WEBVTT - This Christmas with Miles Gray

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<v Speaker 1>On the bel Cast, the questions asked if movies have

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<v Speaker 1>women in them? Are all their discussions just boyfriends and husbands?

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<v Speaker 1>Do they have individualism? The patriarchy? Zef in best start

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<v Speaker 1>changing it with the Bedel Cast. Hello, and welcome to

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<v Speaker 1>the Bechtel Cast. My name is Caitlin Torante, my name

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<v Speaker 1>is Jamie Loftus, and this is a this is our

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<v Speaker 1>episode about um, well, it's about a lot of things.

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<v Speaker 1>What is it about? I don't know how many years

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<v Speaker 1>have we been doing this? Five years? What is it about? Really?

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<v Speaker 1>Who are we really? Jamie? Do you ever? Who am

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<v Speaker 1>I who? This is the thing that my my boyfriend

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<v Speaker 1>will say a lot. This is not passing the Bectel tests,

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<v Speaker 1>by the way, but something something my boyfriend will say

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<v Speaker 1>a lot about the podcast he likes. I'm like, well

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<v Speaker 1>what is that podcast? Like, what is the podcast about?

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<v Speaker 1>And he'll say something akin to like, well, it's about this,

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<v Speaker 1>but it's really about friendship. And I was like, Okay,

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<v Speaker 1>first of all, that's annoying. Second of all, maybe that's

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<v Speaker 1>what we'll say from now on. We're like, well, it's

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<v Speaker 1>technically about movies, but it's really more about our fringe.

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<v Speaker 1>That's so nice speaking, which I, uh, well, wait, we

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<v Speaker 1>should say what the podcast is. I was it's going

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<v Speaker 1>to be a countdown for me until we can start

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<v Speaker 1>talking about the parallels between Idris Elba's character in this

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<v Speaker 1>movie and Macavity. Oh my gosh, I had a lot

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<v Speaker 1>of a whole analog to how this movie is basically

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<v Speaker 1>the movie cats. He's basically well, I I didn't pick

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<v Speaker 1>that up, but I was like the Cavity energy. Anyways,

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<v Speaker 1>we should say what the podcast is. Okay, this is

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<v Speaker 1>our podcast about movies. We examine movies through an intersectional

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<v Speaker 1>feminist lens, using the Bechtel test simply as a way

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<v Speaker 1>to just inspire the concept of talking about film through

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<v Speaker 1>this lens. And Jamie, what on earth is the Bechtel test?

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<v Speaker 1>I don't know. Well, in this movie, it's when your

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<v Speaker 1>mom comes in your room when you're using a vibrator

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<v Speaker 1>and tells you that your career can't keep you warm

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<v Speaker 1>at night. But what it technically is, but it technically

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<v Speaker 1>is is it's a media metric invented by a queer cartoonist,

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<v Speaker 1>Allison Becktel, sometimes called back the Wallace test, that requires,

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<v Speaker 1>for our purposes that two people of a marginalized gender

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<v Speaker 1>with names speak to each other about something other than

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<v Speaker 1>a man. Uh and and most movies don't pass it.

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<v Speaker 1>And I would say holiday movies it gets even harder

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<v Speaker 1>to pass yeah, because everyone's like, why don't you have

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<v Speaker 1>a husband yet, daughter of mine? This a movie does?

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<v Speaker 1>I mean, this movie does. Like spoiler, this movie does

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<v Speaker 1>pass the backtel test. But there are some really funny ones,

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<v Speaker 1>um like when mcdeer comes in and says, your vibrator

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<v Speaker 1>isn't going to keep you warm at night, you know,

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<v Speaker 1>and she goes mom, and then you're like, well, I

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<v Speaker 1>guess maybe, but they talk about batteries, batteries, genderless icon batteries. True,

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<v Speaker 1>let's pay our guests in. Yes, we've returning guests. We've

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<v Speaker 1>we've rolled down the one am I saying, when the

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<v Speaker 1>what is the wording we use? We we've taken down

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<v Speaker 1>the embargo. Yes, we've we've unlocked the cage that we

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<v Speaker 1>keep all men on. Jesus, So I guess today returning

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<v Speaker 1>from you remember him from the Rock episode, which is

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<v Speaker 1>where a lot of running gags in our show were

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<v Speaker 1>born between Gregnant between his wife, lots of lots of gems.

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<v Speaker 1>You could say that the Rock episode was gregnant with

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<v Speaker 1>and gave birth to several running gags of the Bad

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<v Speaker 1>Book Cast. Anyway, The Ark was a very gregnant episode

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<v Speaker 1>ext eight months gregnant, that whole episode, much like this one.

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<v Speaker 1>There's a Gregnancy in this one. I was. I was like,

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<v Speaker 1>there's better be a Gregnancy in this movie. And you know,

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<v Speaker 1>thank god, it's a little late in the game, but

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<v Speaker 1>the Greatnescy comes through its present. Um and you know

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<v Speaker 1>him as one of the hosts of the Daily Zeitgeist.

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<v Speaker 1>It's Miles Gray. Oh, thank you so much for having me.

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<v Speaker 1>I'm I'm I'm truly honored to that you allowed me back.

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<v Speaker 1>When you even asked you like, hey, do you want

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<v Speaker 1>to talk about a movie on I was like, on

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<v Speaker 1>your podcast Bechdel Cast, where my sort is not allowed

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<v Speaker 1>At the moment, I was very confused, But you know what,

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<v Speaker 1>I'm honored that you have welcomed me back into the

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<v Speaker 1>kingdom and offered me safe passage through the cinematic universe. Um.

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<v Speaker 1>So yeah, it's always a pleasure. And I happen to

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<v Speaker 1>happen to people who I could talk to endlessly about

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<v Speaker 1>anything anyway, so it's hardly any kind of a task

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<v Speaker 1>for me. So when we decide, I mean, this is

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<v Speaker 1>the same. This is happening the same month that Alfred

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<v Speaker 1>Molina has been welcomed into the m c U. So,

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<v Speaker 1>you know, Miles Gray's no cannon in the bc U.

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<v Speaker 1>It takes two appearances to become canonically bc U. Thank

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<v Speaker 1>you so much. That's I feel honored. You know, Molina

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<v Speaker 1>it has re entered the m c U. Uh now

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<v Speaker 1>Miles Gray is entering the b c U. So it

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<v Speaker 1>feels like a new day from me, Miles, great Leon

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<v Speaker 1>has aunt is here. Also shout out to my sponsors

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<v Speaker 1>right theon that gave me, gave me twenty dollars to

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<v Speaker 1>change my last name. But it's worth it. That's incredible.

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<v Speaker 1>I mean, honestly, I think you could have gotten more.

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<v Speaker 1>I don't know. I didn't want to be greedy, you know,

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<v Speaker 1>I think, you know, little Company, a little mom and

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<v Speaker 1>pop organization, just destabilizing the whole sections of the earth. Um, Miles,

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<v Speaker 1>what is your relationship with this Christmas? Well, oddly enough,

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<v Speaker 1>which is the movie by the way, this one very

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<v Speaker 1>tortured relationship with this current Christmas, with this particular Christmas. Um,

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<v Speaker 1>I you know, oddly enough, it's a movie I've watched.

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<v Speaker 1>When it came out in two thousand seven, I was

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<v Speaker 1>in a really weird place at the time, getting off

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<v Speaker 1>of getting out of college to an economy that was

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<v Speaker 1>like vaporized, and then also like awful break up where

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<v Speaker 1>like I didn't know who the funk I was anymore.

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<v Speaker 1>So I was I was. I was watching a lot

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<v Speaker 1>of corn unplugged in the dark on my bean bag chair,

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<v Speaker 1>especially with with Amy from Evanescence comes out to do

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<v Speaker 1>freak on a leash um, So that was sort of like,

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<v Speaker 1>that's like the vibe I was operating in, so I

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<v Speaker 1>I So I watched it then, and oddly enough, when

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<v Speaker 1>you asked me about this Christmas, I was like, I

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<v Speaker 1>just watched it last night, like the night before you

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<v Speaker 1>had asked me about doing it, So it's I don't know,

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<v Speaker 1>it was just it's it's there. But I hadn't seen

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<v Speaker 1>it in years, so it was like going into it new, Sure, sure, Jamie,

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<v Speaker 1>what about you? Uh. Like many movies, I've seen like

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<v Speaker 1>chunks of this movie over the years on like T

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<v Speaker 1>n T and like when friends were watching it or

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<v Speaker 1>roommates were watching it, but I never like sat down

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<v Speaker 1>and watched the the entire thing, which, honestly, I mean

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<v Speaker 1>this movie really does like demand a hundred percent of

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<v Speaker 1>your attention if you're trying to follow. There's so many storylines.

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<v Speaker 1>It's like love that it's love actually level number of storylines,

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<v Speaker 1>but worse because they're all in the same house, and

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<v Speaker 1>you feel more like, well, I should know everyone because

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<v Speaker 1>we're not just like going across the country to these other,

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<v Speaker 1>like desperate story lines. I'm like, wait, is that a

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<v Speaker 1>kid or a boyfriend or a spouse of the There

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<v Speaker 1>are so many times where I'm like, did I miss something?

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<v Speaker 1>Do we not know who's who's? Like? What job does

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<v Speaker 1>this person have? Whose? Whose child is this? It took

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<v Speaker 1>me a second to figure out who. I thought that

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<v Speaker 1>it was Kelly's children for a second, but it turns

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<v Speaker 1>out it was Regina King's children, and then I was

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<v Speaker 1>like did I And then I went back. I'm like, no,

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<v Speaker 1>I was just supposed to know that. I was supposed

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<v Speaker 1>to know that, right right right. There's also like a

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<v Speaker 1>cousin Fred or something that shows up now and then,

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<v Speaker 1>but he's like not important at all, but important enough

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<v Speaker 1>to take shot at how many kids he has? Like

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<v Speaker 1>how many kids? For you? Guys six seven. Also Madere

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<v Speaker 1>has six children, Like, what is she passing judgment? At

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<v Speaker 1>least she had it with Senior. You know, I guess,

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<v Speaker 1>like I think they're trying to make it look like

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<v Speaker 1>Fred has a bunch of baby mommy. There's a lot

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<v Speaker 1>of weird, shitty tropes in here, but you know, it's

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<v Speaker 1>but that's what Christmas movies are about. It's usually not

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<v Speaker 1>a nuanced discussion of fucking anything. So and Chris Brown

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<v Speaker 1>is there. I really hate to see Chris Brown and there.

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<v Speaker 1>It was my pleasure to fast forward through all sixty

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<v Speaker 1>thousand Chris Brown musical Monton. Yes, credit to his manager

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<v Speaker 1>or agent who basically when they negotiated that was like

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<v Speaker 1>he will sing entire songs in this movie and you

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<v Speaker 1>will not edit them down one fucking bar. Because yeah,

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<v Speaker 1>Chris Brown, this is like I mean, and this is

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<v Speaker 1>sort of like shortly before his career and his like

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<v Speaker 1>he starts to really be called into question, right, because

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<v Speaker 1>that happened in the late two thousand's, But like, yeah,

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<v Speaker 1>that was like she's that was a nine. Nay, it

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<v Speaker 1>was after this movie, but I don't know exactly when, right, Yeah,

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<v Speaker 1>I don't. I mean, he was still you know there

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<v Speaker 1>he was still just had minimal tattoos. His neck wasn't

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<v Speaker 1>tatted yet. You can always tell like where you're at

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<v Speaker 1>because like as the tattoos fielding, and you're like, okay,

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<v Speaker 1>now we're getting into like scum Chris Brown phase. Um

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<v Speaker 1>so yeah, I don't know, it's he's he definitely brought

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<v Speaker 1>people into the theaters that Like when you look at

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<v Speaker 1>that line, if you're like, we're letting an algorithm tell

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<v Speaker 1>us how we're going to get as many asses into

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<v Speaker 1>the seats. Yeah, and he's so prominent on that. I

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<v Speaker 1>was looking at the posters where he's like takes up

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<v Speaker 1>a third of the poster even though there's twelve people

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<v Speaker 1>on the poster. Right right, it's like Chris Brown's this Christmas. Thankfully,

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<v Speaker 1>he's actually not in that much of it, like it's

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<v Speaker 1>mostly other people. But but almost every second he's on screen,

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<v Speaker 1>he's just singing, singing, singing. That said, I enjoyed this movie, Caitlin,

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<v Speaker 1>what's your history with this movie? I hadn't seen it before. Um,

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<v Speaker 1>I liked it, okay. But generally movies that are like

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<v Speaker 1>character driven, family narratives that don't really have a distinct

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<v Speaker 1>plot aren't really my type of movie, so it's not

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<v Speaker 1>a rump that's kind of rumpy. I would say that

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<v Speaker 1>Adris Elba's uh storyline is very rompy. It's like in

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<v Speaker 1>Ocean's eleven in the middle of a family movie. They

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<v Speaker 1>give you all kinds of you. They give you even

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<v Speaker 1>like Star Wars Daddy Issues reconciliation vibe. But there's also

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<v Speaker 1>there's like more melo drama than I enjoy in a movie.

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<v Speaker 1>So I'm just like I was here for it. I

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<v Speaker 1>love I love the melo drama. I'm it's a it's

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<v Speaker 1>generally a pass for me. But also and I don't

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<v Speaker 1>generally the only Christmas movie I like is Muppet Christmas Carol.

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<v Speaker 1>Every other one you liked print too, sort of did

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<v Speaker 1>you like? Have you seen New York Christmas Wedding? I

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<v Speaker 1>have not seen New York Christmas. The lgbt Q one

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<v Speaker 1>that like Netflix put out where it's basically this like

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<v Speaker 1>woman who's like about to get married to a man

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<v Speaker 1>is visited by an angel who sends her to a

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<v Speaker 1>parallel reality where she could have come out to her

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<v Speaker 1>best girlfriend that she was in love with and play

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<v Speaker 1>out a life where she would have just honored her

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<v Speaker 1>like feelings about her friend and had like this beautiful

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<v Speaker 1>love affair with this other woman. But then like the

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<v Speaker 1>thing ends and it's like all right, now choose. Oh

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<v Speaker 1>my god. It's like a very very weird way to

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<v Speaker 1>present that sort of quandary for a person of like

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<v Speaker 1>this angel being like, Okay, you want to test drive

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<v Speaker 1>this other version where you embrace this relationship. Maybe not,

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<v Speaker 1>but anyway, those are some steaks I didn't know that existed. Yeah,

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<v Speaker 1>check it out. I mean, because this is the thing

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<v Speaker 1>I love about Christmas movies is that they're so just.

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<v Speaker 1>They can be anything. They can be like sincere and

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<v Speaker 1>earnest and you're like, oh, this just happens to be

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<v Speaker 1>happening during Christmas. But for me, the best ones are

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<v Speaker 1>like absolute trash where there's so many plot holes and

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<v Speaker 1>you're being like, they didn't even think when they were

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<v Speaker 1>writing this. I for whatever reason, that's like a salve

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<v Speaker 1>on my like like tortured creator wounds and don't like

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<v Speaker 1>see people can get absolute shit made. It is like

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<v Speaker 1>if a Christmas movie took more than forty minutes to write,

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<v Speaker 1>it took too long period done. Michael Keaton's Jack Frost

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<v Speaker 1>took eleven minutes to write the entire screen. Yeah, that

0:12:27.760 --> 0:12:30.040
<v Speaker 1>movie was fully improvised. So I went to high school

0:12:30.080 --> 0:12:33.800
<v Speaker 1>with one of the snowboard bullies from that movie. Wait,

0:12:33.880 --> 0:12:37.839
<v Speaker 1>I think you've told us this before. That's iconic, that's incredible.

0:12:37.880 --> 0:12:40.840
<v Speaker 1>He was Unfortunately, that kid was living in his sister's shadow,

0:12:40.920 --> 0:12:43.720
<v Speaker 1>who played the daughter in Jack Frost, And he only

0:12:43.760 --> 0:12:46.160
<v Speaker 1>got the part because his sister was one of the leads,

0:12:46.200 --> 0:12:48.800
<v Speaker 1>and we made fun of like that's how toxic l

0:12:48.840 --> 0:12:50.800
<v Speaker 1>A School was, Like, dude, you only got it because

0:12:50.840 --> 0:12:52.599
<v Speaker 1>your sister was a lead fool and you barely You

0:12:52.600 --> 0:12:56.640
<v Speaker 1>don't even have like a U five part under five lines, um,

0:12:57.720 --> 0:13:01.600
<v Speaker 1>Like I don't know, wow, growing up in l A sense,

0:13:02.040 --> 0:13:04.800
<v Speaker 1>I mean yeah, I think it's also jealousy because he

0:13:04.840 --> 0:13:07.120
<v Speaker 1>also had like he like brought us snow. I feel

0:13:07.120 --> 0:13:10.040
<v Speaker 1>like he bought brought like a snowboard jacket from the

0:13:10.080 --> 0:13:12.640
<v Speaker 1>set to school in like the l A heat and

0:13:12.679 --> 0:13:15.040
<v Speaker 1>we're like, dude, we get it. So then we just

0:13:15.120 --> 0:13:17.679
<v Speaker 1>turned on him or like whatever, bro, your sister got

0:13:17.720 --> 0:13:21.920
<v Speaker 1>you the gig roll like a twelve and ship. Well.

0:13:21.920 --> 0:13:24.160
<v Speaker 1>One of the things I appreciate about this movie is

0:13:24.240 --> 0:13:28.000
<v Speaker 1>that there's l a Christmas representation because so many Christmas

0:13:28.040 --> 0:13:30.960
<v Speaker 1>movies take place in like New York or Chicago or

0:13:31.000 --> 0:13:33.040
<v Speaker 1>any other place where it's like cold and snow eat

0:13:33.080 --> 0:13:36.920
<v Speaker 1>during Christmas time. So I appreciated that you have just like,

0:13:37.160 --> 0:13:41.599
<v Speaker 1>you know, mild weather Christmas, like you know, yeah, like

0:13:41.800 --> 0:13:44.320
<v Speaker 1>Jacket's it, and you know, some people can overdo it.

0:13:44.360 --> 0:13:46.480
<v Speaker 1>I think it's like if it was truly Angelina, though,

0:13:46.679 --> 0:13:49.840
<v Speaker 1>we would be dressing like it was negative forty below

0:13:51.559 --> 0:13:54.480
<v Speaker 1>just fully costplay. Yeah, because like our Overton window in

0:13:54.559 --> 0:13:57.360
<v Speaker 1>terms of what's hot or cold is completely screwed up.

0:13:57.400 --> 0:14:00.360
<v Speaker 1>So we're like, yeah, what is it? It's below Vandy

0:14:00.559 --> 0:14:08.480
<v Speaker 1>where mittens right now? Oh? Good grief? Um, should I

0:14:08.559 --> 0:14:13.440
<v Speaker 1>do the recap story to the best of my ability? Yeah,

0:14:13.440 --> 0:14:15.240
<v Speaker 1>it's kind of a lot. There's a lot going on.

0:14:15.840 --> 0:14:17.480
<v Speaker 1>It's a lot curious how you're going to do it

0:14:17.520 --> 0:14:21.720
<v Speaker 1>with it and have it be very cogent and succinct. Yeah,

0:14:21.960 --> 0:14:24.600
<v Speaker 1>everything's happening, and yet nothing at all is happening. The

0:14:24.640 --> 0:14:28.200
<v Speaker 1>stakes from character to character are so wildly different that

0:14:28.520 --> 0:14:31.600
<v Speaker 1>like they're just like wait a second. There's like in

0:14:31.800 --> 0:14:34.520
<v Speaker 1>a wall pregnancy scandal, and then there's someone who's like

0:14:34.600 --> 0:14:38.920
<v Speaker 1>should I get back into the dating world, Like everyone

0:14:39.000 --> 0:14:41.760
<v Speaker 1>stas I got a camera, but mom doesn't like that

0:14:41.800 --> 0:14:46.000
<v Speaker 1>I sing? Are these steaks? And then like Rosalba is

0:14:46.040 --> 0:14:49.600
<v Speaker 1>like being beaten up in every same season. But Buddies

0:14:49.600 --> 0:14:54.440
<v Speaker 1>with his like transgressors. He's got to like they act

0:14:54.520 --> 0:14:57.760
<v Speaker 1>like middle school bullies, but they are like thirty eight

0:14:57.800 --> 0:15:00.760
<v Speaker 1>years old. They're like, yeah, moan, dude, They're gonna get me.

0:15:01.360 --> 0:15:04.120
<v Speaker 1>Like this sounds like a seventh grade problem that he's having.

0:15:04.360 --> 0:15:07.880
<v Speaker 1>I think Joe Biden wrote these characters. You know. It

0:15:08.040 --> 0:15:11.400
<v Speaker 1>was Mo and Dude, you know bad dudes, you know,

0:15:11.960 --> 0:15:16.160
<v Speaker 1>associates of corn Pop. Yeah, messing with my boy Quentin Jr.

0:15:16.200 --> 0:15:19.480
<v Speaker 1>Who was a jazz pianist. Like all right, Joe, this

0:15:19.600 --> 0:15:25.360
<v Speaker 1>sounds very contrived, Like all right, Grandpa, let's go to bed, right,

0:15:25.720 --> 0:15:31.000
<v Speaker 1>Um okay. So this Christmas the film is about the

0:15:31.000 --> 0:15:35.640
<v Speaker 1>wet Field family. Madear is the matriarch. She has six

0:15:35.720 --> 0:15:39.080
<v Speaker 1>sons and daughters who are all grown up and who

0:15:39.120 --> 0:15:41.840
<v Speaker 1>are all getting together for Christmas for the first time

0:15:41.840 --> 0:15:43.840
<v Speaker 1>in four years. And because this is a more kind

0:15:43.840 --> 0:15:48.120
<v Speaker 1>of character driven story than a plot driven story, my

0:15:48.400 --> 0:15:51.600
<v Speaker 1>recap might be kind of all over the place. So

0:15:52.080 --> 0:15:54.440
<v Speaker 1>just bear with me here. But um so, it's a

0:15:54.480 --> 0:15:58.520
<v Speaker 1>it's a few days before Christmas. Madear that's Loretta Divines

0:15:58.600 --> 0:16:02.800
<v Speaker 1>character lives in l A. She owns a dry cleaners,

0:16:03.040 --> 0:16:07.600
<v Speaker 1>and her romantic partner, Joe played by Delroy Lindo, is

0:16:07.680 --> 0:16:10.960
<v Speaker 1>the kind of step father figure to her kids, although

0:16:11.000 --> 0:16:13.200
<v Speaker 1>they are not married and a lot of them don't

0:16:13.240 --> 0:16:16.000
<v Speaker 1>know that Joe lives in the house with Madear, and

0:16:16.040 --> 0:16:19.720
<v Speaker 1>everyone's being very like two thousand and seven about it

0:16:19.920 --> 0:16:22.640
<v Speaker 1>in a way that is very weird to me. I

0:16:22.720 --> 0:16:25.480
<v Speaker 1>was just like, why can't just be happy for Medear?

0:16:25.600 --> 0:16:29.680
<v Speaker 1>Like why are we whatever? The main thing is like, well,

0:16:29.680 --> 0:16:32.160
<v Speaker 1>we'll get to this, but Quentin, you just Elba's character

0:16:32.200 --> 0:16:35.160
<v Speaker 1>hates Joe and like that's why she's like keeping into

0:16:35.200 --> 0:16:38.920
<v Speaker 1>secret anyway. It just Elba's character is secretly twelve years old.

0:16:39.000 --> 0:16:41.320
<v Speaker 1>That's like, my that's the only way I can rationalize

0:16:41.520 --> 0:16:43.720
<v Speaker 1>some of his some of his choices where he's like

0:16:43.880 --> 0:16:45.680
<v Speaker 1>I don't get it. Why aren't you married to my

0:16:45.800 --> 0:16:49.200
<v Speaker 1>dad anymore? And it's like, this is twelve year old culture.

0:16:49.280 --> 0:16:52.840
<v Speaker 1>This is not like oh and literally telling Joe you're

0:16:52.840 --> 0:16:58.240
<v Speaker 1>not my daddy. Oh okay, sir, we got that part

0:16:58.280 --> 0:17:00.400
<v Speaker 1>when we knew that. I think you're also in adult

0:17:00.520 --> 0:17:02.360
<v Speaker 1>and we don't need to talk like that right now,

0:17:02.840 --> 0:17:05.000
<v Speaker 1>right Like, I feel like people should come down. The

0:17:05.080 --> 0:17:09.520
<v Speaker 1>things that people come down Quentin hard for, like being

0:17:09.560 --> 0:17:12.120
<v Speaker 1>a musician, don't make sense. And the things that they

0:17:12.119 --> 0:17:16.000
<v Speaker 1>take really easy on him, like being aggressive towards Joe,

0:17:16.040 --> 0:17:19.400
<v Speaker 1>who has never done a thing. People are just like, well,

0:17:19.480 --> 0:17:22.159
<v Speaker 1>you know, he's sad about the divorce. You're like, he

0:17:22.200 --> 0:17:24.840
<v Speaker 1>needs to he needs to, you know, grow up, figure

0:17:24.880 --> 0:17:27.800
<v Speaker 1>out by by all measures. Quentin Senior sounds like a

0:17:27.840 --> 0:17:30.399
<v Speaker 1>piece of ship. If I was on the family to

0:17:30.480 --> 0:17:35.520
<v Speaker 1>be a fucking musician. Uh, that's not an honorable person.

0:17:35.800 --> 0:17:39.240
<v Speaker 1>Sorry so, but but again that's but that's the thing,

0:17:39.320 --> 0:17:41.720
<v Speaker 1>like we don't have these fucked up relationships with our parents,

0:17:41.760 --> 0:17:44.800
<v Speaker 1>and even though on paper it's bad, we still idolize

0:17:44.840 --> 0:17:48.119
<v Speaker 1>them and wrong. There's so much depth to that. It's true.

0:17:48.400 --> 0:17:51.399
<v Speaker 1>It's true. I like Joe. I like Joe too. I

0:17:51.440 --> 0:17:54.040
<v Speaker 1>love Delroy Lindo, you know, and whenever when he puts

0:17:54.040 --> 0:17:56.240
<v Speaker 1>a good performance, like it felt weird. He felt like

0:17:56.240 --> 0:18:00.080
<v Speaker 1>he was classing up the joint acting like I was like, oh,

0:18:00.359 --> 0:18:02.600
<v Speaker 1>you're too good right now, this is a little this

0:18:02.680 --> 0:18:04.840
<v Speaker 1>is a little bit of holiday trash, and you're like

0:18:05.320 --> 0:18:10.440
<v Speaker 1>earnest performances like Shakespearean wait to the whole thing, even

0:18:10.480 --> 0:18:12.240
<v Speaker 1>like when he would have it out with interest elbow,

0:18:12.280 --> 0:18:15.040
<v Speaker 1>these tense moments were like he's like, you probably should

0:18:15.040 --> 0:18:16.960
<v Speaker 1>stay away while I'm around, because you know, I don't

0:18:16.960 --> 0:18:18.080
<v Speaker 1>want you to hear what my mom is, Like why

0:18:18.080 --> 0:18:19.480
<v Speaker 1>don't you take that up with your mother? And he's like,

0:18:19.520 --> 0:18:21.639
<v Speaker 1>I will. And then del Roy Leno just does like

0:18:21.800 --> 0:18:25.080
<v Speaker 1>great like reaction acting when he's like yeah, like about

0:18:25.119 --> 0:18:27.919
<v Speaker 1>to say something, measures dials back and then goes on.

0:18:28.000 --> 0:18:31.880
<v Speaker 1>You're like, wow, okay, del Roy, he really that whole scene,

0:18:31.880 --> 0:18:33.760
<v Speaker 1>there's like just a scene where he's just hanging up

0:18:33.840 --> 0:18:37.080
<v Speaker 1>lights and getting a little frustrated, and I was captivated

0:18:39.240 --> 0:18:41.879
<v Speaker 1>because we're supposed to focus on what's happening in the background,

0:18:41.920 --> 0:18:44.520
<v Speaker 1>which is Kelly coming home from a one night stand

0:18:44.680 --> 0:18:48.320
<v Speaker 1>with McKay peiffer, who proceeds to stop her for the

0:18:48.359 --> 0:18:51.600
<v Speaker 1>rest of the movie, but in a cute way, but

0:18:51.680 --> 0:18:55.840
<v Speaker 1>in acute way when he's very suddenly like dressed up

0:18:55.880 --> 0:18:57.960
<v Speaker 1>as Santa with her niece and nephew, I'm like, this

0:18:58.040 --> 0:19:00.320
<v Speaker 1>is like this is the end of that story line.

0:19:00.359 --> 0:19:03.560
<v Speaker 1>And if we can't depin you, but we did in

0:19:03.560 --> 0:19:06.400
<v Speaker 1>the normal world. There's a text that's a girl. You're

0:19:06.400 --> 0:19:09.960
<v Speaker 1>not gonna believe this motherfucker showed up in Santa outfit.

0:19:10.080 --> 0:19:13.200
<v Speaker 1>I didn't even call him. I'm trying to get him

0:19:13.200 --> 0:19:16.280
<v Speaker 1>to leave right now. No, just the one time, not

0:19:16.440 --> 0:19:19.800
<v Speaker 1>since then. No, he brought gifts and ship too like

0:19:19.880 --> 0:19:22.240
<v Speaker 1>once they like as if he knew what they wanted.

0:19:22.280 --> 0:19:25.879
<v Speaker 1>This is you run even a cursory bushemy test on

0:19:25.960 --> 0:19:30.080
<v Speaker 1>that it all falls apart. Stu Bushemy comes the next

0:19:30.119 --> 0:19:34.320
<v Speaker 1>morning into Santa Suit. You're like, it's not going to

0:19:34.520 --> 0:19:38.040
<v Speaker 1>end well, You're like, get out of my house. Um, okay.

0:19:38.119 --> 0:19:41.720
<v Speaker 1>So we meet Madeer and Joe, we meet Baby. That's

0:19:41.760 --> 0:19:45.159
<v Speaker 1>Chris Brown's character. He is the youngest member of the family.

0:19:45.200 --> 0:19:47.440
<v Speaker 1>I think he's a senior in high school about to

0:19:47.440 --> 0:19:50.119
<v Speaker 1>graduate because he still lives it. They like make it

0:19:50.160 --> 0:19:52.480
<v Speaker 1>seem like he's still in high school right even though

0:19:52.520 --> 0:19:56.320
<v Speaker 1>he's yes, but he's acting like again, he's acting like

0:19:56.400 --> 0:19:58.840
<v Speaker 1>he's tent like he's always like hunched over like he

0:20:00.000 --> 0:20:02.280
<v Speaker 1>and also twenty five because like I'm singing at a

0:20:02.359 --> 0:20:10.040
<v Speaker 1>nightclub snuck out the age right. They never like, they

0:20:10.080 --> 0:20:13.120
<v Speaker 1>never specify really how old anyone is supposed to be,

0:20:13.320 --> 0:20:15.720
<v Speaker 1>which works to the movie's advantage because I'm like, I

0:20:15.800 --> 0:20:19.520
<v Speaker 1>don't know what I would believe. And then the rest

0:20:19.560 --> 0:20:23.320
<v Speaker 1>of the family starts to arrive at Madeir's house. Lisa

0:20:23.400 --> 0:20:28.480
<v Speaker 1>that's Regina King. She arrives with her husband, Malcolm that's

0:20:28.560 --> 0:20:32.520
<v Speaker 1>laz Alonso. They have two kids together, who could not

0:20:32.680 --> 0:20:36.760
<v Speaker 1>be in the movie less if they tried. That's fucked up.

0:20:36.880 --> 0:20:40.040
<v Speaker 1>It was weird. And another like moment when I was like,

0:20:40.119 --> 0:20:42.679
<v Speaker 1>I'm so fucking confused, like when I was watching it

0:20:42.800 --> 0:20:45.520
<v Speaker 1>last week and I'm like, wait, who, who the who's

0:20:45.560 --> 0:20:48.080
<v Speaker 1>fucking kids are these? And why are they being neglected

0:20:48.200 --> 0:20:51.360
<v Speaker 1>the whole film? Like they don't exist in the reality

0:20:51.359 --> 0:20:55.359
<v Speaker 1>of the film. The fact that they're even there is

0:20:55.480 --> 0:20:58.720
<v Speaker 1>introduced so late in the movie, and then I was

0:20:58.720 --> 0:21:02.400
<v Speaker 1>still like, wait, who whose kids are these? And then

0:21:02.440 --> 0:21:04.720
<v Speaker 1>you're like, oh, like, oh, okay, that makes sense that

0:21:05.560 --> 0:21:08.000
<v Speaker 1>I don't know. The way that they're introduced was very confusing,

0:21:08.040 --> 0:21:10.159
<v Speaker 1>and then they're like in the background of two scenes,

0:21:10.880 --> 0:21:14.240
<v Speaker 1>they don't even sit at the table, Like the table

0:21:15.040 --> 0:21:17.480
<v Speaker 1>I honestly thought in the first like soul Train dance

0:21:17.520 --> 0:21:19.760
<v Speaker 1>line that they did as a family, Like when Quinn

0:21:19.800 --> 0:21:21.719
<v Speaker 1>comes home and one of the kids was there, I

0:21:21.800 --> 0:21:25.400
<v Speaker 1>honestly thought it was an intruder. I was like, who

0:21:25.440 --> 0:21:27.600
<v Speaker 1>the funk is? And like, y'all aren't really you're just

0:21:27.600 --> 0:21:30.359
<v Speaker 1>gonna act like okay whatever. I'm like, this family is

0:21:30.400 --> 0:21:34.640
<v Speaker 1>on some other ship. You know, those infamous child intruders. Yeah,

0:21:34.640 --> 0:21:37.919
<v Speaker 1>I don't know exactly. I'm like, Yo, one of these

0:21:37.960 --> 0:21:40.560
<v Speaker 1>little cutesy thieves is in your house on Christmas. You've

0:21:40.560 --> 0:21:42.920
<v Speaker 1>seen this a hundred times. You know the script already,

0:21:43.000 --> 0:21:47.720
<v Speaker 1>that classic Christmas troupe. Hey, it's me, your other little grandchild.

0:21:47.960 --> 0:21:51.399
<v Speaker 1>You're gonna take the presents, you ink. I don't know

0:21:51.400 --> 0:21:53.640
<v Speaker 1>why they talked again New York Burglar from the twenties,

0:21:53.680 --> 0:22:01.040
<v Speaker 1>but given Adris Elba's character, you know, I believe almost anything, right, Okay.

0:22:01.040 --> 0:22:04.720
<v Speaker 1>So then we also meet Kelly. That's Sharon Leal. She

0:22:05.359 --> 0:22:09.320
<v Speaker 1>works in New York. I think in advertising. She went

0:22:09.359 --> 0:22:12.040
<v Speaker 1>to Harvard. Her main thing is that she's a terrible cook.

0:22:12.400 --> 0:22:15.040
<v Speaker 1>A lot of jokes are made at her expense about

0:22:15.040 --> 0:22:17.560
<v Speaker 1>her being really bad at cooking. Don't forget she also

0:22:17.640 --> 0:22:20.440
<v Speaker 1>has a vibrator, and she has a vibrator. Yes, she's

0:22:20.480 --> 0:22:23.600
<v Speaker 1>one of those Harvard non cooking knows how to pleasure

0:22:23.640 --> 0:22:28.240
<v Speaker 1>herself types. Huh, a modern feminist think. But we're told

0:22:28.600 --> 0:22:31.159
<v Speaker 1>we don't like that. She's gotta she's gotta marry the

0:22:31.200 --> 0:22:35.680
<v Speaker 1>first Santa she has sex with. Right, Look, you beggars

0:22:35.720 --> 0:22:38.359
<v Speaker 1>can't be choosers, especially when you suck up making cool aid.

0:22:38.600 --> 0:22:42.200
<v Speaker 1>The fact the fact that she's literally like a Harvard

0:22:42.440 --> 0:22:45.600
<v Speaker 1>grad who happens to be single and doesn't seem to

0:22:45.600 --> 0:22:47.159
<v Speaker 1>be bothered by it, And the movie is like, m

0:22:47.600 --> 0:22:54.320
<v Speaker 1>she's gonna start dating Santa. You're just like, what, yeah,

0:22:55.600 --> 0:22:58.119
<v Speaker 1>for this character, what you're laying out for me? I

0:22:58.160 --> 0:23:00.800
<v Speaker 1>do like that they did honor the trope of talking

0:23:00.800 --> 0:23:04.080
<v Speaker 1>about Harvard all the time, because like it's one thing

0:23:04.119 --> 0:23:06.960
<v Speaker 1>like when a black person goes to Harvard, it's always talked.

0:23:07.080 --> 0:23:10.360
<v Speaker 1>It will never not be spoken about. So I really

0:23:10.400 --> 0:23:13.600
<v Speaker 1>appreciated how like Harvard was constantly getting beat over the

0:23:13.640 --> 0:23:15.760
<v Speaker 1>head once in the same way. Like, and I think

0:23:15.760 --> 0:23:18.720
<v Speaker 1>in like more like white culture that it's the trope

0:23:18.760 --> 0:23:21.840
<v Speaker 1>of I went to school in Cambridge or what is it, Boston,

0:23:21.920 --> 0:23:24.000
<v Speaker 1>went to school in Boston what's the vague thing that

0:23:24.040 --> 0:23:25.720
<v Speaker 1>people say, did not say they went to Harvard to

0:23:26.119 --> 0:23:31.800
<v Speaker 1>small college in Boston. Okay, well, this feels like a

0:23:31.840 --> 0:23:33.879
<v Speaker 1>great time to bring up that I went to a

0:23:33.880 --> 0:23:36.520
<v Speaker 1>school in Boston. It's called Boston University, and I did

0:23:36.560 --> 0:23:40.240
<v Speaker 1>get a master's degree in screenwriting from that institution. But

0:23:40.320 --> 0:23:44.439
<v Speaker 1>I would never bring that up never. What did you

0:23:44.480 --> 0:23:46.879
<v Speaker 1>think of some of the writing? Sorry to derail you.

0:23:47.040 --> 0:23:49.040
<v Speaker 1>I know we're still doing this synopsis, but there are

0:23:49.040 --> 0:23:51.120
<v Speaker 1>some lines of dialogue that I was like, there were

0:23:51.280 --> 0:23:55.040
<v Speaker 1>some head scratchers there. I had some fun ones that

0:23:55.520 --> 0:23:59.560
<v Speaker 1>The writing to me was pretty decent. I think I

0:23:59.560 --> 0:24:02.240
<v Speaker 1>would say some of the soundtrack choices were what we're

0:24:02.280 --> 0:24:06.199
<v Speaker 1>really puzzling to me? Yeah, Well, the interesting thing is

0:24:06.240 --> 0:24:10.000
<v Speaker 1>that Marcus Miller was the was the person in charge

0:24:10.040 --> 0:24:14.520
<v Speaker 1>of music. And Marcus Miller is like, oh fucking well,

0:24:14.560 --> 0:24:18.320
<v Speaker 1>well respected jazz musician um and like played with like

0:24:18.400 --> 0:24:21.639
<v Speaker 1>Miles Davis and Ship. So when I saw that pop up,

0:24:21.640 --> 0:24:24.720
<v Speaker 1>I was like, Ship, Marcus Miller is like the fucking

0:24:24.840 --> 0:24:27.920
<v Speaker 1>musical director. Like he's a talented bassist. But it had

0:24:27.960 --> 0:24:32.479
<v Speaker 1>that like stale jazz brunchie vibe to the soundtrack. It

0:24:32.560 --> 0:24:34.399
<v Speaker 1>was very Yeah. I was kind of I was like,

0:24:34.440 --> 0:24:36.320
<v Speaker 1>I don't know how much of this is like two

0:24:36.400 --> 0:24:40.480
<v Speaker 1>thousand and seven talking, but it just it did sound

0:24:40.600 --> 0:24:45.000
<v Speaker 1>very like generic. I had my favorite line um was

0:24:45.240 --> 0:24:48.600
<v Speaker 1>there because I generally like I thought, I mean, it's

0:24:48.640 --> 0:24:51.840
<v Speaker 1>super tropy, but whatever, it's a Christmas movie. But my

0:24:51.920 --> 0:24:56.800
<v Speaker 1>favorite line that was bad was anytime Malcolm, the like

0:24:56.920 --> 0:25:00.119
<v Speaker 1>cheating husband is talking. The way he talks is so

0:25:00.359 --> 0:25:03.159
<v Speaker 1>business vague in a way that I thought was really funny,

0:25:03.160 --> 0:25:06.800
<v Speaker 1>where he's like, at some point, like Kelly realizes that

0:25:07.040 --> 0:25:10.679
<v Speaker 1>he's cheating on her sister, and he's like, you know,

0:25:10.760 --> 0:25:14.200
<v Speaker 1>I gotta fly back to San Francisco signed some papers.

0:25:14.359 --> 0:25:18.320
<v Speaker 1>It's business. There's a sentence and then he says on

0:25:18.320 --> 0:25:23.720
<v Speaker 1>the phone, I'm in escrow. Let him know he's doing deals. Man,

0:25:24.040 --> 0:25:28.800
<v Speaker 1>he's in escrow himself right now. Sorry, I'm in escrow

0:25:28.880 --> 0:25:31.240
<v Speaker 1>right now. Probably when I get out, Like it sounds

0:25:31.240 --> 0:25:33.760
<v Speaker 1>like business to me. I don't know the other thing

0:25:33.800 --> 0:25:36.040
<v Speaker 1>he said I was. I think when we were talking

0:25:36.080 --> 0:25:37.520
<v Speaker 1>off Mike the other day, j B. I was like,

0:25:37.760 --> 0:25:41.800
<v Speaker 1>there's some business investment tropes or just takes that are

0:25:41.840 --> 0:25:45.920
<v Speaker 1>just really weird where Malcolm says that buying a Cadillac

0:25:46.160 --> 0:25:49.080
<v Speaker 1>Escalade is a good investment. And that was like the

0:25:49.119 --> 0:25:51.639
<v Speaker 1>most two thousand seven shift I've ever heard, was like

0:25:52.640 --> 0:25:56.160
<v Speaker 1>a good investment. I'm like, that is not appreciating in value.

0:25:56.440 --> 0:25:59.040
<v Speaker 1>How is that a good investment in any way? It's

0:25:59.080 --> 0:26:03.760
<v Speaker 1>also like one the most famous like gas guzzlers. Yeah. Well,

0:26:03.800 --> 0:26:07.000
<v Speaker 1>I think also for me to at that time pulling

0:26:07.080 --> 0:26:10.840
<v Speaker 1>up an escalade, there there was no higher vehicle in

0:26:10.880 --> 0:26:13.400
<v Speaker 1>black culture, you know, like a Cadillac and then big

0:26:13.440 --> 0:26:16.960
<v Speaker 1>body SUV Cadillac. But I just love that he was

0:26:17.000 --> 0:26:20.120
<v Speaker 1>so like insistent in that seems like damn, I've got

0:26:19.760 --> 0:26:23.439
<v Speaker 1>the good investment. I'm just like, that's don't even have

0:26:23.480 --> 0:26:26.000
<v Speaker 1>a character say that out loud. The car is not

0:26:26.080 --> 0:26:27.920
<v Speaker 1>an investment unless it's like to get you to and

0:26:28.000 --> 0:26:31.680
<v Speaker 1>from work or some kind of classic car. Right. Yeah.

0:26:31.720 --> 0:26:35.080
<v Speaker 1>I suppose there's some questionable writing choices. I think, like store,

0:26:35.160 --> 0:26:39.159
<v Speaker 1>like the emotional arc of different characters. Yeah, but that

0:26:39.440 --> 0:26:42.480
<v Speaker 1>is fun the Yeah, there there were a few things

0:26:42.480 --> 0:26:44.880
<v Speaker 1>here that were kind of like, oh, this happens right

0:26:44.920 --> 0:26:48.200
<v Speaker 1>before a big recession, and you can kind of see

0:26:49.440 --> 0:26:51.479
<v Speaker 1>You're like, oh, I don't know how this ends, and

0:26:51.640 --> 0:26:54.240
<v Speaker 1>how does this where you know, where are the wit

0:26:54.359 --> 0:26:56.840
<v Speaker 1>Fields in two thousand nine? We never we don't know.

0:26:56.960 --> 0:27:00.720
<v Speaker 1>He didn't get a sequel. Yeah yet, I mean maybe

0:27:00.720 --> 0:27:02.840
<v Speaker 1>they had they sold their business just to get liquid.

0:27:03.480 --> 0:27:06.919
<v Speaker 1>That's true. That's true, right, and let's see that's a

0:27:06.920 --> 0:27:08.600
<v Speaker 1>follow up. We don't want we don't need that. Yeah,

0:27:08.640 --> 0:27:10.159
<v Speaker 1>it's like, I don't want to know they live in

0:27:10.200 --> 0:27:14.040
<v Speaker 1>two thousand seven forever for me, Like what if they're

0:27:14.080 --> 0:27:19.479
<v Speaker 1>like yeah? And then baby became Chris Brown. Also at

0:27:19.520 --> 0:27:21.480
<v Speaker 1>the end of the movie where there's a really long

0:27:21.560 --> 0:27:23.320
<v Speaker 1>dance sequence and then you're like, oh, it's not even

0:27:23.359 --> 0:27:26.359
<v Speaker 1>the characters anymore. It's just it's just the actors. It

0:27:26.400 --> 0:27:28.280
<v Speaker 1>took me a second because I was like, they just

0:27:28.320 --> 0:27:30.480
<v Speaker 1>did someone just accidentally call him Chris? I was like, oh, no,

0:27:30.520 --> 0:27:32.840
<v Speaker 1>I guess we're just actors now. Yeah. It's just like

0:27:32.920 --> 0:27:35.040
<v Speaker 1>it's like like the end of a play where the

0:27:35.040 --> 0:27:37.280
<v Speaker 1>cast comes out and gives like a like a fun bow.

0:27:37.720 --> 0:27:39.439
<v Speaker 1>Was like the movie equivalent, like let's do all do

0:27:39.480 --> 0:27:41.880
<v Speaker 1>some dancing. And then I feel like I was kind

0:27:41.880 --> 0:27:43.800
<v Speaker 1>of turning up the volume because I feel like there

0:27:43.880 --> 0:27:46.439
<v Speaker 1>was some like ship talking going on. I'm gonna have

0:27:46.480 --> 0:27:48.160
<v Speaker 1>to watch that again. But there was a moment where

0:27:48.160 --> 0:27:50.040
<v Speaker 1>I feel like someone made fun of someone else is

0:27:50.119 --> 0:27:51.719
<v Speaker 1>dancing and they're like, I don't give a fuck like

0:27:52.000 --> 0:27:54.480
<v Speaker 1>someone I felt like there was an exchange like that,

0:27:54.600 --> 0:27:56.240
<v Speaker 1>whereas I was like, oh, wow, you're really doing It's like,

0:27:56.320 --> 0:27:57.960
<v Speaker 1>come on, I'm sucking trying. Like there was like a

0:27:58.040 --> 0:28:01.080
<v Speaker 1>dismissive grunt that I think is audible. A cast at

0:28:01.080 --> 0:28:04.040
<v Speaker 1>that large you have to think that like there has

0:28:04.080 --> 0:28:07.800
<v Speaker 1>to be like some pairing that doesn't work well when

0:28:07.800 --> 0:28:09.720
<v Speaker 1>there's a cast of over ten people, You're like, okay,

0:28:09.800 --> 0:28:12.240
<v Speaker 1>two of these people don't like each other, right, but

0:28:12.280 --> 0:28:16.040
<v Speaker 1>you just never know who like Lauren London and Delroy

0:28:16.119 --> 0:28:21.800
<v Speaker 1>Lindo hate each other there. Well, I feel like Delroy

0:28:21.920 --> 0:28:24.919
<v Speaker 1>Lindo still sends everyone Christmas cards. He just seems like

0:28:24.960 --> 0:28:28.080
<v Speaker 1>he would. Oh he seems like a you know, as

0:28:28.119 --> 0:28:32.520
<v Speaker 1>you're like, they come visit me, man, Please visit me anytime,

0:28:32.800 --> 0:28:39.960
<v Speaker 1>Please come visit me. Remember that movie from thirteen years ago? Yeah,

0:28:40.720 --> 0:28:42.120
<v Speaker 1>I was just I was just telling you. I was

0:28:42.120 --> 0:28:43.440
<v Speaker 1>just calling you have to tell you how much I

0:28:43.480 --> 0:28:47.280
<v Speaker 1>like the Five Bloods. Yeah. Remember this Christmas Man? You

0:28:47.280 --> 0:28:49.800
<v Speaker 1>said we were going to hang out after that. I

0:28:49.840 --> 0:28:53.000
<v Speaker 1>know you're busy. No, it's fine, it's fine, it's fine,

0:28:53.000 --> 0:28:54.160
<v Speaker 1>it's fine, And you don't want to hang out with

0:28:54.160 --> 0:28:58.960
<v Speaker 1>an old guy like me. You know, I was in Congo.

0:28:59.240 --> 0:29:02.640
<v Speaker 1>He played a very weird like everything, like like central

0:29:02.680 --> 0:29:07.880
<v Speaker 1>African general in it. Anyway, I digress. Yeah, let's return

0:29:07.960 --> 0:29:13.280
<v Speaker 1>to the Actually, let's take a quick break first and

0:29:13.320 --> 0:29:22.480
<v Speaker 1>then we will come right back. Um. So next to

0:29:22.560 --> 0:29:27.120
<v Speaker 1>come home as Claude. That's Columbus Short. He's in the military.

0:29:27.960 --> 0:29:30.000
<v Speaker 1>I think that's really all we learned about him for

0:29:30.040 --> 0:29:34.520
<v Speaker 1>a while. Then Mel that's Lauren London, comes home. She's

0:29:34.560 --> 0:29:38.040
<v Speaker 1>in college studying pre law. She brings home her boyfriend Devon.

0:29:38.720 --> 0:29:42.640
<v Speaker 1>And then last to arrive is Quentin Idris Elba's character.

0:29:42.800 --> 0:29:46.959
<v Speaker 1>He's a jazz musician who we've seen get into like

0:29:47.040 --> 0:29:52.120
<v Speaker 1>a brawl prior to this birth breakaway glass in the

0:29:52.160 --> 0:29:55.600
<v Speaker 1>first scene, like he smashes a bottle over someone's face

0:29:56.240 --> 0:30:00.960
<v Speaker 1>and then jumps up window. You're like, oh, this mcavity.

0:30:02.080 --> 0:30:05.160
<v Speaker 1>I remember I was watching with her Majesty, and we

0:30:05.360 --> 0:30:07.800
<v Speaker 1>paused it after that because we're like, is this a

0:30:07.960 --> 0:30:10.720
<v Speaker 1>Christmas movie? He just glassed the guy in a club

0:30:11.400 --> 0:30:14.360
<v Speaker 1>and ran for his life, like it had the didn't

0:30:14.520 --> 0:30:17.760
<v Speaker 1>I mean, I guess the jazzy Christmas piano would give

0:30:17.800 --> 0:30:20.480
<v Speaker 1>you a hint, but like it had the oddest energy

0:30:20.560 --> 0:30:23.400
<v Speaker 1>for the opening for Christmas pilem. It was such a

0:30:23.600 --> 0:30:27.280
<v Speaker 1>weird that being the first scene really does not set

0:30:27.360 --> 0:30:31.040
<v Speaker 1>you up for it establishes the tone that does not

0:30:31.800 --> 0:30:35.760
<v Speaker 1>maintain itself throughout the kind of you don't know, what

0:30:35.840 --> 0:30:38.840
<v Speaker 1>would you say, doctor Durante about the writing there, or

0:30:38.960 --> 0:30:41.880
<v Speaker 1>what would Robert McKee say as such heavy handed ex

0:30:42.000 --> 0:30:48.720
<v Speaker 1>please call me Master Durante, And I would say that

0:30:49.560 --> 0:30:51.960
<v Speaker 1>the point of attack of a film, which is like

0:30:52.080 --> 0:30:55.120
<v Speaker 1>basically the opening, what how we opened the story? How

0:30:55.760 --> 0:30:58.240
<v Speaker 1>the world and the characters are first introduced to the

0:30:58.360 --> 0:31:01.200
<v Speaker 1>audience generally does a few important things, and one of

0:31:01.240 --> 0:31:04.960
<v Speaker 1>those things is to establish tone. And would you establish

0:31:05.000 --> 0:31:09.000
<v Speaker 1>a tone that then is deviated from for the rest

0:31:09.040 --> 0:31:12.120
<v Speaker 1>of the story. It's a bit jarring. But what if

0:31:12.240 --> 0:31:14.760
<v Speaker 1>Mo and Dude come back every once in a while

0:31:15.040 --> 0:31:18.760
<v Speaker 1>and say, hey, remember us punch? Punch? Is that nice?

0:31:19.200 --> 0:31:22.000
<v Speaker 1>Is that word that provides a little bit more fluidity

0:31:22.280 --> 0:31:26.719
<v Speaker 1>and consistency? However, it is I will say, a strange

0:31:26.800 --> 0:31:29.240
<v Speaker 1>choice as a way to open the film I'm glad

0:31:29.280 --> 0:31:32.200
<v Speaker 1>to know that was verified by someone with a master's degree.

0:31:32.480 --> 0:31:36.800
<v Speaker 1>You're welcome. Um okay. So now the whole family is there.

0:31:37.400 --> 0:31:39.800
<v Speaker 1>So this is like the first evening they're all there together,

0:31:39.960 --> 0:31:43.600
<v Speaker 1>and this is where the drama really starts to ramp up. Um.

0:31:44.240 --> 0:31:47.280
<v Speaker 1>Part of it is that Kelly has a strained relationship

0:31:47.520 --> 0:31:51.440
<v Speaker 1>with Lisa. She thinks that Lisa is weak willed and

0:31:51.560 --> 0:31:56.880
<v Speaker 1>easily influenced and is too accommodating to her shitty husband, Malcolm,

0:31:57.080 --> 0:32:00.560
<v Speaker 1>who Kelly openly hates. And that's one of my favorite

0:32:00.600 --> 0:32:03.480
<v Speaker 1>aspects of this movie is how open, openly hateful she

0:32:03.760 --> 0:32:08.680
<v Speaker 1>is to Malcolm, right to his face. So meanwhile, Lisa

0:32:08.800 --> 0:32:12.560
<v Speaker 1>wants to sell Madear's dry cleaning business, and this is

0:32:12.600 --> 0:32:15.400
<v Speaker 1>an idea that we realized that Malcolm put her up to.

0:32:16.080 --> 0:32:19.000
<v Speaker 1>No one else is really on board for this idea,

0:32:19.320 --> 0:32:21.000
<v Speaker 1>but this is kind of like a running thing throughout

0:32:21.000 --> 0:32:25.440
<v Speaker 1>the movie. Um Quentin hasn't seen his family in four years,

0:32:25.680 --> 0:32:29.000
<v Speaker 1>and probably the main reason that he came home this

0:32:29.160 --> 0:32:31.920
<v Speaker 1>time was that he is on the run from these

0:32:32.000 --> 0:32:35.040
<v Speaker 1>bookies who he owes twenty five dollars too, and so

0:32:35.200 --> 0:32:38.280
<v Speaker 1>he's like in hiding at his mom's house and the

0:32:38.400 --> 0:32:41.800
<v Speaker 1>reason he's estranged from his family is one of my

0:32:42.000 --> 0:32:46.480
<v Speaker 1>favorite bizarre specifics about this movie, which is that because

0:32:47.120 --> 0:32:51.280
<v Speaker 1>Quentin Senr ditched the family to go be a musician,

0:32:51.760 --> 0:32:54.400
<v Speaker 1>Madear feels that there is a bit of of a

0:32:54.720 --> 0:32:58.880
<v Speaker 1>music musician related curse on her life that if any

0:32:58.920 --> 0:33:01.840
<v Speaker 1>of the men in her life even go go with him,

0:33:02.000 --> 0:33:06.000
<v Speaker 1>I think canonically, within like six ft of a piano,

0:33:06.680 --> 0:33:10.400
<v Speaker 1>um that they will abandon her. And um. So she's

0:33:10.400 --> 0:33:12.960
<v Speaker 1>so it's it's almost she's like a little bit of

0:33:13.240 --> 0:33:16.360
<v Speaker 1>like foot loose when it comes to women playing music.

0:33:16.920 --> 0:33:20.160
<v Speaker 1>It's like, this is the movie Coco. I was like,

0:33:20.280 --> 0:33:26.360
<v Speaker 1>did Cocoa see this Christmas and lift that very Cocoa

0:33:26.480 --> 0:33:31.720
<v Speaker 1>famously wrote the movie Cocos. But I was watching this,

0:33:31.800 --> 0:33:34.280
<v Speaker 1>I was like, wait a minute, Miguel from Coco, this

0:33:34.480 --> 0:33:38.120
<v Speaker 1>is like his whole problem. His his like a matriarch

0:33:38.240 --> 0:33:41.760
<v Speaker 1>and his family was abandoned by a musician. And she

0:33:41.920 --> 0:33:44.280
<v Speaker 1>thinks that there's like this now, this music curse on

0:33:44.400 --> 0:33:47.160
<v Speaker 1>the family. So she forbids anyone in the family from

0:33:47.240 --> 0:33:50.480
<v Speaker 1>like playing music or singing or doing anything. And I

0:33:50.600 --> 0:33:54.720
<v Speaker 1>was like, wait a minute, there's there's a parallel here anyway,

0:33:56.480 --> 0:34:01.000
<v Speaker 1>it truly is. And then so Quentin has a strained

0:34:01.040 --> 0:34:04.080
<v Speaker 1>relationship and part of it is is what we just described,

0:34:04.320 --> 0:34:08.560
<v Speaker 1>this um kind of music related curse that Madear perceives

0:34:08.640 --> 0:34:11.759
<v Speaker 1>to be on the family because like Quentin has kind

0:34:11.800 --> 0:34:16.480
<v Speaker 1>of followed in his father's footsteps as a musician. Um. Okay,

0:34:16.560 --> 0:34:19.520
<v Speaker 1>So then everyone goes to a club that night. I

0:34:19.560 --> 0:34:22.600
<v Speaker 1>think we're two nights before Christmas at this point. Um,

0:34:22.719 --> 0:34:26.319
<v Speaker 1>and a lot of stuff goes down at this club. Um,

0:34:26.440 --> 0:34:30.120
<v Speaker 1>it starts, all goes down. It starts with Claude wanting

0:34:30.160 --> 0:34:33.600
<v Speaker 1>to go there to meet someone in secret, and we

0:34:34.000 --> 0:34:38.120
<v Speaker 1>realize that this person is a girlfriend or it turns

0:34:38.120 --> 0:34:42.399
<v Speaker 1>out that she's his wife and he's kind of keeping

0:34:42.480 --> 0:34:46.920
<v Speaker 1>her a secret with an eye and the implication is

0:34:47.000 --> 0:34:49.760
<v Speaker 1>that he's keeping her a secret from his family because

0:34:49.840 --> 0:34:54.360
<v Speaker 1>she is white. But all his siblings tag along to

0:34:55.000 --> 0:34:58.919
<v Speaker 1>this club outing, so he still has to like hush,

0:34:59.239 --> 0:35:02.080
<v Speaker 1>like he's like, oh home, Sandy, go back to the

0:35:02.160 --> 0:35:05.000
<v Speaker 1>hotel and by home. Yeah, it takes a I feel

0:35:05.040 --> 0:35:08.440
<v Speaker 1>like was I not watching carefully enough or does it

0:35:08.520 --> 0:35:10.759
<v Speaker 1>take a really long time to figure out what their

0:35:10.840 --> 0:35:14.839
<v Speaker 1>relationship actually is, because at first it's like it took

0:35:14.880 --> 0:35:17.400
<v Speaker 1>me a while to figure out that she was his wife,

0:35:18.280 --> 0:35:21.120
<v Speaker 1>and then and then also he's like making her live

0:35:21.200 --> 0:35:24.000
<v Speaker 1>in a hotel. Like it just took me a long

0:35:24.080 --> 0:35:27.799
<v Speaker 1>time to figure out what exactly the situation was there,

0:35:28.480 --> 0:35:31.879
<v Speaker 1>and that whole storyline is so fucking bizarre. I wasn't

0:35:31.960 --> 0:35:34.600
<v Speaker 1>sure what I was like. At first, I was like, oh,

0:35:34.880 --> 0:35:37.320
<v Speaker 1>is he like, is he has like a lover? That

0:35:37.800 --> 0:35:39.680
<v Speaker 1>clearly I was like, there's a lover. And then I

0:35:39.800 --> 0:35:42.439
<v Speaker 1>forgot that it was a white woman, and I was like, oh, ship, okay,

0:35:42.480 --> 0:35:45.160
<v Speaker 1>does this have some like LGBTQ flavor? And then I

0:35:45.239 --> 0:35:47.799
<v Speaker 1>was like, all right, this is a black Christmas film,

0:35:47.880 --> 0:35:52.040
<v Speaker 1>so we're gonna go into she is white, a white woman.

0:35:52.680 --> 0:35:54.919
<v Speaker 1>He's meeting up at the club, and I honestly thought

0:35:55.000 --> 0:35:57.320
<v Speaker 1>it was it felt like groupie ish or something like

0:35:57.520 --> 0:35:59.920
<v Speaker 1>not a relationship because it's like, go to the hotel,

0:36:00.400 --> 0:36:02.840
<v Speaker 1>I will meet you. Yeah, it seems like a casual.

0:36:03.120 --> 0:36:06.200
<v Speaker 1>I was not getting white. I was like, oh, oh,

0:36:06.320 --> 0:36:09.279
<v Speaker 1>he's dating a white girl. But then it was like, no,

0:36:09.560 --> 0:36:11.680
<v Speaker 1>she's his wife and she's pregnant and she lives in

0:36:11.719 --> 0:36:17.600
<v Speaker 1>a hotel. You're like why here? What? Yeah, that whole

0:36:17.640 --> 0:36:20.560
<v Speaker 1>storyline was baffling to me. Also, shout out to the

0:36:20.719 --> 0:36:23.000
<v Speaker 1>l Ray Theater where that club is, because it's like

0:36:23.200 --> 0:36:26.719
<v Speaker 1>every fucking movie, like like in l a like, it's

0:36:26.760 --> 0:36:29.040
<v Speaker 1>always like it fucked up people's idea of what a

0:36:29.200 --> 0:36:31.600
<v Speaker 1>nightclub was, which is basically just being like we can

0:36:31.680 --> 0:36:33.719
<v Speaker 1>basically only shoot at the l Ray Theater. Like in

0:36:33.800 --> 0:36:36.960
<v Speaker 1>the Mask where he does like his like cocoa bongo thing.

0:36:37.040 --> 0:36:38.800
<v Speaker 1>I think it's the l Ray too. It's just a

0:36:39.440 --> 0:36:43.359
<v Speaker 1>iconic theater, which I in my mind was weird. That's

0:36:43.360 --> 0:36:46.240
<v Speaker 1>set up with like stages, like a stage and tables

0:36:46.440 --> 0:36:49.360
<v Speaker 1>is what I thought a nightclub was from like movies

0:36:49.400 --> 0:36:51.160
<v Speaker 1>in the nineties that were shooting at the l Ray

0:36:51.280 --> 0:36:53.080
<v Speaker 1>and then you went to one, You're like, oh no,

0:36:53.280 --> 0:36:55.520
<v Speaker 1>it's a it's a really just shitty big room with

0:36:55.920 --> 0:36:59.279
<v Speaker 1>couches in the corner. It stinks. Yeah, you can't you

0:36:59.360 --> 0:37:03.560
<v Speaker 1>can't smell a building on in a movie. Unfortunately, No,

0:37:04.840 --> 0:37:07.880
<v Speaker 1>that could change. But when I'm done in this industry,

0:37:08.080 --> 0:37:10.279
<v Speaker 1>that's all going to be a little different. There was

0:37:10.360 --> 0:37:13.160
<v Speaker 1>like a smell a vision thing in in theaters for

0:37:13.200 --> 0:37:15.799
<v Speaker 1>a while. It was wildly unsuccessful, but I learned about

0:37:15.800 --> 0:37:18.880
<v Speaker 1>it in film history class. Really. I remember in the

0:37:19.080 --> 0:37:22.560
<v Speaker 1>nineties Fox TV on Sundays they would have like these

0:37:22.600 --> 0:37:25.040
<v Speaker 1>events where you'd go to a seven eleven to pick

0:37:25.120 --> 0:37:27.320
<v Speaker 1>up like whatever thing you needed to enjoy it. Like

0:37:27.560 --> 0:37:29.759
<v Speaker 1>they would do like three like in Living Color in

0:37:29.920 --> 0:37:32.880
<v Speaker 1>three D and you would get like those blue and

0:37:32.960 --> 0:37:35.680
<v Speaker 1>red three D glasses and you would like they would

0:37:35.719 --> 0:37:38.200
<v Speaker 1>broadcast like the three D version on the TV. If

0:37:38.200 --> 0:37:40.880
<v Speaker 1>you didn't have them, you were shipped out. But then

0:37:40.920 --> 0:37:43.400
<v Speaker 1>they also did a Smell a Vision one where like

0:37:43.520 --> 0:37:46.279
<v Speaker 1>you bought a there's a scratch and sniff card and

0:37:46.400 --> 0:37:47.960
<v Speaker 1>like in an episode and be like, all right, now

0:37:48.080 --> 0:37:50.200
<v Speaker 1>smell that because Al Bundy did sort of like one

0:37:50.320 --> 0:37:53.840
<v Speaker 1>character on TV and it was Jankie Analog Smell a Vision,

0:37:54.320 --> 0:37:57.200
<v Speaker 1>Thank you seven eleven, and do that for Nickelodeon cartoons

0:37:57.239 --> 0:37:59.279
<v Speaker 1>at one point to like you had to like buy

0:37:59.320 --> 0:38:01.560
<v Speaker 1>an issue in nick Glodian magazine and then you could

0:38:01.640 --> 0:38:04.720
<v Speaker 1>like smell a SpongeBob episode and be like, wow, Patrick,

0:38:05.320 --> 0:38:10.239
<v Speaker 1>time to time to smell it and exciting damn it,

0:38:10.280 --> 0:38:12.839
<v Speaker 1>I already sniffed up all the smell off of this car.

0:38:13.120 --> 0:38:18.200
<v Speaker 1>Doesn't sound like anything anymore. Okay, so we're at the

0:38:18.280 --> 0:38:21.800
<v Speaker 1>club the siblings have tagged along. There's also an open

0:38:21.880 --> 0:38:24.960
<v Speaker 1>mic night that was I was like, oh my god,

0:38:25.080 --> 0:38:27.800
<v Speaker 1>just the idea of like an open mic being like

0:38:27.960 --> 0:38:30.520
<v Speaker 1>sprawled like some kind of show of with like full

0:38:30.560 --> 0:38:34.520
<v Speaker 1>of amateurs a Christmas imagine doing a Christmas Eve open mic.

0:38:34.719 --> 0:38:38.719
<v Speaker 1>I just I mean I could because I longed to

0:38:38.800 --> 0:38:40.719
<v Speaker 1>be in a room full of like other people, like

0:38:40.880 --> 0:38:44.320
<v Speaker 1>in strangers again. But yeah, that I think people have

0:38:44.480 --> 0:38:48.040
<v Speaker 1>experienced this, like going out where it's a surprise open

0:38:48.160 --> 0:38:50.120
<v Speaker 1>mic and you didn't know you were at a thing

0:38:50.160 --> 0:38:51.640
<v Speaker 1>that was about to turn into an open mic, and

0:38:51.680 --> 0:38:55.200
<v Speaker 1>you're like, fuck no, I seriously don't want to be

0:38:55.320 --> 0:38:57.960
<v Speaker 1>here for this. Well, we've been on the other side

0:38:58.000 --> 0:39:01.880
<v Speaker 1>of that hundreds of times as comics who will be

0:39:02.160 --> 0:39:04.719
<v Speaker 1>on a bar show that no one else at the

0:39:04.760 --> 0:39:07.320
<v Speaker 1>bar knows a comedy show is about to happen, and

0:39:07.360 --> 0:39:10.000
<v Speaker 1>then suddenly someone walks up to a microphone. They're like

0:39:10.080 --> 0:39:12.240
<v Speaker 1>com when he starts in five minutes, and then everyone

0:39:12.320 --> 0:39:15.040
<v Speaker 1>at the bar is like, I don't care. I'm going

0:39:15.080 --> 0:39:20.800
<v Speaker 1>to keep talking at regular volume and I right with

0:39:21.280 --> 0:39:25.120
<v Speaker 1>the TVs are still on. It's a mess. Um. Yeah. Anyway,

0:39:25.200 --> 0:39:27.560
<v Speaker 1>So there's this open mic night and like the first

0:39:27.640 --> 0:39:32.920
<v Speaker 1>to perform is their brother baby, who sings a full song. Uh,

0:39:33.040 --> 0:39:34.600
<v Speaker 1>and they're like, oh my god, we didn't know he

0:39:34.719 --> 0:39:38.680
<v Speaker 1>was a singer and wow, he's so good, but he's

0:39:38.719 --> 0:39:41.240
<v Speaker 1>been keeping it a secret because of this music family

0:39:41.800 --> 0:39:46.040
<v Speaker 1>curse thing. Also at the club, this is when gerald

0:39:46.160 --> 0:39:50.240
<v Speaker 1>A K. McKay peiffer is making Google eyes at Kelly

0:39:50.800 --> 0:39:57.480
<v Speaker 1>and then she goes home with him. She doesn't he said.

0:39:59.480 --> 0:40:05.080
<v Speaker 1>He's saying to who can have fun? Could fuck? Oh Santa?

0:40:05.200 --> 0:40:08.800
<v Speaker 1>Fucks honey, blew my mind. And then there's like that

0:40:08.880 --> 0:40:11.520
<v Speaker 1>scene where Lauren London is like, did you fox Santa?

0:40:11.800 --> 0:40:17.719
<v Speaker 1>And then Kelly's like, yes, sure. And then also at

0:40:17.760 --> 0:40:21.719
<v Speaker 1>this club, a few guys were seen hitting on Clode's

0:40:22.560 --> 0:40:25.200
<v Speaker 1>lady friend. Again, we don't really know their relationship at

0:40:25.239 --> 0:40:28.520
<v Speaker 1>this point. Um, so he pulls a gun on them,

0:40:28.560 --> 0:40:31.719
<v Speaker 1>He pulls his surface pistol on them, and then later

0:40:31.840 --> 0:40:35.160
<v Speaker 1>on he gets arrested, and that's when everyone finds out

0:40:35.239 --> 0:40:38.080
<v Speaker 1>that he's a wall right, And that's also when they

0:40:38.160 --> 0:40:41.200
<v Speaker 1>find out that Sandy is his wife. For someone who

0:40:41.280 --> 0:40:44.040
<v Speaker 1>has no plot for the first hour, the stakes for

0:40:44.200 --> 0:40:48.640
<v Speaker 1>Claude go through the roof like really quickly, you shouldn't

0:40:48.640 --> 0:40:50.440
<v Speaker 1>have gone to that club, you know, he shouldn't have.

0:40:51.160 --> 0:40:53.680
<v Speaker 1>If he hadn't, we would know nothing about his character.

0:40:55.360 --> 0:40:57.120
<v Speaker 1>But also I think it's a lesson, right, you know,

0:40:57.239 --> 0:41:01.000
<v Speaker 1>if had he just alleviated the stress of deceiving his

0:41:01.120 --> 0:41:03.880
<v Speaker 1>family and keeping his relationship hidden, he may not have

0:41:04.000 --> 0:41:06.160
<v Speaker 1>pulled it the strap out at the club on the guy,

0:41:06.360 --> 0:41:08.080
<v Speaker 1>you know, because his family wouldn't know, like, oh, here

0:41:08.160 --> 0:41:10.520
<v Speaker 1>was s meet up saying, oh what's up saying, but

0:41:10.600 --> 0:41:12.200
<v Speaker 1>instead he's like, you get the fuk away from me.

0:41:12.640 --> 0:41:16.040
<v Speaker 1>We tried, and he's already just like talking to and

0:41:16.080 --> 0:41:18.000
<v Speaker 1>now my brothers is doing this thing. He's singing. My

0:41:18.080 --> 0:41:19.880
<v Speaker 1>mom thinks it's a curse. I think he had a

0:41:19.960 --> 0:41:22.040
<v Speaker 1>lot going on. And then when those two dudes are like,

0:41:22.080 --> 0:41:24.120
<v Speaker 1>hey man, no hard fearing bro, you know because the

0:41:24.200 --> 0:41:26.600
<v Speaker 1>white girls they got booty, but they got the strong

0:41:26.719 --> 0:41:28.839
<v Speaker 1>knees or whatever the funk that line was that set

0:41:28.920 --> 0:41:34.360
<v Speaker 1>him off, Like okay, oh toxicity all around that. Like

0:41:34.600 --> 0:41:37.000
<v Speaker 1>then it was just like now, fucking dick, this gun

0:41:37.160 --> 0:41:40.680
<v Speaker 1>motherfucker's like, whoa this has big dude? Who is keeping

0:41:40.800 --> 0:41:44.400
<v Speaker 1>secrets energy? Who should have just just been communicative and

0:41:44.480 --> 0:41:45.959
<v Speaker 1>forth threat I feel like a lot of stress would

0:41:45.960 --> 0:41:49.480
<v Speaker 1>have been tamped down. And then Eatsala was like, you've

0:41:49.520 --> 0:41:52.520
<v Speaker 1>always had this temper and it's like, what has he

0:41:52.719 --> 0:41:54.960
<v Speaker 1>We haven't seen that, Like that should have been set up.

0:41:55.040 --> 0:41:57.800
<v Speaker 1>He was so nice for the like he did not

0:41:58.120 --> 0:42:01.120
<v Speaker 1>drink real pleasant and then said he's like pulling a

0:42:01.200 --> 0:42:03.319
<v Speaker 1>gun on people, and we're like, where is this coming from? Well,

0:42:03.360 --> 0:42:04.960
<v Speaker 1>that's what it shows you. That's what happens when you're

0:42:05.000 --> 0:42:07.440
<v Speaker 1>with a white woman. I think that's what that was

0:42:07.520 --> 0:42:09.600
<v Speaker 1>being told to everybody else. And see they'll be like, see,

0:42:09.920 --> 0:42:13.080
<v Speaker 1>see that's like that's like our cousin Randy. He's like

0:42:13.200 --> 0:42:16.440
<v Speaker 1>that it's nothing, but it's Sandy and Sandy. It's so

0:42:16.520 --> 0:42:19.640
<v Speaker 1>weird because he because later when Sandy shows up at

0:42:19.719 --> 0:42:23.560
<v Speaker 1>the house, like there's a moment of discomfort, but then

0:42:23.600 --> 0:42:26.520
<v Speaker 1>she's pretty much immediately accepted for the rest of the

0:42:26.600 --> 0:42:30.719
<v Speaker 1>movie and worried about basically nothing. Yeah, it was a

0:42:30.800 --> 0:42:33.480
<v Speaker 1>weird thing where it's like my family could be, you know,

0:42:33.719 --> 0:42:36.359
<v Speaker 1>really closed off to this ship and like those were

0:42:36.480 --> 0:42:38.880
<v Speaker 1>the steaks and like you kind of but it was

0:42:38.960 --> 0:42:42.520
<v Speaker 1>in that time, like in the two thousand seven mindset,

0:42:42.760 --> 0:42:44.720
<v Speaker 1>especially for me, is like a you know, a personal

0:42:44.760 --> 0:42:46.840
<v Speaker 1>color who dates like white women and all kinds just

0:42:47.000 --> 0:42:52.279
<v Speaker 1>anybody really don't discriminate romantically. But like that idea was like,

0:42:52.320 --> 0:42:55.360
<v Speaker 1>oh ship, she's white, Like you're like back then, you're like,

0:42:55.680 --> 0:43:00.200
<v Speaker 1>oh oh, you know, like it felt their worst because

0:43:00.200 --> 0:43:02.239
<v Speaker 1>I think now we're in a bit of a we're

0:43:02.280 --> 0:43:04.800
<v Speaker 1>more openly talking about things like that, where this was

0:43:04.960 --> 0:43:08.400
<v Speaker 1>very much being like it's taboo and like that was

0:43:08.480 --> 0:43:10.800
<v Speaker 1>really like the thing driving it, whereas now we're like,

0:43:11.040 --> 0:43:14.520
<v Speaker 1>I mean, biracial relationships have been going on since well

0:43:14.640 --> 0:43:16.600
<v Speaker 1>before this film, but it was still kind of like

0:43:16.640 --> 0:43:18.520
<v Speaker 1>one of these things. I felt a little like old

0:43:18.600 --> 0:43:21.880
<v Speaker 1>school cultural trope that doesn't it's not work in the

0:43:22.000 --> 0:43:24.240
<v Speaker 1>same way. But even then in the end, the family

0:43:24.360 --> 0:43:26.000
<v Speaker 1>was doing the thing that was pretty much what most

0:43:26.040 --> 0:43:28.600
<v Speaker 1>people are. I'm like, oh cool, Okay, you're in our

0:43:28.680 --> 0:43:31.120
<v Speaker 1>family and you're gonna you're also the mother of one

0:43:31.200 --> 0:43:35.120
<v Speaker 1>of my descendants. Now great. But then there's a weird

0:43:35.120 --> 0:43:37.360
<v Speaker 1>component where you part of it where you learn that

0:43:38.280 --> 0:43:43.480
<v Speaker 1>her family doesn't know about her Gregnancy because she's like,

0:43:43.680 --> 0:43:47.120
<v Speaker 1>oh yeah, they're not fans of Claude because he's black.

0:43:47.280 --> 0:43:50.200
<v Speaker 1>So she comes from this like wildly racist family. So

0:43:50.360 --> 0:43:57.360
<v Speaker 1>it's like again, so they attached these like really significant

0:43:57.600 --> 0:43:59.520
<v Speaker 1>steaks that it's like you can't just say that and

0:43:59.640 --> 0:44:02.879
<v Speaker 1>then not explore it at all, Like, oh you can't

0:44:02.920 --> 0:44:04.480
<v Speaker 1>because you can't. I'll tell you why because it's the

0:44:04.480 --> 0:44:06.520
<v Speaker 1>black holiday film and all you needed is that moment

0:44:06.560 --> 0:44:08.399
<v Speaker 1>where you go, yeah, I told you white people ain't ship.

0:44:09.760 --> 0:44:11.560
<v Speaker 1>That's really what it did. And she's like, you see

0:44:11.640 --> 0:44:14.560
<v Speaker 1>because they embraced her me while her ain't ship family

0:44:14.680 --> 0:44:17.239
<v Speaker 1>was like we're racist as funk. You know. I think

0:44:17.280 --> 0:44:19.520
<v Speaker 1>that was like that gives because every holiday film, no

0:44:19.680 --> 0:44:21.839
<v Speaker 1>matter what, like whether it's the length, like the lens

0:44:21.880 --> 0:44:24.040
<v Speaker 1>of like an orphan or someone like, you need that

0:44:24.200 --> 0:44:26.200
<v Speaker 1>moment of like yeah, we're a good guy, like you

0:44:26.320 --> 0:44:28.719
<v Speaker 1>see that felt good right there. So I felt that

0:44:28.840 --> 0:44:31.040
<v Speaker 1>was that moment. And also for me, I remember I

0:44:31.160 --> 0:44:33.520
<v Speaker 1>just when it happened, I sort of reverted to this

0:44:33.680 --> 0:44:36.000
<v Speaker 1>like thing of like, yeah, see exactly, that's how just

0:44:36.080 --> 0:44:38.319
<v Speaker 1>how should be sometimes I think for me too, because

0:44:38.320 --> 0:44:41.120
<v Speaker 1>I've dated white women where like when I was younger,

0:44:41.680 --> 0:44:45.520
<v Speaker 1>it was like, oh, like you know, I don't really

0:44:45.560 --> 0:44:48.360
<v Speaker 1>want to like post anything on like foot Facebook or

0:44:48.680 --> 0:44:50.200
<v Speaker 1>some ship like that and I was like well, and

0:44:50.200 --> 0:44:51.920
<v Speaker 1>I was like, okay, yeah, I just I get it.

0:44:53.600 --> 0:44:55.560
<v Speaker 1>I'm you're just getting off to me. You're just getting

0:44:55.600 --> 0:45:00.280
<v Speaker 1>off to my physical presence. M yeah fuck I anyway,

0:45:00.320 --> 0:45:03.759
<v Speaker 1>but let's not digress because they embraced Sandy and that's

0:45:03.800 --> 0:45:06.680
<v Speaker 1>what this is all about. They do. Christmas is all

0:45:06.719 --> 0:45:09.920
<v Speaker 1>about opening your arms and your hearts and your homes

0:45:10.400 --> 0:45:13.759
<v Speaker 1>to everyone. Mo and Dude, Oh, I'm sorry, let me

0:45:13.800 --> 0:45:16.920
<v Speaker 1>I'll let you keep well. Speaking of them, this is

0:45:17.000 --> 0:45:20.000
<v Speaker 1>also around the time that those two bookies Mo and

0:45:20.200 --> 0:45:23.760
<v Speaker 1>Dude show up. Yeah, beat the ship out of Quinton

0:45:23.920 --> 0:45:26.839
<v Speaker 1>for a while, and then they stick around and even

0:45:27.239 --> 0:45:31.239
<v Speaker 1>almost stay the night. There's a very weird dynamic there.

0:45:31.320 --> 0:45:35.120
<v Speaker 1>But basically they will punch Quentin when no one's looking,

0:45:35.280 --> 0:45:37.840
<v Speaker 1>but the rest of the time their masquerading is Quentin's

0:45:37.880 --> 0:45:40.880
<v Speaker 1>friends and everyone buys it. It always feels like a

0:45:40.960 --> 0:45:44.839
<v Speaker 1>home Aloney, Like it's like the tone is like they're

0:45:44.880 --> 0:45:47.600
<v Speaker 1>just kind of the Robbers, where they're like, yeah, we're friendly,

0:45:47.760 --> 0:45:50.920
<v Speaker 1>but we're gonna keeck yes. If you don't get the

0:45:51.000 --> 0:45:57.399
<v Speaker 1>good pal here right, Quinn gut punches. There's just such

0:45:57.440 --> 0:46:00.720
<v Speaker 1>a weird they weren't even flying like the tropes of goons,

0:46:01.000 --> 0:46:03.520
<v Speaker 1>like who are just like stupid guys who were just

0:46:03.560 --> 0:46:06.400
<v Speaker 1>going to be like the threat of violence that exists

0:46:06.400 --> 0:46:10.160
<v Speaker 1>in the background, Like they suddenly became like these goofball

0:46:10.480 --> 0:46:13.120
<v Speaker 1>dudes who are also being like, let's also funk with

0:46:13.320 --> 0:46:17.680
<v Speaker 1>him by like pretending we're friends and also like offer

0:46:17.800 --> 0:46:20.560
<v Speaker 1>them a ride to the police station to get their

0:46:20.719 --> 0:46:23.080
<v Speaker 1>brother out of jail. Like I was like, wait, are

0:46:23.120 --> 0:46:28.400
<v Speaker 1>you in now? It was really confusing what they're like.

0:46:28.560 --> 0:46:31.799
<v Speaker 1>We know what their endgame is, but the way they

0:46:31.880 --> 0:46:34.160
<v Speaker 1>were trying to get there really made no sense. I

0:46:34.239 --> 0:46:36.399
<v Speaker 1>was like, are they just lonely? Do they just want

0:46:36.440 --> 0:46:39.120
<v Speaker 1>to like spend time with somebody? Can we just sort

0:46:39.160 --> 0:46:43.560
<v Speaker 1>of break out the financial aspects of them seeking restitution?

0:46:43.760 --> 0:46:47.760
<v Speaker 1>Because where where was Quentin coming from? New York? San Francisco, Chicago?

0:46:48.640 --> 0:46:51.120
<v Speaker 1>And they showed the Golden Gate Bridge that's to show

0:46:51.320 --> 0:46:54.399
<v Speaker 1>where Lisa's from. Lisa and her husband and her family

0:46:54.480 --> 0:46:57.600
<v Speaker 1>live in San Francisco. I think I think maybe Chicago

0:46:57.960 --> 0:47:01.399
<v Speaker 1>is where, So it was definitely clear him not it wasn't.

0:47:01.520 --> 0:47:04.160
<v Speaker 1>It wasn't a quick jaunt away, so I'm thinking, Okay,

0:47:04.239 --> 0:47:06.839
<v Speaker 1>so what are their travel expenses? Okay, well, how are

0:47:06.880 --> 0:47:09.279
<v Speaker 1>we eating into this twenty dollars or trying to get

0:47:09.280 --> 0:47:13.919
<v Speaker 1>back you know, gas lodging food. I'm thinking you're there's

0:47:13.960 --> 0:47:16.759
<v Speaker 1>like there's probably what i'll call it three grand. Now

0:47:16.800 --> 0:47:19.440
<v Speaker 1>you're looking at twenty two? Um, and who's that? Ohd too?

0:47:19.760 --> 0:47:22.279
<v Speaker 1>Is that specifically you guys? Are you splitting that twenty two?

0:47:22.640 --> 0:47:24.960
<v Speaker 1>I started getting into goon math when I was watching it.

0:47:25.480 --> 0:47:28.360
<v Speaker 1>They got to keep those south clean, yeah, exactly, And like,

0:47:28.440 --> 0:47:31.040
<v Speaker 1>are you keeping receipts or expenses for your goon boss?

0:47:31.160 --> 0:47:33.080
<v Speaker 1>I don't know, Yeah, yeah, because they do have a

0:47:33.120 --> 0:47:35.920
<v Speaker 1>goon boss. I forget that his name, but they mentioned

0:47:35.960 --> 0:47:38.440
<v Speaker 1>the goon boss that they're like collecting the money on

0:47:38.600 --> 0:47:45.839
<v Speaker 1>behalf of Big Goon in the Sky. Oh gosh, okay Um.

0:47:46.280 --> 0:47:49.920
<v Speaker 1>Then I am a little lost on the timeline here.

0:47:49.920 --> 0:47:51.840
<v Speaker 1>I think it's maybe later that night or maybe the

0:47:51.920 --> 0:47:54.000
<v Speaker 1>next day, not sure, but basically there's now a big

0:47:54.080 --> 0:47:57.320
<v Speaker 1>there's a big fight in the rain between Kelly and Lisa.

0:47:57.360 --> 0:48:00.600
<v Speaker 1>They're pushing each other. Kelly's like, you're her husband's a

0:48:00.600 --> 0:48:03.000
<v Speaker 1>piece of ship and you're you're a pushover and he's

0:48:03.080 --> 0:48:07.160
<v Speaker 1>cheating on you. And at Lesa's like, wait a minute,

0:48:07.239 --> 0:48:10.160
<v Speaker 1>maybe she's right, and then she goes and destroys his

0:48:10.560 --> 0:48:15.439
<v Speaker 1>aforementioned Cadillac escalade drives it into the l A River. Yes,

0:48:16.200 --> 0:48:19.200
<v Speaker 1>big moment for the l A River right, which is

0:48:19.600 --> 0:48:21.320
<v Speaker 1>for anyone who is not familiar with the l A

0:48:21.480 --> 0:48:24.960
<v Speaker 1>River is mostly concrete with a tiny little stream of water,

0:48:25.640 --> 0:48:28.000
<v Speaker 1>which is even weirder because it's a concrete stream and

0:48:28.080 --> 0:48:32.239
<v Speaker 1>then a cutout concrete stream inside of it. Like when

0:48:32.280 --> 0:48:34.360
<v Speaker 1>you look at it's like, this looks like a sidewalking

0:48:34.440 --> 0:48:36.000
<v Speaker 1>Like where is the stream? It's like, Oh, it's that

0:48:36.080 --> 0:48:39.480
<v Speaker 1>other weird thing. That's the depression in this concrete block

0:48:39.560 --> 0:48:42.760
<v Speaker 1>we're standing on. That's the river, that little Pepe stream,

0:48:42.880 --> 0:48:52.400
<v Speaker 1>that river, that's our river. Um. So, then Baby finally

0:48:52.520 --> 0:48:55.839
<v Speaker 1>tells Madeir about wanting to be a singer. She does

0:48:55.880 --> 0:49:00.120
<v Speaker 1>not take it well. Meanwhile, Quentin leaves on Chris us

0:49:00.200 --> 0:49:02.800
<v Speaker 1>even night. The Bookies catch up with him at the

0:49:02.840 --> 0:49:05.160
<v Speaker 1>train station and beat the crap out of him, but

0:49:05.440 --> 0:49:09.319
<v Speaker 1>Joe swoops in to save the day. Then we cut

0:49:09.360 --> 0:49:14.479
<v Speaker 1>to Christmas morning. Lisa confronts Malcolm about being a piece

0:49:14.520 --> 0:49:18.080
<v Speaker 1>of shit and beats him with a belt like pours

0:49:18.160 --> 0:49:20.640
<v Speaker 1>baby oil over the floor to like humiliate him all

0:49:20.719 --> 0:49:26.799
<v Speaker 1>this stuff. That scene really like kept going on. Dude,

0:49:26.840 --> 0:49:29.840
<v Speaker 1>that s he was. I was like, this scene, but

0:49:29.960 --> 0:49:32.359
<v Speaker 1>you know you need that. That's the that's the like, yeah,

0:49:32.960 --> 0:49:34.840
<v Speaker 1>that's like the thing that see that hap people cheering

0:49:34.920 --> 0:49:40.040
<v Speaker 1>into thousands. I had a note of that too. I'm like,

0:49:40.080 --> 0:49:42.440
<v Speaker 1>I think that this scene is kind of longer for

0:49:42.760 --> 0:49:45.759
<v Speaker 1>for like the theatrical experience and like watching it in

0:49:45.840 --> 0:49:48.279
<v Speaker 1>a group, I think I'm guessing based on how we're

0:49:48.280 --> 0:49:50.520
<v Speaker 1>all talking about this, we all must have if we

0:49:50.560 --> 0:49:53.040
<v Speaker 1>were watching with someone I know. I turned to her managiny, like,

0:49:53.360 --> 0:49:56.120
<v Speaker 1>this is getting a little bit a lot now. This

0:49:56.320 --> 0:50:00.600
<v Speaker 1>is with the whipping of the black man in the bathroom, Okay, yeah,

0:50:01.280 --> 0:50:03.239
<v Speaker 1>but get yours though. I get it though, is you know,

0:50:03.560 --> 0:50:06.560
<v Speaker 1>in the logic of these films, cheater equals bad, So yeah,

0:50:06.560 --> 0:50:08.279
<v Speaker 1>I get your ass beat this is I mean, this

0:50:08.440 --> 0:50:12.360
<v Speaker 1>is I guess. Yeah. Like Regina King, she's so amazing

0:50:12.440 --> 0:50:14.600
<v Speaker 1>and she's so talented, and I feel like she's asked

0:50:14.680 --> 0:50:19.880
<v Speaker 1>to play a spurned wife too frequently. It's but she

0:50:20.040 --> 0:50:25.160
<v Speaker 1>does it well, right yeah. Um. And then immediately after

0:50:25.280 --> 0:50:27.920
<v Speaker 1>that is a scene of the whole family in church

0:50:28.719 --> 0:50:32.479
<v Speaker 1>where baby sings and then Madear is like, oh, wow,

0:50:32.640 --> 0:50:35.200
<v Speaker 1>he's really good. Maybe I should be okay with him

0:50:35.320 --> 0:50:38.200
<v Speaker 1>pursuing music, which she says all of this with her

0:50:38.280 --> 0:50:45.040
<v Speaker 1>facial expression, um like it truly is like, like you said,

0:50:45.239 --> 0:50:47.680
<v Speaker 1>it was so capulus, Like I get it because it

0:50:47.840 --> 0:50:52.560
<v Speaker 1>was so clear when you went and she's crying. She's like, Oh,

0:50:52.880 --> 0:50:56.120
<v Speaker 1>everything's gonna be okay. And then the family sits down

0:50:56.200 --> 0:50:59.240
<v Speaker 1>for Christmas dinner together. They have a nice toast about

0:50:59.320 --> 0:51:03.840
<v Speaker 1>no matter what, we are family. And that is the

0:51:03.960 --> 0:51:05.800
<v Speaker 1>end of the film. Let's take a quick break and

0:51:05.840 --> 0:51:13.400
<v Speaker 1>then we will come right back. Where do where does

0:51:14.040 --> 0:51:17.000
<v Speaker 1>whose storyline should? I mean, we've covered we've sort of

0:51:17.080 --> 0:51:21.439
<v Speaker 1>covered in some of it throughout the recay, But where

0:51:21.520 --> 0:51:24.239
<v Speaker 1>should we start maybe just kind of starting in a

0:51:24.400 --> 0:51:28.040
<v Speaker 1>in a sort of the general scope of things worth

0:51:28.719 --> 0:51:31.040
<v Speaker 1>discussing a little bit. And we've talked about this on

0:51:31.200 --> 0:51:34.400
<v Speaker 1>the many many Christmas episodes we have covered on the

0:51:34.440 --> 0:51:37.560
<v Speaker 1>show in the past, that this is a particularly white genre.

0:51:38.000 --> 0:51:43.040
<v Speaker 1>Usually the cast will be entirely white, or that any

0:51:43.120 --> 0:51:48.040
<v Speaker 1>characters of color will have only very tertiary role kind

0:51:48.080 --> 0:51:50.680
<v Speaker 1>of things. So for this to be one of the

0:51:50.800 --> 0:51:56.040
<v Speaker 1>few mainstream films that features a black family worth noting,

0:51:56.200 --> 0:52:00.680
<v Speaker 1>doesn't happen much, doesn't happen often, but it's still puffing

0:52:00.760 --> 0:52:04.160
<v Speaker 1>that same old tropium of these Christmas films of like

0:52:04.360 --> 0:52:09.719
<v Speaker 1>gender normative bullshit and like all this like Judeo Christian

0:52:09.960 --> 0:52:12.919
<v Speaker 1>whatever the funk it is stuff, which is funny because

0:52:12.920 --> 0:52:14.840
<v Speaker 1>it's always like to say, it's like it's still the

0:52:14.960 --> 0:52:17.600
<v Speaker 1>same kind of flavor, you know what I mean, But yeah,

0:52:17.640 --> 0:52:20.000
<v Speaker 1>it's But it's funny because there are moments where, like

0:52:20.160 --> 0:52:22.480
<v Speaker 1>I've definitely looked at it differently as a black person

0:52:22.880 --> 0:52:26.200
<v Speaker 1>that other people just see like certain moments differently. But

0:52:26.280 --> 0:52:28.000
<v Speaker 1>I think those are the moments that you're like, oh,

0:52:28.239 --> 0:52:30.560
<v Speaker 1>thank you a movie that was kind of made for

0:52:30.960 --> 0:52:33.800
<v Speaker 1>me as an audience member, pointing to things that I

0:52:33.920 --> 0:52:37.000
<v Speaker 1>are significant to me or maybe seem insignificant to other people.

0:52:37.080 --> 0:52:39.480
<v Speaker 1>But yeah, right, but like you said, they're like, well,

0:52:39.520 --> 0:52:41.440
<v Speaker 1>it's a Christmas movie, so we still have to make

0:52:41.520 --> 0:52:46.719
<v Speaker 1>it palatable to audiences and really maintain a lot of

0:52:47.120 --> 0:52:51.640
<v Speaker 1>tropes and holiday movie troops specifically, and like, yeah, so

0:52:52.239 --> 0:52:56.000
<v Speaker 1>it's kind of it's in this strange place that also

0:52:56.080 --> 0:53:00.920
<v Speaker 1>feels very two thousand seven. Yeah, yeah, extremely it's and

0:53:01.040 --> 0:53:03.080
<v Speaker 1>then then as as far as that, I mean, there's

0:53:03.239 --> 0:53:07.600
<v Speaker 1>so many characters too to talk about, but I think, Myles,

0:53:07.600 --> 0:53:10.120
<v Speaker 1>you're totally right where it's like, it's amazing that there's

0:53:10.360 --> 0:53:15.440
<v Speaker 1>like a widely released black Christmas movie, but then within it,

0:53:15.520 --> 0:53:19.000
<v Speaker 1>it's all those Christmas tropes that are in. Like it's

0:53:19.160 --> 0:53:22.360
<v Speaker 1>everyone is the most hetero person who has ever lived,

0:53:22.880 --> 0:53:28.840
<v Speaker 1>and they need to be married yesterday, like that Christmas like,

0:53:29.360 --> 0:53:32.040
<v Speaker 1>which I feel like is such a common like I

0:53:32.120 --> 0:53:35.080
<v Speaker 1>mean that's every Christmas movie. It's like, why aren't you married?

0:53:35.160 --> 0:53:37.359
<v Speaker 1>Why don't you marry? Hey? Look at that guy? Why

0:53:37.440 --> 0:53:40.239
<v Speaker 1>don't you marry him? And then she goes okay, and

0:53:40.480 --> 0:53:43.919
<v Speaker 1>that's where's the Christmas movie where like everyone just gets

0:53:44.160 --> 0:53:47.920
<v Speaker 1>fucked up drunk? Because that's more real to me than

0:53:47.960 --> 0:53:51.080
<v Speaker 1>anything that's my Christmas. Yeah, Like I just remember going

0:53:51.120 --> 0:53:53.239
<v Speaker 1>to other people's Christmas and I'm like, Yo, this is

0:53:53.360 --> 0:53:56.600
<v Speaker 1>fucking dope. You guys just get fucking turned up and

0:53:56.760 --> 0:53:58.919
<v Speaker 1>like that's what you do for Christmas? And he's like yeah,

0:53:58.920 --> 0:54:00.399
<v Speaker 1>I don't know, Like we don't really go to church

0:54:00.520 --> 0:54:02.880
<v Speaker 1>or anything. We get together, it's cold and drink. I'm like,

0:54:03.160 --> 0:54:05.239
<v Speaker 1>where is that movie? Like that even feels more real

0:54:05.320 --> 0:54:07.960
<v Speaker 1>than sort of like it's it's like almost portraying the

0:54:08.120 --> 0:54:10.560
<v Speaker 1>Christmas people want to avoid, which is like I don't

0:54:10.560 --> 0:54:12.040
<v Speaker 1>want to go to my fucking house because of my

0:54:12.080 --> 0:54:13.840
<v Speaker 1>aunt is gonna be like what are you gonna get married?

0:54:14.160 --> 0:54:16.400
<v Speaker 1>Or like what are you doing for work? And that that,

0:54:16.600 --> 0:54:18.480
<v Speaker 1>And I guess that's real to a certain extent, but

0:54:18.960 --> 0:54:21.040
<v Speaker 1>it's weird. I was saying this in another show, like

0:54:21.280 --> 0:54:24.040
<v Speaker 1>it's it's like these Christmas movies like their lack of flavor,

0:54:24.239 --> 0:54:27.359
<v Speaker 1>Like is the flavor? You know that it's not. It's

0:54:27.400 --> 0:54:31.719
<v Speaker 1>not going to be too confrontational or subversive or make

0:54:31.760 --> 0:54:34.239
<v Speaker 1>you question anything at all, aside from whether or not

0:54:34.320 --> 0:54:38.239
<v Speaker 1>an escalated is a good investment. But like that's what it's.

0:54:38.360 --> 0:54:40.720
<v Speaker 1>I think that's the draw is like it's a Manila

0:54:40.880 --> 0:54:44.440
<v Speaker 1>envelope that won't offend you but also has a bow

0:54:44.560 --> 0:54:47.000
<v Speaker 1>on it so it feels festive, but it still a

0:54:47.040 --> 0:54:50.680
<v Speaker 1>Manila envelope. And it's a it's an autour film. It's

0:54:51.120 --> 0:54:57.840
<v Speaker 1>Preston a Whitmore, Whitmore's Whitfield. It makes you think President

0:54:57.920 --> 0:55:03.400
<v Speaker 1>a Whitmore the second directed, produce and wrote this movie.

0:55:04.040 --> 0:55:06.480
<v Speaker 1>Um so it's safe to say and like the research

0:55:06.520 --> 0:55:08.040
<v Speaker 1>I did of like the interviews done at the time,

0:55:08.040 --> 0:55:10.920
<v Speaker 1>it seems like this is like based on his family

0:55:11.040 --> 0:55:14.279
<v Speaker 1>at least to some extent um, probably not all the

0:55:14.320 --> 0:55:17.520
<v Speaker 1>same Christmas, but who knows. The thing that mainly, the

0:55:17.680 --> 0:55:19.360
<v Speaker 1>thing that mainly stood out to me in terms of

0:55:19.440 --> 0:55:21.799
<v Speaker 1>like the many threads that we have going on here,

0:55:21.920 --> 0:55:24.920
<v Speaker 1>is that I just wish that, like it's for for

0:55:25.080 --> 0:55:30.120
<v Speaker 1>the women in this movie, most of their steaks are

0:55:30.160 --> 0:55:34.040
<v Speaker 1>attached to a like romantic relationship with a guy, and

0:55:34.120 --> 0:55:36.640
<v Speaker 1>then with with the with the men that the stakes

0:55:36.680 --> 0:55:41.560
<v Speaker 1>are like very varied. There's like music curs guy, there's

0:55:41.880 --> 0:55:46.640
<v Speaker 1>a wall guy. There's like there's a wall Nation guy.

0:55:47.200 --> 0:55:51.640
<v Speaker 1>There's like jazz on the run guy, like there's there's

0:55:52.239 --> 0:55:55.719
<v Speaker 1>The stakes are so all over the like in a

0:55:55.800 --> 0:55:58.520
<v Speaker 1>way that's really fun and engaging. But when it comes

0:55:58.560 --> 0:56:02.239
<v Speaker 1>to Lisa and Lillie and Mel and even to an

0:56:02.280 --> 0:56:05.640
<v Speaker 1>extent Madei, it's like they're all of their steaks are

0:56:05.719 --> 0:56:09.360
<v Speaker 1>like something about my marriage or like I need a

0:56:09.480 --> 0:56:13.719
<v Speaker 1>marriage or Mel I mean weird. I feel like Mel

0:56:13.840 --> 0:56:16.080
<v Speaker 1>had kind of an interesting threat introduced at the beginning

0:56:16.120 --> 0:56:18.400
<v Speaker 1>of the movie that kind of goes nowhere. She kind

0:56:18.400 --> 0:56:20.719
<v Speaker 1>of gets lost in the shuffle, and so I want

0:56:20.719 --> 0:56:22.560
<v Speaker 1>to I wish that they were like the same kind

0:56:22.640 --> 0:56:26.600
<v Speaker 1>of like silly Christmas movie steaks for for the women

0:56:26.640 --> 0:56:30.080
<v Speaker 1>in the movie that that the suns have right, but

0:56:30.160 --> 0:56:32.880
<v Speaker 1>even those stakes too and like the traditional Christmas think

0:56:32.920 --> 0:56:35.520
<v Speaker 1>it's tied to like their role as homemaker or something.

0:56:36.000 --> 0:56:38.560
<v Speaker 1>It's like I have to get the gift for the kid,

0:56:38.840 --> 0:56:42.399
<v Speaker 1>or like this Christmas dinner has to be good, which

0:56:42.480 --> 0:56:44.000
<v Speaker 1>is like what I feel like the steaks are in

0:56:44.080 --> 0:56:48.439
<v Speaker 1>like our traditional just vapid ship Christmas films, but yeah,

0:56:48.719 --> 0:56:51.640
<v Speaker 1>it is all the steaks are like he's cheating on me,

0:56:51.960 --> 0:56:55.000
<v Speaker 1>or like Santa fuck I hope Santa will fuck me,

0:56:56.080 --> 0:56:58.759
<v Speaker 1>or it's just like a very odd thing. Oh one

0:56:58.840 --> 0:57:01.200
<v Speaker 1>weird one weird moment that really stuck out to me.

0:57:01.239 --> 0:57:03.960
<v Speaker 1>It was this moment between Joe and Baby when the

0:57:04.480 --> 0:57:05.879
<v Speaker 1>first day, Like I think it's one of the first

0:57:05.920 --> 0:57:08.680
<v Speaker 1>scenes where Chris Brown gets a camera, so I got

0:57:08.719 --> 0:57:13.120
<v Speaker 1>a night it's like the Rose Roy Sick cameras. I'm like, well,

0:57:13.800 --> 0:57:15.680
<v Speaker 1>are we talking full format? I mean, is it a

0:57:15.760 --> 0:57:19.440
<v Speaker 1>hustle blot or a momma? I mean photographers might actually anyway,

0:57:19.480 --> 0:57:22.360
<v Speaker 1>that's a whole other Archtuk discussion. Um, but with him

0:57:22.720 --> 0:57:25.800
<v Speaker 1>when like Joe Delroy Lindo comes out goes you got

0:57:25.880 --> 0:57:29.160
<v Speaker 1>a camera? Huh Yeah. I remember when I was your age,

0:57:29.160 --> 0:57:32.800
<v Speaker 1>I wanted to watch but we couldn't afford it. And

0:57:32.880 --> 0:57:36.800
<v Speaker 1>I was just like, what, at least the camera offers

0:57:36.920 --> 0:57:40.360
<v Speaker 1>babies some kind of mobility like that, it can create work,

0:57:40.480 --> 0:57:44.240
<v Speaker 1>but you just wanted some superficial like class signifier of

0:57:44.320 --> 0:57:46.800
<v Speaker 1>a watch, like it just seemed like a It was

0:57:46.880 --> 0:57:50.160
<v Speaker 1>like it just they just said it and went forward,

0:57:50.200 --> 0:57:52.320
<v Speaker 1>and I was like, that didn't I actually positive, like

0:57:52.400 --> 0:57:56.200
<v Speaker 1>that didn't make sense as finding common ground, like I

0:57:56.240 --> 0:57:59.240
<v Speaker 1>don't understand aside from just being like I desired things

0:57:59.640 --> 0:58:02.520
<v Speaker 1>and I got it. I had that kind of stuff

0:58:02.560 --> 0:58:05.080
<v Speaker 1>happened a lot where it's like to like, You're like

0:58:05.160 --> 0:58:08.480
<v Speaker 1>I think, I think, I like, I might understand what

0:58:08.640 --> 0:58:11.000
<v Speaker 1>that conversation was supposed to be, but it's just like

0:58:11.520 --> 0:58:13.760
<v Speaker 1>sometimes characters just kind of miss each other in this

0:58:14.040 --> 0:58:16.720
<v Speaker 1>very bizarre way where I'm like, I guess we're still

0:58:16.760 --> 0:58:20.720
<v Speaker 1>having the same conversation. There. Another thread that I thought

0:58:20.840 --> 0:58:23.320
<v Speaker 1>was interesting in terms of mel and then it that

0:58:23.440 --> 0:58:26.240
<v Speaker 1>kind of flames out right away is the relationship with

0:58:26.760 --> 0:58:29.960
<v Speaker 1>Mel and Devon and how there's that conversation at the

0:58:30.000 --> 0:58:33.920
<v Speaker 1>dinner table towards the beginning of the movie where Devon

0:58:34.000 --> 0:58:36.960
<v Speaker 1>goes to Moore House and Malcolm kind of comes at

0:58:37.080 --> 0:58:41.080
<v Speaker 1>him and like interrogates him for going to a historically

0:58:41.280 --> 0:58:44.360
<v Speaker 1>black college and like he went to Yale and Kelly

0:58:44.440 --> 0:58:46.480
<v Speaker 1>went to Harvard, and I was like, oh, this is

0:58:46.560 --> 0:58:50.800
<v Speaker 1>like an interesting conversation. But then it never that just

0:58:50.920 --> 0:58:54.440
<v Speaker 1>goes away, like that whole that kind of disappearing. And

0:58:54.560 --> 0:58:58.280
<v Speaker 1>then part of the conversation is people being like, oh, yeah,

0:58:58.440 --> 0:59:00.920
<v Speaker 1>Mel has been in school for oh along, because she

0:59:01.080 --> 0:59:05.000
<v Speaker 1>just keeps switching her major based on whatever guy. And

0:59:05.120 --> 0:59:08.080
<v Speaker 1>it's just like, well, Kelly, Kelly has this huge problem

0:59:08.240 --> 0:59:10.800
<v Speaker 1>with Lisa because she thinks she's like weak willed and

0:59:10.880 --> 0:59:14.840
<v Speaker 1>easily influenced. But what like, look at what Mel is doing.

0:59:15.720 --> 0:59:19.520
<v Speaker 1>Why weren't you taking take to like miles of comments

0:59:19.600 --> 0:59:23.040
<v Speaker 1>on the financials You're like, okay, they're they're like like

0:59:23.160 --> 0:59:25.200
<v Speaker 1>when Lisa's like, we need to sell off our like

0:59:25.280 --> 0:59:29.080
<v Speaker 1>we have to liquidate our part of the business because

0:59:29.520 --> 0:59:33.440
<v Speaker 1>she's concerned that madear like that she's not gonna have

0:59:33.600 --> 0:59:36.280
<v Speaker 1>enough money. But it's like, well, then a great way

0:59:36.280 --> 0:59:39.200
<v Speaker 1>it would be for mel to stop going to an

0:59:39.280 --> 0:59:42.400
<v Speaker 1>expensive college for seven years in a row. That's a

0:59:42.480 --> 0:59:45.160
<v Speaker 1>great way to cut back on expenses for the family.

0:59:45.400 --> 0:59:48.160
<v Speaker 1>Is not seven years of a private college, Like it's

0:59:48.240 --> 0:59:52.360
<v Speaker 1>just the money stuff is very confusing, right, yeah, it's

0:59:52.440 --> 0:59:56.040
<v Speaker 1>all I think even with um the Harvard Yale versus

0:59:56.200 --> 0:59:58.880
<v Speaker 1>HBCU thing is like they were that was a quick

0:59:58.920 --> 1:00:00.760
<v Speaker 1>way to be like, those are the the black people

1:00:00.760 --> 1:00:03.640
<v Speaker 1>in your family, like the ones who got went to

1:00:03.960 --> 1:00:06.800
<v Speaker 1>Ivy League schools and forgot who they were or like

1:00:06.920 --> 1:00:10.160
<v Speaker 1>you know, that was a very quick brushstroke culturally to

1:00:10.240 --> 1:00:12.040
<v Speaker 1>be like that's who they are, and they came for

1:00:12.120 --> 1:00:14.560
<v Speaker 1>the person who went to more House, who then has

1:00:14.640 --> 1:00:17.640
<v Speaker 1>like the much more articulated response as to why they

1:00:17.720 --> 1:00:20.720
<v Speaker 1>go to more House, meaning you know, you sure you

1:00:20.800 --> 1:00:22.880
<v Speaker 1>went to the place that people know about, but for

1:00:23.080 --> 1:00:25.919
<v Speaker 1>my values as a black man and like I want

1:00:25.960 --> 1:00:28.080
<v Speaker 1>to go to this school, but like it very much

1:00:28.120 --> 1:00:30.919
<v Speaker 1>set the table like Okay, he's here and your Ivy

1:00:31.000 --> 1:00:32.760
<v Speaker 1>lead people are down here because he just put the

1:00:32.760 --> 1:00:35.440
<v Speaker 1>smack on you by explaining why he preferred that over

1:00:35.640 --> 1:00:39.080
<v Speaker 1>your school, and it makes us like Malcolm, like it

1:00:39.200 --> 1:00:42.760
<v Speaker 1>makes it makes Malcolm's character clearer of like, oh, he's

1:00:42.840 --> 1:00:47.360
<v Speaker 1>like an elitist asshole. But and but it made like

1:00:47.520 --> 1:00:50.120
<v Speaker 1>that scene really I was like, Oh, Devin's cool. I'm

1:00:50.320 --> 1:00:52.600
<v Speaker 1>excited to see where his story goes. But then you're

1:00:52.640 --> 1:00:56.080
<v Speaker 1>just like, where does it go anywhere? It was funny though, too,

1:00:56.640 --> 1:00:59.640
<v Speaker 1>for him to basically like recite the schools like Mission

1:00:59.760 --> 1:01:04.520
<v Speaker 1>Stayment and like really explain his beliefs in this way

1:01:04.600 --> 1:01:06.320
<v Speaker 1>that everyone's like, wow, he's got a great head on

1:01:06.360 --> 1:01:09.360
<v Speaker 1>his shoulders, because the scene right before that is him

1:01:09.520 --> 1:01:13.240
<v Speaker 1>barely able to say his own name. Yeah, right there

1:01:13.600 --> 1:01:18.400
<v Speaker 1>with him would say I feel like we're just with you,

1:01:18.520 --> 1:01:20.800
<v Speaker 1>come on, man, and then he's ready for like this

1:01:21.000 --> 1:01:24.240
<v Speaker 1>intellectual battle at the dinner table scene, like and then

1:01:24.280 --> 1:01:27.520
<v Speaker 1>the way that scene resolves is like, well, one thing's

1:01:27.600 --> 1:01:32.640
<v Speaker 1>for sure, mel sucks and that's like the end of

1:01:32.720 --> 1:01:37.280
<v Speaker 1>the scene. Here. It's like all right, just so many

1:01:37.560 --> 1:01:39.760
<v Speaker 1>so many threads that you're like, oh, I guess that

1:01:39.880 --> 1:01:43.840
<v Speaker 1>didn't come back, didn't Well? Yeah, Really, despite all of

1:01:44.360 --> 1:01:48.120
<v Speaker 1>like the women's steaks and storylines largely being attached to

1:01:48.840 --> 1:01:52.880
<v Speaker 1>romantic interests as trophy and heteronormative as it is, I

1:01:52.960 --> 1:01:56.080
<v Speaker 1>will say that I liked the women in the movie

1:01:56.160 --> 1:01:58.080
<v Speaker 1>way more than I liked really any of the men,

1:01:58.360 --> 1:02:02.280
<v Speaker 1>and I do appreciate it, at least with there being

1:02:02.320 --> 1:02:06.160
<v Speaker 1>a focus on these these relationships they have with the

1:02:06.280 --> 1:02:09.920
<v Speaker 1>men in their lives that we there's like a sex

1:02:10.000 --> 1:02:14.320
<v Speaker 1>positivity component to this family that I appreciated that Uh,

1:02:14.680 --> 1:02:17.840
<v Speaker 1>Lisa doesn't have as much because she does call her

1:02:17.880 --> 1:02:21.600
<v Speaker 1>sister a hoe, but they're like openly talking about sex

1:02:21.880 --> 1:02:26.959
<v Speaker 1>and batteries to a vibrator. She's like, you really should

1:02:27.040 --> 1:02:30.120
<v Speaker 1>switch to the woman either, honey. I like how my

1:02:30.200 --> 1:02:32.000
<v Speaker 1>dear is like I want my kids to come, but

1:02:32.120 --> 1:02:36.320
<v Speaker 1>I don't want them to sing. Like all right, I

1:02:36.400 --> 1:02:41.000
<v Speaker 1>guess because I appreciate that, especially because a lot of

1:02:41.080 --> 1:02:44.120
<v Speaker 1>like Christmas movies are so like and it makes sense

1:02:44.120 --> 1:02:46.440
<v Speaker 1>because there are a lot of them are like family, children,

1:02:46.520 --> 1:02:49.480
<v Speaker 1>family move like appropriate for the whole family. So they're like,

1:02:49.560 --> 1:02:52.960
<v Speaker 1>this is just so sex doesn't exist in these worlds,

1:02:53.160 --> 1:02:55.560
<v Speaker 1>so that they that they talk about sex and like

1:02:55.960 --> 1:02:59.400
<v Speaker 1>talk openly about it and generally have a sex positive

1:02:59.400 --> 1:03:03.240
<v Speaker 1>attitude among the family. I was like, Okay, I like this, yeah,

1:03:03.720 --> 1:03:05.920
<v Speaker 1>and it's like that not as I mean, even like

1:03:06.040 --> 1:03:09.680
<v Speaker 1>in that opening montage where like my dear and Joe

1:03:09.920 --> 1:03:12.960
<v Speaker 1>or I mean, it's not like they're not fucking, but

1:03:13.080 --> 1:03:16.040
<v Speaker 1>you're like, oh, this this movie is like more open

1:03:16.280 --> 1:03:20.120
<v Speaker 1>and like less I don't know, yeah exactly, Like you're

1:03:20.200 --> 1:03:25.400
<v Speaker 1>saying just less holier than now about everything, and it's like, yeah, families,

1:03:26.760 --> 1:03:31.760
<v Speaker 1>do you have sex? Not with each other? I don't know.

1:03:31.760 --> 1:03:33.880
<v Speaker 1>If Fred has that wild ass line in the beginning

1:03:34.000 --> 1:03:37.240
<v Speaker 1>was a girl. If he wasn't my cousin, I was like, Fred,

1:03:39.080 --> 1:03:43.440
<v Speaker 1>why and then I was then in the middle of

1:03:43.480 --> 1:03:46.120
<v Speaker 1>the movie, I'm like, where did that guy go? Because

1:03:46.240 --> 1:03:48.880
<v Speaker 1>he was like he came in so hot at the

1:03:48.960 --> 1:03:51.160
<v Speaker 1>top of the movie and it disappeared. Yeah, if you

1:03:51.400 --> 1:03:53.920
<v Speaker 1>you can't start any sentences if you weren't my cousin,

1:03:54.120 --> 1:03:56.320
<v Speaker 1>unless it's like if you weren't my cousin, you would

1:03:56.360 --> 1:03:59.400
<v Speaker 1>be someone not related to me. That's like the only

1:03:59.480 --> 1:04:02.480
<v Speaker 1>way that send like you started anything off like what okay? Good?

1:04:02.520 --> 1:04:04.640
<v Speaker 1>You ended it with a very literal description rather than

1:04:04.720 --> 1:04:09.960
<v Speaker 1>like checking her ass out and being like so weird cousin.

1:04:10.320 --> 1:04:12.440
<v Speaker 1>I'm like, y'o, don't do all that ship. But again,

1:04:12.520 --> 1:04:15.760
<v Speaker 1>that's uh. Those are like those moments where the script

1:04:15.840 --> 1:04:18.480
<v Speaker 1>writer is not really checking about like what that means

1:04:18.560 --> 1:04:20.800
<v Speaker 1>to be like, and this character is like openly just

1:04:20.960 --> 1:04:23.760
<v Speaker 1>making his cousin uncomfortable because he's objectifying her at the

1:04:23.800 --> 1:04:26.520
<v Speaker 1>Christmas thing right well speaking, so we touched on this

1:04:26.600 --> 1:04:29.640
<v Speaker 1>a little bit too, but like the way that McKay

1:04:29.920 --> 1:04:33.600
<v Speaker 1>peiffer his role in the story, where like he's like

1:04:34.080 --> 1:04:38.200
<v Speaker 1>aggressively staring at Kelly at the club and then they

1:04:38.280 --> 1:04:41.840
<v Speaker 1>go home together. But then the next morning he calls her,

1:04:41.920 --> 1:04:44.640
<v Speaker 1>then she ignores his call, and then he shows up

1:04:44.920 --> 1:04:47.920
<v Speaker 1>as Santa Claus uh, and she's like, what are you

1:04:48.000 --> 1:04:50.480
<v Speaker 1>doing here? This is weird? And then I guess they

1:04:50.560 --> 1:04:53.880
<v Speaker 1>make plans later that night that she has to bail on.

1:04:54.440 --> 1:04:56.520
<v Speaker 1>I don't but I don't remember that even being discussed.

1:04:56.600 --> 1:05:00.800
<v Speaker 1>She she ends up, it's because all the clod stuff happens.

1:05:00.880 --> 1:05:03.120
<v Speaker 1>It's like the stuff happens, and then she and Lesa

1:05:03.200 --> 1:05:05.080
<v Speaker 1>get into a fight, and I think she just ends

1:05:05.160 --> 1:05:09.760
<v Speaker 1>up kind of like understandably dropping the ball, right. But

1:05:09.840 --> 1:05:14.400
<v Speaker 1>then he shows up again after she doesn't show up

1:05:14.400 --> 1:05:17.560
<v Speaker 1>to whatever plans they had, and then he's just like hey,

1:05:18.120 --> 1:05:20.280
<v Speaker 1>and then he spends the night because he's like I

1:05:20.480 --> 1:05:22.400
<v Speaker 1>saw you when you were in ninth grade and I

1:05:23.280 --> 1:05:26.439
<v Speaker 1>liked it. Oh yeah, that was so you're like, oh,

1:05:26.760 --> 1:05:30.280
<v Speaker 1>ship full from Oh he was also in high school,

1:05:30.400 --> 1:05:32.560
<v Speaker 1>but I think he was like a bit older, right,

1:05:32.680 --> 1:05:35.560
<v Speaker 1>But it was like, I've never forgotten this thing since

1:05:35.640 --> 1:05:40.040
<v Speaker 1>I was fifteen, and you're like, oh, damn full for

1:05:40.160 --> 1:05:41.800
<v Speaker 1>real and you came up to my house just as

1:05:41.880 --> 1:05:46.720
<v Speaker 1>Santa Ship. Okay, that was so so Tropes on Tropes.

1:05:46.960 --> 1:05:49.240
<v Speaker 1>On Tropes, I'm like the guy from your past who

1:05:49.240 --> 1:05:52.240
<v Speaker 1>won't stop showing up. That's actually a good thing and

1:05:52.480 --> 1:05:55.920
<v Speaker 1>that means love and nothing's scary about that. But Kelly

1:05:56.000 --> 1:05:59.440
<v Speaker 1>in general, like the way her characters. I guess, of

1:05:59.520 --> 1:06:02.120
<v Speaker 1>all the ways the characters are written, I found Kelly

1:06:02.400 --> 1:06:06.120
<v Speaker 1>to be the most confusing and just kind of like

1:06:06.280 --> 1:06:09.360
<v Speaker 1>the way that story treats her is strange because I'm

1:06:09.400 --> 1:06:13.120
<v Speaker 1>not even totally sure what she does. She mentions that

1:06:13.200 --> 1:06:16.320
<v Speaker 1>she went to Harvard and something something perfume, but then

1:06:16.520 --> 1:06:19.360
<v Speaker 1>I'm not even totally sure what she does. More of it,

1:06:19.480 --> 1:06:21.560
<v Speaker 1>there's more time dedicated to the fact that she's a

1:06:21.640 --> 1:06:26.200
<v Speaker 1>bad cook than informing us what she does for a living. Well,

1:06:26.240 --> 1:06:27.920
<v Speaker 1>that's what she does. I think that's what they're s

1:06:28.400 --> 1:06:31.200
<v Speaker 1>is the occupation is irrelevant. What you need to know

1:06:31.400 --> 1:06:34.360
<v Speaker 1>is she's the one that can't cook, like very like

1:06:34.520 --> 1:06:36.760
<v Speaker 1>that's the framing of it for us, and then the

1:06:37.120 --> 1:06:40.160
<v Speaker 1>relationship between her. I I it was a kind of

1:06:40.240 --> 1:06:43.160
<v Speaker 1>like a something I can see a number of ways.

1:06:43.400 --> 1:06:46.560
<v Speaker 1>But I liked that Kelly and Lisa, you see, they

1:06:46.680 --> 1:06:49.640
<v Speaker 1>have like an arc. Like it's you know, it's not

1:06:49.720 --> 1:06:52.720
<v Speaker 1>even a guarantee that two women or two sisters will

1:06:52.800 --> 1:06:55.480
<v Speaker 1>ever even get an arc in an ensemble movie like this,

1:06:55.680 --> 1:06:58.240
<v Speaker 1>So I like that there was time that was like

1:06:58.680 --> 1:07:02.000
<v Speaker 1>allotted for that. But then the conversations are so kind

1:07:02.040 --> 1:07:04.760
<v Speaker 1>of like basic where it's like you went to school

1:07:04.880 --> 1:07:08.720
<v Speaker 1>and so you're a careerist and you stayed at home,

1:07:08.880 --> 1:07:13.400
<v Speaker 1>so you're not as good as me, and yeah, yeah,

1:07:13.560 --> 1:07:16.160
<v Speaker 1>when it's like what Lisa is saying to an extent

1:07:16.320 --> 1:07:18.560
<v Speaker 1>like made sense, where she's like I had to help

1:07:18.640 --> 1:07:20.840
<v Speaker 1>with the family business because everyone else kind of went

1:07:20.840 --> 1:07:22.800
<v Speaker 1>their own ways. But like, why is she only mad

1:07:22.840 --> 1:07:25.760
<v Speaker 1>at Kelly about this when like Quentin went off his

1:07:25.880 --> 1:07:30.160
<v Speaker 1>own way, like everyone left. Why why is like Kelly

1:07:30.320 --> 1:07:34.040
<v Speaker 1>bearing the brunt of this grudge? I don't know, I

1:07:34.120 --> 1:07:36.520
<v Speaker 1>just their whole their whole arc was kind of so

1:07:36.680 --> 1:07:39.160
<v Speaker 1>touch and go for me where I'm glad it was there,

1:07:39.240 --> 1:07:41.760
<v Speaker 1>but I just thought it was weird, right, because like

1:07:41.920 --> 1:07:44.480
<v Speaker 1>Kelly is kind of presented as like the feminist of

1:07:44.560 --> 1:07:47.240
<v Speaker 1>the family. She's the one she's focused on her career,

1:07:47.360 --> 1:07:51.040
<v Speaker 1>she has a vibrator. She's calling out. She's calling out

1:07:51.080 --> 1:07:59.200
<v Speaker 1>Lisa first like being us believable, but then she's also

1:07:59.280 --> 1:08:05.040
<v Speaker 1>like the so you you are to accommodate your Also,

1:08:05.120 --> 1:08:07.200
<v Speaker 1>it feels like she's there's almost like a I don't

1:08:07.200 --> 1:08:10.200
<v Speaker 1>know if it's like victim blaming exactly, but like Lisa

1:08:10.320 --> 1:08:13.480
<v Speaker 1>is in a bad relationship, like her husband is awful,

1:08:14.000 --> 1:08:16.400
<v Speaker 1>she's cheating on her, she knows about it. What's that

1:08:16.560 --> 1:08:18.439
<v Speaker 1>doesn't she say a line that kind of sums up

1:08:18.439 --> 1:08:21.960
<v Speaker 1>her entire view on why she's okay with like they're

1:08:21.960 --> 1:08:24.759
<v Speaker 1>being a mistress, because like there's a moment she's confronted

1:08:24.800 --> 1:08:26.680
<v Speaker 1>and there's something to the effective like well, you know,

1:08:26.840 --> 1:08:30.640
<v Speaker 1>like she's like, I don't want to start over. I

1:08:30.680 --> 1:08:33.519
<v Speaker 1>won't be appealing in the dating pools and I'm not

1:08:33.560 --> 1:08:35.800
<v Speaker 1>trying to start over, so I'm just gonna stay in

1:08:35.880 --> 1:08:39.439
<v Speaker 1>this like miserable life. And then and then Kelly's like,

1:08:39.680 --> 1:08:44.200
<v Speaker 1>that's a horrible excuse, like stand up for yourself that

1:08:45.439 --> 1:08:48.519
<v Speaker 1>I mean, that does happen though, I was like, well, yeah,

1:08:49.040 --> 1:08:50.920
<v Speaker 1>well that's the thing, Like that's what's interesting about the

1:08:50.920 --> 1:08:53.080
<v Speaker 1>movie because it does touch on things that you're You're

1:08:53.160 --> 1:08:55.320
<v Speaker 1>angry sometimes with the characters and you're like, but that's

1:08:55.360 --> 1:08:58.599
<v Speaker 1>kind of that's real ship though, like keeping secrets, being

1:08:58.640 --> 1:09:02.000
<v Speaker 1>ashamed of a relationship, being in a shitty relationship because

1:09:02.000 --> 1:09:04.360
<v Speaker 1>you don't have the self confidence to like break out

1:09:04.479 --> 1:09:07.400
<v Speaker 1>and do you know, advocate for yourself. There's real ship,

1:09:07.439 --> 1:09:10.519
<v Speaker 1>although it's done poorly sometimes and like my oh what

1:09:10.680 --> 1:09:12.640
<v Speaker 1>about my kids? What about my Like I'm going to

1:09:12.800 --> 1:09:14.640
<v Speaker 1>look the other way because I want my kids to

1:09:14.920 --> 1:09:20.719
<v Speaker 1>blah blah blah, Like it does happen. But because Kelly's

1:09:20.800 --> 1:09:26.040
<v Speaker 1>constantly calling Lisa out and like being hostile to her

1:09:26.320 --> 1:09:29.560
<v Speaker 1>for like, again, Lisa is in this bad relationship and

1:09:29.600 --> 1:09:32.680
<v Speaker 1>it feels like Kelly hates her because Malcolm sucks. And

1:09:32.760 --> 1:09:35.120
<v Speaker 1>it's like, I don't know that, I don't maybe I'm

1:09:35.120 --> 1:09:37.640
<v Speaker 1>misinterpreting that, but well, I think in a way, like

1:09:37.840 --> 1:09:40.360
<v Speaker 1>what you're describing sounds like when you're mad at your

1:09:40.439 --> 1:09:42.559
<v Speaker 1>friend because you know they can do better and you've

1:09:42.600 --> 1:09:45.080
<v Speaker 1>seen them do better, yet they're not. And like that's

1:09:45.080 --> 1:09:46.560
<v Speaker 1>sort of where it's at, where it's like, yeah, I

1:09:46.600 --> 1:09:49.800
<v Speaker 1>mean obviously fuck Malcolm, but also like girl, like you

1:09:50.400 --> 1:09:53.080
<v Speaker 1>can do way better than this. But but it comes

1:09:53.120 --> 1:09:55.439
<v Speaker 1>off in a weird way. I don't know if there's

1:09:55.479 --> 1:09:57.880
<v Speaker 1>a way to elegantly like the whole movie would have

1:09:57.960 --> 1:09:59.960
<v Speaker 1>to be about that kind of relationship to pull the

1:10:00.120 --> 1:10:02.320
<v Speaker 1>nuances out of like being upset with your friend for

1:10:02.479 --> 1:10:04.840
<v Speaker 1>not like being in a bad relationship or your family

1:10:05.040 --> 1:10:07.840
<v Speaker 1>right and because there's eighteen other storylines happening, like not

1:10:08.040 --> 1:10:11.960
<v Speaker 1>enough time as dedicated. They even use the wonderful tropium

1:10:12.040 --> 1:10:14.600
<v Speaker 1>of the day sex black enough uh in the Mo

1:10:14.800 --> 1:10:17.240
<v Speaker 1>and Dude bathroom scene, we're sucking dough or lintles, like

1:10:17.880 --> 1:10:19.360
<v Speaker 1>was it twenty five grand I got it right here

1:10:19.400 --> 1:10:21.479
<v Speaker 1>and I leave him alone? We got Christmas dinner. I

1:10:21.640 --> 1:10:26.040
<v Speaker 1>was like, damn, that was solved very quickly. A pastor,

1:10:26.320 --> 1:10:32.120
<v Speaker 1>like the pastors the deacons have twenty five thousand dollars

1:10:32.560 --> 1:10:35.240
<v Speaker 1>at all, absolutely, even to a black church. The collection

1:10:35.280 --> 1:10:37.840
<v Speaker 1>plate comes around, I was like, where did that money

1:10:37.920 --> 1:10:40.719
<v Speaker 1>come from? Me? You got he has twenty five thousand.

1:10:40.800 --> 1:10:43.280
<v Speaker 1>The pastor always has twenty five thousands. That's a whole

1:10:43.320 --> 1:10:46.599
<v Speaker 1>other movie. Yeah, that's and that's a whole other movie.

1:10:46.640 --> 1:10:48.880
<v Speaker 1>That's why I'm like, oh, like it's funny, like because

1:10:48.880 --> 1:10:51.040
<v Speaker 1>I think of those tropes, even going to black church,

1:10:51.160 --> 1:10:52.840
<v Speaker 1>like when my grandparents were dragged me and I was like,

1:10:52.920 --> 1:10:54.519
<v Speaker 1>why do you give him all the money? I remember

1:10:54.520 --> 1:10:56.439
<v Speaker 1>as a kid, I'm like, how come the pastor has

1:10:56.520 --> 1:11:00.040
<v Speaker 1>the nicest car? And they're like, well, that's because know

1:11:00.120 --> 1:11:02.479
<v Speaker 1>they lead the congregation or whatever. I'm like, this sounds like,

1:11:02.760 --> 1:11:05.960
<v Speaker 1>oh sick ass job. Just scream for a couple of

1:11:05.960 --> 1:11:08.160
<v Speaker 1>minutes on Sundays and you get a Mercedes. This movie

1:11:08.200 --> 1:11:10.840
<v Speaker 1>should have been a like TV series and not a

1:11:10.960 --> 1:11:13.800
<v Speaker 1>movie based on like everything that gets set up about

1:11:13.800 --> 1:11:15.720
<v Speaker 1>all these family members. So we want to go into

1:11:15.760 --> 1:11:18.920
<v Speaker 1>the Whitfield universe, Yeah, if where is it? Um? But

1:11:19.520 --> 1:11:21.840
<v Speaker 1>to go back to the Kelly at least a relationship

1:11:21.920 --> 1:11:25.639
<v Speaker 1>I do appreciate, and this, you know, again, the nuances

1:11:25.680 --> 1:11:28.559
<v Speaker 1>aren't explored as much as they should be. This feels

1:11:28.640 --> 1:11:30.639
<v Speaker 1>kind of surface level, but I do appreciate at least

1:11:30.680 --> 1:11:34.040
<v Speaker 1>that Lisa comes around and realizes like, oh shoot, I

1:11:34.120 --> 1:11:36.720
<v Speaker 1>should see my worth. I should see my value, I

1:11:36.760 --> 1:11:40.360
<v Speaker 1>should leave my cheating husband, whatever that means for for

1:11:40.720 --> 1:11:44.000
<v Speaker 1>me in my in my life. And they end on

1:11:44.160 --> 1:11:49.519
<v Speaker 1>like a beat of kind of reconciliation and appreciation for

1:11:49.640 --> 1:11:52.560
<v Speaker 1>each other because at least the lesson is like, I

1:11:52.600 --> 1:11:54.880
<v Speaker 1>don't know, girl, like men are going to cheat. The

1:11:55.040 --> 1:11:57.439
<v Speaker 1>lesson is like, yo, if they're doing something, you can

1:11:57.680 --> 1:12:00.160
<v Speaker 1>you can fucking pull up for yourself and do like

1:12:00.439 --> 1:12:04.439
<v Speaker 1>actually take action for yourself. Right. I like where it

1:12:04.600 --> 1:12:06.640
<v Speaker 1>lands and then it's like it does. Yeah, it just

1:12:06.720 --> 1:12:08.920
<v Speaker 1>seemed like there was just like a lot of interesting

1:12:09.000 --> 1:12:11.120
<v Speaker 1>threads in this movie that they just didn't have the time.

1:12:11.160 --> 1:12:14.519
<v Speaker 1>I would imagine that like a lot of stuff because

1:12:14.520 --> 1:12:17.160
<v Speaker 1>it's two hours long and there's still so much more

1:12:17.360 --> 1:12:20.560
<v Speaker 1>that you could explore just based on like what is

1:12:20.640 --> 1:12:23.760
<v Speaker 1>kind of foreshadowed at the beginning, where Yeah, it just

1:12:23.800 --> 1:12:26.519
<v Speaker 1>seemed like the movie maybe didn't have enough time to

1:12:26.880 --> 1:12:30.799
<v Speaker 1>get to every like every interesting thing that was presented.

1:12:31.120 --> 1:12:34.439
<v Speaker 1>But I did like where their relationship landed. Um and

1:12:34.560 --> 1:12:37.800
<v Speaker 1>sisters can like I don't know, I'm glad, I'm glad

1:12:37.880 --> 1:12:40.320
<v Speaker 1>that Lisa got out of there, and you know, is

1:12:40.360 --> 1:12:43.240
<v Speaker 1>it really going to affect her children? Where are her children?

1:12:43.600 --> 1:12:48.120
<v Speaker 1>The movie does not give a ship. There mostly mirages.

1:12:48.240 --> 1:12:56.200
<v Speaker 1>Yeah the figments. Um, we're running out of time? Is

1:12:56.240 --> 1:12:58.880
<v Speaker 1>there any is there any other like kind of big

1:12:58.960 --> 1:13:02.479
<v Speaker 1>things we want to touch on. Uh the I guess

1:13:02.600 --> 1:13:05.880
<v Speaker 1>to like put a little bow on on the Quentin stuff.

1:13:06.080 --> 1:13:12.920
<v Speaker 1>He is acting like Macavity. Um he is that's cats. Yeah,

1:13:12.960 --> 1:13:15.960
<v Speaker 1>it's just elba is the villain and cats. He's Macavity.

1:13:16.120 --> 1:13:19.479
<v Speaker 1>The is it like the mystery cat? I forget what

1:13:19.560 --> 1:13:22.280
<v Speaker 1>it is, but he's he plays a cat in a fedora?

1:13:22.960 --> 1:13:30.000
<v Speaker 1>Um who does? And so when he jumped through breakaway glass,

1:13:30.720 --> 1:13:34.519
<v Speaker 1>I was like this is Macavity energy. But but speaking

1:13:34.600 --> 1:13:39.040
<v Speaker 1>to how him and madear where they land where Quentin

1:13:39.520 --> 1:13:42.320
<v Speaker 1>like he and his mom having a strange relationship because

1:13:43.120 --> 1:13:46.880
<v Speaker 1>music bad. But then he like comes at her in

1:13:46.920 --> 1:13:49.720
<v Speaker 1>a way that it's very clear, like Madeira is in

1:13:49.840 --> 1:13:51.960
<v Speaker 1>no uncertain terms being like he was a bad father,

1:13:52.400 --> 1:13:55.840
<v Speaker 1>he's a bad husband, Like I've been with Joe for

1:13:56.160 --> 1:13:59.880
<v Speaker 1>seven years? Like what if if? Because they say that

1:14:00.040 --> 1:14:02.320
<v Speaker 1>they started dating when mel went to college, which was

1:14:02.520 --> 1:14:06.360
<v Speaker 1>seven years ago? Like can you just accept this? And

1:14:06.439 --> 1:14:11.360
<v Speaker 1>he's like no, Dad might come back, which seems like

1:14:11.439 --> 1:14:14.440
<v Speaker 1>a thing he's holding out for is like the potential

1:14:14.600 --> 1:14:17.160
<v Speaker 1>return of senior. But I don't know. I mean, I guess,

1:14:17.280 --> 1:14:19.599
<v Speaker 1>But that's another thing you know that's real though too,

1:14:19.720 --> 1:14:23.960
<v Speaker 1>like of your like son father son, you know, relationship

1:14:24.120 --> 1:14:28.000
<v Speaker 1>like this of just idealizing your parents and then not

1:14:28.200 --> 1:14:31.280
<v Speaker 1>being able to see like like looked at them objectively

1:14:31.320 --> 1:14:33.519
<v Speaker 1>as a human being, where they're like, that's not how

1:14:33.600 --> 1:14:36.000
<v Speaker 1>a person should behave if they're a father. That actually

1:14:36.080 --> 1:14:39.120
<v Speaker 1>fucked me up, and I'm I'm traumatized by it, but

1:14:39.240 --> 1:14:41.360
<v Speaker 1>you're still so caught up in it that your trauma

1:14:41.439 --> 1:14:43.840
<v Speaker 1>is only telling you like, he'll come back, He'll come back,

1:14:43.920 --> 1:14:45.760
<v Speaker 1>and then everything will be okay because then if he

1:14:45.800 --> 1:14:47.560
<v Speaker 1>comes back, I don't have to process any of this

1:14:47.600 --> 1:14:49.519
<v Speaker 1>ship that I've been going through the last twenty odd

1:14:49.600 --> 1:14:52.599
<v Speaker 1>years because he will come back. But again, that's another

1:14:52.680 --> 1:14:55.320
<v Speaker 1>thing that's very nuanced and like I'm looking at him like, well,

1:14:55.360 --> 1:14:57.200
<v Speaker 1>there's a way to look at that being deep at fuck.

1:14:57.680 --> 1:14:59.400
<v Speaker 1>And there's another version where it just sounds like I

1:14:59.479 --> 1:15:02.120
<v Speaker 1>dress elbow being like you're not my dad, and then

1:15:02.160 --> 1:15:04.800
<v Speaker 1>it just ends there. They just don't have the time

1:15:04.960 --> 1:15:08.040
<v Speaker 1>to like tackle that story, like it just sounds weird

1:15:08.280 --> 1:15:11.200
<v Speaker 1>to Caitlin's point, like, yeah, if it were like an anthology,

1:15:11.520 --> 1:15:14.200
<v Speaker 1>like you could tackle like each of these almost could

1:15:14.240 --> 1:15:18.840
<v Speaker 1>be like a very poignant film around Christmas that you're

1:15:18.920 --> 1:15:22.800
<v Speaker 1>really like, you know, working around from most of the storylines.

1:15:22.840 --> 1:15:25.479
<v Speaker 1>But yeah, it ends up kind of getting a little vogue.

1:15:25.960 --> 1:15:31.200
<v Speaker 1>Well then also with Idri Salma's character and arguably all

1:15:31.280 --> 1:15:33.680
<v Speaker 1>the men in the movie. And we've talked about this

1:15:33.840 --> 1:15:38.000
<v Speaker 1>too on Christmas episodes we've done of um, a lot

1:15:38.080 --> 1:15:42.560
<v Speaker 1>of stories revolved like a Christmas movie with a male protagonist.

1:15:42.800 --> 1:15:46.960
<v Speaker 1>Often redemption is a huge theme there. There's often these

1:15:47.040 --> 1:15:50.840
<v Speaker 1>like huge redemption arcs, which I generally find to be

1:15:51.000 --> 1:15:55.320
<v Speaker 1>pretty tired and annoying. And it's also like, well, men,

1:15:55.560 --> 1:15:58.320
<v Speaker 1>if you tried harder the first time, maybe you wouldn't

1:15:58.360 --> 1:16:01.760
<v Speaker 1>have to be constantly redeeming yourself all the time. Um,

1:16:01.960 --> 1:16:05.960
<v Speaker 1>but you know, men will always be given second chances anyway.

1:16:06.600 --> 1:16:11.120
<v Speaker 1>Male redemption stories are a very popular Christmas narrative between

1:16:11.439 --> 1:16:14.960
<v Speaker 1>Scrooge and the Grinch and Tim Allen in the Santa

1:16:15.000 --> 1:16:19.240
<v Speaker 1>Claus and Michael Keaton and Jack Frost and so on,

1:16:19.840 --> 1:16:22.160
<v Speaker 1>And it feels like that applies to this movie as well,

1:16:22.280 --> 1:16:25.960
<v Speaker 1>where like Joe and Quentin sort of redeem each other

1:16:26.240 --> 1:16:29.920
<v Speaker 1>in each other's eyes. There's like this redemption sort of

1:16:30.080 --> 1:16:34.599
<v Speaker 1>with Claude being like, oops, I got arrested and oh

1:16:34.760 --> 1:16:38.040
<v Speaker 1>I have a secret wife. But now everything's fine. They

1:16:38.160 --> 1:16:45.479
<v Speaker 1>also don't have time to resolve this plod stuff. But right,

1:16:45.560 --> 1:16:48.439
<v Speaker 1>but like Joe calls in a favor with some military

1:16:48.479 --> 1:16:51.360
<v Speaker 1>guy he knows, so like that just gets like steamlessly resolved.

1:16:51.840 --> 1:16:54.840
<v Speaker 1>Joe did that again? Yeah, Joe says like, oh I

1:16:54.960 --> 1:16:58.400
<v Speaker 1>know some dude, Yo, he really is des x Blackina

1:16:58.520 --> 1:17:03.439
<v Speaker 1>and this whole film. Yeah everything. You let me call

1:17:03.520 --> 1:17:06.960
<v Speaker 1>Colin Powell real quick, already have it an envelope in

1:17:07.000 --> 1:17:09.040
<v Speaker 1>this way home my left pocket. That's thirty granted the

1:17:09.080 --> 1:17:11.000
<v Speaker 1>other one here right, because he's also the one who

1:17:11.200 --> 1:17:14.639
<v Speaker 1>arranges for Baby to sing at church so that Baby

1:17:14.720 --> 1:17:18.439
<v Speaker 1>can kind of redeem himself in Madear's eyes. So all

1:17:18.479 --> 1:17:21.040
<v Speaker 1>these sixes everything for every son right, and all of

1:17:21.120 --> 1:17:24.720
<v Speaker 1>the men have these have these redemption narratives, whereas all

1:17:24.760 --> 1:17:28.479
<v Speaker 1>the women are just like man or no man? Which

1:17:28.560 --> 1:17:33.600
<v Speaker 1>man who boy like sex kissing? Yeah that was my

1:17:33.720 --> 1:17:36.720
<v Speaker 1>last thing? Is I wish that because most of Madear's

1:17:37.360 --> 1:17:41.800
<v Speaker 1>most of Madear's stories as well, are dedicated to her

1:17:41.840 --> 1:17:45.160
<v Speaker 1>relationship with Joe, her relationship with Baby, her relationship with Clenton,

1:17:45.479 --> 1:17:47.360
<v Speaker 1>and really the only times you see her interact with

1:17:47.439 --> 1:17:50.600
<v Speaker 1>her daughter is her or any of her daughters. She's like,

1:17:51.320 --> 1:17:53.479
<v Speaker 1>how is your marriage or where is your marriage? And

1:17:53.720 --> 1:17:56.600
<v Speaker 1>those are really the only things that we So I

1:17:56.680 --> 1:17:58.320
<v Speaker 1>wish that you had there was a little more time

1:17:58.360 --> 1:18:02.160
<v Speaker 1>with Madear and and her dollars too, but you know,

1:18:02.280 --> 1:18:05.680
<v Speaker 1>we just needed an anthology. We needed more time. You

1:18:05.800 --> 1:18:07.160
<v Speaker 1>think he went a well because he was like a

1:18:07.200 --> 1:18:12.599
<v Speaker 1>conscientious objector to the Iraq war, Like, Yo, that would

1:18:12.600 --> 1:18:14.320
<v Speaker 1>have been lit. I'm like, yo, hold on, let this

1:18:14.439 --> 1:18:18.120
<v Speaker 1>man speak real quick. He's not wrong though, but like

1:18:18.520 --> 1:18:20.920
<v Speaker 1>but but he never Yeah, I don't know, Like I

1:18:20.960 --> 1:18:24.040
<v Speaker 1>don't know if we could what's the what's the reason behind? Yeah,

1:18:24.400 --> 1:18:27.600
<v Speaker 1>that would be amazing. If this was like late Bush administration,

1:18:28.360 --> 1:18:30.600
<v Speaker 1>like political. He's like, why am I going to go

1:18:30.680 --> 1:18:32.680
<v Speaker 1>to another part of the world just to fight on

1:18:32.760 --> 1:18:35.800
<v Speaker 1>behalf of corporations that are invested in my downfall in

1:18:35.920 --> 1:18:39.439
<v Speaker 1>this country and collectively our entire family and our people.

1:18:39.760 --> 1:18:42.439
<v Speaker 1>No funk that I'm not spilling my blood for petrol

1:18:42.520 --> 1:18:45.840
<v Speaker 1>dollars anymore. I'm taking a stand. God damn it, Like

1:18:45.960 --> 1:18:49.120
<v Speaker 1>it would have been like, yeah, well that's not that's

1:18:49.160 --> 1:18:52.000
<v Speaker 1>a redemption. No, I take too hot for a two

1:18:52.080 --> 1:18:54.519
<v Speaker 1>thousand seven though, that two seven that would have been

1:18:54.720 --> 1:18:58.479
<v Speaker 1>Dixie Chicks times five million. What the fund did this?

1:18:58.960 --> 1:19:03.480
<v Speaker 1>What did this? This person saying the Christmas movie instead

1:19:04.160 --> 1:19:10.120
<v Speaker 1>Petro war the truly the monologue we needed and we

1:19:10.200 --> 1:19:13.960
<v Speaker 1>didn't get. The reason we get instead is that he

1:19:14.080 --> 1:19:16.800
<v Speaker 1>went a wall because he requested a leave, which was

1:19:16.960 --> 1:19:20.880
<v Speaker 1>denied because he didn't tell his like military people that

1:19:21.040 --> 1:19:23.920
<v Speaker 1>he got married. And he went in a wall because

1:19:24.200 --> 1:19:27.479
<v Speaker 1>Sandy would have been disappointed if they So he's like

1:19:27.560 --> 1:19:29.960
<v Speaker 1>kind of blame. It's almost like the blame is being

1:19:30.000 --> 1:19:32.240
<v Speaker 1>put on her for the reason he went a wall,

1:19:32.240 --> 1:19:34.880
<v Speaker 1>because he said, well, I like my secret wife that

1:19:34.920 --> 1:19:46.080
<v Speaker 1>I haven't told anyone about would have been disappointed. Hell yeah, clod,

1:19:46.560 --> 1:19:50.120
<v Speaker 1>you know, we just needed the Claude the Clode thing.

1:19:50.280 --> 1:19:53.160
<v Speaker 1>That's a whole series all its own, Like there's just

1:19:53.320 --> 1:19:59.920
<v Speaker 1>so much going on. I'm like now officially fully opened

1:20:00.080 --> 1:20:06.000
<v Speaker 1>to a mini series that writes out baby yes, eliminates

1:20:06.280 --> 1:20:08.360
<v Speaker 1>where he goes to that camera he becomes Terry Richardson,

1:20:10.600 --> 1:20:12.200
<v Speaker 1>you don't want to see it. Actually it's pretty it's

1:20:12.200 --> 1:20:16.160
<v Speaker 1>prettyasy grim like we just don't talk about anymore. Yeah,

1:20:17.720 --> 1:20:21.479
<v Speaker 1>does this movie pass the Bechdel test? Yeah, but you

1:20:21.600 --> 1:20:24.040
<v Speaker 1>think it would pass more. You think it would. There

1:20:24.120 --> 1:20:27.040
<v Speaker 1>are quite a few women in the movie, and they

1:20:27.120 --> 1:20:31.680
<v Speaker 1>do interact, but often the conversations revolve around husbands and

1:20:31.760 --> 1:20:36.760
<v Speaker 1>boyfriends and stepdad figures, etcetera. Um, but there are things

1:20:36.800 --> 1:20:40.320
<v Speaker 1>to talk about, like sisterhood and being bad at cooking,

1:20:40.600 --> 1:20:49.760
<v Speaker 1>which technically counts batteries vibrator batteries. Yes, um, as far

1:20:49.800 --> 1:20:52.439
<v Speaker 1>as our nipple scale zero to five nipples based on

1:20:53.520 --> 1:20:58.519
<v Speaker 1>an examination of intersectional feminism. So for me, I don't know.

1:20:58.800 --> 1:21:02.360
<v Speaker 1>I'm kind of torn on this one because on one hand,

1:21:03.160 --> 1:21:09.280
<v Speaker 1>it really adheres to some just you know, holiday movie tropes,

1:21:09.760 --> 1:21:14.040
<v Speaker 1>some two thousand seven tropes two thousand seven tropes, the

1:21:14.120 --> 1:21:17.800
<v Speaker 1>way women are presented in media tropes in terms of

1:21:18.000 --> 1:21:23.120
<v Speaker 1>like the women all have like stakes and narratives surrounding

1:21:23.760 --> 1:21:28.240
<v Speaker 1>like romantic relationships with men, So coming at it from

1:21:28.280 --> 1:21:33.000
<v Speaker 1>that perspective, it's like. But on the other hand, because

1:21:33.160 --> 1:21:37.160
<v Speaker 1>this is typically such a white genre and Christmas movies

1:21:38.800 --> 1:21:42.680
<v Speaker 1>so aggressively, like like I don't know, like Hollywood is

1:21:42.720 --> 1:21:49.400
<v Speaker 1>just like only white Christians celebrate wintertime holidays, right, So

1:21:49.640 --> 1:21:54.160
<v Speaker 1>it's just it's nice and refreshing to see a Christmas

1:21:54.240 --> 1:21:58.640
<v Speaker 1>oriented movie that features a black family. The fact that

1:21:58.720 --> 1:22:02.920
<v Speaker 1>it's written and directed by a black filmmaker who based

1:22:02.960 --> 1:22:05.479
<v Speaker 1>a lot of these characters on either members of his

1:22:05.600 --> 1:22:08.880
<v Speaker 1>family or himself, so it's a black creator telling his

1:22:09.000 --> 1:22:13.280
<v Speaker 1>own story. I really like the women in the story.

1:22:14.160 --> 1:22:16.200
<v Speaker 1>I wish we had gotten to know them better. I

1:22:16.280 --> 1:22:20.919
<v Speaker 1>wish we had they had narratives outside of romantic pursuits.

1:22:21.640 --> 1:22:24.160
<v Speaker 1>We do learn a little tiny bit about each one

1:22:24.520 --> 1:22:28.760
<v Speaker 1>as far as like interior exterior lives, but it's always

1:22:28.920 --> 1:22:31.080
<v Speaker 1>pretty vague. So it's like, I don't know, do we

1:22:31.160 --> 1:22:34.240
<v Speaker 1>know that much about them? So I don't know. There's

1:22:34.320 --> 1:22:36.680
<v Speaker 1>just it's kind of a mixed bag for me. Uh,

1:22:36.880 --> 1:22:39.040
<v Speaker 1>Like I said, I think this would have served better

1:22:39.200 --> 1:22:42.080
<v Speaker 1>as like a series. I would have I would love

1:22:42.120 --> 1:22:44.879
<v Speaker 1>a show about this family. We had like ten bottle

1:22:45.000 --> 1:22:48.160
<v Speaker 1>episodes about each character. That would be like all the stories,

1:22:48.200 --> 1:22:51.120
<v Speaker 1>all these stories or most of them like that Chris

1:22:51.200 --> 1:22:53.360
<v Speaker 1>Brown one probably scraped that, but like all of them

1:22:53.479 --> 1:22:56.920
<v Speaker 1>wore like you're like, oh, this is really something, but

1:22:57.080 --> 1:23:03.479
<v Speaker 1>then where it is it go? So with that in mind,

1:23:03.880 --> 1:23:06.679
<v Speaker 1>I don't know, maybe like a two and a half

1:23:06.880 --> 1:23:11.479
<v Speaker 1>or three. I'm leaning I just like I said, I

1:23:11.760 --> 1:23:17.280
<v Speaker 1>really like the characters. The performances are amazing, especially Loretta

1:23:17.360 --> 1:23:24.200
<v Speaker 1>Divine is incredible, Regina King amazing. Each of those characters

1:23:24.760 --> 1:23:28.080
<v Speaker 1>deserve better. So I'm gonna land on a three, I think,

1:23:28.600 --> 1:23:34.040
<v Speaker 1>And um, I'll give them all to Idrisalba's Ma Cavity

1:23:34.840 --> 1:23:38.599
<v Speaker 1>just kidding, yeah, I think. Also just split them among

1:23:38.800 --> 1:23:42.160
<v Speaker 1>the four main women in in the story. Whatever that

1:23:42.200 --> 1:23:44.599
<v Speaker 1>fraction works out too. I'm leaning around the same at

1:23:44.640 --> 1:23:47.639
<v Speaker 1>a two point five three, uh, for much the same reason.

1:23:47.680 --> 1:23:51.800
<v Speaker 1>I mean, I guess it really is like it is.

1:23:52.720 --> 1:23:55.120
<v Speaker 1>It's amazing to see. Like I think We've been having

1:23:55.200 --> 1:23:59.240
<v Speaker 1>this conversation um over the past several months more and

1:23:59.320 --> 1:24:04.160
<v Speaker 1>more like movie is about black joy and movies about families,

1:24:04.240 --> 1:24:06.560
<v Speaker 1>and movies about the American black experience that is not

1:24:07.240 --> 1:24:11.799
<v Speaker 1>really deeply shaped by trauma. And this is the perfect

1:24:12.040 --> 1:24:15.639
<v Speaker 1>genre to explore that, and but it's so rarely done.

1:24:16.320 --> 1:24:20.719
<v Speaker 1>This movie's um existence and success is like incredible, especially

1:24:20.880 --> 1:24:25.840
<v Speaker 1>like this fucking cast is unreal, Like it's just just

1:24:26.240 --> 1:24:29.240
<v Speaker 1>the careers that the vast majority of this cast has

1:24:29.280 --> 1:24:31.519
<v Speaker 1>gone on to have. It's just like minus Chris Brown,

1:24:32.840 --> 1:24:35.559
<v Speaker 1>you know a lot of upward trajectories and a notable

1:24:35.640 --> 1:24:39.120
<v Speaker 1>downward one. Um. But all I said, like, the cast

1:24:39.240 --> 1:24:42.200
<v Speaker 1>is so incredible, the chemistry between everyone is so good.

1:24:42.560 --> 1:24:44.160
<v Speaker 1>And then yeah, my my note is kind of the

1:24:44.240 --> 1:24:47.600
<v Speaker 1>same thing of like, if you're going to bring in

1:24:47.840 --> 1:24:53.040
<v Speaker 1>such an amazing group of female actors, don't just give

1:24:53.120 --> 1:24:56.640
<v Speaker 1>them stories about husbands and boyfriends and like it's a

1:24:56.760 --> 1:24:59.439
<v Speaker 1>waste of the talent. And I really, I mean, I

1:24:59.479 --> 1:25:01.920
<v Speaker 1>don't think that we really know anything about these women

1:25:02.000 --> 1:25:05.880
<v Speaker 1>outside of their relationship to men and sons outside of

1:25:06.080 --> 1:25:10.520
<v Speaker 1>the Lisa Kelly Um sisterhood, but all of their conflicts

1:25:10.920 --> 1:25:15.439
<v Speaker 1>revolve around their relationships towards men. So I just I A,

1:25:15.439 --> 1:25:18.240
<v Speaker 1>I was frustrated by that because it's like, you have

1:25:18.400 --> 1:25:23.120
<v Speaker 1>fucking Regina King, she can do anything, like let's see more,

1:25:23.280 --> 1:25:27.040
<v Speaker 1>let's see like questions I had as I was watching.

1:25:27.080 --> 1:25:30.400
<v Speaker 1>I was like, well, what what would Lisa have done

1:25:30.560 --> 1:25:32.679
<v Speaker 1>if she didn't feel like she had to stay back

1:25:32.760 --> 1:25:36.080
<v Speaker 1>with the family, Like did she have an aspiration that

1:25:36.479 --> 1:25:39.920
<v Speaker 1>was kind of ruined in her view by the fact

1:25:39.960 --> 1:25:42.799
<v Speaker 1>that Kelly went on to have her career follow up question,

1:25:43.120 --> 1:25:46.240
<v Speaker 1>what is Kelly's career? What does she do? Why do

1:25:46.360 --> 1:25:50.320
<v Speaker 1>we talk more about whether she's fucking Santa or not

1:25:51.320 --> 1:25:53.760
<v Speaker 1>then what her job is like? There were just so

1:25:53.920 --> 1:25:58.360
<v Speaker 1>many especially given the variety of the mail plot and

1:25:58.520 --> 1:26:02.639
<v Speaker 1>how I think pretty much, without exception, all the male

1:26:02.960 --> 1:26:06.360
<v Speaker 1>plots were at least tethered in some way to their career,

1:26:07.040 --> 1:26:12.880
<v Speaker 1>where like Claude is a Wall, Macavity is Macavity, ng uh,

1:26:13.760 --> 1:26:16.479
<v Speaker 1>all of their stories are related to their careers. And

1:26:16.640 --> 1:26:20.479
<v Speaker 1>we don't even really know what the female characters do

1:26:20.800 --> 1:26:25.480
<v Speaker 1>or wanted to do outside of Madear owns a cleaners,

1:26:25.520 --> 1:26:28.720
<v Speaker 1>but we don't know anything about that really either, Like so,

1:26:29.560 --> 1:26:31.479
<v Speaker 1>and then on top of I mean, and I wish

1:26:31.520 --> 1:26:34.560
<v Speaker 1>that we saw more of Madear and her daughters selfishly

1:26:34.640 --> 1:26:37.640
<v Speaker 1>because I want more scenes with Loretta Divine and Regina King,

1:26:37.760 --> 1:26:41.000
<v Speaker 1>but like that's a meeting. So I think that this

1:26:41.120 --> 1:26:45.479
<v Speaker 1>movie is really good, and it's it's especially for its time.

1:26:45.560 --> 1:26:47.640
<v Speaker 1>It's like it's very of its time in a lot

1:26:47.720 --> 1:26:49.920
<v Speaker 1>of ways, and we can tear that apart all day,

1:26:49.960 --> 1:26:53.200
<v Speaker 1>but it's a movie it's a joyful movie about black

1:26:53.280 --> 1:26:56.559
<v Speaker 1>American family. We don't get that a lot, and um,

1:26:56.640 --> 1:26:59.200
<v Speaker 1>I hope that we continue to get more in this genre.

1:27:00.040 --> 1:27:03.680
<v Speaker 1>It care about what women are doing that aren't with men.

1:27:04.240 --> 1:27:07.280
<v Speaker 1>So I'll go I guess I'll go a three as well,

1:27:07.880 --> 1:27:11.200
<v Speaker 1>and I will give my nipples to give two of

1:27:11.280 --> 1:27:13.960
<v Speaker 1>them to mel because I want. I also, I really

1:27:14.120 --> 1:27:19.280
<v Speaker 1>liked her, and she disappeared about halfway through the movie,

1:27:19.960 --> 1:27:23.200
<v Speaker 1>And I will give my other nipple to my dear

1:27:23.400 --> 1:27:30.639
<v Speaker 1>because Loretta Divine rocks truly. What about you, Miles, Uh,

1:27:31.080 --> 1:27:34.040
<v Speaker 1>maybe two and a half three? Maybe I'll go three

1:27:34.479 --> 1:27:38.400
<v Speaker 1>rather than just to give a slight advantage because it's weird,

1:27:38.520 --> 1:27:41.000
<v Speaker 1>like half of the film negates the other half, so

1:27:41.200 --> 1:27:44.760
<v Speaker 1>you're like, but also like, I'm also looking at this

1:27:44.840 --> 1:27:46.880
<v Speaker 1>through the lens of it being a Christmas film, so

1:27:47.000 --> 1:27:49.719
<v Speaker 1>I'm already like, this is not like a movie. Really.

1:27:50.040 --> 1:27:53.360
<v Speaker 1>I I really consider these kinds of films like absolute

1:27:53.520 --> 1:27:57.760
<v Speaker 1>background noise during the holidays, because none of them know

1:27:57.880 --> 1:28:00.280
<v Speaker 1>there's it's really hard to find any film that's offering

1:28:00.280 --> 1:28:02.639
<v Speaker 1>anything of substance. And just like the way the genre

1:28:02.720 --> 1:28:05.160
<v Speaker 1>has like morphed over the years, as it is like

1:28:05.400 --> 1:28:09.120
<v Speaker 1>flavorless is the flavor. Uh, so I'll give it. I'll

1:28:09.120 --> 1:28:12.840
<v Speaker 1>give them three and just you know, maybe I would

1:28:13.000 --> 1:28:15.240
<v Speaker 1>knock them down because for that escalade line about being

1:28:15.280 --> 1:28:18.240
<v Speaker 1>a good investment really fucking kissed me off. No, fuck

1:28:18.320 --> 1:28:21.760
<v Speaker 1>it too to wow. I don't know why. No, no,

1:28:21.960 --> 1:28:23.519
<v Speaker 1>no no, I'm sorry, but that has nothing to do

1:28:23.600 --> 1:28:26.160
<v Speaker 1>with the representation of women. So I will still keep

1:28:26.200 --> 1:28:27.320
<v Speaker 1>it through. I'm sorry, I have to keep I have

1:28:27.400 --> 1:28:31.519
<v Speaker 1>to sort of compartmentalize one must Hell yeah, well, myles,

1:28:31.560 --> 1:28:34.040
<v Speaker 1>thank you so much for for being here, for talking

1:28:34.120 --> 1:28:38.400
<v Speaker 1>this Christmas with us. Where can people follow you? Check

1:28:38.439 --> 1:28:41.760
<v Speaker 1>out your stuff? Tell us everything. Oh it's not much,

1:28:41.880 --> 1:28:44.840
<v Speaker 1>just miles of gray wherever wherever you got stuff? And

1:28:45.120 --> 1:28:48.960
<v Speaker 1>uh daily Zeitgeist talking every day. If you want to

1:28:49.040 --> 1:28:52.680
<v Speaker 1>hear my takes on the sordid universe of ours or

1:28:52.840 --> 1:28:55.080
<v Speaker 1>fiance if you want to hear me just be high

1:28:55.080 --> 1:29:01.120
<v Speaker 1>and talk about um. You can follow us on social

1:29:01.200 --> 1:29:07.280
<v Speaker 1>media on Twitter, on Instagram, on our patreon a k

1:29:07.439 --> 1:29:11.360
<v Speaker 1>A Matreon, which is at patreon dot com, slash Bechtel Cast.

1:29:11.520 --> 1:29:14.400
<v Speaker 1>It's a fun place this month because we're doing the

1:29:14.560 --> 1:29:19.400
<v Speaker 1>terrible Netflix ones. We're talking Princess switched to and Christmas

1:29:19.520 --> 1:29:27.400
<v Speaker 1>Prince to Princess switch. I say, Christmas Princess. There it's

1:29:28.360 --> 1:29:34.280
<v Speaker 1>the Princess, the Prince, Christmas the Christmas Prince switch switched again,

1:29:34.760 --> 1:29:42.519
<v Speaker 1>switched again at the So for more of that, go

1:29:42.640 --> 1:29:47.479
<v Speaker 1>to man. It's only five dollars of us and it

1:29:47.560 --> 1:29:52.040
<v Speaker 1>gets you to Bottos episodes every month. Um. And then

1:29:52.120 --> 1:29:55.479
<v Speaker 1>for our merch, you can go to t public dot

1:29:55.560 --> 1:30:00.320
<v Speaker 1>com slash the Bechtel Cast and grab some some merch

1:30:00.600 --> 1:30:04.200
<v Speaker 1>for for holiday gifts. Go for it. Who's stopping you?

1:30:04.600 --> 1:30:09.840
<v Speaker 1>I dare you? Thank you so much for listening and

1:30:10.120 --> 1:30:12.960
<v Speaker 1>two miles again, and we'll be back with another holiday

1:30:13.000 --> 1:30:15.840
<v Speaker 1>disaster next week. Indeed, bye bye bye