issue in Korea. They're essentially

786
00:48:56,760 --> 00:49:00,440
Speaker 1: gangsters and thugs will come and break your leg you know,

787
00:49:00,520 --> 00:49:04,239
Speaker 1: destroy your house, destroy your business, kill people whatever, in

788
00:49:04,320 --> 00:49:07,800
Speaker 1: order to collect debt. And the interest rate is ridiculously high,

789
00:49:07,880 --> 00:49:11,400
Speaker 1: and it's like beyond credit cards, you know, and it's

790
00:49:11,440 --> 00:49:14,439
Speaker 1: impossible to get out of debt when you get stuck

791
00:49:14,480 --> 00:49:18,440
Speaker 1: with loan sharks. And so yeah, that's that's also like

792
00:49:18,520 --> 00:49:21,880
Speaker 1: this interesting parallel. It's like and how the Kim family

793
00:49:22,080 --> 00:49:25,480
Speaker 1: was in the same circumstances as the the housekeeper and

794
00:49:25,520 --> 00:49:29,000
Speaker 1: her husband, and yet they are not willing to give

795
00:49:29,080 --> 00:49:31,720
Speaker 1: up their position as of now, right, they're not willing

796
00:49:31,760 --> 00:49:33,640
Speaker 1: to really work with them. They just wanted to kind

797
00:49:33,640 --> 00:49:37,239
Speaker 1: of call the police and asked them right until the

798
00:49:37,320 --> 00:49:40,800
Speaker 1: family fell from the stairs and ruined everything. And I

799
00:49:40,800 --> 00:49:42,560
Speaker 1: would I would also say that, like I wouldn't say

800
00:49:42,640 --> 00:49:44,640
Speaker 1: Ki Jong is the mastermind and all of it. I

801
00:49:44,640 --> 00:49:47,840
Speaker 1: would say it's it's a it was a collective effort

802
00:49:48,200 --> 00:49:52,880
Speaker 1: between Kei Jong and Q, because Q wouldn't have gotten

803
00:49:52,920 --> 00:49:56,320
Speaker 1: that job if it wasn't for his friend right to

804
00:49:56,360 --> 00:49:59,200
Speaker 1: come in and give him that position. Ki Jong was

805
00:49:59,280 --> 00:50:01,640
Speaker 1: kind of like the a facilitator. She was good with

806
00:50:01,640 --> 00:50:04,120
Speaker 1: the documents this and that. I would say Q was

807
00:50:04,160 --> 00:50:06,440
Speaker 1: more of the mastermind, the one that was making all

808
00:50:06,480 --> 00:50:10,680
Speaker 1: these plans so called plans, right, just kind of calling

809
00:50:10,719 --> 00:50:13,840
Speaker 1: back to what you were just talking about Grace, where

810
00:50:14,000 --> 00:50:17,360
Speaker 1: it's kind of like the Kim's seem resistant to seeing

811
00:50:17,360 --> 00:50:20,799
Speaker 1: themselves in this other family, even though, like you were saying,

812
00:50:20,840 --> 00:50:25,560
Speaker 1: they had a very similar financial problem. Uh, and we're

813
00:50:25,640 --> 00:50:28,480
Speaker 1: taken advantage of in a similar way. Um. And another

814
00:50:28,520 --> 00:50:30,880
Speaker 1: example of where again it was just not something that

815
00:50:30,920 --> 00:50:34,520
Speaker 1: had jumped out to me on previous viewings, where it's

816
00:50:34,560 --> 00:50:37,040
Speaker 1: it's the scene where it's just Mr Kim and the

817
00:50:37,040 --> 00:50:40,399
Speaker 1: housekeeper's husband in the basement and Mr Kim is kind

818
00:50:40,400 --> 00:50:44,000
Speaker 1: of disgusted by the basement and it is asked basically

819
00:50:44,000 --> 00:50:45,799
Speaker 1: like how can you live here? Like how can you

820
00:50:45,840 --> 00:50:49,560
Speaker 1: live like this? And then the husband replies by saying, like, well,

821
00:50:49,600 --> 00:50:52,600
Speaker 1: it's not that dissimilar from you know, he doesn't know

822
00:50:52,640 --> 00:50:55,440
Speaker 1: that he said, it's not that dissimilar from your own apartment,

823
00:50:55,600 --> 00:50:58,120
Speaker 1: but that's essentially what he's saying, if like we are

824
00:50:58,400 --> 00:51:01,560
Speaker 1: not that different at all, say, and then to see

825
00:51:01,800 --> 00:51:05,879
Speaker 1: the environmental differences of and this is something we see

826
00:51:05,880 --> 00:51:09,879
Speaker 1: in the States all the time, of how something like

827
00:51:10,120 --> 00:51:14,600
Speaker 1: a rainstorm can seem so like nothing to a rich

828
00:51:14,680 --> 00:51:16,920
Speaker 1: family and they're kind of like, ah, the weather sucks,

829
00:51:16,960 --> 00:51:19,000
Speaker 1: but let's finger each other and our sons out in

830
00:51:19,000 --> 00:51:22,080
Speaker 1: his tent and cares and blah blah blah. They're like

831
00:51:22,120 --> 00:51:25,840
Speaker 1: fingering each other. And then people's homes are being destroyed.

832
00:51:25,880 --> 00:51:27,759
Speaker 1: You know, it's like there's a friend like community that

833
00:51:27,800 --> 00:51:30,160
Speaker 1: the kids are a part of and their whole life

834
00:51:30,160 --> 00:51:31,920
Speaker 1: is being destroyed. And then you've got these rich people

835
00:51:31,960 --> 00:51:35,000
Speaker 1: fingering each other on a hill and exactly, and it

836
00:51:35,080 --> 00:51:39,359
Speaker 1: was so that. I mean that scene of the rainstorm

837
00:51:39,360 --> 00:51:44,040
Speaker 1: and the father, daughter and son walking, you know, all

838
00:51:44,080 --> 00:51:46,760
Speaker 1: the way home through the rain and they're coming down

839
00:51:46,840 --> 00:51:50,239
Speaker 1: that huge you know, that was metaphorical, right, I mean,

840
00:51:50,800 --> 00:51:53,160
Speaker 1: like you have this rock shaped like mountains, you know,

841
00:51:53,320 --> 00:51:55,080
Speaker 1: and it's like how do you get there? But you

842
00:51:55,120 --> 00:51:56,960
Speaker 1: know all that does is come down, like you know,

843
00:51:57,000 --> 00:51:59,680
Speaker 1: you just follow them going down down down. That that

844
00:52:00,080 --> 00:52:04,600
Speaker 1: living is this huge metaphor of the basement every everybody,

845
00:52:04,640 --> 00:52:07,279
Speaker 1: all the poor living abasement, you know, and all that

846
00:52:07,400 --> 00:52:10,560
Speaker 1: rain and ship goes down there, all the rich people,

847
00:52:10,600 --> 00:52:13,799
Speaker 1: ship goes down there, and that's in their clothes, that's

848
00:52:13,840 --> 00:52:16,880
Speaker 1: in their stuff, and that's the smell that that comes

849
00:52:17,200 --> 00:52:20,200
Speaker 1: wafting out of them when they come in try to

850
00:52:20,239 --> 00:52:23,080
Speaker 1: meet with people in society, you know. I think the

851
00:52:23,200 --> 00:52:28,480
Speaker 1: house structure that that that big scene with the stairs

852
00:52:28,520 --> 00:52:31,879
Speaker 1: going down to their little town there, I think that

853
00:52:32,280 --> 00:52:37,080
Speaker 1: is like just the this visual metaphor of class infrastructure,

854
00:52:37,280 --> 00:52:41,640
Speaker 1: you know, and that mobility going upwards is so impossibly

855
00:52:41,840 --> 00:52:44,719
Speaker 1: difficult and high, and how does one do that. It's

856
00:52:44,760 --> 00:52:48,839
Speaker 1: like barely, it's barely doable. And then and then like

857
00:52:48,960 --> 00:52:52,640
Speaker 1: it's like no, it's like everybody just replaces one another's shoes, right,

858
00:52:52,800 --> 00:52:56,279
Speaker 1: It's like the Kim family kicked out everybody that was

859
00:52:56,360 --> 00:53:00,919
Speaker 1: working for the parks. And then even even the guy

860
00:53:01,000 --> 00:53:05,839
Speaker 1: that was hiding in the basement contentedly, right, he was like,

861
00:53:05,960 --> 00:53:09,120
Speaker 1: I mean, I just feel like I'm just of this

862
00:53:09,200 --> 00:53:11,239
Speaker 1: world now. It's like as if I was born here.

863
00:53:11,280 --> 00:53:13,560
Speaker 1: It's like it's like as if I got married here,

864
00:53:13,560 --> 00:53:17,239
Speaker 1: as as I live here. Right, That's what the housekeeper's

865
00:53:17,280 --> 00:53:21,719
Speaker 1: husband says. And it's like even that position is replaced

866
00:53:21,760 --> 00:53:25,719
Speaker 1: by Mr Kim, right, Like they really took over that

867
00:53:25,840 --> 00:53:29,840
Speaker 1: house like fully, and um even like I mean the

868
00:53:30,600 --> 00:53:33,600
Speaker 1: motif of the parasite is like it's like what else

869
00:53:33,600 --> 00:53:35,839
Speaker 1: can they do, you know, in order to survive? It's

870
00:53:35,880 --> 00:53:37,759
Speaker 1: like they have to lie, they have to steal. They

871
00:53:37,760 --> 00:53:39,720
Speaker 1: have to sneak out at night and try to steal

872
00:53:39,800 --> 00:53:42,160
Speaker 1: some fruit and take it back down to the basements

873
00:53:42,160 --> 00:53:44,040
Speaker 1: so they could eat and survive. You know, It's like

874
00:53:44,080 --> 00:53:47,359
Speaker 1: what else can they do? Yeah, certainly no one else

875
00:53:47,400 --> 00:53:51,480
Speaker 1: is making space for them to exist, so it's just

876
00:53:51,520 --> 00:53:54,239
Speaker 1: a matter of taking someone else down to take up

877
00:53:54,239 --> 00:53:56,879
Speaker 1: where they are. It's just yeah, I also like how

878
00:53:57,680 --> 00:54:01,600
Speaker 1: like we use the audience don't really even call into question, like, well,

879
00:54:01,760 --> 00:54:05,360
Speaker 1: wouldn't the Park family like what if they were to

880
00:54:05,480 --> 00:54:09,399
Speaker 1: meet like Mr Kim's spouse, But like, because the Park

881
00:54:09,560 --> 00:54:15,080
Speaker 1: family is so just consumed by themselves, and don't they

882
00:54:15,080 --> 00:54:18,760
Speaker 1: don't think about people lower class than them. You would

883
00:54:18,800 --> 00:54:21,880
Speaker 1: just imagine that Mr Park would never ask Mr Kim

884
00:54:21,920 --> 00:54:25,400
Speaker 1: about his wife or his children or like bother to

885
00:54:25,480 --> 00:54:30,439
Speaker 1: learn anything about them because they're far too self absorbed exactly. Yeah,

886
00:54:30,560 --> 00:54:33,440
Speaker 1: Like when Mr Kim, like as he's driving Mr Park

887
00:54:33,440 --> 00:54:36,160
Speaker 1: ground when whatever, he turns around to say something, you know,

888
00:54:36,320 --> 00:54:38,160
Speaker 1: and they almost get us an accident at one point,

889
00:54:38,239 --> 00:54:40,480
Speaker 1: like Mr Park says, just keep your eye on the road,

890
00:54:40,760 --> 00:54:44,399
Speaker 1: turn around right, You're you're supposed to face that way.

891
00:54:44,440 --> 00:54:48,080
Speaker 1: Not back towards me crossing a line, crossing the line

892
00:54:48,080 --> 00:54:51,400
Speaker 1: that offends him so much, you know, it's so interesting,

893
00:54:51,440 --> 00:54:53,960
Speaker 1: and like, just to talk a little bit more about

894
00:54:53,960 --> 00:54:56,040
Speaker 1: the basement, Like this is something I've been thinking about

895
00:54:56,040 --> 00:54:59,640
Speaker 1: a long time. And there's this there's a short story

896
00:54:59,640 --> 00:55:02,600
Speaker 1: that's very famous in Korea called Wings. It's written by

897
00:55:02,600 --> 00:55:07,040
Speaker 1: a modernist called He's Hung, and it's a story about

898
00:55:07,040 --> 00:55:11,960
Speaker 1: a man who is living in a room that is

899
00:55:12,480 --> 00:55:15,000
Speaker 1: it's like in the farthest back of the house, and

900
00:55:15,040 --> 00:55:18,920
Speaker 1: then there's this partition, and then beyond the partition is

901
00:55:18,960 --> 00:55:22,399
Speaker 1: the wife's room. And in order to access his room,

902
00:55:22,480 --> 00:55:24,880
Speaker 1: you have to go through the wife's room, right, So

903
00:55:25,000 --> 00:55:27,560
Speaker 1: this man is essentially stuck, right, and the wife is

904
00:55:27,600 --> 00:55:31,480
Speaker 1: like the gatekeeper, and the man is like unemployed, jobless,

905
00:55:31,600 --> 00:55:34,680
Speaker 1: He barely eats, barely gets any sunlight. Whatever he does

906
00:55:34,719 --> 00:55:37,480
Speaker 1: in that room is only permissible if the wife allows

907
00:55:37,560 --> 00:55:40,160
Speaker 1: him to. And the wife is a prostitute, so she

908
00:55:40,280 --> 00:55:43,440
Speaker 1: works in that other room. And and the man says,

909
00:55:43,480 --> 00:55:45,799
Speaker 1: in this other room, he's like, I'm very content with

910
00:55:45,840 --> 00:55:48,719
Speaker 1: my living here. And I felt like that was very

911
00:55:48,840 --> 00:55:53,120
Speaker 1: present in the basement scene with the housekeeper's husband. You know,

912
00:55:53,640 --> 00:55:57,319
Speaker 1: it's like and and he's hung wrote that story when

913
00:55:57,600 --> 00:56:01,399
Speaker 1: Korea was occupied by Japan, right, And it's like, when

914
00:56:01,440 --> 00:56:06,480
Speaker 1: you're colonized, let's say you're colonized by another imperial country,

915
00:56:06,600 --> 00:56:10,319
Speaker 1: or if you're colonized by capitalism, whatever it is, and

916
00:56:10,400 --> 00:56:13,719
Speaker 1: you become content in living there and you don't have

917
00:56:13,760 --> 00:56:17,680
Speaker 1: any desire to be mobile whatever, get out, then it's

918
00:56:17,680 --> 00:56:20,719
Speaker 1: like what happens? Right? And I thought that was very

919
00:56:20,800 --> 00:56:24,960
Speaker 1: much a theme in that, especially because I don't think

920
00:56:24,960 --> 00:56:28,239
Speaker 1: anybody does. That was just my reading of it. I

921
00:56:28,280 --> 00:56:31,560
Speaker 1: need to write about it before some household does well,

922
00:56:31,680 --> 00:56:37,080
Speaker 1: especially because the housekeeper's husband he worships Mr Park He

923
00:56:37,160 --> 00:56:40,480
Speaker 1: like almost looks at him as a god of sorts.

924
00:56:40,719 --> 00:56:43,719
Speaker 1: And I feel like that's also very I guess, just

925
00:56:43,760 --> 00:56:48,279
Speaker 1: kind of allegorical of the way society teaches people you

926
00:56:48,360 --> 00:56:51,280
Speaker 1: need to respect these rich people. You need to respect

927
00:56:51,280 --> 00:56:54,040
Speaker 1: the people with the rich jobs, and and but if

928
00:56:54,080 --> 00:56:56,440
Speaker 1: you encounter them, they're like, who the funk are you?

929
00:56:57,000 --> 00:57:00,480
Speaker 1: They don't smell, I don't like you exactly, like do

930
00:57:00,520 --> 00:57:03,959
Speaker 1: you know me? Right? And he's like he's like subservient,

931
00:57:04,200 --> 00:57:08,160
Speaker 1: like you know, ritualistically whenever when when anybody else walks

932
00:57:08,239 --> 00:57:11,600
Speaker 1: up those stairs, those lights don't go on. It's only

933
00:57:11,600 --> 00:57:14,040
Speaker 1: when Mr Park goes up those stairs then the lights

934
00:57:14,080 --> 00:57:17,760
Speaker 1: go on like that. And it's like when the housekeeper's

935
00:57:17,840 --> 00:57:21,240
Speaker 1: husband's down there, he goes into this like militaristic mode,

936
00:57:21,280 --> 00:57:24,640
Speaker 1: like he's saluting him, right, And I feel like again,

937
00:57:24,720 --> 00:57:29,360
Speaker 1: there is that you know, this colonial commentary again, like

938
00:57:29,840 --> 00:57:32,920
Speaker 1: a lot of Koreans before the division were recruited by

939
00:57:33,000 --> 00:57:36,200
Speaker 1: the Japanese for World War One and World War Two.

940
00:57:36,320 --> 00:57:39,440
Speaker 1: You know a lot of those kamakaze pilots were Koreans

941
00:57:39,480 --> 00:57:43,440
Speaker 1: who were unwilling to kill themselves, okay by crash landing

942
00:57:43,440 --> 00:57:48,919
Speaker 1: onto other countries. So yeah, there's that huge, huge US

943
00:57:49,000 --> 00:57:53,240
Speaker 1: military presence in Korea and all over the world. Actually

944
00:57:53,240 --> 00:57:55,400
Speaker 1: there's like, you know, over eighty countries with U S

945
00:57:55,440 --> 00:57:59,520
Speaker 1: military presence, and um yeah, I think I think a

946
00:57:59,560 --> 00:58:03,000
Speaker 1: lot of that is in there. And that's another example

947
00:58:03,040 --> 00:58:08,040
Speaker 1: too of Mr Kim kind of having a similar trait

948
00:58:08,200 --> 00:58:11,200
Speaker 1: to the housekeeper's husband that he, you know, probably wouldn't

949
00:58:11,240 --> 00:58:13,880
Speaker 1: want to admit that. There's I think I can think

950
00:58:13,920 --> 00:58:17,520
Speaker 1: of two examples where Mr Kim specifically. There's one when

951
00:58:17,560 --> 00:58:21,080
Speaker 1: they're drinking beer in the basement after they start getting

952
00:58:21,120 --> 00:58:23,760
Speaker 1: paid by the parks, and he's like, let's pour one

953
00:58:23,800 --> 00:58:26,440
Speaker 1: out for Mr Park, Like, it's so good of him

954
00:58:26,480 --> 00:58:28,360
Speaker 1: to give this to us, even though he doesn't know

955
00:58:28,400 --> 00:58:31,120
Speaker 1: he's giving it to us. And then again when he's

956
00:58:31,200 --> 00:58:33,000
Speaker 1: in the basement at the end of the movie, he

957
00:58:33,200 --> 00:58:35,800
Speaker 1: I mean, he's murdered Mr Park, but he like apologizes

958
00:58:36,080 --> 00:58:40,919
Speaker 1: to all the time, and and it's still like Mr Park,

959
00:58:41,120 --> 00:58:44,400
Speaker 1: even at his time of death, didn't know who he

960
00:58:44,600 --> 00:58:47,480
Speaker 1: was really, I mean, he just knew the facade that

961
00:58:47,520 --> 00:58:52,520
Speaker 1: he was presenting to survive. Yeah, we could have taken

962
00:58:52,480 --> 00:58:54,280
Speaker 1: another quick break, but then we'll come right back for

963
00:58:54,320 --> 00:59:02,200
Speaker 1: a more discussion. I wanted to bring us something that

964
00:59:02,240 --> 00:59:05,480
Speaker 1: I thought was funny and didn't really know how to

965
00:59:05,480 --> 00:59:09,360
Speaker 1: fully articulate until I m read the interview with Long

966
00:59:09,440 --> 00:59:13,720
Speaker 1: Dunho where he says there's no heroes and there's no villains. Intentionally, UM,

967
00:59:13,760 --> 00:59:18,600
Speaker 1: I think it does make it really challenging read for

968
00:59:19,040 --> 00:59:22,400
Speaker 1: rich people and people who are inclined to be like

969
00:59:22,560 --> 00:59:26,080
Speaker 1: but the rich people were nice. Um, And I wanted.

970
00:59:26,360 --> 00:59:31,120
Speaker 1: I wanted to shout out. I want I wanted to

971
00:59:31,160 --> 00:59:34,880
Speaker 1: shout out in a negative way. Comedian Neil Brennan who

972
00:59:35,680 --> 00:59:41,400
Speaker 1: famously could not figure out the themes in Parasite. Um

973
00:59:41,440 --> 00:59:43,800
Speaker 1: it was. I remember there was like a big everyone

974
00:59:43,920 --> 00:59:45,840
Speaker 1: was like dumping on him on Twitter when this happened,

975
00:59:45,840 --> 00:59:47,640
Speaker 1: and he for some reason did not delete the tweets.

976
00:59:47,680 --> 00:59:52,640
Speaker 1: But this is back in February this year. Um, he tweeted,

977
00:59:53,000 --> 00:59:55,160
Speaker 1: is it too early to say the central metaphor and

978
00:59:55,240 --> 00:59:59,560
Speaker 1: parasite didn't actually work? Who is the parasite, the richer

979
00:59:59,640 --> 01:00:02,640
Speaker 1: the pool? With that in mind, explain the third act

980
01:00:02,720 --> 01:00:08,240
Speaker 1: to me? Like he just it was really listening to

981
01:00:08,320 --> 01:00:16,680
Speaker 1: this podcast. Neil Brennan. He would never but he's very problematic. Yeah,

982
01:00:17,000 --> 01:00:20,720
Speaker 1: he's the worst. I don't like his general perspect outlook

983
01:00:21,440 --> 01:00:24,840
Speaker 1: on gender. Yeah, his his outlook, I just I've yet

984
01:00:24,880 --> 01:00:26,840
Speaker 1: to see it. And yet he is such a victim

985
01:00:27,080 --> 01:00:30,440
Speaker 1: right as we've seen in three mics. I thought it

986
01:00:30,480 --> 01:00:33,800
Speaker 1: was so interesting how like nobody gave Neil Brennan any

987
01:00:33,840 --> 01:00:37,000
Speaker 1: ship for doing three mikes, which was like a third

988
01:00:37,080 --> 01:00:40,240
Speaker 1: of it was just like this, you know, him groveling

989
01:00:40,280 --> 01:00:44,840
Speaker 1: on stage of his victimhood. And then when Hannah Gadsby

990
01:00:45,400 --> 01:00:49,840
Speaker 1: did her thing, everybody was so up in arms about

991
01:00:49,840 --> 01:00:53,960
Speaker 1: whether or not this is comedy for cultural pasttime dumping

992
01:00:54,000 --> 01:00:57,120
Speaker 1: on her. Yeah, yeah, yeah, And it's like, uh, why

993
01:00:57,120 --> 01:01:00,400
Speaker 1: don't you start with Neil Brennan's special which came out

994
01:01:00,440 --> 01:01:05,640
Speaker 1: before the Net and then question how to Gadsby if

995
01:01:05,640 --> 01:01:09,080
Speaker 1: you want to be fair New York Times, right. I

996
01:01:09,120 --> 01:01:13,480
Speaker 1: think his most recent funk up was immediately defending Chrystal

997
01:01:13,560 --> 01:01:20,320
Speaker 1: Lia but oh my God, which which really swept his

998
01:01:20,840 --> 01:01:26,320
Speaker 1: not understanding parasite even one under the rug. But I

999
01:01:26,400 --> 01:01:30,880
Speaker 1: remember that Neil Brennan insisted that Twitter explained parasite to him.

1000
01:01:31,480 --> 01:01:34,280
Speaker 1: And it's funny. He's too rich. He's like, the rich

1001
01:01:34,320 --> 01:01:39,000
Speaker 1: people were nice, So what's the problems like? And that's

1002
01:01:39,040 --> 01:01:41,320
Speaker 1: kind of the brilliance of this movie is like there

1003
01:01:42,080 --> 01:01:45,360
Speaker 1: the problem is looming over them, but it's not personified.

1004
01:01:47,280 --> 01:01:50,600
Speaker 1: Grace and Jamie two people have mentioned the idea of

1005
01:01:50,640 --> 01:01:52,840
Speaker 1: like the Plan and the master plan that the Kim

1006
01:01:52,920 --> 01:01:56,360
Speaker 1: family kind of have like crafted and are trying to follow,

1007
01:01:56,400 --> 01:01:59,760
Speaker 1: and this is a huge motif and themes throughout the

1008
01:01:59,760 --> 01:02:01,600
Speaker 1: movie be And we talked about this a little bit

1009
01:02:01,880 --> 01:02:05,400
Speaker 1: on our recent set It Off episode, where in that movie,

1010
01:02:05,480 --> 01:02:08,800
Speaker 1: different characters discuss having a plan for the future and

1011
01:02:09,040 --> 01:02:11,720
Speaker 1: what's your five year plan and stuff. Like that, and

1012
01:02:11,760 --> 01:02:14,920
Speaker 1: the you know, upper class character is always like, well, yes,

1013
01:02:14,960 --> 01:02:17,120
Speaker 1: of course I have a plan and it's this, and

1014
01:02:17,120 --> 01:02:20,360
Speaker 1: then the lower income characters are always like, I'm just

1015
01:02:20,440 --> 01:02:23,800
Speaker 1: trying to survive one day at a time. And just

1016
01:02:23,840 --> 01:02:27,120
Speaker 1: the idea of like having a plan is such a

1017
01:02:27,360 --> 01:02:31,800
Speaker 1: like middle or upper middle class or wealthy, privileged thing

1018
01:02:31,880 --> 01:02:35,360
Speaker 1: to be able to have. And and this gets explored

1019
01:02:35,440 --> 01:02:39,479
Speaker 1: quite a bit in Parasite, where you know, they form

1020
01:02:39,560 --> 01:02:44,280
Speaker 1: this plan to infiltrate the Park family and to end

1021
01:02:44,360 --> 01:02:47,200
Speaker 1: up working for them. It works for a very short

1022
01:02:47,200 --> 01:02:51,600
Speaker 1: amount of time, but then like ship hits the fan,

1023
01:02:51,720 --> 01:02:54,840
Speaker 1: even like when the former housekeeper shows up on the doorstep,

1024
01:02:54,920 --> 01:02:57,600
Speaker 1: like Q is like, this isn't part of the plan.

1025
01:02:58,200 --> 01:03:00,720
Speaker 1: We don't know what to do, This isn't the is unexpected,

1026
01:03:00,720 --> 01:03:03,439
Speaker 1: This is not part of our plan. And then Mr

1027
01:03:03,560 --> 01:03:07,480
Speaker 1: Kim gives this really great monologue after their apartment has

1028
01:03:07,480 --> 01:03:10,600
Speaker 1: been flooded and they're like having to spend the night

1029
01:03:10,760 --> 01:03:14,080
Speaker 1: in a gym. He says, um, you know what kind

1030
01:03:14,120 --> 01:03:17,120
Speaker 1: of plan never fails? No plan at all. If you

1031
01:03:17,160 --> 01:03:19,520
Speaker 1: make a plan, life never works out that way. That's

1032
01:03:19,560 --> 01:03:22,480
Speaker 1: why people shouldn't make plans. With no plan, nothing can

1033
01:03:22,520 --> 01:03:25,160
Speaker 1: go wrong and if something spins out of control, it

1034
01:03:25,200 --> 01:03:28,680
Speaker 1: doesn't matter. None of it fucking matters, because yeah, like

1035
01:03:29,000 --> 01:03:32,840
Speaker 1: people from a lower socioeconomic class just simply don't have

1036
01:03:33,120 --> 01:03:37,440
Speaker 1: the resources and the privilege to form and execute plans

1037
01:03:37,520 --> 01:03:40,840
Speaker 1: that actually ever work. And then the movie ends with

1038
01:03:41,080 --> 01:03:44,960
Speaker 1: Q being like, here's my plan. I'm gonna get a job,

1039
01:03:45,000 --> 01:03:47,800
Speaker 1: I'm gonna go to that university. I'm gonna, you know,

1040
01:03:48,200 --> 01:03:50,160
Speaker 1: have a career. I'm going to make a bunch of money,

1041
01:03:50,200 --> 01:03:52,560
Speaker 1: and then I'm going to buy this house. And then

1042
01:03:52,640 --> 01:03:55,360
Speaker 1: you know, Dad, you're going to come out of hiding

1043
01:03:55,400 --> 01:03:58,000
Speaker 1: and we're all going to reunite. But it all plays

1044
01:03:58,000 --> 01:04:00,320
Speaker 1: out again is a flash forward. It's like a dream

1045
01:04:00,400 --> 01:04:02,880
Speaker 1: sequence more than anything, because then it cuts back to

1046
01:04:03,200 --> 01:04:07,200
Speaker 1: Q in the in his basement level apartment. It's a fantasy.

1047
01:04:07,280 --> 01:04:10,280
Speaker 1: It's completely a fantasy. Yeah, there's no way he's going

1048
01:04:10,320 --> 01:04:12,840
Speaker 1: to get out of that basely the way he suffered

1049
01:04:13,080 --> 01:04:17,880
Speaker 1: a huge brain injury. You know, I mean he's he's

1050
01:04:17,960 --> 01:04:21,320
Speaker 1: a disabled man, and he has a record. You know,

1051
01:04:21,360 --> 01:04:23,960
Speaker 1: he has a criminal record, and I mean having a

1052
01:04:24,000 --> 01:04:27,160
Speaker 1: criminal record and carea is also like a huge damning thing,

1053
01:04:27,280 --> 01:04:31,520
Speaker 1: you know, um, being a disabled person is huge damning thing.

1054
01:04:31,960 --> 01:04:36,080
Speaker 1: He actually does play with themes like that, like criminality

1055
01:04:36,160 --> 01:04:40,840
Speaker 1: and disability in his other films. I would really strongly

1056
01:04:41,040 --> 01:04:44,200
Speaker 1: recommend Memories of Murder by the Way. I would say

1057
01:04:44,520 --> 01:04:47,720
Speaker 1: of all of his films, that's his best work. I

1058
01:04:47,720 --> 01:04:51,080
Speaker 1: haven't seen that one. Yeah, I really enjoyed it. Yeah,

1059
01:04:51,320 --> 01:04:54,040
Speaker 1: where did you see that? I'm just curious. I had

1060
01:04:54,080 --> 01:04:56,800
Speaker 1: to find a rip of it online. Yeah there's It's

1061
01:04:56,840 --> 01:05:01,880
Speaker 1: like it's not available anyway. Yeah, it's such a good movie.

1062
01:05:01,920 --> 01:05:04,000
Speaker 1: The man who plays Mr Kim is also in that.

1063
01:05:04,880 --> 01:05:08,600
Speaker 1: But yeah, anyway, Uh, yeah, there's always somebody with a

1064
01:05:08,640 --> 01:05:11,600
Speaker 1: disability and like a lot of his movies, and I

1065
01:05:11,640 --> 01:05:16,240
Speaker 1: think that's there intentionally. He has, like is making a

1066
01:05:16,240 --> 01:05:20,400
Speaker 1: commentary about South Korea not making it that easy for

1067
01:05:20,400 --> 01:05:24,720
Speaker 1: people with disabilities to survive and like live among everybody,

1068
01:05:24,760 --> 01:05:28,760
Speaker 1: you know, harmoniously in society. Yeah. There was a read

1069
01:05:28,840 --> 01:05:32,800
Speaker 1: of the planned theme that I really liked was from

1070
01:05:32,840 --> 01:05:36,480
Speaker 1: that same Vulture profile. It was for I guess, from

1071
01:05:36,480 --> 01:05:40,560
Speaker 1: a follow up of that profile by a writer named

1072
01:05:40,560 --> 01:05:46,480
Speaker 1: e Alex Jung who we've we've quoted him before. We

1073
01:05:46,600 --> 01:05:51,360
Speaker 1: put him Alex alex Jung, the same as my last name. Yeah, okay.

1074
01:05:51,840 --> 01:05:54,400
Speaker 1: So Alex Jung, we have quoted him a number of times.

1075
01:05:54,400 --> 01:05:58,000
Speaker 1: He writes most of the major profiles for New York Magazine,

1076
01:05:58,120 --> 01:06:02,120
Speaker 1: and he's just a fucking incredible But he argues in

1077
01:06:02,200 --> 01:06:06,240
Speaker 1: the follow up to the profile that Hope is the

1078
01:06:06,280 --> 01:06:09,240
Speaker 1: emotional parents. So I'm quoting him. Hope is the emotional

1079
01:06:09,280 --> 01:06:11,760
Speaker 1: parasite in the film, the thing that keeps us going

1080
01:06:11,800 --> 01:06:16,200
Speaker 1: but sucks our marrow dry. So the whatever the true

1081
01:06:16,200 --> 01:06:19,440
Speaker 1: parasite being discussed, because I feel like in the initial

1082
01:06:19,640 --> 01:06:23,160
Speaker 1: wave of reviews and discussion about this film, there was

1083
01:06:23,200 --> 01:06:27,240
Speaker 1: a lot of who was the parasite? Who am the parasite?

1084
01:06:27,760 --> 01:06:30,960
Speaker 1: Neil Brennan, who what is a parasite? Was like, But

1085
01:06:31,040 --> 01:06:33,880
Speaker 1: they didn't tell me who the parasite wasn't my third act?

1086
01:06:34,240 --> 01:06:38,680
Speaker 1: People are so basic? Yeah, I mean, it's even It's like,

1087
01:06:38,960 --> 01:06:41,360
Speaker 1: I mean, there is a very different example. When things

1088
01:06:41,360 --> 01:06:44,520
Speaker 1: are spoon fed to them. They want somebody to say,

1089
01:06:45,080 --> 01:06:50,600
Speaker 1: and I am the parasite. Oh that's why the title's parasite.

1090
01:06:51,360 --> 01:06:54,640
Speaker 1: I am the devil wares product, I am the parasite.

1091
01:06:56,680 --> 01:07:03,760
Speaker 1: Everyone wants that Spartacus moment, like that moment Poisoned, I

1092
01:07:03,800 --> 01:07:07,400
Speaker 1: am a demon Prince. I'm quoting I Frankenstein. Now I

1093
01:07:07,480 --> 01:07:13,040
Speaker 1: am I Frankenstein. Uh he does say that though, Uh

1094
01:07:13,920 --> 01:07:16,640
Speaker 1: he basically does, But but I do. I mean that

1095
01:07:17,160 --> 01:07:20,640
Speaker 1: is I think the most discinct read of what if

1096
01:07:20,680 --> 01:07:25,000
Speaker 1: there is a parasite that it's it's that desire to

1097
01:07:25,840 --> 01:07:28,520
Speaker 1: want to keep trying to make a plan in spite

1098
01:07:28,520 --> 01:07:30,760
Speaker 1: of all evidence to the contrary, which is kind of

1099
01:07:30,760 --> 01:07:33,520
Speaker 1: what capitalism encourages you to do. Is like, oh, who

1100
01:07:33,560 --> 01:07:35,800
Speaker 1: cares how many times this dream kicks you in the

1101
01:07:35,840 --> 01:07:37,680
Speaker 1: face and tells you to funk off and tells you

1102
01:07:37,680 --> 01:07:40,800
Speaker 1: you smell and tells you you know, just works against

1103
01:07:40,840 --> 01:07:43,160
Speaker 1: you in every way. Just get you know, bootstrap, get

1104
01:07:43,200 --> 01:07:48,800
Speaker 1: back up, try again. You've got this American capitalist Christian mentality. Yeah,

1105
01:07:49,120 --> 01:07:53,320
Speaker 1: like pay your dues, Yeah, suck it up, keep going.

1106
01:07:53,440 --> 01:07:55,680
Speaker 1: And it's like, what does that say? They're like, if

1107
01:07:55,680 --> 01:07:58,520
Speaker 1: you keep doing something over and over again, expecting a

1108
01:07:58,520 --> 01:08:02,360
Speaker 1: different result every time, you're a psychopath, right, Like that's

1109
01:08:03,400 --> 01:08:08,080
Speaker 1: everybody in a capital of society. That's literally everybody, you know.

1110
01:08:09,240 --> 01:08:11,440
Speaker 1: But yeah, I mean with the planned thing though, I

1111
01:08:11,760 --> 01:08:13,640
Speaker 1: think alex Is reading is so beautiful. It's like an

1112
01:08:13,680 --> 01:08:20,080
Speaker 1: inverse Shawshank redemption. Right, Morgan Freeman is like Hope kills

1113
01:08:20,120 --> 01:08:24,160
Speaker 1: a man, like hope drives a man crazy. And then

1114
01:08:24,240 --> 01:08:27,840
Speaker 1: like the guy he's like, you know, he writes work

1115
01:08:27,880 --> 01:08:29,800
Speaker 1: your freemane letters like hope is a beautiful thing or

1116
01:08:29,800 --> 01:08:35,280
Speaker 1: blah blah blah. Yeah, yeah, and it's like like, no,

1117
01:08:35,680 --> 01:08:39,280
Speaker 1: it doesn't. It makes you cool, destroy you, It will

1118
01:08:39,560 --> 01:08:43,639
Speaker 1: destroy everything inside of you, your family, everything you love.

1119
01:08:44,120 --> 01:08:47,600
Speaker 1: But yeah, I think that's a really lovely reading to

1120
01:08:47,680 --> 01:08:50,240
Speaker 1: say that Hope is the parasite for sure. I mean

1121
01:08:50,680 --> 01:08:53,400
Speaker 1: his plan at the end that I mean, in a way,

1122
01:08:53,400 --> 01:08:55,960
Speaker 1: it feel like hopes like that even though in your

1123
01:08:56,080 --> 01:08:58,160
Speaker 1: heart of heart, of heart of hearts, you're like, this

1124
01:08:58,280 --> 01:09:00,960
Speaker 1: is not going to fucking happen like that, I could

1125
01:09:00,960 --> 01:09:04,320
Speaker 1: see how that would be necessary to his continuing to

1126
01:09:04,360 --> 01:09:08,759
Speaker 1: survive is like hoping that things will change or hoping

1127
01:09:08,760 --> 01:09:11,640
Speaker 1: that this might be attainable, even though we watching it

1128
01:09:11,760 --> 01:09:16,719
Speaker 1: know that it is deeply unlikely that that will ever happen. Right.

1129
01:09:16,920 --> 01:09:21,120
Speaker 1: It's like everybody has this inner will to live for

1130
01:09:21,160 --> 01:09:24,679
Speaker 1: some reason, even the guy in the basement with who

1131
01:09:24,680 --> 01:09:28,640
Speaker 1: has literally no life, no sunlight, no Netflix, you know,

1132
01:09:28,840 --> 01:09:31,599
Speaker 1: how does he pass the time? Right? And it's like

1133
01:09:32,080 --> 01:09:35,120
Speaker 1: he's still living, he's still stealing food and living. He's

1134
01:09:35,200 --> 01:09:39,880
Speaker 1: going on. Oh and in the Mr Kim's monologue, which

1135
01:09:39,920 --> 01:09:44,280
Speaker 1: I love that monologue, Um and you you read it beautifully.

1136
01:09:44,320 --> 01:09:47,960
Speaker 1: But he does also say, you know, when you're making

1137
01:09:48,000 --> 01:09:50,639
Speaker 1: these plans, like even if you don't even if it's

1138
01:09:50,680 --> 01:09:52,160
Speaker 1: not in your plan, you know, in the spur of

1139
01:09:52,160 --> 01:09:54,160
Speaker 1: the moment, like you might kill a man, you might

1140
01:09:54,160 --> 01:09:57,439
Speaker 1: say country. He says those things. I think that's very

1141
01:09:57,479 --> 01:10:02,080
Speaker 1: important because you know, again like create as a colony

1142
01:10:02,280 --> 01:10:05,320
Speaker 1: had to do those very things. You know, like a

1143
01:10:05,400 --> 01:10:09,880
Speaker 1: lot of people had to in order to keep their

1144
01:10:09,920 --> 01:10:13,160
Speaker 1: wealth or attain wealth, they had to sell their country

1145
01:10:13,200 --> 01:10:17,439
Speaker 1: out and you know, align with the Japanese imperial forces.

1146
01:10:17,439 --> 01:10:19,439
Speaker 1: A lot of people had to do that. And then

1147
01:10:19,560 --> 01:10:22,760
Speaker 1: when North and South was divided, a lot of South

1148
01:10:22,840 --> 01:10:26,320
Speaker 1: Koreans had to go into hiding because they were like,

1149
01:10:26,320 --> 01:10:29,479
Speaker 1: well you were you you were a traitor to your country.

1150
01:10:29,520 --> 01:10:31,760
Speaker 1: You know, there was a lot of that too. But

1151
01:10:32,120 --> 01:10:34,280
Speaker 1: a lot of those people continue to retain their wealth.

1152
01:10:34,360 --> 01:10:37,320
Speaker 1: I knew that's where Samson comes from. Um. Yeah, you

1153
01:10:37,320 --> 01:10:40,120
Speaker 1: have a lot of that, a lot of murdering, especially

1154
01:10:40,240 --> 01:10:43,200
Speaker 1: you know during the Korean War when when you know,

1155
01:10:43,360 --> 01:10:45,960
Speaker 1: it's like you couldn't tell who is a communist who

1156
01:10:46,080 --> 01:10:48,800
Speaker 1: is not? You know, how can you tell that there's

1157
01:10:48,840 --> 01:10:52,120
Speaker 1: no marker of communism per se. A lot of innocent

1158
01:10:52,160 --> 01:10:56,440
Speaker 1: people lost their lives because of this whole this paranoia

1159
01:10:56,640 --> 01:10:59,280
Speaker 1: which comes from McCarthyism, you know, because from the US

1160
01:10:59,560 --> 01:11:02,840
Speaker 1: it's a it's a constructed paranoia that was injected into

1161
01:11:03,160 --> 01:11:06,880
Speaker 1: other countries, right, this paranoia over the Kami and a

1162
01:11:06,880 --> 01:11:09,920
Speaker 1: lot of innocent people lost their lives. And there's actually

1163
01:11:09,960 --> 01:11:13,439
Speaker 1: a a movie um that was set on Chiju Island,

1164
01:11:13,560 --> 01:11:16,080
Speaker 1: which is like an island just off the coast to

1165
01:11:16,080 --> 01:11:18,880
Speaker 1: South Korea. It belongs to South Korea, but it's like

1166
01:11:18,920 --> 01:11:23,160
Speaker 1: they're an island. So their languages, like their their dialect

1167
01:11:23,240 --> 01:11:26,519
Speaker 1: is also very unique too in Chiju. But a lot

1168
01:11:26,560 --> 01:11:29,320
Speaker 1: of innocent people lost their lives on that island during

1169
01:11:29,360 --> 01:11:32,320
Speaker 1: the Korean War, Like people showed up and they were like,

1170
01:11:32,400 --> 01:11:34,560
Speaker 1: are you a communist? And they're like, what's a communist?

1171
01:11:34,560 --> 01:11:36,120
Speaker 1: And they get shot? You know what I mean? It

1172
01:11:36,160 --> 01:11:40,360
Speaker 1: was literally like that, you know. And when Americans were there,

1173
01:11:40,360 --> 01:11:44,280
Speaker 1: you know, in Korea bombing the ship out of Korea,

1174
01:11:44,439 --> 01:11:46,400
Speaker 1: they couldn't tell who was a North Korean who was

1175
01:11:46,439 --> 01:11:49,439
Speaker 1: a South Korean. Right, They just simply couldn't how could

1176
01:11:49,439 --> 01:11:51,840
Speaker 1: you tell? You know, And that's where the word gook

1177
01:11:51,920 --> 01:11:55,639
Speaker 1: comes from. You know a lot of these derogatory, racially

1178
01:11:55,680 --> 01:12:00,599
Speaker 1: and ethnically derogatory terms come from military speaking military, because

1179
01:12:00,600 --> 01:12:02,880
Speaker 1: you have to create an enemy, right, and you have

1180
01:12:02,960 --> 01:12:06,320
Speaker 1: to make them consciously, have to lower them in your brain, right,

1181
01:12:06,400 --> 01:12:10,920
Speaker 1: you have to dehumanize them in order to kill justify them. Exactly. Yeah,

1182
01:12:10,920 --> 01:12:14,800
Speaker 1: So this rational this hyper rationalizing of killing a man,

1183
01:12:14,960 --> 01:12:17,680
Speaker 1: of selling out your country. It's also kind of this

1184
01:12:17,840 --> 01:12:22,679
Speaker 1: capitalist motif. You know, this hyper hyper rationalizing is done

1185
01:12:22,720 --> 01:12:26,759
Speaker 1: in capitalist systems. This happens a lot. It's like, oh,

1186
01:12:26,760 --> 01:12:31,120
Speaker 1: like I will lose thirty five pounds in a month

1187
01:12:31,240 --> 01:12:35,360
Speaker 1: because I will fit into that dress for that film role,

1188
01:12:35,479 --> 01:12:37,920
Speaker 1: because they told me to. Because it means wealth, it

1189
01:12:38,000 --> 01:12:41,240
Speaker 1: means fame. I will do it because I'm not I'm

1190
01:12:41,280 --> 01:12:44,280
Speaker 1: not selling my soul out, I'm not disrespecting my body.

1191
01:12:44,439 --> 01:12:47,120
Speaker 1: I'm doing it for a job. I'm doing it for money,

1192
01:12:47,360 --> 01:12:50,200
Speaker 1: which I will give to my family to whatever. Right.

1193
01:12:50,280 --> 01:12:55,160
Speaker 1: It's a hyperrationalizing. We're all under that, including the Kim family,

1194
01:12:55,240 --> 01:12:58,800
Speaker 1: including the Park family. Everybody well even yeah, in the

1195
01:12:58,800 --> 01:13:01,519
Speaker 1: way that the Kim family needs to lower a family

1196
01:13:01,640 --> 01:13:06,479
Speaker 1: very similar to themselves in order to rationalize killing them,

1197
01:13:06,760 --> 01:13:11,760
Speaker 1: like even like and when they first encounter the housekeeper

1198
01:13:11,800 --> 01:13:14,880
Speaker 1: and her husband in the basement, and the housekeeper is

1199
01:13:14,920 --> 01:13:18,080
Speaker 1: like pleading with the Kim and like, sis, come on, sister,

1200
01:13:18,160 --> 01:13:20,200
Speaker 1: we have a sisterhood, we're in the we're of the

1201
01:13:20,280 --> 01:13:23,040
Speaker 1: same ilk, we are in the same class and and

1202
01:13:23,040 --> 01:13:25,320
Speaker 1: and Mrs Kim is like, no, we're not, like fuck

1203
01:13:25,360 --> 01:13:28,000
Speaker 1: you uh. And then as soon as the tables turn

1204
01:13:28,560 --> 01:13:31,400
Speaker 1: she has to take the exact same approach and be like, please, sister,

1205
01:13:31,520 --> 01:13:36,240
Speaker 1: come on. And it's just like everybody's replaceable. Everybody's replaceable.

1206
01:13:36,240 --> 01:13:40,599
Speaker 1: And on the other end of that, where the Kim

1207
01:13:40,640 --> 01:13:45,080
Speaker 1: family has to, you know, bullshit to survive so often

1208
01:13:45,120 --> 01:13:46,960
Speaker 1: and so much, and they have to do it with

1209
01:13:47,320 --> 01:13:49,840
Speaker 1: people who are in there who are also poor, and

1210
01:13:49,880 --> 01:13:51,439
Speaker 1: then they have to do it with the Park family,

1211
01:13:51,560 --> 01:13:55,120
Speaker 1: where I mean, like, some of the funniest moments in

1212
01:13:55,160 --> 01:13:58,360
Speaker 1: this movie just involved how easily the Park family is

1213
01:13:58,400 --> 01:14:02,759
Speaker 1: able to be convinced that something is luxury is top

1214
01:14:02,760 --> 01:14:05,400
Speaker 1: of the line because of how it's framed to them

1215
01:14:05,680 --> 01:14:09,120
Speaker 1: and how it's presented to them where the Key Jung

1216
01:14:09,240 --> 01:14:12,439
Speaker 1: scene where she's the art therapist and she's just like

1217
01:14:12,720 --> 01:14:15,880
Speaker 1: speaking bullshit and she says later like I googled art

1218
01:14:15,880 --> 01:14:20,320
Speaker 1: therapy and like ad lived the rest. But she just

1219
01:14:20,040 --> 01:14:24,040
Speaker 1: she's the word schizophrenia, yeah, the schizophrenia zone. I'm like,

1220
01:14:24,080 --> 01:14:26,960
Speaker 1: well that's not good. Yeah, she just made that, not

1221
01:14:27,120 --> 01:14:29,840
Speaker 1: a doctor, just made it up. And again I think

1222
01:14:29,840 --> 01:14:32,960
Speaker 1: it's because she was English. You know, like these English

1223
01:14:33,040 --> 01:14:36,360
Speaker 1: words you know, make it sound like key Jong knows

1224
01:14:36,400 --> 01:14:39,040
Speaker 1: what she's talking about. And so Mrs Park is just

1225
01:14:39,080 --> 01:14:42,000
Speaker 1: like okay, yeah, yeah, Mrs Park is interesting too as

1226
01:14:42,040 --> 01:14:45,720
Speaker 1: a character. I would say she's really interested. I had

1227
01:14:45,760 --> 01:14:48,080
Speaker 1: never I guess that this is the closest I've ever

1228
01:14:48,120 --> 01:14:51,240
Speaker 1: looked at her character specifically because I was curious, and

1229
01:14:51,280 --> 01:14:54,960
Speaker 1: I mean, the Park family represents a lot of you know,

1230
01:14:54,960 --> 01:14:58,680
Speaker 1: elitism and a lot of rich people, uh stuff right,

1231
01:14:58,720 --> 01:15:04,599
Speaker 1: But but it feels she really encapsulates the ignorance of

1232
01:15:04,640 --> 01:15:07,600
Speaker 1: a rich family where I mean it's mentioned in that

1233
01:15:07,640 --> 01:15:10,360
Speaker 1: scene we talked about that she's so nice and she's

1234
01:15:10,800 --> 01:15:15,400
Speaker 1: and naive. Yeah, yeah, that deep naivete that she will.

1235
01:15:15,680 --> 01:15:18,320
Speaker 1: I mean that we hear her described as young and

1236
01:15:18,400 --> 01:15:22,360
Speaker 1: simple before we ever meet her by men um in

1237
01:15:22,400 --> 01:15:24,479
Speaker 1: a scene where they are I mean, we haven't even

1238
01:15:24,479 --> 01:15:26,680
Speaker 1: talked about the relationship with the teenager atte but we'll

1239
01:15:26,720 --> 01:15:29,280
Speaker 1: get there. I mean, it's like, I feel like it's

1240
01:15:29,280 --> 01:15:32,200
Speaker 1: clear to the viewer that she thinks that she's doing

1241
01:15:32,400 --> 01:15:37,240
Speaker 1: the right thing. She is trying to be a good mother,

1242
01:15:37,720 --> 01:15:40,760
Speaker 1: she is trying to be a good wife. But it's

1243
01:15:40,800 --> 01:15:43,080
Speaker 1: not what she's thinking about that's the problem. It's what

1244
01:15:43,200 --> 01:15:46,920
Speaker 1: she is not thinking about defines her like and makes

1245
01:15:46,920 --> 01:15:49,200
Speaker 1: her look bad. Is she's not thinking about the people

1246
01:15:49,240 --> 01:15:52,240
Speaker 1: around her. She's not thinking about her employees. She doesn't

1247
01:15:52,479 --> 01:15:55,840
Speaker 1: I mean, her and Mr Park don't ever ask the

1248
01:15:55,960 --> 01:15:59,000
Speaker 1: Kim's anything about themselves, which is part of the reason

1249
01:15:59,040 --> 01:16:00,840
Speaker 1: there is because that the way with so much is

1250
01:16:01,040 --> 01:16:04,400
Speaker 1: because the Parks don't care who they are or what

1251
01:16:04,479 --> 01:16:07,280
Speaker 1: their background is. They just need the right pitch of

1252
01:16:07,320 --> 01:16:10,360
Speaker 1: like the elitism we talked about before. You know, I

1253
01:16:10,400 --> 01:16:13,400
Speaker 1: have studied abroad, I've done this, I've done that, And

1254
01:16:13,439 --> 01:16:16,160
Speaker 1: they're like, okay, great, I will believe whatever you say

1255
01:16:16,360 --> 01:16:18,160
Speaker 1: good enough, and I don't want to hear anything else

1256
01:16:18,160 --> 01:16:21,439
Speaker 1: about you ever again. Stopped talking to me. Yeah, yeah,

1257
01:16:21,479 --> 01:16:25,679
Speaker 1: that's such a good point. Like when Mr Kim gets

1258
01:16:25,840 --> 01:16:29,400
Speaker 1: Mr Park the care card and then Mrs Park calls

1259
01:16:29,520 --> 01:16:33,479
Speaker 1: the care's phone number and then Keep Jong picks up

1260
01:16:33,479 --> 01:16:36,439
Speaker 1: the phone and pretends to be that gatekeeper, the manager

1261
01:16:36,520 --> 01:16:39,559
Speaker 1: at the care. She's like asking for all these documents,

1262
01:16:39,560 --> 01:16:43,920
Speaker 1: a the ded to your house, social security number. She

1263
01:16:44,280 --> 01:16:48,080
Speaker 1: like she knows the Parks inside out right takes all

1264
01:16:48,160 --> 01:16:52,320
Speaker 1: of their information down and Mrs Park is just like, okay,

1265
01:16:52,479 --> 01:16:55,160
Speaker 1: you need the title to my house. Fine, makes sense,

1266
01:16:56,160 --> 01:16:58,400
Speaker 1: it makes sense to me, right, And she's like so

1267
01:16:58,479 --> 01:17:01,600
Speaker 1: desperate you could see and mean the nisan sin is

1268
01:17:01,640 --> 01:17:06,240
Speaker 1: like she's pulling out the dishwasher that's overpacked, like you

1269
01:17:06,280 --> 01:17:09,920
Speaker 1: should never moan a dishwasher like that, yeah, you know.

1270
01:17:10,120 --> 01:17:13,240
Speaker 1: And then and then it's like, you know, she's clearly suffering,

1271
01:17:13,360 --> 01:17:15,080
Speaker 1: like you know, and Mr Park says, it's like my

1272
01:17:15,120 --> 01:17:18,920
Speaker 1: wife sucks at household duty, you know, and she just

1273
01:17:18,960 --> 01:17:22,160
Speaker 1: desperate to stop doing that, Like she wants to sit

1274
01:17:22,240 --> 01:17:25,000
Speaker 1: out on her in her garden on her patio and

1275
01:17:25,080 --> 01:17:28,519
Speaker 1: take a nap like we that's how we first encounter her, right,

1276
01:17:28,680 --> 01:17:32,400
Speaker 1: and you know, just to not do those things, she'll

1277
01:17:32,560 --> 01:17:35,200
Speaker 1: she'll give away the house, like all of those all

1278
01:17:35,200 --> 01:17:40,080
Speaker 1: that information, no problemoy, she thinks housework is beneath her.

1279
01:17:40,120 --> 01:17:41,960
Speaker 1: She never got good at it because she's never had

1280
01:17:42,040 --> 01:17:45,080
Speaker 1: to do it. Yeah, why, just like it's been spoon

1281
01:17:45,120 --> 01:17:47,439
Speaker 1: fedts over spoon, Like, what do you mean I have

1282
01:17:47,520 --> 01:17:49,600
Speaker 1: to do these things? Just make the lady do it.

1283
01:17:49,960 --> 01:17:52,559
Speaker 1: And in the same way, Mr and Mrs Parker able

1284
01:17:52,600 --> 01:17:56,280
Speaker 1: to be convinced the absolute worst of people that they

1285
01:17:56,320 --> 01:17:58,280
Speaker 1: find lesser than them. And that's part of the reason

1286
01:17:58,320 --> 01:18:03,160
Speaker 1: the Kims are able to get their jobs is because immediately,

1287
01:18:03,200 --> 01:18:05,559
Speaker 1: I mean, this was another thing I hadn't really considered

1288
01:18:05,560 --> 01:18:09,719
Speaker 1: super carefully because the scene is pretty funny, how grossed

1289
01:18:09,760 --> 01:18:12,160
Speaker 1: out Mr and Mrs park are by finding underwear in

1290
01:18:12,200 --> 01:18:14,839
Speaker 1: the car and she touches her face with the gloves

1291
01:18:14,840 --> 01:18:17,160
Speaker 1: and then it's like, oh no, like like you just

1292
01:18:17,200 --> 01:18:20,160
Speaker 1: touched those underwears. This movie is very funny. But but

1293
01:18:20,240 --> 01:18:23,799
Speaker 1: the subtext to that scene is they jump from finding

1294
01:18:23,840 --> 01:18:26,000
Speaker 1: a parent like a pair of underwear in the back

1295
01:18:26,040 --> 01:18:30,439
Speaker 1: of a car to our driver, who has far less

1296
01:18:30,439 --> 01:18:33,559
Speaker 1: money than us, is probably addicted to drugs and it

1297
01:18:33,600 --> 01:18:36,880
Speaker 1: is probably doing this and and the Kims are, I mean,

1298
01:18:37,280 --> 01:18:41,560
Speaker 1: they know that these rich people have all these preconceptions

1299
01:18:41,600 --> 01:18:43,640
Speaker 1: of what poor people are like, and if you just

1300
01:18:43,680 --> 01:18:46,400
Speaker 1: give them the smallest scrap of anything, they're going to

1301
01:18:46,520 --> 01:18:50,280
Speaker 1: catastrophize it into this completely false narrative and and fire

1302
01:18:50,360 --> 01:18:53,280
Speaker 1: someone instead of just instead of I mean that whole

1303
01:18:53,360 --> 01:18:59,639
Speaker 1: thing is, yeah, asking one thing, it's like they don't

1304
01:18:59,640 --> 01:19:03,280
Speaker 1: want it to it with any kind of discomfort, including

1305
01:19:03,320 --> 01:19:07,519
Speaker 1: an uncomfortable conversation right at the end. The fucked up

1306
01:19:07,560 --> 01:19:10,680
Speaker 1: thing is they don't give them a chance to explain

1307
01:19:11,000 --> 01:19:14,759
Speaker 1: or possibly improve. It's like you suck up once you're out,

1308
01:19:15,120 --> 01:19:17,720
Speaker 1: and they don't tell you why they're out in you.

1309
01:19:18,360 --> 01:19:20,599
Speaker 1: That's the That's a constant thing that comes up with

1310
01:19:20,640 --> 01:19:23,519
Speaker 1: every single person that's fired. They never they never, they

1311
01:19:23,680 --> 01:19:25,480
Speaker 1: They're always like, you know, I'm not going to say

1312
01:19:25,520 --> 01:19:29,160
Speaker 1: like that I found, you know, a bloody tissue and

1313
01:19:29,160 --> 01:19:30,880
Speaker 1: the thing, I'll just you know, make up something and

1314
01:19:30,880 --> 01:19:35,040
Speaker 1: ask her to leave some vague excuse. With the With

1315
01:19:35,120 --> 01:19:37,280
Speaker 1: the driver too, it's like some something big I'm not

1316
01:19:37,280 --> 01:19:38,840
Speaker 1: going to talk to him about, like whether or not

1317
01:19:38,920 --> 01:19:41,400
Speaker 1: yet sex with a you know, a hooker who's on

1318
01:19:41,479 --> 01:19:43,400
Speaker 1: drugs in the backseat of my car. I'm not going

1319
01:19:43,479 --> 01:19:45,240
Speaker 1: to ask that. I'm just gonna maybe, you know, just

1320
01:19:45,920 --> 01:19:48,080
Speaker 1: make some make up, some excuse and fire, and that

1321
01:19:48,160 --> 01:19:50,960
Speaker 1: again comes you know, it ties into this motive of

1322
01:19:51,160 --> 01:19:54,599
Speaker 1: social mobility being impossible. Right, It's like if somebody fires

1323
01:19:54,640 --> 01:19:57,479
Speaker 1: you without cause, without explaining to you why, without having

1324
01:19:57,520 --> 01:20:00,760
Speaker 1: a conversation, it's an injustice, you know. And they can't.

1325
01:20:00,800 --> 01:20:03,240
Speaker 1: I mean, this couple can't even be straight with each other.

1326
01:20:03,439 --> 01:20:08,800
Speaker 1: Like they can't. How they can't. Yeah, like she she

1327
01:20:08,880 --> 01:20:13,200
Speaker 1: does not tell Mr Park why she's fired the housekeeper, Like,

1328
01:20:13,240 --> 01:20:16,000
Speaker 1: there's just and he doesn't ask either. Yeah, he's just

1329
01:20:17,479 --> 01:20:20,080
Speaker 1: my wife won't explain, You won't tell me. But it's fine.

1330
01:20:20,120 --> 01:20:27,440
Speaker 1: They're simply living a lie. They really are every convenient lie. Yeah.

1331
01:20:27,760 --> 01:20:32,280
Speaker 1: So I wanted to about Mr Kim and Queues relationship,

1332
01:20:32,720 --> 01:20:35,400
Speaker 1: even though I mean we we kind of reference often,

1333
01:20:35,520 --> 01:20:39,919
Speaker 1: like how father son relationships are usually given more narrative

1334
01:20:39,960 --> 01:20:44,400
Speaker 1: weight in movies in general than mother son, mother daughter

1335
01:20:44,520 --> 01:20:48,120
Speaker 1: whatever it is. But even though that is true of

1336
01:20:48,200 --> 01:20:54,320
Speaker 1: this movie, I really really appreciate how emotionally open this

1337
01:20:54,400 --> 01:20:57,519
Speaker 1: father son relationship is. I feel like that's usually the

1338
01:20:57,560 --> 01:21:00,360
Speaker 1: friction in a father son relationship is like, but we

1339
01:21:00,479 --> 01:21:04,040
Speaker 1: just can't talk to each other. Men can't express themselves.

1340
01:21:04,120 --> 01:21:08,040
Speaker 1: But I mean from the jump, Mr Kim is so

1341
01:21:08,240 --> 01:21:11,880
Speaker 1: effusive with his praise and how proud he is of

1342
01:21:11,920 --> 01:21:15,920
Speaker 1: both of his kids. Um where I didn't when when

1343
01:21:16,040 --> 01:21:19,400
Speaker 1: Ki jung Um forges the document, he's like, Wow, you're

1344
01:21:19,439 --> 01:21:23,680
Speaker 1: a genius. You did it. You're amazing. And when k

1345
01:21:24,040 --> 01:21:27,000
Speaker 1: discusses his first plan at the beginning of the movie,

1346
01:21:27,000 --> 01:21:29,120
Speaker 1: when he's going off to the Park's house and he's like,

1347
01:21:29,120 --> 01:21:31,280
Speaker 1: I'm going to go to college and you know this

1348
01:21:31,360 --> 01:21:32,960
Speaker 1: is temporary, and then I'm going to do this, this

1349
01:21:33,040 --> 01:21:35,920
Speaker 1: and this, and Mr Kim is like thrilled. He's like,

1350
01:21:35,960 --> 01:21:38,880
Speaker 1: I'm so proud of you. That's amazing. Good job. And

1351
01:21:39,640 --> 01:21:43,760
Speaker 1: I really appreciated seeing a father son relationship where the

1352
01:21:43,920 --> 01:21:48,160
Speaker 1: conflict is not that they are being dishonest or not

1353
01:21:48,240 --> 01:21:50,000
Speaker 1: emotionally open with each other. I feel like you don't

1354
01:21:50,000 --> 01:21:53,759
Speaker 1: see that very much. Yeah, they're they are very open

1355
01:21:53,800 --> 01:21:56,839
Speaker 1: as a family. I noticed that too, Like the children

1356
01:21:56,960 --> 01:22:00,719
Speaker 1: kind of like cursing a lot in front of their parents,

1357
01:22:00,720 --> 01:22:02,800
Speaker 1: like they swear a lot, Like they say she boy,

1358
01:22:02,920 --> 01:22:05,240
Speaker 1: like over and over again, like very casually. And I

1359
01:22:05,280 --> 01:22:07,519
Speaker 1: was just like WHOA, Like what does that mean? She

1360
01:22:07,640 --> 01:22:09,760
Speaker 1: by means like fuck, It's like it's a swear word.

1361
01:22:09,760 --> 01:22:11,800
Speaker 1: They say she by all the time, and I was

1362
01:22:11,840 --> 01:22:14,120
Speaker 1: just like wow, like I couldn't speak that way in

1363
01:22:14,120 --> 01:22:17,080
Speaker 1: front of my parents, like I curse but in English,

1364
01:22:17,120 --> 01:22:19,280
Speaker 1: like I couldn't this curson Korean in front of them,

1365
01:22:19,280 --> 01:22:22,240
Speaker 1: you know, Like that's just like another level of I

1366
01:22:22,240 --> 01:22:25,519
Speaker 1: don't know, like rebellion and trust that I just simply

1367
01:22:25,600 --> 01:22:29,559
Speaker 1: don't have in me, I guess, uh. But yeah, they're

1368
01:22:29,600 --> 01:22:32,240
Speaker 1: they're quite open, and it's like they they're very tightly

1369
01:22:32,280 --> 01:22:35,320
Speaker 1: knit because they're co dependent on one another, you know,

1370
01:22:35,760 --> 01:22:37,400
Speaker 1: And it's like you see a lot of that among

1371
01:22:37,760 --> 01:22:41,519
Speaker 1: lower income communities and families, like you have to depend

1372
01:22:41,520 --> 01:22:45,040
Speaker 1: on one another, Like a farm will not function without

1373
01:22:45,080 --> 01:22:47,880
Speaker 1: you having twelve children, you know what I mean, you

1374
01:22:47,920 --> 01:22:50,040
Speaker 1: need to have those twelve kids in order for the

1375
01:22:50,080 --> 01:22:55,679
Speaker 1: farm to really work. So yeah, it's definitely visible, especially

1376
01:22:55,720 --> 01:22:57,960
Speaker 1: where the parks, I mean with their children as well.

1377
01:22:58,400 --> 01:23:02,200
Speaker 1: There's just there's only walls and kind of seeing how

1378
01:23:02,200 --> 01:23:05,639
Speaker 1: those walls are kind of a privilege in even though

1379
01:23:05,680 --> 01:23:08,760
Speaker 1: you can tell, I mean, the park's daughter is kind

1380
01:23:08,760 --> 01:23:12,080
Speaker 1: of suffering from the lack of communication and attention that

1381
01:23:12,120 --> 01:23:15,320
Speaker 1: her parents will give her. They clearly think that their

1382
01:23:15,400 --> 01:23:20,120
Speaker 1: son is hot shit and is a favoritism here definitely,

1383
01:23:20,240 --> 01:23:22,680
Speaker 1: And I mean I think Mrs Park goes kind of

1384
01:23:22,680 --> 01:23:24,280
Speaker 1: out of her way to be like, I don't think

1385
01:23:24,320 --> 01:23:27,160
Speaker 1: my daughter is very smart, but we'll just kind of

1386
01:23:28,200 --> 01:23:31,880
Speaker 1: miss that part. She mentions that, like she's she's struggling

1387
01:23:31,920 --> 01:23:34,400
Speaker 1: in school, where she's kind of saying like, oh, my

1388
01:23:34,479 --> 01:23:37,479
Speaker 1: son made a drawing and he's a genius. And then

1389
01:23:37,640 --> 01:23:39,519
Speaker 1: she's like my daughter, like it just her. Yeah, she

1390
01:23:39,520 --> 01:23:42,240
Speaker 1: says something like um, regardless of her grades, implying that

1391
01:23:42,280 --> 01:23:46,160
Speaker 1: she doesn't get good grades despite her having this intensive tutoring,

1392
01:23:46,840 --> 01:23:50,880
Speaker 1: which kind of transitions into talking about Q and their

1393
01:23:51,000 --> 01:23:53,960
Speaker 1: daughter as well. But I mean it's like she's she's

1394
01:23:54,000 --> 01:23:57,439
Speaker 1: she definitely has some emotional suffering going that. I mean,

1395
01:23:57,520 --> 01:24:03,000
Speaker 1: the movie doesn't really have full She's neglected by her family.

1396
01:24:03,479 --> 01:24:06,920
Speaker 1: The son absorbs everything, not only because of this past

1397
01:24:06,960 --> 01:24:10,080
Speaker 1: trauma that he has, but also because of this potential

1398
01:24:10,160 --> 01:24:14,760
Speaker 1: genius whatever he has, Like the father obviously favors. When

1399
01:24:14,800 --> 01:24:17,840
Speaker 1: he comes home, he shouts, you know, passon, he like

1400
01:24:17,920 --> 01:24:21,040
Speaker 1: calls the son that's like all the daughter. You know,

1401
01:24:21,439 --> 01:24:25,400
Speaker 1: it's very obvious, like who is the center? Like the

1402
01:24:25,439 --> 01:24:28,200
Speaker 1: centerpiece of this household, and it's definitely the son. And yeah,

1403
01:24:28,400 --> 01:24:32,840
Speaker 1: she's neglected. And when she gets some attention from her

1404
01:24:32,960 --> 01:24:36,040
Speaker 1: male tutor, who is she is under age and he

1405
01:24:36,120 --> 01:24:40,920
Speaker 1: is in his twenties, it's completely inappropriate. She does it.

1406
01:24:41,080 --> 01:24:43,640
Speaker 1: And it's like, of course she did it with the

1407
01:24:43,920 --> 01:24:47,400
Speaker 1: other guy, right, with mini help the friend. Right, It's like,

1408
01:24:47,439 --> 01:24:49,320
Speaker 1: and we want to be really careful about how this

1409
01:24:49,400 --> 01:24:52,240
Speaker 1: is framed, because you know, she's a child. She is

1410
01:24:52,280 --> 01:24:56,120
Speaker 1: not to blame here. It's the adult. It's key who

1411
01:24:56,280 --> 01:25:00,240
Speaker 1: is seeing how she's neglected, you know, seeing her vulnerability ease,

1412
01:25:00,439 --> 01:25:04,240
Speaker 1: And even if his intentions aren't nefarious, doesn't matter. It's

1413
01:25:04,240 --> 01:25:08,200
Speaker 1: still very wrong. It's still predatory. Exactly. It's exactly what

1414
01:25:08,280 --> 01:25:13,680
Speaker 1: Crystallia did to all those girls. Yeah, God damn, I

1415
01:25:13,760 --> 01:25:17,120
Speaker 1: knew Crystallya was gonna weasel his way into the podcast.

1416
01:25:17,160 --> 01:25:21,599
Speaker 1: And then and then Neil Brennan's like, Krystalia good, he's good.

1417
01:25:21,760 --> 01:25:25,439
Speaker 1: He's a good boy. I mean that relationship, that's like

1418
01:25:25,600 --> 01:25:28,960
Speaker 1: I think one of the It's it's interesting though, because

1419
01:25:29,040 --> 01:25:31,920
Speaker 1: it's grace. If you mentioned this a bit ago, the

1420
01:25:32,600 --> 01:25:36,640
Speaker 1: kind of traditional lifting yourself out of poverty, narrative in

1421
01:25:36,720 --> 01:25:39,880
Speaker 1: movies tends to be, you know, like an attractive person

1422
01:25:39,960 --> 01:25:42,000
Speaker 1: from a higher class pays you mind, and all of

1423
01:25:42,040 --> 01:25:45,320
Speaker 1: a sudden you're lifted and everything is so easy, which

1424
01:25:45,360 --> 01:25:49,920
Speaker 1: is kind of becomes over time. Qu'es original plan is

1425
01:25:50,360 --> 01:25:53,160
Speaker 1: he does seem to like her. We think it's not

1426
01:25:53,280 --> 01:25:57,280
Speaker 1: like a complete falsehood, even though it is deeply I mean,

1427
01:25:57,360 --> 01:26:01,960
Speaker 1: he should not be pursuing this child, right, but but

1428
01:26:02,040 --> 01:26:03,280
Speaker 1: it does seem like that as a part of the

1429
01:26:03,320 --> 01:26:07,240
Speaker 1: original plan of like, oh, this girl likes me, so

1430
01:26:07,360 --> 01:26:10,080
Speaker 1: I'm gonna I mean, similar to he kind of just

1431
01:26:10,120 --> 01:26:13,040
Speaker 1: co ops men's original plan, which is to wait it

1432
01:26:13,040 --> 01:26:17,240
Speaker 1: out until she leading university, right, so she goes to

1433
01:26:17,760 --> 01:26:20,800
Speaker 1: college and then marry into this family and be set

1434
01:26:20,840 --> 01:26:23,200
Speaker 1: for life in the way that exactly. I mean, it's

1435
01:26:23,320 --> 01:26:26,680
Speaker 1: I guess it's it's a bit of a It is

1436
01:26:26,720 --> 01:26:28,760
Speaker 1: this subversion in that not only is it kind of

1437
01:26:28,800 --> 01:26:33,559
Speaker 1: gender swapped, uh, it also doesn't work, uh and shouldn't work.

1438
01:26:34,479 --> 01:26:36,160
Speaker 1: But you do, I mean, you do feel for her

1439
01:26:36,240 --> 01:26:39,679
Speaker 1: because it's like she the kids are like not they're

1440
01:26:39,680 --> 01:26:44,880
Speaker 1: not necessarily doing anything wrong. They're yeah, they're just children. Oh,

1441
01:26:44,960 --> 01:26:47,240
Speaker 1: he shouldn't have pursued a fifteen year old, you know,

1442
01:26:47,960 --> 01:26:51,120
Speaker 1: just right. And I don't know like what the movie

1443
01:26:51,280 --> 01:26:55,720
Speaker 1: is trying to say exactly with this predatory relationship. I

1444
01:26:55,720 --> 01:26:58,640
Speaker 1: don't know if it's like again, like the desperation of

1445
01:26:58,680 --> 01:27:02,880
Speaker 1: poverty and like here's what you might stoop to to

1446
01:27:02,920 --> 01:27:06,040
Speaker 1: try to get out of poverty, you know, like being

1447
01:27:06,080 --> 01:27:10,439
Speaker 1: a predator or being a murderer. And I don't think

1448
01:27:10,439 --> 01:27:12,960
Speaker 1: this movie is saying that, like, if you're poor, you're

1449
01:27:13,000 --> 01:27:16,320
Speaker 1: going to be driven to murder and predatory behavior. And

1450
01:27:16,360 --> 01:27:18,559
Speaker 1: that's a blanket statement across the board. No, the movie

1451
01:27:18,600 --> 01:27:22,559
Speaker 1: isn't saying that. It's it's an explanation of the motives. Yeah. Yeah,

1452
01:27:23,439 --> 01:27:28,520
Speaker 1: I've seen a few the few mis misinterpretation or not misinterpreting,

1453
01:27:28,520 --> 01:27:32,479
Speaker 1: I mean, no interpretations wrong, but basically just saying like,

1454
01:27:33,200 --> 01:27:36,080
Speaker 1: uh there. There was an article in The Guardian that

1455
01:27:36,160 --> 01:27:39,679
Speaker 1: basically makes the argument of like, well, doesn't this movie

1456
01:27:39,800 --> 01:27:43,519
Speaker 1: just say that if poor people have access to a

1457
01:27:43,600 --> 01:27:46,960
Speaker 1: rich person's lifestyle that they will then murder and prey

1458
01:27:47,000 --> 01:27:48,640
Speaker 1: on people. But I don't think that that's what this

1459
01:27:48,680 --> 01:27:52,400
Speaker 1: movie is really saying at all. And I mean even

1460
01:27:52,560 --> 01:27:56,360
Speaker 1: the criticism that I've seen, I've this is a piece.

1461
01:27:56,400 --> 01:27:59,400
Speaker 1: I don't know, I just disagree with this writer's uh statement.

1462
01:27:59,520 --> 01:28:02,200
Speaker 1: Her name's Hannah yun Uh and this was a piece

1463
01:28:02,240 --> 01:28:04,800
Speaker 1: that was in the Guardian in February of this year.

1464
01:28:05,160 --> 01:28:08,599
Speaker 1: But her argument, which I understand, but she's she's basically

1465
01:28:08,880 --> 01:28:13,360
Speaker 1: like kind of dumping on the Kims uh for the

1466
01:28:13,439 --> 01:28:17,920
Speaker 1: second the parks leave, they start drinking and like having fun, which,

1467
01:28:18,000 --> 01:28:19,799
Speaker 1: first of all, this family does not get to fucking

1468
01:28:19,800 --> 01:28:24,400
Speaker 1: have fun. And I don't know what bothers me about

1469
01:28:24,439 --> 01:28:28,599
Speaker 1: that read of their behavior is it completely lines up

1470
01:28:28,640 --> 01:28:32,519
Speaker 1: with the no plan mentality that this family you know,

1471
01:28:32,720 --> 01:28:35,679
Speaker 1: generally has to thrive on of Like if not, now,

1472
01:28:35,800 --> 01:28:38,559
Speaker 1: when are they going to get the chance to drink

1473
01:28:38,800 --> 01:28:43,720
Speaker 1: all this overpriced, like ridiculous alcohol and like eat and

1474
01:28:43,760 --> 01:28:47,639
Speaker 1: have fun and talk with each other and like yeah, yeah,

1475
01:28:47,720 --> 01:28:51,880
Speaker 1: like the rich families on vacation, why shouldn't the the

1476
01:28:52,040 --> 01:28:55,080
Speaker 1: poor family also go on vacation? Right, And they're just

1477
01:28:55,120 --> 01:29:01,720
Speaker 1: restributing to themselves, Yeah, yeah, yeah. Does anyone have any

1478
01:29:01,960 --> 01:29:05,520
Speaker 1: final thoughts about the film? I mean, we haven't necessarily

1479
01:29:05,520 --> 01:29:09,120
Speaker 1: discussed the representation of gender that much, but also like

1480
01:29:09,280 --> 01:29:11,640
Speaker 1: I didn't even know what else what to say about it,

1481
01:29:11,680 --> 01:29:16,800
Speaker 1: aside from just like there's gender parity in the cast

1482
01:29:16,840 --> 01:29:20,720
Speaker 1: of characters between men and women. The female characters are

1483
01:29:20,800 --> 01:29:26,280
Speaker 1: all actively participating in the story in meaningful ways. There's

1484
01:29:26,320 --> 01:29:29,719
Speaker 1: a few kind of like slightly gendered things that I

1485
01:29:29,760 --> 01:29:33,080
Speaker 1: notice where it's like, oh, well, like, of three of

1486
01:29:33,160 --> 01:29:37,000
Speaker 1: the four major female characters in the movie, one of

1487
01:29:37,040 --> 01:29:40,519
Speaker 1: the main things we know about them is how good

1488
01:29:40,640 --> 01:29:47,439
Speaker 1: or bad they are at domestic housework. But I mean that,

1489
01:29:47,600 --> 01:29:50,680
Speaker 1: like it's like kind of the men that are discussing that,

1490
01:29:50,760 --> 01:29:52,760
Speaker 1: and it's like, well, what do they care about these

1491
01:29:52,840 --> 01:29:55,240
Speaker 1: female characters? And then it's the first thing they think

1492
01:29:55,280 --> 01:29:58,639
Speaker 1: to discuss, So I write, I'm like, I'm gonna give

1493
01:29:58,680 --> 01:30:01,240
Speaker 1: him the benefit of the data that one. Yeah, it

1494
01:30:01,280 --> 01:30:05,960
Speaker 1: didn't like bump me too much. Um yeah, Puma, he's

1495
01:30:06,000 --> 01:30:10,000
Speaker 1: a like of the Korean like Oh tours, the male

1496
01:30:10,040 --> 01:30:13,639
Speaker 1: O tours that are heralded by can and all these

1497
01:30:13,680 --> 01:30:16,400
Speaker 1: other top tier one film festivals around the world. I

1498
01:30:16,439 --> 01:30:19,120
Speaker 1: would say Punino was like of the tamer you know,

1499
01:30:19,240 --> 01:30:22,559
Speaker 1: because a lot of these other filmmakers Koreano tours are

1500
01:30:22,680 --> 01:30:26,000
Speaker 1: very misogynistic, you know, Puck ton of being one of them,

1501
01:30:26,040 --> 01:30:28,280
Speaker 1: you know, with Old Boy and all that ship but

1502
01:30:28,960 --> 01:30:32,960
Speaker 1: I have a lot of admiration and respect for Puno.

1503
01:30:33,040 --> 01:30:36,960
Speaker 1: He's not necessarily my favorite Korean filmmaker, but um, I

1504
01:30:37,000 --> 01:30:40,200
Speaker 1: think he tries to strike a balance in his movies

1505
01:30:40,800 --> 01:30:44,120
Speaker 1: and he casts really good people, like just a quick think.

1506
01:30:44,280 --> 01:30:48,080
Speaker 1: He did have another like underage teenage girl having sex

1507
01:30:48,080 --> 01:30:51,240
Speaker 1: with an older man in his two thousand nine film Mother,

1508
01:30:51,560 --> 01:30:53,720
Speaker 1: So this is like, this is a thing that comes up,

1509
01:30:53,760 --> 01:30:58,000
Speaker 1: and I just wish he wouldn't fetishize that too much. Yeah,

1510
01:30:58,040 --> 01:31:00,960
Speaker 1: he had. He has two short films that really excellent.

1511
01:31:01,120 --> 01:31:04,040
Speaker 1: One is called Influenza and it's again that's like another

1512
01:31:04,800 --> 01:31:09,120
Speaker 1: class commentary of crazy society. And Shaking Tokyo, which is

1513
01:31:09,160 --> 01:31:13,160
Speaker 1: part of an Omnibus, is a really really good um

1514
01:31:13,200 --> 01:31:16,360
Speaker 1: short film that's set in Japan and it's got pizza

1515
01:31:16,400 --> 01:31:20,439
Speaker 1: boxes with this Hiko Morty character, which is really interesting.

1516
01:31:20,960 --> 01:31:24,040
Speaker 1: So um, I would recommend those two short films by him. Good. Yeah,

1517
01:31:24,120 --> 01:31:27,360
Speaker 1: I'll check this out. Yeah, check them out. One thing

1518
01:31:27,400 --> 01:31:28,920
Speaker 1: that I thought was kind of funny that I didn't

1519
01:31:28,920 --> 01:31:31,559
Speaker 1: notice that. I thought it was funny that the only

1520
01:31:31,640 --> 01:31:36,840
Speaker 1: like heralded rich person above criticism in this movie the

1521
01:31:36,960 --> 01:31:42,519
Speaker 1: Architect and Architect, which I was just like okay, you know,

1522
01:31:43,680 --> 01:31:46,800
Speaker 1: but he does have a taint, like a smudge of

1523
01:31:46,960 --> 01:31:50,200
Speaker 1: you know, because he built these He built this home

1524
01:31:50,240 --> 01:31:53,720
Speaker 1: with this bunker that was made for rich people to

1525
01:31:53,880 --> 01:31:57,000
Speaker 1: survive if there was an attack from North Korea or

1526
01:31:57,080 --> 01:31:59,800
Speaker 1: to escape creditors like debt collectors, you know what I mean.

1527
01:31:59,840 --> 01:32:03,000
Speaker 1: So this was a haven that he created for the

1528
01:32:03,040 --> 01:32:06,680
Speaker 1: elite class to get away, and he never told the

1529
01:32:06,760 --> 01:32:08,559
Speaker 1: parks about it because he was ashamed of it. And

1530
01:32:08,600 --> 01:32:10,960
Speaker 1: this is what the housekeeper mentions, right, So I thought

1531
01:32:11,000 --> 01:32:15,080
Speaker 1: that was fascinating. Yeah, I mean, yeah, it's I. I

1532
01:32:15,120 --> 01:32:17,120
Speaker 1: thought that that that character was playing and it does

1533
01:32:17,160 --> 01:32:21,960
Speaker 1: seem like his father was um. He was a graphic

1534
01:32:22,000 --> 01:32:24,840
Speaker 1: and industrial designer, so it means like that might be

1535
01:32:24,960 --> 01:32:28,759
Speaker 1: him discussing his father a little bit. Who knows, um.

1536
01:32:28,800 --> 01:32:30,559
Speaker 1: And then the last thing I wanted to bring up,

1537
01:32:30,600 --> 01:32:33,200
Speaker 1: just because it's like a very it also connects to

1538
01:32:33,360 --> 01:32:36,320
Speaker 1: something that's going on a lot in the States right now,

1539
01:32:36,560 --> 01:32:40,120
Speaker 1: is kind of the the WiFi motif. I guess you

1540
01:32:40,120 --> 01:32:42,840
Speaker 1: could call it, but it's just reference. It's the first

1541
01:32:42,840 --> 01:32:47,360
Speaker 1: time I've seen WiFi access treated seriously in terms of

1542
01:32:47,400 --> 01:32:50,200
Speaker 1: like it being a real problem if you don't have

1543
01:32:50,840 --> 01:32:53,760
Speaker 1: access to WiFi where it seems like, I mean, I've

1544
01:32:53,800 --> 01:32:55,880
Speaker 1: just heard that problem is dismissed so many times off

1545
01:32:55,920 --> 01:32:58,679
Speaker 1: like you don't need a computer, like you know, that's

1546
01:32:58,680 --> 01:33:01,280
Speaker 1: a privilege, not a but at this point that is

1547
01:33:01,280 --> 01:33:04,400
Speaker 1: absolutely not true there, I mean right now where there

1548
01:33:04,439 --> 01:33:08,240
Speaker 1: are so many students that are attending school digitally. There

1549
01:33:08,280 --> 01:33:11,840
Speaker 1: was a whole story the day we recorded this about

1550
01:33:11,880 --> 01:33:15,320
Speaker 1: students having like sitting outside of taco bells to have

1551
01:33:15,439 --> 01:33:19,040
Speaker 1: access to WiFi in order to free WiFi go to school, right,

1552
01:33:19,120 --> 01:33:21,639
Speaker 1: didn't to have a quiet room so that they can

1553
01:33:21,800 --> 01:33:28,000
Speaker 1: have classes live digitally to study WiFi access. Even the

1554
01:33:28,520 --> 01:33:32,320
Speaker 1: strength of your WiFi um not only the laptop and tablets,

1555
01:33:32,320 --> 01:33:35,920
Speaker 1: but the strength and then this other undergird of like

1556
01:33:36,040 --> 01:33:38,320
Speaker 1: where does all this e waste go? You know, like

1557
01:33:38,680 --> 01:33:41,800
Speaker 1: us having WiFi? Who does that hurt? In what country?

1558
01:33:42,400 --> 01:33:45,240
Speaker 1: All of that is is Actually Toby Miller is a

1559
01:33:45,240 --> 01:33:47,320
Speaker 1: really good scholar you guys can look into if you

1560
01:33:47,320 --> 01:33:50,960
Speaker 1: want to learn more about the waste and global inequality. Cool.

1561
01:33:51,400 --> 01:33:56,799
Speaker 1: Thanks for that. Well, does parasite pass the Bechtel test?

1562
01:33:58,240 --> 01:34:02,440
Speaker 1: That's the real question. That's the most important class commentary.

1563
01:34:02,439 --> 01:34:07,920
Speaker 1: Who cares? But Bachtel test? Uh? It does, it does,

1564
01:34:08,840 --> 01:34:13,439
Speaker 1: it does just barely. Yeah, there are some discussions where

1565
01:34:13,560 --> 01:34:15,840
Speaker 1: it's I mean, we can pick it apart all day.

1566
01:34:15,880 --> 01:34:18,280
Speaker 1: I don't think it's super relevant to this specific movie,

1567
01:34:18,360 --> 01:34:22,639
Speaker 1: but there are some conversations between women where a man

1568
01:34:22,800 --> 01:34:26,520
Speaker 1: isn't explicitly mentioned, but he is kind of like the

1569
01:34:26,680 --> 01:34:32,559
Speaker 1: underlying theme. Either way, it passes and even but like

1570
01:34:32,640 --> 01:34:34,439
Speaker 1: you know, it's like when it comes to that sex

1571
01:34:34,479 --> 01:34:37,400
Speaker 1: scene when he's like fingering her nipple and she's like,

1572
01:34:37,400 --> 01:34:40,439
Speaker 1: oh clockwise, I'm like, honestly, a guy fingering my nipple

1573
01:34:40,520 --> 01:34:42,840
Speaker 1: does nothing for me because you know, it's like I understand,

1574
01:34:43,080 --> 01:34:46,880
Speaker 1: I understand sexuality is complex, but come on, Mrs Park,

1575
01:34:47,040 --> 01:34:50,120
Speaker 1: like really, you know, like you want him down in

1576
01:34:50,200 --> 01:34:53,120
Speaker 1: between your legs, you know, in your bush, like his

1577
01:34:53,240 --> 01:34:57,519
Speaker 1: face in your bush, man, Like, don't lie. Stop lying

1578
01:34:57,560 --> 01:35:00,760
Speaker 1: to him that clockwise counter. It doesn't matter. It's ever

1579
01:35:00,800 --> 01:35:05,960
Speaker 1: been a directional nipple issue. Yeah, that was never the problem.

1580
01:35:05,960 --> 01:35:08,800
Speaker 1: It was just like stop it, you know, just like

1581
01:35:09,439 --> 01:35:12,519
Speaker 1: can be like yeah yeah yeah with that, like I

1582
01:35:12,760 --> 01:35:17,200
Speaker 1: was just just barely passes. It's like that doesn't know

1583
01:35:17,240 --> 01:35:20,360
Speaker 1: female sexuality. I don't know, right, I mean, and it

1584
01:35:20,360 --> 01:35:25,840
Speaker 1: would pass more handily if he had given more significant

1585
01:35:25,960 --> 01:35:28,840
Speaker 1: to the mother daughter relationship in the Kim family or

1586
01:35:28,880 --> 01:35:33,639
Speaker 1: in the Park family, which he really doesn't, and whether

1587
01:35:33,720 --> 01:35:35,920
Speaker 1: or not this is a deliberate decision made or whether

1588
01:35:35,920 --> 01:35:37,720
Speaker 1: he's just kind of not equipped as a writer to

1589
01:35:37,840 --> 01:35:40,000
Speaker 1: be able to write those relationships. It would have been

1590
01:35:40,040 --> 01:35:42,680
Speaker 1: nice to see a little more between, especially in the

1591
01:35:42,720 --> 01:35:45,080
Speaker 1: Kim family. Yeah, but like with all the women, they

1592
01:35:45,080 --> 01:35:47,320
Speaker 1: were all about like their men. You know, the housekeeper

1593
01:35:47,560 --> 01:35:49,439
Speaker 1: was everything was about like, you know, taking care of

1594
01:35:49,439 --> 01:35:52,320
Speaker 1: that husband in the basement with um, you know, the

1595
01:35:52,439 --> 01:35:54,519
Speaker 1: Mrs Park was all about taking care of her quote

1596
01:35:54,600 --> 01:35:57,519
Speaker 1: unquote six son, you know, and her and her husband,

1597
01:35:57,520 --> 01:36:00,400
Speaker 1: not her daughter, not her daughter. And with Ms Kim

1598
01:36:00,400 --> 01:36:02,360
Speaker 1: and Kei Jong, it was again it was about like

1599
01:36:02,479 --> 01:36:06,360
Speaker 1: he was planned. Yeah. So yeah, I think in that

1600
01:36:06,560 --> 01:36:10,000
Speaker 1: sense it's somewhat problematic, but yeah, it just barely passes.

1601
01:36:10,280 --> 01:36:13,439
Speaker 1: Yeah for sure. Well that brings us to our our

1602
01:36:13,560 --> 01:36:16,759
Speaker 1: nipple scale, the pectel Cast nipple scale, which is speaking

1603
01:36:16,800 --> 01:36:21,760
Speaker 1: of clockwise counterclockwise nipple today it's today it's clock clockwise

1604
01:36:21,840 --> 01:36:26,519
Speaker 1: nipple scale, yes, in which we rate the movie on

1605
01:36:26,560 --> 01:36:30,440
Speaker 1: a scale of zero to five nipples. Um, just examining

1606
01:36:30,479 --> 01:36:33,519
Speaker 1: it from an intersectional feminist lens. I don't and I

1607
01:36:33,520 --> 01:36:36,400
Speaker 1: don't know what to do with this movie really, because again,

1608
01:36:36,400 --> 01:36:39,440
Speaker 1: there wasn't much of a conversation to be had necessarily

1609
01:36:39,439 --> 01:36:43,880
Speaker 1: specific to gender. I mean, obviously the class component is

1610
01:36:43,920 --> 01:36:49,479
Speaker 1: the far bigger conversation surrounding this movie. UM So, I

1611
01:36:49,520 --> 01:36:53,240
Speaker 1: guess I would I would give it like a three

1612
01:36:53,600 --> 01:36:56,439
Speaker 1: or three and a half. Again, I think different female

1613
01:36:56,479 --> 01:37:00,559
Speaker 1: characters could have had more agency or could have been

1614
01:37:00,600 --> 01:37:05,360
Speaker 1: given more focus. I think that the relationship between Q

1615
01:37:05,840 --> 01:37:10,960
Speaker 1: and the young daughter was why is it They're not

1616
01:37:11,000 --> 01:37:13,519
Speaker 1: really sure what the function of that is, or there's

1617
01:37:13,560 --> 01:37:15,519
Speaker 1: like there was another way to make that point that

1618
01:37:15,600 --> 01:37:19,519
Speaker 1: was right. Yeah, so I guess I'll give it a three.

1619
01:37:19,560 --> 01:37:21,080
Speaker 1: As much as I love this movie and as much

1620
01:37:21,080 --> 01:37:23,200
Speaker 1: as like looking at it from a screenwriting point of view,

1621
01:37:23,240 --> 01:37:26,760
Speaker 1: I'm just like loss Chef's Kiss, and I think it

1622
01:37:26,800 --> 01:37:29,800
Speaker 1: is an effective class commentary that explores a lot of

1623
01:37:29,800 --> 01:37:33,560
Speaker 1: really interesting themes in a way that we haven't necessarily

1624
01:37:33,560 --> 01:37:36,880
Speaker 1: seen explored in that way before of a lot of

1625
01:37:36,880 --> 01:37:41,280
Speaker 1: class commentary movies. UM So, I appreciated that, but I

1626
01:37:41,320 --> 01:37:44,479
Speaker 1: guess from a more gender perspective, I'm like it could

1627
01:37:44,479 --> 01:37:49,760
Speaker 1: do better. So three nipples, um, three clockwise nipples, and

1628
01:37:49,840 --> 01:37:53,760
Speaker 1: I'll give one to each of the little dogs whose

1629
01:37:53,800 --> 01:37:55,799
Speaker 1: names I forget. I think one was like Foo food.

1630
01:37:55,880 --> 01:38:00,240
Speaker 1: One I don't remember, that was definitely j Yeah, so

1631
01:38:00,760 --> 01:38:08,320
Speaker 1: each dog, because I'll go for a three as well. Yeah. Again,

1632
01:38:08,320 --> 01:38:10,640
Speaker 1: it's like, in terms of how much I enjoy and

1633
01:38:10,920 --> 01:38:13,640
Speaker 1: appreciate this movie, it's a million nipples. In terms of

1634
01:38:13,680 --> 01:38:16,600
Speaker 1: class commentary, it's a million nipples. But yeah, from a

1635
01:38:16,600 --> 01:38:20,360
Speaker 1: from a gender perspective, Um, I'll also go at three.

1636
01:38:20,400 --> 01:38:22,759
Speaker 1: And I also think on top of what we're talking

1637
01:38:23,040 --> 01:38:27,519
Speaker 1: about in terms of the predatory relationship and how um,

1638
01:38:27,560 --> 01:38:31,640
Speaker 1: the Park's daughter is kind of sideline and ignored and

1639
01:38:31,680 --> 01:38:34,080
Speaker 1: mistreated in a way that you see but isn't really

1640
01:38:34,160 --> 01:38:37,200
Speaker 1: examined in any meaningful way. When I feel like there

1641
01:38:37,240 --> 01:38:39,439
Speaker 1: is space for that, and just as much as there

1642
01:38:39,560 --> 01:38:43,680
Speaker 1: was space for a relationship between the Kim women, like

1643
01:38:43,720 --> 01:38:46,560
Speaker 1: there there was space for that that would have uplifted

1644
01:38:46,600 --> 01:38:49,960
Speaker 1: the rest of the movie. And I also, uh, well,

1645
01:38:50,080 --> 01:38:53,120
Speaker 1: I don't know, maybe this is like but I was

1646
01:38:53,320 --> 01:38:56,400
Speaker 1: thinking a little bit. I'm like, I feel like it

1647
01:38:56,520 --> 01:39:00,240
Speaker 1: is so devastating to lose Key Jung at the end

1648
01:39:00,280 --> 01:39:04,640
Speaker 1: of this movie. Yes, yes, yeah, but I think that

1649
01:39:04,760 --> 01:39:06,720
Speaker 1: impact would have hit even harder if we had had

1650
01:39:06,720 --> 01:39:08,519
Speaker 1: more time with her, and if we had gotten to

1651
01:39:08,560 --> 01:39:13,599
Speaker 1: know her more outside of her relationship with her father

1652
01:39:13,640 --> 01:39:15,920
Speaker 1: and her brother, which is what we see more of

1653
01:39:16,040 --> 01:39:18,720
Speaker 1: and we don't I mean, but again, it's like that

1654
01:39:18,800 --> 01:39:21,120
Speaker 1: we we do know things about her. We know that

1655
01:39:21,160 --> 01:39:24,479
Speaker 1: she is very talented, we know that she's really smart,

1656
01:39:24,800 --> 01:39:30,160
Speaker 1: she's a queer icon now she gay men love her. Yeah,

1657
01:39:30,360 --> 01:39:35,200
Speaker 1: hell yeah, she's she's fucking awesome. But I do. Yeah,

1658
01:39:35,200 --> 01:39:37,320
Speaker 1: I think that if we had had more time with her,

1659
01:39:37,400 --> 01:39:40,000
Speaker 1: especially her and her mother. Yeah, I don't, I don't know.

1660
01:39:40,040 --> 01:39:42,639
Speaker 1: I'm like, I I understand why. You know, our rich

1661
01:39:42,720 --> 01:39:44,599
Speaker 1: had to die a pole or had to die and

1662
01:39:44,840 --> 01:39:48,280
Speaker 1: the ending completely works and makes sense. But yeah, I

1663
01:39:48,120 --> 01:39:51,479
Speaker 1: was sorry to see her go to Yeah, of the

1664
01:39:51,760 --> 01:39:55,600
Speaker 1: of the four as well, it's like she had I

1665
01:39:55,600 --> 01:39:59,639
Speaker 1: don't know, she was just awesome. Yeah. Yeah, So I'll

1666
01:39:59,640 --> 01:40:04,519
Speaker 1: go with three for Parasite and let's see. I guess

1667
01:40:05,120 --> 01:40:11,040
Speaker 1: I will give two to Keijung rest in power, and

1668
01:40:11,240 --> 01:40:15,439
Speaker 1: I will give one to the housekeeper who didn't do

1669
01:40:15,479 --> 01:40:18,080
Speaker 1: anything wrong. I felt so bad for her. I know

1670
01:40:18,479 --> 01:40:22,439
Speaker 1: she's and that actress is amazing, She's so many things.

1671
01:40:23,160 --> 01:40:25,200
Speaker 1: Um yeah, I would give it a two out of

1672
01:40:25,240 --> 01:40:29,360
Speaker 1: five in terms of gender because again, like I saw

1673
01:40:29,439 --> 01:40:31,360
Speaker 1: like a lot of the focus was, you know, the

1674
01:40:31,400 --> 01:40:37,200
Speaker 1: women's focus was on men oftentimes more so than anything else.

1675
01:40:37,280 --> 01:40:41,639
Speaker 1: And yeah, I think you still can do a little

1676
01:40:41,640 --> 01:40:45,439
Speaker 1: bit more when it comes to exhibiting gender equality or

1677
01:40:45,600 --> 01:40:51,439
Speaker 1: giving women a little bit more substance in in his screenplays. Yeah,

1678
01:40:51,640 --> 01:40:55,080
Speaker 1: his first film Barking Dogs Never Bite with Pidna, Like,

1679
01:40:55,240 --> 01:40:58,519
Speaker 1: she has a very interesting role, Like she's very much

1680
01:40:58,560 --> 01:41:01,160
Speaker 1: a strong role in there, and I feel I would

1681
01:41:01,160 --> 01:41:02,920
Speaker 1: like to see him kind of go back to more

1682
01:41:02,960 --> 01:41:06,519
Speaker 1: of that. Yeah. Cool, I'll have to check that one

1683
01:41:06,520 --> 01:41:10,599
Speaker 1: out too. Yeah. Well, Grace, thank you so much for

1684
01:41:10,680 --> 01:41:14,880
Speaker 1: being here. This was incredible for having me. I hope

1685
01:41:14,880 --> 01:41:19,960
Speaker 1: that our Korean pronunciations did not uh ruined. You girls

1686
01:41:19,960 --> 01:41:22,719
Speaker 1: have to stop that like that put so much burden

1687
01:41:22,800 --> 01:41:25,679
Speaker 1: on us. We're just like we kind of don't care.

1688
01:41:26,080 --> 01:41:28,519
Speaker 1: It's like you guys care more than we do, and

1689
01:41:29,200 --> 01:41:32,680
Speaker 1: putting that on us is like it can get annoying sometimes.

1690
01:41:33,000 --> 01:41:35,840
Speaker 1: It's like within this frame, you did too much of that.

1691
01:41:35,920 --> 01:41:38,280
Speaker 1: It's like you could just start with it and then

1692
01:41:38,400 --> 01:41:40,000
Speaker 1: stop saying it for the rest of the things, you

1693
01:41:40,040 --> 01:41:41,880
Speaker 1: know what I mean, I don't have to apologize every

1694
01:41:41,920 --> 01:41:44,400
Speaker 1: single time. You know, it's like it's it's fine. It's

1695
01:41:44,479 --> 01:41:47,120
Speaker 1: like I said, it's no big deal. Yeah cool. Yeah,

1696
01:41:47,280 --> 01:41:50,759
Speaker 1: thank you for saying that. That's a good learning moment

1697
01:41:50,920 --> 01:41:53,960
Speaker 1: for us, and I'm sure some of our listeners will

1698
01:41:54,000 --> 01:41:57,800
Speaker 1: find that helpful as well. And thank you so much

1699
01:41:57,840 --> 01:42:01,439
Speaker 1: for for joining us, for being here. Where can people

1700
01:42:01,640 --> 01:42:05,920
Speaker 1: check out your stuff, check out your writing? Follow you online? Yeah?

1701
01:42:06,000 --> 01:42:09,400
Speaker 1: So my handle is h J. It's a E C

1702
01:42:09,960 --> 01:42:14,320
Speaker 1: h J A y. You could find that on Instagram, Twitter, TikTok.

1703
01:42:14,560 --> 01:42:18,519
Speaker 1: It's also my website. Uh yeah, and you know I

1704
01:42:18,560 --> 01:42:23,679
Speaker 1: post show updates there. Um sometimes I do videos, but yeah,

1705
01:42:23,760 --> 01:42:26,760
Speaker 1: please follow me. I would really appreciate it. Thank you,

1706
01:42:27,000 --> 01:42:30,200
Speaker 1: This is really fun. Thank you come back anytime. I

1707
01:42:30,200 --> 01:42:32,559
Speaker 1: would love to come back. Thanks. Of course, we'll have

1708
01:42:32,640 --> 01:42:36,960
Speaker 1: you back soon, y um. And you can follow us

1709
01:42:37,200 --> 01:42:41,080
Speaker 1: on social media at becketel Cast. You can subscribe to

1710
01:42:41,120 --> 01:42:44,719
Speaker 1: our Patreon ak Matreon It's patreon dot com slash becktel

1711
01:42:44,800 --> 01:42:48,360
Speaker 1: cast yep uh and it gets you to bonus episodes

1712
01:42:48,400 --> 01:42:52,360
Speaker 1: every month, plus access to the entire back catalog. Just

1713
01:42:52,479 --> 01:42:55,280
Speaker 1: like it's like seventy eight episodes at this point, some

1714
01:42:55,439 --> 01:42:58,200
Speaker 1: seventy ish. Yeah, this show has been on for seventy

1715
01:42:58,320 --> 01:43:04,640
Speaker 1: five million year. Still going strong. It's still going just

1716
01:43:04,840 --> 01:43:08,640
Speaker 1: still so many movies left to cover. And then our

1717
01:43:08,640 --> 01:43:10,599
Speaker 1: t public store where you can get all of our

1718
01:43:10,600 --> 01:43:14,040
Speaker 1: merch t public dot com slash. The Bechtel Cast just

1719
01:43:14,080 --> 01:43:16,040
Speaker 1: had to end on a little bit of capitalism for

1720
01:43:16,080 --> 01:43:17,880
Speaker 1: you at the end of our parents that were like

1721
01:43:17,920 --> 01:43:21,000
Speaker 1: also by our merge, yeah, but by our stuff, give

1722
01:43:21,080 --> 01:43:26,519
Speaker 1: us money, subscribe to our Patreon. But yeah, I mean,

1723
01:43:26,560 --> 01:43:29,799
Speaker 1: do what you can to help out your fellow human being.

1724
01:43:30,760 --> 01:43:34,559
Speaker 1: That's what will end on. Bye bye bye