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Speaker 1: On the beck Dog Cast. The questions asked if movies

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

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Speaker 1: and husbands, or do they have individualism? The patriarchy zef

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Speaker 1: in best start changing it with the beck Del Cast. Hi,

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Speaker 1: We'll go to the beg Doel Cast. My name is Jamieland.

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Speaker 1: This is our podcast where we talking about the role

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Speaker 1: of women in movies and oftentimes how movies don't treat

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Speaker 1: women very well. Oh rats don't Yeah, as we always

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Speaker 1: say here in the back doonecast, rats and don't. I'm

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Speaker 1: excited for our episode today. I think we uh. I

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Speaker 1: was pushing for this one. I was sending sending texts.

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Speaker 1: I'm gonna be honest. I was ambivalent, but because you

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Speaker 1: wanted it, it made me excited. I'm push sure, I'm

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Speaker 1: gonna pushure. That's what that's a mean girls quote doesn't matter.

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Speaker 1: I push people. I push people, But for this one,

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Speaker 1: I felt like it was worth it. More and more frequently,

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Speaker 1: we have people in our Men shows asking or specific

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Speaker 1: movies that they would like to see disgusted and I

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Speaker 1: saw this movie pop up a number of times, sort

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Speaker 1: of wanted to see it myself and didn't realize at first,

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Speaker 1: So we're okay not to bury the lead because you

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Speaker 1: already clicked on it. You know, you're we're doing the

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Speaker 1: new Bogui Old movie by Sophia Coppola. And I didn't

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Speaker 1: know at first that it had previously been another movie,

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Speaker 1: but my mom was like, oh, I loved the original,

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Speaker 1: So did my mom right, because moms are horny for

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Speaker 1: Clint Eastwood. Yeah, which is you know, there's a generational

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Speaker 1: thing there that will never quite understand. I wonder who

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Speaker 1: that is for our generation, like who, Like when I

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Speaker 1: talked to my kids some day, I'm like, how are

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Speaker 1: you not horny for this guy? And she's gonna be like,

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Speaker 1: I don't get it. I don't see it, and I

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Speaker 1: don't know. When I talked to my kids, I'll be like,

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Speaker 1: why are you still here? I thought I abhorted you.

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Speaker 1: Oh no, I'm gonna have a whole brood and then

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Speaker 1: I'm gonna set them down and make them stare at

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Speaker 1: my frame portrait of alt and be like do you

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Speaker 1: get it? And then if they don't get it, I

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Speaker 1: getta locked the door and we got to stay there

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Speaker 1: until they get it. Well before we get too carried

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Speaker 1: away with that, we should introduce our guests. Are you

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Speaker 1: spitting up a hairball? I's sorry, I just gave birth anyway,

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Speaker 1: So we have a guest, as we always do. She

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Speaker 1: is great. She is a very talented writer and the

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Speaker 1: writer and editor of the men's magazine mel It's show.

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Speaker 1: Thank you excited to be here. Yeah. So, so we

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Speaker 1: all saw the movie together hours ago. Yeah, hours ago.

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Speaker 1: We were discussing it at lunch over Thai food. And

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Speaker 1: also we all saw the first version of the movie

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Speaker 1: that came out in n starring Clinton Eastwood. Well I

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Speaker 1: saw half of it. I kind of fell asleep, but

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Speaker 1: enough enough to get the gist to be angry about

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Speaker 1: the remake, right right, and so and I we were

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Speaker 1: talking about this as well. It's like, I don't know

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Speaker 1: how I would feel about this movie if we had

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Speaker 1: just seen it and it didn't have context of the

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Speaker 1: first movie, because a lot of what we've talked about

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Speaker 1: so far has been pretty like comparative between the two.

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Speaker 1: But the first one better. The first one is so

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Speaker 1: much better. I hated this one. I thought it was

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Speaker 1: not a good movie. I thought a lot of the

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Speaker 1: interesting scenes and interesting characters in the first one were

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Speaker 1: either very glossed over or entirely omitted like the first

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Speaker 1: one handled, just different components of storytelling, so much better

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Speaker 1: rising tension and characters manipulating each other, etcetera. Like, so

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Speaker 1: much better in the first one than in this adaptation.

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Speaker 1: For scenes in the first one, the automatically makes it better.

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Speaker 1: It doesn't pass the factal test if there's not an

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Speaker 1: ancestral orgy scene. I'm pretty sure with the updated terms

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Speaker 1: and conditions. Um, maybe that's the loftest test. Actually is

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Speaker 1: that the loftest test is the baldest woman is in charge? Cool?

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Speaker 1: This movie does not well, there's no bald women. All

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Speaker 1: these women they have elaborate braid they have to yeahs,

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Speaker 1: the braids were a little out of control. The braids

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Speaker 1: come on. Yeah. I was like, we know the civil

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Speaker 1: wars going on, who's braiding your hair? And and and

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Speaker 1: how long? Okay, we will summarize the movie in a moment.

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Speaker 1: But first, who gave l Fanning a crimper in eighteen

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Speaker 1: sixty two? It was so distracted no one else got

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Speaker 1: a crimper. But she's like, I'm the wild and loose gal.

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Speaker 1: She slept with braids in and then it it crimped

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Speaker 1: her hair. But but the crimping didn't happen before. Crimpers

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Speaker 1: you can't do They can't fold your hair like that.

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Speaker 1: You can't do it. She put her hair and braids

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Speaker 1: and then and then and now it's yeah, it looks crimpy.

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Speaker 1: She would had to have folded her hair in very

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Speaker 1: tiny and then she would have had to have another

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Speaker 1: student sit on it, to sit on her face, sit

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Speaker 1: on her hair, sit on her face for several hours

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Speaker 1: to accomplish a look that was for no one except her.

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Speaker 1: I mean she did it for herself. Who gave her

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Speaker 1: a crimper? That is an important question. Thank you for

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Speaker 1: raising it. And it would be cool in the in

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Speaker 1: the light that this was supposed to have been a

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Speaker 1: kind of pulpy movie. Um, but the pulpy is this

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Speaker 1: movie gets is you get a lot of tight shots

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Speaker 1: on Colin Farrell's fucked up leg. Yeah, you see like

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Speaker 1: a little bit of and that is gross and I

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Speaker 1: could not look at it. But some notes I took

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Speaker 1: during the movie include l Fanning and her crimped hair

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Speaker 1: is triggering me. How did el Fanning crimper hair? Crimper

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Speaker 1: as weapon? That would have been cool? She did have

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Speaker 1: electricity or a cripper that happens in the movie Sleepaway Camp.

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Speaker 1: Let's not talk about that. Let's talk about The Beguiled.

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Speaker 1: I just read out the movie because it was so bad.

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Speaker 1: I need a reminder of what happened in there. I'll

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Speaker 1: do the recap, right, So this is the version recap correct.

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Speaker 1: So a young girls in the woods picking mushrooms and

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Speaker 1: she stumbles upon a wounded Union Civil War soldier. He

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Speaker 1: has an Irish accent. Why wait an hour, they'll make

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Speaker 1: up a reason, right, And she's like, I belong to

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Speaker 1: this seminary for girls, this school. I'll take you there

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Speaker 1: because he's wounded, his legs all sucked up. So he

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Speaker 1: goes with this girl and they go to the school,

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Speaker 1: which is run by Miss Martha. And then there's a

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Speaker 1: teacher named Edwena, and there's like something like six other

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Speaker 1: like teenager ish girls. There were the students, with the

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Speaker 1: exception of one child actor. They're all blonde on gin

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Speaker 1: right an. The one that isn't blonde is chubby, right yeah,

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Speaker 1: And it's like, and is a worst child actor I've

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Speaker 1: ever said, Because we've got to take her and bring

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Speaker 1: her into the ocean. I feel bad for her. No, no no, no, no,

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Speaker 1: I actually think she's super cute. I was just saying

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Speaker 1: that is like they just loved like blonde ei kyper thin,

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Speaker 1: like might fall over keep cough around them, kind of

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Speaker 1: a Vibel Fanning. You've got some thought if you Well, no,

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Speaker 1: I'm just saying she like is I feel like one

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Speaker 1: of the more recent incarnations of that exactly Well, when

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Speaker 1: when we're leaving the theater, I do believe, and I

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Speaker 1: love Kristen Dunce and Nicole Kidman in movies that are

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Speaker 1: not this movie and in things that are not this thing.

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Speaker 1: But I do believe that l Fanning, should she actually

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Speaker 1: go on to like have a lifelong movie career, will

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Speaker 1: play a part exactly like Kristen Dunce at some point.

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Speaker 1: And we'll play a part exactly like Nicole Kidman's at

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Speaker 1: some point. Because this is like the path forged for

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Speaker 1: the ethereal blond, they will get you know, yeah, just

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Speaker 1: through the generations, right, it was like sort of three

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Speaker 1: generations of I mean, and you know, depending on what

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Speaker 1: how old is Nicole Kiman impossible to tell, but she

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Speaker 1: doesn't age. She's just like a mythic figure to me.

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Speaker 1: I don't like, I don't know, it could be like

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Speaker 1: she'st so she's great. I wish they didn't put that

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Speaker 1: wig on her in Big Little Lies, But I love

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Speaker 1: that show because I wish we watched that. Big Little

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Speaker 1: Eyes was the best show ever Nicole, which is insane,

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Speaker 1: I know. Um anyways, what we're talking about, who knows?

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Speaker 1: So he arrives at this house that they all have

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Speaker 1: this school in and they're like, well, did we turn

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Speaker 1: him over to our soldiers? But he's wounded in he'll

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Speaker 1: just die in prison. Maybe we should nurse him back

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Speaker 1: to health and then we'll turn him over. And then

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Speaker 1: they decided to bring him in tend to his wound,

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Speaker 1: and over the course of probably a few weeks, he

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Speaker 1: starts to kind of seduce different of these women, from

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Speaker 1: Miss Martha to Edwina the teacher, to one of the

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Speaker 1: older students, although that that's a little tricky because she

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Speaker 1: sort of goes for him first and then he but

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Speaker 1: that he does not resist in any you know. True,

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Speaker 1: that's a tricky and the seduction attempts I think happened

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Speaker 1: more clearly in the n version than they do in

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Speaker 1: this version. But basically everyone's very horny. There's a lot

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Speaker 1: of horny depths to this movie We're back. It's a

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Speaker 1: tone poem. It's a tone poem horny Depp. And you'll

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Speaker 1: find the movies that we apply these tags too are

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Speaker 1: rarely good movies. A tone poe with a lot of

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Speaker 1: horny depth is a way of saying, probably don't see

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Speaker 1: this one, maybe skip it. So different of these girls

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Speaker 1: get jealous and they're like, you like her? I thought

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Speaker 1: you liked me, and Edwina catches him in bed with

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Speaker 1: the Alicia character l Fanning, so she gets very furious

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Speaker 1: because he had been courting her kind of and so

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Speaker 1: she pushes him down the stairs and it sucks his

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Speaker 1: leg up even more. As part is great in both movies. Yeah,

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Speaker 1: it's fun to see an A list actor take a

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Speaker 1: serious tumble. So they decided to amputate his leg and

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Speaker 1: he gets really upset that they cut his leg off me.

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Speaker 1: He gets piste. He well, And also this is a

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Speaker 1: fun call in Ferrell moment in the movie he trashes

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Speaker 1: the whole upper floor of their of their house and

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Speaker 1: makes elephant noises as he does. So he's like, right,

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Speaker 1: he does, He's pissed. Then tension is running thick in

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Speaker 1: the house. Let's say the waist and let me leave.

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Speaker 1: I'm going to kill you all. He's got the only gun. Yeah,

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Speaker 1: he takes their gun, and they're like, oh god, how

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Speaker 1: do Let's just let him go, But also he's dangerous,

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Speaker 1: he might kill us, So they decigned to use his

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Speaker 1: love of mushrooms, not like shrooms, but just that would

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Speaker 1: actually be amazing, that would like this whole move was

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Speaker 1: just about like tripping. So they decided to they like,

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Speaker 1: form this plot to murder him by feeding him poisonous mushrooms. Meanwhile,

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Speaker 1: Edwina is like, but I still love him even though

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Speaker 1: I sucked his leg up. She goes and had sex

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Speaker 1: with him, and then he eats the poison mushrooms and

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Speaker 1: he dies, and that's pretty much it here. Take this

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Speaker 1: body the Confederacy, right, They do sew him a shroud?

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Speaker 1: What was that about? That was weird? In the original version,

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Speaker 1: there's like a full circle moment where it begins with

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Speaker 1: them singing that song. I think it's Clint Eastwood, breath

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Speaker 1: aly singing like, don't go to war, don't fall in

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Speaker 1: love with the soldier. He'll hurt your feeling and war

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Speaker 1: is not good and it's supposed to be creepy, and

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Speaker 1: I think the way I did it was too beautiful.

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Speaker 1: I have tears in my eyes us so much. But

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Speaker 1: then at the end of the movie there take the

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Speaker 1: women in the first movie are taking Clint Eastwood's shroom

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Speaker 1: poisoned body to bury it, as opposed to leaving it

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Speaker 1: out for the Confederacy. I think that in the first movie,

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Speaker 1: the implication is they are just like, this never happened,

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Speaker 1: because technically, who's going to come looking for him there? So,

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Speaker 1: But in the second one, for whatever reason let's just

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Speaker 1: call it laziness, they do not very hop They leave

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Speaker 1: them out. Um, and then there's an excruciatingly long final

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Speaker 1: shot because a few couple of feels that we need it.

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Speaker 1: I did not like this movie. Well, a lot of

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Speaker 1: you pointed out that the plot in this movie is

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Speaker 1: very similar to like it could be like a porn

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Speaker 1: movie where it's just like this hot hand some soldier

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Speaker 1: goes into this house of all ladies and what's gonna

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Speaker 1: happen next? It's like the pizza delivery guy story all

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Speaker 1: over totally. Yeah, I feel like and that's one of

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Speaker 1: its strengths. The first one at least really leans into

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Speaker 1: that element where it's like, what is this. I mean,

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Speaker 1: Sofia Coppola like rewrote it the second one, but the

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Speaker 1: first one was written by a man. The first one

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Speaker 1: was written by a man, and it was adapted by

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Speaker 1: a book that let me double triple check. But was

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Speaker 1: I believe written by a man, right, because I feel

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Speaker 1: like they're like a woman wouldn't dream up this plot, right.

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Speaker 1: It's like there's this house of like starved women because

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Speaker 1: it's wartime. They haven't seen a man in ten years.

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Speaker 1: And then this soldier who's like bloodied and hot, it like,

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Speaker 1: comes hobbling into their home and then convalesces. They nurse

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Speaker 1: him back to health and then just like are immediately

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Speaker 1: just like need the d and all of all of them,

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Speaker 1: even child. I thought she loved me. Oh my god.

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Speaker 1: This reminds me of the part in Monty Python and

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Speaker 1: the Holy Grail where I forget which they're great women,

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Speaker 1: just kidding, No, it's a terrible movie to women. But

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Speaker 1: there's a scene where one of the knights finds this

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Speaker 1: castle with all these horny asked women in it and

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Speaker 1: they're like, oh, you put out the thing. It's just

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Speaker 1: like a bunch of horny women who are trying to

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Speaker 1: fund this one night and he's like, I have a

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Speaker 1: quest to get on I gotta go. And then um,

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Speaker 1: it's it's really funny, good story, cal I love it.

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Speaker 1: I want to know why this story for Sofia Coppola

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Speaker 1: as we discuss it, I will also actively seek out

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Speaker 1: the answer. But, um, why is this a story that

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Speaker 1: Sofia Coppola is like, you know, who needs to update

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Speaker 1: this and whitewash the funk out of it? Me Also,

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Speaker 1: just I do have the Wikipedia page for the Boguil

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Speaker 1: two thousand seventeen pulled up right now, just to put

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Speaker 1: my it resting. It's not making a lot of money,

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Speaker 1: it isn't. But see also film remakes, whitewashing in films

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Speaker 1: attached to this and we and we should talk about that.

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Speaker 1: But this talking about Sofia Coppola is tricky. It's hard

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Speaker 1: to It's just it's hard. This movie debuted at CAN

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Speaker 1: and Sofia Coppola won the Best Director Award at CAN

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Speaker 1: for this movie. For some reason, she has confusing this

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Speaker 1: is it's not a good movie. But she was the

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Speaker 1: first woman in fifties six years to have that distinction

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Speaker 1: and so and and it's only the second woman ever

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Speaker 1: to have it. So it's it's hard because the movie

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Speaker 1: objectively blows. But well, right, good for her for winning

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Speaker 1: an award that does not often go to women. That's nice.

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Speaker 1: Does she handle different parts of the movie, Well, no,

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Speaker 1: she doesn't well a lot of what's your experience of

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Speaker 1: Sofia Coppola in general? I guess yeah. I mean, I

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Speaker 1: growing up was a huge fan because of Virgin Suicides

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Speaker 1: Lost in Translation, Like I think those came out when

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Speaker 1: I was coming of age and I felt really important

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Speaker 1: to me and still are especially Lost in Translation. But

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Speaker 1: I don't know. I kind of was like looking back

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Speaker 1: at her filmography and was she really hasn't made that

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Speaker 1: many movies, especially like since I mean, so there was

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Speaker 1: Marie Antoinette bling Ring, which I didn't know it was

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Speaker 1: a movie, um, and I know that like her entire career.

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Speaker 1: My friend Alana Massey, who just wrote a great book

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Speaker 1: called All the Lives I Want Um shout out, writes

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Speaker 1: a chapter about the Virgin Suicides, and something I remember

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Speaker 1: was just how harsh Sofia Coppola has been treated like

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Speaker 1: by the press, even though you know, she had all

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Speaker 1: these advantages knowing who her father is, but like people

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Speaker 1: didn't take her movies seriously because they were about women,

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Speaker 1: especially Virgin Suicides, which was about teenage girls. But I

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Speaker 1: don't know, I feel like now is the time though,

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Speaker 1: for her to like, like, she can't just rest on that,

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Speaker 1: right right, It's it's hard because I I I the

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Speaker 1: Virgin Suicide was one of my favorites growing up. I

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Speaker 1: I for some reason didn't see Lost in Translation until

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Speaker 1: like very recently. But and then Marie Antoinette is the

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Speaker 1: best music video I've ever seen, even though nothing happens

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Speaker 1: and it's expensive. But like that, she's very she she's

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Speaker 1: very visual. She tells, for the most part what can

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Speaker 1: technically be classified as women's stories, and is part of

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Speaker 1: such a small group of people who have achieved mainstream

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Speaker 1: success as a female director that it's like. But that said,

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Speaker 1: this movie stinks. I hope to one day live in

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Speaker 1: a world where there are you know, just because we're

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Speaker 1: women and she's a woman. We don't have to be

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Speaker 1: like God or some slack like it. I'm not a

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Speaker 1: fan of her work. I don't remember Virgin Suicides that well.

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Speaker 1: I remember being pretty bored by Loss in Translation. Sorry

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Speaker 1: I didn't see well. I don't think I also don't

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Speaker 1: think her movies really age. Well there's another thing. It

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Speaker 1: happened a lot. Yeah, well, but it's like Lost in

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Speaker 1: Translation felt like when you saw it at that time.

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Speaker 1: Now there have been so many movies like that that

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Speaker 1: if you see anything like, I don't get why this

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Speaker 1: is and even like improvements upon that same sort of formula.

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Speaker 1: Where I mean, at the at the time I saw

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Speaker 1: Virgin Suicides for the first time, I was like, you know,

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Speaker 1: because like I've never seen a movie like that before,

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Speaker 1: and it was just like a cool like the ethereal

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Speaker 1: blond is very appealing when you're young and you're especially

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Speaker 1: when you're like the same age as those characters, and

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Speaker 1: you're like, oh, I want to see myself as like

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Speaker 1: this very complicated, tragic like you know whatever. Also, you know,

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Speaker 1: she's she is in her forties now, she's in her

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Speaker 1: twenties when she when she directed Virgin Suicides, and it's

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Speaker 1: like there, I don't know, I just felt like there

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Speaker 1: wasn't a lot of you watch Virgin Suicides, you watch

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Speaker 1: Loss in Translation, and then you watch this movie and

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Speaker 1: there's just like not a lot of growth, right, And

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Speaker 1: I mean for her in her position, I mean maybe

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Speaker 1: this is just me. I don't know, but I feel

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Speaker 1: like she has a responsibility as like one of the

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Speaker 1: very few kind of household name female directors to like

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Speaker 1: make better movies that well, that's a hard thing too

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Speaker 1: then because it's like that, because then we're like doubling

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Speaker 1: down on Yeah, I don't want to make her responsible

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Speaker 1: for all women directors, and like there's so many, you know,

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Speaker 1: it's okay for a female director to have a crummy

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Speaker 1: movie like right and gonna happen in an ideal world,

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Speaker 1: there would just be so many female directors that she's

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Speaker 1: just one of the ones that I don't like, And

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Speaker 1: then there's a bunch of others I do like that

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Speaker 1: because she's one of the more notable ones. She has

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Speaker 1: a lot of attention on her son Ny, where we

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Speaker 1: may be criticize her work more, but also like her

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Speaker 1: stick doesn't really work as well like in seventeen right now,

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Speaker 1: like you just feel you're like really like these like

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Speaker 1: ethereal blonde white women, like it just doesn't it doesn't

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Speaker 1: like work in the current like administration world. It doesn't

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Speaker 1: feel like it's grappling with issues that feel urgent right now,

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Speaker 1: right what I mean right where. I guess that, yeah,

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Speaker 1: because virgin suicides came out at the end of the

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Speaker 1: Clinton era, where it's like maybe maybe we're feeling a

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Speaker 1: little more safe, uh, we're feeling uh and and yeah,

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Speaker 1: like this is I don't understand why this was the

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Speaker 1: moment for her to say, I want to, first of all,

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Speaker 1: make a civil war picture, but I don't want anyone

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Speaker 1: who isn't white to be in it because I don't

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Speaker 1: feel like that's and that's you know, a whole discussion.

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Speaker 1: And it just didn't make sense for me for this

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Speaker 1: to be the story that she felt the need to tell,

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Speaker 1: because for yeah, her signature style isn't super relevant to

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Speaker 1: the world right now, or I don't really think so.

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Speaker 1: But you know, if you're going to if you're determined

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Speaker 1: to use that same format, then find a story where

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Speaker 1: that makes sense. Like, at least for Marie Antoinette, that

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Speaker 1: format works because there's nothing pushing up against it and

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Speaker 1: and and there's not really that much that she had

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Speaker 1: to ignore and actively cut out in order to accomplish

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Speaker 1: the whole you know, pretty music video. I just I

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Speaker 1: didn't understand why this was the source material she wanted

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Speaker 1: to use, right, I don't either, especially because, like you

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Speaker 1: hinted at, she totally deleted. So in the nineteen seventy

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Speaker 1: one version, I'm guessing also in the book, and who

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Speaker 1: knows how many other characters from the book either adaptation

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Speaker 1: left out. But in the Clint Eastwood film there's or

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Speaker 1: the one that he's in, there's a slave character named

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Speaker 1: Hallie and she is the only or person of color

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Speaker 1: in the whole movie. But that character gets completely erased

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Speaker 1: in this version. And there's an article that I already

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Speaker 1: linked to on our Twitter page that I recommend people

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Speaker 1: read by Clarkeisha Kent. It says Coppola explained that she

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Speaker 1: wanted to focus on the gender dynamics rather than the

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Speaker 1: racial ones of this movie. And then the writer goes

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Speaker 1: on to say that I call bullshit on this, mostly

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Speaker 1: because black women find themselves at the intersection of both,

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Speaker 1: and because white women are not devoid of race, no

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Speaker 1: matter how badly they want to be. And then she

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Speaker 1: goes on to say that couple of removing uh, a

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Speaker 1: couple of removing the black female characters ensures that she

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Speaker 1: doesn't have to deal with how white women were complicit

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Speaker 1: in slavery. The counterpoint that she provides to this because

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Speaker 1: people have asked her this question. First of all, we

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Speaker 1: would also like to remind you that Sophia Coupla does

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Speaker 1: not know what the bagdel test us or has in

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Speaker 1: the past two weeks. Whatever. I get that, you know,

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Speaker 1: sensationalism and and click path, that's the whole thing. But

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Speaker 1: her response to that was to paraphrase, and when we'll

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Speaker 1: post the surces for this as well, but that because

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Speaker 1: she is a white woman of privilege, that she felt

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Speaker 1: that she was not equipped to write a character who

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Speaker 1: was black and who was a slave. And I understand that,

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Speaker 1: but I also feel that her job is to tell

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Speaker 1: a story. No one is forcing her to tell this

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Speaker 1: particular story, but it's the one she's deciding to tell.

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Speaker 1: And so if you're deciding to tell a story about

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Speaker 1: the Civil War that takes place in the South in

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Speaker 1: eighteen sixty two, then you're gonna have to fucking do

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Speaker 1: your research. You can't just cut out the parts that

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00:23:49,200 --> 00:23:53,239
Speaker 1: aren't immediately relevant to your personal experience. If you know

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Speaker 1: you have to do research, you have to find someone

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Speaker 1: to write the story with you. You have to find

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Speaker 1: someone who has perspective on this issue. You can't just

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Speaker 1: say like, well, you know, I'm a white lady, so

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Speaker 1: I can only write movies that were the ladies who

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Speaker 1: are just like me, or which is what I was

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Speaker 1: trying to say hard thing to But she's wrong. That's

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Speaker 1: when I was that's the point I was trying to make,

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Speaker 1: when I was like, it's her responsibility to make better movies,

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Speaker 1: and I mean better is in like better quality, although

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Speaker 1: she could stand to do that as well, especially considering

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Speaker 1: this big guiled movie. But I meant like she, I think,

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Speaker 1: just has the responsibility because she's like, I have influence

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Speaker 1: in this world. I can get movies made. I can

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Speaker 1: make movies that a lot of people are going to see.

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Speaker 1: I think, then she has a responsibility to do what

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Speaker 1: you're saying, do the research, include the characters that are

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Speaker 1: relevant to the story and put them in there, and

425
00:24:48,840 --> 00:24:52,119
Speaker 1: or pick a different pick a different story that's more important.

426
00:24:52,480 --> 00:24:54,480
Speaker 1: Or I mean, if you don't want to make films

427
00:24:54,520 --> 00:24:57,120
Speaker 1: like that, that's fine. Well it's also weird to take

428
00:24:57,119 --> 00:24:59,720
Speaker 1: a movie that is essentially like all about race and

429
00:24:59,720 --> 00:25:02,159
Speaker 1: then say I can't handle this in the movie, like

430
00:25:02,240 --> 00:25:04,480
Speaker 1: it's set in the middle of the Civil War. So

431
00:25:04,600 --> 00:25:06,320
Speaker 1: like she can't really take it out of the movie

432
00:25:06,359 --> 00:25:09,440
Speaker 1: and try. But there's not like a non white character

433
00:25:09,440 --> 00:25:12,639
Speaker 1: in this whole movie. Yeahs, So you know, maybe she

434
00:25:12,640 --> 00:25:14,520
Speaker 1: should have just said it in a different time period

435
00:25:14,600 --> 00:25:15,879
Speaker 1: or something, if she wanted to do that, or like

436
00:25:16,440 --> 00:25:22,440
Speaker 1: done a different Exactly, it's like an apartment in Bushwick.

437
00:25:22,440 --> 00:25:24,800
Speaker 1: They're stuck there for some reason. I don't know, because

438
00:25:24,800 --> 00:25:29,800
Speaker 1: it's about global warming. Like, yeah, I'm trying. The trailer

439
00:25:29,960 --> 00:25:36,240
Speaker 1: for Manhattan Sinking was stuck and I don't know, I've

440
00:25:36,280 --> 00:25:40,359
Speaker 1: just spitballing here. No, but yeah, you can't. And I

441
00:25:40,440 --> 00:25:43,360
Speaker 1: mean also, the reason why I think her reaction has

442
00:25:43,400 --> 00:25:45,439
Speaker 1: really bothered people and why it really bothers me is like,

443
00:25:45,520 --> 00:25:48,920
Speaker 1: this is the problem with white feminism is like, oh, well,

444
00:25:49,480 --> 00:25:52,360
Speaker 1: race and gender. I don't want to handle the race

445
00:25:52,440 --> 00:25:55,400
Speaker 1: thing because they're not related. It's like, no, they're totally related.

446
00:25:56,000 --> 00:25:59,800
Speaker 1: And the fact that you deny that is really problematic

447
00:26:00,440 --> 00:26:03,880
Speaker 1: and just another way of being privileged and not having

448
00:26:03,920 --> 00:26:06,560
Speaker 1: to do it because you don't exactly deal with And

449
00:26:06,680 --> 00:26:09,600
Speaker 1: so I mean, for me, it just boils down to

450
00:26:09,760 --> 00:26:15,520
Speaker 1: regardless of gender, raise anything, do your fucking job, like,

451
00:26:16,040 --> 00:26:20,320
Speaker 1: and her job is to tell a story. Competently and

452
00:26:20,520 --> 00:26:23,359
Speaker 1: in a way that because she's choosing to adapt, is

453
00:26:23,440 --> 00:26:26,320
Speaker 1: faithful to the source material, and she fails to do

454
00:26:26,359 --> 00:26:29,439
Speaker 1: that in this movie. So no matter, like, you know,

455
00:26:29,640 --> 00:26:33,879
Speaker 1: she sucked up. And I think that because like some

456
00:26:33,960 --> 00:26:37,679
Speaker 1: of the major themes of the movie, our agency and

457
00:26:37,760 --> 00:26:40,919
Speaker 1: the idea of being a prisoner, what that means, etcetera, etcetera,

458
00:26:41,119 --> 00:26:43,280
Speaker 1: she actually does a disservice to a movie by not

459
00:26:43,320 --> 00:26:46,040
Speaker 1: including it, Like the character's motivations don't make sense, you

460
00:26:46,040 --> 00:26:48,520
Speaker 1: don't really understand what's at stake for these people, like

461
00:26:48,800 --> 00:26:51,720
Speaker 1: their backstory, Like she cuts all that out because I

462
00:26:51,720 --> 00:26:54,000
Speaker 1: think she's trying to like I don't know, she's trying

463
00:26:54,040 --> 00:26:56,720
Speaker 1: to get around this, and I think she kind of

464
00:26:56,720 --> 00:27:00,199
Speaker 1: shot herself in the foot because now just like it

465
00:27:00,240 --> 00:27:02,199
Speaker 1: just feels like a movie where women are wearing like

466
00:27:02,280 --> 00:27:04,520
Speaker 1: shirts all the way to their neck and just like

467
00:27:04,560 --> 00:27:06,560
Speaker 1: are walking around in their house Like I don't know,

468
00:27:06,600 --> 00:27:11,240
Speaker 1: I just lost all like the depth. Yeah, well, let's

469
00:27:11,320 --> 00:27:13,480
Speaker 1: let's talk about the way it is adapted a little bit,

470
00:27:13,480 --> 00:27:16,280
Speaker 1: because I feel like she is, you know, she chooses

471
00:27:16,320 --> 00:27:20,399
Speaker 1: this story for reasons. I cannot find a concrete reason

472
00:27:20,440 --> 00:27:23,240
Speaker 1: that she was, Like this is I must I'm whatever.

473
00:27:24,000 --> 00:27:27,080
Speaker 1: But she has the interesting opportunity of she's adapting a

474
00:27:27,119 --> 00:27:29,920
Speaker 1: story that was written by a man, that was then

475
00:27:29,960 --> 00:27:34,280
Speaker 1: adapted by a man, and she's adapting that. So she's

476
00:27:34,840 --> 00:27:38,560
Speaker 1: in some ways kind of the first female major creative

477
00:27:38,600 --> 00:27:43,159
Speaker 1: hand to even be involved in this story. But you know,

478
00:27:43,240 --> 00:27:46,479
Speaker 1: cuts out so much and and I mean most notably

479
00:27:46,520 --> 00:27:50,640
Speaker 1: cuts out the only non white character in the entire story.

480
00:27:51,040 --> 00:27:54,080
Speaker 1: And there is in the book halle uh. The slave

481
00:27:54,160 --> 00:27:58,159
Speaker 1: character was altered from the book to the first movie.

482
00:27:58,200 --> 00:28:01,760
Speaker 1: But she's still there. You know, she's there, and I

483
00:28:01,760 --> 00:28:05,560
Speaker 1: would argue is the most interesting character from the film

484
00:28:05,880 --> 00:28:08,560
Speaker 1: for sure. I mean it's like, you know, she she

485
00:28:09,200 --> 00:28:11,159
Speaker 1: I mean, she's there. And then there there are a

486
00:28:11,200 --> 00:28:13,880
Speaker 1: few great scenes between her. I want to make sure

487
00:28:14,000 --> 00:28:17,800
Speaker 1: I get the actress's name. May Mercer plays her in

488
00:28:17,800 --> 00:28:20,399
Speaker 1: the nineteen seventy one movie, and there are several scenes

489
00:28:20,440 --> 00:28:25,600
Speaker 1: between her and Clint Eastwood's character John McBee that are,

490
00:28:26,480 --> 00:28:30,040
Speaker 1: you know, if not perfectly done, at least thought provoking,

491
00:28:30,240 --> 00:28:34,480
Speaker 1: and her character is given looking screen time in perspective.

492
00:28:35,080 --> 00:28:39,640
Speaker 1: There's the scene where she's helping him out with whatever.

493
00:28:40,400 --> 00:28:44,320
Speaker 1: His leg is always bleeding. It seems like and they

494
00:28:44,360 --> 00:28:49,680
Speaker 1: have this conversation about being a prisoner and and freedom.

495
00:28:49,880 --> 00:28:51,680
Speaker 1: Oh and then he's all, he's like, you and I

496
00:28:51,680 --> 00:28:54,120
Speaker 1: should be friends. We because Clint he's always like a

497
00:28:54,160 --> 00:28:59,360
Speaker 1: for allies. Hey, that's Clint's hall game. It's basically he's like,

498
00:28:59,360 --> 00:29:02,640
Speaker 1: who's on my side, implying that like I'm fighting for you,

499
00:29:02,680 --> 00:29:05,600
Speaker 1: like I'm fighting for the union. So we're trying to

500
00:29:05,720 --> 00:29:09,320
Speaker 1: end slavery. And she's like, white men aren't killing each

501
00:29:09,320 --> 00:29:11,760
Speaker 1: other because you care about us, And then she says

502
00:29:11,800 --> 00:29:13,760
Speaker 1: the N word, which I'm not going to repeat. So

503
00:29:14,520 --> 00:29:17,480
Speaker 1: because you care about us, black people will say. But

504
00:29:17,840 --> 00:29:20,680
Speaker 1: she's the best character in the in that version. She's

505
00:29:20,720 --> 00:29:24,520
Speaker 1: like the truth teller that actually, like she connects all

506
00:29:24,640 --> 00:29:27,120
Speaker 1: the characters, like the ideas back to the state or

507
00:29:27,160 --> 00:29:29,120
Speaker 1: the politics, which I think is really important. Like I'm

508
00:29:29,120 --> 00:29:32,120
Speaker 1: trying to think it's so relevant to like the time

509
00:29:32,200 --> 00:29:35,280
Speaker 1: and the place that they're in that not having her

510
00:29:35,520 --> 00:29:38,120
Speaker 1: is crazy. Like there's this one conversation where like he says,

511
00:29:38,160 --> 00:29:42,000
Speaker 1: we're both prisoners, which is interesting because he sees himself

512
00:29:42,040 --> 00:29:44,520
Speaker 1: as like a prisoner in that house even though they've

513
00:29:44,640 --> 00:29:47,320
Speaker 1: nursed him back to health and she's the only different

514
00:29:47,360 --> 00:29:50,120
Speaker 1: treatment is that I can run away, which is an

515
00:29:50,160 --> 00:29:52,000
Speaker 1: interesting thing to say because it's like, well, she can't

516
00:29:52,000 --> 00:29:55,440
Speaker 1: really either, but what does it mean to be like

517
00:29:55,520 --> 00:30:00,400
Speaker 1: physically held in a place? First? Just right? Right? And

518
00:30:00,520 --> 00:30:02,840
Speaker 1: I don't know, So it's like all of those. And

519
00:30:02,880 --> 00:30:06,840
Speaker 1: she's also the only one right that like shoots him down. Yes,

520
00:30:07,000 --> 00:30:10,440
Speaker 1: So there's a scene late in the movie and this,

521
00:30:10,440 --> 00:30:14,760
Speaker 1: this exact character switch happens to both Clint Eastwood and

522
00:30:14,840 --> 00:30:17,560
Speaker 1: then Colin Farrell, who plays his character in the modern movie,

523
00:30:18,360 --> 00:30:21,840
Speaker 1: but it makes sense in the nine movie and is

524
00:30:21,920 --> 00:30:26,160
Speaker 1: completely out of nowhere borderline confusing in this adaptation. But

525
00:30:26,680 --> 00:30:31,480
Speaker 1: towards the end of the movie, mcbee's leg is amputated. Uh,

526
00:30:31,520 --> 00:30:34,400
Speaker 1: and we are led to believe in both movies rightfully

527
00:30:34,440 --> 00:30:36,760
Speaker 1: so like they had to do it, but he doesn't

528
00:30:36,800 --> 00:30:40,040
Speaker 1: believe that. He thinks that they amputated his like for revenge.

529
00:30:40,400 --> 00:30:44,240
Speaker 1: He realizes his leg is amputated, he freaks the funk out,

530
00:30:44,320 --> 00:30:47,400
Speaker 1: takes the only gun in the house and basically, you know,

531
00:30:47,600 --> 00:30:50,320
Speaker 1: now all the women in the house are the prisoner

532
00:30:50,440 --> 00:30:53,360
Speaker 1: and he's not anymore, and he's yelling, and he's in

533
00:30:53,400 --> 00:30:55,800
Speaker 1: the first movie, I mean, he is like pretty, he's

534
00:30:55,840 --> 00:30:58,800
Speaker 1: like I'm gonna rape everybody. Yeah, he becomes like a

535
00:30:58,840 --> 00:31:06,120
Speaker 1: Farrell beast, like it's extremely he goes Okay. The best

536
00:31:06,200 --> 00:31:11,040
Speaker 1: scene in the first movie is Little Amy, who rescues him. Also,

537
00:31:11,120 --> 00:31:14,440
Speaker 1: we haven't talked about how he franches her, but he'll

538
00:31:14,480 --> 00:31:19,400
Speaker 1: get there, get there. But little Amy, who is in

539
00:31:19,440 --> 00:31:22,040
Speaker 1: the first movie, especially in love and has like the

540
00:31:22,040 --> 00:31:26,040
Speaker 1: this crush on Clint Eastwood, has a pet turtle and

541
00:31:26,400 --> 00:31:30,040
Speaker 1: for some and in both movies, it's like, why would

542
00:31:30,080 --> 00:31:33,040
Speaker 1: you do that? But she is holding her turtle and

543
00:31:33,040 --> 00:31:36,080
Speaker 1: Clint Eastwood yanks the turtle from her and flings it

544
00:31:36,160 --> 00:31:39,680
Speaker 1: across the kitchen and it dies, and and then this

545
00:31:40,080 --> 00:31:42,040
Speaker 1: and I feel like for that audience, that's the point

546
00:31:42,040 --> 00:31:45,680
Speaker 1: where we're like, maybe he's not a good guy, after all,

547
00:31:45,880 --> 00:31:49,640
Speaker 1: he threw that turtle. But after he basically says, okay,

548
00:31:49,680 --> 00:31:51,560
Speaker 1: you're my prisoners. Now I'm going to have sex with

549
00:31:51,640 --> 00:31:55,920
Speaker 1: whoever I want or I'll kill you, and then the

550
00:31:56,240 --> 00:32:01,520
Speaker 1: white women disperse, it's like okay, so he and uh.

551
00:32:01,560 --> 00:32:05,120
Speaker 1: And then there's another scene between Clint Eastwood and May

552
00:32:05,200 --> 00:32:10,360
Speaker 1: Mercer where he says basically it's like, well your first

553
00:32:10,600 --> 00:32:13,080
Speaker 1: like calm down to the basement. We're doing this right now.

554
00:32:13,640 --> 00:32:18,160
Speaker 1: And she is the only person in the entire movie

555
00:32:18,240 --> 00:32:21,440
Speaker 1: to openly defy him as opposed to all the you

556
00:32:21,480 --> 00:32:26,080
Speaker 1: know tricks that the movie is based around, and uh

557
00:32:26,280 --> 00:32:29,680
Speaker 1: she you know, she basically says, you'd better like it

558
00:32:29,840 --> 00:32:32,280
Speaker 1: with a dead black woman because that's the only way

559
00:32:32,280 --> 00:32:34,160
Speaker 1: you're going to get it from from me. Is like,

560
00:32:34,200 --> 00:32:37,560
Speaker 1: you know, over my dead body, basically, and then he

561
00:32:37,640 --> 00:32:41,920
Speaker 1: folds and leaves, and that is the last major interaction

562
00:32:41,960 --> 00:32:45,520
Speaker 1: those two characters have, And that felt like an important

563
00:32:46,280 --> 00:32:49,600
Speaker 1: thing to happen, not just because we needed more of

564
00:32:49,640 --> 00:32:52,680
Speaker 1: that character, but also because she's the only character who

565
00:32:52,880 --> 00:32:56,880
Speaker 1: doesn't probably manipulating, and she's just like, no, all these

566
00:32:56,880 --> 00:32:59,640
Speaker 1: other women and these stupid white women are like falling

567
00:32:59,760 --> 00:33:04,000
Speaker 1: for is there'd be no movie if the white women

568
00:33:04,040 --> 00:33:09,960
Speaker 1: weren't so dumb, right, that's yeah. So she's the only

569
00:33:09,960 --> 00:33:12,840
Speaker 1: one who like sees right through him, doesn't fall for

570
00:33:12,960 --> 00:33:16,040
Speaker 1: his tricks and his manipulations. And then all the other

571
00:33:16,040 --> 00:33:20,120
Speaker 1: women are like, I haven't seen a man and for

572
00:33:20,520 --> 00:33:24,080
Speaker 1: years the Southern bill and I just want to fuck

573
00:33:24,760 --> 00:33:28,640
Speaker 1: that's what they say, right, I mean both both versions.

574
00:33:28,680 --> 00:33:32,160
Speaker 1: I was just like, this guy ain't ship like he's

575
00:33:32,200 --> 00:33:34,760
Speaker 1: not like he does, like it would be one thing

576
00:33:34,760 --> 00:33:37,080
Speaker 1: if they set him up, is like really true? He

577
00:33:37,120 --> 00:33:45,440
Speaker 1: doesn't even He's not even that charming right right. Seems

578
00:33:45,920 --> 00:33:50,280
Speaker 1: crazy from moment one in the first movie because he

579
00:33:50,920 --> 00:33:54,680
Speaker 1: first scene makes out with a kid. Yes, he makes

580
00:33:54,680 --> 00:33:58,040
Speaker 1: out with a kid. Here's what happens. She finds him

581
00:33:59,240 --> 00:34:03,000
Speaker 1: some other soldiers, like he hears them off in the distance,

582
00:34:03,040 --> 00:34:04,720
Speaker 1: and he doesn't want to get caught, so he's like,

583
00:34:04,800 --> 00:34:09,920
Speaker 1: I have to kiss this kid as a diversion. I'm

584
00:34:10,160 --> 00:34:12,520
Speaker 1: about to die. And he was like, oh, I'm going

585
00:34:12,520 --> 00:34:16,440
Speaker 1: in and I was thinking of it, like to invoke

586
00:34:16,480 --> 00:34:19,120
Speaker 1: a past episode of the cast. I was thinking of

587
00:34:19,160 --> 00:34:22,160
Speaker 1: it like, oh, random, like oh, this is kind of scary,

588
00:34:22,840 --> 00:34:26,440
Speaker 1: like when Brendan Fraser lunges at Rachel Wise when he's

589
00:34:26,440 --> 00:34:28,200
Speaker 1: in that cage and the money and it was just

590
00:34:28,239 --> 00:34:30,279
Speaker 1: like you because I want to do and then you're

591
00:34:30,360 --> 00:34:32,799
Speaker 1: like that it might have been that, but I think

592
00:34:32,840 --> 00:34:35,840
Speaker 1: that was motivated by there were soldiers running past. So

593
00:34:35,920 --> 00:34:38,759
Speaker 1: he's like, if we're just kissing, they won't bother us.

594
00:34:38,960 --> 00:34:42,879
Speaker 1: I guess year old man French and child. He goes yeah,

595
00:34:42,880 --> 00:34:46,920
Speaker 1: He's like, here's the soldiers approaching and then he goes,

596
00:34:46,960 --> 00:34:50,120
Speaker 1: how old are you? And she's like thirteen and sipped him.

597
00:34:50,200 --> 00:34:52,960
Speaker 1: But and then he's like old enough to kiss and

598
00:34:53,000 --> 00:34:58,920
Speaker 1: then grabs her face and kisses her old enough for

599
00:34:59,000 --> 00:35:03,680
Speaker 1: kisses or something like. And then and then from that

600
00:35:03,719 --> 00:35:06,160
Speaker 1: moment on, because she's, you know, twelve, she's like, I

601
00:35:06,200 --> 00:35:10,480
Speaker 1: love him because character actually makes the most sense in mind.

602
00:35:10,520 --> 00:35:12,439
Speaker 1: I agree, But she's the only one where you're like, Okay,

603
00:35:12,440 --> 00:35:14,640
Speaker 1: I get why you're in love with him because you're twelve,

604
00:35:14,719 --> 00:35:17,400
Speaker 1: and like this is and he's weird being led to

605
00:35:17,400 --> 00:35:20,719
Speaker 1: believe a charming, handsome man even though no one's really

606
00:35:20,880 --> 00:35:24,920
Speaker 1: proved that to us in either movie. But sure sometimes

607
00:35:25,000 --> 00:35:30,880
Speaker 1: he's irish and well, like Amy, I like character well,

608
00:35:30,880 --> 00:35:33,399
Speaker 1: and I think outside of that is like the new

609
00:35:33,440 --> 00:35:36,680
Speaker 1: movie basically just kind of takes out all of the sexuality.

610
00:35:36,680 --> 00:35:39,000
Speaker 1: I mean it's there a little bit, but in the

611
00:35:39,040 --> 00:35:41,080
Speaker 1: first movie, part of what makes it so great is

612
00:35:41,120 --> 00:35:43,960
Speaker 1: it's just like like they're all these like sexual fantasy

613
00:35:44,040 --> 00:35:48,120
Speaker 1: scenes and flashbacks and stuff. And it's interesting that when

614
00:35:48,719 --> 00:35:52,479
Speaker 1: when Sophia Coppola adapted it, she took away like all

615
00:35:52,560 --> 00:35:55,200
Speaker 1: of the female sexuality, Like why would you do that?

616
00:35:55,320 --> 00:35:57,319
Speaker 1: Unless her argument is like, oh that was because men

617
00:35:57,360 --> 00:35:59,480
Speaker 1: wrote it and they were like trying to like write

618
00:35:59,480 --> 00:36:01,440
Speaker 1: in these like porny things. But I think it's just

619
00:36:01,480 --> 00:36:03,720
Speaker 1: like that now now we just have a boring movie

620
00:36:05,280 --> 00:36:07,920
Speaker 1: and it's like, for example, l Fanning her character and

621
00:36:07,960 --> 00:36:11,239
Speaker 1: the first one is like incredibly hot and also just

622
00:36:11,280 --> 00:36:15,279
Speaker 1: like really really like she does like a like a

623
00:36:15,719 --> 00:36:18,839
Speaker 1: full blown seduction. Is like you won't like I know

624
00:36:18,920 --> 00:36:21,400
Speaker 1: more than you think, like I would be his royal

625
00:36:21,440 --> 00:36:25,960
Speaker 1: penis cleaner called back to coming to America. Wow, I

626
00:36:26,040 --> 00:36:29,520
Speaker 1: love because she's like I'd clean in places that you wouldn't,

627
00:36:29,560 --> 00:36:33,440
Speaker 1: and I like, you're such a hussy. She was hussy

628
00:36:33,480 --> 00:36:36,080
Speaker 1: shamed and I don't care for that. But that's what

629
00:36:36,080 --> 00:36:38,680
Speaker 1: I'm going to call shaming from now on. But again,

630
00:36:38,760 --> 00:36:42,399
Speaker 1: that's like another character where Okay, first of all, I

631
00:36:42,840 --> 00:36:47,759
Speaker 1: this is a fucking Southern Gothic story, and the point

632
00:36:47,800 --> 00:36:50,920
Speaker 1: of Southern Gothic stories is that most of the people

633
00:36:51,080 --> 00:36:55,840
Speaker 1: in them are like deluded and strung out. Like that's

634
00:36:55,880 --> 00:36:59,680
Speaker 1: like a hallmark of of this genre of like you know,

635
00:36:59,719 --> 00:37:02,719
Speaker 1: and we we have the ingredients for that where it's

636
00:37:02,719 --> 00:37:05,440
Speaker 1: like these women have been stuck with each other for

637
00:37:05,520 --> 00:37:08,120
Speaker 1: a long period of time. They're always in danger, but

638
00:37:08,160 --> 00:37:11,520
Speaker 1: they're also extremely bored. You can see why, and and

639
00:37:11,680 --> 00:37:14,560
Speaker 1: the book in the nineteen seventy one it's too much.

640
00:37:14,840 --> 00:37:19,200
Speaker 1: It's like the miss Martha apparently used to fuck her

641
00:37:19,280 --> 00:37:23,319
Speaker 1: brother and and thinks about that a lot and then

642
00:37:23,880 --> 00:37:25,919
Speaker 1: goes to Clint Eastwood and is like, well, it won't

643
00:37:25,920 --> 00:37:30,399
Speaker 1: be the same, but but you'll do sort of. And

644
00:37:30,480 --> 00:37:34,000
Speaker 1: I mean, but there's like you see the sexuality like

645
00:37:34,200 --> 00:37:37,760
Speaker 1: play out, because that's really what the story is about.

646
00:37:38,000 --> 00:37:44,759
Speaker 1: It's a softcore porn well, I mean, it's core. I

647
00:37:44,880 --> 00:37:47,799
Speaker 1: have a big problem with any rendition of the story.

648
00:37:47,800 --> 00:37:50,440
Speaker 1: I haven't read the book, but with both versions of

649
00:37:50,480 --> 00:37:55,759
Speaker 1: the film, it's basically suggesting that there's a group of

650
00:37:55,920 --> 00:38:00,600
Speaker 1: women and they're getting along fine in its civil war,

651
00:38:00,880 --> 00:38:04,320
Speaker 1: but they're still trucking along and learning French and everything's

652
00:38:04,360 --> 00:38:09,080
Speaker 1: great until a man shows up and they just all

653
00:38:09,120 --> 00:38:11,799
Speaker 1: want to suck him. So they're all they're jealous of

654
00:38:11,840 --> 00:38:15,800
Speaker 1: each other, and they're like basically everyone's world falls apart

655
00:38:15,880 --> 00:38:19,239
Speaker 1: because of the introduction of this man. So I think

656
00:38:19,280 --> 00:38:23,320
Speaker 1: a better version of this story is he comes along,

657
00:38:23,960 --> 00:38:26,400
Speaker 1: he's an enemy. They take him as like a prisoner

658
00:38:26,440 --> 00:38:28,520
Speaker 1: of war, and they feel compassion for him, so we're like, well,

659
00:38:28,560 --> 00:38:30,040
Speaker 1: nurse him back to health. We don't want him to

660
00:38:30,120 --> 00:38:32,960
Speaker 1: die per se. But then he as as he starts

661
00:38:33,000 --> 00:38:35,680
Speaker 1: to try to manipulate these women. A better version of

662
00:38:35,680 --> 00:38:38,160
Speaker 1: the story would be if they don't fall for it,

663
00:38:38,239 --> 00:38:41,600
Speaker 1: and then they have to retaliate and be like, yeah,

664
00:38:41,760 --> 00:38:44,239
Speaker 1: if at least one of them doesn't fall for it.

665
00:38:44,360 --> 00:38:47,480
Speaker 1: For three quarters of the movie, it just goes on

666
00:38:47,600 --> 00:38:50,680
Speaker 1: for so long, scene after scene after scene. Even in

667
00:38:50,719 --> 00:38:53,560
Speaker 1: the Good One, it's scene after scene of like a

668
00:38:53,600 --> 00:38:56,960
Speaker 1: different girl goes into his room, he seduces them. Now

669
00:38:57,080 --> 00:38:59,880
Speaker 1: he has another ally and then we see a bun

670
00:39:00,040 --> 00:39:02,759
Speaker 1: to near misses of the women talking to each other,

671
00:39:02,760 --> 00:39:04,960
Speaker 1: and it's like, are they gonna find out? No, not

672
00:39:05,080 --> 00:39:08,279
Speaker 1: this time, but at least there's some suspense. This I

673
00:39:08,320 --> 00:39:12,319
Speaker 1: couldn't stand it. There's no suspense. There's not really any

674
00:39:12,480 --> 00:39:15,799
Speaker 1: major there's not a major character that has a lot

675
00:39:15,840 --> 00:39:18,640
Speaker 1: of doubt in him, which I thought was interesting shout

676
00:39:18,640 --> 00:39:24,120
Speaker 1: out to my favorite movie Doubt. Uh. But there I

677
00:39:24,160 --> 00:39:26,440
Speaker 1: feel like that, I mean, and this would go all

678
00:39:26,480 --> 00:39:29,120
Speaker 1: the way back to when the story was originally written,

679
00:39:29,480 --> 00:39:33,000
Speaker 1: but like, there's you know, six, there's seven women in

680
00:39:33,080 --> 00:39:36,400
Speaker 1: this house, I think, and not you know, and I

681
00:39:36,400 --> 00:39:38,000
Speaker 1: feel like there's one of them, like the little girl

682
00:39:38,000 --> 00:39:42,560
Speaker 1: who plays the fiddle is sometimes like yeah, that's she

683
00:39:42,640 --> 00:39:44,960
Speaker 1: was the one. Like there is one girl who sort

684
00:39:44,960 --> 00:39:46,680
Speaker 1: of had some doubts, but she was in no way

685
00:39:46,719 --> 00:39:49,440
Speaker 1: a major character and was always just there like no,

686
00:39:49,680 --> 00:39:53,280
Speaker 1: we want to fuck him, shut up, Like it would

687
00:39:53,280 --> 00:39:55,160
Speaker 1: have been interesting if there was like a little a

688
00:39:55,200 --> 00:39:58,239
Speaker 1: little agent of chaos trying to figure out what he

689
00:39:58,280 --> 00:40:00,799
Speaker 1: was actually up to, versus like trying to thug him.

690
00:40:00,840 --> 00:40:04,160
Speaker 1: But that's a that's a note for everybody, not just

691
00:40:04,320 --> 00:40:09,560
Speaker 1: for some handco oh. Another scene that was in the

692
00:40:09,600 --> 00:40:13,359
Speaker 1: original version that was taken out of this one was

693
00:40:14,160 --> 00:40:17,239
Speaker 1: again Sofia Coppola just erasing any moment of tension that

694
00:40:17,320 --> 00:40:21,520
Speaker 1: might be. Was when the Confederate soldiers come to the

695
00:40:21,560 --> 00:40:24,319
Speaker 1: house at night and they're like we we're here to

696
00:40:24,400 --> 00:40:27,440
Speaker 1: protect you. And they're like, actually, we're okay, and they're like, no,

697
00:40:27,600 --> 00:40:31,759
Speaker 1: we really think you should be protected by us, and

698
00:40:32,200 --> 00:40:35,200
Speaker 1: they're giving up very rape vibes and Miss Martha keeps

699
00:40:35,239 --> 00:40:38,440
Speaker 1: insisting like no, we're fine, please leave now, good night,

700
00:40:38,640 --> 00:40:41,440
Speaker 1: thank you, and then they're just like they're very persistent,

701
00:40:41,520 --> 00:40:44,040
Speaker 1: and it's extremely uncomfortable, and it's very tense because all

702
00:40:44,040 --> 00:40:47,920
Speaker 1: the girls are like scared, and rightfully so, because they're

703
00:40:47,960 --> 00:40:51,160
Speaker 1: presumably coming into rape them all. I think that, I mean,

704
00:40:51,680 --> 00:40:54,960
Speaker 1: it seems like they're right like, no matter what soldier

705
00:40:55,080 --> 00:40:57,840
Speaker 1: comes to the house, regardless of what's eide they're on,

706
00:40:57,880 --> 00:41:00,640
Speaker 1: they're afraid of all of them. Right, Yeah, I'm pretty

707
00:41:00,640 --> 00:41:02,759
Speaker 1: sure that. Sofia Coppola, like, do they ever say the

708
00:41:02,800 --> 00:41:05,360
Speaker 1: word rape? And the new one? They may say rape

709
00:41:05,400 --> 00:41:08,799
Speaker 1: one time, like maybe in the first scene where someone's like, oh,

710
00:41:08,920 --> 00:41:11,920
Speaker 1: you know that all those Yankees are good? I think

711
00:41:11,920 --> 00:41:14,360
Speaker 1: they do say that one time. And then there's another

712
00:41:14,440 --> 00:41:18,320
Speaker 1: scene where when the soldiers do show up, but Sophia

713
00:41:18,400 --> 00:41:21,000
Speaker 1: couple is like, you know what moment of attention, You're

714
00:41:21,040 --> 00:41:24,000
Speaker 1: not going to show it? Don't like where are they?

715
00:41:24,200 --> 00:41:26,080
Speaker 1: She's like, they're in the kitchen night getting the mike

716
00:41:26,160 --> 00:41:27,840
Speaker 1: to eat. You know what, I'm Sammy, you know what

717
00:41:27,920 --> 00:41:30,080
Speaker 1: I feel like? I feel like she it wasn't even

718
00:41:30,120 --> 00:41:31,879
Speaker 1: that she was like her answer of I just didn't

719
00:41:31,880 --> 00:41:33,520
Speaker 1: write it in because I don't know the perspective. It's

720
00:41:33,520 --> 00:41:36,040
Speaker 1: almost like she took that original script and was like

721
00:41:36,280 --> 00:41:37,960
Speaker 1: I'm going to write out any like I'm not going

722
00:41:38,000 --> 00:41:40,040
Speaker 1: to touch anything that's gonna get me in trouble on

723
00:41:40,080 --> 00:41:41,760
Speaker 1: the internet, like I'm going to write out the rape.

724
00:41:41,960 --> 00:41:45,840
Speaker 1: I'm going to write out and herself and she just

725
00:41:45,920 --> 00:41:48,360
Speaker 1: kind of like every idea, every kind of thing in

726
00:41:48,400 --> 00:41:51,320
Speaker 1: the movie that was like interesting and sort of edgy,

727
00:41:51,400 --> 00:41:53,640
Speaker 1: she just decides to not address, which is super weird

728
00:41:53,680 --> 00:41:55,320
Speaker 1: because it ends up being just the least edgy or

729
00:41:55,320 --> 00:41:57,359
Speaker 1: interesting movie in the world. It's weird what she keeps

730
00:41:57,440 --> 00:41:59,720
Speaker 1: him when she doesn't. And there is like Nicole Kimman

731
00:41:59,800 --> 00:42:03,920
Speaker 1: does say at one point after she makes the soldiers

732
00:42:03,960 --> 00:42:06,759
Speaker 1: Sammy's and they're downstairs and we never even see them leave.

733
00:42:06,800 --> 00:42:09,960
Speaker 1: They're never referenced again that I remember, but there's like

734
00:42:10,000 --> 00:42:11,920
Speaker 1: one of the little girls leaving and saying like, oh,

735
00:42:11,960 --> 00:42:14,600
Speaker 1: can I go downstairs and say hi? And then she's like, no,

736
00:42:14,800 --> 00:42:19,680
Speaker 1: don't tempt them as like remove temptation, right, And the

737
00:42:19,680 --> 00:42:22,279
Speaker 1: other one you see them like leering around and they

738
00:42:22,320 --> 00:42:26,239
Speaker 1: look like but right. So there, so it's a very

739
00:42:26,280 --> 00:42:29,200
Speaker 1: tense and I was like, yeah, I was worried for

740
00:42:29,239 --> 00:42:32,560
Speaker 1: those girls, and because I was like, they force their

741
00:42:32,600 --> 00:42:34,120
Speaker 1: way into that, by the way. Then you get the

742
00:42:34,120 --> 00:42:36,360
Speaker 1: context of like why it's so hot that they have

743
00:42:36,520 --> 00:42:39,239
Speaker 1: this guy that's kind of their prisoner, because the way

744
00:42:39,280 --> 00:42:41,840
Speaker 1: that sexuality is framed in every other context in the

745
00:42:41,880 --> 00:42:43,960
Speaker 1: movie is like them being raped. So it's like kind

746
00:42:43,960 --> 00:42:46,120
Speaker 1: of cool that, like you you understand, like, oh, there's

747
00:42:46,120 --> 00:42:49,239
Speaker 1: this guy, he can't walk and he's safe at the

748
00:42:49,320 --> 00:42:53,000
Speaker 1: very last until I'm threatening for now, and then then

749
00:42:53,000 --> 00:42:56,520
Speaker 1: I started throwing turtles around now and now we're all

750
00:42:56,520 --> 00:42:58,759
Speaker 1: in trouble. The old turtle talk back to back to

751
00:42:58,800 --> 00:43:01,440
Speaker 1: the crimping was any know, it's like the turtles, those

752
00:43:01,480 --> 00:43:03,600
Speaker 1: pets back there where the fun where they get turtle

753
00:43:04,280 --> 00:43:06,600
Speaker 1: from the swamp from the swamp. I mean I got

754
00:43:06,600 --> 00:43:08,879
Speaker 1: my turtle in like San Diego back in the day.

755
00:43:08,920 --> 00:43:11,480
Speaker 1: I got my turtle at Uh. I got like some

756
00:43:11,520 --> 00:43:13,600
Speaker 1: boardwalk there's yeah, like I bought it on the side

757
00:43:13,600 --> 00:43:16,200
Speaker 1: of the street. Anyway. It's a little crazy to me that,

758
00:43:16,239 --> 00:43:18,640
Speaker 1: you know, during the Civil War there pet turtles who

759
00:43:18,719 --> 00:43:23,600
Speaker 1: knew uh something that Sofia Coppola kept that that bothered

760
00:43:23,640 --> 00:43:25,680
Speaker 1: me about the first movie and was like one of

761
00:43:25,719 --> 00:43:27,720
Speaker 1: those things where I was like, oh, yeah, this movie

762
00:43:27,800 --> 00:43:30,440
Speaker 1: and its source material is written by a man, So

763
00:43:30,480 --> 00:43:36,360
Speaker 1: there is that major moment where Edwina catches l Crimped

764
00:43:36,400 --> 00:43:41,320
Speaker 1: Fanning Alicia Alicia Carol in the first movie and mcbe

765
00:43:41,560 --> 00:43:45,800
Speaker 1: in bed this is a huge moment and then after

766
00:43:46,280 --> 00:43:50,719
Speaker 1: uh we we break Colin Ferrell's leg and it's all

767
00:43:50,760 --> 00:43:53,040
Speaker 1: funked up and grows. There is a brief exchange in

768
00:43:53,120 --> 00:43:57,200
Speaker 1: both movies where l Fanning lies and it is like

769
00:43:57,600 --> 00:43:59,799
Speaker 1: he came after me, he attacked me, you know, And

770
00:44:00,040 --> 00:44:02,200
Speaker 1: so she's trying to get herself off the hook by

771
00:44:02,200 --> 00:44:05,880
Speaker 1: basically saying that he raped her, to which Edwina responds

772
00:44:05,880 --> 00:44:08,200
Speaker 1: in both movies by being like, oh, she's such a liar,

773
00:44:08,640 --> 00:44:10,839
Speaker 1: you know. And then Miss Martha says, well, we don't know.

774
00:44:10,920 --> 00:44:12,840
Speaker 1: It could be either way, which is just like a

775
00:44:12,920 --> 00:44:15,839
Speaker 1: dangerous precedent to set no matter what you're doing in it.

776
00:44:16,000 --> 00:44:19,680
Speaker 1: And but it's it's it's hard because it's like that

777
00:44:19,880 --> 00:44:22,239
Speaker 1: is crucial to the story. But that bugged me in

778
00:44:22,280 --> 00:44:23,920
Speaker 1: the first movie and I was like, oh, well, it

779
00:44:23,920 --> 00:44:27,440
Speaker 1: seems like Sofia Copple is writing out a lot of stuff.

780
00:44:27,480 --> 00:44:29,239
Speaker 1: Maybe what's she going to do with this? But she's

781
00:44:29,280 --> 00:44:32,480
Speaker 1: like papped it, keep it. I um. So that character,

782
00:44:32,880 --> 00:44:39,040
Speaker 1: her name is Carol in the in the why did

783
00:44:39,000 --> 00:44:42,400
Speaker 1: it want? What's wrong with Carol? Oh? Probably because that

784
00:44:42,440 --> 00:44:50,239
Speaker 1: movie Carols Carol. No, two characters in any movie can

785
00:44:50,280 --> 00:44:53,680
Speaker 1: have the same name, So I mean, the character's name

786
00:44:53,719 --> 00:44:57,880
Speaker 1: is John, after all, he's the first John in any movie,

787
00:44:58,120 --> 00:45:02,200
Speaker 1: but Carol is that iconic name car Come. But um,

788
00:45:02,239 --> 00:45:06,920
Speaker 1: I liked that character Carol in the version. I just

789
00:45:06,960 --> 00:45:11,280
Speaker 1: like that she was in control of her sexual sexuality

790
00:45:11,400 --> 00:45:14,080
Speaker 1: and she's like, that's a guy I don't want to

791
00:45:14,120 --> 00:45:17,279
Speaker 1: fuck him. And so what if I'm seventeen, I'm gonna

792
00:45:17,360 --> 00:45:21,719
Speaker 1: still they say, because they set it up that you know,

793
00:45:21,840 --> 00:45:24,799
Speaker 1: she just I mean, she's a teen, She's fooled around before.

794
00:45:24,840 --> 00:45:26,879
Speaker 1: It actually makes sense that she's going to fool around

795
00:45:26,920 --> 00:45:30,000
Speaker 1: with the like soldier that's convalescing in the next room.

796
00:45:30,040 --> 00:45:32,640
Speaker 1: It's with like the older characters that it doesn't make

797
00:45:32,680 --> 00:45:36,120
Speaker 1: as much sense, right and again, it makes sense when

798
00:45:36,160 --> 00:45:42,120
Speaker 1: Clint east Too does it because he's actively manipulating everyone,

799
00:45:42,360 --> 00:45:46,480
Speaker 1: But Colin Farrell's version of this character is not actively

800
00:45:46,640 --> 00:45:51,719
Speaker 1: manipulating everyone, So it's confusing, Like and especially when if

801
00:45:51,800 --> 00:45:54,839
Speaker 1: we had just seen the version, I would have no

802
00:45:55,000 --> 00:45:57,880
Speaker 1: idea why he goes to l Fanning's room instead of

803
00:45:57,960 --> 00:46:01,239
Speaker 1: Kirsten Dunst. That would make no sense, Like, I don't

804
00:46:01,280 --> 00:46:05,840
Speaker 1: get In the first movie, he's sort of blackmailed by Carol,

805
00:46:06,560 --> 00:46:09,520
Speaker 1: who gets jealous at one point in the movie and

806
00:46:09,719 --> 00:46:12,920
Speaker 1: basically tries to sell him out and give him up

807
00:46:13,200 --> 00:46:15,759
Speaker 1: to the other soldiers and almost gets away with it,

808
00:46:16,400 --> 00:46:18,719
Speaker 1: and then he finds out that she was responsible for it,

809
00:46:18,760 --> 00:46:20,680
Speaker 1: and she was just like, well, it don't make me jealous,

810
00:46:20,719 --> 00:46:24,080
Speaker 1: And so Clint Eastwood in the first movie is like

811
00:46:24,640 --> 00:46:26,960
Speaker 1: threatened by her and a little bit afraid of her.

812
00:46:27,040 --> 00:46:30,440
Speaker 1: Better go fucker then, and he's sort of like, I mean,

813
00:46:30,520 --> 00:46:33,600
Speaker 1: she's really the only character that he seems like threatened

814
00:46:33,600 --> 00:46:38,719
Speaker 1: by until he loses his leg and he loses his ship.

815
00:46:38,960 --> 00:46:41,279
Speaker 1: But like, it makes sense why he goes to her

816
00:46:41,280 --> 00:46:44,279
Speaker 1: in the first one because he feels like she has

817
00:46:44,320 --> 00:46:47,160
Speaker 1: some sort of power over him and has the ability

818
00:46:47,200 --> 00:46:50,560
Speaker 1: to funck him over so of all the options he

819
00:46:50,640 --> 00:46:54,560
Speaker 1: has set up for himself. So even though like Carol

820
00:46:54,680 --> 00:46:59,000
Speaker 1: isn't an admirable person, I don't know like her identify

821
00:46:59,120 --> 00:47:02,080
Speaker 1: with her, but I just liked that she was sort

822
00:47:02,120 --> 00:47:04,279
Speaker 1: of playing his game. She's like, well, if you're going

823
00:47:04,360 --> 00:47:08,600
Speaker 1: to re people, it was just I actually kind of do.

824
00:47:08,719 --> 00:47:10,400
Speaker 1: If I had to pick one and I was watching

825
00:47:10,400 --> 00:47:12,240
Speaker 1: the nineteen seventy one of Like, who do you identify,

826
00:47:12,440 --> 00:47:16,520
Speaker 1: it would be Carol. Carol's a badass, like you know, yeah,

827
00:47:16,560 --> 00:47:20,400
Speaker 1: I mean, I think she's a very interesting character. And

828
00:47:20,520 --> 00:47:22,760
Speaker 1: ed Weena is a little bit frustrating because she's so naive,

829
00:47:23,320 --> 00:47:28,640
Speaker 1: especially in the first movie. I feel for her. I

830
00:47:28,640 --> 00:47:31,600
Speaker 1: feel like I most closely identify with Edwena, and I

831
00:47:31,680 --> 00:47:35,040
Speaker 1: saw Oh my gosh, I hate in the Coupala version,

832
00:47:35,160 --> 00:47:37,560
Speaker 1: I hate that character. She's I mean everything in a

833
00:47:37,600 --> 00:47:40,640
Speaker 1: couple of versions worse. But in the first one she's

834
00:47:40,680 --> 00:47:43,160
Speaker 1: she's like, I'm twenty two and then he kisses her.

835
00:47:43,239 --> 00:47:46,759
Speaker 1: She's like, I don't know how and I don't know,

836
00:47:47,000 --> 00:47:50,000
Speaker 1: Like I feel that way all the time, where I'm

837
00:47:50,040 --> 00:47:52,280
Speaker 1: just like I don't know, don't hurt my feelings, please,

838
00:47:52,400 --> 00:47:56,040
Speaker 1: and and like I don't know. Her naiveness comes across

839
00:47:56,040 --> 00:47:58,080
Speaker 1: in a more convincing genuine and a lot of you

840
00:47:58,120 --> 00:48:01,640
Speaker 1: were saying this earlier, Like for the character Kristen Duns

841
00:48:01,719 --> 00:48:04,080
Speaker 1: is not of an appropriate age because she's in her

842
00:48:04,080 --> 00:48:06,319
Speaker 1: early thirties, and it wouldn't make sense that a woman

843
00:48:06,360 --> 00:48:08,439
Speaker 1: in her early thirties would be she really I thought

844
00:48:08,440 --> 00:48:12,600
Speaker 1: she was older than that. But but like they don't.

845
00:48:12,600 --> 00:48:14,920
Speaker 1: They don't stay Edwina's age in this movie. They do

846
00:48:14,960 --> 00:48:17,200
Speaker 1: in the first one. They say she's twenty two and

847
00:48:17,320 --> 00:48:20,960
Speaker 1: that she's been in this school for seven years. So

848
00:48:21,000 --> 00:48:23,560
Speaker 1: it totally makes sense that her attitude towards men would

849
00:48:23,600 --> 00:48:27,480
Speaker 1: be like, I don't know trust And this is something

850
00:48:27,520 --> 00:48:30,520
Speaker 1: I wanted to talk about again. It's a big comparative thing.

851
00:48:30,600 --> 00:48:34,480
Speaker 1: But in the first movie there is this whole built

852
00:48:34,480 --> 00:48:38,680
Speaker 1: in structure where every major female character it's made clear

853
00:48:38,920 --> 00:48:42,200
Speaker 1: that they don't trust men, and Clint Eastwood and sort

854
00:48:42,239 --> 00:48:44,040
Speaker 1: of asked all of them, why don't you trust men?

855
00:48:44,080 --> 00:48:46,680
Speaker 1: Men are grade? Men are grade? Guy, Fuck you, men

856
00:48:46,719 --> 00:48:51,600
Speaker 1: are grade. Trust us, We're cool. It's told through sometimes flashbacks,

857
00:48:51,640 --> 00:48:54,399
Speaker 1: sometimes they just state it, but we figure out why

858
00:48:54,480 --> 00:48:58,960
Speaker 1: every woman in the house doesn't trust a man. Sometimes

859
00:48:59,080 --> 00:49:03,759
Speaker 1: it's whoops, say fucked my brother. Sometimes it's like a

860
00:49:04,080 --> 00:49:07,480
Speaker 1: father issue, and it's like everyone has given some sort

861
00:49:07,520 --> 00:49:10,840
Speaker 1: of reason of like why they are not so quick

862
00:49:10,880 --> 00:49:15,200
Speaker 1: to trust him. And that felt like, really, of all

863
00:49:15,200 --> 00:49:18,080
Speaker 1: the stuff in the in the first movie, something that

864
00:49:18,400 --> 00:49:22,880
Speaker 1: could be really useful to Sofia Goppola, and these are reasons.

865
00:49:22,920 --> 00:49:25,239
Speaker 1: They're giving reasons why they don't trust him, but in

866
00:49:25,280 --> 00:49:27,480
Speaker 1: doing that are also explaining why they end up doing

867
00:49:27,480 --> 00:49:30,160
Speaker 1: it so easily, Like they have this issue right, so

868
00:49:30,160 --> 00:49:32,080
Speaker 1: it's like, oh, I had this thing happen which makes

869
00:49:32,080 --> 00:49:34,160
Speaker 1: me not trust men, but it's also why I'm kind

870
00:49:34,200 --> 00:49:36,839
Speaker 1: of like just want to believe that you're different sort

871
00:49:36,880 --> 00:49:40,759
Speaker 1: of exactly right, but which is a relatable totally um.

872
00:49:40,800 --> 00:49:43,839
Speaker 1: But then they just take that away and you're like,

873
00:49:43,960 --> 00:49:47,480
Speaker 1: I'm none of that is given in the new one,

874
00:49:47,800 --> 00:49:49,680
Speaker 1: and I really the thing I really liked about the

875
00:49:49,680 --> 00:49:52,439
Speaker 1: first movie is that we The first character we meet

876
00:49:52,480 --> 00:49:56,719
Speaker 1: in both movies is Amy. She's picking shrooms. She comes

877
00:49:56,760 --> 00:50:02,120
Speaker 1: across like I got to get my psychedelic fix on.

878
00:50:04,120 --> 00:50:08,080
Speaker 1: Depending on the adaptation, she franches um right and and

879
00:50:08,120 --> 00:50:11,160
Speaker 1: it's again very like cheesy in the first one, but

880
00:50:11,320 --> 00:50:13,719
Speaker 1: it's a Southern Gothic story, so it's supposed to be.

881
00:50:14,120 --> 00:50:18,120
Speaker 1: But where like Amy is talking to Clint when he's

882
00:50:18,640 --> 00:50:20,719
Speaker 1: I don't remember it's either right before he loses his

883
00:50:20,800 --> 00:50:24,080
Speaker 1: leg or right after I think right after, and oh,

884
00:50:24,160 --> 00:50:26,320
Speaker 1: she finds out that he's been hooking up with everyone

885
00:50:26,400 --> 00:50:30,400
Speaker 1: she's ever met. In her entire life, which must be

886
00:50:30,440 --> 00:50:33,560
Speaker 1: hard when you're twelve of like, you fucked everyone I know,

887
00:50:34,120 --> 00:50:38,160
Speaker 1: and it's really just getting ready for what it's sort

888
00:50:38,160 --> 00:50:42,400
Speaker 1: of yeah, he's like, I'm just prepping you for this scene. Yeah,

889
00:50:41,280 --> 00:50:46,480
Speaker 1: it's rough out there. Um, but he's like fucked her

890
00:50:46,680 --> 00:50:49,960
Speaker 1: all the maternal figures she's ever had, and you know,

891
00:50:50,080 --> 00:50:52,680
Speaker 1: there's like the little child actor and she's just like,

892
00:50:52,760 --> 00:50:55,400
Speaker 1: but I thought you loved me, and he was like,

893
00:50:56,280 --> 00:50:59,720
Speaker 1: I do. And then she's pissed and then he throws

894
00:50:59,719 --> 00:51:04,000
Speaker 1: her hurtle and then she's like, I'm to die. But

895
00:51:04,160 --> 00:51:06,959
Speaker 1: by the end of the movie, where Amy is sort

896
00:51:07,000 --> 00:51:10,799
Speaker 1: of the driving force between so many major events, where

897
00:51:11,160 --> 00:51:16,440
Speaker 1: she finds him and at the request of Miss Martha,

898
00:51:16,680 --> 00:51:20,360
Speaker 1: she gets the stuff to kill him, um by picking

899
00:51:20,360 --> 00:51:22,879
Speaker 1: the poisonous mushrooms. And by the end of the movie,

900
00:51:22,920 --> 00:51:25,200
Speaker 1: you almost get the feeling that it's like, oh, this

901
00:51:25,280 --> 00:51:29,359
Speaker 1: whole movie is Amy's future flashback to why she will

902
00:51:29,400 --> 00:51:34,719
Speaker 1: never trust men is because this handsome like we are

903
00:51:34,800 --> 00:51:39,040
Speaker 1: to believe this handsome soldier who fringed her while he

904
00:51:39,160 --> 00:51:42,360
Speaker 1: was covered in dirt turned out to be a pretty

905
00:51:42,400 --> 00:51:48,000
Speaker 1: bad guy. I know, I know, was anyone else Matt

906
00:51:48,080 --> 00:51:51,319
Speaker 1: like basically when he's around, like threatening them with a gun,

907
00:51:51,480 --> 00:51:53,880
Speaker 1: and I keep thinking, like there's one of him, there's

908
00:51:53,960 --> 00:51:58,200
Speaker 1: like ten of you kick him. And then then when

909
00:51:58,200 --> 00:52:00,520
Speaker 1: they're like we have to we have to poisoned him

910
00:52:00,520 --> 00:52:02,360
Speaker 1: with the mushrooms, I kind of wanted to. I just

911
00:52:02,440 --> 00:52:04,040
Speaker 1: kind of wanted them to like get the gun and

912
00:52:04,160 --> 00:52:05,480
Speaker 1: kill him. And I was like, why did they have

913
00:52:05,480 --> 00:52:06,560
Speaker 1: to Why did they have to kill him in a

914
00:52:06,640 --> 00:52:09,200
Speaker 1: like this feminine way, which is like poisoning you with

915
00:52:09,239 --> 00:52:11,799
Speaker 1: the food we make, right, And maybe that's a that's

916
00:52:11,800 --> 00:52:13,440
Speaker 1: a function of the time, but I wanted them to

917
00:52:13,440 --> 00:52:16,760
Speaker 1: go straight up like just that there were hatchets around.

918
00:52:16,760 --> 00:52:22,239
Speaker 1: There was off, oh, yeah, they cut his mother. We

919
00:52:22,280 --> 00:52:24,480
Speaker 1: need to kill him in a dignified way by watching

920
00:52:24,560 --> 00:52:27,279
Speaker 1: him choke to death. Because someone's like, let's hang him,

921
00:52:27,280 --> 00:52:30,200
Speaker 1: and they're like, let's not resort to such brutalities. It's

922
00:52:30,239 --> 00:52:34,319
Speaker 1: like you're gonna him. I mean, and maybe this is

923
00:52:34,520 --> 00:52:37,759
Speaker 1: maybe what they were trying. The closest I can get

924
00:52:37,800 --> 00:52:39,960
Speaker 1: to Devil's advocate there is like maybe they were trying

925
00:52:39,960 --> 00:52:42,680
Speaker 1: to express some sort of double standard of because at

926
00:52:42,719 --> 00:52:44,560
Speaker 1: the beginning, we're like, you should have just let him

927
00:52:44,640 --> 00:52:47,360
Speaker 1: bleed out not our problem. And then they're like, but

928
00:52:47,560 --> 00:52:50,000
Speaker 1: we don't want to kill him, even though he's sucked

929
00:52:50,040 --> 00:52:53,040
Speaker 1: us all and it wants to kill us. I don't know.

930
00:52:53,239 --> 00:52:55,840
Speaker 1: I mean I think maybe, but I don't know, because

931
00:52:55,920 --> 00:52:57,600
Speaker 1: I feel like if we're supposed to see this as

932
00:52:57,600 --> 00:52:59,560
Speaker 1: some story of empowerment, I don't know how we're supposed

933
00:52:59,600 --> 00:53:03,440
Speaker 1: to see this. That just didn't feel like Harry. I

934
00:53:03,600 --> 00:53:06,959
Speaker 1: was just kind of like if Sofia couple of head, okay, Okay,

935
00:53:07,160 --> 00:53:08,840
Speaker 1: I'm not I'm sorry to keep you waiting at her

936
00:53:11,040 --> 00:53:13,719
Speaker 1: story him into a million pieces right like there was

937
00:53:13,840 --> 00:53:18,759
Speaker 1: no This was a redo of the first movie with

938
00:53:19,640 --> 00:53:23,399
Speaker 1: no details changed, but many just left out, like there

939
00:53:23,520 --> 00:53:29,759
Speaker 1: wasn't much shot in the same house that Beyonce shot Lemonade,

940
00:53:30,080 --> 00:53:34,480
Speaker 1: adding more insult the fact that she omitted the black character.

941
00:53:34,920 --> 00:53:37,760
Speaker 1: They're also there's like a scene or like a shot

942
00:53:37,880 --> 00:53:41,360
Speaker 1: in the new book Guild where l Fanning does exactly

943
00:53:41,360 --> 00:53:43,560
Speaker 1: what Vivian Lee does in like a scene in Gone

944
00:53:43,560 --> 00:53:45,239
Speaker 1: with the Wind, and I just I'm just like, I'm

945
00:53:45,239 --> 00:53:47,600
Speaker 1: going to fight l Fanning and I'm gonna win. What

946
00:53:47,640 --> 00:53:52,760
Speaker 1: does she do her cheeks, which is what Scarlett O'Hara

947
00:53:52,880 --> 00:53:55,680
Speaker 1: does right before she goes to meet Ashley. And anyways,

948
00:53:56,040 --> 00:53:58,640
Speaker 1: this movie stinks. Don't invoke a good movie in a

949
00:53:58,640 --> 00:54:02,719
Speaker 1: bad movie. That's mean. I have never seen Gone with

950
00:54:02,760 --> 00:54:11,680
Speaker 1: the Wind, but it like it, Okay, I know that

951
00:54:11,719 --> 00:54:14,120
Speaker 1: you're like one of the Last thing I'm just saying

952
00:54:14,280 --> 00:54:16,719
Speaker 1: is that usually when we talk about a movie in

953
00:54:16,719 --> 00:54:20,239
Speaker 1: the context of this podcast, it's like there aren't enough

954
00:54:20,360 --> 00:54:23,520
Speaker 1: women in it, or the men out number the women,

955
00:54:23,600 --> 00:54:26,000
Speaker 1: And that's certainly not a problem that this movie has.

956
00:54:26,280 --> 00:54:29,400
Speaker 1: But I don't know, this is just a complicated movie

957
00:54:29,400 --> 00:54:34,080
Speaker 1: to talk about because there are characters that I suppose

958
00:54:34,440 --> 00:54:39,120
Speaker 1: are somewhat developed, although in this version we don't get

959
00:54:39,160 --> 00:54:41,000
Speaker 1: a lot of their backstory or their flashbacks, so we

960
00:54:41,040 --> 00:54:43,480
Speaker 1: don't really understand where a lot of them are coming from.

961
00:54:43,520 --> 00:54:47,080
Speaker 1: So that's a bit disheartening. But the problems that a

962
00:54:47,120 --> 00:54:50,000
Speaker 1: lot of movies have in portraying women don't really apply

963
00:54:50,120 --> 00:54:53,399
Speaker 1: to this movie. But there's there's a whole other thing

964
00:54:53,480 --> 00:54:56,920
Speaker 1: that's wrong with this movie, which is like a man

965
00:54:56,960 --> 00:55:01,040
Speaker 1: shows up and everyone fus everything up. Yeah, I mean,

966
00:55:01,080 --> 00:55:03,919
Speaker 1: if it passes the test, but it also the main

967
00:55:03,960 --> 00:55:06,440
Speaker 1: problem of the movie is though that like these women

968
00:55:06,480 --> 00:55:08,799
Speaker 1: have no identity outside of the guy that they want.

969
00:55:09,160 --> 00:55:11,399
Speaker 1: The man is the inciting and to the movie, So

970
00:55:11,480 --> 00:55:13,000
Speaker 1: it doesn't It's like cool that there are a lot

971
00:55:13,000 --> 00:55:15,760
Speaker 1: of women in the movie, but I'd take less women

972
00:55:15,840 --> 00:55:19,160
Speaker 1: for ones that had more agency outside fucking this guy

973
00:55:19,239 --> 00:55:22,439
Speaker 1: who sucks. Right, Like, this movie passes the vecteal test,

974
00:55:22,480 --> 00:55:24,600
Speaker 1: but the issues of why it doesn't pass more are

975
00:55:24,680 --> 00:55:29,680
Speaker 1: like basically baked into the story itself. So it's which

976
00:55:29,719 --> 00:55:32,960
Speaker 1: is interesting, that's a that's a new problem for for us.

977
00:55:33,040 --> 00:55:36,040
Speaker 1: There's always a new problem. There's always there's always something new.

978
00:55:36,080 --> 00:55:38,359
Speaker 1: It speaks to why the test actually isn't it enough?

979
00:55:38,920 --> 00:55:41,600
Speaker 1: The test for sure isn't as true you never know,

980
00:55:41,800 --> 00:55:44,560
Speaker 1: not that you said it was, but saying like you

981
00:55:44,600 --> 00:55:47,480
Speaker 1: know you can pass and still be like really right,

982
00:55:47,640 --> 00:55:50,400
Speaker 1: Although most of the scenes where women are talking they

983
00:55:50,400 --> 00:55:53,520
Speaker 1: are talking about John McBee, there's a few where they're not.

984
00:55:53,640 --> 00:55:57,080
Speaker 1: They're taking French lessons, they're talking about French, they're talking

985
00:55:57,080 --> 00:56:00,480
Speaker 1: about stitching, but ahold chores, al those things that are

986
00:56:00,480 --> 00:56:02,600
Speaker 1: designed probably to make them more attractive to a man.

987
00:56:03,920 --> 00:56:06,160
Speaker 1: That's why you go to medicate classes. But then you

988
00:56:06,200 --> 00:56:09,080
Speaker 1: can be like, oh, look, they're not going to France,

989
00:56:10,400 --> 00:56:14,480
Speaker 1: taking these girls to France. Yeah, all the conversations are like,

990
00:56:14,960 --> 00:56:18,440
Speaker 1: learn how to stitch so that you can stitch clothes, man,

991
00:56:19,640 --> 00:56:22,799
Speaker 1: seeing kill a man and stitching a shroud Like you

992
00:56:22,840 --> 00:56:26,360
Speaker 1: said that. I guess that that was cool. That was

993
00:56:26,440 --> 00:56:29,680
Speaker 1: fun to watch a child do. But this story could

994
00:56:29,680 --> 00:56:32,279
Speaker 1: just be so much more interesting if they instead of

995
00:56:32,320 --> 00:56:36,960
Speaker 1: all just succumbing to his like stupid seduction techniques. Instead

996
00:56:37,000 --> 00:56:39,400
Speaker 1: we're like, I see right through you. You're not going

997
00:56:39,440 --> 00:56:43,200
Speaker 1: to trick us a piece of ship. We're gonna fight back.

998
00:56:43,600 --> 00:56:46,960
Speaker 1: Or if like, if it is about like women's sexuality

999
00:56:46,960 --> 00:56:49,759
Speaker 1: and them like discovering and they all fuck him and

1000
00:56:50,239 --> 00:56:52,719
Speaker 1: he's not manipulating them into it, maybe he's just like,

1001
00:56:52,800 --> 00:57:00,080
Speaker 1: let's all just have a polly relationship all deviently to

1002
00:57:00,200 --> 00:57:02,319
Speaker 1: be more interesting than the movie that we have here,

1003
00:57:02,400 --> 00:57:04,319
Speaker 1: I mean, and it would facilitate the orgy scene that

1004
00:57:04,400 --> 00:57:08,959
Speaker 1: I wanted. I think for me that this story like it,

1005
00:57:09,120 --> 00:57:12,080
Speaker 1: I don't mind that everyone's horny. I think if there

1006
00:57:12,200 --> 00:57:17,680
Speaker 1: was one character who expressed more doubt shout out to

1007
00:57:17,720 --> 00:57:20,479
Speaker 1: my favorite movie down, if there was one character who

1008
00:57:20,560 --> 00:57:24,040
Speaker 1: was more fucking suspicious of this person who they know

1009
00:57:24,360 --> 00:57:26,760
Speaker 1: is the enemy and it would make sense to be

1010
00:57:26,840 --> 00:57:30,240
Speaker 1: suspicious of the movie would be very different. I mean

1011
00:57:30,280 --> 00:57:32,080
Speaker 1: in that way, it's just like a really sexist movie

1012
00:57:32,120 --> 00:57:34,120
Speaker 1: that basically it's like the second this man comes in,

1013
00:57:34,160 --> 00:57:37,800
Speaker 1: they all lose their minds because because they're smart, they're

1014
00:57:37,840 --> 00:57:41,760
Speaker 1: in school. Like yeah, Like, especially in the first one,

1015
00:57:41,760 --> 00:57:44,000
Speaker 1: they set it up that Martha's like a really kind

1016
00:57:44,000 --> 00:57:48,320
Speaker 1: of like no bullshit kind of balluster because they have

1017
00:57:48,520 --> 00:57:51,200
Speaker 1: that like that moment where where you can hear their

1018
00:57:51,240 --> 00:57:54,240
Speaker 1: thoughts in the first movie sometimes he's like, she does

1019
00:57:54,320 --> 00:57:56,200
Speaker 1: have a point of weakness. I was like, Oh, she's

1020
00:57:56,200 --> 00:57:58,840
Speaker 1: a tough bitch. That's why we're supposed to think. Yeah,

1021
00:57:59,240 --> 00:58:02,440
Speaker 1: it's interesting. Everyone in this movie needs to grow up

1022
00:58:03,600 --> 00:58:07,320
Speaker 1: and get a library card and move on with their lives. Well,

1023
00:58:07,360 --> 00:58:11,080
Speaker 1: in twenty years I will readapt this and make it.

1024
00:58:11,280 --> 00:58:13,840
Speaker 1: There's something I think that someone could have adapted. Like

1025
00:58:13,880 --> 00:58:16,240
Speaker 1: I I don't know a tons of screenwriters right now

1026
00:58:16,280 --> 00:58:18,520
Speaker 1: off the top, but like there is away there's one

1027
00:58:18,640 --> 00:58:21,320
Speaker 1: right here. Do I have a master's degree in screenwriting

1028
00:58:21,320 --> 00:58:24,240
Speaker 1: from Boston University? Yes, I do. You should you should

1029
00:58:24,280 --> 00:58:26,800
Speaker 1: adapt it, but you can see it being adapted in

1030
00:58:26,800 --> 00:58:29,560
Speaker 1: a really cool way, and it's cool yeah, yeah, where

1031
00:58:29,600 --> 00:58:33,440
Speaker 1: it's like but like adapt it, don't just do it again.

1032
00:58:33,600 --> 00:58:35,760
Speaker 1: We should get Quentin Tarantino to do it and make

1033
00:58:35,760 --> 00:58:40,400
Speaker 1: it that's just them blowing him away. Yeah, end of movie.

1034
00:58:40,480 --> 00:58:43,520
Speaker 1: It's more of a short. It's more of a short

1035
00:58:43,760 --> 00:58:47,440
Speaker 1: the way that some people would would. Let's write the

1036
00:58:47,440 --> 00:58:49,400
Speaker 1: movie on our nipple scale. Okay, cool, we have a

1037
00:58:49,440 --> 00:58:51,960
Speaker 1: scale of zero to five nipples, where we rate the

1038
00:58:52,000 --> 00:58:55,960
Speaker 1: movie based on its portrayal of the women characters in

1039
00:58:56,000 --> 00:58:58,840
Speaker 1: the movie. Being the best, I've being the best, zero

1040
00:58:58,920 --> 00:59:01,920
Speaker 1: being the worst. I'm going to give it. God, this

1041
00:59:01,920 --> 00:59:07,440
Speaker 1: this movie is so hard. I would say, who is that?

1042
00:59:07,520 --> 00:59:09,920
Speaker 1: Being too generous? Not generous enough? I don't know. You

1043
00:59:10,000 --> 00:59:14,560
Speaker 1: went first, Okay, up sending the precedent one. I was

1044
00:59:14,960 --> 00:59:18,920
Speaker 1: very annoyed that she that Sophia Coupla got rid of

1045
00:59:18,960 --> 00:59:22,000
Speaker 1: the Holley character, the one person of color in the

1046
00:59:22,000 --> 00:59:25,760
Speaker 1: story who was the most to me interesting character in

1047
00:59:25,800 --> 00:59:29,120
Speaker 1: the version. The fact that, as we discussed before, like

1048
00:59:29,640 --> 00:59:32,000
Speaker 1: a man shows up and everyone loses her ship because like, oh,

1049
00:59:32,040 --> 00:59:33,400
Speaker 1: we want to funk them, and now we're all jealous

1050
00:59:33,440 --> 00:59:36,240
Speaker 1: of each other and we can't handle this competition and

1051
00:59:36,680 --> 00:59:38,760
Speaker 1: we're just petty to each other like that's not good.

1052
00:59:39,280 --> 00:59:44,120
Speaker 1: And a lot of their backstory is just omitted, so

1053
00:59:44,400 --> 00:59:47,480
Speaker 1: we don't really know a lot about these characters are

1054
00:59:47,520 --> 00:59:50,760
Speaker 1: not that well fleshed out or developed, so just overall, like,

1055
00:59:50,880 --> 00:59:54,320
Speaker 1: while women out number men in this movie, buy a lot?

1056
00:59:54,960 --> 00:59:57,800
Speaker 1: It what cost? What if? Then I pulls up like

1057
00:59:58,320 --> 01:00:03,360
Speaker 1: the nipples. I've never said that seriously before. I was like,

1058
01:00:03,600 --> 01:00:07,640
Speaker 1: what is she about to say? It looks really pensive. Sorry.

1059
01:00:07,840 --> 01:00:09,520
Speaker 1: He had a very grim look on her face, and

1060
01:00:09,560 --> 01:00:11,000
Speaker 1: I was like, oh my god, what did I do wrong?

1061
01:00:11,160 --> 01:00:12,320
Speaker 1: I was thinking about the rest of my life for

1062
01:00:12,360 --> 01:00:16,919
Speaker 1: a second. The nipples belong to Okay, well, turtles don't

1063
01:00:16,920 --> 01:00:21,040
Speaker 1: have nipples, so it can't be the turtle. Okay, and

1064
01:00:21,080 --> 01:00:24,240
Speaker 1: that's too bad. That's too bad. I wish that they did,

1065
01:00:24,240 --> 01:00:27,400
Speaker 1: but they are. I suppose they My nipples go to

1066
01:00:27,880 --> 01:00:31,840
Speaker 1: Colin Farrell, whose nipples we see because she scrubs them.

1067
01:00:31,960 --> 01:00:35,040
Speaker 1: She's like, I'm the Royal penis cleaner and I'm going

1068
01:00:35,120 --> 01:00:37,280
Speaker 1: to pull down your andy's a little bit and scrub

1069
01:00:37,320 --> 01:00:40,360
Speaker 1: your hip. But also she scrubs his nipples and that's

1070
01:00:40,360 --> 01:00:43,520
Speaker 1: what my nipples look like. No, yeah, oh yeah, there's

1071
01:00:43,560 --> 01:00:46,560
Speaker 1: a whole thing of like, stop objectifying Colin Farrell. And

1072
01:00:46,600 --> 01:00:51,160
Speaker 1: it's like, honestly, stop objectifying Colin Farrell. I was turned

1073
01:00:51,200 --> 01:00:54,160
Speaker 1: all the way off. If you're gonna objectifying, can you

1074
01:00:54,320 --> 01:00:56,760
Speaker 1: make it not be like his weird hip bone that's

1075
01:00:56,760 --> 01:01:00,720
Speaker 1: not like like the show has open and again, like

1076
01:01:00,760 --> 01:01:03,800
Speaker 1: I would prefer she like doesn't like to fuck or

1077
01:01:03,840 --> 01:01:06,560
Speaker 1: something after seeing this movie, like it's so sexless and

1078
01:01:06,600 --> 01:01:09,480
Speaker 1: even the shot of Colin Ferrell that's supposed to be hot,

1079
01:01:10,200 --> 01:01:13,160
Speaker 1: it's like, yeah, it's like if someone describes sexuality to

1080
01:01:13,200 --> 01:01:16,920
Speaker 1: an alien, they're like, this is what humans like Colin

1081
01:01:17,000 --> 01:01:19,320
Speaker 1: Ferrell's hip bug. It's like, this is not what we like.

1082
01:01:19,440 --> 01:01:20,960
Speaker 1: This is not what we wanted, This is not what

1083
01:01:21,000 --> 01:01:22,880
Speaker 1: we signed up for. Yeah, I just I don't know

1084
01:01:22,920 --> 01:01:24,920
Speaker 1: how she I mean, I feel like most of her

1085
01:01:24,920 --> 01:01:28,200
Speaker 1: work there's like a lot of I think restraint and

1086
01:01:28,360 --> 01:01:31,440
Speaker 1: sexual restraint, and that's a big operating thing. But this,

1087
01:01:31,560 --> 01:01:34,440
Speaker 1: and then again, don't adapt this story. This is a

1088
01:01:34,480 --> 01:01:38,680
Speaker 1: Fox story. Ye know what you're adapting. If you're not,

1089
01:01:38,920 --> 01:01:40,960
Speaker 1: if you don't want to fucking in the movie, that's okay,

1090
01:01:41,000 --> 01:01:44,240
Speaker 1: But then don't adapt the Fox story, right, Yeah, because

1091
01:01:44,480 --> 01:01:47,240
Speaker 1: there you're not going to make anyone any matter than

1092
01:01:47,280 --> 01:01:49,000
Speaker 1: if you take a Fox story and you take all

1093
01:01:49,000 --> 01:01:51,440
Speaker 1: the fucking out of it, they're gonna get pretty mad.

1094
01:01:51,560 --> 01:01:53,280
Speaker 1: You can take the funk out of the Fox story,

1095
01:01:53,320 --> 01:01:55,480
Speaker 1: but you can't take the funk out of the uck.

1096
01:01:57,440 --> 01:01:59,840
Speaker 1: You can't take the story out of the fun something.

1097
01:02:00,360 --> 01:02:02,240
Speaker 1: I'll figure it out and then I'll tweet it okay

1098
01:02:02,240 --> 01:02:05,320
Speaker 1: and be on the lookout for that. Um, I'm gonna

1099
01:02:05,360 --> 01:02:08,600
Speaker 1: give it to as well, although I'm almost tempted to

1100
01:02:08,600 --> 01:02:11,720
Speaker 1: go a little bit lower. Yeah I was too, But

1101
01:02:12,160 --> 01:02:14,600
Speaker 1: I mean, it's hard because I feel like the two

1102
01:02:14,680 --> 01:02:17,640
Speaker 1: versions are so conflated in my head now that there

1103
01:02:17,640 --> 01:02:19,120
Speaker 1: are a lot of things I liked about the first

1104
01:02:19,120 --> 01:02:22,200
Speaker 1: movie that the second movie just does not include and

1105
01:02:22,240 --> 01:02:25,000
Speaker 1: doesn't replace with anything. So it's hard to But anyways,

1106
01:02:25,400 --> 01:02:29,400
Speaker 1: I'll stick with two. I just think that the story

1107
01:02:29,560 --> 01:02:33,160
Speaker 1: is troubled from the start, but with this adaptation, just

1108
01:02:33,320 --> 01:02:36,000
Speaker 1: nothing interesting is done with it. I know that we

1109
01:02:36,280 --> 01:02:41,000
Speaker 1: hold Sophia Copbla to kind of a harsher standard, whether

1110
01:02:41,120 --> 01:02:44,440
Speaker 1: we want to or not, and that is not fair,

1111
01:02:44,600 --> 01:02:49,120
Speaker 1: But if you're an outour filmmaker, I feel like it's

1112
01:02:49,160 --> 01:02:53,919
Speaker 1: not completely unfair either. It's tricky. I hated this movie

1113
01:02:54,040 --> 01:02:57,360
Speaker 1: and it put us all in a bad mood, and

1114
01:02:57,880 --> 01:03:01,160
Speaker 1: I wish that she had chosen a different story to

1115
01:03:01,240 --> 01:03:07,840
Speaker 1: tell for this one. Agree the nipples go to Amy,

1116
01:03:08,560 --> 01:03:11,560
Speaker 1: little twelve year old Amy, hey, old enough to kiss.

1117
01:03:13,760 --> 01:03:16,880
Speaker 1: Leave it in, don't edit it out. I look forward

1118
01:03:16,920 --> 01:03:27,480
Speaker 1: to your response. Okay, I'm giving it zero nipples, and

1119
01:03:27,480 --> 01:03:30,000
Speaker 1: I'm not hard her on her. I mean, think about

1120
01:03:30,080 --> 01:03:33,520
Speaker 1: if this was directed by a man. How if oh

1121
01:03:33,520 --> 01:03:35,880
Speaker 1: my god, you would be like, you know, I'd like

1122
01:03:35,960 --> 01:03:38,360
Speaker 1: to feel these women have no agency, You've taken out

1123
01:03:38,360 --> 01:03:40,400
Speaker 1: all their sexuality. I feel like it would be more

1124
01:03:40,440 --> 01:03:43,240
Speaker 1: exhausted and by if a man I directed this movie

1125
01:03:43,280 --> 01:03:46,400
Speaker 1: and not disappointed, which is sort of what I hate

1126
01:03:46,600 --> 01:03:49,720
Speaker 1: to admit that I feel. But I do feel disappointed

1127
01:03:49,760 --> 01:03:53,280
Speaker 1: that a major female director had all these missed opportunities

1128
01:03:53,720 --> 01:03:56,720
Speaker 1: in this. Yeah. Yeah, I just think just looking at

1129
01:03:56,760 --> 01:04:00,120
Speaker 1: it from pure storytelling standpoint, it was super bad. It

1130
01:04:00,240 --> 01:04:03,400
Speaker 1: just was super bad. None the characters had motivations. Honestly,

1131
01:04:03,440 --> 01:04:05,840
Speaker 1: it wasn't even that beautiful like the way her other movies.

1132
01:04:05,920 --> 01:04:07,720
Speaker 1: You know, it's like marian Toinete, You're like, okay, whatever,

1133
01:04:07,800 --> 01:04:10,560
Speaker 1: like this is to watch? And the costumes, the costumes

1134
01:04:10,920 --> 01:04:13,880
Speaker 1: sucked very quiet. They're kind of like the costumes I

1135
01:04:14,760 --> 01:04:18,040
Speaker 1: liked when they got dressed up. That was cool. Sofia

1136
01:04:18,080 --> 01:04:20,600
Speaker 1: Couple is also known for having cool soundtracks on her

1137
01:04:20,600 --> 01:04:23,680
Speaker 1: movie My God, No sound, silent, silent movie. Oh yeah,

1138
01:04:23,840 --> 01:04:25,720
Speaker 1: not a lot of score. It was better be good

1139
01:04:25,720 --> 01:04:27,480
Speaker 1: if you're not playing any hot time. I was like,

1140
01:04:27,520 --> 01:04:31,080
Speaker 1: I was like, where's the awesome They're like, let the

1141
01:04:31,120 --> 01:04:33,479
Speaker 1: kid play the piano again, let her play a little

1142
01:04:33,520 --> 01:04:37,560
Speaker 1: johnt So what does this happen? What does this? Why

1143
01:04:37,560 --> 01:04:41,880
Speaker 1: am I watching? It's incredibly boring, the moments that could

1144
01:04:41,920 --> 01:04:46,560
Speaker 1: be like milked for tension or just like nope, sorry right, yeah,

1145
01:04:46,680 --> 01:04:49,520
Speaker 1: it's it's a it's a fun story if you're adapting

1146
01:04:49,520 --> 01:04:53,400
Speaker 1: the story. You got a lump fuck and she did

1147
01:04:53,440 --> 01:04:56,760
Speaker 1: a bad job. Wow. I mean even the sexy ninety

1148
01:04:56,920 --> 01:04:59,320
Speaker 1: was not hot. The sext ninety was not hot. The

1149
01:04:59,360 --> 01:05:04,160
Speaker 1: sex scene was not hot. With with supposed to just

1150
01:05:04,200 --> 01:05:06,200
Speaker 1: be like a little I didn't even I don't know.

1151
01:05:06,240 --> 01:05:09,560
Speaker 1: He like fell over because he got one leg. He's

1152
01:05:09,600 --> 01:05:14,760
Speaker 1: like he I guess landed inside of her because he

1153
01:05:14,840 --> 01:05:18,360
Speaker 1: was it was a lucky fall and he was leaving

1154
01:05:18,400 --> 01:05:21,960
Speaker 1: with his hard cock and then they had a scene

1155
01:05:21,960 --> 01:05:28,600
Speaker 1: that you're just like, wait, he's about to die. Yeah,

1156
01:05:28,640 --> 01:05:32,520
Speaker 1: it's just I don't know. I'm sorry, skip this one, gang. Yeah,

1157
01:05:33,040 --> 01:05:38,360
Speaker 1: watch the one version. It's not perfect. It's not even great,

1158
01:05:38,400 --> 01:05:41,200
Speaker 1: I would say, but it's there's no much better if

1159
01:05:41,240 --> 01:05:44,760
Speaker 1: you want to watch an adaptation, that's finely And sorry

1160
01:05:44,800 --> 01:05:47,080
Speaker 1: that we talked as much about that movie as we

1161
01:05:47,120 --> 01:05:51,520
Speaker 1: did about the two seventeen one, So there's the least us. Yeah,

1162
01:05:52,040 --> 01:05:53,600
Speaker 1: I want to thank you so much for being thanks

1163
01:05:53,600 --> 01:05:56,000
Speaker 1: for having me. Sorry, I just don't get your phone face.

1164
01:05:56,200 --> 01:06:01,200
Speaker 1: Oh yeah, my phone's broken all right. I wish I

1165
01:06:01,200 --> 01:06:03,200
Speaker 1: could blame that on the movie too, But unfortunately she

1166
01:06:03,240 --> 01:06:05,760
Speaker 1: got so magy through it. She there had the screen

1167
01:06:05,760 --> 01:06:11,120
Speaker 1: and hi bro during the Colin Farrell hip bunks. Where

1168
01:06:11,160 --> 01:06:13,960
Speaker 1: can people find you online? Um? You can find me

1169
01:06:14,040 --> 01:06:17,160
Speaker 1: at my favorite website. It's really healthy to hang out

1170
01:06:17,200 --> 01:06:20,240
Speaker 1: on it. Twitter, dot com, dot com fun hang at

1171
01:06:20,240 --> 01:06:24,560
Speaker 1: Alana Levinson. Yeah, it's find me and the reader work

1172
01:06:24,560 --> 01:06:27,000
Speaker 1: in mel it's so good. Red work everywhere's the best

1173
01:06:27,360 --> 01:06:32,640
Speaker 1: read our work. I don't have any out there, but hey,

1174
01:06:32,640 --> 01:06:35,720
Speaker 1: watch my cartoons. I don't care anyways. Hey, uh, here's

1175
01:06:35,760 --> 01:06:38,360
Speaker 1: a fun new thing you can do is give us money.

1176
01:06:39,000 --> 01:06:42,200
Speaker 1: And so before we go, you can check out our Twitter, Facebook,

1177
01:06:42,240 --> 01:06:44,480
Speaker 1: all the channels you wouldn't really check to find our

1178
01:06:44,520 --> 01:06:46,800
Speaker 1: new episodes. And if you want to kick us a

1179
01:06:46,840 --> 01:06:51,720
Speaker 1: little donation one dollar, two dollars, one million dollars um.

1180
01:06:51,760 --> 01:06:54,160
Speaker 1: It all goes towards the production costs of the show

1181
01:06:54,640 --> 01:06:57,280
Speaker 1: and we would very much appreciate it and we let

1182
01:06:57,320 --> 01:06:59,440
Speaker 1: me SMA. Yeah. So you know, if you like the

1183
01:06:59,440 --> 01:07:02,080
Speaker 1: episodes of if you like us, kick us a few dollars,

1184
01:07:02,120 --> 01:07:05,560
Speaker 1: that would be great. You can go to PayPal, dot me, backslash,

1185
01:07:05,680 --> 01:07:14,000
Speaker 1: Bechtel Cast to throw a few dollars are um, follow

1186
01:07:14,080 --> 01:07:15,160
Speaker 1: us and goodbye bye.