1
00:00:00,760 --> 00:00:03,720
Speaker 1: On the bel Cast, the questions asked if movies have

2
00:00:03,880 --> 00:00:07,760
Speaker 1: women in them? Are all their discussions just boyfriends and husbands?

3
00:00:07,920 --> 00:00:12,879
Speaker 1: Do they have individualism? The patriarchy? Zef in best start

4
00:00:13,000 --> 00:00:17,799
Speaker 1: changing it with the Bedel Cast. Hello, and welcome to

5
00:00:17,880 --> 00:00:20,720
Speaker 1: the Bechtel Cast. My name is Caitlin Torante, my name

6
00:00:20,760 --> 00:00:24,239
Speaker 1: is Jamie Loftus, and this is a this is our

7
00:00:24,320 --> 00:00:28,080
Speaker 1: episode about um, well, it's about a lot of things.

8
00:00:28,400 --> 00:00:30,040
Speaker 1: What is it about? I don't know how many years

9
00:00:30,080 --> 00:00:32,800
Speaker 1: have we been doing this? Five years? What is it about? Really?

10
00:00:33,080 --> 00:00:35,879
Speaker 1: Who are we really? Jamie? Do you ever? Who am

11
00:00:35,960 --> 00:00:39,479
Speaker 1: I who? This is the thing that my my boyfriend

12
00:00:39,520 --> 00:00:41,480
Speaker 1: will say a lot. This is not passing the Bectel tests,

13
00:00:41,520 --> 00:00:44,479
Speaker 1: by the way, but something something my boyfriend will say

14
00:00:44,479 --> 00:00:46,560
Speaker 1: a lot about the podcast he likes. I'm like, well

15
00:00:46,560 --> 00:00:48,960
Speaker 1: what is that podcast? Like, what is the podcast about?

16
00:00:49,120 --> 00:00:53,640
Speaker 1: And he'll say something akin to like, well, it's about this,

17
00:00:53,800 --> 00:00:57,080
Speaker 1: but it's really about friendship. And I was like, Okay,

18
00:00:57,120 --> 00:01:00,800
Speaker 1: first of all, that's annoying. Second of all, maybe that's

19
00:01:00,800 --> 00:01:02,279
Speaker 1: what we'll say from now on. We're like, well, it's

20
00:01:02,280 --> 00:01:05,120
Speaker 1: technically about movies, but it's really more about our fringe.

21
00:01:05,840 --> 00:01:09,560
Speaker 1: That's so nice speaking, which I, uh, well, wait, we

22
00:01:09,560 --> 00:01:12,000
Speaker 1: should say what the podcast is. I was it's going

23
00:01:12,040 --> 00:01:14,200
Speaker 1: to be a countdown for me until we can start

24
00:01:14,200 --> 00:01:18,200
Speaker 1: talking about the parallels between Idris Elba's character in this

25
00:01:18,240 --> 00:01:21,920
Speaker 1: movie and Macavity. Oh my gosh, I had a lot

26
00:01:21,920 --> 00:01:27,839
Speaker 1: of a whole analog to how this movie is basically

27
00:01:27,840 --> 00:01:31,360
Speaker 1: the movie cats. He's basically well, I I didn't pick

28
00:01:31,440 --> 00:01:34,600
Speaker 1: that up, but I was like the Cavity energy. Anyways,

29
00:01:34,640 --> 00:01:38,040
Speaker 1: we should say what the podcast is. Okay, this is

30
00:01:38,080 --> 00:01:42,360
Speaker 1: our podcast about movies. We examine movies through an intersectional

31
00:01:42,360 --> 00:01:46,680
Speaker 1: feminist lens, using the Bechtel test simply as a way

32
00:01:46,760 --> 00:01:51,000
Speaker 1: to just inspire the concept of talking about film through

33
00:01:51,040 --> 00:01:54,200
Speaker 1: this lens. And Jamie, what on earth is the Bechtel test?

34
00:01:54,280 --> 00:01:57,320
Speaker 1: I don't know. Well, in this movie, it's when your

35
00:01:57,320 --> 00:01:59,440
Speaker 1: mom comes in your room when you're using a vibrator

36
00:01:59,480 --> 00:02:01,440
Speaker 1: and tells you that your career can't keep you warm

37
00:02:01,440 --> 00:02:06,400
Speaker 1: at night. But what it technically is, but it technically

38
00:02:06,520 --> 00:02:09,799
Speaker 1: is is it's a media metric invented by a queer cartoonist,

39
00:02:09,800 --> 00:02:13,440
Speaker 1: Allison Becktel, sometimes called back the Wallace test, that requires,

40
00:02:13,600 --> 00:02:17,800
Speaker 1: for our purposes that two people of a marginalized gender

41
00:02:18,000 --> 00:02:21,200
Speaker 1: with names speak to each other about something other than

42
00:02:21,480 --> 00:02:25,360
Speaker 1: a man. Uh and and most movies don't pass it.

43
00:02:25,400 --> 00:02:28,519
Speaker 1: And I would say holiday movies it gets even harder

44
00:02:28,560 --> 00:02:31,640
Speaker 1: to pass yeah, because everyone's like, why don't you have

45
00:02:31,720 --> 00:02:35,120
Speaker 1: a husband yet, daughter of mine? This a movie does?

46
00:02:35,200 --> 00:02:37,720
Speaker 1: I mean, this movie does. Like spoiler, this movie does

47
00:02:37,760 --> 00:02:40,080
Speaker 1: pass the backtel test. But there are some really funny ones,

48
00:02:40,639 --> 00:02:44,440
Speaker 1: um like when mcdeer comes in and says, your vibrator

49
00:02:44,480 --> 00:02:46,160
Speaker 1: isn't going to keep you warm at night, you know,

50
00:02:46,320 --> 00:02:49,120
Speaker 1: and she goes mom, and then you're like, well, I

51
00:02:49,120 --> 00:02:57,639
Speaker 1: guess maybe, but they talk about batteries, batteries, genderless icon batteries. True,

52
00:02:57,760 --> 00:03:01,040
Speaker 1: let's pay our guests in. Yes, we've returning guests. We've

53
00:03:01,120 --> 00:03:04,480
Speaker 1: we've rolled down the one am I saying, when the

54
00:03:05,600 --> 00:03:07,799
Speaker 1: what is the wording we use? We we've taken down

55
00:03:07,800 --> 00:03:12,200
Speaker 1: the embargo. Yes, we've we've unlocked the cage that we

56
00:03:12,280 --> 00:03:20,760
Speaker 1: keep all men on. Jesus, So I guess today returning

57
00:03:20,800 --> 00:03:23,360
Speaker 1: from you remember him from the Rock episode, which is

58
00:03:23,360 --> 00:03:26,520
Speaker 1: where a lot of running gags in our show were

59
00:03:26,639 --> 00:03:33,280
Speaker 1: born between Gregnant between his wife, lots of lots of gems.

60
00:03:36,560 --> 00:03:40,400
Speaker 1: You could say that the Rock episode was gregnant with

61
00:03:40,680 --> 00:03:44,840
Speaker 1: and gave birth to several running gags of the Bad

62
00:03:44,880 --> 00:03:47,760
Speaker 1: Book Cast. Anyway, The Ark was a very gregnant episode

63
00:03:49,520 --> 00:03:54,400
Speaker 1: ext eight months gregnant, that whole episode, much like this one.

64
00:03:54,760 --> 00:03:56,680
Speaker 1: There's a Gregnancy in this one. I was. I was like,

65
00:03:57,320 --> 00:03:59,920
Speaker 1: there's better be a Gregnancy in this movie. And you know,

66
00:04:00,160 --> 00:04:01,800
Speaker 1: thank god, it's a little late in the game, but

67
00:04:01,840 --> 00:04:04,920
Speaker 1: the Greatnescy comes through its present. Um and you know

68
00:04:05,040 --> 00:04:08,320
Speaker 1: him as one of the hosts of the Daily Zeitgeist.

69
00:04:08,440 --> 00:04:11,880
Speaker 1: It's Miles Gray. Oh, thank you so much for having me.

70
00:04:11,960 --> 00:04:15,560
Speaker 1: I'm I'm I'm truly honored to that you allowed me back.

71
00:04:15,600 --> 00:04:17,000
Speaker 1: When you even asked you like, hey, do you want

72
00:04:17,000 --> 00:04:19,240
Speaker 1: to talk about a movie on I was like, on

73
00:04:19,279 --> 00:04:24,000
Speaker 1: your podcast Bechdel Cast, where my sort is not allowed

74
00:04:24,040 --> 00:04:27,000
Speaker 1: At the moment, I was very confused, But you know what,

75
00:04:27,080 --> 00:04:30,080
Speaker 1: I'm honored that you have welcomed me back into the

76
00:04:30,160 --> 00:04:34,000
Speaker 1: kingdom and offered me safe passage through the cinematic universe. Um.

77
00:04:34,000 --> 00:04:36,360
Speaker 1: So yeah, it's always a pleasure. And I happen to

78
00:04:36,360 --> 00:04:38,800
Speaker 1: happen to people who I could talk to endlessly about

79
00:04:38,839 --> 00:04:42,000
Speaker 1: anything anyway, so it's hardly any kind of a task

80
00:04:42,080 --> 00:04:44,000
Speaker 1: for me. So when we decide, I mean, this is

81
00:04:44,040 --> 00:04:46,440
Speaker 1: the same. This is happening the same month that Alfred

82
00:04:46,480 --> 00:04:48,960
Speaker 1: Molina has been welcomed into the m c U. So,

83
00:04:49,760 --> 00:04:52,279
Speaker 1: you know, Miles Gray's no cannon in the bc U.

84
00:04:52,480 --> 00:04:56,159
Speaker 1: It takes two appearances to become canonically bc U. Thank

85
00:04:56,200 --> 00:04:59,919
Speaker 1: you so much. That's I feel honored. You know, Molina

86
00:05:00,360 --> 00:05:02,920
Speaker 1: it has re entered the m c U. Uh now

87
00:05:03,040 --> 00:05:04,960
Speaker 1: Miles Gray is entering the b c U. So it

88
00:05:05,200 --> 00:05:07,599
Speaker 1: feels like a new day from me, Miles, great Leon

89
00:05:07,880 --> 00:05:13,880
Speaker 1: has aunt is here. Also shout out to my sponsors

90
00:05:13,920 --> 00:05:17,440
Speaker 1: right theon that gave me, gave me twenty dollars to

91
00:05:17,520 --> 00:05:19,839
Speaker 1: change my last name. But it's worth it. That's incredible.

92
00:05:19,920 --> 00:05:22,160
Speaker 1: I mean, honestly, I think you could have gotten more.

93
00:05:22,800 --> 00:05:24,520
Speaker 1: I don't know. I didn't want to be greedy, you know,

94
00:05:26,000 --> 00:05:27,840
Speaker 1: I think, you know, little Company, a little mom and

95
00:05:27,839 --> 00:05:33,400
Speaker 1: pop organization, just destabilizing the whole sections of the earth. Um, Miles,

96
00:05:33,440 --> 00:05:38,440
Speaker 1: what is your relationship with this Christmas? Well, oddly enough,

97
00:05:38,680 --> 00:05:41,520
Speaker 1: which is the movie by the way, this one very

98
00:05:41,600 --> 00:05:48,000
Speaker 1: tortured relationship with this current Christmas, with this particular Christmas. Um,

99
00:05:48,240 --> 00:05:52,000
Speaker 1: I you know, oddly enough, it's a movie I've watched.

100
00:05:52,000 --> 00:05:54,440
Speaker 1: When it came out in two thousand seven, I was

101
00:05:54,880 --> 00:05:57,320
Speaker 1: in a really weird place at the time, getting off

102
00:05:57,400 --> 00:06:00,400
Speaker 1: of getting out of college to an economy that was

103
00:06:00,560 --> 00:06:05,040
Speaker 1: like vaporized, and then also like awful break up where

104
00:06:05,040 --> 00:06:06,960
Speaker 1: like I didn't know who the funk I was anymore.

105
00:06:07,240 --> 00:06:09,800
Speaker 1: So I was I was. I was watching a lot

106
00:06:09,880 --> 00:06:13,279
Speaker 1: of corn unplugged in the dark on my bean bag chair,

107
00:06:13,839 --> 00:06:16,880
Speaker 1: especially with with Amy from Evanescence comes out to do

108
00:06:16,960 --> 00:06:19,320
Speaker 1: freak on a leash um, So that was sort of like,

109
00:06:20,080 --> 00:06:22,640
Speaker 1: that's like the vibe I was operating in, so I

110
00:06:22,640 --> 00:06:25,000
Speaker 1: I So I watched it then, and oddly enough, when

111
00:06:25,000 --> 00:06:27,760
Speaker 1: you asked me about this Christmas, I was like, I

112
00:06:27,839 --> 00:06:30,360
Speaker 1: just watched it last night, like the night before you

113
00:06:30,400 --> 00:06:33,680
Speaker 1: had asked me about doing it, So it's I don't know,

114
00:06:33,800 --> 00:06:36,680
Speaker 1: it was just it's it's there. But I hadn't seen

115
00:06:36,720 --> 00:06:41,480
Speaker 1: it in years, so it was like going into it new, Sure, sure, Jamie,

116
00:06:41,480 --> 00:06:45,400
Speaker 1: what about you? Uh. Like many movies, I've seen like

117
00:06:45,800 --> 00:06:49,160
Speaker 1: chunks of this movie over the years on like T

118
00:06:49,440 --> 00:06:52,400
Speaker 1: n T and like when friends were watching it or

119
00:06:52,440 --> 00:06:54,599
Speaker 1: roommates were watching it, but I never like sat down

120
00:06:54,640 --> 00:06:59,400
Speaker 1: and watched the the entire thing, which, honestly, I mean

121
00:06:59,480 --> 00:07:02,400
Speaker 1: this movie really does like demand a hundred percent of

122
00:07:02,400 --> 00:07:05,520
Speaker 1: your attention if you're trying to follow. There's so many storylines.

123
00:07:05,680 --> 00:07:10,720
Speaker 1: It's like love that it's love actually level number of storylines,

124
00:07:10,840 --> 00:07:13,000
Speaker 1: but worse because they're all in the same house, and

125
00:07:13,040 --> 00:07:15,280
Speaker 1: you feel more like, well, I should know everyone because

126
00:07:15,320 --> 00:07:17,800
Speaker 1: we're not just like going across the country to these other,

127
00:07:17,920 --> 00:07:20,280
Speaker 1: like desperate story lines. I'm like, wait, is that a

128
00:07:20,360 --> 00:07:24,600
Speaker 1: kid or a boyfriend or a spouse of the There

129
00:07:24,600 --> 00:07:27,040
Speaker 1: are so many times where I'm like, did I miss something?

130
00:07:27,080 --> 00:07:31,200
Speaker 1: Do we not know who's who's? Like? What job does

131
00:07:31,240 --> 00:07:35,400
Speaker 1: this person have? Whose? Whose child is this? It took

132
00:07:35,440 --> 00:07:37,960
Speaker 1: me a second to figure out who. I thought that

133
00:07:38,040 --> 00:07:39,800
Speaker 1: it was Kelly's children for a second, but it turns

134
00:07:39,800 --> 00:07:41,680
Speaker 1: out it was Regina King's children, and then I was

135
00:07:41,680 --> 00:07:43,280
Speaker 1: like did I And then I went back. I'm like, no,

136
00:07:43,520 --> 00:07:45,560
Speaker 1: I was just supposed to know that. I was supposed

137
00:07:45,600 --> 00:07:47,760
Speaker 1: to know that, right right right. There's also like a

138
00:07:47,760 --> 00:07:50,920
Speaker 1: cousin Fred or something that shows up now and then,

139
00:07:51,040 --> 00:07:53,760
Speaker 1: but he's like not important at all, but important enough

140
00:07:53,800 --> 00:07:57,160
Speaker 1: to take shot at how many kids he has? Like

141
00:07:57,200 --> 00:08:01,080
Speaker 1: how many kids? For you? Guys six seven. Also Madere

142
00:08:01,200 --> 00:08:04,360
Speaker 1: has six children, Like, what is she passing judgment? At

143
00:08:04,400 --> 00:08:06,640
Speaker 1: least she had it with Senior. You know, I guess,

144
00:08:06,640 --> 00:08:08,120
Speaker 1: like I think they're trying to make it look like

145
00:08:08,160 --> 00:08:10,080
Speaker 1: Fred has a bunch of baby mommy. There's a lot

146
00:08:10,080 --> 00:08:13,320
Speaker 1: of weird, shitty tropes in here, but you know, it's

147
00:08:13,360 --> 00:08:15,200
Speaker 1: but that's what Christmas movies are about. It's usually not

148
00:08:15,240 --> 00:08:20,560
Speaker 1: a nuanced discussion of fucking anything. So and Chris Brown

149
00:08:20,720 --> 00:08:24,360
Speaker 1: is there. I really hate to see Chris Brown and there.

150
00:08:24,960 --> 00:08:29,120
Speaker 1: It was my pleasure to fast forward through all sixty

151
00:08:29,240 --> 00:08:34,440
Speaker 1: thousand Chris Brown musical Monton. Yes, credit to his manager

152
00:08:34,559 --> 00:08:37,160
Speaker 1: or agent who basically when they negotiated that was like

153
00:08:37,320 --> 00:08:40,480
Speaker 1: he will sing entire songs in this movie and you

154
00:08:40,559 --> 00:08:46,840
Speaker 1: will not edit them down one fucking bar. Because yeah,

155
00:08:47,160 --> 00:08:49,160
Speaker 1: Chris Brown, this is like I mean, and this is

156
00:08:49,400 --> 00:08:53,440
Speaker 1: sort of like shortly before his career and his like

157
00:08:54,080 --> 00:08:56,080
Speaker 1: he starts to really be called into question, right, because

158
00:08:56,080 --> 00:08:58,400
Speaker 1: that happened in the late two thousand's, But like, yeah,

159
00:08:58,480 --> 00:09:04,319
Speaker 1: that was like she's that was a nine. Nay, it

160
00:09:04,480 --> 00:09:07,440
Speaker 1: was after this movie, but I don't know exactly when, right, Yeah,

161
00:09:07,440 --> 00:09:09,440
Speaker 1: I don't. I mean, he was still you know there

162
00:09:09,480 --> 00:09:12,720
Speaker 1: he was still just had minimal tattoos. His neck wasn't

163
00:09:12,760 --> 00:09:15,240
Speaker 1: tatted yet. You can always tell like where you're at

164
00:09:15,320 --> 00:09:17,520
Speaker 1: because like as the tattoos fielding, and you're like, okay,

165
00:09:17,520 --> 00:09:21,120
Speaker 1: now we're getting into like scum Chris Brown phase. Um

166
00:09:21,160 --> 00:09:26,200
Speaker 1: so yeah, I don't know, it's he's he definitely brought

167
00:09:26,200 --> 00:09:28,160
Speaker 1: people into the theaters that Like when you look at

168
00:09:28,200 --> 00:09:31,120
Speaker 1: that line, if you're like, we're letting an algorithm tell

169
00:09:31,200 --> 00:09:33,040
Speaker 1: us how we're going to get as many asses into

170
00:09:33,080 --> 00:09:35,760
Speaker 1: the seats. Yeah, and he's so prominent on that. I

171
00:09:35,800 --> 00:09:38,400
Speaker 1: was looking at the posters where he's like takes up

172
00:09:38,400 --> 00:09:40,880
Speaker 1: a third of the poster even though there's twelve people

173
00:09:40,920 --> 00:09:49,600
Speaker 1: on the poster. Right right, it's like Chris Brown's this Christmas. Thankfully,

174
00:09:49,640 --> 00:09:52,520
Speaker 1: he's actually not in that much of it, like it's

175
00:09:52,720 --> 00:09:56,440
Speaker 1: mostly other people. But but almost every second he's on screen,

176
00:09:56,520 --> 00:10:01,600
Speaker 1: he's just singing, singing, singing. That said, I enjoyed this movie, Caitlin,

177
00:10:01,640 --> 00:10:05,760
Speaker 1: what's your history with this movie? I hadn't seen it before. Um,

178
00:10:05,800 --> 00:10:09,040
Speaker 1: I liked it, okay. But generally movies that are like

179
00:10:09,360 --> 00:10:13,640
Speaker 1: character driven, family narratives that don't really have a distinct

180
00:10:13,720 --> 00:10:18,640
Speaker 1: plot aren't really my type of movie, so it's not

181
00:10:18,679 --> 00:10:21,880
Speaker 1: a rump that's kind of rumpy. I would say that

182
00:10:21,920 --> 00:10:25,839
Speaker 1: Adris Elba's uh storyline is very rompy. It's like in

183
00:10:25,920 --> 00:10:28,760
Speaker 1: Ocean's eleven in the middle of a family movie. They

184
00:10:28,880 --> 00:10:30,640
Speaker 1: give you all kinds of you. They give you even

185
00:10:30,720 --> 00:10:35,880
Speaker 1: like Star Wars Daddy Issues reconciliation vibe. But there's also

186
00:10:36,040 --> 00:10:39,280
Speaker 1: there's like more melo drama than I enjoy in a movie.

187
00:10:39,960 --> 00:10:43,040
Speaker 1: So I'm just like I was here for it. I

188
00:10:43,120 --> 00:10:47,120
Speaker 1: love I love the melo drama. I'm it's a it's

189
00:10:47,240 --> 00:10:50,280
Speaker 1: generally a pass for me. But also and I don't

190
00:10:50,360 --> 00:10:54,520
Speaker 1: generally the only Christmas movie I like is Muppet Christmas Carol.

191
00:10:55,480 --> 00:11:00,520
Speaker 1: Every other one you liked print too, sort of did

192
00:11:00,520 --> 00:11:03,000
Speaker 1: you like? Have you seen New York Christmas Wedding? I

193
00:11:03,040 --> 00:11:05,520
Speaker 1: have not seen New York Christmas. The lgbt Q one

194
00:11:05,600 --> 00:11:08,560
Speaker 1: that like Netflix put out where it's basically this like

195
00:11:08,760 --> 00:11:11,480
Speaker 1: woman who's like about to get married to a man

196
00:11:11,760 --> 00:11:13,960
Speaker 1: is visited by an angel who sends her to a

197
00:11:14,000 --> 00:11:16,280
Speaker 1: parallel reality where she could have come out to her

198
00:11:16,320 --> 00:11:19,200
Speaker 1: best girlfriend that she was in love with and play

199
00:11:19,240 --> 00:11:21,680
Speaker 1: out a life where she would have just honored her

200
00:11:21,800 --> 00:11:25,040
Speaker 1: like feelings about her friend and had like this beautiful

201
00:11:25,120 --> 00:11:27,440
Speaker 1: love affair with this other woman. But then like the

202
00:11:27,480 --> 00:11:29,679
Speaker 1: thing ends and it's like all right, now choose. Oh

203
00:11:29,679 --> 00:11:32,120
Speaker 1: my god. It's like a very very weird way to

204
00:11:32,200 --> 00:11:34,800
Speaker 1: present that sort of quandary for a person of like

205
00:11:34,880 --> 00:11:37,079
Speaker 1: this angel being like, Okay, you want to test drive

206
00:11:37,200 --> 00:11:41,400
Speaker 1: this other version where you embrace this relationship. Maybe not,

207
00:11:41,440 --> 00:11:45,559
Speaker 1: but anyway, those are some steaks I didn't know that existed. Yeah,

208
00:11:45,760 --> 00:11:47,280
Speaker 1: check it out. I mean, because this is the thing

209
00:11:47,280 --> 00:11:49,840
Speaker 1: I love about Christmas movies is that they're so just.

210
00:11:50,200 --> 00:11:52,920
Speaker 1: They can be anything. They can be like sincere and

211
00:11:53,040 --> 00:11:55,320
Speaker 1: earnest and you're like, oh, this just happens to be

212
00:11:55,400 --> 00:11:58,520
Speaker 1: happening during Christmas. But for me, the best ones are

213
00:11:58,559 --> 00:12:01,960
Speaker 1: like absolute trash where there's so many plot holes and

214
00:12:02,000 --> 00:12:04,120
Speaker 1: you're being like, they didn't even think when they were

215
00:12:04,160 --> 00:12:07,160
Speaker 1: writing this. I for whatever reason, that's like a salve

216
00:12:07,600 --> 00:12:10,920
Speaker 1: on my like like tortured creator wounds and don't like

217
00:12:10,960 --> 00:12:15,720
Speaker 1: see people can get absolute shit made. It is like

218
00:12:15,760 --> 00:12:19,240
Speaker 1: if a Christmas movie took more than forty minutes to write,

219
00:12:19,240 --> 00:12:24,880
Speaker 1: it took too long period done. Michael Keaton's Jack Frost

220
00:12:24,960 --> 00:12:27,720
Speaker 1: took eleven minutes to write the entire screen. Yeah, that

221
00:12:27,760 --> 00:12:30,040
Speaker 1: movie was fully improvised. So I went to high school

222
00:12:30,080 --> 00:12:33,800
Speaker 1: with one of the snowboard bullies from that movie. Wait,

223
00:12:33,880 --> 00:12:37,839
Speaker 1: I think you've told us this before. That's iconic, that's incredible.

224
00:12:37,880 --> 00:12:40,840
Speaker 1: He was Unfortunately, that kid was living in his sister's shadow,

225
00:12:40,920 --> 00:12:43,720
Speaker 1: who played the daughter in Jack Frost, And he only

226
00:12:43,760 --> 00:12:46,160
Speaker 1: got the part because his sister was one of the leads,

227
00:12:46,200 --> 00:12:48,800
Speaker 1: and we made fun of like that's how toxic l

228
00:12:48,840 --> 00:12:50,800
Speaker 1: A School was, Like, dude, you only got it because

229
00:12:50,840 --> 00:12:52,599
Speaker 1: your sister was a lead fool and you barely You

230
00:12:52,600 --> 00:12:56,640
Speaker 1: don't even have like a U five part under five lines, um,

231
00:12:57,720 --> 00:13:01,600
Speaker 1: Like I don't know, wow, growing up in l A sense,

232
00:13:02,040 --> 00:13:04,800
Speaker 1: I mean yeah, I think it's also jealousy because he

233
00:13:04,840 --> 00:13:07,120
Speaker 1: also had like he like brought us snow. I feel

234
00:13:07,120 --> 00:13:10,040
Speaker 1: like he bought brought like a snowboard jacket from the

235
00:13:10,080 --> 00:13:12,640
Speaker 1: set to school in like the l A heat and

236
00:13:12,679 --> 00:13:15,040
Speaker 1: we're like, dude, we get it. So then we just

237
00:13:15,120 --> 00:13:17,679
Speaker 1: turned on him or like whatever, bro, your sister got

238
00:13:17,720 --> 00:13:21,920
Speaker 1: you the gig roll like a twelve and ship. Well.

239
00:13:21,920 --> 00:13:24,160
Speaker 1: One of the things I appreciate about this movie is

240
00:13:24,240 --> 00:13:28,000
Speaker 1: that there's l a Christmas representation because so many Christmas

241
00:13:28,040 --> 00:13:30,960
Speaker 1: movies take place in like New York or Chicago or

242
00:13:31,000 --> 00:13:33,040
Speaker 1: any other place where it's like cold and snow eat

243
00:13:33,080 --> 00:13:36,920
Speaker 1: during Christmas time. So I appreciated that you have just like,

244
00:13:37,160 --> 00:13:41,599
Speaker 1: you know, mild weather Christmas, like you know, yeah, like

245
00:13:41,800 --> 00:13:44,320
Speaker 1: Jacket's it, and you know, some people can overdo it.

246
00:13:44,360 --> 00:13:46,480
Speaker 1: I think it's like if it was truly Angelina, though,

247
00:13:46,679 --> 00:13:49,840
Speaker 1: we would be dressing like it was negative forty below

248
00:13:51,559 --> 00:13:54,480
Speaker 1: just fully costplay. Yeah, because like our Overton window in

249
00:13:54,559 --> 00:13:57,360
Speaker 1: terms of what's hot or cold is completely screwed up.

250
00:13:57,400 --> 00:14:00,360
Speaker 1: So we're like, yeah, what is it? It's below Vandy

251
00:14:00,559 --> 00:14:08,480
Speaker 1: where mittens right now? Oh? Good grief? Um, should I

252
00:14:08,559 --> 00:14:13,440
Speaker 1: do the recap story to the best of my ability? Yeah,

253
00:14:13,440 --> 00:14:15,240
Speaker 1: it's kind of a lot. There's a lot going on.

254
00:14:15,840 --> 00:14:17,480
Speaker 1: It's a lot curious how you're going to do it

255
00:14:17,520 --> 00:14:21,720
Speaker 1: with it and have it be very cogent and succinct. Yeah,

256
00:14:21,960 --> 00:14:24,600
Speaker 1: everything's happening, and yet nothing at all is happening. The

257
00:14:24,640 --> 00:14:28,200
Speaker 1: stakes from character to character are so wildly different that

258
00:14:28,520 --> 00:14:31,600
Speaker 1: like they're just like wait a second. There's like in

259
00:14:31,800 --> 00:14:34,520
Speaker 1: a wall pregnancy scandal, and then there's someone who's like

260
00:14:34,600 --> 00:14:38,920
Speaker 1: should I get back into the dating world, Like everyone

261
00:14:39,000 --> 00:14:41,760
Speaker 1: stas I got a camera, but mom doesn't like that

262
00:14:41,800 --> 00:14:46,000
Speaker 1: I sing? Are these steaks? And then like Rosalba is

263
00:14:46,040 --> 00:14:49,600
Speaker 1: like being beaten up in every same season. But Buddies

264
00:14:49,600 --> 00:14:54,440
Speaker 1: with his like transgressors. He's got to like they act

265
00:14:54,520 --> 00:14:57,760
Speaker 1: like middle school bullies, but they are like thirty eight

266
00:14:57,800 --> 00:15:00,760
Speaker 1: years old. They're like, yeah, moan, dude, They're gonna get me.

267
00:15:01,360 --> 00:15:04,120
Speaker 1: Like this sounds like a seventh grade problem that he's having.

268
00:15:04,360 --> 00:15:07,880
Speaker 1: I think Joe Biden wrote these characters. You know. It

269
00:15:08,040 --> 00:15:11,400
Speaker 1: was Mo and Dude, you know bad dudes, you know,

270
00:15:11,960 --> 00:15:16,160
Speaker 1: associates of corn Pop. Yeah, messing with my boy Quentin Jr.

271
00:15:16,200 --> 00:15:19,480
Speaker 1: Who was a jazz pianist. Like all right, Joe, this

272
00:15:19,600 --> 00:15:25,360
Speaker 1: sounds very contrived, Like all right, Grandpa, let's go to bed, right,

273
00:15:25,720 --> 00:15:31,000
Speaker 1: Um okay. So this Christmas the film is about the

274
00:15:31,000 --> 00:15:35,640
Speaker 1: wet Field family. Madear is the matriarch. She has six

275
00:15:35,720 --> 00:15:39,080
Speaker 1: sons and daughters who are all grown up and who

276
00:15:39,120 --> 00:15:41,840
Speaker 1: are all getting together for Christmas for the first time

277
00:15:41,840 --> 00:15:43,840
Speaker 1: in four years. And because this is a more kind

278
00:15:43,840 --> 00:15:48,120
Speaker 1: of character driven story than a plot driven story, my

279
00:15:48,400 --> 00:15:51,600
Speaker 1: recap might be kind of all over the place. So

280
00:15:52,080 --> 00:15:54,440
Speaker 1: just bear with me here. But um so, it's a

281
00:15:54,480 --> 00:15:58,520
Speaker 1: it's a few days before Christmas. Madear that's Loretta Divines

282
00:15:58,600 --> 00:16:02,800
Speaker 1: character lives in l A. She owns a dry cleaners,

283
00:16:03,040 --> 00:16:07,600
Speaker 1: and her romantic partner, Joe played by Delroy Lindo, is

284
00:16:07,680 --> 00:16:10,960
Speaker 1: the kind of step father figure to her kids, although

285
00:16:11,000 --> 00:16:13,200
Speaker 1: they are not married and a lot of them don't

286
00:16:13,240 --> 00:16:16,000
Speaker 1: know that Joe lives in the house with Madear, and

287
00:16:16,040 --> 00:16:19,720
Speaker 1: everyone's being very like two thousand and seven about it

288
00:16:19,920 --> 00:16:22,640
Speaker 1: in a way that is very weird to me. I

289
00:16:22,720 --> 00:16:25,480
Speaker 1: was just like, why can't just be happy for Medear?

290
00:16:25,600 --> 00:16:29,680
Speaker 1: Like why are we whatever? The main thing is like, well,

291
00:16:29,680 --> 00:16:32,160
Speaker 1: we'll get to this, but Quentin, you just Elba's character

292
00:16:32,200 --> 00:16:35,160
Speaker 1: hates Joe and like that's why she's like keeping into

293
00:16:35,200 --> 00:16:38,920
Speaker 1: secret anyway. It just Elba's character is secretly twelve years old.

294
00:16:39,000 --> 00:16:41,320
Speaker 1: That's like, my that's the only way I can rationalize

295
00:16:41,520 --> 00:16:43,720
Speaker 1: some of his some of his choices where he's like

296
00:16:43,880 --> 00:16:45,680
Speaker 1: I don't get it. Why aren't you married to my

297
00:16:45,800 --> 00:16:49,200
Speaker 1: dad anymore? And it's like, this is twelve year old culture.

298
00:16:49,280 --> 00:16:52,840
Speaker 1: This is not like oh and literally telling Joe you're

299
00:16:52,840 --> 00:16:58,240
Speaker 1: not my daddy. Oh okay, sir, we got that part

300
00:16:58,280 --> 00:17:00,400
Speaker 1: when we knew that. I think you're also in adult

301
00:17:00,520 --> 00:17:02,360
Speaker 1: and we don't need to talk like that right now,

302
00:17:02,840 --> 00:17:05,000
Speaker 1: right Like, I feel like people should come down. The

303
00:17:05,080 --> 00:17:09,520
Speaker 1: things that people come down Quentin hard for, like being

304
00:17:09,560 --> 00:17:12,120
Speaker 1: a musician, don't make sense. And the things that they

305
00:17:12,119 --> 00:17:16,000
Speaker 1: take really easy on him, like being aggressive towards Joe,

306
00:17:16,040 --> 00:17:19,400
Speaker 1: who has never done a thing. People are just like, well,

307
00:17:19,480 --> 00:17:22,159
Speaker 1: you know, he's sad about the divorce. You're like, he

308
00:17:22,200 --> 00:17:24,840
Speaker 1: needs to he needs to, you know, grow up, figure

309
00:17:24,880 --> 00:17:27,800
Speaker 1: out by by all measures. Quentin Senior sounds like a

310
00:17:27,840 --> 00:17:30,399
Speaker 1: piece of ship. If I was on the family to

311
00:17:30,480 --> 00:17:35,520
Speaker 1: be a fucking musician. Uh, that's not an honorable person.

312
00:17:35,800 --> 00:17:39,240
Speaker 1: Sorry so, but but again that's but that's the thing,

313
00:17:39,320 --> 00:17:41,720
Speaker 1: like we don't have these fucked up relationships with our parents,

314
00:17:41,760 --> 00:17:44,800
Speaker 1: and even though on paper it's bad, we still idolize

315
00:17:44,840 --> 00:17:48,119
Speaker 1: them and wrong. There's so much depth to that. It's true.

316
00:17:48,400 --> 00:17:51,399
Speaker 1: It's true. I like Joe. I like Joe too. I

317
00:17:51,440 --> 00:17:54,040
Speaker 1: love Delroy Lindo, you know, and whenever when he puts

318
00:17:54,040 --> 00:17:56,240
Speaker 1: a good performance, like it felt weird. He felt like

319
00:17:56,240 --> 00:18:00,080
Speaker 1: he was classing up the joint acting like I was like, oh,

320
00:18:00,359 --> 00:18:02,600
Speaker 1: you're too good right now, this is a little this

321
00:18:02,680 --> 00:18:04,840
Speaker 1: is a little bit of holiday trash, and you're like

322
00:18:05,320 --> 00:18:10,440
Speaker 1: earnest performances like Shakespearean wait to the whole thing, even

323
00:18:10,480 --> 00:18:12,240
Speaker 1: like when he would have it out with interest elbow,

324
00:18:12,280 --> 00:18:15,040
Speaker 1: these tense moments were like he's like, you probably should

325
00:18:15,040 --> 00:18:16,960
Speaker 1: stay away while I'm around, because you know, I don't

326
00:18:16,960 --> 00:18:18,080
Speaker 1: want you to hear what my mom is, Like why

327
00:18:18,080 --> 00:18:19,480
Speaker 1: don't you take that up with your mother? And he's like,

328
00:18:19,520 --> 00:18:21,639
Speaker 1: I will. And then del Roy Leno just does like

329
00:18:21,800 --> 00:18:25,080
Speaker 1: great like reaction acting when he's like yeah, like about

330
00:18:25,119 --> 00:18:27,919
Speaker 1: to say something, measures dials back and then goes on.

331
00:18:28,000 --> 00:18:31,880
Speaker 1: You're like, wow, okay, del Roy, he really that whole scene,

332
00:18:31,880 --> 00:18:33,760
Speaker 1: there's like just a scene where he's just hanging up

333
00:18:33,840 --> 00:18:37,080
Speaker 1: lights and getting a little frustrated, and I was captivated

334
00:18:39,240 --> 00:18:41,879
Speaker 1: because we're supposed to focus on what's happening in the background,

335
00:18:41,920 --> 00:18:44,520
Speaker 1: which is Kelly coming home from a one night stand

336
00:18:44,680 --> 00:18:48,320
Speaker 1: with McKay peiffer, who proceeds to stop her for the

337
00:18:48,359 --> 00:18:51,600
Speaker 1: rest of the movie, but in a cute way, but

338
00:18:51,680 --> 00:18:55,840
Speaker 1: in acute way when he's very suddenly like dressed up

339
00:18:55,880 --> 00:18:57,960
Speaker 1: as Santa with her niece and nephew, I'm like, this

340
00:18:58,040 --> 00:19:00,320
Speaker 1: is like this is the end of that story line.

341
00:19:00,359 --> 00:19:03,560
Speaker 1: And if we can't depin you, but we did in

342
00:19:03,560 --> 00:19:06,400
Speaker 1: the normal world. There's a text that's a girl. You're

343
00:19:06,400 --> 00:19:09,960
Speaker 1: not gonna believe this motherfucker showed up in Santa outfit.

344
00:19:10,080 --> 00:19:13,200
Speaker 1: I didn't even call him. I'm trying to get him

345
00:19:13,200 --> 00:19:16,280
Speaker 1: to leave right now. No, just the one time, not

346
00:19:16,440 --> 00:19:19,800
Speaker 1: since then. No, he brought gifts and ship too like

347
00:19:19,880 --> 00:19:22,240
Speaker 1: once they like as if he knew what they wanted.

348
00:19:22,280 --> 00:19:25,879
Speaker 1: This is you run even a cursory bushemy test on

349
00:19:25,960 --> 00:19:30,080
Speaker 1: that it all falls apart. Stu Bushemy comes the next

350
00:19:30,119 --> 00:19:34,320
Speaker 1: morning into Santa Suit. You're like, it's not going to

351
00:19:34,520 --> 00:19:38,040
Speaker 1: end well, You're like, get out of my house. Um, okay.

352
00:19:38,119 --> 00:19:41,720
Speaker 1: So we meet Madeer and Joe, we meet Baby. That's

353
00:19:41,760 --> 00:19:45,159
Speaker 1: Chris Brown's character. He is the youngest member of the family.

354
00:19:45,200 --> 00:19:47,440
Speaker 1: I think he's a senior in high school about to

355
00:19:47,440 --> 00:19:50,119
Speaker 1: graduate because he still lives it. They like make it

356
00:19:50,160 --> 00:19:52,480
Speaker 1: seem like he's still in high school right even though

357
00:19:52,520 --> 00:19:56,320
Speaker 1: he's yes, but he's acting like again, he's acting like

358
00:19:56,400 --> 00:19:58,840
Speaker 1: he's tent like he's always like hunched over like he

359
00:20:00,000 --> 00:20:02,280
Speaker 1: and also twenty five because like I'm singing at a

360
00:20:02,359 --> 00:20:10,040
Speaker 1: nightclub snuck out the age right. They never like, they

361
00:20:10,080 --> 00:20:13,120
Speaker 1: never specify really how old anyone is supposed to be,

362
00:20:13,320 --> 00:20:15,720
Speaker 1: which works to the movie's advantage because I'm like, I

363
00:20:15,800 --> 00:20:19,520
Speaker 1: don't know what I would believe. And then the rest

364
00:20:19,560 --> 00:20:23,320
Speaker 1: of the family starts to arrive at Madeir's house. Lisa

365
00:20:23,400 --> 00:20:28,480
Speaker 1: that's Regina King. She arrives with her husband, Malcolm that's

366
00:20:28,560 --> 00:20:32,520
Speaker 1: laz Alonso. They have two kids together, who could not

367
00:20:32,680 --> 00:20:36,760
Speaker 1: be in the movie less if they tried. That's fucked up.

368
00:20:36,880 --> 00:20:40,040
Speaker 1: It was weird. And another like moment when I was like,

369
00:20:40,119 --> 00:20:42,679
Speaker 1: I'm so fucking confused, like when I was watching it

370
00:20:42,800 --> 00:20:45,520
Speaker 1: last week and I'm like, wait, who, who the who's

371
00:20:45,560 --> 00:20:48,080
Speaker 1: fucking kids are these? And why are they being neglected

372
00:20:48,200 --> 00:20:51,360
Speaker 1: the whole film? Like they don't exist in the reality

373
00:20:51,359 --> 00:20:55,359
Speaker 1: of the film. The fact that they're even there is

374
00:20:55,480 --> 00:20:58,720
Speaker 1: introduced so late in the movie, and then I was

375
00:20:58,720 --> 00:21:02,400
Speaker 1: still like, wait, who whose kids are these? And then

376
00:21:02,440 --> 00:21:04,720
Speaker 1: you're like, oh, like, oh, okay, that makes sense that

377
00:21:05,560 --> 00:21:08,000
Speaker 1: I don't know. The way that they're introduced was very confusing,

378
00:21:08,040 --> 00:21:10,159
Speaker 1: and then they're like in the background of two scenes,

379
00:21:10,880 --> 00:21:14,240
Speaker 1: they don't even sit at the table, Like the table

380
00:21:15,040 --> 00:21:17,480
Speaker 1: I honestly thought in the first like soul Train dance

381
00:21:17,520 --> 00:21:19,760
Speaker 1: line that they did as a family, Like when Quinn

382
00:21:19,800 --> 00:21:21,719
Speaker 1: comes home and one of the kids was there, I

383
00:21:21,800 --> 00:21:25,400
Speaker 1: honestly thought it was an intruder. I was like, who

384
00:21:25,440 --> 00:21:27,600
Speaker 1: the funk is? And like, y'all aren't really you're just

385
00:21:27,600 --> 00:21:30,359
Speaker 1: gonna act like okay whatever. I'm like, this family is

386
00:21:30,400 --> 00:21:34,640
Speaker 1: on some other ship. You know, those infamous child intruders. Yeah,

387
00:21:34,640 --> 00:21:37,919
Speaker 1: I don't know exactly. I'm like, Yo, one of these

388
00:21:37,960 --> 00:21:40,560
Speaker 1: little cutesy thieves is in your house on Christmas. You've

389
00:21:40,560 --> 00:21:42,920
Speaker 1: seen this a hundred times. You know the script already,

390
00:21:43,000 --> 00:21:47,720
Speaker 1: that classic Christmas troupe. Hey, it's me, your other little grandchild.

391
00:21:47,960 --> 00:21:51,399
Speaker 1: You're gonna take the presents, you ink. I don't know

392
00:21:51,400 --> 00:21:53,640
Speaker 1: why they talked again New York Burglar from the twenties,

393
00:21:53,680 --> 00:22:01,040
Speaker 1: but given Adris Elba's character, you know, I believe almost anything, right, Okay.

394
00:22:01,040 --> 00:22:04,720
Speaker 1: So then we also meet Kelly. That's Sharon Leal. She

395
00:22:05,359 --> 00:22:09,320
Speaker 1: works in New York. I think in advertising. She went

396
00:22:09,359 --> 00:22:12,040
Speaker 1: to Harvard. Her main thing is that she's a terrible cook.

397
00:22:12,400 --> 00:22:15,040
Speaker 1: A lot of jokes are made at her expense about

398
00:22:15,040 --> 00:22:17,560
Speaker 1: her being really bad at cooking. Don't forget she also

399
00:22:17,640 --> 00:22:20,440
Speaker 1: has a vibrator, and she has a vibrator. Yes, she's

400
00:22:20,480 --> 00:22:23,600
Speaker 1: one of those Harvard non cooking knows how to pleasure

401
00:22:23,640 --> 00:22:28,240
Speaker 1: herself types. Huh, a modern feminist think. But we're told

402
00:22:28,600 --> 00:22:31,159
Speaker 1: we don't like that. She's gotta she's gotta marry the

403
00:22:31,200 --> 00:22:35,680
Speaker 1: first Santa she has sex with. Right, Look, you beggars

404
00:22:35,720 --> 00:22:38,359
Speaker 1: can't be choosers, especially when you suck up making cool aid.

405
00:22:38,600 --> 00:22:42,200
Speaker 1: The fact the fact that she's literally like a Harvard

406
00:22:42,440 --> 00:22:45,600
Speaker 1: grad who happens to be single and doesn't seem to

407
00:22:45,600 --> 00:22:47,159
Speaker 1: be bothered by it, And the movie is like, m

408
00:22:47,600 --> 00:22:54,320
Speaker 1: she's gonna start dating Santa. You're just like, what, yeah,

409
00:22:55,600 --> 00:22:58,119
Speaker 1: for this character, what you're laying out for me? I

410
00:22:58,160 --> 00:23:00,800
Speaker 1: do like that they did honor the trope of talking

411
00:23:00,800 --> 00:23:04,080
Speaker 1: about Harvard all the time, because like it's one thing

412
00:23:04,119 --> 00:23:06,960
Speaker 1: like when a black person goes to Harvard, it's always talked.

413
00:23:07,080 --> 00:23:10,360
Speaker 1: It will never not be spoken about. So I really

414
00:23:10,400 --> 00:23:13,600
Speaker 1: appreciated how like Harvard was constantly getting beat over the

415
00:23:13,640 --> 00:23:15,760
Speaker 1: head once in the same way. Like, and I think

416
00:23:15,760 --> 00:23:18,720
Speaker 1: in like more like white culture that it's the trope

417
00:23:18,760 --> 00:23:21,840
Speaker 1: of I went to school in Cambridge or what is it, Boston,

418
00:23:21,920 --> 00:23:24,000
Speaker 1: went to school in Boston what's the vague thing that

419
00:23:24,040 --> 00:23:25,720
Speaker 1: people say, did not say they went to Harvard to

420
00:23:26,119 --> 00:23:31,800
Speaker 1: small college in Boston. Okay, well, this feels like a

421
00:23:31,840 --> 00:23:33,879
Speaker 1: great time to bring up that I went to a

422
00:23:33,880 --> 00:23:36,520
Speaker 1: school in Boston. It's called Boston University, and I did

423
00:23:36,560 --> 00:23:40,240
Speaker 1: get a master's degree in screenwriting from that institution. But

424
00:23:40,320 --> 00:23:44,439
Speaker 1: I would never bring that up never. What did you

425
00:23:44,480 --> 00:23:46,879
Speaker 1: think of some of the writing? Sorry to derail you.

426
00:23:47,040 --> 00:23:49,040
Speaker 1: I know we're still doing this synopsis, but there are

427
00:23:49,040 --> 00:23:51,120
Speaker 1: some lines of dialogue that I was like, there were

428
00:23:51,280 --> 00:23:55,040
Speaker 1: some head scratchers there. I had some fun ones that

429
00:23:55,520 --> 00:23:59,560
Speaker 1: The writing to me was pretty decent. I think I

430
00:23:59,560 --> 00:24:02,240
Speaker 1: would say some of the soundtrack choices were what we're

431
00:24:02,280 --> 00:24:06,199
Speaker 1: really puzzling to me? Yeah, Well, the interesting thing is

432
00:24:06,240 --> 00:24:10,000
Speaker 1: that Marcus Miller was the was the person in charge

433
00:24:10,040 --> 00:24:14,520
Speaker 1: of music. And Marcus Miller is like, oh fucking well,

434
00:24:14,560 --> 00:24:18,320
Speaker 1: well respected jazz musician um and like played with like

435
00:24:18,400 --> 00:24:21,639
Speaker 1: Miles Davis and Ship. So when I saw that pop up,

436
00:24:21,640 --> 00:24:24,720
Speaker 1: I was like, Ship, Marcus Miller is like the fucking

437
00:24:24,840 --> 00:24:27,920
Speaker 1: musical director. Like he's a talented bassist. But it had

438
00:24:27,960 --> 00:24:32,479
Speaker 1: that like stale jazz brunchie vibe to the soundtrack. It

439
00:24:32,560 --> 00:24:34,399
Speaker 1: was very Yeah. I was kind of I was like,

440
00:24:34,440 --> 00:24:36,320
Speaker 1: I don't know how much of this is like two

441
00:24:36,400 --> 00:24:40,480
Speaker 1: thousand and seven talking, but it just it did sound

442
00:24:40,600 --> 00:24:45,000
Speaker 1: very like generic. I had my favorite line um was

443
00:24:45,240 --> 00:24:48,600
Speaker 1: there because I generally like I thought, I mean, it's

444
00:24:48,640 --> 00:24:51,840
Speaker 1: super tropy, but whatever, it's a Christmas movie. But my

445
00:24:51,920 --> 00:24:56,800
Speaker 1: favorite line that was bad was anytime Malcolm, the like

446
00:24:56,920 --> 00:25:00,119
Speaker 1: cheating husband is talking. The way he talks is so

447
00:25:00,359 --> 00:25:03,159
Speaker 1: business vague in a way that I thought was really funny,

448
00:25:03,160 --> 00:25:06,800
Speaker 1: where he's like, at some point, like Kelly realizes that

449
00:25:07,040 --> 00:25:10,679
Speaker 1: he's cheating on her sister, and he's like, you know,

450
00:25:10,760 --> 00:25:14,200
Speaker 1: I gotta fly back to San Francisco signed some papers.

451
00:25:14,359 --> 00:25:18,320
Speaker 1: It's business. There's a sentence and then he says on

452
00:25:18,320 --> 00:25:23,720
Speaker 1: the phone, I'm in escrow. Let him know he's doing deals. Man,

453
00:25:24,040 --> 00:25:28,800
Speaker 1: he's in escrow himself right now. Sorry, I'm in escrow

454
00:25:28,880 --> 00:25:31,240
Speaker 1: right now. Probably when I get out, Like it sounds

455
00:25:31,240 --> 00:25:33,760
Speaker 1: like business to me. I don't know the other thing

456
00:25:33,800 --> 00:25:36,040
Speaker 1: he said I was. I think when we were talking

457
00:25:36,080 --> 00:25:37,520
Speaker 1: off Mike the other day, j B. I was like,

458
00:25:37,760 --> 00:25:41,800
Speaker 1: there's some business investment tropes or just takes that are

459
00:25:41,840 --> 00:25:45,920
Speaker 1: just really weird where Malcolm says that buying a Cadillac

460
00:25:46,160 --> 00:25:49,080
Speaker 1: Escalade is a good investment. And that was like the

461
00:25:49,119 --> 00:25:51,639
Speaker 1: most two thousand seven shift I've ever heard, was like

462
00:25:52,640 --> 00:25:56,160
Speaker 1: a good investment. I'm like, that is not appreciating in value.

463
00:25:56,440 --> 00:25:59,040
Speaker 1: How is that a good investment in any way? It's

464
00:25:59,080 --> 00:26:03,760
Speaker 1: also like one the most famous like gas guzzlers. Yeah. Well,

465
00:26:03,800 --> 00:26:07,000
Speaker 1: I think also for me to at that time pulling

466
00:26:07,080 --> 00:26:10,840
Speaker 1: up an escalade, there there was no higher vehicle in

467
00:26:10,880 --> 00:26:13,400
Speaker 1: black culture, you know, like a Cadillac and then big

468
00:26:13,440 --> 00:26:16,960
Speaker 1: body SUV Cadillac. But I just love that he was

469
00:26:17,000 --> 00:26:20,120
Speaker 1: so like insistent in that seems like damn, I've got

470
00:26:19,760 --> 00:26:23,439
Speaker 1: the good investment. I'm just like, that's don't even have

471
00:26:23,480 --> 00:26:26,000
Speaker 1: a character say that out loud. The car is not

472
00:26:26,080 --> 00:26:27,920
Speaker 1: an investment unless it's like to get you to and

473
00:26:28,000 --> 00:26:31,680
Speaker 1: from work or some kind of classic car. Right. Yeah.

474
00:26:31,720 --> 00:26:35,080
Speaker 1: I suppose there's some questionable writing choices. I think, like store,

475
00:26:35,160 --> 00:26:39,159
Speaker 1: like the emotional arc of different characters. Yeah, but that

476
00:26:39,440 --> 00:26:42,480
Speaker 1: is fun the Yeah, there there were a few things

477
00:26:42,480 --> 00:26:44,880
Speaker 1: here that were kind of like, oh, this happens right

478
00:26:44,920 --> 00:26:48,200
Speaker 1: before a big recession, and you can kind of see

479
00:26:49,440 --> 00:26:51,479
Speaker 1: You're like, oh, I don't know how this ends, and

480
00:26:51,640 --> 00:26:54,240
Speaker 1: how does this where you know, where are the wit

481
00:26:54,359 --> 00:26:56,840
Speaker 1: Fields in two thousand nine? We never we don't know.

482
00:26:56,960 --> 00:27:00,720
Speaker 1: He didn't get a sequel. Yeah yet, I mean maybe

483
00:27:00,720 --> 00:27:02,840
Speaker 1: they had they sold their business just to get liquid.

484
00:27:03,480 --> 00:27:06,919
Speaker 1: That's true. That's true, right, and let's see that's a

485
00:27:06,920 --> 00:27:08,600
Speaker 1: follow up. We don't want we don't need that. Yeah,

486
00:27:08,640 --> 00:27:10,159
Speaker 1: it's like, I don't want to know they live in

487
00:27:10,200 --> 00:27:14,040
Speaker 1: two thousand seven forever for me, Like what if they're

488
00:27:14,080 --> 00:27:19,479
Speaker 1: like yeah? And then baby became Chris Brown. Also at

489
00:27:19,520 --> 00:27:21,480
Speaker 1: the end of the movie where there's a really long

490
00:27:21,560 --> 00:27:23,320
Speaker 1: dance sequence and then you're like, oh, it's not even

491
00:27:23,359 --> 00:27:26,359
Speaker 1: the characters anymore. It's just it's just the actors. It

492
00:27:26,400 --> 00:27:28,280
Speaker 1: took me a second because I was like, they just

493
00:27:28,320 --> 00:27:30,480
Speaker 1: did someone just accidentally call him Chris? I was like, oh, no,

494
00:27:30,520 --> 00:27:32,840
Speaker 1: I guess we're just actors now. Yeah. It's just like

495
00:27:32,920 --> 00:27:35,040
Speaker 1: it's like like the end of a play where the

496
00:27:35,040 --> 00:27:37,280
Speaker 1: cast comes out and gives like a like a fun bow.

497
00:27:37,720 --> 00:27:39,439
Speaker 1: Was like the movie equivalent, like let's do all do

498
00:27:39,480 --> 00:27:41,880
Speaker 1: some dancing. And then I feel like I was kind

499
00:27:41,880 --> 00:27:43,800
Speaker 1: of turning up the volume because I feel like there

500
00:27:43,880 --> 00:27:46,439
Speaker 1: was some like ship talking going on. I'm gonna have

501
00:27:46,480 --> 00:27:48,160
Speaker 1: to watch that again. But there was a moment where

502
00:27:48,160 --> 00:27:50,040
Speaker 1: I feel like someone made fun of someone else is

503
00:27:50,119 --> 00:27:51,719
Speaker 1: dancing and they're like, I don't give a fuck like

504
00:27:52,000 --> 00:27:54,480
Speaker 1: someone I felt like there was an exchange like that,

505
00:27:54,600 --> 00:27:56,240
Speaker 1: whereas I was like, oh, wow, you're really doing It's like,

506
00:27:56,320 --> 00:27:57,960
Speaker 1: come on, I'm sucking trying. Like there was like a

507
00:27:58,040 --> 00:28:01,080
Speaker 1: dismissive grunt that I think is audible. A cast at

508
00:28:01,080 --> 00:28:04,040
Speaker 1: that large you have to think that like there has

509
00:28:04,080 --> 00:28:07,800
Speaker 1: to be like some pairing that doesn't work well when

510
00:28:07,800 --> 00:28:09,720
Speaker 1: there's a cast of over ten people, You're like, okay,

511
00:28:09,800 --> 00:28:12,240
Speaker 1: two of these people don't like each other, right, but

512
00:28:12,280 --> 00:28:16,040
Speaker 1: you just never know who like Lauren London and Delroy

513
00:28:16,119 --> 00:28:21,800
Speaker 1: Lindo hate each other there. Well, I feel like Delroy

514
00:28:21,920 --> 00:28:24,919
Speaker 1: Lindo still sends everyone Christmas cards. He just seems like

515
00:28:24,960 --> 00:28:28,080
Speaker 1: he would. Oh he seems like a you know, as

516
00:28:28,119 --> 00:28:32,520
Speaker 1: you're like, they come visit me, man, Please visit me anytime,

517
00:28:32,800 --> 00:28:39,960
Speaker 1: Please come visit me. Remember that movie from thirteen years ago? Yeah,

518
00:28:40,720 --> 00:28:42,120
Speaker 1: I was just I was just telling you. I was

519
00:28:42,120 --> 00:28:43,440
Speaker 1: just calling you have to tell you how much I

520
00:28:43,480 --> 00:28:47,280
Speaker 1: like the Five Bloods. Yeah. Remember this Christmas Man? You

521
00:28:47,280 --> 00:28:49,800
Speaker 1: said we were going to hang out after that. I

522
00:28:49,840 --> 00:28:53,000
Speaker 1: know you're busy. No, it's fine, it's fine, it's fine,

523
00:28:53,000 --> 00:28:54,160
Speaker 1: it's fine, And you don't want to hang out with

524
00:28:54,160 --> 00:28:58,960
Speaker 1: an old guy like me. You know, I was in Congo.

525
00:28:59,240 --> 00:29:02,640
Speaker 1: He played a very weird like everything, like like central

526
00:29:02,680 --> 00:29:07,880
Speaker 1: African general in it. Anyway, I digress. Yeah, let's return

527
00:29:07,960 --> 00:29:13,280
Speaker 1: to the Actually, let's take a quick break first and

528
00:29:13,320 --> 00:29:22,480
Speaker 1: then we will come right back. Um. So next to

529
00:29:22,560 --> 00:29:27,120
Speaker 1: come home as Claude. That's Columbus Short. He's in the military.

530
00:29:27,960 --> 00:29:30,000
Speaker 1: I think that's really all we learned about him for

531
00:29:30,040 --> 00:29:34,520
Speaker 1: a while. Then Mel that's Lauren London, comes home. She's

532
00:29:34,560 --> 00:29:38,040
Speaker 1: in college studying pre law. She brings home her boyfriend Devon.

533
00:29:38,720 --> 00:29:42,640
Speaker 1: And then last to arrive is Quentin Idris Elba's character.

534
00:29:42,800 --> 00:29:46,959
Speaker 1: He's a jazz musician who we've seen get into like

535
00:29:47,040 --> 00:29:52,120
Speaker 1: a brawl prior to this birth breakaway glass in the

536
00:29:52,160 --> 00:29:55,600
Speaker 1: first scene, like he smashes a bottle over someone's face

537
00:29:56,240 --> 00:30:00,960
Speaker 1: and then jumps up window. You're like, oh, this mcavity.

538
00:30:02,080 --> 00:30:05,160
Speaker 1: I remember I was watching with her Majesty, and we

539
00:30:05,360 --> 00:30:07,800
Speaker 1: paused it after that because we're like, is this a

540
00:30:07,960 --> 00:30:10,720
Speaker 1: Christmas movie? He just glassed the guy in a club

541
00:30:11,400 --> 00:30:14,360
Speaker 1: and ran for his life, like it had the didn't

542
00:30:14,520 --> 00:30:17,760
Speaker 1: I mean, I guess the jazzy Christmas piano would give

543
00:30:17,800 --> 00:30:20,480
Speaker 1: you a hint, but like it had the oddest energy

544
00:30:20,560 --> 00:30:23,400
Speaker 1: for the opening for Christmas pilem. It was such a

545
00:30:23,600 --> 00:30:27,280
Speaker 1: weird that being the first scene really does not set

546
00:30:27,360 --> 00:30:31,040
Speaker 1: you up for it establishes the tone that does not

547
00:30:31,800 --> 00:30:35,760
Speaker 1: maintain itself throughout the kind of you don't know, what

548
00:30:35,840 --> 00:30:38,840
Speaker 1: would you say, doctor Durante about the writing there, or

549
00:30:38,960 --> 00:30:41,880
Speaker 1: what would Robert McKee say as such heavy handed ex

550
00:30:42,000 --> 00:30:48,720
Speaker 1: please call me Master Durante, And I would say that

551
00:30:49,560 --> 00:30:51,960
Speaker 1: the point of attack of a film, which is like

552
00:30:52,080 --> 00:30:55,120
Speaker 1: basically the opening, what how we opened the story? How

553
00:30:55,760 --> 00:30:58,240
Speaker 1: the world and the characters are first introduced to the

554
00:30:58,360 --> 00:31:01,200
Speaker 1: audience generally does a few important things, and one of

555
00:31:01,240 --> 00:31:04,960
Speaker 1: those things is to establish tone. And would you establish

556
00:31:05,000 --> 00:31:09,000
Speaker 1: a tone that then is deviated from for the rest

557
00:31:09,040 --> 00:31:12,120
Speaker 1: of the story. It's a bit jarring. But what if

558
00:31:12,240 --> 00:31:14,760
Speaker 1: Mo and Dude come back every once in a while

559
00:31:15,040 --> 00:31:18,760
Speaker 1: and say, hey, remember us punch? Punch? Is that nice?

560
00:31:19,200 --> 00:31:22,000
Speaker 1: Is that word that provides a little bit more fluidity

561
00:31:22,280 --> 00:31:26,719
Speaker 1: and consistency? However, it is I will say, a strange

562
00:31:26,800 --> 00:31:29,240
Speaker 1: choice as a way to open the film I'm glad

563
00:31:29,280 --> 00:31:32,200
Speaker 1: to know that was verified by someone with a master's degree.

564
00:31:32,480 --> 00:31:36,800
Speaker 1: You're welcome. Um okay. So now the whole family is there.

565
00:31:37,400 --> 00:31:39,800
Speaker 1: So this is like the first evening they're all there together,

566
00:31:39,960 --> 00:31:43,600
Speaker 1: and this is where the drama really starts to ramp up. Um.

567
00:31:44,240 --> 00:31:47,280
Speaker 1: Part of it is that Kelly has a strained relationship

568
00:31:47,520 --> 00:31:51,440
Speaker 1: with Lisa. She thinks that Lisa is weak willed and

569
00:31:51,560 --> 00:31:56,880
Speaker 1: easily influenced and is too accommodating to her shitty husband, Malcolm,

570
00:31:57,080 --> 00:32:00,560
Speaker 1: who Kelly openly hates. And that's one of my favorite

571
00:32:00,600 --> 00:32:03,480
Speaker 1: aspects of this movie is how open, openly hateful she

572
00:32:03,760 --> 00:32:08,680
Speaker 1: is to Malcolm, right to his face. So meanwhile, Lisa

573
00:32:08,800 --> 00:32:12,560
Speaker 1: wants to sell Madear's dry cleaning business, and this is

574
00:32:12,600 --> 00:32:15,400
Speaker 1: an idea that we realized that Malcolm put her up to.

575
00:32:16,080 --> 00:32:19,000
Speaker 1: No one else is really on board for this idea,

576
00:32:19,320 --> 00:32:21,000
Speaker 1: but this is kind of like a running thing throughout

577
00:32:21,000 --> 00:32:25,440
Speaker 1: the movie. Um Quentin hasn't seen his family in four years,

578
00:32:25,680 --> 00:32:29,000
Speaker 1: and probably the main reason that he came home this

579
00:32:29,160 --> 00:32:31,920
Speaker 1: time was that he is on the run from these

580
00:32:32,000 --> 00:32:35,040
Speaker 1: bookies who he owes twenty five dollars too, and so

581
00:32:35,200 --> 00:32:38,280
Speaker 1: he's like in hiding at his mom's house and the

582
00:32:38,400 --> 00:32:41,800
Speaker 1: reason he's estranged from his family is one of my

583
00:32:42,000 --> 00:32:46,480
Speaker 1: favorite bizarre specifics about this movie, which is that because

584
00:32:47,120 --> 00:32:51,280
Speaker 1: Quentin Senr ditched the family to go be a musician,

585
00:32:51,760 --> 00:32:54,400
Speaker 1: Madear feels that there is a bit of of a

586
00:32:54,720 --> 00:32:58,880
Speaker 1: music musician related curse on her life that if any

587
00:32:58,920 --> 00:33:01,840
Speaker 1: of the men in her life even go go with him,

588
00:33:02,000 --> 00:33:06,000
Speaker 1: I think canonically, within like six ft of a piano,

589
00:33:06,680 --> 00:33:10,400
Speaker 1: um that they will abandon her. And um. So she's

590
00:33:10,400 --> 00:33:12,960
Speaker 1: so it's it's almost she's like a little bit of

591
00:33:13,240 --> 00:33:16,360
Speaker 1: like foot loose when it comes to women playing music.

592
00:33:16,920 --> 00:33:20,160
Speaker 1: It's like, this is the movie Coco. I was like,

593
00:33:20,280 --> 00:33:26,360
Speaker 1: did Cocoa see this Christmas and lift that very Cocoa

594
00:33:26,480 --> 00:33:31,720
Speaker 1: famously wrote the movie Cocos. But I was watching this,

595
00:33:31,800 --> 00:33:34,280
Speaker 1: I was like, wait a minute, Miguel from Coco, this

596
00:33:34,480 --> 00:33:38,120
Speaker 1: is like his whole problem. His his like a matriarch

597
00:33:38,240 --> 00:33:41,760
Speaker 1: and his family was abandoned by a musician. And she

598
00:33:41,920 --> 00:33:44,280
Speaker 1: thinks that there's like this now, this music curse on

599
00:33:44,400 --> 00:33:47,160
Speaker 1: the family. So she forbids anyone in the family from

600
00:33:47,240 --> 00:33:50,480
Speaker 1: like playing music or singing or doing anything. And I

601
00:33:50,600 --> 00:33:54,720
Speaker 1: was like, wait a minute, there's there's a parallel here anyway,

602
00:33:56,480 --> 00:34:01,000
Speaker 1: it truly is. And then so Quentin has a strained

603
00:34:01,040 --> 00:34:04,080
Speaker 1: relationship and part of it is is what we just described,

604
00:34:04,320 --> 00:34:08,560
Speaker 1: this um kind of music related curse that Madear perceives

605
00:34:08,640 --> 00:34:11,759
Speaker 1: to be on the family because like Quentin has kind

606
00:34:11,800 --> 00:34:16,480
Speaker 1: of followed in his father's footsteps as a musician. Um. Okay,

607
00:34:16,560 --> 00:34:19,520
Speaker 1: So then everyone goes to a club that night. I

608
00:34:19,560 --> 00:34:22,600
Speaker 1: think we're two nights before Christmas at this point. Um,

609
00:34:22,719 --> 00:34:26,319
Speaker 1: and a lot of stuff goes down at this club. Um,

610
00:34:26,440 --> 00:34:30,120
Speaker 1: it starts, all goes down. It starts with Claude wanting

611
00:34:30,160 --> 00:34:33,600
Speaker 1: to go there to meet someone in secret, and we

612
00:34:34,000 --> 00:34:38,120
Speaker 1: realize that this person is a girlfriend or it turns

613
00:34:38,120 --> 00:34:42,399
Speaker 1: out that she's his wife and he's kind of keeping

614
00:34:42,480 --> 00:34:46,920
Speaker 1: her a secret with an eye and the implication is

615
00:34:47,000 --> 00:34:49,760
Speaker 1: that he's keeping her a secret from his family because

616
00:34:49,840 --> 00:34:54,360
Speaker 1: she is white. But all his siblings tag along to

617
00:34:55,000 --> 00:34:58,919
Speaker 1: this club outing, so he still has to like hush,

618
00:34:59,239 --> 00:35:02,080
Speaker 1: like he's like, oh home, Sandy, go back to the

619
00:35:02,160 --> 00:35:05,000
Speaker 1: hotel and by home. Yeah, it takes a I feel

620
00:35:05,040 --> 00:35:08,440
Speaker 1: like was I not watching carefully enough or does it

621
00:35:08,520 --> 00:35:10,759
Speaker 1: take a really long time to figure out what their

622
00:35:10,840 --> 00:35:14,839
Speaker 1: relationship actually is, because at first it's like it took

623
00:35:14,880 --> 00:35:17,400
Speaker 1: me a while to figure out that she was his wife,

624
00:35:18,280 --> 00:35:21,120
Speaker 1: and then and then also he's like making her live

625
00:35:21,200 --> 00:35:24,000
Speaker 1: in a hotel. Like it just took me a long

626
00:35:24,080 --> 00:35:27,799
Speaker 1: time to figure out what exactly the situation was there,

627
00:35:28,480 --> 00:35:31,879
Speaker 1: and that whole storyline is so fucking bizarre. I wasn't

628
00:35:31,960 --> 00:35:34,600
Speaker 1: sure what I was like. At first, I was like, oh,

629
00:35:34,880 --> 00:35:37,320
Speaker 1: is he like, is he has like a lover? That

630
00:35:37,800 --> 00:35:39,680
Speaker 1: clearly I was like, there's a lover. And then I

631
00:35:39,800 --> 00:35:42,439
Speaker 1: forgot that it was a white woman, and I was like, oh, ship, okay,

632
00:35:42,480 --> 00:35:45,160
Speaker 1: does this have some like LGBTQ flavor? And then I

633
00:35:45,239 --> 00:35:47,799
Speaker 1: was like, all right, this is a black Christmas film,

634
00:35:47,880 --> 00:35:52,040
Speaker 1: so we're gonna go into she is white, a white woman.

635
00:35:52,680 --> 00:35:54,919
Speaker 1: He's meeting up at the club, and I honestly thought

636
00:35:55,000 --> 00:35:57,320
Speaker 1: it was it felt like groupie ish or something like

637
00:35:57,520 --> 00:35:59,920
Speaker 1: not a relationship because it's like, go to the hotel,

638
00:36:00,400 --> 00:36:02,840
Speaker 1: I will meet you. Yeah, it seems like a casual.

639
00:36:03,120 --> 00:36:06,200
Speaker 1: I was not getting white. I was like, oh, oh,

640
00:36:06,320 --> 00:36:09,279
Speaker 1: he's dating a white girl. But then it was like, no,

641
00:36:09,560 --> 00:36:11,680
Speaker 1: she's his wife and she's pregnant and she lives in

642
00:36:11,719 --> 00:36:17,600
Speaker 1: a hotel. You're like why here? What? Yeah, that whole

643
00:36:17,640 --> 00:36:20,560
Speaker 1: storyline was baffling to me. Also, shout out to the

644
00:36:20,719 --> 00:36:23,000
Speaker 1: l Ray Theater where that club is, because it's like

645
00:36:23,200 --> 00:36:26,719
Speaker 1: every fucking movie, like like in l a like, it's

646
00:36:26,760 --> 00:36:29,040
Speaker 1: always like it fucked up people's idea of what a

647
00:36:29,200 --> 00:36:31,600
Speaker 1: nightclub was, which is basically just being like we can

648
00:36:31,680 --> 00:36:33,719
Speaker 1: basically only shoot at the l Ray Theater. Like in

649
00:36:33,800 --> 00:36:36,960
Speaker 1: the Mask where he does like his like cocoa bongo thing.

650
00:36:37,040 --> 00:36:38,800
Speaker 1: I think it's the l Ray too. It's just a

651
00:36:39,440 --> 00:36:43,359
Speaker 1: iconic theater, which I in my mind was weird. That's

652
00:36:43,360 --> 00:36:46,240
Speaker 1: set up with like stages, like a stage and tables

653
00:36:46,440 --> 00:36:49,360
Speaker 1: is what I thought a nightclub was from like movies

654
00:36:49,400 --> 00:36:51,160
Speaker 1: in the nineties that were shooting at the l Ray

655
00:36:51,280 --> 00:36:53,080
Speaker 1: and then you went to one, You're like, oh no,

656
00:36:53,280 --> 00:36:55,520
Speaker 1: it's a it's a really just shitty big room with

657
00:36:55,920 --> 00:36:59,279
Speaker 1: couches in the corner. It stinks. Yeah, you can't you

658
00:36:59,360 --> 00:37:03,560
Speaker 1: can't smell a building on in a movie. Unfortunately, No,

659
00:37:04,840 --> 00:37:07,880
Speaker 1: that could change. But when I'm done in this industry,

660
00:37:08,080 --> 00:37:10,279
Speaker 1: that's all going to be a little different. There was

661
00:37:10,360 --> 00:37:13,160
Speaker 1: like a smell a vision thing in in theaters for

662
00:37:13,200 --> 00:37:15,799
Speaker 1: a while. It was wildly unsuccessful, but I learned about

663
00:37:15,800 --> 00:37:18,880
Speaker 1: it in film history class. Really. I remember in the

664
00:37:19,080 --> 00:37:22,560
Speaker 1: nineties Fox TV on Sundays they would have like these

665
00:37:22,600 --> 00:37:25,040
Speaker 1: events where you'd go to a seven eleven to pick

666
00:37:25,120 --> 00:37:27,320
Speaker 1: up like whatever thing you needed to enjoy it. Like

667
00:37:27,560 --> 00:37:29,759
Speaker 1: they would do like three like in Living Color in

668
00:37:29,920 --> 00:37:32,880
Speaker 1: three D and you would get like those blue and

669
00:37:32,960 --> 00:37:35,680
Speaker 1: red three D glasses and you would like they would

670
00:37:35,719 --> 00:37:38,200
Speaker 1: broadcast like the three D version on the TV. If

671
00:37:38,200 --> 00:37:40,880
Speaker 1: you didn't have them, you were shipped out. But then

672
00:37:40,920 --> 00:37:43,400
Speaker 1: they also did a Smell a Vision one where like

673
00:37:43,520 --> 00:37:46,279
Speaker 1: you bought a there's a scratch and sniff card and

674
00:37:46,400 --> 00:37:47,960
Speaker 1: like in an episode and be like, all right, now

675
00:37:48,080 --> 00:37:50,200
Speaker 1: smell that because Al Bundy did sort of like one

676
00:37:50,320 --> 00:37:53,840
Speaker 1: character on TV and it was Jankie Analog Smell a Vision,

677
00:37:54,320 --> 00:37:57,200
Speaker 1: Thank you seven eleven, and do that for Nickelodeon cartoons

678
00:37:57,239 --> 00:37:59,279
Speaker 1: at one point to like you had to like buy

679
00:37:59,320 --> 00:38:01,560
Speaker 1: an issue in nick Glodian magazine and then you could

680
00:38:01,640 --> 00:38:04,720
Speaker 1: like smell a SpongeBob episode and be like, wow, Patrick,

681
00:38:05,320 --> 00:38:10,239
Speaker 1: time to time to smell it and exciting damn it,

682
00:38:10,280 --> 00:38:12,839
Speaker 1: I already sniffed up all the smell off of this car.

683
00:38:13,120 --> 00:38:18,200
Speaker 1: Doesn't sound like anything anymore. Okay, so we're at the

684
00:38:18,280 --> 00:38:21,800
Speaker 1: club the siblings have tagged along. There's also an open

685
00:38:21,880 --> 00:38:24,960
Speaker 1: mic night that was I was like, oh my god,

686
00:38:25,080 --> 00:38:27,800
Speaker 1: just the idea of like an open mic being like

687
00:38:27,960 --> 00:38:30,520
Speaker 1: sprawled like some kind of show of with like full

688
00:38:30,560 --> 00:38:34,520
Speaker 1: of amateurs a Christmas imagine doing a Christmas Eve open mic.

689
00:38:34,719 --> 00:38:38,719
Speaker 1: I just I mean I could because I longed to

690
00:38:38,800 --> 00:38:40,719
Speaker 1: be in a room full of like other people, like

691
00:38:40,880 --> 00:38:44,320
Speaker 1: in strangers again. But yeah, that I think people have

692
00:38:44,480 --> 00:38:48,040
Speaker 1: experienced this, like going out where it's a surprise open

693
00:38:48,160 --> 00:38:50,120
Speaker 1: mic and you didn't know you were at a thing

694
00:38:50,160 --> 00:38:51,640
Speaker 1: that was about to turn into an open mic, and

695
00:38:51,680 --> 00:38:55,200
Speaker 1: you're like, fuck no, I seriously don't want to be

696
00:38:55,320 --> 00:38:57,960
Speaker 1: here for this. Well, we've been on the other side

697
00:38:58,000 --> 00:39:01,880
Speaker 1: of that hundreds of times as comics who will be

698
00:39:02,160 --> 00:39:04,719
Speaker 1: on a bar show that no one else at the

699
00:39:04,760 --> 00:39:07,320
Speaker 1: bar knows a comedy show is about to happen, and

700
00:39:07,360 --> 00:39:10,000
Speaker 1: then suddenly someone walks up to a microphone. They're like

701
00:39:10,080 --> 00:39:12,240
Speaker 1: com when he starts in five minutes, and then everyone

702
00:39:12,320 --> 00:39:15,040
Speaker 1: at the bar is like, I don't care. I'm going

703
00:39:15,080 --> 00:39:20,800
Speaker 1: to keep talking at regular volume and I right with

704
00:39:21,280 --> 00:39:25,120
Speaker 1: the TVs are still on. It's a mess. Um. Yeah. Anyway,

705
00:39:25,200 --> 00:39:27,560
Speaker 1: So there's this open mic night and like the first

706
00:39:27,640 --> 00:39:32,920
Speaker 1: to perform is their brother baby, who sings a full song. Uh,

707
00:39:33,040 --> 00:39:34,600
Speaker 1: and they're like, oh my god, we didn't know he

708
00:39:34,719 --> 00:39:38,680
Speaker 1: was a singer and wow, he's so good, but he's

709
00:39:38,719 --> 00:39:41,240
Speaker 1: been keeping it a secret because of this music family

710
00:39:41,800 --> 00:39:46,040
Speaker 1: curse thing. Also at the club, this is when gerald

711
00:39:46,160 --> 00:39:50,240
Speaker 1: A K. McKay peiffer is making Google eyes at Kelly

712
00:39:50,800 --> 00:39:57,480
Speaker 1: and then she goes home with him. She doesn't he said.

713
00:39:59,480 --> 00:40:05,080
Speaker 1: He's saying to who can have fun? Could fuck? Oh Santa?

714
00:40:05,200 --> 00:40:08,800
Speaker 1: Fucks honey, blew my mind. And then there's like that

715
00:40:08,880 --> 00:40:11,520
Speaker 1: scene where Lauren London is like, did you fox Santa?

716
00:40:11,800 --> 00:40:17,719
Speaker 1: And then Kelly's like, yes, sure. And then also at

717
00:40:17,760 --> 00:40:21,719
Speaker 1: this club, a few guys were seen hitting on Clode's

718
00:40:22,560 --> 00:40:25,200
Speaker 1: lady friend. Again, we don't really know their relationship at

719
00:40:25,239 --> 00:40:28,520
Speaker 1: this point. Um, so he pulls a gun on them,

720
00:40:28,560 --> 00:40:31,719
Speaker 1: He pulls his surface pistol on them, and then later

721
00:40:31,840 --> 00:40:35,160
Speaker 1: on he gets arrested, and that's when everyone finds out

722
00:40:35,239 --> 00:40:38,080
Speaker 1: that he's a wall right, And that's also when they

723
00:40:38,160 --> 00:40:41,200
Speaker 1: find out that Sandy is his wife. For someone who

724
00:40:41,280 --> 00:40:44,040
Speaker 1: has no plot for the first hour, the stakes for

725
00:40:44,200 --> 00:40:48,640
Speaker 1: Claude go through the roof like really quickly, you shouldn't

726
00:40:48,640 --> 00:40:50,440
Speaker 1: have gone to that club, you know, he shouldn't have.

727
00:40:51,160 --> 00:40:53,680
Speaker 1: If he hadn't, we would know nothing about his character.

728
00:40:55,360 --> 00:40:57,120
Speaker 1: But also I think it's a lesson, right, you know,

729
00:40:57,239 --> 00:41:01,000
Speaker 1: if had he just alleviated the stress of deceiving his

730
00:41:01,120 --> 00:41:03,880
Speaker 1: family and keeping his relationship hidden, he may not have

731
00:41:04,000 --> 00:41:06,160
Speaker 1: pulled it the strap out at the club on the guy,

732
00:41:06,360 --> 00:41:08,080
Speaker 1: you know, because his family wouldn't know, like, oh, here

733
00:41:08,160 --> 00:41:10,520
Speaker 1: was s meet up saying, oh what's up saying, but

734
00:41:10,600 --> 00:41:12,200
Speaker 1: instead he's like, you get the fuk away from me.

735
00:41:12,640 --> 00:41:16,040
Speaker 1: We tried, and he's already just like talking to and

736
00:41:16,080 --> 00:41:18,000
Speaker 1: now my brothers is doing this thing. He's singing. My

737
00:41:18,080 --> 00:41:19,880
Speaker 1: mom thinks it's a curse. I think he had a

738
00:41:19,960 --> 00:41:22,040
Speaker 1: lot going on. And then when those two dudes are like,

739
00:41:22,080 --> 00:41:24,120
Speaker 1: hey man, no hard fearing bro, you know because the

740
00:41:24,200 --> 00:41:26,600
Speaker 1: white girls they got booty, but they got the strong

741
00:41:26,719 --> 00:41:28,839
Speaker 1: knees or whatever the funk that line was that set

742
00:41:28,920 --> 00:41:34,360
Speaker 1: him off, Like okay, oh toxicity all around that. Like

743
00:41:34,600 --> 00:41:37,000
Speaker 1: then it was just like now, fucking dick, this gun

744
00:41:37,160 --> 00:41:40,680
Speaker 1: motherfucker's like, whoa this has big dude? Who is keeping

745
00:41:40,800 --> 00:41:44,400
Speaker 1: secrets energy? Who should have just just been communicative and

746
00:41:44,480 --> 00:41:45,959
Speaker 1: forth threat I feel like a lot of stress would

747
00:41:45,960 --> 00:41:49,480
Speaker 1: have been tamped down. And then Eatsala was like, you've

748
00:41:49,520 --> 00:41:52,520
Speaker 1: always had this temper and it's like, what has he

749
00:41:52,719 --> 00:41:54,960
Speaker 1: We haven't seen that, Like that should have been set up.

750
00:41:55,040 --> 00:41:57,800
Speaker 1: He was so nice for the like he did not

751
00:41:58,120 --> 00:42:01,120
Speaker 1: drink real pleasant and then said he's like pulling a

752
00:42:01,200 --> 00:42:03,319
Speaker 1: gun on people, and we're like, where is this coming from? Well,

753
00:42:03,360 --> 00:42:04,960
Speaker 1: that's what it shows you. That's what happens when you're

754
00:42:05,000 --> 00:42:07,440
Speaker 1: with a white woman. I think that's what that was

755
00:42:07,520 --> 00:42:09,600
Speaker 1: being told to everybody else. And see they'll be like, see,

756
00:42:09,920 --> 00:42:13,080
Speaker 1: see that's like that's like our cousin Randy. He's like

757
00:42:13,200 --> 00:42:16,440
Speaker 1: that it's nothing, but it's Sandy and Sandy. It's so

758
00:42:16,520 --> 00:42:19,640
Speaker 1: weird because he because later when Sandy shows up at

759
00:42:19,719 --> 00:42:23,560
Speaker 1: the house, like there's a moment of discomfort, but then

760
00:42:23,600 --> 00:42:26,520
Speaker 1: she's pretty much immediately accepted for the rest of the

761
00:42:26,600 --> 00:42:30,719
Speaker 1: movie and worried about basically nothing. Yeah, it was a

762
00:42:30,800 --> 00:42:33,480
Speaker 1: weird thing where it's like my family could be, you know,

763
00:42:33,719 --> 00:42:36,359
Speaker 1: really closed off to this ship and like those were

764
00:42:36,480 --> 00:42:38,880
Speaker 1: the steaks and like you kind of but it was

765
00:42:38,960 --> 00:42:42,520
Speaker 1: in that time, like in the two thousand seven mindset,

766
00:42:42,760 --> 00:42:44,720
Speaker 1: especially for me, is like a you know, a personal

767
00:42:44,760 --> 00:42:46,840
Speaker 1: color who dates like white women and all kinds just

768
00:42:47,000 --> 00:42:52,279
Speaker 1: anybody really don't discriminate romantically. But like that idea was like,

769
00:42:52,320 --> 00:42:55,360
Speaker 1: oh ship, she's white, Like you're like back then, you're like,

770
00:42:55,680 --> 00:43:00,200
Speaker 1: oh oh, you know, like it felt their worst because

771
00:43:00,200 --> 00:43:02,239
Speaker 1: I think now we're in a bit of a we're

772
00:43:02,280 --> 00:43:04,800
Speaker 1: more openly talking about things like that, where this was

773
00:43:04,960 --> 00:43:08,400
Speaker 1: very much being like it's taboo and like that was

774
00:43:08,480 --> 00:43:10,800
Speaker 1: really like the thing driving it, whereas now we're like,

775
00:43:11,040 --> 00:43:14,520
Speaker 1: I mean, biracial relationships have been going on since well

776
00:43:14,640 --> 00:43:16,600
Speaker 1: before this film, but it was still kind of like

777
00:43:16,640 --> 00:43:18,520
Speaker 1: one of these things. I felt a little like old

778
00:43:18,600 --> 00:43:21,880
Speaker 1: school cultural trope that doesn't it's not work in the

779
00:43:22,000 --> 00:43:24,240
Speaker 1: same way. But even then in the end, the family

780
00:43:24,360 --> 00:43:26,000
Speaker 1: was doing the thing that was pretty much what most

781
00:43:26,040 --> 00:43:28,600
Speaker 1: people are. I'm like, oh cool, Okay, you're in our

782
00:43:28,680 --> 00:43:31,120
Speaker 1: family and you're gonna you're also the mother of one

783
00:43:31,200 --> 00:43:35,120
Speaker 1: of my descendants. Now great. But then there's a weird

784
00:43:35,120 --> 00:43:37,360
Speaker 1: component where you part of it where you learn that

785
00:43:38,280 --> 00:43:43,480
Speaker 1: her family doesn't know about her Gregnancy because she's like,

786
00:43:43,680 --> 00:43:47,120
Speaker 1: oh yeah, they're not fans of Claude because he's black.

787
00:43:47,280 --> 00:43:50,200
Speaker 1: So she comes from this like wildly racist family. So

788
00:43:50,360 --> 00:43:57,360
Speaker 1: it's like again, so they attached these like really significant

789
00:43:57,600 --> 00:43:59,520
Speaker 1: steaks that it's like you can't just say that and

790
00:43:59,640 --> 00:44:02,879
Speaker 1: then not explore it at all, Like, oh you can't

791
00:44:02,920 --> 00:44:04,480
Speaker 1: because you can't. I'll tell you why because it's the

792
00:44:04,480 --> 00:44:06,520
Speaker 1: black holiday film and all you needed is that moment

793
00:44:06,560 --> 00:44:08,399
Speaker 1: where you go, yeah, I told you white people ain't ship.

794
00:44:09,760 --> 00:44:11,560
Speaker 1: That's really what it did. And she's like, you see

795
00:44:11,640 --> 00:44:14,560
Speaker 1: because they embraced her me while her ain't ship family

796
00:44:14,680 --> 00:44:17,239
Speaker 1: was like we're racist as funk. You know. I think

797
00:44:17,280 --> 00:44:19,520
Speaker 1: that was like that gives because every holiday film, no

798
00:44:19,680 --> 00:44:21,839
Speaker 1: matter what, like whether it's the length, like the lens

799
00:44:21,880 --> 00:44:24,040
Speaker 1: of like an orphan or someone like, you need that

800
00:44:24,200 --> 00:44:26,200
Speaker 1: moment of like yeah, we're a good guy, like you

801
00:44:26,320 --> 00:44:28,719
Speaker 1: see that felt good right there. So I felt that

802
00:44:28,840 --> 00:44:31,040
Speaker 1: was that moment. And also for me, I remember I

803
00:44:31,160 --> 00:44:33,520
Speaker 1: just when it happened, I sort of reverted to this

804
00:44:33,680 --> 00:44:36,000
Speaker 1: like thing of like, yeah, see exactly, that's how just

805
00:44:36,080 --> 00:44:38,319
Speaker 1: how should be sometimes I think for me too, because

806
00:44:38,320 --> 00:44:41,120
Speaker 1: I've dated white women where like when I was younger,

807
00:44:41,680 --> 00:44:45,520
Speaker 1: it was like, oh, like you know, I don't really

808
00:44:45,560 --> 00:44:48,360
Speaker 1: want to like post anything on like foot Facebook or

809
00:44:48,680 --> 00:44:50,200
Speaker 1: some ship like that and I was like well, and

810
00:44:50,200 --> 00:44:51,920
Speaker 1: I was like, okay, yeah, I just I get it.

811
00:44:53,600 --> 00:44:55,560
Speaker 1: I'm you're just getting off to me. You're just getting

812
00:44:55,600 --> 00:45:00,280
Speaker 1: off to my physical presence. M yeah fuck I anyway,

813
00:45:00,320 --> 00:45:03,759
Speaker 1: but let's not digress because they embraced Sandy and that's

814
00:45:03,800 --> 00:45:06,680
Speaker 1: what this is all about. They do. Christmas is all

815
00:45:06,719 --> 00:45:09,920
Speaker 1: about opening your arms and your hearts and your homes

816
00:45:10,400 --> 00:45:13,759
Speaker 1: to everyone. Mo and Dude, Oh, I'm sorry, let me

817
00:45:13,800 --> 00:45:16,920
Speaker 1: I'll let you keep well. Speaking of them, this is

818
00:45:17,000 --> 00:45:20,000
Speaker 1: also around the time that those two bookies Mo and

819
00:45:20,200 --> 00:45:23,760
Speaker 1: Dude show up. Yeah, beat the ship out of Quinton

820
00:45:23,920 --> 00:45:26,839
Speaker 1: for a while, and then they stick around and even

821
00:45:27,239 --> 00:45:31,239
Speaker 1: almost stay the night. There's a very weird dynamic there.

822
00:45:31,320 --> 00:45:35,120
Speaker 1: But basically they will punch Quentin when no one's looking,

823
00:45:35,280 --> 00:45:37,840
Speaker 1: but the rest of the time their masquerading is Quentin's

824
00:45:37,880 --> 00:45:40,880
Speaker 1: friends and everyone buys it. It always feels like a

825
00:45:40,960 --> 00:45:44,839
Speaker 1: home Aloney, Like it's like the tone is like they're

826
00:45:44,880 --> 00:45:47,600
Speaker 1: just kind of the Robbers, where they're like, yeah, we're friendly,

827
00:45:47,760 --> 00:45:50,920
Speaker 1: but we're gonna keeck yes. If you don't get the

828
00:45:51,000 --> 00:45:57,399
Speaker 1: good pal here right, Quinn gut punches. There's just such

829
00:45:57,440 --> 00:46:00,720
Speaker 1: a weird they weren't even flying like the tropes of goons,

830
00:46:01,000 --> 00:46:03,520
Speaker 1: like who are just like stupid guys who were just

831
00:46:03,560 --> 00:46:06,400
Speaker 1: going to be like the threat of violence that exists

832
00:46:06,400 --> 00:46:10,160
Speaker 1: in the background, Like they suddenly became like these goofball

833
00:46:10,480 --> 00:46:13,120
Speaker 1: dudes who are also being like, let's also funk with

834
00:46:13,320 --> 00:46:17,680
Speaker 1: him by like pretending we're friends and also like offer

835
00:46:17,800 --> 00:46:20,560
Speaker 1: them a ride to the police station to get their

836
00:46:20,719 --> 00:46:23,080
Speaker 1: brother out of jail. Like I was like, wait, are

837
00:46:23,120 --> 00:46:28,400
Speaker 1: you in now? It was really confusing what they're like.

838
00:46:28,560 --> 00:46:31,799
Speaker 1: We know what their endgame is, but the way they

839
00:46:31,880 --> 00:46:34,160
Speaker 1: were trying to get there really made no sense. I

840
00:46:34,239 --> 00:46:36,399
Speaker 1: was like, are they just lonely? Do they just want

841
00:46:36,440 --> 00:46:39,120
Speaker 1: to like spend time with somebody? Can we just sort

842
00:46:39,160 --> 00:46:43,560
Speaker 1: of break out the financial aspects of them seeking restitution?

843
00:46:43,760 --> 00:46:47,760
Speaker 1: Because where where was Quentin coming from? New York? San Francisco, Chicago?

844
00:46:48,640 --> 00:46:51,120
Speaker 1: And they showed the Golden Gate Bridge that's to show

845
00:46:51,320 --> 00:46:54,399
Speaker 1: where Lisa's from. Lisa and her husband and her family

846
00:46:54,480 --> 00:46:57,600
Speaker 1: live in San Francisco. I think I think maybe Chicago

847
00:46:57,960 --> 00:47:01,399
Speaker 1: is where, So it was definitely clear him not it wasn't.

848
00:47:01,520 --> 00:47:04,160
Speaker 1: It wasn't a quick jaunt away, so I'm thinking, Okay,

849
00:47:04,239 --> 00:47:06,839
Speaker 1: so what are their travel expenses? Okay, well, how are

850
00:47:06,880 --> 00:47:09,279
Speaker 1: we eating into this twenty dollars or trying to get

851
00:47:09,280 --> 00:47:13,919
Speaker 1: back you know, gas lodging food. I'm thinking you're there's

852
00:47:13,960 --> 00:47:16,759
Speaker 1: like there's probably what i'll call it three grand. Now

853
00:47:16,800 --> 00:47:19,440
Speaker 1: you're looking at twenty two? Um, and who's that? Ohd too?

854
00:47:19,760 --> 00:47:22,279
Speaker 1: Is that specifically you guys? Are you splitting that twenty two?

855
00:47:22,640 --> 00:47:24,960
Speaker 1: I started getting into goon math when I was watching it.

856
00:47:25,480 --> 00:47:28,360
Speaker 1: They got to keep those south clean, yeah, exactly, And like,

857
00:47:28,440 --> 00:47:31,040
Speaker 1: are you keeping receipts or expenses for your goon boss?

858
00:47:31,160 --> 00:47:33,080
Speaker 1: I don't know, Yeah, yeah, because they do have a

859
00:47:33,120 --> 00:47:35,920
Speaker 1: goon boss. I forget that his name, but they mentioned

860
00:47:35,960 --> 00:47:38,440
Speaker 1: the goon boss that they're like collecting the money on

861
00:47:38,600 --> 00:47:45,839
Speaker 1: behalf of Big Goon in the Sky. Oh gosh, okay Um.

862
00:47:46,280 --> 00:47:49,920
Speaker 1: Then I am a little lost on the timeline here.

863
00:47:49,920 --> 00:47:51,840
Speaker 1: I think it's maybe later that night or maybe the

864
00:47:51,920 --> 00:47:54,000
Speaker 1: next day, not sure, but basically there's now a big

865
00:47:54,080 --> 00:47:57,320
Speaker 1: there's a big fight in the rain between Kelly and Lisa.

866
00:47:57,360 --> 00:48:00,600
Speaker 1: They're pushing each other. Kelly's like, you're her husband's a

867
00:48:00,600 --> 00:48:03,000
Speaker 1: piece of ship and you're you're a pushover and he's

868
00:48:03,080 --> 00:48:07,160
Speaker 1: cheating on you. And at Lesa's like, wait a minute,

869
00:48:07,239 --> 00:48:10,160
Speaker 1: maybe she's right, and then she goes and destroys his

870
00:48:10,560 --> 00:48:15,439
Speaker 1: aforementioned Cadillac escalade drives it into the l A River. Yes,

871
00:48:16,200 --> 00:48:19,200
Speaker 1: big moment for the l A River right, which is

872
00:48:19,600 --> 00:48:21,320
Speaker 1: for anyone who is not familiar with the l A

873
00:48:21,480 --> 00:48:24,960
Speaker 1: River is mostly concrete with a tiny little stream of water,

874
00:48:25,640 --> 00:48:28,000
Speaker 1: which is even weirder because it's a concrete stream and

875
00:48:28,080 --> 00:48:32,239
Speaker 1: then a cutout concrete stream inside of it. Like when

876
00:48:32,280 --> 00:48:34,360
Speaker 1: you look at it's like, this looks like a sidewalking

877
00:48:34,440 --> 00:48:36,000
Speaker 1: Like where is the stream? It's like, Oh, it's that

878
00:48:36,080 --> 00:48:39,480
Speaker 1: other weird thing. That's the depression in this concrete block

879
00:48:39,560 --> 00:48:42,760
Speaker 1: we're standing on. That's the river, that little Pepe stream,

880
00:48:42,880 --> 00:48:52,400
Speaker 1: that river, that's our river. Um. So, then Baby finally

881
00:48:52,520 --> 00:48:55,839
Speaker 1: tells Madeir about wanting to be a singer. She does

882
00:48:55,880 --> 00:49:00,120
Speaker 1: not take it well. Meanwhile, Quentin leaves on Chris us

883
00:49:00,200 --> 00:49:02,800
Speaker 1: even night. The Bookies catch up with him at the

884
00:49:02,840 --> 00:49:05,160
Speaker 1: train station and beat the crap out of him, but

885
00:49:05,440 --> 00:49:09,319
Speaker 1: Joe swoops in to save the day. Then we cut

886
00:49:09,360 --> 00:49:14,479
Speaker 1: to Christmas morning. Lisa confronts Malcolm about being a piece

887
00:49:14,520 --> 00:49:18,080
Speaker 1: of shit and beats him with a belt like pours

888
00:49:18,160 --> 00:49:20,640
Speaker 1: baby oil over the floor to like humiliate him all

889
00:49:20,719 --> 00:49:26,799
Speaker 1: this stuff. That scene really like kept going on. Dude,

890
00:49:26,840 --> 00:49:29,840
Speaker 1: that s he was. I was like, this scene, but

891
00:49:29,960 --> 00:49:32,359
Speaker 1: you know you need that. That's the that's the like, yeah,

892
00:49:32,960 --> 00:49:34,840
Speaker 1: that's like the thing that see that hap people cheering

893
00:49:34,920 --> 00:49:40,040
Speaker 1: into thousands. I had a note of that too. I'm like,

894
00:49:40,080 --> 00:49:42,440
Speaker 1: I think that this scene is kind of longer for

895
00:49:42,760 --> 00:49:45,759
Speaker 1: for like the theatrical experience and like watching it in

896
00:49:45,840 --> 00:49:48,279
Speaker 1: a group, I think I'm guessing based on how we're

897
00:49:48,280 --> 00:49:50,520
Speaker 1: all talking about this, we all must have if we

898
00:49:50,560 --> 00:49:53,040
Speaker 1: were watching with someone I know. I turned to her managiny, like,

899
00:49:53,360 --> 00:49:56,120
Speaker 1: this is getting a little bit a lot now. This

900
00:49:56,320 --> 00:50:00,600
Speaker 1: is with the whipping of the black man in the bathroom, Okay, yeah,

901
00:50:01,280 --> 00:50:03,239
Speaker 1: but get yours though. I get it though, is you know,

902
00:50:03,560 --> 00:50:06,560
Speaker 1: in the logic of these films, cheater equals bad, So yeah,

903
00:50:06,560 --> 00:50:08,279
Speaker 1: I get your ass beat this is I mean, this

904
00:50:08,440 --> 00:50:12,360
Speaker 1: is I guess. Yeah. Like Regina King, she's so amazing

905
00:50:12,440 --> 00:50:14,600
Speaker 1: and she's so talented, and I feel like she's asked

906
00:50:14,680 --> 00:50:19,880
Speaker 1: to play a spurned wife too frequently. It's but she

907
00:50:20,040 --> 00:50:25,160
Speaker 1: does it well, right yeah. Um. And then immediately after

908
00:50:25,280 --> 00:50:27,920
Speaker 1: that is a scene of the whole family in church

909
00:50:28,719 --> 00:50:32,479
Speaker 1: where baby sings and then Madear is like, oh, wow,

910
00:50:32,640 --> 00:50:35,200
Speaker 1: he's really good. Maybe I should be okay with him

911
00:50:35,320 --> 00:50:38,200
Speaker 1: pursuing music, which she says all of this with her

912
00:50:38,280 --> 00:50:45,040
Speaker 1: facial expression, um like it truly is like, like you said,

913
00:50:45,239 --> 00:50:47,680
Speaker 1: it was so capulus, Like I get it because it

914
00:50:47,840 --> 00:50:52,560
Speaker 1: was so clear when you went and she's crying. She's like, Oh,

915
00:50:52,880 --> 00:50:56,120
Speaker 1: everything's gonna be okay. And then the family sits down

916
00:50:56,200 --> 00:50:59,240
Speaker 1: for Christmas dinner together. They have a nice toast about

917
00:50:59,320 --> 00:51:03,840
Speaker 1: no matter what, we are family. And that is the

918
00:51:03,960 --> 00:51:05,800
Speaker 1: end of the film. Let's take a quick break and

919
00:51:05,840 --> 00:51:13,400
Speaker 1: then we will come right back. Where do where does

920
00:51:14,040 --> 00:51:17,000
Speaker 1: whose storyline should? I mean, we've covered we've sort of

921
00:51:17,080 --> 00:51:21,439
Speaker 1: covered in some of it throughout the recay, But where

922
00:51:21,520 --> 00:51:24,239
Speaker 1: should we start maybe just kind of starting in a

923
00:51:24,400 --> 00:51:28,040
Speaker 1: in a sort of the general scope of things worth

924
00:51:28,719 --> 00:51:31,040
Speaker 1: discussing a little bit. And we've talked about this on

925
00:51:31,200 --> 00:51:34,400
Speaker 1: the many many Christmas episodes we have covered on the

926
00:51:34,440 --> 00:51:37,560
Speaker 1: show in the past, that this is a particularly white genre.

927
00:51:38,000 --> 00:51:43,040
Speaker 1: Usually the cast will be entirely white, or that any

928
00:51:43,120 --> 00:51:48,040
Speaker 1: characters of color will have only very tertiary role kind

929
00:51:48,080 --> 00:51:50,680
Speaker 1: of things. So for this to be one of the

930
00:51:50,800 --> 00:51:56,040
Speaker 1: few mainstream films that features a black family worth noting,

931
00:51:56,200 --> 00:52:00,680
Speaker 1: doesn't happen much, doesn't happen often, but it's still puffing

932
00:52:00,760 --> 00:52:04,160
Speaker 1: that same old tropium of these Christmas films of like

933
00:52:04,360 --> 00:52:09,719
Speaker 1: gender normative bullshit and like all this like Judeo Christian

934
00:52:09,960 --> 00:52:12,919
Speaker 1: whatever the funk it is stuff, which is funny because

935
00:52:12,920 --> 00:52:14,840
Speaker 1: it's always like to say, it's like it's still the

936
00:52:14,960 --> 00:52:17,600
Speaker 1: same kind of flavor, you know what I mean, But yeah,

937
00:52:17,640 --> 00:52:20,000
Speaker 1: it's But it's funny because there are moments where, like

938
00:52:20,160 --> 00:52:22,480
Speaker 1: I've definitely looked at it differently as a black person

939
00:52:22,880 --> 00:52:26,200
Speaker 1: that other people just see like certain moments differently. But

940
00:52:26,280 --> 00:52:28,000
Speaker 1: I think those are the moments that you're like, oh,

941
00:52:28,239 --> 00:52:30,560
Speaker 1: thank you a movie that was kind of made for

942
00:52:30,960 --> 00:52:33,800
Speaker 1: me as an audience member, pointing to things that I

943
00:52:33,920 --> 00:52:37,000
Speaker 1: are significant to me or maybe seem insignificant to other people.

944
00:52:37,080 --> 00:52:39,480
Speaker 1: But yeah, right, but like you said, they're like, well,

945
00:52:39,520 --> 00:52:41,440
Speaker 1: it's a Christmas movie, so we still have to make

946
00:52:41,520 --> 00:52:46,719
Speaker 1: it palatable to audiences and really maintain a lot of

947
00:52:47,120 --> 00:52:51,640
Speaker 1: tropes and holiday movie troops specifically, and like, yeah, so

948
00:52:52,239 --> 00:52:56,000
Speaker 1: it's kind of it's in this strange place that also

949
00:52:56,080 --> 00:53:00,920
Speaker 1: feels very two thousand seven. Yeah, yeah, extremely it's and

950
00:53:01,040 --> 00:53:03,080
Speaker 1: then then as as far as that, I mean, there's

951
00:53:03,239 --> 00:53:07,600
Speaker 1: so many characters too to talk about, but I think, Myles,

952
00:53:07,600 --> 00:53:10,120
Speaker 1: you're totally right where it's like, it's amazing that there's

953
00:53:10,360 --> 00:53:15,440
Speaker 1: like a widely released black Christmas movie, but then within it,

954
00:53:15,520 --> 00:53:19,000
Speaker 1: it's all those Christmas tropes that are in. Like it's

955
00:53:19,160 --> 00:53:22,360
Speaker 1: everyone is the most hetero person who has ever lived,

956
00:53:22,880 --> 00:53:28,840
Speaker 1: and they need to be married yesterday, like that Christmas like,

957
00:53:29,360 --> 00:53:32,040
Speaker 1: which I feel like is such a common like I

958
00:53:32,120 --> 00:53:35,080
Speaker 1: mean that's every Christmas movie. It's like, why aren't you married?

959
00:53:35,160 --> 00:53:37,359
Speaker 1: Why don't you marry? Hey? Look at that guy? Why

960
00:53:37,440 --> 00:53:40,239
Speaker 1: don't you marry him? And then she goes okay, and

961
00:53:40,480 --> 00:53:43,919
Speaker 1: that's where's the Christmas movie where like everyone just gets

962
00:53:44,160 --> 00:53:47,920
Speaker 1: fucked up drunk? Because that's more real to me than

963
00:53:47,960 --> 00:53:51,080
Speaker 1: anything that's my Christmas. Yeah, Like I just remember going

964
00:53:51,120 --> 00:53:53,239
Speaker 1: to other people's Christmas and I'm like, Yo, this is

965
00:53:53,360 --> 00:53:56,600
Speaker 1: fucking dope. You guys just get fucking turned up and

966
00:53:56,760 --> 00:53:58,919
Speaker 1: like that's what you do for Christmas? And he's like yeah,

967
00:53:58,920 --> 00:54:00,399
Speaker 1: I don't know, Like we don't really go to church

968
00:54:00,520 --> 00:54:02,880
Speaker 1: or anything. We get together, it's cold and drink. I'm like,

969
00:54:03,160 --> 00:54:05,239
Speaker 1: where is that movie? Like that even feels more real

970
00:54:05,320 --> 00:54:07,960
Speaker 1: than sort of like it's it's like almost portraying the

971
00:54:08,120 --> 00:54:10,560
Speaker 1: Christmas people want to avoid, which is like I don't

972
00:54:10,560 --> 00:54:12,040
Speaker 1: want to go to my fucking house because of my

973
00:54:12,080 --> 00:54:13,840
Speaker 1: aunt is gonna be like what are you gonna get married?

974
00:54:14,160 --> 00:54:16,400
Speaker 1: Or like what are you doing for work? And that that,

975
00:54:16,600 --> 00:54:18,480
Speaker 1: And I guess that's real to a certain extent, but

976
00:54:18,960 --> 00:54:21,040
Speaker 1: it's weird. I was saying this in another show, like

977
00:54:21,280 --> 00:54:24,040
Speaker 1: it's it's like these Christmas movies like their lack of flavor,

978
00:54:24,239 --> 00:54:27,359
Speaker 1: Like is the flavor? You know that it's not. It's

979
00:54:27,400 --> 00:54:31,719
Speaker 1: not going to be too confrontational or subversive or make

980
00:54:31,760 --> 00:54:34,239
Speaker 1: you question anything at all, aside from whether or not

981
00:54:34,320 --> 00:54:38,239
Speaker 1: an escalated is a good investment. But like that's what it's.

982
00:54:38,360 --> 00:54:40,720
Speaker 1: I think that's the draw is like it's a Manila

983
00:54:40,880 --> 00:54:44,440
Speaker 1: envelope that won't offend you but also has a bow

984
00:54:44,560 --> 00:54:47,000
Speaker 1: on it so it feels festive, but it still a

985
00:54:47,040 --> 00:54:50,680
Speaker 1: Manila envelope. And it's a it's an autour film. It's

986
00:54:51,120 --> 00:54:57,840
Speaker 1: Preston a Whitmore, Whitmore's Whitfield. It makes you think President

987
00:54:57,920 --> 00:55:03,400
Speaker 1: a Whitmore the second directed, produce and wrote this movie.

988
00:55:04,040 --> 00:55:06,480
Speaker 1: Um so it's safe to say and like the research

989
00:55:06,520 --> 00:55:08,040
Speaker 1: I did of like the interviews done at the time,

990
00:55:08,040 --> 00:55:10,920
Speaker 1: it seems like this is like based on his family

991
00:55:11,040 --> 00:55:14,279
Speaker 1: at least to some extent um, probably not all the

992
00:55:14,320 --> 00:55:17,520
Speaker 1: same Christmas, but who knows. The thing that mainly, the

993
00:55:17,680 --> 00:55:19,360
Speaker 1: thing that mainly stood out to me in terms of

994
00:55:19,440 --> 00:55:21,799
Speaker 1: like the many threads that we have going on here,

995
00:55:21,920 --> 00:55:24,920
Speaker 1: is that I just wish that, like it's for for

996
00:55:25,080 --> 00:55:30,120
Speaker 1: the women in this movie, most of their steaks are

997
00:55:30,160 --> 00:55:34,040
Speaker 1: attached to a like romantic relationship with a guy, and

998
00:55:34,120 --> 00:55:36,640
Speaker 1: then with with the with the men that the stakes

999
00:55:36,680 --> 00:55:41,560
Speaker 1: are like very varied. There's like music curs guy, there's

1000
00:55:41,880 --> 00:55:46,640
Speaker 1: a wall guy. There's like there's a wall Nation guy.

1001
00:55:47,200 --> 00:55:51,640
Speaker 1: There's like jazz on the run guy, like there's there's

1002
00:55:52,239 --> 00:55:55,719
Speaker 1: The stakes are so all over the like in a

1003
00:55:55,800 --> 00:55:58,520
Speaker 1: way that's really fun and engaging. But when it comes

1004
00:55:58,560 --> 00:56:02,239
Speaker 1: to Lisa and Lillie and Mel and even to an

1005
00:56:02,280 --> 00:56:05,640
Speaker 1: extent Madei, it's like they're all of their steaks are

1006
00:56:05,719 --> 00:56:09,360
Speaker 1: like something about my marriage or like I need a

1007
00:56:09,480 --> 00:56:13,719
Speaker 1: marriage or Mel I mean weird. I feel like Mel

1008
00:56:13,840 --> 00:56:16,080
Speaker 1: had kind of an interesting threat introduced at the beginning

1009
00:56:16,120 --> 00:56:18,400
Speaker 1: of the movie that kind of goes nowhere. She kind

1010
00:56:18,400 --> 00:56:20,719
Speaker 1: of gets lost in the shuffle, and so I want

1011
00:56:20,719 --> 00:56:22,560
Speaker 1: to I wish that they were like the same kind

1012
00:56:22,640 --> 00:56:26,600
Speaker 1: of like silly Christmas movie steaks for for the women

1013
00:56:26,640 --> 00:56:30,080
Speaker 1: in the movie that that the suns have right, but

1014
00:56:30,160 --> 00:56:32,880
Speaker 1: even those stakes too and like the traditional Christmas think

1015
00:56:32,920 --> 00:56:35,520
Speaker 1: it's tied to like their role as homemaker or something.

1016
00:56:36,000 --> 00:56:38,560
Speaker 1: It's like I have to get the gift for the kid,

1017
00:56:38,840 --> 00:56:42,399
Speaker 1: or like this Christmas dinner has to be good, which

1018
00:56:42,480 --> 00:56:44,000
Speaker 1: is like what I feel like the steaks are in

1019
00:56:44,080 --> 00:56:48,439
Speaker 1: like our traditional just vapid ship Christmas films, but yeah,

1020
00:56:48,719 --> 00:56:51,640
Speaker 1: it is all the steaks are like he's cheating on me,

1021
00:56:51,960 --> 00:56:55,000
Speaker 1: or like Santa fuck I hope Santa will fuck me,

1022
00:56:56,080 --> 00:56:58,759
Speaker 1: or it's just like a very odd thing. Oh one

1023
00:56:58,840 --> 00:57:01,200
Speaker 1: weird one weird moment that really stuck out to me.

1024
00:57:01,239 --> 00:57:03,960
Speaker 1: It was this moment between Joe and Baby when the

1025
00:57:04,480 --> 00:57:05,879
Speaker 1: first day, Like I think it's one of the first

1026
00:57:05,920 --> 00:57:08,680
Speaker 1: scenes where Chris Brown gets a camera, so I got

1027
00:57:08,719 --> 00:57:13,120
Speaker 1: a night it's like the Rose Roy Sick cameras. I'm like, well,

1028
00:57:13,800 --> 00:57:15,680
Speaker 1: are we talking full format? I mean, is it a

1029
00:57:15,760 --> 00:57:19,440
Speaker 1: hustle blot or a momma? I mean photographers might actually anyway,

1030
00:57:19,480 --> 00:57:22,360
Speaker 1: that's a whole other Archtuk discussion. Um, but with him

1031
00:57:22,720 --> 00:57:25,800
Speaker 1: when like Joe Delroy Lindo comes out goes you got

1032
00:57:25,880 --> 00:57:29,160
Speaker 1: a camera? Huh Yeah. I remember when I was your age,

1033
00:57:29,160 --> 00:57:32,800
Speaker 1: I wanted to watch but we couldn't afford it. And

1034
00:57:32,880 --> 00:57:36,800
Speaker 1: I was just like, what, at least the camera offers

1035
00:57:36,920 --> 00:57:40,360
Speaker 1: babies some kind of mobility like that, it can create work,

1036
00:57:40,480 --> 00:57:44,240
Speaker 1: but you just wanted some superficial like class signifier of

1037
00:57:44,320 --> 00:57:46,800
Speaker 1: a watch, like it just seemed like a It was

1038
00:57:46,880 --> 00:57:50,160
Speaker 1: like it just they just said it and went forward,

1039
00:57:50,200 --> 00:57:52,320
Speaker 1: and I was like, that didn't I actually positive, like

1040
00:57:52,400 --> 00:57:56,200
Speaker 1: that didn't make sense as finding common ground, like I

1041
00:57:56,240 --> 00:57:59,240
Speaker 1: don't understand aside from just being like I desired things

1042
00:57:59,640 --> 00:58:02,520
Speaker 1: and I got it. I had that kind of stuff

1043
00:58:02,560 --> 00:58:05,080
Speaker 1: happened a lot where it's like to like, You're like

1044
00:58:05,160 --> 00:58:08,480
Speaker 1: I think, I think, I like, I might understand what

1045
00:58:08,640 --> 00:58:11,000
Speaker 1: that conversation was supposed to be, but it's just like

1046
00:58:11,520 --> 00:58:13,760
Speaker 1: sometimes characters just kind of miss each other in this

1047
00:58:14,040 --> 00:58:16,720
Speaker 1: very bizarre way where I'm like, I guess we're still

1048
00:58:16,760 --> 00:58:20,720
Speaker 1: having the same conversation. There. Another thread that I thought

1049
00:58:20,840 --> 00:58:23,320
Speaker 1: was interesting in terms of mel and then it that

1050
00:58:23,440 --> 00:58:26,240
Speaker 1: kind of flames out right away is the relationship with

1051
00:58:26,760 --> 00:58:29,960
Speaker 1: Mel and Devon and how there's that conversation at the

1052
00:58:30,000 --> 00:58:33,920
Speaker 1: dinner table towards the beginning of the movie where Devon

1053
00:58:34,000 --> 00:58:36,960
Speaker 1: goes to Moore House and Malcolm kind of comes at

1054
00:58:37,080 --> 00:58:41,080
Speaker 1: him and like interrogates him for going to a historically

1055
00:58:41,280 --> 00:58:44,360
Speaker 1: black college and like he went to Yale and Kelly

1056
00:58:44,440 --> 00:58:46,480
Speaker 1: went to Harvard, and I was like, oh, this is

1057
00:58:46,560 --> 00:58:50,800
Speaker 1: like an interesting conversation. But then it never that just

1058
00:58:50,920 --> 00:58:54,440
Speaker 1: goes away, like that whole that kind of disappearing. And

1059
00:58:54,560 --> 00:58:58,280
Speaker 1: then part of the conversation is people being like, oh, yeah,

1060
00:58:58,440 --> 00:59:00,920
Speaker 1: Mel has been in school for oh along, because she

1061
00:59:01,080 --> 00:59:05,000
Speaker 1: just keeps switching her major based on whatever guy. And

1062
00:59:05,120 --> 00:59:08,080
Speaker 1: it's just like, well, Kelly, Kelly has this huge problem

1063
00:59:08,240 --> 00:59:10,800
Speaker 1: with Lisa because she thinks she's like weak willed and

1064
00:59:10,880 --> 00:59:14,840
Speaker 1: easily influenced. But what like, look at what Mel is doing.

1065
00:59:15,720 --> 00:59:19,520
Speaker 1: Why weren't you taking take to like miles of comments

1066
00:59:19,600 --> 00:59:23,040
Speaker 1: on the financials You're like, okay, they're they're like like

1067
00:59:23,160 --> 00:59:25,200
Speaker 1: when Lisa's like, we need to sell off our like

1068
00:59:25,280 --> 00:59:29,080
Speaker 1: we have to liquidate our part of the business because

1069
00:59:29,520 --> 00:59:33,440
Speaker 1: she's concerned that madear like that she's not gonna have

1070
00:59:33,600 --> 00:59:36,280
Speaker 1: enough money. But it's like, well, then a great way

1071
00:59:36,280 --> 00:59:39,200
Speaker 1: it would be for mel to stop going to an

1072
00:59:39,280 --> 00:59:42,400
Speaker 1: expensive college for seven years in a row. That's a

1073
00:59:42,480 --> 00:59:45,160
Speaker 1: great way to cut back on expenses for the family.

1074
00:59:45,400 --> 00:59:48,160
Speaker 1: Is not seven years of a private college, Like it's

1075
00:59:48,240 --> 00:59:52,360
Speaker 1: just the money stuff is very confusing, right, yeah, it's

1076
00:59:52,440 --> 00:59:56,040
Speaker 1: all I think even with um the Harvard Yale versus

1077
00:59:56,200 --> 00:59:58,880
Speaker 1: HBCU thing is like they were that was a quick

1078
00:59:58,920 --> 01:00:00,760
Speaker 1: way to be like, those are the the black people

1079
01:00:00,760 --> 01:00:03,640
Speaker 1: in your family, like the ones who got went to

1080
01:00:03,960 --> 01:00:06,800
Speaker 1: Ivy League schools and forgot who they were or like

1081
01:00:06,920 --> 01:00:10,160
Speaker 1: you know, that was a very quick brushstroke culturally to

1082
01:00:10,240 --> 01:00:12,040
Speaker 1: be like that's who they are, and they came for

1083
01:00:12,120 --> 01:00:14,560
Speaker 1: the person who went to more House, who then has

1084
01:00:14,640 --> 01:00:17,640
Speaker 1: like the much more articulated response as to why they

1085
01:00:17,720 --> 01:00:20,720
Speaker 1: go to more House, meaning you know, you sure you

1086
01:00:20,800 --> 01:00:22,880
Speaker 1: went to the place that people know about, but for

1087
01:00:23,080 --> 01:00:25,919
Speaker 1: my values as a black man and like I want

1088
01:00:25,960 --> 01:00:28,080
Speaker 1: to go to this school, but like it very much

1089
01:00:28,120 --> 01:00:30,919
Speaker 1: set the table like Okay, he's here and your Ivy

1090
01:00:31,000 --> 01:00:32,760
Speaker 1: lead people are down here because he just put the

1091
01:00:32,760 --> 01:00:35,440
Speaker 1: smack on you by explaining why he preferred that over

1092
01:00:35,640 --> 01:00:39,080
Speaker 1: your school, and it makes us like Malcolm, like it

1093
01:00:39,200 --> 01:00:42,760
Speaker 1: makes it makes Malcolm's character clearer of like, oh, he's

1094
01:00:42,840 --> 01:00:47,360
Speaker 1: like an elitist asshole. But and but it made like

1095
01:00:47,520 --> 01:00:50,120
Speaker 1: that scene really I was like, Oh, Devin's cool. I'm

1096
01:00:50,320 --> 01:00:52,600
Speaker 1: excited to see where his story goes. But then you're

1097
01:00:52,640 --> 01:00:56,080
Speaker 1: just like, where does it go anywhere? It was funny though, too,

1098
01:00:56,640 --> 01:00:59,640
Speaker 1: for him to basically like recite the schools like Mission

1099
01:00:59,760 --> 01:01:04,520
Speaker 1: Stayment and like really explain his beliefs in this way

1100
01:01:04,600 --> 01:01:06,320
Speaker 1: that everyone's like, wow, he's got a great head on

1101
01:01:06,360 --> 01:01:09,360
Speaker 1: his shoulders, because the scene right before that is him

1102
01:01:09,520 --> 01:01:13,240
Speaker 1: barely able to say his own name. Yeah, right there

1103
01:01:13,600 --> 01:01:18,400
Speaker 1: with him would say I feel like we're just with you,

1104
01:01:18,520 --> 01:01:20,800
Speaker 1: come on, man, and then he's ready for like this

1105
01:01:21,000 --> 01:01:24,240
Speaker 1: intellectual battle at the dinner table scene, like and then

1106
01:01:24,280 --> 01:01:27,520
Speaker 1: the way that scene resolves is like, well, one thing's

1107
01:01:27,600 --> 01:01:32,640
Speaker 1: for sure, mel sucks and that's like the end of

1108
01:01:32,720 --> 01:01:37,280
Speaker 1: the scene. Here. It's like all right, just so many

1109
01:01:37,560 --> 01:01:39,760
Speaker 1: so many threads that you're like, oh, I guess that

1110
01:01:39,880 --> 01:01:43,840
Speaker 1: didn't come back, didn't Well? Yeah, Really, despite all of

1111
01:01:44,360 --> 01:01:48,120
Speaker 1: like the women's steaks and storylines largely being attached to

1112
01:01:48,840 --> 01:01:52,880
Speaker 1: romantic interests as trophy and heteronormative as it is, I

1113
01:01:52,960 --> 01:01:56,080
Speaker 1: will say that I liked the women in the movie

1114
01:01:56,160 --> 01:01:58,080
Speaker 1: way more than I liked really any of the men,

1115
01:01:58,360 --> 01:02:02,280
Speaker 1: and I do appreciate it, at least with there being

1116
01:02:02,320 --> 01:02:06,160
Speaker 1: a focus on these these relationships they have with the

1117
01:02:06,280 --> 01:02:09,920
Speaker 1: men in their lives that we there's like a sex

1118
01:02:10,000 --> 01:02:14,320
Speaker 1: positivity component to this family that I appreciated that Uh,

1119
01:02:14,680 --> 01:02:17,840
Speaker 1: Lisa doesn't have as much because she does call her

1120
01:02:17,880 --> 01:02:21,600
Speaker 1: sister a hoe, but they're like openly talking about sex

1121
01:02:21,880 --> 01:02:26,959
Speaker 1: and batteries to a vibrator. She's like, you really should

1122
01:02:27,040 --> 01:02:30,120
Speaker 1: switch to the woman either, honey. I like how my

1123
01:02:30,200 --> 01:02:32,000
Speaker 1: dear is like I want my kids to come, but

1124
01:02:32,120 --> 01:02:36,320
Speaker 1: I don't want them to sing. Like all right, I

1125
01:02:36,400 --> 01:02:41,000
Speaker 1: guess because I appreciate that, especially because a lot of

1126
01:02:41,080 --> 01:02:44,120
Speaker 1: like Christmas movies are so like and it makes sense

1127
01:02:44,120 --> 01:02:46,440
Speaker 1: because there are a lot of them are like family, children,

1128
01:02:46,520 --> 01:02:49,480
Speaker 1: family move like appropriate for the whole family. So they're like,

1129
01:02:49,560 --> 01:02:52,960
Speaker 1: this is just so sex doesn't exist in these worlds,

1130
01:02:53,160 --> 01:02:55,560
Speaker 1: so that they that they talk about sex and like

1131
01:02:55,960 --> 01:02:59,400
Speaker 1: talk openly about it and generally have a sex positive

1132
01:02:59,400 --> 01:03:03,240
Speaker 1: attitude among the family. I was like, Okay, I like this, yeah,

1133
01:03:03,720 --> 01:03:05,920
Speaker 1: and it's like that not as I mean, even like

1134
01:03:06,040 --> 01:03:09,680
Speaker 1: in that opening montage where like my dear and Joe

1135
01:03:09,920 --> 01:03:12,960
Speaker 1: or I mean, it's not like they're not fucking, but

1136
01:03:13,080 --> 01:03:16,040
Speaker 1: you're like, oh, this this movie is like more open

1137
01:03:16,280 --> 01:03:20,120
Speaker 1: and like less I don't know, yeah exactly, Like you're

1138
01:03:20,200 --> 01:03:25,400
Speaker 1: saying just less holier than now about everything, and it's like, yeah, families,

1139
01:03:26,760 --> 01:03:31,760
Speaker 1: do you have sex? Not with each other? I don't know.

1140
01:03:31,760 --> 01:03:33,880
Speaker 1: If Fred has that wild ass line in the beginning

1141
01:03:34,000 --> 01:03:37,240
Speaker 1: was a girl. If he wasn't my cousin, I was like, Fred,

1142
01:03:39,080 --> 01:03:43,440
Speaker 1: why and then I was then in the middle of

1143
01:03:43,480 --> 01:03:46,120
Speaker 1: the movie, I'm like, where did that guy go? Because

1144
01:03:46,240 --> 01:03:48,880
Speaker 1: he was like he came in so hot at the

1145
01:03:48,960 --> 01:03:51,160
Speaker 1: top of the movie and it disappeared. Yeah, if you

1146
01:03:51,400 --> 01:03:53,920
Speaker 1: you can't start any sentences if you weren't my cousin,

1147
01:03:54,120 --> 01:03:56,320
Speaker 1: unless it's like if you weren't my cousin, you would

1148
01:03:56,360 --> 01:03:59,400
Speaker 1: be someone not related to me. That's like the only

1149
01:03:59,480 --> 01:04:02,480
Speaker 1: way that send like you started anything off like what okay? Good?

1150
01:04:02,520 --> 01:04:04,640
Speaker 1: You ended it with a very literal description rather than

1151
01:04:04,720 --> 01:04:09,960
Speaker 1: like checking her ass out and being like so weird cousin.

1152
01:04:10,320 --> 01:04:12,440
Speaker 1: I'm like, y'o, don't do all that ship. But again,

1153
01:04:12,520 --> 01:04:15,760
Speaker 1: that's uh. Those are like those moments where the script

1154
01:04:15,840 --> 01:04:18,480
Speaker 1: writer is not really checking about like what that means

1155
01:04:18,560 --> 01:04:20,800
Speaker 1: to be like, and this character is like openly just

1156
01:04:20,960 --> 01:04:23,760
Speaker 1: making his cousin uncomfortable because he's objectifying her at the

1157
01:04:23,800 --> 01:04:26,520
Speaker 1: Christmas thing right well speaking, so we touched on this

1158
01:04:26,600 --> 01:04:29,640
Speaker 1: a little bit too, but like the way that McKay

1159
01:04:29,920 --> 01:04:33,600
Speaker 1: peiffer his role in the story, where like he's like

1160
01:04:34,080 --> 01:04:38,200
Speaker 1: aggressively staring at Kelly at the club and then they

1161
01:04:38,280 --> 01:04:41,840
Speaker 1: go home together. But then the next morning he calls her,

1162
01:04:41,920 --> 01:04:44,640
Speaker 1: then she ignores his call, and then he shows up

1163
01:04:44,920 --> 01:04:47,920
Speaker 1: as Santa Claus uh, and she's like, what are you

1164
01:04:48,000 --> 01:04:50,480
Speaker 1: doing here? This is weird? And then I guess they

1165
01:04:50,560 --> 01:04:53,880
Speaker 1: make plans later that night that she has to bail on.

1166
01:04:54,440 --> 01:04:56,520
Speaker 1: I don't but I don't remember that even being discussed.

1167
01:04:56,600 --> 01:05:00,800
Speaker 1: She she ends up, it's because all the clod stuff happens.

1168
01:05:00,880 --> 01:05:03,120
Speaker 1: It's like the stuff happens, and then she and Lesa

1169
01:05:03,200 --> 01:05:05,080
Speaker 1: get into a fight, and I think she just ends

1170
01:05:05,160 --> 01:05:09,760
Speaker 1: up kind of like understandably dropping the ball, right. But

1171
01:05:09,840 --> 01:05:14,400
Speaker 1: then he shows up again after she doesn't show up

1172
01:05:14,400 --> 01:05:17,560
Speaker 1: to whatever plans they had, and then he's just like hey,

1173
01:05:18,120 --> 01:05:20,280
Speaker 1: and then he spends the night because he's like I

1174
01:05:20,480 --> 01:05:22,400
Speaker 1: saw you when you were in ninth grade and I

1175
01:05:23,280 --> 01:05:26,439
Speaker 1: liked it. Oh yeah, that was so you're like, oh,

1176
01:05:26,760 --> 01:05:30,280
Speaker 1: ship full from Oh he was also in high school,

1177
01:05:30,400 --> 01:05:32,560
Speaker 1: but I think he was like a bit older, right,

1178
01:05:32,680 --> 01:05:35,560
Speaker 1: But it was like, I've never forgotten this thing since

1179
01:05:35,640 --> 01:05:40,040
Speaker 1: I was fifteen, and you're like, oh, damn full for

1180
01:05:40,160 --> 01:05:41,800
Speaker 1: real and you came up to my house just as

1181
01:05:41,880 --> 01:05:46,720
Speaker 1: Santa Ship. Okay, that was so so Tropes on Tropes.

1182
01:05:46,960 --> 01:05:49,240
Speaker 1: On Tropes, I'm like the guy from your past who

1183
01:05:49,240 --> 01:05:52,240
Speaker 1: won't stop showing up. That's actually a good thing and

1184
01:05:52,480 --> 01:05:55,920
Speaker 1: that means love and nothing's scary about that. But Kelly

1185
01:05:56,000 --> 01:05:59,440
Speaker 1: in general, like the way her characters. I guess, of

1186
01:05:59,520 --> 01:06:02,120
Speaker 1: all the ways the characters are written, I found Kelly

1187
01:06:02,400 --> 01:06:06,120
Speaker 1: to be the most confusing and just kind of like

1188
01:06:06,280 --> 01:06:09,360
Speaker 1: the way that story treats her is strange because I'm

1189
01:06:09,400 --> 01:06:13,120
Speaker 1: not even totally sure what she does. She mentions that

1190
01:06:13,200 --> 01:06:16,320
Speaker 1: she went to Harvard and something something perfume, but then

1191
01:06:16,520 --> 01:06:19,360
Speaker 1: I'm not even totally sure what she does. More of it,

1192
01:06:19,480 --> 01:06:21,560
Speaker 1: there's more time dedicated to the fact that she's a

1193
01:06:21,640 --> 01:06:26,200
Speaker 1: bad cook than informing us what she does for a living. Well,

1194
01:06:26,240 --> 01:06:27,920
Speaker 1: that's what she does. I think that's what they're s

1195
01:06:28,400 --> 01:06:31,200
Speaker 1: is the occupation is irrelevant. What you need to know

1196
01:06:31,400 --> 01:06:34,360
Speaker 1: is she's the one that can't cook, like very like

1197
01:06:34,520 --> 01:06:36,760
Speaker 1: that's the framing of it for us, and then the

1198
01:06:37,120 --> 01:06:40,160
Speaker 1: relationship between her. I I it was a kind of

1199
01:06:40,240 --> 01:06:43,160
Speaker 1: like a something I can see a number of ways.

1200
01:06:43,400 --> 01:06:46,560
Speaker 1: But I liked that Kelly and Lisa, you see, they

1201
01:06:46,680 --> 01:06:49,640
Speaker 1: have like an arc. Like it's you know, it's not

1202
01:06:49,720 --> 01:06:52,720
Speaker 1: even a guarantee that two women or two sisters will

1203
01:06:52,800 --> 01:06:55,480
Speaker 1: ever even get an arc in an ensemble movie like this,

1204
01:06:55,680 --> 01:06:58,240
Speaker 1: So I like that there was time that was like

1205
01:06:58,680 --> 01:07:02,000
Speaker 1: allotted for that. But then the conversations are so kind

1206
01:07:02,040 --> 01:07:04,760
Speaker 1: of like basic where it's like you went to school

1207
01:07:04,880 --> 01:07:08,720
Speaker 1: and so you're a careerist and you stayed at home,

1208
01:07:08,880 --> 01:07:13,400
Speaker 1: so you're not as good as me, and yeah, yeah,

1209
01:07:13,560 --> 01:07:16,160
Speaker 1: when it's like what Lisa is saying to an extent

1210
01:07:16,320 --> 01:07:18,560
Speaker 1: like made sense, where she's like I had to help

1211
01:07:18,640 --> 01:07:20,840
Speaker 1: with the family business because everyone else kind of went

1212
01:07:20,840 --> 01:07:22,800
Speaker 1: their own ways. But like, why is she only mad

1213
01:07:22,840 --> 01:07:25,760
Speaker 1: at Kelly about this when like Quentin went off his

1214
01:07:25,880 --> 01:07:30,160
Speaker 1: own way, like everyone left. Why why is like Kelly

1215
01:07:30,320 --> 01:07:34,040
Speaker 1: bearing the brunt of this grudge? I don't know, I

1216
01:07:34,120 --> 01:07:36,520
Speaker 1: just their whole their whole arc was kind of so

1217
01:07:36,680 --> 01:07:39,160
Speaker 1: touch and go for me where I'm glad it was there,

1218
01:07:39,240 --> 01:07:41,760
Speaker 1: but I just thought it was weird, right, because like

1219
01:07:41,920 --> 01:07:44,480
Speaker 1: Kelly is kind of presented as like the feminist of

1220
01:07:44,560 --> 01:07:47,240
Speaker 1: the family. She's the one she's focused on her career,

1221
01:07:47,360 --> 01:07:51,040
Speaker 1: she has a vibrator. She's calling out. She's calling out

1222
01:07:51,080 --> 01:07:59,200
Speaker 1: Lisa first like being us believable, but then she's also

1223
01:07:59,280 --> 01:08:05,040
Speaker 1: like the so you you are to accommodate your Also,

1224
01:08:05,120 --> 01:08:07,200
Speaker 1: it feels like she's there's almost like a I don't

1225
01:08:07,200 --> 01:08:10,200
Speaker 1: know if it's like victim blaming exactly, but like Lisa

1226
01:08:10,320 --> 01:08:13,480
Speaker 1: is in a bad relationship, like her husband is awful,

1227
01:08:14,000 --> 01:08:16,400
Speaker 1: she's cheating on her, she knows about it. What's that

1228
01:08:16,560 --> 01:08:18,439
Speaker 1: doesn't she say a line that kind of sums up

1229
01:08:18,439 --> 01:08:21,960
Speaker 1: her entire view on why she's okay with like they're

1230
01:08:21,960 --> 01:08:24,759
Speaker 1: being a mistress, because like there's a moment she's confronted

1231
01:08:24,800 --> 01:08:26,680
Speaker 1: and there's something to the effective like well, you know,

1232
01:08:26,840 --> 01:08:30,640
Speaker 1: like she's like, I don't want to start over. I

1233
01:08:30,680 --> 01:08:33,519
Speaker 1: won't be appealing in the dating pools and I'm not

1234
01:08:33,560 --> 01:08:35,800
Speaker 1: trying to start over, so I'm just gonna stay in

1235
01:08:35,880 --> 01:08:39,439
Speaker 1: this like miserable life. And then and then Kelly's like,

1236
01:08:39,680 --> 01:08:44,200
Speaker 1: that's a horrible excuse, like stand up for yourself that

1237
01:08:45,439 --> 01:08:48,519
Speaker 1: I mean, that does happen though, I was like, well, yeah,

1238
01:08:49,040 --> 01:08:50,920
Speaker 1: well that's the thing, Like that's what's interesting about the

1239
01:08:50,920 --> 01:08:53,080
Speaker 1: movie because it does touch on things that you're You're

1240
01:08:53,160 --> 01:08:55,320
Speaker 1: angry sometimes with the characters and you're like, but that's

1241
01:08:55,360 --> 01:08:58,599
Speaker 1: kind of that's real ship though, like keeping secrets, being

1242
01:08:58,640 --> 01:09:02,000
Speaker 1: ashamed of a relationship, being in a shitty relationship because

1243
01:09:02,000 --> 01:09:04,360
Speaker 1: you don't have the self confidence to like break out

1244
01:09:04,479 --> 01:09:07,400
Speaker 1: and do you know, advocate for yourself. There's real ship,

1245
01:09:07,439 --> 01:09:10,519
Speaker 1: although it's done poorly sometimes and like my oh what

1246
01:09:10,680 --> 01:09:12,640
Speaker 1: about my kids? What about my Like I'm going to

1247
01:09:12,800 --> 01:09:14,640
Speaker 1: look the other way because I want my kids to

1248
01:09:14,920 --> 01:09:20,719
Speaker 1: blah blah blah, Like it does happen. But because Kelly's

1249
01:09:20,800 --> 01:09:26,040
Speaker 1: constantly calling Lisa out and like being hostile to her

1250
01:09:26,320 --> 01:09:29,560
Speaker 1: for like, again, Lisa is in this bad relationship and

1251
01:09:29,600 --> 01:09:32,680
Speaker 1: it feels like Kelly hates her because Malcolm sucks. And

1252
01:09:32,760 --> 01:09:35,120
Speaker 1: it's like, I don't know that, I don't maybe I'm

1253
01:09:35,120 --> 01:09:37,640
Speaker 1: misinterpreting that, but well, I think in a way, like

1254
01:09:37,840 --> 01:09:40,360
Speaker 1: what you're describing sounds like when you're mad at your

1255
01:09:40,439 --> 01:09:42,559
Speaker 1: friend because you know they can do better and you've

1256
01:09:42,600 --> 01:09:45,080
Speaker 1: seen them do better, yet they're not. And like that's

1257
01:09:45,080 --> 01:09:46,560
Speaker 1: sort of where it's at, where it's like, yeah, I

1258
01:09:46,600 --> 01:09:49,800
Speaker 1: mean obviously fuck Malcolm, but also like girl, like you

1259
01:09:50,400 --> 01:09:53,080
Speaker 1: can do way better than this. But but it comes

1260
01:09:53,120 --> 01:09:55,439
Speaker 1: off in a weird way. I don't know if there's

1261
01:09:55,479 --> 01:09:57,880
Speaker 1: a way to elegantly like the whole movie would have

1262
01:09:57,960 --> 01:09:59,960
Speaker 1: to be about that kind of relationship to pull the

1263
01:10:00,120 --> 01:10:02,320
Speaker 1: nuances out of like being upset with your friend for

1264
01:10:02,479 --> 01:10:04,840
Speaker 1: not like being in a bad relationship or your family

1265
01:10:05,040 --> 01:10:07,840
Speaker 1: right and because there's eighteen other storylines happening, like not

1266
01:10:08,040 --> 01:10:11,960
Speaker 1: enough time as dedicated. They even use the wonderful tropium

1267
01:10:12,040 --> 01:10:14,600
Speaker 1: of the day sex black enough uh in the Mo

1268
01:10:14,800 --> 01:10:17,240
Speaker 1: and Dude bathroom scene, we're sucking dough or lintles, like

1269
01:10:17,880 --> 01:10:19,360
Speaker 1: was it twenty five grand I got it right here

1270
01:10:19,400 --> 01:10:21,479
Speaker 1: and I leave him alone? We got Christmas dinner. I

1271
01:10:21,640 --> 01:10:26,040
Speaker 1: was like, damn, that was solved very quickly. A pastor,

1272
01:10:26,320 --> 01:10:32,120
Speaker 1: like the pastors the deacons have twenty five thousand dollars

1273
01:10:32,560 --> 01:10:35,240
Speaker 1: at all, absolutely, even to a black church. The collection

1274
01:10:35,280 --> 01:10:37,840
Speaker 1: plate comes around, I was like, where did that money

1275
01:10:37,920 --> 01:10:40,719
Speaker 1: come from? Me? You got he has twenty five thousand.

1276
01:10:40,800 --> 01:10:43,280
Speaker 1: The pastor always has twenty five thousands. That's a whole

1277
01:10:43,320 --> 01:10:46,599
Speaker 1: other movie. Yeah, that's and that's a whole other movie.

1278
01:10:46,640 --> 01:10:48,880
Speaker 1: That's why I'm like, oh, like it's funny, like because

1279
01:10:48,880 --> 01:10:51,040
Speaker 1: I think of those tropes, even going to black church,

1280
01:10:51,160 --> 01:10:52,840
Speaker 1: like when my grandparents were dragged me and I was like,

1281
01:10:52,920 --> 01:10:54,519
Speaker 1: why do you give him all the money? I remember

1282
01:10:54,520 --> 01:10:56,439
Speaker 1: as a kid, I'm like, how come the pastor has

1283
01:10:56,520 --> 01:11:00,040
Speaker 1: the nicest car? And they're like, well, that's because know

1284
01:11:00,120 --> 01:11:02,479
Speaker 1: they lead the congregation or whatever. I'm like, this sounds like,

1285
01:11:02,760 --> 01:11:05,960
Speaker 1: oh sick ass job. Just scream for a couple of

1286
01:11:05,960 --> 01:11:08,160
Speaker 1: minutes on Sundays and you get a Mercedes. This movie

1287
01:11:08,200 --> 01:11:10,840
Speaker 1: should have been a like TV series and not a

1288
01:11:10,960 --> 01:11:13,800
Speaker 1: movie based on like everything that gets set up about

1289
01:11:13,800 --> 01:11:15,720
Speaker 1: all these family members. So we want to go into

1290
01:11:15,760 --> 01:11:18,920
Speaker 1: the Whitfield universe, Yeah, if where is it? Um? But

1291
01:11:19,520 --> 01:11:21,840
Speaker 1: to go back to the Kelly at least a relationship

1292
01:11:21,920 --> 01:11:25,639
Speaker 1: I do appreciate, and this, you know, again, the nuances

1293
01:11:25,680 --> 01:11:28,559
Speaker 1: aren't explored as much as they should be. This feels

1294
01:11:28,640 --> 01:11:30,639
Speaker 1: kind of surface level, but I do appreciate at least

1295
01:11:30,680 --> 01:11:34,040
Speaker 1: that Lisa comes around and realizes like, oh shoot, I

1296
01:11:34,120 --> 01:11:36,720
Speaker 1: should see my worth. I should see my value, I

1297
01:11:36,760 --> 01:11:40,360
Speaker 1: should leave my cheating husband, whatever that means for for

1298
01:11:40,720 --> 01:11:44,000
Speaker 1: me in my in my life. And they end on

1299
01:11:44,160 --> 01:11:49,519
Speaker 1: like a beat of kind of reconciliation and appreciation for

1300
01:11:49,640 --> 01:11:52,560
Speaker 1: each other because at least the lesson is like, I

1301
01:11:52,600 --> 01:11:54,880
Speaker 1: don't know, girl, like men are going to cheat. The

1302
01:11:55,040 --> 01:11:57,439
Speaker 1: lesson is like, yo, if they're doing something, you can

1303
01:11:57,680 --> 01:12:00,160
Speaker 1: you can fucking pull up for yourself and do like

1304
01:12:00,439 --> 01:12:04,439
Speaker 1: actually take action for yourself. Right. I like where it

1305
01:12:04,600 --> 01:12:06,640
Speaker 1: lands and then it's like it does. Yeah, it just

1306
01:12:06,720 --> 01:12:08,920
Speaker 1: seemed like there was just like a lot of interesting

1307
01:12:09,000 --> 01:12:11,120
Speaker 1: threads in this movie that they just didn't have the time.

1308
01:12:11,160 --> 01:12:14,519
Speaker 1: I would imagine that like a lot of stuff because

1309
01:12:14,520 --> 01:12:17,160
Speaker 1: it's two hours long and there's still so much more

1310
01:12:17,360 --> 01:12:20,560
Speaker 1: that you could explore just based on like what is

1311
01:12:20,640 --> 01:12:23,760
Speaker 1: kind of foreshadowed at the beginning, where Yeah, it just

1312
01:12:23,800 --> 01:12:26,519
Speaker 1: seemed like the movie maybe didn't have enough time to

1313
01:12:26,880 --> 01:12:30,799
Speaker 1: get to every like every interesting thing that was presented.

1314
01:12:31,120 --> 01:12:34,439
Speaker 1: But I did like where their relationship landed. Um and

1315
01:12:34,560 --> 01:12:37,800
Speaker 1: sisters can like I don't know, I'm glad, I'm glad

1316
01:12:37,880 --> 01:12:40,320
Speaker 1: that Lisa got out of there, and you know, is

1317
01:12:40,360 --> 01:12:43,240
Speaker 1: it really going to affect her children? Where are her children?

1318
01:12:43,600 --> 01:12:48,120
Speaker 1: The movie does not give a ship. There mostly mirages.

1319
01:12:48,240 --> 01:12:56,200
Speaker 1: Yeah the figments. Um, we're running out of time? Is

1320
01:12:56,240 --> 01:12:58,880
Speaker 1: there any is there any other like kind of big

1321
01:12:58,960 --> 01:13:02,479
Speaker 1: things we want to touch on. Uh the I guess

1322
01:13:02,600 --> 01:13:05,880
Speaker 1: to like put a little bow on on the Quentin stuff.

1323
01:13:06,080 --> 01:13:12,920
Speaker 1: He is acting like Macavity. Um he is that's cats. Yeah,

1324
01:13:12,960 --> 01:13:15,960
Speaker 1: it's just elba is the villain and cats. He's Macavity.

1325
01:13:16,120 --> 01:13:19,479
Speaker 1: The is it like the mystery cat? I forget what

1326
01:13:19,560 --> 01:13:22,280
Speaker 1: it is, but he's he plays a cat in a fedora?

1327
01:13:22,960 --> 01:13:30,000
Speaker 1: Um who does? And so when he jumped through breakaway glass,

1328
01:13:30,720 --> 01:13:34,519
Speaker 1: I was like this is Macavity energy. But but speaking

1329
01:13:34,600 --> 01:13:39,040
Speaker 1: to how him and madear where they land where Quentin

1330
01:13:39,520 --> 01:13:42,320
Speaker 1: like he and his mom having a strange relationship because

1331
01:13:43,120 --> 01:13:46,880
Speaker 1: music bad. But then he like comes at her in

1332
01:13:46,920 --> 01:13:49,720
Speaker 1: a way that it's very clear, like Madeira is in

1333
01:13:49,840 --> 01:13:51,960
Speaker 1: no uncertain terms being like he was a bad father,

1334
01:13:52,400 --> 01:13:55,840
Speaker 1: he's a bad husband, Like I've been with Joe for

1335
01:13:56,160 --> 01:13:59,880
Speaker 1: seven years? Like what if if? Because they say that

1336
01:14:00,040 --> 01:14:02,320
Speaker 1: they started dating when mel went to college, which was

1337
01:14:02,520 --> 01:14:06,360
Speaker 1: seven years ago? Like can you just accept this? And

1338
01:14:06,439 --> 01:14:11,360
Speaker 1: he's like no, Dad might come back, which seems like

1339
01:14:11,439 --> 01:14:14,440
Speaker 1: a thing he's holding out for is like the potential

1340
01:14:14,600 --> 01:14:17,160
Speaker 1: return of senior. But I don't know. I mean, I guess,

1341
01:14:17,280 --> 01:14:19,599
Speaker 1: But that's another thing you know that's real though too,

1342
01:14:19,720 --> 01:14:23,960
Speaker 1: like of your like son father son, you know, relationship

1343
01:14:24,120 --> 01:14:28,000
Speaker 1: like this of just idealizing your parents and then not

1344
01:14:28,200 --> 01:14:31,280
Speaker 1: being able to see like like looked at them objectively

1345
01:14:31,320 --> 01:14:33,519
Speaker 1: as a human being, where they're like, that's not how

1346
01:14:33,600 --> 01:14:36,000
Speaker 1: a person should behave if they're a father. That actually

1347
01:14:36,080 --> 01:14:39,120
Speaker 1: fucked me up, and I'm I'm traumatized by it, but

1348
01:14:39,240 --> 01:14:41,360
Speaker 1: you're still so caught up in it that your trauma

1349
01:14:41,439 --> 01:14:43,840
Speaker 1: is only telling you like, he'll come back, He'll come back,

1350
01:14:43,920 --> 01:14:45,760
Speaker 1: and then everything will be okay because then if he

1351
01:14:45,800 --> 01:14:47,560
Speaker 1: comes back, I don't have to process any of this

1352
01:14:47,600 --> 01:14:49,519
Speaker 1: ship that I've been going through the last twenty odd

1353
01:14:49,600 --> 01:14:52,599
Speaker 1: years because he will come back. But again, that's another

1354
01:14:52,680 --> 01:14:55,320
Speaker 1: thing that's very nuanced and like I'm looking at him like, well,

1355
01:14:55,360 --> 01:14:57,200
Speaker 1: there's a way to look at that being deep at fuck.

1356
01:14:57,680 --> 01:14:59,400
Speaker 1: And there's another version where it just sounds like I

1357
01:14:59,479 --> 01:15:02,120
Speaker 1: dress elbow being like you're not my dad, and then

1358
01:15:02,160 --> 01:15:04,800
Speaker 1: it just ends there. They just don't have the time

1359
01:15:04,960 --> 01:15:08,040
Speaker 1: to like tackle that story, like it just sounds weird

1360
01:15:08,280 --> 01:15:11,200
Speaker 1: to Caitlin's point, like, yeah, if it were like an anthology,

1361
01:15:11,520 --> 01:15:14,200
Speaker 1: like you could tackle like each of these almost could

1362
01:15:14,240 --> 01:15:18,840
Speaker 1: be like a very poignant film around Christmas that you're

1363
01:15:18,920 --> 01:15:22,800
Speaker 1: really like, you know, working around from most of the storylines.

1364
01:15:22,840 --> 01:15:25,479
Speaker 1: But yeah, it ends up kind of getting a little vogue.

1365
01:15:25,960 --> 01:15:31,200
Speaker 1: Well then also with Idri Salma's character and arguably all

1366
01:15:31,280 --> 01:15:33,680
Speaker 1: the men in the movie. And we've talked about this

1367
01:15:33,840 --> 01:15:38,000
Speaker 1: too on Christmas episodes we've done of um, a lot

1368
01:15:38,080 --> 01:15:42,560
Speaker 1: of stories revolved like a Christmas movie with a male protagonist.

1369
01:15:42,800 --> 01:15:46,960
Speaker 1: Often redemption is a huge theme there. There's often these

1370
01:15:47,040 --> 01:15:50,840
Speaker 1: like huge redemption arcs, which I generally find to be

1371
01:15:51,000 --> 01:15:55,320
Speaker 1: pretty tired and annoying. And it's also like, well, men,

1372
01:15:55,560 --> 01:15:58,320
Speaker 1: if you tried harder the first time, maybe you wouldn't

1373
01:15:58,360 --> 01:16:01,760
Speaker 1: have to be constantly redeeming yourself all the time. Um,

1374
01:16:01,960 --> 01:16:05,960
Speaker 1: but you know, men will always be given second chances anyway.

1375
01:16:06,600 --> 01:16:11,120
Speaker 1: Male redemption stories are a very popular Christmas narrative between

1376
01:16:11,439 --> 01:16:14,960
Speaker 1: Scrooge and the Grinch and Tim Allen in the Santa

1377
01:16:15,000 --> 01:16:19,240
Speaker 1: Claus and Michael Keaton and Jack Frost and so on,

1378
01:16:19,840 --> 01:16:22,160
Speaker 1: And it feels like that applies to this movie as well,

1379
01:16:22,280 --> 01:16:25,960
Speaker 1: where like Joe and Quentin sort of redeem each other

1380
01:16:26,240 --> 01:16:29,920
Speaker 1: in each other's eyes. There's like this redemption sort of

1381
01:16:30,080 --> 01:16:34,599
Speaker 1: with Claude being like, oops, I got arrested and oh

1382
01:16:34,760 --> 01:16:38,040
Speaker 1: I have a secret wife. But now everything's fine. They

1383
01:16:38,160 --> 01:16:45,479
Speaker 1: also don't have time to resolve this plod stuff. But right,

1384
01:16:45,560 --> 01:16:48,439
Speaker 1: but like Joe calls in a favor with some military

1385
01:16:48,479 --> 01:16:51,360
Speaker 1: guy he knows, so like that just gets like steamlessly resolved.

1386
01:16:51,840 --> 01:16:54,840
Speaker 1: Joe did that again? Yeah, Joe says like, oh I

1387
01:16:54,960 --> 01:16:58,400
Speaker 1: know some dude, Yo, he really is des x Blackina

1388
01:16:58,520 --> 01:17:03,439
Speaker 1: and this whole film. Yeah everything. You let me call

1389
01:17:03,520 --> 01:17:06,960
Speaker 1: Colin Powell real quick, already have it an envelope in

1390
01:17:07,000 --> 01:17:09,040
Speaker 1: this way home my left pocket. That's thirty granted the

1391
01:17:09,080 --> 01:17:11,000
Speaker 1: other one here right, because he's also the one who

1392
01:17:11,200 --> 01:17:14,639
Speaker 1: arranges for Baby to sing at church so that Baby

1393
01:17:14,720 --> 01:17:18,439
Speaker 1: can kind of redeem himself in Madear's eyes. So all

1394
01:17:18,479 --> 01:17:21,040
Speaker 1: these sixes everything for every son right, and all of

1395
01:17:21,120 --> 01:17:24,720
Speaker 1: the men have these have these redemption narratives, whereas all

1396
01:17:24,760 --> 01:17:28,479
Speaker 1: the women are just like man or no man? Which

1397
01:17:28,560 --> 01:17:33,600
Speaker 1: man who boy like sex kissing? Yeah that was my

1398
01:17:33,720 --> 01:17:36,720
Speaker 1: last thing? Is I wish that because most of Madear's

1399
01:17:37,360 --> 01:17:41,800
Speaker 1: most of Madear's stories as well, are dedicated to her

1400
01:17:41,840 --> 01:17:45,160
Speaker 1: relationship with Joe, her relationship with Baby, her relationship with Clenton,

1401
01:17:45,479 --> 01:17:47,360
Speaker 1: and really the only times you see her interact with

1402
01:17:47,439 --> 01:17:50,600
Speaker 1: her daughter is her or any of her daughters. She's like,

1403
01:17:51,320 --> 01:17:53,479
Speaker 1: how is your marriage or where is your marriage? And

1404
01:17:53,720 --> 01:17:56,600
Speaker 1: those are really the only things that we So I

1405
01:17:56,680 --> 01:17:58,320
Speaker 1: wish that you had there was a little more time

1406
01:17:58,360 --> 01:18:02,160
Speaker 1: with Madear and and her dollars too, but you know,

1407
01:18:02,280 --> 01:18:05,680
Speaker 1: we just needed an anthology. We needed more time. You

1408
01:18:05,800 --> 01:18:07,160
Speaker 1: think he went a well because he was like a

1409
01:18:07,200 --> 01:18:12,599
Speaker 1: conscientious objector to the Iraq war, Like, Yo, that would

1410
01:18:12,600 --> 01:18:14,320
Speaker 1: have been lit. I'm like, yo, hold on, let this

1411
01:18:14,439 --> 01:18:18,120
Speaker 1: man speak real quick. He's not wrong though, but like

1412
01:18:18,520 --> 01:18:20,920
Speaker 1: but but he never Yeah, I don't know, Like I

1413
01:18:20,960 --> 01:18:24,040
Speaker 1: don't know if we could what's the what's the reason behind? Yeah,

1414
01:18:24,400 --> 01:18:27,600
Speaker 1: that would be amazing. If this was like late Bush administration,

1415
01:18:28,360 --> 01:18:30,600
Speaker 1: like political. He's like, why am I going to go

1416
01:18:30,680 --> 01:18:32,680
Speaker 1: to another part of the world just to fight on

1417
01:18:32,760 --> 01:18:35,800
Speaker 1: behalf of corporations that are invested in my downfall in

1418
01:18:35,920 --> 01:18:39,439
Speaker 1: this country and collectively our entire family and our people.

1419
01:18:39,760 --> 01:18:42,439
Speaker 1: No funk that I'm not spilling my blood for petrol

1420
01:18:42,520 --> 01:18:45,840
Speaker 1: dollars anymore. I'm taking a stand. God damn it, Like

1421
01:18:45,960 --> 01:18:49,120
Speaker 1: it would have been like, yeah, well that's not that's

1422
01:18:49,160 --> 01:18:52,000
Speaker 1: a redemption. No, I take too hot for a two

1423
01:18:52,080 --> 01:18:54,519
Speaker 1: thousand seven though, that two seven that would have been

1424
01:18:54,720 --> 01:18:58,479
Speaker 1: Dixie Chicks times five million. What the fund did this?

1425
01:18:58,960 --> 01:19:03,480
Speaker 1: What did this? This person saying the Christmas movie instead

1426
01:19:04,160 --> 01:19:10,120
Speaker 1: Petro war the truly the monologue we needed and we

1427
01:19:10,200 --> 01:19:13,960
Speaker 1: didn't get. The reason we get instead is that he

1428
01:19:14,080 --> 01:19:16,800
Speaker 1: went a wall because he requested a leave, which was

1429
01:19:16,960 --> 01:19:20,880
Speaker 1: denied because he didn't tell his like military people that

1430
01:19:21,040 --> 01:19:23,920
Speaker 1: he got married. And he went in a wall because

1431
01:19:24,200 --> 01:19:27,479
Speaker 1: Sandy would have been disappointed if they So he's like

1432
01:19:27,560 --> 01:19:29,960
Speaker 1: kind of blame. It's almost like the blame is being

1433
01:19:30,000 --> 01:19:32,240
Speaker 1: put on her for the reason he went a wall,

1434
01:19:32,240 --> 01:19:34,880
Speaker 1: because he said, well, I like my secret wife that

1435
01:19:34,920 --> 01:19:46,080
Speaker 1: I haven't told anyone about would have been disappointed. Hell yeah, clod,

1436
01:19:46,560 --> 01:19:50,120
Speaker 1: you know, we just needed the Claude the Clode thing.

1437
01:19:50,280 --> 01:19:53,160
Speaker 1: That's a whole series all its own, Like there's just

1438
01:19:53,320 --> 01:19:59,920
Speaker 1: so much going on. I'm like now officially fully opened

1439
01:20:00,080 --> 01:20:06,000
Speaker 1: to a mini series that writes out baby yes, eliminates

1440
01:20:06,280 --> 01:20:08,360
Speaker 1: where he goes to that camera he becomes Terry Richardson,

1441
01:20:10,600 --> 01:20:12,200
Speaker 1: you don't want to see it. Actually it's pretty it's

1442
01:20:12,200 --> 01:20:16,160
Speaker 1: prettyasy grim like we just don't talk about anymore. Yeah,

1443
01:20:17,720 --> 01:20:21,479
Speaker 1: does this movie pass the Bechdel test? Yeah, but you

1444
01:20:21,600 --> 01:20:24,040
Speaker 1: think it would pass more. You think it would. There

1445
01:20:24,120 --> 01:20:27,040
Speaker 1: are quite a few women in the movie, and they

1446
01:20:27,120 --> 01:20:31,680
Speaker 1: do interact, but often the conversations revolve around husbands and

1447
01:20:31,760 --> 01:20:36,760
Speaker 1: boyfriends and stepdad figures, etcetera. Um, but there are things

1448
01:20:36,800 --> 01:20:40,320
Speaker 1: to talk about, like sisterhood and being bad at cooking,

1449
01:20:40,600 --> 01:20:49,760
Speaker 1: which technically counts batteries vibrator batteries. Yes, um, as far

1450
01:20:49,800 --> 01:20:52,439
Speaker 1: as our nipple scale zero to five nipples based on

1451
01:20:53,520 --> 01:20:58,519
Speaker 1: an examination of intersectional feminism. So for me, I don't know.

1452
01:20:58,800 --> 01:21:02,360
Speaker 1: I'm kind of torn on this one because on one hand,

1453
01:21:03,160 --> 01:21:09,280
Speaker 1: it really adheres to some just you know, holiday movie tropes,

1454
01:21:09,760 --> 01:21:14,040
Speaker 1: some two thousand seven tropes two thousand seven tropes, the

1455
01:21:14,120 --> 01:21:17,800
Speaker 1: way women are presented in media tropes in terms of

1456
01:21:18,000 --> 01:21:23,120
Speaker 1: like the women all have like stakes and narratives surrounding

1457
01:21:23,760 --> 01:21:28,240
Speaker 1: like romantic relationships with men, So coming at it from

1458
01:21:28,280 --> 01:21:33,000
Speaker 1: that perspective, it's like. But on the other hand, because

1459
01:21:33,160 --> 01:21:37,160
Speaker 1: this is typically such a white genre and Christmas movies

1460
01:21:38,800 --> 01:21:42,680
Speaker 1: so aggressively, like like I don't know, like Hollywood is

1461
01:21:42,720 --> 01:21:49,400
Speaker 1: just like only white Christians celebrate wintertime holidays, right, So

1462
01:21:49,640 --> 01:21:54,160
Speaker 1: it's just it's nice and refreshing to see a Christmas

1463
01:21:54,240 --> 01:21:58,640
Speaker 1: oriented movie that features a black family. The fact that

1464
01:21:58,720 --> 01:22:02,920
Speaker 1: it's written and directed by a black filmmaker who based

1465
01:22:02,960 --> 01:22:05,479
Speaker 1: a lot of these characters on either members of his

1466
01:22:05,600 --> 01:22:08,880
Speaker 1: family or himself, so it's a black creator telling his

1467
01:22:09,000 --> 01:22:13,280
Speaker 1: own story. I really like the women in the story.

1468
01:22:14,160 --> 01:22:16,200
Speaker 1: I wish we had gotten to know them better. I

1469
01:22:16,280 --> 01:22:20,919
Speaker 1: wish we had they had narratives outside of romantic pursuits.

1470
01:22:21,640 --> 01:22:24,160
Speaker 1: We do learn a little tiny bit about each one

1471
01:22:24,520 --> 01:22:28,760
Speaker 1: as far as like interior exterior lives, but it's always

1472
01:22:28,920 --> 01:22:31,080
Speaker 1: pretty vague. So it's like, I don't know, do we

1473
01:22:31,160 --> 01:22:34,240
Speaker 1: know that much about them? So I don't know. There's

1474
01:22:34,320 --> 01:22:36,680
Speaker 1: just it's kind of a mixed bag for me. Uh,

1475
01:22:36,880 --> 01:22:39,040
Speaker 1: Like I said, I think this would have served better

1476
01:22:39,200 --> 01:22:42,080
Speaker 1: as like a series. I would have I would love

1477
01:22:42,120 --> 01:22:44,879
Speaker 1: a show about this family. We had like ten bottle

1478
01:22:45,000 --> 01:22:48,160
Speaker 1: episodes about each character. That would be like all the stories,

1479
01:22:48,200 --> 01:22:51,120
Speaker 1: all these stories or most of them like that Chris

1480
01:22:51,200 --> 01:22:53,360
Speaker 1: Brown one probably scraped that, but like all of them

1481
01:22:53,479 --> 01:22:56,920
Speaker 1: wore like you're like, oh, this is really something, but

1482
01:22:57,080 --> 01:23:03,479
Speaker 1: then where it is it go? So with that in mind,

1483
01:23:03,880 --> 01:23:06,679
Speaker 1: I don't know, maybe like a two and a half

1484
01:23:06,880 --> 01:23:11,479
Speaker 1: or three. I'm leaning I just like I said, I

1485
01:23:11,760 --> 01:23:17,280
Speaker 1: really like the characters. The performances are amazing, especially Loretta

1486
01:23:17,360 --> 01:23:24,200
Speaker 1: Divine is incredible, Regina King amazing. Each of those characters

1487
01:23:24,760 --> 01:23:28,080
Speaker 1: deserve better. So I'm gonna land on a three, I think,

1488
01:23:28,600 --> 01:23:34,040
Speaker 1: And um, I'll give them all to Idrisalba's Ma Cavity

1489
01:23:34,840 --> 01:23:38,599
Speaker 1: just kidding, yeah, I think. Also just split them among

1490
01:23:38,800 --> 01:23:42,160
Speaker 1: the four main women in in the story. Whatever that

1491
01:23:42,200 --> 01:23:44,599
Speaker 1: fraction works out too. I'm leaning around the same at

1492
01:23:44,640 --> 01:23:47,639
Speaker 1: a two point five three, uh, for much the same reason.

1493
01:23:47,680 --> 01:23:51,800
Speaker 1: I mean, I guess it really is like it is.

1494
01:23:52,720 --> 01:23:55,120
Speaker 1: It's amazing to see. Like I think We've been having

1495
01:23:55,200 --> 01:23:59,240
Speaker 1: this conversation um over the past several months more and

1496
01:23:59,320 --> 01:24:04,160
Speaker 1: more like movie is about black joy and movies about families,

1497
01:24:04,240 --> 01:24:06,560
Speaker 1: and movies about the American black experience that is not

1498
01:24:07,240 --> 01:24:11,799
Speaker 1: really deeply shaped by trauma. And this is the perfect

1499
01:24:12,040 --> 01:24:15,639
Speaker 1: genre to explore that, and but it's so rarely done.

1500
01:24:16,320 --> 01:24:20,719
Speaker 1: This movie's um existence and success is like incredible, especially

1501
01:24:20,880 --> 01:24:25,840
Speaker 1: like this fucking cast is unreal, Like it's just just

1502
01:24:26,240 --> 01:24:29,240
Speaker 1: the careers that the vast majority of this cast has

1503
01:24:29,280 --> 01:24:31,519
Speaker 1: gone on to have. It's just like minus Chris Brown,

1504
01:24:32,840 --> 01:24:35,559
Speaker 1: you know a lot of upward trajectories and a notable

1505
01:24:35,640 --> 01:24:39,120
Speaker 1: downward one. Um. But all I said, like, the cast

1506
01:24:39,240 --> 01:24:42,200
Speaker 1: is so incredible, the chemistry between everyone is so good.

1507
01:24:42,560 --> 01:24:44,160
Speaker 1: And then yeah, my my note is kind of the

1508
01:24:44,240 --> 01:24:47,600
Speaker 1: same thing of like, if you're going to bring in

1509
01:24:47,840 --> 01:24:53,040
Speaker 1: such an amazing group of female actors, don't just give

1510
01:24:53,120 --> 01:24:56,640
Speaker 1: them stories about husbands and boyfriends and like it's a

1511
01:24:56,760 --> 01:24:59,439
Speaker 1: waste of the talent. And I really, I mean, I

1512
01:24:59,479 --> 01:25:01,920
Speaker 1: don't think that we really know anything about these women

1513
01:25:02,000 --> 01:25:05,880
Speaker 1: outside of their relationship to men and sons outside of

1514
01:25:06,080 --> 01:25:10,520
Speaker 1: the Lisa Kelly Um sisterhood, but all of their conflicts

1515
01:25:10,920 --> 01:25:15,439
Speaker 1: revolve around their relationships towards men. So I just I A,

1516
01:25:15,439 --> 01:25:18,240
Speaker 1: I was frustrated by that because it's like, you have

1517
01:25:18,400 --> 01:25:23,120
Speaker 1: fucking Regina King, she can do anything, like let's see more,

1518
01:25:23,280 --> 01:25:27,040
Speaker 1: let's see like questions I had as I was watching.

1519
01:25:27,080 --> 01:25:30,400
Speaker 1: I was like, well, what what would Lisa have done

1520
01:25:30,560 --> 01:25:32,679
Speaker 1: if she didn't feel like she had to stay back

1521
01:25:32,760 --> 01:25:36,080
Speaker 1: with the family, Like did she have an aspiration that

1522
01:25:36,479 --> 01:25:39,920
Speaker 1: was kind of ruined in her view by the fact

1523
01:25:39,960 --> 01:25:42,799
Speaker 1: that Kelly went on to have her career follow up question,

1524
01:25:43,120 --> 01:25:46,240
Speaker 1: what is Kelly's career? What does she do? Why do

1525
01:25:46,360 --> 01:25:50,320
Speaker 1: we talk more about whether she's fucking Santa or not

1526
01:25:51,320 --> 01:25:53,760
Speaker 1: then what her job is like? There were just so

1527
01:25:53,920 --> 01:25:58,360
Speaker 1: many especially given the variety of the mail plot and

1528
01:25:58,520 --> 01:26:02,639
Speaker 1: how I think pretty much, without exception, all the male

1529
01:26:02,960 --> 01:26:06,360
Speaker 1: plots were at least tethered in some way to their career,

1530
01:26:07,040 --> 01:26:12,880
Speaker 1: where like Claude is a Wall, Macavity is Macavity, ng uh,

1531
01:26:13,760 --> 01:26:16,479
Speaker 1: all of their stories are related to their careers. And

1532
01:26:16,640 --> 01:26:20,479
Speaker 1: we don't even really know what the female characters do

1533
01:26:20,800 --> 01:26:25,480
Speaker 1: or wanted to do outside of Madear owns a cleaners,

1534
01:26:25,520 --> 01:26:28,720
Speaker 1: but we don't know anything about that really either, Like so,

1535
01:26:29,560 --> 01:26:31,479
Speaker 1: and then on top of I mean, and I wish

1536
01:26:31,520 --> 01:26:34,560
Speaker 1: that we saw more of Madear and her daughters selfishly

1537
01:26:34,640 --> 01:26:37,640
Speaker 1: because I want more scenes with Loretta Divine and Regina King,

1538
01:26:37,760 --> 01:26:41,000
Speaker 1: but like that's a meeting. So I think that this

1539
01:26:41,120 --> 01:26:45,479
Speaker 1: movie is really good, and it's it's especially for its time.

1540
01:26:45,560 --> 01:26:47,640
Speaker 1: It's like it's very of its time in a lot

1541
01:26:47,720 --> 01:26:49,920
Speaker 1: of ways, and we can tear that apart all day,

1542
01:26:49,960 --> 01:26:53,200
Speaker 1: but it's a movie it's a joyful movie about black

1543
01:26:53,280 --> 01:26:56,559
Speaker 1: American family. We don't get that a lot, and um,

1544
01:26:56,640 --> 01:26:59,200
Speaker 1: I hope that we continue to get more in this genre.

1545
01:27:00,040 --> 01:27:03,680
Speaker 1: It care about what women are doing that aren't with men.

1546
01:27:04,240 --> 01:27:07,280
Speaker 1: So I'll go I guess I'll go a three as well,

1547
01:27:07,880 --> 01:27:11,200
Speaker 1: and I will give my nipples to give two of

1548
01:27:11,280 --> 01:27:13,960
Speaker 1: them to mel because I want. I also, I really

1549
01:27:14,120 --> 01:27:19,280
Speaker 1: liked her, and she disappeared about halfway through the movie,

1550
01:27:19,960 --> 01:27:23,200
Speaker 1: And I will give my other nipple to my dear

1551
01:27:23,400 --> 01:27:30,639
Speaker 1: because Loretta Divine rocks truly. What about you, Miles, Uh,

1552
01:27:31,080 --> 01:27:34,040
Speaker 1: maybe two and a half three? Maybe I'll go three

1553
01:27:34,479 --> 01:27:38,400
Speaker 1: rather than just to give a slight advantage because it's weird,

1554
01:27:38,520 --> 01:27:41,000
Speaker 1: like half of the film negates the other half, so

1555
01:27:41,200 --> 01:27:44,760
Speaker 1: you're like, but also like, I'm also looking at this

1556
01:27:44,840 --> 01:27:46,880
Speaker 1: through the lens of it being a Christmas film, so

1557
01:27:47,000 --> 01:27:49,719
Speaker 1: I'm already like, this is not like a movie. Really.

1558
01:27:50,040 --> 01:27:53,360
Speaker 1: I I really consider these kinds of films like absolute

1559
01:27:53,520 --> 01:27:57,760
Speaker 1: background noise during the holidays, because none of them know

1560
01:27:57,880 --> 01:28:00,280
Speaker 1: there's it's really hard to find any film that's offering

1561
01:28:00,280 --> 01:28:02,639
Speaker 1: anything of substance. And just like the way the genre

1562
01:28:02,720 --> 01:28:05,160
Speaker 1: has like morphed over the years, as it is like

1563
01:28:05,400 --> 01:28:09,120
Speaker 1: flavorless is the flavor. Uh, so I'll give it. I'll

1564
01:28:09,120 --> 01:28:12,840
Speaker 1: give them three and just you know, maybe I would

1565
01:28:13,000 --> 01:28:15,240
Speaker 1: knock them down because for that escalade line about being

1566
01:28:15,280 --> 01:28:18,240
Speaker 1: a good investment really fucking kissed me off. No, fuck

1567
01:28:18,320 --> 01:28:21,760
Speaker 1: it too to wow. I don't know why. No, no,

1568
01:28:21,960 --> 01:28:23,519
Speaker 1: no no, I'm sorry, but that has nothing to do

1569
01:28:23,600 --> 01:28:26,160
Speaker 1: with the representation of women. So I will still keep

1570
01:28:26,200 --> 01:28:27,320
Speaker 1: it through. I'm sorry, I have to keep I have

1571
01:28:27,400 --> 01:28:31,519
Speaker 1: to sort of compartmentalize one must Hell yeah, well, myles,

1572
01:28:31,560 --> 01:28:34,040
Speaker 1: thank you so much for for being here, for talking

1573
01:28:34,120 --> 01:28:38,400
Speaker 1: this Christmas with us. Where can people follow you? Check

1574
01:28:38,439 --> 01:28:41,760
Speaker 1: out your stuff? Tell us everything. Oh it's not much,

1575
01:28:41,880 --> 01:28:44,840
Speaker 1: just miles of gray wherever wherever you got stuff? And

1576
01:28:45,120 --> 01:28:48,960
Speaker 1: uh daily Zeitgeist talking every day. If you want to

1577
01:28:49,040 --> 01:28:52,680
Speaker 1: hear my takes on the sordid universe of ours or

1578
01:28:52,840 --> 01:28:55,080
Speaker 1: fiance if you want to hear me just be high

1579
01:28:55,080 --> 01:29:01,120
Speaker 1: and talk about um. You can follow us on social

1580
01:29:01,200 --> 01:29:07,280
Speaker 1: media on Twitter, on Instagram, on our patreon a k

1581
01:29:07,439 --> 01:29:11,360
Speaker 1: A Matreon, which is at patreon dot com, slash Bechtel Cast.

1582
01:29:11,520 --> 01:29:14,400
Speaker 1: It's a fun place this month because we're doing the

1583
01:29:14,560 --> 01:29:19,400
Speaker 1: terrible Netflix ones. We're talking Princess switched to and Christmas

1584
01:29:19,520 --> 01:29:27,400
Speaker 1: Prince to Princess switch. I say, Christmas Princess. There it's

1585
01:29:28,360 --> 01:29:34,280
Speaker 1: the Princess, the Prince, Christmas the Christmas Prince switch switched again,

1586
01:29:34,760 --> 01:29:42,519
Speaker 1: switched again at the So for more of that, go

1587
01:29:42,640 --> 01:29:47,479
Speaker 1: to man. It's only five dollars of us and it

1588
01:29:47,560 --> 01:29:52,040
Speaker 1: gets you to Bottos episodes every month. Um. And then

1589
01:29:52,120 --> 01:29:55,479
Speaker 1: for our merch, you can go to t public dot

1590
01:29:55,560 --> 01:30:00,320
Speaker 1: com slash the Bechtel Cast and grab some some merch

1591
01:30:00,600 --> 01:30:04,200
Speaker 1: for for holiday gifts. Go for it. Who's stopping you?

1592
01:30:04,600 --> 01:30:09,840
Speaker 1: I dare you? Thank you so much for listening and

1593
01:30:10,120 --> 01:30:12,960
Speaker 1: two miles again, and we'll be back with another holiday

1594
01:30:13,000 --> 01:30:15,840
Speaker 1: disaster next week. Indeed, bye bye bye