1
00:00:00,680 --> 00:00:03,520
Speaker 1: On the beck dol Cast. The questions asked if movies

2
00:00:03,560 --> 00:00:07,200
Speaker 1: have women in them, are all their discussions just boyfriends

3
00:00:07,200 --> 00:00:11,440
Speaker 1: and husbands, or do they have individualism the patriarchy? Zef

4
00:00:11,560 --> 00:00:16,040
Speaker 1: in best start changing it with the Beckdel Cast. Hello,

5
00:00:16,120 --> 00:00:18,320
Speaker 1: Welcome to the Bechdel Cast. My name is Jamie and

6
00:00:18,400 --> 00:00:20,919
Speaker 1: my name is Caitlin Darante. Sorry I just throwing my

7
00:00:21,000 --> 00:00:26,200
Speaker 1: last name. Oh should we start over. I don't appreciate

8
00:00:26,239 --> 00:00:30,400
Speaker 1: a power move at you. I've had a long day.

9
00:00:30,520 --> 00:00:34,800
Speaker 1: I realized today that I I cugged myself real bad today.

10
00:00:34,800 --> 00:00:38,199
Speaker 1: I like fully admit I look like shit. I've been

11
00:00:38,240 --> 00:00:41,040
Speaker 1: sitting in a room that listen. I know, I know.

12
00:00:41,680 --> 00:00:44,040
Speaker 1: I was sitting in a room full of old men.

13
00:00:44,120 --> 00:00:47,320
Speaker 1: It smelled like Panera bread all day. And I realized

14
00:00:47,400 --> 00:00:51,760
Speaker 1: I was wearing my own merch out in the world again,

15
00:00:51,920 --> 00:00:55,960
Speaker 1: which is truly sinful and and tacky and gross. And

16
00:00:56,000 --> 00:00:59,480
Speaker 1: I don't I don't care who says it's not it is. Well,

17
00:00:59,600 --> 00:01:02,080
Speaker 1: I think you're brave for doing it. What I meant

18
00:01:02,080 --> 00:01:06,399
Speaker 1: to say was loftest is my last name. This is

19
00:01:06,400 --> 00:01:10,920
Speaker 1: our podcast. This is our podcast. We use the Bechtel test,

20
00:01:11,920 --> 00:01:16,240
Speaker 1: which is a test that was created by cartoonist Alison

21
00:01:16,280 --> 00:01:20,559
Speaker 1: Bechtel in the comic Dikes to Watch Out For And

22
00:01:21,240 --> 00:01:24,400
Speaker 1: it's getting into the history right now. I just had

23
00:01:24,440 --> 00:01:28,920
Speaker 1: to really give a history lesson Um. It's a media test.

24
00:01:28,959 --> 00:01:33,440
Speaker 1: It's a media test that requires that a movie, usually

25
00:01:33,520 --> 00:01:36,840
Speaker 1: is what it's applied to, has too female identifying characters

26
00:01:36,880 --> 00:01:40,000
Speaker 1: with names who speak to each other about something other

27
00:01:40,040 --> 00:01:42,600
Speaker 1: than a man. And our version, our bar is only

28
00:01:42,640 --> 00:01:46,200
Speaker 1: that it is at least a two line exchange. Yes,

29
00:01:46,640 --> 00:01:49,040
Speaker 1: did you see that? This is not an example of

30
00:01:49,040 --> 00:01:50,920
Speaker 1: something that would pass the Bechtel test? But I just

31
00:01:50,960 --> 00:01:53,080
Speaker 1: had a quick question, Oh please, do you see the

32
00:01:53,200 --> 00:01:56,200
Speaker 1: m R A who was tweeting at us today? But

33
00:01:56,320 --> 00:01:58,919
Speaker 1: he was like it was I thought he was actually

34
00:01:59,000 --> 00:02:01,920
Speaker 1: kind of funny because it was incoherent. Did you see

35
00:02:01,960 --> 00:02:06,160
Speaker 1: he was like, I couldn't understand a word that happened

36
00:02:06,160 --> 00:02:10,639
Speaker 1: in this audio file. More male voices are needed. And

37
00:02:10,680 --> 00:02:13,600
Speaker 1: then he sent us a link to like women of

38
00:02:13,639 --> 00:02:17,120
Speaker 1: America demand larger mirrors, Like, I don't know what that

39
00:02:17,320 --> 00:02:19,600
Speaker 1: link he sent one don't know. He also made fun

40
00:02:19,600 --> 00:02:22,480
Speaker 1: of us for saying like too much yeah, which is

41
00:02:22,520 --> 00:02:27,440
Speaker 1: a fun criticis of that? I adore? Right? I love it.

42
00:02:27,440 --> 00:02:30,680
Speaker 1: It's I don't know what, What the funk do you

43
00:02:30,720 --> 00:02:33,359
Speaker 1: want for me? I don't I almost I want a

44
00:02:33,440 --> 00:02:38,480
Speaker 1: larger mirror. That's what all women went. Um you know

45
00:02:38,520 --> 00:02:41,720
Speaker 1: that movie. What women want, it's just about larger mirrors,

46
00:02:41,919 --> 00:02:46,160
Speaker 1: gives them large to second theories of large mirrors. Oh god, alright,

47
00:02:46,200 --> 00:02:49,440
Speaker 1: so we talked about the portrayal and representation of women

48
00:02:50,040 --> 00:02:54,440
Speaker 1: in cinema. Yeah, we use the Betel test to initiate

49
00:02:54,480 --> 00:02:59,600
Speaker 1: a larger conversation about that. Today we have. This is

50
00:02:59,840 --> 00:03:02,720
Speaker 1: a special time in Bactel caast history because if you

51
00:03:03,000 --> 00:03:06,080
Speaker 1: perhaps were aware or may have noticed, we have an

52
00:03:06,120 --> 00:03:12,520
Speaker 1: embargo on mail guests until until we lifted it just

53
00:03:12,760 --> 00:03:17,519
Speaker 1: for this very special much consideration. There were meetings, there

54
00:03:17,560 --> 00:03:22,000
Speaker 1: were outrage. Was I was going to say, this is

55
00:03:22,040 --> 00:03:27,080
Speaker 1: our Brexit. I don't know why it's not good but anyways,

56
00:03:27,440 --> 00:03:30,760
Speaker 1: but rest a, we've lifted it today, back down, putting

57
00:03:30,800 --> 00:03:34,120
Speaker 1: back down. But we are very excited for today's guest

58
00:03:34,160 --> 00:03:39,520
Speaker 1: and for today's movie. So help us in welcoming. He's

59
00:03:39,560 --> 00:03:44,280
Speaker 1: straightened up. He's a comedian. He's been featured in the

60
00:03:44,360 --> 00:03:47,720
Speaker 1: Just for Last Festival. He's visiting from New York City.

61
00:03:47,800 --> 00:03:56,400
Speaker 1: Ever heard of it. It's George Sabars Sabas the only

62
00:03:56,520 --> 00:04:02,720
Speaker 1: good man. Welcome After you repeated them, Well, I repeat,

63
00:04:02,720 --> 00:04:05,080
Speaker 1: women say to me, and that's how I learned. How

64
00:04:05,080 --> 00:04:09,720
Speaker 1: else would I know anything? Yeah, as we learned from

65
00:04:09,720 --> 00:04:12,280
Speaker 1: the movie. Um, there was one line where he's like,

66
00:04:12,360 --> 00:04:15,600
Speaker 1: this is why women shouldn't learn. It was literally, this

67
00:04:15,680 --> 00:04:19,960
Speaker 1: is why women shouldn't get an education. After thirty years,

68
00:04:20,000 --> 00:04:25,360
Speaker 1: he let her take one computer class, which I whatever

69
00:04:25,440 --> 00:04:27,680
Speaker 1: we can get, we'll get into it. We'll get into it.

70
00:04:27,680 --> 00:04:30,000
Speaker 1: It's like, what did she learn at that computer class?

71
00:04:30,040 --> 00:04:35,360
Speaker 1: Do you mean the computers and tourism seminar? She's a hacker.

72
00:04:35,640 --> 00:04:38,120
Speaker 1: If she needs computers, it's pretty sure you're just calling

73
00:04:38,120 --> 00:04:45,760
Speaker 1: American airlines. It's actually a prequel to Hackers, a favorite. Yeah, God,

74
00:04:45,839 --> 00:04:50,640
Speaker 1: let's check out our Bonus Matron episode on Hacker. This movie, well,

75
00:04:50,680 --> 00:04:54,600
Speaker 1: it does have Joey Fatone, which I forgot and I

76
00:04:54,839 --> 00:04:58,200
Speaker 1: squee I was watching it at work. So we're talking

77
00:04:58,200 --> 00:05:01,520
Speaker 1: about my big fat Greek wedding. Yes, so George tell

78
00:05:01,600 --> 00:05:04,800
Speaker 1: us your history your relationship with this movie. Okay, Well,

79
00:05:04,960 --> 00:05:11,000
Speaker 1: just like very quick background on my ethnic identity. Um,

80
00:05:11,040 --> 00:05:13,799
Speaker 1: my parents are fully Greek and they grew up in

81
00:05:13,839 --> 00:05:18,320
Speaker 1: Greece and then they moved here for grad school. Then

82
00:05:18,400 --> 00:05:21,920
Speaker 1: I was born specifically to get American citizenship, and then

83
00:05:21,920 --> 00:05:25,080
Speaker 1: I was like shipped back to Greece. Um. And then

84
00:05:25,360 --> 00:05:27,360
Speaker 1: throughout my life, I moved back and forth between Greece

85
00:05:27,360 --> 00:05:29,680
Speaker 1: in America. So I was in Greece in my early childhood.

86
00:05:29,680 --> 00:05:33,440
Speaker 1: Then I lived in New Jersey from like second grade

87
00:05:33,440 --> 00:05:35,080
Speaker 1: to eighth grade, and then I moved back to Greece

88
00:05:35,160 --> 00:05:38,800
Speaker 1: for high school. So and this movie came out when

89
00:05:38,920 --> 00:05:40,359
Speaker 1: I was living in New Jersey. So it was like

90
00:05:40,440 --> 00:05:42,599
Speaker 1: at the point where I was very much like a

91
00:05:42,680 --> 00:05:45,560
Speaker 1: Greek American and like had not gotten back in touch

92
00:05:45,600 --> 00:05:47,760
Speaker 1: with my Greek character after moving back for high school,

93
00:05:47,800 --> 00:05:50,160
Speaker 1: so it was very like relatable to me. Um. So

94
00:05:50,200 --> 00:05:51,919
Speaker 1: I guess it came out when I was in I

95
00:05:52,000 --> 00:05:57,239
Speaker 1: was like twelve, and then I watched it enough times

96
00:05:57,360 --> 00:06:01,320
Speaker 1: where I'm not exaggerating, I could recite the movie every

97
00:06:01,320 --> 00:06:05,760
Speaker 1: single word of it from beginning to end with my

98
00:06:05,920 --> 00:06:08,440
Speaker 1: best friend at the time in middle school, who then

99
00:06:08,480 --> 00:06:10,800
Speaker 1: turned out what happened and then turned out to also

100
00:06:10,800 --> 00:06:13,120
Speaker 1: be getting No. No No, we're still friends, but it's just

101
00:06:13,200 --> 00:06:15,400
Speaker 1: it was are the two things we really liked were

102
00:06:15,440 --> 00:06:21,039
Speaker 1: my big Factorek wedding and making the band too um.

103
00:06:21,160 --> 00:06:23,080
Speaker 1: And then the other thing was that at the time

104
00:06:23,600 --> 00:06:27,560
Speaker 1: a lot of our family friends were Indian and that

105
00:06:27,760 --> 00:06:29,599
Speaker 1: was the year that Bennett like Beckham came out. So

106
00:06:29,640 --> 00:06:32,960
Speaker 1: I remember distinctly like having a double feature that was

107
00:06:33,000 --> 00:06:35,760
Speaker 1: like big Factreek wedding and Bendett like Beckham, and then

108
00:06:35,760 --> 00:06:37,680
Speaker 1: our parents just being like, you know, at the end

109
00:06:37,680 --> 00:06:40,000
Speaker 1: of the day, the immigrant experience is like so universal,

110
00:06:40,120 --> 00:06:44,120
Speaker 1: and I was like, we agree, that's beautiful. It was

111
00:06:44,200 --> 00:06:47,160
Speaker 1: very beautiful. I was thinking about Bennett like Beckham at

112
00:06:47,200 --> 00:06:49,040
Speaker 1: a few different points, and I mean it just because

113
00:06:49,040 --> 00:06:52,400
Speaker 1: of it revolves around a wedding, like it's a good

114
00:06:52,440 --> 00:06:56,960
Speaker 1: double feature. Yeah, solid double feature. Indeed, Jamie, what's your

115
00:06:57,000 --> 00:06:59,880
Speaker 1: history with my big fat Greek wedding? Love It Love

116
00:07:00,120 --> 00:07:02,960
Speaker 1: The first grown up movie I was allowed to see

117
00:07:03,040 --> 00:07:06,719
Speaker 1: in theaters. I remember, I don't remember. I don't remember

118
00:07:06,760 --> 00:07:08,960
Speaker 1: what my mom said that we were going to see,

119
00:07:09,080 --> 00:07:11,760
Speaker 1: but it was I was like whatever, I'm you know,

120
00:07:11,800 --> 00:07:15,120
Speaker 1: I'm nine, I'm grown up and this is stupid. And

121
00:07:15,160 --> 00:07:17,640
Speaker 1: then we got to the movie theater. She was like, twist,

122
00:07:18,200 --> 00:07:21,720
Speaker 1: we're seeing a kissing movie. And she brought me to

123
00:07:21,720 --> 00:07:24,440
Speaker 1: see My Big Fat Greek Wedding, and I loved it

124
00:07:24,520 --> 00:07:26,600
Speaker 1: so much, and I used to be able to recite

125
00:07:26,640 --> 00:07:28,840
Speaker 1: it where it was like I hadn't seen this movie

126
00:07:28,840 --> 00:07:31,520
Speaker 1: and at least five years, but there were still like

127
00:07:31,640 --> 00:07:33,640
Speaker 1: scenes that like triggered my brain of like, oh, I

128
00:07:33,680 --> 00:07:37,160
Speaker 1: know exactly what's happening word by word, even though I

129
00:07:37,200 --> 00:07:41,360
Speaker 1: still know it as a nine or ten year old would. Yeah,

130
00:07:41,360 --> 00:07:43,240
Speaker 1: I loved it. I used to My favorite use of

131
00:07:43,280 --> 00:07:46,120
Speaker 1: this movie, like when I was like young and then

132
00:07:46,200 --> 00:07:50,120
Speaker 1: like going into early teenager, was whenever I watched a

133
00:07:50,200 --> 00:07:52,240
Speaker 1: scary movie, because I was really not good with them

134
00:07:52,280 --> 00:07:54,000
Speaker 1: when I was young, I would be like, well, I'll

135
00:07:54,000 --> 00:07:55,960
Speaker 1: watch a scary movie, but we have to watch My

136
00:07:56,000 --> 00:07:58,840
Speaker 1: Big Greek Wedding afterwards, because I could never be afraid.

137
00:07:58,880 --> 00:08:01,320
Speaker 1: After watching that, it got to cleanse the palette. It

138
00:08:01,360 --> 00:08:04,720
Speaker 1: makes me feel very safe. That's a beautiful story, a

139
00:08:04,760 --> 00:08:10,000
Speaker 1: lot of beautiful stories around and then comes that it's not.

140
00:08:10,320 --> 00:08:13,480
Speaker 1: But a sure way to get me to have no

141
00:08:13,560 --> 00:08:17,280
Speaker 1: interest in a movie is to put either wedding or

142
00:08:17,600 --> 00:08:21,480
Speaker 1: bride or princess or something along those lines in the title.

143
00:08:21,560 --> 00:08:23,600
Speaker 1: I did see this movie. I don't think I saw

144
00:08:23,680 --> 00:08:25,960
Speaker 1: in the theater, but I saw it within I think

145
00:08:25,960 --> 00:08:27,560
Speaker 1: a year of it coming out, but it was only

146
00:08:27,640 --> 00:08:30,040
Speaker 1: that one time, and I didn't rewatch it again until

147
00:08:30,280 --> 00:08:33,080
Speaker 1: like yesterday. The one thing I remembered from it was

148
00:08:33,120 --> 00:08:37,559
Speaker 1: the wind X because my my mom had the same thing.

149
00:08:37,640 --> 00:08:41,600
Speaker 1: She didn't like, spray your injuries with windex. But the

150
00:08:41,640 --> 00:08:45,080
Speaker 1: only cleaning product that she would use on anything ever

151
00:08:45,160 --> 00:08:47,840
Speaker 1: all the time, whether it was like a glass surface,

152
00:08:47,840 --> 00:08:50,079
Speaker 1: which is what it's supposed to be for, if it

153
00:08:50,120 --> 00:08:52,559
Speaker 1: was would if it was tile, if it was carpet,

154
00:08:52,600 --> 00:08:57,040
Speaker 1: any like brick, she wouldn't use wind X. So that

155
00:08:57,120 --> 00:09:00,400
Speaker 1: was my main connection to the movie. But yeah, I

156
00:09:00,440 --> 00:09:02,640
Speaker 1: remember thinking, oh, this is cool, and I remember at

157
00:09:02,679 --> 00:09:04,839
Speaker 1: the time there was all this kind of publicity and

158
00:09:04,880 --> 00:09:08,320
Speaker 1: news around it about it being this indie film that

159
00:09:08,480 --> 00:09:13,200
Speaker 1: made so much money at the box office budget five million,

160
00:09:13,320 --> 00:09:17,679
Speaker 1: box office three hundred sixty eight million. I think it's

161
00:09:17,679 --> 00:09:20,240
Speaker 1: the highest grossing romantic comedy of all time, or at

162
00:09:20,280 --> 00:09:22,520
Speaker 1: least it was it had been. Yeah, I don't know

163
00:09:22,559 --> 00:09:24,679
Speaker 1: if I was trying to read up about it. I'm

164
00:09:24,760 --> 00:09:27,000
Speaker 1: still not clear if anything has beat it since then,

165
00:09:27,040 --> 00:09:29,520
Speaker 1: But yeah, it was a huge box office hit and

166
00:09:29,520 --> 00:09:32,600
Speaker 1: everyone was like, hey, you can make an indie movie

167
00:09:32,640 --> 00:09:34,640
Speaker 1: and it'll be a great hit. And I was like,

168
00:09:35,200 --> 00:09:37,760
Speaker 1: I can't wait to apply this to my film career

169
00:09:37,760 --> 00:09:41,240
Speaker 1: in a few years. But anyway, so I didn't have

170
00:09:41,280 --> 00:09:45,600
Speaker 1: any sort of attachment to it growing up. So there's

171
00:09:45,640 --> 00:09:49,160
Speaker 1: my history I forgot. I also saw this movie the

172
00:09:49,240 --> 00:09:53,640
Speaker 1: year before I made my first friend who had Greek parents,

173
00:09:53,679 --> 00:09:56,080
Speaker 1: and she was like, she loved this movie and she

174
00:09:56,240 --> 00:09:59,080
Speaker 1: was just thrilled to have like a benchmark of like,

175
00:09:59,200 --> 00:10:02,640
Speaker 1: you know, lie, my big fat Greek wedding. I was like, oh,

176
00:10:02,720 --> 00:10:06,160
Speaker 1: because otherwise I wouldn't have. I just knew about Irish

177
00:10:06,160 --> 00:10:10,280
Speaker 1: people screaming at each other. Yeah, it was. There were

178
00:10:10,360 --> 00:10:12,480
Speaker 1: so many things that like then I would get asked,

179
00:10:12,600 --> 00:10:15,160
Speaker 1: like the spitting, for example, like do people really spit

180
00:10:15,200 --> 00:10:19,440
Speaker 1: on each other or like it's like it's The answer

181
00:10:19,480 --> 00:10:21,520
Speaker 1: is that it's not. It's like a symbolic No one

182
00:10:21,600 --> 00:10:24,240
Speaker 1: is actually spitting saliva. It's just like you make the

183
00:10:24,280 --> 00:10:26,840
Speaker 1: sound of like to like and then it's like a

184
00:10:26,840 --> 00:10:29,120
Speaker 1: symbolic thing. Wait, I want to say one more thing,

185
00:10:29,200 --> 00:10:30,800
Speaker 1: which is that the first time I saw this movie

186
00:10:30,960 --> 00:10:33,559
Speaker 1: was when we were visiting my family in Greece. For

187
00:10:33,600 --> 00:10:35,920
Speaker 1: the summer, and I saw it in an outdoor movie

188
00:10:35,960 --> 00:10:39,520
Speaker 1: theater in Greece like during the summer, so it was

189
00:10:39,600 --> 00:10:41,600
Speaker 1: like but what was funny about it was that because

190
00:10:41,600 --> 00:10:43,680
Speaker 1: like the audience was I mean, it's kind of like

191
00:10:43,720 --> 00:10:48,360
Speaker 1: how crazy rich Asians bombed in China. Like Greek people

192
00:10:48,520 --> 00:10:52,280
Speaker 1: don't relate to like the Greek American story, Like it's not.

193
00:10:52,360 --> 00:10:55,960
Speaker 1: So people were like very lukewarm about it around me

194
00:10:56,000 --> 00:10:57,600
Speaker 1: when I saw it in the movie theater, and then

195
00:10:57,640 --> 00:10:59,679
Speaker 1: people were also kind of like this is offensive. I

196
00:10:59,760 --> 00:11:04,200
Speaker 1: was like, okay, okay, it is my favorite movie. Even

197
00:11:05,120 --> 00:11:07,480
Speaker 1: did you have like relatives or people you knew that

198
00:11:07,400 --> 00:11:10,960
Speaker 1: that found it offensive towards Greek people. I mean, the

199
00:11:11,000 --> 00:11:13,839
Speaker 1: thing is like, okay, even like my family is not

200
00:11:14,280 --> 00:11:16,280
Speaker 1: really like the family that's were traded in the movie.

201
00:11:16,280 --> 00:11:20,080
Speaker 1: And it's mostly because like we had this weird childhood

202
00:11:20,120 --> 00:11:21,880
Speaker 1: or we kind of moved back and forth and actually

203
00:11:21,920 --> 00:11:25,319
Speaker 1: like maintained a lot of contact with Greece the country,

204
00:11:25,520 --> 00:11:28,240
Speaker 1: and we like spoke Greek at home, and I think

205
00:11:28,280 --> 00:11:32,040
Speaker 1: that also made us less prone to like kind of

206
00:11:32,120 --> 00:11:34,679
Speaker 1: bring Greece with us to America because we were like

207
00:11:34,720 --> 00:11:36,360
Speaker 1: we we have a connection to it, like we go

208
00:11:36,440 --> 00:11:39,120
Speaker 1: there like twice a year, so we were we never

209
00:11:39,160 --> 00:11:41,720
Speaker 1: had like, you know, Greek statues like in our home,

210
00:11:41,880 --> 00:11:44,640
Speaker 1: or like we we didn't like your garage door wasn't

211
00:11:44,679 --> 00:11:47,400
Speaker 1: the Greek right exactly, or like or like, for instance,

212
00:11:47,440 --> 00:11:48,960
Speaker 1: they go to Greek school in the movie, but like

213
00:11:49,040 --> 00:11:51,280
Speaker 1: we spoke Greek at home, and so that was never

214
00:11:51,320 --> 00:11:53,400
Speaker 1: like the thing that we did. But at the same time,

215
00:11:53,440 --> 00:11:56,040
Speaker 1: I was in spaces, like when we would go to

216
00:11:56,080 --> 00:11:58,599
Speaker 1: church and stuff where I would absolutely recognize like the

217
00:11:58,640 --> 00:12:00,600
Speaker 1: types of people that were portrayed in the movie. So

218
00:12:00,880 --> 00:12:03,359
Speaker 1: I would say related to it on a more superficial

219
00:12:03,440 --> 00:12:05,400
Speaker 1: level than maybe someone else who was like a second

220
00:12:05,440 --> 00:12:07,760
Speaker 1: generation Greek American that was like you know, born and

221
00:12:07,840 --> 00:12:11,120
Speaker 1: raised in Chicago or New York or something. Um, But

222
00:12:11,200 --> 00:12:13,520
Speaker 1: I still very much recognize all the characters, And I

223
00:12:13,559 --> 00:12:17,480
Speaker 1: think what Greek people maybe responded poorly to was just that,

224
00:12:17,520 --> 00:12:21,760
Speaker 1: like it was kind of exaggerating all the most funny

225
00:12:21,840 --> 00:12:24,520
Speaker 1: parts of Greek culture. And I do think that like

226
00:12:24,920 --> 00:12:29,160
Speaker 1: if Greek people faced more discrimination, then yes, I could

227
00:12:29,160 --> 00:12:31,840
Speaker 1: be convinced that it's like problematic, but I feel like

228
00:12:32,040 --> 00:12:35,079
Speaker 1: ultimately they don't, so like it's okay for me to

229
00:12:35,160 --> 00:12:37,120
Speaker 1: laugh at these things because it's not like they're perpetuating

230
00:12:37,120 --> 00:12:40,120
Speaker 1: some like extremely harmful stereotype. It's like affecting Greek people

231
00:12:40,160 --> 00:12:43,200
Speaker 1: in like sure right the world. That's what's tricky with

232
00:12:43,320 --> 00:12:46,440
Speaker 1: this was like I just truly I wasn't familiar with

233
00:12:46,480 --> 00:12:50,120
Speaker 1: any Greek stereotypes and this was my first encounter with

234
00:12:50,520 --> 00:12:54,200
Speaker 1: anything Greek. And then after this movie came out, we

235
00:12:54,240 --> 00:12:58,720
Speaker 1: went to the Greek Festival in Brockton, Massachusetts every single

236
00:12:58,800 --> 00:13:01,520
Speaker 1: year because we're like, love that movie, let's go, let's

237
00:13:01,559 --> 00:13:04,480
Speaker 1: get greatly. I don't know, like we would just do

238
00:13:04,520 --> 00:13:07,320
Speaker 1: it afterwards. But it was like, unlike a lot of

239
00:13:07,520 --> 00:13:11,559
Speaker 1: movies that turn up stereotypes, I wasn't even familiar with

240
00:13:11,679 --> 00:13:14,680
Speaker 1: the stereotypes. It was like tricky even watching this, I

241
00:13:14,720 --> 00:13:17,439
Speaker 1: was like, I don't I don't know. I'm assuming it's

242
00:13:17,480 --> 00:13:20,160
Speaker 1: probably a little offensive and over the top, but like,

243
00:13:20,280 --> 00:13:24,480
Speaker 1: I don't know. I feel like what is kind of

244
00:13:24,520 --> 00:13:29,080
Speaker 1: stereotypically known about Jewish families and Italian families also sort

245
00:13:29,120 --> 00:13:31,920
Speaker 1: of applies to Greek families, and that there's a lot

246
00:13:31,960 --> 00:13:36,959
Speaker 1: of focus on food and like family gatherings and that

247
00:13:37,280 --> 00:13:40,520
Speaker 1: stuff like that. That's yeah, I think about the sod

248
00:13:40,559 --> 00:13:43,320
Speaker 1: because so many people. Obviously that's like such a common

249
00:13:43,400 --> 00:13:45,840
Speaker 1: comparison of like Jewish families, the town family, and Greek families.

250
00:13:45,840 --> 00:13:50,200
Speaker 1: But then there's also like more broadly speaking, like immigrant families,

251
00:13:50,200 --> 00:13:53,080
Speaker 1: like sometimes you know whatever, and then there's like you know,

252
00:13:53,080 --> 00:13:55,360
Speaker 1: I mean I was mentioning before, like Indian families. There's

253
00:13:55,480 --> 00:13:57,880
Speaker 1: you can make comparisons there, and I feel like ultimately

254
00:13:58,160 --> 00:14:02,839
Speaker 1: what the Separation Act is between literally wasps and everyone else,

255
00:14:03,600 --> 00:14:05,720
Speaker 1: Like I actually think that there's more of a difference

256
00:14:05,760 --> 00:14:08,800
Speaker 1: between wasps and non wasps than there is between like

257
00:14:09,360 --> 00:14:11,880
Speaker 1: and I'm not saying this in terms of like systemic discrimination.

258
00:14:11,960 --> 00:14:13,640
Speaker 1: I'm saying this in terms of just like family culture.

259
00:14:13,880 --> 00:14:15,760
Speaker 1: I genuinely think there's more of a difference there than

260
00:14:15,800 --> 00:14:18,400
Speaker 1: between like a Greek family and an Italian family and

261
00:14:18,400 --> 00:14:22,560
Speaker 1: a Jewish family, And so right for me, and what

262
00:14:22,720 --> 00:14:27,080
Speaker 1: I mean, wasps in this movie do not come up

263
00:14:27,160 --> 00:14:30,880
Speaker 1: too well, nor should they. But it was like there

264
00:14:30,960 --> 00:14:33,600
Speaker 1: was what but that scene where Ian's mom is like

265
00:14:33,720 --> 00:14:36,800
Speaker 1: screaming in someone's face like it's a bunt cake. I

266
00:14:36,880 --> 00:14:40,720
Speaker 1: was like, what is wrong with you? That whole scene

267
00:14:40,880 --> 00:14:43,400
Speaker 1: to me was very weird because it's like you have

268
00:14:43,560 --> 00:14:45,760
Speaker 1: that overreaction and then you cut to the aunt and

269
00:14:45,800 --> 00:14:48,520
Speaker 1: she's like, I consumed my twin in the womb, Like

270
00:14:48,880 --> 00:14:51,200
Speaker 1: why is this coming up? I used to be my

271
00:14:51,240 --> 00:14:54,040
Speaker 1: favorite part, but I was like, this is fucking totally

272
00:14:54,280 --> 00:14:58,560
Speaker 1: very strange. Yeah, love this movie. Well shall I do

273
00:14:58,640 --> 00:15:04,800
Speaker 1: the recap? Okay? So we meet Tula to be in

274
00:15:04,840 --> 00:15:07,480
Speaker 1: love with a woman named Tula. My mom's name is

275
00:15:07,520 --> 00:15:13,640
Speaker 1: not Tula. So Tula played by nia is It Vardalos,

276
00:15:14,680 --> 00:15:17,160
Speaker 1: who also wrote the movie. We get to know her

277
00:15:17,160 --> 00:15:19,280
Speaker 1: a little bit as a young child, growing up as

278
00:15:19,320 --> 00:15:23,640
Speaker 1: like a second generation Greek woman in a suburb of Chicago,

279
00:15:24,480 --> 00:15:27,240
Speaker 1: has a huge Greek family and they put a lot

280
00:15:27,280 --> 00:15:30,520
Speaker 1: of pressure on her to get married to specifically a

281
00:15:30,560 --> 00:15:33,320
Speaker 1: Greek man as soon as possible. She works in the

282
00:15:33,320 --> 00:15:37,080
Speaker 1: family restaurant, and um, you know, she's really happy with

283
00:15:37,080 --> 00:15:40,200
Speaker 1: her life. She feels kind of stuck. She's and it's

284
00:15:40,240 --> 00:15:43,280
Speaker 1: like the whole thing is like she's third, she's well,

285
00:15:43,520 --> 00:15:48,600
Speaker 1: she's on her like she's way past her expiration date.

286
00:15:48,840 --> 00:15:54,400
Speaker 1: She's sweat. It's just like, oh no, yeah, she's wearing glasses,

287
00:15:54,480 --> 00:16:02,280
Speaker 1: which is code for I'm not fuck. I didn't I

288
00:16:02,400 --> 00:16:05,680
Speaker 1: forgot how over the top Tula one point, oh was

289
00:16:06,200 --> 00:16:09,600
Speaker 1: I was like, oh my god, she is just headed

290
00:16:09,680 --> 00:16:15,680
Speaker 1: toe neutral, she's wild. So she works at the family

291
00:16:15,680 --> 00:16:20,840
Speaker 1: restaurant and one day a relative, Joey for Tone, is

292
00:16:20,880 --> 00:16:23,960
Speaker 1: her cousin. We meet her mom and her dad, her

293
00:16:23,960 --> 00:16:26,880
Speaker 1: sister brother, a couple of her cousins, a couple of

294
00:16:26,920 --> 00:16:30,680
Speaker 1: her aunts and uncles. Is Joey fatone Greek. He's Italian

295
00:16:31,000 --> 00:16:33,000
Speaker 1: because he's doing an Italian accent. I mean a lot

296
00:16:33,040 --> 00:16:35,920
Speaker 1: of a lot of people in the cast are Italian.

297
00:16:37,240 --> 00:16:40,160
Speaker 1: I was just like, hold on joy for as thrilled

298
00:16:40,200 --> 00:16:42,680
Speaker 1: as I am to see him anywhere. He's doing a

299
00:16:42,800 --> 00:16:47,520
Speaker 1: pasta meat box. What is he doing anyways? Yeah, so

300
00:16:47,560 --> 00:16:50,920
Speaker 1: we meet different members of her family. You know, she's

301
00:16:50,960 --> 00:16:53,880
Speaker 1: just like, everyone wants me to get married. And then

302
00:16:53,920 --> 00:16:57,800
Speaker 1: this guy comes into the restaurant one day. Is he hot?

303
00:16:58,240 --> 00:17:02,720
Speaker 1: He is handsome. He's not for me. I don't know.

304
00:17:02,960 --> 00:17:11,199
Speaker 1: I mean, I'm not whatever he means exactly right. I

305
00:17:11,200 --> 00:17:13,880
Speaker 1: couldn't do it anyway. So he's fine. Um, but she

306
00:17:14,720 --> 00:17:19,280
Speaker 1: his hair is too long in this that's my problem. Well,

307
00:17:19,320 --> 00:17:23,080
Speaker 1: the important thing is she finds him attract she does,

308
00:17:23,920 --> 00:17:26,600
Speaker 1: so she has glasses. What's she going to do and

309
00:17:26,680 --> 00:17:30,920
Speaker 1: she sees him and she's just like smitten. She's hiding

310
00:17:30,960 --> 00:17:37,720
Speaker 1: behind stuff, crouching down, whether she's hot or not, she's

311
00:17:37,840 --> 00:17:42,399
Speaker 1: hiding behind the large objets. So then she starts to

312
00:17:42,440 --> 00:17:45,960
Speaker 1: get her life together and she enrolls in computer classes

313
00:17:46,280 --> 00:17:50,400
Speaker 1: at a local college because she wants to help the

314
00:17:50,480 --> 00:17:54,280
Speaker 1: restaurant run more efficiently. Um. She gives herself a little makeover,

315
00:17:55,000 --> 00:17:59,760
Speaker 1: and then she starts working at her aunt's travel agency. Yes,

316
00:18:00,160 --> 00:18:05,320
Speaker 1: after that scene where she advocates for herself, says, Hi,

317
00:18:05,600 --> 00:18:07,720
Speaker 1: I can turn on the computer. I would like to

318
00:18:07,760 --> 00:18:10,840
Speaker 1: work here, and her aunt says okay. And then the

319
00:18:10,960 --> 00:18:13,680
Speaker 1: aunt the mom in Tula have to all convince the

320
00:18:13,760 --> 00:18:16,200
Speaker 1: data was his idea. You have to incept him yes,

321
00:18:16,680 --> 00:18:19,720
Speaker 1: which was fun to watch, and that's how Christopher Nolan

322
00:18:19,760 --> 00:18:24,040
Speaker 1: got the idea for inception. He wants that scene yes. Um.

323
00:18:24,119 --> 00:18:26,920
Speaker 1: So then a short time later, she crosses paths with

324
00:18:27,080 --> 00:18:31,320
Speaker 1: this guy again who she thought was so handsome and

325
00:18:31,640 --> 00:18:34,119
Speaker 1: his name is Ian and he asks her out on

326
00:18:34,160 --> 00:18:36,800
Speaker 1: a date. Hens like it's punched by an old lady

327
00:18:37,040 --> 00:18:41,840
Speaker 1: the ship because he's goofing around. I see that scene.

328
00:18:41,880 --> 00:18:47,479
Speaker 1: I'm laughing, sorry, um. And then Tula and Ian start

329
00:18:47,760 --> 00:18:50,720
Speaker 1: dating and for the first time in a long time,

330
00:18:51,040 --> 00:18:54,560
Speaker 1: she's happy. But her family doesn't know about this relationship,

331
00:18:54,760 --> 00:18:58,600
Speaker 1: and he's not great because he's not Greek. And when

332
00:18:58,640 --> 00:19:01,840
Speaker 1: her mom and dad find out that she has been

333
00:19:01,920 --> 00:19:06,239
Speaker 1: dating this non Greek man, they throw of it and

334
00:19:06,280 --> 00:19:09,280
Speaker 1: they want her to stop seeing him, but they're all like, no,

335
00:19:09,640 --> 00:19:12,560
Speaker 1: we're in love. We're not going to stop seeing each other.

336
00:19:13,080 --> 00:19:15,520
Speaker 1: And then and then you see him at the school,

337
00:19:16,440 --> 00:19:20,040
Speaker 1: and then I was like, Okay, he is handsome for

338
00:19:20,119 --> 00:19:25,040
Speaker 1: some reason. Once I saw him teaching that maybe that's

339
00:19:25,080 --> 00:19:27,320
Speaker 1: what it was, even though we've already been told that

340
00:19:27,480 --> 00:19:31,159
Speaker 1: glasses equals not fuckable, but that role doesn't apply to

341
00:19:31,200 --> 00:19:36,159
Speaker 1: men forgot. Meanwhile, her family is trying to set her

342
00:19:36,240 --> 00:19:39,920
Speaker 1: up with a Greek man, and all of those candidates

343
00:19:39,960 --> 00:19:44,640
Speaker 1: are not appealing to Tula. Then she meets Ian's parents

344
00:19:44,960 --> 00:19:48,560
Speaker 1: and they are very bland and very waspy and pretty racist.

345
00:19:48,880 --> 00:19:53,640
Speaker 1: And then Ian asks her to marry him, and she's like, yes,

346
00:19:53,800 --> 00:19:58,080
Speaker 1: please sign me up. And Tula's dad is distraught by

347
00:19:58,119 --> 00:20:00,439
Speaker 1: this because he's like, I thought she would get married

348
00:20:00,480 --> 00:20:04,159
Speaker 1: in a Greek Orthodox church and she can't do that

349
00:20:04,240 --> 00:20:07,600
Speaker 1: if she marries an on Greek. So then he converts

350
00:20:07,680 --> 00:20:16,600
Speaker 1: bcically like it's baptized. Get him to the green and

351
00:20:16,920 --> 00:20:18,800
Speaker 1: it's like when his family is in the church and

352
00:20:18,920 --> 00:20:21,960
Speaker 1: like it's all Greek to me, and like, oh my god,

353
00:20:22,080 --> 00:20:31,399
Speaker 1: stop it. You're wild for this one. So he's getting

354
00:20:31,400 --> 00:20:34,840
Speaker 1: his head dunked in an inflatable Katie pool fun, very

355
00:20:34,840 --> 00:20:40,159
Speaker 1: fun seeing and m lavin and then the family starts

356
00:20:40,200 --> 00:20:43,640
Speaker 1: to accept Ian for who he is. They like his hair,

357
00:20:43,840 --> 00:20:46,639
Speaker 1: they like his hair, They celebrate Easter with him, they

358
00:20:46,640 --> 00:20:51,000
Speaker 1: play some language barrier goofs on him, and they start

359
00:20:51,040 --> 00:20:54,719
Speaker 1: planning the wedding. There's some scenes with some invitations and

360
00:20:54,840 --> 00:20:58,800
Speaker 1: some bridesmaids gown. The brother also starts going to night

361
00:20:58,920 --> 00:21:02,080
Speaker 1: school to he wants to be an artist. We love that, yeah,

362
00:21:02,400 --> 00:21:07,159
Speaker 1: because and Tula inspired him. Um. Then they invite Ian's

363
00:21:07,200 --> 00:21:09,520
Speaker 1: parents over so that the families can meet each other.

364
00:21:09,560 --> 00:21:12,760
Speaker 1: And that's the whole like buntcake scene. It Eventually it's

365
00:21:12,800 --> 00:21:16,679
Speaker 1: the day of the wedding, and it's the wedding. It

366
00:21:16,760 --> 00:21:20,840
Speaker 1: just happens. Yeah, when it happens, and which goes wrong

367
00:21:20,880 --> 00:21:23,560
Speaker 1: at the wedding? No, And I just get to watch

368
00:21:23,560 --> 00:21:26,560
Speaker 1: a nice wedding at the end. Yeah, and then uh,

369
00:21:26,600 --> 00:21:30,640
Speaker 1: they're at the reception and there's dancing and everyone's having

370
00:21:30,640 --> 00:21:33,680
Speaker 1: a good time, and then we flash forward. She gets

371
00:21:33,720 --> 00:21:36,760
Speaker 1: pregnant right away, right away. Well, also her parents get

372
00:21:36,760 --> 00:21:41,680
Speaker 1: her a gift by her. But the twist is it's

373
00:21:41,880 --> 00:21:50,159
Speaker 1: right next door. Also Dad accepts Ian, sure, sure, and

374
00:21:50,240 --> 00:21:53,920
Speaker 1: it's one big, happy family. And then she's like, hey, daughter,

375
00:21:53,960 --> 00:21:57,200
Speaker 1: who's six years old. You can marry anyone you want,

376
00:21:57,720 --> 00:22:01,359
Speaker 1: the end long as you get married. And she has

377
00:22:01,400 --> 00:22:04,679
Speaker 1: to go to Greek school, so they are keeping the

378
00:22:04,720 --> 00:22:08,640
Speaker 1: traditional Yes, indeed, so that is the movie. Let's take

379
00:22:08,680 --> 00:22:10,840
Speaker 1: a quick break and then we'll come right back. Okay,

380
00:22:15,960 --> 00:22:19,320
Speaker 1: and we're back. Oh what a what a time we've had.

381
00:22:20,280 --> 00:22:24,600
Speaker 1: We do. We're dunking each other, we're baptizing each other.

382
00:22:27,080 --> 00:22:32,480
Speaker 1: My big thing with this movie is that the movie

383
00:22:32,520 --> 00:22:36,760
Speaker 1: feels like it's being set up where Tula seems like

384
00:22:36,800 --> 00:22:40,080
Speaker 1: she's being somewhat critical of her culture, where it's like, oh,

385
00:22:40,400 --> 00:22:45,200
Speaker 1: all these expectations are being foisted upon me that are

386
00:22:45,760 --> 00:22:49,720
Speaker 1: fairly archaic and sexist, where it's like, oh, you, as

387
00:22:49,720 --> 00:22:52,720
Speaker 1: a woman, there's three things that are expected of you.

388
00:22:53,240 --> 00:22:57,280
Speaker 1: Marry a man, have babies, and then make food for

389
00:22:57,320 --> 00:23:00,359
Speaker 1: all of those people, and it feels like this is

390
00:23:00,400 --> 00:23:02,240
Speaker 1: gonna be because I didn't really remember what the story

391
00:23:02,320 --> 00:23:04,920
Speaker 1: was about, although wedding is entitled, so I did to

392
00:23:04,960 --> 00:23:07,040
Speaker 1: sort of remember that there was a wedding, but I

393
00:23:07,160 --> 00:23:12,080
Speaker 1: like couldn't totally remember how much she like challenged the

394
00:23:12,160 --> 00:23:14,679
Speaker 1: status quo kind of thing and it and it sets

395
00:23:14,680 --> 00:23:16,760
Speaker 1: it up in the beginning where it's she seems like

396
00:23:16,800 --> 00:23:21,879
Speaker 1: she's being critical of these standards, and you know, she

397
00:23:21,960 --> 00:23:24,760
Speaker 1: doesn't feel that it's fair that all these family members

398
00:23:24,800 --> 00:23:28,720
Speaker 1: are expecting her to get married and all this stuff.

399
00:23:28,800 --> 00:23:31,400
Speaker 1: But then she meets a guy, and the whole rest

400
00:23:31,400 --> 00:23:34,520
Speaker 1: of the movie is focused on her relationship to this

401
00:23:34,560 --> 00:23:39,240
Speaker 1: man and her ultimately fulfilling these expectations that were voisted

402
00:23:39,320 --> 00:23:42,960
Speaker 1: upon her, so that I feel like, so how do

403
00:23:43,000 --> 00:23:50,400
Speaker 1: we feel? I I don't there this movie, Okay, I

404
00:23:50,520 --> 00:23:54,000
Speaker 1: remembered lots of scenes by heart, I didn't remember the

405
00:23:54,040 --> 00:23:57,080
Speaker 1: exact arc of the movie, like as it pertains to

406
00:23:57,119 --> 00:23:59,800
Speaker 1: how we're watching it this time, I don't know. I mean,

407
00:24:00,320 --> 00:24:03,080
Speaker 1: there was a good five minutes in this movie where

408
00:24:03,119 --> 00:24:06,359
Speaker 1: I'm like, this is good, this is We're going in

409
00:24:06,400 --> 00:24:11,000
Speaker 1: the right direction. Where there I thought that there was

410
00:24:11,400 --> 00:24:13,720
Speaker 1: for making a horrible noise in my mouth. Just on.

411
00:24:14,520 --> 00:24:18,600
Speaker 1: I thought that the makeover scene was gonna bug me

412
00:24:18,800 --> 00:24:22,080
Speaker 1: more than it did. The reason it did not bother

413
00:24:22,200 --> 00:24:26,120
Speaker 1: me that much, even though you know it is whatever

414
00:24:26,160 --> 00:24:30,320
Speaker 1: we can dig into, like, oh, the more conventionally attractive

415
00:24:30,600 --> 00:24:34,920
Speaker 1: you appear, the happier you must be sure. But at

416
00:24:35,040 --> 00:24:39,280
Speaker 1: least I didn't remember that the makeover was motivated by

417
00:24:39,440 --> 00:24:42,800
Speaker 1: her and her wanting to do something for herself, which

418
00:24:42,800 --> 00:24:45,399
Speaker 1: I appreciated, and it was like a part of a

419
00:24:45,440 --> 00:24:48,720
Speaker 1: package deal of stuff. She did not to impress a guy,

420
00:24:49,040 --> 00:24:52,400
Speaker 1: even though we see that they met before. But from

421
00:24:52,400 --> 00:24:55,040
Speaker 1: what my understanding of it is, she does it because

422
00:24:55,040 --> 00:24:57,320
Speaker 1: she wants to. And she's like, I want to learn

423
00:24:57,320 --> 00:25:00,159
Speaker 1: how to turn on a computer, and her dad's like,

424
00:25:00,240 --> 00:25:03,720
Speaker 1: this is the women have gone too far. They're turning

425
00:25:03,720 --> 00:25:13,120
Speaker 1: on computers. My favorite line, it's downtown. And then she,

426
00:25:13,359 --> 00:25:15,399
Speaker 1: I mean, she does take her glasses off. We have

427
00:25:15,880 --> 00:25:18,879
Speaker 1: what I think is an egregiously long scene trying to

428
00:25:18,880 --> 00:25:22,760
Speaker 1: get a contact, like literally, how do contact? I need

429
00:25:22,760 --> 00:25:27,080
Speaker 1: to take the computers and contact seminar. We see here

430
00:25:27,119 --> 00:25:31,240
Speaker 1: at the seminar, and and so at very least it's

431
00:25:31,320 --> 00:25:34,600
Speaker 1: not a Princess Diaries thing. It's not a she's all

432
00:25:34,640 --> 00:25:39,199
Speaker 1: that thing, it's you know, she does Tula does glow

433
00:25:39,320 --> 00:25:43,160
Speaker 1: up that spans across all areas of her life that's

434
00:25:43,200 --> 00:25:47,520
Speaker 1: motivated for her to make her feel more comfortable at

435
00:25:47,680 --> 00:25:50,600
Speaker 1: where she's at, so that I appreciate I had the

436
00:25:50,640 --> 00:25:53,840
Speaker 1: same read on it, although part of me was like, Oh,

437
00:25:54,160 --> 00:25:57,199
Speaker 1: this all happens after she sees this guy for the

438
00:25:57,240 --> 00:25:59,320
Speaker 1: first time, So it made me wonder, like, was that

439
00:25:59,400 --> 00:26:01,440
Speaker 1: the cattle us that gets her to be like, I've

440
00:26:01,520 --> 00:26:03,960
Speaker 1: got to get my life together so that he might

441
00:26:04,000 --> 00:26:05,920
Speaker 1: be interested in me if I ever see him again.

442
00:26:05,960 --> 00:26:09,440
Speaker 1: But the movie doesn't necessarily do anything specific to suggest

443
00:26:09,480 --> 00:26:12,840
Speaker 1: that's what's happening. Maybe that's just that was the chronological

444
00:26:12,920 --> 00:26:16,000
Speaker 1: order of the events of the story. But I couldn't

445
00:26:16,000 --> 00:26:19,200
Speaker 1: help but think, Okay, it's not until she sees him

446
00:26:19,280 --> 00:26:22,760
Speaker 1: that she starts to like whip her life into shape

447
00:26:22,880 --> 00:26:25,960
Speaker 1: kind of thing. But I did agree that like the makeover,

448
00:26:26,760 --> 00:26:30,040
Speaker 1: it seems to be more that she gives herself a

449
00:26:30,040 --> 00:26:34,159
Speaker 1: makeover because she just wants to look different, or you know,

450
00:26:34,240 --> 00:26:37,760
Speaker 1: to give her look a little boost to make herself

451
00:26:37,800 --> 00:26:41,080
Speaker 1: more confident, right, because usually makeovers and movies like this,

452
00:26:41,280 --> 00:26:44,280
Speaker 1: like the ones you mentioned, it's something that's thrust upon

453
00:26:44,320 --> 00:26:47,080
Speaker 1: a woman by other people, and it's usually so that

454
00:26:47,119 --> 00:26:50,800
Speaker 1: she can be They're usually like you need to look better,

455
00:26:51,200 --> 00:26:53,639
Speaker 1: usually to be more attractive to men. And it's also

456
00:26:54,760 --> 00:27:00,119
Speaker 1: not so extreme of a makeover that you're like, WHOA Like,

457
00:27:00,400 --> 00:27:04,639
Speaker 1: she definitely looks different, but it's not like a Anne

458
00:27:04,640 --> 00:27:08,160
Speaker 1: Hathaway whipping around and it looks like a different person, right,

459
00:27:08,359 --> 00:27:12,399
Speaker 1: and she doesn't act that differently after it happens. I

460
00:27:12,400 --> 00:27:15,320
Speaker 1: don't know. This was like one of the movies that

461
00:27:15,359 --> 00:27:18,280
Speaker 1: we've talked about that there's a makeover sort of that

462
00:27:18,280 --> 00:27:21,240
Speaker 1: didn't super bother me, say, George would say, I feel

463
00:27:21,280 --> 00:27:23,439
Speaker 1: like it's it's there's almost like a narrative of like

464
00:27:23,560 --> 00:27:26,960
Speaker 1: a delayed or a prolonged adolescence kind of and like

465
00:27:27,480 --> 00:27:30,679
Speaker 1: her makeover is is almost like just the experience that

466
00:27:30,720 --> 00:27:33,440
Speaker 1: anyone would go through when they're like going to college

467
00:27:33,560 --> 00:27:36,600
Speaker 1: kind of like it's like she's been stuck in this

468
00:27:36,840 --> 00:27:40,120
Speaker 1: almost like prolonged I don't want to say prolonged high

469
00:27:40,119 --> 00:27:43,040
Speaker 1: school experience. It's very condescending, but but like she's been

470
00:27:43,119 --> 00:27:44,879
Speaker 1: kind of like in the orbit of her family and

471
00:27:44,920 --> 00:27:47,359
Speaker 1: no one else. She still lives, still lives at home,

472
00:27:47,520 --> 00:27:49,920
Speaker 1: you know, she still works with her family whatever, and

473
00:27:50,240 --> 00:27:52,800
Speaker 1: you know, she has kind of put off like trying

474
00:27:53,160 --> 00:27:57,120
Speaker 1: anything outside of comfort zone. So I think it, I mean,

475
00:27:57,160 --> 00:27:59,800
Speaker 1: the physical makeover is just kind of like the easiest

476
00:27:59,800 --> 00:28:02,119
Speaker 1: way it to denote the fact that she is like

477
00:28:02,280 --> 00:28:05,359
Speaker 1: taking risks and like putting herself out there. And I

478
00:28:05,359 --> 00:28:08,000
Speaker 1: don't know, there's kind of like a really interesting tug

479
00:28:08,000 --> 00:28:10,320
Speaker 1: of war in the movie where she's kind of figuring

480
00:28:10,359 --> 00:28:13,399
Speaker 1: out how much of her past and her culture she

481
00:28:13,440 --> 00:28:15,240
Speaker 1: wants to hang onto and how much of it she's

482
00:28:15,320 --> 00:28:19,080
Speaker 1: like okay, you know, straying from And I think it

483
00:28:19,160 --> 00:28:22,760
Speaker 1: towes that line pretty well. I mean there's like the scene,

484
00:28:22,760 --> 00:28:25,879
Speaker 1: for example, where she's like finally eating like a bland

485
00:28:25,960 --> 00:28:29,680
Speaker 1: sandwich with the blonde girls, but then it's so she's

486
00:28:29,720 --> 00:28:31,600
Speaker 1: like trying that out. But then it's like at the end,

487
00:28:31,680 --> 00:28:33,679
Speaker 1: she still decides she wants to be a part of

488
00:28:33,720 --> 00:28:36,680
Speaker 1: the you know, Greek community. So it's which I think

489
00:28:36,760 --> 00:28:41,640
Speaker 1: is like there's no correct way to portray that journey, um,

490
00:28:41,680 --> 00:28:43,640
Speaker 1: and I think she does a very good job in

491
00:28:43,640 --> 00:28:48,000
Speaker 1: my opinion, and the fact that her little like makeover

492
00:28:48,160 --> 00:28:51,040
Speaker 1: confidence boost that she's giving herself coincides with the fact

493
00:28:51,080 --> 00:28:54,520
Speaker 1: that she's also furthering her education and like wanting to

494
00:28:54,600 --> 00:28:57,480
Speaker 1: learn a new and still her job. And yeah, she's

495
00:28:57,480 --> 00:29:00,360
Speaker 1: like changing her life. That's why it wasn't like take

496
00:29:00,400 --> 00:29:03,680
Speaker 1: off the glasses, you're a new person. Yeah, this was like, oh,

497
00:29:03,800 --> 00:29:08,480
Speaker 1: she's like just doing some work on herself. I admire

498
00:29:08,560 --> 00:29:11,800
Speaker 1: that also just in terms of like the representation of

499
00:29:11,800 --> 00:29:14,840
Speaker 1: the women in the film, Like that entire part of

500
00:29:14,840 --> 00:29:16,960
Speaker 1: the movie where it's basically like the three women like her,

501
00:29:17,000 --> 00:29:19,440
Speaker 1: her mom, and her aunt kind of like devising this plan.

502
00:29:19,600 --> 00:29:22,200
Speaker 1: I thought was like, really well done. I want to

503
00:29:22,200 --> 00:29:26,320
Speaker 1: talk about that same because we mentioned this in the recap.

504
00:29:26,400 --> 00:29:29,440
Speaker 1: But the whole thing is that Tula wants to work

505
00:29:29,520 --> 00:29:34,680
Speaker 1: at her aunt's travel agency, but she knows that her dad,

506
00:29:34,840 --> 00:29:37,360
Speaker 1: being like the patriarch and the head of the household,

507
00:29:37,880 --> 00:29:40,520
Speaker 1: won't go for it unless he thinks he's come up

508
00:29:40,520 --> 00:29:43,000
Speaker 1: with the idea. So the three of them get together

509
00:29:43,080 --> 00:29:45,239
Speaker 1: like okay, we need to accept him. First of all.

510
00:29:45,240 --> 00:29:47,400
Speaker 1: It's really funny the way that like the aunt especially

511
00:29:47,440 --> 00:29:49,959
Speaker 1: is acting. She's like so rehearsed and like a robot.

512
00:29:50,000 --> 00:29:51,960
Speaker 1: She does not know how to improvise. She needs to

513
00:29:51,960 --> 00:29:54,920
Speaker 1: take a UCB class or something, but so that that

514
00:29:54,960 --> 00:29:58,000
Speaker 1: seems really funny. And then we as the audience, we're

515
00:29:58,160 --> 00:30:01,840
Speaker 1: let in on the secret it where the dad kind

516
00:30:01,840 --> 00:30:04,600
Speaker 1: of looks like an idiot because he's like, yes, it's

517
00:30:04,640 --> 00:30:07,080
Speaker 1: my idea, and you needed a man all along for

518
00:30:07,120 --> 00:30:09,160
Speaker 1: me to figure out this really smart thing that I

519
00:30:09,200 --> 00:30:11,640
Speaker 1: came up with. And then we are like, t he

520
00:30:11,640 --> 00:30:14,400
Speaker 1: he's actually an idiot because they already came up with

521
00:30:14,440 --> 00:30:18,160
Speaker 1: this idea. Um that I enjoyed that too, and that

522
00:30:18,240 --> 00:30:22,240
Speaker 1: came after I believe you see Tula's mom and dad

523
00:30:22,680 --> 00:30:25,640
Speaker 1: have They have several scenes together and then most of

524
00:30:25,680 --> 00:30:29,400
Speaker 1: them tol his mom ends up taking the dad down

525
00:30:29,520 --> 00:30:33,320
Speaker 1: to I don't know what what what phraseing my searching

526
00:30:33,360 --> 00:30:37,280
Speaker 1: for takes him down a notch. I'm sorry, Hi, I'm

527
00:30:37,320 --> 00:30:43,880
Speaker 1: a fucking idiot. Women shouldn't be educated. But their first

528
00:30:43,880 --> 00:30:47,120
Speaker 1: scene when Tula, a thirty year old woman, wants to

529
00:30:47,120 --> 00:30:49,240
Speaker 1: take a computer class and her dad's like, she'll die

530
00:30:49,320 --> 00:30:52,720
Speaker 1: if she leaves the house, and uh, you know it

531
00:30:52,720 --> 00:30:54,520
Speaker 1: makes the comment about this is why women should get

532
00:30:54,520 --> 00:30:58,120
Speaker 1: an education is out of control and the mom immediately

533
00:30:58,440 --> 00:31:00,720
Speaker 1: snaps at him and says, what you don't think that

534
00:31:00,720 --> 00:31:03,480
Speaker 1: that I'm as smart as you. I run the restaurant

535
00:31:03,560 --> 00:31:05,720
Speaker 1: for you, I raised kids for you, I ran the

536
00:31:05,760 --> 00:31:09,440
Speaker 1: house for you, and I teach Sunday school. I was

537
00:31:09,480 --> 00:31:12,840
Speaker 1: like the mic drop on the Sunday lucky, I have

538
00:31:12,880 --> 00:31:17,320
Speaker 1: you to tie my shoes so good and so and

539
00:31:17,320 --> 00:31:20,240
Speaker 1: and then later she and Tula have that scene where

540
00:31:21,240 --> 00:31:23,200
Speaker 1: was the lame the mom said, where she's like, oh, well,

541
00:31:23,280 --> 00:31:26,400
Speaker 1: sure the man's the head of she can turn the

542
00:31:26,440 --> 00:31:29,600
Speaker 1: head anyway, and we here do that a bunch of times.

543
00:31:29,640 --> 00:31:33,120
Speaker 1: You're like, which I do enjoy. But then also part

544
00:31:33,120 --> 00:31:36,320
Speaker 1: of me, especially with the scene where they're accepting the dad,

545
00:31:36,840 --> 00:31:40,200
Speaker 1: I came away from the sort of frustrated. In addition

546
00:31:40,240 --> 00:31:42,480
Speaker 1: to I don't know, I had conflicting feelings about it,

547
00:31:42,480 --> 00:31:44,920
Speaker 1: because I was like, well, he thinks he's smart, but

548
00:31:45,000 --> 00:31:48,400
Speaker 1: actually you know, they've tricked him. But I was frustrated

549
00:31:48,480 --> 00:31:53,280
Speaker 1: because there's sort of like encouraging and still upholding this

550
00:31:53,560 --> 00:31:56,640
Speaker 1: status quo of allowing him to think he has control

551
00:31:56,680 --> 00:31:59,800
Speaker 1: over everything. And there's a part of me that like

552
00:32:00,320 --> 00:32:02,880
Speaker 1: a scene like that to play out where Toola just

553
00:32:03,000 --> 00:32:06,000
Speaker 1: marches up to her dad and she's like, yeah, hey,

554
00:32:06,120 --> 00:32:08,880
Speaker 1: I'm gonna like work at this travel agency because that's

555
00:32:08,920 --> 00:32:11,160
Speaker 1: what I want to do. Because I know computers, I

556
00:32:11,200 --> 00:32:14,160
Speaker 1: can do whatever the funk I want. That's not the

557
00:32:14,240 --> 00:32:17,560
Speaker 1: dynamic of their family. But also I don't know, like

558
00:32:17,920 --> 00:32:20,400
Speaker 1: I feel like more could have been done by her

559
00:32:20,560 --> 00:32:25,360
Speaker 1: to like challenge these norms. But I feel like they

560
00:32:25,360 --> 00:32:27,719
Speaker 1: do a really good job of showing how kind of

561
00:32:27,760 --> 00:32:32,960
Speaker 1: like regressive views can coexist with people being empowered within

562
00:32:33,080 --> 00:32:36,720
Speaker 1: those structures kind of. And I mean, as much as

563
00:32:36,760 --> 00:32:40,120
Speaker 1: it is very much kind of like a formulaic romantic

564
00:32:40,160 --> 00:32:43,840
Speaker 1: comedy and its plot, I think they avoid a lot

565
00:32:43,880 --> 00:32:48,360
Speaker 1: of kind of like empowerment cliches while also like effectively

566
00:32:48,480 --> 00:32:51,200
Speaker 1: telling an empowering narrative. I mean, to some extent we

567
00:32:51,200 --> 00:32:54,360
Speaker 1: can discuss like what the details are. But like I

568
00:32:54,400 --> 00:32:57,840
Speaker 1: feel like she's like with every conflict that happened, she

569
00:32:58,000 --> 00:33:01,760
Speaker 1: slowly becomes more empowered in her own in like advocating

570
00:33:01,800 --> 00:33:04,840
Speaker 1: for herself, so that at the end, it's like when he,

571
00:33:05,040 --> 00:33:08,160
Speaker 1: for instance, asks her to marry him, she doesn't hesitate.

572
00:33:08,200 --> 00:33:10,240
Speaker 1: She's like, I will do this no matter if my

573
00:33:10,320 --> 00:33:12,960
Speaker 1: family likes it or not. Yeah, I don't know that

574
00:33:13,040 --> 00:33:16,320
Speaker 1: scene did work for me, and obviously like I would

575
00:33:16,360 --> 00:33:19,440
Speaker 1: have loved for Toola to to go to her dad

576
00:33:19,480 --> 00:33:21,360
Speaker 1: and say this is what I want to do. But

577
00:33:21,800 --> 00:33:25,800
Speaker 1: in terms of, you know, portraying how this specific family works,

578
00:33:25,960 --> 00:33:29,440
Speaker 1: I found that scene helpful because we had already sort

579
00:33:29,480 --> 00:33:31,719
Speaker 1: of gotten that indication about the comment about the head

580
00:33:31,720 --> 00:33:33,520
Speaker 1: and the neck from the mom, and then we got

581
00:33:33,560 --> 00:33:36,080
Speaker 1: to see it in action of like, oh, the women

582
00:33:36,200 --> 00:33:39,320
Speaker 1: are in charge, but because of how the men and

583
00:33:39,360 --> 00:33:42,720
Speaker 1: this family were raised and how they behave they need

584
00:33:42,760 --> 00:33:44,560
Speaker 1: to feel like they're in charge. How can you get

585
00:33:44,640 --> 00:33:48,920
Speaker 1: something done and thrive and exist within that structure. So

586
00:33:49,000 --> 00:33:51,120
Speaker 1: it's not challenging the structure, but it was helpful for

587
00:33:51,120 --> 00:33:53,800
Speaker 1: me to see how that worked. Also, the idea of

588
00:33:53,840 --> 00:33:57,360
Speaker 1: someone like making that kind of speech to their dad

589
00:33:57,480 --> 00:33:59,560
Speaker 1: and then like storming out is kind of like a

590
00:33:59,680 --> 00:34:03,360
Speaker 1: very American idea and it's a very like kind of Hollywood,

591
00:34:04,120 --> 00:34:07,560
Speaker 1: and I think it's actually more tricky and more interesting

592
00:34:07,720 --> 00:34:12,120
Speaker 1: to watch people like navigate those waters without you know,

593
00:34:12,160 --> 00:34:15,800
Speaker 1: like fully alienating their family, because like the structure of

594
00:34:15,840 --> 00:34:18,359
Speaker 1: the family and Greek culture is much stronger than like

595
00:34:19,080 --> 00:34:23,200
Speaker 1: individual you know will or ambition often and I mean,

596
00:34:23,280 --> 00:34:26,000
Speaker 1: you know, we can debate the merits of that, but

597
00:34:26,000 --> 00:34:29,600
Speaker 1: but but I think it's like it shows the specificity

598
00:34:29,920 --> 00:34:32,600
Speaker 1: of those family dynamics. Is there for a reason, and

599
00:34:33,000 --> 00:34:35,920
Speaker 1: they I'm sure that like she thought of doing a

600
00:34:35,920 --> 00:34:38,400
Speaker 1: scene like that, but like didn't specifically to show like

601
00:34:38,400 --> 00:34:40,359
Speaker 1: how the family is anyway, right, Yeah, I mean I'm

602
00:34:40,400 --> 00:34:42,960
Speaker 1: frustrated because I see a scene like that and I'm like,

603
00:34:43,000 --> 00:34:44,840
Speaker 1: just why can't you just say what you want and

604
00:34:44,840 --> 00:34:46,799
Speaker 1: then like tell your family to sunk off? But that's

605
00:34:46,840 --> 00:34:48,440
Speaker 1: just because I come from a family where I'm like,

606
00:34:48,480 --> 00:34:51,080
Speaker 1: if I don't like you, fuck off and see it

607
00:34:51,160 --> 00:34:55,000
Speaker 1: never again. But I understand that that doesn't work for everything.

608
00:34:55,120 --> 00:34:57,160
Speaker 1: But I will say, I mean something that I found

609
00:34:57,200 --> 00:34:59,960
Speaker 1: to be something that I had mixed feelings about was

610
00:35:00,160 --> 00:35:04,360
Speaker 1: like the families and the father specifically views on education,

611
00:35:04,440 --> 00:35:07,439
Speaker 1: because I actually think, you know, in my experience, Greek

612
00:35:07,480 --> 00:35:11,320
Speaker 1: people do value education, and it's a little difficult for

613
00:35:11,360 --> 00:35:14,200
Speaker 1: me to imagine, you know, a father trying to prevent

614
00:35:14,280 --> 00:35:16,160
Speaker 1: his daughter from going to college. I feel like that

615
00:35:16,280 --> 00:35:18,799
Speaker 1: was maybe exaggerated a little bit to to make the

616
00:35:18,840 --> 00:35:23,560
Speaker 1: conflict more intense. Although oh, I'm sure I can think

617
00:35:23,560 --> 00:35:26,719
Speaker 1: of counterexample. The people I know um. But that was

618
00:35:26,760 --> 00:35:28,360
Speaker 1: the only thing where I was like, of all the

619
00:35:28,440 --> 00:35:31,359
Speaker 1: kind of like exaggerated stereotypes, that was the one thing

620
00:35:31,400 --> 00:35:33,239
Speaker 1: that like slightly bothered me because I was like, oh,

621
00:35:33,280 --> 00:35:35,479
Speaker 1: I don't I don't want people to think Greek people

622
00:35:35,520 --> 00:35:38,280
Speaker 1: are like like don't want women to be educated. Right,

623
00:35:38,520 --> 00:35:42,680
Speaker 1: He's like and he's pretty overboard on his sexism, where

624
00:35:42,680 --> 00:35:46,040
Speaker 1: he's like, he's like, it's a mistake to educate women,

625
00:35:46,160 --> 00:35:49,120
Speaker 1: and then in a separate scene he says, Oh, she's

626
00:35:49,120 --> 00:35:51,120
Speaker 1: smart enough, she doesn't need to go to more school.

627
00:35:51,239 --> 00:35:53,920
Speaker 1: And it's just like I do think it's played for

628
00:35:54,040 --> 00:35:56,480
Speaker 1: humor in a way that works in the context of

629
00:35:56,480 --> 00:35:58,560
Speaker 1: the movie. And I also think that like as much

630
00:35:58,560 --> 00:36:00,920
Speaker 1: as you know you want to see like the person

631
00:36:01,000 --> 00:36:05,000
Speaker 1: who's prejudiced be like defeated, every family has people who

632
00:36:05,080 --> 00:36:06,680
Speaker 1: you know are going to say things like that, and

633
00:36:06,760 --> 00:36:08,759
Speaker 1: everyone kind of agrees that you're going to roll your

634
00:36:08,760 --> 00:36:13,040
Speaker 1: eyes and like you know, ultimately they're harmless, like and

635
00:36:13,200 --> 00:36:15,480
Speaker 1: you know, yes, it's not a perfect world, but like

636
00:36:15,640 --> 00:36:17,680
Speaker 1: that just is the case, and like when you're depicting

637
00:36:17,680 --> 00:36:19,160
Speaker 1: a family, there are going to be people like that.

638
00:36:19,760 --> 00:36:23,920
Speaker 1: That was the dad character threw me a few different

639
00:36:24,080 --> 00:36:28,400
Speaker 1: times where it reminded me a little bit of Royal

640
00:36:28,520 --> 00:36:34,400
Speaker 1: Tennan bomb. Ever, well, where get ready to Jamie's about

641
00:36:34,400 --> 00:36:38,400
Speaker 1: to draw a little parallel, but in terms of a

642
00:36:38,520 --> 00:36:42,719
Speaker 1: father figure character who says and does a lot of

643
00:36:42,760 --> 00:36:47,480
Speaker 1: things that are you know, shipped outwardly shitty to his family.

644
00:36:47,680 --> 00:36:51,000
Speaker 1: But the way he's presented, it's like, ah, but this

645
00:36:51,080 --> 00:36:55,919
Speaker 1: is just it's silly. It's it's presented like this is funny, right,

646
00:36:56,160 --> 00:36:58,839
Speaker 1: and and at times it's like presented to make him

647
00:36:58,920 --> 00:37:03,000
Speaker 1: look dumb because his wife can manipulate him whenever she wants,

648
00:37:03,000 --> 00:37:05,439
Speaker 1: and she's smarter than him and we know that. But

649
00:37:05,600 --> 00:37:08,959
Speaker 1: my thing was like how that arc ends for royal

650
00:37:08,960 --> 00:37:12,800
Speaker 1: time momb and for this character is like there's never

651
00:37:12,920 --> 00:37:16,279
Speaker 1: really quite a moment of reckoning for him where he

652
00:37:16,320 --> 00:37:18,840
Speaker 1: has to say like, oh, maybe the way I was

653
00:37:18,920 --> 00:37:21,920
Speaker 1: viewing this was incorrect, Like as far as he'll go

654
00:37:22,120 --> 00:37:25,839
Speaker 1: as to accept a man and to his family, there's

655
00:37:25,920 --> 00:37:29,000
Speaker 1: no real and and then we're sort of led to believe, well,

656
00:37:29,000 --> 00:37:31,879
Speaker 1: the conflict between him and his daughter is resolved now,

657
00:37:31,920 --> 00:37:34,360
Speaker 1: and it's like, well, he was calling her ugly and

658
00:37:34,520 --> 00:37:37,640
Speaker 1: old and like that she would should like we don't

659
00:37:37,719 --> 00:37:41,160
Speaker 1: really I would. I think it could have been useful

660
00:37:41,200 --> 00:37:44,080
Speaker 1: and interesting to have a scene with with them by

661
00:37:44,160 --> 00:37:47,520
Speaker 1: the end where he even if it's like, you know,

662
00:37:47,560 --> 00:37:50,759
Speaker 1: it doesn't need to be in an overwritten like you've

663
00:37:50,840 --> 00:37:53,719
Speaker 1: learned I he has queen like, it doesn't have to

664
00:37:53,760 --> 00:37:56,480
Speaker 1: be taught me so much daughter. Yeah, But I mean,

665
00:37:56,520 --> 00:37:59,960
Speaker 1: does he even like some acknowledgement of you know, how

666
00:38:00,040 --> 00:38:02,600
Speaker 1: over that that would be written. I was like, because

667
00:38:02,680 --> 00:38:05,160
Speaker 1: because most of the family, I feel like you do

668
00:38:05,239 --> 00:38:08,080
Speaker 1: get that journey with with the mom and the aunt

669
00:38:08,160 --> 00:38:09,920
Speaker 1: and we get to know them and we see them

670
00:38:10,000 --> 00:38:13,360
Speaker 1: kind of in action and they change. But then I

671
00:38:13,400 --> 00:38:15,319
Speaker 1: don't know that I felt like the Dead could have

672
00:38:15,760 --> 00:38:18,480
Speaker 1: that character could especially because, like I mean, the first

673
00:38:18,560 --> 00:38:22,239
Speaker 1: line that's spoken in the movie is him saying, you

674
00:38:22,360 --> 00:38:25,160
Speaker 1: better get married soon, you're starting to look old, and

675
00:38:25,160 --> 00:38:28,080
Speaker 1: then her voiceover comes in. He says that several times,

676
00:38:28,480 --> 00:38:31,200
Speaker 1: and then her voiceover comes in and she says, my

677
00:38:31,280 --> 00:38:33,240
Speaker 1: dad has been saying that to me since I was fifteen.

678
00:38:33,719 --> 00:38:36,239
Speaker 1: Because nice Greek girls are supposed to do three things

679
00:38:36,239 --> 00:38:40,040
Speaker 1: in life, Mary, Greek boys, make Greek babies, and feed

680
00:38:40,040 --> 00:38:42,560
Speaker 1: everyone until the day we die. So this is like

681
00:38:42,680 --> 00:38:44,959
Speaker 1: where I you know, I heard this, I'm like, oh,

682
00:38:45,000 --> 00:38:47,560
Speaker 1: this is gonna be a movie where she's like challenging

683
00:38:47,600 --> 00:38:51,000
Speaker 1: the status quo. And then that like doesn't happen as

684
00:38:51,080 --> 00:38:52,560
Speaker 1: much to my liking. But this is also a movie

685
00:38:52,560 --> 00:38:55,399
Speaker 1: from two thou too, so you know, you can't have

686
00:38:55,440 --> 00:38:58,080
Speaker 1: everything you want. And then there's also there's other moments

687
00:38:58,120 --> 00:38:59,640
Speaker 1: that I feel I could have been challenged more, where

688
00:38:59,680 --> 00:39:03,280
Speaker 1: like her brother, Nico is I think one year younger

689
00:39:03,480 --> 00:39:07,640
Speaker 1: than Tula, and Nico's all like, oh, dad, I'm going

690
00:39:07,719 --> 00:39:10,319
Speaker 1: to marry someone soon. And then the dad's like, you've

691
00:39:10,360 --> 00:39:13,560
Speaker 1: got plenty of time. And then meanwhile, Tula, who's only

692
00:39:13,600 --> 00:39:16,600
Speaker 1: a year older than her brother, They're like, you look

693
00:39:16,640 --> 00:39:18,960
Speaker 1: old as hell and you're going to die alone if

694
00:39:19,000 --> 00:39:21,960
Speaker 1: you don't get married fucking yesterday. And I mean, well,

695
00:39:21,960 --> 00:39:29,799
Speaker 1: that's that's attentional, that's right. Yeah, I'm sorry, sorry, but

696
00:39:29,880 --> 00:39:31,319
Speaker 1: like I just mean that like sounds like you need

697
00:39:31,320 --> 00:39:37,319
Speaker 1: to I just feel like that. I think I just

698
00:39:37,480 --> 00:39:39,920
Speaker 1: want to see things challenged more than is realistic for

699
00:39:39,960 --> 00:39:43,920
Speaker 1: me to expect of movies. But um, you know, maybe

700
00:39:43,920 --> 00:39:47,000
Speaker 1: I'm just like being overly. Um I'm giving it a

701
00:39:47,080 --> 00:39:49,680
Speaker 1: very generous reading. I do feel like in every scene

702
00:39:49,719 --> 00:39:53,000
Speaker 1: there is that tension, like there are certain things that

703
00:39:53,040 --> 00:39:56,400
Speaker 1: are under challenge, but they are like explored in a

704
00:39:56,440 --> 00:39:59,400
Speaker 1: way where like the audience can come to those conclusions

705
00:39:59,400 --> 00:40:04,480
Speaker 1: if that makes like without there being like confrontation after confrontation.

706
00:40:05,239 --> 00:40:08,319
Speaker 1: But then again, you know that's just like from me,

707
00:40:08,640 --> 00:40:11,800
Speaker 1: you know, being a generous viewer of the of the movie.

708
00:40:11,880 --> 00:40:14,120
Speaker 1: But I don't know, the Nico characters actually interesting to

709
00:40:14,120 --> 00:40:16,840
Speaker 1: me because I think you could read it as him

710
00:40:16,880 --> 00:40:21,760
Speaker 1: being coded semi queer, because there was like him wanting

711
00:40:21,760 --> 00:40:25,280
Speaker 1: to be an art like there are certain like trigger

712
00:40:25,280 --> 00:40:27,360
Speaker 1: words where I was like, obviously, this is like me

713
00:40:27,400 --> 00:40:29,080
Speaker 1: reading too much into it, but I was like, this

714
00:40:29,160 --> 00:40:32,160
Speaker 1: is like an interesting mini arc to add to this

715
00:40:32,200 --> 00:40:35,080
Speaker 1: movie from And I know that Nei ever Dallas is

716
00:40:35,120 --> 00:40:38,320
Speaker 1: like like a huge kind of like being a queer

717
00:40:38,360 --> 00:40:40,440
Speaker 1: ally is like a very big part of her identity

718
00:40:40,440 --> 00:40:42,760
Speaker 1: as a celebrity. And like after she made this movie,

719
00:40:43,000 --> 00:40:44,560
Speaker 1: like when she finally got a chance to make a

720
00:40:44,560 --> 00:40:46,879
Speaker 1: big budget movie, she literally made a drag queen movie

721
00:40:46,880 --> 00:40:51,080
Speaker 1: with Tony Collett, which like ended up it's not I mean,

722
00:40:51,960 --> 00:40:55,000
Speaker 1: it ended up not doing great, but but anyway, there

723
00:40:55,000 --> 00:40:56,640
Speaker 1: there were and they were like I feel like there

724
00:40:56,680 --> 00:40:59,000
Speaker 1: were many kind of things like that were cold in

725
00:40:59,040 --> 00:41:00,440
Speaker 1: a way that maybe I didn't stand at the TI

726
00:41:00,440 --> 00:41:01,799
Speaker 1: when I was watching the movie, But now I'm like,

727
00:41:02,520 --> 00:41:05,040
Speaker 1: just like the way the female characters are written are

728
00:41:05,160 --> 00:41:07,759
Speaker 1: very kind of like larger than life, like almost like

729
00:41:07,920 --> 00:41:11,919
Speaker 1: Diva characters. Um. And even just like the casting, it's

730
00:41:11,960 --> 00:41:14,200
Speaker 1: like they're like made to be kind of like worse.

731
00:41:14,280 --> 00:41:16,319
Speaker 1: I don't know, and Andrea Martin and Lena becausean are

732
00:41:16,320 --> 00:41:18,239
Speaker 1: just so good in it. Um, Where was I going

733
00:41:18,280 --> 00:41:21,120
Speaker 1: with this? Oh? Yeah, Nico, I do feel like there

734
00:41:21,120 --> 00:41:24,080
Speaker 1: are many ways to read his his arc. Sure, And

735
00:41:24,120 --> 00:41:27,240
Speaker 1: then I mean he didn't need that like tiny little

736
00:41:27,320 --> 00:41:29,239
Speaker 1: subplot like that didn't need to be in the movie,

737
00:41:29,239 --> 00:41:32,680
Speaker 1: but the fact that it was put there, I loved it. Yeah,

738
00:41:32,680 --> 00:41:35,320
Speaker 1: it was interesting, just like the going through the trouble

739
00:41:35,360 --> 00:41:38,839
Speaker 1: to really flesh out this family that as as much

740
00:41:38,840 --> 00:41:41,120
Speaker 1: as it seems like it's you know, like turned up

741
00:41:41,160 --> 00:41:44,719
Speaker 1: to an eleven the existing stereotypes, it's like going back

742
00:41:44,760 --> 00:41:47,920
Speaker 1: and having like, no, he's not just like a meathead,

743
00:41:48,280 --> 00:41:50,440
Speaker 1: and we plant the seed of like, look, Dad, I

744
00:41:50,520 --> 00:41:52,680
Speaker 1: drained the menu. I was like, oh, I don't care,

745
00:41:52,719 --> 00:41:55,520
Speaker 1: and he's like, get back to work. Son, and then

746
00:41:55,560 --> 00:41:57,440
Speaker 1: later he's like, I ain't going to art school, and

747
00:41:57,440 --> 00:42:01,879
Speaker 1: I was like, you know that I liked those mini drink.

748
00:42:01,920 --> 00:42:03,840
Speaker 1: I feel like Andrea Martin character had a bit of

749
00:42:03,880 --> 00:42:06,640
Speaker 1: a journey herself where by the end she can accept

750
00:42:06,760 --> 00:42:11,440
Speaker 1: vegetarians into her life. Maybe there's everyone had a little

751
00:42:11,880 --> 00:42:15,279
Speaker 1: I don't know. I'm I know, I'm gonna give this

752
00:42:15,360 --> 00:42:18,320
Speaker 1: movie a break in every I'm here to be the

753
00:42:18,360 --> 00:42:22,480
Speaker 1: one to be like. But I do think that the

754
00:42:22,640 --> 00:42:26,520
Speaker 1: central like the central problem of this movie. I've really

755
00:42:26,960 --> 00:42:30,439
Speaker 1: love of, like just the question of like how can

756
00:42:30,560 --> 00:42:34,120
Speaker 1: I live my life as I want to? How far

757
00:42:34,239 --> 00:42:38,359
Speaker 1: can I push that and still be able to have

758
00:42:38,440 --> 00:42:41,400
Speaker 1: my family in my life? That's so yeah, that's like

759
00:42:41,600 --> 00:42:45,439
Speaker 1: my culture. It's like a cultural like can it can

760
00:42:45,480 --> 00:42:48,800
Speaker 1: it be both ways? I think where the movie lands

761
00:42:48,840 --> 00:42:52,520
Speaker 1: on that question is kind of ambiguous and maybe not

762
00:42:52,960 --> 00:42:57,120
Speaker 1: enough of what Toula wants. But right, well, that like

763
00:42:57,160 --> 00:43:00,320
Speaker 1: it's an ambiguous thing what you were saying before, George

764
00:43:00,320 --> 00:43:05,160
Speaker 1: about there being a balance between like the movies presenting

765
00:43:05,280 --> 00:43:07,319
Speaker 1: things and it's not like slapping us in the face

766
00:43:07,360 --> 00:43:09,080
Speaker 1: with them, and it's kind of like letting the audience

767
00:43:09,120 --> 00:43:11,640
Speaker 1: like make our own kind of judgment calls on these things,

768
00:43:11,800 --> 00:43:13,600
Speaker 1: I feel like would have worked better if it had

769
00:43:13,719 --> 00:43:18,200
Speaker 1: ended slightly differently, because the end of the movie feels

770
00:43:18,239 --> 00:43:20,680
Speaker 1: like the thesis statement about the whole thing, which is

771
00:43:20,719 --> 00:43:24,320
Speaker 1: when she's talking to her six year old daughter and

772
00:43:24,360 --> 00:43:26,480
Speaker 1: her daughter's like, Mom, do I have to go to

773
00:43:26,520 --> 00:43:29,440
Speaker 1: Greek school? And she's like, yes, but I'll promise you this,

774
00:43:29,600 --> 00:43:32,800
Speaker 1: you can marry anyone you want, Like that's the thesis

775
00:43:32,800 --> 00:43:36,480
Speaker 1: statement of the movie. But I feel like because it's

776
00:43:36,480 --> 00:43:39,319
Speaker 1: so much emphasis of what she's saying right then and

777
00:43:39,400 --> 00:43:42,560
Speaker 1: throughout the whole movie being about her marrying this like

778
00:43:42,640 --> 00:43:45,120
Speaker 1: non Greek guy, I don't know, I just I guess

779
00:43:45,120 --> 00:43:47,320
Speaker 1: I just wanted to see more of like her burgeoning

780
00:43:47,360 --> 00:43:51,160
Speaker 1: career or her something. I think that, like the the

781
00:43:51,239 --> 00:43:53,400
Speaker 1: what it came down to at the end, I was like, WHOA,

782
00:43:53,440 --> 00:43:56,120
Speaker 1: how did that movie end that way so easily? And

783
00:43:56,160 --> 00:43:59,360
Speaker 1: I think what it is as we at the beginning besides,

784
00:43:59,680 --> 00:44:03,800
Speaker 1: like we don't really know outside of wanting a life

785
00:44:03,800 --> 00:44:06,040
Speaker 1: of her own outside of her family, we don't really

786
00:44:06,080 --> 00:44:09,680
Speaker 1: know what Tula wants out of her life, and that

787
00:44:09,960 --> 00:44:14,400
Speaker 1: is never made super clear to us before she meets

788
00:44:14,440 --> 00:44:16,840
Speaker 1: the guy, and so then I think from there because

789
00:44:16,840 --> 00:44:21,000
Speaker 1: we never found a like whatever ambiguous goal. We see

790
00:44:21,000 --> 00:44:24,360
Speaker 1: her do things that seems like she's taking steps towards something,

791
00:44:24,400 --> 00:44:26,759
Speaker 1: but we don't know what that is, and so once

792
00:44:26,800 --> 00:44:28,400
Speaker 1: she meets the guy, then it's like, oh, well, the

793
00:44:28,440 --> 00:44:31,680
Speaker 1: relationship is the central thing now, and we kind of

794
00:44:31,719 --> 00:44:34,480
Speaker 1: lose seeing her at the job, we sort of lose

795
00:44:35,040 --> 00:44:38,080
Speaker 1: like everything else sort of falls away, and then the

796
00:44:38,080 --> 00:44:41,279
Speaker 1: movie lands Unlike, but she can do exactly what her

797
00:44:41,320 --> 00:44:44,839
Speaker 1: parents wanted to, but with a wasp instead, right, so

798
00:44:45,080 --> 00:44:49,120
Speaker 1: she can marry a man and make half Greek babies

799
00:44:49,280 --> 00:44:51,880
Speaker 1: and make food for those, which is an act of

800
00:44:51,960 --> 00:44:55,040
Speaker 1: rebellion on her part, sure, But the fact that it

801
00:44:55,239 --> 00:44:59,760
Speaker 1: still focuses on her relationship to a man so much

802
00:45:00,200 --> 00:45:02,200
Speaker 1: is where I feel like the movie could have gone

803
00:45:02,880 --> 00:45:05,520
Speaker 1: and that and it's like if that had been one

804
00:45:05,520 --> 00:45:07,960
Speaker 1: of her many journeys where she's if she's if the

805
00:45:07,960 --> 00:45:11,080
Speaker 1: movie is about her sort of kind of reinventing herself

806
00:45:11,080 --> 00:45:13,400
Speaker 1: and figuring out who she wants to be as this

807
00:45:13,440 --> 00:45:16,920
Speaker 1: person in this family, within this culture, but also in

808
00:45:17,520 --> 00:45:21,480
Speaker 1: the US, and like you know, in the modern times

809
00:45:21,480 --> 00:45:24,399
Speaker 1: of two thousand two, like it could have been. Yeah,

810
00:45:24,400 --> 00:45:27,399
Speaker 1: I wanna this is my lifelong dream, because she even

811
00:45:27,400 --> 00:45:29,680
Speaker 1: says in the movie, yeah, she goes to that seminar

812
00:45:29,800 --> 00:45:33,759
Speaker 1: of tourism plus computers, but she says before that, she's like,

813
00:45:33,840 --> 00:45:35,719
Speaker 1: I'm not going to pretend like I've always wanted to

814
00:45:35,719 --> 00:45:38,480
Speaker 1: work in a travel agency, but please hire me. So like, yeah,

815
00:45:38,560 --> 00:45:40,279
Speaker 1: we don't know what she wants to do, and what

816
00:45:40,360 --> 00:45:44,520
Speaker 1: if we don't know, I don't know, Yeah, she says something,

817
00:45:44,560 --> 00:45:46,480
Speaker 1: She's like, I'm not going to pretend like I've always

818
00:45:46,480 --> 00:45:49,200
Speaker 1: wanted to work in tourism, but like she's trying to

819
00:45:49,239 --> 00:45:51,879
Speaker 1: get out of the restaurant, right. I don't know like

820
00:45:52,280 --> 00:45:53,920
Speaker 1: the right way to say this, but I feel like

821
00:45:54,239 --> 00:45:56,879
Speaker 1: I would push back a little bit on like kind

822
00:45:56,880 --> 00:46:00,839
Speaker 1: of like desiring a traditional self empowerment narrative, just because

823
00:46:00,880 --> 00:46:03,680
Speaker 1: I do feel like that's kind of a very American thing.

824
00:46:03,680 --> 00:46:06,640
Speaker 1: And the only thing I mean by that is that, like, essentially,

825
00:46:06,640 --> 00:46:09,359
Speaker 1: if you accept the fact that like when you are

826
00:46:09,719 --> 00:46:12,319
Speaker 1: living within a family that's like very tight knit and

827
00:46:12,520 --> 00:46:15,200
Speaker 1: very kind of like its own world, then in fact,

828
00:46:15,239 --> 00:46:17,680
Speaker 1: going from being a seating hostess at the restaurant to

829
00:46:17,800 --> 00:46:21,280
Speaker 1: going to being basically the manager of the travel agency

830
00:46:21,360 --> 00:46:24,680
Speaker 1: within the various like within this network of family businesses

831
00:46:25,120 --> 00:46:30,919
Speaker 1: that actually that is like and I don't know if

832
00:46:30,960 --> 00:46:34,480
Speaker 1: that's settling. I think it's like finding your place in

833
00:46:34,520 --> 00:46:38,840
Speaker 1: the family community and a place that works for you

834
00:46:38,960 --> 00:46:41,040
Speaker 1: rather than a place that has been determined by your parents.

835
00:46:41,000 --> 00:46:44,440
Speaker 1: And I totally get that and and that works for me.

836
00:46:45,040 --> 00:46:47,960
Speaker 1: My point is more like from a narrative point of view,

837
00:46:47,960 --> 00:46:51,480
Speaker 1: where like her moving over, like going to the classes

838
00:46:51,560 --> 00:46:54,839
Speaker 1: and then moving to the job at the travel agency,

839
00:46:54,880 --> 00:46:57,640
Speaker 1: that kind of tapers off story wise after a while,

840
00:46:57,719 --> 00:47:01,080
Speaker 1: and then the focus of the story is all about

841
00:47:01,360 --> 00:47:04,480
Speaker 1: the man. So yeah, I feel the same way. I

842
00:47:04,480 --> 00:47:08,120
Speaker 1: don't know. It's tricky because it's like my favorite part

843
00:47:08,160 --> 00:47:11,480
Speaker 1: of that character is watching her be like, no, fuck it,

844
00:47:11,600 --> 00:47:14,080
Speaker 1: I'm gonna you know, I'm going to continue to be

845
00:47:14,160 --> 00:47:16,160
Speaker 1: on good terms with my family. I'll be mostly honest

846
00:47:16,200 --> 00:47:19,320
Speaker 1: with them. But I'm doing this, this and this, and

847
00:47:19,920 --> 00:47:23,000
Speaker 1: you know, this is what I'm doing. And but kind

848
00:47:23,040 --> 00:47:27,720
Speaker 1: of narratively, that serves to get her to the relationship

849
00:47:28,600 --> 00:47:31,960
Speaker 1: and then it kind of goes away. Right, Um, let's

850
00:47:32,000 --> 00:47:34,280
Speaker 1: take a quick break and we'll come back to discuss

851
00:47:34,320 --> 00:47:43,440
Speaker 1: more stuff, and we're back. Hi. Hi, how's everyone feeling

852
00:47:43,480 --> 00:47:47,160
Speaker 1: always sounds so good. It's my big frit Greek. Oh

853
00:47:47,200 --> 00:47:49,840
Speaker 1: did everyone watch the TV show My Big Factor Life?

854
00:47:50,160 --> 00:47:52,520
Speaker 1: Not good? I like try to watch the first episode,

855
00:47:52,520 --> 00:47:55,160
Speaker 1: and I haven't watched. Like the sequel to the movie,

856
00:47:55,480 --> 00:47:57,160
Speaker 1: which came out a couple of years ago. My mom

857
00:47:57,239 --> 00:48:00,239
Speaker 1: and my sister watched it and did not enjoy it.

858
00:48:00,239 --> 00:48:01,839
Speaker 1: It was like not on my radar at all when

859
00:48:01,840 --> 00:48:06,000
Speaker 1: it came out like two years ago. My mom. I remember,

860
00:48:06,000 --> 00:48:07,680
Speaker 1: my mom made a big deal of My Big Fat

861
00:48:07,719 --> 00:48:12,000
Speaker 1: Greek Life coming out on TV and then she she

862
00:48:12,280 --> 00:48:16,759
Speaker 1: was so upset, she was like, decision the movie. Yeah,

863
00:48:16,840 --> 00:48:20,400
Speaker 1: And they also recast some of the main roles. I

864
00:48:20,400 --> 00:48:23,640
Speaker 1: can't remember who it was recast that. Yeah, it wasn't

865
00:48:23,680 --> 00:48:26,920
Speaker 1: John Corbett. Yeah, so so that was I actually just

866
00:48:26,960 --> 00:48:29,680
Speaker 1: think they remember watching that and being supremely disappointed. Although

867
00:48:29,680 --> 00:48:31,680
Speaker 1: I was telling Jamie that I recently watched the ever

868
00:48:31,800 --> 00:48:36,520
Speaker 1: Dallas is adaptation of Cheryl Strade's book of Deer Sugar

869
00:48:36,600 --> 00:48:41,360
Speaker 1: Columns at the Public in New York, which she like adapted.

870
00:48:41,360 --> 00:48:44,719
Speaker 1: And then she plays dear Sugar in the play and

871
00:48:44,760 --> 00:48:48,960
Speaker 1: it's basically like her in her living room wearing like pajamas,

872
00:48:49,000 --> 00:48:51,920
Speaker 1: and then like she'll get like an email ding and

873
00:48:51,960 --> 00:48:53,920
Speaker 1: then someone will come in and read a question and

874
00:48:53,920 --> 00:48:57,560
Speaker 1: then she will basically like act out as though she's

875
00:48:57,600 --> 00:48:59,480
Speaker 1: like thinking of the answer in real time, so she'd

876
00:48:59,480 --> 00:49:08,560
Speaker 1: be like dear unlucky in love. Was it good? Um?

877
00:49:08,600 --> 00:49:11,080
Speaker 1: It was no. No, it was like a critics pick

878
00:49:11,080 --> 00:49:12,560
Speaker 1: in the New York Times. Was it like did well?

879
00:49:12,640 --> 00:49:14,719
Speaker 1: And yeah it's not. It's not like I feel like

880
00:49:14,719 --> 00:49:16,480
Speaker 1: it could have been such a disaster based on my

881
00:49:16,560 --> 00:49:19,520
Speaker 1: description of it. Um, I do think that, like, of course,

882
00:49:19,560 --> 00:49:22,239
Speaker 1: it's gonna fall into some cliches because it's literally like

883
00:49:22,320 --> 00:49:25,799
Speaker 1: acting out an advice Callum. But she did a good

884
00:49:25,880 --> 00:49:30,000
Speaker 1: job with it, and I did cry. I'm glad he

885
00:49:30,200 --> 00:49:32,560
Speaker 1: is thriving. Yeah, it was like cool, I mean, and

886
00:49:32,600 --> 00:49:34,880
Speaker 1: it's like I feel like she had creative control over it.

887
00:49:34,880 --> 00:49:37,040
Speaker 1: It was at the public, which is really cool. It

888
00:49:37,120 --> 00:49:39,200
Speaker 1: was like I feel like it was a great thing

889
00:49:39,239 --> 00:49:44,799
Speaker 1: for him. No. No, this is like maybe like a

890
00:49:44,840 --> 00:49:49,239
Speaker 1: year ago. Oh no, okay, well maybe she'll tour with it. Um.

891
00:49:49,280 --> 00:49:51,600
Speaker 1: There's this scene I wanted to talk about. It's right

892
00:49:51,640 --> 00:49:55,360
Speaker 1: after Tula's family has found out about her relationship with Ian,

893
00:49:55,880 --> 00:49:58,719
Speaker 1: and Ian is at her house and talking to her

894
00:49:58,800 --> 00:50:01,440
Speaker 1: dad and saying like, you want me to ask if

895
00:50:01,440 --> 00:50:04,719
Speaker 1: I can date your daughter? She's thirty years old, And

896
00:50:04,719 --> 00:50:07,200
Speaker 1: then the dad's like yes, I'm the head of this house.

897
00:50:07,280 --> 00:50:09,960
Speaker 1: And he's like, okay, can I date your daughter? And

898
00:50:10,000 --> 00:50:15,360
Speaker 1: the dad's like no, and then Ian walks away says

899
00:50:15,480 --> 00:50:18,480
Speaker 1: to Tula, I'll see you tomorrow, and she's like, see

900
00:50:18,480 --> 00:50:20,319
Speaker 1: you tomorrow, and it's just like that was like a

901
00:50:20,400 --> 00:50:23,400
Speaker 1: nice act of defiance on like both of their parts,

902
00:50:24,000 --> 00:50:26,960
Speaker 1: where they're like, yeah, I'm not going to listen to

903
00:50:27,040 --> 00:50:34,760
Speaker 1: the dad and still keep sucking. I like Ian's character,

904
00:50:35,120 --> 00:50:41,240
Speaker 1: Whilst I would not personally fuck him, I sort of forgot.

905
00:50:41,280 --> 00:50:42,680
Speaker 1: I was like, oh, I don't you know, because with

906
00:50:42,800 --> 00:50:45,359
Speaker 1: brown coms, it's so dicey in terms of who you're

907
00:50:45,400 --> 00:50:49,160
Speaker 1: getting and how they treat you. But I thought that

908
00:50:49,280 --> 00:50:55,040
Speaker 1: Ian character does pretty spectacularly well throughout the movie, where

909
00:50:55,760 --> 00:50:58,880
Speaker 1: you know, it would have been so easy to to

910
00:50:58,920 --> 00:51:01,279
Speaker 1: make it be like when he finds out that she

911
00:51:01,480 --> 00:51:03,440
Speaker 1: was his waitress at the Great Restaurant from him to

912
00:51:03,440 --> 00:51:08,239
Speaker 1: be like or like that was you right? Like that

913
00:51:08,239 --> 00:51:10,479
Speaker 1: would be so trophy and silly. But but the way

914
00:51:10,520 --> 00:51:13,920
Speaker 1: that plays out is she's embarrassed of her culture in

915
00:51:13,960 --> 00:51:17,319
Speaker 1: her past at the beginning, and she calls herself like

916
00:51:17,400 --> 00:51:20,719
Speaker 1: from from Girl, which is like my heart, and he's like,

917
00:51:20,840 --> 00:51:23,840
Speaker 1: I don't remember from Girl, but I remember you, and

918
00:51:23,880 --> 00:51:29,640
Speaker 1: you're like he has kind of like just does the

919
00:51:29,760 --> 00:51:32,040
Speaker 1: right thing at every turn. And he also like there

920
00:51:32,360 --> 00:51:35,319
Speaker 1: isn't any scene where he's he doesn't like in any

921
00:51:35,360 --> 00:51:37,600
Speaker 1: way fetishizes the wrong world. But there's no scene where

922
00:51:37,600 --> 00:51:39,960
Speaker 1: he's like, your family is like spicy, Like there's nothing

923
00:51:40,000 --> 00:51:43,759
Speaker 1: like that. Like he like whatever his family does that

924
00:51:44,120 --> 00:51:47,719
Speaker 1: his parents are like. But his parents are interesting too,

925
00:51:47,719 --> 00:51:51,279
Speaker 1: because again it obviously they're such exaggerated, like well are they,

926
00:51:51,320 --> 00:51:55,279
Speaker 1: I don't know, we've all met right like that, but

927
00:51:55,360 --> 00:51:57,640
Speaker 1: I do feel like at the end of the day,

928
00:51:57,680 --> 00:52:01,160
Speaker 1: they are written with compassion, mean well Ian, I mean,

929
00:52:01,200 --> 00:52:05,799
Speaker 1: compare him to like Benjamin Bratt's character from Miss Congeniality.

930
00:52:05,960 --> 00:52:08,400
Speaker 1: She's just like megging Sandra Bullock the whole time, and

931
00:52:08,400 --> 00:52:11,279
Speaker 1: then like we've got this like he's an intellectual, he's

932
00:52:11,280 --> 00:52:14,760
Speaker 1: an educator, you know, he's like this just like sweet

933
00:52:14,920 --> 00:52:19,000
Speaker 1: nice guy who is maybe a little like too perfect.

934
00:52:19,080 --> 00:52:21,520
Speaker 1: But although I mean, but for the purposes of this

935
00:52:21,560 --> 00:52:26,120
Speaker 1: movie and fulfillment. He's great. And it's so often that

936
00:52:26,120 --> 00:52:28,640
Speaker 1: we see in movies that it's a woman having to

937
00:52:28,760 --> 00:52:31,440
Speaker 1: change everything about herself to please a man and to

938
00:52:31,480 --> 00:52:34,080
Speaker 1: be accepted by a man. But in this movie, it's

939
00:52:34,120 --> 00:52:37,439
Speaker 1: him who's making like compromise after compromise. At the point

940
00:52:37,440 --> 00:52:41,400
Speaker 1: where he's like getting baptized and like all this stuff,

941
00:52:41,560 --> 00:52:43,759
Speaker 1: and it's never tool that being like you have to

942
00:52:43,840 --> 00:52:46,359
Speaker 1: do this, he's like, I'm willing to do this. On

943
00:52:46,440 --> 00:52:48,799
Speaker 1: his turn, yeah, yeah, I think a line that he

944
00:52:48,840 --> 00:52:51,080
Speaker 1: says is like I'll do whatever it takes to get

945
00:52:51,120 --> 00:52:54,960
Speaker 1: your family to accept me. And then his friend played

946
00:52:55,200 --> 00:53:03,400
Speaker 1: by real life husband that was now now they're divorced,

947
00:53:03,400 --> 00:53:10,040
Speaker 1: but unbelievable. But his friend Mike is all like her

948
00:53:10,080 --> 00:53:12,080
Speaker 1: family has you by the short ones, which I guess

949
00:53:12,080 --> 00:53:16,600
Speaker 1: means balls, Like she's got you by the balls, and

950
00:53:16,600 --> 00:53:19,759
Speaker 1: AND's just like shrug, like I'm fine with it. So yeah,

951
00:53:19,800 --> 00:53:22,520
Speaker 1: I really like that. He's a sweetie pie. Yeah. I

952
00:53:22,640 --> 00:53:25,200
Speaker 1: like he's so sweet. He's almost boring. But I think

953
00:53:25,200 --> 00:53:29,680
Speaker 1: in the story like it works. He's nice. If he

954
00:53:29,920 --> 00:53:32,080
Speaker 1: was an asshole on top of it, the story would

955
00:53:32,080 --> 00:53:35,080
Speaker 1: have been way harder to accomplish it because you know,

956
00:53:35,160 --> 00:53:39,120
Speaker 1: both of them have to compromise so much, and and

957
00:53:39,120 --> 00:53:40,759
Speaker 1: and she makes him laugh. I think like one of

958
00:53:40,760 --> 00:53:43,200
Speaker 1: the reasons he likes her is that he like enjoys

959
00:53:43,200 --> 00:53:46,560
Speaker 1: her sense of humor, because in the beginning, whenever her

960
00:53:46,600 --> 00:53:50,120
Speaker 1: like brain stops, whenever she's like first like at their table, yeah,

961
00:53:50,440 --> 00:53:52,600
Speaker 1: she says, I'm like, oh, look at me doing here

962
00:53:52,800 --> 00:53:57,479
Speaker 1: like your own private statue. And he's like, yeah, there's

963
00:53:57,520 --> 00:53:59,200
Speaker 1: no I feel like there was a way to write

964
00:53:59,200 --> 00:54:02,400
Speaker 1: the script where like he actually ignores her when she's

965
00:54:02,480 --> 00:54:05,680
Speaker 1: like frumpy, and then is into her and then realizes like,

966
00:54:06,320 --> 00:54:10,160
Speaker 1: oh she was beautiful along, but actually he was nice

967
00:54:10,200 --> 00:54:12,759
Speaker 1: from the get go. Yeah, he's like, you're caught up.

968
00:54:12,920 --> 00:54:16,400
Speaker 1: This restaurant is well run, so isn't it funny? I

969
00:54:16,440 --> 00:54:18,840
Speaker 1: was just thinking about this, like, Okay, so this movie

970
00:54:18,920 --> 00:54:23,960
Speaker 1: is written by a woman. Originally they wanted to replace her,

971
00:54:24,160 --> 00:54:26,280
Speaker 1: Like I read on Wikipedia that one of the actors

972
00:54:26,360 --> 00:54:29,160
Speaker 1: they were considering was Merissa to May, who's like, you know,

973
00:54:29,320 --> 00:54:33,320
Speaker 1: let's say like whatever, like more conventional Hollywood beauty or whatever.

974
00:54:33,800 --> 00:54:36,719
Speaker 1: She ended up playing the role and then replacing her

975
00:54:36,800 --> 00:54:40,480
Speaker 1: husband with someone hotter, so she like like nia replaced

976
00:54:40,520 --> 00:54:43,360
Speaker 1: the male character with someone hotter in the movie that

977
00:54:43,400 --> 00:54:46,040
Speaker 1: you wrote, which I feel like is so completely the

978
00:54:46,080 --> 00:54:48,520
Speaker 1: polar opposite of what would normally happen in like any

979
00:54:48,640 --> 00:54:52,239
Speaker 1: rom com. Yeah. Absolutely, I mean the fact that she

980
00:54:52,360 --> 00:54:55,440
Speaker 1: got to star in her own script is like huge.

981
00:54:55,440 --> 00:54:58,000
Speaker 1: And she was also I mean this was like filmed

982
00:54:58,000 --> 00:54:59,920
Speaker 1: when she was in her late thirties and it came

983
00:55:00,000 --> 00:55:03,200
Speaker 1: that when she was forty, and like this was her

984
00:55:03,280 --> 00:55:06,279
Speaker 1: big debut, which is also like very unusual. I mean,

985
00:55:06,320 --> 00:55:08,759
Speaker 1: if you think about it, it really is kind I mean,

986
00:55:08,800 --> 00:55:10,840
Speaker 1: one of my favorite things about the movie is like

987
00:55:10,880 --> 00:55:13,240
Speaker 1: it's placed in the culture, like the fact that literally

988
00:55:13,840 --> 00:55:17,879
Speaker 1: a movie written by an unknown woman in her late

989
00:55:17,920 --> 00:55:22,600
Speaker 1: thirties who was like normal looking then literally became like

990
00:55:22,680 --> 00:55:25,880
Speaker 1: the highest grossing like romantic comedy of all times. Like

991
00:55:25,960 --> 00:55:29,720
Speaker 1: to have your debut be like in your late thirties. Anyway,

992
00:55:29,719 --> 00:55:31,959
Speaker 1: it was just like I remember like the year after

993
00:55:32,000 --> 00:55:34,280
Speaker 1: when she hosted US Now and I was like, wow,

994
00:55:34,360 --> 00:55:40,840
Speaker 1: this is like the biggest, Like you knows. I love it.

995
00:55:40,840 --> 00:55:45,160
Speaker 1: It's almost as if sometimes movies about relatable people can

996
00:55:45,239 --> 00:55:48,959
Speaker 1: relate to a large audience. Also, thank you Tom Hanks

997
00:55:49,000 --> 00:55:51,920
Speaker 1: and Rita Wilson made the movie. I forgot that they

998
00:55:51,960 --> 00:55:54,919
Speaker 1: made it happen. But kind of on that point of

999
00:55:55,040 --> 00:55:58,200
Speaker 1: you know, her not being she's beautiful, but like not

1000
00:55:58,360 --> 00:56:02,640
Speaker 1: your typical hall you would, you know, like super wayfish

1001
00:56:02,880 --> 00:56:05,640
Speaker 1: standard of beauty. Um. We see a bunch of different

1002
00:56:05,800 --> 00:56:08,759
Speaker 1: body types represented in this movie, where like if you

1003
00:56:08,800 --> 00:56:11,400
Speaker 1: look at the scene where all the bridesmaids are in

1004
00:56:11,440 --> 00:56:15,040
Speaker 1: their gowns, you see a pretty wide spectrum of women.

1005
00:56:15,680 --> 00:56:19,200
Speaker 1: A lot of the female characters are middle aged. You know,

1006
00:56:19,480 --> 00:56:24,239
Speaker 1: there's better representation of women's ages and body types then

1007
00:56:24,280 --> 00:56:26,960
Speaker 1: you're seeing in this movie. Do you never get to

1008
00:56:26,960 --> 00:56:29,600
Speaker 1: see a woman need a normal sized meal? That makes

1009
00:56:29,600 --> 00:56:32,440
Speaker 1: sense and that happens a lot in this movie. Always

1010
00:56:32,480 --> 00:56:34,520
Speaker 1: looking for women eating food and movies. It gets me

1011
00:56:34,600 --> 00:56:38,879
Speaker 1: so excited, like, oh, look at them go. One last

1012
00:56:38,920 --> 00:56:42,320
Speaker 1: quick thing I wanted to say was that in this movie,

1013
00:56:42,400 --> 00:56:44,320
Speaker 1: a lot of the women you do see on screen,

1014
00:56:44,400 --> 00:56:46,759
Speaker 1: and this is commented on, but many of them are

1015
00:56:46,880 --> 00:56:51,239
Speaker 1: kind of portrayed as being nagging. Um, which is a

1016
00:56:51,280 --> 00:56:55,120
Speaker 1: common trophy thing that you see female characters do a

1017
00:56:55,160 --> 00:56:58,960
Speaker 1: lot nagging someone they die. That is a line that

1018
00:56:59,160 --> 00:57:02,560
Speaker 1: is spoken out. But then I got to thinking, well,

1019
00:57:02,719 --> 00:57:06,440
Speaker 1: are women ever actually nagging or they just annoyed by

1020
00:57:06,480 --> 00:57:09,040
Speaker 1: all the emotional labor that they have to do to

1021
00:57:09,160 --> 00:57:12,600
Speaker 1: maintain a marriage and a household and like run a

1022
00:57:12,640 --> 00:57:15,440
Speaker 1: business and all of that stuff. So and I also

1023
00:57:15,520 --> 00:57:18,640
Speaker 1: feel like, getting back to George your point earlier, it's

1024
00:57:18,800 --> 00:57:23,360
Speaker 1: made clear through the narrative that the guys who were

1025
00:57:23,440 --> 00:57:26,160
Speaker 1: saying that are in the wrong, and they come off

1026
00:57:26,280 --> 00:57:30,360
Speaker 1: looking silly having said it. Yeah. So yeah, I feel

1027
00:57:30,360 --> 00:57:33,640
Speaker 1: like the thing with like a story about like a

1028
00:57:33,720 --> 00:57:36,880
Speaker 1: Greek American immigrant families that I really do think it

1029
00:57:36,920 --> 00:57:38,800
Speaker 1: would have been so much different if it was from

1030
00:57:38,800 --> 00:57:42,120
Speaker 1: a male perspective. And I don't think I personally, like

1031
00:57:42,240 --> 00:57:45,120
Speaker 1: as a preteen would have responded as well too. I like,

1032
00:57:45,960 --> 00:57:47,760
Speaker 1: I don't know, I mean, what if it was like

1033
00:57:48,040 --> 00:57:50,880
Speaker 1: John Stamos is the main character and then like he

1034
00:57:51,000 --> 00:57:54,440
Speaker 1: like meets Megan Fox and like that's the like that

1035
00:57:54,520 --> 00:58:00,000
Speaker 1: literally would have been the equivalent. Uh, But I feel

1036
00:58:00,120 --> 00:58:03,480
Speaker 1: like it was it was a realistic portrayal of a

1037
00:58:03,520 --> 00:58:07,880
Speaker 1: Greek family while providing enough commentary at any given time

1038
00:58:08,000 --> 00:58:10,880
Speaker 1: to kind of like give you just enough context for

1039
00:58:10,920 --> 00:58:15,160
Speaker 1: you to like understand what's happening, right, Yeah, held up

1040
00:58:15,240 --> 00:58:19,760
Speaker 1: for me being so I'm like reacting so poorly to

1041
00:58:19,800 --> 00:58:22,919
Speaker 1: like any criticism. Oh my god, no, that's why we're

1042
00:58:23,040 --> 00:58:27,840
Speaker 1: doing this. I was personally really impressed and thrilled and

1043
00:58:27,920 --> 00:58:30,800
Speaker 1: happy that this movie I've seen five hundred times, but

1044
00:58:30,840 --> 00:58:34,120
Speaker 1: I was watching it for this reason for the first time.

1045
00:58:34,680 --> 00:58:38,680
Speaker 1: I was pleasantly surprised and pleased that it holds up.

1046
00:58:39,000 --> 00:58:40,880
Speaker 1: I feel like as well as it does. I still

1047
00:58:41,040 --> 00:58:44,120
Speaker 1: don't love the ending. I'm never going to love the ending,

1048
00:58:44,840 --> 00:58:48,000
Speaker 1: but having a rom com for all the reasons we

1049
00:58:48,080 --> 00:58:52,120
Speaker 1: discussed that doesn't end. I mean, there's gonna be a wedding.

1050
00:58:52,520 --> 00:58:54,240
Speaker 1: You show up, there's gonna be a wedding, and the

1051
00:58:54,280 --> 00:58:58,760
Speaker 1: fact that she doesn't end up in a toxic relationship

1052
00:58:59,400 --> 00:59:02,439
Speaker 1: at the end of a rom com is better than

1053
00:59:03,480 --> 00:59:07,200
Speaker 1: them do uh And and so I don't know, it

1054
00:59:07,560 --> 00:59:09,800
Speaker 1: held up for me. I'm going to continue to watch

1055
00:59:09,840 --> 00:59:14,480
Speaker 1: it After horror movies, I recommend that Halloween you will

1056
00:59:14,560 --> 00:59:19,920
Speaker 1: be unscared. Ben Um, Does anyone have any other final

1057
00:59:19,960 --> 00:59:24,040
Speaker 1: thoughts there? Oh, there was one more scene with Mom

1058
00:59:24,040 --> 00:59:26,680
Speaker 1: and Tula. I just wanted to mention they have This

1059
00:59:26,720 --> 00:59:30,280
Speaker 1: movie passes back Toel test Doy, but there's a few

1060
00:59:30,360 --> 00:59:34,520
Speaker 1: different scenes with Tula and Mom and there's one where

1061
00:59:34,520 --> 00:59:36,800
Speaker 1: this scene. The scene starts with Tula saying, is my

1062
00:59:36,920 --> 00:59:39,680
Speaker 1: marriage killing dad? And you're like, I don't love where

1063
00:59:39,720 --> 00:59:42,480
Speaker 1: this is starting. But then they have this great talk

1064
00:59:42,560 --> 00:59:46,040
Speaker 1: that I think again gives context for Greek culture that

1065
00:59:46,160 --> 00:59:49,800
Speaker 1: I didn't have and is great for their relationship, where

1066
00:59:49,960 --> 00:59:52,840
Speaker 1: the mom is describing how she grew up and why

1067
00:59:53,040 --> 00:59:56,880
Speaker 1: she and Tula's dad immigrated to America and then comes

1068
00:59:56,880 --> 00:59:59,160
Speaker 1: out with the banger of a line, I gave you

1069
00:59:59,240 --> 01:00:03,920
Speaker 1: life so you could live it. And then I was crying.

1070
01:00:04,240 --> 01:00:06,760
Speaker 1: I was crying and I couldn't explain why I was

1071
01:00:06,800 --> 01:00:10,760
Speaker 1: at work, and then feminist icon, Yeah, yeah, comes in.

1072
01:00:11,240 --> 01:00:13,120
Speaker 1: She's got a crowd of flowers. How is she not

1073
01:00:13,200 --> 01:00:16,520
Speaker 1: coming up? I love her? I mean that, yeah, And

1074
01:00:16,560 --> 01:00:18,800
Speaker 1: of course you could argue that, like I mean that

1075
01:00:18,920 --> 01:00:22,640
Speaker 1: character is it's literally like old woman funny, like that

1076
01:00:22,880 --> 01:00:25,080
Speaker 1: is like character until that point. But it's like she

1077
01:00:25,280 --> 01:00:28,560
Speaker 1: seems to have dementia and like maybe you should look

1078
01:00:28,600 --> 01:00:31,480
Speaker 1: after her more family, but but it is she gets

1079
01:00:31,520 --> 01:00:34,360
Speaker 1: a moment. She gets a moment, And ultimately every character

1080
01:00:34,440 --> 01:00:36,440
Speaker 1: is essentially like that. I mean, every character is a

1081
01:00:36,480 --> 01:00:39,400
Speaker 1: cartoon until they're not, except for you know, maybe the

1082
01:00:39,680 --> 01:00:42,080
Speaker 1: Mom probably is honestly the most complex character in the

1083
01:00:42,080 --> 01:00:44,160
Speaker 1: whole movie. Um, but every other character is like a

1084
01:00:44,200 --> 01:00:47,280
Speaker 1: cartoon until they have like a moment of being like humanized.

1085
01:00:47,400 --> 01:00:49,480
Speaker 1: And I also feel like I was kind of paying

1086
01:00:49,480 --> 01:00:52,240
Speaker 1: more attention to it for the first time on just

1087
01:00:52,320 --> 01:00:54,120
Speaker 1: like a structural level, and I feel like it is

1088
01:00:54,160 --> 01:00:57,640
Speaker 1: like all these issues aside just narratively, it like hits

1089
01:00:57,680 --> 01:00:59,920
Speaker 1: the right notes and it's kind of like, if you

1090
01:01:00,080 --> 01:01:03,800
Speaker 1: want to write like a conventional rom com, I feel

1091
01:01:03,800 --> 01:01:06,840
Speaker 1: like it should be taught in like that class, Like

1092
01:01:06,920 --> 01:01:14,720
Speaker 1: it does that make sense? Like rom com? Yeah, I think.

1093
01:01:14,760 --> 01:01:19,240
Speaker 1: I mean, this is like an example of rom com

1094
01:01:19,280 --> 01:01:25,200
Speaker 1: that doesn't for the most part, reinforce harmful things and

1095
01:01:25,240 --> 01:01:29,280
Speaker 1: avoids a lot of the tropes of most rom coms.

1096
01:01:29,320 --> 01:01:33,320
Speaker 1: But still it's like, I don't know, Calyn, it's going

1097
01:01:33,360 --> 01:01:36,720
Speaker 1: to be hard to talk me out of loving this movie,

1098
01:01:36,720 --> 01:01:38,919
Speaker 1: and every I just it's I love it. I think

1099
01:01:39,320 --> 01:01:42,480
Speaker 1: you're you're absolutely allowed, because I don't have quite the

1100
01:01:42,520 --> 01:01:45,560
Speaker 1: same attachment as the two of you have. I came

1101
01:01:45,600 --> 01:01:48,640
Speaker 1: out of with this more kind of critical like, I mean,

1102
01:01:48,720 --> 01:01:50,960
Speaker 1: look at the voice over at the end where she

1103
01:01:51,080 --> 01:01:54,320
Speaker 1: says something like, oh, sometimes I'm afraid that it didn't happen,

1104
01:01:54,360 --> 01:01:56,600
Speaker 1: it being her getting married, and she's like, I'm scared

1105
01:01:56,600 --> 01:01:59,560
Speaker 1: that I'll wake up and still be buttering garlic and

1106
01:01:59,560 --> 01:02:01,560
Speaker 1: waiting for my life to start. But it did happen,

1107
01:02:02,000 --> 01:02:04,080
Speaker 1: and you know, I figured some stuff. So she's all like,

1108
01:02:04,680 --> 01:02:07,440
Speaker 1: oh that thing that you know, it didn't seem like

1109
01:02:07,640 --> 01:02:10,320
Speaker 1: she was that concerned about doing in the beginning, and

1110
01:02:10,360 --> 01:02:12,280
Speaker 1: it seemed like she was annoyed that her family was

1111
01:02:12,320 --> 01:02:15,680
Speaker 1: constantly pressuring her about it. That becomes the crux of

1112
01:02:15,680 --> 01:02:19,919
Speaker 1: what she apparently wanted all along on her own term

1113
01:02:19,960 --> 01:02:23,040
Speaker 1: short which I appreciate it, of course, but like again,

1114
01:02:23,080 --> 01:02:24,720
Speaker 1: I just I was thinking it was going to go

1115
01:02:24,880 --> 01:02:26,640
Speaker 1: in a different direction based on the way it was

1116
01:02:26,680 --> 01:02:29,440
Speaker 1: set up, where she's like, Oh, my family won't stop

1117
01:02:29,560 --> 01:02:33,240
Speaker 1: pestering me about getting married, and how dare they like

1118
01:02:33,400 --> 01:02:35,960
Speaker 1: inflict all these double standards on me that they're not

1119
01:02:36,080 --> 01:02:39,600
Speaker 1: putting on my brother, and like all this stuff. But

1120
01:02:39,640 --> 01:02:41,560
Speaker 1: then she's like, but I got married and now my

1121
01:02:41,640 --> 01:02:45,560
Speaker 1: life is awesome. Yeah. I would say the voiceover bothered

1122
01:02:45,600 --> 01:02:48,560
Speaker 1: me more than like the actual ending that bothered you. Like,

1123
01:02:48,600 --> 01:02:52,160
Speaker 1: I feel like the voiceover was unnecessary, But I also

1124
01:02:52,240 --> 01:02:55,880
Speaker 1: think that like it's almost like paying homage to like

1125
01:02:56,240 --> 01:02:58,920
Speaker 1: bad romantic comment. It's like, and we're ending with a

1126
01:02:59,000 --> 01:03:03,480
Speaker 1: voiceover wres like, well, guys, now we're here and here

1127
01:03:03,480 --> 01:03:05,880
Speaker 1: we are. And I feel like that. I feel like

1128
01:03:06,320 --> 01:03:08,520
Speaker 1: there is an element of that. I think in like

1129
01:03:08,720 --> 01:03:10,919
Speaker 1: Nia Vardalos has a writer, I mean, even the fact

1130
01:03:11,000 --> 01:03:14,280
Speaker 1: that she wanted to adapt advice columns into a stage

1131
01:03:14,440 --> 01:03:16,240
Speaker 1: like I think she has a little bit of that

1132
01:03:16,240 --> 01:03:19,439
Speaker 1: where she kind of like likes, I feel good. She's

1133
01:03:19,440 --> 01:03:23,040
Speaker 1: a little basic. There's nothing there's nothing wrong with that. Yeah,

1134
01:03:23,200 --> 01:03:25,240
Speaker 1: I oh the last thing. So if And I do

1135
01:03:25,320 --> 01:03:28,320
Speaker 1: think it's like interesting that this movie, for for me

1136
01:03:28,360 --> 01:03:31,000
Speaker 1: as well, was paired with Bend It like Beckham. Often

1137
01:03:31,680 --> 01:03:33,520
Speaker 1: I think that Bend It like Becka. I mean, it's

1138
01:03:33,520 --> 01:03:37,320
Speaker 1: it's completely its own story. It's about soccer. But I

1139
01:03:37,400 --> 01:03:40,400
Speaker 1: understand why they're paired together because there are some common

1140
01:03:40,440 --> 01:03:43,160
Speaker 1: themes in them. I mean, I don't want to compare

1141
01:03:43,240 --> 01:03:47,960
Speaker 1: them because they're different, but you know, Jesse's story and

1142
01:03:48,240 --> 01:03:52,480
Speaker 1: Bend It, like Beckham, does involve more direct defiance and

1143
01:03:52,520 --> 01:03:57,560
Speaker 1: a lot more direct conflict. But that's not a rom com, right,

1144
01:03:58,120 --> 01:04:01,400
Speaker 1: that's uh more of a Heen movie because she's, you know,

1145
01:04:01,480 --> 01:04:03,840
Speaker 1: in high school, and also the romance in that movie

1146
01:04:03,880 --> 01:04:06,720
Speaker 1: is very sucked up, and she said, there's a lot

1147
01:04:06,760 --> 01:04:08,040
Speaker 1: of things in that movie. Do you remember the line

1148
01:04:08,040 --> 01:04:10,280
Speaker 1: where he was like, I understand where you're going through.

1149
01:04:10,320 --> 01:04:13,320
Speaker 1: I'm Irish. Yes, we talked about that, but then we

1150
01:04:13,400 --> 01:04:15,160
Speaker 1: got a bunch of people being like, well, at that

1151
01:04:15,200 --> 01:04:19,480
Speaker 1: time in history, like Irish people in the UK were

1152
01:04:19,480 --> 01:04:21,560
Speaker 1: heavily discriminated against and all this stuff. And I was like, well,

1153
01:04:21,600 --> 01:04:25,320
Speaker 1: should I learn more about history? But in America it

1154
01:04:25,400 --> 01:04:29,000
Speaker 1: sounded I'm surtain. So the tone of those two movies

1155
01:04:29,040 --> 01:04:32,600
Speaker 1: is so different, Like Bennett, like Beckham is whatever, the

1156
01:04:32,640 --> 01:04:35,320
Speaker 1: tone is different and the genre is different. Yah. I

1157
01:04:35,360 --> 01:04:40,080
Speaker 1: understand why they get paired together because their stories involving, uh,

1158
01:04:40,120 --> 01:04:43,960
Speaker 1: you know, first generation Americans trying to reckon with their

1159
01:04:43,960 --> 01:04:46,160
Speaker 1: culture versus what they want to do with their lives similar.

1160
01:04:48,080 --> 01:04:50,640
Speaker 1: I'm sorry, you're right, but you know what is first

1161
01:04:50,680 --> 01:04:53,479
Speaker 1: generation Americans reckoning with their culture is the Big Sick,

1162
01:04:53,640 --> 01:04:58,400
Speaker 1: which has literally identified Yes, the dinner scenes trying to

1163
01:04:58,400 --> 01:05:02,680
Speaker 1: get up. Yeah, but in any case, I it's a

1164
01:05:02,760 --> 01:05:05,880
Speaker 1: rom com, yes, so there's only so many places for

1165
01:05:05,920 --> 01:05:11,680
Speaker 1: it to land. M Um, well as we hinted at

1166
01:05:12,040 --> 01:05:14,880
Speaker 1: Slash overtly said the movie does pass the Bechtel test.

1167
01:05:15,280 --> 01:05:19,080
Speaker 1: Tula talks to her mom, to her aunt Vola, to

1168
01:05:19,480 --> 01:05:22,840
Speaker 1: her sister Um. A lot of the scenes where women

1169
01:05:22,880 --> 01:05:26,520
Speaker 1: are interacting are about either her dat Tula's dad, or

1170
01:05:26,560 --> 01:05:29,560
Speaker 1: about Ian. But there are a few, like to line

1171
01:05:29,560 --> 01:05:33,680
Speaker 1: exchanges or more here and there that pass the Bechtel test. Um,

1172
01:05:33,800 --> 01:05:36,160
Speaker 1: Shall we write the movie on our nipple scale? Let's

1173
01:05:36,240 --> 01:05:42,760
Speaker 1: do it. I am gonna go what's probably a little

1174
01:05:42,920 --> 01:05:48,560
Speaker 1: low on the spectrum of of all of us takes, takes, takes,

1175
01:05:48,760 --> 01:05:51,000
Speaker 1: and I know that this is a rom com and

1176
01:05:51,040 --> 01:05:54,040
Speaker 1: I know that it then it's going to be about

1177
01:05:54,040 --> 01:05:58,040
Speaker 1: a romantic relationship. And because of of I'm getting there,

1178
01:05:58,640 --> 01:06:00,920
Speaker 1: because of headroon hormativity, it's going to be about a

1179
01:06:00,960 --> 01:06:04,760
Speaker 1: relationship with a man. And I understand all of that.

1180
01:06:04,840 --> 01:06:09,240
Speaker 1: I understand that's how rom comms work in mainstream American cinema.

1181
01:06:09,640 --> 01:06:12,800
Speaker 1: But because I feel like there were opportunities to do

1182
01:06:12,840 --> 01:06:16,640
Speaker 1: a little bit more kind of challenging and commentary on

1183
01:06:17,400 --> 01:06:23,400
Speaker 1: what is, at least by today's standards, pretty sexist double

1184
01:06:23,440 --> 01:06:26,240
Speaker 1: standards and sexist takes on what a women's role is

1185
01:06:26,440 --> 01:06:30,520
Speaker 1: in society and family and stuff like that, and the

1186
01:06:30,560 --> 01:06:35,240
Speaker 1: movie ends with her marrying a man and doing what

1187
01:06:35,400 --> 01:06:37,560
Speaker 1: her family wanted all along. I'm going to give it

1188
01:06:38,120 --> 01:06:42,280
Speaker 1: two nipples. Wow, I know, I know, but you guys,

1189
01:06:42,560 --> 01:06:48,520
Speaker 1: you guys can give it fives and you know, car,

1190
01:06:49,800 --> 01:06:51,360
Speaker 1: but they will listen to this in the car, you

1191
01:06:51,400 --> 01:06:54,760
Speaker 1: know that. Being said, I really really enjoyed toulas character.

1192
01:06:55,160 --> 01:06:58,360
Speaker 1: I liked that she was defiant in many ways. I

1193
01:06:58,440 --> 01:07:02,920
Speaker 1: liked her as like a lead in a romantic comedy movie.

1194
01:07:03,480 --> 01:07:06,919
Speaker 1: But the fact that the whole crux of the thing

1195
01:07:07,280 --> 01:07:09,760
Speaker 1: is like, yeah, my family wants me to get married,

1196
01:07:10,200 --> 01:07:14,200
Speaker 1: so I will okay it Just I feel like there

1197
01:07:14,240 --> 01:07:17,520
Speaker 1: could have been a little bit more, like more subplots

1198
01:07:17,920 --> 01:07:21,440
Speaker 1: revolving around other endeavors of her that she could have pursued,

1199
01:07:21,800 --> 01:07:24,280
Speaker 1: and a little bit more challenging of the status quo

1200
01:07:24,360 --> 01:07:28,400
Speaker 1: that was her pretty patriarchal family structure. So I'm gonna

1201
01:07:28,400 --> 01:07:30,320
Speaker 1: give it two nipples? Are you giving the nipple? And

1202
01:07:30,320 --> 01:07:37,200
Speaker 1: I'm going to give one two? Ian Miller, after all

1203
01:07:37,240 --> 01:07:41,080
Speaker 1: of that, always do see both of his nipples, and

1204
01:07:41,760 --> 01:07:45,840
Speaker 1: we do a few times. He's been baptized, engaged. When

1205
01:07:45,840 --> 01:07:47,760
Speaker 1: I was most attracted to him because I was not

1206
01:07:47,760 --> 01:07:50,760
Speaker 1: paying attuch in his hair, right, right? And then I'm

1207
01:07:50,760 --> 01:07:54,160
Speaker 1: going to give my other nipple to her brother Nico,

1208
01:07:54,240 --> 01:07:56,520
Speaker 1: whose nipples we also see because he walks in with

1209
01:07:56,600 --> 01:07:59,640
Speaker 1: his shirt off and at least one scene. So those

1210
01:07:59,680 --> 01:08:04,000
Speaker 1: barren nipples, that's who I give them to. George. Wait,

1211
01:08:04,520 --> 01:08:07,360
Speaker 1: how long have you been doing the nipples thing? Oh? Forever?

1212
01:08:07,920 --> 01:08:12,280
Speaker 1: Do I just not listen to? You would alone there,

1213
01:08:12,560 --> 01:08:14,760
Speaker 1: you would not be alone. Wait, so what is the

1214
01:08:15,120 --> 01:08:18,479
Speaker 1: how do you decide who you give? Um? Yeah, you

1215
01:08:18,479 --> 01:08:20,000
Speaker 1: can get them to anyone you want. It's just like

1216
01:08:20,120 --> 01:08:22,479
Speaker 1: arbitrary whoever. And it's a based on a scale of

1217
01:08:22,560 --> 01:08:26,479
Speaker 1: zero to five nipples based on its portrayal of women. Right, Okay,

1218
01:08:26,600 --> 01:08:29,679
Speaker 1: I would say because of the scenes with Aunt Volah

1219
01:08:29,800 --> 01:08:32,400
Speaker 1: and the mom and Tula, I can't I'm going to

1220
01:08:32,479 --> 01:08:34,240
Speaker 1: give it five nipples because I can't not give it

1221
01:08:34,240 --> 01:08:40,600
Speaker 1: five nipples, um, and I'm going to give to to

1222
01:08:41,200 --> 01:08:45,960
Speaker 1: the mom, Maria, to to the ever Dallas, and one

1223
01:08:46,040 --> 01:08:51,320
Speaker 1: to I love it. I'm gonna split the diff I'm

1224
01:08:51,320 --> 01:08:54,880
Speaker 1: gonna go three and a half. For many of the

1225
01:08:54,920 --> 01:08:59,240
Speaker 1: reasons stated I just the ending. I feel like even

1226
01:08:59,320 --> 01:09:03,040
Speaker 1: in a mom com there's a more interesting ending to

1227
01:09:03,280 --> 01:09:06,880
Speaker 1: this story, and I wanted a little more of a

1228
01:09:07,000 --> 01:09:11,240
Speaker 1: resolution between Nia or not Nia between um also, isn't

1229
01:09:11,280 --> 01:09:14,479
Speaker 1: in the series? Isn't her name Nia? Don't they change

1230
01:09:14,479 --> 01:09:17,200
Speaker 1: her name? But you could? So The thing with the

1231
01:09:17,200 --> 01:09:19,120
Speaker 1: series that I feel like you can so tell that

1232
01:09:19,200 --> 01:09:22,240
Speaker 1: it like she wrote something and then they gave her

1233
01:09:22,280 --> 01:09:24,160
Speaker 1: notes and the notes were all the wrong notes, and

1234
01:09:24,200 --> 01:09:26,760
Speaker 1: then they just like did it, and it I'm like

1235
01:09:26,840 --> 01:09:29,280
Speaker 1: regretting my five nipples because I feel like it's like

1236
01:09:29,360 --> 01:09:33,160
Speaker 1: I fully understand the issues you guys are raising. We know, No,

1237
01:09:33,320 --> 01:09:37,280
Speaker 1: it's fine, it's it's your your brain, your choice. So yeah,

1238
01:09:37,280 --> 01:09:40,400
Speaker 1: I'll go for three and a half. I think that

1239
01:09:40,479 --> 01:09:44,559
Speaker 1: it is great to see, even though I mean, I

1240
01:09:44,560 --> 01:09:48,200
Speaker 1: don't know. I I liked how we understood the way

1241
01:09:48,360 --> 01:09:54,400
Speaker 1: Nia Burdalas presented how women operate within this very specific

1242
01:09:54,800 --> 01:09:58,400
Speaker 1: setting and also how they're able to, even if they're

1243
01:09:58,400 --> 01:10:02,120
Speaker 1: not toppling the patriot our keeper se how they're able

1244
01:10:02,360 --> 01:10:07,320
Speaker 1: to empower themselves and get what they need while navigating

1245
01:10:07,360 --> 01:10:11,960
Speaker 1: a very patriarchal system. Yeah, I just wish that I

1246
01:10:12,040 --> 01:10:15,760
Speaker 1: knew what Tula wanted to do with her life. It

1247
01:10:15,840 --> 01:10:18,800
Speaker 1: was never totally clear. Um, so it very well could

1248
01:10:18,840 --> 01:10:21,400
Speaker 1: be what she ended up with, but we didn't know that,

1249
01:10:21,520 --> 01:10:24,120
Speaker 1: and it was kind of like you're saying, Caitlin of like, well,

1250
01:10:24,160 --> 01:10:27,599
Speaker 1: she ends up with a guy doing what her parents wanted,

1251
01:10:27,640 --> 01:10:29,320
Speaker 1: and maybe that is what she wanted just on her

1252
01:10:29,360 --> 01:10:31,200
Speaker 1: own terms, but we just never find that out. So

1253
01:10:31,600 --> 01:10:34,240
Speaker 1: that's the one place that this falls short for me.

1254
01:10:34,760 --> 01:10:37,479
Speaker 1: So I'm gonna go three and a half given to

1255
01:10:37,479 --> 01:10:41,040
Speaker 1: to Tula, I'm going to give one to Maria, and

1256
01:10:41,080 --> 01:10:46,559
Speaker 1: then I'll give a halfe to Joey fatone. That's perfect. Actually,

1257
01:10:46,920 --> 01:10:49,519
Speaker 1: he really fell out of this conversation and it wasn't

1258
01:10:49,560 --> 01:10:51,599
Speaker 1: fair because he has like three lines in the entire

1259
01:10:51,600 --> 01:10:57,360
Speaker 1: movies like Pasta, like this is not the movie. Joy. Well, George,

1260
01:10:57,400 --> 01:10:59,120
Speaker 1: thank you so much for being here. Thank you so

1261
01:10:59,200 --> 01:11:01,320
Speaker 1: much for having me. This was lovely. Where can people

1262
01:11:01,360 --> 01:11:04,120
Speaker 1: find you online? What would you follow me on Twitter

1263
01:11:04,320 --> 01:11:07,680
Speaker 1: at George Savaris and then go on my website and

1264
01:11:07,720 --> 01:11:10,160
Speaker 1: all my shows are there in the New York area.

1265
01:11:10,479 --> 01:11:15,479
Speaker 1: You gotta was incredible. And now our embargo on men

1266
01:11:15,720 --> 01:11:19,920
Speaker 1: is back on. Baby, I actually can't speak anywhere. Yeah,

1267
01:11:21,080 --> 01:11:24,360
Speaker 1: he just actually faded away. It was kind of beautiful.

1268
01:11:25,040 --> 01:11:28,679
Speaker 1: Um so now Jamie, you and I can just shoot

1269
01:11:29,240 --> 01:11:33,840
Speaker 1: shoot the ship, which includes plugging our stuff. Follow us

1270
01:11:33,840 --> 01:11:37,799
Speaker 1: on social media at becktel Cast. Go to our Patreon

1271
01:11:37,920 --> 01:11:42,599
Speaker 1: a matron at patreon dot com. Slash becktel Cast gets

1272
01:11:42,640 --> 01:11:46,960
Speaker 1: you to extra episode Ta Public. Go to our t

1273
01:11:47,120 --> 01:11:49,720
Speaker 1: Public store. If you want March you can have. You

1274
01:11:49,760 --> 01:11:54,320
Speaker 1: can get it it Coross money them and otherwise. Um,

1275
01:11:54,360 --> 01:11:57,360
Speaker 1: you know, I have a great day.