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Speaker 1: Hey, everybody, Danielle here. We've been getting some questions about this,

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Speaker 1: so we just wanted to let you know that our

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Speaker 2: So it's really just a great value. Okay to the show.

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Speaker 3: Hey everybody, welcome to another episode of I Saw What

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Speaker 3: You Did.

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Speaker 4: My name is Millie to Jericho.

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Speaker 1: And I'm a street walk in Cheetah with a heart

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Speaker 1: full of a palm. But my parents call me Danielle Henderson.

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Speaker 1: They shortened it thankfully.

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Speaker 4: I mean, I'll call you whenever you want me to

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Speaker 4: call you. Obviously it was it was.

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Speaker 1: Too much to get on the bird certificate. And also

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Speaker 1: I've never met my dad, so I don't know why

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Speaker 1: I said parents.

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Speaker 3: I thought maybe they were inspired by the Fiona Apple

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Speaker 3: album when the pawn.

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Speaker 4: And decided to name their child.

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Speaker 2: That got a lot on this pot.

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Speaker 1: We do because I think it is embedded in our

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Speaker 1: psyche as one of the most wild things that has

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Speaker 1: occurred with language.

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Speaker 2: Frankly, with language.

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Speaker 1: To name your album a poem was wild, and I'm

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Speaker 1: into it and it just is always in my head.

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Speaker 1: But I would also love for just one one parent,

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Speaker 1: one set of parent parents to just muster up the

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Speaker 1: pure ballsiness to just name.

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Speaker 2: Your child a poem. Just do it for us.

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Speaker 1: If you're pregnant and listening, name your child a full

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Speaker 1: poem and just let us know how it goes down

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Speaker 1: at the courthouse. Is that where you find your birth certificate?

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Speaker 1: I don't know how anything works. Clearly it's getting wild

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Speaker 1: already out there. I mean that Grimes baby. Come on,

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Speaker 1: Grimes had a secret baby that we don't even know

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Speaker 1: what that name is yet.

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Speaker 4: Oh I whoa. This is all news to me.

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Speaker 1: From what I understand, Grimes was being interviewed and the

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Speaker 1: interviewer heard a baby crying upstairs and was like, you

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Speaker 1: got another baby in here, and Grimes was like, yeah, what.

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Speaker 2: What me Elon Musk had a baby before we broke up.

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Speaker 1: So I don't even know what that baby's That baby's

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Speaker 1: name could be a poem wow, or the news I

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Speaker 1: heard could be fake. One of two things is happening

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Speaker 1: wow wow I did. I did not check for sources

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Speaker 1: on that. I just kind of read that on Twitter

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Speaker 1: and kept it going. I was like, I can't today,

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Speaker 1: I can't take any more grimes baby information in today.

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Speaker 3: Listen, and and here I thought that pilot Inspector was

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Speaker 3: the craziest baby name I'd ever heard.

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Speaker 1: I know, so, I mean now there was there's some

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Speaker 1: wild ones out there.

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Speaker 3: Yes, I listen. I don't have kids. What I had

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Speaker 3: a hard I don't have I had a hard enough

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Speaker 3: time naming my dog.

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Speaker 2: How did you name your dog?

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Speaker 3: You know? I actually had a list of names of

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Speaker 3: dog names in my phone. Oh and I I had

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Speaker 3: some real high concept ones. I had ones that were

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Speaker 3: very uh you know, like names of uh favorite classic

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Speaker 3: movie actors and actresses.

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Speaker 4: I mean it was just like really obnoxious.

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Speaker 3: But then when I just looked, I like looked at

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Speaker 3: her and I thought, like, what cutesie wootsie name goes

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Speaker 3: with this cute see wootsie face, and I just decided

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Speaker 3: Sophie was it. I was like, cause it's kind of French.

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Speaker 3: She's a Bijon Freeze, It's a French dog. So I

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Speaker 3: was like, keeping the spirit of her breed and that

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Speaker 3: cute face, She'll be a Sophie. What about Karen? Where

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Speaker 3: was the inspiration for Karen? I'm curious.

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Speaker 1: Well, first and foremost, I have a friend named Sophie,

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Speaker 1: and one of the first when we first started hanging out,

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Speaker 1: one of the first things she said to me was

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Speaker 1: my name.

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Speaker 2: I only hear my name with like older.

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Speaker 1: Women, like women that were born before nineteen forty, or dogs,

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Speaker 1: like everyone is naming their dogs.

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Speaker 3: So those names, I feel like, are back in the cycle,

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Speaker 3: the baby name cycle.

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Speaker 4: It's like the old lady names are back.

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Speaker 2: Because of dogs. Like you got a dog.

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Speaker 1: You made a dog named Ruby enough times and you're like,

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Speaker 1: that sounds like a name for this kid I'm about

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Speaker 1: to have.

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Speaker 3: Yeah, I Oh my god. I love thinking about baby

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Speaker 3: name trends.

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Speaker 2: It really does say a lot about our culture.

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Speaker 1: When you look at the baby name trends, you're like, oh,

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Speaker 1: those Gary years with straight boomers, Like there's no baby

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Speaker 1: Gary's anymore.

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Speaker 3: Well, yeah, no Garys and no Deborah's.

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Speaker 4: Am I right?

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Speaker 2: A Deborah, You're absolutely right, You're absolutely correct. I can't

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Speaker 2: even remember the last time I met a baby named Danielle.

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Speaker 3: I feel I feel like the names that we grew

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Speaker 3: up with in the eighties are not the vibe right now.

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Speaker 4: Maybe they will be in like ten years.

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Speaker 3: Yeah, because right now, based on sort of what I've

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Speaker 3: been hearing out in these streets with people's new children,

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Speaker 3: seems like it's a lot of like nineteen twenties, you know,

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Speaker 3: sort of like American Henry's and I don't know, like

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Speaker 3: just like these kind of millies and Henry's and.

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Speaker 4: Harriet's. Harriet is a name again.

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Speaker 1: You listen, if you have a baby named Harriet, I

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Speaker 1: want you to write to me immediately. I want to

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Speaker 1: know everything about how that came about. I would love

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Speaker 1: to meet a baby Harriet.

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Speaker 3: Yeah, I feel like those names are maybe maybe back.

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Speaker 3: I just I just I feel like the flapper names

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Speaker 3: are back in a lot of ways.

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Speaker 4: So who knows? Do I think Danielle will come back?

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Speaker 1: Certainly the Rwin twenties are the Rwin twenties, and when

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Speaker 1: we get to the disco seventy resurgence. Danielle will probably

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Speaker 1: make a comeback.

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Speaker 3: I feel that's that is the case, but right now

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Speaker 3: it's in a dead zone.

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Speaker 1: I am neither dog nor elder, so my name right

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Speaker 1: now is just laying real low.

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Speaker 4: Did you ever have a nickname growing up? Did you

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Speaker 4: call yourself something different?

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Speaker 1: My family nicknames were Danny, uh huh, which I will

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Speaker 1: only allow my family to call me pa. Yes.

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Speaker 2: Sure.

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Speaker 1: There have been a couple of people who have tried

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Speaker 1: it in, like, you know, writing me emails or especially

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Speaker 1: after they read my book and they're like, oh, Danny,

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Speaker 1: and I'm like, no, that is a family nickname.

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Speaker 2: And my other family nickname was.

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Speaker 1: Moose because my family is cruel and weird, and I

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Speaker 1: was fat.

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Speaker 2: I had a lot of roles, and they just wanted

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Speaker 2: to make sure that I never forgot that I was fat. Wow,

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Speaker 2: maybe you just stick with Danny. Maybe just stick with

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Speaker 2: that one.

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Speaker 3: Well, yeah, I could definitely sit in a therapist's office

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Speaker 3: and talk about shitty nicknames people have given me in.

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Speaker 4: My childhood, for sure.

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Speaker 2: And to answer your question from way way, way way.

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Speaker 1: Back, carrot is named carrot and I feel terrible about

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Speaker 1: this every day I look into his little eyes, and

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Speaker 1: I feel like I failed him from the day we met.

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Speaker 1: That was his name when I got him, so like

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Speaker 1: his foster parents named him Carrot, and I was like,

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Speaker 1: he seems cool with it.

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Speaker 2: It's cute. I'll keep it.

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Speaker 1: Yeah, And I call him nicknames. I've made him a

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Speaker 1: bunch of nicknames for him. Yeah, But his name, there

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Speaker 1: was no thought process whatsoever. And sometimes I feel like

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Speaker 1: he knows it where he's like, you know that if

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Speaker 1: you would, because I kind of also thought maybe I'll

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Speaker 1: just wait and get to know him and then name him.

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Speaker 1: But then it just became kind of like it just fit.

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Speaker 1: But as I've gotten to know him now over the years,

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Speaker 1: I feel like I would absolutely have called him Wilford Brimley.

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Speaker 3: He doesn't resemble a Wilfrid Brimley.

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Speaker 2: Right, He resembles him a little bit.

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Speaker 1: He definitely has the same mannerisms and countenance, and I

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Speaker 1: would have called.

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Speaker 2: Him Wilford Brimley.

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Speaker 1: But now you know he's He's Carrot Beans, Baxter, Squeakers,

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Speaker 1: Mcbeeker's Henderson. So I just add names instead of changing

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Speaker 1: his original name.

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Speaker 3: Well, I that is like one thing that I do

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Speaker 3: love is is finding out the secret nicknames of people's pets,

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Speaker 3: because that shit cracks.

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Speaker 2: Me up, and it's always like eighteen d oh.

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Speaker 1: Yeah, but that's what happens, I think naturally, is you

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Speaker 1: get to know your pet. Yeah, you're like, oh, this

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Speaker 1: is a cute little mannerism. This is a cute little thing.

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Speaker 4: Yeah.

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Speaker 3: My sister is to blame because she started calling Sophie

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Speaker 3: Sophida like a case of doea, so she was like

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Speaker 3: sophoania and then shortened it to miss Dia and now

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Speaker 3: she's just called Dia and I'm like, what the fuck,

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Speaker 3: We're just gonna get.

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Speaker 4: What is she gonna be?

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Speaker 3: D And at a certain point, I think we do

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Speaker 3: call her d once in a while, but it's like

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Speaker 3: the bastardization of her original name has gone so far.

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Speaker 2: This is some true Mariah Carey, the evolution of me me.

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Speaker 2: I cannot. I love it. I love it. I can,

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Speaker 2: actually I can because I love it. Oh my goodness.

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Speaker 1: Well, and I also i've been having you see that

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Speaker 1: I'm drinking a coffee, which I know I said I

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Speaker 1: would never.

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Speaker 2: Do again while we're recording, but.

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Speaker 1: This is a stabilizing coffee because I got three hours

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Speaker 1: of sleep.

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Speaker 4: Last oh shit, Why so this is just to bring.

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Speaker 2: Me up to my level. I occasionally have insomnia. It

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Speaker 2: used to be really bad.

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Speaker 1: I think there were actual years where I functioned on

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Speaker 1: like three or four.

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Speaker 2: Hours of sleep.

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Speaker 1: Wow, and it greatly contributed to my depression, which I

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Speaker 1: didn't know at the time, like no one had ever

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Speaker 1: made that connection for me. Sure, but years where I

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Speaker 1: didn't sleep more than four hours at night.

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Speaker 2: And I think this is why.

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Speaker 1: This is why I have such as a strict bedtime routine,

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Speaker 1: which I know I make fun of, but this is

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Speaker 1: part of the reason why I go to bed at

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Speaker 1: nine pm, because if I am not asleep by eleven,

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Speaker 1: I will not sleep for then I'm just up. If

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Speaker 1: I'm up at eleven, I will also be up at

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Speaker 1: three o'clock in the morning. In the morning, and that

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Speaker 1: is just how it works for me. And I know that,

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Speaker 1: And I know I've tried all the tricks. I know

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Speaker 1: everyone is always so nice and kind and they want

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Speaker 1: to write in and give us tips and tricks, and

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Speaker 1: you know I don't need it this time.

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Speaker 2: I know what's going on. I know what I can do.

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Speaker 1: I tried getting up, walking around, I've tried everything. I've

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Speaker 1: tried genuinely everything. I've tried, medication, everything. I think it's

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Speaker 1: when I'm at levels of like really high stress now

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Speaker 1: is when my insomnia tends to come out. But that's

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Speaker 1: why I act like an old lady and go to

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Speaker 1: bed at nine o'clock because I'm like, I need to

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Speaker 1: be sure that I'm going to be asleep by eleven,

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Speaker 1: and if i'm Sometimes i'm asleep at nine and it's great.

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Speaker 1: Sometimes I just need like that two hours to level

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Speaker 1: out and I'm asleep. But I was thinking about it

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Speaker 1: a lot when I woke up, like, God, what, I

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Speaker 1: definitely have stress right now, but what is going on?

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Speaker 1: And this is it's going to be so embarrassing to

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Speaker 1: admit it's so embarrassing. But that's the the tagline to

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Speaker 1: our podcast is what's embarrassing this week? I think I'm

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Speaker 1: afraid of the dark. I think that's part of the

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Speaker 1: reason I have to go to bed early. Yeah, And

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Speaker 1: I think I'm afraid of the dark because I kind

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Speaker 1: of I've had a lot of childhood trauma, and part

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Speaker 1: of my childhood trauma involved a lot of physical and

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Speaker 1: sexual abuse, and so sometimes when I'm awake at night,

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Speaker 1: even though I know it's not possible, Like I start

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Speaker 1: seeing shadowy figures like waiting for me, and then I'm

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Speaker 1: definitely not going to sleep after that. Like if I

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Speaker 1: think of that even a little bit, I'm.

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Speaker 2: Not going to sleep.

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Speaker 4: Yeah.

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Speaker 1: Yeah, So it's part of like a PTSD thing that

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Speaker 1: I'm working through in therapy. Yeah, but it's embarrassing to

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Speaker 1: be forty four years old and afraid of the fucking dark.

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Speaker 3: No, it's not like there, it's not. I mean, when

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Speaker 3: you when you understand that it's contributed to past trauma,

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Speaker 3: it's not embarrassing at all. And on top of that,

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Speaker 3: like I mean, there there are definite situations in people's

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Speaker 3: lives that lead them to very almost very simple.

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Speaker 2: Fears, right yeah.

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Speaker 3: And I mean the fact that you're talking about it,

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Speaker 3: I think is really helpful because I think that there's

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Speaker 3: a lot of people that are that have a fear

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Speaker 3: of kind of revealing this, Like you know, you're like,

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Speaker 3: oh my god, I'm a grown woman and I'm scared

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Speaker 3: to wait for the doctor to come in the room

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Speaker 3: or whatever, which was a big thing for me. But

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Speaker 3: it's that thing of like, yeah, I think talking about

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Speaker 3: it is very helpful, And I'm mean I hate to

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Speaker 3: hear that that you're struggling with with sleeping, because that

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Speaker 3: to me, like, oh my god, when when you were

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Speaker 3: talking about not sleeping, that is like one of the

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Speaker 3: worst feelings in the world for me, is not being

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Speaker 3: able to sleep when I really want to same.

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Speaker 2: It's grueling.

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Speaker 3: It's grueling, grueling, and it feels miserable, and it makes

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Speaker 3: me feel super lonely and alone because I'm like, I'm

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Speaker 3: the only person awake right now and I can't sleep.

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Speaker 3: Why is everybody else sleeping and I'm not, And I

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Speaker 3: have nobody to call because everybody's asleep and I'm just

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Speaker 3: by myself.

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Speaker 4: You know.

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Speaker 3: Yes, I hate that feeling, and I'm so so I'm

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Speaker 3: sorry you're going through it, you know. But yeah, I

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Speaker 3: think obviously like it is directly related to things that

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Speaker 3: you've experienced in your past, and I'm really happy that

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Speaker 3: you're in therapy and you're gonna work it out hopefully.

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Speaker 2: And oh yeah we are. We are working it out

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Speaker 2: for sure.

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Speaker 1: But it's just it's wild too, because I just never

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Speaker 1: feel it felt like I never made that correlation until recently.

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Speaker 1: And I think it's because I didn't really have enough

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Speaker 1: space to like I just didn't allow myself to really

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Speaker 1: kind of think think it through. Yeah, it was just

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Speaker 1: always such a part of me and my process and

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Speaker 1: like my insomni when I was younger and when I

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Speaker 1: was a teenager and then in my twenties and like

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Speaker 1: it was just always there. So I thought, well, this

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Speaker 1: is just how I am. I'm just afraid of the dark.

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Speaker 1: And then I started saying, like, wait, that's actually not

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Speaker 1: that's not standard for most people. So I should really

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Speaker 1: look into this and talk about this. And I'm glad

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Speaker 1: that I brought it up in therapy because we've really

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Speaker 1: been like digging into it.

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Speaker 2: But yeah, last night was a fucking doozy.

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Speaker 1: I just didn't want you to see this giant coffee

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Speaker 1: and be like, oh, no, she's gonna be on one. No,

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Speaker 1: I promise, no, this is not gonna be it over

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Speaker 1: the top episode.

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Speaker 2: I'm just leveling up to like normal.

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Speaker 3: No, I listen, I am pro caffeine.

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Speaker 4: I am pro extra caffeine.

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Speaker 3: I know that when we listen to the audio of

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Speaker 3: the days that we've drank like four or five cups

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Speaker 3: of coffee before we record. I know that we like

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Speaker 3: are individually horrified at ourselves. But I think when it

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Speaker 3: gets put, when it gets assembled, when the episode, like,

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Speaker 3: you know, this is maybe like too much of a

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Speaker 3: how the sausage is made for you guys, But like

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Speaker 3: when the episode actually gets assembled and Casey makes it

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Speaker 3: sound all nice, I'm actually like, this is not as

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Speaker 3: bad as I thought. Like the raw audio sounds crazy,

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Speaker 3: but then when it's all fixed, it's like, oh, okay,

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Speaker 3: I'm cool with this.

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Speaker 4: In fact, I kind of love it.

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Speaker 3: I kind of love the dance that we're insane.

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Speaker 4: I kind of love it.

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Speaker 1: And also our listeners have spoken they want us on caffeine.

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Speaker 2: They're like, don't stop. If you need it, have it.

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Speaker 3: Yes, yes, but also I encourage you to feel good.

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Speaker 4: And if you've got to, like pound too, you know, thirty.

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Speaker 3: Two ounce Duncan D's coffees, then do it, like just

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Speaker 3: to level out, you know, level everything out.

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Speaker 4: That's fine, that's fine, totally totally.

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Speaker 1: I mean, I'm gonna I'm gonna have another one after

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Speaker 1: this because I have to get through the day. But

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Speaker 1: I'm absolutely going to bed at seven tonight.

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Speaker 4: Yeah, no, I'm happy to.

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Speaker 1: And the sun will still be up. The sun will

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Speaker 1: still be up. I've noticed that now that we daylight

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00:17:24,320 --> 00:17:29,040
Speaker 1: savings timed. Yeah, sun is popping at seven o'clock and

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Speaker 1: I will absolutely still be going to bed and feeling

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Speaker 1: fine about it. Yeah, and I will hopefully sleep for

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Speaker 1: twelve hours and the world will write itself again.

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Speaker 4: It'll be great.

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Speaker 3: I'm really hoping that that happens tonight.

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Speaker 4: I won't I won't text you after seven I know that.

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Speaker 3: But you will not get any memes from me after

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Speaker 3: seven pm.

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Speaker 4: For that, I can guarantee.

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Speaker 1: You can send them. I'll wake up to them. You

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Speaker 1: can send them. I'll silence that phone. Don't worry about that.

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Speaker 4: Well.

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Speaker 3: Yeah, I'm wishing you some good sleep tonight. And you know,

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00:18:05,240 --> 00:18:08,240
Speaker 3: in the meantime, you know, hang in there with everything,

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00:18:08,960 --> 00:18:11,640
Speaker 3: and you're gonna get through these patches.

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Speaker 4: You know can't last forever.

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Speaker 2: Thanks, But now they're getting better. And it is getting better.

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Speaker 1: And better the more that I look into it and

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Speaker 1: kind of address it and face it, it is getting better.

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Speaker 1: But I would like to not be afraid of the

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Speaker 1: dark at forty four years old.

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Speaker 3: I just think it's like, we're gonna have to, like

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00:18:32,880 --> 00:18:35,040
Speaker 3: you and I are going to have to go out

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00:18:35,160 --> 00:18:40,040
Speaker 3: to the desert one of these days and do a

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00:18:40,119 --> 00:18:45,080
Speaker 3: retreat just me and you. We're we're just like microdosing

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00:18:46,040 --> 00:18:50,760
Speaker 3: and telling each other everything our deepest our deepest fears,

364
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Speaker 3: our craziest thoughts, our.

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Speaker 2: Cry I would love it, Yeah, I would love it.

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Speaker 1: For my favorite, I have several favorite things that you say,

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00:19:01,920 --> 00:19:05,000
Speaker 1: but my top two all time favorite, I know this

368
00:19:05,040 --> 00:19:08,120
Speaker 1: is going to be a Milli banger sentence is when

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00:19:08,119 --> 00:19:12,600
Speaker 1: it starts with either Okay, first of all, ah, I

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00:19:12,640 --> 00:19:15,720
Speaker 1: know it's going to be fire. And the second is

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00:19:15,720 --> 00:19:18,080
Speaker 1: when you whenever you say we should go to the desert,

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Speaker 1: I'm like, here it comes.

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00:19:19,480 --> 00:19:20,960
Speaker 2: Some goodshit's coming.

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00:19:21,600 --> 00:19:24,400
Speaker 4: You know, some three eleven shit is about to pop off.

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00:19:26,680 --> 00:19:29,919
Speaker 2: These are the top two faces of millie Is.

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Speaker 1: Okay first of all, and let's go to the desert,

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00:19:34,320 --> 00:19:36,640
Speaker 1: and I'm like, now we're getting to the real shit.

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00:19:40,720 --> 00:19:42,720
Speaker 4: I am stupid.

379
00:19:43,800 --> 00:19:44,879
Speaker 2: No, you're the best.

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00:19:44,920 --> 00:19:47,919
Speaker 1: It never fails to lift my spirits and brain and

381
00:19:47,960 --> 00:19:50,200
Speaker 1: my day because everything that comes after that is.

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00:19:50,119 --> 00:19:51,680
Speaker 2: Always true and real.

383
00:19:54,560 --> 00:19:56,960
Speaker 1: So let's go to the desert and microdose and tell

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Speaker 1: each other our deepest fears.

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00:19:58,560 --> 00:19:59,560
Speaker 2: That is true and real.

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00:20:00,080 --> 00:20:02,320
Speaker 1: Okay first of all, And then you'll start popping off

387
00:20:02,320 --> 00:20:04,400
Speaker 1: about something pop culture or something to happen with friends

388
00:20:04,480 --> 00:20:05,480
Speaker 1: or something happened in real life.

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00:20:05,640 --> 00:20:07,160
Speaker 2: And I'm like, this is also true and real.

390
00:20:08,119 --> 00:20:13,920
Speaker 3: Oh my favorite you have become I have changed since

391
00:20:13,920 --> 00:20:14,840
Speaker 3: elementary school.

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Speaker 4: We have a very interesting episode this week.

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00:20:26,160 --> 00:20:29,800
Speaker 3: I think, yeah, do you want to tell people what

394
00:20:29,920 --> 00:20:30,679
Speaker 3: the theme is?

395
00:20:31,240 --> 00:20:33,600
Speaker 1: I could not be happier to tell people what the

396
00:20:33,600 --> 00:20:39,160
Speaker 1: theme is because our theme this week is that one

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00:20:39,320 --> 00:20:44,680
Speaker 1: friend yes now, and we all have had or currently

398
00:20:44,760 --> 00:20:47,160
Speaker 1: have that one friend yes.

399
00:20:48,280 --> 00:20:51,760
Speaker 3: So just to give you a tiny bit of background

400
00:20:51,800 --> 00:20:54,440
Speaker 3: about how we came up with this theme, I think

401
00:20:54,480 --> 00:20:58,159
Speaker 3: this was like something where I wanted to talk about

402
00:20:58,200 --> 00:21:01,960
Speaker 3: my movie and then I was like, what, how can

403
00:21:02,000 --> 00:21:03,520
Speaker 3: we fit it into a theme? And then and then

404
00:21:03,560 --> 00:21:05,959
Speaker 3: I kind of just blurted out this, you know, that

405
00:21:06,000 --> 00:21:12,560
Speaker 3: one friend idea. Then you picked your movie and I

406
00:21:12,720 --> 00:21:16,159
Speaker 3: was like, oh, now this theme is going in this

407
00:21:16,240 --> 00:21:19,240
Speaker 3: other direction. I mean, it's the same thing, it's the

408
00:21:19,280 --> 00:21:22,040
Speaker 3: same theme, but I'm like, but there's this like component

409
00:21:22,080 --> 00:21:25,119
Speaker 3: to it now that didn't occur to me when I

410
00:21:25,280 --> 00:21:26,680
Speaker 3: was initially kind of.

411
00:21:26,640 --> 00:21:30,640
Speaker 4: Pitching it, right, and now it's like more interesting than

412
00:21:30,720 --> 00:21:32,560
Speaker 4: what I originally pitched.

413
00:21:34,119 --> 00:21:38,120
Speaker 3: So I to me, I think we talk a lot

414
00:21:38,160 --> 00:21:42,240
Speaker 3: about friendship on this podcast obviously not just because we're friends,

415
00:21:42,240 --> 00:21:45,359
Speaker 3: but we we love talking about movies, about friendship, about

416
00:21:45,400 --> 00:21:51,080
Speaker 3: female friendship, about you know, sibling friendships and relationships between

417
00:21:51,600 --> 00:21:55,520
Speaker 3: you know, friend you know, new friends, old friends, family members,

418
00:21:55,560 --> 00:21:57,760
Speaker 3: that kind of thing, right, But I also think that

419
00:21:57,800 --> 00:22:01,520
Speaker 3: there's like a little well, there's just something that interests

420
00:22:01,600 --> 00:22:05,159
Speaker 3: me about old friends, like people that you that you

421
00:22:05,280 --> 00:22:08,800
Speaker 3: were friends with, maybe is children or something like that

422
00:22:08,800 --> 00:22:11,359
Speaker 3: that you haven't seen in a while. And then also

423
00:22:11,680 --> 00:22:17,159
Speaker 3: like friendships that evolve from like work situations, which I

424
00:22:17,200 --> 00:22:19,479
Speaker 3: feel like is the case for your movie. So it

425
00:22:19,560 --> 00:22:21,919
Speaker 3: ended up being kind of more than I thought I

426
00:22:21,960 --> 00:22:23,960
Speaker 3: think initially when I pitched it, and I'm happy that

427
00:22:24,000 --> 00:22:25,040
Speaker 3: it went in this direction.

428
00:22:25,640 --> 00:22:26,480
Speaker 2: Yeah, and there's there.

429
00:22:26,480 --> 00:22:29,840
Speaker 1: I think there's a lot of similarities and crossovers with

430
00:22:30,760 --> 00:22:34,240
Speaker 1: our films in that way where we're discussing friendship in

431
00:22:34,359 --> 00:22:38,880
Speaker 1: two completely different worlds, but we're seeing a similar effect

432
00:22:39,000 --> 00:22:41,480
Speaker 1: of what that friendship has done or what it means

433
00:22:41,480 --> 00:22:45,640
Speaker 1: to people in these movies. And I just I absolutely

434
00:22:46,480 --> 00:22:50,800
Speaker 1: I haven't seen your film in a long time, and.

435
00:22:52,119 --> 00:22:53,800
Speaker 2: It is so wild.

436
00:22:54,600 --> 00:22:57,720
Speaker 1: It's wilder than I remember, Yes, because I forgot the

437
00:22:57,760 --> 00:23:00,560
Speaker 1: whole play component, like there was a lot that I

438
00:23:00,680 --> 00:23:04,800
Speaker 1: forgot after the initial reveal of your movie. Yes, so

439
00:23:05,840 --> 00:23:08,840
Speaker 1: I was very happy to watch it again because I

440
00:23:08,920 --> 00:23:11,480
Speaker 1: think it fits it that that that that one friend

441
00:23:12,440 --> 00:23:15,080
Speaker 1: in a very interesting way, which is, you know, what

442
00:23:15,119 --> 00:23:17,960
Speaker 1: do you do with an older friendship when one of

443
00:23:18,000 --> 00:23:19,800
Speaker 1: you is evolved and one of you hasn't, Or what

444
00:23:19,840 --> 00:23:21,600
Speaker 1: do you do with an older friendship when you're just

445
00:23:21,680 --> 00:23:24,639
Speaker 1: both two completely different people? And what are you holding

446
00:23:24,680 --> 00:23:26,760
Speaker 1: on to and what connects you or keep you together?

447
00:23:26,880 --> 00:23:29,720
Speaker 1: So I think your film is very interesting to me

448
00:23:29,760 --> 00:23:32,880
Speaker 1: in that way, and my film is just like, hmm.

449
00:23:33,160 --> 00:23:36,720
Speaker 3: Listen when when I saw I never saw your film?

450
00:23:37,280 --> 00:23:46,760
Speaker 3: Why why would The running show on this podcast is

451
00:23:46,760 --> 00:23:48,760
Speaker 3: that I've never seen a movie past the year two.

452
00:23:48,560 --> 00:23:51,920
Speaker 4: Thousand and.

453
00:23:53,320 --> 00:23:56,760
Speaker 3: I And it's like again, and I don't want people

454
00:23:56,800 --> 00:24:01,119
Speaker 3: to think I'm I'm doing this for theatrix or something

455
00:24:02,040 --> 00:24:07,280
Speaker 3: for shame, because I fucking loved your movie. I loved

456
00:24:07,320 --> 00:24:10,520
Speaker 3: it so much I had.

457
00:24:10,840 --> 00:24:13,640
Speaker 4: A nightmare about it. Just gonna throw it out there.

458
00:24:14,720 --> 00:24:17,399
Speaker 1: Well, because again sticking with the theme of you watching

459
00:24:17,480 --> 00:24:19,879
Speaker 1: movies from the two thousands that I've asked you to.

460
00:24:19,880 --> 00:24:21,000
Speaker 2: Watch, it was stressful.

461
00:24:23,119 --> 00:24:27,119
Speaker 1: I've never picked like a calm, nice movie from the

462
00:24:27,160 --> 00:24:29,600
Speaker 1: early two year like, I'm not picking step step brothers,

463
00:24:29,760 --> 00:24:31,679
Speaker 1: Yes you are.

464
00:24:32,080 --> 00:24:34,600
Speaker 2: I'm always picking like some stressful shit.

465
00:24:35,160 --> 00:24:39,680
Speaker 3: Yes, a couple of constants on this pod, I haven't

466
00:24:39,680 --> 00:24:44,000
Speaker 3: seen a movie past two thousand, Danielle only picked stressful movies.

467
00:24:44,520 --> 00:24:45,800
Speaker 4: Both of those things.

468
00:24:45,480 --> 00:24:50,440
Speaker 3: Are true for this pick, however, I loved it.

469
00:24:51,080 --> 00:24:52,120
Speaker 4: And it also.

470
00:24:51,920 --> 00:24:54,080
Speaker 3: Again when I was talking about like when I first

471
00:24:54,160 --> 00:24:57,280
Speaker 3: was kind of thinking about this theme, I was thinking

472
00:24:57,280 --> 00:24:58,840
Speaker 3: about it in a certain way, but then when I

473
00:24:58,840 --> 00:25:01,120
Speaker 3: saw your movie, I was like, oh, no, this theme

474
00:25:01,200 --> 00:25:05,879
Speaker 3: is actually about to me anyway. It's about the intensity

475
00:25:06,119 --> 00:25:11,160
Speaker 3: of certain friendships, right, And yes, that is an interesting

476
00:25:11,720 --> 00:25:17,400
Speaker 3: concept for me, right because that phrase that one friend

477
00:25:17,720 --> 00:25:22,520
Speaker 3: dot dot dot right is kind of ominous, right, because

478
00:25:22,560 --> 00:25:26,080
Speaker 3: it suggests like, oh, here's somebody that you're friends with,

479
00:25:26,240 --> 00:25:29,920
Speaker 3: but it's a little bit weird and what are the

480
00:25:30,040 --> 00:25:34,639
Speaker 3: dynamics here? Like, you know, it's not probably like a

481
00:25:34,680 --> 00:25:38,399
Speaker 3: real easy, buoyant like friendship. It's something a little bit

482
00:25:38,400 --> 00:25:42,960
Speaker 3: more complicated, and it happens with old friends that you

483
00:25:43,000 --> 00:25:45,280
Speaker 3: haven't stand in forever, certainly, but then it also happens

484
00:25:45,320 --> 00:25:48,119
Speaker 3: with people that you meet like in weirder circumstances like

485
00:25:48,119 --> 00:25:52,000
Speaker 3: at work or in specific you know places.

486
00:25:52,520 --> 00:25:54,159
Speaker 4: And that's when.

487
00:25:54,000 --> 00:25:55,760
Speaker 3: It changed, is when I was like, oh, this theme

488
00:25:55,840 --> 00:26:01,080
Speaker 3: is about the intensity of friendship and how me there

489
00:26:01,400 --> 00:26:07,400
Speaker 3: is attraction at work for some of these friendships that

490
00:26:07,480 --> 00:26:09,600
Speaker 3: sort of plays into that intensity.

491
00:26:10,160 --> 00:26:12,520
Speaker 4: And I was rocked.

492
00:26:12,600 --> 00:26:15,159
Speaker 3: I mean, after I saw both these movies at the

493
00:26:15,200 --> 00:26:18,639
Speaker 3: same like in one sitting, I was like, we have

494
00:26:18,840 --> 00:26:20,280
Speaker 3: dug a hole in ourselves.

495
00:26:20,320 --> 00:26:21,600
Speaker 4: I hope we can get out of it.

496
00:26:23,160 --> 00:26:24,840
Speaker 1: I told you, I'm like, look, you need to watch

497
00:26:24,880 --> 00:26:28,040
Speaker 1: your movie in the morning and then watch my movie

498
00:26:28,080 --> 00:26:29,280
Speaker 1: on a totally different day.

499
00:26:30,280 --> 00:26:31,000
Speaker 4: Oh my god.

500
00:26:31,280 --> 00:26:34,320
Speaker 1: I tried to set you up, I know, for success,

501
00:26:34,760 --> 00:26:37,800
Speaker 1: because these were very stressful films.

502
00:26:38,080 --> 00:26:41,600
Speaker 3: Like it's like I felt like I hereditaried myself. Like

503
00:26:41,680 --> 00:26:45,400
Speaker 3: that's kind of the feeling of when I watched Hereditary

504
00:26:45,920 --> 00:26:50,120
Speaker 3: at your insistence and then I felt crazy. It was like, oh,

505
00:26:50,160 --> 00:26:52,240
Speaker 3: these two movies, that's that was the same feeling. It

506
00:26:52,320 --> 00:26:54,160
Speaker 3: was coming out of it, going like, holy fuck, this

507
00:26:54,200 --> 00:26:57,760
Speaker 3: is the most intense shit. I cannot wait a good

508
00:26:57,920 --> 00:26:59,600
Speaker 3: to talk about your movie. I want to hear everything

509
00:26:59,640 --> 00:27:00,479
Speaker 3: you have to say about it.

510
00:27:00,560 --> 00:27:01,440
Speaker 4: I'm so excited.

511
00:27:01,560 --> 00:27:05,359
Speaker 1: Well, we're just gonna jump right in Yep, you're going first,

512
00:27:05,400 --> 00:27:08,720
Speaker 1: And I'm gonna tell you that my my pick for

513
00:27:08,840 --> 00:27:10,959
Speaker 1: the film that I'm using for this theme of that

514
00:27:11,040 --> 00:27:15,399
Speaker 1: One Friend was released in two thousand and six. It

515
00:27:15,440 --> 00:27:18,480
Speaker 1: was directed by Richard Ayre. It was written by Patrick

516
00:27:18,560 --> 00:27:21,920
Speaker 1: Marber but based on the novel by Zoe Heller In

517
00:27:21,920 --> 00:27:24,280
Speaker 1: My movie is notes on a scandal.

518
00:27:24,520 --> 00:27:26,520
Speaker 2: You promised to end it? Why didn't it? I thought

519
00:27:26,520 --> 00:27:31,360
Speaker 2: you understood what friendship means. Tell me about your friendship

520
00:27:31,400 --> 00:27:32,200
Speaker 2: with missus Hart.

521
00:27:32,920 --> 00:27:34,880
Speaker 4: I've been hearing some other alarming letter.

522
00:27:35,200 --> 00:27:37,320
Speaker 2: Yeah, we gotta have to get into I'm doing breathing.

523
00:27:37,640 --> 00:27:39,000
Speaker 4: I'm doing breathing techniques.

524
00:27:39,040 --> 00:27:41,760
Speaker 2: I know you're like Lamas in yourself.

525
00:27:41,760 --> 00:27:44,640
Speaker 4: I'm doing like in Hell for four, Excel for eight.

526
00:27:45,320 --> 00:27:47,639
Speaker 2: How how didya mush to do like this movie?

527
00:27:47,720 --> 00:27:51,199
Speaker 1: Well, on a scale of yogic breathing to La Mas,

528
00:27:53,359 --> 00:27:55,640
Speaker 1: I'm on yogic breathing.

529
00:27:57,080 --> 00:27:58,400
Speaker 2: Into the nose, out through the mouth.

530
00:27:58,760 --> 00:28:02,840
Speaker 1: But I think Hereditary is like Lama's breathing, yes, and

531
00:28:02,880 --> 00:28:06,000
Speaker 1: this is like a like a calming yeah breathing.

532
00:28:06,520 --> 00:28:08,720
Speaker 2: But this movie is wild. It is truly wild.

533
00:28:09,080 --> 00:28:13,159
Speaker 1: It is a movie that I have thought about regularly

534
00:28:13,200 --> 00:28:16,800
Speaker 1: since I first saw it. Like the ending of this

535
00:28:16,920 --> 00:28:20,080
Speaker 1: movie gives me actual chills. And it is not a

536
00:28:20,119 --> 00:28:24,480
Speaker 1: horror film in the traditional sense, but it is a

537
00:28:24,520 --> 00:28:30,639
Speaker 1: horror story in a larger sense. And I think Judy Dench,

538
00:28:30,840 --> 00:28:32,880
Speaker 1: who plays one of the main characters, will get into

539
00:28:32,920 --> 00:28:38,880
Speaker 1: her has never been better. I thought she was outstanding

540
00:28:39,440 --> 00:28:43,160
Speaker 1: in this film. And Kate Blanchett also. I think Kate Blanchett,

541
00:28:43,680 --> 00:28:47,400
Speaker 1: she has such a cool career. And this is a

542
00:28:47,440 --> 00:28:51,680
Speaker 1: week where I watched this movie and then I watched

543
00:28:52,200 --> 00:29:00,000
Speaker 1: thor Ragnarok again It's my happy place, and she played

544
00:29:00,200 --> 00:29:02,000
Speaker 1: the villain in that she plays like a comic book

545
00:29:02,040 --> 00:29:05,640
Speaker 1: superhero villain in thora Ragnarok, and then she plays this

546
00:29:06,160 --> 00:29:08,840
Speaker 1: It was just wild to see the scope of and

547
00:29:08,920 --> 00:29:13,040
Speaker 1: be reminded of the scope of her acting ability. And

548
00:29:13,360 --> 00:29:16,320
Speaker 1: I just think that these are two actors at the

549
00:29:16,320 --> 00:29:20,120
Speaker 1: top of their fucking game in this movie in a

550
00:29:20,440 --> 00:29:26,520
Speaker 1: very disturbing in more ways than one story. Yes, and

551
00:29:26,560 --> 00:29:29,240
Speaker 1: this is a movie that, for the first time ever

552
00:29:29,320 --> 00:29:34,880
Speaker 1: on this podcast, has three different occasions where all hell

553
00:29:34,960 --> 00:29:39,840
Speaker 1: breaks loose, and I will mark each of them for

554
00:29:40,000 --> 00:29:43,720
Speaker 1: you without ruining the ending, which again gives me actual chill.

555
00:29:43,760 --> 00:29:45,400
Speaker 2: So I understand why you had nightmares.

556
00:29:46,560 --> 00:29:50,640
Speaker 1: So my one sentence synopsis just so we can jump

557
00:29:50,680 --> 00:29:54,920
Speaker 1: on in new high school teacher Siba learns the importance

558
00:29:55,040 --> 00:29:58,800
Speaker 1: of no new friends when she falls in and inadvertently

559
00:29:58,880 --> 00:30:02,600
Speaker 1: betrays the est, most vindictive teacher in school.

560
00:30:04,400 --> 00:30:06,000
Speaker 4: That is so good.

561
00:30:07,400 --> 00:30:09,600
Speaker 2: It starts you off on the path. This movie is

562
00:30:09,640 --> 00:30:10,240
Speaker 2: a journey.

563
00:30:11,560 --> 00:30:14,920
Speaker 1: I think that you'll recognize a lot of actors in

564
00:30:14,960 --> 00:30:16,480
Speaker 1: it also if you watch a lot of British film

565
00:30:16,520 --> 00:30:20,040
Speaker 1: or TV. But I think the best way into it

566
00:30:20,080 --> 00:30:22,960
Speaker 1: is just to kind of describe who these main characters are.

567
00:30:23,800 --> 00:30:28,760
Speaker 1: So Judy Dench is playing the role of Barbara Covet.

568
00:30:29,120 --> 00:30:30,880
Speaker 1: This is the first time where I really paid attention

569
00:30:30,920 --> 00:30:35,480
Speaker 1: to the character names because Barbara Covet and Sheba Hart

570
00:30:35,880 --> 00:30:41,920
Speaker 1: distinctly describe who these characters are at their core. Oh yeah,

571
00:30:42,600 --> 00:30:43,360
Speaker 1: that's amazing.

572
00:30:43,640 --> 00:30:47,640
Speaker 3: Actually, that just kind of blew my mind a little bit, right.

573
00:30:47,680 --> 00:30:51,560
Speaker 1: Like Barbara Covet, Sheiba Heart, and it really does play

574
00:30:51,600 --> 00:30:55,920
Speaker 1: into the shape of who these characters are. And Barbara

575
00:30:56,160 --> 00:30:58,880
Speaker 1: is an older teacher at this high school. And I

576
00:30:58,960 --> 00:31:01,400
Speaker 1: know that for the purposes of the UK, when I

577
00:31:01,440 --> 00:31:04,680
Speaker 1: say high school, you mean college, and when I say college.

578
00:31:04,360 --> 00:31:05,240
Speaker 2: You mean university.

579
00:31:05,480 --> 00:31:09,239
Speaker 1: But I'm using the American vernacular here because that's just

580
00:31:09,240 --> 00:31:10,120
Speaker 1: what I'm comfortable with.

581
00:31:11,400 --> 00:31:12,840
Speaker 2: So it's high school.

582
00:31:13,520 --> 00:31:16,960
Speaker 1: And Barbara's been teaching for a long ass time. And

583
00:31:17,040 --> 00:31:23,840
Speaker 1: let me tell you, Barbara journals everything, decades worth of journals.

584
00:31:23,920 --> 00:31:27,200
Speaker 1: She logs everything. And when the movie opens, they're kind

585
00:31:27,200 --> 00:31:30,400
Speaker 1: of panning over all of the books that she's been

586
00:31:30,480 --> 00:31:34,480
Speaker 1: handwriting all of these logs in, which, again, as you

587
00:31:34,520 --> 00:31:37,520
Speaker 1: get to the end of the movie, has a totally

588
00:31:37,560 --> 00:31:42,600
Speaker 1: different feel from when you first see her writing. She

589
00:31:42,920 --> 00:31:47,320
Speaker 1: is not only super hateful, but she's kind of hated

590
00:31:47,800 --> 00:31:51,360
Speaker 1: in this school. The kids are scared of her, she

591
00:31:51,600 --> 00:31:55,160
Speaker 1: has said in two different places. She says, first of all,

592
00:31:55,200 --> 00:31:59,640
Speaker 1: that that teaching is crowd control and I'm not popular,

593
00:31:59,680 --> 00:32:00,600
Speaker 1: but they're respect me.

594
00:32:01,400 --> 00:32:01,840
Speaker 4: Yeah.

595
00:32:01,920 --> 00:32:05,800
Speaker 1: So she is well aware of her own reputation and

596
00:32:05,960 --> 00:32:09,040
Speaker 1: is proud of it. And look, she has her cat.

597
00:32:09,800 --> 00:32:13,120
Speaker 1: She has a mysterious friend named Jennifer Dodd that people

598
00:32:13,120 --> 00:32:15,480
Speaker 1: occasionally ask her about, and we will learn more about

599
00:32:15,560 --> 00:32:18,440
Speaker 1: Jennifer Dodd as the story goes on. But she's a

600
00:32:18,520 --> 00:32:23,360
Speaker 1: very compact individual. She has routines, she has a very

601
00:32:23,400 --> 00:32:27,600
Speaker 1: solitary life, and at the beginning of the film, we

602
00:32:27,680 --> 00:32:30,960
Speaker 1: feel like that life is by design and she's okay

603
00:32:31,040 --> 00:32:34,040
Speaker 1: with it, and then as the film goes on, we

604
00:32:34,160 --> 00:32:39,040
Speaker 1: realize that may not be true. Counter to her, we

605
00:32:39,120 --> 00:32:44,480
Speaker 1: have Kate Blanchette playing Sheiba Hart, and Sheiba is more passive.

606
00:32:44,560 --> 00:32:47,719
Speaker 1: She doesn't really have any control over her students. She

607
00:32:47,800 --> 00:32:50,360
Speaker 1: is the art teacher. She's the new art teacher. So

608
00:32:50,400 --> 00:32:56,320
Speaker 1: she's kind of chaotic and very like floaty, kind of

609
00:32:56,400 --> 00:32:59,240
Speaker 1: you know, lives in doesn't really live in her head

610
00:32:59,480 --> 00:33:01,800
Speaker 1: so much. She just kind of lives in the fantasy world.

611
00:33:02,560 --> 00:33:07,720
Speaker 1: She's reckless and quite immature, as we will discover. She's

612
00:33:07,760 --> 00:33:10,400
Speaker 1: married with two kids, and her husband is Bill Nye,

613
00:33:11,200 --> 00:33:16,760
Speaker 1: who just plays one of the explosive He's so good,

614
00:33:17,600 --> 00:33:20,240
Speaker 1: so good, and I think one of the more explosive

615
00:33:20,280 --> 00:33:25,280
Speaker 1: All Hell Breaks Loose moments directly includes him, and he

616
00:33:25,640 --> 00:33:33,080
Speaker 1: is again fantastic. So Sheba and Barbara meet when Siba

617
00:33:33,200 --> 00:33:35,480
Speaker 1: is trying to reprimand one of her students, the student

618
00:33:35,560 --> 00:33:39,600
Speaker 1: named Connelly, in the hallway and she's failing, and Barbara

619
00:33:39,600 --> 00:33:41,800
Speaker 1: steps in and is like, this is how you do it.

620
00:33:41,840 --> 00:33:44,560
Speaker 1: If you need any help, let me know. And Barbara

621
00:33:44,600 --> 00:33:48,200
Speaker 1: starts to develop this kind of fascination with Sheiba, and

622
00:33:48,240 --> 00:33:50,840
Speaker 1: I'm wondering what you think, Like, what did you think

623
00:33:50,880 --> 00:33:56,520
Speaker 1: when you first started to see their friendship developing, Like

624
00:33:56,640 --> 00:34:00,440
Speaker 1: what do you think that one friend was more about

625
00:34:00,480 --> 00:34:03,000
Speaker 1: the intensity of a new relationship or did you think

626
00:34:03,160 --> 00:34:03,840
Speaker 1: that that one.

627
00:34:03,680 --> 00:34:06,560
Speaker 2: Friend was more about how different they were?

628
00:34:06,800 --> 00:34:11,080
Speaker 3: Yeah, I think it's the latter. I think I felt

629
00:34:11,120 --> 00:34:16,600
Speaker 3: like the Shiba character was like a breath of fresh

630
00:34:16,640 --> 00:34:21,760
Speaker 3: air that popped into Barbara's life in that way, because

631
00:34:22,200 --> 00:34:25,080
Speaker 3: there are times where I mean, I love the one

632
00:34:25,120 --> 00:34:28,520
Speaker 3: thing I love, and I don't love this every time.

633
00:34:28,880 --> 00:34:31,880
Speaker 3: But you know, we've talked about like narration in movies,

634
00:34:32,440 --> 00:34:35,880
Speaker 3: and sometimes it's great and sometimes it's a little h

635
00:34:36,200 --> 00:34:38,680
Speaker 3: like you're like, oh, well, you know, maybe it's because

636
00:34:39,000 --> 00:34:40,279
Speaker 3: you need the narration.

637
00:34:40,120 --> 00:34:41,480
Speaker 4: To kind of get us through this film.

638
00:34:42,280 --> 00:34:46,120
Speaker 3: In this case, it is perfect because it really does

639
00:34:46,800 --> 00:34:50,560
Speaker 3: give you a sense of what Barbara's interior life is like.

640
00:34:51,200 --> 00:34:55,480
Speaker 3: And throughout that narration when she first meets her, she's

641
00:34:55,920 --> 00:35:01,160
Speaker 3: going and talking about all of the way that she

642
00:35:01,560 --> 00:35:05,440
Speaker 3: was different than anybody she really encounters, which is that

643
00:35:05,480 --> 00:35:07,799
Speaker 3: she's like this open book, you know what I mean,

644
00:35:07,800 --> 00:35:10,200
Speaker 3: She just like talks about herself all the time, she's like,

645
00:35:10,239 --> 00:35:13,839
Speaker 3: you know, she's fascinated by that, and she's this kind

646
00:35:13,880 --> 00:35:16,960
Speaker 3: of urban bohemian. As she kind of refers to her

647
00:35:17,000 --> 00:35:20,360
Speaker 3: on occasion, she's just like this, you know, it's almost

648
00:35:20,440 --> 00:35:23,840
Speaker 3: like somebody would come across now in like La or

649
00:35:24,040 --> 00:35:26,399
Speaker 3: New York, where it's like, oh, here's this like young,

650
00:35:26,400 --> 00:35:30,000
Speaker 3: beautiful person who like works in the arts and you know,

651
00:35:30,160 --> 00:35:33,719
Speaker 3: has these like you know, interesting children and this like

652
00:35:33,840 --> 00:35:36,560
Speaker 3: older husband and they live in this beautiful house that

653
00:35:36,640 --> 00:35:40,080
Speaker 3: was inherited by you know, her because her family comes

654
00:35:40,120 --> 00:35:42,759
Speaker 3: from money. And she's just kind of going through all

655
00:35:42,760 --> 00:35:45,840
Speaker 3: the ways in which this woman is just so different

656
00:35:45,840 --> 00:35:47,960
Speaker 3: from her. And I think that that is what I

657
00:35:48,080 --> 00:35:51,000
Speaker 3: was like, Oh, no, she's completely taken by this woman

658
00:35:51,080 --> 00:35:53,680
Speaker 3: because she's just everything that she's not, you know what

659
00:35:53,760 --> 00:35:56,799
Speaker 3: I mean, And that can be really intoxicating, you know.

660
00:35:56,920 --> 00:35:57,520
Speaker 4: In friendship.

661
00:35:57,640 --> 00:35:59,879
Speaker 1: Yes, yeah, I'm really glad that you said that, because

662
00:35:59,880 --> 00:36:01,959
Speaker 1: I I think that that is a very important point

663
00:36:01,960 --> 00:36:06,279
Speaker 1: of this film, is that intoxication that Barbara feels being

664
00:36:06,320 --> 00:36:09,000
Speaker 1: in her orbit and kind of and I agree with

665
00:36:09,040 --> 00:36:11,200
Speaker 1: you that the narration of this film was spot on,

666
00:36:11,320 --> 00:36:14,719
Speaker 1: because when you have a character who's that lonely, I

667
00:36:14,719 --> 00:36:18,000
Speaker 1: think that you need to understand their motivations somehow and

668
00:36:18,080 --> 00:36:21,239
Speaker 1: understand what their interior life is like that has led

669
00:36:21,239 --> 00:36:25,040
Speaker 1: them to this place of such abject loneliness. And in

670
00:36:25,080 --> 00:36:28,040
Speaker 1: the beginning, without the narration, I think it's very easy

671
00:36:28,080 --> 00:36:30,320
Speaker 1: to say, well, she's just you know, like a bitter

672
00:36:30,360 --> 00:36:33,319
Speaker 1: old lady who you know, kind of probably designed her

673
00:36:33,320 --> 00:36:35,359
Speaker 1: life that way or nobody could stand her, so that's

674
00:36:35,360 --> 00:36:38,719
Speaker 1: why she's alone. And as you hear her narration, you

675
00:36:38,800 --> 00:36:43,600
Speaker 1: realize this is a very smart, very calculating, and very

676
00:36:43,640 --> 00:36:44,799
Speaker 1: deliberate woman.

677
00:36:45,000 --> 00:36:46,760
Speaker 4: Right, Oh my god.

678
00:36:46,880 --> 00:36:51,000
Speaker 3: There it was towards the beginning. It was the first time.

679
00:36:51,840 --> 00:36:55,320
Speaker 3: So they become friends obviously at the school, and again

680
00:36:55,440 --> 00:36:58,600
Speaker 3: she's kind of seen as she calls herself a battle axe, right,

681
00:36:58,640 --> 00:37:02,040
Speaker 3: She's like the old her own battle axe teacher that

682
00:37:02,120 --> 00:37:05,719
Speaker 3: nobody likes, and here's the effervescent, beautiful art teacher. Right.

683
00:37:06,080 --> 00:37:10,000
Speaker 3: And they somehow become friends, and then Sheiba invites Barbara

684
00:37:10,080 --> 00:37:13,760
Speaker 3: to supper or whatever at the house. That whole scene

685
00:37:13,880 --> 00:37:16,760
Speaker 3: where she is getting ready to go to her house

686
00:37:16,800 --> 00:37:18,759
Speaker 3: and she puts on that like she puts on that

687
00:37:18,840 --> 00:37:20,040
Speaker 3: like Barbara Bush outfit.

688
00:37:20,120 --> 00:37:21,880
Speaker 4: Basically it's like, yeah.

689
00:37:21,760 --> 00:37:25,839
Speaker 3: Her girls and her her Barbara Bush outfit and then

690
00:37:25,840 --> 00:37:28,640
Speaker 3: she's like done up. And then the daughter comes in

691
00:37:29,000 --> 00:37:31,360
Speaker 3: and completely just fucking decimates it.

692
00:37:31,440 --> 00:37:32,880
Speaker 4: Like she comes in and is like, why are you

693
00:37:32,920 --> 00:37:33,880
Speaker 4: looking so posh?

694
00:37:33,960 --> 00:37:34,840
Speaker 2: Like where are you going?

695
00:37:35,320 --> 00:37:39,480
Speaker 3: And immediately she lies and says, oh, it's because I

696
00:37:39,480 --> 00:37:43,200
Speaker 3: have an appointment in town. Because she's like, no, actually,

697
00:37:43,360 --> 00:37:45,440
Speaker 3: I this is the best thing that I'm gonna do

698
00:37:46,040 --> 00:37:46,720
Speaker 3: all week.

699
00:37:47,160 --> 00:37:49,680
Speaker 2: This is it. Yes, this is my whole Yeah, this

700
00:37:49,760 --> 00:37:50,800
Speaker 2: is my event.

701
00:37:51,120 --> 00:37:54,680
Speaker 3: Yes, And like I'm now shamed by this young girl

702
00:37:55,239 --> 00:37:57,799
Speaker 3: for getting so dressed up to just be at somebody's house.

703
00:37:58,080 --> 00:38:02,239
Speaker 3: And I was like, yo, that sliced me open in

704
00:38:02,280 --> 00:38:04,440
Speaker 3: a way that I can't express.

705
00:38:05,160 --> 00:38:09,880
Speaker 1: Uh oh what absolutely, because it also made me feel

706
00:38:09,960 --> 00:38:15,799
Speaker 1: like this is a different generation, Like this is a

707
00:38:15,920 --> 00:38:20,440
Speaker 1: generation that would get an invitation to something and treat

708
00:38:20,480 --> 00:38:23,320
Speaker 1: it like they were being invited to meet the queen.

709
00:38:23,800 --> 00:38:27,360
Speaker 1: Every invitation had the same amount of gravitas, and every

710
00:38:27,440 --> 00:38:31,480
Speaker 1: social situation was a chance for you to be on

711
00:38:31,520 --> 00:38:34,680
Speaker 1: display and for you to be your best. And just

712
00:38:34,760 --> 00:38:37,719
Speaker 1: that generational difference hit me in that moment too, and

713
00:38:37,760 --> 00:38:39,399
Speaker 1: it really cut me up as well.

714
00:38:39,719 --> 00:38:42,560
Speaker 3: Yeah, and it goes back to their difference is because

715
00:38:42,600 --> 00:38:45,120
Speaker 3: you know, Barbara has this sense of properness about things,

716
00:38:45,440 --> 00:38:47,640
Speaker 3: and she but doesn't she's a younger person. She's like

717
00:38:47,719 --> 00:38:51,120
Speaker 3: real chill, relaxed, you know whatever, Like I'm just kind

718
00:38:51,120 --> 00:38:54,000
Speaker 3: of hanging out doing whatever, you know, being messy and

719
00:38:54,040 --> 00:38:56,680
Speaker 3: I don't care and that and that. Again, I think

720
00:38:57,320 --> 00:39:02,040
Speaker 3: had the film not established any of it, I would

721
00:39:02,080 --> 00:39:02,960
Speaker 3: have liked it less.

722
00:39:03,640 --> 00:39:05,799
Speaker 1: I'll just say that, right, Yeah, I like that, and

723
00:39:05,840 --> 00:39:07,319
Speaker 1: I like it that I agree, and I think that

724
00:39:07,400 --> 00:39:11,360
Speaker 1: it's I really like that they dug into and started

725
00:39:11,440 --> 00:39:15,440
Speaker 1: out by looking at what each of these women's lives

726
00:39:15,480 --> 00:39:18,239
Speaker 1: were like apart from each other, so that when they

727
00:39:18,320 --> 00:39:21,920
Speaker 1: do come together, you even understand their friendship more.

728
00:39:22,120 --> 00:39:24,080
Speaker 2: Yes, and it kind of brings you to a deeper

729
00:39:24,160 --> 00:39:27,759
Speaker 2: understanding and they have. I mean.

730
00:39:27,760 --> 00:39:30,120
Speaker 1: One of the funniest parts of that dinner scene as

731
00:39:30,160 --> 00:39:34,879
Speaker 1: well for me was when they start dancing and it's

732
00:39:34,920 --> 00:39:39,759
Speaker 1: like a tradition, it's a tradition in the house for

733
00:39:39,840 --> 00:39:43,839
Speaker 1: the family to dance together on Sunday, and Barbara looks

734
00:39:43,880 --> 00:39:47,360
Speaker 1: like she wants to crawl under the floorboards and die,

735
00:39:47,480 --> 00:39:52,400
Speaker 1: like she is just like I cannot with these fucking hippies.

736
00:39:52,880 --> 00:39:55,080
Speaker 4: I at that moment.

737
00:39:56,000 --> 00:39:59,200
Speaker 3: I was like, I need to see what Dame Judy

738
00:39:59,360 --> 00:40:02,400
Speaker 3: Bench is gonna do in this moment, like both her

739
00:40:02,640 --> 00:40:07,520
Speaker 3: character and the actual woman, because she's like, you are

740
00:40:07,560 --> 00:40:10,080
Speaker 3: not pulling me off this couch from smoking my cigarette

741
00:40:10,120 --> 00:40:14,880
Speaker 3: and my pearls to dance to some reggae song, like

742
00:40:15,120 --> 00:40:18,520
Speaker 3: I am not whimsical at all, and you cannot get

743
00:40:18,520 --> 00:40:21,120
Speaker 3: me to do this. And then there was I was like.

744
00:40:21,400 --> 00:40:22,040
Speaker 4: Wait for it.

745
00:40:22,120 --> 00:40:26,160
Speaker 3: She's either gonna completely shut down or she's just gonna

746
00:40:26,239 --> 00:40:28,880
Speaker 3: like try to do a little pop, you know. And

747
00:40:28,920 --> 00:40:33,480
Speaker 3: then there's this moment where she sort of starts and

748
00:40:33,520 --> 00:40:36,319
Speaker 3: then it just the scene just ends and you're like, oh,

749
00:40:36,320 --> 00:40:36,839
Speaker 3: thank god.

750
00:40:37,160 --> 00:40:39,200
Speaker 5: I don't know if I could have watched, Yeah, I'm

751
00:40:39,600 --> 00:40:43,600
Speaker 5: Judy touch go there, I could do it.

752
00:40:46,360 --> 00:40:49,680
Speaker 1: And that was such a smart editorial choice as well,

753
00:40:49,719 --> 00:40:55,520
Speaker 1: because you get to see how pent up Barbara is,

754
00:40:56,000 --> 00:40:58,680
Speaker 1: like she's so and she's like me, I do not

755
00:40:58,880 --> 00:41:01,120
Speaker 1: have the kind of joy in my heart where dance

756
00:41:01,239 --> 00:41:04,840
Speaker 1: is ever coming out of me. So I really connected

757
00:41:04,840 --> 00:41:08,239
Speaker 1: to that character in that moment, and I didn't like it.

758
00:41:08,280 --> 00:41:10,520
Speaker 2: I didn't like that I connected to that character that

759
00:41:10,760 --> 00:41:13,560
Speaker 2: moment because I'm like, she is so like.

760
00:41:13,760 --> 00:41:17,520
Speaker 1: Locked down right, there is no just so when she started,

761
00:41:17,560 --> 00:41:18,960
Speaker 1: I was like, oh shit, I don't want to see

762
00:41:18,960 --> 00:41:20,400
Speaker 1: this either, which is worse?

763
00:41:20,520 --> 00:41:21,480
Speaker 4: Yes, which is worse?

764
00:41:21,520 --> 00:41:24,440
Speaker 3: Which is which is gonna be more uncomfortable? And yeah,

765
00:41:24,560 --> 00:41:28,320
Speaker 3: that was that was a sliding doors doward time moment

766
00:41:28,480 --> 00:41:29,040
Speaker 3: for her.

767
00:41:28,960 --> 00:41:32,839
Speaker 4: Character because I was like, we as we.

768
00:41:32,880 --> 00:41:36,840
Speaker 3: As the viewer, No, she ain't this, but Bill, my

769
00:41:37,280 --> 00:41:38,160
Speaker 3: character is like.

770
00:41:38,680 --> 00:41:39,600
Speaker 4: I'm gonna go for it.

771
00:41:39,680 --> 00:41:41,360
Speaker 3: I'm gonna just try to get her to dance with me,

772
00:41:41,440 --> 00:41:44,600
Speaker 3: and we're all like, shut it down, shut it down now.

773
00:41:48,160 --> 00:41:53,720
Speaker 1: Shit, so smart I made that scene encapsulates so much

774
00:41:53,800 --> 00:41:55,960
Speaker 1: of who each of those characters are as well. It

775
00:41:56,080 --> 00:41:58,680
Speaker 1: just like it was such a beautiful, brilliant way to

776
00:41:58,800 --> 00:42:01,160
Speaker 1: start this off, because you're right, there was so many

777
00:42:01,280 --> 00:42:05,319
Speaker 1: cringe worthy moments to prepare us for all of the cringe.

778
00:42:05,040 --> 00:42:07,960
Speaker 2: Worthy moments to come. First and foremost.

779
00:42:08,280 --> 00:42:11,840
Speaker 1: Barbara takes such great joy in her friendship with Sheba

780
00:42:12,960 --> 00:42:18,880
Speaker 1: at school, and she kind of becomes a little Macavelian

781
00:42:19,560 --> 00:42:27,080
Speaker 1: when she discovers that Sheba and Connelly, the student that

782
00:42:27,080 --> 00:42:30,960
Speaker 1: she was reprimanding, in the hallway, they're having a holiday play,

783
00:42:31,840 --> 00:42:35,680
Speaker 1: and she goes looking for Sheba because she saved her

784
00:42:35,680 --> 00:42:39,719
Speaker 1: a seat, and when she finds Sheba in her art room,

785
00:42:40,880 --> 00:42:45,120
Speaker 1: Sheba has been she catches her in the act of

786
00:42:45,440 --> 00:42:52,640
Speaker 1: giving Connolly oral sex, and Sheba doesn't see her, but

787
00:42:52,760 --> 00:42:57,879
Speaker 1: she absolutely sees them. And this is something that we've

788
00:42:57,920 --> 00:43:00,239
Speaker 1: talked about a little bit on the podcast before, talked

789
00:43:00,280 --> 00:43:02,480
Speaker 1: about big and you know some you know, some of

790
00:43:02,520 --> 00:43:08,240
Speaker 1: the body change films, but there's something very strange about

791
00:43:08,280 --> 00:43:11,840
Speaker 1: how sex with a miner when it's a boy on

792
00:43:12,040 --> 00:43:16,160
Speaker 1: film is never presented in the same way as it

793
00:43:16,239 --> 00:43:19,400
Speaker 1: is when it's a girl. And the thing that I

794
00:43:19,480 --> 00:43:24,240
Speaker 1: actually appreciated about this movie is they get into later,

795
00:43:25,320 --> 00:43:30,200
Speaker 1: they get into why this is so wrong. And it's

796
00:43:30,239 --> 00:43:32,960
Speaker 1: weird that I appreciated that because I didn't expect it.

797
00:43:33,040 --> 00:43:33,799
Speaker 2: I expected they.

798
00:43:33,680 --> 00:43:35,600
Speaker 1: Would just brush it under the rug like every other

799
00:43:35,640 --> 00:43:41,800
Speaker 1: fucking movie does. But there's something so distinctly wrong with Sheiba,

800
00:43:42,040 --> 00:43:44,880
Speaker 1: who is a married, older woman, teacher, woman in a

801
00:43:44,920 --> 00:43:49,600
Speaker 1: position of power, assaulting this young boy. Yeah, and it's

802
00:43:49,640 --> 00:43:53,279
Speaker 1: presented from every side, which again I appreciated because it

803
00:43:53,320 --> 00:43:56,680
Speaker 1: was more thoughtful than most movies about this. Most movies

804
00:43:57,480 --> 00:44:00,000
Speaker 1: don't take the time to show how this kind of

805
00:44:00,160 --> 00:44:04,080
Speaker 1: relationship could evolve but then also what is so distinctly

806
00:44:04,320 --> 00:44:07,400
Speaker 1: wrong with it? So I appreciated that they did that,

807
00:44:07,440 --> 00:44:09,600
Speaker 1: But this is the first all hell breaks loose moment

808
00:44:09,760 --> 00:44:17,120
Speaker 1: is when Barbara discovers that this has happened and talk

809
00:44:17,120 --> 00:44:22,399
Speaker 1: about what is she gonna do? Like she has all

810
00:44:22,440 --> 00:44:26,440
Speaker 1: of this information. And what's weird too, is that you

811
00:44:26,440 --> 00:44:29,000
Speaker 1: can see it breaking Barbara down on several levels. It

812
00:44:29,000 --> 00:44:32,360
Speaker 1: breaks her down professionally, and this is all happening in

813
00:44:32,400 --> 00:44:35,360
Speaker 1: the span of which is a couple of frames. It

814
00:44:35,400 --> 00:44:38,719
Speaker 1: breaks her down professionally because this is so decidedly not

815
00:44:38,800 --> 00:44:41,200
Speaker 1: what you do. Your job is with children, You do

816
00:44:41,280 --> 00:44:44,840
Speaker 1: not have sex with children. It breaks her down personally

817
00:44:44,920 --> 00:44:48,359
Speaker 1: because she has become so delusional about how close she

818
00:44:48,480 --> 00:44:50,640
Speaker 1: is with Sheba. So the fact that Sheiba could keep

819
00:44:50,640 --> 00:44:55,000
Speaker 1: a secret like this from her is devastating. And then

820
00:44:55,040 --> 00:45:01,200
Speaker 1: it breaks her down emotionally because she truly has she

821
00:45:01,320 --> 00:45:06,360
Speaker 1: has no space for understanding how if a sexual relationship

822
00:45:06,440 --> 00:45:08,759
Speaker 1: was going to evolve with someone, how it wasn't with her,

823
00:45:09,600 --> 00:45:11,600
Speaker 1: which we will also get into in a minute.

824
00:45:11,719 --> 00:45:14,040
Speaker 2: Yeah, yeah, So it.

825
00:45:14,000 --> 00:45:15,920
Speaker 1: Breaks her down on all these levels, which she becomes

826
00:45:15,960 --> 00:45:20,120
Speaker 1: again like so Macadelian because she does confess to Sheba

827
00:45:20,160 --> 00:45:24,040
Speaker 1: that she understands that she has caught her essentially, and

828
00:45:24,760 --> 00:45:28,440
Speaker 1: she's so happy when Sheba's like confides in her and

829
00:45:28,480 --> 00:45:31,319
Speaker 1: needs her, and she tells her she'll end it, and

830
00:45:31,480 --> 00:45:35,520
Speaker 1: she understands that what she's done is wrong, but then

831
00:45:35,560 --> 00:45:39,560
Speaker 1: she doesn't end it. And when Barbara finds out that

832
00:45:39,600 --> 00:45:42,879
Speaker 1: she hasn't ended it, that's when all hell breaks loose

833
00:45:42,920 --> 00:45:47,399
Speaker 1: for a second time. Yes, oh my god, because there's

834
00:45:47,440 --> 00:45:50,439
Speaker 1: another teacher that comes over to Barbara's house. Her cat

835
00:45:50,480 --> 00:45:54,600
Speaker 1: has just died, and I think that it's the combination,

836
00:45:54,680 --> 00:45:56,480
Speaker 1: the one two punch of she finds out that Sheba

837
00:45:56,520 --> 00:45:59,719
Speaker 1: hasn't ended the relationship, but then she also needs she

838
00:46:00,160 --> 00:46:03,200
Speaker 1: and in her deepest time of need, Sheiba cannot.

839
00:46:02,880 --> 00:46:04,200
Speaker 2: Be with her. She's with her family.

840
00:46:04,200 --> 00:46:06,279
Speaker 1: They're going to like a holiday play for her son,

841
00:46:07,040 --> 00:46:10,439
Speaker 1: and he's really excited about it. And so the fact

842
00:46:10,440 --> 00:46:13,560
Speaker 1: that her cat has died is not taking a priority

843
00:46:13,600 --> 00:46:16,680
Speaker 1: for Sheba. And Barbara is someone who's like, my whole

844
00:46:16,719 --> 00:46:19,920
Speaker 1: life is prioritizing you, So why can't you prioritize me?

845
00:46:20,880 --> 00:46:22,800
Speaker 2: And she doesn't. She can't in that moment.

846
00:46:23,360 --> 00:46:28,560
Speaker 1: So when this other teacher comes over, Brian, and he's like, oh,

847
00:46:28,600 --> 00:46:32,719
Speaker 1: I'm kind of in love with Sheba. Barbara cut just

848
00:46:32,840 --> 00:46:39,200
Speaker 1: slightly lets it slip that Sheiba likes younger men, much younger,

849
00:46:40,000 --> 00:46:40,520
Speaker 1: and that's.

850
00:46:40,360 --> 00:46:43,840
Speaker 2: All Brian needs to set forth.

851
00:46:44,800 --> 00:46:48,680
Speaker 1: All hell breaking loose for the third and final well

852
00:46:48,680 --> 00:46:50,839
Speaker 1: not even findal but the third time.

853
00:46:52,320 --> 00:46:53,839
Speaker 2: Because suddenly it all comes out.

854
00:46:53,960 --> 00:46:58,520
Speaker 1: Yeah, and the Headmaster reveals, you know, the head Master's

855
00:46:58,520 --> 00:47:00,480
Speaker 1: talking to them, and then Barbara kind of has a

856
00:47:01,480 --> 00:47:03,000
Speaker 1: has a part in this, and there's a point where

857
00:47:03,000 --> 00:47:05,200
Speaker 1: Barbara thinks she might be implicated in the crime because

858
00:47:05,239 --> 00:47:08,240
Speaker 1: she knew about it. The scene that I was talking

859
00:47:08,239 --> 00:47:12,520
Speaker 1: about that earlier that I love is that when Bill Nigh,

860
00:47:12,800 --> 00:47:17,719
Speaker 1: her husband confronts her because now that this news has

861
00:47:17,760 --> 00:47:23,600
Speaker 1: come out, everybody knows, so her children know, her husband knows,

862
00:47:24,160 --> 00:47:26,640
Speaker 1: everybody knows, and he is the one to say to

863
00:47:26,680 --> 00:47:29,320
Speaker 1: her because she you're watching her try to rationalize it.

864
00:47:29,360 --> 00:47:31,520
Speaker 1: And this is someone who's had like like she's had

865
00:47:31,520 --> 00:47:34,040
Speaker 1: her like Susie and the Banshee's punk rock pass and

866
00:47:34,080 --> 00:47:37,080
Speaker 1: she's always kind of been allowed to just do whatever

867
00:47:37,120 --> 00:47:41,719
Speaker 1: she felt she should do from yes, you know, kind

868
00:47:41,719 --> 00:47:45,080
Speaker 1: of a bohemian point of view. And they're having this

869
00:47:45,239 --> 00:47:48,920
Speaker 1: argument and the way she tries to rationalize it is

870
00:47:49,440 --> 00:47:52,799
Speaker 1: out of control. And he's the one that points that

871
00:47:52,880 --> 00:47:56,320
Speaker 1: out because she says to him, well, you were my teacher.

872
00:47:56,440 --> 00:47:59,120
Speaker 1: We met when you were my teacher. I was your student.

873
00:47:59,400 --> 00:48:02,960
Speaker 1: And he's like, we were in college, you were an adult.

874
00:48:03,080 --> 00:48:06,520
Speaker 1: This is a fifteen year old boy. And she's like,

875
00:48:06,880 --> 00:48:08,840
Speaker 1: it's not like he's innocent, and he's like, of course

876
00:48:08,880 --> 00:48:09,560
Speaker 1: he's innocent.

877
00:48:09,640 --> 00:48:13,520
Speaker 2: He's fifteen years old, and so again he is.

878
00:48:14,320 --> 00:48:17,640
Speaker 1: Him trying to rationalize with her is the wildest scene

879
00:48:18,560 --> 00:48:22,960
Speaker 1: in this film. Yes, and it's so it's acted so perfectly,

880
00:48:23,480 --> 00:48:27,960
Speaker 1: but it's so intense to watch them going back and

881
00:48:28,000 --> 00:48:30,440
Speaker 1: forth and him being the voice of reason and saying like,

882
00:48:30,520 --> 00:48:33,680
Speaker 1: not only have you fucked our family and fucked our relationship,

883
00:48:34,440 --> 00:48:36,719
Speaker 1: but you've ruined the life of this boy. Whether you

884
00:48:36,760 --> 00:48:38,719
Speaker 1: know it or not, or willing to admit it or not,

885
00:48:39,880 --> 00:48:42,160
Speaker 1: this is a fucked up situation. And I love that

886
00:48:42,200 --> 00:48:45,560
Speaker 1: they actually take the time to have that scene and

887
00:48:45,600 --> 00:48:46,160
Speaker 1: point that out.

888
00:48:46,360 --> 00:48:50,680
Speaker 3: Yeah, he Bill Nye in this scene was unbelievable, Like

889
00:48:50,760 --> 00:48:54,759
Speaker 3: he's so angry and he's like spitting and I was like,

890
00:48:55,640 --> 00:48:59,640
Speaker 3: oh shit, I mean, this is like such an intense

891
00:48:59,719 --> 00:49:04,160
Speaker 3: cond to have you know, and there.

892
00:49:04,320 --> 00:49:08,320
Speaker 4: I mean, it really drove home just how well acted

893
00:49:09,160 --> 00:49:09,920
Speaker 4: this movie is.

894
00:49:09,960 --> 00:49:13,840
Speaker 3: Like all of the principal you know characters, I'm just like, wow,

895
00:49:13,920 --> 00:49:17,680
Speaker 3: these are just like such talented, talented actors to be

896
00:49:17,840 --> 00:49:21,480
Speaker 3: in the moment like this that they're in and being

897
00:49:21,520 --> 00:49:22,239
Speaker 3: this emotional.

898
00:49:22,520 --> 00:49:26,319
Speaker 1: You know, Yes, everyone was emoting on this on this

899
00:49:27,080 --> 00:49:30,879
Speaker 1: screen and in this film. And it's not even that's

900
00:49:30,920 --> 00:49:32,600
Speaker 1: not even the end of the movie. So you have

901
00:49:32,680 --> 00:49:35,120
Speaker 1: to I won't spoil the rest. I won't spoil the rest,

902
00:49:35,120 --> 00:49:37,120
Speaker 1: but you have to keep watching to figure out who

903
00:49:37,160 --> 00:49:41,120
Speaker 1: is Jennifer Dodd, How does she relate to Barbara, what

904
00:49:41,280 --> 00:49:44,520
Speaker 1: happens to Sheba, what happens to her family, what happens

905
00:49:44,560 --> 00:49:49,880
Speaker 1: to Barbara. There is a point where Sheba, who feels

906
00:49:49,920 --> 00:49:52,920
Speaker 1: like she has nowhere to go, moves in with Barbara.

907
00:49:54,200 --> 00:49:56,879
Speaker 1: And like I said, I will not spoil this movie

908
00:49:56,920 --> 00:49:59,160
Speaker 1: because this is a movie that must be watched. But

909
00:49:59,719 --> 00:50:02,680
Speaker 1: from the perspective of that one friend, I think that

910
00:50:02,719 --> 00:50:06,520
Speaker 1: you're absolutely correct that the intensity of this friendship is

911
00:50:06,560 --> 00:50:09,600
Speaker 1: what immediately made me think of this film, but also

912
00:50:10,200 --> 00:50:15,240
Speaker 1: the vindictiveness of when and that happens at any age

913
00:50:15,400 --> 00:50:19,200
Speaker 1: adult teen, It happens across the board when you are

914
00:50:19,239 --> 00:50:22,440
Speaker 1: a friend who has felt slighted and you have no

915
00:50:22,520 --> 00:50:26,880
Speaker 1: way to communicate that to the person who has slighted you.

916
00:50:27,120 --> 00:50:30,560
Speaker 2: Yeah, what do you do? Do you shut down? Do

917
00:50:30,640 --> 00:50:33,080
Speaker 2: you fight back? What do you do?

918
00:50:33,719 --> 00:50:36,520
Speaker 1: And this is just a sterling example to me of

919
00:50:36,560 --> 00:50:42,600
Speaker 1: how sometimes the intensity of friendship it's not it's not

920
00:50:42,760 --> 00:50:45,319
Speaker 1: really the best way to have a friendship, and it's

921
00:50:45,320 --> 00:50:47,600
Speaker 1: not the most welcome way to have a friendship, especially

922
00:50:47,640 --> 00:50:48,560
Speaker 1: if it's one sided.

923
00:50:49,280 --> 00:50:50,720
Speaker 4: Yeah.

924
00:50:50,760 --> 00:50:53,600
Speaker 3: The one thing that I think unites are both of

925
00:50:53,600 --> 00:50:55,200
Speaker 3: our movie is I'll talk about it when I get

926
00:50:55,200 --> 00:51:00,640
Speaker 3: to my movie too, is this idea of unrequited love, right,

927
00:51:01,680 --> 00:51:08,360
Speaker 3: And I think Barbara has obviously experienced this many times

928
00:51:08,400 --> 00:51:15,279
Speaker 3: in her life, right, Yes, she's found that, you know,

929
00:51:16,000 --> 00:51:19,360
Speaker 3: and you know this, this doesn't get discussed in the film,

930
00:51:19,520 --> 00:51:21,880
Speaker 3: and I'm just you know, I'm now I'm just riffing

931
00:51:21,880 --> 00:51:25,000
Speaker 3: on a character that I don't know this information obviously

932
00:51:25,040 --> 00:51:27,520
Speaker 3: through the film. But it doesn't seem that she had

933
00:51:27,600 --> 00:51:30,680
Speaker 3: much of a dating life, you know. It seemed that

934
00:51:30,719 --> 00:51:34,200
Speaker 3: maybe she was even closeted, you know, for for a

935
00:51:34,239 --> 00:51:37,120
Speaker 3: long time, maybe even still, and that she found that

936
00:51:38,239 --> 00:51:42,320
Speaker 3: the only way that she felt like she could find connection,

937
00:51:43,040 --> 00:51:48,680
Speaker 3: like romantic connection is by having these intense friendships with

938
00:51:49,280 --> 00:51:54,400
Speaker 3: the women that she works with, right, which is a

939
00:51:54,719 --> 00:51:57,880
Speaker 3: it's a problematic well to get water from. I'm just

940
00:51:57,880 --> 00:51:58,959
Speaker 3: gonna say that right now.

941
00:51:59,560 --> 00:52:05,960
Speaker 1: Who don't shit, I want that to be my next attoo.

942
00:52:06,080 --> 00:52:08,480
Speaker 2: That is a problematic will to draw on her.

943
00:52:09,840 --> 00:52:12,040
Speaker 3: Don't ship where you eat is the other way to

944
00:52:12,080 --> 00:52:12,440
Speaker 3: say it.

945
00:52:12,840 --> 00:52:14,080
Speaker 4: But it's also like.

946
00:52:15,680 --> 00:52:19,800
Speaker 3: To me, it that was the tension of this movie

947
00:52:19,800 --> 00:52:23,600
Speaker 3: for me, was knowing that about her character and and

948
00:52:24,480 --> 00:52:30,200
Speaker 3: because there's this back and forth about Barbara where I

949
00:52:30,600 --> 00:52:36,719
Speaker 3: was like, is she morally offended by what's happening with

950
00:52:36,800 --> 00:52:42,759
Speaker 3: Sheba and this boy, or is she upset that she

951
00:52:42,760 --> 00:52:46,319
Speaker 3: Sheba is giving her attention to anybody else but her?

952
00:52:46,840 --> 00:52:47,640
Speaker 2: Do you know what I mean?

953
00:52:48,080 --> 00:52:50,120
Speaker 3: And I think and I think that that's where she

954
00:52:50,160 --> 00:52:53,480
Speaker 3: gets her leverage from in the film, which is basically like, well,

955
00:52:53,520 --> 00:52:56,879
Speaker 3: I know you're doing something illegal. I have this on you,

956
00:52:56,960 --> 00:52:59,680
Speaker 3: and I'm gonna use it.

957
00:52:59,000 --> 00:53:00,600
Speaker 4: So that you'll all always have.

958
00:53:00,640 --> 00:53:05,000
Speaker 3: To need me, and I can have this fantasy of

959
00:53:05,080 --> 00:53:07,520
Speaker 3: us being like in a Boston marriage or whatever.

960
00:53:07,560 --> 00:53:08,879
Speaker 4: She was thinking, you know what I mean?

961
00:53:09,160 --> 00:53:13,799
Speaker 3: And it's and it's it's very intense and it's very

962
00:53:13,880 --> 00:53:16,200
Speaker 3: like like that to me was the movie. That part

963
00:53:16,200 --> 00:53:17,799
Speaker 3: of the movie that I was just like, holy shit,

964
00:53:17,960 --> 00:53:19,040
Speaker 3: like where is this gonna go?

965
00:53:19,680 --> 00:53:19,880
Speaker 2: You know?

966
00:53:20,560 --> 00:53:24,160
Speaker 1: Yeah, yeah, you hit it spot on, like what exactly?

967
00:53:24,840 --> 00:53:27,640
Speaker 1: And she keeps it real wily and loose, So you're

968
00:53:27,680 --> 00:53:31,399
Speaker 1: not quite sure until kind of the very end how

969
00:53:31,400 --> 00:53:33,560
Speaker 1: to answer that question like what is making her the

970
00:53:33,560 --> 00:53:37,080
Speaker 1: most upset about this? Yes, and you do get kind

971
00:53:37,080 --> 00:53:40,279
Speaker 1: of an answer for it. But there's something that's what

972
00:53:40,360 --> 00:53:43,279
Speaker 1: becomes sinister to me about those journals in the end,

973
00:53:43,520 --> 00:53:46,719
Speaker 1: is you realize she has all these years where she

974
00:53:46,800 --> 00:53:50,200
Speaker 1: has written about and lived this fantasy life through these friendships,

975
00:53:50,200 --> 00:53:53,920
Speaker 1: but also how she recounts the stories to herself in

976
00:53:53,960 --> 00:53:57,239
Speaker 1: her journals, and that story is a fantasy.

977
00:53:57,400 --> 00:53:58,640
Speaker 2: Yes, yes, And so.

978
00:53:58,640 --> 00:54:01,920
Speaker 1: When you're looking at all these years of her living

979
00:54:02,160 --> 00:54:04,920
Speaker 1: in her head and in these relationships in this way,

980
00:54:04,960 --> 00:54:07,880
Speaker 1: you're like, how often has this happened to her? And

981
00:54:07,920 --> 00:54:10,200
Speaker 1: it has just become a habit and a pattern for her.

982
00:54:11,400 --> 00:54:12,160
Speaker 1: Very disturbing.

983
00:54:12,840 --> 00:54:18,120
Speaker 3: Yeah, And there were times where I felt very much

984
00:54:18,160 --> 00:54:21,839
Speaker 3: for her character because you know, in spite of all

985
00:54:21,880 --> 00:54:26,200
Speaker 3: the of the sinister aspects of what she was doing

986
00:54:26,440 --> 00:54:30,520
Speaker 3: and manipulating people. There were some like moments where she

987
00:54:30,800 --> 00:54:35,960
Speaker 3: did talk about her profound loneliness that I did feel

988
00:54:36,000 --> 00:54:39,200
Speaker 3: for her character, like when she was basically in the

989
00:54:39,239 --> 00:54:43,160
Speaker 3: bathtub talking about like sha but doesn't actually know loneliness

990
00:54:43,200 --> 00:54:46,239
Speaker 3: on the level that I know it because you know, ugh,

991
00:54:47,080 --> 00:54:50,719
Speaker 3: And like I just was again like cut open.

992
00:54:51,360 --> 00:54:53,200
Speaker 4: By all of this stuff. And I mean that was

993
00:54:53,239 --> 00:54:54,440
Speaker 4: like part of the movie for me.

994
00:54:54,800 --> 00:54:57,080
Speaker 3: Why I loved it so much is that I'm like, Wow,

995
00:54:57,200 --> 00:55:02,760
Speaker 3: this is like really intense, a soal processing that's happening

996
00:55:02,800 --> 00:55:05,320
Speaker 3: within this character in this movie. And it's like it's

997
00:55:05,560 --> 00:55:10,600
Speaker 3: you know in some movies where where that there's an

998
00:55:10,640 --> 00:55:13,400
Speaker 3: attempt at that and it doesn't go enough.

999
00:55:14,000 --> 00:55:16,880
Speaker 2: Sometimes for me, yeah, doesn't doesn't.

1000
00:55:16,640 --> 00:55:17,319
Speaker 4: Go down enough.

1001
00:55:17,440 --> 00:55:20,439
Speaker 3: It really hits in this movie, and I, oh, yeah,

1002
00:55:20,560 --> 00:55:23,960
Speaker 3: I was like there were times where I felt legitimately

1003
00:55:24,080 --> 00:55:26,080
Speaker 3: sorry for Barbara, and then there were other times where

1004
00:55:26,080 --> 00:55:29,040
Speaker 3: I'm like, baby girl, what is you doing type of stuff?

1005
00:55:32,239 --> 00:55:32,680
Speaker 2: Barbara.

1006
00:55:32,680 --> 00:55:34,880
Speaker 1: This is not the way Barbara, This is not the

1007
00:55:34,920 --> 00:55:38,320
Speaker 1: way we know this, Barbara, what are you doing?

1008
00:55:39,320 --> 00:55:40,040
Speaker 4: Oh my god?

1009
00:55:40,160 --> 00:55:41,040
Speaker 2: Oh yeah, this is this is.

1010
00:55:41,040 --> 00:55:43,080
Speaker 1: A real talk back to the screen kind of movie

1011
00:55:43,160 --> 00:55:46,120
Speaker 1: too at some parts which I love. Yeah, but yeah,

1012
00:55:46,160 --> 00:55:48,080
Speaker 1: I think everyone should watch it.

1013
00:55:48,080 --> 00:55:50,799
Speaker 2: It is It's It's again.

1014
00:55:50,840 --> 00:55:52,880
Speaker 1: It's a movie that will stay with you because it

1015
00:55:52,960 --> 00:55:59,360
Speaker 1: is so masterfully crafted, masterfully acted, and beautifully presented in

1016
00:55:59,480 --> 00:56:03,920
Speaker 1: all of its complications that I just I think it's

1017
00:56:03,920 --> 00:56:06,920
Speaker 1: a stunning film. It's a really sterling example of that

1018
00:56:06,960 --> 00:56:09,480
Speaker 1: one friend. But it is a stunning film.

1019
00:56:09,560 --> 00:56:10,960
Speaker 4: Yes, I mean it is.

1020
00:56:11,280 --> 00:56:16,440
Speaker 3: This is Dame Judy's movie to shine like she her character,

1021
00:56:16,680 --> 00:56:19,160
Speaker 3: her acting, like everything about it.

1022
00:56:19,200 --> 00:56:20,240
Speaker 4: I mean this is her.

1023
00:56:21,000 --> 00:56:23,080
Speaker 3: I mean, I don't know if I ever saw a

1024
00:56:23,120 --> 00:56:26,719
Speaker 3: movie that her performance has affected me as much as

1025
00:56:26,760 --> 00:56:30,759
Speaker 3: this movie, to be honest, And I know I say

1026
00:56:30,760 --> 00:56:35,440
Speaker 3: this literally every fucking time you bring a movie to

1027
00:56:35,480 --> 00:56:41,720
Speaker 3: the podcast that I haven't seen. I completely thoroughly enjoyed

1028
00:56:41,760 --> 00:56:44,879
Speaker 3: this film, like I loved it. I couldn't stop thinking

1029
00:56:44,880 --> 00:56:48,440
Speaker 3: about it. I'm thinking about it today, probably for the

1030
00:56:48,440 --> 00:56:50,960
Speaker 3: next couple weeks. I did not get good sleep last

1031
00:56:51,040 --> 00:56:55,799
Speaker 3: night because of this movie. I cannot believe I hadn't

1032
00:56:55,800 --> 00:56:59,720
Speaker 3: seen it. And again, for shame, I am the idiot?

1033
00:57:00,080 --> 00:57:01,280
Speaker 3: Am I the asshole?

1034
00:57:01,480 --> 00:57:01,719
Speaker 4: Yes?

1035
00:57:01,800 --> 00:57:05,080
Speaker 3: I am for not having seen this so ah, thank

1036
00:57:05,120 --> 00:57:09,279
Speaker 3: you ah, and its true.

1037
00:57:08,960 --> 00:57:13,319
Speaker 1: Pleasure, the perfectly and it's my true pleasure. I'm so

1038
00:57:13,440 --> 00:57:15,279
Speaker 1: glad that you got to see it. I hope our

1039
00:57:15,360 --> 00:57:18,760
Speaker 1: listeners get to will also avail themselves of watching it.

1040
00:57:19,480 --> 00:57:19,960
Speaker 2: But it does.

1041
00:57:20,000 --> 00:57:22,320
Speaker 1: It fits the theme. And you're speaking of our theme.

1042
00:57:22,360 --> 00:57:25,880
Speaker 1: Your film kept me awake at night for so many

1043
00:57:25,920 --> 00:57:31,040
Speaker 1: other reasons that I thought it would, and I can't

1044
00:57:31,040 --> 00:57:32,120
Speaker 1: wait to talk about it.

1045
00:57:32,160 --> 00:57:37,800
Speaker 3: Well, speaking of emotional intensity, we got another one. We

1046
00:57:37,920 --> 00:57:47,280
Speaker 3: got another one. So my film for the theme that

1047
00:57:47,520 --> 00:57:52,480
Speaker 3: one friend is a movie from two thousand. It was

1048
00:57:52,560 --> 00:57:57,560
Speaker 3: written by Mike White, directed by Miguel Arteta, and it's

1049
00:57:57,560 --> 00:58:00,440
Speaker 3: called Chuck and Book went.

1050
00:58:00,320 --> 00:58:02,880
Speaker 2: By Chuck and I was Buck. So we were Chuck

1051
00:58:02,920 --> 00:58:05,520
Speaker 2: and Buck, Chuck and Buck.

1052
00:58:05,600 --> 00:58:06,560
Speaker 1: It's my best friend.

1053
00:58:06,800 --> 00:58:09,720
Speaker 3: Okay, let me let me just say this, will I

1054
00:58:09,760 --> 00:58:13,160
Speaker 3: will say this before we get into the the nutmeat.

1055
00:58:13,200 --> 00:58:15,080
Speaker 4: Of this film.

1056
00:58:15,600 --> 00:58:19,120
Speaker 3: So right off the bat, I saw this movie online

1057
00:58:19,840 --> 00:58:26,200
Speaker 3: on one of the world's biggest platforms, okay, and it

1058
00:58:26,280 --> 00:58:29,680
Speaker 3: was an SD It was a standard deaf and the

1059
00:58:29,760 --> 00:58:35,360
Speaker 3: minute I turned it on, I went ugh, God, like ah,

1060
00:58:36,520 --> 00:58:38,560
Speaker 3: it looked like it did when I saw it twenty

1061
00:58:38,640 --> 00:58:41,280
Speaker 3: years ago. I mean, it was just like old quality.

1062
00:58:41,440 --> 00:58:43,640
Speaker 3: I don't know how you saw it, but I it

1063
00:58:43,800 --> 00:58:44,600
Speaker 3: just goes back.

1064
00:58:44,480 --> 00:58:46,240
Speaker 2: Oh the same way. Yes, it goes back to this

1065
00:58:46,680 --> 00:58:47,520
Speaker 2: fuzzy as fun.

1066
00:58:47,560 --> 00:58:48,040
Speaker 4: Oh my god.

1067
00:58:48,080 --> 00:58:51,520
Speaker 3: I was like, this is an actual indie movie that

1068
00:58:51,640 --> 00:58:55,000
Speaker 3: it has not changed one bit, And it goes back

1069
00:58:55,000 --> 00:58:58,120
Speaker 3: to that conversation we had with Brian Soer, like you

1070
00:58:58,200 --> 00:59:01,760
Speaker 3: know about when we talked to him about physical media.

1071
00:59:02,320 --> 00:59:03,400
Speaker 4: I mean, here's the thing.

1072
00:59:04,360 --> 00:59:08,440
Speaker 3: These indie movies from like the nineties and the early

1073
00:59:08,480 --> 00:59:11,400
Speaker 3: two thousands, I think are painfully underserved.

1074
00:59:11,560 --> 00:59:14,280
Speaker 4: And I don't know why that is.

1075
00:59:14,320 --> 00:59:17,919
Speaker 3: I think it's just that we just haven't played ketch

1076
00:59:18,000 --> 00:59:21,320
Speaker 3: up on all of the restorations from this era. But

1077
00:59:21,400 --> 00:59:24,280
Speaker 3: I find that indie movies, especially from the nineties and

1078
00:59:24,320 --> 00:59:25,600
Speaker 3: the two thousands, are like.

1079
00:59:25,920 --> 00:59:27,320
Speaker 4: They're still looking like shit.

1080
00:59:27,760 --> 00:59:32,480
Speaker 3: And all of this is to say, please, someone out

1081
00:59:32,480 --> 00:59:35,120
Speaker 3: there with the money and the means restore this movie

1082
00:59:35,160 --> 00:59:37,480
Speaker 3: asap and put it out of blue way so I

1083
00:59:37,480 --> 00:59:39,240
Speaker 3: can sleep at night.

1084
00:59:39,320 --> 00:59:46,320
Speaker 5: Because I was like, wow, like you know, I was like,

1085
00:59:46,400 --> 00:59:48,960
Speaker 5: this is a like, yeah, the quality was tough to watch.

1086
00:59:49,040 --> 00:59:51,120
Speaker 2: Yeah, yeah, it makes.

1087
00:59:50,960 --> 00:59:53,720
Speaker 1: It tough to watch because it instantly puts you off,

1088
00:59:53,800 --> 00:59:56,480
Speaker 1: It instantly puts you in a very agitated state.

1089
00:59:56,640 --> 00:59:59,320
Speaker 3: Yes, and like, I'm not gonna lie. First five minutes

1090
00:59:59,320 --> 01:00:01,720
Speaker 3: I was like, Oh, this charming. It's like breading a

1091
01:00:01,840 --> 01:00:04,720
Speaker 3: video from the video store. But then I was like, oh,

1092
01:00:04,840 --> 01:00:07,240
Speaker 3: this movie. I need this movie to be in HD.

1093
01:00:07,880 --> 01:00:10,200
Speaker 3: Like come on, this is this is not nothing. This

1094
01:00:10,320 --> 01:00:12,840
Speaker 3: is a movie that people still talk about. And Mike

1095
01:00:12,880 --> 01:00:15,320
Speaker 3: White's involved, and all these other famous people are involved,

1096
01:00:15,480 --> 01:00:20,400
Speaker 3: the whites Is are involved. Come on, put it something restore, right, But.

1097
01:00:20,480 --> 01:00:23,240
Speaker 1: The top two characters in this film alone, with their

1098
01:00:23,280 --> 01:00:25,080
Speaker 1: power and wealth, could restore this film.

1099
01:00:25,160 --> 01:00:29,240
Speaker 3: But like I said, it's like, uh, it is that

1100
01:00:29,600 --> 01:00:31,560
Speaker 3: for a lot of the movies from this era.

1101
01:00:31,680 --> 01:00:32,480
Speaker 4: So I'll just say that.

1102
01:00:32,520 --> 01:00:37,160
Speaker 3: But anyway, that's just my plea. But to talk about

1103
01:00:37,200 --> 01:00:39,439
Speaker 3: Mike White a little bit, I mean we talked about

1104
01:00:39,480 --> 01:00:41,640
Speaker 3: him briefly when I think it was when we were

1105
01:00:41,640 --> 01:00:43,360
Speaker 3: both watching The White Lotus.

1106
01:00:43,280 --> 01:00:44,560
Speaker 4: Right, I don't know when that was.

1107
01:00:45,640 --> 01:00:48,720
Speaker 3: Yeah, But for those unfamiliar with Mike White, I mean

1108
01:00:48,760 --> 01:00:51,720
Speaker 3: he's been writing and directing in Hollywood for at least

1109
01:00:51,800 --> 01:00:54,720
Speaker 3: the past twenty years, and you know he's done stuff

1110
01:00:54,840 --> 01:00:59,280
Speaker 3: like The School of Rock Enlightened, which we've talked about.

1111
01:01:00,000 --> 01:01:04,000
Speaker 3: I both loved it. Laura Dern on HBO canceled early.

1112
01:01:04,160 --> 01:01:07,640
Speaker 3: I was so pissed about that. And then of course

1113
01:01:07,760 --> 01:01:10,520
Speaker 3: White Lotus, which you know was a bit you know,

1114
01:01:10,640 --> 01:01:13,680
Speaker 3: came out oh what was it like six months ago

1115
01:01:13,840 --> 01:01:16,080
Speaker 3: maybe or something maybe, but it was a you know,

1116
01:01:16,600 --> 01:01:19,880
Speaker 3: a show on HBO as well. But then Mike White,

1117
01:01:19,920 --> 01:01:23,080
Speaker 3: in addition to writing, you know, he also was like

1118
01:01:23,080 --> 01:01:26,000
Speaker 3: a contestant on the amazing Race and Survivor.

1119
01:01:26,400 --> 01:01:28,440
Speaker 4: So it's kind of amazing.

1120
01:01:28,480 --> 01:01:31,120
Speaker 3: I'm like, wow, I love that he was just like

1121
01:01:31,480 --> 01:01:33,200
Speaker 3: I'm just gonna go out there and be on reality

1122
01:01:33,240 --> 01:01:33,760
Speaker 3: TV too.

1123
01:01:34,240 --> 01:01:35,000
Speaker 4: It's kind of amazing.

1124
01:01:35,240 --> 01:01:37,680
Speaker 2: It's so good. Did he do one with his dad?

1125
01:01:38,120 --> 01:01:39,720
Speaker 4: Yes, he did one with his dad.

1126
01:01:41,160 --> 01:01:45,880
Speaker 2: Like mister White's also up there being like yep, well and.

1127
01:01:45,800 --> 01:01:49,240
Speaker 3: Like you know, he's talked about this and this is information. Uh,

1128
01:01:49,600 --> 01:01:51,640
Speaker 3: this information is out there. But you know, his father

1129
01:01:51,960 --> 01:01:55,440
Speaker 3: was a deeply religious man. I think he like he

1130
01:01:55,600 --> 01:02:01,480
Speaker 3: was a writer for some very famous preacher or you know,

1131
01:02:01,560 --> 01:02:04,240
Speaker 3: like some a Jerry Folwell or like a Jim Baker type.

1132
01:02:05,360 --> 01:02:09,240
Speaker 3: But that he he came out of the closet at

1133
01:02:09,280 --> 01:02:14,440
Speaker 3: Laden Life apparently. But yeah, Mike White is bisexual, and

1134
01:02:14,480 --> 01:02:17,600
Speaker 3: so I think, you know it obviously changed the nature

1135
01:02:17,600 --> 01:02:19,720
Speaker 3: of their relationship in certain ways, but they were on

1136
01:02:19,720 --> 01:02:21,880
Speaker 3: that TV show together. So if but if you don't

1137
01:02:21,920 --> 01:02:23,960
Speaker 3: know Mike White, if you don't know sort of like

1138
01:02:24,120 --> 01:02:30,400
Speaker 3: his vibe, I would say that he typically writes stories

1139
01:02:31,200 --> 01:02:38,000
Speaker 3: that are essentially black comedies, but then also can occasionally

1140
01:02:38,080 --> 01:02:41,800
Speaker 3: veer into like the thriller zone. It's kind of like

1141
01:02:42,280 --> 01:02:47,280
Speaker 3: how headstaken me. And and I think that again, I

1142
01:02:47,280 --> 01:02:51,040
Speaker 3: think that's it's just that he writes a lot about

1143
01:02:51,360 --> 01:02:57,000
Speaker 3: psychological and personal things, like he especially about loneliness, which

1144
01:02:57,000 --> 01:03:00,600
Speaker 3: is I think what bonds our movies together in this

1145
01:03:00,680 --> 01:03:01,680
Speaker 3: way this week.

1146
01:03:01,720 --> 01:03:06,080
Speaker 1: Absolutely, and I think Enlightened he wrote after he had

1147
01:03:06,120 --> 01:03:09,439
Speaker 1: his own breakdown, And so a lot of his work

1148
01:03:09,480 --> 01:03:12,080
Speaker 1: is super autobiographical.

1149
01:03:11,400 --> 01:03:16,120
Speaker 3: Right, And I just think anybody who is writing on

1150
01:03:16,200 --> 01:03:21,800
Speaker 3: that level, who is kind of uncovering, you know, just

1151
01:03:21,960 --> 01:03:27,680
Speaker 3: these little tiny bits of like of things that happen

1152
01:03:27,800 --> 01:03:31,560
Speaker 3: in friendships and in relationships.

1153
01:03:31,000 --> 01:03:34,400
Speaker 4: That aren't cute. It's a little unsettling.

1154
01:03:34,920 --> 01:03:39,520
Speaker 3: And there's just like this extreme honesty that I personally

1155
01:03:39,720 --> 01:03:44,200
Speaker 3: kind of gravitate towards. And you know, some people are

1156
01:03:44,200 --> 01:03:46,640
Speaker 3: put off by that, no doubt about it. But you know,

1157
01:03:46,720 --> 01:03:49,760
Speaker 3: I because he is really willing to go there a

1158
01:03:49,840 --> 01:03:53,120
Speaker 3: lot of times. And you know, some people don't want

1159
01:03:53,120 --> 01:03:55,800
Speaker 3: to have their minds blown like that. I completely understand.

1160
01:03:56,320 --> 01:04:02,919
Speaker 3: I am not one of those people, obviously, because yes,

1161
01:04:03,040 --> 01:04:07,280
Speaker 3: this movie is very dark and uncomfortable at many points.

1162
01:04:08,600 --> 01:04:11,280
Speaker 3: But I had to say, after having not seen it

1163
01:04:11,320 --> 01:04:15,160
Speaker 3: in about twenty years, I have changed my mind about

1164
01:04:15,160 --> 01:04:15,840
Speaker 3: that a little bit.

1165
01:04:15,960 --> 01:04:17,600
Speaker 4: Like when I saw it twenty years ago.

1166
01:04:17,480 --> 01:04:21,120
Speaker 3: I was like, Holy fuck, this is insane. But now

1167
01:04:22,240 --> 01:04:24,480
Speaker 3: I feel like there are in this movie there are

1168
01:04:24,920 --> 01:04:29,600
Speaker 3: moments of that honesty, that really extreme honesty, and maybe

1169
01:04:30,200 --> 01:04:31,920
Speaker 3: maybe a little bit of hopefulness.

1170
01:04:32,240 --> 01:04:33,200
Speaker 4: Yeah, tbd.

1171
01:04:34,040 --> 01:04:36,880
Speaker 3: I don't know hard to say, but I think that

1172
01:04:36,920 --> 01:04:39,600
Speaker 3: when it comes to that idea that we talked about

1173
01:04:39,640 --> 01:04:44,160
Speaker 3: like that one friend, I think that in this movie

1174
01:04:44,640 --> 01:04:47,280
Speaker 3: it could certainly go both ways, if you know what

1175
01:04:47,320 --> 01:04:47,600
Speaker 3: I mean.

1176
01:04:47,920 --> 01:04:49,800
Speaker 2: Yeah, I absolutely know what you mean.

1177
01:04:49,960 --> 01:04:53,480
Speaker 1: And I think that something that both of our movies

1178
01:04:53,520 --> 01:04:57,040
Speaker 1: also have in common is that in this movie, Buck,

1179
01:04:57,160 --> 01:05:01,680
Speaker 1: this the Mike White character, is such a a stunted individual,

1180
01:05:02,120 --> 01:05:06,760
Speaker 1: and I feel like Barbara is also very stunted, And

1181
01:05:06,960 --> 01:05:10,440
Speaker 1: so there's something so strange about each of these characters.

1182
01:05:10,800 --> 01:05:14,320
Speaker 1: And in Buck's case, You're like, why is he so

1183
01:05:14,520 --> 01:05:18,320
Speaker 1: odd and out of place with his own peers and

1184
01:05:18,400 --> 01:05:20,880
Speaker 1: with his own time, and he just seems out of place.

1185
01:05:21,000 --> 01:05:23,800
Speaker 1: But you're right, there's a real hearkening back to like

1186
01:05:23,840 --> 01:05:29,200
Speaker 1: a loneliness and hopefulness that comes from being like kind

1187
01:05:29,200 --> 01:05:31,560
Speaker 1: of kept in a place where you're you're young, because

1188
01:05:31,560 --> 01:05:33,720
Speaker 1: that is, you know, to me, that's being a teenager

1189
01:05:33,840 --> 01:05:34,400
Speaker 1: summed up.

1190
01:05:34,600 --> 01:05:36,560
Speaker 2: Yeah, to a fucking tea. It's like you're lonely and

1191
01:05:36,560 --> 01:05:37,040
Speaker 2: you're hopeful.

1192
01:05:37,200 --> 01:05:42,560
Speaker 1: Yeah, Like that makes sense to me that like at

1193
01:05:42,560 --> 01:05:45,720
Speaker 1: that point of development, you know, that's where Buck still

1194
01:05:45,800 --> 01:05:47,960
Speaker 1: kind of is primarily Yeah.

1195
01:05:47,600 --> 01:05:50,800
Speaker 3: No, exactly, And you know, so here's a one sentenced

1196
01:05:50,800 --> 01:05:55,320
Speaker 3: synopsis just to kind of orient everybody. A strange and

1197
01:05:55,480 --> 01:06:00,520
Speaker 3: stunted twenty something year old man is desperately looking to

1198
01:06:00,600 --> 01:06:04,400
Speaker 3: reconnect with his closest childhood friend after the death of

1199
01:06:04,400 --> 01:06:10,920
Speaker 3: his mother. You'd okay, So Mike White stars like as

1200
01:06:11,040 --> 01:06:14,520
Speaker 3: Daniel said, Mike White stars as book. So he is

1201
01:06:14,520 --> 01:06:16,920
Speaker 3: the Buck character and playing.

1202
01:06:16,960 --> 01:06:19,480
Speaker 4: Chuck or Charlie.

1203
01:06:19,880 --> 01:06:25,720
Speaker 3: So playing Chuck slash Charlie is the director writer Chris Whites,

1204
01:06:26,320 --> 01:06:29,480
Speaker 3: who if you don't know Chris Whites, I mean alongside

1205
01:06:29,560 --> 01:06:33,360
Speaker 3: his brother Paul, who actually is also in this film

1206
01:06:33,400 --> 01:06:36,400
Speaker 3: acting in this film. They have written and directed and

1207
01:06:36,440 --> 01:06:41,680
Speaker 3: produced tons of very popular Hollywood movies. I mean they

1208
01:06:41,720 --> 01:06:45,240
Speaker 3: did American Pie, did About a Boy. They are out here,

1209
01:06:45,640 --> 01:06:49,360
Speaker 3: so you will know who they are if you look

1210
01:06:49,440 --> 01:06:54,800
Speaker 3: at their filmography. But Chris Whites plays Chuck, and at

1211
01:06:54,840 --> 01:06:58,000
Speaker 3: the beginning of this movie, you see that Chuck and

1212
01:06:58,040 --> 01:06:59,480
Speaker 3: Book were friends as children.

1213
01:06:59,760 --> 01:07:00,000
Speaker 4: Right.

1214
01:07:01,000 --> 01:07:05,320
Speaker 3: There's kind of these like flashback scenes that happen occasionally

1215
01:07:05,360 --> 01:07:07,160
Speaker 3: in the film where it's kind of like them as

1216
01:07:07,280 --> 01:07:09,800
Speaker 3: kids and sort of pictures of them and how they

1217
01:07:09,800 --> 01:07:13,520
Speaker 3: grew up together. And then you cut to the beginning,

1218
01:07:13,560 --> 01:07:17,240
Speaker 3: which is Buck, who is a grown up, you know,

1219
01:07:17,280 --> 01:07:21,000
Speaker 3: in his late twenties. He's sitting in his bedroom while

1220
01:07:21,000 --> 01:07:24,160
Speaker 3: his mother is in the living room watching TV, and

1221
01:07:24,200 --> 01:07:28,680
Speaker 3: she's coughing up alung like she is coughing her brain's

1222
01:07:28,680 --> 01:07:33,160
Speaker 3: at and you're like, okay, what's going on here? And

1223
01:07:33,760 --> 01:07:36,680
Speaker 3: you cut back to Buck in his room and he's

1224
01:07:36,760 --> 01:07:40,040
Speaker 3: just kind of got this like very kid like bedroom,

1225
01:07:40,480 --> 01:07:43,920
Speaker 3: like all of his like shit everywhere. He's got this

1226
01:07:44,040 --> 01:07:48,760
Speaker 3: like blue orb thing that has these like blow pops

1227
01:07:49,080 --> 01:07:51,240
Speaker 3: stuck in it.

1228
01:07:51,240 --> 01:07:52,800
Speaker 1: It's like the kind of thing you would see in

1229
01:07:52,840 --> 01:07:55,880
Speaker 1: an actual cand like an actual candy store display.

1230
01:07:56,800 --> 01:07:59,200
Speaker 3: Yes, it's like if you go to the Hello Kiddy

1231
01:07:59,240 --> 01:08:02,160
Speaker 3: store or something in the mall. There's like the blowpop

1232
01:08:02,360 --> 01:08:06,680
Speaker 3: thing where you're like, all the pops, all the little lollipops.

1233
01:08:06,000 --> 01:08:08,120
Speaker 4: Are stuck in it or whatever, and he's Scout.

1234
01:08:07,960 --> 01:08:10,240
Speaker 3: One and he's like eating blow pops.

1235
01:08:10,320 --> 01:08:12,640
Speaker 4: Like the entire film not Gonna Lie.

1236
01:08:12,680 --> 01:08:14,320
Speaker 3: I was like, man, I kind of want one of those,

1237
01:08:14,440 --> 01:08:19,240
Speaker 3: but also very strange, right, And there's one there's.

1238
01:08:19,080 --> 01:08:21,040
Speaker 1: A part where he's talking to some kid in the

1239
01:08:21,040 --> 01:08:24,040
Speaker 1: neighborhood and he offers him a blowpop and he's like

1240
01:08:24,240 --> 01:08:26,200
Speaker 1: the kids like, my mom's this little rot your teeth

1241
01:08:26,200 --> 01:08:27,719
Speaker 1: and he's like, I eat them all the time.

1242
01:08:27,760 --> 01:08:29,439
Speaker 2: And then he smiles and his teeth are just like

1243
01:08:29,640 --> 01:08:31,720
Speaker 2: yellow and stained.

1244
01:08:32,280 --> 01:08:36,320
Speaker 3: And oh my god, it's like when they close up

1245
01:08:36,400 --> 01:08:39,960
Speaker 3: on uh Loony Tune's character's teeth and they're like the

1246
01:08:40,000 --> 01:08:40,879
Speaker 3: broken piano.

1247
01:08:41,560 --> 01:08:43,720
Speaker 2: He is so gnarly.

1248
01:08:44,000 --> 01:08:44,840
Speaker 4: Ah.

1249
01:08:44,960 --> 01:08:47,120
Speaker 1: I was like, I did want to blow pop right

1250
01:08:47,160 --> 01:08:48,120
Speaker 1: up until that moment.

1251
01:08:48,600 --> 01:08:51,600
Speaker 4: Yes, But here's the thing, you know.

1252
01:08:51,640 --> 01:08:53,680
Speaker 3: So he's in his room and his mom's out there,

1253
01:08:53,760 --> 01:08:59,559
Speaker 3: and unfortunately she dies. She dies in the living room,

1254
01:09:00,160 --> 01:09:06,200
Speaker 3: and you know, cut to the funeral and Buck writes

1255
01:09:06,400 --> 01:09:09,160
Speaker 3: a letter to Chuck, who is out in LA.

1256
01:09:09,960 --> 01:09:11,559
Speaker 4: He's a music producer.

1257
01:09:11,760 --> 01:09:15,160
Speaker 3: He has a fiance named Carlin, and he's basically like,

1258
01:09:15,200 --> 01:09:18,400
Speaker 3: my mom died, we're having a funeral. So Chuck shows

1259
01:09:18,479 --> 01:09:21,320
Speaker 3: up at the funeral with Carlin and they haven't seen

1260
01:09:21,400 --> 01:09:27,320
Speaker 3: each other since childhood. Okay, And it's clear in this

1261
01:09:27,479 --> 01:09:32,320
Speaker 3: scene that they Chuck and Buck have not just had

1262
01:09:32,320 --> 01:09:36,200
Speaker 3: the friendship, but then they had this kind of romantic

1263
01:09:36,439 --> 01:09:38,799
Speaker 3: or sexual relationship as children.

1264
01:09:39,720 --> 01:09:40,479
Speaker 4: And you can.

1265
01:09:40,360 --> 01:09:44,360
Speaker 3: Tell that this is still very meaningful to Buck, but

1266
01:09:44,520 --> 01:09:48,880
Speaker 3: that Chuck has sort of shelved it and has moved

1267
01:09:48,920 --> 01:09:51,599
Speaker 3: on from it, evolved past it.

1268
01:09:51,720 --> 01:09:52,080
Speaker 4: Okay.

1269
01:09:52,479 --> 01:09:55,120
Speaker 3: And like I said, Chuck who now goes by Charlie,

1270
01:09:55,280 --> 01:10:00,639
Speaker 3: I will use those interchangeably. But his him and fiance

1271
01:10:01,360 --> 01:10:04,920
Speaker 3: are sensing that, you know, there's something kind of you know, obviously,

1272
01:10:04,960 --> 01:10:07,840
Speaker 3: a funeral has happened. His childhood friend's mom has passed away,

1273
01:10:08,080 --> 01:10:10,960
Speaker 3: so they're encouraging Buck to come visit them in LA,

1274
01:10:11,200 --> 01:10:15,080
Speaker 3: and eventually Buck takes him up on it and then

1275
01:10:15,200 --> 01:10:20,559
Speaker 3: does so in this very creepy way where he shows

1276
01:10:20,640 --> 01:10:24,320
Speaker 3: up to La. He checks himself into like a motel,

1277
01:10:24,720 --> 01:10:27,760
Speaker 3: and he's just got all his bedroom shit with him,

1278
01:10:27,880 --> 01:10:30,240
Speaker 3: like all of the stuff that was in his childhood bedroom,

1279
01:10:30,360 --> 01:10:35,760
Speaker 3: like the blow pop orb and dolls and record players,

1280
01:10:35,800 --> 01:10:36,959
Speaker 3: these toys.

1281
01:10:37,040 --> 01:10:39,960
Speaker 4: It's like kind of kind of weird.

1282
01:10:40,720 --> 01:10:43,720
Speaker 3: And then instead of being like, hey, Chuck, what's going on?

1283
01:10:44,040 --> 01:10:48,240
Speaker 3: You know whatever, he just starts stalking him at his job,

1284
01:10:48,400 --> 01:10:50,640
Speaker 3: finds out where he works, and then starts kind of

1285
01:10:50,680 --> 01:10:55,559
Speaker 3: hanging out outside of like the music place where Charlie

1286
01:10:55,680 --> 01:10:57,240
Speaker 3: Chuck works.

1287
01:10:57,200 --> 01:11:00,519
Speaker 1: And look, Charlie is busy discovering they might be giants,

1288
01:11:00,640 --> 01:11:02,040
Speaker 1: so he doesn't have time for it.

1289
01:11:02,680 --> 01:11:04,160
Speaker 4: Yes he has.

1290
01:11:04,880 --> 01:11:07,680
Speaker 3: Charlie is responsible for bringing they might be giants to

1291
01:11:07,800 --> 01:11:12,519
Speaker 3: the collective consciousness, as is revealed in this film.

1292
01:11:11,880 --> 01:11:13,320
Speaker 4: So thank you.

1293
01:11:14,280 --> 01:11:16,479
Speaker 3: We wouldn't know, we wouldn't know them if it hadn't

1294
01:11:16,560 --> 01:11:16,920
Speaker 3: for him.

1295
01:11:17,840 --> 01:11:19,120
Speaker 2: So that was interesting.

1296
01:11:19,240 --> 01:11:22,439
Speaker 1: I want to do an entire episode. The amp Be

1297
01:11:22,520 --> 01:11:28,799
Speaker 1: Giants is probably my favorite all time band. WHOA, when

1298
01:11:28,840 --> 01:11:30,840
Speaker 1: I think about just the music I've been listening to

1299
01:11:30,880 --> 01:11:34,240
Speaker 1: the longest and I've loved the most, the Ampi Giants

1300
01:11:34,520 --> 01:11:37,080
Speaker 1: is real high up there, and so I was delighted

1301
01:11:37,120 --> 01:11:39,640
Speaker 1: to remember that there were that Their video is in

1302
01:11:39,680 --> 01:11:41,920
Speaker 1: this film, and they kind of made that correlation. But

1303
01:11:42,000 --> 01:11:45,000
Speaker 1: I also just think that there we should do a

1304
01:11:45,000 --> 01:11:47,280
Speaker 1: compilation maybe on a bonus episode or something of like

1305
01:11:47,680 --> 01:11:50,120
Speaker 1: favorite movies with our favorite musicians and film.

1306
01:11:50,320 --> 01:11:51,120
Speaker 4: Oh definitely.

1307
01:11:52,040 --> 01:11:54,000
Speaker 3: I was a fan of Theirs two when I was

1308
01:11:54,040 --> 01:11:56,760
Speaker 3: a child. I was I won't even go into it,

1309
01:11:56,800 --> 01:12:00,640
Speaker 3: but I did a performance to istan Bulmont con Stansonople

1310
01:12:00,640 --> 01:12:03,479
Speaker 3: for my social studies class in seventh grade. Wow.

1311
01:12:04,120 --> 01:12:07,680
Speaker 4: Yeah, it was kind of a lot. And then yeah, I.

1312
01:12:07,640 --> 01:12:10,080
Speaker 3: Mean so I think a lot of people our age

1313
01:12:10,120 --> 01:12:12,120
Speaker 3: have a connection to that band. But it was funny

1314
01:12:12,160 --> 01:12:15,240
Speaker 3: because there's a part of Chuck and Buck where he's like,

1315
01:12:15,520 --> 01:12:18,080
Speaker 3: what they're They're in his office and he's playing a

1316
01:12:18,160 --> 01:12:20,519
Speaker 3: video and it's they might be Giants video and He's

1317
01:12:20,560 --> 01:12:22,559
Speaker 3: just like, oh I just signed them, and I'm.

1318
01:12:22,439 --> 01:12:25,599
Speaker 4: Like, oh, okay, thanks Charlie.

1319
01:12:25,680 --> 01:12:28,160
Speaker 2: Okay, Chuck, Yeah, thanks Charlie. Chuck.

1320
01:12:29,360 --> 01:12:33,439
Speaker 3: So, so Buck's outside of his office and he's just

1321
01:12:33,520 --> 01:12:35,920
Speaker 3: kind of like waiting for him, and he's trying, like

1322
01:12:35,960 --> 01:12:37,720
Speaker 3: he'll do this thing where he'll try to go in

1323
01:12:38,160 --> 01:12:40,479
Speaker 3: and then like right as he's like maybe gonna try

1324
01:12:40,479 --> 01:12:45,760
Speaker 3: to see him, he bails. And it's very strange and

1325
01:12:45,800 --> 01:12:47,760
Speaker 3: you're kind of like, well, what's the deal? And then

1326
01:12:48,320 --> 01:12:53,240
Speaker 3: meanwhile he notices that there's this like a local theater

1327
01:12:53,360 --> 01:12:57,800
Speaker 3: company that is across the street from this office, and

1328
01:12:59,120 --> 01:13:02,839
Speaker 3: here's the thing. He starts kind of like wandering around

1329
01:13:02,880 --> 01:13:04,240
Speaker 3: it and then eventually goes in it.

1330
01:13:05,240 --> 01:13:08,080
Speaker 4: And then this is happening for days.

1331
01:13:07,800 --> 01:13:09,280
Speaker 3: And weeks, by the way, where he's just sort of

1332
01:13:09,320 --> 01:13:13,840
Speaker 3: like outside of his office not say anything. But then

1333
01:13:13,880 --> 01:13:17,720
Speaker 3: eventually Buck shows up to this restaurant where Charlie and

1334
01:13:17,800 --> 01:13:22,599
Speaker 3: Carlin have just finished dinner, and he's like, what's up,

1335
01:13:23,320 --> 01:13:25,599
Speaker 3: you know, and they're like, what are you doing here?

1336
01:13:26,680 --> 01:13:30,320
Speaker 3: And then Buck's like, oh, I moved here to put

1337
01:13:30,360 --> 01:13:31,080
Speaker 3: on a play.

1338
01:13:31,640 --> 01:13:33,680
Speaker 2: Remember when you invited me to come and say hi

1339
01:13:33,760 --> 01:13:34,400
Speaker 2: for a weekend.

1340
01:13:34,520 --> 01:13:37,720
Speaker 1: I just leveled that up and I got a room

1341
01:13:37,720 --> 01:13:41,560
Speaker 1: and filled it with all of my toys and stoked

1342
01:13:42,120 --> 01:13:47,280
Speaker 1: Charlie for so long that I actually discovered another career.

1343
01:13:48,520 --> 01:13:51,439
Speaker 3: And they're like, oh, you moved to La to put

1344
01:13:51,479 --> 01:13:53,759
Speaker 3: on a play. We had no idea you were into place,

1345
01:13:54,400 --> 01:13:55,400
Speaker 3: we had no idea who.

1346
01:13:55,280 --> 01:13:56,040
Speaker 4: You were in town.

1347
01:13:56,439 --> 01:13:58,479
Speaker 3: And it's just like this weird moment where you're like

1348
01:13:59,320 --> 01:14:01,760
Speaker 3: this guy is Riffin. He doesn't even know what the

1349
01:14:01,800 --> 01:14:05,800
Speaker 3: fuck he's doing here, like, and he he thinks he's

1350
01:14:05,840 --> 01:14:09,400
Speaker 3: a playwright because he saw there's a theater company outside

1351
01:14:09,400 --> 01:14:10,840
Speaker 3: of his office. So he's like, I guess I'm gonna

1352
01:14:10,880 --> 01:14:12,720
Speaker 3: write a play so I can put it on in

1353
01:14:12,760 --> 01:14:14,000
Speaker 3: this playhouse.

1354
01:14:14,000 --> 01:14:18,040
Speaker 1: So he does part of that stunted nature of him though,

1355
01:14:18,040 --> 01:14:20,439
Speaker 1: where he's like, that's what children do, where they're like,

1356
01:14:20,640 --> 01:14:24,320
Speaker 1: I'm a baseball player now because I got to first base,

1357
01:14:24,360 --> 01:14:25,719
Speaker 1: and you're like, you are seven.

1358
01:14:26,280 --> 01:14:27,880
Speaker 2: This will not last, yes.

1359
01:14:28,560 --> 01:14:32,639
Speaker 3: So the wildest part is that he walks into this

1360
01:14:33,320 --> 01:14:37,160
Speaker 3: it's actually a children's theater by the way, and decides

1361
01:14:37,200 --> 01:14:40,800
Speaker 3: that he's gonna actually write a play that he scribbles

1362
01:14:40,880 --> 01:14:43,439
Speaker 3: down on like a legal pad, and then he shows

1363
01:14:43,560 --> 01:14:47,839
Speaker 3: up to the theater there and there's this house manager

1364
01:14:47,920 --> 01:14:52,920
Speaker 3: named Beverly, who was played by this fantastic actress. Her

1365
01:14:53,000 --> 01:14:58,200
Speaker 3: name is loupe On Taveros. She was a Mexican American

1366
01:14:58,640 --> 01:15:01,560
Speaker 3: character actist. I don't don't know if anybody saw Selena

1367
01:15:01,640 --> 01:15:06,240
Speaker 3: the film Selena, but she played Yolanda Saldivar, who you know,

1368
01:15:06,280 --> 01:15:09,760
Speaker 3: in real life was the woman who murdered Selena, but

1369
01:15:09,840 --> 01:15:13,920
Speaker 3: she played her in the film, right, and she is.

1370
01:15:14,560 --> 01:15:16,360
Speaker 3: She is the best part of this movie for me.

1371
01:15:16,800 --> 01:15:18,320
Speaker 2: She's so good, beautiful.

1372
01:15:19,080 --> 01:15:22,960
Speaker 3: But she's like, this random dude has showed up wanting

1373
01:15:23,000 --> 01:15:25,799
Speaker 3: to put on a play. He handed me the play

1374
01:15:25,960 --> 01:15:29,360
Speaker 3: on a bunch of scrap pieces of paper and then

1375
01:15:29,400 --> 01:15:31,400
Speaker 3: she's like, well, I can't do this for free.

1376
01:15:31,439 --> 01:15:33,120
Speaker 4: You're gonna have to pay me, and he's like okay.

1377
01:15:33,760 --> 01:15:36,639
Speaker 3: So basically she helps him put on this random play

1378
01:15:36,720 --> 01:15:39,280
Speaker 3: he has decided to write, so just so he has

1379
01:15:39,320 --> 01:15:40,640
Speaker 3: an excuse to stay.

1380
01:15:40,360 --> 01:15:42,439
Speaker 4: In La to be there.

1381
01:15:42,640 --> 01:15:48,280
Speaker 1: Chuck very and Chuck is instantly like, oh hi, Like

1382
01:15:48,560 --> 01:15:52,360
Speaker 1: the vibes from Chuck are very do not come near me.

1383
01:15:52,520 --> 01:15:53,360
Speaker 2: I didn't mean it.

1384
01:15:53,400 --> 01:15:57,800
Speaker 1: I don't actually want to revisit our friendship or have

1385
01:15:57,880 --> 01:16:00,320
Speaker 1: you in my life like from Jump. He's just it's like,

1386
01:16:00,439 --> 01:16:02,479
Speaker 1: I should never have gone to this funeral. I should

1387
01:16:02,479 --> 01:16:05,719
Speaker 1: never have reconnected with you. This was a bad idea.

1388
01:16:05,760 --> 01:16:09,160
Speaker 1: And Carlin's very inviting, but Chuck is very, very arms

1389
01:16:09,200 --> 01:16:10,639
Speaker 1: length standoffish.

1390
01:16:10,800 --> 01:16:12,679
Speaker 4: Yeah, you can tell.

1391
01:16:12,760 --> 01:16:16,160
Speaker 3: It's that whole dance between like I need to establish

1392
01:16:16,200 --> 01:16:19,719
Speaker 3: boundaries with this person, but also I feel bad for him,

1393
01:16:20,160 --> 01:16:23,479
Speaker 3: and that's kind of like I think, you know, I'll

1394
01:16:23,479 --> 01:16:26,160
Speaker 3: get to that in just a second. But like, here's

1395
01:16:26,200 --> 01:16:28,559
Speaker 3: the thing about this place. So he writes this play

1396
01:16:28,600 --> 01:16:31,880
Speaker 3: and it is essentially the story of their friendship, which

1397
01:16:31,920 --> 01:16:35,760
Speaker 3: is very weird, and they end up putting on the

1398
01:16:35,800 --> 01:16:39,760
Speaker 3: fucking play. They cast this guy named Sam, who's this

1399
01:16:40,400 --> 01:16:46,599
Speaker 3: terrible actor by the way, awful actor, but it's because

1400
01:16:46,720 --> 01:16:51,080
Speaker 3: Buck thinks that he looks like Chuck. And the craziest

1401
01:16:51,080 --> 01:16:53,960
Speaker 3: part about it is that it's actually Chris. The actor

1402
01:16:54,120 --> 01:16:57,639
Speaker 3: playing Sam is Paul White's who is Chris White's brother,

1403
01:16:57,840 --> 01:16:58,960
Speaker 3: so of course they look.

1404
01:16:58,920 --> 01:16:59,519
Speaker 4: Like their brothers.

1405
01:16:59,560 --> 01:17:04,559
Speaker 3: But anyway, right, Buck is definitely like reenacting, you know something,

1406
01:17:04,640 --> 01:17:08,040
Speaker 3: through this play and through this actor. And listen, the

1407
01:17:08,080 --> 01:17:11,360
Speaker 3: movie goes kind of crazy from here. I mean, all

1408
01:17:11,439 --> 01:17:14,360
Speaker 3: hell breaks loose. I think in my film too, because

1409
01:17:14,400 --> 01:17:17,160
Speaker 3: at certain point Buck has become like a full on

1410
01:17:17,240 --> 01:17:20,360
Speaker 3: peeping Tom. He's like showing up at Chuck's house, like

1411
01:17:20,920 --> 01:17:24,719
Speaker 3: peering through his windows while they're having sex, and I mean.

1412
01:17:24,880 --> 01:17:28,640
Speaker 2: He a stalker. He is a full on, actual stalker.

1413
01:17:29,280 --> 01:17:29,720
Speaker 4: Full on.

1414
01:17:30,479 --> 01:17:35,320
Speaker 3: There is this one scene where he you know, he's

1415
01:17:35,360 --> 01:17:37,680
Speaker 3: been calling the house, he's doing a peeping Tom thing,

1416
01:17:38,000 --> 01:17:41,240
Speaker 3: but then one day he actually rings the doorbell and

1417
01:17:41,560 --> 01:17:44,960
Speaker 3: shows up. Buck shows up at Charlie and Carlin's house

1418
01:17:45,280 --> 01:17:49,000
Speaker 3: and he's got this like giant poster board collage that

1419
01:17:49,080 --> 01:17:52,680
Speaker 3: he's made for him with like photos of them, and

1420
01:17:52,720 --> 01:17:55,639
Speaker 3: it's just like this moment where these two adults are like.

1421
01:17:56,280 --> 01:17:58,519
Speaker 4: What is happening right now?

1422
01:17:58,840 --> 01:18:04,320
Speaker 3: Like this is this is kind of kooky, not gonna lie,

1423
01:18:04,800 --> 01:18:08,880
Speaker 3: and then Carlin will go to bed, and then there's

1424
01:18:08,960 --> 01:18:14,560
Speaker 3: this scene where Buck basically comes on to Charlie and

1425
01:18:14,680 --> 01:18:18,400
Speaker 3: Charlie kicks him out, is like Nope, this isn't happening

1426
01:18:18,479 --> 01:18:21,360
Speaker 3: right now, and I don't you know, this is all

1427
01:18:21,439 --> 01:18:22,439
Speaker 3: too much for me to take.

1428
01:18:22,800 --> 01:18:27,720
Speaker 4: And you know that's that. But the thing that is

1429
01:18:27,840 --> 01:18:28,840
Speaker 4: very clear.

1430
01:18:28,560 --> 01:18:31,160
Speaker 3: I think throughout all these scenes is that Buck is

1431
01:18:31,240 --> 01:18:35,760
Speaker 3: just he just cannot accept that Chuck is Charlie right.

1432
01:18:36,920 --> 01:18:40,439
Speaker 3: He wants to have the relationship with him that they

1433
01:18:40,479 --> 01:18:45,519
Speaker 3: had his children, including the sexual component. You know, Buck

1434
01:18:45,640 --> 01:18:50,360
Speaker 3: is grieving his parents, like obviously there's a there's that

1435
01:18:50,560 --> 01:18:55,000
Speaker 3: part of it because they're both deceased, apparently the father too,

1436
01:18:55,200 --> 01:18:59,720
Speaker 3: But like, you know, the thing to me that makes

1437
01:18:59,720 --> 01:19:02,120
Speaker 3: this story a little bit more nuanced, though, is that

1438
01:19:02,200 --> 01:19:04,360
Speaker 3: instead of being this like kind of cut and dry

1439
01:19:04,400 --> 01:19:08,000
Speaker 3: stalker story, right, I feel like there are moments where

1440
01:19:08,160 --> 01:19:12,439
Speaker 3: Chuck or Charlie he feels sorry for Buck, right, And

1441
01:19:12,479 --> 01:19:15,040
Speaker 3: it's that dance, like I said between like I need

1442
01:19:15,120 --> 01:19:17,360
Speaker 3: to establish boundaries with this person, but also like I

1443
01:19:17,840 --> 01:19:22,720
Speaker 3: do have a connection to him, and I don't know

1444
01:19:22,880 --> 01:19:27,599
Speaker 3: how to like finesse this, okay, And I'm not gonna

1445
01:19:27,600 --> 01:19:29,840
Speaker 3: give away the ending of the film that, but that

1446
01:19:30,040 --> 01:19:33,240
Speaker 3: plays out in very interesting ways.

1447
01:19:33,600 --> 01:19:35,800
Speaker 1: And it also it plays out for the audience for

1448
01:19:35,880 --> 01:19:40,320
Speaker 1: the viewer because there's this one part where towards the end,

1449
01:19:40,360 --> 01:19:42,839
Speaker 1: like as you're saying, in the end of these scenes,

1450
01:19:42,880 --> 01:19:46,760
Speaker 1: after this happens, and you know, Charlie kind of rejects him.

1451
01:19:47,000 --> 01:19:50,400
Speaker 1: When Buck is talking to Beverly and he's kind of

1452
01:19:50,400 --> 01:19:52,880
Speaker 1: crying and he says there's I'm paraphrasing here, but he

1453
01:19:52,920 --> 01:19:55,160
Speaker 1: says something like, you know, there's no love left for

1454
01:19:55,240 --> 01:19:58,479
Speaker 1: me anymore. And so you do feel really sad for him,

1455
01:19:58,520 --> 01:20:01,120
Speaker 1: because you're like, this is someone who, either because his

1456
01:20:01,280 --> 01:20:04,000
Speaker 1: parents were ill or because of his own experiences, he's

1457
01:20:04,000 --> 01:20:06,960
Speaker 1: been kept in a very childlike place and he doesn't

1458
01:20:07,000 --> 01:20:09,320
Speaker 1: know how to process adult emotions even though he is

1459
01:20:09,360 --> 01:20:12,920
Speaker 1: an adult. And so that is also a nice and

1460
01:20:13,479 --> 01:20:15,680
Speaker 1: unexpected interplay in this is like you said, it's not

1461
01:20:15,720 --> 01:20:17,240
Speaker 1: just a straight up stalker story.

1462
01:20:17,640 --> 01:20:20,040
Speaker 2: You're really feeling for this character throughout.

1463
01:20:20,240 --> 01:20:23,360
Speaker 4: Yeah, and it's to me.

1464
01:20:23,560 --> 01:20:27,320
Speaker 3: I feel like that is why I appreciate the writing

1465
01:20:27,360 --> 01:20:31,400
Speaker 3: of Mike White, because it he'll go to these very

1466
01:20:31,479 --> 01:20:35,080
Speaker 3: dark places, but he also kind of gives you a

1467
01:20:35,240 --> 01:20:40,160
Speaker 3: hint at maybe the whyse behind these things, right, which

1468
01:20:40,200 --> 01:20:42,200
Speaker 3: I think is very smart. And like I said, a

1469
01:20:42,200 --> 01:20:44,200
Speaker 3: lot of people can't handle that intensity.

1470
01:20:44,600 --> 01:20:45,439
Speaker 2: I can.

1471
01:20:45,800 --> 01:20:48,080
Speaker 3: I seek it out, to be honest, because I want

1472
01:20:48,080 --> 01:20:53,000
Speaker 3: to know, Like I you know, I am fascinated about

1473
01:20:53,120 --> 01:20:57,600
Speaker 3: the emotional complexity behind characters in film and TV. So

1474
01:20:57,720 --> 01:20:59,320
Speaker 3: it's like that thing where I think that's the thing

1475
01:20:59,360 --> 01:21:02,760
Speaker 3: about both of our movies is that these are on display,

1476
01:21:03,400 --> 01:21:07,040
Speaker 3: and I just I think that it's just an interesting

1477
01:21:07,560 --> 01:21:11,440
Speaker 3: narrative device, to be honest.

1478
01:21:10,040 --> 01:21:12,680
Speaker 1: And I'm so glad you shows this movie for that

1479
01:21:12,800 --> 01:21:13,880
Speaker 1: for those reasons and more.

1480
01:21:14,280 --> 01:21:17,720
Speaker 4: Yes, I agree, and I would be remiss if I

1481
01:21:17,720 --> 01:21:21,360
Speaker 4: didn't mention. There's a Maya Rudolph.

1482
01:21:21,040 --> 01:21:26,080
Speaker 2: Cameo for PRESNL Baby Meyer Rude.

1483
01:21:25,720 --> 01:21:31,360
Speaker 3: All looking so cute. Obviously the mentioned they might be

1484
01:21:31,400 --> 01:21:36,800
Speaker 3: giants cameo. Also, did you Danielle, did you ever rock

1485
01:21:37,160 --> 01:21:41,240
Speaker 3: with the band That Dog in the nineties. Of course, yes,

1486
01:21:42,080 --> 01:21:44,960
Speaker 3: there is a it's like a six Degrees of That

1487
01:21:45,080 --> 01:21:49,439
Speaker 3: Dog in this film. So like the drummer from That Dog,

1488
01:21:50,040 --> 01:21:54,960
Speaker 3: Tony Maxwell, he did the music for the movie. He

1489
01:21:55,080 --> 01:21:56,960
Speaker 3: was actually in one of the scenes. He has a

1490
01:21:57,000 --> 01:22:00,479
Speaker 3: cameo in the film but then him and then was

1491
01:22:00,479 --> 01:22:02,640
Speaker 3: done by him and Joey Warnerker.

1492
01:22:02,840 --> 01:22:03,880
Speaker 4: Do you know him?

1493
01:22:04,000 --> 01:22:06,360
Speaker 3: He He's played with a lot of cool bands like

1494
01:22:06,520 --> 01:22:10,639
Speaker 3: Ram and tomy Yorke and Beck. But his sister Anna

1495
01:22:10,760 --> 01:22:13,120
Speaker 3: is the leadst singer of That Dog, which I think

1496
01:22:13,200 --> 01:22:15,840
Speaker 3: is really funny. But then, you know, I mean, to me,

1497
01:22:15,960 --> 01:22:17,200
Speaker 3: it was that kind of thing where I was like, oh,

1498
01:22:17,280 --> 01:22:19,360
Speaker 3: look at all these like you know, sort of like

1499
01:22:20,120 --> 01:22:21,559
Speaker 3: the Whites Brothers and That.

1500
01:22:21,960 --> 01:22:24,960
Speaker 4: Dog, Helly and you know you got Mike White. It

1501
01:22:25,000 --> 01:22:26,599
Speaker 4: was kind of you know, it was kind of cool,

1502
01:22:26,840 --> 01:22:27,839
Speaker 4: that's kind of what happens.

1503
01:22:27,840 --> 01:22:31,160
Speaker 1: It gave me that feeling to make all those connections

1504
01:22:31,160 --> 01:22:32,120
Speaker 1: of like, that's what it was.

1505
01:22:32,240 --> 01:22:33,840
Speaker 2: That's what indie cinema used to be.

1506
01:22:34,080 --> 01:22:36,479
Speaker 1: Like, it was all these people who were very creative

1507
01:22:36,560 --> 01:22:38,000
Speaker 1: getting together and making shit.

1508
01:22:38,200 --> 01:22:42,800
Speaker 3: Yes, it definitely felt like friends helping out friends, right, yeah,

1509
01:22:42,800 --> 01:22:44,880
Speaker 3: which I which I like about Yeah, I like that

1510
01:22:44,960 --> 01:22:48,000
Speaker 3: about indie cinema, and you know, to me that was

1511
01:22:48,040 --> 01:22:50,479
Speaker 3: like one of the joys of watching movies like this

1512
01:22:50,640 --> 01:22:52,360
Speaker 3: is to see like, oh, look at all these people

1513
01:22:52,400 --> 01:22:55,439
Speaker 3: from the bands and from other movies, and it's kind

1514
01:22:55,439 --> 01:23:01,760
Speaker 3: of cool. So but yeah, this movie, I'm I'm when

1515
01:23:01,760 --> 01:23:03,640
Speaker 3: it comes down to that one friend, I think for

1516
01:23:03,680 --> 01:23:06,599
Speaker 3: this week, like, I think that these two movies, like

1517
01:23:06,640 --> 01:23:08,480
Speaker 3: I said, are very much.

1518
01:23:09,240 --> 01:23:10,639
Speaker 4: Connected in a lot of ways.

1519
01:23:10,720 --> 01:23:14,840
Speaker 3: And again when it comes back to the notion of

1520
01:23:14,880 --> 01:23:22,320
Speaker 3: this like intensity of friendships, perhaps some unrequited love, you know,

1521
01:23:22,400 --> 01:23:25,599
Speaker 3: I can't help but think, wow, both of these there's

1522
01:23:25,760 --> 01:23:28,519
Speaker 3: you know, a lesbian and a gay man you know,

1523
01:23:28,600 --> 01:23:33,280
Speaker 3: as the center of these films. But it's a fascinating

1524
01:23:34,120 --> 01:23:36,639
Speaker 3: sort of pairing for me. And I'm glad that we

1525
01:23:36,840 --> 01:23:38,360
Speaker 3: kind of were on the same page. Like I said,

1526
01:23:38,360 --> 01:23:40,240
Speaker 3: I didn't expect that this was going to happen, but

1527
01:23:40,720 --> 01:23:41,280
Speaker 3: it was cool.

1528
01:23:41,439 --> 01:23:44,840
Speaker 1: Yeah me, I loved it. I truly am so glad

1529
01:23:44,880 --> 01:23:47,120
Speaker 1: that you picked this movie. It rocketed me back through time,

1530
01:23:47,200 --> 01:23:49,479
Speaker 1: not just because of how it looked, but just the

1531
01:23:49,520 --> 01:23:52,160
Speaker 1: feeling of like, again, these two characters where you're not

1532
01:23:52,160 --> 01:23:54,160
Speaker 1: sure what's going to happen, You're not sure how this

1533
01:23:54,240 --> 01:23:56,400
Speaker 1: is going to play out. There's something else going on

1534
01:23:56,479 --> 01:23:58,920
Speaker 1: here with each of them, and I loved it. I

1535
01:23:58,960 --> 01:24:01,040
Speaker 1: think this is a really good look at in the

1536
01:24:01,040 --> 01:24:05,880
Speaker 1: intensity of friendship. And I just loved both of these movies.

1537
01:24:05,920 --> 01:24:06,920
Speaker 1: I love watching them again.

1538
01:24:07,439 --> 01:24:09,839
Speaker 4: Oh my gosh, me too.

1539
01:24:10,439 --> 01:24:16,600
Speaker 3: Well, Danielle, do you want to give the films for

1540
01:24:16,720 --> 01:24:18,479
Speaker 3: our next episode?

1541
01:24:18,760 --> 01:24:21,840
Speaker 2: Of course I do, because.

1542
01:24:22,920 --> 01:24:27,880
Speaker 1: The films are Atonement from two thousand and seven and

1543
01:24:28,000 --> 01:24:30,719
Speaker 1: All That Heaven Allows from nineteen fifty five.

1544
01:24:31,439 --> 01:24:36,599
Speaker 3: Oh my god, guess the theme. Guess the theme? Well,

1545
01:24:37,960 --> 01:24:41,639
Speaker 3: if you want to email us for any reason, please

1546
01:24:41,680 --> 01:24:43,479
Speaker 3: do so at I saw what you did pot at

1547
01:24:43,560 --> 01:24:44,719
Speaker 3: gmail dot com.

1548
01:24:45,680 --> 01:24:46,960
Speaker 4: Let me just tell you right now.

1549
01:24:47,640 --> 01:24:51,240
Speaker 3: I don't want to oversell the bonus episodes, but there

1550
01:24:51,280 --> 01:24:53,920
Speaker 3: are times where we do a bonus episode that I'm like, God,

1551
01:24:54,000 --> 01:24:56,000
Speaker 3: I wish this was on the main feed. That's how

1552
01:24:56,080 --> 01:25:00,760
Speaker 3: much fun we're having, right But absolutely, if you have

1553
01:25:00,960 --> 01:25:03,960
Speaker 3: questions or thoughts for any of the bonus we do

1554
01:25:04,160 --> 01:25:07,519
Speaker 3: use the bonus as a way to, you know, talk

1555
01:25:07,600 --> 01:25:09,720
Speaker 3: back to you guys like you guys write us, We

1556
01:25:09,760 --> 01:25:10,599
Speaker 3: answer letters.

1557
01:25:10,640 --> 01:25:13,760
Speaker 4: We you know, we have a lot of fun. We

1558
01:25:13,800 --> 01:25:14,320
Speaker 4: would love that.

1559
01:25:14,400 --> 01:25:16,000
Speaker 1: So I Saw what you Did pot at gmail dot

1560
01:25:16,040 --> 01:25:18,760
Speaker 1: com and you can also find us on our social media.

1561
01:25:18,800 --> 01:25:22,360
Speaker 1: We are at I Saw pod on Instagram and Twitter, and.

1562
01:25:22,520 --> 01:25:24,840
Speaker 3: Of course we have I Saw What You Did merch

1563
01:25:25,000 --> 01:25:28,080
Speaker 3: in the Exactly Right shop at Exactlyrightmedia dot com.

1564
01:25:28,200 --> 01:25:32,519
Speaker 1: And now, as you know, the Exactly Right Network has

1565
01:25:32,840 --> 01:25:37,519
Speaker 1: partnered with Amazon Music and Wondery and you can listen

1566
01:25:37,560 --> 01:25:41,800
Speaker 1: to new episodes one week early on Amazon Music.

1567
01:25:42,080 --> 01:25:45,960
Speaker 2: Or early and ad free plus all of.

1568
01:25:45,960 --> 01:25:48,080
Speaker 1: Our bonus episodes. This is now the new home for

1569
01:25:48,120 --> 01:25:51,360
Speaker 1: our bonus episodes by subscribing to Wondery Plus in the

1570
01:25:51,400 --> 01:25:52,839
Speaker 1: Wondery app Yes.

1571
01:25:52,840 --> 01:25:58,160
Speaker 3: Yes, yes, yes, Well Danielle, it was a pleasure talking

1572
01:25:58,160 --> 01:25:58,759
Speaker 3: with you again.

1573
01:25:59,240 --> 01:26:00,880
Speaker 4: So glad to be doing this podcast with you.

1574
01:26:01,040 --> 01:26:04,559
Speaker 1: So good, always always, so thrilled. Cannot wait to watch

1575
01:26:04,560 --> 01:26:07,800
Speaker 1: these movies for next week and thank you for listening.

1576
01:26:08,240 --> 01:26:14,120
Speaker 3: Thank you, see you next week.

1577
01:26:16,479 --> 01:26:19,080
Speaker 1: This has been an Exactly Right production, produced and mixed

1578
01:26:19,080 --> 01:26:22,160
Speaker 1: by Casey O'Brien. Our theme song is by Tom Briy Foegel,

1579
01:26:22,520 --> 01:26:26,120
Speaker 1: artwork by Garrett Ross. Our executive producers are Georgia Hartstark,

1580
01:26:26,240 --> 01:26:28,960
Speaker 1: Caring Kill, Gareth and Danielle Kramer. You can follow us

1581
01:26:29,000 --> 01:26:32,280
Speaker 1: on Instagram and Twitter at I Saw Pod, and you

1582
01:26:32,320 --> 01:26:34,439
Speaker 1: can email us at I Saw What you Did Pod

1583
01:26:34,520 --> 01:26:37,600
Speaker 1: at Gmail. Listen, follow, and leave us a review on

1584
01:26:37,680 --> 01:26:41,000
Speaker 1: Amazon Music, Apple Podcasts, or wherever you get your podcasts

1585
01:26:41,439 --> 01:26:44,040
Speaker 1: and don't forget. You could listen to new episodes one

1586
01:26:44,040 --> 01:26:47,679
Speaker 1: week early on Amazon Music or early and ad free,

1587
01:26:47,680 --> 01:26:50,960
Speaker 1: plus bonus episodes by subscribing to Wondery Plus in the

1588
01:26:51,000 --> 01:26:51,679
Speaker 1: Wondery app