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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 3: I'm Daniel Henderson, and we're here with you today to

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Speaker 3: talk about film.

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Speaker 1: But also I don't know things important things. I can't

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Speaker 1: come up with a pun. Oh my god, what's wrong

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Speaker 1: with me? You don't have to Okay, my brain is

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Speaker 1: totally fried, dude. I'm like, there's so much going on

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Speaker 1: right now that I'm just like I can't think.

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Speaker 3: Yeah, yeah, do you want to talk about it?

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Speaker 2: Not really, I'll call you.

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Speaker 3: I'll call you call me after a record.

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Speaker 2: Yeah, I mean, it's nothing major.

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Speaker 1: It's just, you know, I feel like I've got a

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Speaker 1: lot on my plate right now. So I'm just trying

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Speaker 1: to I'm trying.

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Speaker 2: To, you know, manage my time wisely. But what's up

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Speaker 2: with you?

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Speaker 3: Since I'm exhausted. I'm just as fried braindwise. I've just

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Speaker 3: been exhausted. It started a couple of weeks ago. So

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Speaker 3: a few weeks ago, I went to a wedding in

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Speaker 3: New Mexico, and I've just been tired ever since, Like

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Speaker 3: I've just and I think part of it is because

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Speaker 3: I had to fly in my least favorite way, so

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Speaker 3: I had to fly economy with long layovers. Oh yes, yes,

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Speaker 3: and this is what I want to talk about. Also,

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Speaker 3: I think I'm a very frugal person. I know I'm

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Speaker 3: a very frugal, frugal person for sure, But I think

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Speaker 3: I'm a fancy flyer girl.

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Speaker 1: Don't even be sad about that, because I think I'm

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Speaker 1: a snobby flyer.

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Speaker 2: Look were you well?

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Speaker 1: First of all, I need to ask you, like because

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Speaker 1: I feel like I'm in that mode too.

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Speaker 2: I hate to say it.

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Speaker 1: We might be talking about the bourgeoisie today on this episode,

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Speaker 1: so this is perfect timing.

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Speaker 2: But I'm sure you were like this too.

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Speaker 1: When I was young, in my twenties, I flew like

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Speaker 1: shit all the time. Yes, I was just you know,

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Speaker 1: I was in LA a while back and I was

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Speaker 1: talking to one of my coworkers who I was on

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Speaker 1: the same flight with, and we were talking about how

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Speaker 1: when I was in my twenties, there was a an

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Speaker 1: airline company called.

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Speaker 2: Air Tran yep.

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Speaker 1: And actually I started rocking with them when they were

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Speaker 1: called like value Jet or something. I mean it was

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Speaker 1: like really really low priced, like it was like one

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Speaker 1: of those like first like low cost air carriers, right,

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Speaker 1: And they used to offer this thing for people if

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Speaker 1: you were like in your twenties. It was called X fares,

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Speaker 1: which basically you get on any flight stand by for

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Speaker 1: like fifty bucks, right, And what would happen is I

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Speaker 1: would show up to the airport like at five am,

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Speaker 1: trying to get like the first flight out, and you

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Speaker 1: just had to wait all day for you know, a

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Speaker 1: standby flight.

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Speaker 2: And there were.

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Speaker 1: So many times while doing that, I would fall asleep

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Speaker 1: in the airport. And at one time I actually fell

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Speaker 1: asleep in the smoking room at Atlanta Hartsfield Jackson Airport,

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Speaker 1: which was basically this like room where people could smoke

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Speaker 1: cigarettes and it had all these you know events that

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Speaker 1: would get the smoke out of there, and it was

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Speaker 1: the most disgusting room ever created. And I was on

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Speaker 1: the floor sleeping under one of the chairs while my

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Speaker 1: friend was like, you know, chain smoking cigarettes, and I

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Speaker 1: would and I.

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Speaker 2: Would just be able to fly.

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Speaker 1: So like, I've had these experiences of like flying like

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Speaker 1: shit and then taking what you can get. So I'm

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Speaker 1: not sure if this is informing your decision. And now'd

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Speaker 1: be a bougie flyer because you know, well.

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Speaker 3: A little bit, because flying was also so rare in

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Speaker 3: my life until like the last ten years. Yeah, like

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Speaker 3: I might get on a flight once a year.

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Speaker 1: Did you not travel much when you were like in

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Speaker 1: your twenties or anything?

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Speaker 3: Or I did, but it was usually road trips and

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Speaker 3: car stuff. And I never left the country. I didn't

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Speaker 3: leave the country till I was like in my till

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Speaker 3: I was like thirty years old. Oh wow, So like

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Speaker 3: I definitely just didn't. And I also I was afraid

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Speaker 3: of heights. I was afraid of planes, Like I was

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Speaker 3: afraid of it for a long time. So I remember

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Speaker 3: I flew to California the first time I moved there,

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Speaker 3: when I moved to Northern California when I was nineteen,

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Speaker 3: and I you know, bought a one way ticket, shipped

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Speaker 3: all my stuff media mail. The nineties were awesome in

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Speaker 3: that way, and I had a one way ticket then,

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Speaker 3: and then I would kind of yeah, I was just

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Speaker 3: kind of like broke and afraid. So I didn't really

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Speaker 3: fly a up in my twenties. But when I did fly,

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Speaker 3: it was always a fucking nightmare because I am six

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Speaker 3: feet tall and I could never afford anything more than like,

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Speaker 3: you know, your basic to me see by the toilets

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Speaker 3: in the back, yes, which is also a whole other

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Speaker 3: experience that adds a lot of misery to your fucking travel.

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Speaker 1: Yeah.

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Speaker 3: But I was always kind of like crunched up and

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Speaker 3: in pain on these flights, so it was like, oh, like,

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Speaker 3: why would I do this all the time. I didn't

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Speaker 3: even realize there was like a business class or a

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Speaker 3: first class until much later in life, so I would

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Speaker 3: always fly in like the cheapest, shittiest way. But I

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Speaker 3: also just don't have patience for airports. There's so much

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Speaker 3: bullshit in an airport, and I just don't have patience

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Speaker 3: for and not the people, like, not the other travelers,

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Speaker 3: although sometimes the other travelers, but just like security and

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Speaker 3: the like. So I think I'm a fancy flyer now

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Speaker 3: and I want to run you through how I travel,

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Speaker 3: and then I'll run you through this trip I just took.

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Speaker 3: And you tell me if I'm too snobby, no way

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Speaker 3: go ahead. So for me, it starts with packing, because

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Speaker 3: I am carry on only, okay, And for me that

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Speaker 3: means not just you can't just buy packing cubes, you

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Speaker 3: have to buy compression packing cubes so that you actually

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Speaker 3: have space in your bag. I also have two different

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Speaker 3: size carry ons, so I have a small hard case

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Speaker 3: carry on like the wheelie bag yep. And then I

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Speaker 3: also have a small Duffel because sometimes, especially for trips

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Speaker 3: like this, if you have a layover, you'll get on

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Speaker 3: that second flight and it's like a very small it's

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Speaker 3: a much smaller plane, so you can't fit your carry

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Speaker 3: on into the overhead compartment. So then I bring my

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Speaker 3: duffel and I'm like, I know I can wedge this

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Speaker 3: in there. Yeah, like this will always fit. So I

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Speaker 3: have two different sized bags. And my duffel is actually

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Speaker 3: really cute. It was a cast. It was a crew

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Speaker 3: gift for when I worked on Maniac and it's a

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Speaker 3: herschel bag. And Patrick had Patrick Summerville, our showrunner, had

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Speaker 3: all of these patches made that were the exact patches

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Speaker 3: that or on the scientist's uniforms in the show cut

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Speaker 3: a cute little special bag for me. So compression cubes

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Speaker 3: carry on first and foremost.

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Speaker 2: Yeah.

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Speaker 1: Well, and also to that point too, like I have

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Speaker 1: I don't know if this was a factor into your

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Speaker 1: carry ons, but I have done so much, so many

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Speaker 1: hours of research on plane sizes, the maximum with height

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Speaker 1: and length of a carry on that could fit into

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Speaker 1: compartments because when you're trying not to check I mean honestly,

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Speaker 1: like when it comes down to it, like I have

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Speaker 1: like I have status with a certain airline and I

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Speaker 1: have a credit card to match so that I can

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Speaker 1: check a bag for free, but so it doesn't cost

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Speaker 1: me to check a back. But it's also like another

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Speaker 1: added layer of like stress because what if your bag

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Speaker 1: gets lost and all this stuff like that. So yeah,

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Speaker 1: I try to do carry on too, but then I

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Speaker 1: also have done the math of like okay, if I'm

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Speaker 1: flying like a seven, like a seven seven seven, like

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Speaker 1: what is the.

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Speaker 2: Maximum length that I can do a carry on with?

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Speaker 2: And then like also.

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Speaker 1: Under a seat, like you can get super nerdy about it,

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Speaker 1: is what I mean.

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Speaker 2: Yeah, it can get really nerdy.

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Speaker 1: And so I figure I I have a system now

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Speaker 1: just like you that is perfect yep. And then the

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Speaker 1: only and I've tried it on different planes, like when

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Speaker 1: I flew home from Maine and I was on those

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Speaker 1: little like two by two row planes. It it fit

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Speaker 1: in there, but it would also fit on one of.

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Speaker 2: Those giant max planes to go to like Asia.

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Speaker 1: So right, I have a good system, but it's once

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Speaker 1: you figure out your system it's so satisfying.

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Speaker 3: Right, It's so satisfying, But it's also really hard to

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Speaker 3: deviate from sure, So that's why I think this trip

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Speaker 3: really threw me for several reasons. But I have a

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Speaker 3: good system and so compression, Yeah, decent sized carry on

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Speaker 3: and my bag, my small under the seat bag is

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Speaker 3: also expertly tailored. I have a small purse basically like

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Speaker 3: a small leather purse that fits my iPad, my whatever

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Speaker 3: book I'm reading, you know, my sun my glass is

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Speaker 3: my all my shit. Yeah, if it's everything perfectly that

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Speaker 3: I need for the flight, and then I can also

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Speaker 3: like buy a sandwich and tucket in there or whatever.

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Speaker 3: I also and it has like the little loop for

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Speaker 3: my key, so I'm not constantly losing my keys like

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Speaker 3: I just love it. My system also goes to the

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Speaker 3: liquid part portion of the carryons, so I use cadence

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Speaker 3: those little jars that you can like they're magnetic, and

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Speaker 3: that saves so much space, so much space. And I'm

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Speaker 3: not bringing a ton of shit with me anyway usually.

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Speaker 3: But I have a little ginger roll on for nausea.

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Speaker 3: I have a stained stick, I have wipes. I have

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Speaker 3: all my shit and it fits in this one little

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Speaker 3: clear bag that I love, and then I pack in

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Speaker 3: such a way that that bag is accessible, but it's

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Speaker 3: in my carry on. So then when once I get

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Speaker 3: through the bullshit of the security check in, I can

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Speaker 3: pull out my hand sanitizer and my wipes and just

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Speaker 3: tuck them into my actual small bag. Yeah, so I'm

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Speaker 3: through and here and okay. So that's the packing part

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Speaker 3: is crucial. At the actual airport, I always book my

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Speaker 3: space in advance. I drive myself, and I always book

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Speaker 3: a premium reserve space right at the first level of

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Speaker 3: that fucking parking situation. I am not spending two hours

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Speaker 3: driving around a garage.

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Speaker 2: Amateur shit, amateur shit.

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Speaker 3: So I book my little premium space. I roll into

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Speaker 3: the airport. I have tsa pre check, I have clear,

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Speaker 3: I have Global Entry.

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Speaker 2: Do you have digital ID?

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Speaker 3: I have digital ID, Yes, ma'am, I have real ID.

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Speaker 1: Yeah.

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Speaker 3: If I am standing in an airport security line for

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Speaker 3: more than ten minutes, I am shocked.

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Speaker 2: Yeah.

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Speaker 3: I have all of this shit in place so that

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Speaker 3: I do not have to do that. I'm not taking

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Speaker 3: off my shah choose, I ain't doing any of that.

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Speaker 3: I'm not taking out my liquids. I'm pushing those bags

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Speaker 3: through and I'm going Yeah, so that allows me to

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Speaker 3: get to the airport, usually like an hour. I try

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Speaker 3: to go an hour and a half before the flight

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Speaker 3: takes off. But usually like if it's an hour, like

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Speaker 3: I'm hit traffic or something, I'm not worried because I'm like,

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Speaker 3: I'm going to breathe through security.

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Speaker 2: It's fine, right, let me. Can I ask you a

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Speaker 2: follow up question?

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Speaker 3: Of course?

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Speaker 2: Do you do airport lounges like sky Club?

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Speaker 3: Oh that's next.

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Speaker 2: Oh okay, I'm excited.

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Speaker 3: That's it. So I also am loyal to one airline

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Speaker 3: and I get miles when I fly. I have a

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Speaker 3: credit card attached to it, so I get miles when

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Speaker 3: I buy shit, and usually I will always try to

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Speaker 3: fly business, so the lounge is free you buy if

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Speaker 3: you fly business or first. Yeah, so I will usually

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Speaker 3: get a free lounge pass. But I am also not

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Speaker 3: above buying a lounge pass for fifty bucks.

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Speaker 1: Can I say something? Because I have had a total

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Speaker 1: evolution about these lounges because I when I first and

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Speaker 1: this was definitely coming from a place right when I

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Speaker 1: was when I was traveling in my twenties, especially I

241
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Speaker 1: was flying fifty dollars standby, so you don't get the

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Speaker 1: lounge access or any of that stuff.

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Speaker 3: And I need get a bathroom.

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Speaker 1: Hey barely get a bathroom. They like they make you

245
00:12:32,480 --> 00:12:36,000
Speaker 1: sleep with the smokers. What people are ashing cigarettes on you?

246
00:12:36,679 --> 00:12:39,199
Speaker 1: And I used to, like, you know, I had friends

247
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Speaker 1: that were like brag about going to these like you know,

248
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Speaker 1: airport lounges, and I'd be like, fuck you, like you

249
00:12:45,320 --> 00:12:48,200
Speaker 1: and your stupid like sadus, like oh what you gonna

250
00:12:48,240 --> 00:12:50,920
Speaker 1: go in there and get like a shitty little buffet

251
00:12:51,400 --> 00:12:55,400
Speaker 1: and like so you cumber water. Oh cool, like you're

252
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Speaker 1: so awesome, Like and then you get to hang out

253
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Speaker 1: with all the other rich fucks and you know, get

254
00:13:00,760 --> 00:13:04,360
Speaker 1: free newspapers like what a what a bunch of bourgeois idiots.

255
00:13:05,520 --> 00:13:08,720
Speaker 3: Now, then you went to one Yo.

256
00:13:09,600 --> 00:13:12,280
Speaker 2: You could take a shower in there, Like I was like,

257
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Speaker 2: this is a brilliant the one I just went to.

258
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Speaker 1: The one that's in the I guess it's maybe the

259
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Speaker 1: new International terminal at LAX. They have a fucking deck

260
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Speaker 1: that's out outdoors. It's like a sun deck where there's

261
00:13:29,960 --> 00:13:33,120
Speaker 1: a full bar and you're like outside of the airport.

262
00:13:33,200 --> 00:13:35,560
Speaker 1: You're not even breathing airport air and I was like, yo,

263
00:13:35,760 --> 00:13:36,760
Speaker 1: this is the life.

264
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Speaker 2: What is going on?

265
00:13:39,400 --> 00:13:41,800
Speaker 3: I think it's worth the cost of entry for the

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Speaker 3: bathrooms alone. You get a full room, You get you

267
00:13:46,520 --> 00:13:48,800
Speaker 3: know those bathrooms where they have and this is more

268
00:13:48,840 --> 00:13:52,960
Speaker 3: common in international airports I've also recognized. But you have

269
00:13:53,000 --> 00:13:55,559
Speaker 3: the bathroom that has the floorida ceiling door, so you're

270
00:13:55,600 --> 00:13:57,800
Speaker 3: just in one cubicle by yourself, Like there's a lot

271
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Speaker 3: of them lined up, but you're in your own fucking room.

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Speaker 2: Yeah, it's brilliant.

273
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Speaker 1: And then they had they used to have, or at

274
00:14:04,800 --> 00:14:08,600
Speaker 1: least Delta used to have melon and gats, soaps and lotions,

275
00:14:08,640 --> 00:14:11,840
Speaker 1: and now they got Now they've got grown alchemists in there.

276
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Speaker 2: And it's like so when you wash your hands, you're like,

277
00:14:13,760 --> 00:14:14,160
Speaker 2: this is.

278
00:14:14,160 --> 00:14:17,080
Speaker 1: The vibe, the vibe, and then you get the lotion

279
00:14:17,240 --> 00:14:20,880
Speaker 1: afterwards it smells like citrus and like whatever sandalwood or

280
00:14:20,880 --> 00:14:21,640
Speaker 1: whatever the fuck it is.

281
00:14:21,920 --> 00:14:26,359
Speaker 2: And I'm just like, is this better? Is this bougier?

282
00:14:26,880 --> 00:14:27,080
Speaker 1: Yes?

283
00:14:27,400 --> 00:14:29,720
Speaker 3: Yes, boier, but yes it's also better.

284
00:14:30,000 --> 00:14:31,040
Speaker 2: Do I deserve it?

285
00:14:31,080 --> 00:14:31,320
Speaker 4: Though?

286
00:14:31,560 --> 00:14:31,800
Speaker 1: Yes?

287
00:14:31,880 --> 00:14:32,320
Speaker 3: I do.

288
00:14:32,560 --> 00:14:33,400
Speaker 2: I want this.

289
00:14:33,320 --> 00:14:37,760
Speaker 3: Experience instead of eating again, instead of eating the twenty

290
00:14:37,800 --> 00:14:41,360
Speaker 3: dollars airport turkey sandwich, like turkey on wheatbread with a

291
00:14:41,400 --> 00:14:45,880
Speaker 3: slice of Swiss. For twenty bucks. You get actual hot food,

292
00:14:46,320 --> 00:14:48,840
Speaker 3: yes you do. And you get a real plate and

293
00:14:48,880 --> 00:14:52,800
Speaker 3: you really plates, sit down and hair cheese plates.

294
00:14:53,040 --> 00:14:55,360
Speaker 1: You don't have to worry about fruit bread being soggy

295
00:14:55,400 --> 00:14:58,200
Speaker 1: because it's like soaked in water once you rin the

296
00:14:58,200 --> 00:15:01,440
Speaker 1: plastic thing. I mean it's like, I mean sure there

297
00:15:01,440 --> 00:15:05,640
Speaker 1: are like degenerate men in there, like hog Like I

298
00:15:05,760 --> 00:15:08,320
Speaker 1: was like when I was there a while back, there

299
00:15:08,360 --> 00:15:11,320
Speaker 1: was like there was like some kind of like pasta,

300
00:15:11,480 --> 00:15:14,040
Speaker 1: like some kind of sundry tomato pasta, and I just

301
00:15:14,040 --> 00:15:17,200
Speaker 1: saw this guy like chunking like eight scoops on his

302
00:15:17,280 --> 00:15:20,520
Speaker 1: plate and I was like, yo, this sky's going hard, gross,

303
00:15:20,640 --> 00:15:22,560
Speaker 1: but going hard. And then I was like, but guess what,

304
00:15:22,600 --> 00:15:24,320
Speaker 1: it's free. He can do whatever the fuck he wants

305
00:15:24,320 --> 00:15:24,760
Speaker 1: to do in here.

306
00:15:25,320 --> 00:15:28,160
Speaker 3: You get fresh fruit, you can fill up a water butt,

307
00:15:28,240 --> 00:15:31,800
Speaker 3: I mean it is. And the seats you get a

308
00:15:31,840 --> 00:15:36,760
Speaker 3: comfortable chair to just sit in with normal lighting, not

309
00:15:36,840 --> 00:15:41,400
Speaker 3: fluorescent lighting, right, And sometimes the lounge will have a

310
00:15:41,400 --> 00:15:42,840
Speaker 3: little booth where if you want to sit with a

311
00:15:42,840 --> 00:15:44,760
Speaker 3: bunch of people, or sometimes they have this little section

312
00:15:44,800 --> 00:15:50,240
Speaker 3: dog like it's coffee. The coffee alone. Great, So I'm

313
00:15:50,280 --> 00:15:53,000
Speaker 3: into a lounge, very very into a lounge.

314
00:15:53,120 --> 00:15:54,320
Speaker 2: Okay, good.

315
00:15:54,760 --> 00:15:57,520
Speaker 3: And then I get on the flight and I have

316
00:15:57,560 --> 00:16:04,720
Speaker 3: a travel outfit, so I have an I can already

317
00:16:05,040 --> 00:16:10,960
Speaker 3: hear the emails we're going to get about how fucking

318
00:16:11,480 --> 00:16:14,560
Speaker 3: fancy and snobbish I am. And I'm just going to

319
00:16:14,640 --> 00:16:18,040
Speaker 3: remind you that I am saying this because I would

320
00:16:18,200 --> 00:16:22,000
Speaker 3: like confirmation that I'm still me, but that I know

321
00:16:22,120 --> 00:16:24,520
Speaker 3: that I'm a fancy flyer. I know this about myself

322
00:16:25,600 --> 00:16:27,920
Speaker 3: and I'm wrestling with it. I don't feel good about it,

323
00:16:27,920 --> 00:16:31,200
Speaker 3: so that's why I'm telling you guys this. Also, remember

324
00:16:31,320 --> 00:16:33,000
Speaker 3: I was raised on welfare and I was poor for

325
00:16:33,040 --> 00:16:38,000
Speaker 3: most of my life. So give me the B and

326
00:16:38,040 --> 00:16:41,800
Speaker 3: the D. So I get on the plane and I have, well,

327
00:16:41,800 --> 00:16:46,320
Speaker 3: I have two travel outfits. So I have a cashmere

328
00:16:47,280 --> 00:16:52,400
Speaker 3: sweatsuit combo thing, so like just sweatpants and a sweat top.

329
00:16:53,080 --> 00:16:56,800
Speaker 3: I don't know, sweatshirt, yes, but it's cashmere, so it's

330
00:16:56,800 --> 00:16:58,120
Speaker 3: really soft and warm.

331
00:16:58,560 --> 00:16:58,920
Speaker 2: Yes.

332
00:16:59,440 --> 00:17:00,800
Speaker 3: And then I don't I don't have to bring an

333
00:17:00,840 --> 00:17:04,960
Speaker 3: extra blanket or anything with me, right because I'm just comfortable.

334
00:17:04,960 --> 00:17:08,639
Speaker 3: So it's like a hoodie and pants that are comfortable.

335
00:17:08,720 --> 00:17:13,480
Speaker 3: I wear the same shoes, pair of very easily slip

336
00:17:13,480 --> 00:17:19,399
Speaker 3: on slip off shoes or my Birkenstock sandals and a

337
00:17:19,400 --> 00:17:25,240
Speaker 3: pair of comfortable, warm woolf socks. Okay, I sit down,

338
00:17:25,640 --> 00:17:28,440
Speaker 3: get my bags in, easily, sit down, and I'm good

339
00:17:28,440 --> 00:17:30,000
Speaker 3: to go for the flight. I've got everything I need

340
00:17:30,040 --> 00:17:33,040
Speaker 3: in my one little bag under the seat. Yep, everything's charged.

341
00:17:33,040 --> 00:17:35,679
Speaker 3: I have a charger, I've got the you know, everything

342
00:17:35,720 --> 00:17:37,960
Speaker 3: I need. I've got a book light. I've got everything

343
00:17:37,960 --> 00:17:40,080
Speaker 3: I need in my little bag to just have a

344
00:17:40,119 --> 00:17:43,399
Speaker 3: chill flight, whether it's two hours or twenty Yeah, and

345
00:17:43,440 --> 00:17:43,920
Speaker 3: I'm good.

346
00:17:44,280 --> 00:17:48,200
Speaker 1: Yeah. I wear all black when I travel. I want,

347
00:17:48,320 --> 00:17:51,560
Speaker 1: I basically want people to think I'm a celebrity. I'm sorry,

348
00:17:51,880 --> 00:17:54,159
Speaker 1: is that my big reveal is that when I go

349
00:17:54,200 --> 00:17:57,280
Speaker 1: through an airport, I'm wearing a giant black hat with

350
00:17:57,359 --> 00:18:01,480
Speaker 1: black sunglasses, all black pretty much everything, maybe white shoes

351
00:18:01,560 --> 00:18:03,920
Speaker 1: if I have, but like, very like, I want people

352
00:18:03,960 --> 00:18:05,040
Speaker 1: to be like, who is she?

353
00:18:05,320 --> 00:18:06,600
Speaker 2: Who is she? Who is you?

354
00:18:06,920 --> 00:18:09,439
Speaker 3: Do love being mysterious? So that is not a surprise

355
00:18:09,560 --> 00:18:15,879
Speaker 3: to me at all. I'm at all.

356
00:18:15,920 --> 00:18:20,480
Speaker 1: If there's anywhere I can be alluring at all, it's

357
00:18:20,520 --> 00:18:23,440
Speaker 1: the airport, Like, I am not alluring in any.

358
00:18:23,240 --> 00:18:24,320
Speaker 2: Other way in my life.

359
00:18:24,400 --> 00:18:26,359
Speaker 1: I'm like a huge dork, But like when I go

360
00:18:26,440 --> 00:18:29,399
Speaker 1: to an airport, I like a little air of mystery.

361
00:18:30,280 --> 00:18:34,160
Speaker 1: There's like the mysterious solo woman traveler. Is there anything

362
00:18:34,200 --> 00:18:35,360
Speaker 1: more alluring than that?

363
00:18:37,320 --> 00:18:40,879
Speaker 3: There? Truly isn't. There truly isn't. So I don't know

364
00:18:40,880 --> 00:18:42,800
Speaker 3: what people think about me when I travel, but maybe

365
00:18:42,800 --> 00:18:43,920
Speaker 3: they're thinking that, well.

366
00:18:43,840 --> 00:18:45,960
Speaker 2: You're on business class. That's the other thing too.

367
00:18:46,240 --> 00:18:48,680
Speaker 1: Let me just tell you from somebody who doesn't fly

368
00:18:49,080 --> 00:18:53,400
Speaker 1: first or business very often, you are always clocking who

369
00:18:53,440 --> 00:18:55,280
Speaker 1: is in that section period, Like.

370
00:18:55,400 --> 00:18:57,919
Speaker 2: What really, because they're on the fucking plane. Give me

371
00:18:57,960 --> 00:18:58,439
Speaker 2: a break.

372
00:18:58,800 --> 00:19:02,880
Speaker 1: You're on the plane first, you're already like two prosecco's

373
00:19:03,000 --> 00:19:06,119
Speaker 1: into the flight, like and then all the other fucking

374
00:19:07,080 --> 00:19:10,600
Speaker 1: lames show up and we have to walk past your

375
00:19:10,640 --> 00:19:13,800
Speaker 1: ass where you're already like super comfortable and like, oh,

376
00:19:13,840 --> 00:19:15,960
Speaker 1: you've got like a cloth napkin.

377
00:19:16,000 --> 00:19:16,720
Speaker 2: In your lap.

378
00:19:16,800 --> 00:19:20,320
Speaker 1: And then I'm like walking past you with my stupid

379
00:19:20,320 --> 00:19:23,520
Speaker 1: ass carry on shit going like who are these fancy flyers?

380
00:19:23,560 --> 00:19:26,359
Speaker 1: Who are the people in business from first? Like?

381
00:19:27,200 --> 00:19:28,320
Speaker 3: Are they are they?

382
00:19:28,359 --> 00:19:29,920
Speaker 2: Television writers.

383
00:19:30,960 --> 00:19:34,119
Speaker 3: And single childless women with nothing else to do with

384
00:19:34,160 --> 00:19:35,040
Speaker 3: their time and money.

385
00:19:35,200 --> 00:19:36,240
Speaker 2: Well you know what it is.

386
00:19:36,320 --> 00:19:39,040
Speaker 1: It's like to me every time I get out of

387
00:19:39,080 --> 00:19:42,120
Speaker 1: flight and I see who's in first, it's either rich

388
00:19:42,640 --> 00:19:48,840
Speaker 1: single ladies, gross single businessmen, like gross being the.

389
00:19:48,880 --> 00:19:49,640
Speaker 3: Key, like just.

390
00:19:51,119 --> 00:19:55,000
Speaker 1: Don't no style. There's no air of refinement about these guys.

391
00:19:55,040 --> 00:19:57,920
Speaker 1: They're like they're working for like you know, I don't

392
00:19:57,920 --> 00:20:01,760
Speaker 1: know Dell, or like some come like computer company and

393
00:20:01,800 --> 00:20:05,320
Speaker 1: they're just like a dad of three having to fly

394
00:20:05,440 --> 00:20:07,520
Speaker 1: business class to go to like a conference, and they're

395
00:20:07,600 --> 00:20:10,560
Speaker 1: just like no style, No, there's no I don't I

396
00:20:10,600 --> 00:20:12,440
Speaker 1: don't ever look at them and go like, oh, who

397
00:20:12,440 --> 00:20:15,200
Speaker 1: are they? It's really just the single women in business

398
00:20:15,240 --> 00:20:17,720
Speaker 1: like yourself. And then like once you and then you

399
00:20:17,720 --> 00:20:20,560
Speaker 1: will see like once in a while an extremely cool

400
00:20:20,880 --> 00:20:23,400
Speaker 1: looking young person and you're like, I bet you there,

401
00:20:24,200 --> 00:20:26,320
Speaker 1: I bet you they're a rapper or.

402
00:20:26,320 --> 00:20:29,359
Speaker 3: A singer, or a trust fund kid or.

403
00:20:29,400 --> 00:20:30,600
Speaker 2: There we go, a trust fund kid.

404
00:20:30,600 --> 00:20:35,080
Speaker 1: But I'm just saying that, like you, in business is

405
00:20:35,119 --> 00:20:36,400
Speaker 1: alluring on its own.

406
00:20:36,560 --> 00:20:39,560
Speaker 3: Ooh, I like this, I'll take it. I'm never I'm

407
00:20:39,600 --> 00:20:44,760
Speaker 3: never alluring. I am a perennial dirt bag. There's not

408
00:20:44,800 --> 00:20:47,639
Speaker 3: a single person in my town that's like, Ooh, who's she.

409
00:20:47,760 --> 00:20:49,520
Speaker 3: They're just like, oh God, here she comes.

410
00:20:49,720 --> 00:20:53,200
Speaker 1: No I doubt, I'm sure. I'm sure you're your little

411
00:20:53,200 --> 00:20:55,639
Speaker 1: small town yoga place. Everyone's like, can we get a

412
00:20:55,640 --> 00:20:57,080
Speaker 1: headshot to put on our wall.

413
00:20:59,640 --> 00:21:02,440
Speaker 3: I cannot stress enough how little people give a shit

414
00:21:02,480 --> 00:21:07,959
Speaker 3: about me in this town, what I do with me,

415
00:21:08,400 --> 00:21:10,160
Speaker 3: or that like that that I wrote a book about

416
00:21:10,160 --> 00:21:13,160
Speaker 3: this place. They're just like, okay, anyway, that'll be five ninety,

417
00:21:13,359 --> 00:21:18,359
Speaker 3: Like they don't care, and I actually love that they have.

418
00:21:18,560 --> 00:21:20,639
Speaker 3: No one here has a drop of interest in me.

419
00:21:22,560 --> 00:21:25,000
Speaker 3: But I will take it on an airplane every time,

420
00:21:25,160 --> 00:21:28,639
Speaker 3: of course every time. So then usually I kick back

421
00:21:29,040 --> 00:21:31,840
Speaker 3: and I'm good, and maybe I don't even see people

422
00:21:31,880 --> 00:21:33,800
Speaker 3: getting on the plane because they usually fall asleep right away.

423
00:21:34,440 --> 00:21:36,600
Speaker 3: Oh okay, And then they wake me up and they're like,

424
00:21:36,600 --> 00:21:38,280
Speaker 3: would you like some champagne? And I'm like, fuck, yeah,

425
00:21:38,280 --> 00:21:40,879
Speaker 3: I want some champagne. Thank you for waking me up.

426
00:21:41,960 --> 00:21:46,680
Speaker 3: But yeah, that's it. So I'm an easy flyer. I'm compact,

427
00:21:47,000 --> 00:21:49,399
Speaker 3: I know where I'm going, I got my shit together.

428
00:21:50,280 --> 00:21:52,480
Speaker 3: I'm relaxed and as relaxed as you can be in

429
00:21:52,520 --> 00:21:57,520
Speaker 3: that situation that is how I prefer to go somewhere.

430
00:21:58,200 --> 00:22:00,359
Speaker 1: Okay, Well, so now having known all these des tales,

431
00:22:00,960 --> 00:22:04,840
Speaker 1: I would argue that the only thing that's actually super

432
00:22:04,960 --> 00:22:07,040
Speaker 1: fancy is business class.

433
00:22:06,800 --> 00:22:08,600
Speaker 2: Like I think everything else is just a ritual.

434
00:22:08,880 --> 00:22:12,600
Speaker 1: I mean, I'm just giving you this information because you

435
00:22:12,680 --> 00:22:14,520
Speaker 1: were worried about it, But I don't think you should

436
00:22:14,520 --> 00:22:16,800
Speaker 1: also be worried about it at all, because fuck it,

437
00:22:17,160 --> 00:22:20,439
Speaker 1: Like we're old now, okay, Like it's not as if

438
00:22:20,480 --> 00:22:22,520
Speaker 1: we're in our twenties where we're able to just kind

439
00:22:22,520 --> 00:22:25,960
Speaker 1: of like be really spartan and like sleep on floors

440
00:22:26,000 --> 00:22:28,800
Speaker 1: and not know where we're gonna end up, Like I

441
00:22:28,880 --> 00:22:31,119
Speaker 1: want to know. I want to be comfortable. Flying is

442
00:22:31,160 --> 00:22:33,600
Speaker 1: a is a nightmare. Now. It used to be frus

443
00:22:34,359 --> 00:22:36,840
Speaker 1: Like if you if you used to fly pre nine

444
00:22:36,840 --> 00:22:39,959
Speaker 1: to eleven, you know what I'm talking about. It was

445
00:22:40,000 --> 00:22:42,880
Speaker 1: like a fucking it was like a one car why

446
00:22:43,119 --> 00:22:46,760
Speaker 1: movie back then, and now it's a terrible process.

447
00:22:47,119 --> 00:22:49,320
Speaker 3: Like it used to be soul plane and now it

448
00:22:49,400 --> 00:22:56,440
Speaker 3: snakes on a plane. It's it's so night and fucking day.

449
00:22:57,160 --> 00:23:00,920
Speaker 3: But I also like physically need comfort, I mentally need

450
00:23:00,960 --> 00:23:03,040
Speaker 3: some comfort, Like it's a hard thing to do for me.

451
00:23:03,119 --> 00:23:05,400
Speaker 3: To leave my house and go somewhere I don't love it.

452
00:23:06,000 --> 00:23:09,400
Speaker 3: And yeah, so I kind of go in the most comfortable,

453
00:23:09,440 --> 00:23:11,399
Speaker 3: relaxed way that I can, which I think is a

454
00:23:11,440 --> 00:23:13,879
Speaker 3: little boogie, a little fancy flyer. Now, let me tell

455
00:23:13,880 --> 00:23:16,400
Speaker 3: you about the trip I took. Okay, which is why

456
00:23:16,480 --> 00:23:19,159
Speaker 3: I'm doubling down on my fancy flyer. Don't I'm not

457
00:23:19,200 --> 00:23:20,879
Speaker 3: going anywhere this year, Like I don't have any plans

458
00:23:20,880 --> 00:23:24,240
Speaker 3: to go anywhere. Also, the reason I first started flying business,

459
00:23:24,240 --> 00:23:27,600
Speaker 3: and I think this is very important, is because I

460
00:23:27,680 --> 00:23:29,160
Speaker 3: used to live when I lived in New York City

461
00:23:29,240 --> 00:23:32,480
Speaker 3: and I was starting out as a TV writer. If

462
00:23:32,480 --> 00:23:34,959
Speaker 3: I had to go to LA for any reason, the

463
00:23:35,000 --> 00:23:37,520
Speaker 3: studio or network would pay for the flight, and they

464
00:23:37,880 --> 00:23:38,959
Speaker 3: paid for business class.

465
00:23:39,040 --> 00:23:40,320
Speaker 2: Oh hell yeah, listen.

466
00:23:40,359 --> 00:23:43,200
Speaker 1: I just went on a similar trip where not only

467
00:23:43,240 --> 00:23:45,440
Speaker 1: did they pay for the upgrade, but they also paid

468
00:23:45,440 --> 00:23:49,560
Speaker 1: for Uber Black, which is am that is now my

469
00:23:49,720 --> 00:23:55,320
Speaker 1: fancy indulgence. I was like an Uber Black excel or

470
00:23:55,359 --> 00:23:59,680
Speaker 1: like an Uber Black, like suv is the most Beyonce

471
00:23:59,840 --> 00:24:03,960
Speaker 1: thing you could ever do, Like it is so comfortable

472
00:24:04,000 --> 00:24:06,200
Speaker 1: in there. You get your own like little captain's chair,

473
00:24:06,960 --> 00:24:11,320
Speaker 1: Like I mean, I was like I will never do

474
00:24:11,440 --> 00:24:12,680
Speaker 1: uber X again.

475
00:24:12,640 --> 00:24:17,920
Speaker 4: Even though like it's so expensive to cheer rip all

476
00:24:17,920 --> 00:24:22,600
Speaker 4: the price, but it's like so comfortable in those in

477
00:24:22,600 --> 00:24:25,560
Speaker 4: those giant, you know, black cars or whatever.

478
00:24:25,600 --> 00:24:27,520
Speaker 1: And I'm just like, oh God, am I gonna be

479
00:24:27,560 --> 00:24:30,480
Speaker 1: this person that's just gonna get a ninety four dollars

480
00:24:31,359 --> 00:24:33,160
Speaker 1: Uber black to go three miles.

481
00:24:33,240 --> 00:24:36,359
Speaker 3: I don't know, you might be. You might be, but

482
00:24:36,400 --> 00:24:36,840
Speaker 3: I hear you.

483
00:24:36,920 --> 00:24:37,280
Speaker 2: I hear you.

484
00:24:37,359 --> 00:24:40,320
Speaker 1: When if somebody else is paying, it's like, man, all

485
00:24:40,320 --> 00:24:41,600
Speaker 1: bets are off, it's saus Yeah.

486
00:24:41,600 --> 00:24:44,280
Speaker 3: They opened the door, and then I was like, I

487
00:24:44,400 --> 00:24:46,600
Speaker 3: literally I can never fly any other way again.

488
00:24:46,720 --> 00:24:47,960
Speaker 2: I hear you. I hear it.

489
00:24:48,040 --> 00:24:50,240
Speaker 3: So I didn't crack the door open first. Somebody else

490
00:24:50,280 --> 00:24:53,399
Speaker 3: cracked it open for me, and I was just like,

491
00:24:53,440 --> 00:24:54,920
Speaker 3: I did not know life could be like this.

492
00:24:55,080 --> 00:24:57,080
Speaker 2: I know, they give you a little taste. They're like,

493
00:24:57,160 --> 00:25:00,040
Speaker 2: here's here's your little sample, and then you're hooked for.

494
00:25:01,119 --> 00:25:04,120
Speaker 3: But I will also say I'm smart about my miles.

495
00:25:04,280 --> 00:25:08,400
Speaker 3: I can use my miles for upgrades. But because I fly,

496
00:25:09,280 --> 00:25:12,040
Speaker 3: I've been such a such a dedicated flyer for this

497
00:25:12,119 --> 00:25:15,080
Speaker 3: one airline, I've now reached a tier where I get

498
00:25:15,119 --> 00:25:16,320
Speaker 3: automatic upgrades.

499
00:25:16,640 --> 00:25:17,320
Speaker 2: Oh shit.

500
00:25:17,880 --> 00:25:20,160
Speaker 3: So if I get on a flight and like business

501
00:25:20,240 --> 00:25:24,320
Speaker 3: or first is empty, I will get upgraded. Oh hell yeah,

502
00:25:24,400 --> 00:25:28,359
Speaker 3: so that is lovely. Now. I just took a flight,

503
00:25:29,240 --> 00:25:35,520
Speaker 3: two flights, four flights, four flights to Albuquerque, New Mexico,

504
00:25:36,640 --> 00:25:40,359
Speaker 3: and I had to leave at the butt end of

505
00:25:40,400 --> 00:25:43,720
Speaker 3: the morning and get in at like midnight. I flew

506
00:25:43,760 --> 00:25:49,200
Speaker 3: economy both flights each way, So I flew economy four times.

507
00:25:49,920 --> 00:25:54,600
Speaker 3: There was no legroom upgrade option because all flights, all

508
00:25:54,640 --> 00:25:59,160
Speaker 3: of the flights were packed full. They were packed worst.

509
00:26:00,080 --> 00:26:02,320
Speaker 3: I was in a middle seat. For one I was

510
00:26:02,320 --> 00:26:04,199
Speaker 3: in a middle seat. And here's the other thing about me.

511
00:26:04,359 --> 00:26:07,399
Speaker 3: I rarely get up to go to a bathroom on

512
00:26:07,480 --> 00:26:10,240
Speaker 3: a flight, unless it's like a long fly, like a

513
00:26:10,440 --> 00:26:12,600
Speaker 3: six hours or more flight. I'll get up, yeah, but

514
00:26:12,680 --> 00:26:14,840
Speaker 3: usually I just try to like, you know, hold it.

515
00:26:15,119 --> 00:26:19,080
Speaker 3: I'll do it in the airport whatever. So the person

516
00:26:19,160 --> 00:26:21,040
Speaker 3: next to me at the window was getting up every

517
00:26:21,040 --> 00:26:24,119
Speaker 3: ten minutes to go to the bathroom. No, I'm not

518
00:26:24,200 --> 00:26:26,479
Speaker 3: fighting over an armrest. If you guys want the armrest

519
00:26:26,520 --> 00:26:28,159
Speaker 3: and I'm in the middle, go for it. But I was,

520
00:26:28,320 --> 00:26:30,600
Speaker 3: so I was just kind of like compact, like I

521
00:26:30,640 --> 00:26:34,040
Speaker 3: was squeezing my tits together the whole time, and my

522
00:26:34,119 --> 00:26:37,399
Speaker 3: chest hurt when I got out on the flight. My

523
00:26:37,480 --> 00:26:40,800
Speaker 3: knees hurt because they were right up against the weather.

524
00:26:40,880 --> 00:26:42,800
Speaker 3: The person didn't even recline and my knees were right

525
00:26:42,880 --> 00:26:44,800
Speaker 3: up against the back of the seat. And then I

526
00:26:44,840 --> 00:26:46,720
Speaker 3: had a four hour lay over each way.

527
00:26:47,640 --> 00:26:48,640
Speaker 2: Oh boy, oh boy.

528
00:26:48,800 --> 00:26:50,560
Speaker 3: Yeah, So I had a four hour layover in Denver

529
00:26:50,600 --> 00:26:52,080
Speaker 3: and a four on the way there, and a four

530
00:26:52,080 --> 00:26:54,080
Speaker 3: hour layover in Chicago on the way back. I did

531
00:26:54,119 --> 00:26:58,600
Speaker 3: buy lounge passes for both. Yes, But by the time

532
00:26:58,640 --> 00:27:01,720
Speaker 3: I arrived in New Mexico and by the time I

533
00:27:01,800 --> 00:27:04,840
Speaker 3: arrived back in New York, I have never been so

534
00:27:04,920 --> 00:27:08,840
Speaker 3: tired in my life. I'm physically and mentally exhausted weeks

535
00:27:08,920 --> 00:27:10,200
Speaker 3: later from that trip.

536
00:27:10,680 --> 00:27:12,960
Speaker 2: Yeah, I mean, listen, that's you just said.

537
00:27:13,000 --> 00:27:17,760
Speaker 1: The reasons to be bougie is because flying any other

538
00:27:17,840 --> 00:27:21,080
Speaker 1: way is painful, literally painful.

539
00:27:21,200 --> 00:27:22,960
Speaker 2: It is physically painful.

540
00:27:23,280 --> 00:27:26,440
Speaker 3: So physically painful. And I always wear my mask still

541
00:27:26,600 --> 00:27:29,520
Speaker 3: on airplanes and in airports, and I'm on a flight,

542
00:27:30,440 --> 00:27:34,919
Speaker 3: and one thing that I appreciate about business class is

543
00:27:34,960 --> 00:27:37,560
Speaker 3: that you get your own area, Like, yes, you're on

544
00:27:37,600 --> 00:27:42,159
Speaker 3: the same plane, breathing the same air, yes, granted, but

545
00:27:42,240 --> 00:27:45,880
Speaker 3: you're in your own seat or your own booth, so

546
00:27:45,920 --> 00:27:49,280
Speaker 3: you're not like getting the droplets from people who are

547
00:27:49,960 --> 00:27:50,720
Speaker 3: an inch away.

548
00:27:51,040 --> 00:27:57,280
Speaker 1: Yeah, that's true, because you're really packed together in economy.

549
00:27:57,440 --> 00:27:59,480
Speaker 2: So yeah, you're really feeling.

550
00:27:59,280 --> 00:28:05,840
Speaker 3: It, smushed and tired, and it was so much time,

551
00:28:06,160 --> 00:28:11,080
Speaker 3: Like the layovers were immense. Not the longest of all time,

552
00:28:11,160 --> 00:28:13,159
Speaker 3: not the longest I'm sure most of you have experienced,

553
00:28:13,160 --> 00:28:15,359
Speaker 3: but for me, it was a very long layver just

554
00:28:15,400 --> 00:28:19,560
Speaker 3: to go to like a few states away, and it

555
00:28:19,600 --> 00:28:22,119
Speaker 3: was it was exhausting. And I know, I just if

556
00:28:22,160 --> 00:28:25,320
Speaker 3: this is your first time listening the show, you hate us,

557
00:28:25,680 --> 00:28:27,760
Speaker 3: and that's you. Don't you don't, you don't actually know us.

558
00:28:27,800 --> 00:28:30,560
Speaker 3: Go back, go back and listen to some other episodes.

559
00:28:31,080 --> 00:28:34,040
Speaker 3: I promise this is not who we usually are.

560
00:28:36,119 --> 00:28:38,680
Speaker 2: Maybe I promise this is who I am. But Danielle,

561
00:28:39,960 --> 00:28:40,600
Speaker 2: Danielle was.

562
00:28:40,560 --> 00:28:44,240
Speaker 1: A reasonable, rational human being with kindness in her heart.

563
00:28:45,080 --> 00:28:49,280
Speaker 3: And Millie used to sleep on cigarette booth floors, so yeah,

564
00:28:49,320 --> 00:28:53,480
Speaker 3: has earned every aspect of being bougie when she flies.

565
00:28:53,560 --> 00:28:58,000
Speaker 1: Have you ever had an old cowboy ash his full

566
00:28:58,080 --> 00:29:02,480
Speaker 1: flavor Marlboro red on your ass as you were laying

567
00:29:02,560 --> 00:29:04,160
Speaker 1: underneath him.

568
00:29:04,200 --> 00:29:06,400
Speaker 2: You will also want an uber black suv.

569
00:29:07,280 --> 00:29:12,520
Speaker 3: Oh god, I miss the nineties so much. But yeah,

570
00:29:12,560 --> 00:29:15,520
Speaker 3: I think I don't know. Man, I've got a system.

571
00:29:15,560 --> 00:29:18,200
Speaker 3: It works for me. I've got it down pat It's

572
00:29:18,240 --> 00:29:22,080
Speaker 3: not a system I ever expected to have, But I

573
00:29:22,160 --> 00:29:25,680
Speaker 3: just didn't have any of my comforts for this trip

574
00:29:25,960 --> 00:29:28,920
Speaker 3: at it it was. It was physically painful for me.

575
00:29:29,080 --> 00:29:31,000
Speaker 1: So and listen, I hate to hear that because I

576
00:29:31,000 --> 00:29:34,400
Speaker 1: don't like it when people, you know, take bad trips. However,

577
00:29:34,520 --> 00:29:39,800
Speaker 1: I am always so fascinated about people's travel processes.

578
00:29:40,280 --> 00:29:41,440
Speaker 3: Yes, like hell I will.

579
00:29:41,600 --> 00:29:44,120
Speaker 1: I am obsessed with the process. I want to know

580
00:29:44,680 --> 00:29:47,360
Speaker 1: the what's the brand of luggage? I want to know

581
00:29:47,440 --> 00:29:51,320
Speaker 1: what your you know system is. I want to know, like, what.

582
00:29:51,200 --> 00:29:53,760
Speaker 2: Do you do in packing cubes? Are you you know?

583
00:29:54,760 --> 00:29:55,120
Speaker 3: Rolling?

584
00:29:55,240 --> 00:29:58,280
Speaker 2: Are your roller of clothes? Some people are rollers?

585
00:29:59,080 --> 00:30:00,440
Speaker 3: Absolutely I want to know.

586
00:30:00,760 --> 00:30:03,360
Speaker 1: And in fact, if you want to email us that

587
00:30:03,440 --> 00:30:05,120
Speaker 1: I saw what you did pot at gmail dot com.

588
00:30:05,160 --> 00:30:09,320
Speaker 1: You want to tell us your fancy ass flying protocols.

589
00:30:09,600 --> 00:30:11,840
Speaker 2: Please tell me because I'm always.

590
00:30:11,520 --> 00:30:14,280
Speaker 1: Looking to improve. That's the thing that I love about

591
00:30:14,400 --> 00:30:17,200
Speaker 1: learning it is. I'm like, if somebody is like, yo,

592
00:30:17,280 --> 00:30:19,200
Speaker 1: I have a system and here it is, and I'm like, yo,

593
00:30:19,280 --> 00:30:21,840
Speaker 1: I should adopt a little bit of that in my system.

594
00:30:22,280 --> 00:30:25,120
Speaker 3: Oh have you ever followed a flight attendant on Instagram?

595
00:30:25,280 --> 00:30:29,600
Speaker 2: Oh my gosh, have I. That's the whole reason why.

596
00:30:29,680 --> 00:30:31,000
Speaker 2: Like when I found out.

597
00:30:30,880 --> 00:30:33,880
Speaker 1: The luggage that the travel attendants use, I was like, yo,

598
00:30:33,920 --> 00:30:37,320
Speaker 1: I gotta get the entire suite. Even though I've since

599
00:30:37,400 --> 00:30:39,120
Speaker 1: changed it up a little bit, but I like, I'm

600
00:30:39,640 --> 00:30:44,280
Speaker 1: so interested in like what attendants use the most, Like

601
00:30:44,360 --> 00:30:44,760
Speaker 1: what are.

602
00:30:45,000 --> 00:30:48,680
Speaker 3: There absolutely what I'm thinking about about travel teapot like

603
00:30:48,720 --> 00:30:53,240
Speaker 3: travel electric kettles. Oh yes, because what I was following

604
00:30:53,280 --> 00:30:55,440
Speaker 3: a flight attendant who was like, oh yeah, like sometimes

605
00:30:55,480 --> 00:30:58,040
Speaker 3: you know, we land at weird times and meals are

606
00:30:58,040 --> 00:31:00,719
Speaker 3: hard to find, so I just bring like some ramen

607
00:31:01,000 --> 00:31:03,800
Speaker 3: and this travel kettle and I always have food. So

608
00:31:03,840 --> 00:31:04,560
Speaker 3: I'm like, oh my.

609
00:31:04,560 --> 00:31:08,600
Speaker 1: God, yeah, the travel kettle. Also the travel travel humidifiers

610
00:31:08,600 --> 00:31:10,560
Speaker 1: that you can put in like bottle water and stuff.

611
00:31:10,640 --> 00:31:13,960
Speaker 3: Yes, yes, that's where I found my book light, which

612
00:31:13,960 --> 00:31:18,200
Speaker 3: is amazing. It lasts forever usb charge, and I also

613
00:31:18,360 --> 00:31:20,760
Speaker 3: I just I love the process of it. It's also

614
00:31:20,800 --> 00:31:23,160
Speaker 3: where I found, as a single woman who travels alone

615
00:31:23,160 --> 00:31:25,920
Speaker 3: a lot, those door alarms.

616
00:31:27,320 --> 00:31:29,520
Speaker 2: Oh what are you talking about, like for like the

617
00:31:29,560 --> 00:31:30,200
Speaker 2: hotel room.

618
00:31:30,800 --> 00:31:35,240
Speaker 3: Yeah, so you can get little locks that go on

619
00:31:35,280 --> 00:31:37,560
Speaker 3: the side at the inside of the door that prevent

620
00:31:37,600 --> 00:31:40,800
Speaker 3: people from opening the door. You can get buzzers that

621
00:31:40,880 --> 00:31:42,920
Speaker 3: make a sound if someone tries to open the door.

622
00:31:43,920 --> 00:31:44,240
Speaker 2: Whoa.

623
00:31:45,320 --> 00:31:48,440
Speaker 3: Because this is my other shit, and this is also

624
00:31:48,520 --> 00:31:51,880
Speaker 3: I think part of my fancy flyer routine. I have

625
00:31:52,000 --> 00:31:55,320
Speaker 3: not used Airbnb for years. I am hotel exclusive, and

626
00:31:55,360 --> 00:31:57,880
Speaker 3: I'll tell you why. I have had too many fucked

627
00:31:57,960 --> 00:32:03,160
Speaker 3: up situations in airb bees, including but not limited to,

628
00:32:03,400 --> 00:32:06,560
Speaker 3: you land in a city that you are unfamiliar with

629
00:32:07,040 --> 00:32:08,520
Speaker 3: and they're like, oh, you have to go to this

630
00:32:08,880 --> 00:32:11,600
Speaker 3: bodega on the corner to get the key, and here's

631
00:32:11,640 --> 00:32:14,920
Speaker 3: the code and it's only from one pm to one

632
00:32:14,920 --> 00:32:15,840
Speaker 3: oh five pm.

633
00:32:16,040 --> 00:32:19,200
Speaker 2: Yeah, yo, I think we all sell barbarian. We know

634
00:32:19,280 --> 00:32:20,400
Speaker 2: what's going on right now.

635
00:32:20,800 --> 00:32:23,960
Speaker 3: Absolutely. So I am a hotel only. I want to

636
00:32:24,000 --> 00:32:26,600
Speaker 3: be in a place where if I'm hungry, I can eat.

637
00:32:27,160 --> 00:32:29,520
Speaker 3: If I want to leave, I can leave comfortably and safely.

638
00:32:30,640 --> 00:32:32,440
Speaker 3: I ain't about that life. But I also know that

639
00:32:32,480 --> 00:32:34,840
Speaker 3: hotels are where a lot of crime happens, So so

640
00:32:35,040 --> 00:32:36,920
Speaker 3: I will get I got those door buzzers, and I

641
00:32:36,960 --> 00:32:38,080
Speaker 3: got those locks.

642
00:32:38,040 --> 00:32:40,959
Speaker 2: Well the only time. Okay, So I'm totally with you

643
00:32:41,000 --> 00:32:41,320
Speaker 2: on this.

644
00:32:42,200 --> 00:32:44,600
Speaker 1: The only thing I do like about an Airbnb is

645
00:32:44,640 --> 00:32:46,640
Speaker 1: if you're on a group trip and you want to

646
00:32:46,680 --> 00:32:49,640
Speaker 1: take mushrooms and you know wherever the woods, the desert,

647
00:32:49,680 --> 00:32:51,560
Speaker 1: the mountains. Like, if you're on a group trip and

648
00:32:51,600 --> 00:32:54,640
Speaker 1: you guys want to like, you know, hang out, cook

649
00:32:54,680 --> 00:32:57,720
Speaker 1: your own food and do mushrooms in the woods, that's

650
00:32:57,720 --> 00:33:01,480
Speaker 1: what an Airbnb is for. Other than that, if I'm alone,

651
00:33:01,920 --> 00:33:03,800
Speaker 1: I'm definitely in a hotel. I'm not trying to stand

652
00:33:03,800 --> 00:33:04,800
Speaker 1: in an airbnblone.

653
00:33:05,200 --> 00:33:07,440
Speaker 3: And I will only do that mushroom trip if somebody

654
00:33:07,440 --> 00:33:10,400
Speaker 3: else books the Airbnb and goes through the complicated series

655
00:33:10,400 --> 00:33:11,920
Speaker 3: that they have to go through to get the key

656
00:33:11,960 --> 00:33:15,440
Speaker 3: and open the fucking house or wherever you're saying, I

657
00:33:15,480 --> 00:33:18,160
Speaker 3: will show up to an Airbnb. But I am not

658
00:33:18,600 --> 00:33:21,840
Speaker 3: at all booking an Airbnb ever again in my fucking lifetime.

659
00:33:23,760 --> 00:33:26,960
Speaker 1: Ude, I swear how many times have I sat in

660
00:33:27,160 --> 00:33:29,760
Speaker 1: like a fucking keypad in front of an Airbnb door? Like,

661
00:33:30,160 --> 00:33:33,080
Speaker 1: all right, so it's eight five one four pound pound

662
00:33:33,320 --> 00:33:34,880
Speaker 1: five six what the fuck?

663
00:33:35,080 --> 00:33:37,040
Speaker 2: Let me text this bitch, what you.

664
00:33:36,960 --> 00:33:40,480
Speaker 1: Know, Like you're just like always negotiating the stupid electronic

665
00:33:40,640 --> 00:33:41,480
Speaker 1: locks and stuff.

666
00:33:41,520 --> 00:33:42,160
Speaker 2: Oh my god.

667
00:33:42,880 --> 00:33:45,800
Speaker 3: And there's so much more strict than a hotel. They're like,

668
00:33:45,800 --> 00:33:47,680
Speaker 3: if you leave this house and you don't strip all

669
00:33:47,680 --> 00:33:49,880
Speaker 3: the beds and put all and start the washing machine,

670
00:33:50,040 --> 00:33:52,720
Speaker 3: we are going to keep your seven thousand dollars deposit.

671
00:33:52,720 --> 00:33:54,840
Speaker 3: And I'm like, what the fuck, dude, If you.

672
00:33:54,760 --> 00:34:00,240
Speaker 1: Don't contribute to our mural on the back deck, you

673
00:34:00,280 --> 00:34:07,200
Speaker 1: don't like sign, sign our guest book, and uh play

674
00:34:07,280 --> 00:34:11,040
Speaker 1: the fiddle, then you are not getting your deposit back.

675
00:34:12,120 --> 00:34:15,360
Speaker 3: It's too risky. It's too risky. I can't tell you. Also,

676
00:34:15,560 --> 00:34:17,040
Speaker 3: I can't tell you how many people don't know the

677
00:34:17,040 --> 00:34:19,319
Speaker 3: difference between a full sized bed and a queen size bed.

678
00:34:19,440 --> 00:34:21,479
Speaker 3: But you learn real quick when you're six feet tall.

679
00:34:23,360 --> 00:34:25,279
Speaker 3: You ain't got a fucking queen size bed, bitch. That's

680
00:34:25,320 --> 00:34:27,239
Speaker 3: a full sized bed. In My feet are hanging off

681
00:34:27,280 --> 00:34:27,800
Speaker 3: the edge.

682
00:34:28,400 --> 00:34:28,560
Speaker 1: Yo.

683
00:34:29,239 --> 00:34:32,200
Speaker 2: Oh my god. Yeah, the beds are all so so different.

684
00:34:33,320 --> 00:34:37,239
Speaker 1: Also when they when they when they only have a cuic.

685
00:34:38,560 --> 00:34:42,400
Speaker 3: Oh, I'm not doing that. Why Why am I demolishing

686
00:34:42,440 --> 00:34:44,000
Speaker 3: the earth to have coffee? Can you not get a

687
00:34:44,000 --> 00:34:44,920
Speaker 3: French press in here.

688
00:34:45,080 --> 00:34:51,200
Speaker 1: Demolishing my bowels and the earth. I was like, Yo,

689
00:34:52,120 --> 00:34:54,399
Speaker 1: here's a French press. Like, should I bring my own

690
00:34:54,440 --> 00:34:55,000
Speaker 1: French press.

691
00:34:55,040 --> 00:34:55,520
Speaker 2: I'll do that.

692
00:34:56,280 --> 00:34:59,520
Speaker 3: I do have a travel French press, so do I.

693
00:34:59,520 --> 00:35:01,400
Speaker 1: I have an air oppressed. I should just pack the

694
00:35:01,480 --> 00:35:05,200
Speaker 1: air oppress. Wow, we're monsters. Now that I'm talking this out,

695
00:35:05,280 --> 00:35:06,560
Speaker 1: I'm like, Yo, we're monsters.

696
00:35:07,160 --> 00:35:10,959
Speaker 3: See, we are the word. We are the problem. We

697
00:35:11,120 --> 00:35:12,320
Speaker 3: are the problem.

698
00:35:12,360 --> 00:35:14,879
Speaker 2: We were never the problem and until now like we are.

699
00:35:14,920 --> 00:35:17,680
Speaker 1: Oh. I feel like you and I are very modest

700
00:35:18,000 --> 00:35:20,000
Speaker 1: in a lot of ways about stuff, but when it

701
00:35:20,040 --> 00:35:23,440
Speaker 1: comes to travel, come on, all bets.

702
00:35:23,320 --> 00:35:26,880
Speaker 3: That's where all bets are fucking off. And if you

703
00:35:26,920 --> 00:35:30,080
Speaker 3: are running an Airbnb right now, if you're renting an

704
00:35:30,120 --> 00:35:34,880
Speaker 3: Airbnb out to people, believe me, the amount of money

705
00:35:34,920 --> 00:35:37,760
Speaker 3: you are going to spend on plumbing is not worth

706
00:35:38,080 --> 00:35:43,840
Speaker 3: the ease and simplicity of that curag. It ain't worth

707
00:35:43,840 --> 00:35:47,239
Speaker 3: it because you're gonna be replacing all those pipes. That

708
00:35:47,360 --> 00:35:49,120
Speaker 3: septic tank is coming out.

709
00:35:51,120 --> 00:35:54,960
Speaker 1: Listen, I'm trying to alleviate you of your guilt about

710
00:35:55,120 --> 00:35:58,120
Speaker 1: fancy flying and fancy travel because at the end of

711
00:35:58,120 --> 00:36:00,959
Speaker 1: the day, for me and I am not. I would

712
00:36:00,960 --> 00:36:03,680
Speaker 1: not consider myself an introvert, but I think that for

713
00:36:03,800 --> 00:36:07,360
Speaker 1: certain people who who are introverted and who don't like

714
00:36:07,400 --> 00:36:09,600
Speaker 1: to go out of their comfort zone, I either homes

715
00:36:09,960 --> 00:36:14,880
Speaker 1: often like they will have these things, they will need

716
00:36:15,000 --> 00:36:17,479
Speaker 1: a little bit extra, you know, they need a little

717
00:36:17,480 --> 00:36:20,239
Speaker 1: bit more to kind of be able to travel well.

718
00:36:20,320 --> 00:36:23,640
Speaker 1: And I hold space for that shit like totally. I'm like, think,

719
00:36:23,840 --> 00:36:26,200
Speaker 1: you know, it's not I don't think you're fancy, and

720
00:36:26,280 --> 00:36:28,600
Speaker 1: I don't think that you're being unreasonable, like I think

721
00:36:28,600 --> 00:36:32,000
Speaker 1: you're just like creating a safe space for you to

722
00:36:32,040 --> 00:36:32,640
Speaker 1: be able to like.

723
00:36:32,560 --> 00:36:34,799
Speaker 2: Travel and go about the world. And that's fine for me.

724
00:36:35,560 --> 00:36:38,240
Speaker 3: Thank you, thank you. And I don't do it often.

725
00:36:38,239 --> 00:36:39,920
Speaker 3: If that helps, I don't do it very often, but

726
00:36:40,600 --> 00:36:43,319
Speaker 3: thank you. And also these tips can be applied if

727
00:36:43,360 --> 00:36:46,400
Speaker 3: you're flying crunched up in economy. Put on a fucking

728
00:36:46,440 --> 00:36:48,600
Speaker 3: sheet mask on the plane. I've done it. I don't care.

729
00:36:49,000 --> 00:36:51,719
Speaker 3: I will put on a full ass ghost face, kill

730
00:36:51,719 --> 00:36:55,000
Speaker 3: a looking sheet mask. I think pop out.

731
00:36:55,200 --> 00:36:56,880
Speaker 2: I think you should. I think they I think the

732
00:36:56,920 --> 00:36:58,319
Speaker 2: airline should be giving those out.

733
00:36:58,360 --> 00:37:00,600
Speaker 3: They should be handing that shit out. Keep as moisture, ize,

734
00:37:00,680 --> 00:37:02,879
Speaker 3: keep us hydrated. What the fuck? It's dry as shit

735
00:37:03,000 --> 00:37:03,799
Speaker 3: up there. Yo.

736
00:37:03,920 --> 00:37:06,080
Speaker 1: I would do the hands too, Like do the hand

737
00:37:06,280 --> 00:37:09,719
Speaker 1: you know how they have the hand masks, Like make

738
00:37:09,760 --> 00:37:12,279
Speaker 1: it a little nicer, Like don't just give us a

739
00:37:12,320 --> 00:37:14,880
Speaker 1: fucking gritola bar, give us a little bit of pampering.

740
00:37:15,440 --> 00:37:19,319
Speaker 2: We pay enough, we should get some sheet masks. Let's go.

741
00:37:20,080 --> 00:37:25,479
Speaker 3: Everyone should be boogie when they fly. Bougie at whatever

742
00:37:25,560 --> 00:37:28,920
Speaker 3: level you can afford. Treat yourself. Treat yourself well, you

743
00:37:28,960 --> 00:37:29,279
Speaker 3: and you fly.

744
00:37:34,040 --> 00:37:37,440
Speaker 1: Speaking of bougie, So, our theme this week is has

745
00:37:37,480 --> 00:37:39,319
Speaker 1: been making me laugh for a week.

746
00:37:39,440 --> 00:37:41,040
Speaker 3: This is all you, This is all you.

747
00:37:41,160 --> 00:37:43,640
Speaker 1: Oh, it is all me. I'm laughing at my own theme,

748
00:37:44,920 --> 00:37:47,520
Speaker 1: although you named it, So what what are we talking about?

749
00:37:47,560 --> 00:37:50,560
Speaker 1: It's another collabo between you and I. I think the

750
00:37:50,719 --> 00:37:54,520
Speaker 1: idea was mine, but this was your name.

751
00:37:55,400 --> 00:37:56,919
Speaker 3: Well, I still think you should tell them the theme.

752
00:37:57,000 --> 00:37:58,480
Speaker 2: Okay, I'll definitely do that.

753
00:37:58,719 --> 00:38:03,160
Speaker 1: So the theme for this week is called having sex

754
00:38:03,200 --> 00:38:13,080
Speaker 1: with someone so hot it ruins your life?

755
00:38:13,360 --> 00:38:19,919
Speaker 3: Been there? Oh? Good? Have you? Uh? I've been there?

756
00:38:20,120 --> 00:38:23,879
Speaker 3: I mean yeah, I guess, I guess, yeah, I guess. Yeah.

757
00:38:23,960 --> 00:38:27,600
Speaker 1: Well my thing is that everyone is so hot that

758
00:38:27,680 --> 00:38:28,640
Speaker 1: they ruin my life.

759
00:38:28,680 --> 00:38:32,520
Speaker 3: So ah, ah, you know what I was just thinking

760
00:38:32,840 --> 00:38:37,880
Speaker 3: the other day. Since I've been celibate, abstinent, whatever you

761
00:38:37,880 --> 00:38:40,280
Speaker 3: want to call it, I haven't had sex in years.

762
00:38:41,320 --> 00:38:45,280
Speaker 3: My pH balance has never been better. Dix. You genuinely

763
00:38:45,320 --> 00:38:50,160
Speaker 3: ruin your body. I haven't had a yeas infection in

764
00:38:50,200 --> 00:38:54,000
Speaker 3: a decade. I haven't had any fucking urinary tract. My

765
00:38:54,239 --> 00:38:56,080
Speaker 3: pH has never been better.

766
00:38:56,960 --> 00:39:00,319
Speaker 2: That is deeply interesting. I have not get that. Are

767
00:39:00,360 --> 00:39:01,160
Speaker 2: that at all?

768
00:39:01,239 --> 00:39:01,479
Speaker 1: Right?

769
00:39:02,520 --> 00:39:03,759
Speaker 3: A single thing going on?

770
00:39:04,239 --> 00:39:06,719
Speaker 2: Yeah? So I think the genesis.

771
00:39:06,760 --> 00:39:09,799
Speaker 1: Okay, so a while back, this is gonna be a

772
00:39:09,800 --> 00:39:12,319
Speaker 1: long road to get to the point, but follow me.

773
00:39:12,520 --> 00:39:14,440
Speaker 3: Okay, But welcome to our fucking podcast.

774
00:39:14,520 --> 00:39:17,080
Speaker 2: Welcome to our meandering ass podcast.

775
00:39:17,440 --> 00:39:23,600
Speaker 1: So we were talking about Barry Kyogan, right, Did I

776
00:39:23,600 --> 00:39:24,120
Speaker 1: say that right?

777
00:39:24,640 --> 00:39:24,879
Speaker 3: Yep?

778
00:39:25,320 --> 00:39:27,480
Speaker 1: Okay, I think I said it wrong a few times

779
00:39:27,480 --> 00:39:31,880
Speaker 1: on that episode, but whatever, we can figure that out later. So,

780
00:39:32,280 --> 00:39:36,359
Speaker 1: you know, the whole thing about the movie that he

781
00:39:36,440 --> 00:39:39,800
Speaker 1: was in Saltburn that everybody was talking about, that people

782
00:39:39,880 --> 00:39:42,719
Speaker 1: I know are still talking about, weirdly enough, is that

783
00:39:43,160 --> 00:39:46,520
Speaker 1: this was kind of like a concept that I thought

784
00:39:46,600 --> 00:39:52,120
Speaker 1: was interesting. But also in that movie referenced my movie

785
00:39:52,160 --> 00:39:54,680
Speaker 1: this week, which made which made me kind of go

786
00:39:54,800 --> 00:39:56,480
Speaker 1: back and want to watch this movie. And then I

787
00:39:56,560 --> 00:39:59,719
Speaker 1: was like, oh, yeah, the concept of like this one

788
00:40:00,080 --> 00:40:03,680
Speaker 1: extremely attractive person just like wrecking shop amongst like a

789
00:40:03,719 --> 00:40:08,400
Speaker 1: bunch of different people is so interesting to me because

790
00:40:08,400 --> 00:40:11,919
Speaker 1: I'm like, yeah, I don't know, like to be able

791
00:40:11,960 --> 00:40:14,359
Speaker 1: to hold that kind of power over people, I think

792
00:40:14,480 --> 00:40:20,279
Speaker 1: is very fascinating. And I think that I've always been

793
00:40:20,360 --> 00:40:22,680
Speaker 1: kind of fascinated by like how the other side lives

794
00:40:22,719 --> 00:40:23,160
Speaker 1: in that way.

795
00:40:23,200 --> 00:40:25,280
Speaker 2: Like that's why I watch vander Pump Rules.

796
00:40:25,320 --> 00:40:29,120
Speaker 1: It's like why you know, famous people and celebrities are

797
00:40:29,440 --> 00:40:31,880
Speaker 1: interesting because you're just like, wow, what it would what

798
00:40:31,880 --> 00:40:33,880
Speaker 1: would it be like if you were out there you

799
00:40:33,920 --> 00:40:38,440
Speaker 1: were so hot that like you're just like if like

800
00:40:39,000 --> 00:40:41,759
Speaker 1: you know, affecting people's lives in very profound ways just

801
00:40:41,800 --> 00:40:43,640
Speaker 1: by the shearer hotness of yourself.

802
00:40:43,760 --> 00:40:46,840
Speaker 3: Yeah, imagine being so hot you could get away with things.

803
00:40:47,480 --> 00:40:50,920
Speaker 2: Yes, I know, Like imagine.

804
00:40:50,520 --> 00:40:53,200
Speaker 3: Just the simplicity of that, Like I'm so hot that

805
00:40:53,239 --> 00:40:56,760
Speaker 3: it's so distracting that they don't notice if I don't tip.

806
00:40:57,320 --> 00:40:59,719
Speaker 1: Yeah, or like that I was going one hundred and

807
00:40:59,760 --> 00:41:02,480
Speaker 1: fourty miles an hour in a thirty five, you know,

808
00:41:02,960 --> 00:41:07,400
Speaker 1: like getting out of tickets getting out of paying the tips,

809
00:41:08,120 --> 00:41:08,680
Speaker 1: getting out of.

810
00:41:08,719 --> 00:41:13,000
Speaker 3: Horror that I have seventeen partners at the same time

811
00:41:13,080 --> 00:41:14,400
Speaker 3: and none of them are mad about it.

812
00:41:15,040 --> 00:41:17,239
Speaker 2: Well, that's it. Yeah, that is the other thing too.

813
00:41:17,280 --> 00:41:20,920
Speaker 1: I mean, god, obviously, like I think, I think about

814
00:41:21,000 --> 00:41:25,920
Speaker 1: our movies today, and you're like, here are like two

815
00:41:26,600 --> 00:41:30,520
Speaker 1: dudes who are probably in their prime.

816
00:41:30,880 --> 00:41:33,600
Speaker 2: I would, I would argue, perhaps.

817
00:41:33,840 --> 00:41:38,440
Speaker 1: And just so it's attractive that they can just like

818
00:41:39,440 --> 00:41:41,759
Speaker 1: get away with whatever, you know.

819
00:41:42,920 --> 00:41:44,200
Speaker 3: Just infiltrate shit.

820
00:41:44,719 --> 00:41:45,960
Speaker 2: Yeah, And I.

821
00:41:45,960 --> 00:41:47,800
Speaker 3: Think all spies should be hot.

822
00:41:48,520 --> 00:41:51,520
Speaker 2: All spies should be hot. They usually are, right.

823
00:41:51,960 --> 00:41:53,760
Speaker 3: I don't know, I've seen some that are real fucked

824
00:41:53,800 --> 00:41:54,400
Speaker 3: up looking.

825
00:41:54,520 --> 00:41:56,720
Speaker 1: Like I mean, well, I guess maybe in the context

826
00:41:56,760 --> 00:41:59,239
Speaker 1: of film, right, because usually oh yeah, yeah, you know,

827
00:41:59,440 --> 00:42:02,319
Speaker 1: but like, yeah, what's the difference between a movie spy

828
00:42:02,400 --> 00:42:03,400
Speaker 1: and an actual spy.

829
00:42:03,840 --> 00:42:08,720
Speaker 3: And also, postal employees should be hot. You think you're

830
00:42:09,080 --> 00:42:11,759
Speaker 3: you're always mad in a post office. Imagine if they

831
00:42:11,840 --> 00:42:15,960
Speaker 3: all looked like whoever your idea of gorgeous is. If

832
00:42:16,000 --> 00:42:18,279
Speaker 3: every postal employee look like Keanu Reeves, you'd be in

833
00:42:18,320 --> 00:42:21,600
Speaker 3: there for seven hours and never bat and eye Well.

834
00:42:21,440 --> 00:42:24,440
Speaker 2: And like, I'm very.

835
00:42:25,760 --> 00:42:29,840
Speaker 1: At this point in my life I'll just say I

836
00:42:29,880 --> 00:42:32,880
Speaker 1: will let a hot person get away with whatever.

837
00:42:33,600 --> 00:42:39,000
Speaker 3: What, Like I have sung so hard the other way

838
00:42:39,040 --> 00:42:41,200
Speaker 3: where I'm like angry that you're hot, so you're not

839
00:42:41,200 --> 00:42:42,360
Speaker 3: getting in front of me in line.

840
00:42:42,440 --> 00:42:46,400
Speaker 1: Oh no, I'm like, I'm a a I'm a softie.

841
00:42:46,400 --> 00:42:51,439
Speaker 1: Like I am basically the most easily manipulated by hot

842
00:42:51,480 --> 00:42:53,640
Speaker 1: people I think I've ever been in my life, and

843
00:42:53,719 --> 00:42:54,880
Speaker 1: I include high school.

844
00:42:55,239 --> 00:42:58,200
Speaker 2: Like speaking of Keanu Reeves.

845
00:42:58,640 --> 00:43:01,120
Speaker 1: When I was in La I was at a film

846
00:43:01,160 --> 00:43:05,759
Speaker 1: festival and there was this guard, not a guard, I

847
00:43:05,800 --> 00:43:08,360
Speaker 1: don't know what he would call him, somebody that was

848
00:43:08,400 --> 00:43:14,040
Speaker 1: like protecting the production office of this film festival that

849
00:43:14,120 --> 00:43:16,960
Speaker 1: I was trying to get access to because let's just

850
00:43:16,960 --> 00:43:18,839
Speaker 1: say I used to work there. Okay, is this all

851
00:43:18,840 --> 00:43:22,360
Speaker 1: coming together for y'all? Like this, I'm going to mystery

852
00:43:22,400 --> 00:43:23,080
Speaker 1: where you were.

853
00:43:23,239 --> 00:43:24,560
Speaker 3: You've said it, I know.

854
00:43:24,560 --> 00:43:27,759
Speaker 1: I said it, but so basically there was this like

855
00:43:28,680 --> 00:43:31,800
Speaker 1: entry point where there was this you know, he was

856
00:43:31,840 --> 00:43:33,680
Speaker 1: wearing a suit. He looked like he was in the

857
00:43:33,719 --> 00:43:39,160
Speaker 1: mafia basically, and he was this like six foot tall.

858
00:43:40,400 --> 00:43:45,680
Speaker 2: Half Asian e Keanu Reeves hair looking.

859
00:43:45,480 --> 00:43:49,240
Speaker 1: Guy, and I like, turn the corner and I'm about

860
00:43:49,280 --> 00:43:53,200
Speaker 1: to cross through this threshold and he's like, uh, well wait,

861
00:43:54,000 --> 00:43:56,560
Speaker 1: can I see your badge? And I just like looked

862
00:43:56,600 --> 00:43:59,759
Speaker 1: up at him like he was this giant, beautiful oak tree, and.

863
00:43:59,719 --> 00:44:00,000
Speaker 2: I was like.

864
00:44:01,640 --> 00:44:04,720
Speaker 1: I immediately sat down like a dog, like an old dog,

865
00:44:04,800 --> 00:44:09,279
Speaker 1: like okay, And I'm like this the power of his hotness.

866
00:44:09,360 --> 00:44:12,640
Speaker 1: And I'm sure he knows that about himself, but it

867
00:44:12,680 --> 00:44:15,880
Speaker 1: was very he was so Keanu Reeves. I'm sure he

868
00:44:15,960 --> 00:44:19,000
Speaker 1: said Keanu Reeves impersonat or in LA or something and

869
00:44:19,040 --> 00:44:20,799
Speaker 1: then also also security guard.

870
00:44:20,800 --> 00:44:22,760
Speaker 2: But I was like, Yo. It was at that moment

871
00:44:22,760 --> 00:44:24,080
Speaker 2: that I was like, yo, this is bad.

872
00:44:24,880 --> 00:44:27,919
Speaker 3: See I go exactly the other way, where if he'd

873
00:44:27,920 --> 00:44:30,560
Speaker 3: asked me for a badge, I'd be like, where's your

874
00:44:30,560 --> 00:44:38,359
Speaker 3: fucking badge, hot person? I would throw it right back

875
00:44:38,400 --> 00:44:40,279
Speaker 3: in his face. But I'm to the point where if

876
00:44:40,280 --> 00:44:43,960
Speaker 3: a hot person tries to demand something of me or

877
00:44:44,000 --> 00:44:47,320
Speaker 3: manipulate me in any way, I'm ready to arm wrestle

878
00:44:47,320 --> 00:44:49,160
Speaker 3: over it. Like if he asked me for a badge,

879
00:44:49,239 --> 00:44:54,719
Speaker 3: I would have challenged him to a duel, Like just

880
00:44:54,719 --> 00:44:57,400
Speaker 3: because you're hot doesn't mean you can approach me and

881
00:44:57,440 --> 00:45:00,040
Speaker 3: ask me shit. I know that it does. For the

882
00:45:00,239 --> 00:45:03,160
Speaker 3: rest of your life for most people. But I want

883
00:45:03,200 --> 00:45:05,960
Speaker 3: to be the person that like reminds them that they're

884
00:45:06,000 --> 00:45:06,960
Speaker 3: just human beings.

885
00:45:07,600 --> 00:45:09,440
Speaker 2: See, yes, we need that.

886
00:45:09,760 --> 00:45:13,440
Speaker 1: Obviously, we need somebody to cut these people to the

887
00:45:13,520 --> 00:45:15,640
Speaker 1: fucking bone.

888
00:45:15,840 --> 00:45:16,120
Speaker 3: I was.

889
00:45:17,040 --> 00:45:20,600
Speaker 2: We need that because unchecked.

890
00:45:20,200 --> 00:45:25,000
Speaker 1: Unchecked hotness is a terrible thing. It's part what happened

891
00:45:25,160 --> 00:45:25,760
Speaker 1: and the worst.

892
00:45:25,560 --> 00:45:29,239
Speaker 3: Part of what's ruining our culture. Like, but I was

893
00:45:29,320 --> 00:45:33,239
Speaker 3: in New York City a couple of weeks ago, and

894
00:45:34,719 --> 00:45:38,000
Speaker 3: I was going into a door and somebody was on

895
00:45:38,120 --> 00:45:40,239
Speaker 3: their phone as they were walking through the door, but

896
00:45:40,239 --> 00:45:42,080
Speaker 3: they were not looking at the door, and it was

897
00:45:42,080 --> 00:45:46,480
Speaker 3: a hot person. Yeah, so I saw what was gonna happen.

898
00:45:46,800 --> 00:45:50,240
Speaker 3: I saw what was coming, and I opened the door

899
00:45:51,400 --> 00:45:53,680
Speaker 3: and they kind of walked towards me, realized the door

900
00:45:53,719 --> 00:45:56,799
Speaker 3: was open, looked up and went, oh sorry. And I

901
00:45:56,840 --> 00:45:59,480
Speaker 3: looked at them and I said, instead of being sorry,

902
00:45:59,600 --> 00:46:03,840
Speaker 3: try not being on your phone. Whooh. And I would

903
00:46:03,880 --> 00:46:06,600
Speaker 3: not have said that to someone who looked normal like me.

904
00:46:08,160 --> 00:46:10,360
Speaker 3: I said it because they were hot, because I know, no,

905
00:46:10,440 --> 00:46:12,560
Speaker 3: everyone's gonna be like, oh my god, of course, run

906
00:46:12,600 --> 00:46:14,640
Speaker 3: me over, Oh my god, do what you gotta do.

907
00:46:15,000 --> 00:46:18,080
Speaker 3: I was the one person in their day who does not.

908
00:46:18,320 --> 00:46:20,120
Speaker 3: I don't care how hot you are. You have to

909
00:46:20,120 --> 00:46:22,120
Speaker 3: be able to walk through a door and pay attention.

910
00:46:23,239 --> 00:46:25,400
Speaker 3: And you could tell that they had never been challenged

911
00:46:25,400 --> 00:46:27,239
Speaker 3: in their life because the way they looked at me.

912
00:46:28,120 --> 00:46:30,160
Speaker 3: It wasn't like battue, do you think you are? I

913
00:46:30,200 --> 00:46:32,280
Speaker 3: wasn't like a typical New York fight about to happen.

914
00:46:32,320 --> 00:46:36,520
Speaker 3: It was like, oh my, like I hurt their feelings? Yeah,

915
00:46:36,600 --> 00:46:38,840
Speaker 3: because I dare to say pay attention.

916
00:46:39,200 --> 00:46:42,399
Speaker 1: Yeah, Now I know I'm part of the problem. I'm

917
00:46:42,440 --> 00:46:46,640
Speaker 1: like exacerbating all of this this bad behavior because the

918
00:46:46,719 --> 00:46:48,960
Speaker 1: minute I'm in front of like some young hot person,

919
00:46:49,000 --> 00:46:54,359
Speaker 1: I'm like, uh, like, yeah you are hot, yes you here.

920
00:46:54,520 --> 00:46:56,319
Speaker 1: Here are all my credit cards. Here's all the pin

921
00:46:56,440 --> 00:46:59,920
Speaker 1: numbers to all my at all my ATM cards, here's everything.

922
00:47:00,920 --> 00:47:04,560
Speaker 3: Like, I am sick of hot people. I think they're

923
00:47:04,640 --> 00:47:08,440
Speaker 3: ruining our fucking lives. They're ruining our country, They're ruining

924
00:47:08,440 --> 00:47:11,640
Speaker 3: our culture. I'm sick of hot people. And if you

925
00:47:11,680 --> 00:47:14,040
Speaker 3: are a hot person listening to this, you have to

926
00:47:14,080 --> 00:47:17,200
Speaker 3: be you have to now apply the rule that black

927
00:47:17,200 --> 00:47:19,280
Speaker 3: people have had to apply for most of our lives.

928
00:47:19,520 --> 00:47:23,279
Speaker 3: You have to be twice as good and twice as

929
00:47:23,400 --> 00:47:26,200
Speaker 3: nice if you're If you're hot, you have to change

930
00:47:26,320 --> 00:47:28,040
Speaker 3: the You have to flip the script because a lot

931
00:47:28,080 --> 00:47:32,400
Speaker 3: of us are just fucking sick of you. So if

932
00:47:32,400 --> 00:47:34,200
Speaker 3: you're hot and you're listening to this, you better go

933
00:47:34,239 --> 00:47:36,640
Speaker 3: out there today and do some good deeds.

934
00:47:36,920 --> 00:47:40,040
Speaker 2: Oh, I do agree that you have to be extra nice.

935
00:47:40,440 --> 00:47:42,960
Speaker 2: That is That is a rule. Sorry, hot people, is

936
00:47:43,000 --> 00:47:44,800
Speaker 2: just the way it is. You can't be a dick.

937
00:47:45,520 --> 00:47:47,080
Speaker 3: You can't be out here ruining lives.

938
00:47:47,239 --> 00:47:50,560
Speaker 1: No, you have to be really nice like and you

939
00:47:50,640 --> 00:47:53,600
Speaker 1: have to like only like animals and not humans.

940
00:47:54,000 --> 00:47:56,560
Speaker 2: You have to be that hoint of person like.

941
00:47:56,600 --> 00:48:01,080
Speaker 1: You have to offset your extreme attractiveness with good fucking deeds.

942
00:48:02,200 --> 00:48:05,319
Speaker 3: You have to infiltrate the FBI. You have to go

943
00:48:05,360 --> 00:48:13,479
Speaker 3: to student protests for Palestine and link arms and form

944
00:48:13,520 --> 00:48:16,279
Speaker 3: a barrier around them. That's all we need. We need

945
00:48:16,280 --> 00:48:20,120
Speaker 3: a bunch of hot people who are actually able to

946
00:48:20,120 --> 00:48:24,319
Speaker 3: say we're against this political thing. You have to go

947
00:48:24,360 --> 00:48:28,719
Speaker 3: to abortion clinics, you have to go to you have

948
00:48:28,800 --> 00:48:32,480
Speaker 3: to vote. If you're hot. There's like a set of

949
00:48:32,560 --> 00:48:36,040
Speaker 3: rules that I've personally implemented that I'm no longer letting

950
00:48:36,080 --> 00:48:39,359
Speaker 3: hot people get away with just being hot as their

951
00:48:39,400 --> 00:48:40,280
Speaker 3: currency in the world.

952
00:48:40,400 --> 00:48:44,840
Speaker 1: You have to make private donations to really great nonprofits.

953
00:48:44,840 --> 00:48:48,399
Speaker 1: You have to basically deliver your own children in the home.

954
00:48:50,160 --> 00:48:52,160
Speaker 2: There's a list. There's a list, and I don't know

955
00:48:52,160 --> 00:48:53,800
Speaker 2: if you know this, but there's a list.

956
00:48:54,640 --> 00:48:56,839
Speaker 3: You have to find a midwife and find out what

957
00:48:56,920 --> 00:48:59,360
Speaker 3: she needs. Maybe it's just a coffee, maybe it's a

958
00:48:59,360 --> 00:49:03,040
Speaker 3: breech berth. You better be prepared for all, any and

959
00:49:03,120 --> 00:49:11,800
Speaker 3: all answers. Well, we need a hot hands across America.

960
00:49:12,600 --> 00:49:15,600
Speaker 3: We need you to stop floating through the world on

961
00:49:15,719 --> 00:49:16,960
Speaker 3: the currency of hotness.

962
00:49:17,080 --> 00:49:20,080
Speaker 1: Yes, acts of service is what your the rest of

963
00:49:20,080 --> 00:49:23,040
Speaker 1: your life should be for being so fucking attractive.

964
00:49:23,960 --> 00:49:25,600
Speaker 3: And our movies prove this, both of our movies.

965
00:49:28,600 --> 00:49:30,399
Speaker 2: There the Man.

966
00:49:30,480 --> 00:49:33,520
Speaker 1: When I watched your movie again, I was like, uh

967
00:49:33,560 --> 00:49:36,320
Speaker 1: oh and to Anatona on the.

968
00:49:36,200 --> 00:49:40,160
Speaker 2: Hotness of Antonio nineties, Antonio, I'm feeling some type of way.

969
00:49:40,280 --> 00:49:41,800
Speaker 2: Oh my god, I care.

970
00:49:41,760 --> 00:49:44,719
Speaker 3: You would have let that man burn your life to

971
00:49:44,760 --> 00:49:45,799
Speaker 3: the ground. I know it.

972
00:49:46,120 --> 00:49:48,640
Speaker 1: And here's the thing I love about the director of

973
00:49:48,680 --> 00:49:51,200
Speaker 1: your film is that he fucking knows exactly what he's doing.

974
00:49:51,239 --> 00:49:54,279
Speaker 1: I was like, Oh, there's no reason, why, why are

975
00:49:54,320 --> 00:49:57,080
Speaker 1: they showing a bunch of ass shots and jeans.

976
00:49:57,480 --> 00:50:03,040
Speaker 3: Let's get serious please. Part of the I'm sure part

977
00:50:03,080 --> 00:50:07,480
Speaker 3: of the script was get as many ash shots as possible.

978
00:50:07,840 --> 00:50:10,399
Speaker 1: There's a lot of bulges in my movie too, though,

979
00:50:10,840 --> 00:50:14,160
Speaker 1: Like the bulges permitted are insane in my movie.

980
00:50:14,480 --> 00:50:18,320
Speaker 3: It's kind of again, your director was like just zooming

981
00:50:18,360 --> 00:50:20,440
Speaker 3: straight on the crotch. We're not even gonna be subtle

982
00:50:20,440 --> 00:50:20,919
Speaker 3: about it.

983
00:50:21,120 --> 00:50:23,960
Speaker 1: Only gay guys should make movies about straight guys. I'm

984
00:50:23,960 --> 00:50:27,160
Speaker 1: throwing that out there. I think I've said it before.

985
00:50:27,680 --> 00:50:30,160
Speaker 3: Yeah, you also have a disturbing in your movie, a

986
00:50:30,200 --> 00:50:35,880
Speaker 3: disturbing amount of that tidy whitey void space that I

987
00:50:35,960 --> 00:50:38,960
Speaker 3: can't stand, where like the tidy whities are too loose

988
00:50:39,680 --> 00:50:42,920
Speaker 3: and there's like a little void around the bulge and

989
00:50:42,920 --> 00:50:46,840
Speaker 3: you're like, what am I looking at? Good god, void

990
00:50:47,040 --> 00:50:53,080
Speaker 3: the bulgeoid. I hate the bulge void. They're not actually

991
00:50:53,160 --> 00:50:55,359
Speaker 3: tidy whities. If they're loose and I can see part

992
00:50:55,400 --> 00:50:56,760
Speaker 3: of your scrotum, put it away.

993
00:50:57,160 --> 00:51:02,239
Speaker 1: Yeah, A pair of saggy, tidy whitey underwears are like

994
00:51:02,400 --> 00:51:08,040
Speaker 1: so disturbing. That's like depression underwear, Like you should not

995
00:51:08,080 --> 00:51:11,480
Speaker 1: be wearing those unless you're deeply depressed.

996
00:51:13,840 --> 00:51:17,600
Speaker 3: I just make them tight or wear boxers. I'm just saying, dude,

997
00:51:17,640 --> 00:51:20,319
Speaker 3: I hear you. They're doing no service to you, or

998
00:51:20,360 --> 00:51:24,560
Speaker 3: your balls or the world. There's one point in your film,

999
00:51:24,560 --> 00:51:26,480
Speaker 3: which I'm sure we will talk about, but there's a

1000
00:51:26,520 --> 00:51:29,200
Speaker 3: guy laying down naked on his side, and he has

1001
00:51:29,200 --> 00:51:31,880
Speaker 3: his hands kind of tucked between his thighs and you

1002
00:51:31,920 --> 00:51:34,480
Speaker 3: can't tell if it's his fingers that you're seeing or

1003
00:51:34,520 --> 00:51:35,040
Speaker 3: his sack.

1004
00:51:36,520 --> 00:51:38,960
Speaker 2: It's very mysterious.

1005
00:51:39,719 --> 00:51:43,600
Speaker 3: The mysterious sack is blowing my mind. Your movie freaked

1006
00:51:43,640 --> 00:51:46,040
Speaker 3: me out from top to bottom. Yeah, it was hilarious

1007
00:51:46,040 --> 00:51:47,759
Speaker 3: and wonderful. Let's get into it.

1008
00:51:48,000 --> 00:51:49,040
Speaker 2: Let's talk about it now.

1009
00:51:49,640 --> 00:51:51,759
Speaker 3: But hot people, you're on notice. I'm not letting you

1010
00:51:51,760 --> 00:51:52,880
Speaker 3: get away with anything anymore.

1011
00:51:53,000 --> 00:51:56,120
Speaker 1: Oh yeah, and we're going to formalize this list and

1012
00:51:56,160 --> 00:51:58,120
Speaker 1: we're going to publish it somewhere.

1013
00:51:58,400 --> 00:51:59,359
Speaker 3: And you can add to it.

1014
00:51:59,520 --> 00:52:01,040
Speaker 2: Your time is up is what we're saying.

1015
00:52:01,120 --> 00:52:08,240
Speaker 3: Hot people, times up and it's just hot people. We've

1016
00:52:08,360 --> 00:52:10,959
Speaker 3: common deered the times up movement and it's just about

1017
00:52:10,960 --> 00:52:12,160
Speaker 3: hot people have to act nice.

1018
00:52:12,440 --> 00:52:15,000
Speaker 2: Yeah.

1019
00:52:15,040 --> 00:52:20,759
Speaker 5: So my movie for the theme, I can't say this

1020
00:52:21,040 --> 00:52:24,600
Speaker 5: love my movie for the theme having sex with someone

1021
00:52:24,840 --> 00:52:26,160
Speaker 5: So Hot It.

1022
00:52:26,200 --> 00:52:30,120
Speaker 1: Ruins Your Life is from nineteen sixty eight. It was

1023
00:52:30,160 --> 00:52:34,200
Speaker 1: written and directed by Pierre Paulo Pasolini, and it's called

1024
00:52:34,200 --> 00:52:43,040
Speaker 1: TiO Rima Please said Boy. So, like I said, I

1025
00:52:43,040 --> 00:52:45,960
Speaker 1: think this movie has been in the conversation again recently

1026
00:52:46,000 --> 00:52:49,520
Speaker 1: because of Emerald Finelle Saltburn. I actually don't think, like

1027
00:52:49,560 --> 00:52:53,319
Speaker 1: there's obviously many differences between this movie and Saltburn. I mean,

1028
00:52:54,680 --> 00:52:59,520
Speaker 1: this movie is very much more political maybe than.

1029
00:52:59,640 --> 00:53:00,440
Speaker 2: Salt It is.

1030
00:53:01,000 --> 00:53:03,279
Speaker 1: I but the concept is very similar, and I think

1031
00:53:03,320 --> 00:53:05,920
Speaker 1: that's why people were kind of making that comparison. But

1032
00:53:06,520 --> 00:53:08,480
Speaker 1: I debated on whether or not I was going to

1033
00:53:08,560 --> 00:53:12,560
Speaker 1: go look really hard on Pasolini because we've never done

1034
00:53:12,600 --> 00:53:15,759
Speaker 1: a Pasolini movie on this podcast. But there's just so

1035
00:53:16,400 --> 00:53:19,400
Speaker 1: much about him, and I just feel like we've already

1036
00:53:19,560 --> 00:53:22,600
Speaker 1: we've already run out of time because I'm actually reading

1037
00:53:22,640 --> 00:53:25,920
Speaker 1: a book. My friend Scott sent me a Pasolini book

1038
00:53:25,960 --> 00:53:27,200
Speaker 1: for my birthday and.

1039
00:53:27,160 --> 00:53:28,240
Speaker 2: It's fucking huge.

1040
00:53:28,560 --> 00:53:30,279
Speaker 3: It's like, yeah, yeah.

1041
00:53:30,040 --> 00:53:32,440
Speaker 2: It's like a brick. I mean it's huge.

1042
00:53:32,480 --> 00:53:34,640
Speaker 1: So I was like, oh, there's a lot of info,

1043
00:53:35,160 --> 00:53:37,879
Speaker 1: and I mean I think if you don't know who

1044
00:53:37,920 --> 00:53:40,440
Speaker 1: he is, I mean, I think if you're American at

1045
00:53:40,480 --> 00:53:43,280
Speaker 1: least you might know that he's. Probably his most famous

1046
00:53:43,280 --> 00:53:47,920
Speaker 1: movie is this movie called Solo or the One hundred

1047
00:53:47,920 --> 00:53:54,800
Speaker 1: and twenty Days of Sodom. It's a very famous, notorious

1048
00:53:55,960 --> 00:54:02,280
Speaker 1: Italian art film where uh there's a lot of shit involved.

1049
00:54:02,360 --> 00:54:05,880
Speaker 1: I guess is one is one thing. It's very controversial,

1050
00:54:06,560 --> 00:54:09,200
Speaker 1: but it's but this is the thing. It's like he

1051
00:54:09,200 --> 00:54:11,440
Speaker 1: he did that movie, that's probably his most famous one.

1052
00:54:11,440 --> 00:54:12,400
Speaker 2: But he also did.

1053
00:54:12,840 --> 00:54:18,000
Speaker 1: Uh Mama Roma starring my hero Anna Magianni, the great

1054
00:54:18,080 --> 00:54:22,320
Speaker 1: Italian actress, Anna Maggianni. But he did the Gospel according

1055
00:54:22,320 --> 00:54:26,439
Speaker 1: to Saint Matthew acatone. Like basically, Criterion recently put out

1056
00:54:26,520 --> 00:54:29,879
Speaker 1: like an entire Paci Lady box set, which I think

1057
00:54:29,960 --> 00:54:32,680
Speaker 1: is just really his early they're like mid career films,

1058
00:54:33,239 --> 00:54:34,560
Speaker 1: and Asalo used to.

1059
00:54:34,480 --> 00:54:35,560
Speaker 2: Be on Criterion collection.

1060
00:54:35,600 --> 00:54:37,800
Speaker 1: I think it's out of print now, but uh, and

1061
00:54:37,840 --> 00:54:39,640
Speaker 1: it's one of the most famous ones that are that

1062
00:54:39,680 --> 00:54:43,520
Speaker 1: are out of print, I think. But you know, Pasiladi

1063
00:54:43,840 --> 00:54:44,880
Speaker 1: was an intellectual.

1064
00:54:45,000 --> 00:54:45,800
Speaker 2: He was a writer.

1065
00:54:46,480 --> 00:54:52,160
Speaker 1: He's obviously a director, very political, very controversial, you know,

1066
00:54:52,280 --> 00:54:55,560
Speaker 1: both like in his work but also in his personal life.

1067
00:54:55,600 --> 00:54:59,279
Speaker 1: I mean, he was openly gay. He made art that

1068
00:54:59,480 --> 00:55:03,399
Speaker 1: was very transgressive for the time. And I gotta say,

1069
00:55:03,400 --> 00:55:07,400
Speaker 1: even now, you know, like slo is not not an

1070
00:55:07,440 --> 00:55:08,440
Speaker 1: easy movie to watch.

1071
00:55:09,360 --> 00:55:11,400
Speaker 3: I don't know that there's a time period that exists

1072
00:55:11,400 --> 00:55:14,800
Speaker 3: where that will be like an easy film to access.

1073
00:55:15,080 --> 00:55:19,040
Speaker 1: Yes, Yes, and he and he used like very taboo

1074
00:55:20,160 --> 00:55:25,560
Speaker 1: imagery and themes in his movies to talk about, you know, capitalism,

1075
00:55:26,280 --> 00:55:30,600
Speaker 1: the bourgeoisie, fascism, the Catholic Church.

1076
00:55:30,680 --> 00:55:32,080
Speaker 2: You know, obviously he.

1077
00:55:32,120 --> 00:55:35,400
Speaker 1: Was this transgressive gay artist, but at the same time,

1078
00:55:35,880 --> 00:55:38,880
Speaker 1: you know, he had some conservative values or values that

1079
00:55:38,920 --> 00:55:41,120
Speaker 1: I think that you know, people are like now would

1080
00:55:41,120 --> 00:55:44,160
Speaker 1: think are kind of conservative, like stuff about like language

1081
00:55:44,200 --> 00:55:46,239
Speaker 1: and sort of like open borders and this kind of

1082
00:55:46,239 --> 00:55:50,600
Speaker 1: stuff with countries. But I gotta say that is this

1083
00:55:50,640 --> 00:55:55,360
Speaker 1: whole like vibe of being like taboo, shocking and transgressive

1084
00:55:55,360 --> 00:55:57,360
Speaker 1: while also being sort of conservative.

1085
00:55:57,520 --> 00:55:59,399
Speaker 2: I feel like that's a very Italian thing.

1086
00:56:00,000 --> 00:56:05,399
Speaker 1: I'm just saying, like, you know, Italians are fucked up,

1087
00:56:05,840 --> 00:56:07,279
Speaker 1: like they are fucked up.

1088
00:56:07,320 --> 00:56:09,320
Speaker 2: And I'm telling you this as a half Italian. My

1089
00:56:09,400 --> 00:56:11,080
Speaker 2: dad's from Italy and.

1090
00:56:11,320 --> 00:56:12,320
Speaker 3: Directly from Italy.

1091
00:56:12,480 --> 00:56:15,640
Speaker 1: Directly from Italy, He's from Bari, which is in the

1092
00:56:15,680 --> 00:56:19,160
Speaker 1: Pulia region, which is in the in the heel of

1093
00:56:19,200 --> 00:56:21,200
Speaker 1: the boot. If you're looking at Italy and that's the

1094
00:56:21,200 --> 00:56:24,520
Speaker 1: heel of the boot. I've been there before. It's a beautiful,

1095
00:56:24,840 --> 00:56:29,120
Speaker 1: beautiful place. But culturally Italians are so fucked up. I

1096
00:56:29,120 --> 00:56:31,800
Speaker 1: mean it has a lot to do with Catholicism period.

1097
00:56:31,920 --> 00:56:35,080
Speaker 1: Like they just are like, they're beautiful, they have a

1098
00:56:35,200 --> 00:56:38,839
Speaker 1: zest for life, they love art, but they also are

1099
00:56:38,880 --> 00:56:40,080
Speaker 1: fucked up about dogs.

1100
00:56:40,600 --> 00:56:42,719
Speaker 2: They're like fucked up about zombies.

1101
00:56:42,760 --> 00:56:46,920
Speaker 1: They love like putting a fucking screw in someone's eyeball,

1102
00:56:47,080 --> 00:56:51,279
Speaker 1: but also like believing that, you know, you should have

1103
00:56:51,320 --> 00:56:52,319
Speaker 1: a lot of kids.

1104
00:56:52,040 --> 00:56:53,240
Speaker 2: And be married forever.

1105
00:56:53,480 --> 00:56:57,160
Speaker 1: Like it's this very weird like dichotomy of things.

1106
00:56:57,600 --> 00:57:02,080
Speaker 3: I hope one day you give a talk about Italian dogs.

1107
00:57:06,160 --> 00:57:09,440
Speaker 3: You're so passionate about Italian dogs.

1108
00:57:13,080 --> 00:57:15,640
Speaker 1: I think it's because ever since I watched that movie

1109
00:57:15,680 --> 00:57:19,120
Speaker 1: Mondo Kane, which is an old sixties Mondo movie, and

1110
00:57:19,160 --> 00:57:21,880
Speaker 1: it's it's basically called a Dog's a Dog's World. I

1111
00:57:21,920 --> 00:57:25,320
Speaker 1: think it's what it's the English translation is.

1112
00:57:25,520 --> 00:57:27,680
Speaker 2: But I was just like, what's up with these dogs?

1113
00:57:27,720 --> 00:57:29,760
Speaker 1: And then you just watch dogs in Italian movies and

1114
00:57:29,760 --> 00:57:33,760
Speaker 1: you're like, yo, that's some fucked up shit like giant

1115
00:57:33,800 --> 00:57:38,600
Speaker 1: German shepherds, like attacking young women in like Giallo movies

1116
00:57:38,640 --> 00:57:38,919
Speaker 1: and shit.

1117
00:57:38,960 --> 00:57:42,400
Speaker 3: I mean, I'm just saying, like you've hit a vein,

1118
00:57:42,520 --> 00:57:44,880
Speaker 3: You've hit a vein of interest.

1119
00:57:45,840 --> 00:57:48,800
Speaker 1: But it's fascinating to me because as I you know,

1120
00:57:49,840 --> 00:57:53,040
Speaker 1: I think about Pasolini a lot in terms of being Italian,

1121
00:57:53,080 --> 00:57:56,640
Speaker 1: Like I'm just like, I think about the ways in

1122
00:57:56,720 --> 00:57:59,760
Speaker 1: which I'm Italian and the ways which which he is it.

1123
00:58:00,320 --> 00:58:02,480
Speaker 1: And he's probably one of the most famous i'd say

1124
00:58:02,520 --> 00:58:05,440
Speaker 1: Italian directors and artists in the world.

1125
00:58:05,560 --> 00:58:07,720
Speaker 2: So uh, you know, it's just this.

1126
00:58:07,600 --> 00:58:09,920
Speaker 1: Moment where I do think of my own Italian Italian

1127
00:58:09,960 --> 00:58:12,000
Speaker 1: as when I think about him, because like I said,

1128
00:58:12,040 --> 00:58:14,840
Speaker 1: it seems very contradictory because you've got, like, you know,

1129
00:58:15,040 --> 00:58:19,720
Speaker 1: this this artistic, wonderful, flourishing side, but then you also

1130
00:58:19,800 --> 00:58:22,080
Speaker 1: have like all the other fucked up shit that comes

1131
00:58:22,120 --> 00:58:25,120
Speaker 1: along with it. So anyway you should read about him,

1132
00:58:25,240 --> 00:58:28,040
Speaker 1: is what I'm saying. If you don't know much about Pasillolina,

1133
00:58:28,080 --> 00:58:31,640
Speaker 1: you should check him out. But it also I gotta say,

1134
00:58:31,800 --> 00:58:36,720
Speaker 1: his death was very shocking and unresolved, I believe, so

1135
00:58:36,840 --> 00:58:39,040
Speaker 1: they never found they never found out who murdered him.

1136
00:58:39,680 --> 00:58:42,400
Speaker 1: Wait what Yeah, yeah, it's like a it's like a

1137
00:58:42,440 --> 00:58:43,040
Speaker 1: cold case.

1138
00:58:43,080 --> 00:58:45,240
Speaker 3: I think call Karen and Georgia right now.

1139
00:58:45,400 --> 00:58:47,160
Speaker 1: I know, I was like, ke, have they done an

1140
00:58:47,200 --> 00:58:49,840
Speaker 1: episode about Passilani's death? I don't know. It was it's

1141
00:58:49,960 --> 00:58:53,360
Speaker 1: very if he was murdered. Yeah, it's like pretty violent.

1142
00:58:53,640 --> 00:58:57,280
Speaker 1: Like go look just even just go Wikipedia and look

1143
00:58:57,320 --> 00:59:00,640
Speaker 1: it up. I mean it's very the details are very weird.

1144
00:59:00,760 --> 00:59:04,920
Speaker 1: And they think it was like politically motivated, you know,

1145
00:59:05,360 --> 00:59:09,080
Speaker 1: because he like his art was so shocking that it

1146
00:59:09,280 --> 00:59:11,720
Speaker 1: like he was like excommunicated from the church or something

1147
00:59:11,760 --> 00:59:14,440
Speaker 1: like that. I mean, the church hated his ass, like,

1148
00:59:14,680 --> 00:59:17,280
Speaker 1: and he was making political art, and the and the and.

1149
00:59:17,280 --> 00:59:18,600
Speaker 2: Politicians hated his ass.

1150
00:59:18,600 --> 00:59:21,760
Speaker 1: So it's kind of like, you know, some there's conspiracy

1151
00:59:21,800 --> 00:59:23,720
Speaker 1: theories about his death, is all I'm saying.

1152
00:59:24,080 --> 00:59:25,440
Speaker 3: Damn Yeah.

1153
00:59:25,680 --> 00:59:26,560
Speaker 2: So okay.

1154
00:59:26,640 --> 00:59:31,320
Speaker 1: So a one sentenced synopsis of Tiima is this a

1155
00:59:31,320 --> 00:59:35,840
Speaker 1: wealthy family is visited by an attractive young man with

1156
00:59:36,000 --> 00:59:39,960
Speaker 1: no name, who proceeds to have sex with every single

1157
00:59:40,000 --> 00:59:49,560
Speaker 1: one of them, including their maid, leaving them all in shambles.

1158
00:59:49,320 --> 00:59:50,280
Speaker 3: It's not even funny.

1159
00:59:50,800 --> 00:59:57,280
Speaker 1: So here's the culprit, the nameless hot guy that this

1160
00:59:57,560 --> 01:00:07,840
Speaker 1: entire movie is centered around it's sixties Terrence Stamp, whom

1161
01:00:08,040 --> 01:00:10,800
Speaker 1: if you're if you only know Terreen Stamp from like

1162
01:00:11,080 --> 01:00:16,120
Speaker 1: The Limey or you know Priscilla Quina The Desert or

1163
01:00:16,160 --> 01:00:19,160
Speaker 1: like the later period stuff where he pretty much always

1164
01:00:19,160 --> 01:00:22,080
Speaker 1: just plays a hit man. He's always like a charismatic

1165
01:00:22,760 --> 01:00:24,400
Speaker 1: gangster or something, you know what I mean.

1166
01:00:27,320 --> 01:00:30,160
Speaker 3: He definitely fell into a type in his later years.

1167
01:00:30,240 --> 01:00:33,760
Speaker 2: Yes, or he does like voiceover work or something.

1168
01:00:33,760 --> 01:00:36,520
Speaker 1: He's he I think he did like a voiceover for

1169
01:00:36,640 --> 01:00:41,200
Speaker 1: this like series about jazz or something. But you're gonna

1170
01:00:41,240 --> 01:00:46,080
Speaker 1: be like, this is the hottest guy in the world.

1171
01:00:46,440 --> 01:00:49,920
Speaker 1: And like Terrence Stamp was like he was kind of

1172
01:00:49,920 --> 01:00:53,320
Speaker 1: an icon of like the Mods, right, So like in

1173
01:00:53,360 --> 01:00:57,160
Speaker 1: the sixties he dated Julie Christie and they were kind

1174
01:00:57,160 --> 01:01:01,560
Speaker 1: of like the picture of like swinging London cool, like

1175
01:01:02,600 --> 01:01:08,360
Speaker 1: floppy haired mod you know, kids running around London being cool.

1176
01:01:09,080 --> 01:01:12,360
Speaker 1: So this is like his era where he's just like

1177
01:01:13,080 --> 01:01:17,480
Speaker 1: wide eyed and beautiful and he's making direct eye contact

1178
01:01:17,600 --> 01:01:21,880
Speaker 1: with the camera, which is very hard to watch.

1179
01:01:22,520 --> 01:01:23,440
Speaker 2: If you're that hot.

1180
01:01:23,480 --> 01:01:25,680
Speaker 1: Like if you're a person who's looking at a hot

1181
01:01:25,680 --> 01:01:28,120
Speaker 1: person and they're directly looking at you, you're like.

1182
01:01:28,120 --> 01:01:31,480
Speaker 2: Oh, oh, the uh the uh not me.

1183
01:01:31,720 --> 01:01:34,720
Speaker 3: I'm like, what you're o kyah, you're in pervious you

1184
01:01:34,760 --> 01:01:37,520
Speaker 3: want to fight hot people, which I like, is it?

1185
01:01:38,280 --> 01:01:42,960
Speaker 2: But I'm I'm I'm shook. Sorry, I'm shook.

1186
01:01:44,880 --> 01:01:46,680
Speaker 1: I'm just throwing that out there that if you're hot

1187
01:01:46,680 --> 01:01:48,880
Speaker 1: and you want to manipulate someone, I saw what you

1188
01:01:48,920 --> 01:01:51,880
Speaker 1: did pot at gmail dot com.

1189
01:01:52,280 --> 01:01:53,920
Speaker 3: Well set up a zom you can just stare into

1190
01:01:53,960 --> 01:01:56,040
Speaker 3: Millie's eyes and she'll give you her bank account info.

1191
01:01:57,200 --> 01:01:58,959
Speaker 1: You want my power, you want to be my power

1192
01:01:59,000 --> 01:02:05,680
Speaker 1: of attorney here? But uh yeah, so this is this

1193
01:02:05,720 --> 01:02:08,479
Speaker 1: is an extreme case, Like we're dealing with someone who's

1194
01:02:08,520 --> 01:02:12,400
Speaker 1: so hot he's he's wrecked shop on this entire family.

1195
01:02:12,680 --> 01:02:14,400
Speaker 2: Now here's the thing.

1196
01:02:14,440 --> 01:02:16,680
Speaker 1: So, like at the beginning of the film, there's a

1197
01:02:16,800 --> 01:02:19,240
Speaker 1: sequence that seems sort of off. It's kind of like

1198
01:02:19,320 --> 01:02:22,160
Speaker 1: it seems like more documentary style, and it's basically like

1199
01:02:22,240 --> 01:02:24,080
Speaker 1: a I don't know, it seems kind of like a

1200
01:02:24,120 --> 01:02:27,640
Speaker 1: direct cinema kind of interview with some workers that's on

1201
01:02:27,680 --> 01:02:31,400
Speaker 1: the streets of Italy that they're basically talking about working

1202
01:02:31,400 --> 01:02:33,760
Speaker 1: in this factory and whether or not you know, like

1203
01:02:34,600 --> 01:02:38,280
Speaker 1: it's basically a very political conversation about factory workers and

1204
01:02:38,320 --> 01:02:41,720
Speaker 1: about how the bourgeoisie sucks, which I love. Great start

1205
01:02:41,800 --> 01:02:45,080
Speaker 1: to a film, but then it changes tones at some point,

1206
01:02:45,120 --> 01:02:48,040
Speaker 1: and basically, I mean, I won't I'm just gonna briefly

1207
01:02:48,080 --> 01:02:52,040
Speaker 1: talk about the plot, which is that essentially this this

1208
01:02:52,120 --> 01:02:56,800
Speaker 1: wealthy industrialist family living in Milan. You know, it's like

1209
01:02:57,000 --> 01:03:00,320
Speaker 1: a mother, father, a young son, an older dog, and

1210
01:03:00,360 --> 01:03:00,760
Speaker 1: a maid.

1211
01:03:01,040 --> 01:03:01,840
Speaker 2: They're living in this.

1212
01:03:01,880 --> 01:03:07,480
Speaker 1: Beautiful house and literally one day this hot guy shows up.

1213
01:03:08,040 --> 01:03:09,400
Speaker 2: It's not, that's all it is.

1214
01:03:09,440 --> 01:03:12,720
Speaker 1: It's like, there's there's no story other than a car

1215
01:03:12,760 --> 01:03:16,120
Speaker 1: pulls up to the house, hot ass taren stamp pops

1216
01:03:16,120 --> 01:03:17,560
Speaker 1: out and that's it.

1217
01:03:18,640 --> 01:03:20,720
Speaker 2: And there's no rhyme and reason to it. It's just

1218
01:03:20,760 --> 01:03:21,600
Speaker 2: like I'm here.

1219
01:03:23,200 --> 01:03:26,000
Speaker 3: And then's very demonic in its entry.

1220
01:03:26,600 --> 01:03:32,080
Speaker 1: Yes, And basically, he shows up and seduces every single

1221
01:03:32,280 --> 01:03:35,720
Speaker 1: member of this family, like and each person in this

1222
01:03:35,800 --> 01:03:41,880
Speaker 1: family has their own fucked up sexual repressions or you know, situations,

1223
01:03:41,880 --> 01:03:45,959
Speaker 1: because it's like the maid, the maid. Let's just start

1224
01:03:45,960 --> 01:03:48,520
Speaker 1: with the maid very religious, you know what I mean.

1225
01:03:48,680 --> 01:03:53,360
Speaker 1: So she's obviously like probably she's probably messed up about sex,

1226
01:03:53,400 --> 01:03:57,480
Speaker 1: wouldn't she say? The son, who uh is sort of

1227
01:03:57,520 --> 01:04:00,360
Speaker 1: like he's you can tell that he is flirting with

1228
01:04:01,080 --> 01:04:03,200
Speaker 1: art in his world, like he I think is artistic,

1229
01:04:03,240 --> 01:04:06,120
Speaker 1: but he's gay and maybe doesn't really know that he's gay.

1230
01:04:06,560 --> 01:04:09,600
Speaker 1: Then you've got this mother who's obviously sexually oppressed in

1231
01:04:09,600 --> 01:04:13,439
Speaker 1: her own way. The daughter who is played by she's

1232
01:04:13,480 --> 01:04:19,680
Speaker 1: actually played by this actress name and Whyazemski, who I

1233
01:04:19,720 --> 01:04:25,440
Speaker 1: think if you've ever seen Robert Bisson's Oh Hazar beal Bazaar,

1234
01:04:26,000 --> 01:04:29,360
Speaker 1: she's the girl in that movie, but she plays the daughter,

1235
01:04:29,840 --> 01:04:32,160
Speaker 1: and it's she's kind of just like a maybe like

1236
01:04:32,200 --> 01:04:35,760
Speaker 1: a little timid, you know, teenage girl who maybe doesn't

1237
01:04:35,760 --> 01:04:37,120
Speaker 1: have a lot of experience with sex.

1238
01:04:37,560 --> 01:04:40,400
Speaker 2: And then the dad, which is the one that rocks

1239
01:04:40,480 --> 01:04:41,160
Speaker 2: me the most.

1240
01:04:41,480 --> 01:04:44,560
Speaker 1: The dad is kind of like a he's like ailing,

1241
01:04:44,720 --> 01:04:49,480
Speaker 1: he's bedridden, and you know, but obviously like the head

1242
01:04:49,520 --> 01:04:53,040
Speaker 1: of this family, he's probably the breadwinner. He you find

1243
01:04:53,080 --> 01:04:55,200
Speaker 1: out eventually that he's the one that actually owns the

1244
01:04:55,200 --> 01:05:00,240
Speaker 1: factory from the beginning of the film. And and Terrence Stamp, Yeah,

1245
01:05:00,360 --> 01:05:02,920
Speaker 1: no name on this guy. He's just a like an

1246
01:05:03,000 --> 01:05:04,600
Speaker 1: apparition almost.

1247
01:05:04,480 --> 01:05:07,120
Speaker 2: Comes and he fucks everybody in this family and then

1248
01:05:07,320 --> 01:05:08,560
Speaker 2: like leaves.

1249
01:05:08,320 --> 01:05:14,960
Speaker 3: He just leaves, like and I should say easily fucks

1250
01:05:15,000 --> 01:05:16,080
Speaker 3: everybody in this family.

1251
01:05:16,440 --> 01:05:20,280
Speaker 1: Yeah, there was no hesitation, like and like you're also

1252
01:05:20,760 --> 01:05:22,760
Speaker 1: like think about it in the terms of like this

1253
01:05:22,800 --> 01:05:27,280
Speaker 1: is where I actually think has the most maybe visual

1254
01:05:27,360 --> 01:05:31,240
Speaker 1: link to Saltburn, because there's like all they have these

1255
01:05:31,280 --> 01:05:34,439
Speaker 1: like big yards. This house has these yards, and there's

1256
01:05:34,520 --> 01:05:41,280
Speaker 1: like people like like trapesing around these big yards and

1257
01:05:41,320 --> 01:05:44,040
Speaker 1: like slumped over on this like lawn furniture being hot

1258
01:05:44,080 --> 01:05:47,680
Speaker 1: all day, much like Saltburn. Like when you watch Saltburn

1259
01:05:47,720 --> 01:05:50,080
Speaker 1: and you see like Jacob Elordi and like you know

1260
01:05:50,200 --> 01:05:53,400
Speaker 1: all these all these people sitting in chairs looking hot outside.

1261
01:05:54,000 --> 01:05:56,240
Speaker 2: I feel like that's directly from this film because that's

1262
01:05:56,280 --> 01:06:00,960
Speaker 2: what happens in this film too. Yeah, but all of them,

1263
01:06:00,960 --> 01:06:04,720
Speaker 2: and there's no nothing like he's just like I'm here.

1264
01:06:04,400 --> 01:06:07,360
Speaker 3: They don't seem to know that he's fucking all of them.

1265
01:06:07,720 --> 01:06:08,600
Speaker 2: Yeah, oh there.

1266
01:06:08,640 --> 01:06:13,520
Speaker 1: It's very each situation feels kind of disembodied from the others.

1267
01:06:13,760 --> 01:06:16,120
Speaker 1: So it's not as if like the mom comes in

1268
01:06:16,160 --> 01:06:17,680
Speaker 1: and like looks at her sudden he's like you got

1269
01:06:17,720 --> 01:06:19,640
Speaker 1: fucked today, right, I did too, That's cool. Like this

1270
01:06:19,680 --> 01:06:23,200
Speaker 1: guy's coming in here and reckon our entire fucking livelihoods,

1271
01:06:23,240 --> 01:06:26,240
Speaker 1: like with his dick, and I don't know what we're

1272
01:06:26,240 --> 01:06:28,120
Speaker 1: gonna do about it. Like no one's coming together as

1273
01:06:28,160 --> 01:06:31,400
Speaker 1: a family and discussing that each person has been rocked

1274
01:06:31,440 --> 01:06:35,200
Speaker 1: by this guy, do you know what I mean? They're

1275
01:06:35,240 --> 01:06:37,120
Speaker 1: all just kind of in their own world with.

1276
01:06:37,120 --> 01:06:42,760
Speaker 2: Him in the moment. And and then he just fucking leaves.

1277
01:06:43,040 --> 01:06:45,880
Speaker 3: He just that's amazing. Which's just been at dinner one

1278
01:06:45,960 --> 01:06:47,960
Speaker 3: night and he's just like, by the way, I'm leaving tomorrow.

1279
01:06:48,040 --> 01:06:50,720
Speaker 1: Yeah, And then he fucking floats away on a cloud.

1280
01:06:51,120 --> 01:06:55,000
Speaker 1: And then everybody is left to deal with the fact

1281
01:06:55,080 --> 01:06:58,960
Speaker 1: that they were just fucked into oblivion by Terence Stamp.

1282
01:06:59,680 --> 01:07:02,320
Speaker 2: And it is bad.

1283
01:07:02,800 --> 01:07:07,080
Speaker 1: Like the maid is so distraught, she like self imolates,

1284
01:07:07,280 --> 01:07:10,600
Speaker 1: Like she's just like, put just throw me in the.

1285
01:07:10,520 --> 01:07:12,880
Speaker 2: Ground, put some dirt on my ass. I am.

1286
01:07:12,920 --> 01:07:17,320
Speaker 3: She goes home to her village and just sits on

1287
01:07:17,360 --> 01:07:19,080
Speaker 3: a bench and it's like, this is my life now.

1288
01:07:20,320 --> 01:07:22,120
Speaker 3: I'm just gonna sit on this bench and get some

1289
01:07:22,160 --> 01:07:22,640
Speaker 3: gray hair.

1290
01:07:24,040 --> 01:07:28,040
Speaker 1: The d was so good that she's like I've gone home.

1291
01:07:28,520 --> 01:07:30,400
Speaker 1: I've gone home to end my life.

1292
01:07:30,760 --> 01:07:33,200
Speaker 3: I'm gonna stare into the middle distance until I rolled

1293
01:07:33,400 --> 01:07:35,439
Speaker 3: the fuck into this grave. I don't know what else

1294
01:07:35,480 --> 01:07:35,760
Speaker 3: to do.

1295
01:07:36,280 --> 01:07:40,360
Speaker 1: Yeah, the mom, the mom is like radicalized. She's like,

1296
01:07:40,400 --> 01:07:42,680
Speaker 1: well that's it now, I'm only gonna sleep with young

1297
01:07:42,720 --> 01:07:45,800
Speaker 1: guys at like rest stops and stuff like she's just

1298
01:07:45,840 --> 01:07:49,840
Speaker 1: like I don't care, like this unlocked like a passion

1299
01:07:50,240 --> 01:07:53,439
Speaker 1: for anonymous sex. I'll never get over it until I'm dead.

1300
01:07:54,120 --> 01:07:56,720
Speaker 2: That's the mom. The daughter is just straight up like

1301
01:07:56,760 --> 01:07:59,400
Speaker 2: I'm catatonic now, like I don't even know. I'm like

1302
01:08:00,120 --> 01:08:00,960
Speaker 2: an AI.

1303
01:08:00,800 --> 01:08:02,880
Speaker 1: Robot now, I don't know what has happened to my

1304
01:08:02,920 --> 01:08:06,680
Speaker 1: life right, Like she's wrecked.

1305
01:08:07,360 --> 01:08:10,120
Speaker 3: She's just in a coma, and carry it away and

1306
01:08:10,240 --> 01:08:14,840
Speaker 3: we never see her again. Yeah, just again, staring yes again.

1307
01:08:15,200 --> 01:08:17,479
Speaker 1: And then of course like the dad, who again is

1308
01:08:17,520 --> 01:08:19,519
Speaker 1: well the thing that rocked me the most, he just

1309
01:08:19,520 --> 01:08:21,519
Speaker 1: just like gives up his entire business and then just

1310
01:08:21,520 --> 01:08:23,439
Speaker 1: like runs naked in the wild like he's just like

1311
01:08:23,520 --> 01:08:27,720
Speaker 1: I'm I'm a feral individual because I got like a

1312
01:08:27,760 --> 01:08:30,120
Speaker 1: foot and leg rub from this guy.

1313
01:08:30,240 --> 01:08:35,000
Speaker 2: Like it was like he's like, that's it. I give

1314
01:08:35,080 --> 01:08:35,559
Speaker 2: up all my.

1315
01:08:35,600 --> 01:08:41,240
Speaker 1: Riches, all my money, my workers will have my factory.

1316
01:08:39,960 --> 01:08:44,960
Speaker 3: And the sun is just wandering wandering around making art

1317
01:08:45,000 --> 01:08:47,760
Speaker 3: with his eyes closed and pissing on canvases.

1318
01:08:48,000 --> 01:08:51,400
Speaker 1: Yeah, he just I love that the Sun just simply

1319
01:08:51,640 --> 01:08:53,280
Speaker 1: goes to art school or something like.

1320
01:08:53,320 --> 01:08:53,880
Speaker 2: He's just like.

1321
01:08:56,040 --> 01:08:59,640
Speaker 1: He's like, I'm just gonna that is what happened for me,

1322
01:08:59,760 --> 01:09:06,600
Speaker 1: is now I'm an artist, while his mom is like

1323
01:09:06,680 --> 01:09:13,679
Speaker 1: out there like cruising, cruising his uh, his sister can't speak,

1324
01:09:13,880 --> 01:09:15,360
Speaker 1: you know, and he's like, I'm going to art school.

1325
01:09:15,360 --> 01:09:18,799
Speaker 3: Guess. I feel like on a philosophical level, the movie

1326
01:09:18,840 --> 01:09:26,120
Speaker 3: is about how passion is the cure for the bourgeoisie,

1327
01:09:26,240 --> 01:09:30,080
Speaker 3: or like, you know, having passion about life or you know,

1328
01:09:30,160 --> 01:09:35,400
Speaker 3: discovering something at your core is essential to you giving

1329
01:09:35,439 --> 01:09:38,439
Speaker 3: up the trappings of wealth. But on his face, it

1330
01:09:38,520 --> 01:09:40,559
Speaker 3: is just a man who fucks an entire family.

1331
01:09:40,760 --> 01:09:41,200
Speaker 2: Of course.

1332
01:09:41,280 --> 01:09:43,519
Speaker 1: I mean, listen, it wouldn't be Pasillini if we didn't

1333
01:09:43,560 --> 01:09:48,360
Speaker 1: get some kind of like Marxist anti capitalist rhetoric, which

1334
01:09:48,400 --> 01:09:51,120
Speaker 1: is what I love. I love that, like this movie

1335
01:09:51,160 --> 01:09:55,400
Speaker 1: can also be about the economies of people. I mean,

1336
01:09:57,320 --> 01:10:02,960
Speaker 1: any anybody that's going to come and say the rich

1337
01:10:03,200 --> 01:10:06,280
Speaker 1: are empty and soulless and they need to be fucked

1338
01:10:06,320 --> 01:10:12,360
Speaker 1: to death in order to really feel alive is hilarious

1339
01:10:12,360 --> 01:10:16,240
Speaker 1: to me, Like, that's a hilarious statement to make in

1340
01:10:16,360 --> 01:10:20,080
Speaker 1: your art, and I love it. You know, I obviously

1341
01:10:20,160 --> 01:10:24,479
Speaker 1: think that there have been many interpretations of this. Whether

1342
01:10:24,560 --> 01:10:28,600
Speaker 1: or not the Terrence step character is a devil like

1343
01:10:28,640 --> 01:10:31,360
Speaker 1: you said, or if he's an angel he's a sex angel,

1344
01:10:31,439 --> 01:10:34,840
Speaker 1: we don't know, but you know, this is again I

1345
01:10:34,840 --> 01:10:38,760
Speaker 1: think it goes back to sort of Pasolini's interest in

1346
01:10:38,800 --> 01:10:43,080
Speaker 1: trying to understand, you know, the class differences in his

1347
01:10:43,120 --> 01:10:45,680
Speaker 1: own country, but just in the world. I mean, he

1348
01:10:45,840 --> 01:10:50,639
Speaker 1: was very wary of kind of American capitalist influence in Italy,

1349
01:10:50,680 --> 01:10:51,360
Speaker 1: and so it's.

1350
01:10:51,240 --> 01:10:53,519
Speaker 2: Like this is the thing. It's like, you like, the

1351
01:10:53,600 --> 01:10:56,679
Speaker 2: movie is very artistic with a capital A. I think,

1352
01:10:56,720 --> 01:10:59,840
Speaker 2: we know. I mean, there's nine hundred something words in it.

1353
01:11:00,760 --> 01:11:03,080
Speaker 1: You have to be prepared to get like full on

1354
01:11:03,200 --> 01:11:05,960
Speaker 1: stared at in the face by Terren Stamp and look

1355
01:11:06,000 --> 01:11:10,800
Speaker 1: at his bulge, so you know, like emm Elation has

1356
01:11:10,920 --> 01:11:12,840
Speaker 1: edited a chat. It's like, there's a lot going on

1357
01:11:12,960 --> 01:11:16,479
Speaker 1: in this in this film. But I feel like either way,

1358
01:11:16,920 --> 01:11:20,360
Speaker 1: it's it's very thought provoking. Like it's very thought provoking

1359
01:11:20,400 --> 01:11:25,160
Speaker 1: to see a hot person wreck a family sexually, but

1360
01:11:25,280 --> 01:11:28,680
Speaker 1: also having that be a metaphor for their lives and

1361
01:11:28,720 --> 01:11:31,800
Speaker 1: like what they what they kind of you know, what

1362
01:11:31,840 --> 01:11:33,360
Speaker 1: they do as rich people? You know.

1363
01:11:33,720 --> 01:11:37,800
Speaker 3: Yeah, of the amongst the fucked, who do you think

1364
01:11:37,800 --> 01:11:40,559
Speaker 3: got it worse? Who do you think has the worst ending?

1365
01:11:41,040 --> 01:11:45,720
Speaker 1: The fucking maid that made I was like, listen, that

1366
01:11:45,760 --> 01:11:48,080
Speaker 1: would have been me. Let's get serious. You think I

1367
01:11:48,080 --> 01:11:50,080
Speaker 1: would have been able to function beyond that.

1368
01:11:50,840 --> 01:11:52,479
Speaker 3: She had some joy in there at the end.

1369
01:11:52,760 --> 01:11:56,759
Speaker 1: She did, But I'm just saying, like I would also

1370
01:11:56,920 --> 01:11:58,000
Speaker 1: be in the ground.

1371
01:11:58,000 --> 01:11:59,000
Speaker 3: Like I just be in the ground.

1372
01:12:01,280 --> 01:12:04,680
Speaker 1: Like there'd be like no renaissance. I wouldn't be like

1373
01:12:04,680 --> 01:12:07,160
Speaker 1: in art school. I wouldn't be like, you know, cruising,

1374
01:12:07,240 --> 01:12:10,280
Speaker 1: I wouldn't I wouldn't be running naked through the woods.

1375
01:12:10,439 --> 01:12:11,920
Speaker 2: I'd just be like in the ground.

1376
01:12:12,840 --> 01:12:16,080
Speaker 3: I think Odetta had it worse the daughter, because she

1377
01:12:16,120 --> 01:12:19,680
Speaker 3: had sex one time and is catatonic for the rest

1378
01:12:19,680 --> 01:12:25,680
Speaker 3: of her life and angrily catatonic, like her fists are

1379
01:12:25,720 --> 01:12:30,639
Speaker 3: all balled up. That is some shit.

1380
01:12:32,600 --> 01:12:34,680
Speaker 2: I probably would also be catatonic. Now that.

1381
01:12:38,400 --> 01:12:42,360
Speaker 3: My dad, the mom, the brother, they all seemed to

1382
01:12:42,360 --> 01:12:44,599
Speaker 3: get it. They were able to move on with life.

1383
01:12:44,840 --> 01:12:46,840
Speaker 1: Yeah, they figured it out in some way, But to

1384
01:12:46,880 --> 01:12:49,120
Speaker 1: be to be the either the maid or the daughter

1385
01:12:49,160 --> 01:12:51,040
Speaker 1: would have probably been my fate if I was in

1386
01:12:51,160 --> 01:12:55,120
Speaker 1: either in their positions. And also, like, man, the Catholic

1387
01:12:55,240 --> 01:12:57,640
Speaker 1: Church really fucks some people over. I gotta say, Like

1388
01:12:57,680 --> 01:12:59,400
Speaker 1: I said, there was another reminder of that. When I

1389
01:12:59,479 --> 01:13:02,719
Speaker 1: was watching this movie. I'm like, wow, we are all

1390
01:13:03,400 --> 01:13:08,840
Speaker 1: we have we have all been told that Angel Dick

1391
01:13:09,040 --> 01:13:14,080
Speaker 1: will kill you and you shouldn't participate, stay away from it,

1392
01:13:15,240 --> 01:13:17,519
Speaker 1: while also having as many children as possible.

1393
01:13:19,120 --> 01:13:21,599
Speaker 2: Anyway, We're good. So that's my movie for this week.

1394
01:13:21,640 --> 01:13:24,000
Speaker 1: This is the whole The whole theme was hinged on

1395
01:13:24,200 --> 01:13:27,000
Speaker 1: this one film that I really wanted to talk about

1396
01:13:27,040 --> 01:13:30,360
Speaker 1: because you know, it just was being. It was in

1397
01:13:30,400 --> 01:13:31,840
Speaker 1: the culture again, So there you go.

1398
01:13:32,040 --> 01:13:33,960
Speaker 3: You should watch it was It was a first watch

1399
01:13:34,000 --> 01:13:37,799
Speaker 3: for me, but it was a great a great first watch, Yeah,

1400
01:13:37,840 --> 01:13:40,360
Speaker 3: for sure. And I'm glad we did. I'm glad we

1401
01:13:40,439 --> 01:13:48,879
Speaker 3: covered it because the theme is hilarious. When you mentioned

1402
01:13:48,880 --> 01:13:52,040
Speaker 3: this theme and mentioned this movie, I thought of only

1403
01:13:52,120 --> 01:13:58,960
Speaker 3: one film that could fit. And I apologize in advance

1404
01:13:59,160 --> 01:14:03,559
Speaker 3: because it is much more wild than I remember r being.

1405
01:14:05,320 --> 01:14:07,840
Speaker 3: My film was released in nineteen eighty nine. It was

1406
01:14:07,840 --> 01:14:11,040
Speaker 3: written and directed by Paeder Alma Dovar. My movie is

1407
01:14:11,120 --> 01:14:13,439
Speaker 3: Tie Me Up, Time Me Down. Keep with it.

1408
01:14:18,479 --> 01:14:18,720
Speaker 1: If you.

1409
01:14:20,479 --> 01:14:25,719
Speaker 3: So, we have discussed the director the writer before Pedro

1410
01:14:25,760 --> 01:14:28,439
Speaker 3: Alma Dovar in episode sixty six, didn't You take the

1411
01:14:28,479 --> 01:14:32,559
Speaker 3: Hippocratic Oath? And in episode thirty seven Alive and Boring?

1412
01:14:32,600 --> 01:14:34,519
Speaker 3: So if you want more background on him specifically, you

1413
01:14:34,560 --> 01:14:37,639
Speaker 3: can go listen to those two episodes. I think it's

1414
01:14:37,640 --> 01:14:40,000
Speaker 3: interesting that Ennio Morriconi did the music for both of

1415
01:14:40,000 --> 01:14:40,559
Speaker 3: our films.

1416
01:14:41,000 --> 01:14:43,200
Speaker 2: Oh yeah, hey, there we go.

1417
01:14:44,000 --> 01:14:48,240
Speaker 3: Uh, and that both of our films are like full subtitles,

1418
01:14:49,160 --> 01:14:51,559
Speaker 3: like there is like you could not be playing Animal

1419
01:14:51,600 --> 01:14:55,080
Speaker 3: Crossing while you're watching either of these films. Yeah, and

1420
01:14:55,200 --> 01:14:58,760
Speaker 3: mine originally had an X rating because they hadn't invented

1421
01:14:58,880 --> 01:15:02,760
Speaker 3: NC seventeen yet, but then it got an NC seventeen rating.

1422
01:15:04,439 --> 01:15:09,679
Speaker 3: So my film I one sentence synopsis. A man freshly

1423
01:15:09,760 --> 01:15:15,720
Speaker 3: released from a mental hospital immediately kidnaps the object of

1424
01:15:15,760 --> 01:15:20,639
Speaker 3: his desire in an effort to force her to love him.

1425
01:15:20,720 --> 01:15:21,560
Speaker 2: Perfection.

1426
01:15:24,160 --> 01:15:29,080
Speaker 3: So the cast is great again. Antonio Benderaz plays Ricky,

1427
01:15:29,200 --> 01:15:33,960
Speaker 3: who's the main guy in the film. Victoria Aubriel plays Marina,

1428
01:15:34,080 --> 01:15:37,000
Speaker 3: who is the main woman in the film. You'll recognize

1429
01:15:37,000 --> 01:15:39,519
Speaker 3: some other people if you've watched Almadovar before from other

1430
01:15:39,560 --> 01:15:43,440
Speaker 3: films that he's done. But these are our two primary characters.

1431
01:15:43,479 --> 01:15:47,000
Speaker 3: And I will say that this movie it's a tough watch.

1432
01:15:47,080 --> 01:15:49,760
Speaker 3: It's tough for a lot of people. When it came out,

1433
01:15:50,280 --> 01:15:53,880
Speaker 3: I was reading on the I was reading on Roger Ebert,

1434
01:15:53,880 --> 01:15:57,800
Speaker 3: because Roger Ebert like weirdly can't stand Almadovar, Like most

1435
01:15:57,840 --> 01:16:00,640
Speaker 3: of his reviews about amadovaar films are like, here's this

1436
01:16:00,720 --> 01:16:04,040
Speaker 3: shit again, I fell asleep, Like he's just really does

1437
01:16:04,080 --> 01:16:06,360
Speaker 3: not like most of it, did not like most of

1438
01:16:06,400 --> 01:16:09,240
Speaker 3: his movies, and so I was reading his review and

1439
01:16:09,280 --> 01:16:11,719
Speaker 3: then also interview review I think on the AV Club

1440
01:16:12,360 --> 01:16:14,400
Speaker 3: where they mentioned that, like, you know, a lot of

1441
01:16:14,400 --> 01:16:16,400
Speaker 3: feminists were upset with this, with the premise of this

1442
01:16:16,479 --> 01:16:18,280
Speaker 3: film that you know, you could force a woman into

1443
01:16:18,280 --> 01:16:21,519
Speaker 3: loving you by being violent towards her, kidnapping her, what

1444
01:16:21,640 --> 01:16:24,720
Speaker 3: have you. A course, the movie is called Timey Up,

1445
01:16:24,720 --> 01:16:27,960
Speaker 3: Timey Down, So Marina does get tied up quite a

1446
01:16:28,000 --> 01:16:30,400
Speaker 3: bit in this film, and yeah, a lot of people

1447
01:16:30,400 --> 01:16:32,559
Speaker 3: can kind of find it a difficult entry. I think

1448
01:16:32,560 --> 01:16:36,719
Speaker 3: from that same AV Club article, the writer was mentioning

1449
01:16:36,720 --> 01:16:39,679
Speaker 3: how weird it was that this was Almadvar's first entry

1450
01:16:39,720 --> 01:16:43,920
Speaker 3: into the Criterion collection, because it's troubling, Like, there are

1451
01:16:43,960 --> 01:16:48,639
Speaker 3: some troubling parts of this film, and the primary one

1452
01:16:48,720 --> 01:16:52,479
Speaker 3: being that Ricky. So Ricky gets out. He's released from

1453
01:16:52,520 --> 01:16:56,680
Speaker 3: this institution, and we eventually find out towards the end

1454
01:16:56,760 --> 01:16:58,960
Speaker 3: of the film we find out more about his whole

1455
01:16:59,000 --> 01:17:01,360
Speaker 3: life and kind of what brought him to this place.

1456
01:17:01,920 --> 01:17:06,920
Speaker 3: But he's released, and as he's being released, the administrator

1457
01:17:07,040 --> 01:17:10,000
Speaker 3: is weirdly emotional about him being released. And then you

1458
01:17:10,080 --> 01:17:12,840
Speaker 3: realize after she gives him some money, she's like, here's

1459
01:17:12,840 --> 01:17:16,000
Speaker 3: some money. It's for your artwork and for fucking me.

1460
01:17:16,240 --> 01:17:19,599
Speaker 3: So like they've had a relationship the whole time he's

1461
01:17:19,640 --> 01:17:22,519
Speaker 3: in this institution, and he's twenty three years old and

1462
01:17:22,560 --> 01:17:25,040
Speaker 3: he's Antonio Banderaz and he's super hot. So she's like,

1463
01:17:25,080 --> 01:17:29,400
Speaker 3: I will transgress this boundary of ethics and morality with

1464
01:17:29,439 --> 01:17:32,639
Speaker 3: regard to medical care. And she's crying, and as she's crying,

1465
01:17:32,640 --> 01:17:35,160
Speaker 3: there's like a picture, a drawing of her on the

1466
01:17:35,200 --> 01:17:38,280
Speaker 3: wall behind her. It's kind of hilarious. But Ricky has

1467
01:17:38,400 --> 01:17:41,360
Speaker 3: a mock turtleneck and a toolbox and he's ready to

1468
01:17:41,360 --> 01:17:45,160
Speaker 3: rejoin society. He's been set free. And then he just

1469
01:17:45,200 --> 01:17:49,640
Speaker 3: goes out onto the street and he's in Madrid and

1470
01:17:49,680 --> 01:17:53,360
Speaker 3: he's just kind of walking around. He immediately steals a

1471
01:17:53,400 --> 01:17:56,680
Speaker 3: pocket knife. He uses some of the money that he

1472
01:17:56,760 --> 01:18:00,200
Speaker 3: has to buy this candy heart that's filled with he's

1473
01:18:00,320 --> 01:18:03,519
Speaker 3: not chocolates, And as he's on the bus, he's looking

1474
01:18:03,560 --> 01:18:06,280
Speaker 3: at this magazine and that's when we see Marina talking

1475
01:18:06,280 --> 01:18:09,599
Speaker 3: about this film that's that she's in with the director

1476
01:18:10,479 --> 01:18:12,519
Speaker 3: that we will get to in a second. But he

1477
01:18:12,600 --> 01:18:16,320
Speaker 3: sees her and is like captivated. So at first, like

1478
01:18:16,400 --> 01:18:19,000
Speaker 3: is this the first time he's seeing her, We're not sure.

1479
01:18:19,720 --> 01:18:21,960
Speaker 3: But then we go to the film set and Marina

1480
01:18:22,120 --> 01:18:25,360
Speaker 3: is in her dressing room with her sister Lola, and

1481
01:18:25,400 --> 01:18:27,840
Speaker 3: you know, they're talking about the cast party later because

1482
01:18:27,880 --> 01:18:30,479
Speaker 3: this is the last shoot of the film, and she's,

1483
01:18:30,560 --> 01:18:32,120
Speaker 3: you know, kind of mentioning how she used to work

1484
01:18:33,760 --> 01:18:35,600
Speaker 3: as a as a kid. She used to work at

1485
01:18:35,600 --> 01:18:38,559
Speaker 3: the circus and work with horses. And so they're walking

1486
01:18:38,560 --> 01:18:41,360
Speaker 3: to the set and there's this weird there's kind of

1487
01:18:41,360 --> 01:18:44,400
Speaker 3: weird but also beautiful movement in this film of and

1488
01:18:44,439 --> 01:18:46,960
Speaker 3: it happens several times where Ricky will walk into a

1489
01:18:47,000 --> 01:18:49,679
Speaker 3: scene just as some other characters are leaving. So there's

1490
01:18:49,680 --> 01:18:52,439
Speaker 3: a lot of near misses in this film that kind

1491
01:18:52,479 --> 01:18:56,960
Speaker 3: of heightens the tension of what happens. So they go

1492
01:18:57,040 --> 01:18:59,680
Speaker 3: to set and Ricky is just like, cool, I'll just

1493
01:18:59,720 --> 01:19:02,439
Speaker 3: help myself to your dressing room, and he steals the

1494
01:19:02,520 --> 01:19:05,360
Speaker 3: cash sheet which has her phone number and address. He

1495
01:19:05,479 --> 01:19:08,639
Speaker 3: leaves her the candy heart, but also steals like money

1496
01:19:08,720 --> 01:19:11,160
Speaker 3: and a fake badge and handcuffs and a bunch of

1497
01:19:11,240 --> 01:19:14,680
Speaker 3: makeup and hairshit, and then he steals a fucked up

1498
01:19:14,680 --> 01:19:17,880
Speaker 3: wig which he puts on. And let me tell you

1499
01:19:17,960 --> 01:19:20,559
Speaker 3: as someone who as people who have now we have

1500
01:19:20,600 --> 01:19:25,000
Speaker 3: seen what Antonio Benderaz's hair looks like when it's long. Naturally,

1501
01:19:25,400 --> 01:19:27,880
Speaker 3: this wig is offensive because this film he has a

1502
01:19:27,920 --> 01:19:31,760
Speaker 3: completely shaved head and he puts on this raggedy ass

1503
01:19:31,800 --> 01:19:33,640
Speaker 3: wig and we're like, no, his hair is better than that.

1504
01:19:33,800 --> 01:19:36,120
Speaker 3: But he looks insane and he starts pretending to be

1505
01:19:36,120 --> 01:19:37,880
Speaker 3: like a rock musician because he does look like he

1506
01:19:37,920 --> 01:19:39,559
Speaker 3: could have been in White Snake when he puts this

1507
01:19:39,600 --> 01:19:43,200
Speaker 3: wig on. Yeah, and he's just walking around the set,

1508
01:19:43,600 --> 01:19:46,680
Speaker 3: so he's just cruised. He's got his double bag. He

1509
01:19:46,720 --> 01:19:50,120
Speaker 3: literally has everything. He just walked out of this hospital

1510
01:19:50,160 --> 01:19:53,280
Speaker 3: and directly to this studio. So then we get to

1511
01:19:53,320 --> 01:19:57,360
Speaker 3: meet Maximo, who's the director of this movie Midnight Phantom,

1512
01:19:58,280 --> 01:20:00,640
Speaker 3: and he's just had a stroke and he has a

1513
01:20:00,640 --> 01:20:03,720
Speaker 3: motorized wheelchair and he is the horniest man you've ever

1514
01:20:03,760 --> 01:20:06,200
Speaker 3: seen on film.

1515
01:20:07,120 --> 01:20:11,439
Speaker 1: I was like, listen, do I identify slightly with Maximo

1516
01:20:11,479 --> 01:20:12,439
Speaker 1: at this point in my life?

1517
01:20:12,479 --> 01:20:18,240
Speaker 2: I'm like, maybe he's just like him, just like scooting.

1518
01:20:17,920 --> 01:20:23,479
Speaker 1: Around with like hornball energy made me laugh so much

1519
01:20:23,479 --> 01:20:24,720
Speaker 1: I almost texted you about it.

1520
01:20:24,760 --> 01:20:29,280
Speaker 3: But he is cruising, He's like, let my dick lead

1521
01:20:29,360 --> 01:20:34,800
Speaker 3: the way, and he's being interviewed by this journalist, and

1522
01:20:34,880 --> 01:20:37,080
Speaker 3: the journalist is the one who kind of is like, oh,

1523
01:20:37,080 --> 01:20:39,639
Speaker 3: it's interesting that you cast Marina in this role because

1524
01:20:39,640 --> 01:20:42,559
Speaker 3: she's a porn actress and a junkie, and he gets

1525
01:20:42,560 --> 01:20:44,400
Speaker 3: so offended. He's like, she's not. And you can kind

1526
01:20:44,400 --> 01:20:45,880
Speaker 3: of tell at this point, like at the beginning of

1527
01:20:45,920 --> 01:20:52,080
Speaker 3: the film, that he's also has an unhealthy obsession with her. Sure, yeah,

1528
01:20:52,400 --> 01:20:56,080
Speaker 3: but you know, Ricky again is like skulking around on

1529
01:20:56,120 --> 01:20:58,360
Speaker 3: the set and people are starting to realize that things

1530
01:20:58,400 --> 01:21:02,240
Speaker 3: have been stolen including this GUYE who's fucking hilarious. And

1531
01:21:02,400 --> 01:21:04,680
Speaker 3: Pepe and Marina live next door to their apartments are

1532
01:21:04,680 --> 01:21:06,759
Speaker 3: next door to each other in the same building their neighbors.

1533
01:21:07,320 --> 01:21:10,880
Speaker 3: So Ricky finally catches up with Marina and he does

1534
01:21:10,920 --> 01:21:13,439
Speaker 3: a handstand. He's like trying to impress her because she's like,

1535
01:21:13,439 --> 01:21:15,559
Speaker 3: I don't know who you are, goodbye, thanks for visiting,

1536
01:21:15,920 --> 01:21:18,320
Speaker 3: and he like does a handstand and he's just kind

1537
01:21:18,320 --> 01:21:21,320
Speaker 3: of trying to do the most macho things possible. And

1538
01:21:22,040 --> 01:21:24,960
Speaker 3: when she goes to Lola's office, her sister's office, who

1539
01:21:25,000 --> 01:21:27,880
Speaker 3: also works on the film, you realize that she doesn't

1540
01:21:27,920 --> 01:21:31,000
Speaker 3: have her keys because she has to borrow Lola's keys,

1541
01:21:31,160 --> 01:21:35,439
Speaker 3: and you're like, oh shit, Ricky stole her keys. So

1542
01:21:36,000 --> 01:21:39,040
Speaker 3: later at home, Marina is getting ready for this cast

1543
01:21:39,040 --> 01:21:43,439
Speaker 3: party and she he's holding the candy heart and she

1544
01:21:43,520 --> 01:21:46,360
Speaker 3: thinks it's from Maximo and it's like, oh, my director

1545
01:21:46,400 --> 01:21:50,640
Speaker 3: who has a crush on me. Pepe knocks on her

1546
01:21:50,640 --> 01:21:52,799
Speaker 3: door and is like, look, this shoot was fucking miserable.

1547
01:21:52,800 --> 01:21:56,080
Speaker 3: I'm going on vacation for two weeks right now. So

1548
01:21:56,160 --> 01:22:01,000
Speaker 3: his apartment's going to be empty and he and Ricky

1549
01:22:01,439 --> 01:22:03,760
Speaker 3: is downstairs listening to this, because again there's this kind

1550
01:22:03,760 --> 01:22:07,160
Speaker 3: of near miss hitten miss aspect to this. And then

1551
01:22:07,200 --> 01:22:09,000
Speaker 3: he goes up and knocks on her door. She thinks

1552
01:22:09,040 --> 01:22:11,720
Speaker 3: it's Pepe, and she lets She kind of opens the

1553
01:22:11,720 --> 01:22:14,200
Speaker 3: door instead of looking through the people, and he busts

1554
01:22:14,280 --> 01:22:18,840
Speaker 3: in quite violently. Yeah, and he knocks her out and

1555
01:22:18,880 --> 01:22:21,640
Speaker 3: she screams and he's she's like, to her credit, you know,

1556
01:22:21,800 --> 01:22:26,040
Speaker 3: Marina in this film fights back quite a bit. Yeah,

1557
01:22:26,080 --> 01:22:28,720
Speaker 3: quite a bit. And you think that there's going to

1558
01:22:28,760 --> 01:22:32,120
Speaker 3: be and a lot of a lot of reviews and

1559
01:22:32,320 --> 01:22:35,559
Speaker 3: interviews that I looked at and read mentioned this as

1560
01:22:35,560 --> 01:22:37,720
Speaker 3: well that you think it's going to be, Like, the

1561
01:22:37,760 --> 01:22:41,400
Speaker 3: violence is pretty intense, but there's a there's a comedy

1562
01:22:41,439 --> 01:22:43,760
Speaker 3: to the characters that kind of keeps it from being

1563
01:22:45,240 --> 01:22:48,479
Speaker 3: too fraught. Yeah, I guess you could say like there's

1564
01:22:49,320 --> 01:22:52,680
Speaker 3: some relief in this, and part of it comes from

1565
01:22:52,720 --> 01:22:56,680
Speaker 3: the fact that Ricky doesn't actively want to hurt her,

1566
01:22:56,760 --> 01:22:59,320
Speaker 3: which he tells her he just wants to like keep her,

1567
01:22:59,360 --> 01:23:02,720
Speaker 3: which is not better at all, But he kind of

1568
01:23:02,720 --> 01:23:05,880
Speaker 3: has a guilt and a remorse in him and a

1569
01:23:05,960 --> 01:23:08,519
Speaker 3: real clownish quality, Like you can tell there's something very

1570
01:23:08,600 --> 01:23:11,960
Speaker 3: juvenile about his approach to this, there's something juvenile in

1571
01:23:12,000 --> 01:23:14,479
Speaker 3: the thought to begin with that, Like, you know, he

1572
01:23:14,760 --> 01:23:19,040
Speaker 3: falls in love with this actress and decides that they

1573
01:23:19,040 --> 01:23:21,599
Speaker 3: should be married and have kids. But there's something really

1574
01:23:21,640 --> 01:23:23,759
Speaker 3: juvenile about him that kind of keeps him from being

1575
01:23:24,560 --> 01:23:27,400
Speaker 3: totally over the top horror film because it's it's almost

1576
01:23:27,400 --> 01:23:30,559
Speaker 3: like this, this is a movie that's like a horror

1577
01:23:30,560 --> 01:23:33,880
Speaker 3: film that's flirting with rom com or rom com that's

1578
01:23:33,880 --> 01:23:36,840
Speaker 3: flirting with horror. The that you get there's a.

1579
01:23:36,720 --> 01:23:40,080
Speaker 1: Bit of a fantasy to it, I will say, just

1580
01:23:40,680 --> 01:23:44,120
Speaker 1: to kind of extrapolate on what you're talking about, Like

1581
01:23:44,400 --> 01:23:47,000
Speaker 1: to me, yeah, I mean, it's it's it feels a

1582
01:23:47,080 --> 01:23:50,640
Speaker 1: little there's a little bit of a fantasy, fantastical part.

1583
01:23:50,360 --> 01:23:53,599
Speaker 2: Of it right to me. But yeah, I don't know.

1584
01:23:53,680 --> 01:23:56,360
Speaker 2: I mean it's it's it treads a line, I see

1585
01:23:56,360 --> 01:23:56,840
Speaker 2: what you mean.

1586
01:23:57,360 --> 01:23:59,240
Speaker 3: But yeah, yeah, And I think this is the point

1587
01:23:59,280 --> 01:24:02,599
Speaker 3: where a lot of people were again in the interviews

1588
01:24:02,600 --> 01:24:04,799
Speaker 3: and reviews that I read, where people were really confused

1589
01:24:04,800 --> 01:24:06,720
Speaker 3: about how to approach this film when it came out

1590
01:24:06,760 --> 01:24:08,680
Speaker 3: in nineteen eighty nine. I mean, I think it was

1591
01:24:08,680 --> 01:24:10,800
Speaker 3: released in nineteen ninety in the States, But like think

1592
01:24:10,840 --> 01:24:15,360
Speaker 3: back to what that time was, and Almadovar as a provocateur,

1593
01:24:16,040 --> 01:24:20,160
Speaker 3: so he definitely pushes these boundaries one hundred percent all

1594
01:24:20,200 --> 01:24:22,280
Speaker 3: the time. But I think, yeah, that was kind of

1595
01:24:22,280 --> 01:24:24,599
Speaker 3: a point where it made it difficult, a difficult film

1596
01:24:24,600 --> 01:24:27,680
Speaker 3: for some people to access in that time frame and

1597
01:24:27,720 --> 01:24:31,240
Speaker 3: possibly even today, So watch with caution, But yeah, Ricky

1598
01:24:31,320 --> 01:24:37,160
Speaker 3: kind of explains eventually, thankfully explains to Marina that they

1599
01:24:37,200 --> 01:24:40,080
Speaker 3: actually have had sex before. They had sex once a

1600
01:24:40,160 --> 01:24:42,840
Speaker 3: year ago. They met at a bar called Lulu's, and

1601
01:24:42,880 --> 01:24:44,639
Speaker 3: he's just kind of been obsessed with her ever since.

1602
01:24:44,760 --> 01:24:47,240
Speaker 3: She's like, okay, they have met, they have had sex.

1603
01:24:47,400 --> 01:24:51,000
Speaker 3: She has no memory of this, by the way, She's like,

1604
01:24:51,120 --> 01:24:52,599
Speaker 3: you know how many guys say that to me, Like,

1605
01:24:52,680 --> 01:24:55,280
Speaker 3: I have no memory of this, but you can there's

1606
01:24:55,280 --> 01:24:59,080
Speaker 3: at least now some kind of foundation for this mania,

1607
01:25:00,080 --> 01:25:03,880
Speaker 3: this obsession. That they have met before, they've had sex before. Again,

1608
01:25:03,880 --> 01:25:06,880
Speaker 3: this is not an explanation but that that absolves him,

1609
01:25:06,880 --> 01:25:09,360
Speaker 3: but it's an explanation of how we got here. So

1610
01:25:09,680 --> 01:25:12,040
Speaker 3: while he when he hit her, he kind of broke

1611
01:25:12,120 --> 01:25:15,320
Speaker 3: one of her teeth that was already hurting, and she

1612
01:25:15,439 --> 01:25:18,080
Speaker 3: explains to him that the painkiller painkillers don't work on

1613
01:25:18,120 --> 01:25:20,080
Speaker 3: her anymore because she used to be a heroin addict.

1614
01:25:20,479 --> 01:25:22,320
Speaker 3: So she wants to go to a doctor for morphine

1615
01:25:22,720 --> 01:25:24,080
Speaker 3: and he's like, well, how do I trust that you

1616
01:25:24,120 --> 01:25:26,960
Speaker 3: won't rat on me? And it's kind of again, this

1617
01:25:27,080 --> 01:25:30,280
Speaker 3: is one of those comedic moments where he puts on

1618
01:25:30,320 --> 01:25:34,280
Speaker 3: a fake mustache. Love it, and it's kind of like

1619
01:25:34,320 --> 01:25:37,800
Speaker 3: he's very into character play. So he puts on a

1620
01:25:37,800 --> 01:25:42,240
Speaker 3: fake mustache and he handcuffs her to him to himself

1621
01:25:42,680 --> 01:25:44,960
Speaker 3: and they walk to the doctor. But then he gives

1622
01:25:44,960 --> 01:25:47,160
Speaker 3: a doctor his real name, which I'm like, come on, dude,

1623
01:25:47,200 --> 01:25:48,960
Speaker 3: if you're gonna be in disguise, you can't be making

1624
01:25:49,280 --> 01:25:52,880
Speaker 3: rookie mistakes like that. And the doctor seems to be

1625
01:25:52,920 --> 01:25:55,160
Speaker 3: like kind of unaware that something she's she's aware that

1626
01:25:55,200 --> 01:25:56,840
Speaker 3: Marina is a little bit tense, but she thinks it's

1627
01:25:56,880 --> 01:26:00,160
Speaker 3: because of the tooth, and she gives him this, you know,

1628
01:26:00,160 --> 01:26:02,240
Speaker 3: this kind of prescription to go to a pharmacy. And

1629
01:26:02,680 --> 01:26:04,360
Speaker 3: but what I like about this scene, or what's weird

1630
01:26:04,360 --> 01:26:07,000
Speaker 3: about this scene is that you get more of that

1631
01:26:07,200 --> 01:26:11,120
Speaker 3: Ricky Ricky comedy when the doctor kind of says like, oh,

1632
01:26:11,160 --> 01:26:12,920
Speaker 3: my kids are crying, I have to go get them,

1633
01:26:13,640 --> 01:26:15,120
Speaker 3: and he's like, no, I'll do it, and he stands

1634
01:26:15,160 --> 01:26:17,439
Speaker 3: up and starts like motioning like I will fucking kill

1635
01:26:17,479 --> 01:26:20,200
Speaker 3: you if you say anything while I'm gone, but like

1636
01:26:20,240 --> 01:26:22,800
Speaker 3: he's doing it in such a heightened comedy way. And

1637
01:26:22,840 --> 01:26:24,519
Speaker 3: then he goes get and gets the kids and he's

1638
01:26:24,560 --> 01:26:26,760
Speaker 3: like kind of parading these kids around like see, look,

1639
01:26:26,800 --> 01:26:29,720
Speaker 3: I'd be a great father. It's very strange. It's very

1640
01:26:29,800 --> 01:26:32,439
Speaker 3: but it's again and a scene that offers a little

1641
01:26:32,479 --> 01:26:35,360
Speaker 3: bit of relief, but then also kind of also makes

1642
01:26:35,360 --> 01:26:37,000
Speaker 3: you think, is he gonna kill these kids? Like? What's

1643
01:26:37,040 --> 01:26:38,200
Speaker 3: going on with this dude? Oh?

1644
01:26:38,240 --> 01:26:41,320
Speaker 1: So those kids look like thirty year old men one

1645
01:26:41,720 --> 01:26:44,840
Speaker 1: percent one percent those because we're gigantic.

1646
01:26:45,760 --> 01:26:47,439
Speaker 2: But he brings them out of the room.

1647
01:26:47,439 --> 01:26:50,760
Speaker 1: I was like, yo, they got like old man faces,

1648
01:26:51,240 --> 01:26:54,320
Speaker 1: they're like huge, Are we sure they're babies? Like what's

1649
01:26:54,320 --> 01:26:56,080
Speaker 1: going on here? And they're supposed to be Like I

1650
01:26:56,120 --> 01:26:58,479
Speaker 1: don't know. I was very confused by that in the

1651
01:26:58,600 --> 01:27:01,200
Speaker 1: very brief moment I saw these kids.

1652
01:27:01,280 --> 01:27:04,879
Speaker 3: So I don't know how old the kids were supposed

1653
01:27:04,880 --> 01:27:07,000
Speaker 3: to be, but I don't think they were supposed to

1654
01:27:07,000 --> 01:27:07,760
Speaker 3: be teenagers?

1655
01:27:08,040 --> 01:27:12,160
Speaker 2: Yeah, or like I look that way.

1656
01:27:13,439 --> 01:27:20,200
Speaker 3: And Meanwhile, Maximo is watching Marina's porn and ignoring his

1657
01:27:20,280 --> 01:27:23,640
Speaker 3: wife when she walks in on him, and his obsession

1658
01:27:23,720 --> 01:27:26,040
Speaker 3: is like spiraling out of control because she missed the

1659
01:27:26,040 --> 01:27:28,760
Speaker 3: cast party and everyone's starting to wonder, like where is she?

1660
01:27:28,960 --> 01:27:31,719
Speaker 3: And you know, Lola had to do this performance by herself,

1661
01:27:31,760 --> 01:27:33,920
Speaker 3: but he's because he didn't kind of get his last

1662
01:27:34,000 --> 01:27:36,839
Speaker 3: chance to see her. He's kind of freaking out a bit.

1663
01:27:37,040 --> 01:27:41,080
Speaker 1: And like, honestly, that marriage man, Like my godness, she said,

1664
01:27:41,120 --> 01:27:43,280
Speaker 1: Like the wife comes in realizes that he's watching a

1665
01:27:43,320 --> 01:27:45,800
Speaker 1: porn with his like lead actress, and she's like, can

1666
01:27:45,840 --> 01:27:46,599
Speaker 1: I get you anything?

1667
01:27:47,920 --> 01:27:49,759
Speaker 2: Like you mean anything? Like are you hungry?

1668
01:27:50,240 --> 01:27:53,439
Speaker 1: I was like, yo, being married is wild.

1669
01:27:54,320 --> 01:27:56,200
Speaker 3: She's like, this is my life now I'm tied to

1670
01:27:56,240 --> 01:28:00,920
Speaker 3: this man who had a stroke and is just masturbating

1671
01:28:00,920 --> 01:28:04,280
Speaker 3: all day. This is the life I signed. This is

1672
01:28:04,360 --> 01:28:09,800
Speaker 3: till death do us part. She is like so beleaguered,

1673
01:28:10,360 --> 01:28:12,559
Speaker 3: but also you can you could tell her. She's just

1674
01:28:12,560 --> 01:28:14,320
Speaker 3: like there's nothing I can or will do about it,

1675
01:28:14,360 --> 01:28:19,920
Speaker 3: Like I'm too old, exact I'm telling you, but so so.

1676
01:28:20,560 --> 01:28:23,320
Speaker 3: Ricky and Marina are kind of on this trip where

1677
01:28:23,320 --> 01:28:25,680
Speaker 3: they're looking for the right kind of drugs, and they

1678
01:28:25,720 --> 01:28:27,760
Speaker 3: go to this pharmacy and you know, they can't get

1679
01:28:27,800 --> 01:28:30,200
Speaker 3: what they need, and they go back to the house

1680
01:28:30,240 --> 01:28:32,240
Speaker 3: and he ties her up for the first time, and

1681
01:28:32,280 --> 01:28:34,880
Speaker 3: he kind of ties her to the bed and to

1682
01:28:34,960 --> 01:28:36,479
Speaker 3: keep her in the room and locks the room, and

1683
01:28:36,479 --> 01:28:39,240
Speaker 3: then he goes out and robs a drug dealer played

1684
01:28:39,240 --> 01:28:43,080
Speaker 3: by Rossie de Palma, who's looking incredible. She's a standard

1685
01:28:43,360 --> 01:28:46,519
Speaker 3: in Almado of our films, and she's like driving a

1686
01:28:46,560 --> 01:28:49,479
Speaker 3: scooter and selling pills and she's like, what I love

1687
01:28:49,520 --> 01:28:51,759
Speaker 3: is while she's talking to him, she keeps reving the motor.

1688
01:28:52,920 --> 01:28:56,320
Speaker 3: It's just so cute. And so he robs her and

1689
01:28:56,680 --> 01:29:00,479
Speaker 3: gets the drugs he needs, comes back to the and

1690
01:29:00,520 --> 01:29:03,720
Speaker 3: Marina is asleep. This seed is probably one of my

1691
01:29:03,720 --> 01:29:09,640
Speaker 3: favorites in the movie because he falls asleep next to her.

1692
01:29:09,680 --> 01:29:11,960
Speaker 3: He kind of unties her and wants her to be

1693
01:29:12,040 --> 01:29:16,800
Speaker 3: comfortable while she's sleeping, but that he falls asleep next

1694
01:29:16,800 --> 01:29:20,960
Speaker 3: to her. She wakes up, like you realize, her eyes open.

1695
01:29:21,120 --> 01:29:24,040
Speaker 3: She's been faking being asleep, and she's trying to get

1696
01:29:24,040 --> 01:29:27,120
Speaker 3: the keys off of his belt loop. Then he opens

1697
01:29:27,240 --> 01:29:31,320
Speaker 3: his eyes and he keeps snoring and his back is

1698
01:29:31,360 --> 01:29:34,160
Speaker 3: to her. So she can't see his face, and it's

1699
01:29:34,160 --> 01:29:38,439
Speaker 3: this kind of like wild back and forth of him

1700
01:29:38,520 --> 01:29:41,120
Speaker 3: turning over and her turning over and their their eyes

1701
01:29:41,160 --> 01:29:43,280
Speaker 3: are open and they're both pretending to be asleep next

1702
01:29:43,320 --> 01:29:45,120
Speaker 3: to each other. But the way that it's filmed is

1703
01:29:45,160 --> 01:29:48,840
Speaker 3: like very Hitchcockian, and you know, it's just this really

1704
01:29:48,840 --> 01:29:52,880
Speaker 3: weird interplay because you also realize, like, well, she's untied,

1705
01:29:53,080 --> 01:29:54,960
Speaker 3: and you're starting to see that, like in the moments

1706
01:29:55,000 --> 01:29:57,800
Speaker 3: where she's free, she's not always trying to escape like

1707
01:29:57,880 --> 01:30:00,320
Speaker 3: she was in the beginning, constantly trying to esca gape,

1708
01:30:00,960 --> 01:30:03,720
Speaker 3: and now she's kind of slowly trying to escape or

1709
01:30:03,760 --> 01:30:06,160
Speaker 3: slowly try like she doesn't try anything else. After she

1710
01:30:06,200 --> 01:30:08,240
Speaker 3: tries the keys, she just kind of gives up, yeah,

1711
01:30:08,479 --> 01:30:11,000
Speaker 3: and does a bunch of drugs. Honestly, but this is

1712
01:30:11,040 --> 01:30:13,320
Speaker 3: like it's not romantic, Like he follows her to the

1713
01:30:13,360 --> 01:30:15,760
Speaker 3: bathroom and like won't leave her alone, and he's kind

1714
01:30:15,760 --> 01:30:21,280
Speaker 3: of like this this haunting, ghostly presence that is like

1715
01:30:22,320 --> 01:30:27,640
Speaker 3: again like so forceful, and she has no moments of

1716
01:30:27,680 --> 01:30:32,640
Speaker 3: peace with him, and he doesn't quite understand that you

1717
01:30:32,720 --> 01:30:36,120
Speaker 3: can't force someone into loving you, no matter what you

1718
01:30:36,160 --> 01:30:37,960
Speaker 3: think of them. Or how great a night you had,

1719
01:30:38,640 --> 01:30:42,680
Speaker 3: So he kind of he does this constant lurking thing

1720
01:30:42,680 --> 01:30:45,400
Speaker 3: where he thinks where you think that just being around

1721
01:30:45,720 --> 01:30:49,080
Speaker 3: people is enough to get them to understand and love you.

1722
01:30:49,160 --> 01:30:52,160
Speaker 3: So it's very very interesting to watch them walking around

1723
01:30:52,160 --> 01:30:55,760
Speaker 3: and moving around this apartment together, and she kind of

1724
01:30:55,800 --> 01:30:58,360
Speaker 3: hurts his feelings at a certain point, which is interesting

1725
01:30:58,360 --> 01:31:00,080
Speaker 3: because you don't think this is someone who can have

1726
01:31:00,240 --> 01:31:03,120
Speaker 3: their feelings hurt. But things start to escalate. I'm not

1727
01:31:03,160 --> 01:31:04,840
Speaker 3: going to ruin the end of the movie, but let's

1728
01:31:04,880 --> 01:31:07,080
Speaker 3: just say Lola comes over. She's looking for her sister.

1729
01:31:07,200 --> 01:31:10,000
Speaker 3: She leaves a note under the door that Ricky sees,

1730
01:31:10,640 --> 01:31:13,400
Speaker 3: and she's in charge of Petbe's plants while he's gone.

1731
01:31:13,439 --> 01:31:17,560
Speaker 3: So she's back and forth to Pepe's apartment, and Lola's

1732
01:31:17,800 --> 01:31:21,280
Speaker 3: stressed because she thinks that Marina has relapsed. She doesn't

1733
01:31:21,280 --> 01:31:24,759
Speaker 3: know why she you know, kind of missed this party

1734
01:31:24,800 --> 01:31:27,559
Speaker 3: and she's freaking out. But there's this really interesting again

1735
01:31:27,600 --> 01:31:31,560
Speaker 3: interplay where he's kind of right on the verge of

1736
01:31:31,880 --> 01:31:35,080
Speaker 3: seeing Lola as she's leaving the apartment, but then they

1737
01:31:35,080 --> 01:31:37,840
Speaker 3: are like ships in the night. But now he knows

1738
01:31:37,880 --> 01:31:41,479
Speaker 3: that people are kind of curious about Marina, so I

1739
01:31:41,520 --> 01:31:43,280
Speaker 3: will so he has to come up with a plan.

1740
01:31:43,360 --> 01:31:45,080
Speaker 3: So he comes up with this plan where they should

1741
01:31:45,160 --> 01:31:47,479
Speaker 3: leave town. Again. Don't want to ruin the end of

1742
01:31:47,479 --> 01:31:49,320
Speaker 3: the film, but I will say that Rossi to Palm

1743
01:31:49,560 --> 01:31:55,400
Speaker 3: comes back and fucks Ricky up, and it's amazing, and

1744
01:31:55,439 --> 01:31:58,000
Speaker 3: she has a severe ponytail, and she has such a

1745
01:31:58,280 --> 01:32:00,840
Speaker 3: cool profile and just like she's such a cool woman

1746
01:32:01,520 --> 01:32:04,800
Speaker 3: and she comes back and fucks him up. Which is

1747
01:32:04,880 --> 01:32:08,120
Speaker 3: kind of a tipping point for Marina because when Ricky

1748
01:32:08,200 --> 01:32:15,800
Speaker 3: comes back and he's visibly harmed, she's like caring for

1749
01:32:15,920 --> 01:32:18,439
Speaker 3: him and kissing his open wounds, which like.

1750
01:32:18,520 --> 01:32:20,920
Speaker 2: Girl into deep?

1751
01:32:21,040 --> 01:32:25,240
Speaker 3: What into deep? But what I again is interesting to

1752
01:32:25,280 --> 01:32:28,280
Speaker 3: me about that moment is you wonder is she actually

1753
01:32:28,280 --> 01:32:30,599
Speaker 3: in love with him or starting to fall for him

1754
01:32:30,720 --> 01:32:33,720
Speaker 3: or is she just playing the part to get free

1755
01:32:33,920 --> 01:32:37,719
Speaker 3: And you will eventually get an answer, but it's just again,

1756
01:32:37,760 --> 01:32:42,000
Speaker 3: this movie is very interesting, probably not my favorite Almadovar,

1757
01:32:42,080 --> 01:32:43,479
Speaker 3: but it was the first one I thought of when

1758
01:32:43,479 --> 01:32:45,880
Speaker 3: I thought of someone so having sex with someone so

1759
01:32:45,920 --> 01:32:48,439
Speaker 3: hot it ruins your life. She's not the reason that

1760
01:32:48,479 --> 01:32:51,960
Speaker 3: he's been institutionalized, but it certainly isn't helping and it

1761
01:32:52,000 --> 01:32:57,000
Speaker 3: wasn't alleviated by him being institutionalized. Yea, so he's kind

1762
01:32:57,000 --> 01:33:01,880
Speaker 3: of taken this obsession to a tipping point. Yeah, that

1763
01:33:01,960 --> 01:33:05,760
Speaker 3: she then becomes kind of a consensual part of or

1764
01:33:05,880 --> 01:33:06,479
Speaker 3: complicit in.

1765
01:33:06,760 --> 01:33:12,479
Speaker 1: I should say, yeah, I it's a very interesting movie.

1766
01:33:12,520 --> 01:33:16,120
Speaker 1: I know, it's, as you just said, kind of polarizing

1767
01:33:16,160 --> 01:33:19,240
Speaker 1: in terms of like what what are the ethics, what

1768
01:33:19,320 --> 01:33:20,040
Speaker 1: is it about?

1769
01:33:20,400 --> 01:33:21,479
Speaker 2: Like that kind of stuff.

1770
01:33:21,520 --> 01:33:24,479
Speaker 1: But I also like, I think maybe I kind of

1771
01:33:24,600 --> 01:33:28,200
Speaker 1: maybe I'm just doing this because I it feels right

1772
01:33:28,240 --> 01:33:30,200
Speaker 1: to do this, but thinking it in the construct of

1773
01:33:30,400 --> 01:33:32,680
Speaker 1: being like a sexual fantasy or something, you know what

1774
01:33:32,680 --> 01:33:35,479
Speaker 1: I mean, like thinking about it in terms of like

1775
01:33:35,520 --> 01:33:37,639
Speaker 1: what would it be like, just like the thought experiment

1776
01:33:37,680 --> 01:33:38,920
Speaker 1: of like what would it be like to be like

1777
01:33:39,040 --> 01:33:43,680
Speaker 1: kidnapped by some extremely attractive person and you know what would.

1778
01:33:43,439 --> 01:33:46,719
Speaker 2: What is that like to be like obsessed over or something?

1779
01:33:46,840 --> 01:33:51,280
Speaker 3: So you think it's her fantasy, I mean potentially.

1780
01:33:51,360 --> 01:33:53,360
Speaker 1: I mean I don't know if there's a way to

1781
01:33:54,760 --> 01:33:56,519
Speaker 1: I don't know if there's a way in the film

1782
01:33:56,520 --> 01:34:01,960
Speaker 1: that really expresses that perspective necessarily, but like I do

1783
01:34:02,040 --> 01:34:04,000
Speaker 1: feel like, I mean, I don't know if this is

1784
01:34:04,000 --> 01:34:06,680
Speaker 1: a spoiler alert. Maybe I shouldn't say it, but I

1785
01:34:06,760 --> 01:34:10,720
Speaker 1: know when they finally do have sex again, it's like

1786
01:34:10,760 --> 01:34:14,360
Speaker 1: the hottest sex ever and you're just like, huh, that's

1787
01:34:14,520 --> 01:34:17,479
Speaker 1: very interesting. Like this took a turn, you know what

1788
01:34:17,560 --> 01:34:21,639
Speaker 1: I mean, where I'm just like, okay, like maybe maybe

1789
01:34:21,680 --> 01:34:24,120
Speaker 1: this was not to say that the beginning at all

1790
01:34:25,240 --> 01:34:28,000
Speaker 1: wasn't harrowing for her necessarily, but you know what I mean,

1791
01:34:28,080 --> 01:34:30,400
Speaker 1: just like I don't know, I kind of see it

1792
01:34:30,479 --> 01:34:33,800
Speaker 1: in that kind of like Stockholm syndrome. Like I mean,

1793
01:34:33,800 --> 01:34:35,640
Speaker 1: I feel like there's been many movies about this, so

1794
01:34:35,720 --> 01:34:38,840
Speaker 1: it's not just this one where you're sort of like,

1795
01:34:38,960 --> 01:34:43,400
Speaker 1: I don't know, captivated with your captor or something, and

1796
01:34:43,439 --> 01:34:47,280
Speaker 1: that to me feels it feels like like that's the

1797
01:34:47,320 --> 01:34:50,519
Speaker 1: fantasy element of it for me. But again, like this,

1798
01:34:50,720 --> 01:34:53,519
Speaker 1: it's open to interpretation. A lot of people take it

1799
01:34:53,520 --> 01:34:58,599
Speaker 1: literally and they don't, you know, necessarily enjoy that part

1800
01:34:58,640 --> 01:34:59,200
Speaker 1: of the story.

1801
01:34:59,240 --> 01:35:02,240
Speaker 2: But anyway, I mean, just like pass a.

1802
01:35:02,240 --> 01:35:05,720
Speaker 1: Lady, A Mouldivar is like a very interesting director and

1803
01:35:06,200 --> 01:35:09,280
Speaker 1: you know, definitely like pushes buttons, and I mean that's

1804
01:35:09,320 --> 01:35:12,760
Speaker 1: why I like them both, to be honest, because it forces, uh,

1805
01:35:12,960 --> 01:35:17,240
Speaker 1: it forces big thoughts about things. But I will say

1806
01:35:17,320 --> 01:35:21,839
Speaker 1: to to to the degree which like Antonio is so hot,

1807
01:35:22,040 --> 01:35:25,120
Speaker 1: like it just is a constant reminder of how his

1808
01:35:25,240 --> 01:35:29,200
Speaker 1: sex symple status in the nineties was like unparalleled.

1809
01:35:29,360 --> 01:35:31,040
Speaker 3: Like and I think, of course he's better now, but

1810
01:35:31,080 --> 01:35:32,519
Speaker 3: he's been hot for his whole life.

1811
01:35:32,320 --> 01:35:37,400
Speaker 1: Oh his entire ass life. Like even a damn interview

1812
01:35:37,439 --> 01:35:39,800
Speaker 1: with a vampire where he's playing the like creepy vampire.

1813
01:35:40,520 --> 01:35:45,360
Speaker 1: I'm like, like love it like that, Like he's so hot.

1814
01:35:45,400 --> 01:35:47,400
Speaker 1: I mean, and that's the thing he where he collaborated

1815
01:35:47,439 --> 01:35:49,240
Speaker 1: with him all of var like so many times, can

1816
01:35:49,280 --> 01:35:52,360
Speaker 1: probably continue will continue to and like, I don't know,

1817
01:35:52,400 --> 01:35:53,080
Speaker 1: it's just I.

1818
01:35:53,040 --> 01:35:57,040
Speaker 2: Actually love their collaboration. I think it's Very's.

1819
01:35:56,880 --> 01:35:59,880
Speaker 3: Always doing his best work in Almadovar films.

1820
01:36:00,000 --> 01:36:03,799
Speaker 1: It's a one hundred and ten percent like he's so good.

1821
01:36:04,600 --> 01:36:08,479
Speaker 1: It feels like, you know, basically like a John Waters

1822
01:36:08,520 --> 01:36:13,519
Speaker 1: divine type of scenario. Almost it's this very I don't know,

1823
01:36:13,600 --> 01:36:14,960
Speaker 1: I'm very touched by it.

1824
01:36:15,439 --> 01:36:16,360
Speaker 2: I will say so.

1825
01:36:16,760 --> 01:36:20,080
Speaker 3: Yeah, and I I like this movie. I will say,

1826
01:36:20,120 --> 01:36:22,720
Speaker 3: like I just make it clear, like I like this movie.

1827
01:36:22,880 --> 01:36:26,000
Speaker 3: I have a hard time thinking of it as her fantasy.

1828
01:36:26,120 --> 01:36:30,640
Speaker 3: But I do, from her perspective, think that if you

1829
01:36:30,720 --> 01:36:33,280
Speaker 3: consider the scope of her life, which is not represented

1830
01:36:33,280 --> 01:36:37,000
Speaker 3: in the film as someone who did work, who did

1831
01:36:37,040 --> 01:36:40,000
Speaker 3: sex work, and who did you have a drug addiction,

1832
01:36:41,080 --> 01:36:45,120
Speaker 3: she's someone who doesn't feel I guess I get the

1833
01:36:45,680 --> 01:36:50,040
Speaker 3: feeling from this character that she doesn't feel shame for

1834
01:36:50,080 --> 01:36:54,680
Speaker 3: her life, but she also can't imagine being desired or

1835
01:36:54,760 --> 01:36:57,280
Speaker 3: valued like she can imagine being desired in the way

1836
01:36:57,280 --> 01:37:00,720
Speaker 3: that Maximo does, which is very lecherous and you know,

1837
01:37:00,800 --> 01:37:04,680
Speaker 3: kind of gross. And I don't think she can imagine

1838
01:37:04,720 --> 01:37:09,439
Speaker 3: herself as an object of love, of you know, someone's

1839
01:37:10,280 --> 01:37:14,760
Speaker 3: like love object. So I think it's it's entrancing for

1840
01:37:14,880 --> 01:37:17,400
Speaker 3: her eventually to kind of start to think of that,

1841
01:37:18,360 --> 01:37:22,080
Speaker 3: but then also realizing that in conjunction with her real

1842
01:37:22,080 --> 01:37:24,519
Speaker 3: life situation, which is that she's constantly being tied up

1843
01:37:24,560 --> 01:37:28,280
Speaker 3: to a bed and her freedom is being denied and

1844
01:37:28,320 --> 01:37:31,920
Speaker 3: her you know, she's constantly under threat from this man.

1845
01:37:32,600 --> 01:37:34,840
Speaker 3: So to me, that actress, it's very interesting to see

1846
01:37:34,840 --> 01:37:37,760
Speaker 3: her kind of doing that work where she does bring

1847
01:37:37,800 --> 01:37:39,800
Speaker 3: me to a point where, you know, and I've seen

1848
01:37:39,800 --> 01:37:41,840
Speaker 3: this movie before, of course, but when I first saw it,

1849
01:37:41,880 --> 01:37:44,080
Speaker 3: I was like, I don't know what is going to happen,

1850
01:37:44,200 --> 01:37:47,439
Speaker 3: because I don't know if she's being mesmerized by this

1851
01:37:47,600 --> 01:37:53,240
Speaker 3: idea that she is desirable in a real thoughtful, loving way,

1852
01:37:53,680 --> 01:37:56,559
Speaker 3: or if she is just playing she's that better actress

1853
01:37:56,600 --> 01:37:58,400
Speaker 3: than we think she is and she's just playing this

1854
01:37:58,479 --> 01:38:02,519
Speaker 3: part to get Yeah, I kind of love it. I

1855
01:38:02,560 --> 01:38:04,760
Speaker 3: kind of love that it opens up so many options

1856
01:38:04,800 --> 01:38:05,519
Speaker 3: of thought.

1857
01:38:05,920 --> 01:38:09,920
Speaker 2: Yeah, I don't. I don't think I think it's her fantasy.

1858
01:38:10,600 --> 01:38:15,480
Speaker 1: I think it's a fantasy, like a a thought experiment

1859
01:38:16,920 --> 01:38:24,040
Speaker 1: that people that happens that in sexuality in the world.

1860
01:38:24,920 --> 01:38:29,440
Speaker 1: I mean, people have the you know, people have inactive

1861
01:38:29,479 --> 01:38:33,440
Speaker 1: things like this in their own lives or have fantasies

1862
01:38:33,479 --> 01:38:34,400
Speaker 1: about it, you know.

1863
01:38:34,439 --> 01:38:35,920
Speaker 2: And I think that that's kind of what I mean.

1864
01:38:35,960 --> 01:38:38,439
Speaker 1: It's more of a generalized thing because yeah, it's really

1865
01:38:38,479 --> 01:38:40,559
Speaker 1: hard to tell like what her motivation is. But anyway,

1866
01:38:41,320 --> 01:38:43,799
Speaker 1: I love that I got to see it again, Like, yeah,

1867
01:38:44,240 --> 01:38:47,160
Speaker 1: the anytime we get to see one of Pedro's movies

1868
01:38:47,160 --> 01:38:50,240
Speaker 1: on this podcast, I'm just like, I'm ready, I'm in.

1869
01:38:50,360 --> 01:38:53,320
Speaker 1: I'm here for the colors. Give me like a red

1870
01:38:53,960 --> 01:38:58,080
Speaker 1: and a Robin's egg blue color palette. Put it together.

1871
01:38:58,920 --> 01:38:59,920
Speaker 3: There's some green in there.

1872
01:39:00,200 --> 01:39:01,360
Speaker 2: Yeah, genius.

1873
01:39:01,920 --> 01:39:04,680
Speaker 3: He's great. He's great. I really love his I love

1874
01:39:04,720 --> 01:39:06,920
Speaker 3: his films. They are always thoughtful in ways that I

1875
01:39:06,960 --> 01:39:08,840
Speaker 3: did not know I was going to be pushed to think.

1876
01:39:08,920 --> 01:39:11,360
Speaker 3: So I really I appreciate that a lot about him.

1877
01:39:12,000 --> 01:39:15,759
Speaker 3: And uh, you know again, Ricky had sex with someone

1878
01:39:15,800 --> 01:39:17,720
Speaker 3: so hot it kind of ruined his fucking life.

1879
01:39:17,960 --> 01:39:22,720
Speaker 1: Yeah, perfect for this theme, which was super.

1880
01:39:22,400 --> 01:39:25,760
Speaker 3: Fun, so fun, so fun.

1881
01:39:26,160 --> 01:39:27,960
Speaker 2: So if you want to email.

1882
01:39:27,760 --> 01:39:29,639
Speaker 1: Us, we are at I Saw What You Did pot

1883
01:39:29,640 --> 01:39:32,840
Speaker 1: itt gmail dot com. Send us questions for bonus episodes.

1884
01:39:33,400 --> 01:39:35,320
Speaker 1: We also have a po box if you want to

1885
01:39:35,320 --> 01:39:35,720
Speaker 1: write us.

1886
01:39:35,720 --> 01:39:40,000
Speaker 3: Letters, and you can find us on our social media

1887
01:39:40,080 --> 01:39:42,599
Speaker 3: at I Saw pot on Instagram, Blue Sky and Twitter.

1888
01:39:43,120 --> 01:39:45,439
Speaker 3: You can also leave us a voicemail now to plan

1889
01:39:45,560 --> 01:39:47,639
Speaker 3: the show, and all you have to do is record

1890
01:39:47,760 --> 01:39:50,840
Speaker 3: a voice memo on your phone and email it to

1891
01:39:51,120 --> 01:39:55,080
Speaker 3: isoatedpot at gmail dot com. Please make it sixty seconds

1892
01:39:55,200 --> 01:39:58,759
Speaker 3: or less and please record it in a quiet space.

1893
01:39:59,600 --> 01:40:02,200
Speaker 2: Also, so, if you want our merch go to exactly

1894
01:40:02,280 --> 01:40:04,639
Speaker 2: Right Store dot com to find it.

1895
01:40:05,560 --> 01:40:07,639
Speaker 3: And you know, we have bonus episodes on the third

1896
01:40:07,720 --> 01:40:10,559
Speaker 3: Thursday of every month. They're just released into the main

1897
01:40:10,640 --> 01:40:13,200
Speaker 3: feed now, So they'll just show up and you have

1898
01:40:13,240 --> 01:40:17,040
Speaker 3: a double whammy of us once a month, exactly.

1899
01:40:17,840 --> 01:40:20,360
Speaker 2: Okay, so you want to talk about this next episode.

1900
01:40:20,600 --> 01:40:24,360
Speaker 3: Your movies for next week are My Blue Heaven from

1901
01:40:24,439 --> 01:40:28,080
Speaker 3: nineteen ninety and Midnight Run from nineteen eighty eight.

1902
01:40:28,600 --> 01:40:30,800
Speaker 2: Hell yeah, Oh my god, it's gonna be so much fun.

1903
01:40:31,680 --> 01:40:36,280
Speaker 1: Danielle is always a fucking pleasure doing this podcast with you.

1904
01:40:36,280 --> 01:40:40,400
Speaker 2: You're the best all round, the best of a hat.

1905
01:40:47,240 --> 01:40:49,960
Speaker 3: This has been an exactly right production. Our senior producer

1906
01:40:50,000 --> 01:40:53,800
Speaker 3: is Casey O'Brien. Episode mixing and theme music by Tom Bryfogel,

1907
01:40:54,120 --> 01:40:57,839
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hartstart

1908
01:40:57,880 --> 01:41:01,240
Speaker 3: Caring kil Gareff and Daniel Kramer. Follow us on Instagram

1909
01:41:01,280 --> 01:41:04,040
Speaker 3: and Twitter at I Saw Pod, and you can email

1910
01:41:04,160 --> 01:41:06,439
Speaker 3: us at I Saw What you Did Pod at gmail