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

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Speaker 1: women in um? Are all their discussions just boyfriends and husbands?

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Speaker 1: Do they have individualism? The patriarchy? Zef in best start

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Speaker 1: changing it with the Bedel Cast. Hello and welcome to

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Speaker 1: the Bechtel Cast. My name is Caitlin Dronte, my name

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Speaker 1: is Jamie Loftus, and the world is on fire yet again.

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Speaker 1: So we are recording and an emergency oops, no rights

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Speaker 1: episode of the bachel Cast. Oh we laugh, so we

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Speaker 1: don't cry. We laugh so we don't cry, but we

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Speaker 1: still cry. But we still also cry, you know, because

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Speaker 1: we're laughing so hard. Yeah. Sorry, Uh, difficult week. You know,

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Speaker 1: we're doing our best. Uh. I hope everyone is doing well.

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Speaker 1: We have been wanting to do this episode for a while,

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Speaker 1: but um, we'recovering the movie argument. You know, you clicked on,

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Speaker 1: you clicked the episode, you pressed play. That's on you.

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Speaker 1: But we we've been wanting to do this episode since

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Speaker 1: this movie came out, but we kind of fast tracked

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Speaker 1: it for this week for obvious reasons. If you're listening

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Speaker 1: to this at a later time, we are recording this

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Speaker 1: the week that UM the Supreme Court intention to potentially,

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Speaker 1: uh remove the right to abortion has been leaked just

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Speaker 1: to be totally clear about what exactly is going on.

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Speaker 1: It's very common knowledge, but we want to just be

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Speaker 1: sure the Supreme Court is poised to make this decision

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Speaker 1: about abortion on whether it's protected by the Constitution or not.

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Speaker 1: This was a draft of a February Supreme Court opinion.

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Speaker 1: It was leaked, and it's sort of would lead you

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Speaker 1: to believe that the Court is going to be overturning

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Speaker 1: Roe v. Wade Um, which made abortion legal nationwide back

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Speaker 1: in the seventies. Basically, they're trying to make abortion unconstitutional

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Speaker 1: and rolled back fifty years of progress. There have been

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Speaker 1: protests this week. There's been a huge call to action

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Speaker 1: to donate to local abortion funds UM, which we will

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Speaker 1: you know, right right at the top, we're going to

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Speaker 1: be linking to resources UM in the description of this episode.

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Speaker 1: We are also pledging a portion of our Patreon income

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Speaker 1: this month. UM. Also, something that I learned this week

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Speaker 1: is that Planned Parenthood, while a wonderful organization, is not

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Speaker 1: the fastest way to get money to local abortion clinics,

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Speaker 1: and it is more efficient to donate directly. So that

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Speaker 1: so we'll be linking to that um, especially in states

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Speaker 1: where abortion is more difficult to access. Uh, God fucking damnit.

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Speaker 1: We'll talk about it. But but this is this is

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Speaker 1: the Unpregnant episode, and this is the Bechtel Cast. But

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Speaker 1: what the heck is the Bectel Cast? Caitlin, I simply

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Speaker 1: I forget. It's our podcasts, in which we examine movies

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Speaker 1: through an intersectional feminist lens, using the Bechtel Tests simply

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Speaker 1: as a jumping off point. The Bechtel Test, of course,

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Speaker 1: being a media metric created by queer cartoonist Alison Bechtel,

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Speaker 1: sometimes called the Bechtel Wallace Test. There are many versions

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Speaker 1: of the test, but the one that we currently use

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Speaker 1: is as follows. There must be two characters of a

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Speaker 1: marginalized gender with names who speak to each other, and

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Speaker 1: their conversation has to be about something other than a

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Speaker 1: man for two or more lines of dialogue, and ideally

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Speaker 1: that exchange of dialogue is narratively impactful. Not going to

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Speaker 1: be a problem today because we are covering the movie Unpregnant.

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Speaker 1: It is a recent movie. It came in on HBO.

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Speaker 1: Max Um, So, Caitlin, do you have what was your

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Speaker 1: history with this movie? I did see it right when

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Speaker 1: it came out, because there was quite a bit of

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Speaker 1: buzz about it. It was released in I think September,

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Speaker 1: and a lot of listeners were like, hey, the Bechtel

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Speaker 1: Cast should cover this, and we're like, okay, we'll put

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Speaker 1: it on the list our list of eight million things

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Speaker 1: to cover. But so I did. I did see it. Um,

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Speaker 1: I'll be honest, I didn't like it that much. I

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Speaker 1: think that it's doing some really good things and other things,

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Speaker 1: the execution is weird. So from a storytelling standpoint, from

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Speaker 1: a like Bechtel Cast standpoint, you know, there's there's something

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Speaker 1: in your in your pro life, and of course I

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Speaker 1: am anti choice, so that I'm sure made it a

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Speaker 1: difficult watch for you, certainly certainly. Um No, Like I

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Speaker 1: think it's it's a really good premise with execution that

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Speaker 1: misses the mark in some regards. But I think maybe

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Speaker 1: the reason that we kind of didn't cover it right

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Speaker 1: away is that it wasn't necessarily the most our favorite

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Speaker 1: our favorite, um. But it is a good conduit by

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Speaker 1: which we can discuss current events, so that's why we

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Speaker 1: are covering it. Now. What is your relationship with it, Jamie? Uh?

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Speaker 1: Literally identical so it when I came out due to

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Speaker 1: the buzz due to the listener interest. Also that was

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Speaker 1: like a little all over the place it did, I

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Speaker 1: mean maybe fall in love with both of the lead

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Speaker 1: actors at this movie. Haley Richardson and Barbie fare are

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Speaker 1: so fun in this movie. I feel like they are

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Speaker 1: able to sell a lot of stuff that is not

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Speaker 1: Like just I don't know. The pacing of this movie.

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Speaker 1: We we both think is weird, but it's not really

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Speaker 1: why we're here to talk about it, even though we'll

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Speaker 1: probably keep pointing it out because we're bitches. Ah. But yeah, no,

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Speaker 1: I was excited to see this movie come up. I'm

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Speaker 1: very glad it exists because I mean, just in general,

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Speaker 1: there is a lot lacking when it comes to the

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Speaker 1: representation of abortion in media in general, which we've discussed

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Speaker 1: here and there on the show. Yeah extensively. We've we

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Speaker 1: covered an Obvious Child on The Matrian a couple of

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Speaker 1: years ago. At this point, I don't really fully remember

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Speaker 1: our discussion around it, but I do remember that movie

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Speaker 1: is not my favorite. Like, I don't know, but there

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Speaker 1: but there's so few options because abortion movies are so

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Speaker 1: often spun as tragedy porn, and like, I really appreciate that,

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Speaker 1: and you appreciate it when it came out two years ago,

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Speaker 1: that this movie it's an abortion romp while still hitting

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Speaker 1: all the appropriate you know points. I feel like it

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Speaker 1: treats the subject matter very respectfully. Right, it's a teen

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Speaker 1: road trip abortion romp. Look, I would be down for

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Speaker 1: another abortion romp. Same. Yeah, it's this movie is all

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Speaker 1: over the place, but yeah, as far as what it's

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Speaker 1: trying to do, I think it accomplishes the goal. The

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Speaker 1: performances are fun, uh, and then we got a lot

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Speaker 1: of other stuff to talk about. But that's why we

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Speaker 1: recovering this movie. It's I mean truly, I think for

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Speaker 1: our listeners, nothing that you're not familiar with already in

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Speaker 1: terms of like why this is so horrible and why

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Speaker 1: people with uterus as having less rights than two generations

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Speaker 1: prior than them is just absolutely fucked beyond belief. But

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Speaker 1: I mean, the one thing that this movie doesn't hit

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Speaker 1: on that, I mean, it's not anyone movies responsibility to

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Speaker 1: hit on everything, but I do think it's an important

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Speaker 1: point to make in this conversation of um because this

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Speaker 1: is a movie about a teenage girl an underage girl,

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Speaker 1: which is relevant to the law. Uh here is you know,

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Speaker 1: struggling to get access to an abortion without parental consent

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Speaker 1: with extremely religious parents who probably would not want to

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Speaker 1: do that. But I think it's important to remember and

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Speaker 1: point out that, um, the people who primarily suffer when

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Speaker 1: abortion is outlawed are low income people. Yeah, I guess

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Speaker 1: it becomes very much an issue that's divided among class

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Speaker 1: and race lines. And the further marginalized you are by

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Speaker 1: American society, the less likely it is you will have

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Speaker 1: access to uh safe abortion. So it affects everyone, but

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Speaker 1: it also disproportionately affects marginalized people, low income, people of color,

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Speaker 1: cross class and race lines, and it Yeah, there's well,

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Speaker 1: we'll also link to resources on that. That's I think

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Speaker 1: just one of the one of the few important points

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Speaker 1: about abortion that this movie didn't completely skip. Yes, yeah,

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Speaker 1: uh so I just want to put that right at

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Speaker 1: the top, and I think I'm just gonna I'm just

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Speaker 1: gonna read it because that it Unfortunately, this Linda West

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Speaker 1: quote goes viral every couple of months when they try

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Speaker 1: to repeal Roe v. Wade every couple of months, but

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Speaker 1: it is I mean Linda West is brilliant, and I

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Speaker 1: just want to read it here before we get into

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Speaker 1: uh duncan on the movie, which is what we're good at.

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Speaker 1: Uh So, this is Lyndy West on The Daily Show

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Speaker 1: a couple of years ago. I believe she says this quote.

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Speaker 1: Anti choice people are not trying to stop abortion. They're

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Speaker 1: trying to legislate who can and cannot have abortions because

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Speaker 1: conservative politicians, their wives and mistresses and daughters are always

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Speaker 1: going to be able to get an abortion somewhere. All

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Speaker 1: criminalizing abortion will do is keep people trapped in poverty

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Speaker 1: for generations. That's the goal. And if it wasn't the goal,

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Speaker 1: they would spend their time and money on comprehensive sex education,

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Speaker 1: free birth control, and free contraception. Unquote. Yeah, no, notes,

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Speaker 1: and I'm upset. It's a very upsetting time in the world.

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Speaker 1: Should I recap I'm pregnant? Yeah, all right. We open

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Speaker 1: on Veronica played by Hailey lou Richardson. She is taking

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Speaker 1: a pregnancy test in the bathroom at her high school.

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Speaker 1: A girl walks into the bathroom while this is happening.

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Speaker 1: This girl is Bailey played by Barbie Ferrara. We learn

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Speaker 1: that Veronica and Bailey used to be best friends but

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Speaker 1: had a falling out at some point. The test turns

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Speaker 1: out to be positive. Veronica is pregnant or she I

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Speaker 1: was gonna say, this movie is even though we're like

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Speaker 1: even in the depths of Hell. The movie is called

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Speaker 1: ant it is called on. That's just a fact. It

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Speaker 1: was embarrassing. I mean, and I didn't want it because

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Speaker 1: it is like, it's a movie that you want to

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Speaker 1: root for, but there it was embarrassing that literally all

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Speaker 1: the marketing materials were misspelled. It's not a good look.

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Speaker 1: It's not a good look. Everyone the movie is called

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Speaker 1: they're saying it wrong. The whole movie they messed up

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Speaker 1: spelled wrong on the poster. I bet it spelled wrong.

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Speaker 1: I like, hello, yeah, why didn't you call us to

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Speaker 1: consult because that would have been our only note. Exactly fine,

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Speaker 1: and replace prag with greg Thank you. That scene where

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Speaker 1: they're on the ride at the carnival and Veronica is

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Speaker 1: dreaming I'm pregnant, she kept messing that line read up.

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Speaker 1: She should have been screaming I'm gregnant. I was like,

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Speaker 1: don't we have another take of that where she's saying

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Speaker 1: the line correctly. It's it's gay and gregnant. We're gay

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Speaker 1: and we're gregnant. But yeah, I mean alliteration that scenes

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Speaker 1: should have been really hilarious and empowering, but I couldn't

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Speaker 1: get past the distraction of of the of the line

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Speaker 1: being said wrong over and of her Yeah. All right, Well,

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Speaker 1: so she is confirmed to be gregnant. Apparently the condoms

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Speaker 1: she used with her boyfriend, Kevin we're not effective. Veronica

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Speaker 1: is freaking out. She goes home and researches getting an

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Speaker 1: abortion and learns that because she's in Missouri and she's

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Speaker 1: under eighteen I believe she's seventeen, she would need her

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Speaker 1: parents permission to have an abortion, which she can't ask

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Speaker 1: for because her parents are conservative and religious. The closest

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Speaker 1: place where she would not need parental consent as a

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Speaker 1: minor to get an abortion is Albuquerque, New Mexico, which

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Speaker 1: is a roughly fifteen hour drive from where she lives.

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Speaker 1: I believe this is all um accurate. So far, so good? Yeah, sadly, Yeah. Unfortunately,

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Speaker 1: Veronica packs a bag and tells her mom that she's

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Speaker 1: going to spend the weekend with her friends studying. She

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Speaker 1: goes to her friend's place, but it turns out that

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Speaker 1: someone had found her pregnancy test at school in the dumpster,

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Speaker 1: and all of her friends are speculating on who it

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Speaker 1: belongs to. So Veronica, realizing her friends are going to

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Speaker 1: be very judge, decides not to tell them that it's

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Speaker 1: her who is pregnant. She sorry, gregnant, Yeah, I'm so sorry.

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Speaker 1: He's not like Hanley Richardson. It's embarrassing. She does tell

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Speaker 1: her boy friend Kevin, and he responds by asking her

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Speaker 1: to marry him, and then reveals that around a month ago,

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Speaker 1: after they were done having sex, he noticed that the

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Speaker 1: condom had broken, but didn't tell her. She's very upset

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Speaker 1: by this and storms out, Yeah parts parts of this

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Speaker 1: scene work for me. Others I'm like, what is going

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Speaker 1: on at this? Definitely not in Olive Garden. Uh okay.

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Speaker 1: So side note, Jamie and I and our friend Bryant

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Speaker 1: and as we speak at this very moment, Bryant is

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Speaker 1: texting us from the Olive Gorden Friends group chat, probably

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Speaker 1: asking us to go to Alive Garden. I'm guessing he's

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Speaker 1: trying to get us. It's even more embarrassing he's trying

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Speaker 1: to get us to join his amc A List entourage,

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Speaker 1: which I will, which I'm I'm literally doing it right now.

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Speaker 1: Is God. Our lives are quite frankly embarrassing, but we're

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Speaker 1: really good at it. Okay. So then Veronica goes to

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Speaker 1: Bailey and asks if she will drive Veronica to Albuquerque.

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Speaker 1: Bailey agrees. They leave that night. That was one of

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Speaker 1: my favorite moments in the entire movie. Barbie Fera is

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Speaker 1: so funny and charming where she's that thing where she

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Speaker 1: slams the door in her face and then she opens

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Speaker 1: the door again and she's like, I was kidding, I

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Speaker 1: do not have anything going on right. It's so funny.

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Speaker 1: I love her very good. So they set off. They

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Speaker 1: stop at a pawn shop so that Veronica can pawn

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Speaker 1: the engagement ring that Kevin gave her, but he shows

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Speaker 1: up because he was following her. Yeah, because he's a stalker.

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Speaker 1: But it's a joke. But it's not that you're just like, hello,

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Speaker 1: what Kevin character is all over the place. Anyways, it's, uh,

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Speaker 1: we need to talk about Kevin and we will we Wow, Wow,

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Speaker 1: we do need to talk about Kevin. I'm gonna also

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Speaker 1: someday we're going to have to cover a Kevin Smith movie,

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Speaker 1: and then and then we're really going to need to

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Speaker 1: talk about Kevin. Oh my gosh, there's going to come

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Speaker 1: a day when we're gonna need to talk about Kevin who. Well,

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Speaker 1: we're the other Kevin's Kevin Costner movie to talk about

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Speaker 1: that Kevin passed. I hate him so much. He's like

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Speaker 1: my least favorite Hollywood figure. Who the Kevin. I like

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Speaker 1: Kevin Klein. I like Kevin Vinkin is good. A Fish

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Speaker 1: called Wanda is a fun movie. We don't need to

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Speaker 1: talk about that, Kevin, but but I would be happy

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Speaker 1: to sure. Anyways, Kevin's sorry an important aspect of the episode. Yeah, alright,

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Speaker 1: So Kevin was stalking Veronica, but they get rid of

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Speaker 1: him and continue on their way. Along the way, Veronica

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Speaker 1: and Bailey start to bond and rekindle their friendship a bit,

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Speaker 1: but Bailey also judges Veronica for the person she's become.

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Speaker 1: She's become this kind of like sheeple carbon copy of

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Speaker 1: all the popular girls that she's friends with. The classic

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Speaker 1: It's you know that thing that happens in every movie,

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Speaker 1: right where one change but one is a computer video game.

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Speaker 1: One's a video game, and one's a book and that's

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Speaker 1: not cool. And you changed because Star Trek and I

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Speaker 1: was like, all right, now we're talking. Now we're talking.

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Speaker 1: She's like, we used to speak cling on together, and

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Speaker 1: now we don't speak cling on together because you're too

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Speaker 1: busy to do your homework. Question Mark Rict? Anyways, who knows?

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Speaker 1: Who knows? The next morning, they set off again, a

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Speaker 1: bit behind schedule. They make a pit stop for some

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Speaker 1: food and Veronica reveals that she hasn't made an appointment

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Speaker 1: yet to get the abortion. Bailey reveals that the car

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Speaker 1: they're driving she's ole from her mom's boyfriend, and the

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Speaker 1: cops are following them because of this stolen vehicle, so

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Speaker 1: they have to bail and abandon the car. But some

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Speaker 1: friends that they met at the diner where they stopped, um, yeah,

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Speaker 1: they meet when he starts sexually harassing them, but then

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Speaker 1: he quickly becomes a hero and their friend. There's a

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Speaker 1: whole thing to talk about with this character. But this

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Speaker 1: guy named Rod and his friends kind of swoop in

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Speaker 1: and give them a ride to these fair grounds that

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Speaker 1: are near a bus stop. There at the fair slash

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Speaker 1: Derby Center, they meet Kiarra Matthews, who is this Derby

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Speaker 1: racer lady who Bailey develops an instant crush on. Bailey

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Speaker 1: comes out to Veronica. There's a discussion to be had

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Speaker 1: about this whole situation, but um, they to Carnival Ride

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Speaker 1: and scream about how they are gay and gregnant. But

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Speaker 1: then again Hayley Richardson gets the line wrong. Then this

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Speaker 1: married couple Kate and Mark played by Sugar Lynde Beard

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Speaker 1: and breck and Meyer. You're like, what this is. There's

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Speaker 1: this suspension of disbelief you have to do from this

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Speaker 1: point onward. It's a road trip movie. But it's just like, wow,

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Speaker 1: We're yeah, they really they really take it to I

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Speaker 1: think the second they're like ditch a car at a

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Speaker 1: diner in Texas, You're just like, all right, well, I

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Speaker 1: guess the movie. The part of the movie that made

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Speaker 1: sense to be has ended. It's ceased to exist. This Honestly,

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Speaker 1: this script felt like Also there's five credited writers, which

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Speaker 1: is usually indication that, like, you know, there's a lot

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Speaker 1: of ideas and inconsistencies and things all mashed together. This

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Speaker 1: felt like a second draft of a script, and it

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Speaker 1: needed like a fourth or fifth draft. So and it's

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Speaker 1: abover because it's a lot of a lot of good writers,

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Speaker 1: including Jennifer Cayton Robinson, who wrote Someone Great. She also

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Speaker 1: is a credited writer on upcoming thor Love and Thunder.

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Speaker 1: Maybe they weren't given enough time question mark. I read.

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Speaker 1: I read that the director Rachel Lie Goldenberg, who was

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Speaker 1: also a creditive writer, um that this movie was made

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Speaker 1: on a very very very tight turnaround. It shows you're

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Speaker 1: so mean. I am mean, but I'm so mean about this.

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Speaker 1: Let me defend myself here. I think a fun romp

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Speaker 1: like road trip romp about girls trying to access an

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Speaker 1: abortion is such a great premise and if executed well,

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Speaker 1: it could have it could be a movie that, like

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Speaker 1: people want to revisit over and over for years to

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Speaker 1: come because there's a lot of value in a very

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Speaker 1: good movie that also makes an important statement. But if

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Speaker 1: a movie is just sort of like executed not that

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Speaker 1: well and it's not gonna like, it doesn't really stand

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Speaker 1: a chance of being like a cultural touchstone, when a

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Speaker 1: movie like this should be a cultural touchstone, you know.

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Speaker 1: But that's a lot of pressure to put on one

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Speaker 1: movie just because it's about abortion. Fair I do believe

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Speaker 1: that there's better movies to come that can take a

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Speaker 1: concept like this and hopefully have the time and money

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Speaker 1: to make a meal of it. Yeah, because it does like,

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Speaker 1: at some point just take a turn for the bizarre

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Speaker 1: in a way that does feel like Pineapple Expressie, I

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Speaker 1: guess where you're just or like hangovery, where you're like, Okay,

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Speaker 1: they're just this is just like we're going from set

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Speaker 1: piece to set piece and where there's gonna be a

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Speaker 1: lot of character actors and there's gonna be a lot

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Speaker 1: of really dangerous crimes that are supposed to be funny,

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Speaker 1: and you know, I don't know. Yeah, once the once

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Speaker 1: the car thing happens, I'm just like, oh, this is

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Speaker 1: not the grounded indeed road trip be I thought I

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Speaker 1: was watching, right, I still haven't seen Never rarely sometimes always.

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Speaker 1: I think that might be a more grounded and probably

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Speaker 1: less like fun tonally, but just like a more grounded,

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Speaker 1: probably better executed version of this premise. But I again

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Speaker 1: cannot really speak to it because I have not seen it.

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Speaker 1: But we should consider covering that one at some point too.

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Speaker 1: We should. Hey, I mean they're they're you know, they'll

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Speaker 1: be they'll be back for our rights. So there's always

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Speaker 1: going to be there. Yeah, yeah, so yeah, don't you worry.

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Speaker 1: It's it's Oh sorry if we sound weird today. Uh sorry,

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Speaker 1: it's not great. It's not our fault. Also that I

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Speaker 1: will I will say one of my least favorite things

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Speaker 1: about this movie is the tagline, which is She's a

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Speaker 1: taype A without a Plan. B. I was like, I mean,

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Speaker 1: it's not the worst, but I don't hate it. I

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Speaker 1: She's a taipe without a plan V. It's like, but

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Speaker 1: they didn't spell ungregnant, right, Yeah? What um mistakes? Breckon

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Speaker 1: Meyer Commire and his wife. Breckon Meyer approaches you at

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Speaker 1: a county fair in Texas, w y d start in

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Speaker 1: his car. He's like, hey, I overheard that you need

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Speaker 1: a ride to New Mexico. We're headed there, and they

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Speaker 1: offer Bailey and Veronica a ride, which they accept, but

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Speaker 1: before they head off, Bailey and Kira meet up at

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Speaker 1: the fair. They kiss, yeah, and then Veronica and Bailey

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Speaker 1: leave with this married couple who have a baby. So

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Speaker 1: they seem harmless. That's why they, you know, accept the ride.

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Speaker 1: This ride from strangers. But this couple turns out to

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Speaker 1: be these anti choice crusaders who had actually overheard them

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Speaker 1: talking about Veronica getting an abortion and making the appointment,

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Speaker 1: which another suspension of disbelief, saying that I'm just like,

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Speaker 1: how did they hear? What? No? Anyway, so then they

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Speaker 1: kind of abduct Veronica and Bailey, but it's like funny abduction.

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Speaker 1: It's it's so wild and zany. They steal the couple's

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Speaker 1: SUV and escape, but Breck and Meyer chases them in

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Speaker 1: their scary anti abortion RV. They managed to get away

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Speaker 1: and they head to a nearby town and find this

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Speaker 1: guy Bob played by June Carlo Esposito. Yeah, so you're like, oh,

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Speaker 1: we're just we're just going there, like okay, Breck and

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Speaker 1: Meyer tapping him out. Let's tap jan Carlos Busito in like,

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Speaker 1: it's just like cars. It is like a character actor

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Speaker 1: relay race at some point, Yeah, truly. Yeah. Bob owns

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Speaker 1: a limousine service and he takes them the rest of

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Speaker 1: the way to Albuquerque, but on the way, Veronica and

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Speaker 1: Bailey get in a fight because Veronica said some shitty

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Speaker 1: things about Bailey to her friends on the phone that

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Speaker 1: Bailey overhears. So Bailey storms off, but Veronica tracks her

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Speaker 1: down again. Turns out Bailey had gone to her dad's

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Speaker 1: plant shop in Albuquerque because she wants to reconnect with him,

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Speaker 1: but he blows Bailey off. Allah Kim Cattrell blowing Britney

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Speaker 1: Spears off in Crossroads. Hello, I okay, I did not

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Speaker 1: thank you thank you for the Crossroads representation. I literally okay.

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Speaker 1: So fun fact about me. I do work with mostly

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Speaker 1: men at my day job, you know, and that's brave

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Speaker 1: of me. And I tried to contextualize something I was

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Speaker 1: pitching for an outline the other day in the context

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Speaker 1: of Crossroads, and how did that go? They They were like, wait,

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Speaker 1: it's our favorite movie. We love it so much. Why

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Speaker 1: isn't it easier to access? Uh? Shanda's early work is

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Speaker 1: so underrated? They all said that. In unit said they

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Speaker 1: were like, isn't that a store anyway? Isn't that a

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Speaker 1: thrift shop? Alright, dude rock Anyways. So Bailey is trying

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Speaker 1: to reconnect with her dad, but he's being an asshole.

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Speaker 1: So Veronica calls him out, tells him out how awesome

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Speaker 1: Bailey is, and then she tastes him. She sure. Then

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Speaker 1: they go the rest of the way to the clinic,

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Speaker 1: where I'm just glad they used the taser because it

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Speaker 1: was like a Chekhov's taser situation. It was a Chekhovs

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Speaker 1: tasers certainly, and that's how they decided to use it.

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Speaker 1: Good for them. Um. They go the rest of the

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Speaker 1: way to the clinic, where Kevin, Veronica's boyfriend, has shown

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Speaker 1: up again. She breaks up with him once and for all,

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Speaker 1: and then Veronica has her abortion. It all goes well,

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Speaker 1: but they need to get back home, so Veronica has

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Speaker 1: to call her mom, who arranges for them to fly

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Speaker 1: back to Missouri. When Veronica gets home, she and her

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Speaker 1: mom have a talk. Her mom is disappointed that Veronica

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Speaker 1: had an abortion, but she still loves and supports her.

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Speaker 1: And then the next day at school, Veronica tells her

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Speaker 1: friends that it was her pregnancy test and then she

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Speaker 1: ditches them to sit with Bailey at lunch. The end,

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Speaker 1: who ungregnant? And with that, We're gonna take a quick

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Speaker 1: break and we'll be back after these I feel like

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Speaker 1: Robert products and Services products and we're back. We are back,

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Speaker 1: all right. So I guess it probably makes the most

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Speaker 1: sense to start by talking about how this movie treats

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Speaker 1: the subject of abortion. Um, true, true, Yeah, Because I mean,

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Speaker 1: the plot of the movie hinges on the fact that

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Speaker 1: access to abortion is often limited because our society does

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Speaker 1: not like it when people with uterus is have bodily autonomy.

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Speaker 1: So the movie becomes commentary on how unjust and ridiculous

422
00:28:19,560 --> 00:28:24,800
Speaker 1: and harmful limited access. It's yes, um, one thing that

423
00:28:24,920 --> 00:28:29,920
Speaker 1: I liked about. So again, I think my my biggest

424
00:28:30,280 --> 00:28:33,120
Speaker 1: criticism of how this movie handles the topic of abortion

425
00:28:33,280 --> 00:28:37,440
Speaker 1: is it makes just no reference to what we're talking

426
00:28:37,480 --> 00:28:42,440
Speaker 1: about earlier, of how people with verses who are marginalized

427
00:28:42,880 --> 00:28:46,640
Speaker 1: by race and class tend to be disproportionately affected by

428
00:28:46,720 --> 00:28:51,960
Speaker 1: this issue. Something that even if Hayley Richardson is the

429
00:28:51,960 --> 00:28:55,280
Speaker 1: protagonist of this movie, even though you would argue she's

430
00:28:55,320 --> 00:28:58,600
Speaker 1: not like the best candidate for it, but even if

431
00:28:58,640 --> 00:29:01,720
Speaker 1: she is, like there was room in the story for that,

432
00:29:01,880 --> 00:29:06,600
Speaker 1: Like you could cut so many things in favor of

433
00:29:06,640 --> 00:29:11,080
Speaker 1: finding a way to make that very important point. There

434
00:29:11,120 --> 00:29:14,440
Speaker 1: are other areas that I thought the movie was more

435
00:29:14,520 --> 00:29:17,560
Speaker 1: effective on. UM. I always get. I mean, we've talked

436
00:29:17,560 --> 00:29:19,760
Speaker 1: about this. Anytime there's a movie about teen girls, they

437
00:29:19,800 --> 00:29:24,320
Speaker 1: have to be like middle to upper middle class or

438
00:29:25,040 --> 00:29:30,200
Speaker 1: we'll we'll simply die. This happens with very little exception.

439
00:29:31,040 --> 00:29:34,920
Speaker 1: We do see that Bailey's character is being raised by

440
00:29:34,960 --> 00:29:37,920
Speaker 1: a single mom, you know, uh, and that becomes important

441
00:29:37,920 --> 00:29:40,880
Speaker 1: to her story. But still, in general, this is like

442
00:29:40,920 --> 00:29:45,520
Speaker 1: a middle class story, and you know, when Bailey does

443
00:29:45,640 --> 00:29:48,280
Speaker 1: need to be built up by her parents financially, it's

444
00:29:48,320 --> 00:29:51,600
Speaker 1: not a problem. It's more of a beliefs issue, which

445
00:29:51,600 --> 00:29:54,360
Speaker 1: is something I thought was good. We're like in the

446
00:29:54,480 --> 00:30:00,280
Speaker 1: character of oh, sorry I met Veronica, not Bailey, It's sorry,

447
00:30:00,360 --> 00:30:06,440
Speaker 1: we understood losing my rights over here, give me a brain, um.

448
00:30:06,640 --> 00:30:11,080
Speaker 1: But I did like that in one character, the story

449
00:30:11,200 --> 00:30:15,840
Speaker 1: was able to incorporate how she is struggling to access

450
00:30:15,840 --> 00:30:19,360
Speaker 1: abortion because of where she lives and because of the

451
00:30:19,440 --> 00:30:22,720
Speaker 1: laws of where she lives, and what an absurd distance

452
00:30:23,200 --> 00:30:26,840
Speaker 1: and this is like all true that an underage person

453
00:30:26,880 --> 00:30:31,280
Speaker 1: would need to go to to get an abortion without

454
00:30:31,440 --> 00:30:34,920
Speaker 1: the consent of their parents. I thought at that point

455
00:30:35,040 --> 00:30:38,080
Speaker 1: was like they really hammer it home. And that scene

456
00:30:38,080 --> 00:30:41,880
Speaker 1: on the train tracks where she's basically giving like a

457
00:30:41,960 --> 00:30:47,520
Speaker 1: speech to the Senate, right, but it's effective, Like for

458
00:30:47,800 --> 00:30:50,880
Speaker 1: you know, I wish I had heard stuff like that

459
00:30:50,920 --> 00:30:53,200
Speaker 1: when I was a teenager. Like you can argue it's

460
00:30:53,200 --> 00:30:55,640
Speaker 1: a little overwrought, but for what it is, I'm like

461
00:30:56,040 --> 00:31:00,640
Speaker 1: it's all effective, um, and also it manages you, um,

462
00:31:00,960 --> 00:31:04,160
Speaker 1: kind of tie in the theme of parents that would

463
00:31:04,240 --> 00:31:10,520
Speaker 1: not consent and having to navigate that. And I thought,

464
00:31:10,800 --> 00:31:14,240
Speaker 1: you know, for all the weirdness that happens in the trip,

465
00:31:15,200 --> 00:31:20,040
Speaker 1: I thought that that worked of like Veronica, Um, even

466
00:31:20,040 --> 00:31:23,840
Speaker 1: though she needs help getting back home, she knows that

467
00:31:23,920 --> 00:31:27,719
Speaker 1: she needs to get there and get her abortion before

468
00:31:27,760 --> 00:31:30,360
Speaker 1: her parents can be involved, and it has to be

469
00:31:30,480 --> 00:31:36,320
Speaker 1: like the whole story is driven by her desire to

470
00:31:36,400 --> 00:31:40,360
Speaker 1: get an abortion and not design whatever she she wants

471
00:31:40,400 --> 00:31:42,440
Speaker 1: to get an abortion. She does. It's the right choice

472
00:31:42,440 --> 00:31:45,560
Speaker 1: for her, and her parents just can't be involved because

473
00:31:45,720 --> 00:31:50,440
Speaker 1: of their beliefs. So yeah, I thought it managed to

474
00:31:50,480 --> 00:31:53,880
Speaker 1: get a lot of common issues with abortion access in

475
00:31:54,040 --> 00:31:58,400
Speaker 1: but also missed some glaring, glaring ones. Yeah, exactly right,

476
00:31:58,400 --> 00:32:02,920
Speaker 1: because it's like, yes, Ronica has to travel close to

477
00:32:03,120 --> 00:32:07,560
Speaker 1: three hundred miles to be able to access an abortion,

478
00:32:08,360 --> 00:32:12,360
Speaker 1: but the movie does feel like it kind of reeks

479
00:32:12,440 --> 00:32:17,840
Speaker 1: with white privilege that the movie does not interrogate anyway. Uh,

480
00:32:18,000 --> 00:32:21,720
Speaker 1: money is not really an obstacle for her. She starts

481
00:32:21,720 --> 00:32:24,200
Speaker 1: out with I think a thousand dollars and then gets

482
00:32:24,240 --> 00:32:29,239
Speaker 1: an additional hundred after pawning the ring. The ring was

483
00:32:29,480 --> 00:32:32,680
Speaker 1: such a contrivance. I was so annoyed by the ring.

484
00:32:32,760 --> 00:32:36,080
Speaker 1: I was like, what's happening? But yeah, I mean, it's

485
00:32:36,080 --> 00:32:41,360
Speaker 1: like unequivocally true that black and Hispanic people are most

486
00:32:41,400 --> 00:32:46,520
Speaker 1: affected if Roe v. Wade is overturned, and that is

487
00:32:46,600 --> 00:32:51,560
Speaker 1: just not a space that is made in the movie.

488
00:32:52,200 --> 00:32:56,320
Speaker 1: Certainly not. However, I would say that the way the

489
00:32:56,440 --> 00:33:01,200
Speaker 1: movie handles other aspects of abortion I thought or generally

490
00:33:01,800 --> 00:33:07,520
Speaker 1: very positive and handled well in the sense that when

491
00:33:07,960 --> 00:33:12,160
Speaker 1: Veronica finally does get to the clinic to have the abortion,

492
00:33:13,120 --> 00:33:18,680
Speaker 1: the movie like walks you through via voiceover and visuals

493
00:33:19,600 --> 00:33:24,200
Speaker 1: what one can expect from the procedure. You know, It's

494
00:33:24,240 --> 00:33:27,600
Speaker 1: like you change into the gown, you get the vaginal ultrasound,

495
00:33:28,080 --> 00:33:30,080
Speaker 1: They'll draw some blood, They'll hook you up to an

496
00:33:30,080 --> 00:33:32,080
Speaker 1: i V. You'll sit in a waiting room with other

497
00:33:32,120 --> 00:33:34,840
Speaker 1: people who are waiting for the same procedure. You go

498
00:33:34,880 --> 00:33:38,720
Speaker 1: in for surgery. The athesiologists will put you under. The

499
00:33:38,840 --> 00:33:41,800
Speaker 1: doctor will insert a wand to remove the fetus. It

500
00:33:41,840 --> 00:33:43,840
Speaker 1: will be done in ten minutes. You wake up in

501
00:33:43,880 --> 00:33:47,600
Speaker 1: the recovery room. Like walking through someone step by step,

502
00:33:47,720 --> 00:33:51,640
Speaker 1: especially someone who's never had an abortion, or like a

503
00:33:51,640 --> 00:33:56,120
Speaker 1: teenager who is maybe terrified at the idea of it

504
00:33:56,200 --> 00:34:01,800
Speaker 1: because there's so much misinformation out there and so much

505
00:34:02,080 --> 00:34:06,440
Speaker 1: rhetoric about how evil and awful and scary and violent

506
00:34:06,560 --> 00:34:12,399
Speaker 1: and murderous abortion is that the right perpetuates. So like

507
00:34:12,760 --> 00:34:14,799
Speaker 1: if a teen is seeing this, or like just any

508
00:34:14,840 --> 00:34:17,880
Speaker 1: young person or a teen's parents too, I mean, I

509
00:34:17,920 --> 00:34:23,360
Speaker 1: really do think like there's been so much generational misinformation

510
00:34:23,360 --> 00:34:26,919
Speaker 1: about abortions where I know, like in conversations I've had

511
00:34:27,040 --> 00:34:31,120
Speaker 1: with older women and older people in general in my

512
00:34:31,320 --> 00:34:35,080
Speaker 1: life that even though they are pro choice, I think

513
00:34:35,080 --> 00:34:39,359
Speaker 1: that they have some anxiety around what abortion entails that

514
00:34:39,520 --> 00:34:43,560
Speaker 1: is based on like fearmongering from their generation, from when

515
00:34:43,640 --> 00:34:46,239
Speaker 1: Roe V. Wade was passed the first time, you know.

516
00:34:46,440 --> 00:34:50,440
Speaker 1: And so yeah, I think that like truly anyone could

517
00:34:50,680 --> 00:34:54,040
Speaker 1: benefit from watching that. And I have a quote from

518
00:34:54,080 --> 00:34:57,799
Speaker 1: the director here because I thought that, yeah, that part

519
00:34:57,960 --> 00:35:01,320
Speaker 1: was obviously it's like the most important part of the movie,

520
00:35:01,960 --> 00:35:05,319
Speaker 1: um and and it seems like they took a lot

521
00:35:05,360 --> 00:35:10,319
Speaker 1: of care with it. So the director, Rachel Lee Goldenberg,

522
00:35:11,200 --> 00:35:16,319
Speaker 1: had this to say in an interview with a Word

523
00:35:17,920 --> 00:35:24,680
Speaker 1: Daily dot Com scholarly Journal, Yeah, okay, Awards Daily dot Com.

524
00:35:24,840 --> 00:35:27,719
Speaker 1: She has a quote, I've had an abortion, but I

525
00:35:27,760 --> 00:35:30,719
Speaker 1: had a pill abortion. This was new information to me,

526
00:35:30,920 --> 00:35:34,000
Speaker 1: which is wild. I had this moment where I knew

527
00:35:34,000 --> 00:35:36,440
Speaker 1: I wanted to do something special when I came on board.

528
00:35:36,760 --> 00:35:39,319
Speaker 1: It wasn't fully fleshed out in the script yet. I

529
00:35:39,320 --> 00:35:41,480
Speaker 1: went with my writing partner on a tour of planned

530
00:35:41,520 --> 00:35:44,040
Speaker 1: parenthood in Los Angeles and asked the nurses to walk

531
00:35:44,120 --> 00:35:46,279
Speaker 1: us through it. It made me realize how much he

532
00:35:46,320 --> 00:35:48,960
Speaker 1: didn't know, and that fascinated me. It struck me that

533
00:35:49,000 --> 00:35:51,040
Speaker 1: in the moment, we couldn't spend that much time with

534
00:35:51,080 --> 00:35:53,640
Speaker 1: this young woman and sent her behind a wall. It

535
00:35:53,680 --> 00:35:55,880
Speaker 1: feels like she has come to this place where she

536
00:35:55,920 --> 00:35:58,720
Speaker 1: has said the word abortion and she's confident in her choice.

537
00:35:58,960 --> 00:36:00,839
Speaker 1: So what do we have to be a shamed about now?

538
00:36:01,200 --> 00:36:03,560
Speaker 1: As an audience, we should be on this journey with her.

539
00:36:03,840 --> 00:36:05,480
Speaker 1: As I was going through all the rooms, I had

540
00:36:05,480 --> 00:36:07,680
Speaker 1: no idea there were so many I should show people

541
00:36:07,719 --> 00:36:10,120
Speaker 1: that most importantly, it comes from a character place and

542
00:36:10,160 --> 00:36:15,160
Speaker 1: this is what Veronica is going through unquote. So I like, that's, uh,

543
00:36:15,200 --> 00:36:17,960
Speaker 1: that's lovely because that's like I think that you know,

544
00:36:18,040 --> 00:36:22,239
Speaker 1: even even people who support the right to abortion don't

545
00:36:22,239 --> 00:36:25,440
Speaker 1: necessarily know what it entails. And I would include myself

546
00:36:25,480 --> 00:36:29,440
Speaker 1: in that in certain respects. So good scene, Yeah, can

547
00:36:30,120 --> 00:36:35,040
Speaker 1: I found it informative and and helpful and esthetically pleasing.

548
00:36:35,560 --> 00:36:39,200
Speaker 1: It's it's pretty, it's calm, it's you know, the voiceover

549
00:36:39,280 --> 00:36:43,719
Speaker 1: is very calming. Yeah, just representation on screen of an

550
00:36:43,760 --> 00:36:49,200
Speaker 1: abortion taking place that isn't like scary, that isn't a

551
00:36:49,320 --> 00:36:54,920
Speaker 1: character panicking and freaking out. I'm reminded of that scene

552
00:36:55,000 --> 00:36:59,600
Speaker 1: from Blue Valentine that we discussed recently where the character

553
00:37:00,560 --> 00:37:03,560
Speaker 1: seems in pain and then freaks out and then stops

554
00:37:03,600 --> 00:37:07,600
Speaker 1: the abortion mid procedure. So I just I appreciate just

555
00:37:07,680 --> 00:37:11,960
Speaker 1: showing an abortion as a medical procedure that is quick

556
00:37:12,200 --> 00:37:17,239
Speaker 1: and not necessarily a horribly dramatic experience. And I feel

557
00:37:17,239 --> 00:37:19,920
Speaker 1: like it it kind of without even having to. But

558
00:37:20,040 --> 00:37:22,160
Speaker 1: that speaks to the point of, like how important it

559
00:37:22,239 --> 00:37:25,640
Speaker 1: is to have access to safe abortions too, because Veronica

560
00:37:25,960 --> 00:37:29,120
Speaker 1: has to travel, you know, a thousand miles to have

561
00:37:29,840 --> 00:37:32,480
Speaker 1: a safe abortion that her parents don't have to consent to,

562
00:37:32,760 --> 00:37:35,800
Speaker 1: which should not be the case. I mean, she states

563
00:37:35,840 --> 00:37:38,759
Speaker 1: it very on the nose and broadly and that scene

564
00:37:38,760 --> 00:37:41,080
Speaker 1: in the train tracks where it's like, why do I

565
00:37:41,120 --> 00:37:43,680
Speaker 1: need my parents permission to get an abortion? But I

566
00:37:43,680 --> 00:37:49,439
Speaker 1: don't need my parents permission to have a GREG, to

567
00:37:49,040 --> 00:37:57,759
Speaker 1: to shove a GREG through my bodily canals, et cetera. Um. Um,

568
00:37:57,800 --> 00:38:00,640
Speaker 1: But like seeing seeing um, seeing her get a safe

569
00:38:00,640 --> 00:38:03,759
Speaker 1: abortion that she's you know, very comfortable with, which is

570
00:38:03,800 --> 00:38:06,759
Speaker 1: I think yet another thing that Blue Valentine funked up.

571
00:38:07,320 --> 00:38:09,880
Speaker 1: And and we've been hearing that point a lot this week,

572
00:38:09,920 --> 00:38:12,080
Speaker 1: and it's something we've heard in the past, because it

573
00:38:12,200 --> 00:38:16,440
Speaker 1: is true that, you know, abortion being made illegal or

574
00:38:16,600 --> 00:38:20,640
Speaker 1: far more difficult to access is not going to end abortions.

575
00:38:20,680 --> 00:38:23,440
Speaker 1: It's just going to make them less safe for people

576
00:38:23,440 --> 00:38:27,200
Speaker 1: who need them. So um, yeah, I think seeing her

577
00:38:27,880 --> 00:38:31,560
Speaker 1: finally get access to a safe abortion that she is

578
00:38:32,000 --> 00:38:34,560
Speaker 1: you know, there's there's never and I think that that's

579
00:38:34,600 --> 00:38:38,480
Speaker 1: like smart writing as well, where she's never unwavering on

580
00:38:38,600 --> 00:38:43,680
Speaker 1: her on what she knows is the right decision for her. Yes,

581
00:38:44,000 --> 00:38:46,680
Speaker 1: it's just all the other stuff that is weird, Right,

582
00:38:47,120 --> 00:38:51,719
Speaker 1: It's like everything is surrounding this specific abortion for this

583
00:38:51,840 --> 00:38:55,080
Speaker 1: specific character I think is handled well. The lead up

584
00:38:55,120 --> 00:38:59,960
Speaker 1: to it. They managed to work in some important statistic

585
00:39:00,840 --> 00:39:03,080
Speaker 1: into the dialogue. I thought you're talking about the weird

586
00:39:03,080 --> 00:39:06,040
Speaker 1: stuff they do, like the you know they say like

587
00:39:06,080 --> 00:39:08,960
Speaker 1: at the fair, They're like, it's simply a medical procedure

588
00:39:09,080 --> 00:39:11,960
Speaker 1: one and four. You know, they say women, I would say,

589
00:39:11,960 --> 00:39:16,000
Speaker 1: people with you terses have an abortion. You know. Breck

590
00:39:16,080 --> 00:39:17,880
Speaker 1: and Meyer is like, did you know that having an

591
00:39:17,920 --> 00:39:21,560
Speaker 1: abortion will reduce your chances of getting pregnant later on?

592
00:39:22,080 --> 00:39:26,520
Speaker 1: And Veronika is like, no, that is completely false. So

593
00:39:26,680 --> 00:39:28,719
Speaker 1: and then Breck and Mera went, oh my god, I'm

594
00:39:28,840 --> 00:39:34,160
Speaker 1: so sorry. I'm so sorry. I'll leave now. Um. So,

595
00:39:34,200 --> 00:39:37,560
Speaker 1: there's like some good facts and stats about abortions that

596
00:39:38,280 --> 00:39:43,239
Speaker 1: they work into the dialogue in sometimes clunky ways, other

597
00:39:43,280 --> 00:39:46,240
Speaker 1: times more seamless ways. It feels a little edge detainment.

598
00:39:46,320 --> 00:39:48,919
Speaker 1: At times. The info is good, right, right, And then

599
00:39:49,239 --> 00:39:53,919
Speaker 1: the aftermath of the abortion, where you know, Verona comes

600
00:39:53,920 --> 00:39:57,280
Speaker 1: out with a spring in her step. She she seems

601
00:39:57,280 --> 00:40:00,640
Speaker 1: to be feeling well. She tells Bailey that she feels relieved.

602
00:40:00,920 --> 00:40:04,680
Speaker 1: She tells her mom later on, like, I know I'm

603
00:40:04,719 --> 00:40:07,319
Speaker 1: supposed to probably feel bad about this abortion, but I

604
00:40:07,360 --> 00:40:10,120
Speaker 1: don't feel bad at all. I know that I made

605
00:40:10,160 --> 00:40:13,760
Speaker 1: the right choice for me, and even though her mom says, well,

606
00:40:13,800 --> 00:40:19,200
Speaker 1: I'm disappointed, like, Veronica never apologizes or kind of wavers

607
00:40:19,239 --> 00:40:23,400
Speaker 1: in her feelings of this was definitely the right choice

608
00:40:23,440 --> 00:40:26,160
Speaker 1: for me. So to have all of that represented on

609
00:40:26,239 --> 00:40:33,320
Speaker 1: screen is great and I think the movies strongest element.

610
00:40:34,040 --> 00:40:37,200
Speaker 1: I agree, I agree, and I did um. I was

611
00:40:37,480 --> 00:40:42,480
Speaker 1: also interested to read in that same interview with the

612
00:40:42,680 --> 00:40:48,640
Speaker 1: director rachel Leie Goldenberg, that there were multiple options of

613
00:40:48,680 --> 00:40:54,480
Speaker 1: how to kind of land the plane on Veronica's relationship

614
00:40:54,520 --> 00:40:56,239
Speaker 1: with their mom at the end of the movie. I

615
00:40:56,280 --> 00:40:58,360
Speaker 1: do kind of I think, for what the movie is

616
00:40:58,400 --> 00:41:00,239
Speaker 1: and what the tone of the movie is, I like

617
00:41:00,520 --> 00:41:06,200
Speaker 1: where it landed because it felt a little soapy, but

618
00:41:06,320 --> 00:41:09,680
Speaker 1: without being like completely unrealistic. Because when she got home,

619
00:41:09,719 --> 00:41:11,960
Speaker 1: I was like, it would be weird to me if

620
00:41:12,000 --> 00:41:14,080
Speaker 1: the mom was just I mean, it would be great

621
00:41:14,680 --> 00:41:16,839
Speaker 1: in the life of this fictional character if her mom

622
00:41:16,920 --> 00:41:19,640
Speaker 1: was like, it's totally okay, I totally accept you, like

623
00:41:20,360 --> 00:41:23,600
Speaker 1: that is what you would want as a teenager. But

624
00:41:24,040 --> 00:41:28,359
Speaker 1: I like that it was it felt more grounded in

625
00:41:28,400 --> 00:41:30,799
Speaker 1: a way that the vast majority of the movie doesn't wear.

626
00:41:31,480 --> 00:41:34,520
Speaker 1: Her mom says, I think that the line is something

627
00:41:34,560 --> 00:41:37,000
Speaker 1: like I would not have made that choice. That is

628
00:41:37,080 --> 00:41:39,120
Speaker 1: not the choice that your sister made, because we learned

629
00:41:39,120 --> 00:41:42,920
Speaker 1: at the beginning that her sister also um had a

630
00:41:43,000 --> 00:41:48,759
Speaker 1: child relatively young, and it just sounds like the mom is,

631
00:41:49,840 --> 00:41:52,520
Speaker 1: you know, kind of starting a journey. I would hope

632
00:41:52,800 --> 00:41:59,120
Speaker 1: towards being able to respect a person's right to choose

633
00:41:59,200 --> 00:42:02,880
Speaker 1: what to do with they're fucking body, um, and I

634
00:42:03,200 --> 00:42:06,040
Speaker 1: would hope that that is something that like, I think

635
00:42:06,040 --> 00:42:09,440
Speaker 1: that that's a useful scene potentially for for older people

636
00:42:09,480 --> 00:42:13,200
Speaker 1: to see. Yeah, so I I kind of thought that

637
00:42:13,400 --> 00:42:17,400
Speaker 1: was cool choice. Yeah, I think it at tracked For me,

638
00:42:17,800 --> 00:42:25,640
Speaker 1: it played pretty realistic in a movie that often abandons realism.

639
00:42:25,920 --> 00:42:28,520
Speaker 1: The whole second act is like it takes place on

640
00:42:28,560 --> 00:42:32,920
Speaker 1: a different planet, but then it comes back to the planet.

641
00:42:33,200 --> 00:42:35,399
Speaker 1: I have complicated feelings about it because on one hand,

642
00:42:35,560 --> 00:42:39,920
Speaker 1: I like that this movie is totally very light and

643
00:42:40,239 --> 00:42:43,239
Speaker 1: a romp. Yes, not to say that like getting an

644
00:42:43,280 --> 00:42:46,640
Speaker 1: abortion is a fun romp, but I think that this

645
00:42:46,680 --> 00:42:52,040
Speaker 1: movie's lighthearted tone helps take away a lot of the

646
00:42:52,080 --> 00:42:55,760
Speaker 1: scariness and you know, apprehension that some people might feel

647
00:42:55,760 --> 00:43:01,440
Speaker 1: around getting an abortion. But there's a lot of instances

648
00:43:01,520 --> 00:43:07,319
Speaker 1: where the movie gets very cartoonish in a way that

649
00:43:07,360 --> 00:43:13,400
Speaker 1: I had difficulties suspending my disbelief for It's so the

650
00:43:13,480 --> 00:43:16,680
Speaker 1: second act of this movie is so weird and all

651
00:43:16,680 --> 00:43:19,480
Speaker 1: over the place. Yeah, did you have anything else to

652
00:43:19,480 --> 00:43:23,520
Speaker 1: sort of talk about about the fairly grounded third act

653
00:43:23,640 --> 00:43:27,040
Speaker 1: of the movie, Because I don't think we can get

654
00:43:27,080 --> 00:43:30,240
Speaker 1: into the we can get into the fun stuff. Now, sure,

655
00:43:30,400 --> 00:43:33,479
Speaker 1: let's let's take a quick break and then dive in

656
00:43:40,480 --> 00:43:44,240
Speaker 1: and we're back. Uh yeah, where would you like to start?

657
00:43:44,280 --> 00:43:47,160
Speaker 1: I said, the fun stuff? It's not also not there.

658
00:43:47,880 --> 00:43:49,759
Speaker 1: There is some stuff that I would say. I would

659
00:43:49,760 --> 00:43:54,279
Speaker 1: say the whole breck and Meyer portion of the movie, Like,

660
00:43:54,400 --> 00:43:57,120
Speaker 1: I can't even get mad about it. I'm just like that,

661
00:43:57,560 --> 00:44:01,640
Speaker 1: what a weird way to frame an abduction, Like it's

662
00:44:01,680 --> 00:44:04,759
Speaker 1: so goofy that I'm I don't, I can't in good

663
00:44:05,040 --> 00:44:09,680
Speaker 1: faith be like that's bad for the use of the world.

664
00:44:09,800 --> 00:44:11,839
Speaker 1: And it's like I just think it's just like kind

665
00:44:11,840 --> 00:44:17,680
Speaker 1: of weirdly written, and like why, Yeah, it's like all

666
00:44:17,719 --> 00:44:20,200
Speaker 1: all well and good. It makes sense that they're traveling,

667
00:44:20,200 --> 00:44:21,920
Speaker 1: you know, through the Deep South. It makes sense that

668
00:44:21,960 --> 00:44:25,880
Speaker 1: they would potentially meet people who are not in favor

669
00:44:25,960 --> 00:44:28,400
Speaker 1: of the right to an abortion. It makes sense as

670
00:44:28,440 --> 00:44:34,200
Speaker 1: an obstacle in this story, but the execution is what

671
00:44:34,640 --> 00:44:39,080
Speaker 1: I think, not really doing much or it's no, it's

672
00:44:39,160 --> 00:44:42,279
Speaker 1: I would I would say it's doing a lot well,

673
00:44:42,719 --> 00:44:48,000
Speaker 1: doing much as far as like effective commentary. Oh yeah, no, no, zero.

674
00:44:48,440 --> 00:44:52,239
Speaker 1: But but was I laughing kind of? But I was

675
00:44:52,320 --> 00:44:56,320
Speaker 1: just like confused. I you know, I like breckon a lot.

676
00:44:56,840 --> 00:45:00,759
Speaker 1: He's enjoying the post that sequence was so Yeah, I

677
00:45:00,760 --> 00:45:03,680
Speaker 1: worked with him on Robot Chicken. He's the best sweetheart,

678
00:45:04,320 --> 00:45:07,280
Speaker 1: But that that whole sequence is very, very strange. I

679
00:45:07,320 --> 00:45:11,880
Speaker 1: didn't understand. Uh there, what what are other stuff that is?

680
00:45:11,920 --> 00:45:16,160
Speaker 1: Like I don't have really, there's just so many sad

681
00:45:16,200 --> 00:45:19,400
Speaker 1: pieces of this movie that you're like, actually, we need

682
00:45:19,440 --> 00:45:21,480
Speaker 1: to talk about Kevin. Okay, let's talk about we need

683
00:45:21,480 --> 00:45:24,680
Speaker 1: to talk about Kevin. Where where to begin with? On

684
00:45:24,680 --> 00:45:30,680
Speaker 1: one hand, I guess the positive thing about Kevin's involvement

685
00:45:30,719 --> 00:45:36,719
Speaker 1: in the story is that he is a creepy, stalkery,

686
00:45:36,920 --> 00:45:41,880
Speaker 1: manipulative boyfriend who is actually framed as having those toxic

687
00:45:41,960 --> 00:45:45,160
Speaker 1: qualities since a lot of teen movies have historically presented

688
00:45:45,200 --> 00:45:49,839
Speaker 1: those behaviors and traits as being romantic, so at least, yes,

689
00:45:50,160 --> 00:45:52,040
Speaker 1: it doesn't do that. I do like that. I like

690
00:45:52,200 --> 00:45:55,879
Speaker 1: the line that that Barbie Ferrara says where she's like, yeah,

691
00:45:55,920 --> 00:45:58,640
Speaker 1: that's say anything stuff like I thought that that, you know,

692
00:45:58,760 --> 00:46:00,960
Speaker 1: that worked well when she was like, yeah, he kept

693
00:46:01,000 --> 00:46:02,640
Speaker 1: asking me to go out with him until I said yes,

694
00:46:02,680 --> 00:46:08,640
Speaker 1: and I prefer its like, uh, that sucks. Yeah. Veronica

695
00:46:08,680 --> 00:46:11,680
Speaker 1: was like he stood outside my window all night one

696
00:46:11,800 --> 00:46:15,760
Speaker 1: night and Barbie's like, yeah, say anything. Made that seem cute,

697
00:46:15,800 --> 00:46:18,799
Speaker 1: but it's called stalking. I just think that when it

698
00:46:18,800 --> 00:46:22,200
Speaker 1: comes to we need to talk about Kevin, I just

699
00:46:22,320 --> 00:46:27,360
Speaker 1: felt like, where Veronica and Bailey tend to be pretty

700
00:46:27,440 --> 00:46:31,719
Speaker 1: grounded characters, it did not find Kevin to be a

701
00:46:31,840 --> 00:46:33,920
Speaker 1: very grounded character. And I think it would have been

702
00:46:33,920 --> 00:46:37,200
Speaker 1: more effective commentary if he were, because he does come

703
00:46:37,239 --> 00:46:40,879
Speaker 1: off a little cartoony where it's not that he's not

704
00:46:40,960 --> 00:46:45,719
Speaker 1: doing things that young men often do in this situation,

705
00:46:46,280 --> 00:46:48,759
Speaker 1: which is be conditioned to be like, you know, we

706
00:46:48,840 --> 00:46:51,120
Speaker 1: have to settle down together and like, you know, acting

707
00:46:51,120 --> 00:46:54,200
Speaker 1: like they're living a hundred years ago. That like, for

708
00:46:54,239 --> 00:47:01,600
Speaker 1: sure happens. Stalking certainly happens. Predatory creepy behaviors in relationships

709
00:47:01,760 --> 00:47:05,040
Speaker 1: certainly happened, but the way it's written and framed and like,

710
00:47:05,560 --> 00:47:09,120
Speaker 1: it just felt goofy and cartoony, and I just didn't

711
00:47:09,160 --> 00:47:12,440
Speaker 1: think it didn't land for me. Yeah, he just seemed

712
00:47:13,200 --> 00:47:16,600
Speaker 1: like a character that was written to say a bunch

713
00:47:16,640 --> 00:47:22,040
Speaker 1: of stuff that men say in these situations. Yeah. Yeah,

714
00:47:22,080 --> 00:47:26,320
Speaker 1: Like he was like Patriarchy the Guy of this movie. Yeah,

715
00:47:26,560 --> 00:47:30,360
Speaker 1: in a very like one dimensional way, rather than being

716
00:47:31,120 --> 00:47:34,000
Speaker 1: a character that felt like a real person who also

717
00:47:34,320 --> 00:47:37,359
Speaker 1: may say those things. But just I don't know if

718
00:47:37,360 --> 00:47:40,560
Speaker 1: it was the performance or just like the lack of

719
00:47:40,840 --> 00:47:44,320
Speaker 1: development put into this character, but it did feel too

720
00:47:44,360 --> 00:47:47,600
Speaker 1: cartoonish to feel like it was making any kind of

721
00:47:47,640 --> 00:47:50,759
Speaker 1: effective commentary. I think it was like it was a

722
00:47:50,760 --> 00:47:53,320
Speaker 1: lot of stuff going on. But I will, okay, I

723
00:47:53,680 --> 00:47:55,440
Speaker 1: want to I want to put that on wax and

724
00:47:55,440 --> 00:47:58,480
Speaker 1: make that an official Betel Cask canon. Patriarchy the Guy

725
00:47:58,600 --> 00:48:03,560
Speaker 1: as a stock character because I always understand where it's

726
00:48:03,560 --> 00:48:07,680
Speaker 1: coming from, and I rarely find it to be effective.

727
00:48:08,719 --> 00:48:13,040
Speaker 1: It's never just one guy, never just one guy. And again,

728
00:48:13,080 --> 00:48:15,240
Speaker 1: even if they're even if you do have a character

729
00:48:15,719 --> 00:48:21,480
Speaker 1: that represents a lot of ideology perpetuated by the patriarchy,

730
00:48:21,680 --> 00:48:25,400
Speaker 1: sure it still needs to be like handled in a

731
00:48:25,440 --> 00:48:28,080
Speaker 1: way that makes sense. We live in a society for

732
00:48:28,200 --> 00:48:31,920
Speaker 1: crying out loud. If you got patriarchy, the guy, I

733
00:48:32,000 --> 00:48:34,799
Speaker 1: want to know how he became patriarchy the guy. He

734
00:48:34,920 --> 00:48:38,680
Speaker 1: wasn't born patriarchy the guy tell you that much. I

735
00:48:38,719 --> 00:48:43,399
Speaker 1: don't know why I'm upset. I think I'm just hungry. Um. Same,

736
00:48:43,560 --> 00:48:46,520
Speaker 1: we need to talk about Kevin. Yeah that I I

737
00:48:46,560 --> 00:48:50,640
Speaker 1: support the spirit of it. I didn't think it was

738
00:48:51,040 --> 00:48:55,400
Speaker 1: executed in a way that made sense. What about what

739
00:48:55,480 --> 00:48:58,320
Speaker 1: about Dad tazing? How do we feel about Dad tasting?

740
00:48:58,480 --> 00:49:02,680
Speaker 1: I didn't That didn't work for me either. Nope, Um,

741
00:49:03,120 --> 00:49:05,719
Speaker 1: that did not work for me. I would say it

742
00:49:05,800 --> 00:49:09,839
Speaker 1: plays into some tropes to like, I don't know there

743
00:49:09,920 --> 00:49:13,960
Speaker 1: was that there was also there's a scene where like

744
00:49:14,280 --> 00:49:17,880
Speaker 1: Bailey notices a cop following them and then they just

745
00:49:18,160 --> 00:49:20,799
Speaker 1: veer off the road in a way that makes them

746
00:49:20,800 --> 00:49:24,200
Speaker 1: seem extremely suspicious. But then the cop is like welp,

747
00:49:27,440 --> 00:49:32,560
Speaker 1: which they famously are obsessed with. I don't understand why

748
00:49:32,600 --> 00:49:36,120
Speaker 1: Veronica wasn't more panicked. Right when Barbie Ferre did that,

749
00:49:36,160 --> 00:49:39,400
Speaker 1: She's just like, oh, yeah, I guess let's get breakfast,

750
00:49:39,560 --> 00:49:41,799
Speaker 1: like right, and she's just like yeah, it sounds great.

751
00:49:41,840 --> 00:49:44,160
Speaker 1: There's a couple different times where like there is a

752
00:49:44,239 --> 00:49:47,160
Speaker 1: problem presented and then it immediately goes away, which I

753
00:49:47,320 --> 00:49:50,239
Speaker 1: just always I'm like, man like, when they wake up

754
00:49:50,320 --> 00:49:52,200
Speaker 1: late in the middle of the desert and they're like,

755
00:49:52,520 --> 00:49:54,160
Speaker 1: we're gonna be late, and then it's followed by a

756
00:49:54,160 --> 00:49:57,480
Speaker 1: montage of them like kind of hanging out, like feeding animals.

757
00:49:57,640 --> 00:49:59,399
Speaker 1: I was like, so they're not, like right, so they're

758
00:49:59,440 --> 00:50:02,280
Speaker 1: on time, jing at a diner, So why did that happen?

759
00:50:02,640 --> 00:50:05,040
Speaker 1: If that would happen, you would starve or go to

760
00:50:05,080 --> 00:50:09,319
Speaker 1: a McDonald's. Come on. Similarly, there's a scene where Veronica

761
00:50:09,640 --> 00:50:13,040
Speaker 1: comes back to the limo after she and Bailey have

762
00:50:13,120 --> 00:50:16,520
Speaker 1: had this big fight where Bailey storms off and Bob

763
00:50:16,960 --> 00:50:20,040
Speaker 1: is fixing the limo because it has broken down, and

764
00:50:20,120 --> 00:50:22,560
Speaker 1: she's like, well, what the heck? What how is long

765
00:50:22,680 --> 00:50:25,360
Speaker 1: is this gonna take? And then he's like, oh, just

766
00:50:25,400 --> 00:50:28,000
Speaker 1: twenty minutes, and then cut to them in the limo

767
00:50:28,160 --> 00:50:31,279
Speaker 1: driving off again. So it's like, Okay, this wasn't an

768
00:50:31,280 --> 00:50:34,759
Speaker 1: obstacle then, so cut it out of the script. Yeah,

769
00:50:34,800 --> 00:50:36,440
Speaker 1: there's a lot of stuff like that. The whole just

770
00:50:36,520 --> 00:50:40,320
Speaker 1: the timeline of the entire story didn't make any sense.

771
00:50:40,360 --> 00:50:42,920
Speaker 1: It seemed like sometimes it would be like midnight, but

772
00:50:42,960 --> 00:50:46,240
Speaker 1: then they were at a fair and then they were like, okay,

773
00:50:46,320 --> 00:50:49,840
Speaker 1: let's drive for four more hours to Albuquerque. Or it

774
00:50:49,880 --> 00:50:53,880
Speaker 1: would be like five o'clock in the morning and they're like, hurry,

775
00:50:53,960 --> 00:50:56,200
Speaker 1: we have to drive four hours to get to the

776
00:50:56,239 --> 00:50:58,560
Speaker 1: appointment at eight A. Yeah, you know, just like all

777
00:50:58,560 --> 00:51:02,799
Speaker 1: this stuff that made knows their money and the way

778
00:51:02,840 --> 00:51:06,719
Speaker 1: the money was spent was so bizarre to me. They

779
00:51:06,760 --> 00:51:10,680
Speaker 1: didn't use Google Maps on their phones the entire time.

780
00:51:11,760 --> 00:51:15,640
Speaker 1: What I don't that is like a major I mean,

781
00:51:16,000 --> 00:51:19,000
Speaker 1: I still believe that we as a society have not

782
00:51:19,080 --> 00:51:23,799
Speaker 1: figured out how to effectively put phones in media. And

783
00:51:23,880 --> 00:51:27,239
Speaker 1: anytime you hear like whoop, unlike something annoying is about

784
00:51:27,280 --> 00:51:31,040
Speaker 1: to happen, and it's always like they they do the

785
00:51:31,120 --> 00:51:33,880
Speaker 1: Jane the Virgin thing where it's like the text appears

786
00:51:33,920 --> 00:51:36,040
Speaker 1: alongside the head. You're like, I guess this is about

787
00:51:36,200 --> 00:51:38,720
Speaker 1: as well as we can do, but it always feels

788
00:51:38,800 --> 00:51:42,160
Speaker 1: cheesy and and and then to write around that by

789
00:51:42,160 --> 00:51:45,200
Speaker 1: being like she she's a book, so she printed a map,

790
00:51:45,560 --> 00:51:48,360
Speaker 1: Like why are we using a map? What are you doing?

791
00:51:49,000 --> 00:51:51,880
Speaker 1: You don't know what turns to make and what exits

792
00:51:51,920 --> 00:51:56,360
Speaker 1: to take when you print out a map that spans

793
00:51:56,520 --> 00:52:02,920
Speaker 1: three hundred miles, like there aren't enough detail whatever. More importantly,

794
00:52:03,440 --> 00:52:06,719
Speaker 1: I would like to talk about the way queerness is

795
00:52:06,760 --> 00:52:10,240
Speaker 1: handled in the movie. Sure. So they're at the fair,

796
00:52:10,560 --> 00:52:15,000
Speaker 1: Veronica senses that Bailey might like girls, which she kind

797
00:52:15,040 --> 00:52:18,799
Speaker 1: of like coaxes out of her, which I would say

798
00:52:18,880 --> 00:52:22,840
Speaker 1: maybe not the best approach, especially since they're not really

799
00:52:22,880 --> 00:52:27,880
Speaker 1: friends anymore, and maybe Bailey does not want to slash

800
00:52:28,000 --> 00:52:31,960
Speaker 1: is not ready to come out to Veronica. But eventually

801
00:52:32,040 --> 00:52:36,200
Speaker 1: Bailey nonchalantly says like, yeah, I like girls, No big deal.

802
00:52:36,680 --> 00:52:39,200
Speaker 1: And then Veronica assume assumes that she's the first person

803
00:52:39,280 --> 00:52:42,080
Speaker 1: that Bailey came out to, and Bailey's like, no, I've

804
00:52:42,120 --> 00:52:44,800
Speaker 1: been out to my mom for years, plus this list

805
00:52:44,800 --> 00:52:47,200
Speaker 1: of other people, which I didn't mind. It was nice

806
00:52:47,239 --> 00:52:50,759
Speaker 1: to like that we didn't have to have like a yes,

807
00:52:50,840 --> 00:52:54,120
Speaker 1: this is my secret and and I'm finally coming out

808
00:52:54,239 --> 00:52:57,440
Speaker 1: and like all the ways that that's often weirdly handled

809
00:52:57,480 --> 00:52:59,839
Speaker 1: in media. So I'm glad we avoided that. And if

810
00:52:59,840 --> 00:53:02,200
Speaker 1: I remembering correctly, I think that that is like something

811
00:53:02,280 --> 00:53:05,960
Speaker 1: Barbie Farra has also spoken about, like wanting to see

812
00:53:06,040 --> 00:53:11,759
Speaker 1: Mora because Barbie as a queer woman herself, and it

813
00:53:11,800 --> 00:53:14,240
Speaker 1: seems like that's like something that she appreciates in a character.

814
00:53:14,320 --> 00:53:16,200
Speaker 1: So I was all for that. It's like just the

815
00:53:16,200 --> 00:53:18,799
Speaker 1: one offline. You're like, Okay, that works, right. Um. What

816
00:53:19,000 --> 00:53:22,360
Speaker 1: I am more concerned about is the kind of brief

817
00:53:22,480 --> 00:53:26,040
Speaker 1: romance between Bailey and Kira. I am glad that the

818
00:53:26,080 --> 00:53:29,879
Speaker 1: script gave some real estate to a queer relationship, but

819
00:53:30,040 --> 00:53:34,000
Speaker 1: I felt weird about it because Bailey is still in

820
00:53:34,080 --> 00:53:39,560
Speaker 1: high school presumably the same age as Veronica seventeen, and

821
00:53:39,680 --> 00:53:44,399
Speaker 1: Kira seems to be pretty significantly older. She and all

822
00:53:44,400 --> 00:53:46,840
Speaker 1: her friends I think are at least twenty one, because

823
00:53:46,880 --> 00:53:50,160
Speaker 1: we see them like drinking alcohol in public that they

824
00:53:50,160 --> 00:53:54,279
Speaker 1: seem to have legally purchased. There's other indicators that I'm like,

825
00:53:54,560 --> 00:53:58,480
Speaker 1: Kira is like twenty five at least it just would

826
00:53:58,520 --> 00:54:01,440
Speaker 1: have been like again, it's and we see this that

827
00:54:01,520 --> 00:54:05,360
Speaker 1: feels like it's falling back on just a general teen

828
00:54:05,800 --> 00:54:10,319
Speaker 1: movie trope where that's how many times have you seen

829
00:54:10,360 --> 00:54:14,440
Speaker 1: that in like hetero context in a teen movie, Like

830
00:54:14,480 --> 00:54:18,279
Speaker 1: that's just a classically bad trope that you would think

831
00:54:18,360 --> 00:54:21,600
Speaker 1: this movie would have thought like, why couldn't they just

832
00:54:21,640 --> 00:54:25,200
Speaker 1: meet another high schooler at the fucking fair. It's actually

833
00:54:25,200 --> 00:54:28,359
Speaker 1: statistically more likely that you would so easy, such an

834
00:54:28,400 --> 00:54:32,719
Speaker 1: easy choice to make. Why you have doing the derby

835
00:54:32,840 --> 00:54:36,440
Speaker 1: whatever that's called. Yeah, but why not? You're in Texas,

836
00:54:36,520 --> 00:54:40,040
Speaker 1: That's probably That's what I pictured teenagers in Texas doing.

837
00:54:40,080 --> 00:54:43,480
Speaker 1: I'm like, they're driving soapblockers around I don't know my business.

838
00:54:44,560 --> 00:54:47,399
Speaker 1: They're driving mad Max Fury road vehicles around a track.

839
00:54:47,440 --> 00:54:49,879
Speaker 1: Of course. Yeah, I was like, it looks cool, like

840
00:54:50,360 --> 00:54:54,560
Speaker 1: no disrespect before all of our listeners from Texas are

841
00:54:54,640 --> 00:54:57,640
Speaker 1: like mad at me. But yeah, I mean, I just

842
00:54:57,680 --> 00:55:01,319
Speaker 1: think that that character. I I think that it may

843
00:55:01,360 --> 00:55:04,800
Speaker 1: have just been that the movie wanted to cast Betty Who,

844
00:55:04,840 --> 00:55:08,600
Speaker 1: who is like this iconic queer singer who plays the role,

845
00:55:09,320 --> 00:55:14,040
Speaker 1: which for sure like Betty Who's awesome. However, Yeah, I

846
00:55:14,080 --> 00:55:18,160
Speaker 1: think that, like, this movie seems very vested in steering

847
00:55:18,280 --> 00:55:21,600
Speaker 1: clear of teen movie tropes, and so having a teenager

848
00:55:21,640 --> 00:55:24,359
Speaker 1: hook up with someone who seemed to be well into

849
00:55:24,480 --> 00:55:30,320
Speaker 1: young adulthood felt like a very clear mistake, really icky,

850
00:55:30,480 --> 00:55:35,920
Speaker 1: and essentially, because queerness is so infrequently represented in this

851
00:55:36,080 --> 00:55:38,759
Speaker 1: genre in a meaningful way, it feels like an even

852
00:55:38,760 --> 00:55:43,360
Speaker 1: bigger fumble for sure, especially because what happens after they

853
00:55:43,400 --> 00:55:46,279
Speaker 1: meet and have flirted a little bit. They're in like

854
00:55:46,280 --> 00:55:50,000
Speaker 1: a ballpit or something, and Kira turns into a music video.

855
00:55:51,480 --> 00:55:54,600
Speaker 1: Kira does ask for consent to kiss Bailey, which great,

856
00:55:54,719 --> 00:55:58,120
Speaker 1: always get consent, but then Bailey is like, I've never

857
00:55:58,200 --> 00:56:03,160
Speaker 1: kissed anyone before, and like, twenty seven year old Kira

858
00:56:03,719 --> 00:56:06,759
Speaker 1: should have been like, oh, actually, maybe I shouldn't kiss

859
00:56:06,800 --> 00:56:09,920
Speaker 1: this stranger. She keeps getting older in your mind, she

860
00:56:11,320 --> 00:56:14,960
Speaker 1: do years her mid late twenties. She should have been like,

861
00:56:15,000 --> 00:56:18,080
Speaker 1: I don't know, maybe I shouldn't kiss this stranger after all,

862
00:56:18,360 --> 00:56:21,720
Speaker 1: who is clearly a teenager. So that makes it seem

863
00:56:21,719 --> 00:56:25,120
Speaker 1: like there's this kind of like predatory lesbian trope happening,

864
00:56:25,880 --> 00:56:28,839
Speaker 1: and it just felt really icky. It just it's like,

865
00:56:29,000 --> 00:56:32,160
Speaker 1: just cast someone else. I'll due respect to Betty who

866
00:56:32,160 --> 00:56:34,719
Speaker 1: because it's like you don't want you know, I want

867
00:56:34,760 --> 00:56:37,680
Speaker 1: Barbie to get her first kiss, but like from a

868
00:56:37,719 --> 00:56:40,680
Speaker 1: high school from another seventeen year old, Like, yeah, that

869
00:56:40,800 --> 00:56:43,920
Speaker 1: was not hard to do at the very least. It

870
00:56:44,080 --> 00:56:48,560
Speaker 1: is queer characters played by queer actors. Since both Barbie

871
00:56:48,560 --> 00:56:52,080
Speaker 1: Farra and Betty Who are queer. But and it's like,

872
00:56:52,480 --> 00:56:55,000
Speaker 1: you know, Barbie Ferrera is like twenty five like it

873
00:56:55,400 --> 00:56:57,640
Speaker 1: in terms of like production wise, it's all of a

874
00:56:57,719 --> 00:57:02,040
Speaker 1: board in the story it doesn't work. Yes, great, so again,

875
00:57:02,440 --> 00:57:07,560
Speaker 1: great idea of like a queer teen getting her first kiss,

876
00:57:08,239 --> 00:57:11,719
Speaker 1: but the execution. And that's not to say that, you know,

877
00:57:11,880 --> 00:57:15,120
Speaker 1: teenagers don't sometimes get their first kiss from someone who

878
00:57:15,280 --> 00:57:18,080
Speaker 1: is technically a legal adult. I don't always like feel

879
00:57:18,120 --> 00:57:21,960
Speaker 1: super comfortable gatekeeping like a seventeen year old can't kiss

880
00:57:22,640 --> 00:57:25,080
Speaker 1: eighteen and a half year old like stuff like that,

881
00:57:25,160 --> 00:57:29,160
Speaker 1: like obviously, like it's a lived experience thing. But because

882
00:57:29,160 --> 00:57:32,560
Speaker 1: it's like a movie and it seems to be a

883
00:57:32,560 --> 00:57:36,400
Speaker 1: significant age gap, that that is more where I have

884
00:57:37,120 --> 00:57:43,080
Speaker 1: the issue. Yeah, so uh yeah, I I also made

885
00:57:43,080 --> 00:57:46,040
Speaker 1: a note of that. But you know, Barbie Frere and

886
00:57:46,040 --> 00:57:50,440
Speaker 1: Betty Who relationship, I r L. I would take it fine,

887
00:57:50,520 --> 00:57:57,000
Speaker 1: fine by me? Why not? I also went to examine

888
00:57:57,280 --> 00:58:01,360
Speaker 1: So we've already discussed how the movie fails to acknowledge

889
00:58:01,400 --> 00:58:07,080
Speaker 1: in any meaningful way that women of color are disproportionately

890
00:58:07,120 --> 00:58:11,760
Speaker 1: affected by limited access to abortion. There's another way in

891
00:58:11,880 --> 00:58:17,520
Speaker 1: which race is very mishandled. So in general, the characters

892
00:58:17,560 --> 00:58:21,800
Speaker 1: of color, whether it's like Veronica's friends who we meet

893
00:58:21,840 --> 00:58:24,800
Speaker 1: at the beginning and end, whether it's the people who

894
00:58:25,080 --> 00:58:29,160
Speaker 1: Veronica and Bailey meet along the way of this road trip. Also,

895
00:58:29,240 --> 00:58:33,480
Speaker 1: a woman who owns a pawn shop is a black

896
00:58:33,520 --> 00:58:35,960
Speaker 1: woman who pulls a shotgun on we need to talk

897
00:58:35,960 --> 00:58:40,520
Speaker 1: about Kevin, Right. You have the Geane Carlo Esposito character,

898
00:58:41,720 --> 00:58:47,480
Speaker 1: who is also a gun loving eccentric, like a what's

899
00:58:47,520 --> 00:58:52,040
Speaker 1: the oh my god, what's the u anni kind of yeah, libertarian,

900
00:58:52,080 --> 00:58:55,640
Speaker 1: libertary type yeah. And then you have the was the

901
00:58:55,720 --> 00:58:59,560
Speaker 1: character's named Gerade Gerade, Yeah, who is presented as a

902
00:58:59,640 --> 00:59:04,960
Speaker 1: pred tory character who's harassing them and then becomes their friend.

903
00:59:05,040 --> 00:59:07,440
Speaker 1: And I don't know how much of that is a

904
00:59:07,520 --> 00:59:09,680
Speaker 1: failure of writing, how much of that is a failure

905
00:59:09,720 --> 00:59:14,240
Speaker 1: of casting, right, because I would argue that those characters

906
00:59:14,280 --> 00:59:17,640
Speaker 1: don't necessarily seem like they're written to be any particular

907
00:59:17,880 --> 00:59:21,480
Speaker 1: race exactly. Okay, So there's a lot to unpack about that.

908
00:59:21,840 --> 00:59:24,240
Speaker 1: So in general, the people of color just serve as

909
00:59:24,360 --> 00:59:28,720
Speaker 1: scenery in this white story, or like helpers of the

910
00:59:28,760 --> 00:59:33,400
Speaker 1: white characters, um white or white passing. Right. Gerrard is

911
00:59:33,640 --> 00:59:36,400
Speaker 1: one of the only black characters in the movie, and

912
00:59:36,640 --> 00:59:39,360
Speaker 1: he's also the character that draws a lot of attention

913
00:59:39,360 --> 00:59:44,560
Speaker 1: to himself and creates a diversion when cops in Texas

914
00:59:44,640 --> 00:59:48,160
Speaker 1: come looking for whoever stole this vehicle. That was like

915
00:59:48,760 --> 00:59:51,960
Speaker 1: so fucking bizarre. It feels like one of those things where,

916
00:59:52,280 --> 00:59:55,960
Speaker 1: like you said, the character probably wasn't specifically written as black,

917
00:59:56,160 --> 00:59:59,080
Speaker 1: but a black actor was cast in that role, but

918
00:59:59,120 --> 01:00:03,120
Speaker 1: the script wasn't change in any way to reflect the

919
01:00:03,200 --> 01:00:09,360
Speaker 1: actions or choices that a black person would most likely make. Um.

920
01:00:09,520 --> 01:00:15,120
Speaker 1: I want to cite this great article I've found written

921
01:00:15,520 --> 01:00:21,880
Speaker 1: by Kendall Cunningham entitled color Blind Justice. Unpregnant is too

922
01:00:21,880 --> 01:00:27,160
Speaker 1: White to be revolutionary from Bitch Media. I'll just read

923
01:00:27,240 --> 01:00:32,080
Speaker 1: a few quotes and do some some paraphrasing. Here, Kendall

924
01:00:32,160 --> 01:00:37,560
Speaker 1: says quote. While Unpregnant succeeds in illustrating a larger thesis

925
01:00:37,600 --> 01:00:41,480
Speaker 1: about the state sanctioned roadblocks to abortion, it fails at

926
01:00:41,480 --> 01:00:46,120
Speaker 1: developing its supporting characters, specifically black people who rescue Veronica

927
01:00:46,160 --> 01:00:48,800
Speaker 1: and Bailey from peril and help them reach their destination.

928
01:00:49,160 --> 01:00:51,840
Speaker 1: It's hard to tell whether these one dimensional characters of

929
01:00:51,880 --> 01:00:55,440
Speaker 1: black people as benevolent saviors are part of a broad

930
01:00:55,440 --> 01:00:58,720
Speaker 1: message about prejudice that the writers failed to develop, or

931
01:00:58,800 --> 01:01:01,640
Speaker 1: the result of color blind and casting with no consideration

932
01:01:01,720 --> 01:01:05,680
Speaker 1: of the stereotypes and problematic tropes being invoked. By the

933
01:01:05,800 --> 01:01:08,680
Speaker 1: end of the otherwise charming and well written film, I

934
01:01:08,720 --> 01:01:12,480
Speaker 1: felt annoyed and exhausted by displays of empathy and sacrifice

935
01:01:12,560 --> 01:01:15,440
Speaker 1: that so often go unthanked and unreturned by white people,

936
01:01:15,760 --> 01:01:19,160
Speaker 1: particularly when it comes to the larger political issue of

937
01:01:19,200 --> 01:01:23,880
Speaker 1: reproductive justice in the United States. Kendall goes on to

938
01:01:23,920 --> 01:01:28,160
Speaker 1: discuss how all of the black characters from Peg in

939
01:01:28,240 --> 01:01:31,920
Speaker 1: the pawn Shop, Grad in the Diner, Bob the limo

940
01:01:32,000 --> 01:01:36,120
Speaker 1: driver all exists in this narrative only to help this

941
01:01:36,320 --> 01:01:39,240
Speaker 1: white girl on her journey right and here like making

942
01:01:39,360 --> 01:01:44,160
Speaker 1: personal sacrifices too often help her when she does have

943
01:01:44,520 --> 01:01:50,160
Speaker 1: access to like other options. It's really because it's the

944
01:01:50,200 --> 01:01:55,560
Speaker 1: pawn shop owner overpays her for her ring. The gene

945
01:01:55,600 --> 01:01:59,560
Speaker 1: Carlo as Zito character also canonically this was bothering me.

946
01:01:59,600 --> 01:02:01,560
Speaker 1: They would have been getting to the limo place at

947
01:02:01,600 --> 01:02:03,720
Speaker 1: like six in the morning and he was like ump

948
01:02:04,040 --> 01:02:06,520
Speaker 1: and running a limo company. What are you talking about?

949
01:02:07,480 --> 01:02:12,800
Speaker 1: Drops everything He's like, my business is canceled because a

950
01:02:12,800 --> 01:02:17,440
Speaker 1: white teenage girl needs something like Yeah, it's egregious. And

951
01:02:17,480 --> 01:02:19,720
Speaker 1: then and I think that my my guess is that

952
01:02:19,800 --> 01:02:24,360
Speaker 1: it's there are five white writers on this movie, right, Yeah,

953
01:02:24,800 --> 01:02:29,640
Speaker 1: that didn't take things into consideration that they should have considered. Um.

954
01:02:29,680 --> 01:02:33,240
Speaker 1: The most egregious example for me was the Gerard scene,

955
01:02:33,440 --> 01:02:38,800
Speaker 1: in which Kendall has this to say. Quote at no

956
01:02:38,920 --> 01:02:41,320
Speaker 1: point in the scene. And this is again the scene

957
01:02:41,320 --> 01:02:45,520
Speaker 1: where Gerard creates a diversion so to distract the cops.

958
01:02:46,760 --> 01:02:49,280
Speaker 1: Quote at no point in the scene. Does it feel

959
01:02:49,320 --> 01:02:52,840
Speaker 1: as if director rachel Leie Goldenberg understands the racial tension

960
01:02:52,880 --> 01:02:57,040
Speaker 1: and potential dangerous situation she's representing on screen. It's hard

961
01:02:57,080 --> 01:02:59,640
Speaker 1: to believe that a black man in Texas, surrounded by

962
01:02:59,680 --> 01:03:03,200
Speaker 1: cops would risk his freedom and possibly his life to

963
01:03:03,360 --> 01:03:06,760
Speaker 1: help two white teenagers get away with a crime, even

964
01:03:06,840 --> 01:03:10,600
Speaker 1: in the seemingly harmless form of patriotic expression. In a

965
01:03:10,640 --> 01:03:13,760
Speaker 1: moment meant to be humorous and charming, Rod comes off

966
01:03:13,880 --> 01:03:19,680
Speaker 1: as an eager puppet for white people. Unquote. Um. And

967
01:03:19,720 --> 01:03:22,280
Speaker 1: then I'll just I'll share because I will will link

968
01:03:22,320 --> 01:03:26,640
Speaker 1: this this piece by Kendall Cunningham in all of the stuff,

969
01:03:26,720 --> 01:03:30,440
Speaker 1: but I just found it very insightful. The last thing

970
01:03:30,480 --> 01:03:34,400
Speaker 1: I'll quote is this quote. It seems as if Unpregnant

971
01:03:34,440 --> 01:03:37,080
Speaker 1: is trying to create a larger point about white folks

972
01:03:37,120 --> 01:03:41,240
Speaker 1: perception of other white folks as immediately trustworthy and well meaning.

973
01:03:42,080 --> 01:03:45,640
Speaker 1: Um parentheses. This is Caitlin talking like the way that

974
01:03:45,720 --> 01:03:51,800
Speaker 1: they immediately trust Breck and Meyer and family versus they

975
01:03:51,840 --> 01:03:55,280
Speaker 1: don't trust grad right away. Also, the movie frames him

976
01:03:55,320 --> 01:03:59,760
Speaker 1: as not trustworthy right away because he hits on them. Yeah,

977
01:03:59,800 --> 01:04:04,000
Speaker 1: and he makes them uncomfortable. Right. So back to the quote, um,

978
01:04:04,120 --> 01:04:08,120
Speaker 1: white people's perceptions of other white folks as immediately trustworthy

979
01:04:08,160 --> 01:04:11,120
Speaker 1: and well meaning versus their perceptions of black people as

980
01:04:11,160 --> 01:04:15,360
Speaker 1: threatening and unapproachable. If inserted on purpose, this idea rings true,

981
01:04:15,440 --> 01:04:19,200
Speaker 1: but is riddled with notions of respectability, particularly the idea

982
01:04:19,240 --> 01:04:21,880
Speaker 1: that black people should be respected because we might not

983
01:04:21,960 --> 01:04:24,520
Speaker 1: be as hostile as white people may assume us to be.

984
01:04:25,000 --> 01:04:27,560
Speaker 1: There's also the fact that black people hardly received the

985
01:04:27,640 --> 01:04:31,120
Speaker 1: unmitigated compassion and support when it comes to accessing healthcare

986
01:04:31,600 --> 01:04:35,560
Speaker 1: as white characters like Veronica do. Kendall goes on to say,

987
01:04:35,760 --> 01:04:38,640
Speaker 1: if only Unpregnant leaned into this irony a bit more.

988
01:04:38,960 --> 01:04:43,640
Speaker 1: It's black characters may not have seemed as detached from reality. Overall,

989
01:04:43,680 --> 01:04:47,120
Speaker 1: the off putting racial elements and Unpregnant mostly made me

990
01:04:47,160 --> 01:04:50,680
Speaker 1: long for more modern portrayals of black people getting abortions

991
01:04:50,680 --> 01:04:55,360
Speaker 1: in film whose geography and economic status often impede their

992
01:04:55,400 --> 01:05:01,600
Speaker 1: ability to terminate pregnancies as well. Unquote, So shout out

993
01:05:01,680 --> 01:05:06,400
Speaker 1: to that piece written by Kendall Cunningham, and shout out

994
01:05:06,400 --> 01:05:11,080
Speaker 1: to Kendall Cunningham, wonderful writer. Certainly, Yeah that the it

995
01:05:13,440 --> 01:05:15,840
Speaker 1: you can't want five white people write a movie you

996
01:05:16,000 --> 01:05:19,320
Speaker 1: just can't like, and and it's that was I mean

997
01:05:19,360 --> 01:05:24,760
Speaker 1: of the many frustrating, sloppy elements of this movie, particularly

998
01:05:24,800 --> 01:05:29,520
Speaker 1: as Kendall points out, particularly because this is about an

999
01:05:29,560 --> 01:05:36,040
Speaker 1: issue that disproportionately affects black and brown people. Yeah, it's egregious,

1000
01:05:36,640 --> 01:05:42,880
Speaker 1: it's unkind to the actors, and it undercuts what it

1001
01:05:42,920 --> 01:05:47,640
Speaker 1: appears the movie wants to do, which is be thoughtful,

1002
01:05:48,080 --> 01:05:54,760
Speaker 1: thoughtful and progressive, progressive, which the treatment of I would say,

1003
01:05:54,840 --> 01:05:59,200
Speaker 1: virtually all of the non white characters in this movie

1004
01:05:59,480 --> 01:06:04,600
Speaker 1: are not treated thoughtfully or like like people, you know,

1005
01:06:04,720 --> 01:06:07,640
Speaker 1: like it's just I mean, there's a lot of people

1006
01:06:07,680 --> 01:06:10,320
Speaker 1: in this movie that aren't acting like people, but the

1007
01:06:10,440 --> 01:06:15,840
Speaker 1: way the tropes applied and the clear like even if

1008
01:06:15,880 --> 01:06:18,720
Speaker 1: if if a number of these characters were not written

1009
01:06:18,760 --> 01:06:22,520
Speaker 1: as UM any particular race, like that's a cast like

1010
01:06:22,560 --> 01:06:25,000
Speaker 1: you need to talk to your casting director about what

1011
01:06:25,080 --> 01:06:29,600
Speaker 1: their problem is that and depending on who you cast,

1012
01:06:29,880 --> 01:06:32,080
Speaker 1: you need to go back and make changes to the

1013
01:06:32,120 --> 01:06:38,200
Speaker 1: script to reflect what those characters would actually do and

1014
01:06:38,240 --> 01:06:42,960
Speaker 1: say in these situations that you've written. So there's a

1015
01:06:43,000 --> 01:06:46,800
Speaker 1: big failure to do that in this movie. A couple

1016
01:06:46,880 --> 01:06:50,320
Speaker 1: a couple of different fumbles required for for it to

1017
01:06:50,360 --> 01:06:54,320
Speaker 1: turn out quite that bad. Yeah, a few things that

1018
01:06:54,400 --> 01:07:00,200
Speaker 1: I thought were not handled the worst. While there is

1019
01:07:00,240 --> 01:07:06,600
Speaker 1: not a whole lot of diversity in general, including diversity

1020
01:07:06,680 --> 01:07:11,200
Speaker 1: in body size, you do have a character who is fat.

1021
01:07:11,240 --> 01:07:14,560
Speaker 1: We have Bailey played by Barbie Ferrera. Especially if for

1022
01:07:14,680 --> 01:07:20,720
Speaker 1: comparing this to other teen movies, especially from past decades,

1023
01:07:21,320 --> 01:07:25,600
Speaker 1: there is usually a noticeable lack of body diversity um

1024
01:07:25,640 --> 01:07:31,120
Speaker 1: where you see nothing but thin usually white Western beauty

1025
01:07:31,200 --> 01:07:35,240
Speaker 1: standard bodies, so you usually get a field full of

1026
01:07:35,440 --> 01:07:38,480
Speaker 1: Hayley Richardson's right, So it's nice to see some diversity

1027
01:07:38,520 --> 01:07:43,600
Speaker 1: in size and have that be normalized. Barbie is like

1028
01:07:43,720 --> 01:07:48,200
Speaker 1: truly the funniest. It was, like, again, I felt shutting

1029
01:07:48,200 --> 01:07:49,760
Speaker 1: on the reading of this movie a lot. But do

1030
01:07:49,800 --> 01:07:53,040
Speaker 1: hear how many like not well written lines Barbie Ferrero

1031
01:07:53,200 --> 01:07:56,960
Speaker 1: was able to sell to me. Anyways, I was like, bless,

1032
01:07:57,000 --> 01:08:00,680
Speaker 1: like she is just so talented and and yeah, and

1033
01:08:00,720 --> 01:08:05,560
Speaker 1: I also appreciated how I feel like in your average

1034
01:08:05,680 --> 01:08:11,400
Speaker 1: teen comedy, you don't get to know like Barbie Ferrara's

1035
01:08:11,720 --> 01:08:14,080
Speaker 1: role in the story would normally be sidelined quite a

1036
01:08:14,080 --> 01:08:15,800
Speaker 1: bit and you wouldn't get to learn a lot about her.

1037
01:08:16,320 --> 01:08:18,320
Speaker 1: I appreciate that the movie went out of its way

1038
01:08:18,360 --> 01:08:22,479
Speaker 1: to give her her own story, even though sometimes I

1039
01:08:22,520 --> 01:08:26,360
Speaker 1: was like, dad, Taser, that's what we're doing. Uh, we're

1040
01:08:26,560 --> 01:08:28,800
Speaker 1: leaning into the dead Pete dad trope, and then we're

1041
01:08:28,800 --> 01:08:32,200
Speaker 1: doing like this two thousand and seven jet Apatau thing. Okay,

1042
01:08:32,320 --> 01:08:37,400
Speaker 1: uh sure, But in any case, and and there were

1043
01:08:37,479 --> 01:08:39,519
Speaker 1: I think generally as far as this, I mean, we've

1044
01:08:39,520 --> 01:08:42,960
Speaker 1: seen this story of like that you changed and I'm

1045
01:08:43,360 --> 01:08:48,280
Speaker 1: a hot topic girl, Uh you know, story a bazillion times.

1046
01:08:48,320 --> 01:08:50,479
Speaker 1: But I thought that that was pretty well executed, and

1047
01:08:50,560 --> 01:08:53,559
Speaker 1: like the two actors have such great chemistry that even

1048
01:08:53,600 --> 01:08:56,240
Speaker 1: when it wasn't awesome, I was like, they clearly like

1049
01:08:56,360 --> 01:09:01,479
Speaker 1: each other. I like to that. I think some kind

1050
01:09:01,479 --> 01:09:07,040
Speaker 1: of like popular girl tropes are avoided or subverted in

1051
01:09:07,080 --> 01:09:11,479
Speaker 1: this movie, where Veronica seems to run with like the

1052
01:09:11,600 --> 01:09:16,000
Speaker 1: popular girls, but she she can read like she can read,

1053
01:09:16,080 --> 01:09:18,360
Speaker 1: she cares about her studies, she's a trekky nerd. She

1054
01:09:18,439 --> 01:09:20,640
Speaker 1: doesn't have street smarts, and she doesn't drink, but she

1055
01:09:20,720 --> 01:09:25,200
Speaker 1: does have sex. Like just you know, that's various qualities

1056
01:09:25,320 --> 01:09:30,000
Speaker 1: that are usually way more rigidly represented in like a

1057
01:09:30,040 --> 01:09:33,519
Speaker 1: popular girl. But you know, she's seems to be more

1058
01:09:34,280 --> 01:09:36,599
Speaker 1: well rounded. I don't know, not not a huge thing,

1059
01:09:36,680 --> 01:09:40,320
Speaker 1: but yeah, it's it's just like a little a lot

1060
01:09:40,400 --> 01:09:45,479
Speaker 1: of little attempts taking place in this movie. Um, did

1061
01:09:45,520 --> 01:09:48,360
Speaker 1: you have anything else? I don't have anything else, how

1062
01:09:48,360 --> 01:09:52,680
Speaker 1: about you? None of that's about all I had. This

1063
01:09:52,800 --> 01:09:55,679
Speaker 1: movie does pass the BACKFLF test, Yes, quite a bit.

1064
01:09:55,800 --> 01:10:00,400
Speaker 1: It's mostly Barbarie Ferrara and Haley Leu Richardson talking in

1065
01:10:00,439 --> 01:10:03,320
Speaker 1: a car for quite a bit of the movie. Also,

1066
01:10:03,920 --> 01:10:09,920
Speaker 1: you've got conversations between mothers and daughters. You've got conversations

1067
01:10:09,960 --> 01:10:16,240
Speaker 1: between popular girls. You've got all sort You've got conversations

1068
01:10:16,320 --> 01:10:22,519
Speaker 1: between anti abortion fundamentalists and Hayley y Richardson. You know,

1069
01:10:22,560 --> 01:10:25,160
Speaker 1: you've got all sorts of conversations taking place that doesn't

1070
01:10:25,200 --> 01:10:29,519
Speaker 1: have to do with with men. Uh So, yeah, no

1071
01:10:29,640 --> 01:10:34,320
Speaker 1: problem there. However, we are now at our nipple scale

1072
01:10:34,560 --> 01:10:37,759
Speaker 1: sero to five nipples based on how the movie fares

1073
01:10:38,320 --> 01:10:42,719
Speaker 1: when looking at it through an intersectional feminist lens. I think,

1074
01:10:43,439 --> 01:10:47,200
Speaker 1: setting aside that I think there's a lot of, like

1075
01:10:47,880 --> 01:10:52,080
Speaker 1: just like screenwriting issues, I would give this, I think

1076
01:10:52,120 --> 01:10:57,160
Speaker 1: a three in that it is. It does have an agenda,

1077
01:10:57,560 --> 01:11:03,479
Speaker 1: and a progressive agenda that is seeking to humanize getting

1078
01:11:03,479 --> 01:11:07,880
Speaker 1: an abortion, and part of the agenda is to make

1079
01:11:08,640 --> 01:11:14,240
Speaker 1: having an abortion seem less daunting and scary and just

1080
01:11:14,479 --> 01:11:19,200
Speaker 1: the normal medical procedure that it is. I appreciate that

1081
01:11:19,200 --> 01:11:23,040
Speaker 1: that is the agenda of the movie. As we've discussed,

1082
01:11:23,200 --> 01:11:25,600
Speaker 1: there's a lot of missteps and what it fails to

1083
01:11:25,680 --> 01:11:31,799
Speaker 1: acknowledge around the abortion discussion in terms of people of color,

1084
01:11:32,560 --> 01:11:36,439
Speaker 1: especially from a lower socioeconomic status. UM people of color

1085
01:11:36,479 --> 01:11:41,040
Speaker 1: who live in states where abortion is already difficult to

1086
01:11:41,960 --> 01:11:46,000
Speaker 1: access are more likely to have to have an abortion

1087
01:11:46,080 --> 01:11:51,639
Speaker 1: because of other factors, not as easy access to health

1088
01:11:51,680 --> 01:11:56,440
Speaker 1: care and birth control, not as easy access to education,

1089
01:11:57,280 --> 01:11:59,760
Speaker 1: things like that. Yeah, and it's it's like they're they're

1090
01:12:00,040 --> 01:12:06,559
Speaker 1: are you know, certainly Veronica's character has obstructions to access

1091
01:12:06,560 --> 01:12:09,320
Speaker 1: of worship, but she I just think for this story,

1092
01:12:09,560 --> 01:12:16,760
Speaker 1: it she's not the prime candidate for leading this story. Absolutely,

1093
01:12:17,040 --> 01:12:20,760
Speaker 1: And and also it's it's like the movie has more

1094
01:12:20,800 --> 01:12:26,280
Speaker 1: than enough room for additional characters and perspectives like they're

1095
01:12:26,560 --> 01:12:29,479
Speaker 1: they're just they're you can't include the whole of breck

1096
01:12:29,520 --> 01:12:32,000
Speaker 1: and Meyer sequence and then tell me there wasn't time

1097
01:12:32,040 --> 01:12:36,799
Speaker 1: for it. There was time, and it was a massive

1098
01:12:37,160 --> 01:12:39,519
Speaker 1: oversight in addition to all the ways of this movie

1099
01:12:39,560 --> 01:12:42,679
Speaker 1: fumbles with race in general. Right, and if the writers

1100
01:12:42,680 --> 01:12:44,880
Speaker 1: are like, oh, I don't know, I just felt out

1101
01:12:44,880 --> 01:12:47,320
Speaker 1: of my depth talking about that in the movie, and

1102
01:12:47,360 --> 01:12:50,519
Speaker 1: it's like, well, then bring in other people exactly who

1103
01:12:51,120 --> 01:12:54,200
Speaker 1: can speak to that more effectively. If George Miller can

1104
01:12:54,240 --> 01:12:58,320
Speaker 1: do it, you can do it, right. You haven't heard

1105
01:12:58,360 --> 01:13:01,040
Speaker 1: our Mad Max episode comes out next week, because that

1106
01:13:01,080 --> 01:13:02,720
Speaker 1: will makes so much sense next with that will make

1107
01:13:02,760 --> 01:13:05,639
Speaker 1: so much sense in a week. So Yeah, the failure

1108
01:13:05,680 --> 01:13:10,519
Speaker 1: to acknowledge that people of color are very disproportionately affected

1109
01:13:10,520 --> 01:13:13,400
Speaker 1: by limited access to abortion. I think is A is

1110
01:13:13,439 --> 01:13:18,759
Speaker 1: a major misstep for this movie. The way that characters

1111
01:13:18,760 --> 01:13:24,719
Speaker 1: of color are treated, the way the queer relationship pans out,

1112
01:13:25,240 --> 01:13:28,040
Speaker 1: a lot of it is just quite a few missteps.

1113
01:13:28,200 --> 01:13:32,160
Speaker 1: I do appreciate that the kind of emotional relationship core

1114
01:13:32,200 --> 01:13:35,479
Speaker 1: of the movie is A is a friendship between two

1115
01:13:35,560 --> 01:13:41,520
Speaker 1: girls that shouldn't be a rare thing in film, but um,

1116
01:13:41,560 --> 01:13:45,519
Speaker 1: it is. So I appreciate that. I appreciate the lack

1117
01:13:45,560 --> 01:13:49,120
Speaker 1: of absolution for the Kevin character. I think that, you know,

1118
01:13:49,479 --> 01:13:54,280
Speaker 1: if this movie was made, you know, and even fairly recently,

1119
01:13:54,640 --> 01:13:58,519
Speaker 1: that would not be a guaranteed thing. There's definitely things

1120
01:13:58,560 --> 01:14:00,960
Speaker 1: that this movie is doing right by it is also

1121
01:14:01,040 --> 01:14:06,120
Speaker 1: doing quite a bit either wrong or just completely ignoring

1122
01:14:06,200 --> 01:14:10,120
Speaker 1: the glaring reality of right. Yeah, so I think I'll

1123
01:14:10,160 --> 01:14:12,880
Speaker 1: go with, like, I don't know, two and a half

1124
01:14:12,920 --> 01:14:16,320
Speaker 1: fields a little too low for three. I think I'll

1125
01:14:16,360 --> 01:14:19,880
Speaker 1: go three. I'll give one to Barbie Ferrera, I'll give

1126
01:14:19,880 --> 01:14:25,879
Speaker 1: one to the actor who plays Peg Gerald Prescott, and

1127
01:14:26,520 --> 01:14:31,280
Speaker 1: I will give my third nipple to PEG's reference to

1128
01:14:31,800 --> 01:14:38,240
Speaker 1: the human centipede. I did appreciate that well, delivered and

1129
01:14:38,640 --> 01:14:42,720
Speaker 1: a rare goodline in this movie. Yeah, I'm also going

1130
01:14:42,760 --> 01:14:45,559
Speaker 1: to go with three here for all the reasons described

1131
01:14:45,960 --> 01:14:50,160
Speaker 1: there are, particularly on the issue of class and race

1132
01:14:50,520 --> 01:14:55,440
Speaker 1: as it pertains to access to abortion. It's like, how, how,

1133
01:14:55,439 --> 01:14:58,920
Speaker 1: how how can that not come into the story in

1134
01:14:58,960 --> 01:15:03,000
Speaker 1: addition to the people of color that are in the

1135
01:15:03,040 --> 01:15:06,920
Speaker 1: movie and how their characters are sidelined. They're just servicing

1136
01:15:07,040 --> 01:15:09,120
Speaker 1: the sins white teenager and and and so on and

1137
01:15:09,160 --> 01:15:14,400
Speaker 1: so forth. It's just a huge, kind of inconceivably huge

1138
01:15:14,560 --> 01:15:17,000
Speaker 1: miss in that regard. And it's the more we talk

1139
01:15:17,000 --> 01:15:21,000
Speaker 1: about it, the more I'm like, what the fuck? Um, So, yeah,

1140
01:15:21,000 --> 01:15:26,080
Speaker 1: I'm gonna give this three nipples. And I think I'm

1141
01:15:26,240 --> 01:15:28,760
Speaker 1: gonna give him all the Barbie because I wanted to

1142
01:15:28,760 --> 01:15:37,360
Speaker 1: have a spare. I just think she's a delight certainly. Well, folks,

1143
01:15:37,800 --> 01:15:43,320
Speaker 1: that is our episode on on greg Nant. Yes, so

1144
01:15:43,680 --> 01:15:47,839
Speaker 1: no more Greg's and uh and and and good riddance

1145
01:15:48,120 --> 01:15:54,120
Speaker 1: uh again. We're gonna be linking to resources on more information,

1146
01:15:54,680 --> 01:15:57,599
Speaker 1: will be linking to the Bitch media piece. Will also

1147
01:15:57,640 --> 01:16:01,599
Speaker 1: be linking to a Google dog of state by state

1148
01:16:01,800 --> 01:16:07,800
Speaker 1: places to donate to individual abortion clinics. We will be

1149
01:16:07,960 --> 01:16:12,960
Speaker 1: doing the same, don't you worry. And we'll also post

1150
01:16:13,000 --> 01:16:18,200
Speaker 1: these resources to our social media, speaking of which that's

1151
01:16:18,200 --> 01:16:21,639
Speaker 1: on Instagram and Twitter at bucktele Cast incredible, and that's

1152
01:16:21,680 --> 01:16:24,240
Speaker 1: just where you can find us there. Absolutely you can

1153
01:16:24,280 --> 01:16:29,200
Speaker 1: also find us on Patreon aka Matreon, where we do

1154
01:16:29,400 --> 01:16:34,280
Speaker 1: to bonus episodes every month. Yeah, you also have access

1155
01:16:34,320 --> 01:16:37,639
Speaker 1: to the back catalog of all of those over one

1156
01:16:37,720 --> 01:16:42,839
Speaker 1: hundred bonus episodes. I'll be goddamned, including uh two movies

1157
01:16:42,880 --> 01:16:46,759
Speaker 1: that handle abortion in uh ways that I mean obviously

1158
01:16:47,000 --> 01:16:49,639
Speaker 1: I don't know. I had to revisit Obvious Child, but

1159
01:16:49,840 --> 01:16:52,960
Speaker 1: certainly a movie that it handles abortion terribly. We covered

1160
01:16:52,960 --> 01:16:57,240
Speaker 1: on the Matreon, which is Juno. Uh so they're all

1161
01:16:57,360 --> 01:17:00,800
Speaker 1: it's all there, Baby had on, Head on over, come

1162
01:17:00,800 --> 01:17:03,920
Speaker 1: on down, and uh you can get our merch at

1163
01:17:03,960 --> 01:17:07,800
Speaker 1: t public dot com slash the Bechdel Cast if you

1164
01:17:07,800 --> 01:17:11,920
Speaker 1: are so inclined, and uh, we'll see you next week

1165
01:17:12,160 --> 01:17:18,080
Speaker 1: for Caitlin's birthday episode. Bye bye Bye