1
00:00:00,920 --> 00:00:03,880
Speaker 1: On the Bell Cast, the questions asked if movies have

2
00:00:04,040 --> 00:00:07,480
Speaker 1: women and um are all their discussions just boyfriends and

3
00:00:07,560 --> 00:00:11,799
Speaker 1: husbands or do they have individualism? The patriarchy? Zef in

4
00:00:12,000 --> 00:00:16,960
Speaker 1: best start changing it with the Bedel Cast. Hello, and

5
00:00:17,000 --> 00:00:20,120
Speaker 1: welcome to the Bechdel Cast. My name is Caitlin Darante,

6
00:00:20,440 --> 00:00:24,440
Speaker 1: my name is Jamie Loftus, and it's my birthday episode.

7
00:00:24,520 --> 00:00:28,680
Speaker 1: It's your birthday episode, and so we're celebrating accordingly with

8
00:00:28,880 --> 00:00:31,280
Speaker 1: one of your favorite movies, as is the birthday tradition

9
00:00:31,440 --> 00:00:35,000
Speaker 1: in these your parts. Indeed, if you've never celebrated a

10
00:00:35,080 --> 00:00:38,000
Speaker 1: birthday with us, we get to pick movies for our

11
00:00:38,040 --> 00:00:41,000
Speaker 1: birthday episode. It's that simple. It's that simple. So we're

12
00:00:41,040 --> 00:00:44,400
Speaker 1: doing little Miss Sunshine for my birthday this year. It's

13
00:00:44,440 --> 00:00:46,879
Speaker 1: just the two of us. We're going to have just

14
00:00:47,040 --> 00:00:52,120
Speaker 1: a romp of an episode, fun, flirty conversation about little

15
00:00:52,159 --> 00:00:55,680
Speaker 1: Miss Sunshine. If you're new, first of all, congratulations for

16
00:00:55,760 --> 00:00:58,720
Speaker 1: coming in on a birthday episode. What a treat for you. Seriously,

17
00:00:58,840 --> 00:01:01,920
Speaker 1: the gift you can give yourself. But we are a

18
00:01:01,960 --> 00:01:08,040
Speaker 1: feminist movie podcast that examines popular films using the Bechdel

19
00:01:08,160 --> 00:01:12,280
Speaker 1: test as a jumping off point for discussion about how

20
00:01:12,440 --> 00:01:17,280
Speaker 1: the movie portrays female identifying characters. Jamie, what on earth

21
00:01:17,840 --> 00:01:20,520
Speaker 1: is the Bechtel test? Well, since it's your birthday, I

22
00:01:20,520 --> 00:01:24,400
Speaker 1: guess I'll finally clue in on the little secret. Yeah. Thanks.

23
00:01:25,600 --> 00:01:29,680
Speaker 1: The Bechdel test is a media metric invented by cartoonist

24
00:01:29,680 --> 00:01:33,559
Speaker 1: Alison Bechdel, sometimes called the Bechtel Wallace test, that requires

25
00:01:33,880 --> 00:01:38,280
Speaker 1: that a piece of media has the following two female

26
00:01:38,280 --> 00:01:42,319
Speaker 1: identifying characters with names that talk to each other about

27
00:01:42,360 --> 00:01:47,000
Speaker 1: something other than a male identified character for two lines

28
00:01:47,160 --> 00:01:51,840
Speaker 1: of dialogue. Oh my goodness, it doesn't happen enough. What

29
00:01:52,440 --> 00:01:57,800
Speaker 1: in this movie? Or most rude? How dare this? It's

30
00:01:57,880 --> 00:02:01,840
Speaker 1: my birthday? All movies should pass the Bechtel test for

31
00:02:01,920 --> 00:02:06,400
Speaker 1: your birthday. Indiana gents passes the Bechtel test. It's just

32
00:02:06,720 --> 00:02:10,680
Speaker 1: it's just about one day a year. But yeah, so

33
00:02:10,720 --> 00:02:13,400
Speaker 1: that that's the that's the Bechtel test. We pass it

34
00:02:13,560 --> 00:02:16,480
Speaker 1: all the time, every freaking day. In fact, should we

35
00:02:16,520 --> 00:02:20,480
Speaker 1: test it out right now? Should we? Should we pass it? Okay? Um?

36
00:02:20,560 --> 00:02:27,320
Speaker 1: Hey Jamie, what what was I expecting that response? Um? Well,

37
00:02:27,320 --> 00:02:32,360
Speaker 1: my name is Caitlin. Thank you for asking. I just

38
00:02:32,400 --> 00:02:34,840
Speaker 1: wanted to let you know Jamie that I have poured

39
00:02:34,880 --> 00:02:39,720
Speaker 1: myself a birthday Margharita. Wow, well it cheers to you.

40
00:02:40,040 --> 00:02:42,760
Speaker 1: Thank you so much with my little glass of Francia

41
00:02:42,880 --> 00:02:45,440
Speaker 1: over yonder on the zoom call. And I, if I'm

42
00:02:45,440 --> 00:02:50,959
Speaker 1: not mistaken, both my Margharita and your Franzia identify as women. Oh,

43
00:02:51,160 --> 00:02:56,520
Speaker 1: she absolutely does. She can't stop talking about it all

44
00:02:56,600 --> 00:02:59,639
Speaker 1: day long. I'm discussing women's issues with my various glasses

45
00:02:59,639 --> 00:03:02,680
Speaker 1: of Zeah. Did you see that clip? And this I'm

46
00:03:02,680 --> 00:03:05,760
Speaker 1: about to stop passing the Bechtel test, but did you

47
00:03:05,800 --> 00:03:08,160
Speaker 1: see that clip from a recent episode of Rick and

48
00:03:08,200 --> 00:03:10,960
Speaker 1: Morty that a bunch of people sent us. I bravely

49
00:03:11,320 --> 00:03:14,440
Speaker 1: have never seen that show. They do a little Bechtel

50
00:03:14,480 --> 00:03:20,000
Speaker 1: test bit, do they? Yeah? There are some wonderful um

51
00:03:20,040 --> 00:03:23,000
Speaker 1: female writers and allies on that show, so I'm I'm

52
00:03:23,040 --> 00:03:26,160
Speaker 1: thrilled to hear it. Yeah, it was pretty a funny

53
00:03:26,160 --> 00:03:29,680
Speaker 1: little clip, if I may say, you know, we we

54
00:03:29,680 --> 00:03:32,880
Speaker 1: we hear at the Bechtel cast love a funny little clip.

55
00:03:35,040 --> 00:03:37,400
Speaker 1: My feelings for Rick and Morty are complicated, but that's

56
00:03:37,440 --> 00:03:39,840
Speaker 1: for It's simply not what the podcast is about. And

57
00:03:39,880 --> 00:03:43,480
Speaker 1: I couldn't be happier about it. Yeah, yeah, it's my birthday. Yeah,

58
00:03:43,520 --> 00:03:46,640
Speaker 1: we gotta steer the conversation away from Rick and Morty

59
00:03:46,680 --> 00:03:51,040
Speaker 1: and steer different male helmed project. So we're talking about

60
00:03:51,080 --> 00:03:55,040
Speaker 1: Little Miss Sunshine. Um, Jamie, what is your history and

61
00:03:55,120 --> 00:03:59,640
Speaker 1: your relationship with this film? I am honestly so surprised

62
00:03:59,680 --> 00:04:04,120
Speaker 1: that I had never seen this entire movie. But what

63
00:04:04,840 --> 00:04:07,680
Speaker 1: I know, it's right up my alley. If I had

64
00:04:07,720 --> 00:04:09,400
Speaker 1: seen it when it came out, which I was at

65
00:04:09,400 --> 00:04:12,400
Speaker 1: the right age to see it. I truly don't understand

66
00:04:12,400 --> 00:04:14,600
Speaker 1: how I missed this movie when it came out. I

67
00:04:14,640 --> 00:04:16,839
Speaker 1: just never I don't know, I just haven't. I've seen

68
00:04:17,120 --> 00:04:20,840
Speaker 1: clips of it. I basically knew what happened in the movie,

69
00:04:21,120 --> 00:04:23,280
Speaker 1: but I had never seen the whole thing in one setting.

70
00:04:23,320 --> 00:04:26,599
Speaker 1: So it was like truly a pleasure to sit down

71
00:04:26,600 --> 00:04:28,960
Speaker 1: and watch it because it's a great movie. I really

72
00:04:29,000 --> 00:04:32,920
Speaker 1: love it. It's so good. I know. Yeah, thank you,

73
00:04:33,080 --> 00:04:37,320
Speaker 1: and I'd like to also thank your birthday for finally

74
00:04:37,480 --> 00:04:41,400
Speaker 1: bringing the whole of this movie into my life. It

75
00:04:41,480 --> 00:04:43,440
Speaker 1: was I cried so many times during this movie. I

76
00:04:43,480 --> 00:04:46,080
Speaker 1: got real emotional. It was who what a journey? I love?

77
00:04:46,800 --> 00:04:49,080
Speaker 1: What's your what's your history? First? Of all my birthday

78
00:04:49,120 --> 00:04:52,359
Speaker 1: says you're welcome. Um. And secondly, oh, we should do

79
00:04:52,400 --> 00:04:56,600
Speaker 1: a little context I guess, which is that? So on

80
00:04:56,640 --> 00:05:01,039
Speaker 1: the Matreon for Matrons, yes, I did a little poll,

81
00:05:01,080 --> 00:05:03,599
Speaker 1: which I often do because, um, not only do we

82
00:05:03,640 --> 00:05:07,600
Speaker 1: do a regular main feed birthday episode for each of us,

83
00:05:07,680 --> 00:05:11,240
Speaker 1: we also dedicate each of our birthday months. Yes we

84
00:05:12,120 --> 00:05:16,359
Speaker 1: here's the here's the fact. We like our birthdays. Okay,

85
00:05:16,520 --> 00:05:19,240
Speaker 1: we simply like our birthdays and every year we make

86
00:05:19,279 --> 00:05:21,680
Speaker 1: a big fucking deal about it. And that's we're within

87
00:05:21,680 --> 00:05:24,840
Speaker 1: our rights to do. So, that's true. So what I

88
00:05:24,880 --> 00:05:28,640
Speaker 1: did was on the Patreon aka Matreon, I did a

89
00:05:28,680 --> 00:05:31,479
Speaker 1: little poll of a few of my favorite movies that

90
00:05:31,520 --> 00:05:34,920
Speaker 1: we have not yet covered, and I was basically the

91
00:05:35,000 --> 00:05:38,760
Speaker 1: top two most voted on movies we're going to be

92
00:05:38,839 --> 00:05:41,960
Speaker 1: the two that we covered on the Matreon this month,

93
00:05:42,320 --> 00:05:45,800
Speaker 1: and little Miss Sunshine blew the other ones out of

94
00:05:45,880 --> 00:05:49,200
Speaker 1: the fucking water. It really did. And and like we

95
00:05:49,400 --> 00:05:51,400
Speaker 1: sort of we sort of knew that we knew people

96
00:05:51,400 --> 00:05:55,600
Speaker 1: wanted this episode, but that really it was an unprecedented response.

97
00:05:55,640 --> 00:05:58,000
Speaker 1: I think the most overwhelming response in a history of

98
00:05:58,040 --> 00:06:00,880
Speaker 1: the Matreon. I believe so because sometimes there will be

99
00:06:01,000 --> 00:06:05,560
Speaker 1: a pretty even split between like a few movies, but

100
00:06:05,760 --> 00:06:08,400
Speaker 1: a lot of Election two thousand going on in the Matreon.

101
00:06:08,520 --> 00:06:11,279
Speaker 1: But not this time. Not this time, we had a

102
00:06:11,320 --> 00:06:15,120
Speaker 1: clear winner. So we decided, hey, maybe we should move

103
00:06:15,160 --> 00:06:19,280
Speaker 1: this up to the main feed and then do something

104
00:06:19,320 --> 00:06:21,599
Speaker 1: else on the Matron. So that's what we did. So

105
00:06:21,600 --> 00:06:24,799
Speaker 1: this was originally going to be a Matron Patreon episode,

106
00:06:25,160 --> 00:06:27,640
Speaker 1: but I said, hey, it's my birthday. I can do

107
00:06:27,680 --> 00:06:31,240
Speaker 1: what I want. I want to share the joy of

108
00:06:31,320 --> 00:06:33,880
Speaker 1: little Miss Sunshine. I don't want to put this behind

109
00:06:33,920 --> 00:06:37,280
Speaker 1: the pay well. It's available to everyone here, so okay,

110
00:06:37,320 --> 00:06:40,040
Speaker 1: to be fair, the other two birthday movies you chose,

111
00:06:40,560 --> 00:06:45,520
Speaker 1: it's a whole pile of man. It's Monty Python and

112
00:06:45,560 --> 00:06:50,640
Speaker 1: Sean of the Dead. Yes, soups Supsies, listen, it's it's

113
00:06:51,640 --> 00:06:55,120
Speaker 1: these are we're constantly you know. I'm very glad that

114
00:06:55,320 --> 00:06:59,960
Speaker 1: little Miss Sunshine has mosied her way onto the main feed.

115
00:07:00,040 --> 00:07:04,080
Speaker 1: It feels right. Yes. I also realized that those three movies,

116
00:07:04,839 --> 00:07:08,479
Speaker 1: my three birthday picks, are all like journey from point

117
00:07:08,520 --> 00:07:10,679
Speaker 1: A to point B movies, Like it's just all about

118
00:07:10,720 --> 00:07:13,120
Speaker 1: like a quest I love, I love, A good quest

119
00:07:13,160 --> 00:07:15,880
Speaker 1: to me to love it. I feel like quests and romps,

120
00:07:15,920 --> 00:07:19,840
Speaker 1: if done well, go hand in hand. Really absolutely, yes,

121
00:07:20,200 --> 00:07:22,960
Speaker 1: I love it. So that's just me anyway. So my

122
00:07:24,480 --> 00:07:27,000
Speaker 1: history with the movie is it came out when I

123
00:07:27,040 --> 00:07:30,440
Speaker 1: was twenty. I saw it in theaters. When it came out, like,

124
00:07:30,480 --> 00:07:33,840
Speaker 1: I instantly loved it. I was like, oh my god,

125
00:07:33,880 --> 00:07:39,280
Speaker 1: these performances are incredible. I remember thinking that this family

126
00:07:39,720 --> 00:07:43,800
Speaker 1: in the movie was the closest thing to my family

127
00:07:44,080 --> 00:07:46,760
Speaker 1: that I had ever seen on screen. And they aren't

128
00:07:46,800 --> 00:07:50,120
Speaker 1: even that close, but like, it was still the most

129
00:07:50,200 --> 00:07:54,120
Speaker 1: accurate depiction of of my family that I had ever seen.

130
00:07:54,200 --> 00:07:57,480
Speaker 1: I just loved how you know, realistic and genuine all

131
00:07:57,520 --> 00:08:02,280
Speaker 1: the characters felt. I was obsessed with the score. Um.

132
00:08:02,320 --> 00:08:05,480
Speaker 1: I was in the middle of my undergrad film school

133
00:08:05,600 --> 00:08:08,920
Speaker 1: education when the movie came out, and every short film

134
00:08:08,960 --> 00:08:12,640
Speaker 1: I made that year I used songs from this score

135
00:08:13,120 --> 00:08:18,240
Speaker 1: in my student films. Very cool, no way, So this

136
00:08:18,320 --> 00:08:21,280
Speaker 1: is this was one of my boyfriend's favorite movies and

137
00:08:21,320 --> 00:08:23,840
Speaker 1: he I guess that there was am I don't even

138
00:08:23,880 --> 00:08:25,520
Speaker 1: know which comic it was, but there was a comic

139
00:08:25,600 --> 00:08:28,559
Speaker 1: that was using the score from this movie in their show,

140
00:08:29,320 --> 00:08:31,840
Speaker 1: and my boyfriend, like I think was kind of being

141
00:08:31,920 --> 00:08:34,280
Speaker 1: kind of like, you probably haven't heard of this, so

142
00:08:34,679 --> 00:08:36,680
Speaker 1: you know, like, are you having trouble finding it? And

143
00:08:36,679 --> 00:08:39,360
Speaker 1: he's like, yeah, it's the score from Little Miss Sunshine.

144
00:08:39,360 --> 00:08:43,080
Speaker 1: I've heard it. And the guy was like mortified because

145
00:08:43,120 --> 00:08:46,440
Speaker 1: he thought he had like galaxy brained everybody and everyone's like, no,

146
00:08:46,559 --> 00:08:50,360
Speaker 1: we know what this is. It was a very popular movie. Unrelated.

147
00:08:50,400 --> 00:08:52,640
Speaker 1: I want to see your student films from undergar. You

148
00:08:53,200 --> 00:08:57,080
Speaker 1: don't want to see them place place for my birthday?

149
00:08:57,120 --> 00:09:00,080
Speaker 1: I can wait. Oh okay, all right, I do have

150
00:09:00,200 --> 00:09:03,480
Speaker 1: a few on DVD. I have a few. Um, they're

151
00:09:03,480 --> 00:09:06,480
Speaker 1: so embarrassing I would be mortified. I've got some too,

152
00:09:06,600 --> 00:09:10,560
Speaker 1: we can swap. Okay, all right, let's have a screening party.

153
00:09:10,559 --> 00:09:16,640
Speaker 1: That will probably have to do again from Afar. Okay,

154
00:09:16,640 --> 00:09:19,840
Speaker 1: sorry I interrupted. So you know the music and us

155
00:09:19,880 --> 00:09:22,320
Speaker 1: the music. I was just obsessed with the movie. I

156
00:09:22,320 --> 00:09:25,079
Speaker 1: I loved it. I bought it on DVD as soon

157
00:09:25,120 --> 00:09:28,520
Speaker 1: as it came out. I watched it many many times.

158
00:09:28,760 --> 00:09:31,280
Speaker 1: Absolutely loved it. But it wasn't It's not one that

159
00:09:31,320 --> 00:09:34,480
Speaker 1: I've revisited in recent years. I'm not quite I don't

160
00:09:34,480 --> 00:09:36,680
Speaker 1: know why, because I like It's not that I stopped

161
00:09:36,720 --> 00:09:38,880
Speaker 1: loving it or anything like that. I just I don't

162
00:09:38,880 --> 00:09:42,480
Speaker 1: know Paddington came along. You only have so much real

163
00:09:42,640 --> 00:09:46,080
Speaker 1: estate for favorite right there. I feel like this is

164
00:09:46,160 --> 00:09:48,640
Speaker 1: like I feel like the two thousands were a big

165
00:09:48,720 --> 00:09:52,360
Speaker 1: year for four indie movies, but more so the indie

166
00:09:52,360 --> 00:09:57,520
Speaker 1: movie aesthetic. And this movie is like Cannon. But I

167
00:09:57,559 --> 00:09:59,560
Speaker 1: think I think that why I hadn't I didn't see

168
00:09:59,559 --> 00:10:01,839
Speaker 1: this movie the year it came out was that my

169
00:10:02,200 --> 00:10:05,560
Speaker 1: intro to movies that were sort of indie but kind

170
00:10:05,600 --> 00:10:08,360
Speaker 1: of not was Juno, and so I think this just

171
00:10:08,520 --> 00:10:11,440
Speaker 1: this movie came out a year too soon. Sure, but

172
00:10:11,520 --> 00:10:15,240
Speaker 1: this was like this was like Golden Age, quirky white

173
00:10:15,280 --> 00:10:19,440
Speaker 1: families on a mission to do various things. Two thousand six, Baby,

174
00:10:19,840 --> 00:10:23,520
Speaker 1: we were all there. Should I do the recap and

175
00:10:23,520 --> 00:10:27,120
Speaker 1: we'll go from there. Let's do it, Okay, Caitlin's birthday

176
00:10:27,160 --> 00:10:31,400
Speaker 1: recap of Flow with Sunshine. Okay, so we meet Olive.

177
00:10:31,720 --> 00:10:36,680
Speaker 1: That's Abigail Breslin. So cute. And if you're a listener

178
00:10:36,720 --> 00:10:39,760
Speaker 1: of the podcast, you know that I'm not the biggest

179
00:10:39,760 --> 00:10:43,800
Speaker 1: fan of many child actors, not the actors themselves, but

180
00:10:43,960 --> 00:10:47,960
Speaker 1: their inability to be good actors, the acting style, acting

181
00:10:48,360 --> 00:10:52,680
Speaker 1: let's blame it on the instructors. The acting style can

182
00:10:52,720 --> 00:10:58,520
Speaker 1: be very grading, indeed, but Abigail Breslin is an incredible

183
00:10:58,600 --> 00:11:01,560
Speaker 1: child actor. She's an natural and she's from a family

184
00:11:01,600 --> 00:11:04,920
Speaker 1: of good child actors because her brother Spencer was on

185
00:11:05,120 --> 00:11:09,360
Speaker 1: Even Stevens as Beans. Oh. Another show that I have

186
00:11:09,480 --> 00:11:12,440
Speaker 1: not watched, Ground Floor Shaya. I don't know if it

187
00:11:12,520 --> 00:11:16,679
Speaker 1: was actually good, but I know that I watched it great.

188
00:11:17,120 --> 00:11:19,120
Speaker 1: So all of is a seven year old girl who

189
00:11:19,360 --> 00:11:23,640
Speaker 1: loves all things beauty pageants. We meet her dad, Richard

190
00:11:23,840 --> 00:11:28,319
Speaker 1: played by Greg kinnear um. He is a motivational speaker

191
00:11:28,520 --> 00:11:34,160
Speaker 1: with this nine step refused to lose program. He loves winners,

192
00:11:34,160 --> 00:11:38,560
Speaker 1: he hates losers. Then we meet her brother Dwayne. That's

193
00:11:38,600 --> 00:11:44,760
Speaker 1: Paul Dano. Oh boy. We learned that he has taken

194
00:11:44,800 --> 00:11:47,360
Speaker 1: a vow of silence until he gets into the Air

195
00:11:47,440 --> 00:11:52,199
Speaker 1: Force because he wants to fly jets. He's also obsessed

196
00:11:52,240 --> 00:11:56,280
Speaker 1: with Nietzsche. Sure, I mean, you're just like, all right,

197
00:11:56,280 --> 00:11:58,120
Speaker 1: he's supposed to be what a sixteen year old boy

198
00:11:58,440 --> 00:12:03,320
Speaker 1: we all knew a version of the Paul Dano character. Yeah,

199
00:12:03,360 --> 00:12:06,000
Speaker 1: I'm thinking I'm thinking of a very specific kid in

200
00:12:06,000 --> 00:12:09,600
Speaker 1: the percaution section. Okay, yeah, could just be the haircut.

201
00:12:09,720 --> 00:12:15,360
Speaker 1: Not sure? Oh sure. Then we meet her grandpa played

202
00:12:15,360 --> 00:12:20,560
Speaker 1: by Alan Arkin. Um. He is a heroin Addict. And

203
00:12:20,600 --> 00:12:24,440
Speaker 1: then we meet her mom, Cheryl. That's Tony Collett, our queen.

204
00:12:25,120 --> 00:12:28,160
Speaker 1: I know, I kind of forgot she was in this movie.

205
00:12:28,400 --> 00:12:30,720
Speaker 1: When I think of this movie, I think Abigail Breslin

206
00:12:30,960 --> 00:12:33,880
Speaker 1: and Alan Arkin and kind of Steve Carrell. So I

207
00:12:33,960 --> 00:12:36,320
Speaker 1: was I I kind of half forgot she was in it,

208
00:12:36,360 --> 00:12:39,320
Speaker 1: and then was thrilled, Oh my gosh, she's she's present.

209
00:12:39,440 --> 00:12:41,560
Speaker 1: She's not as present as she should be, and we'll

210
00:12:41,600 --> 00:12:44,840
Speaker 1: talk about that. Well. I think that I sort of

211
00:12:44,840 --> 00:12:47,080
Speaker 1: forgot she was in it because she doesn't have enough

212
00:12:47,120 --> 00:12:50,800
Speaker 1: good scenes. But yes, um. So anyway, she is picking

213
00:12:50,880 --> 00:12:54,199
Speaker 1: up her brother all of his uncle Frank played by

214
00:12:54,240 --> 00:12:57,560
Speaker 1: Steve Carrell. She's picking him up from the hospital because

215
00:12:57,600 --> 00:13:02,560
Speaker 1: he has just attempted suicide. They sit down to dinner

216
00:13:02,679 --> 00:13:05,959
Speaker 1: together as a family. We realize that there's a lot

217
00:13:06,000 --> 00:13:08,720
Speaker 1: of tension in this family. A lot of the people

218
00:13:08,960 --> 00:13:12,000
Speaker 1: don't really like each other or are only pretending to

219
00:13:12,080 --> 00:13:15,840
Speaker 1: like each other. Things like that, and then Olive listens

220
00:13:15,920 --> 00:13:18,880
Speaker 1: to a message on the answering machine, saying that she

221
00:13:18,960 --> 00:13:21,839
Speaker 1: has been given a spot in the Little Miss Sunshine

222
00:13:22,040 --> 00:13:26,280
Speaker 1: pageant and she is very excited about this. The only

223
00:13:26,280 --> 00:13:30,080
Speaker 1: trouble is that it's in Redondo Beach, California. Ever heard

224
00:13:30,120 --> 00:13:34,880
Speaker 1: of it? And they live in New Mexico. Yes, New

225
00:13:34,920 --> 00:13:39,840
Speaker 1: Mexico is the perfect place for this family. It really is. Yeah,

226
00:13:39,880 --> 00:13:43,120
Speaker 1: and their house is so I've for some reason bout

227
00:13:43,120 --> 00:13:45,920
Speaker 1: to New Mexico for various reasons many times. Wow, brag,

228
00:13:46,840 --> 00:13:50,640
Speaker 1: thank you so much. I've been Albuquerque five or six times.

229
00:13:50,679 --> 00:13:53,800
Speaker 1: I went to a strip club in Albuquerque on my

230
00:13:53,920 --> 00:13:57,160
Speaker 1: road on my road trip when I moved from Boston

231
00:13:57,240 --> 00:14:02,000
Speaker 1: to l A. Albuquerque is in my experience, I mean limited,

232
00:14:02,040 --> 00:14:06,480
Speaker 1: but also weirdly statistically a lot. Uh. It's a weird place.

233
00:14:06,920 --> 00:14:10,120
Speaker 1: It's a weird place where weird things happen. I like

234
00:14:10,240 --> 00:14:13,439
Speaker 1: that they live in Albuquerque, which I guess was not originally.

235
00:14:13,720 --> 00:14:16,640
Speaker 1: This was originally supposed to be from I think Maryland

236
00:14:16,800 --> 00:14:20,800
Speaker 1: to California. And they're like, um, what about Albuquerque. We

237
00:14:20,800 --> 00:14:23,040
Speaker 1: can only afford to get you as far as New Mexico.

238
00:14:23,280 --> 00:14:27,640
Speaker 1: But if it works perfectly, yeah, um my quick little

239
00:14:27,720 --> 00:14:29,280
Speaker 1: because it's my birthday, I can do what I want.

240
00:14:29,280 --> 00:14:32,280
Speaker 1: My quick little anecdote about my time in New Mexico

241
00:14:32,560 --> 00:14:36,280
Speaker 1: was I was traveling across country. My best friend j

242
00:14:36,400 --> 00:14:40,680
Speaker 1: T was my travel companion, and we were just kind

243
00:14:40,680 --> 00:14:45,400
Speaker 1: of walking around the streets of Albuquerque and we happened

244
00:14:45,480 --> 00:14:49,120
Speaker 1: upon this strip club and if you were a couple,

245
00:14:49,360 --> 00:14:52,400
Speaker 1: you got in for free. So j T and I

246
00:14:52,480 --> 00:14:57,280
Speaker 1: pretended to be a couple, and we really know this story.

247
00:14:57,600 --> 00:14:59,720
Speaker 1: This is a good story. Thank you. We really over

248
00:14:59,760 --> 00:15:03,200
Speaker 1: so hold it there. I feel like everyone in that

249
00:15:03,240 --> 00:15:07,840
Speaker 1: position does. We were like, babe, babe, come on, let's

250
00:15:07,840 --> 00:15:09,440
Speaker 1: go to the strip club. And then we were like

251
00:15:09,760 --> 00:15:14,200
Speaker 1: making out with each other. Um, and it was really cool,

252
00:15:14,280 --> 00:15:17,320
Speaker 1: really cool thing, and then we went into really cool.

253
00:15:18,000 --> 00:15:21,600
Speaker 1: Well I'm congratulations, thank you so much. Um. It was,

254
00:15:21,680 --> 00:15:25,320
Speaker 1: I will say weird. Albuquerque was the I think the

255
00:15:25,360 --> 00:15:27,120
Speaker 1: last time I was there was in like the month

256
00:15:27,160 --> 00:15:31,040
Speaker 1: of May, and it was so hot that I never

257
00:15:31,200 --> 00:15:35,040
Speaker 1: want to know what it's like. They're in not May.

258
00:15:35,440 --> 00:15:38,160
Speaker 1: To all our listeners in New Mexico, you're very brave,

259
00:15:38,720 --> 00:15:42,600
Speaker 1: you are. It's simply too hot there. So we have

260
00:15:42,720 --> 00:15:46,040
Speaker 1: to also take into account that every character in this

261
00:15:46,240 --> 00:15:50,800
Speaker 1: film is constantly affected by heat. Stroke, So that just

262
00:15:51,120 --> 00:15:53,920
Speaker 1: the fact that they're making irrational decisions at times, can

263
00:15:54,000 --> 00:15:56,440
Speaker 1: we we can assume that their whole live has been

264
00:15:56,480 --> 00:16:00,880
Speaker 1: at nine degrees and they're driving in this VW bus,

265
00:16:00,880 --> 00:16:02,720
Speaker 1: which we'll get to in a moment, but I have

266
00:16:02,760 --> 00:16:05,640
Speaker 1: to imagine the air conditioning was either non existent or

267
00:16:05,720 --> 00:16:09,680
Speaker 1: not very good in that vehicle. So so they're sweating

268
00:16:09,720 --> 00:16:13,200
Speaker 1: all over each other. It's it's no wonder things fall apart.

269
00:16:13,320 --> 00:16:16,520
Speaker 1: Don't blame capitalism or the system. I think we can

270
00:16:16,560 --> 00:16:21,560
Speaker 1: just blame the heat of New Mexico. Okay. Anyway, So

271
00:16:22,280 --> 00:16:24,840
Speaker 1: this is the trip they have to make, and the

272
00:16:24,880 --> 00:16:31,320
Speaker 1: pageant is two days away, and based on some specific circumstances,

273
00:16:31,720 --> 00:16:34,920
Speaker 1: they realize that for this trip to work out, for

274
00:16:34,960 --> 00:16:36,920
Speaker 1: them to be able to get all of to the

275
00:16:36,960 --> 00:16:41,480
Speaker 1: pageant on time, the entire family has to go, and

276
00:16:41,680 --> 00:16:45,280
Speaker 1: they are going to go in this old Volkswagen bus.

277
00:16:46,000 --> 00:16:51,280
Speaker 1: So they set off. There's a scene in a diner

278
00:16:51,400 --> 00:16:54,720
Speaker 1: where Olive and her dad talk about ice cream. We

279
00:16:54,800 --> 00:16:59,880
Speaker 1: will discuss that later, an important scene. Then they just

280
00:17:00,080 --> 00:17:03,960
Speaker 1: cover that the clutch in the bus is shot and

281
00:17:04,000 --> 00:17:06,280
Speaker 1: they take it to like a mechanic and they find

282
00:17:06,280 --> 00:17:09,600
Speaker 1: out they can still drive the vehicle as long as

283
00:17:09,640 --> 00:17:13,000
Speaker 1: they get out and push to kind of skip over

284
00:17:13,040 --> 00:17:20,000
Speaker 1: the first gear or two. Um quirky alert, Yeah it's true. Okay,

285
00:17:20,040 --> 00:17:24,080
Speaker 1: So they set off again after having pushed the vehicle,

286
00:17:24,640 --> 00:17:27,639
Speaker 1: but they soon have to pull over again because Richard

287
00:17:27,680 --> 00:17:32,040
Speaker 1: gets a call from someone named Stan Grossman. It's Brian Cranston.

288
00:17:32,320 --> 00:17:35,520
Speaker 1: It's Brian Cranston, as we will soon find out, he's

289
00:17:35,520 --> 00:17:39,120
Speaker 1: the guy who's helping Richard to facilitate this book deal

290
00:17:39,560 --> 00:17:42,560
Speaker 1: on his nine step program. And he learns that the

291
00:17:42,600 --> 00:17:46,520
Speaker 1: deal didn't go through, and everyone's upset about this whole thing,

292
00:17:46,640 --> 00:17:49,840
Speaker 1: and then they accidentally leave without Olive, but then they

293
00:17:49,840 --> 00:17:52,080
Speaker 1: realize it, and then they swing back around and grab

294
00:17:52,119 --> 00:17:54,520
Speaker 1: her in one of my favorite scenes in the movie.

295
00:17:54,800 --> 00:17:57,320
Speaker 1: I remember that scene in the trailer of the movie.

296
00:17:57,920 --> 00:18:00,800
Speaker 1: It's iconic. It does not end up being as big

297
00:18:00,840 --> 00:18:03,639
Speaker 1: of a problem as the trailer would lead you to believe.

298
00:18:03,760 --> 00:18:07,280
Speaker 1: They remember immediately and she is fine. But it is

299
00:18:07,320 --> 00:18:10,880
Speaker 1: a fun scene indeed. Yes. So then that night they

300
00:18:10,960 --> 00:18:15,800
Speaker 1: check into a motel and Richard and Cheryl fight a

301
00:18:15,880 --> 00:18:18,120
Speaker 1: bunch and Richard is like, screwed this, so I'm gonna

302
00:18:18,119 --> 00:18:21,040
Speaker 1: go fix it. So then he drives to Scott's Dale,

303
00:18:21,240 --> 00:18:24,919
Speaker 1: where he knows Stan Grossman is at the moment and

304
00:18:25,000 --> 00:18:27,200
Speaker 1: confronts him and then we're like, oh my gosh, yeah

305
00:18:27,240 --> 00:18:32,880
Speaker 1: there's Brian Cranston. He's looking really like pretty fucking hot,

306
00:18:33,440 --> 00:18:38,040
Speaker 1: and like in turn, because Brian Cranston like often alters

307
00:18:38,119 --> 00:18:41,680
Speaker 1: himself physically, and you're kind of like, oh, yeah, he's

308
00:18:41,760 --> 00:18:44,639
Speaker 1: kind of like a traditionally hot daddy. That was my

309
00:18:44,720 --> 00:18:47,800
Speaker 1: takeaway from that. Okay, I think he's hot in this movie.

310
00:18:48,119 --> 00:18:52,800
Speaker 1: That's great. Um, I did not have those same feelings.

311
00:18:52,840 --> 00:18:55,680
Speaker 1: I was like, he's scruffy. He's if he wants to

312
00:18:55,720 --> 00:18:57,960
Speaker 1: be scruffy, he can be scruffy, but not I mean

313
00:18:58,200 --> 00:19:01,400
Speaker 1: seeing him, you know, all shaven off in his underwear

314
00:19:01,480 --> 00:19:04,600
Speaker 1: selling drugs or something. I don't know, to watch the shows,

315
00:19:05,640 --> 00:19:10,000
Speaker 1: it's more or less it. Um. So basically nothing gets

316
00:19:10,040 --> 00:19:15,040
Speaker 1: resolved with this confrontation and Richard storms off, and then

317
00:19:15,040 --> 00:19:19,520
Speaker 1: the following morning, Grandpa won't wake up, so they take

318
00:19:19,600 --> 00:19:23,399
Speaker 1: him to the hospital where he is pronounced dead. But

319
00:19:23,480 --> 00:19:26,880
Speaker 1: they can't leave him there, and they can't take him

320
00:19:26,920 --> 00:19:30,720
Speaker 1: with them because the body can't cross state lines without

321
00:19:30,720 --> 00:19:33,960
Speaker 1: a permit, right, So they decided to sneak him out

322
00:19:33,960 --> 00:19:37,680
Speaker 1: of the hospital and head the rest of the way

323
00:19:38,200 --> 00:19:41,000
Speaker 1: to Rodondo Beach with his dead body in their trunk.

324
00:19:41,160 --> 00:19:46,439
Speaker 1: Great scene, hilarious, love it, um, And of course what

325
00:19:46,560 --> 00:19:52,119
Speaker 1: happens next is they get pulled over because that's comedy writing, baby, Um.

326
00:19:52,160 --> 00:19:54,880
Speaker 1: And the cop that pulls them over is Hank from

327
00:19:54,920 --> 00:19:57,680
Speaker 1: Breaking Bad, and we're like, wait a minute, is everyone

328
00:19:57,760 --> 00:20:01,119
Speaker 1: from Breaking Bad in this movie? That's out of my

329
00:20:01,200 --> 00:20:04,800
Speaker 1: breaking bed breadth of knowledge. Well, he wasn't on the poster,

330
00:20:05,000 --> 00:20:08,119
Speaker 1: So if he wasn't on the if he's not the

331
00:20:08,200 --> 00:20:11,840
Speaker 1: two guys on the poster, I don't know who he is. Um.

332
00:20:11,960 --> 00:20:15,840
Speaker 1: That sameness is weird. There is this is like more

333
00:20:15,960 --> 00:20:18,320
Speaker 1: of a writing note or just like not even a

334
00:20:18,359 --> 00:20:22,200
Speaker 1: writing note, but like the props should have been shifted differently.

335
00:20:22,240 --> 00:20:25,680
Speaker 1: In that scene, there's a very clearly a corpse writ

336
00:20:25,720 --> 00:20:28,600
Speaker 1: in front of the police officer and he's like, like,

337
00:20:28,680 --> 00:20:31,640
Speaker 1: it's funny, but the places the props are put, You're

338
00:20:31,680 --> 00:20:35,399
Speaker 1: just like he would see the corpse, he would see

339
00:20:35,440 --> 00:20:37,440
Speaker 1: the corps. It is right there in front of him.

340
00:20:37,480 --> 00:20:43,760
Speaker 1: This is script notes with Jamie. Oh cute. I guess

341
00:20:43,760 --> 00:20:46,639
Speaker 1: the idea is that he's just so horny for porn

342
00:20:47,359 --> 00:20:50,399
Speaker 1: that he doesn't notice the dead body right there in

343
00:20:50,440 --> 00:20:54,280
Speaker 1: front of him. Also, uh, nothing bad happens when white

344
00:20:54,280 --> 00:20:57,240
Speaker 1: guys are pulled over, right, yes, I feel like it's

345
00:20:57,720 --> 00:21:00,240
Speaker 1: a white guy or even like a white person, like

346
00:21:00,280 --> 00:21:03,159
Speaker 1: a white woman as well. Getting getting pulled over is

347
00:21:03,240 --> 00:21:07,000
Speaker 1: more often played for comedy, and when it's a non

348
00:21:07,000 --> 00:21:10,639
Speaker 1: white character that is like not the case as often,

349
00:21:10,880 --> 00:21:13,359
Speaker 1: but like this is a very like it is ha

350
00:21:13,359 --> 00:21:16,919
Speaker 1: ha funny. This man has a court like like Greg Canary.

351
00:21:17,160 --> 00:21:20,119
Speaker 1: You know, even though his family is adorable, they are

352
00:21:20,200 --> 00:21:24,160
Speaker 1: breaking the law. Uh, but you you never really think

353
00:21:24,160 --> 00:21:26,480
Speaker 1: they're going to get like caught. And then it's like

354
00:21:26,560 --> 00:21:30,520
Speaker 1: oh ha ha, the police officer's horny. Bye bye um.

355
00:21:30,520 --> 00:21:32,040
Speaker 1: That's I mean, that's not even a critique of the

356
00:21:32,040 --> 00:21:34,479
Speaker 1: movie as much as just like kind of a a

357
00:21:34,520 --> 00:21:40,919
Speaker 1: trend that reflects an unfortunate reality because fuck the world. True.

358
00:21:42,160 --> 00:21:46,600
Speaker 1: So anyways, the police officer poses no threat to them, surprised,

359
00:21:48,240 --> 00:21:51,600
Speaker 1: so he lets them go. And now the family is

360
00:21:51,640 --> 00:21:54,840
Speaker 1: only forty five minutes away from their destination, but the

361
00:21:54,960 --> 00:21:58,719
Speaker 1: check in deadline is also in forty five minutes, so

362
00:21:58,840 --> 00:22:01,000
Speaker 1: time is of the essen is here, but they have

363
00:22:01,080 --> 00:22:05,040
Speaker 1: to pull over again because Dwayne has an outburst because

364
00:22:05,080 --> 00:22:07,440
Speaker 1: he finds out that he's color blind and that means

365
00:22:07,480 --> 00:22:11,120
Speaker 1: he will not be able to fly jets. No, Paul Daniel,

366
00:22:11,520 --> 00:22:15,119
Speaker 1: Paul Daniel, you wanted to fly the plane so bad

367
00:22:17,119 --> 00:22:21,399
Speaker 1: the I just need to like make a quick note

368
00:22:22,280 --> 00:22:24,760
Speaker 1: just because I feel like this happens in movies a lot.

369
00:22:24,840 --> 00:22:28,240
Speaker 1: I mean, Paul Dano is like kind of a notoriously

370
00:22:28,359 --> 00:22:32,320
Speaker 1: baby faced man. But he is twelve years younger than

371
00:22:32,480 --> 00:22:35,320
Speaker 1: Tony Colette. Yes, and I would like to say I

372
00:22:35,359 --> 00:22:40,120
Speaker 1: object he is not he is technically he's old enough

373
00:22:40,160 --> 00:22:43,119
Speaker 1: to be Greg Kinnear's son. If Greg Kinnear had a

374
00:22:43,160 --> 00:22:45,199
Speaker 1: son when he was twenty one years old, he is

375
00:22:45,280 --> 00:22:48,760
Speaker 1: not old enough to be Tony Collette's son. Um, which

376
00:22:49,040 --> 00:22:51,560
Speaker 1: is you know, I mean, she's she's a community what

377
00:22:51,640 --> 00:22:56,120
Speaker 1: can't she do? But also I was like, wait a second, right,

378
00:22:56,359 --> 00:22:59,800
Speaker 1: this Paul Dano business, You're just like, who do you

379
00:23:00,080 --> 00:23:03,760
Speaker 1: think you're fully? Anyways, we don't know, maybe he's adopted.

380
00:23:03,800 --> 00:23:06,879
Speaker 1: We don't know. Maybe she adopted him when she was

381
00:23:06,920 --> 00:23:11,000
Speaker 1: twelve when oh right that house that makes sense? Well no,

382
00:23:11,119 --> 00:23:13,720
Speaker 1: but if she like was like, maybe she adopted him

383
00:23:14,080 --> 00:23:17,439
Speaker 1: when she was let's full blow Cannon. This if she

384
00:23:17,520 --> 00:23:19,960
Speaker 1: adopted him when she was like twenty five or twenty

385
00:23:20,000 --> 00:23:23,320
Speaker 1: six and he was already like ten years old, like

386
00:23:23,320 --> 00:23:25,160
Speaker 1: if she adopted him when he was like not when

387
00:23:25,160 --> 00:23:26,879
Speaker 1: he was an infant, when he was got older. But

388
00:23:27,040 --> 00:23:29,680
Speaker 1: but that is in no way implied in Cannon. We're

389
00:23:29,720 --> 00:23:33,200
Speaker 1: just there, like Tony Colette was twelve, I guess, yeah,

390
00:23:33,200 --> 00:23:36,840
Speaker 1: I guess they're relying on you, assuming that um Paul

391
00:23:36,880 --> 00:23:39,640
Speaker 1: Dana was much younger than he actually is in this movie.

392
00:23:39,680 --> 00:23:42,119
Speaker 1: He looks sixteen in this movie, like I think his

393
00:23:42,200 --> 00:23:47,120
Speaker 1: character is supposed to be like sixteen or fifteen sixteen anyways, Yes,

394
00:23:48,520 --> 00:23:51,159
Speaker 1: So he has an outburst and then another one of

395
00:23:51,200 --> 00:23:54,200
Speaker 1: my favorite scenes follows where they don't know how to

396
00:23:54,280 --> 00:23:58,080
Speaker 1: like comfort him or kind of get back on track

397
00:23:58,240 --> 00:24:01,240
Speaker 1: on this trip. But then all of goes and just

398
00:24:01,280 --> 00:24:04,240
Speaker 1: like puts her little arm around his and then he's

399
00:24:04,280 --> 00:24:08,720
Speaker 1: like angel and then he's like, okay, let's go, because

400
00:24:09,040 --> 00:24:11,720
Speaker 1: moments before this he was like, fuck you guys, you're

401
00:24:11,760 --> 00:24:14,639
Speaker 1: not my family. I hate all of you, your losers.

402
00:24:15,080 --> 00:24:17,320
Speaker 1: Just leave me here. I never want to see you again.

403
00:24:17,800 --> 00:24:23,320
Speaker 1: But then he's like, oh way, all the she's the best.

404
00:24:25,200 --> 00:24:27,440
Speaker 1: It's great. So they get back in the car again.

405
00:24:27,760 --> 00:24:30,160
Speaker 1: They make it to the pageant, just in the nick

406
00:24:30,200 --> 00:24:34,560
Speaker 1: of time. Then Olive prepares for the pageant, and it

407
00:24:34,680 --> 00:24:38,440
Speaker 1: quickly becomes obvious to all of and her family that

408
00:24:38,560 --> 00:24:43,239
Speaker 1: Olive isn't competing at quite the same level as the

409
00:24:43,280 --> 00:24:48,520
Speaker 1: other contestants. And there's a whole conversation to be had

410
00:24:49,119 --> 00:24:53,840
Speaker 1: about pageants and all of that, although the movie does

411
00:24:53,880 --> 00:24:57,359
Speaker 1: not go super deep into it, which I which I

412
00:24:57,440 --> 00:24:59,600
Speaker 1: kind of like, having never seen this movie all the

413
00:24:59,640 --> 00:25:02,760
Speaker 1: way through, was kind of I mean, I guess I

414
00:25:02,760 --> 00:25:05,679
Speaker 1: don't really feel one way or another about that choice,

415
00:25:05,920 --> 00:25:07,679
Speaker 1: but I thought that the movie was going to be

416
00:25:07,720 --> 00:25:10,080
Speaker 1: way more about the pageant than it ended up being.

417
00:25:10,280 --> 00:25:12,880
Speaker 1: It's a pretty brief part. Yeah, it's mostly I mean,

418
00:25:13,280 --> 00:25:15,960
Speaker 1: they don't even get there till the beginning of the

419
00:25:16,000 --> 00:25:19,639
Speaker 1: third act. Um, what a screenwriting master's degree? Does she

420
00:25:19,760 --> 00:25:25,280
Speaker 1: have one? Yes? I'd never bring it up though. Um so, yeah,

421
00:25:25,480 --> 00:25:29,960
Speaker 1: the pageant isn't really the focus of the story really,

422
00:25:30,440 --> 00:25:33,680
Speaker 1: But they arrive at the pageant, she goes on stage.

423
00:25:33,840 --> 00:25:36,720
Speaker 1: You know, they're doing their you know, talents and things

424
00:25:36,720 --> 00:25:40,760
Speaker 1: like that, and then Dwyane and Richard are like all

425
00:25:40,840 --> 00:25:43,560
Speaker 1: of should not do this. Everyone is going to laugh

426
00:25:43,600 --> 00:25:46,520
Speaker 1: at her, but then Cheryl is like, you know, this

427
00:25:46,560 --> 00:25:48,760
Speaker 1: is what all of wants and we're gonna let her

428
00:25:48,880 --> 00:25:51,080
Speaker 1: do it. We're gonna let her be her. And then

429
00:25:51,119 --> 00:25:53,840
Speaker 1: you're like, I see where they're both coming from and

430
00:25:53,920 --> 00:25:56,560
Speaker 1: now and then I did like the touch of like

431
00:25:56,720 --> 00:26:00,240
Speaker 1: Cheryl does offer her a last minute out, like, don't

432
00:26:00,280 --> 00:26:02,359
Speaker 1: have to do this if you don't want to. So

433
00:26:02,440 --> 00:26:05,040
Speaker 1: it does. It is like clearer that that it's olives

434
00:26:05,160 --> 00:26:07,760
Speaker 1: choice to do it like that, yes, indeed, and she

435
00:26:07,840 --> 00:26:10,240
Speaker 1: does make the choice to go through with it. So

436
00:26:10,520 --> 00:26:14,080
Speaker 1: it's time for all of to perform her talent and

437
00:26:14,119 --> 00:26:16,720
Speaker 1: this is what she had been working on with Grandpa

438
00:26:16,920 --> 00:26:19,200
Speaker 1: kind of in the back story. But we haven't seen

439
00:26:19,200 --> 00:26:22,600
Speaker 1: this routine before. We the audience and the family, no

440
00:26:22,640 --> 00:26:25,840
Speaker 1: one has seen it before. And it turns out to

441
00:26:25,880 --> 00:26:31,400
Speaker 1: be this this as horny as his magazine. It's it's

442
00:26:31,520 --> 00:26:37,840
Speaker 1: this creepy like stripped tease like dance to super Freak

443
00:26:38,440 --> 00:26:45,280
Speaker 1: that Grandpa choreographed, and everyone is horrified, people start leaving.

444
00:26:45,720 --> 00:26:48,720
Speaker 1: Her family is like, oh my god, what's happenings as

445
00:26:48,880 --> 00:26:51,159
Speaker 1: her family? It's it is a funny it's so fun

446
00:26:51,240 --> 00:26:53,840
Speaker 1: because her family is also fully horrified, but they're like,

447
00:26:53,880 --> 00:26:58,680
Speaker 1: we've already, we've come such a long way. Grandpa died,

448
00:26:58,920 --> 00:27:02,119
Speaker 1: we should just just let her do the weird day. Yeah,

449
00:27:02,240 --> 00:27:05,160
Speaker 1: they're just like, fuck it, we're here to support all

450
00:27:05,200 --> 00:27:08,879
Speaker 1: of so can't yell at grandpa about it. He died.

451
00:27:09,840 --> 00:27:12,360
Speaker 1: The pageant people are like, get her off the stage,

452
00:27:12,440 --> 00:27:16,160
Speaker 1: and they're like no, and then like the dad tackles

453
00:27:16,240 --> 00:27:18,840
Speaker 1: the m c of the pageant. Then the whole family

454
00:27:18,880 --> 00:27:21,840
Speaker 1: gets on stage and starts stancing with her, and then

455
00:27:23,440 --> 00:27:26,600
Speaker 1: so rompy. It's a good movie moment. I love it.

456
00:27:27,000 --> 00:27:29,879
Speaker 1: But then we cut to them being reprimanded by like

457
00:27:30,000 --> 00:27:33,600
Speaker 1: the hotel security and they're told that they are never

458
00:27:33,720 --> 00:27:37,439
Speaker 1: allowed to enter all of into another pageant in the

459
00:27:37,480 --> 00:27:40,719
Speaker 1: state of California again. And they're like, that's actually totally

460
00:27:40,760 --> 00:27:45,159
Speaker 1: fine by us, because maybe beauty pageants suck. Uh, And

461
00:27:45,160 --> 00:27:48,119
Speaker 1: then they do one last push to get the car going,

462
00:27:48,560 --> 00:27:52,000
Speaker 1: and then they drive off back home and that's the

463
00:27:52,160 --> 00:27:55,800
Speaker 1: end of the movie. It's fun. It's so fun. Let's

464
00:27:55,800 --> 00:27:58,520
Speaker 1: take a quick break and then we'll come right back

465
00:27:58,560 --> 00:28:09,240
Speaker 1: for a birthday discussion in and we're back. Who oh,

466
00:28:09,400 --> 00:28:14,520
Speaker 1: there's so much good stuff to talk about in this movie,

467
00:28:15,000 --> 00:28:17,199
Speaker 1: would it makes sense to talk about the stuff that

468
00:28:17,240 --> 00:28:19,800
Speaker 1: didn't hit for us quite as well to start? Because

469
00:28:19,840 --> 00:28:22,879
Speaker 1: they're there, I feel like we're we're majority love for

470
00:28:23,000 --> 00:28:26,600
Speaker 1: this movie. Yeah, I think that works. Yeah, I think

471
00:28:26,640 --> 00:28:30,600
Speaker 1: that my one real gripe, if you can call it that.

472
00:28:30,680 --> 00:28:33,560
Speaker 1: But like, if this were like truly, for me, the perfect,

473
00:28:33,760 --> 00:28:38,320
Speaker 1: most perfectest movie to ever exist, you would get a

474
00:28:38,520 --> 00:28:43,959
Speaker 1: more fleshed out specific arc for Tony Collette's character. That

475
00:28:44,040 --> 00:28:48,960
Speaker 1: was like what I felt missing because because it's like there,

476
00:28:49,040 --> 00:28:52,360
Speaker 1: I mean, it's so rare to have like a family

477
00:28:52,440 --> 00:28:56,720
Speaker 1: movie where you know deeply who every character is. And

478
00:28:56,760 --> 00:28:58,720
Speaker 1: also everyone in the movie is played by like an

479
00:28:58,760 --> 00:29:02,080
Speaker 1: incredible actor, Like no one has to pick up slack

480
00:29:02,160 --> 00:29:05,480
Speaker 1: for anyone in this cast. It's so good that I

481
00:29:05,600 --> 00:29:09,520
Speaker 1: like felt Tony Kulett not having a full arc, Like

482
00:29:09,600 --> 00:29:14,760
Speaker 1: she's the only character that doesn't have a I mean,

483
00:29:14,800 --> 00:29:17,880
Speaker 1: she does have an arc, but it's related to the

484
00:29:17,880 --> 00:29:20,120
Speaker 1: people in her family. There's not really a piece of

485
00:29:20,160 --> 00:29:25,440
Speaker 1: the story that's that's specific to her or her inner life.

486
00:29:25,560 --> 00:29:28,680
Speaker 1: And I can see, you know, she feels the caretaking

487
00:29:28,800 --> 00:29:31,400
Speaker 1: role in the family. She seems to be the glue

488
00:29:31,520 --> 00:29:34,560
Speaker 1: of the family, trying to keep everyone in check, which

489
00:29:34,600 --> 00:29:38,360
Speaker 1: is a common role for a mother to have. But

490
00:29:38,440 --> 00:29:41,440
Speaker 1: it I mean, that doesn't mean that she doesn't think

491
00:29:41,480 --> 00:29:45,480
Speaker 1: about other things and have other you know, thoughts, goals, ambitions, etcetera.

492
00:29:45,520 --> 00:29:47,360
Speaker 1: And I feel like this is a movie that definitely

493
00:29:47,400 --> 00:29:52,560
Speaker 1: has room for that, where we know exactly what everyone

494
00:29:52,640 --> 00:29:56,760
Speaker 1: else in the family wants or wanted or what their

495
00:29:56,880 --> 00:29:59,880
Speaker 1: struggle is. And it was just like not as clear

496
00:30:00,040 --> 00:30:03,600
Speaker 1: other than keep the family together, right, especially because like

497
00:30:03,920 --> 00:30:07,760
Speaker 1: she is established to be the breadwinner of the family,

498
00:30:08,480 --> 00:30:11,400
Speaker 1: she is supporting them because there's a like a little

499
00:30:11,440 --> 00:30:14,760
Speaker 1: exchange where Richard is like, we can't afford this trip,

500
00:30:14,760 --> 00:30:17,440
Speaker 1: it'll eat into our seed money, and then Cheryl's like,

501
00:30:17,480 --> 00:30:20,000
Speaker 1: well if I had any help bringing it in. So

502
00:30:20,080 --> 00:30:22,719
Speaker 1: we know that she's a working mom. We know that

503
00:30:22,760 --> 00:30:24,920
Speaker 1: she has a job and that she is earning the

504
00:30:24,960 --> 00:30:27,840
Speaker 1: bulk of their income of this family. We never find

505
00:30:27,840 --> 00:30:30,959
Speaker 1: out what her job is. No, we don't, Okay, I

506
00:30:31,000 --> 00:30:32,760
Speaker 1: was making I was like, did I miss that? I

507
00:30:32,760 --> 00:30:34,760
Speaker 1: don't think we find out what she did. We don't

508
00:30:34,760 --> 00:30:38,160
Speaker 1: find out if she likes what she does. It's very

509
00:30:38,200 --> 00:30:41,720
Speaker 1: possible she the job she's breadwinning with she loves she's

510
00:30:41,760 --> 00:30:44,320
Speaker 1: been very sick, but like, we have no idea, We

511
00:30:44,360 --> 00:30:46,560
Speaker 1: have no idea. The best I could get. And then

512
00:30:46,560 --> 00:30:50,360
Speaker 1: this is purely a guess based on a few context clues,

513
00:30:50,360 --> 00:30:53,840
Speaker 1: because when she's picking Frank up from the hospital, we

514
00:30:53,880 --> 00:30:56,840
Speaker 1: can assume that she has left her job because she's

515
00:30:56,840 --> 00:31:00,160
Speaker 1: still wearing a name tag. So she's wearing a name tag,

516
00:31:00,160 --> 00:31:03,200
Speaker 1: and she is dressed in like business casual. So I

517
00:31:03,240 --> 00:31:06,800
Speaker 1: was like, she probably works in like customer service, maybe

518
00:31:06,840 --> 00:31:09,719
Speaker 1: at like a bank or something like that. I was,

519
00:31:09,840 --> 00:31:12,320
Speaker 1: I was even like, maybe she's like a retail manager

520
00:31:12,400 --> 00:31:15,560
Speaker 1: or something like But it's they don't tell us, And

521
00:31:15,600 --> 00:31:18,120
Speaker 1: it seems like this movie went through a lot. Maybe

522
00:31:18,200 --> 00:31:21,080
Speaker 1: there's a version of the script or of the movie

523
00:31:21,880 --> 00:31:24,520
Speaker 1: where you do know, But in this yeah, we we

524
00:31:24,560 --> 00:31:26,320
Speaker 1: don't know exactly what she does. We don't know what

525
00:31:26,400 --> 00:31:31,840
Speaker 1: her relationship with her job is. We're only given insight

526
00:31:31,880 --> 00:31:35,520
Speaker 1: to her as she relates to her family, which isn't

527
00:31:35,560 --> 00:31:40,040
Speaker 1: true for basically everyone else in the family we know about.

528
00:31:40,120 --> 00:31:42,600
Speaker 1: I mean, in Richard's case, it's all about his job,

529
00:31:42,880 --> 00:31:46,640
Speaker 1: his nine step program, right, And for Paul Dana, we

530
00:31:46,720 --> 00:31:48,920
Speaker 1: know what he wants to do and like we know

531
00:31:49,240 --> 00:31:53,440
Speaker 1: how like he's got this like discipline complex and Ali

532
00:31:53,560 --> 00:31:57,560
Speaker 1: wants the pageant, and you know, like Frank is recovering

533
00:31:57,760 --> 00:32:01,600
Speaker 1: from this like romantic and professional failure. But like we

534
00:32:01,680 --> 00:32:05,400
Speaker 1: just we just don't get that for these the number

535
00:32:05,440 --> 00:32:08,160
Speaker 1: one proof scholar in the United States or is he

536
00:32:08,280 --> 00:32:11,840
Speaker 1: number two? Not more? And it's killing him. We even

537
00:32:11,840 --> 00:32:14,480
Speaker 1: know more. We even know about Grandpa's backstory. You know,

538
00:32:14,560 --> 00:32:17,600
Speaker 1: he was at this he's a veteran. He's a veteran.

539
00:32:17,720 --> 00:32:20,560
Speaker 1: He was at this like retirement home that he got

540
00:32:20,640 --> 00:32:24,440
Speaker 1: kicked a lot of women. He sucks a lot of ladies,

541
00:32:24,520 --> 00:32:27,400
Speaker 1: and he tells everyone that they should also do the

542
00:32:27,440 --> 00:32:30,200
Speaker 1: same thing, and he has an addiction struggle. Like that's

543
00:32:30,240 --> 00:32:33,040
Speaker 1: just yeah, that's I mean five times the amount that

544
00:32:33,080 --> 00:32:36,120
Speaker 1: we know about Tony Colette and he dies halfway through, right,

545
00:32:36,480 --> 00:32:38,800
Speaker 1: she gets more screen time than him, and we still

546
00:32:38,800 --> 00:32:42,760
Speaker 1: know the least amount about her. But then I was like,

547
00:32:42,920 --> 00:32:45,800
Speaker 1: so I kind of cataloged all of that, But then

548
00:32:45,840 --> 00:32:48,680
Speaker 1: I thought about, Okay, yes, her role in the story

549
00:32:48,720 --> 00:32:52,760
Speaker 1: is relegated to, you know, being the mom, and that's

550
00:32:52,760 --> 00:32:57,360
Speaker 1: really all we know about her, whereas the predominantly male cast.

551
00:32:57,480 --> 00:33:00,200
Speaker 1: We know a bunch of stuff about them, Specifically, they're

552
00:33:00,280 --> 00:33:06,560
Speaker 1: like professional pursuits, but they're all kind of their failures

553
00:33:06,680 --> 00:33:11,120
Speaker 1: at it in some way, um whereas she's a really

554
00:33:11,160 --> 00:33:17,400
Speaker 1: really good mom. And I was like, Okay, well that's something. Yeah,

555
00:33:17,760 --> 00:33:20,040
Speaker 1: I don't but even but yeah, I know, I don't

556
00:33:20,040 --> 00:33:22,200
Speaker 1: think that she could be a failure at something. We

557
00:33:22,280 --> 00:33:25,680
Speaker 1: just don't know. Maybe she's maybe she is a huge failure.

558
00:33:26,800 --> 00:33:29,760
Speaker 1: We have no way, and we just haven't let Tony

559
00:33:29,800 --> 00:33:33,160
Speaker 1: Colette be a failure. Let Tony had failed for once

560
00:33:33,360 --> 00:33:37,920
Speaker 1: she came. Yeah, but I don't know. I wonder because

561
00:33:38,000 --> 00:33:40,560
Speaker 1: I mean, Michael, how do you say his latime aren't

562
00:33:40,800 --> 00:33:46,160
Speaker 1: aren't Michael Michael Aren't. I respect his work a lot,

563
00:33:46,400 --> 00:33:50,200
Speaker 1: and I'm a fan of most of it, even cars

564
00:33:50,280 --> 00:33:55,800
Speaker 1: to uh An extremely car. I mean, that's the one

565
00:33:55,800 --> 00:33:58,640
Speaker 1: thing where I kind of struggled to find an excuse

566
00:33:58,840 --> 00:34:00,320
Speaker 1: for him. I feel I feel like that it is

567
00:34:00,560 --> 00:34:03,000
Speaker 1: very possibly And I don't even really mean this as

568
00:34:03,040 --> 00:34:06,720
Speaker 1: a severe criticism of him, but just a writer who

569
00:34:06,760 --> 00:34:09,720
Speaker 1: doesn't have a ton of insight into how an adult

570
00:34:09,719 --> 00:34:13,560
Speaker 1: woman thinks, right, and because he is the soul writer

571
00:34:13,640 --> 00:34:15,880
Speaker 1: of the movie, you just kind of don't get a

572
00:34:15,920 --> 00:34:19,200
Speaker 1: lot more than that, and then kind of I guess

573
00:34:19,480 --> 00:34:23,439
Speaker 1: that same and again this is this is pure speculation,

574
00:34:23,960 --> 00:34:26,759
Speaker 1: but I feel like that same kind of you know,

575
00:34:26,880 --> 00:34:31,719
Speaker 1: soul credited male writer tour type that he sort of

576
00:34:31,800 --> 00:34:35,640
Speaker 1: has become known as. You can sort of trace that

577
00:34:35,800 --> 00:34:40,440
Speaker 1: to the like I was expecting going into this movie

578
00:34:41,280 --> 00:34:45,880
Speaker 1: way more Tony Collette Abigail Breslin one on one or

579
00:34:46,040 --> 00:34:49,920
Speaker 1: like connection than you get. You really don't get a

580
00:34:49,960 --> 00:34:52,600
Speaker 1: lot with the two of them. You get like that

581
00:34:52,719 --> 00:34:55,760
Speaker 1: moment towards the end, but I mean they're all together

582
00:34:55,800 --> 00:34:58,560
Speaker 1: for most of the scenes, but her primary connection with

583
00:34:58,600 --> 00:35:02,319
Speaker 1: an adult characters with her grandfather, not her mother, which

584
00:35:02,400 --> 00:35:04,799
Speaker 1: is fine, you know, that's true of some families, but

585
00:35:05,160 --> 00:35:06,920
Speaker 1: it also kind of stood out to me of like, oh,

586
00:35:06,960 --> 00:35:09,480
Speaker 1: we really don't really know much about the mother daughter

587
00:35:09,719 --> 00:35:13,920
Speaker 1: connection and they're the only two female characters those are.

588
00:35:13,960 --> 00:35:16,319
Speaker 1: I mean, that was like truly like the only thing

589
00:35:16,400 --> 00:35:18,799
Speaker 1: that it's not even I mean, I just I just

590
00:35:18,920 --> 00:35:22,239
Speaker 1: missed it the same. It doesn't cheapen the product, but

591
00:35:22,280 --> 00:35:24,440
Speaker 1: I just missed it. And I was as I was

592
00:35:24,480 --> 00:35:27,120
Speaker 1: watching it this time around with a more kind of

593
00:35:27,160 --> 00:35:29,960
Speaker 1: critical eye, I was trying to figure out who the

594
00:35:30,000 --> 00:35:33,920
Speaker 1: movie frames as the protagonist. To me, it feels like

595
00:35:33,960 --> 00:35:37,600
Speaker 1: there's no one character who is really it feels like

596
00:35:37,640 --> 00:35:40,960
Speaker 1: more the family unit is the protagonist of this film

597
00:35:41,040 --> 00:35:44,640
Speaker 1: rather than any one single character. So I was like, Okay,

598
00:35:44,920 --> 00:35:49,560
Speaker 1: we have all these different characters in theory contributing equally

599
00:35:49,760 --> 00:35:52,839
Speaker 1: or like being equally important to the story as any

600
00:35:52,880 --> 00:35:55,080
Speaker 1: other one character. So for that to be true of

601
00:35:55,120 --> 00:35:58,960
Speaker 1: this narrative. But then to give especially Cheryl the mom character,

602
00:35:59,760 --> 00:36:03,280
Speaker 1: the least amount of backstory, the least amount of interiority,

603
00:36:03,880 --> 00:36:06,560
Speaker 1: no other thing we know about her besides her being

604
00:36:06,880 --> 00:36:11,600
Speaker 1: you know, the supportive mom character, was just especially frustrating.

605
00:36:12,480 --> 00:36:15,960
Speaker 1: I agree. So a little bit of context corner for

606
00:36:15,960 --> 00:36:19,799
Speaker 1: this movie, um, I mean just the main context for

607
00:36:19,840 --> 00:36:22,320
Speaker 1: the context quarter is just it took a very long

608
00:36:22,400 --> 00:36:25,279
Speaker 1: time for this movie to be made. Um, it took

609
00:36:25,320 --> 00:36:28,480
Speaker 1: a thing about seven years for the story being basically

610
00:36:28,520 --> 00:36:31,840
Speaker 1: done to it coming out because I guess Michael Aren't

611
00:36:31,840 --> 00:36:33,719
Speaker 1: was like at the time he wrote this, he was

612
00:36:33,760 --> 00:36:36,760
Speaker 1: like Matthew Broderick's assistant, Like he had a real glow

613
00:36:36,840 --> 00:36:41,400
Speaker 1: up narrative. Over time, he's a pretty interesting person. Um.

614
00:36:41,440 --> 00:36:44,760
Speaker 1: But all that to say so Originally this movie ended

615
00:36:44,880 --> 00:36:47,520
Speaker 1: up selling to I think it was like Focus Features.

616
00:36:47,560 --> 00:36:51,200
Speaker 1: They sold the script somewhere, but studio interference got it

617
00:36:51,280 --> 00:36:55,160
Speaker 1: just became too much. So the studio executive suggested that

618
00:36:55,200 --> 00:36:57,959
Speaker 1: the protagonist shift to being Greg Kinnear, which is where

619
00:36:58,000 --> 00:37:00,680
Speaker 1: you get that whole thing with him going to Scottsdale

620
00:37:01,000 --> 00:37:04,439
Speaker 1: that originally wasn't there, but it was added. And then

621
00:37:04,800 --> 00:37:07,279
Speaker 1: basically Michael Aren't was kind of a real one and

622
00:37:07,400 --> 00:37:09,600
Speaker 1: was like, if you want to shift the focus to

623
00:37:09,640 --> 00:37:12,280
Speaker 1: be about him, then I'm going to pull the project

624
00:37:12,360 --> 00:37:14,400
Speaker 1: and take it somewhere else. So it's still about the family,

625
00:37:14,719 --> 00:37:16,439
Speaker 1: but there are I mean, I would argue the movie

626
00:37:16,560 --> 00:37:19,800
Speaker 1: leans a little heavy on Richard at times for sure,

627
00:37:19,920 --> 00:37:22,279
Speaker 1: but then it's like it was interesting to learn, like

628
00:37:22,480 --> 00:37:27,200
Speaker 1: why that was, yeah, his arc with the whole I mean,

629
00:37:27,200 --> 00:37:31,640
Speaker 1: there are entire scenes dedicated to just his specific pursuit

630
00:37:31,719 --> 00:37:34,759
Speaker 1: of this like book deal and his you know nine

631
00:37:34,880 --> 00:37:37,440
Speaker 1: and he's always talking about the nine steps and like

632
00:37:37,560 --> 00:37:39,879
Speaker 1: he's he's given a ton of dialogue about it. And

633
00:37:39,960 --> 00:37:42,440
Speaker 1: because he's also kind of like a walking metaphor too,

634
00:37:42,800 --> 00:37:48,120
Speaker 1: for like he's like the walking American dream metaphor character, right,

635
00:37:48,200 --> 00:37:51,799
Speaker 1: which we should make a list of at some point, right,

636
00:37:52,239 --> 00:37:56,359
Speaker 1: so he I would say his subplot is given more

637
00:37:56,480 --> 00:38:00,080
Speaker 1: focused than I think any other subplot like him and

638
00:38:00,200 --> 00:38:05,360
Speaker 1: all of basically get the two most plot impact. Well actually,

639
00:38:05,400 --> 00:38:08,960
Speaker 1: but then it's like Grandpa dies. I don't know, all

640
00:38:09,000 --> 00:38:12,440
Speaker 1: of isn't super the focus until they get to the

641
00:38:12,440 --> 00:38:15,279
Speaker 1: pageant end, right, she she kind of I mean, she's there,

642
00:38:15,320 --> 00:38:20,640
Speaker 1: but she's not involved for kind of stretches, right, I

643
00:38:20,640 --> 00:38:23,560
Speaker 1: don't know, I mean, it's but there. Well, I guess

644
00:38:23,640 --> 00:38:25,880
Speaker 1: I guess that that's a lot of what the movie

645
00:38:26,080 --> 00:38:30,719
Speaker 1: kind of like. Obviously, failure is a huge focus on

646
00:38:31,520 --> 00:38:33,600
Speaker 1: what this movie tackles, and I think it does it

647
00:38:33,719 --> 00:38:38,000
Speaker 1: like mostly in a pretty cool and like thoughtful way

648
00:38:38,040 --> 00:38:42,160
Speaker 1: of how does failure affect people? And the majority of

649
00:38:42,200 --> 00:38:45,759
Speaker 1: the movie does focus on how does failure affect men?

650
00:38:46,480 --> 00:38:49,479
Speaker 1: And then at the end we sort of you sort

651
00:38:49,480 --> 00:38:53,280
Speaker 1: of get a peek at like because it's made clear

652
00:38:53,440 --> 00:38:56,480
Speaker 1: to the family and all of that, like who she

653
00:38:56,680 --> 00:38:58,759
Speaker 1: is and her body and all these parts of her

654
00:38:58,800 --> 00:39:02,680
Speaker 1: do not conform to the beauty pageant quote unquote rigid

655
00:39:02,800 --> 00:39:06,279
Speaker 1: standard that she has somehow failed as well. And it's

656
00:39:06,320 --> 00:39:10,080
Speaker 1: about this family coming to terms with their various failures,

657
00:39:10,120 --> 00:39:12,640
Speaker 1: and like, what does failure even mean? Who decides whether

658
00:39:12,640 --> 00:39:15,799
Speaker 1: you succeed or whether you fail? Every character sort of

659
00:39:15,800 --> 00:39:18,160
Speaker 1: has a different definition of what it means to be

660
00:39:18,960 --> 00:39:23,279
Speaker 1: quote a winner or a loser, and like, and what

661
00:39:23,280 --> 00:39:27,680
Speaker 1: what is Tony Colletts, don't ask me. I don't know. Yeah,

662
00:39:27,719 --> 00:39:29,640
Speaker 1: I guess we don't really know because we hear like

663
00:39:29,680 --> 00:39:33,520
Speaker 1: Grandpa's Grandpa's like, you know, losers are just people who

664
00:39:33,600 --> 00:39:38,080
Speaker 1: are so afraid of not winning that they don't even try.

665
00:39:38,120 --> 00:39:40,760
Speaker 1: And he's like, but you're trying, You're gonna But even Grandpa,

666
00:39:40,800 --> 00:39:43,920
Speaker 1: I mean, it's it's this family feels very real in

667
00:39:43,960 --> 00:39:47,000
Speaker 1: a lot of ways. And so there are these moments

668
00:39:47,040 --> 00:39:49,200
Speaker 1: where I feel like it's kind of I want to

669
00:39:49,239 --> 00:39:51,319
Speaker 1: give Michael Aren't the benefit of the doubt and say

670
00:39:51,360 --> 00:39:54,960
Speaker 1: it's kind of intentionally done. Of like, it seems like

671
00:39:55,040 --> 00:39:58,400
Speaker 1: Grandpa is the only character that comes in having already

672
00:39:58,480 --> 00:40:02,800
Speaker 1: kind of rejected the system and rejected this this idea

673
00:40:03,000 --> 00:40:05,640
Speaker 1: of what is failure mean? What is success mean? To

674
00:40:05,680 --> 00:40:09,600
Speaker 1: the point where he knows that he has an addiction problem,

675
00:40:09,680 --> 00:40:13,080
Speaker 1: he doesn't care. He's like, I'm living my life, blah

676
00:40:13,080 --> 00:40:15,279
Speaker 1: blah blah, like which is a take on addiction that

677
00:40:15,440 --> 00:40:21,440
Speaker 1: is wild uh true. But even he like, it's interesting

678
00:40:21,480 --> 00:40:24,520
Speaker 1: that this movie kind of is pushed along by this

679
00:40:24,600 --> 00:40:28,760
Speaker 1: pageant because you see Grandpa. Even though Grandpa is nice

680
00:40:28,800 --> 00:40:35,400
Speaker 1: guy quote unquote, he also subtly like regulates Olive's body

681
00:40:35,440 --> 00:40:38,880
Speaker 1: and behavior a little bit as well, because during the

682
00:40:38,920 --> 00:40:41,360
Speaker 1: ice cream scene, I thought it was like such a

683
00:40:41,480 --> 00:40:43,600
Speaker 1: I like watched that scene a couple of times just

684
00:40:43,640 --> 00:40:45,400
Speaker 1: to make sure, because there's just so much going on

685
00:40:45,440 --> 00:40:48,440
Speaker 1: in there. But in the ice cream scene, Grandpa is

686
00:40:48,480 --> 00:40:51,640
Speaker 1: one of the driving forces that says like, no, I'll

687
00:40:51,680 --> 00:40:54,800
Speaker 1: have eat ice cream, don't worry, and and his first

688
00:40:55,120 --> 00:40:57,719
Speaker 1: reason for doing so as he says, I like a

689
00:40:57,800 --> 00:41:01,360
Speaker 1: woman with some meat on her bones, which in the

690
00:41:01,440 --> 00:41:05,000
Speaker 1: moment is like, oh, that's sweet, But then it also

691
00:41:05,120 --> 00:41:08,759
Speaker 1: reinforces that men dictate how women should look, and if

692
00:41:08,800 --> 00:41:11,040
Speaker 1: he likes how a woman looks, then how could it

693
00:41:11,080 --> 00:41:13,080
Speaker 1: be wrong? And so it's like there's all these like

694
00:41:13,200 --> 00:41:15,759
Speaker 1: little I don't know, it's really smart because that's that's

695
00:41:15,760 --> 00:41:18,480
Speaker 1: what a grandpa would say. That's what a grandpa trying

696
00:41:18,520 --> 00:41:20,680
Speaker 1: to make you feel better, would say something a little

697
00:41:20,680 --> 00:41:23,719
Speaker 1: fucked up, right, You're just like, well, I see where

698
00:41:23,719 --> 00:41:26,400
Speaker 1: he was going with it that, and it's like simple

699
00:41:26,520 --> 00:41:29,360
Speaker 1: enough for her to understand, because again, she's only seven,

700
00:41:29,520 --> 00:41:32,480
Speaker 1: so you know, there's all these sort of different things

701
00:41:32,480 --> 00:41:34,440
Speaker 1: at play, but I do. Okay, So I want to

702
00:41:34,480 --> 00:41:37,400
Speaker 1: talk about the ice cream scene, and I think that

703
00:41:37,480 --> 00:41:40,960
Speaker 1: will just sort of be maybe a part of the

704
00:41:41,080 --> 00:41:46,640
Speaker 1: larger beauty standards. It's one of the scenes. Yes, So

705
00:41:47,040 --> 00:41:51,440
Speaker 1: basically what happens is that they stopped for breakfast, I think,

706
00:41:51,480 --> 00:41:58,400
Speaker 1: at a diner and Olive orders her waffles alamode, adorable, alamode.

707
00:41:58,560 --> 00:42:01,359
Speaker 1: So she's gonna get ice cream. But before the ice

708
00:42:01,400 --> 00:42:04,799
Speaker 1: cream comes, her dad, Richard is like, probably shouldn't have

709
00:42:04,880 --> 00:42:08,479
Speaker 1: ordered ice cream because if you eat it, it's going

710
00:42:08,560 --> 00:42:11,760
Speaker 1: to make you fat, and you should try and stay skinny.

711
00:42:12,160 --> 00:42:16,719
Speaker 1: And then body positivity icon Cheryl all of his mom

712
00:42:16,920 --> 00:42:19,920
Speaker 1: says it's okay to be skinny, and it's okay to

713
00:42:19,960 --> 00:42:22,320
Speaker 1: be fat if that's what you want to be, whatever

714
00:42:22,400 --> 00:42:26,000
Speaker 1: you want, it's okay. And then her dad is like, well, yeah,

715
00:42:26,040 --> 00:42:29,680
Speaker 1: but you know those Miss America pageant women, are they

716
00:42:29,719 --> 00:42:32,319
Speaker 1: skinny or are they fat? And all of is like, well, yeah,

717
00:42:32,360 --> 00:42:35,000
Speaker 1: I guess they're skinny, and he's like, okay, well, it's

718
00:42:35,040 --> 00:42:37,080
Speaker 1: probably because I don't eat a lot of ice cream.

719
00:42:37,760 --> 00:42:42,320
Speaker 1: So this is the beginning of all of feeling really

720
00:42:42,360 --> 00:42:47,120
Speaker 1: bad about herself, her body, her looks, because we see

721
00:42:47,160 --> 00:42:51,480
Speaker 1: a few scenes after this where she asks Grandpa in

722
00:42:51,520 --> 00:42:53,760
Speaker 1: the motel room. She says, you know, am I pretty

723
00:42:53,880 --> 00:42:56,160
Speaker 1: and I wanna I just don't want to be a

724
00:42:56,160 --> 00:42:59,800
Speaker 1: loser because daddy hates losers, and she starts crying and

725
00:43:00,000 --> 00:43:02,400
Speaker 1: and there's that like devastating. That's the scene that was

726
00:43:02,440 --> 00:43:05,719
Speaker 1: like the ice cream tangential scene that like hurt me

727
00:43:05,840 --> 00:43:08,640
Speaker 1: the most because there's so many layers to it. Is

728
00:43:08,719 --> 00:43:11,239
Speaker 1: when she goes to Miss California and it is like,

729
00:43:11,600 --> 00:43:15,200
Speaker 1: do you eat ice cream? And Miss California says yes,

730
00:43:15,400 --> 00:43:19,680
Speaker 1: but you're like no, she doesn't like you're There's so

731
00:43:19,719 --> 00:43:22,719
Speaker 1: many layers to that where that brought to mind for

732
00:43:22,880 --> 00:43:27,160
Speaker 1: me like Instagram Pizza Girl, where it's like a supermodel

733
00:43:27,200 --> 00:43:30,200
Speaker 1: holding a slice of pizza being like, OMG, I love

734
00:43:30,239 --> 00:43:33,560
Speaker 1: pizza so much, I'm literally addicted, which is like a

735
00:43:33,680 --> 00:43:37,000
Speaker 1: larger entertainment trope of oh yeah, we're going to allow

736
00:43:37,120 --> 00:43:39,960
Speaker 1: women to eat junk food as long as it's quirky,

737
00:43:40,040 --> 00:43:43,319
Speaker 1: fun and they still look the way we want them

738
00:43:43,360 --> 00:43:46,560
Speaker 1: to look, which is so that. I mean that scene

739
00:43:46,640 --> 00:43:48,719
Speaker 1: was like triple devastating to me because I'm like, Miss

740
00:43:48,800 --> 00:43:52,799
Speaker 1: California is I think, lying to her, but it's also

741
00:43:52,840 --> 00:43:55,000
Speaker 1: like she seven and it helps. But then you're like,

742
00:43:55,040 --> 00:43:57,040
Speaker 1: oh no, that's that's gonna suck in ten years when

743
00:43:57,080 --> 00:44:00,759
Speaker 1: you find out Miss California was lying to you. Um,

744
00:44:00,800 --> 00:44:02,640
Speaker 1: I mean, I don't know, maybe she does eat ice

745
00:44:02,680 --> 00:44:05,440
Speaker 1: cream sometimes, but then she's also like, but my favorite

746
00:44:05,880 --> 00:44:09,160
Speaker 1: is actually a frozen yogurt. I mean, who got I mean, yeah,

747
00:44:09,239 --> 00:44:12,480
Speaker 1: that the way that beauty pageant winners bodies are policed

748
00:44:12,680 --> 00:44:14,919
Speaker 1: just like so well documented that I'm like, I don't

749
00:44:14,960 --> 00:44:17,480
Speaker 1: know she eats ice cream. Maybe she has in the

750
00:44:17,600 --> 00:44:21,400
Speaker 1: last year, I don't know, but yeah, that scene in

751
00:44:21,440 --> 00:44:26,040
Speaker 1: the diner, I really it's it's hard to watch in

752
00:44:26,080 --> 00:44:29,600
Speaker 1: a good way, and I like that, like the other

753
00:44:29,640 --> 00:44:32,640
Speaker 1: three members of the family are like, we're not going

754
00:44:32,680 --> 00:44:37,759
Speaker 1: with this, Like, uh, Richard is such a like flaccid patriarch,

755
00:44:37,800 --> 00:44:40,480
Speaker 1: Like he's a failure as a patriarch as well, because

756
00:44:40,600 --> 00:44:42,960
Speaker 1: no one listens to what he says. Everyone thinks he's

757
00:44:43,000 --> 00:44:47,160
Speaker 1: an asshole, but he's in their families, so they deal

758
00:44:47,200 --> 00:44:50,880
Speaker 1: with it. But I I really like the choice that,

759
00:44:51,080 --> 00:44:55,600
Speaker 1: like Richard, I thought, really did think he was saying

760
00:44:55,680 --> 00:44:59,360
Speaker 1: something helpful to his daughter, which I feel like a

761
00:44:59,400 --> 00:45:03,280
Speaker 1: lot of those aren't framed that way, and there should

762
00:45:03,320 --> 00:45:07,319
Speaker 1: be in scenes that are like body shamy in that way,

763
00:45:07,400 --> 00:45:10,160
Speaker 1: I feel like it is usually an easier writing choice

764
00:45:10,160 --> 00:45:12,279
Speaker 1: is made where it's just like they're saying this to

765
00:45:12,360 --> 00:45:14,440
Speaker 1: be mean, and they're saying this because they hate you.

766
00:45:14,560 --> 00:45:16,600
Speaker 1: But and it's sometimes a character we don't really know

767
00:45:16,640 --> 00:45:19,600
Speaker 1: that well, it's just like Bully number three, But this

768
00:45:19,680 --> 00:45:22,839
Speaker 1: is like a character that we know, and you can

769
00:45:22,880 --> 00:45:25,640
Speaker 1: tell he believes he is like doing the right thing

770
00:45:25,760 --> 00:45:29,960
Speaker 1: by body shaming and like policing the food of his daughter,

771
00:45:30,080 --> 00:45:33,279
Speaker 1: and he thinks that by policing his daughter's body, she

772
00:45:33,440 --> 00:45:36,640
Speaker 1: will become a winner. And I think that that is

773
00:45:36,680 --> 00:45:40,840
Speaker 1: like something that like real people can see in themselves

774
00:45:40,880 --> 00:45:44,799
Speaker 1: and kind of I would imagine that some people specifically

775
00:45:44,840 --> 00:45:47,240
Speaker 1: like men who make comments like that, because I've gotten

776
00:45:47,280 --> 00:45:50,399
Speaker 1: comments like that before. I feel like, you know, many

777
00:45:50,440 --> 00:45:54,400
Speaker 1: people in general have gotten comments like that before. People

778
00:45:54,400 --> 00:45:56,319
Speaker 1: who make comments like that, I think think they're doing

779
00:45:56,320 --> 00:45:58,960
Speaker 1: you a favor even though they're being a fucking asshole,

780
00:45:59,480 --> 00:46:03,479
Speaker 1: And I've never seen a scene quite like it, where

781
00:46:04,120 --> 00:46:06,640
Speaker 1: like it just ends up making a person who thinks

782
00:46:06,640 --> 00:46:09,600
Speaker 1: they're doing the right thing looks stupid and they don't

783
00:46:09,600 --> 00:46:13,160
Speaker 1: get it totally. But then that comes back to, at

784
00:46:13,200 --> 00:46:16,799
Speaker 1: least for me, the Cheryl character, and even in that

785
00:46:16,840 --> 00:46:20,800
Speaker 1: scene when she does have a rebuttal to what Richard says,

786
00:46:20,880 --> 00:46:23,960
Speaker 1: and like Richard's assholary where she's like, you know, you

787
00:46:24,000 --> 00:46:26,160
Speaker 1: can be skinny, you can be fat, you can be

788
00:46:26,200 --> 00:46:28,320
Speaker 1: whatever you want to be. It's okay to be whatever

789
00:46:28,520 --> 00:46:30,680
Speaker 1: you want. And so she has that little moment. But

790
00:46:30,719 --> 00:46:32,440
Speaker 1: I feel like in a lot of the scenes where

791
00:46:33,040 --> 00:46:35,880
Speaker 1: Richard is saying something really awful and toxic, which he

792
00:46:35,920 --> 00:46:40,359
Speaker 1: does a lot. For example, he's like, don't apologize. It's

793
00:46:40,360 --> 00:46:43,560
Speaker 1: a sign of weakness. Don't do anything unless you know

794
00:46:43,680 --> 00:46:47,360
Speaker 1: you're gonna win at it. He also equates mental illness

795
00:46:47,520 --> 00:46:51,600
Speaker 1: and suicidal ideation to being a loser and being a quitter. Um,

796
00:46:51,680 --> 00:46:53,759
Speaker 1: so like he's saying all this horrible stuff all the time,

797
00:46:53,800 --> 00:46:56,719
Speaker 1: and I feel like most of the time Cheryl is

798
00:46:56,800 --> 00:47:00,520
Speaker 1: just like Richard stop or Richard not, like she's like

799
00:47:00,560 --> 00:47:04,439
Speaker 1: she doesn't have I want her to have more intelligent

800
00:47:04,719 --> 00:47:08,080
Speaker 1: and thoughtful kind of rebuttals to him, and she just

801
00:47:08,200 --> 00:47:10,439
Speaker 1: isn't given that a lot of the time. I wish

802
00:47:10,440 --> 00:47:12,680
Speaker 1: there was more of that that I kind of understood

803
00:47:12,680 --> 00:47:17,279
Speaker 1: a little more than the not giving her a story thing.

804
00:47:17,560 --> 00:47:20,160
Speaker 1: But I guess that's just like in my head, I

805
00:47:20,200 --> 00:47:23,160
Speaker 1: was just I interpreted that as a her choosing her

806
00:47:23,200 --> 00:47:27,040
Speaker 1: battles thing, because she does push when when she's like

807
00:47:27,480 --> 00:47:31,040
Speaker 1: when his book deal falls through, she fucking gives it

808
00:47:31,080 --> 00:47:33,480
Speaker 1: to him and it's like, you know, you're a failure,

809
00:47:33,480 --> 00:47:35,520
Speaker 1: blah blah blah. So I sort of saw that as

810
00:47:35,560 --> 00:47:38,319
Speaker 1: her I mean, kind of like playing off of the

811
00:47:38,320 --> 00:47:39,960
Speaker 1: only things we really know about her is she's trying

812
00:47:40,000 --> 00:47:43,600
Speaker 1: to keep the peace in the family and that she's

813
00:47:43,640 --> 00:47:47,480
Speaker 1: kind of choosing her battles with her deeply insecure husband,

814
00:47:49,200 --> 00:47:52,360
Speaker 1: who I'm assuming she loves because I cannot think of

815
00:47:52,400 --> 00:47:54,960
Speaker 1: another reason to be with him. I have a feeling

816
00:47:55,400 --> 00:47:57,840
Speaker 1: they're like on the brink of divorce. Like I hope

817
00:47:57,840 --> 00:48:01,600
Speaker 1: that like six months after like the events of this story,

818
00:48:02,440 --> 00:48:05,520
Speaker 1: they are like getting a divorce and that like all

819
00:48:05,560 --> 00:48:08,920
Speaker 1: of has quit doing pageants. But over I feel like

820
00:48:08,960 --> 00:48:12,200
Speaker 1: I hope for sure that this experience that she's just like,

821
00:48:12,320 --> 00:48:17,439
Speaker 1: I'm gonna do literally anything else. And but but yeah,

822
00:48:17,480 --> 00:48:20,360
Speaker 1: I mean Richard, I think it's a kind of true

823
00:48:20,360 --> 00:48:24,960
Speaker 1: to life too, that it's like Richard definitely grows from

824
00:48:24,960 --> 00:48:27,359
Speaker 1: this experience, and like in the space of a day,

825
00:48:27,400 --> 00:48:30,759
Speaker 1: he has lost his father and his dream, so that

826
00:48:31,200 --> 00:48:35,399
Speaker 1: that is you know, that's hard. But but but I

827
00:48:35,440 --> 00:48:38,520
Speaker 1: like that the movie is kind to him in the

828
00:48:38,560 --> 00:48:40,560
Speaker 1: general sense, but you don't get to feel like that

829
00:48:40,640 --> 00:48:44,560
Speaker 1: he has like learned this great thing. Like you can

830
00:48:44,600 --> 00:48:48,560
Speaker 1: picture this character just complaining about the events of this

831
00:48:48,640 --> 00:48:50,919
Speaker 1: movie for the rest of his life and never really

832
00:48:51,000 --> 00:48:55,400
Speaker 1: learning anything right, which also feels like, you know, people

833
00:48:55,440 --> 00:49:01,239
Speaker 1: that pop up in one's life. We've got to take

834
00:49:01,280 --> 00:49:08,640
Speaker 1: another quick break, but then we'll come right back Richard.

835
00:49:08,719 --> 00:49:11,920
Speaker 1: It was I mean, I think that the movie maybe

836
00:49:12,000 --> 00:49:14,080
Speaker 1: gives him a little bit too much real estate over

837
00:49:14,120 --> 00:49:16,560
Speaker 1: the events of the movie. But I mean he he

838
00:49:16,680 --> 00:49:22,120
Speaker 1: to me seemed like a pretty clear American dream fallacy

839
00:49:22,160 --> 00:49:26,680
Speaker 1: type of character where total context corner. I guess that

840
00:49:26,800 --> 00:49:30,759
Speaker 1: Michael aren't came up with the idea for this story's

841
00:49:30,920 --> 00:49:34,320
Speaker 1: themes in the general sense when he saw a quote

842
00:49:34,719 --> 00:49:39,080
Speaker 1: from Arnold Schwarzenegger, Um I think from the nineties where

843
00:49:39,160 --> 00:49:42,760
Speaker 1: Arnold Schwarzenegger was talking to a group of teenagers and said,

844
00:49:43,040 --> 00:49:45,400
Speaker 1: if there's one thing in this world I hate, it's losers.

845
00:49:45,440 --> 00:49:48,360
Speaker 1: I despise them. And he kind of thought that that

846
00:49:48,440 --> 00:49:51,880
Speaker 1: quote was gross, which it is, and built out this

847
00:49:51,920 --> 00:49:53,600
Speaker 1: story around it. And I think, you know, Richard is

848
00:49:53,640 --> 00:49:56,600
Speaker 1: the character that could be most clearly traced to that

849
00:49:56,719 --> 00:49:59,520
Speaker 1: quote down to like the first line in the movie.

850
00:49:59,600 --> 00:50:02,799
Speaker 1: And I like, it's you know what, Sometimes you're like,

851
00:50:02,840 --> 00:50:05,600
Speaker 1: all right, we get it, the American dream doesn't exist,

852
00:50:05,680 --> 00:50:09,719
Speaker 1: we get it. But but it is like it is

853
00:50:09,800 --> 00:50:14,520
Speaker 1: kind of cool to see someone so firmly grasped to

854
00:50:14,600 --> 00:50:19,520
Speaker 1: it and understand why, but also still not like him.

855
00:50:19,560 --> 00:50:22,200
Speaker 1: Like I feel like that's a really tight, like a

856
00:50:22,280 --> 00:50:26,440
Speaker 1: really like thin line to walk where you don't totally

857
00:50:26,520 --> 00:50:29,880
Speaker 1: hate Richard, but you mostly hate him, and but you

858
00:50:29,960 --> 00:50:31,680
Speaker 1: also know that you're like, Okay, this is a lower

859
00:50:31,719 --> 00:50:36,000
Speaker 1: class family. And the scam, the pyramid scheme of success

860
00:50:36,200 --> 00:50:40,240
Speaker 1: is is really appealing because it gives you the illusion

861
00:50:40,280 --> 00:50:42,840
Speaker 1: of control. It gives you the illusion of upward mobility

862
00:50:42,920 --> 00:50:47,040
Speaker 1: that probably is not actually accessible in most cases because

863
00:50:47,040 --> 00:50:49,040
Speaker 1: of the way that things are lined up. And he

864
00:50:49,160 --> 00:50:53,759
Speaker 1: just has no understanding that the American dream is not

865
00:50:53,960 --> 00:50:58,560
Speaker 1: actually accessible to him, and that it's even less accessible

866
00:50:58,640 --> 00:51:02,360
Speaker 1: to his daughter. Like, he doesn't he just doesn't understand it.

867
00:51:02,480 --> 00:51:05,600
Speaker 1: He's like a bootstraps guy. Yeah, I feel like he

868
00:51:05,840 --> 00:51:10,400
Speaker 1: voted for Gary Johnson. You know, Oh my, that's my headcannon.

869
00:51:10,480 --> 00:51:14,640
Speaker 1: He voted for Gary Johnson. I barely remember who that is.

870
00:51:14,760 --> 00:51:18,360
Speaker 1: He wore khakis and he was a dumbass. So maybe

871
00:51:18,360 --> 00:51:22,560
Speaker 1: that's where I'm pulling from. Yeah, I mean, this is

872
00:51:22,600 --> 00:51:25,279
Speaker 1: one of those movies where a lot of the characters

873
00:51:25,400 --> 00:51:29,680
Speaker 1: are not people to admire that they have a lot

874
00:51:29,719 --> 00:51:33,439
Speaker 1: of you know, toxic views or issues that make them

875
00:51:33,960 --> 00:51:36,400
Speaker 1: characters that you didn't you might not necessarily want to

876
00:51:36,440 --> 00:51:40,440
Speaker 1: be friends with. But they're still they're written so well,

877
00:51:40,680 --> 00:51:44,560
Speaker 1: they're written so realistically. The nuance that these characters are

878
00:51:44,600 --> 00:51:48,320
Speaker 1: given make it so that you can't help but feel

879
00:51:48,320 --> 00:51:52,560
Speaker 1: compelled by them, even if they're kind of shitty all around.

880
00:51:52,640 --> 00:51:55,080
Speaker 1: I mean, like the Grandpa character to like, not a

881
00:51:55,160 --> 00:51:57,880
Speaker 1: great guy. He's not. He's not a good guy. He's

882
00:51:58,400 --> 00:52:01,960
Speaker 1: you get the sense that he's a pretty heavy misogynist, homophobic,

883
00:52:02,040 --> 00:52:08,560
Speaker 1: homophobic stuff Like, yep, he's grandpaing hard, yes, but I

884
00:52:08,560 --> 00:52:10,319
Speaker 1: don't know. I would hazard to guests that a lot

885
00:52:10,320 --> 00:52:13,960
Speaker 1: of people have a grandpa like him, like out of touch,

886
00:52:14,680 --> 00:52:18,799
Speaker 1: you know, racist, misogynist grandpa. But grandpa's ninety years old

887
00:52:18,800 --> 00:52:23,160
Speaker 1: and woke. Just kidding. My grandpa's are dead and they

888
00:52:23,160 --> 00:52:25,200
Speaker 1: died when I was five, so I have no idea

889
00:52:25,280 --> 00:52:28,720
Speaker 1: what kind of people they were. Um, but I don't imagine.

890
00:52:28,760 --> 00:52:33,680
Speaker 1: Probably not good. You're like, white grandpa, probably bad views.

891
00:52:32,960 --> 00:52:38,160
Speaker 1: It's it's it's it's just math. But yeah, I mean

892
00:52:38,239 --> 00:52:41,200
Speaker 1: he he also suck. I mean that that was another

893
00:52:41,280 --> 00:52:45,080
Speaker 1: character where I'm just like, is this movie cutting this

894
00:52:45,160 --> 00:52:47,960
Speaker 1: guy too much? Like like he's not a good guy,

895
00:52:48,000 --> 00:52:50,279
Speaker 1: but but he's Alan Arkin, so you're already like I

896
00:52:50,320 --> 00:52:53,520
Speaker 1: love him. And then he and he and he loves

897
00:52:53,600 --> 00:52:57,880
Speaker 1: his granddaughter, so we're like, yes, I love him, but um,

898
00:52:58,480 --> 00:53:01,520
Speaker 1: you know, but that is kind of the beautiful part

899
00:53:01,600 --> 00:53:06,400
Speaker 1: is every man in this story is narcissistic and self

900
00:53:06,440 --> 00:53:11,839
Speaker 1: involved and fragile in very different ways, which is cool, yes,

901
00:53:11,960 --> 00:53:14,239
Speaker 1: and it's you get a lot of I mean, there's

902
00:53:14,280 --> 00:53:17,799
Speaker 1: a lot of different types of fragile masculinity on display here, right,

903
00:53:18,160 --> 00:53:22,160
Speaker 1: And we've barely talked about Frank. Right, So Frank Steve Carrell,

904
00:53:22,600 --> 00:53:27,080
Speaker 1: he's an academic. He's an academic. He has this kind

905
00:53:27,120 --> 00:53:31,440
Speaker 1: of tragic backstory that he is open about. You know,

906
00:53:31,640 --> 00:53:35,320
Speaker 1: he is okay to tell his seven year old niece

907
00:53:35,320 --> 00:53:38,160
Speaker 1: about I was also having an inner battle in that scene.

908
00:53:38,239 --> 00:53:41,480
Speaker 1: I'm just like, that's such a family to family thing.

909
00:53:41,719 --> 00:53:44,520
Speaker 1: I'm like, my family for sure would not have told me.

910
00:53:45,040 --> 00:53:47,720
Speaker 1: But then it's like, I don't know, it's a family

911
00:53:47,760 --> 00:53:49,839
Speaker 1: to family thing. I don't know, right, I'd like to

912
00:53:49,880 --> 00:53:52,960
Speaker 1: hear what what our listeners think. But for me, that

913
00:53:53,400 --> 00:53:56,120
Speaker 1: scene where more or less he comes out to his

914
00:53:56,680 --> 00:54:00,920
Speaker 1: niece by saying, yes, I fell in love with someone

915
00:54:01,040 --> 00:54:03,080
Speaker 1: and I was very much in love with him, and

916
00:54:03,120 --> 00:54:05,799
Speaker 1: all of goes him it was a boy. You fell

917
00:54:05,840 --> 00:54:07,279
Speaker 1: in love with a boy And he's like, yes, I

918
00:54:07,280 --> 00:54:11,040
Speaker 1: did very much. And she's like, oh, that's silly. But

919
00:54:11,160 --> 00:54:13,520
Speaker 1: we don't get the sense that it's she's like hateful

920
00:54:13,719 --> 00:54:15,520
Speaker 1: or anything like that. This is just the first time

921
00:54:15,600 --> 00:54:19,439
Speaker 1: she's heard of a man being in love with another man.

922
00:54:19,880 --> 00:54:22,520
Speaker 1: And like, you know, there's always the debate of like, well,

923
00:54:22,520 --> 00:54:26,960
Speaker 1: how are we going to explain homosexuality to children? They

924
00:54:27,320 --> 00:54:30,359
Speaker 1: are gonna get it right, and it's like turns out

925
00:54:30,400 --> 00:54:33,520
Speaker 1: it's pretty easy, like they totally yeah, I thought it

926
00:54:33,520 --> 00:54:38,439
Speaker 1: was thoughtfully done. And sure kids might not fully understand

927
00:54:38,760 --> 00:54:42,920
Speaker 1: immediately or they might have a reaction like oh that's silly.

928
00:54:43,080 --> 00:54:45,080
Speaker 1: I mean, at least at this time where there's not

929
00:54:45,280 --> 00:54:47,479
Speaker 1: I mean, and this ties to media of like they're

930
00:54:47,520 --> 00:54:50,880
Speaker 1: just is not a lot of queer media for children

931
00:54:50,920 --> 00:54:53,160
Speaker 1: to even introduce, Like if you don't have a queer

932
00:54:53,200 --> 00:54:56,960
Speaker 1: person in your immediate life as a kid, the media

933
00:54:57,040 --> 00:55:00,560
Speaker 1: doesn't do much to educate on it. So right, and

934
00:55:00,560 --> 00:55:02,480
Speaker 1: then like I mean they turn on the TV and

935
00:55:02,520 --> 00:55:05,160
Speaker 1: the motel and like George W. Bush is giving a

936
00:55:05,160 --> 00:55:07,040
Speaker 1: speech and we're like, oh right, this was during the

937
00:55:07,040 --> 00:55:12,360
Speaker 1: Bush presidency. Yeah. I And and another just good writing

938
00:55:13,280 --> 00:55:14,880
Speaker 1: as it pertains to I mean, there's a lot of

939
00:55:14,920 --> 00:55:18,240
Speaker 1: good writing going on with Frank just almost in every

940
00:55:18,440 --> 00:55:21,160
Speaker 1: and and Steve Kroll is so good in this world,

941
00:55:21,200 --> 00:55:25,200
Speaker 1: like he's so good. But the movie does not define

942
00:55:25,880 --> 00:55:28,719
Speaker 1: Frank by his queerness, which I feel like is a

943
00:55:28,719 --> 00:55:31,400
Speaker 1: bad writing choice that has made all the time. And

944
00:55:31,440 --> 00:55:36,760
Speaker 1: it also doesn't explicitly tie his like suicidality to queerness,

945
00:55:36,800 --> 00:55:39,440
Speaker 1: because I feel like there's it is also very common

946
00:55:39,520 --> 00:55:43,319
Speaker 1: to other a queer character and and make that their

947
00:55:43,520 --> 00:55:46,800
Speaker 1: entire arc has to do with their sexuality, and Frank's

948
00:55:46,880 --> 00:55:49,799
Speaker 1: arc really doesn't have much to do with his sexuality.

949
00:55:49,840 --> 00:55:54,400
Speaker 1: It has to do with a failed relationship, and it

950
00:55:54,440 --> 00:55:58,120
Speaker 1: has to do with a professional failure, which I feel

951
00:55:58,120 --> 00:56:00,560
Speaker 1: like it's just it's just like having an in queer

952
00:56:00,640 --> 00:56:04,280
Speaker 1: character who has proceeded to be written like a person,

953
00:56:04,440 --> 00:56:07,440
Speaker 1: which is like what everyone should do. I just I

954
00:56:07,480 --> 00:56:09,719
Speaker 1: was really because in two thousands six you just never

955
00:56:09,760 --> 00:56:12,600
Speaker 1: know what people are. But but it just it is

956
00:56:12,640 --> 00:56:15,000
Speaker 1: like I thought, really, I thought was really well done.

957
00:56:15,080 --> 00:56:19,719
Speaker 1: Of like Frank is not really uthered or defined by

958
00:56:19,760 --> 00:56:21,920
Speaker 1: his sexuality in the way that I feel like a

959
00:56:22,000 --> 00:56:25,959
Speaker 1: lesser two thousand six writer would do for sure for sure,

960
00:56:26,160 --> 00:56:30,279
Speaker 1: And I like the Michael aren't rights different types of

961
00:56:30,320 --> 00:56:34,120
Speaker 1: toxic masculinity or just like male fragility in general clashing

962
00:56:34,120 --> 00:56:36,920
Speaker 1: with each other in such a good way, where like

963
00:56:37,320 --> 00:56:41,600
Speaker 1: the way that Richard and Frank's fragility brushes against each

964
00:56:41,640 --> 00:56:45,200
Speaker 1: other is so like, oh, I see it, like they

965
00:56:45,239 --> 00:56:47,880
Speaker 1: have the same problem and they don't even realize it.

966
00:56:48,400 --> 00:56:52,080
Speaker 1: Where where you know they think like this, other persons

967
00:56:52,120 --> 00:56:55,399
Speaker 1: like such an asshole, and I don't like them, and like,

968
00:56:55,960 --> 00:56:58,000
Speaker 1: I think that like it. It's sort of implied that

969
00:56:58,120 --> 00:57:01,239
Speaker 1: Richard thinks that like Frank is like academic and he's

970
00:57:01,280 --> 00:57:05,560
Speaker 1: just like pretentious, and Frank thinks that Richard is a fraud,

971
00:57:05,880 --> 00:57:08,760
Speaker 1: and they're both kind of right, but it's like boils

972
00:57:08,800 --> 00:57:13,359
Speaker 1: down to they both feel like professional failures, but they

973
00:57:13,360 --> 00:57:15,719
Speaker 1: don't want to admit that to themselves, and therefore we'll

974
00:57:15,719 --> 00:57:18,520
Speaker 1: never talk about it, and therefore they'll hate each other forever.

975
00:57:18,800 --> 00:57:21,520
Speaker 1: And you're just like, oh, it's so I mean with

976
00:57:21,680 --> 00:57:24,440
Speaker 1: people of all genders, where it's just like, oh, their enemies,

977
00:57:24,440 --> 00:57:29,760
Speaker 1: but they don't understand they have the same They should

978
00:57:29,880 --> 00:57:35,200
Speaker 1: just see you. They're pissed and I and I really

979
00:57:35,480 --> 00:57:41,000
Speaker 1: I thought it was pretty thoughtfully done how Frank's at

980
00:57:41,040 --> 00:57:45,320
Speaker 1: the beginning of Frank's story is handled as well, where

981
00:57:45,800 --> 00:57:48,760
Speaker 1: he um has tried to take his own life and

982
00:57:48,920 --> 00:57:53,400
Speaker 1: survives and his sister Tony class his sister. Yes, they're

983
00:57:53,520 --> 00:57:55,640
Speaker 1: they're sister and brother. I kept I was like, I

984
00:57:55,720 --> 00:57:57,880
Speaker 1: kept forgetting who was related to but he and so

985
00:57:57,880 --> 00:58:00,280
Speaker 1: so she goes to get him and brings him to

986
00:58:00,560 --> 00:58:05,080
Speaker 1: the house and just the way that just like pulling

987
00:58:05,120 --> 00:58:07,480
Speaker 1: from my own experience, it is kind of like fun

988
00:58:08,240 --> 00:58:10,280
Speaker 1: I mean, it's not funny, but in a way, it

989
00:58:10,360 --> 00:58:12,960
Speaker 1: kind of is. Where it's like when you bring someone

990
00:58:13,040 --> 00:58:16,160
Speaker 1: home who has attempted to take their own life, they

991
00:58:16,200 --> 00:58:19,560
Speaker 1: don't want to like be with you, and they don't

992
00:58:19,560 --> 00:58:22,280
Speaker 1: want to like sit with an open door, and like

993
00:58:22,560 --> 00:58:26,720
Speaker 1: you're like sister's house smells weird and just it's just

994
00:58:26,800 --> 00:58:30,080
Speaker 1: like the whole situation sucks and no one knows how

995
00:58:30,080 --> 00:58:32,840
Speaker 1: to deal with it. And it was not I mean,

996
00:58:33,080 --> 00:58:34,840
Speaker 1: and I'm in no way implying this is funny, but

997
00:58:34,920 --> 00:58:37,000
Speaker 1: just like based on my own experience of coming home

998
00:58:37,000 --> 00:58:40,120
Speaker 1: after something like that and like being left in like

999
00:58:40,440 --> 00:58:42,360
Speaker 1: rooms with the door opened and my dad would kind

1000
00:58:42,360 --> 00:58:45,880
Speaker 1: of just walk in and be like like, just like

1001
00:58:46,280 --> 00:58:48,360
Speaker 1: no one really knows how to handle And I thought

1002
00:58:48,360 --> 00:58:52,320
Speaker 1: that that situation was handled in a way that wasn't.

1003
00:58:52,520 --> 00:58:55,160
Speaker 1: I mean, again, it's just like it isn't tragedy porn.

1004
00:58:55,560 --> 00:58:59,200
Speaker 1: It's dealt with in a grounded way, and you know,

1005
00:58:59,240 --> 00:59:01,120
Speaker 1: it's like the family is doing their best. They they

1006
00:59:01,160 --> 00:59:03,680
Speaker 1: are not equipped to handle this. I also thought it

1007
00:59:03,720 --> 00:59:05,960
Speaker 1: was really thoughtful touch how they added in that throw

1008
00:59:05,960 --> 00:59:09,840
Speaker 1: a line of dialogue about insurance. Yes, how they said, like,

1009
00:59:10,080 --> 00:59:12,000
Speaker 1: you know, we'd love to keep him longer, but we

1010
00:59:12,040 --> 00:59:15,000
Speaker 1: can't because of insurance, which happens in these situations more

1011
00:59:15,080 --> 00:59:18,000
Speaker 1: often than not. And yeah, I just thought that that

1012
00:59:18,040 --> 00:59:21,320
Speaker 1: whole storyline was dealt with very well. Yeah, I mean,

1013
00:59:21,440 --> 00:59:24,880
Speaker 1: I don't get me started on health care, health, insurance,

1014
00:59:24,920 --> 00:59:32,800
Speaker 1: all that stuff. Listen to Sludge for that. But yeah,

1015
00:59:32,880 --> 00:59:36,320
Speaker 1: I was I was really impressed by at this time

1016
00:59:37,080 --> 00:59:41,840
Speaker 1: in cinema history and basically throughout all time, you know,

1017
00:59:41,920 --> 00:59:45,560
Speaker 1: mental illness. Mental health was not handled well in most media.

1018
00:59:45,960 --> 00:59:50,400
Speaker 1: It was still deeply, deeply stigmatized. Maybe I'm missing something,

1019
00:59:50,440 --> 00:59:53,800
Speaker 1: but it didn't feel to me as though anything about

1020
00:59:54,360 --> 00:59:57,560
Speaker 1: Frank's mental illness. To me, it felt like there was

1021
00:59:57,640 --> 01:00:03,640
Speaker 1: no real stigma that the movie subscribes to maybe certain characters,

1022
01:00:04,040 --> 01:00:10,800
Speaker 1: namely who can't deal and doesn't that man needs therapy? Yeah,

1023
01:00:11,680 --> 01:00:15,200
Speaker 1: just yeah, which, But I feel like he's reflecting like

1024
01:00:15,600 --> 01:00:19,960
Speaker 1: the opinion of okay about to get Galaxy brand, the

1025
01:00:20,000 --> 01:00:24,280
Speaker 1: opinion of capitalism, Like he's just regurgitating the American dream

1026
01:00:24,360 --> 01:00:27,360
Speaker 1: take on struggling with mental illness, which is that it's

1027
01:00:27,480 --> 01:00:32,480
Speaker 1: unproductive and therefore for losers it's not serving capitalism. Yeah,

1028
01:00:32,600 --> 01:00:36,040
Speaker 1: just pick yourself up by your bootstraps and just like

1029
01:00:36,200 --> 01:00:39,000
Speaker 1: deal with it exactly. Yeah, so stuff like that. Yeah,

1030
01:00:39,000 --> 01:00:41,480
Speaker 1: I thought it was really like, no one knows how

1031
01:00:41,520 --> 01:00:43,920
Speaker 1: to handle that situation. No family is going to deal

1032
01:00:43,960 --> 01:00:47,400
Speaker 1: with it perfectly, but everyone is trying. I like, I

1033
01:00:47,440 --> 01:00:49,960
Speaker 1: really liked that quick scene with Paul Dano and Steve

1034
01:00:50,000 --> 01:00:52,520
Speaker 1: Carell where he writes on his notepad like, please don't

1035
01:00:52,640 --> 01:00:57,439
Speaker 1: kill yourself because it's again, it's just like the specifics

1036
01:00:57,440 --> 01:01:00,160
Speaker 1: of that situation. It's like you can tell Paul, I know,

1037
01:01:00,320 --> 01:01:01,920
Speaker 1: was like, I love my uncle and I don't want

1038
01:01:01,960 --> 01:01:04,400
Speaker 1: him to die. Also, that would be a very stressful

1039
01:01:04,400 --> 01:01:07,880
Speaker 1: thing to happen in my room. Like, you know, it's

1040
01:01:07,960 --> 01:01:10,480
Speaker 1: just it's really well done. I don't know, it's just

1041
01:01:10,600 --> 01:01:13,160
Speaker 1: it's so rare to see a situation like that. There

1042
01:01:13,000 --> 01:01:15,920
Speaker 1: are a number of times in this movie where I

1043
01:01:15,960 --> 01:01:18,560
Speaker 1: thought about the royal Ton in Bombs and how much

1044
01:01:18,600 --> 01:01:20,520
Speaker 1: better this movie is than The royal Ton in Bombs.

1045
01:01:20,880 --> 01:01:24,200
Speaker 1: Oh yeah, because that's another movie that has a long

1046
01:01:24,440 --> 01:01:28,120
Speaker 1: opening montage where you meet the whole family and you

1047
01:01:28,200 --> 01:01:32,680
Speaker 1: have a character who attempts to take their own life,

1048
01:01:33,240 --> 01:01:35,880
Speaker 1: and just I feel like everything that The Royal Town

1049
01:01:35,920 --> 01:01:38,560
Speaker 1: of Bombs does well, almost everything, because we still need,

1050
01:01:38,600 --> 01:01:42,720
Speaker 1: as we said, more Tony Collette information. Uh but but

1051
01:01:42,880 --> 01:01:44,760
Speaker 1: like the reyal Ton of Moms are a huge thing

1052
01:01:44,840 --> 01:01:47,280
Speaker 1: with that opening montage was that we only find out

1053
01:01:47,320 --> 01:01:50,600
Speaker 1: about the female characters as they relate to the male characters.

1054
01:01:51,040 --> 01:01:54,400
Speaker 1: And the way that the suicide plot line was handled

1055
01:01:54,400 --> 01:01:58,320
Speaker 1: in that movie was pretty atrocious. And you see similar

1056
01:01:58,360 --> 01:02:00,520
Speaker 1: themes pop up in this movie that they that is

1057
01:02:00,600 --> 01:02:05,800
Speaker 1: just done far more thoughtfully. And yeah, I agree a

1058
01:02:05,880 --> 01:02:09,560
Speaker 1: couple other just kind of quick things that I had.

1059
01:02:10,240 --> 01:02:12,400
Speaker 1: Um Well, I guess I want to talk about more

1060
01:02:12,480 --> 01:02:16,880
Speaker 1: about just the idea of pageants, beauty pageants, all that

1061
01:02:17,400 --> 01:02:21,000
Speaker 1: pageant movies. We have almost all of them pretty more

1062
01:02:21,040 --> 01:02:25,560
Speaker 1: or less. We have done Miss Congeniality on the main feed,

1063
01:02:25,640 --> 01:02:32,160
Speaker 1: and then let's not forget about Pigentials, which we did

1064
01:02:32,640 --> 01:02:37,360
Speaker 1: a few januaries ago and we covered dropped out Gorgeous

1065
01:02:37,400 --> 01:02:40,600
Speaker 1: and Dumpling Too great movies. There's a lot of It's

1066
01:02:40,680 --> 01:02:43,959
Speaker 1: it's kind of like it's bizarre because we we don't

1067
01:02:43,960 --> 01:02:50,000
Speaker 1: really funk with pageants, but we generally funk with pageant movies, right,

1068
01:02:50,200 --> 01:02:54,080
Speaker 1: but only because they're usually making a larger point. Yes,

1069
01:02:54,240 --> 01:03:00,240
Speaker 1: And like you already mentioned, the pageant isn't necessarily really

1070
01:03:00,240 --> 01:03:02,440
Speaker 1: what this movie is about. It's more about this family

1071
01:03:02,440 --> 01:03:05,880
Speaker 1: and the family dynamics and them having to get through

1072
01:03:05,960 --> 01:03:08,720
Speaker 1: a bunch of kind of traumatic things that happened to

1073
01:03:08,880 --> 01:03:12,160
Speaker 1: several of them over the course of this trip to

1074
01:03:12,960 --> 01:03:17,480
Speaker 1: a pageant. And then the story does conclude with all

1075
01:03:17,560 --> 01:03:20,720
Speaker 1: of competing and stuff like that, and and then there's

1076
01:03:21,320 --> 01:03:25,480
Speaker 1: a little bit of examination of like, well, it's pretty

1077
01:03:25,520 --> 01:03:29,720
Speaker 1: fucked up that we have little girls compete in these pageants.

1078
01:03:30,200 --> 01:03:33,760
Speaker 1: We are encouraging, like the sexualization of children in in

1079
01:03:33,800 --> 01:03:37,560
Speaker 1: these like children pageants. You know, I don't think again,

1080
01:03:37,600 --> 01:03:42,640
Speaker 1: the movie goes into great detail about I think it.

1081
01:03:42,640 --> 01:03:45,960
Speaker 1: It doesn't. It doesn't say a ton, but I feel

1082
01:03:46,000 --> 01:03:51,520
Speaker 1: like it says enough. Yeah, it's not subtle. It's definitely

1083
01:03:51,520 --> 01:03:55,560
Speaker 1: not subtle, but it's not overbearing. It's not like the

1084
01:03:55,560 --> 01:04:00,160
Speaker 1: The agenda of this movie isn't too indict or like

1085
01:04:00,640 --> 01:04:04,400
Speaker 1: heavily critique pageant culture. There's a little bit of that.

1086
01:04:04,400 --> 01:04:07,880
Speaker 1: There's like a little sliver of it, especially most notably

1087
01:04:08,000 --> 01:04:13,120
Speaker 1: when Dwayne and Richard go to Eryl backstage and they're

1088
01:04:13,160 --> 01:04:15,680
Speaker 1: like they basically said, like, we're not in Kansas anymore.

1089
01:04:16,040 --> 01:04:19,480
Speaker 1: This is a whole different ballgame, olive, Like everyone is

1090
01:04:19,520 --> 01:04:22,360
Speaker 1: going to laugh and ridicule people have like remortgaged their

1091
01:04:22,360 --> 01:04:25,600
Speaker 1: house to be here, like yeah, like, and I thought

1092
01:04:25,640 --> 01:04:28,600
Speaker 1: it was interesting that they're they're I guess all the

1093
01:04:29,200 --> 01:04:33,280
Speaker 1: girls in the Little Miss Sunshine pageant are actual pageant kids. Yes,

1094
01:04:33,360 --> 01:04:35,960
Speaker 1: I read that as well, and that they're like I guess,

1095
01:04:36,200 --> 01:04:37,200
Speaker 1: And I think this was like a kind of a

1096
01:04:37,240 --> 01:04:40,320
Speaker 1: smart thing to do that the pageant parents who came

1097
01:04:40,400 --> 01:04:43,160
Speaker 1: with with the girls were asked what do you think

1098
01:04:43,200 --> 01:04:46,120
Speaker 1: and they were like, well, it's a little over the top,

1099
01:04:46,200 --> 01:04:49,920
Speaker 1: but not too much. And you're like, oh boy, but

1100
01:04:50,040 --> 01:04:54,160
Speaker 1: I've but I've also seen toddlers and tierras, So I

1101
01:04:54,200 --> 01:04:56,760
Speaker 1: don't ask me why. I got sick once and I

1102
01:04:56,800 --> 01:05:00,840
Speaker 1: watched a lot of it. I embarrassingly watched several, many,

1103
01:05:01,000 --> 01:05:05,040
Speaker 1: many episodes of Here comes Sonny Boo Boo. So oh,

1104
01:05:05,080 --> 01:05:09,240
Speaker 1: I forgot that that was where Honey Boo Boo came from. Yeah,

1105
01:05:09,280 --> 01:05:11,360
Speaker 1: I think so. And I think she was a Tyler's

1106
01:05:11,360 --> 01:05:13,560
Speaker 1: and tiarist kids. Well, I'm glad that we at least

1107
01:05:13,760 --> 01:05:17,560
Speaker 1: we very rarely have like an overlapping guilty pleasure. That's

1108
01:05:17,560 --> 01:05:22,360
Speaker 1: a funny yeah. So bottom line is, like I mean,

1109
01:05:22,440 --> 01:05:24,840
Speaker 1: we could have a whole discussion which I think we've

1110
01:05:24,840 --> 01:05:27,960
Speaker 1: already had on various episodes of the podcast, just generally

1111
01:05:28,000 --> 01:05:31,600
Speaker 1: speaking about like maybe beauty pageants aren't that good because

1112
01:05:31,840 --> 01:05:36,880
Speaker 1: you know, there's this emphasis on adhering to Western beauty

1113
01:05:36,960 --> 01:05:42,440
Speaker 1: standards and all those problems that we foist upon women

1114
01:05:42,680 --> 01:05:45,400
Speaker 1: and young girls like from a very early age, like

1115
01:05:45,520 --> 01:05:48,520
Speaker 1: and it's it's the same thing of Richard being like

1116
01:05:48,640 --> 01:05:50,720
Speaker 1: you have to be skinny, don't eat ice cream. We

1117
01:05:50,760 --> 01:05:53,000
Speaker 1: want you to stay skinny, and like just all these

1118
01:05:53,680 --> 01:05:57,480
Speaker 1: all these expectations that we foist upon women and girls

1119
01:05:57,520 --> 01:06:01,240
Speaker 1: about like the your beauty is your most important quality

1120
01:06:01,520 --> 01:06:05,800
Speaker 1: and let's make a whole industry around exploiting that via

1121
01:06:06,160 --> 01:06:09,560
Speaker 1: beauty pageants, and like how fucked up all of that is.

1122
01:06:10,120 --> 01:06:12,360
Speaker 1: But then also like feminism says like you can do

1123
01:06:12,400 --> 01:06:14,800
Speaker 1: whatever you want. So if you want to compute beauty pageants,

1124
01:06:14,840 --> 01:06:20,160
Speaker 1: like if you that there have been like I don't beautiful.

1125
01:06:20,200 --> 01:06:23,040
Speaker 1: It's like a very complicated discussion that we've had in

1126
01:06:23,160 --> 01:06:28,600
Speaker 1: various capacities. I'm not wholesale condemning them, and it's like,

1127
01:06:28,840 --> 01:06:31,680
Speaker 1: you know, there there are different ways to look at

1128
01:06:31,720 --> 01:06:35,800
Speaker 1: I'm I'm not a fan, but I'm like also not

1129
01:06:35,920 --> 01:06:38,600
Speaker 1: petitioning to have them shut down. I don't know, like

1130
01:06:38,680 --> 01:06:40,880
Speaker 1: this this movie is not, you know, making a new

1131
01:06:40,920 --> 01:06:44,520
Speaker 1: point about beauty pageants, but but I don't think it's

1132
01:06:44,560 --> 01:06:47,360
Speaker 1: necessarily trying to. And and I think it is kind

1133
01:06:47,360 --> 01:06:50,160
Speaker 1: of nice that the movie does firmly come down not

1134
01:06:50,320 --> 01:06:53,000
Speaker 1: on the side of it, which is kind of nice

1135
01:06:53,000 --> 01:06:56,160
Speaker 1: because that's like a point that like Miss Congeniality doesn't

1136
01:06:56,160 --> 01:06:59,480
Speaker 1: get there. She wins, you know, Miss Congeniality, and she's like, well,

1137
01:06:59,480 --> 01:07:02,160
Speaker 1: maybe this was nice. I think I'll stay hot, you know,

1138
01:07:02,280 --> 01:07:05,520
Speaker 1: like that that whole thing. So it's like at least

1139
01:07:05,600 --> 01:07:08,240
Speaker 1: little Miss Sunshine, you know, firmly it was like we

1140
01:07:08,280 --> 01:07:11,720
Speaker 1: don't funk with this, which is which is refreshing. Yeah.

1141
01:07:11,800 --> 01:07:15,400
Speaker 1: I think like generally, for the time we spend there,

1142
01:07:15,440 --> 01:07:19,400
Speaker 1: the points that are made are good ones. There was

1143
01:07:20,200 --> 01:07:23,160
Speaker 1: did you see the behind the scenes not that Abigail

1144
01:07:23,240 --> 01:07:27,440
Speaker 1: breslin Um wore like a padded suit to play this character.

1145
01:07:28,280 --> 01:07:32,320
Speaker 1: Oh no, that is a thing that took place. Interesting.

1146
01:07:32,320 --> 01:07:35,600
Speaker 1: I guess that the olive character was described in the

1147
01:07:35,640 --> 01:07:40,720
Speaker 1: script as quote Plump and that Abigail Breslin was asked

1148
01:07:40,800 --> 01:07:48,320
Speaker 1: to wear a padded suit throughout filming. Okay, so I

1149
01:07:49,920 --> 01:07:54,000
Speaker 1: will say I think that that's a bit weird. I

1150
01:07:54,040 --> 01:07:57,240
Speaker 1: think that that's weird in general when a woman is

1151
01:07:57,280 --> 01:07:59,760
Speaker 1: asked to wear a padded suit that does not have

1152
01:07:59,840 --> 01:08:03,000
Speaker 1: to do with like needing to appear pregnant for a role,

1153
01:08:04,000 --> 01:08:06,560
Speaker 1: I generally don't like it right that to me, the

1154
01:08:06,600 --> 01:08:10,000
Speaker 1: idea is like, if your story calls for a character

1155
01:08:10,280 --> 01:08:14,960
Speaker 1: that is plus size, then cast an actor who fits

1156
01:08:14,960 --> 01:08:18,759
Speaker 1: that description, Which is not a slight against Abigail Breslin

1157
01:08:18,800 --> 01:08:22,000
Speaker 1: in anyway. She's you know, sure every small child doing

1158
01:08:22,040 --> 01:08:23,960
Speaker 1: a great job in this movie. But I didn't think

1159
01:08:24,000 --> 01:08:26,439
Speaker 1: that that was kind of a you know, I don't

1160
01:08:26,439 --> 01:08:32,360
Speaker 1: think that that would currently happen. Sure so often the

1161
01:08:32,400 --> 01:08:36,080
Speaker 1: comments game, I don't love it. Uh, here's another thing

1162
01:08:36,360 --> 01:08:39,680
Speaker 1: I didn't love again in this movie, where I do

1163
01:08:40,120 --> 01:08:42,720
Speaker 1: think there's a lot to love. Um, it's a very

1164
01:08:42,720 --> 01:08:46,559
Speaker 1: white movie, as as per most movies. I think the

1165
01:08:46,600 --> 01:08:51,400
Speaker 1: only woman of color we meet is Linda, the bereavement

1166
01:08:51,560 --> 01:08:54,760
Speaker 1: liaison or whatever her job title is. To me, she

1167
01:08:54,920 --> 01:08:58,200
Speaker 1: felt as though she was presented as a bit of

1168
01:08:58,320 --> 01:09:02,320
Speaker 1: a like bitchy obs to goal type because it's like, yeah,

1169
01:09:02,360 --> 01:09:04,799
Speaker 1: I think so her that the character has to sneak

1170
01:09:04,880 --> 01:09:08,680
Speaker 1: past to get dead Grandpa out of the hospital, and

1171
01:09:08,760 --> 01:09:13,320
Speaker 1: she's kind of presented as an obstacle and things kind

1172
01:09:13,320 --> 01:09:17,280
Speaker 1: of there's a conversation between her and Richard that quickly escalates,

1173
01:09:17,400 --> 01:09:20,920
Speaker 1: and to me, it's because like he's being unreasonable and

1174
01:09:20,960 --> 01:09:25,080
Speaker 1: like trying to beat this like entitled white guy who

1175
01:09:25,240 --> 01:09:27,800
Speaker 1: wants to bend the rules and thinks the rules don't

1176
01:09:27,840 --> 01:09:29,960
Speaker 1: apply to him, and she's like, no, that's not how

1177
01:09:30,200 --> 01:09:33,280
Speaker 1: we do things. There are you know, rules and laws

1178
01:09:33,320 --> 01:09:35,800
Speaker 1: we have to abide by. Um. So I'm like on

1179
01:09:35,840 --> 01:09:38,479
Speaker 1: her side during that scene, but I think the movie

1180
01:09:38,800 --> 01:09:42,040
Speaker 1: frames her a bit more again as an obstacle. I

1181
01:09:42,080 --> 01:09:43,639
Speaker 1: agree with that you're saying. I just think that that's

1182
01:09:43,680 --> 01:09:47,600
Speaker 1: maybe not to get to the great scene where they

1183
01:09:47,600 --> 01:09:49,880
Speaker 1: smuggle a corpse out of the hospital. I feel like

1184
01:09:49,920 --> 01:09:53,280
Speaker 1: it's not the best writing in the movie. To like,

1185
01:09:53,360 --> 01:09:56,160
Speaker 1: I feel like there's almost a little bit of like, alright,

1186
01:09:56,200 --> 01:09:58,360
Speaker 1: we can't just have them take a corpse. We have

1187
01:09:58,439 --> 01:10:01,479
Speaker 1: to do something. And so I feel like the way

1188
01:10:01,479 --> 01:10:04,240
Speaker 1: that her character acts and I will. I'm kind of

1189
01:10:04,240 --> 01:10:07,880
Speaker 1: curious if that part was written with a gender in

1190
01:10:08,000 --> 01:10:12,160
Speaker 1: mind when it was done. I could see that part

1191
01:10:12,439 --> 01:10:16,120
Speaker 1: being played by almost anybody. But the way that that

1192
01:10:16,240 --> 01:10:19,960
Speaker 1: character talks to someone whose father has just died doesn't

1193
01:10:20,160 --> 01:10:23,400
Speaker 1: seem very realistic. Where I agree that Richard is being entitled,

1194
01:10:23,400 --> 01:10:26,760
Speaker 1: but like, I mean, that's not how people talk to

1195
01:10:27,360 --> 01:10:30,719
Speaker 1: someone who just found out that their father overdosed on heroin.

1196
01:10:31,160 --> 01:10:34,000
Speaker 1: Like so in general, I was like, I don't I

1197
01:10:34,000 --> 01:10:37,160
Speaker 1: don't think that that scene was in a very grounded movie.

1198
01:10:37,200 --> 01:10:39,840
Speaker 1: That that scene and the cops scene, you're just like,

1199
01:10:41,120 --> 01:10:44,400
Speaker 1: all right, I don't really, this doesn't seem like a

1200
01:10:44,439 --> 01:10:48,720
Speaker 1: person who exists, but whatever. Yeah, but I mean, yeah,

1201
01:10:48,720 --> 01:10:51,200
Speaker 1: it is an extremely white movie. We're spending the whole

1202
01:10:51,200 --> 01:10:54,040
Speaker 1: time with this white family and then which just leads

1203
01:10:54,080 --> 01:10:56,760
Speaker 1: to the only people of color being you know, in

1204
01:10:57,000 --> 01:11:00,919
Speaker 1: very small roles or used you know, in the background,

1205
01:11:01,000 --> 01:11:05,080
Speaker 1: where there are some girls of color in the pageant,

1206
01:11:05,160 --> 01:11:06,640
Speaker 1: but we don't know who they are, we don't know

1207
01:11:06,680 --> 01:11:09,040
Speaker 1: what they're doing. They're just you know, and there's people

1208
01:11:09,080 --> 01:11:12,439
Speaker 1: at the page but it's just background, which is also

1209
01:11:12,560 --> 01:11:17,879
Speaker 1: kind of inherent to this like wave of India aesthetic

1210
01:11:18,000 --> 01:11:20,920
Speaker 1: movies that came out in the two thousand's. It's all

1211
01:11:21,000 --> 01:11:25,880
Speaker 1: about white families, you know. And I think that the

1212
01:11:26,400 --> 01:11:29,320
Speaker 1: revelation was that there was acoustic music and that the

1213
01:11:29,320 --> 01:11:35,240
Speaker 1: white families weren't always rich. But it wasn't like and

1214
01:11:35,280 --> 01:11:37,240
Speaker 1: the movies were too long. Not this one, but a

1215
01:11:37,320 --> 01:11:40,000
Speaker 1: lot of them. So it was just kind of like

1216
01:11:40,400 --> 01:11:42,200
Speaker 1: that thing we talked about all the time where it's

1217
01:11:42,200 --> 01:11:46,320
Speaker 1: like the smallest step out of the norm for a

1218
01:11:46,439 --> 01:11:49,200
Speaker 1: comedy and they're like, well, wait, wait, wait, wait, the

1219
01:11:49,240 --> 01:11:53,000
Speaker 1: white people are they're not millionaires, and we're supposed to

1220
01:11:53,040 --> 01:11:56,360
Speaker 1: be like we did it, you know. Yeah, yeah, so

1221
01:11:56,439 --> 01:12:00,000
Speaker 1: for sure. Oh I'm forgetting about Miss California. Oh yeah,

1222
01:12:00,000 --> 01:12:03,880
Speaker 1: Miss California Frozen Yogurt icon Miss California um is also

1223
01:12:03,920 --> 01:12:08,400
Speaker 1: a woman of Color miss icon and Froyo Officion Froyo

1224
01:12:08,640 --> 01:12:14,000
Speaker 1: icon um also feminist icon. Kirby the guy who puts

1225
01:12:14,240 --> 01:12:16,479
Speaker 1: all of in the system after they were four minutes

1226
01:12:16,560 --> 01:12:19,559
Speaker 1: late to register. He was I also think that they

1227
01:12:19,600 --> 01:12:22,200
Speaker 1: made the woman, I don't remember the name of the character,

1228
01:12:22,240 --> 01:12:25,920
Speaker 1: the woman who ran the pageant. I'm saying pageant official Jenkins.

1229
01:12:25,960 --> 01:12:29,479
Speaker 1: She was written full shrew. Uh. There was No, that

1230
01:12:29,560 --> 01:12:33,080
Speaker 1: was another character that you're just like, Okay, this is

1231
01:12:33,640 --> 01:12:37,400
Speaker 1: I under we only have twenty minutes left, but this

1232
01:12:37,479 --> 01:12:39,880
Speaker 1: is a bit, you know. But then to kind of

1233
01:12:39,920 --> 01:12:46,160
Speaker 1: contrast that, we get feminist icon stage manager lady. Yeah,

1234
01:12:46,439 --> 01:12:52,160
Speaker 1: she cracked. She was like, yeah, maybe pageants aren't good. Um,

1235
01:12:52,280 --> 01:12:55,840
Speaker 1: one last thing I wanted to just touch on, and

1236
01:12:55,880 --> 01:12:58,160
Speaker 1: I don't know why. I like, this is a thing

1237
01:12:58,200 --> 01:13:01,560
Speaker 1: I have fixated on. So the course of the podcast,

1238
01:13:02,280 --> 01:13:09,439
Speaker 1: but I'm always noticing women's relationship to cars and driving. Yes,

1239
01:13:09,479 --> 01:13:12,680
Speaker 1: I had this too. Yes, So there is believe it

1240
01:13:12,760 --> 01:13:15,720
Speaker 1: or not, folks, there's a stereotype out there on the

1241
01:13:15,720 --> 01:13:20,120
Speaker 1: streets that women be bad at driving. It comes from me,

1242
01:13:20,479 --> 01:13:23,639
Speaker 1: It comes if you. You invented, started it, you started.

1243
01:13:23,720 --> 01:13:27,200
Speaker 1: I suck a driver. I not to brag or anything.

1244
01:13:27,360 --> 01:13:30,040
Speaker 1: Good driver, but I'm an incredible driver, thank you so much,

1245
01:13:30,080 --> 01:13:32,360
Speaker 1: and I have at different points in my life made

1246
01:13:32,360 --> 01:13:37,960
Speaker 1: a career out of it. Hooters delivery girl. Yes, I

1247
01:13:38,120 --> 01:13:43,120
Speaker 1: was a Hooters delivery driver. Anyway, So we see the

1248
01:13:43,240 --> 01:13:48,759
Speaker 1: mom not being able to drive these stick shift But okay,

1249
01:13:48,800 --> 01:13:53,040
Speaker 1: that didn't super bug me because while the car was broken,

1250
01:13:53,240 --> 01:13:56,719
Speaker 1: the car was broken. She's willing to try. We also

1251
01:13:56,760 --> 01:13:59,840
Speaker 1: don't see like the version of this stereotype where she

1252
01:14:00,120 --> 01:14:04,800
Speaker 1: is like driving super recklessly and like causing like a

1253
01:14:04,840 --> 01:14:07,960
Speaker 1: trail of destruction in her path or anything like that,

1254
01:14:08,000 --> 01:14:10,439
Speaker 1: because we see that in a few movies where like

1255
01:14:10,520 --> 01:14:12,920
Speaker 1: some like this oblivious like a woman is just like

1256
01:14:12,960 --> 01:14:15,320
Speaker 1: oblivious when she's behind the wheel of a car and

1257
01:14:15,320 --> 01:14:19,559
Speaker 1: it's just and clueless. Not that sharing right right. I

1258
01:14:19,600 --> 01:14:22,559
Speaker 1: was like wait what yeah, and clueless? Um we get

1259
01:14:22,720 --> 01:14:26,439
Speaker 1: something like that in Cameron Diaz's character in My Best Wedding,

1260
01:14:26,920 --> 01:14:29,600
Speaker 1: Like we see this um now and again, So we

1261
01:14:29,640 --> 01:14:33,040
Speaker 1: don't see that version of this stereotype. And also like

1262
01:14:33,760 --> 01:14:36,960
Speaker 1: I don't know, I tried to learn how to drive

1263
01:14:37,560 --> 01:14:42,560
Speaker 1: a stick shift must also could not learn. So I'm like, okay,

1264
01:14:42,960 --> 01:14:44,880
Speaker 1: it is like one of the few things we learned

1265
01:14:44,920 --> 01:14:47,719
Speaker 1: about her character is that she can't drive a stick

1266
01:14:47,880 --> 01:14:49,600
Speaker 1: and it's like, oh god, the fact that we have

1267
01:14:49,680 --> 01:14:52,880
Speaker 1: to cling to that piece of information. But that also

1268
01:14:53,439 --> 01:14:56,719
Speaker 1: I kind of like how that ended up too, where

1269
01:14:56,760 --> 01:15:00,439
Speaker 1: like she makes an attempt to drive and the clutch

1270
01:15:00,479 --> 01:15:02,840
Speaker 1: isn't working, and like Richard just like, well you just

1271
01:15:02,840 --> 01:15:04,439
Speaker 1: go to like press down on the clutch and you

1272
01:15:04,520 --> 01:15:05,840
Speaker 1: just got it. Has to be on the floor, and

1273
01:15:05,840 --> 01:15:09,439
Speaker 1: she's like, it is on the floor, right, And then

1274
01:15:09,600 --> 01:15:13,599
Speaker 1: when they switch and he's trying it, she's like just

1275
01:15:13,720 --> 01:15:17,240
Speaker 1: pushed down hard, like she's sort of and then like earlier,

1276
01:15:17,880 --> 01:15:19,840
Speaker 1: she's like, you know, I should try I can drive.

1277
01:15:19,840 --> 01:15:22,000
Speaker 1: I'll try to drive. I gotta learn. You know you're

1278
01:15:22,040 --> 01:15:24,479
Speaker 1: doing it. How hard can it be to Richard, who

1279
01:15:24,520 --> 01:15:26,320
Speaker 1: she clearly hates, and I can't wait for them to

1280
01:15:26,360 --> 01:15:30,519
Speaker 1: get divorced the end? Yeah, yeah, I just I mean

1281
01:15:30,760 --> 01:15:34,679
Speaker 1: more Tony Colette. That's just it's it's that simple, more

1282
01:15:34,720 --> 01:15:36,920
Speaker 1: Tony Culette. And we haven't really talked that much about

1283
01:15:36,920 --> 01:15:41,000
Speaker 1: Paul Daniel. I like, I don't know, I like his character.

1284
01:15:41,080 --> 01:15:45,400
Speaker 1: I feel like it's a good expansion on the like

1285
01:15:45,600 --> 01:15:49,000
Speaker 1: broody teen boy character in a way that I guess

1286
01:15:49,000 --> 01:15:53,040
Speaker 1: this just applies to every character, like every character no

1287
01:15:53,080 --> 01:15:56,760
Speaker 1: matter how because it's like to an extent, Dwayne on

1288
01:15:56,920 --> 01:16:00,479
Speaker 1: paper sounds a little silly where he is very determined

1289
01:16:00,640 --> 01:16:03,320
Speaker 1: to get into the Air Force Academy, and you can

1290
01:16:03,360 --> 01:16:05,800
Speaker 1: also sort of see in that way is that his

1291
01:16:05,920 --> 01:16:08,759
Speaker 1: dad's logic has affected him of like he is trying

1292
01:16:08,800 --> 01:16:11,360
Speaker 1: to be a winner. He doesn't like his dad, but

1293
01:16:11,439 --> 01:16:14,000
Speaker 1: it's still you know, parents funk with your head. It's

1294
01:16:14,080 --> 01:16:17,920
Speaker 1: just Cannon. I also think I think he's his stepdad.

1295
01:16:18,080 --> 01:16:21,040
Speaker 1: I think his step sorry, because Tony Clue had a

1296
01:16:21,040 --> 01:16:24,599
Speaker 1: baby when she was twelve and then and then Greg

1297
01:16:24,640 --> 01:16:27,240
Speaker 1: Kunner came into her life. But either way, you can

1298
01:16:27,280 --> 01:16:30,720
Speaker 1: see that Richard's win or loser mentality has also kind

1299
01:16:30,760 --> 01:16:34,240
Speaker 1: of taken seed in a different way with Dwayne, even

1300
01:16:34,240 --> 01:16:36,320
Speaker 1: though even though he doesn't like him, that it's just

1301
01:16:36,360 --> 01:16:39,040
Speaker 1: such a pervasive mentality and has a lot to do

1302
01:16:39,080 --> 01:16:43,280
Speaker 1: with his masculinity. And I just like every character in

1303
01:16:43,320 --> 01:16:48,960
Speaker 1: this family is dealt with with like really thoughtful empathy,

1304
01:16:49,160 --> 01:16:51,960
Speaker 1: so that things that I feel like a lesser writer

1305
01:16:52,520 --> 01:16:57,280
Speaker 1: and lesser movie could easily make that Paul Dano character

1306
01:16:57,680 --> 01:17:02,320
Speaker 1: seemed really silly, but it doesn't. I don't know, just

1307
01:17:02,400 --> 01:17:04,639
Speaker 1: I mean, and that's true with almost every character of

1308
01:17:04,800 --> 01:17:07,280
Speaker 1: like you could make them into a caricature, or you

1309
01:17:07,280 --> 01:17:09,840
Speaker 1: could like really give some insight into where they're coming from.

1310
01:17:09,960 --> 01:17:11,360
Speaker 1: And it gets to that point where it's like that

1311
01:17:11,600 --> 01:17:14,720
Speaker 1: set scene where he finds out he's color blind is devastating.

1312
01:17:14,760 --> 01:17:19,200
Speaker 1: It's so it's so sad, and I like that even

1313
01:17:19,240 --> 01:17:22,519
Speaker 1: when he basically, Paul Dano gets the thesis statement of

1314
01:17:22,520 --> 01:17:26,800
Speaker 1: the movie where he says, like, you know, fuck beauty pageants.

1315
01:17:26,880 --> 01:17:29,680
Speaker 1: Life is like one beauty contest after another, which is

1316
01:17:30,000 --> 01:17:32,719
Speaker 1: even that Like he's right, and it's the thesis statement

1317
01:17:32,720 --> 01:17:35,599
Speaker 1: of the movie. But it's so like teen boy with

1318
01:17:35,640 --> 01:17:38,920
Speaker 1: a bowl cut, like he's just like it's such a man,

1319
01:17:39,120 --> 01:17:41,840
Speaker 1: this sucks. And then you're just like, oh, shut up,

1320
01:17:42,040 --> 01:17:44,200
Speaker 1: like you're right, but shut up. Like it's just so

1321
01:17:44,240 --> 01:17:46,160
Speaker 1: well written. I love it. It's such a like a

1322
01:17:46,479 --> 01:17:49,519
Speaker 1: fifteen year old boy way of saying that. He just

1323
01:17:49,720 --> 01:17:52,040
Speaker 1: he says it like he's the first person to have

1324
01:17:52,120 --> 01:17:55,200
Speaker 1: ever thought of it, Like it's just funny. Also like

1325
01:17:55,600 --> 01:17:58,400
Speaker 1: I don't know if you had this thought, but I

1326
01:17:58,479 --> 01:18:01,360
Speaker 1: was like, oh, man, Like if this character like starts

1327
01:18:01,360 --> 01:18:03,600
Speaker 1: hanging out with like the wrong group of friends, or

1328
01:18:03,600 --> 01:18:07,640
Speaker 1: if he like discovers Reddit he is an insuct, like

1329
01:18:07,720 --> 01:18:10,880
Speaker 1: he will become an insult. Yeah he really. I hope that.

1330
01:18:11,120 --> 01:18:14,400
Speaker 1: I hope I feel like he like the one like

1331
01:18:14,439 --> 01:18:17,920
Speaker 1: the family relationship that I think will improve from this

1332
01:18:18,000 --> 01:18:24,640
Speaker 1: movie is that like Frank and Dwayne will become like close. Yeah.

1333
01:18:24,680 --> 01:18:26,800
Speaker 1: I think that Frank will be a good I think

1334
01:18:26,880 --> 01:18:29,080
Speaker 1: that they have a lot to learn from each other,

1335
01:18:29,479 --> 01:18:31,720
Speaker 1: and I'm happy for them. I hope they go they

1336
01:18:31,760 --> 01:18:35,839
Speaker 1: go on a different road trip. Maybe Dwayne will also

1337
01:18:36,160 --> 01:18:43,639
Speaker 1: end up studying Proust. He I mean, he's already into Nietzsche. Yeah,

1338
01:18:43,880 --> 01:18:46,400
Speaker 1: those guys, you're like that, that's all the same guy

1339
01:18:46,560 --> 01:18:54,040
Speaker 1: basically boring old guy as a job. European writers from

1340
01:18:54,120 --> 01:18:57,040
Speaker 1: a different century than the one we're in. It seems

1341
01:18:57,080 --> 01:19:00,760
Speaker 1: like they make sense as relatives. Yeah, me with do

1342
01:19:00,800 --> 01:19:04,160
Speaker 1: you have anything else? I also didn't know. So Michael Aren't,

1343
01:19:04,200 --> 01:19:07,479
Speaker 1: I mean, he's just he is interesting to me because he's, uh,

1344
01:19:07,479 --> 01:19:09,519
Speaker 1: this has nothing to do with feminism. This is just

1345
01:19:09,560 --> 01:19:13,320
Speaker 1: a like interesting. There is like such a well tracked

1346
01:19:13,920 --> 01:19:20,879
Speaker 1: pattern of like screenwriter writing one really well received good

1347
01:19:20,920 --> 01:19:25,760
Speaker 1: thing and then being offered Infinity money and they're then

1348
01:19:25,760 --> 01:19:28,679
Speaker 1: they're writing blockbusters for the rest of their career. Where

1349
01:19:28,840 --> 01:19:31,640
Speaker 1: Michael Aren't wrote Little Miss Sunshine. That was like his

1350
01:19:31,720 --> 01:19:34,760
Speaker 1: first major release. It was a huge success and his

1351
01:19:34,760 --> 01:19:38,160
Speaker 1: biggest writer writing credits since then Our Toy Story three.

1352
01:19:38,360 --> 01:19:40,640
Speaker 1: He was the one that put Woody in the Incinerator.

1353
01:19:41,840 --> 01:19:45,720
Speaker 1: He is a credited writer on The Force Awakens, and

1354
01:19:45,800 --> 01:19:50,160
Speaker 1: so he's only really done like big movie since then,

1355
01:19:50,160 --> 01:19:53,080
Speaker 1: and he'll sometimes rewrite big movies and the Hunger Games,

1356
01:19:53,120 --> 01:19:56,960
Speaker 1: Catching Fire hung like really a brave He did some

1357
01:19:57,040 --> 01:19:59,920
Speaker 1: work on Brave. Oh wow, how how brave of him.

1358
01:20:00,040 --> 01:20:04,080
Speaker 1: He's very in with the Pixar's crew, it would seem,

1359
01:20:04,120 --> 01:20:06,519
Speaker 1: and he's done. He the one thing. I mean, he's

1360
01:20:06,560 --> 01:20:09,000
Speaker 1: done some indie stuff since then. But it's like, oh,

1361
01:20:09,080 --> 01:20:12,720
Speaker 1: I hope that here's Michael Aren't. If you're listening, he's

1362
01:20:12,720 --> 01:20:15,280
Speaker 1: our biggest fan. It seems like you have enough money

1363
01:20:15,360 --> 01:20:18,760
Speaker 1: for now, and uh, make another fun movie for us

1364
01:20:18,800 --> 01:20:24,240
Speaker 1: to watch. Thanks. Yes, Well that brings us to the

1365
01:20:24,240 --> 01:20:28,320
Speaker 1: the directors, which This movie was co directed by a woman,

1366
01:20:28,439 --> 01:20:32,639
Speaker 1: Valerie Ferris, along with Jonathan Dayton. They are a husband

1367
01:20:32,720 --> 01:20:35,960
Speaker 1: wife directing duo. This was their first feature. They had

1368
01:20:36,000 --> 01:20:39,360
Speaker 1: made a career of directing I think primarily music videos

1369
01:20:39,400 --> 01:20:44,280
Speaker 1: before this. They did that like iconic Smashing Pumpkins Tonight

1370
01:20:44,360 --> 01:20:47,719
Speaker 1: Tonight video. They directed a lot of Mr Shell. They're

1371
01:20:47,880 --> 01:20:51,559
Speaker 1: they're cool. They did that news show where where I

1372
01:20:51,600 --> 01:20:53,479
Speaker 1: mean the prem I didn't watch the show, and the

1373
01:20:53,520 --> 01:20:55,719
Speaker 1: premise of it is annoying to me, but maybe it's good.

1374
01:20:56,200 --> 01:21:00,240
Speaker 1: The new Netflix show where Paul Rudd is Twins, Oh,

1375
01:21:00,400 --> 01:21:03,720
Speaker 1: is not even really on my radar. So that's I

1376
01:21:03,760 --> 01:21:07,160
Speaker 1: think that that's fine. I don't know who. You never

1377
01:21:07,200 --> 01:21:09,920
Speaker 1: know with these things. Um, but and we've kind of

1378
01:21:09,960 --> 01:21:12,360
Speaker 1: touched on this before where it's like, Okay, if a

1379
01:21:12,400 --> 01:21:15,920
Speaker 1: woman does get to like write or direct or code

1380
01:21:15,920 --> 01:21:18,240
Speaker 1: direct or co write a movie, it's usually because like

1381
01:21:18,560 --> 01:21:21,680
Speaker 1: she's a part of like a husband wife writing or

1382
01:21:21,760 --> 01:21:25,160
Speaker 1: directing duo. Because I feel like, you know, the system

1383
01:21:25,240 --> 01:21:28,040
Speaker 1: is such that no one wants to take a chance

1384
01:21:28,120 --> 01:21:31,639
Speaker 1: on just a like one woman. Without a partner as

1385
01:21:31,720 --> 01:21:36,400
Speaker 1: your creative partner, it's much less likely that anyone will

1386
01:21:36,400 --> 01:21:38,720
Speaker 1: take a chance on you and hire you. Yeah, which

1387
01:21:38,760 --> 01:21:42,240
Speaker 1: has been true since the beginning of movies, where like

1388
01:21:42,280 --> 01:21:45,960
Speaker 1: some of the first female screenwriters, like they were extremely talented,

1389
01:21:45,960 --> 01:21:47,599
Speaker 1: but they were able to get in on the ground

1390
01:21:47,600 --> 01:21:51,760
Speaker 1: floor because of a position that their spouse held. So,

1391
01:21:51,840 --> 01:21:53,720
Speaker 1: I mean, we don't know what the story is with

1392
01:21:53,760 --> 01:21:57,120
Speaker 1: this directing couple. They're great, Like I like their stuff.

1393
01:21:57,880 --> 01:21:59,839
Speaker 1: Maybe I mean, maybe they don't want to work separately.

1394
01:22:00,240 --> 01:22:03,000
Speaker 1: I would be I would be interested to see. You know,

1395
01:22:03,080 --> 01:22:04,720
Speaker 1: It's it's hard. I mean it's like, yeah, we just

1396
01:22:04,760 --> 01:22:08,360
Speaker 1: don't know what her exact input was, but a Valerie

1397
01:22:08,720 --> 01:22:11,080
Speaker 1: come on the cast and let us know. She's also

1398
01:22:11,200 --> 01:22:13,200
Speaker 1: our biggest fan, and she's our other biggest fans, so

1399
01:22:13,240 --> 01:22:17,880
Speaker 1: she's listening, so she's she's everyone involved in this movie listens.

1400
01:22:18,160 --> 01:22:20,240
Speaker 1: Paul Danna used to come to the coffee shop that

1401
01:22:20,280 --> 01:22:23,439
Speaker 1: I lived near. Oh no way. Yeah, And one time

1402
01:22:23,600 --> 01:22:27,040
Speaker 1: Melissa Lozada Aliva, friend of the cast, was staying with

1403
01:22:27,080 --> 01:22:29,599
Speaker 1: me and he she was like reading a book because

1404
01:22:29,680 --> 01:22:32,679
Speaker 1: she's like that, she's reading a book at the coffee

1405
01:22:32,720 --> 01:22:37,040
Speaker 1: shop whatever books, and and then Paul Dana was like,

1406
01:22:37,439 --> 01:22:41,200
Speaker 1: that book's good, and she was like he was very exciting.

1407
01:22:41,560 --> 01:22:43,599
Speaker 1: And then she ran back to my house and was like,

1408
01:22:43,640 --> 01:22:49,480
Speaker 1: Paul Danna read a book. It was really really exciting stuff. Incredible,

1409
01:22:49,600 --> 01:22:51,720
Speaker 1: Thank you. But yeah, I think that's all I had.

1410
01:22:51,760 --> 01:22:54,479
Speaker 1: Do you have anything else? I think that's everything? Yeah. No,

1411
01:22:54,720 --> 01:22:57,920
Speaker 1: I um, I really like this movie. But does it

1412
01:22:58,040 --> 01:23:02,240
Speaker 1: pass the Betel test? It does, again, not as much

1413
01:23:02,280 --> 01:23:05,800
Speaker 1: as you wouldn't necessarily think. I think it goes back

1414
01:23:05,840 --> 01:23:09,439
Speaker 1: to the I want a stronger relationship between Olive and

1415
01:23:09,520 --> 01:23:12,880
Speaker 1: Cheryl thing, and you do get some tender moments, you know,

1416
01:23:12,920 --> 01:23:15,759
Speaker 1: you get that moment when they're in the hospital and

1417
01:23:15,960 --> 01:23:19,519
Speaker 1: you know, she gives this whole speech about like we're

1418
01:23:19,560 --> 01:23:21,720
Speaker 1: going to have a family meaning and you know, we

1419
01:23:21,800 --> 01:23:24,479
Speaker 1: have to stick together and I just love you guys

1420
01:23:24,560 --> 01:23:28,160
Speaker 1: so much. And then we get the Dwayne is like

1421
01:23:28,200 --> 01:23:31,479
Speaker 1: writes on his little you know, notepad, like go hug mom,

1422
01:23:31,920 --> 01:23:34,680
Speaker 1: I know, which is such a sweet older sibling thing

1423
01:23:34,760 --> 01:23:37,800
Speaker 1: to do to You're just like, but what I really

1424
01:23:37,840 --> 01:23:43,840
Speaker 1: want is more screen time between Olive and Cheryl and

1425
01:23:43,960 --> 01:23:47,280
Speaker 1: for that relationship to be explored more, and for Cheryl

1426
01:23:47,320 --> 01:23:50,040
Speaker 1: as a character to just be given more of an

1427
01:23:50,040 --> 01:23:54,120
Speaker 1: interior life. And because there was room dedicated to all

1428
01:23:54,240 --> 01:23:58,439
Speaker 1: the other characters at length. At length, I mean, it

1429
01:23:58,680 --> 01:24:02,400
Speaker 1: would have been a real, like, I mean, a super

1430
01:24:02,439 --> 01:24:05,080
Speaker 1: issue if we were not getting enough Olive on top

1431
01:24:05,120 --> 01:24:07,720
Speaker 1: of that. But it's like, you know, the women in

1432
01:24:07,760 --> 01:24:10,360
Speaker 1: this van are already out numbered. Don't short change one

1433
01:24:10,400 --> 01:24:13,439
Speaker 1: of them unfortunately. Mean, yeah, I think the Bechtel test

1434
01:24:13,560 --> 01:24:15,880
Speaker 1: problem this is this is actually a movie where I

1435
01:24:15,880 --> 01:24:18,280
Speaker 1: feel like the Bechdel test is a very useful metric

1436
01:24:18,320 --> 01:24:20,680
Speaker 1: to use, which isn't true for it but but for

1437
01:24:20,720 --> 01:24:22,800
Speaker 1: this one, I think it is because it just it

1438
01:24:22,920 --> 01:24:25,799
Speaker 1: it passes but but not as much as it should

1439
01:24:26,000 --> 01:24:29,960
Speaker 1: given who's in it. I think the one the conversation

1440
01:24:29,960 --> 01:24:33,160
Speaker 1: that I was really locked onto was um towards the end,

1441
01:24:33,200 --> 01:24:37,160
Speaker 1: when Cheryl is like basically gives Alive an out if

1442
01:24:37,240 --> 01:24:38,760
Speaker 1: she wants it. She's like, you know, if you sat

1443
01:24:38,840 --> 01:24:42,160
Speaker 1: this one out because because she also I think senses

1444
01:24:42,200 --> 01:24:46,360
Speaker 1: that Olive is apprehensive about competing, because she is looking

1445
01:24:46,400 --> 01:24:49,320
Speaker 1: at the other girls and she's she knows that she

1446
01:24:49,520 --> 01:24:52,000
Speaker 1: is she scared. There's that scene where she looks at

1447
01:24:52,000 --> 01:24:55,240
Speaker 1: herself in the mirror. She's examining her body. She's wearing

1448
01:24:55,240 --> 01:24:57,599
Speaker 1: the swimsuit. Why do we have to have little girls

1449
01:24:58,360 --> 01:25:02,519
Speaker 1: parade around in swimsuits to be judged by pageant judges.

1450
01:25:02,760 --> 01:25:05,880
Speaker 1: It's horrifying. But anyway, so like Cheryl's like, you know,

1451
01:25:05,920 --> 01:25:07,320
Speaker 1: all of if you want to set this one out,

1452
01:25:07,680 --> 01:25:09,600
Speaker 1: you can totally do that, but all of us like, no,

1453
01:25:09,840 --> 01:25:13,000
Speaker 1: I'm competing. So that whole exchange was one that I

1454
01:25:13,040 --> 01:25:17,120
Speaker 1: really enjoyed. And shall we rate it on our nipple scale?

1455
01:25:17,439 --> 01:25:21,240
Speaker 1: We shall zero to five nipples based on its representation

1456
01:25:21,400 --> 01:25:24,760
Speaker 1: of women. Even though I would give this movie like

1457
01:25:25,520 --> 01:25:27,040
Speaker 1: I would give it a ten out of ten on

1458
01:25:27,080 --> 01:25:30,599
Speaker 1: the rampometer. I would give it like a five out

1459
01:25:30,600 --> 01:25:33,320
Speaker 1: of five on just like movies I love. But as

1460
01:25:33,360 --> 01:25:36,960
Speaker 1: far as our nipple scale, I would I would go

1461
01:25:37,040 --> 01:25:42,200
Speaker 1: down to maybe like it's three and a half or

1462
01:25:42,280 --> 01:25:44,519
Speaker 1: maybe like an even like a three point to five

1463
01:25:44,960 --> 01:25:49,760
Speaker 1: because even though the female characters we do get to know,

1464
01:25:50,600 --> 01:25:54,160
Speaker 1: I really love them. I love Cheryl's character, even though

1465
01:25:54,200 --> 01:25:58,960
Speaker 1: we're not given a whole lot of additional information about her,

1466
01:25:59,439 --> 01:26:03,719
Speaker 1: just aside from her role in the movie as the mother,

1467
01:26:04,160 --> 01:26:07,519
Speaker 1: just especially because like it's clearly established that she has

1468
01:26:07,560 --> 01:26:09,439
Speaker 1: a job and we just don't find out what it

1469
01:26:09,520 --> 01:26:12,280
Speaker 1: is that we don't know anything about her, and it

1470
01:26:12,320 --> 01:26:15,759
Speaker 1: was frustrating. But even so I do, I do love

1471
01:26:15,800 --> 01:26:19,400
Speaker 1: her character. I'm so on her side all of the

1472
01:26:19,560 --> 01:26:22,720
Speaker 1: all of get it all of the time. Well that

1473
01:26:22,800 --> 01:26:25,800
Speaker 1: brings me to all of who I also really love,

1474
01:26:25,960 --> 01:26:30,360
Speaker 1: Like she's such a sweet little girl. And yeah, I

1475
01:26:30,439 --> 01:26:33,639
Speaker 1: just this is a movie that I guess is about

1476
01:26:33,640 --> 01:26:37,120
Speaker 1: a family unit that I think should give more focus

1477
01:26:37,240 --> 01:26:41,080
Speaker 1: to the female characters and that relationship between those two

1478
01:26:41,120 --> 01:26:45,120
Speaker 1: female characters, so them as individuals and them as a

1479
01:26:45,280 --> 01:26:48,120
Speaker 1: like mother daughter dynamic. I would have loved to see

1480
01:26:48,160 --> 01:26:51,280
Speaker 1: that explored more but even so, I think I'll go

1481
01:26:51,360 --> 01:26:54,720
Speaker 1: with a three point five because it handles a lot

1482
01:26:54,760 --> 01:26:57,920
Speaker 1: of other things well, as we've discussed the portrayal of

1483
01:26:57,960 --> 01:27:01,960
Speaker 1: mental illness, the fact that we have of a queer character,

1484
01:27:02,160 --> 01:27:05,760
Speaker 1: which by my point of view, and again, you know,

1485
01:27:05,880 --> 01:27:08,240
Speaker 1: I might be coming in with some blind spots here,

1486
01:27:08,240 --> 01:27:12,480
Speaker 1: but it felt to me like that was handled pretty responsibly.

1487
01:27:13,240 --> 01:27:17,840
Speaker 1: And yeah, it's just as a sweet I love a

1488
01:27:17,920 --> 01:27:21,560
Speaker 1: dark comedy, you know, I love I love that climactic

1489
01:27:21,600 --> 01:27:24,120
Speaker 1: sequence when the entire family gets on stage, which is

1490
01:27:24,160 --> 01:27:29,080
Speaker 1: like kind of signifies every character arc that we see,

1491
01:27:29,240 --> 01:27:33,280
Speaker 1: even though again Cheryld isn't really given much of an arc.

1492
01:27:33,360 --> 01:27:35,559
Speaker 1: All the other the men get to change, but the

1493
01:27:35,640 --> 01:27:40,160
Speaker 1: woman stays pretty static throughout, but only because she's already

1494
01:27:40,160 --> 01:27:42,640
Speaker 1: such a good mom. I don't know. Three and a

1495
01:27:42,680 --> 01:27:45,920
Speaker 1: half nipples, um, I'll give one to Tony Colette, I

1496
01:27:45,920 --> 01:27:51,040
Speaker 1: will give one to Abigail Breslin, I will give one

1497
01:27:51,720 --> 01:27:57,439
Speaker 1: to the Volkswagen Bus, and I'll give my half nipple.

1498
01:27:58,560 --> 01:28:01,680
Speaker 1: I'll give it to Uncle Fry. I'm going to give

1499
01:28:01,720 --> 01:28:05,240
Speaker 1: this a three point five as well, for for much

1500
01:28:05,320 --> 01:28:07,640
Speaker 1: the same reasons. I feel like there is an opportunity

1501
01:28:07,800 --> 01:28:12,519
Speaker 1: for I mean, of all the male relationships we get

1502
01:28:12,520 --> 01:28:15,800
Speaker 1: to explore in this movie, whether it be between I mean,

1503
01:28:15,880 --> 01:28:18,200
Speaker 1: there was a moment where I was like, oh, yes,

1504
01:28:18,280 --> 01:28:21,160
Speaker 1: every movie is about fathers and sons. When Alan Arkin

1505
01:28:21,280 --> 01:28:24,160
Speaker 1: tells Greg Kenear like, I'm proud of you. You tried.

1506
01:28:24,240 --> 01:28:28,040
Speaker 1: That's good. You're just like, Okay, I don't really care. Uh, Like,

1507
01:28:28,360 --> 01:28:30,360
Speaker 1: you find out about that relationship, you find out a

1508
01:28:30,439 --> 01:28:33,280
Speaker 1: little bit about, you know, the tension between Richard and Frank,

1509
01:28:33,439 --> 01:28:36,880
Speaker 1: you find out about the tension between Dwayne and Richard,

1510
01:28:37,040 --> 01:28:40,599
Speaker 1: Like you get a blossoming friendship between Frank and Dwayne,

1511
01:28:40,640 --> 01:28:45,080
Speaker 1: and you just there's not that many versions of relationships

1512
01:28:45,120 --> 01:28:47,360
Speaker 1: for women to have because there's only two and we

1513
01:28:47,400 --> 01:28:51,000
Speaker 1: don't really get it. So that was a little disappointing.

1514
01:28:51,120 --> 01:28:54,639
Speaker 1: And I feel like it's just kind of single male writer,

1515
01:28:55,240 --> 01:28:59,280
Speaker 1: you know, culture of you know, they're they're writing what

1516
01:28:59,360 --> 01:29:01,360
Speaker 1: they know and don't know how to make women talk

1517
01:29:01,360 --> 01:29:03,519
Speaker 1: to each other at length, and so they just don't.

1518
01:29:03,920 --> 01:29:05,880
Speaker 1: So that was a bummer. But I do I agree that.

1519
01:29:05,920 --> 01:29:09,760
Speaker 1: I like that. I mean, Tony Collett can do a

1520
01:29:09,800 --> 01:29:13,080
Speaker 1: lot with a little which I think she does, hear uh.

1521
01:29:13,320 --> 01:29:15,599
Speaker 1: I like that she is the Breadwinner, like, I mean,

1522
01:29:15,880 --> 01:29:18,360
Speaker 1: the frustrating thing is everything I know about her I like,

1523
01:29:18,439 --> 01:29:20,600
Speaker 1: and I wish I knew more, and I wish that

1524
01:29:20,640 --> 01:29:23,439
Speaker 1: the movie almost had like the confidence it has in

1525
01:29:23,560 --> 01:29:27,120
Speaker 1: its male characters to allow her to fail a little

1526
01:29:27,160 --> 01:29:32,400
Speaker 1: bit outside of her maternal role. But ultimately it is

1527
01:29:32,439 --> 01:29:35,920
Speaker 1: a wonderful movie. A laugh too cried it's great. Olive

1528
01:29:36,280 --> 01:29:39,880
Speaker 1: is a wonderful character. I feel like she would be

1529
01:29:39,960 --> 01:29:44,840
Speaker 1: our friend as an adult. So I like she. She's

1530
01:29:44,880 --> 01:29:47,880
Speaker 1: the best. I also think it's so I mean, it

1531
01:29:48,000 --> 01:29:53,120
Speaker 1: is kind of nice to see demonstrated how pervasive beauty

1532
01:29:53,120 --> 01:29:56,120
Speaker 1: pageant culture is. Where I feel like sometimes you get

1533
01:29:56,160 --> 01:29:59,559
Speaker 1: the idea from media of like, oh, only you know

1534
01:29:59,760 --> 01:30:04,080
Speaker 1: young women who have pageant families, or only young women

1535
01:30:04,080 --> 01:30:06,920
Speaker 1: who look a certain way are interested in pageant culture,

1536
01:30:07,200 --> 01:30:11,000
Speaker 1: but it it is so pervasive that it gets to

1537
01:30:11,200 --> 01:30:14,160
Speaker 1: everyone one way or another, and all of you know

1538
01:30:14,320 --> 01:30:17,519
Speaker 1: is in by no means a pageant pushing family, and

1539
01:30:17,560 --> 01:30:21,560
Speaker 1: she still develops, you know, oh, I want to participate.

1540
01:30:21,560 --> 01:30:23,040
Speaker 1: And I think that that's something that you don't really

1541
01:30:23,040 --> 01:30:27,479
Speaker 1: see acknowledged a lot. So I liked I like that.

1542
01:30:27,520 --> 01:30:29,240
Speaker 1: I like her. I want to know what she's like

1543
01:30:29,280 --> 01:30:32,679
Speaker 1: when she's older, and yeah, this is the where's the sequel?

1544
01:30:33,080 --> 01:30:35,400
Speaker 1: Where's that? Actually? You know what? I think that that

1545
01:30:35,520 --> 01:30:37,600
Speaker 1: sounds good? And then when you would see it, you're like,

1546
01:30:37,680 --> 01:30:40,799
Speaker 1: I actually don't want it, like just write a different

1547
01:30:40,800 --> 01:30:43,320
Speaker 1: movie maybe, But yeah, I think it's a wonderful movie.

1548
01:30:43,479 --> 01:30:45,760
Speaker 1: Three and a half nippies wished that there have been

1549
01:30:45,840 --> 01:30:50,680
Speaker 1: more of the female relationship. But I'll give one a

1550
01:30:50,720 --> 01:30:57,479
Speaker 1: tiny clip one Abigail Breslin, and one to the lady

1551
01:30:57,520 --> 01:31:00,840
Speaker 1: who held Abigail Breslin's hand on the way to the state,

1552
01:31:02,040 --> 01:31:05,320
Speaker 1: and then a half nipple to Alfred Molina, who should

1553
01:31:05,320 --> 01:31:06,840
Speaker 1: have been in this movie. I wonder what he was

1554
01:31:06,880 --> 01:31:09,040
Speaker 1: doing when he was up to I feel like Alfred

1555
01:31:09,040 --> 01:31:11,559
Speaker 1: Millina should have been. He would have been. Really I

1556
01:31:11,360 --> 01:31:13,920
Speaker 1: will I won't. I won't recast any of the family

1557
01:31:14,000 --> 01:31:16,000
Speaker 1: because I feel like it is the perfect cast for

1558
01:31:16,040 --> 01:31:19,880
Speaker 1: the family. But maybe if they made Alfred Molina in

1559
01:31:20,160 --> 01:31:25,200
Speaker 1: the audience of the pageant as like a really intense

1560
01:31:25,240 --> 01:31:28,800
Speaker 1: pageant parent, that would be great. Well, please and thank you,

1561
01:31:28,880 --> 01:31:32,920
Speaker 1: let's recut the movie. Let's put him in there. In

1562
01:31:32,960 --> 01:31:37,400
Speaker 1: two thousand and six. He was in the Da Vinci code,

1563
01:31:37,960 --> 01:31:40,680
Speaker 1: she thought. But that's not even a good that's a

1564
01:31:40,680 --> 01:31:43,920
Speaker 1: bad excuse. That's probably a better paycheck though. Listen, he's

1565
01:31:43,960 --> 01:31:48,200
Speaker 1: got children, that's true anyways. But yeah, three and a

1566
01:31:48,240 --> 01:31:52,120
Speaker 1: half nipples and in a lovely movie. Happy birthday, Caitlin.

1567
01:31:52,320 --> 01:31:55,280
Speaker 1: Oh my gosh, thank you so much. Yeah, I am

1568
01:31:55,320 --> 01:31:58,839
Speaker 1: so glad we we finally got around to talking about

1569
01:31:58,880 --> 01:32:02,799
Speaker 1: this movie. Oh here's something we can plug. So we're

1570
01:32:02,840 --> 01:32:05,760
Speaker 1: you know, our social media Twitter and Instagram. Follow us

1571
01:32:05,800 --> 01:32:10,080
Speaker 1: there at Bechtel Cast. My actual birthday is on May seventeen. Hello,

1572
01:32:10,120 --> 01:32:13,519
Speaker 1: I'm a tourist. Thank you so much. And on my birthday,

1573
01:32:13,760 --> 01:32:17,679
Speaker 1: we are going to do just an Instagram live hang

1574
01:32:17,720 --> 01:32:20,679
Speaker 1: out the two of us. Yes, it's gonna be fun,

1575
01:32:20,880 --> 01:32:24,400
Speaker 1: a chill hang We're going to be encouraging donations to

1576
01:32:24,479 --> 01:32:27,519
Speaker 1: your local food bank if you're able to donate, if

1577
01:32:27,560 --> 01:32:29,760
Speaker 1: you're in a position to do that, and yeah, come

1578
01:32:29,800 --> 01:32:32,240
Speaker 1: hang out with us. That's going to be at two

1579
01:32:32,240 --> 01:32:37,799
Speaker 1: pm Pacific time, Sunday, May seventeen. And then in addition

1580
01:32:37,840 --> 01:32:41,960
Speaker 1: to that, you can subscribe to our Matreon our may

1581
01:32:42,320 --> 01:32:46,439
Speaker 1: tryon getting there's no better time, there's no better month.

1582
01:32:46,640 --> 01:32:49,439
Speaker 1: There's literally no better month. And then of course our

1583
01:32:49,560 --> 01:32:52,799
Speaker 1: merch can be found on t public dot com slash

1584
01:32:53,040 --> 01:32:56,000
Speaker 1: the Bechtel Cast, where you can get all of your

1585
01:32:56,000 --> 01:32:58,920
Speaker 1: merch needs. And I think that'll about do it. Yeah.

1586
01:32:58,960 --> 01:33:01,560
Speaker 1: We cherish you, We hope that you're you're safe and

1587
01:33:02,000 --> 01:33:05,320
Speaker 1: doing well, and we'll talk to you soon. We love you.

1588
01:33:05,720 --> 01:33:08,720
Speaker 1: We all won the pageants. Oh my gosh, we all

1589
01:33:08,800 --> 01:33:12,160
Speaker 1: won little Miss Sunshine. Wow, that was That is what

1590
01:33:12,240 --> 01:33:14,760
Speaker 1: I would say. If I actually hadn't wanted the movie,

1591
01:33:14,760 --> 01:33:20,200
Speaker 1: I'd be like, um, and then she wins. Yeah, bye

1592
01:33:20,360 --> 01:33:20,639
Speaker 1: bye