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Speaker 1: On the Bechdecast, the questions asked if movies have women

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Speaker 1: and them, are all their discussions just boyfriends and husbands,

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Speaker 1: or do they have individualism? It's the patriarchy, zeph and

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Speaker 1: best start changing it with the Bechdel Cast.

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Speaker 2: Hello, welcome to the Bechdel Cast. My name is Jamie.

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Speaker 3: My name is Caitlin. I was expecting you to say

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Speaker 3: your last name too. I got really.

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Speaker 2: Oh no, I'm trying to like pivot to like Beyonce. Okay,

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Speaker 2: I'm trying to become what is it eponymous?

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Speaker 3: Oh? Is that what that means?

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Speaker 4: I don't know. No, mononymous, I just oh, mama, monogamous, monogamous.

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Speaker 2: I mean not for everyone, but certainly for me. Not

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Speaker 2: for me, Bregny know. My name is Jamie Loftis what's

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Speaker 2: your name?

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Speaker 1: God?

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Speaker 3: My name is Caitlin Dubronte. Okay, fine. It's our show

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Speaker 3: where we examine movies through an intersectional feminist lens, using

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Speaker 3: the Bechdel test as a jumping off point. This is

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Speaker 3: a special episode because this is our live episode on

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Speaker 3: the Wolf of Wall Street, Yes, which we recorded live

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Speaker 3: in Sacramento at STAB Comedy Theater many many months ago.

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Speaker 3: This was February.

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Speaker 2: It's wild. I feel like, honestly, I was gonna be like,

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Speaker 2: I feel like basically the same person, but like you know,

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Speaker 2: it was a really really fun show.

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Speaker 3: It was Yes, thank you to everyone who came out.

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Speaker 2: It was an absolute blast.

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Speaker 3: Yeah.

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Speaker 2: We covered the Wolf of Wall Street, which you know

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Speaker 2: if you have clicked onto the b Caitlin had this

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Speaker 2: idea to do this, and I think it was rather

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Speaker 2: brilliant because if you were not aware, it was a

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Speaker 2: while ago.

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Speaker 5: Now.

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Speaker 2: We did a tour that was called the Barbie Tour,

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Speaker 2: but in Sacramento we had two show times because the

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Speaker 2: first one sold out because we're so extremely popular, and

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Speaker 2: so we had to think of a second movie to cover,

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Speaker 2: and Caitlin suggested the Wolf of Wall Street? Could you

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Speaker 2: unpack that for us?

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Speaker 3: Well, I was like, okay, Barbie is all about Margot

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Speaker 3: Robbie wearing pink. In what other movies does Margot Robbie

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Speaker 3: wear pink? And the obvious choice was Wolf of Wall Street,

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Speaker 3: a movie that pairs perfectly with Barbie.

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Speaker 2: We can all agree, and I think it is fascinating

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Speaker 2: in terms of career trajectory that often the first movie,

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Speaker 2: especially for like a bombshell actress like Margaret Robbie is,

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Speaker 2: who is also tremendously talented and a really great producer

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Speaker 2: and like very smart. But you'll often see I feel

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Speaker 2: like them burst onto the scene in roles that are

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Speaker 2: fundamentally exploitative in a way that is not their fault.

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Speaker 3: For sure.

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Speaker 2: Margot Robbie is amazing in this movie. She's also quite young,

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Speaker 2: and then seeing almost ten years later, seeing her in

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Speaker 2: the most successful movie of the year that she also

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Speaker 2: produced that she had a huge hand and that is

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Speaker 2: you can listen to our Barbie episode that for the

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Speaker 2: most part, you know, is like a kind of a

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Speaker 2: good feminism one oh one type movie that normally doesn't

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Speaker 2: do as well without a huge star behind it. So

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Speaker 2: and we were doing it in Sacramento, which felt Greta

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Speaker 2: Gerwig coded. You know, it was all it was all

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Speaker 2: kind of connected.

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Speaker 3: Her web connects them all.

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Speaker 2: If Margaret Robbie had been in Madam Web, I mean no,

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Speaker 2: She's only in the DC universe, right, I guess she

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Speaker 2: didn't really fuck with Marvel.

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Speaker 3: Marvel's kind of a liability at this point, I mean true. Well,

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Speaker 3: speaking of Margaret Robbie's career trajectory, the difference between.

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Speaker 2: Thank God, her character back.

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Speaker 3: You brought it up her character in Suicide Squad versus

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Speaker 3: her character in Birds of Prey. She's playing the same character,

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Speaker 3: but the way that character is portrayed and the you know,

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Speaker 3: amount of agency that character has and the way that

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Speaker 3: character is framed, et cetera a huge difference.

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Speaker 2: And it's so interesting that she executive produced one of

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Speaker 2: those movies and not the other.

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Speaker 3: Very interesting.

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Speaker 2: I Margaret, Robbie Stan Sorry, if anyone's upset, get a life.

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Speaker 2: We covered of Wall Street is the point, and we

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Speaker 2: also have covered you know, a number of Martin Scorsese

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Speaker 2: movies in the last year or so, and so we

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Speaker 2: were excited to cover it because it was a movie

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Speaker 2: that we both like. Yes, which if you know that

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Speaker 2: we're a host of the Bechdel Cast, feels confusing. We

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Speaker 2: get into it. Yeah, it was a very fun show.

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Speaker 2: And before you get into our live show recording, and

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Speaker 2: then we have some pickups later on because it is

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Speaker 2: a very complicated movie to talk about. We had more

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Speaker 2: to say that we didn't have time for. But first, Caitlin,

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Speaker 2: what the hell is the Bechdel Test?

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Speaker 3: Tell me ge whiz, I'll tell you. It is a

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Speaker 3: meametric tell Me, created by Alison Bechdel, first appearing in

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Speaker 3: her comic Likes to Watch out For in nineteen eighty five,

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Speaker 3: appearing as a bit a goof. It was never intended

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Speaker 3: to be the media metric that it came to be,

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Speaker 3: and there are many versions of the tests. The one

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Speaker 3: that we have cultivated over the years is this, do

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Speaker 3: two characters of a marginalized gender have names? Do they

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Speaker 3: speak to each other? And is their conversation about something

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Speaker 3: other than a man? If so, it passes the Bechdel test. Also,

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Speaker 3: we like it when it's a substantial conversation and not

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Speaker 3: just throwaway dialogue. So that is what we spend I

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Speaker 3: don't know, one to three minutes of every episode talking

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Speaker 3: about and the rest is other stuff.

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Speaker 2: We just wanted to thank everyone who came to Sacramento

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Speaker 2: almost six months ago now coming to this show. Thank

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Speaker 2: you to STAB and let's get into it.

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Speaker 3: Let's see really quick. Our entry point into the live

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Speaker 3: show is right after we have crawled on stage as

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Speaker 3: if we were God.

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Speaker 2: I forgot on waylots. That was a good idea.

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Speaker 3: That was a great idea. We executed it perfectly and

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Speaker 3: it was awesome.

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Speaker 2: That was a good idea.

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Speaker 3: And then the other thing to do right at the

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Speaker 3: very top here is to place a content slash trigger

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Speaker 3: warning because there is discussion of sexual assault, marital rape,

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Speaker 3: things of that nature that we will be discussing throughout

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Speaker 3: the episode. So please enjoy our live episode of the

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Speaker 3: Wolf of Wall streetcast.

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Speaker 2: Well, welcome, thank you for coming to this very important

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Speaker 2: dissertation on the Wolf of Wall Street. Yes, at nine

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Speaker 2: point thirty on a Friday night. Feels good, feels right.

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Speaker 2: I have my toes out like it's a wiki feed

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Speaker 2: nightmare medals, I know.

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Speaker 3: Just kind of like letting lose, you know. Well, that's

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Speaker 3: what the quayludes will do to you. We're both on

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Speaker 3: so many lutes right now.

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Speaker 2: We'll get you a loose Wow.

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Speaker 3: Okay. Oh. My name is Caitlyn Toronte, my.

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Speaker 2: Name is Shamie Loftus, and this is our our podcast

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Speaker 2: where we talk about your favorite movies from an intersectional

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Speaker 2: feminist lens, and tonight we're operating at a very high

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Speaker 2: difficulty level, so enjoy whatever you're about to here. Give

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Speaker 2: it up if you listen to the show. Okay, wow,

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Speaker 2: free applause.

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Speaker 3: Okay, give it up.

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Speaker 2: If you've been dragged here and you're like, I don't

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Speaker 2: know what's happening. Yeah, okay. I love when someone is

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Speaker 2: confidently unaware of what's happening. That's beautiful. That's Lyude's energy.

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Speaker 2: Hell yeah, well that's uh. You'll you'll get the feel

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Speaker 2: for it. We trust you.

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Speaker 3: Uh.

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Speaker 2: And tonight we were talking about The Wolf of Wall Street.

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Speaker 2: Yes we are, and well I was thinking of how

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Speaker 2: Easter ray and Barbie says, oh, are you guys watching

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Speaker 2: The Godfather? And that was me in college when this

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Speaker 2: movie came out, to all five hundred guys in the

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Speaker 2: fucking filthy punk house I lived in, being like, oh

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Speaker 2: are you all watching The Wolf of Wall Street? And

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Speaker 2: they were like, no, we're playing The Last of Us

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Speaker 2: and it's feminist, Okay, shut up. And I was like, okay, whatever,

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Speaker 2: I don't have PTSD about college at all.

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Speaker 3: Jamie, what's your your relationship?

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Speaker 2: Well, I guess I just gave away about it. Yeah,

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Speaker 2: this movie came out when I was in college. It

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Speaker 2: was for a long time it was my favorite Martin

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Speaker 2: Scuarssese movie, but it was because I had not yet

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Speaker 2: seen Goodfellas and so, which this movie is kind of Fellows.

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Speaker 2: But yeah, I saw it, and I really I mean,

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Speaker 2: as far as our show it does horribly. As far

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Speaker 2: as a movie to watch, I really like it. This

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Speaker 2: movie is fucking wild. It's like it's so long, but

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Speaker 2: and so much happens, and sometimes something so horrible happens

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Speaker 2: that it's like the water so hot, it's cold again,

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Speaker 2: and you're like, I think I'm okay with this, so like,

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Speaker 2: whatever is happening, it's so funny, it's so fucked up. Yeah,

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Speaker 2: I mean this is like, this is a not a

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Speaker 2: comfort movie. It's viscerally upsetting to watch. But this is

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Speaker 2: like a movie I've seen many times. I watched it

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Speaker 2: like on DVD in college, and I'll come back to

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Speaker 2: it every so often. And there's so many iconic moments,

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Speaker 2: one of which we just attempted to.

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Speaker 3: Reinab and we nailed it.

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Speaker 2: I knew exactly what was going on. No, they were like, no,

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Speaker 2: they're going to do performance, all right. No, I didn't

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Speaker 2: sign up for this, but no, I mean, it's a

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Speaker 2: movie I really enjoy watching and I've never been forced

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Speaker 2: to discuss before, and so it's just gonna be it's

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Speaker 2: gonna be an adventure. And the reason that we chose

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Speaker 2: this movie to do the same night as Barbie because

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Speaker 2: we're doing two shows here is because it's another movie

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Speaker 2: where Marcot Robbie wears pink and there's no denying it.

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Speaker 2: And I didn't know that this movie also the same

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Speaker 2: cinematographer as Barbie. So this man has turned various lenses

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Speaker 2: on Margot Robbie over the years. So yeah, Caitlin, was

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Speaker 2: your history with woofl Fall Street?

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Speaker 3: I don't seen it once before prepping for this episode,

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Speaker 3: I think that I was like, it's too long. I

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Speaker 3: can't watch it, b RB. I have to watch Titanic instead,

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Speaker 3: which is longer.

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Speaker 2: It would have been cool if Wall Street sunk? Whoa

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Speaker 2: would have been? Matthew McConaughey turns to the camera and

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Speaker 2: it's like, I think you may get your headline, mister

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Speaker 2: Wall Street Journal, and then Wall Street sinks. Mm hmmm.

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Speaker 2: That would have been fun.

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Speaker 3: Yeah, So I don't know. I saw it once and

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Speaker 3: I was like, this is Goodfellas, but longer, So I'll

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Speaker 3: just keep watching good Fellas, I guess instead. No, I

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Speaker 3: like the movie too. It's it's a ten out of

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Speaker 3: ten on Caitlin's rombometer.

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Speaker 2: We we've been like watching it in our various hotel

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Speaker 2: rooms and just like chuckling to ourselves and be like, hey,

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Speaker 2: you remember the part where he has too many wudes,

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Speaker 2: which is every part, and then we just start laughing.

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Speaker 2: This movie is like funnier than it has any right

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Speaker 2: to be.

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Speaker 3: Yeah. Yes, and a lot of that humor comes from

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Speaker 3: very problematic sources. Yes, and we'll talk about them.

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Speaker 2: Yes. Wait, what what if you? This is? This is

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Speaker 2: me finding out that not everything that happens in the

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Speaker 2: Wolf of wall Street is good?

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Speaker 3: Nor what nor.

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Speaker 2: The Wolf of Wall Street's my friend Margot Robbie reading

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Speaker 2: the script.

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Speaker 3: Nor he's such a bad wolf. Well, anyway, should I

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Speaker 3: do the recap?

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Speaker 2: Yes? Okay, Oh that's so I want. Okay, I'm going

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Speaker 2: to react as only as Margot Robbie reading me the

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Speaker 2: script for the first time. Oh my god.

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Speaker 3: All right, so here's here's the recap for The Wolf

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Speaker 3: of Wall Street. I am going to gloss over some

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Speaker 3: stuff and leave some stuff out because it is a

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Speaker 3: three hour movie.

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Speaker 2: Yes, please don't come to up to us after this.

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Speaker 2: This is my favorite when we do live shows, or

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Speaker 2: even when we get like emails after episodes come out

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Speaker 2: where someone is like, hey, did you know that there

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Speaker 2: was actually a thirty second scene that you didn't reference,

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Speaker 2: and I was like, thank you so much, Scott, I'm assuming, yes,

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Speaker 2: thank you. The show is free.

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Speaker 3: Fuck up that said, we love all of you. Thank

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Speaker 3: you so much for being here.

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Speaker 2: Yes, please buy merche here.

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Speaker 3: Okay. So this movie is based on a true story

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Speaker 3: about real life person Jordan Belfour. The year is nineteen

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Speaker 3: eighty seven. I have been alive for one year. Me

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Speaker 3: not so much.

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Speaker 2: Don't even exist. Fantasy's young.

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Speaker 6: Uh.

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Speaker 3: So we meet Jordan Belfort played by Leonardo DiCaprio. He

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Speaker 3: is an uber rich stockbroker. He's twenty six years old

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Speaker 3: when we meet him, and.

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Speaker 2: It's like he's like, c W twenty six years old. Oh,

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Speaker 2: I love. I love when someone looks in your face

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Speaker 2: in camera says I'm twenty six, and like I'm looking

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Speaker 2: at you. I you look great, but you're not twenty six.

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Speaker 3: Okay. So he makes nearly a million dollars a week

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Speaker 3: at his money job.

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Speaker 2: Wait, a million dollars a week. I bet his peepy's

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Speaker 2: so bad. Wow, that's like the subtext of every line

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Speaker 2: of dialogue on this He's like, by the way, my

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Speaker 2: peepee huge.

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Speaker 3: He he's got it all. He's got a beautiful his wife.

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Speaker 2: His wife's wife, she's like that's me.

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Speaker 3: Her name is Naomi and she is played by Marcot Robbie.

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Speaker 2: The Wolf is of Wolf straight.

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Speaker 3: They have two kids. They live on a huge estate.

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Speaker 3: There's a bunch of cars and yachts and private jets

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Speaker 3: and all of that. He's also he also has addictions

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Speaker 3: to drugs, especially quayludes. Ever heard of them?

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Speaker 2: Okay, I had not heard of them before I saw

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Speaker 2: the Wolf of bus Street. Really no, I didn't know.

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Speaker 2: I was very sheltered. Wow, the first time I saw

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Speaker 2: someone smoke weed, I cried.

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Speaker 3: And I was like old.

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Speaker 2: I was like sick last week, it was today. I

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Speaker 2: didn't know what ludes were. And then when I learned

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Speaker 2: what ludes were, I just like love to just say

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Speaker 2: it ludes or so. I was just reminding you my

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Speaker 2: dog I used to have like all the ludes lore

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Speaker 2: attached to my dog, where I was like, well, my

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Speaker 2: dog is a millionaire. Here's what he does. He goes

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Speaker 2: to Beverly Hills and he just digs in rich people's

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Speaker 2: yards and gets their hid and ludes, and then he

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Speaker 2: re sells them on the Black market, and the people

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Speaker 2: he sells them to are the lud dudes.

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Speaker 3: Wow.

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Speaker 2: Anyways, I think louds is a fun word, but I

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Speaker 2: don't want to take one.

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Speaker 3: Well, I don't think you can't, but they don't. They

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Speaker 3: don't exp.

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Speaker 2: Well, they didn't stop Leo from getting them.

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Speaker 3: It's true, but that was like thirty ish years ago.

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Speaker 3: I'm like him, I could get them, and then I

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Speaker 3: would sink my boat. There is a boat that sinks

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Speaker 3: in this mood. That's foreshadowing. It's something that's gonna we're

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Speaker 3: gonna see a little later.

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Speaker 2: Just sing spoiling for Titanic and the Wolf lost.

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Speaker 3: Anyway, So he loves ludes and that's one of his

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Speaker 3: main personality traits. He also has three federal agencies after him.

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Speaker 3: He's obsessed with money and gambling and alcohol and all

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Speaker 3: this stuff.

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Speaker 2: Yeah, Friday Night Lights is looking for him. I don't

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Speaker 2: know what that guy.

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Speaker 4: I know.

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Speaker 2: His name is Kyle, Kyle Chandler, two first names. Don't

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Speaker 2: love that and already am ilias, but it's yeah. I

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Speaker 2: was like, oh, Friday Night Ludes love him.

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Speaker 3: So we flashed back a few years prior where we

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Speaker 3: learn how Jordan got to this point. He's a starry

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Speaker 3: eyed twenty two year old. He's newly married, but not

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Speaker 3: to Margot Robbie.

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Speaker 2: To Kristin Miliotti Melatti. I actually Daliatti. No, no one, okay,

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Speaker 2: all right, as long as no one cares in this movie.

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Speaker 2: If you're a brunette, no one cares, don't worry about it.

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Speaker 3: So he shows up on Wall Street in New York City,

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Speaker 3: Ever heard of it? And star it's working for Mark Hannah,

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Speaker 3: played by Matthew McConaughey. Let me just say the sheer

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Speaker 3: panic I experienced when Matthew McConaughey shows up on screen,

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Speaker 3: and I was like, oh my god, I forgot he

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Speaker 3: was in this movie? How much I hate him so much?

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Speaker 3: I hate Matthew McConaughey so deeply, And I was like,

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Speaker 3: is he in this whole movie? I hate it already.

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Speaker 2: But they only yeah, it's like a glorified cameo. Although

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Speaker 2: two things. First, he because I think if there was

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Speaker 2: any Leonardo DiCaprio performance that deserved in Oscar, it was

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Speaker 2: this one. It's so good. But Matthew McConaughey beat him

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Speaker 2: this year for Dallas Buyer's Club, which I've never seen Also,

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Speaker 2: this is my favorite flex in the entire world. For

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Speaker 2: one single week, I knocked Matthew McConaughey off the New

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Speaker 2: York Times bestsellers list, and the week after he was back,

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Speaker 2: and I was gone but for one week. And I

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Speaker 2: did it for you.

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Speaker 3: Thank you, thank you. I did it for you, babe.

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Speaker 2: I did it for you.

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Speaker 3: I appreciate it. Hashtag by raw Dog by Jamie Loftis.

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Speaker 2: But no, thank you, thank you.

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Speaker 3: I wonder a really generous smattering of applause from three people.

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Speaker 2: All I have to say is I am ambivalent to Kandy.

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Speaker 3: I don't know why I hate him so much. He

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Speaker 3: just he irritates me so badly. Anyway, he luckily he's

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Speaker 3: not in the movie that much, but he is there

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Speaker 3: long enough to tell Jordan how to make a shitload

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Speaker 3: of money as a stockbroker, which is break off, jerking off. Yes,

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Speaker 3: that's literally number one. Yeah, doing a lot of cocaine.

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Speaker 3: And Jordan was like, I see your cocaine, and I

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Speaker 3: raise you, ludes.

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Speaker 2: I like that. It's I think this is the right

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Speaker 2: order where he's like, jerk off a lot, do a

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Speaker 2: lot of cocaine, and develop positive business relationships and you're

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Speaker 2: like sure in that.

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Speaker 3: Except he doesn't even say that. He's just like, you're

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Speaker 3: gonna basically want to exploit your clients.

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Speaker 2: Well that's their version of positive business relationship. Yea.

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Speaker 3: Yeah. So then for the next six months, Jordan learns

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Speaker 3: the ropes and then on his first day as a

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Speaker 3: licensed broker, Black Monday happens, which I was only one

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Speaker 3: years old, so I don't remember it, but you.

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Speaker 2: Were affected your boss, baby like, no, my biby stocks.

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Speaker 2: That's that's baby, Margot Rabbie.

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Speaker 3: From what I gather from the movie because I did

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Speaker 3: not bother to look it up. Black Monday was like

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Speaker 3: a mini stock market crash.

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Speaker 2: Yeah, there is a whole mini series about it starring

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Speaker 2: Don Cheatle. Whoa, it's a fact. Okay, moving on.

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Speaker 3: Thank you. Uh So, the firm that he worked for

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Speaker 3: at the time goes out of business, and then he

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Speaker 3: gets another job at a crappy firm in Long Island

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Speaker 3: that trades penny stocks. But he makes a fifty percent

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Speaker 3: commission on these versus the one percent commission he made

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Speaker 3: on Wall Street on the blue stock.

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Speaker 2: He's like, now I'm gonna scam poor people, and we're like, wow,

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Speaker 2: this guy's asses cool.

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Speaker 3: And he's a very persuasive salesman. So he starts making

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Speaker 3: quite a bit of money. And then one day he

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Speaker 3: meets a guy named Donnie Azov played by Jonah Hill.

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Speaker 3: He approaches Jordan because he notices Jordan's expensive car, and

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Speaker 3: he's like, I will work for you and quit my

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Speaker 3: job right now.

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Speaker 2: I love this whole performance is Jonah Hill leading with

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Speaker 2: his veneers. He's just his And I know it is

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Speaker 2: like a character thing because they mentioned that this whoever

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Speaker 2: this guy's based on, had veneers because they're like he

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Speaker 2: his teeth were the same length. Is scary, but like

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Speaker 2: the veneers are so distracting. I just I as I

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Speaker 2: notice veneers, I like.

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Speaker 3: Well, it's the Jerry Brockheimer.

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Speaker 2: It's the Jerry Berckheimer effect. Or if you get or

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00:22:05,320 --> 00:22:08,959
Speaker 2: it's like if you are on SNL for a third season,

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Speaker 2: your teeth your mouth changes. It's like I noticed these

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Speaker 2: things and I just don't understand because it's like veneers

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Speaker 2: are so I'm assuming they're so expensive, right, but then

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Speaker 2: it just looks like one continuous tooth, Like why do

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Speaker 2: they look like shit if they cost so much money?

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Speaker 2: And then I whenever you see someone with veneers. You

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Speaker 2: just imagine because you know, to get veneers, have you

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Speaker 2: ever seen a picture with someone without their veneers? It's

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Speaker 2: a little baniicula.

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Speaker 3: It's really bad. Wait what isicula? What is that?

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Speaker 2: It's a it's a series of ya novels about a

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Speaker 2: rabbit that's a vampire.

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Speaker 3: Is that that point?

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Speaker 2: No? Okay, everyone's having a meltdown.

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Speaker 3: We've lost underneath.

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Speaker 2: To get veneers, they shave your normal teeth down to

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Speaker 2: little freaky points and then they put your little doll

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Speaker 2: ty though what and then you're Jonah Hill in the movie,

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Speaker 2: and then you have new like Pete davidson mouth, Look

401
00:23:10,080 --> 00:23:14,440
Speaker 2: at Pete Davidson's mouth ten years ago. It's different. I'm

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Speaker 2: here to tell you, Okay. Anyways, his veneers.

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Speaker 3: Wow, their prominence shocking. Yes. So anyway, Donnie Azov starts

404
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Speaker 3: working with Jordan, but he's weird and he has veneers

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Speaker 3: and he married.

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Speaker 2: His cousin, which is true that I'm I know, well,

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Speaker 2: because this is like when you see based on a

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Speaker 2: true story, You're like, chances are that's horseshit. I did

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Speaker 2: like a cursory overview of like comparing fact and truth,

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Speaker 2: and I mean like most of this movie is true

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Speaker 2: and weirdly, and this is like a criticism we have

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Speaker 2: of the movie that we're gonna talk about. But when

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Speaker 2: Jordan Bellefort saw this movie after personally profiting author of

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Speaker 2: it because he got a million dollars in his rights

415
00:24:01,480 --> 00:24:04,280
Speaker 2: being bought right all this shit, so uh, but he

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00:24:04,400 --> 00:24:06,199
Speaker 2: saw it and he was like, oh yeah, and I

417
00:24:06,280 --> 00:24:11,359
Speaker 2: was worse and so yeah, no, that guy did marry

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Speaker 2: his first cousin. Wow, So now you know that oop oops,

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Speaker 2: I don't think think on purpose, Yeah.

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Speaker 3: Trus oops, I married my cousin. Yeah.

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00:24:26,000 --> 00:24:29,439
Speaker 2: When you're at the end, when you're saying your valves,

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00:24:29,480 --> 00:24:33,159
Speaker 2: you can't just say I do you say? Oops? I

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Speaker 2: mean that's any marriage though.

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Speaker 3: True. All right, So they're buds now and they open

425
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Speaker 3: a firm together and hire some dudes, some lude dudes

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00:24:45,920 --> 00:24:51,520
Speaker 3: dude mostly weed dealers, uh, and they all become brokers.

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Speaker 3: And then we see that the first scene where he's like,

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Speaker 3: sell me a pen and he's like okay, and he doesn't,

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Speaker 3: and we're like wow, and we're.

430
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Speaker 2: Like wow, it's a metaphor for future moments in the movie.

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00:25:05,800 --> 00:25:10,480
Speaker 3: So then Jordan's his first wife, Teresa Brunette you know

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Speaker 3: she's done for She's Kristin Miliotti is what we've decided.

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Speaker 2: Maybe not sure. I love her. I think she's like

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Speaker 2: an incredible character actor, and I until today have never

435
00:25:24,440 --> 00:25:26,560
Speaker 2: had to say her last name out loud.

436
00:25:26,800 --> 00:25:31,600
Speaker 3: Yeah, she's great. Yes. So she has reservations about Jordan's

437
00:25:31,680 --> 00:25:35,840
Speaker 3: job because he mostly sells these penny stocks to working

438
00:25:35,960 --> 00:25:39,199
Speaker 3: in middle class people, and she would feel better if

439
00:25:39,560 --> 00:25:41,960
Speaker 3: he sold them to rich people who can afford to

440
00:25:41,960 --> 00:25:44,920
Speaker 3: lose money if those companies go under, and.

441
00:25:44,840 --> 00:25:48,440
Speaker 2: She has every woman in this movie has an incredible

442
00:25:48,480 --> 00:25:52,240
Speaker 2: Long Island accent. But my favorite line from her specifically

443
00:25:52,400 --> 00:25:58,560
Speaker 2: is when right before Jordan was like Leonardo DiCaprio goes

444
00:25:58,600 --> 00:26:02,159
Speaker 2: to like the penny stocks. He's like, I don't know,

445
00:26:02,359 --> 00:26:05,040
Speaker 2: maybe I should just be a stock boy. I'm a loser.

446
00:26:05,320 --> 00:26:07,480
Speaker 2: And then she's like, you're not a stock boy, you're

447
00:26:07,520 --> 00:26:12,679
Speaker 2: a stockbroker. And then he's like, you're right, my wife,

448
00:26:14,800 --> 00:26:18,879
Speaker 2: I'm going to work at toilet like you said. It's nice.

449
00:26:19,320 --> 00:26:24,520
Speaker 3: Yeah, love for And then he takes her advice and

450
00:26:24,560 --> 00:26:29,200
Speaker 3: he reinvents the company. It's now called Stratton Oakmont and

451
00:26:29,359 --> 00:26:33,600
Speaker 3: they're going to target rich people but still stell crappy

452
00:26:33,680 --> 00:26:34,400
Speaker 3: penny stocks.

453
00:26:34,480 --> 00:26:37,000
Speaker 2: Do we know why it's called Stratton Oakmont because it

454
00:26:37,080 --> 00:26:39,560
Speaker 2: just sounds like something that sounds like a company.

455
00:26:40,600 --> 00:26:43,560
Speaker 3: I don't know. Yeah, he doesn't explain where the name

456
00:26:43,680 --> 00:26:46,720
Speaker 3: comes from. Also, the mascot is a lion, and it's like,

457
00:26:46,760 --> 00:26:49,720
Speaker 3: the movie isn't called The Lion of Wall Street. No,

458
00:26:51,960 --> 00:26:53,640
Speaker 3: good point, kateline, Thank you so much.

459
00:26:53,840 --> 00:26:58,040
Speaker 2: I'm so smart as the medium, but.

460
00:26:59,680 --> 00:27:03,240
Speaker 3: Please by our merch No, I'm kidding, all right. So

461
00:27:03,720 --> 00:27:08,240
Speaker 3: Stratton Oakmont grows as a company and before long they

462
00:27:08,600 --> 00:27:12,360
Speaker 3: are making many, many millions of dollars. And then Forbes

463
00:27:12,440 --> 00:27:16,040
Speaker 3: does a profile on Jordan and the company, which is

464
00:27:16,080 --> 00:27:20,920
Speaker 3: not flattering, but his appearance in Forbes like legitimizes the company.

465
00:27:21,119 --> 00:27:23,880
Speaker 2: Yeah, they're like, oh, he's he's a true scammer. He's

466
00:27:24,800 --> 00:27:28,160
Speaker 2: he's a newsworthy criminal. We want to work for him.

467
00:27:28,160 --> 00:27:30,000
Speaker 2: So then there's like a million guys that are like,

468
00:27:30,080 --> 00:27:34,399
Speaker 2: my baby is big at his door, and he's like, yes.

469
00:27:34,640 --> 00:27:40,200
Speaker 3: Yes, great, And then Jordan hires his dad, Max, played

470
00:27:40,240 --> 00:27:41,200
Speaker 3: by Rob Reiner.

471
00:27:41,520 --> 00:27:45,480
Speaker 2: I love that sentence. You can't talk me out of

472
00:27:45,520 --> 00:27:47,359
Speaker 2: loving that sentence. It's great.

473
00:27:47,840 --> 00:27:51,000
Speaker 3: And he's giving a great performance and his job is

474
00:27:51,080 --> 00:27:54,400
Speaker 3: to be the accountant.

475
00:27:54,640 --> 00:27:57,080
Speaker 2: I don't want to walk around and be like, Jordan,

476
00:27:57,240 --> 00:27:57,959
Speaker 2: don't do that.

477
00:27:58,359 --> 00:27:59,800
Speaker 3: What the fuck are you doing?

478
00:28:00,119 --> 00:28:02,840
Speaker 2: And I love that they're just like paying Rob Reiner

479
00:28:02,880 --> 00:28:06,560
Speaker 2: to almost have a heart attack in every scene. I

480
00:28:06,560 --> 00:28:08,920
Speaker 2: think he is supposed to be like keeping track of

481
00:28:08,960 --> 00:28:12,080
Speaker 2: the finances, some sort of I don't know. I've worked

482
00:28:12,160 --> 00:28:16,240
Speaker 2: at the Massachusetts Comptroller's office for three years and I

483
00:28:16,359 --> 00:28:19,240
Speaker 2: don't know what they were doing over there, but it

484
00:28:19,320 --> 00:28:23,640
Speaker 2: seems something like that. Sure, something financial.

485
00:28:24,720 --> 00:28:28,240
Speaker 3: Yeah, he's like, I guess monitoring the company's expenses. And

486
00:28:28,280 --> 00:28:32,680
Speaker 3: what they're spending money on is very expensive dinners, parties,

487
00:28:32,880 --> 00:28:37,960
Speaker 3: sex workers, drugs, especially coeludes. And the workplace is just

488
00:28:38,000 --> 00:28:44,440
Speaker 3: like a complete circus. Men are screaming, they're breaking things.

489
00:28:43,400 --> 00:28:44,800
Speaker 2: Everyone's fucking each other.

490
00:28:45,400 --> 00:28:52,160
Speaker 3: Yes, they're treating little people and women like objects and animals.

491
00:28:52,280 --> 00:28:54,960
Speaker 3: There's a chimpanzee. It felt so bad for it. And yeah,

492
00:28:55,000 --> 00:28:57,680
Speaker 3: the whole place is a mess. And then one day

493
00:28:58,080 --> 00:29:03,360
Speaker 3: at a company Partyjordan meets Naomi. That's again Margot Robbie's character.

494
00:29:03,560 --> 00:29:05,200
Speaker 2: That's my gool Roby's character.

495
00:29:06,520 --> 00:29:12,000
Speaker 3: You're welcome, and she is so hot that Donnie takes

496
00:29:12,080 --> 00:29:21,920
Speaker 3: out his penis and jerks off with it in the

497
00:29:21,920 --> 00:29:22,800
Speaker 3: middle of the party.

498
00:29:22,880 --> 00:29:24,760
Speaker 2: Yes, ludes were involved.

499
00:29:26,640 --> 00:29:29,280
Speaker 3: And then Jordan starts having an affair with Naomi he

500
00:29:29,320 --> 00:29:34,600
Speaker 3: takes out to dinner. His wife Teresa finds out pretty quickly,

501
00:29:35,000 --> 00:29:37,520
Speaker 3: so then Jordan files for a divorce and.

502
00:29:37,880 --> 00:29:39,200
Speaker 2: Starts to don't see her anymore.

503
00:29:39,720 --> 00:29:43,480
Speaker 3: She's no longer in the movie. Yes, he starts living

504
00:29:43,520 --> 00:29:47,000
Speaker 3: with Naomi pretty much immediately. They get married soon after.

505
00:29:47,640 --> 00:29:50,880
Speaker 3: We also learn about all the very illegal things that

506
00:29:51,080 --> 00:29:53,880
Speaker 3: Jordan is getting up to at Stratton Oakmont.

507
00:29:54,720 --> 00:29:56,920
Speaker 2: We sort of do I do appreciate it if like,

508
00:29:56,960 --> 00:30:00,040
Speaker 2: this movie paved the way for oh gosh, what's the

509
00:30:00,080 --> 00:30:04,520
Speaker 2: other money movie? The movie the money movie where they're

510
00:30:04,560 --> 00:30:07,600
Speaker 2: like looking and being like money is so weird, right,

511
00:30:07,720 --> 00:30:08,600
Speaker 2: what's that movie?

512
00:30:08,960 --> 00:30:09,160
Speaker 3: Oh?

513
00:30:09,640 --> 00:30:13,640
Speaker 2: The Big Yeah, yeah, that's every five seconds they're like money,

514
00:30:13,800 --> 00:30:18,840
Speaker 2: what and you're like, yeah, yeah, I get it. Well.

515
00:30:18,840 --> 00:30:21,000
Speaker 3: Then there's also the one that came up pretty recently

516
00:30:21,040 --> 00:30:23,680
Speaker 3: called Dumb Money And did I see it in theaters?

517
00:30:24,000 --> 00:30:24,440
Speaker 3: I did?

518
00:30:24,640 --> 00:30:25,000
Speaker 2: You did?

519
00:30:25,040 --> 00:30:25,640
Speaker 3: Are they are?

520
00:30:25,680 --> 00:30:28,240
Speaker 2: They always looking at the screen and being like, what

521
00:30:28,280 --> 00:30:31,880
Speaker 2: the hell is up with money? They are the whole

522
00:30:32,000 --> 00:30:35,040
Speaker 2: genre of movie. It's just like white guys being like

523
00:30:35,200 --> 00:30:37,400
Speaker 2: money is so weird.

524
00:30:39,080 --> 00:30:39,920
Speaker 3: In this movie.

525
00:30:39,960 --> 00:30:42,160
Speaker 2: I mean, well, and I like The Big Short, but yeah,

526
00:30:42,160 --> 00:30:45,160
Speaker 2: it's I feel like I appreciate as someone with three

527
00:30:45,200 --> 00:30:49,000
Speaker 2: brain cells, uh that the the crimes like you sort

528
00:30:49,040 --> 00:30:51,320
Speaker 2: of know what they are. But sometimes like they'll just

529
00:30:51,360 --> 00:30:53,600
Speaker 2: break the fourth wall and be like, so what's happening

530
00:30:53,760 --> 00:30:58,160
Speaker 2: is like bad? I'm like, that should happen in every movie.

531
00:30:59,120 --> 00:31:01,880
Speaker 2: That would be so helpful for me, Like I would

532
00:31:01,880 --> 00:31:04,520
Speaker 2: really get through, like I don't know, it really would

533
00:31:04,520 --> 00:31:06,760
Speaker 2: have helped me get through Anatomy of a Fall if

534
00:31:06,840 --> 00:31:10,000
Speaker 2: they if they just were like whatever the French version

535
00:31:10,000 --> 00:31:13,320
Speaker 2: for this is bad. I'm like, I'm not smarted. I

536
00:31:13,360 --> 00:31:14,200
Speaker 2: need you to tell me.

537
00:31:14,680 --> 00:31:17,200
Speaker 3: Yeah. Yeah, he does that a lot. But the things

538
00:31:17,280 --> 00:31:21,440
Speaker 3: that they're doing, I think are like insider trade, yeare

539
00:31:22,240 --> 00:31:26,440
Speaker 3: and other things, and it's like involving Steve Madden shoes.

540
00:31:26,840 --> 00:31:30,719
Speaker 3: It's very yeah yeah, yes, but all of these shady

541
00:31:30,760 --> 00:31:34,680
Speaker 3: dealings earned him enough money to like buy that estate

542
00:31:34,760 --> 00:31:36,440
Speaker 3: and a yacht and all of that stuff. And then

543
00:31:36,440 --> 00:31:39,840
Speaker 3: we cut to eighteen months later, Jordan and Naomi have

544
00:31:40,120 --> 00:31:42,280
Speaker 3: a baby, a boss baby.

545
00:31:42,000 --> 00:31:44,360
Speaker 2: If you will, a Greg Greg.

546
00:31:44,440 --> 00:31:48,200
Speaker 3: She gets Gregnan and has a Greg yes, and there's

547
00:31:48,200 --> 00:31:52,200
Speaker 3: a scene where Naomi suspects him of cheating, she threatens

548
00:31:52,280 --> 00:31:56,360
Speaker 3: to withhold sex. She puts her shoe on his head.

549
00:31:56,520 --> 00:32:00,320
Speaker 2: Right, and we know this scene and it's a scene.

550
00:32:00,560 --> 00:32:03,000
Speaker 2: It's a scene, and we love it. And that is

551
00:32:03,040 --> 00:32:06,640
Speaker 2: the same cinematographer that framed all of Barbie.

552
00:32:06,360 --> 00:32:07,440
Speaker 3: And uh huh.

553
00:32:07,480 --> 00:32:11,480
Speaker 2: And so the human experience is so complicated you could say.

554
00:32:11,800 --> 00:32:13,920
Speaker 3: You know he has range.

555
00:32:15,080 --> 00:32:18,400
Speaker 2: He does, he does, and so does Margaret Robbie and

556
00:32:18,480 --> 00:32:19,800
Speaker 2: of so true.

557
00:32:20,080 --> 00:32:23,560
Speaker 3: Okay, So the next big move for Stratton Oakmont is

558
00:32:23,800 --> 00:32:26,680
Speaker 3: finding companies that they can take public, and they do

559
00:32:26,720 --> 00:32:29,160
Speaker 3: that with Steve Madden and they make.

560
00:32:29,160 --> 00:32:31,560
Speaker 2: You ever have is Steve Madden? I think I still

561
00:32:31,600 --> 00:32:34,360
Speaker 2: see him at the mall.

562
00:32:33,920 --> 00:32:34,240
Speaker 6: The mall.

563
00:32:34,680 --> 00:32:36,880
Speaker 3: Yeah, he's got those chunky shoes at the mall.

564
00:32:37,320 --> 00:32:37,920
Speaker 2: That's nice.

565
00:32:37,960 --> 00:32:41,760
Speaker 3: He's expanded. Also, I bought a pair of Steve Actually,

566
00:32:42,120 --> 00:32:45,640
Speaker 3: well you guys at the at the live show. You'll

567
00:32:45,640 --> 00:32:48,760
Speaker 3: get this. Maybe I'll cut this out of the what.

568
00:32:48,680 --> 00:32:50,720
Speaker 2: Are You about? Episode?

569
00:32:51,360 --> 00:32:54,760
Speaker 3: So a few months ago I went to the mall,

570
00:32:54,840 --> 00:33:00,080
Speaker 3: the Glendale Galleria, the famous mall, and I went in

571
00:33:00,120 --> 00:33:03,040
Speaker 3: to Steve Madden because I needed a pair of shoes

572
00:33:03,160 --> 00:33:06,000
Speaker 3: and for a party. And then I went to the

573
00:33:06,040 --> 00:33:08,240
Speaker 3: sales person and I said I need a pair of

574
00:33:08,240 --> 00:33:11,720
Speaker 3: shoes for a party, and she's like, how about these ones?

575
00:33:11,840 --> 00:33:14,280
Speaker 3: How about these? And I was like yeah, I don't know.

576
00:33:14,320 --> 00:33:16,360
Speaker 3: I'm looking for like this kind of more specific thing

577
00:33:16,360 --> 00:33:17,840
Speaker 3: and she's like, well, what kind of party is it?

578
00:33:17,880 --> 00:33:20,000
Speaker 3: And I was like it's a sex party.

579
00:33:20,200 --> 00:33:22,320
Speaker 2: Oh, I know this right, yes.

580
00:33:22,240 --> 00:33:26,720
Speaker 3: And then she was so freaking cool. She didn't even care.

581
00:33:26,920 --> 00:33:28,920
Speaker 3: She was like, Oh, we'll talk about to Steve Madden

582
00:33:28,960 --> 00:33:32,520
Speaker 3: about this all the time. It's kind of a Steve

583
00:33:32,560 --> 00:33:37,120
Speaker 3: Madden regular thing, even bat and eyelash. I was like

584
00:33:37,200 --> 00:33:39,960
Speaker 3: so scandalized to tell her, and she was just like, oh, well, okay,

585
00:33:39,960 --> 00:33:41,440
Speaker 3: what about those ones? And I was like.

586
00:33:42,920 --> 00:33:47,240
Speaker 2: I love that. I also love you and that you

587
00:33:47,360 --> 00:33:49,800
Speaker 2: told her what you were getting them, because.

588
00:33:49,800 --> 00:33:52,440
Speaker 3: Igot need to say that at all. In fact, it

589
00:33:52,480 --> 00:33:54,200
Speaker 3: was me flexing and be like, yeah, I'm going to

590
00:33:54,240 --> 00:33:56,960
Speaker 3: a fuck party.

591
00:33:57,240 --> 00:33:59,760
Speaker 2: I like at the same mom I regular I frequent

592
00:33:59,800 --> 00:34:04,120
Speaker 2: the croc store and if anyone ever was like I

593
00:34:04,160 --> 00:34:07,000
Speaker 2: was like, hey, I'm looking for something to walk in circles.

594
00:34:07,760 --> 00:34:09,640
Speaker 2: Do you have a recommendation? And they're like, yeah, there's

595
00:34:09,640 --> 00:34:14,040
Speaker 2: only one shoe here, pick a fucking collar, get out

596
00:34:14,040 --> 00:34:18,080
Speaker 2: of my face, get a gibbet, get a widget, whatever.

597
00:34:18,920 --> 00:34:20,880
Speaker 2: I have Barbie crocks everything.

598
00:34:20,920 --> 00:34:22,000
Speaker 3: Oh yeah, they're really nice.

599
00:34:22,080 --> 00:34:25,840
Speaker 2: They're just dirty. Sorry, anyways, shoes are anyway.

600
00:34:25,840 --> 00:34:29,680
Speaker 3: I bought my sex party shoes and she was not impressed.

601
00:34:29,800 --> 00:34:33,080
Speaker 2: And I mean, that's really cool on both of your parts.

602
00:34:33,480 --> 00:34:35,840
Speaker 2: I think everyone's operating at a very high level.

603
00:34:35,920 --> 00:34:36,600
Speaker 3: Thank you so much.

604
00:34:36,680 --> 00:34:38,560
Speaker 2: They're not doing it like that over the Croc store.

605
00:34:38,600 --> 00:34:42,120
Speaker 3: I say that what if you They're like, look, what

606
00:34:42,320 --> 00:34:46,480
Speaker 3: function do you need these crocs for in your party?

607
00:34:47,120 --> 00:34:49,520
Speaker 2: I do have crocs with heels, so I'm not saying

608
00:34:49,560 --> 00:34:53,560
Speaker 2: it's impossible. Whoa, Yeah, I wore Croc platforms to a

609
00:34:53,560 --> 00:34:56,680
Speaker 2: wedding and I was the best man at the weddings.

610
00:34:59,360 --> 00:35:03,080
Speaker 3: Wow, this was a good tangent. I think I'm keeping

611
00:35:03,120 --> 00:35:08,400
Speaker 3: it in that we're shoes now. They're at my house,

612
00:35:08,920 --> 00:35:09,440
Speaker 3: my home.

613
00:35:09,560 --> 00:35:11,520
Speaker 2: I don't know what answer I was expecting.

614
00:35:13,000 --> 00:35:14,160
Speaker 3: No, I brought them with me.

615
00:35:14,400 --> 00:35:18,759
Speaker 2: They're still they got lost in the tangle, is I

616
00:35:18,800 --> 00:35:24,800
Speaker 2: think what I expected? I lost them fucking I lost

617
00:35:24,840 --> 00:35:29,160
Speaker 2: air pods, fucking ones. Oh not because not because they

618
00:35:29,160 --> 00:35:39,560
Speaker 2: were in I don't know you anything there, but that

619
00:35:39,640 --> 00:35:42,480
Speaker 2: actually reminds me of a Lener DiCaprio story. Wait, does

620
00:35:42,480 --> 00:35:45,319
Speaker 2: everyone know we're going with this? There's a oh gosh,

621
00:35:45,320 --> 00:35:47,840
Speaker 2: I'm gonna need I'm gonna need an assist from the

622
00:35:47,840 --> 00:35:51,680
Speaker 2: audience remembering. But there is a DiCaprio because you know,

623
00:35:51,719 --> 00:35:54,279
Speaker 2: this movie doesn't make sense in that I think that

624
00:35:54,440 --> 00:35:56,480
Speaker 2: Christian Melode is over twenty five years old, so of

625
00:35:56,480 --> 00:35:59,560
Speaker 2: course he has to break up with her. It makes sense,

626
00:35:59,600 --> 00:36:01,359
Speaker 2: Margaret ib he's twenty two in this movie. Of course

627
00:36:01,400 --> 00:36:04,560
Speaker 2: he has to marry her. That's the DiCaprio way. He

628
00:36:04,719 --> 00:36:07,840
Speaker 2: is a bit evil, Yeah, but there is some like

629
00:36:07,920 --> 00:36:13,800
Speaker 2: weird folk tale about him that he only fucks wearing headphones. Whoa, Yeah,

630
00:36:13,880 --> 00:36:18,000
Speaker 2: he's like wearing headphones whilst fucking listening to I think, like,

631
00:36:18,120 --> 00:36:22,040
Speaker 2: is there like it's what wait?

632
00:36:22,040 --> 00:36:27,840
Speaker 3: Wait he listens to his own movies?

633
00:36:28,600 --> 00:36:32,960
Speaker 2: Which ones? Is he like blasting the aviator?

634
00:36:33,200 --> 00:36:33,880
Speaker 3: Like what is he?

635
00:36:35,640 --> 00:36:35,920
Speaker 2: What?

636
00:36:36,600 --> 00:36:36,880
Speaker 3: Wait?

637
00:36:36,920 --> 00:36:39,360
Speaker 2: Does anyway I find I thought it was like scary

638
00:36:39,400 --> 00:36:42,760
Speaker 2: industrial music or something. I thought it was like clang

639
00:36:42,840 --> 00:36:46,760
Speaker 2: clang clank, like he's like, yeah, it's like me fucking

640
00:36:47,719 --> 00:36:48,000
Speaker 2: what if?

641
00:36:48,040 --> 00:36:50,359
Speaker 3: I was like, oh wait, when I go to these

642
00:36:50,400 --> 00:36:53,279
Speaker 3: sex parties, I have headphones, and I'm listening to the

643
00:36:53,320 --> 00:37:00,120
Speaker 3: Bechtel Cast, the horniest show.

644
00:37:00,880 --> 00:37:03,439
Speaker 2: In the wear Well, Okay, wait, keep summerizing. I'm gonna

645
00:37:03,480 --> 00:37:05,360
Speaker 2: just google Leonardo DiCaprio headphones.

646
00:37:05,480 --> 00:37:09,040
Speaker 3: Okay, okay. So there's a whole Steve Madden thing that

647
00:37:09,160 --> 00:37:12,240
Speaker 3: make a bunch of money off of it on this agent.

648
00:37:12,680 --> 00:37:14,960
Speaker 2: Okay, okay, okay, yeah, yeah yeah.

649
00:37:15,000 --> 00:37:18,319
Speaker 3: Meanwhile, the FBI has launched an investigation. Did you find

650
00:37:18,360 --> 00:37:18,839
Speaker 3: something out?

651
00:37:19,120 --> 00:37:24,479
Speaker 2: Yes, okay, okay, this is from the mirror, so grain

652
00:37:24,520 --> 00:37:28,880
Speaker 2: of salt. Leonardo DiCaprio uses headphones and vapes during sex?

653
00:37:29,960 --> 00:37:31,320
Speaker 3: Well, is the other thing? Vapes?

654
00:37:31,600 --> 00:37:32,320
Speaker 2: Vape sex?

655
00:37:32,440 --> 00:37:32,880
Speaker 3: Okay?

656
00:37:33,520 --> 00:37:37,440
Speaker 2: Yes, Tabloid articles are so impossible. Although the Oscar winning

657
00:37:37,440 --> 00:37:40,359
Speaker 2: actor forty seven had appeared in other blockbuster movies such

658
00:37:40,400 --> 00:37:45,080
Speaker 2: as What It's Eating, Gilbert Grape and This Boy's Life

659
00:37:45,160 --> 00:37:47,120
Speaker 2: Is a Younger teen, I'm like, I don't need to

660
00:37:47,400 --> 00:37:51,640
Speaker 2: know how he became famous. What's in the headphones? What's

661
00:37:51,680 --> 00:37:52,800
Speaker 2: in the headphones?

662
00:37:52,920 --> 00:37:53,360
Speaker 3: Folks?

663
00:37:54,239 --> 00:37:56,239
Speaker 2: Okay, he's.

664
00:37:57,239 --> 00:37:59,400
Speaker 3: Keep going, Okay, I'll.

665
00:37:59,200 --> 00:38:01,200
Speaker 2: Provide live update, okay, okay.

666
00:38:02,320 --> 00:38:06,319
Speaker 3: Meanwhile, the FBI has launched an investigation of Jordan and

667
00:38:06,360 --> 00:38:07,960
Speaker 3: the company sty update.

668
00:38:08,080 --> 00:38:11,680
Speaker 2: Okay, Mgmt.

669
00:38:19,320 --> 00:38:19,800
Speaker 3: Wow.

670
00:38:20,520 --> 00:38:25,720
Speaker 2: I feel tremendous relief just knowing the truth. Everyone was wrong.

671
00:38:25,880 --> 00:38:31,960
Speaker 2: The answer was shitty early twenty tens music. It was MGMT.

672
00:38:32,200 --> 00:38:40,160
Speaker 2: He's listening to Time to pretend, well he's having sex,

673
00:38:41,040 --> 00:38:46,480
Speaker 2: you know, walk home with that really think about that. Wow,

674
00:38:46,600 --> 00:38:49,400
Speaker 2: I don't know, like why, I do feel like a

675
00:38:49,520 --> 00:38:50,840
Speaker 2: weight has been lifted from me.

676
00:38:51,320 --> 00:38:54,160
Speaker 3: I mean, I'm glad that he doesn't listen to his

677
00:38:54,600 --> 00:38:57,200
Speaker 3: monologues from Titanic. I guess I don't know.

678
00:38:57,280 --> 00:38:59,560
Speaker 2: And I'm also glad that he doesn't listen to pipes

679
00:38:59,600 --> 00:39:02,920
Speaker 2: clanking like I for some reason that he did MGMT.

680
00:39:03,040 --> 00:39:06,200
Speaker 2: I'm like, oh, so he's a fucking loser. Like that's

681
00:39:06,840 --> 00:39:09,560
Speaker 2: no offense to MGMT. It's just like a weird thing

682
00:39:09,560 --> 00:39:12,279
Speaker 2: to listen to while fucking you know whatever.

683
00:39:13,200 --> 00:39:19,360
Speaker 3: They had hid well anyway, So the FBI has launched

684
00:39:19,400 --> 00:39:22,799
Speaker 3: an investigation of the company. Kyle Chandler is leading it.

685
00:39:23,320 --> 00:39:25,839
Speaker 3: Jordan meets with him to be like, TI, he I'm

686
00:39:25,840 --> 00:39:31,560
Speaker 3: not doing anything illegal, but Chandler Nope, Kyle Chandler is like.

687
00:39:31,719 --> 00:39:35,440
Speaker 2: Coach Friday night lights. Yes, yes, He's like, these Friday

688
00:39:35,520 --> 00:39:38,480
Speaker 2: nights are about to light you better be careful, ye

689
00:39:38,920 --> 00:39:42,480
Speaker 2: and he's like, okay, Titanic and then movie continues.

690
00:39:43,120 --> 00:39:47,319
Speaker 3: Then Jordan goes to Switzerland to hide some money in

691
00:39:47,560 --> 00:39:52,360
Speaker 3: a Swiss bank account. He uses Naomi's British aunt, Emma.

692
00:39:52,960 --> 00:39:54,120
Speaker 2: Okay, she's awesome.

693
00:39:54,239 --> 00:39:58,440
Speaker 3: She's awesome, and she plays a character in Say It

694
00:39:58,440 --> 00:40:00,440
Speaker 3: with Me Now patting to too?

695
00:40:03,960 --> 00:40:06,280
Speaker 2: Who is she? And Paddington too does she also almost

696
00:40:07,040 --> 00:40:09,720
Speaker 2: fuck her niece's husband.

697
00:40:09,960 --> 00:40:14,640
Speaker 3: No, but she is Phoenix Buchanan's agent. Oh, that of

698
00:40:14,680 --> 00:40:18,040
Speaker 3: course is the huge brant character for all of the

699
00:40:18,160 --> 00:40:20,879
Speaker 3: Paddington heads out there. Doesn't seem to be anyone here

700
00:40:20,880 --> 00:40:22,920
Speaker 3: in the audience, but the Late.

701
00:40:22,800 --> 00:40:24,600
Speaker 2: Show loves Paddington.

702
00:40:26,239 --> 00:40:29,200
Speaker 3: Okay, So they move all this money into Swiss bank accounts.

703
00:40:29,360 --> 00:40:32,600
Speaker 3: Then we get the famous quaylude scene where Jordan and

704
00:40:32,640 --> 00:40:36,879
Speaker 3: Donnie takes some like very rare, extra powerful fifteen year

705
00:40:36,920 --> 00:40:42,080
Speaker 3: old quayludes. They're crawling around, Jordan's crashing his car into

706
00:40:42,120 --> 00:40:46,600
Speaker 3: everything they're worried about, like FBI has tapped their phones

707
00:40:46,800 --> 00:40:50,000
Speaker 3: and Donnie's on the touch devhone.

708
00:40:51,040 --> 00:40:53,560
Speaker 2: Yeah, it is so funny to me because it's like,

709
00:40:53,640 --> 00:40:57,080
Speaker 2: I think that his performance is amazing, and then whenever

710
00:40:57,360 --> 00:41:01,480
Speaker 2: his choice is whenever he gets too high, he starts

711
00:41:01,520 --> 00:41:07,000
Speaker 2: to sound like Cartman. He's like default, Like He's like,

712
00:41:07,400 --> 00:41:09,680
Speaker 2: I can't do a Cartman, but he sounds like Cartman.

713
00:41:09,880 --> 00:41:11,919
Speaker 3: Yeah, he's like cheese poops too.

714
00:41:13,840 --> 00:41:17,600
Speaker 2: Okay, you do like that, right? I kind of forget

715
00:41:18,200 --> 00:41:21,480
Speaker 2: this is another DiCaprio being a fucking creep thing. But

716
00:41:21,520 --> 00:41:24,360
Speaker 2: there is like a clip I've seen many times where

717
00:41:24,760 --> 00:41:27,960
Speaker 2: Leonardo DiCaprio for some reason can like summarize the entire

718
00:41:28,040 --> 00:41:31,400
Speaker 2: first season of Euphoria on the red carpet and everyone

719
00:41:31,520 --> 00:41:35,239
Speaker 2: was like, wait, why does he know that? And then

720
00:41:35,280 --> 00:41:38,360
Speaker 2: they're like, because he dates twenty three year olds, he

721
00:41:38,480 --> 00:41:42,640
Speaker 2: dates the target demographic for Euphoria. But he was like, yeah,

722
00:41:42,680 --> 00:41:45,400
Speaker 2: you know Euphoria. I think when ru Rue is really

723
00:41:45,400 --> 00:41:48,600
Speaker 2: going through it, and you're like, what the fuck is

724
00:41:48,640 --> 00:41:49,800
Speaker 2: going on with him?

725
00:41:50,120 --> 00:41:54,520
Speaker 3: Fucked up guy, truly all right. So to avoid going

726
00:41:54,600 --> 00:41:58,640
Speaker 3: to jail, he's about to cut a deal with the SEC,

727
00:41:59,080 --> 00:42:02,400
Speaker 3: which would require him to step down as head of

728
00:42:02,440 --> 00:42:05,560
Speaker 3: his company. But then he's like, just kidding, bitch, I'm

729
00:42:05,560 --> 00:42:06,320
Speaker 3: gonna stay.

730
00:42:07,680 --> 00:42:09,040
Speaker 2: I like that speed, I'm not.

731
00:42:10,640 --> 00:42:13,520
Speaker 3: You're like okay. Everyone's like, woo, we love our boss

732
00:42:13,600 --> 00:42:14,080
Speaker 3: so much.

733
00:42:14,239 --> 00:42:15,080
Speaker 2: We love our boss.

734
00:42:15,120 --> 00:42:15,960
Speaker 3: And lou.

735
00:42:17,760 --> 00:42:19,640
Speaker 2: The loud Duds were wild for that.

736
00:42:19,880 --> 00:42:23,920
Speaker 3: They loved it, and this means that the Fed's start

737
00:42:24,040 --> 00:42:26,280
Speaker 3: subpoena ing is that a word?

738
00:42:26,760 --> 00:42:26,920
Speaker 5: Uh?

739
00:42:27,000 --> 00:42:32,040
Speaker 3: Jordan and his colleagues, but they're all very uncooperative. Jordan

740
00:42:32,120 --> 00:42:36,560
Speaker 3: and Donnie go to Italy then on Jordan's yacht, but

741
00:42:36,600 --> 00:42:41,440
Speaker 3: then they learn the Aunt Betty dies and the twenty

742
00:42:41,600 --> 00:42:44,919
Speaker 3: million dollars in the Swiss bank account that's under her name.

743
00:42:45,160 --> 00:42:47,240
Speaker 3: That money is now kind of like stuck there unless

744
00:42:47,320 --> 00:42:51,240
Speaker 3: they get to Switzerland immediately. So they take the yacht

745
00:42:51,480 --> 00:42:54,719
Speaker 3: through some treacherous seawater.

746
00:42:55,320 --> 00:42:59,800
Speaker 2: Yeah, Iceberg, get codd, I mean water.

747
00:43:00,680 --> 00:43:03,440
Speaker 3: Hello, we've got Leo in the water.

748
00:43:03,880 --> 00:43:10,040
Speaker 2: Nothing goes well and so things you know to be expected.

749
00:43:09,640 --> 00:43:13,400
Speaker 3: Yes, exactly. The yacht capsizes, they almost die, and this

750
00:43:13,480 --> 00:43:16,040
Speaker 3: is a wake up call for Jordan. He realizes he

751
00:43:16,120 --> 00:43:18,120
Speaker 3: needs to kind of straighten out his life.

752
00:43:18,280 --> 00:43:21,680
Speaker 2: Yes, because he's begging Jonah Hill to get ludes from

753
00:43:21,719 --> 00:43:25,400
Speaker 2: the yacht basement and then Jonah Hill brings up I

754
00:43:25,480 --> 00:43:29,120
Speaker 2: really like this scene. Jonahill brings up this like ziploc

755
00:43:29,160 --> 00:43:30,480
Speaker 2: bag of wet luds.

756
00:43:31,560 --> 00:43:35,120
Speaker 3: It's brutal and he's just like mainlining them as they're

757
00:43:35,120 --> 00:43:38,320
Speaker 3: crashing into the ocean y. So then he gets sober

758
00:43:38,680 --> 00:43:42,279
Speaker 3: and he starts doing these like how to Get rich seminars,

759
00:43:42,560 --> 00:43:47,080
Speaker 3: but the FBI eventually busts him. There's this whole like

760
00:43:47,239 --> 00:43:51,280
Speaker 3: Benny Hanna thing that I didn't really understand, but everyone's

761
00:43:51,280 --> 00:43:54,640
Speaker 3: basically ratting each other out. There's a scene where Naomi

762
00:43:54,680 --> 00:43:57,880
Speaker 3: tells him that she's gonna leave him and take their kids.

763
00:43:58,160 --> 00:44:02,399
Speaker 3: There's a lot to unpack there, but it all kind

764
00:44:02,400 --> 00:44:06,399
Speaker 3: of culminates with Jordan ratting on his friends. He goes

765
00:44:06,440 --> 00:44:08,640
Speaker 3: to jail for a few years in like a white

766
00:44:08,800 --> 00:44:16,680
Speaker 3: collar resort prison, and then the movie ends the tennis jail, yes,

767
00:44:17,000 --> 00:44:19,600
Speaker 3: And then the movie ends with a cameo from the

768
00:44:19,640 --> 00:44:24,400
Speaker 3: real Jordan Belfort introducing Leonardo DiCaprio. Jordan Belfort at a

769
00:44:24,440 --> 00:44:28,080
Speaker 3: seminar in New Zealand where he's going to teach people

770
00:44:28,239 --> 00:44:31,240
Speaker 3: how to sell pens or something.

771
00:44:31,280 --> 00:44:37,200
Speaker 2: They're bad at it the Caitlin's famous Freecy.

772
00:44:37,719 --> 00:44:55,239
Speaker 6: Then gosh, three hour movie, Oh God Exhausted.

773
00:44:55,840 --> 00:44:57,880
Speaker 2: So where should we start?

774
00:44:58,200 --> 00:45:03,080
Speaker 3: Oh my gosh, Well, okay, this is another one of

775
00:45:03,560 --> 00:45:07,360
Speaker 3: Martin Scorsese, or as I like to call him, Marty scores.

776
00:45:08,800 --> 00:45:12,000
Speaker 3: One of his movies. It was. I thought it was

777
00:45:12,080 --> 00:45:15,239
Speaker 3: hilarious when I wrote it down. You wrote it down, Yeah,

778
00:45:15,239 --> 00:45:19,879
Speaker 3: I did. Okay, he tends to make movie. Well, there's

779
00:45:19,880 --> 00:45:23,280
Speaker 3: two movies in particular which we reference that. It's about

780
00:45:23,320 --> 00:45:27,080
Speaker 3: an kind of ordinary but ambitious guy from New York.

781
00:45:27,160 --> 00:45:29,719
Speaker 3: He gets rich, he builds an empire, he does a

782
00:45:29,760 --> 00:45:33,319
Speaker 3: bunch of drugs, he cheats on his wife, and then

783
00:45:33,560 --> 00:45:36,680
Speaker 3: kind of loses everything because he's doing a bunch of

784
00:45:36,719 --> 00:45:40,399
Speaker 3: illegal stuff, but he doesn't rot in jail because he's

785
00:45:40,400 --> 00:45:42,960
Speaker 3: still rich. And then he also like rats out all

786
00:45:42,960 --> 00:45:45,120
Speaker 3: of his friends. These are this is the same plot

787
00:45:45,360 --> 00:45:48,799
Speaker 3: for Wolf of wall Street and Goodfellas, except that I

788
00:45:48,960 --> 00:45:54,719
Speaker 3: don't think that the filmmaking and slash the movie of

789
00:45:55,080 --> 00:45:57,560
Speaker 3: Wolf of wall Street is as critical of the horrible

790
00:45:57,600 --> 00:46:01,640
Speaker 3: things that Jordan Belford does in wolfel wall Street as

791
00:46:01,680 --> 00:46:04,000
Speaker 3: they are of the horrible things that Henry Hill does

792
00:46:04,719 --> 00:46:08,160
Speaker 3: in Goodfellas. Like I think that Martin Scorsese generally does

793
00:46:08,160 --> 00:46:11,560
Speaker 3: a pretty good job of being like, look, how these

794
00:46:11,680 --> 00:46:15,360
Speaker 3: men might seem really like cool and powerful at first

795
00:46:15,520 --> 00:46:19,440
Speaker 3: because they have money and drugs and access to women

796
00:46:19,560 --> 00:46:21,560
Speaker 3: and all the things that like men are conditioned to

797
00:46:21,560 --> 00:46:24,960
Speaker 3: think make them cool and powerful. And like good at

798
00:46:25,000 --> 00:46:28,400
Speaker 3: being a man. But then as the story goes on,

799
00:46:28,520 --> 00:46:32,680
Speaker 3: we learn that, oh, they're actually horrible people. They're greedy,

800
00:46:32,680 --> 00:46:36,080
Speaker 3: they're misogynists, they're homophobic, they're racists, they're ablest, all this,

801
00:46:36,200 --> 00:46:38,680
Speaker 3: you know, the list goes on, and then after some

802
00:46:38,960 --> 00:46:43,879
Speaker 3: combination of like male hubris and male fragility, we see

803
00:46:43,920 --> 00:46:47,600
Speaker 3: their empire in their lives like completely crumble around them.

804
00:46:47,880 --> 00:46:50,040
Speaker 2: Right, But it doesn't even I mean, I think like

805
00:46:50,360 --> 00:46:53,640
Speaker 2: the difference. It's so frustrating because I feel like when

806
00:46:53,680 --> 00:46:56,600
Speaker 2: we were talking about Goodfellas on the Matreon do we

807
00:46:56,640 --> 00:47:01,000
Speaker 2: have Matrons And we were talking about Goodfellas six months

808
00:47:01,080 --> 00:47:03,560
Speaker 2: or so ago. A lot of the points we were

809
00:47:03,600 --> 00:47:06,520
Speaker 2: talking about had to do with the fact that, like

810
00:47:07,200 --> 00:47:09,920
Speaker 2: with Scorsese movies and with a lot of these movies

811
00:47:10,320 --> 00:47:14,680
Speaker 2: that like feature these really like central toxic male characters

812
00:47:15,120 --> 00:47:18,760
Speaker 2: that sometimes they are very good movies that are making

813
00:47:18,800 --> 00:47:22,399
Speaker 2: good commentary, but it's the audience takeaway and the fan

814
00:47:22,480 --> 00:47:26,120
Speaker 2: culture that surrounds this movie that is genuinely doing its

815
00:47:26,200 --> 00:47:29,480
Speaker 2: due diligence of making a point that it becomes this

816
00:47:29,560 --> 00:47:32,759
Speaker 2: really complicated thing. And so we both really love Goodfellas

817
00:47:32,800 --> 00:47:35,600
Speaker 2: and felt like we're like, well, this like there's a

818
00:47:35,600 --> 00:47:39,680
Speaker 2: lot of fucking misogynist assholes who love Goodfellas because they

819
00:47:39,719 --> 00:47:42,759
Speaker 2: didn't hear what we heard from it and what it

820
00:47:42,880 --> 00:47:46,759
Speaker 2: seems like, and like Scorsese has made points are the

821
00:47:46,880 --> 00:47:49,439
Speaker 2: point of the movie, but I can't I can't quite

822
00:47:49,480 --> 00:47:51,600
Speaker 2: get there for this movie. I don't see that same

823
00:47:51,719 --> 00:47:56,279
Speaker 2: level of criticism or message. And it feels connected to

824
00:47:56,320 --> 00:47:59,640
Speaker 2: the fact that Jordan Belford is like involved in the production.

825
00:47:59,719 --> 00:48:02,200
Speaker 3: Right, because it feels to me, it feels like the

826
00:48:02,239 --> 00:48:06,239
Speaker 3: Wolf of Wall Street basically shares the same like disrespect

827
00:48:06,280 --> 00:48:10,960
Speaker 3: and contempt for women that the characters do ye because

828
00:48:11,000 --> 00:48:13,520
Speaker 3: like the way the movie just generally treats women. It's

829
00:48:13,560 --> 00:48:17,160
Speaker 3: like set dressing, they're naked all the time, they're giving

830
00:48:17,239 --> 00:48:20,440
Speaker 3: blow jobs. There's uh, you know, the headless women of

831
00:48:20,560 --> 00:48:24,680
Speaker 3: Hollywood cinematography is like the way we see it most

832
00:48:24,719 --> 00:48:26,960
Speaker 3: of the time on screen. They're either they're nagging, they're

833
00:48:26,960 --> 00:48:31,200
Speaker 3: being withholding or conniving or spiteful, often without contact. I

834
00:48:31,239 --> 00:48:33,400
Speaker 3: mean with Marko Ratt, like the most prominent women we

835
00:48:33,440 --> 00:48:36,560
Speaker 3: have in the movie, or Margaret Robbie character, like we

836
00:48:36,680 --> 00:48:37,480
Speaker 3: meet her.

837
00:48:37,840 --> 00:48:41,360
Speaker 2: When she's like giving road head. You don't even see

838
00:48:41,400 --> 00:48:43,839
Speaker 2: her face like it's ridiculous, and then when you do

839
00:48:43,920 --> 00:48:47,400
Speaker 2: see her, it's shot like a commercial and I don't know,

840
00:48:47,480 --> 00:48:51,279
Speaker 2: im Yeah, like I would guess that the explanation that

841
00:48:51,320 --> 00:48:54,000
Speaker 2: you would be given is like, well, we're seeing women

842
00:48:54,120 --> 00:48:57,239
Speaker 2: like they do, but it's never meaningfully challenged and it's

843
00:48:57,280 --> 00:48:59,680
Speaker 2: not like I feel like the thing I love about

844
00:48:59,680 --> 00:49:02,759
Speaker 2: Good Fellas is that you do get insight. You do

845
00:49:02,840 --> 00:49:06,359
Speaker 2: get into the women's heads in multiple points. You know

846
00:49:06,400 --> 00:49:09,400
Speaker 2: how they're feeling, even when they're being treated like shit,

847
00:49:10,000 --> 00:49:12,400
Speaker 2: which they were within the context of the movie and

848
00:49:12,400 --> 00:49:15,080
Speaker 2: within the culture of the movie, Like you've got a

849
00:49:15,160 --> 00:49:18,000
Speaker 2: chance to understand how they were feeling, and you've got

850
00:49:18,320 --> 00:49:22,040
Speaker 2: like whole scenes where they were responding to their treatment,

851
00:49:22,120 --> 00:49:24,919
Speaker 2: and you it's just like you just don't you get

852
00:49:24,960 --> 00:49:27,640
Speaker 2: it a little bit in this movie, but it's far

853
00:49:27,719 --> 00:49:31,399
Speaker 2: less and it just doesn't seem fair. And I also

854
00:49:31,480 --> 00:49:35,239
Speaker 2: think like Casino is another kind of version of this

855
00:49:35,360 --> 00:49:37,280
Speaker 2: narrative that I like better.

856
00:49:37,840 --> 00:49:43,440
Speaker 3: I don't remember it at all. Shrine Stone incredible, but

857
00:49:43,440 --> 00:49:46,640
Speaker 3: but you're right, like there's a whole sequence in Goodfellows

858
00:49:46,640 --> 00:49:48,680
Speaker 3: and we're only talking about Goodfellows so much because of

859
00:49:48,719 --> 00:49:52,080
Speaker 3: like the very obvious parallels between the two movies, and

860
00:49:52,239 --> 00:49:55,200
Speaker 3: because again, like there's a whole sequence in Goodfellows where

861
00:49:55,680 --> 00:49:59,319
Speaker 3: the point of view completely shifts from Henry Hill to

862
00:49:59,640 --> 00:50:02,400
Speaker 3: Karen Hill. Yeah, and we hear her voiceover, and we

863
00:50:02,440 --> 00:50:05,560
Speaker 3: hear her thoughts and feelings on what like her husband

864
00:50:06,080 --> 00:50:10,440
Speaker 3: is doing. And that same perspective of like the Naomi

865
00:50:10,520 --> 00:50:13,880
Speaker 3: character is not afforded to her in Wolf Wall Street

866
00:50:13,920 --> 00:50:18,200
Speaker 3: at all. It just is mostly hyper sexualizing her, hyper

867
00:50:18,520 --> 00:50:23,040
Speaker 3: objectifying her. We don't know all that much about her

868
00:50:23,200 --> 00:50:24,920
Speaker 3: and her interests and stuff like that.

869
00:50:25,120 --> 00:50:27,560
Speaker 2: There are scenes where she stands up for herself and

870
00:50:27,600 --> 00:50:30,279
Speaker 2: we know she's right, like when she's accusing Jordan of

871
00:50:30,360 --> 00:50:32,399
Speaker 2: cheating on her. We know she's right, and she knows

872
00:50:32,440 --> 00:50:35,440
Speaker 2: she's right, Like, she's not made to be so like

873
00:50:35,680 --> 00:50:38,160
Speaker 2: I at least I can't even say I appreciate, but

874
00:50:38,200 --> 00:50:41,560
Speaker 2: like when she is upset with him, it's not like

875
00:50:41,600 --> 00:50:44,960
Speaker 2: the movie is presenting her as unreasonable, Like we know

876
00:50:45,600 --> 00:50:46,560
Speaker 2: that she's right.

877
00:50:47,200 --> 00:50:50,000
Speaker 3: I I So I would kind of argue that to

878
00:50:50,040 --> 00:50:52,719
Speaker 3: say that in that scene, yes, she's she's she's calling

879
00:50:52,760 --> 00:50:55,960
Speaker 3: him out, she's being like, you're cheating on me, and

880
00:50:56,040 --> 00:51:00,120
Speaker 3: she is, and she's absolutely right, But then he he

881
00:51:00,200 --> 00:51:02,439
Speaker 3: kind of like gets the upper hand on her because

882
00:51:02,440 --> 00:51:04,520
Speaker 3: she's doing that thing where she's like saying that she's

883
00:51:04,520 --> 00:51:08,000
Speaker 3: gonna withhold sex from him. And she's like, I'm gonna

884
00:51:08,239 --> 00:51:11,800
Speaker 3: put my I'm gonna show you my puss all the time,

885
00:51:11,840 --> 00:51:14,399
Speaker 3: but you can't touch it. I'm sorry I said all

886
00:51:14,400 --> 00:51:15,560
Speaker 3: of that just now.

887
00:51:16,560 --> 00:51:19,640
Speaker 2: It just adds a why. But there was to say puss.

888
00:51:21,719 --> 00:51:23,560
Speaker 3: I couldn't think of any better way to phrase it.

889
00:51:24,120 --> 00:51:26,720
Speaker 3: So she's like, here's my puss, and but you don't

890
00:51:26,760 --> 00:51:29,080
Speaker 3: touch it. And it seems like wow, this is like

891
00:51:29,160 --> 00:51:34,560
Speaker 3: she's like exercising autonomy and power over him. But then

892
00:51:34,600 --> 00:51:38,560
Speaker 3: he's like, oh, you think you're so clever. Well, I

893
00:51:38,640 --> 00:51:42,200
Speaker 3: actually have this hidden camera and the two guys named Rocco,

894
00:51:42,400 --> 00:51:44,480
Speaker 3: who are my security guys.

895
00:51:44,280 --> 00:51:45,920
Speaker 2: I've never met it never come back.

896
00:51:46,719 --> 00:51:48,920
Speaker 3: Yeah, they're actually watching you right now and they can

897
00:51:49,000 --> 00:51:53,080
Speaker 3: see your vulva and she's like, oh no. And then

898
00:51:53,160 --> 00:51:56,040
Speaker 3: it kind of like the way the movie frames that,

899
00:51:56,360 --> 00:51:59,080
Speaker 3: it's it's almost like the you see the power dynamic

900
00:51:59,200 --> 00:52:01,840
Speaker 3: shifting within that scene. And then I feel like, because

901
00:52:01,880 --> 00:52:05,400
Speaker 3: she gets humiliated, the movie almost frames that is like

902
00:52:06,040 --> 00:52:08,160
Speaker 3: and she was wrong to try to withhold sex from

903
00:52:08,239 --> 00:52:09,120
Speaker 3: this awesome guy.

904
00:52:09,680 --> 00:52:13,319
Speaker 2: I disagree with that, but I also like, I don't know.

905
00:52:13,400 --> 00:52:15,799
Speaker 2: I mean, I think that the reason we're having this

906
00:52:15,840 --> 00:52:18,759
Speaker 2: disagreement is because we're not given enough to make a

907
00:52:18,800 --> 00:52:22,000
Speaker 2: meaningful decision. I feel like what we're what we're getting

908
00:52:22,200 --> 00:52:27,480
Speaker 2: with her character is we are getting hyper sexualization. We're

909
00:52:27,480 --> 00:52:32,000
Speaker 2: getting and then we're getting like small moments of clear

910
00:52:32,320 --> 00:52:35,560
Speaker 2: domestic abuse and that is like and I and we're

911
00:52:35,600 --> 00:52:38,400
Speaker 2: getting that verbally like to me, that scene of like

912
00:52:38,440 --> 00:52:41,680
Speaker 2: you're actually being surveilled and she gets upset and leaves,

913
00:52:41,719 --> 00:52:44,120
Speaker 2: like that's clear domestic abuse. And I don't know, Like

914
00:52:44,160 --> 00:52:47,480
Speaker 2: I feel like everyone's gonna apply their own lens onto that.

915
00:52:47,880 --> 00:52:49,800
Speaker 2: But there are moments where it's like she is trying

916
00:52:49,840 --> 00:52:53,120
Speaker 2: to regain the upper hand and then she loses it

917
00:52:53,160 --> 00:52:56,160
Speaker 2: because he has so much more than she does, and

918
00:52:56,200 --> 00:52:59,759
Speaker 2: it's she's like she's trapped there, and it's infuriating to

919
00:52:59,800 --> 00:53:02,320
Speaker 2: see her be trapped there, and every time she tries

920
00:53:02,400 --> 00:53:07,520
Speaker 2: to extract herself, he throws whatever he can at her

921
00:53:07,760 --> 00:53:11,120
Speaker 2: to make her stay. And I wish that there was

922
00:53:11,239 --> 00:53:15,400
Speaker 2: care taken in that story because it feels very real.

923
00:53:15,680 --> 00:53:17,880
Speaker 2: The movie is not very interested in it because the

924
00:53:17,920 --> 00:53:21,400
Speaker 2: movie to an extent needs you to stay invested in

925
00:53:21,840 --> 00:53:25,799
Speaker 2: him being cool. But I don't know I would. I'm

926
00:53:25,920 --> 00:53:28,759
Speaker 2: very like, I can't really upset watching the scenes between them,

927
00:53:28,800 --> 00:53:31,560
Speaker 2: because it does seem like and I don't know, like

928
00:53:31,640 --> 00:53:35,799
Speaker 2: I feel like these are like domestic violence depictions and

929
00:53:36,120 --> 00:53:39,800
Speaker 2: like emotional coercion. There's a scene towards the end where

930
00:53:39,920 --> 00:53:41,920
Speaker 2: she is saying she doesn't want to have sex with him,

931
00:53:41,960 --> 00:53:45,279
Speaker 2: and then you know, he's being like, come on, come on,

932
00:53:45,320 --> 00:53:47,640
Speaker 2: come on, come on, come on, and then they do.

933
00:53:48,040 --> 00:53:49,799
Speaker 3: I think that that's a rape scene that the movie

934
00:53:49,880 --> 00:53:53,000
Speaker 3: does realizes a rape scene, though.

935
00:53:52,960 --> 00:53:54,520
Speaker 2: Well, the thing is like, I don't think that the

936
00:53:55,160 --> 00:53:57,200
Speaker 2: I don't know what the movie thinks at a lot

937
00:53:57,200 --> 00:54:00,680
Speaker 2: of points, and it's and and that is that's bad.

938
00:54:00,880 --> 00:54:04,160
Speaker 2: If you don't know how the movie's stance on marital rape,

939
00:54:04,280 --> 00:54:09,440
Speaker 2: that's really bad. I think that, like in Margot Robbie's performance,

940
00:54:09,880 --> 00:54:12,640
Speaker 2: you can feel like that there is a lot of

941
00:54:13,080 --> 00:54:16,920
Speaker 2: pain and frustration, but that's not where the movie's interests lie,

942
00:54:16,920 --> 00:54:19,920
Speaker 2: which is frustrating because, like we're saying, there are Scarsese

943
00:54:20,080 --> 00:54:24,839
Speaker 2: movies about similar themes where that interest does exist and

944
00:54:24,920 --> 00:54:27,600
Speaker 2: so I was curious. I don't know, like I couldn't

945
00:54:27,640 --> 00:54:31,399
Speaker 2: fully figure this out. My suspicion is that it has

946
00:54:31,440 --> 00:54:35,640
Speaker 2: to do with Jordan Belfort, right, because this was based

947
00:54:35,680 --> 00:54:39,760
Speaker 2: on his memoir also called The Wolf of Wall Street,

948
00:54:40,200 --> 00:54:43,399
Speaker 2: and I know that, like, there there are a lot

949
00:54:43,440 --> 00:54:46,399
Speaker 2: of opinions on this movie that is like, this is

950
00:54:46,480 --> 00:54:49,719
Speaker 2: like a takedown of the excesses of capitalism, all this shit.

951
00:54:50,160 --> 00:54:52,759
Speaker 2: You know, there's a lot of quotes from DiCaprio and

952
00:54:52,840 --> 00:54:56,359
Speaker 2: Scorsese to this effect. But at the end of the day,

953
00:54:56,760 --> 00:55:00,000
Speaker 2: Jordan Belfort made a million dollars off of this movie. Exists,

954
00:55:00,480 --> 00:55:04,680
Speaker 2: He's in the movie. He publicly likes the movie, and

955
00:55:04,719 --> 00:55:07,680
Speaker 2: you're like, well, then probably the movie's not accomplishing what

956
00:55:07,800 --> 00:55:11,960
Speaker 2: it should have if he loves it. On the other hand,

957
00:55:12,160 --> 00:55:18,520
Speaker 2: Naomi is based on his ex wife. His ex wife Nadine,

958
00:55:19,360 --> 00:55:25,000
Speaker 2: who also likes the movie. She has an interesting second

959
00:55:25,080 --> 00:55:29,840
Speaker 2: act if you're interested. She got remarried. She's been remarried

960
00:55:29,880 --> 00:55:34,520
Speaker 2: happily for over twenty years. Amazing. Good for her. But

961
00:55:34,800 --> 00:55:39,760
Speaker 2: her name's Nadine Mcaluso, and she is now a TikTok.

962
00:55:39,320 --> 00:55:48,080
Speaker 7: Therapist question mark, which is like, wow, okay, but she

963
00:55:48,600 --> 00:55:51,960
Speaker 7: has seen the movie and has commented on it extensively

964
00:55:52,040 --> 00:55:53,400
Speaker 7: on her therapy TikTok.

965
00:55:54,800 --> 00:55:58,400
Speaker 2: But she also did enjoy the movie. She said, quote,

966
00:55:58,520 --> 00:56:00,680
Speaker 2: my ex husband exploited our life and the way he

967
00:56:00,760 --> 00:56:02,920
Speaker 2: wanted to. And I'm using that engine to help people,

968
00:56:02,960 --> 00:56:05,080
Speaker 2: to empower them and teach them and to break the

969
00:56:05,120 --> 00:56:09,239
Speaker 2: stigma of mental health, and that I don't know. She'd

970
00:56:09,400 --> 00:56:12,480
Speaker 2: like met with Margot Robbie when Margat Robbie was preparing

971
00:56:12,520 --> 00:56:15,400
Speaker 2: for the part. Felt like it was that the instances

972
00:56:15,440 --> 00:56:19,880
Speaker 2: of domestic violence were shown authentically, but the movie's attention

973
00:56:20,520 --> 00:56:24,279
Speaker 2: did not stay with it. And it's so frustrating because

974
00:56:24,280 --> 00:56:26,560
Speaker 2: it's like, you know that this director is capable of that,

975
00:56:26,760 --> 00:56:34,440
Speaker 2: but he's not doing it here. Damn exactly. Shoot, can

976
00:56:34,480 --> 00:56:35,959
Speaker 2: we talk about Teresa really quick?

977
00:56:36,120 --> 00:56:42,279
Speaker 3: Sure? Sure? I love her truly justice for Teresa. I

978
00:56:42,320 --> 00:56:42,960
Speaker 3: love Teresa.

979
00:56:43,000 --> 00:56:45,839
Speaker 2: I want the best for her. She I uh god,

980
00:56:45,920 --> 00:56:50,319
Speaker 2: Brunette wives are always getting divorced. It's just it's not good.

981
00:56:50,480 --> 00:56:54,799
Speaker 2: I felt like that that was more shrewd comment of

982
00:56:54,880 --> 00:57:02,879
Speaker 2: like how horrible and like completely vapid Jordan was. Is

983
00:57:02,960 --> 00:57:05,720
Speaker 2: he's still alive and he's into crypto now shocking?

984
00:57:05,760 --> 00:57:06,160
Speaker 3: No, one.

985
00:57:07,440 --> 00:57:09,960
Speaker 2: Although, wait, you know what's the wildest thing I learned

986
00:57:09,960 --> 00:57:12,280
Speaker 2: about him when I was researching his life and times

987
00:57:12,560 --> 00:57:14,840
Speaker 2: I tried to listen to his audiobook and then I

988
00:57:14,960 --> 00:57:17,520
Speaker 2: quickly wanted to run into the ocean, so I didn't

989
00:57:17,880 --> 00:57:20,920
Speaker 2: get very far. But so when he went to tennis jail,

990
00:57:22,480 --> 00:57:28,600
Speaker 2: his tennis jail cellmate was Tommy Chong, and he and

991
00:57:28,680 --> 00:57:31,320
Speaker 2: Tommy Chong are hanging out in Tennis jail, and Tommy

992
00:57:31,400 --> 00:57:33,400
Speaker 2: Chong is like, you should write a book about this,

993
00:57:34,120 --> 00:57:36,000
Speaker 2: and that's why we have Wolf of Wall Street. It's

994
00:57:36,000 --> 00:57:40,760
Speaker 2: all Tommy Chong's fault, isn't that tom I don't have

995
00:57:40,760 --> 00:57:43,360
Speaker 2: a strong I don't know anything about it. Whatever. Anyways,

996
00:57:43,840 --> 00:57:47,680
Speaker 2: that's why that is. But I don't know. I feel

997
00:57:47,680 --> 00:57:50,600
Speaker 2: like it's very inherent to who Jordan is and who

998
00:57:50,760 --> 00:57:58,360
Speaker 2: to who Leonardo DiCaprio is to view women as status symbols,

999
00:57:58,880 --> 00:58:01,520
Speaker 2: to the extent that this person who has stood by

1000
00:58:01,600 --> 00:58:05,120
Speaker 2: him through virtually everything, he is so willing to discard

1001
00:58:05,160 --> 00:58:07,919
Speaker 2: her for something that for someone who he views as

1002
00:58:08,160 --> 00:58:10,880
Speaker 2: a status symbol, and then he goes on to ruin

1003
00:58:11,120 --> 00:58:14,840
Speaker 2: her life because he is incapable of seeing women as people.

1004
00:58:15,240 --> 00:58:19,080
Speaker 3: He also basically steals her idea to when he like

1005
00:58:19,120 --> 00:58:22,320
Speaker 3: reinvents the company to be like, I'm gonna target rich

1006
00:58:22,480 --> 00:58:27,120
Speaker 3: people and sell penny stocks to them. That was her idea.

1007
00:58:27,440 --> 00:58:29,400
Speaker 2: She could have been involved. I mean, I guess I'm not.

1008
00:58:29,640 --> 00:58:33,080
Speaker 2: I'm like, she should have been involved in his crimes.

1009
00:58:33,360 --> 00:58:35,640
Speaker 3: Yeah, that's that option.

1010
00:58:36,200 --> 00:58:39,240
Speaker 2: She should have girl bossed her way to hell as well.

1011
00:58:41,080 --> 00:58:41,760
Speaker 3: But yeah, I don't know.

1012
00:58:41,840 --> 00:58:43,880
Speaker 2: Just to like close the loop on Jordan, I guess,

1013
00:58:43,920 --> 00:58:46,680
Speaker 2: like the A, I think what the movie does well

1014
00:58:46,880 --> 00:58:50,800
Speaker 2: is that he is clearly this like portrait of like

1015
00:58:51,360 --> 00:58:57,000
Speaker 2: hyper masculine panic where everything he does is like please

1016
00:58:57,600 --> 00:59:02,440
Speaker 2: think about my, my gigantic peep. Like it's so clearly

1017
00:59:02,680 --> 00:59:06,200
Speaker 2: entrenched in insecurity and a need to prove himself, and

1018
00:59:06,240 --> 00:59:09,280
Speaker 2: he will hurt anyone, including himself. And I think that

1019
00:59:09,360 --> 00:59:11,440
Speaker 2: like the way the addiction is shown in this movie

1020
00:59:11,960 --> 00:59:16,400
Speaker 2: is often played for laughs the lutsies, they are funny,

1021
00:59:16,440 --> 00:59:21,160
Speaker 2: and then also you're like, this guy is suffering all

1022
00:59:21,240 --> 00:59:24,400
Speaker 2: but he's like built himself up on this masculine platform

1023
00:59:24,440 --> 00:59:28,160
Speaker 2: where no one will say no to him. So I

1024
00:59:28,160 --> 00:59:30,280
Speaker 2: don't know, I just the way that masculinity is shown

1025
00:59:30,440 --> 00:59:32,640
Speaker 2: and a lot of different insecurity, like I feel like

1026
00:59:32,960 --> 00:59:35,120
Speaker 2: you don't get a lot in the way of anything

1027
00:59:35,160 --> 00:59:36,720
Speaker 2: but white men in this movie.

1028
00:59:37,480 --> 00:59:37,800
Speaker 3: For sure.

1029
00:59:37,800 --> 00:59:41,360
Speaker 2: There's no way around that you do get I think

1030
00:59:41,560 --> 00:59:47,240
Speaker 2: the full gradient of white man insecurity, and that you

1031
00:59:47,280 --> 00:59:49,800
Speaker 2: get a lot of different shades of gray in terms

1032
00:59:49,840 --> 00:59:52,960
Speaker 2: of like the way Jonah Hill is insecure about being

1033
00:59:53,000 --> 00:59:56,880
Speaker 2: married to his cousin is different than the way that

1034
00:59:57,240 --> 01:00:01,440
Speaker 2: Leonardo DiCaprio kidnaps his own daughter. They're like, it's just

1035
01:00:01,480 --> 01:00:04,040
Speaker 2: all it's it's all very very fucked up. But I

1036
01:00:04,040 --> 01:00:05,680
Speaker 2: don't know, you do get to see a lot of

1037
01:00:05,800 --> 01:00:08,560
Speaker 2: flavors of the worst man in the world.

1038
01:00:09,440 --> 01:00:12,360
Speaker 3: It's true, I mean, and I think to the movie's credit,

1039
01:00:12,400 --> 01:00:15,560
Speaker 3: it does. Yeah, it shows many examples of like look

1040
01:00:15,600 --> 01:00:18,600
Speaker 3: how pathetic and embarrassing men?

1041
01:00:19,000 --> 01:00:21,240
Speaker 2: Yes see, like yes, Like.

1042
01:00:21,680 --> 01:00:24,840
Speaker 3: My favorite example of this is the first time he

1043
01:00:24,920 --> 01:00:27,919
Speaker 3: has sex with Naomi. First of all, he like goes

1044
01:00:27,960 --> 01:00:30,000
Speaker 3: to drop her off and his voiceover is like, how

1045
01:00:30,000 --> 01:00:32,880
Speaker 3: do I get invited into her apartment? Oh my god,

1046
01:00:33,080 --> 01:00:35,720
Speaker 3: I don't know. And then she's like, do you want

1047
01:00:35,720 --> 01:00:38,040
Speaker 3: to come up for some tea? And then he's like hot,

1048
01:00:38,200 --> 01:00:41,640
Speaker 3: hot tea, Oh god. And then he goes up to

1049
01:00:41,680 --> 01:00:43,840
Speaker 3: her apartment and then she comes out and she's naked,

1050
01:00:44,360 --> 01:00:47,840
Speaker 3: and he's like, as you can imagine, I fucked her

1051
01:00:47,880 --> 01:00:53,000
Speaker 3: brains out for eleven seconds. It's you know, and no

1052
01:00:53,120 --> 01:00:57,600
Speaker 3: shame in that if that's when you come.

1053
01:00:58,480 --> 01:01:01,440
Speaker 2: Kayla's standing here and there's Steve Madden.

1054
01:01:01,520 --> 01:01:09,040
Speaker 3: She's like, I say that to all the people that

1055
01:01:09,120 --> 01:01:11,120
Speaker 3: I talked to at my sex parties, and I say,

1056
01:01:11,200 --> 01:01:14,320
Speaker 3: if you come after eleven seconds, that's okay.

1057
01:01:14,720 --> 01:01:18,720
Speaker 2: But but it's I think that, like that's to me.

1058
01:01:18,920 --> 01:01:22,840
Speaker 2: Like what Martin Scorsese does better than almost any director

1059
01:01:22,920 --> 01:01:29,000
Speaker 2: is like show how embarrassing masculinity is to watch in practice.

1060
01:01:29,440 --> 01:01:33,560
Speaker 2: Like he is great at embarrassing some of our greatest

1061
01:01:33,600 --> 01:01:36,880
Speaker 2: movie stars. Like there's like I mean, there's the whole thing,

1062
01:01:36,920 --> 01:01:39,400
Speaker 2: and we'll talk about this and pickups, but how like

1063
01:01:39,760 --> 01:01:42,360
Speaker 2: you know, capitalism is the central cult and religion that

1064
01:01:42,440 --> 01:01:46,760
Speaker 2: this movie revolves around, and it's like made so embarrassing

1065
01:01:47,040 --> 01:01:58,959
Speaker 2: by like the Matthew McConaughey like.

1066
01:01:53,840 --> 01:01:58,760
Speaker 7: Like yeah, later, like you're just.

1067
01:01:58,640 --> 01:02:03,160
Speaker 2: Like this is so gross, so and that like some

1068
01:02:03,240 --> 01:02:06,840
Speaker 2: of the most privileged, violent, cruel people in the world

1069
01:02:06,880 --> 01:02:10,440
Speaker 2: are also just like you just like physically recoil watching

1070
01:02:10,480 --> 01:02:15,160
Speaker 2: them navigate the world like they're fucking gross, and he's

1071
01:02:15,200 --> 01:02:19,480
Speaker 2: really good at showing that. But unfortunately in this movie,

1072
01:02:19,880 --> 01:02:23,280
Speaker 2: I feel like it's just where I've seen it argued

1073
01:02:23,320 --> 01:02:30,160
Speaker 2: that women are objectified beyond reproach in some of his movies.

1074
01:02:30,240 --> 01:02:32,800
Speaker 2: That actually kind of does feel true for this one,

1075
01:02:32,960 --> 01:02:36,640
Speaker 2: and I can't get my boy Marty out of this one.

1076
01:02:36,760 --> 01:02:39,880
Speaker 2: Like it's just really really bad for every woman in

1077
01:02:39,920 --> 01:02:43,720
Speaker 2: this movie. But you know, more to come. It's getting late,

1078
01:02:43,840 --> 01:02:45,240
Speaker 2: so let's have some fun.

1079
01:02:45,480 --> 01:03:01,200
Speaker 3: Let's do it. Hi, everyone, it's future and Future Jamie

1080
01:03:01,280 --> 01:03:06,160
Speaker 3: here coming in with those pickups that we promised. Ye freakin' ha,

1081
01:03:06,720 --> 01:03:09,240
Speaker 3: And it was right here during the live show that

1082
01:03:09,280 --> 01:03:15,120
Speaker 3: we presented a super cut that I edited of Leonardo

1083
01:03:15,160 --> 01:03:19,720
Speaker 3: DiCaprio fully clothed in water, something that you may have

1084
01:03:19,760 --> 01:03:23,360
Speaker 3: also seen if you came to our Titanic shows on

1085
01:03:23,400 --> 01:03:24,439
Speaker 3: the Shrek Tannic tour.

1086
01:03:24,840 --> 01:03:29,280
Speaker 2: It's an absolutely evergreen piece of media. It's perfect, Thank

1087
01:03:29,320 --> 01:03:31,120
Speaker 2: you so much, perfect vibe.

1088
01:03:31,600 --> 01:03:34,880
Speaker 3: It's my pride and joy, it's my magnum opus, my

1089
01:03:34,960 --> 01:03:39,560
Speaker 3: mona Lisa. But it didn't translate well to the audio

1090
01:03:39,720 --> 01:03:43,160
Speaker 3: medium of podcasting. So instead we're jumping in here just

1091
01:03:43,200 --> 01:03:48,200
Speaker 3: to pick up with extra discussion we wanted to have

1092
01:03:48,280 --> 01:03:50,120
Speaker 3: that we didn't have time for in the live show.

1093
01:03:50,360 --> 01:03:53,920
Speaker 3: I do want to start by clarifying what I meant

1094
01:03:53,960 --> 01:03:57,840
Speaker 3: in that scene where Jordan and Naomi have sex for

1095
01:03:57,880 --> 01:04:00,560
Speaker 3: the first time. I don't want to sound like I

1096
01:04:00,600 --> 01:04:05,360
Speaker 3: am shaming anyone who experiences premature ejaculation or anything like that.

1097
01:04:05,840 --> 01:04:09,320
Speaker 3: What I was referring to was this sort of obsession

1098
01:04:09,680 --> 01:04:15,480
Speaker 3: with like male virility and stamina that many men use

1099
01:04:15,720 --> 01:04:21,040
Speaker 3: to sort of measure their masculinity or their quote unquote manhood, right,

1100
01:04:21,280 --> 01:04:26,040
Speaker 3: and certainly someone like Jordan Belfort would be concerned with that.

1101
01:04:26,760 --> 01:04:29,920
Speaker 3: People like this are like, oh I can fuck for hours,

1102
01:04:29,960 --> 01:04:32,840
Speaker 3: blah blah blah, the same way that men like Jordan

1103
01:04:32,920 --> 01:04:37,120
Speaker 3: Belfort are obsessed with like dick measure and contests, either

1104
01:04:37,760 --> 01:04:40,320
Speaker 3: literal or figurative. Like we were kind of alluding to

1105
01:04:41,320 --> 01:04:44,439
Speaker 3: that earlier in the episode, and it all stems from,

1106
01:04:44,480 --> 01:04:49,880
Speaker 3: you know, their interpretation and performance of masculinity, their kind

1107
01:04:49,920 --> 01:04:54,800
Speaker 3: of like idea of cultural markers of what makes a

1108
01:04:55,000 --> 01:04:59,480
Speaker 3: manly man. And so that's just what I was commenting on.

1109
01:05:00,200 --> 01:05:02,680
Speaker 3: I don't want to have that be misinterpreted. Is like

1110
01:05:02,720 --> 01:05:06,480
Speaker 3: any judgment passing, it's more just like these are the

1111
01:05:06,520 --> 01:05:10,520
Speaker 3: type of men who are obsessed with like these markers

1112
01:05:10,520 --> 01:05:11,480
Speaker 3: of masculinity.

1113
01:05:11,840 --> 01:05:14,120
Speaker 2: Well, and for what it's worth, I mean, I think

1114
01:05:14,160 --> 01:05:18,080
Speaker 2: that that was clear, and also that that ties into

1115
01:05:18,160 --> 01:05:21,400
Speaker 2: what we were talking about in the episode where Scorsese's

1116
01:05:21,440 --> 01:05:27,360
Speaker 2: movies are uniquely good at making this like versus you know,

1117
01:05:27,720 --> 01:05:31,200
Speaker 2: the amount of time that you can last during sex

1118
01:05:31,280 --> 01:05:35,560
Speaker 2: being a reflection on who you are as just the

1119
01:05:35,680 --> 01:05:40,480
Speaker 2: idea that the masculine ideal is to be able to

1120
01:05:41,720 --> 01:05:44,480
Speaker 2: fuck for forty five hours in a row, just like

1121
01:05:44,520 --> 01:05:49,040
Speaker 2: the absurdity of masculinity, and how there is like this

1122
01:05:49,400 --> 01:05:54,680
Speaker 2: insecurity and ego that factors into so many of his characters,

1123
01:05:54,720 --> 01:05:58,680
Speaker 2: and that's like very much present in Jordan, which brings

1124
01:05:58,720 --> 01:06:01,600
Speaker 2: me to something that we reference talking about in the

1125
01:06:01,600 --> 01:06:04,840
Speaker 2: episode that I just wanted to sort of put a

1126
01:06:04,840 --> 01:06:08,880
Speaker 2: little bow on, which is something that I think this

1127
01:06:08,960 --> 01:06:11,880
Speaker 2: movie does very well before we get to a few

1128
01:06:11,880 --> 01:06:14,280
Speaker 2: things that we didn't have time for that maybe did

1129
01:06:14,320 --> 01:06:17,120
Speaker 2: not do as well. Is I think that this movie

1130
01:06:17,200 --> 01:06:22,600
Speaker 2: does a good job in showing, you know, and portraying

1131
01:06:22,640 --> 01:06:25,400
Speaker 2: in a way that's like very funny and entertaining, which

1132
01:06:25,840 --> 01:06:30,560
Speaker 2: it's a movie it should like showing capitalism as a

1133
01:06:30,640 --> 01:06:33,320
Speaker 2: death cult essentially, and like not just a death cult,

1134
01:06:33,400 --> 01:06:37,520
Speaker 2: but a really embarrassing death cult with rituals that are

1135
01:06:37,720 --> 01:06:41,840
Speaker 2: essentially really humiliating to watch. We were talking about like

1136
01:06:42,280 --> 01:06:45,360
Speaker 2: the Matthew McConaughey beating his chest in the middle of

1137
01:06:45,440 --> 01:06:51,880
Speaker 2: like his liquid lunch, and again I think that as

1138
01:06:51,920 --> 01:06:55,840
Speaker 2: we were discussing the tools and the ways that we

1139
01:06:56,120 --> 01:07:00,240
Speaker 2: are shown in the movie, that capitalism is an embarreeing

1140
01:07:00,280 --> 01:07:03,000
Speaker 2: death cult for those at the top. The way that

1141
01:07:03,040 --> 01:07:05,960
Speaker 2: we're showing it is sometimes a little too tongue in cheek,

1142
01:07:06,320 --> 01:07:10,040
Speaker 2: you know, and takes advantage of making jokes at the

1143
01:07:10,600 --> 01:07:15,800
Speaker 2: expense of people struggling with addiction, amongst many, many, many

1144
01:07:15,800 --> 01:07:17,560
Speaker 2: other things. This movie makes light of a lot of

1145
01:07:17,560 --> 01:07:19,920
Speaker 2: things that I think that it makes total sense to

1146
01:07:19,960 --> 01:07:21,840
Speaker 2: not be okay with. They not want to engage with

1147
01:07:21,880 --> 01:07:25,439
Speaker 2: the movie for that reason. But on a fundamental level,

1148
01:07:25,480 --> 01:07:29,480
Speaker 2: I do feel like this movie makes capitalism look embarrassing,

1149
01:07:30,200 --> 01:07:34,040
Speaker 2: and that's something that you know, it shouldn't be a

1150
01:07:34,080 --> 01:07:38,080
Speaker 2: big ask from a movie, but you know, we see

1151
01:07:38,240 --> 01:07:41,520
Speaker 2: so many biopicks because at the end of the day,

1152
01:07:41,760 --> 01:07:43,120
Speaker 2: like we were talking about, I think one of the

1153
01:07:43,120 --> 01:07:46,840
Speaker 2: weaknesses of this movie is or like, the biggest weakness

1154
01:07:46,840 --> 01:07:49,040
Speaker 2: of this movie is that it is a biopic that

1155
01:07:49,160 --> 01:07:55,040
Speaker 2: involved the subject, which almost never gives you a good biopick.

1156
01:07:55,640 --> 01:07:59,080
Speaker 2: And I like this movie, but you know, the involvement

1157
01:07:59,320 --> 01:08:02,800
Speaker 2: of the person, particularly when they are the villain of

1158
01:08:02,840 --> 01:08:06,480
Speaker 2: the movie is I just think it's just like at

1159
01:08:06,520 --> 01:08:10,960
Speaker 2: odds with making a movie. I would almost rather this

1160
01:08:11,080 --> 01:08:17,000
Speaker 2: movie have created a Jordan Belfoort type character that wouldn't

1161
01:08:17,040 --> 01:08:22,120
Speaker 2: have required him being involved, right whatever, you know, I

1162
01:08:22,439 --> 01:08:26,240
Speaker 2: understand why there is. You have the advantage of connecting

1163
01:08:26,280 --> 01:08:29,080
Speaker 2: it to a specific moment in history, and you get

1164
01:08:29,120 --> 01:08:32,320
Speaker 2: a lot of more cultural specificity by not having to

1165
01:08:33,040 --> 01:08:36,680
Speaker 2: YadA YadA. But the monkey pop of that is that

1166
01:08:37,080 --> 01:08:40,680
Speaker 2: you then have to have Jordan Pelfort's consent. You have

1167
01:08:40,760 --> 01:08:44,439
Speaker 2: to involve him, you have to compensate him, and you

1168
01:08:44,520 --> 01:08:47,080
Speaker 2: have to have his approval on certain things, which means

1169
01:08:47,080 --> 01:08:49,160
Speaker 2: that you're not going to be able to have an adequate,

1170
01:08:49,360 --> 01:08:52,719
Speaker 2: you know, come to Jesus moment about anything about his life,

1171
01:08:52,760 --> 01:08:58,320
Speaker 2: including his involvement in the capitalism death cult that was

1172
01:08:58,960 --> 01:09:01,960
Speaker 2: Wall Street at this time. All the things considered, though,

1173
01:09:02,200 --> 01:09:05,360
Speaker 2: I do feel like it did better than your average movie.

1174
01:09:05,400 --> 01:09:07,280
Speaker 2: It's a Martin Scorsese movie. He's really good at that,

1175
01:09:07,960 --> 01:09:11,040
Speaker 2: and so I tepit thumbs up to that.

1176
01:09:11,240 --> 01:09:15,360
Speaker 3: I think, right, I was thinking about how a movie

1177
01:09:15,400 --> 01:09:20,679
Speaker 3: that might be either an interesting companion piece to Wolf

1178
01:09:20,720 --> 01:09:23,320
Speaker 3: of Wall Street or just a movie that you might

1179
01:09:23,360 --> 01:09:26,439
Speaker 3: want to watch instead that kind of takes place in

1180
01:09:26,479 --> 01:09:31,479
Speaker 3: a similar world but focuses on a different set of

1181
01:09:32,040 --> 01:09:35,599
Speaker 3: people who sort of occupy this world is Hustlers, which

1182
01:09:35,640 --> 01:09:38,559
Speaker 3: we've also covered on the show totally because you know,

1183
01:09:38,600 --> 01:09:41,559
Speaker 3: one of our gripes that we discussed during the live

1184
01:09:41,600 --> 01:09:45,360
Speaker 3: show portion of this is that this movie fails to

1185
01:09:46,280 --> 01:09:49,040
Speaker 3: give any kind of interiority to any of the women,

1186
01:09:49,160 --> 01:09:51,679
Speaker 3: especially Naomi, that would be the character that would make

1187
01:09:51,800 --> 01:09:54,479
Speaker 3: most sense, or Teresa even too.

1188
01:09:54,680 --> 01:09:56,920
Speaker 2: Yeah, I mean, I think both of them are made

1189
01:09:56,920 --> 01:10:00,080
Speaker 2: out to be. You know, it's like an almost not

1190
01:10:00,400 --> 01:10:03,800
Speaker 2: on the Donna horror complex explicitly, like there is more

1191
01:10:03,880 --> 01:10:08,000
Speaker 2: nuance to their story than that, but like the Scorned

1192
01:10:08,080 --> 01:10:09,400
Speaker 2: and the home Wrecker, you.

1193
01:10:09,360 --> 01:10:13,200
Speaker 3: Know, and both just as people who were married to

1194
01:10:13,640 --> 01:10:20,519
Speaker 3: this guy and what their experience was like. And you

1195
01:10:20,600 --> 01:10:25,840
Speaker 3: can criticize wealthy white women and their complicity in capitalism

1196
01:10:26,240 --> 01:10:28,880
Speaker 3: and stuff like that. But I also, if you're gonna

1197
01:10:29,160 --> 01:10:32,200
Speaker 3: make this movie, I would have liked to see more

1198
01:10:32,960 --> 01:10:36,960
Speaker 3: about who these characters are, how they are affected by

1199
01:10:37,920 --> 01:10:43,960
Speaker 3: the rampant, toxic masculinity that surrounds them. But the movie, again,

1200
01:10:43,960 --> 01:10:47,479
Speaker 3: as we've discussed, doesn't really have much interest in that.

1201
01:10:48,680 --> 01:10:53,200
Speaker 3: So anyway, watch Hustlers, is what I'm saying. I wanted

1202
01:10:53,240 --> 01:10:55,800
Speaker 3: to talk a little bit about just some of the

1203
01:10:55,840 --> 01:11:00,120
Speaker 3: other women who we see on the screen in a

1204
01:11:00,280 --> 01:11:05,000
Speaker 3: vaguely significant way. It's not many of them, but I

1205
01:11:05,200 --> 01:11:12,680
Speaker 3: wanted to mention the sales assistant Daniel Harrison at Stratton Oakwant.

1206
01:11:12,800 --> 01:11:16,320
Speaker 3: She's the person who agrees to have her head shaved

1207
01:11:16,680 --> 01:11:19,680
Speaker 3: for ten thousand dollars and then has also agreed to

1208
01:11:19,760 --> 01:11:23,120
Speaker 3: use that money for breast implants number one. She's the

1209
01:11:23,120 --> 01:11:26,080
Speaker 3: baldest woman in charge, except that she is not in charge.

1210
01:11:26,960 --> 01:11:29,920
Speaker 3: Oh God, I wish too. I was like, Okay, can

1211
01:11:30,040 --> 01:11:33,000
Speaker 3: we learn anything else about her? She's really only in

1212
01:11:33,040 --> 01:11:35,920
Speaker 3: that one scene, and I was curious, like, Okay, was

1213
01:11:36,000 --> 01:11:39,880
Speaker 3: this a case of a woman doing whatever she felt

1214
01:11:39,960 --> 01:11:43,639
Speaker 3: she needed to do to be respected by the men

1215
01:11:44,000 --> 01:11:48,719
Speaker 3: around her. Because sacrifices like that, especially in this era

1216
01:11:48,920 --> 01:11:52,400
Speaker 3: of women in the workplace that was often the only

1217
01:11:52,439 --> 01:11:55,240
Speaker 3: way to survive in the workplace as a woman in

1218
01:11:55,280 --> 01:11:59,559
Speaker 3: a predominantly male space. And you know, I could see

1219
01:11:59,560 --> 01:12:02,200
Speaker 3: something like that motivating her choices to have her head

1220
01:12:02,200 --> 01:12:06,000
Speaker 3: shaved and make that choice, But the movie doesn't have

1221
01:12:06,040 --> 01:12:09,760
Speaker 3: any interest in exploring her motivation in that situation, right,

1222
01:12:09,800 --> 01:12:11,800
Speaker 3: and again, it could have been like another way to

1223
01:12:11,920 --> 01:12:18,439
Speaker 3: criticize the capitalist machine that this movie criticizes otherwise, But

1224
01:12:19,080 --> 01:12:21,040
Speaker 3: I don't know, just it felt like a missed opportunity

1225
01:12:21,120 --> 01:12:23,400
Speaker 3: to me. I would have liked to have a little

1226
01:12:23,400 --> 01:12:24,439
Speaker 3: bit more insight there.

1227
01:12:24,680 --> 01:12:28,680
Speaker 2: I agree again, just knowing that Scorsese has like I

1228
01:12:28,680 --> 01:12:32,679
Speaker 2: think with some directors you sort of have the like, well,

1229
01:12:32,720 --> 01:12:35,559
Speaker 2: but that would never happen. But with Scorsese, you know

1230
01:12:35,640 --> 01:12:38,760
Speaker 2: that it can and has happened, you know, and that

1231
01:12:38,840 --> 01:12:41,559
Speaker 2: he also has a knack for I wouldn't say he's

1232
01:12:41,600 --> 01:12:44,000
Speaker 2: the best at it, but has a knack for and

1233
01:12:44,160 --> 01:12:50,000
Speaker 2: an instinct to include people who are swept up in

1234
01:12:50,439 --> 01:12:53,320
Speaker 2: this fucking nightmare. And you're you're totally right, that is

1235
01:12:53,360 --> 01:12:57,240
Speaker 2: like a great end to discuss, like attempting to survive

1236
01:12:57,280 --> 01:13:00,640
Speaker 2: in that environment as a woman, and especially you know,

1237
01:13:00,960 --> 01:13:04,559
Speaker 2: there's a million examples of this in you know, girl

1238
01:13:04,640 --> 01:13:09,840
Speaker 2: boss culture at large, right, but of you know, the

1239
01:13:09,920 --> 01:13:15,920
Speaker 2: humiliations and extreme moral compromises one has to make to

1240
01:13:15,960 --> 01:13:18,839
Speaker 2: be able to participate as a woman, and then also

1241
01:13:19,280 --> 01:13:21,920
Speaker 2: the moral compromises you make on the other end of

1242
01:13:22,080 --> 01:13:26,639
Speaker 2: dismissing people and dismissing marginal people more marginalized than yourself,

1243
01:13:26,920 --> 01:13:30,000
Speaker 2: and dismissing people exactly like yourself in order to continue

1244
01:13:30,040 --> 01:13:32,639
Speaker 2: to like participate in this fucked up So yeah, there,

1245
01:13:32,840 --> 01:13:38,879
Speaker 2: this movie feels littered with interesting opportunities to explore. Characters

1246
01:13:38,880 --> 01:13:42,960
Speaker 2: that are going through are arguably a more complicated, you know,

1247
01:13:43,080 --> 01:13:45,280
Speaker 2: moral dilemma than any of the men in this movie

1248
01:13:45,320 --> 01:13:47,200
Speaker 2: you are, I feel like another example of that is

1249
01:13:47,240 --> 01:13:50,960
Speaker 2: Aunt Emma. We didn't really have time to get into

1250
01:13:51,720 --> 01:13:53,960
Speaker 2: in this movie. What did you think of Aunt Emma?

1251
01:13:54,000 --> 01:13:54,600
Speaker 2: What did you make of.

1252
01:13:56,800 --> 01:13:59,960
Speaker 3: I don't know. I was too distracted by the fact

1253
01:14:00,080 --> 01:14:02,360
Speaker 3: that actor is in Paddington too.

1254
01:14:02,240 --> 01:14:04,000
Speaker 2: But yes, I don't know.

1255
01:14:04,160 --> 01:14:06,679
Speaker 3: I'd like to me The most memorable scene is when

1256
01:14:07,080 --> 01:14:09,960
Speaker 3: they're sitting on the park bench together on Emma and

1257
01:14:10,840 --> 01:14:14,240
Speaker 3: Jordan Belfort and he's like, oh my god, is she

1258
01:14:14,360 --> 01:14:17,519
Speaker 3: hitting on me? Like the language she's using she seems

1259
01:14:17,560 --> 01:14:21,000
Speaker 3: like she's coming on to me, and then it's obviously

1260
01:14:21,080 --> 01:14:26,880
Speaker 3: him misinterpreting the situation the way that men often misinterpret

1261
01:14:27,120 --> 01:14:30,840
Speaker 3: sexual interest. Then he starts to come on to her,

1262
01:14:30,960 --> 01:14:33,160
Speaker 3: and then you get her voice over to be like,

1263
01:14:33,240 --> 01:14:36,720
Speaker 3: oh my god, is he hitting on me? And I

1264
01:14:36,760 --> 01:14:39,960
Speaker 3: thought it was like an interesting and like decent demonstration

1265
01:14:40,400 --> 01:14:46,519
Speaker 3: of like a man who is so entitled assuming things

1266
01:14:46,600 --> 01:14:50,519
Speaker 3: kind of based on nothing, and then like the sort

1267
01:14:50,560 --> 01:14:54,040
Speaker 3: of thought process that the recipient of that has to

1268
01:14:54,120 --> 01:14:58,240
Speaker 3: go through. And then you know, you see her being like, no, thanks,

1269
01:14:58,280 --> 01:15:01,080
Speaker 3: please don't kiss me, because he's he tries to surprise

1270
01:15:01,200 --> 01:15:06,479
Speaker 3: kiss her, and then she's like, don't do that though,

1271
01:15:07,320 --> 01:15:11,960
Speaker 3: And yeah, I thought that scene was handled pretty well.

1272
01:15:12,040 --> 01:15:14,240
Speaker 3: But other than that, I mean, we don't really get

1273
01:15:14,320 --> 01:15:18,040
Speaker 3: much of that character, So I don't know, what do

1274
01:15:18,120 --> 01:15:18,439
Speaker 3: you think?

1275
01:15:18,920 --> 01:15:22,960
Speaker 2: Yeah, I thought again, like there are missed opportunities. I

1276
01:15:23,000 --> 01:15:27,640
Speaker 2: don't expect the movie to like pivot to be like

1277
01:15:27,800 --> 01:15:30,160
Speaker 2: what is going on with Aunt Emma? Because but I

1278
01:15:30,160 --> 01:15:33,320
Speaker 2: think that's another example of a character who is knowingly

1279
01:15:33,360 --> 01:15:36,639
Speaker 2: complicit in a lot and still treated in this very

1280
01:15:36,800 --> 01:15:42,280
Speaker 2: both misogynists and agist way, and that that is an

1281
01:15:42,320 --> 01:15:46,080
Speaker 2: opportunity to explore this character. But like we were saying,

1282
01:15:46,240 --> 01:15:51,320
Speaker 2: and it is hard to not compare this to Scorsese's

1283
01:15:51,360 --> 01:15:54,599
Speaker 2: other movies because there is this through line of like,

1284
01:15:55,120 --> 01:16:02,120
Speaker 2: how masculinity is embarrassing and ruining your life. Again, We're

1285
01:16:02,200 --> 01:16:05,800
Speaker 2: good Fellas stands over here, and I guess it's it's

1286
01:16:05,840 --> 01:16:08,280
Speaker 2: just hard to not get past the pivot to Karen's

1287
01:16:08,320 --> 01:16:12,400
Speaker 2: perspective because it just makes you want that level of

1288
01:16:12,640 --> 01:16:16,280
Speaker 2: care put into all of these Like I don't object

1289
01:16:16,360 --> 01:16:21,480
Speaker 2: to Scorsese's you know, clear affinity for wanting to examine

1290
01:16:21,640 --> 01:16:27,960
Speaker 2: these nucleuses of male power, but there are examples of

1291
01:16:28,040 --> 01:16:34,599
Speaker 2: him having care for people who exist within that little

1292
01:16:34,720 --> 01:16:38,120
Speaker 2: bubble in complicated ways, and this movie is just like

1293
01:16:38,160 --> 01:16:41,400
Speaker 2: not a great example of it. Yeah, ant Ema, I

1294
01:16:41,400 --> 01:16:43,920
Speaker 2: think again, it's just ultimately a missed opportunity. I think

1295
01:16:43,920 --> 01:16:47,360
Speaker 2: it's a great performance, but I feel like her character

1296
01:16:47,439 --> 01:16:53,559
Speaker 2: is almost used as a way to show how Jordan

1297
01:16:54,080 --> 01:16:59,600
Speaker 2: is embarrassing versus actually fleshing out her character, which is

1298
01:16:59,640 --> 01:17:05,080
Speaker 2: a shame because we're given a lot of interesting like nuggets, right.

1299
01:17:05,160 --> 01:17:08,519
Speaker 3: So yeah, yeah, I felt kind of the same way

1300
01:17:08,560 --> 01:17:14,839
Speaker 3: about the character, who I think is Donnie's his wife, Hildy.

1301
01:17:15,000 --> 01:17:17,439
Speaker 3: But every time she's on screen, I'm like, I think

1302
01:17:17,479 --> 01:17:19,840
Speaker 3: that's the same woman we've seen before there, and I

1303
01:17:19,960 --> 01:17:25,000
Speaker 3: think that's Donnie's his wife, but I'm not totally sure

1304
01:17:25,000 --> 01:17:29,280
Speaker 3: because she's never given anything memorable enough to say or

1305
01:17:29,320 --> 01:17:31,599
Speaker 3: do when she does show up that you know who

1306
01:17:31,680 --> 01:17:33,879
Speaker 3: that character is. Exactly.

1307
01:17:34,080 --> 01:17:38,080
Speaker 2: Same goes for Chantal who wait, I don't even know

1308
01:17:38,439 --> 01:17:45,080
Speaker 2: who she is? The Swiss woman. Oh yeah, like they tape.

1309
01:17:45,320 --> 01:17:50,200
Speaker 2: But again it's like good performance, a funny beat. I

1310
01:17:50,240 --> 01:17:52,800
Speaker 2: don't expect the movie to like pivot to her, but

1311
01:17:52,920 --> 01:17:55,800
Speaker 2: like she is a body and a plot point and

1312
01:17:55,840 --> 01:17:58,040
Speaker 2: that's it, right, the.

1313
01:17:57,920 --> 01:18:02,880
Speaker 3: Way that every sex worker in this movie.

1314
01:18:03,360 --> 01:18:05,840
Speaker 2: Not even a plat point, just set dressing.

1315
01:18:05,760 --> 01:18:10,360
Speaker 3: Right for sure. And I was also upon my rewatch

1316
01:18:10,479 --> 01:18:13,799
Speaker 3: to like do these pickups. I was especially noticing how

1317
01:18:14,120 --> 01:18:17,280
Speaker 3: there is almost no woman on screen in the entire

1318
01:18:17,320 --> 01:18:22,920
Speaker 3: movie who Jordan especially, but you can extend that to oh,

1319
01:18:22,960 --> 01:18:26,240
Speaker 3: I think pretty much all the male characters that that

1320
01:18:26,320 --> 01:18:30,599
Speaker 3: woman is not sexually harassed or assaulted in some way.

1321
01:18:31,160 --> 01:18:34,280
Speaker 2: Or just shown. And I want to like carefully phrase

1322
01:18:34,320 --> 01:18:36,920
Speaker 2: this because I'm not like every woman needs to be

1323
01:18:37,040 --> 01:18:41,839
Speaker 2: wearing clothes, but right, most women are not wearing clothes,

1324
01:18:42,000 --> 01:18:44,639
Speaker 2: most men are. True, we let's say it like that

1325
01:18:44,920 --> 01:18:47,760
Speaker 2: there is Yeah, it is a clear again, It's just

1326
01:18:47,840 --> 01:18:50,520
Speaker 2: like and I knew we were talking about this extensively

1327
01:18:50,600 --> 01:18:52,519
Speaker 2: in the live show, but the fact that this movie

1328
01:18:52,520 --> 01:18:55,479
Speaker 2: has the same cinematographers Barbie is just like, Wow, the

1329
01:18:55,600 --> 01:19:00,519
Speaker 2: range you really can respect women or not it is

1330
01:19:01,640 --> 01:19:06,840
Speaker 2: It's interesting. I mean, yeah, I guess ultimately with this movie,

1331
01:19:06,920 --> 01:19:09,960
Speaker 2: I am grateful that it was in the hands of

1332
01:19:10,000 --> 01:19:14,080
Speaker 2: a good director, because in the hands of a bad director,

1333
01:19:14,560 --> 01:19:17,240
Speaker 2: I think everything we'd be talking about would be ten

1334
01:19:17,320 --> 01:19:18,000
Speaker 2: times worse.

1335
01:19:18,520 --> 01:19:19,080
Speaker 3: Definitely.

1336
01:19:19,360 --> 01:19:21,240
Speaker 2: But I would also love to see the Wolf of

1337
01:19:21,280 --> 01:19:23,800
Speaker 2: Wall Street directed by I mean, this is something that,

1338
01:19:24,280 --> 01:19:27,240
Speaker 2: oh may I know someone is gonna send us a

1339
01:19:27,240 --> 01:19:30,920
Speaker 2: message being like this movie. But I don't feel like

1340
01:19:31,120 --> 01:19:34,000
Speaker 2: there are movies of this budget and this cast that

1341
01:19:34,080 --> 01:19:38,000
Speaker 2: are this critical of capitalism directed by women Like I

1342
01:19:38,000 --> 01:19:41,760
Speaker 2: would love to see a big budget critique of capitalism

1343
01:19:42,040 --> 01:19:44,799
Speaker 2: with a director who is not a white guy anyone.

1344
01:19:44,920 --> 01:19:47,800
Speaker 2: I mean, Sorry to Bother You comes to mind in

1345
01:19:47,880 --> 01:19:50,400
Speaker 2: terms of like a a more star studed cast of

1346
01:19:50,560 --> 01:19:53,320
Speaker 2: movie that did very well, very critically successful. But I'm

1347
01:19:53,360 --> 01:19:57,120
Speaker 2: just like, where is the big budget woman's critique of capitalism.

1348
01:19:57,160 --> 01:19:59,480
Speaker 2: If it was Barbie, I'm not pleased.

1349
01:19:59,560 --> 01:20:05,240
Speaker 3: That that was not critiquing capitalism at all. Ip, the

1350
01:20:05,439 --> 01:20:08,400
Speaker 3: closest thing I can think of is not a dissimilar

1351
01:20:08,439 --> 01:20:11,320
Speaker 3: movie to the Wolf of Wall Street, but American Psycho,

1352
01:20:11,640 --> 01:20:14,240
Speaker 3: right directed by a woman, you know, could be more

1353
01:20:14,280 --> 01:20:17,639
Speaker 3: critical of capitalism. Yes, I suppose, but.

1354
01:20:17,800 --> 01:20:19,680
Speaker 2: I mean not a bad start. I guess I was

1355
01:20:19,720 --> 01:20:23,960
Speaker 2: just thinking, like ground up not adapted from a man's book,

1356
01:20:24,280 --> 01:20:26,439
Speaker 2: Like is there a ground up?

1357
01:20:27,120 --> 01:20:27,320
Speaker 3: I mean?

1358
01:20:27,439 --> 01:20:29,800
Speaker 2: But also I mean, I don't know whatever. I'm just

1359
01:20:29,880 --> 01:20:34,040
Speaker 2: talking speculatively now, but I think Scorsese is is really

1360
01:20:34,120 --> 01:20:38,200
Speaker 2: good with this specific material. But where all of the

1361
01:20:38,240 --> 01:20:41,439
Speaker 2: stumbling blocks feel like they come from are either his

1362
01:20:41,920 --> 01:20:49,200
Speaker 2: personal inability to understand the nuanced spots of this movie

1363
01:20:49,400 --> 01:20:52,080
Speaker 2: and and something that we haven't talked about yet or

1364
01:20:52,439 --> 01:20:55,000
Speaker 2: didn't touch on extensively in the live show, which is

1365
01:20:55,040 --> 01:21:00,280
Speaker 2: the you know, tremendous amount of casual racism, casual ableism.

1366
01:21:00,200 --> 01:21:05,200
Speaker 3: Oh yes, stuff that spesual homophobia, you name it, everything.

1367
01:21:05,000 --> 01:21:08,640
Speaker 2: You name a marginalized identity. This movie is making a

1368
01:21:08,720 --> 01:21:12,839
Speaker 2: joke of it. And on one hand, I don't feel

1369
01:21:12,920 --> 01:21:17,479
Speaker 2: that the movie is endorsing any of these views, and

1370
01:21:17,520 --> 01:21:22,240
Speaker 2: that I would guess the intention is to demonstrate how

1371
01:21:22,840 --> 01:21:27,720
Speaker 2: tremendously callous and hateful the people who are driving the

1372
01:21:27,760 --> 01:21:31,519
Speaker 2: plot of this movie are. But on the other hand, again,

1373
01:21:31,560 --> 01:21:37,000
Speaker 2: there's just a number of movies and Scorsese movies that

1374
01:21:37,200 --> 01:21:42,840
Speaker 2: make that more clear by giving marginalized people a say

1375
01:21:43,439 --> 01:21:47,479
Speaker 2: in the plot, which this movie again just fails to

1376
01:21:47,479 --> 01:21:48,599
Speaker 2: do on a huge scale.

1377
01:21:49,080 --> 01:21:53,080
Speaker 3: I agree where there are many scenes where slurs are

1378
01:21:53,120 --> 01:21:55,519
Speaker 3: being thrown around, and I want to kind of zero

1379
01:21:55,600 --> 01:21:58,040
Speaker 3: in on one in particular in a moment, But there's

1380
01:21:58,040 --> 01:22:01,880
Speaker 3: so many scenes where Jordan Beuf and his minions, Okay,

1381
01:22:01,920 --> 01:22:03,960
Speaker 3: he's the grow obviously.

1382
01:22:03,920 --> 01:22:08,920
Speaker 2: Kevin innocent, Kevin was working for like Ronald Reagan or

1383
01:22:08,960 --> 01:22:12,240
Speaker 2: whoever this, Oh god, that's even worse than I know.

1384
01:22:13,120 --> 01:22:16,799
Speaker 3: But he was the most evil one, that's true anyway.

1385
01:22:17,000 --> 01:22:21,640
Speaker 3: You know, Jordan and his guys are being so casually

1386
01:22:22,280 --> 01:22:28,800
Speaker 3: again misogynist, racist, homophobic, ablest, hateful of sex workers, you know,

1387
01:22:28,960 --> 01:22:34,679
Speaker 3: everything in a way that is presented to me too

1388
01:22:34,840 --> 01:22:37,920
Speaker 3: neutrally in many cases where I'm just like, again, the

1389
01:22:37,960 --> 01:22:43,400
Speaker 3: movie isn't necessarily endorsing or agreeing with these horrible views

1390
01:22:43,439 --> 01:22:48,519
Speaker 3: that they have, but it's also not criticizing them quite enough.

1391
01:22:48,920 --> 01:22:50,080
Speaker 2: Yeah, the scene I want.

1392
01:22:49,920 --> 01:22:54,360
Speaker 3: To zero in on is the scene where Jordan and

1393
01:22:54,400 --> 01:22:58,479
Speaker 3: his boys are talking about little people. They are speaking

1394
01:22:58,680 --> 01:23:02,320
Speaker 3: about them as if people are not even human.

1395
01:23:02,960 --> 01:23:03,200
Speaker 5: Yeah.

1396
01:23:03,240 --> 01:23:07,160
Speaker 3: The language they are using, the like pronouns they're using

1397
01:23:07,200 --> 01:23:11,680
Speaker 3: to refer to little people is so dehumanizing. It's a

1398
01:23:11,720 --> 01:23:16,919
Speaker 3: really long scene too, and I'd imagine that the intention

1399
01:23:17,040 --> 01:23:22,120
Speaker 3: of this scene is to demonstrate how horrible these Wall

1400
01:23:22,120 --> 01:23:26,280
Speaker 3: Street guys are. But it's also a scene that if

1401
01:23:26,360 --> 01:23:30,479
Speaker 3: you're like a nineteen year old dude, bro, like you're

1402
01:23:30,520 --> 01:23:34,200
Speaker 3: probably watching it and laughing along with them, and like

1403
01:23:34,280 --> 01:23:38,240
Speaker 3: the movie is giving you no perspective or any kind

1404
01:23:38,280 --> 01:23:43,360
Speaker 3: of tools to examine. Oh, maybe what they're saying is wrong,

1405
01:23:43,840 --> 01:23:44,720
Speaker 3: I guess so.

1406
01:23:44,920 --> 01:23:48,600
Speaker 2: I just it's so tricky in that situation because I

1407
01:23:48,640 --> 01:23:51,839
Speaker 2: think that, like I've struggled with this as a show

1408
01:23:52,040 --> 01:23:54,840
Speaker 2: as the show goes on, because I don't necessarily think

1409
01:23:54,920 --> 01:23:58,479
Speaker 2: it is the job of the director to tell you

1410
01:23:59,040 --> 01:24:02,080
Speaker 2: this is the right versus this is the wrong view.

1411
01:24:02,280 --> 01:24:04,599
Speaker 2: Sure to speak to your part, like it's a matter

1412
01:24:04,760 --> 01:24:08,360
Speaker 2: of showing without telling. And I feel like there were.

1413
01:24:08,240 --> 01:24:10,640
Speaker 3: The first rolls of screenwriting obviously.

1414
01:24:10,360 --> 01:24:12,640
Speaker 2: Exactly exactly, but like when we started the show in

1415
01:24:12,680 --> 01:24:15,320
Speaker 2: the mid twenty tens, like there was more of a

1416
01:24:15,360 --> 01:24:19,040
Speaker 2: demand to be explicitly told this is wrong in a

1417
01:24:19,040 --> 01:24:24,680
Speaker 2: way that does stifle creativity and coherent storytelling. Sure, but

1418
01:24:24,840 --> 01:24:26,599
Speaker 2: to speak to your part because I agree with you is

1419
01:24:26,640 --> 01:24:31,560
Speaker 2: like it is not shown adequately, Like I'm not necessarily

1420
01:24:31,600 --> 01:24:35,519
Speaker 2: asking to be told that Jordan Belfort is wrong to

1421
01:24:35,640 --> 01:24:39,320
Speaker 2: be racist and ableist, Like I trust the audience enough

1422
01:24:40,160 --> 01:24:42,720
Speaker 2: to know that, But what you need to be doing?

1423
01:24:42,720 --> 01:24:46,599
Speaker 2: And again, I you can argue what happens in this

1424
01:24:46,720 --> 01:24:52,439
Speaker 2: movie because things don't end well for Jordan Belfort, you know,

1425
01:24:52,800 --> 01:24:55,800
Speaker 2: he ends up humiliated. It reminds me actually a lot

1426
01:24:55,840 --> 01:24:59,560
Speaker 2: of tar almost ten years later, of like, you know

1427
01:24:59,640 --> 01:25:04,439
Speaker 2: how they are just holding on because they have all

1428
01:25:04,520 --> 01:25:08,640
Speaker 2: of these benefits of whiteness and money and reputation and

1429
01:25:08,720 --> 01:25:11,960
Speaker 2: power and all this stuff, but they are significantly diminished.

1430
01:25:12,600 --> 01:25:16,360
Speaker 2: But again, it's like if we're pitt in this with Goodfellas,

1431
01:25:16,800 --> 01:25:20,880
Speaker 2: I feel like that movie shows the consequence of those

1432
01:25:20,920 --> 01:25:26,360
Speaker 2: prejudices and the effect of that on other people in

1433
01:25:26,400 --> 01:25:29,960
Speaker 2: a way that this movie doesn't. For most And because

1434
01:25:30,000 --> 01:25:32,320
Speaker 2: this movie is cast such a wide net, and I'm

1435
01:25:32,360 --> 01:25:36,000
Speaker 2: guessing that this comes from the source material of just

1436
01:25:36,080 --> 01:25:39,519
Speaker 2: Jordan Belfourt being the most tremendous piece of shit you

1437
01:25:39,520 --> 01:25:44,479
Speaker 2: can imagine. And the movie doesn't make doesn't even create

1438
01:25:44,640 --> 01:25:49,400
Speaker 2: a moment for the little people that they are repeatedly

1439
01:25:49,439 --> 01:25:54,240
Speaker 2: making light of and dehumanizing for the racist comments they're making,

1440
01:25:54,760 --> 01:25:57,439
Speaker 2: because you don't get any moments with the characters that

1441
01:25:57,520 --> 01:26:03,160
Speaker 2: are being humiliated and spoken down to. Yeah, like, it

1442
01:26:03,240 --> 01:26:07,240
Speaker 2: does end up not being adequately critical of what the

1443
01:26:07,360 --> 01:26:07,840
Speaker 2: character is.

1444
01:26:07,840 --> 01:26:12,240
Speaker 3: Saying, right because in an earlier scene, one that like

1445
01:26:12,600 --> 01:26:15,280
Speaker 3: I think might open the movie or like it's toward

1446
01:26:15,360 --> 01:26:19,240
Speaker 3: the beginning, they're doing the thing that they had been

1447
01:26:19,320 --> 01:26:24,479
Speaker 3: planning in that later scene about basically like catapulting little

1448
01:26:24,560 --> 01:26:29,200
Speaker 3: people onto a target. And that's the only representation of

1449
01:26:29,240 --> 01:26:32,720
Speaker 3: little people we see in the entire movie. There's no

1450
01:26:32,840 --> 01:26:35,599
Speaker 3: characterization given to the little people that you do see

1451
01:26:35,640 --> 01:26:40,120
Speaker 3: on screen for very brief blips. It was just a

1452
01:26:40,200 --> 01:26:44,960
Speaker 3: really gross way to handle that. And then I mean

1453
01:26:45,640 --> 01:26:49,920
Speaker 3: there's also that ablest tirade that Donnie goes on where

1454
01:26:49,920 --> 01:26:53,439
Speaker 3: he's talking about what he would do if his children

1455
01:26:53,640 --> 01:26:57,280
Speaker 3: were disabled, and he's throwing around.

1456
01:26:56,920 --> 01:27:02,720
Speaker 2: Slurs, presented completely uncredited, right, and we hate Donnie, but

1457
01:27:02,800 --> 01:27:04,880
Speaker 2: I mean it's the same thing with any of these

1458
01:27:04,920 --> 01:27:07,320
Speaker 2: and this is it brings me back to like The

1459
01:27:07,360 --> 01:27:11,720
Speaker 2: Social Network, another movie that I like. But when you

1460
01:27:11,760 --> 01:27:16,920
Speaker 2: are applying real name, evil people to this and presenting

1461
01:27:16,960 --> 01:27:19,920
Speaker 2: them in a remotely like I feel like it is

1462
01:27:20,520 --> 01:27:26,400
Speaker 2: it doubles down your responsibility as an artist to demonstrate

1463
01:27:26,960 --> 01:27:30,720
Speaker 2: that these people are pieces of shit, because it's not

1464
01:27:30,800 --> 01:27:33,240
Speaker 2: like you can be like, well, it's a fictional like

1465
01:27:33,520 --> 01:27:37,360
Speaker 2: they're real, they exist, they are alive, and you have

1466
01:27:37,479 --> 01:27:41,880
Speaker 2: cast a charming actor to play them, and so it

1467
01:27:42,000 --> 01:27:47,960
Speaker 2: is on you to show the consequences of this trum

1468
01:27:48,080 --> 01:27:50,320
Speaker 2: and and again it's like, the way you can best

1469
01:27:50,400 --> 01:27:54,200
Speaker 2: show that consequence is by giving voice and humanity to

1470
01:27:54,280 --> 01:27:57,479
Speaker 2: the people that you're marginalizing, which this refew doescent right.

1471
01:27:58,960 --> 01:28:04,920
Speaker 3: So that is Pepe poop pooh. I didn't have a

1472
01:28:04,960 --> 01:28:08,000
Speaker 3: whole lot else to say that we haven't already talked about.

1473
01:28:09,000 --> 01:28:10,120
Speaker 3: Do you have anything else?

1474
01:28:10,720 --> 01:28:14,120
Speaker 2: No? I think ultimately we'll talk about this in the conclusion.

1475
01:28:14,160 --> 01:28:16,840
Speaker 2: But this movie is just like I really liked it

1476
01:28:16,880 --> 01:28:18,720
Speaker 2: when I first saw it, and then I saw other

1477
01:28:18,800 --> 01:28:21,840
Speaker 2: Martin Scorsese movies that are doing the same thing better.

1478
01:28:22,600 --> 01:28:26,559
Speaker 2: And now I would say it is my lower ranking

1479
01:28:26,840 --> 01:28:31,639
Speaker 2: of Scorsese movies and just critique of capitalism movies. Sure,

1480
01:28:31,840 --> 01:28:36,120
Speaker 2: because it makes a lot of it feels like rookie mistakes.

1481
01:28:36,920 --> 01:28:39,200
Speaker 2: And I would guess that that has to do with

1482
01:28:39,360 --> 01:28:43,960
Speaker 2: the involvement of the subject. Yeah, never involve the villain

1483
01:28:44,240 --> 01:28:48,200
Speaker 2: of your movie as a paid employee of the movie.

1484
01:28:49,240 --> 01:28:53,000
Speaker 2: Seems to be a no brainer. But for whatever reason,

1485
01:28:53,040 --> 01:28:57,280
Speaker 2: didn't happen here. We don't talk about this in the show.

1486
01:28:57,960 --> 01:29:01,639
Speaker 2: We are honestly unsure if this movie passes the Bechdel

1487
01:29:01,720 --> 01:29:05,599
Speaker 2: test or not. It seems to in my notes. I mean,

1488
01:29:05,640 --> 01:29:09,160
Speaker 2: it seems to have like casually passed.

1489
01:29:10,120 --> 01:29:14,840
Speaker 3: But yeah, I'm sure there's an exchange between like Naomi

1490
01:29:15,240 --> 01:29:19,799
Speaker 3: and Hildy, which is the name of Donnie's his wife,

1491
01:29:20,400 --> 01:29:24,320
Speaker 3: because there are some scenes where they interact, I think.

1492
01:29:25,240 --> 01:29:29,160
Speaker 3: But again, like in this three hour movie, there are

1493
01:29:29,400 --> 01:29:35,960
Speaker 3: women interacting for maybe accumulative ninety seconds or something like

1494
01:29:36,120 --> 01:29:39,479
Speaker 3: barely anything at all. Maybe there's a scene where Naomi

1495
01:29:39,560 --> 01:29:42,400
Speaker 3: talks to her aunt Emma at the wedding or something,

1496
01:29:42,439 --> 01:29:45,760
Speaker 3: but it's basically nothing. Even if there might be a

1497
01:29:45,840 --> 01:29:49,160
Speaker 3: quick technical pass, I would say, spiritually, this movie does not.

1498
01:29:49,200 --> 01:29:54,559
Speaker 2: Pass at all, nowhere near, nowhere near, and so on

1499
01:29:54,640 --> 01:29:59,400
Speaker 2: that note, we will toss you back to our live show.

1500
01:29:59,760 --> 01:30:03,759
Speaker 3: Yeah, we will pick up right as we are about

1501
01:30:04,000 --> 01:30:08,840
Speaker 3: to do the famous Bechdel cast nipple scale, where we

1502
01:30:08,960 --> 01:30:12,360
Speaker 3: rate the movie zero to five nipples based on examining

1503
01:30:12,360 --> 01:30:16,880
Speaker 3: it through an intersectional feminist lens. And I'll give the

1504
01:30:17,040 --> 01:30:23,920
Speaker 3: movie a dot dot dot one nipple for its examination

1505
01:30:24,360 --> 01:30:30,280
Speaker 3: of toxic male behavior and not being afraid to show

1506
01:30:30,920 --> 01:30:33,280
Speaker 3: the type of men that society like puts on a

1507
01:30:33,280 --> 01:30:36,320
Speaker 3: pedestal of, like, oh my god, they're so successful. They're

1508
01:30:36,360 --> 01:30:40,200
Speaker 3: self made, they're millionaires. Look how cool. And they have

1509
01:30:40,520 --> 01:30:44,200
Speaker 3: all these cars and they have so much sex with women.

1510
01:30:44,320 --> 01:30:50,160
Speaker 3: Aren't they so cool? Wait? And boat, not to mention boat,

1511
01:30:50,240 --> 01:30:53,640
Speaker 3: and who cares if the boat crashes because of just

1512
01:30:53,680 --> 01:30:58,680
Speaker 3: getting to the point, right, So I appreciate that the

1513
01:30:58,680 --> 01:31:02,200
Speaker 3: movie is willing to to be like, actually, people like

1514
01:31:02,200 --> 01:31:07,679
Speaker 3: that can be huge losers. However, as we've discussed, it

1515
01:31:07,800 --> 01:31:11,360
Speaker 3: kind of has no interest in how that toxic male

1516
01:31:11,439 --> 01:31:16,840
Speaker 3: behavior affects women, and that's usually who is victimized by

1517
01:31:17,040 --> 01:31:20,559
Speaker 3: that behavior the most. So it is curious why the

1518
01:31:20,800 --> 01:31:24,720
Speaker 3: movie wouldn't examine it more, but also, as we've speculated,

1519
01:31:24,760 --> 01:31:28,400
Speaker 3: it's probably because Jordan Belfort kind of like seems like

1520
01:31:28,479 --> 01:31:30,360
Speaker 3: he vague. I don't know if he signed off on it,

1521
01:31:30,400 --> 01:31:32,000
Speaker 3: but they were like, do you want to be in

1522
01:31:32,040 --> 01:31:32,960
Speaker 3: the movie, and he's.

1523
01:31:32,840 --> 01:31:36,439
Speaker 2: Like, yeah, yes, And he also got he's just like

1524
01:31:36,600 --> 01:31:40,400
Speaker 2: truly a scammer for as long as he lives, because

1525
01:31:40,640 --> 01:31:43,400
Speaker 2: he was saying because in the movie, it's like he

1526
01:31:43,600 --> 01:31:46,519
Speaker 2: owes all of these people, particularly from the penny stocks,

1527
01:31:46,800 --> 01:31:49,640
Speaker 2: he owes a lot of vulnerable people money. And so

1528
01:31:49,760 --> 01:31:52,760
Speaker 2: when his memoir started doing well, he's like, I'm going

1529
01:31:52,840 --> 01:31:55,599
Speaker 2: to give all of my royalties to the people I've wronged.

1530
01:31:55,720 --> 01:31:58,120
Speaker 2: Of course he did not do that. No, Like Jordan

1531
01:31:58,200 --> 01:32:02,679
Speaker 2: Belford gave twelve dollars to someone once and meanwhile he's

1532
01:32:02,680 --> 01:32:04,759
Speaker 2: fucking chilling. So I'm yeah.

1533
01:32:05,000 --> 01:32:09,160
Speaker 3: Yeah, so he sucks and he's a loser. Wow, brave

1534
01:32:09,200 --> 01:32:13,120
Speaker 3: of me to say God is act God. But yeah,

1535
01:32:13,280 --> 01:32:17,599
Speaker 3: the movie has no interest in women or how they

1536
01:32:17,880 --> 01:32:19,000
Speaker 3: feel about.

1537
01:32:18,920 --> 01:32:21,479
Speaker 2: We're intersectionality at all.

1538
01:32:22,120 --> 01:32:25,960
Speaker 3: Yes, So yeah, I'm gonna go one nipple and I'll

1539
01:32:25,960 --> 01:32:29,360
Speaker 3: give it to Teresa. Justice for Teresa.

1540
01:32:29,560 --> 01:32:33,880
Speaker 2: You know, a stock boy or a stock broken Wow poetry,

1541
01:32:33,960 --> 01:32:36,760
Speaker 2: and that was the beginning of the end. Yeah, I

1542
01:32:36,840 --> 01:32:39,920
Speaker 2: will go I'll go one nipple as well. I think

1543
01:32:39,920 --> 01:32:43,559
Speaker 2: that this movie like does to some extent, I don't know.

1544
01:32:43,600 --> 01:32:47,200
Speaker 2: It brings me back to conversations we've had about Goodfellows

1545
01:32:47,240 --> 01:32:48,960
Speaker 2: as well as about I think about our episode on

1546
01:32:49,000 --> 01:32:52,240
Speaker 2: the social network where it's like, are we seeing this

1547
01:32:52,479 --> 01:32:56,680
Speaker 2: real life, very very wealthy person and a lot of

1548
01:32:56,720 --> 01:32:59,559
Speaker 2: the movie we're seeing them as like cool And does

1549
01:32:59,600 --> 01:33:02,640
Speaker 2: the movie end well for fictional Mark Zuckerberg. Does a

1550
01:33:02,680 --> 01:33:07,640
Speaker 2: movie end well for fictional Jordan Belford? No, But the

1551
01:33:07,760 --> 01:33:12,280
Speaker 2: takeaway from the majority of people is that it was

1552
01:33:12,400 --> 01:33:13,520
Speaker 2: cool to watch.

1553
01:33:13,280 --> 01:33:17,280
Speaker 5: Including me when I'm watching it and it's like, you know,

1554
01:33:17,360 --> 01:33:19,639
Speaker 5: I think there should be a feminist militia in the woods,

1555
01:33:19,680 --> 01:33:24,320
Speaker 5: and I am like, I like this movie.

1556
01:33:22,520 --> 01:33:27,280
Speaker 2: It's like yeah, yeah, I don't know what to make

1557
01:33:27,280 --> 01:33:29,680
Speaker 2: of it. I had a really difficult time putting my

1558
01:33:29,720 --> 01:33:32,160
Speaker 2: thoughts together to talk about it in this context. I mean,

1559
01:33:32,200 --> 01:33:36,479
Speaker 2: in a basic way, it's obviously an extremely It's a

1560
01:33:36,640 --> 01:33:42,200
Speaker 2: movie that is very invested in the patriarchal, capitalistic interests

1561
01:33:42,240 --> 01:33:44,400
Speaker 2: of very wealthy white men, and so that is mostly

1562
01:33:44,400 --> 01:33:46,759
Speaker 2: who we're seeing. We're seeing them abuse a tremendous amount

1563
01:33:46,760 --> 01:33:49,920
Speaker 2: of women, and we're seeing them from their perspective, so

1564
01:33:49,960 --> 01:33:52,800
Speaker 2: it is just like the camera and the story has

1565
01:33:52,840 --> 01:33:55,120
Speaker 2: basically no interest in women.

1566
01:33:55,080 --> 01:33:56,120
Speaker 3: Unless they're naked.

1567
01:33:56,439 --> 01:34:04,720
Speaker 2: Unless I'm kidding muky Steve Madden, She's easy. That is

1568
01:34:04,720 --> 01:34:09,120
Speaker 2: how I behave when I go to sex parties, clumping up.

1569
01:34:10,120 --> 01:34:17,240
Speaker 2: I'm just a horny little devil. I'm walking.

1570
01:34:17,360 --> 01:34:17,559
Speaker 1: Yeah.

1571
01:34:17,920 --> 01:34:20,960
Speaker 2: Meanwhile, I'm walking the streets at night in my crocs,

1572
01:34:21,600 --> 01:34:24,080
Speaker 2: listening to audio books about the economy.

1573
01:34:24,680 --> 01:34:25,000
Speaker 3: Wow.

1574
01:34:25,920 --> 01:34:28,479
Speaker 2: Yeah, I'm gonna give it one nipple. This movie does

1575
01:34:28,520 --> 01:34:31,000
Speaker 2: not do much in the way of anything we talk about,

1576
01:34:32,280 --> 01:34:36,200
Speaker 2: but it has its moments and it is like trying

1577
01:34:36,240 --> 01:34:38,000
Speaker 2: to do some stuff, but it's just not doing as

1578
01:34:38,040 --> 01:34:39,840
Speaker 2: well as a lot of movies trying to do the

1579
01:34:39,840 --> 01:34:43,160
Speaker 2: same things are true, including a lot of Martin's Garsses movies.

1580
01:34:43,240 --> 01:34:45,560
Speaker 2: So I give it one nipple, and I'm going to

1581
01:34:45,600 --> 01:34:48,920
Speaker 2: give it to Maco Robi. Yeah. I love her, and

1582
01:34:48,960 --> 01:34:51,240
Speaker 2: I was like, at very least if this movie launched

1583
01:34:51,240 --> 01:34:53,880
Speaker 2: her career, then I'll take it.

1584
01:34:54,120 --> 01:34:54,400
Speaker 3: True.

1585
01:34:54,439 --> 01:34:54,880
Speaker 2: She's great.

1586
01:34:55,160 --> 01:34:59,879
Speaker 3: It's true. Well, friends, that's our show, I think.

1587
01:35:00,479 --> 01:35:02,680
Speaker 2: With our show Wow, I think we did it.

1588
01:35:02,760 --> 01:35:08,160
Speaker 3: Thank you for coming. There you have it, listeners. That's

1589
01:35:08,200 --> 01:35:11,479
Speaker 3: our Wolf of Wall Street episode. Thank you once again

1590
01:35:11,520 --> 01:35:15,120
Speaker 3: for everyone who came to the live show in Sacramento.

1591
01:35:15,520 --> 01:35:19,559
Speaker 3: Thanks again to STAB Comedy Theater for having us, and

1592
01:35:21,080 --> 01:35:25,320
Speaker 3: Jamie y'all, hey sell me this Matreon subscription?

1593
01:35:26,479 --> 01:35:30,280
Speaker 2: Well, Kitlyn, I'm glad to do so. For five dollars

1594
01:35:30,280 --> 01:35:36,280
Speaker 2: a month, you can get access to our Matreon aka Patreon.

1595
01:35:36,840 --> 01:35:38,799
Speaker 2: I usually did it in the reverse, but not today.

1596
01:35:39,439 --> 01:35:43,639
Speaker 2: It's patreon dot com slash backdalcast where every month Kitlin

1597
01:35:43,680 --> 01:35:46,920
Speaker 2: and I cover two bonus episodes, just the two of

1598
01:35:47,000 --> 01:35:51,720
Speaker 2: us on a theme, usually of our listeners voting. It's

1599
01:35:51,800 --> 01:35:57,000
Speaker 2: really fun. This month we are covering action movies directed

1600
01:35:57,200 --> 01:36:00,439
Speaker 2: by women that were voted on by our life listeners.

1601
01:36:00,439 --> 01:36:04,240
Speaker 2: Were covering tank Girl and because her Web certainly connects

1602
01:36:04,240 --> 01:36:08,120
Speaker 2: them all, Madam Web, blame the subscribers. If you have

1603
01:36:08,200 --> 01:36:11,639
Speaker 2: an issue, then you have to subscribe.

1604
01:36:11,400 --> 01:36:12,920
Speaker 3: And cast your vote.

1605
01:36:14,080 --> 01:36:19,040
Speaker 2: It's an election year. This is the only fun election

1606
01:36:19,160 --> 01:36:21,080
Speaker 2: you can participate in this year if you live in

1607
01:36:21,080 --> 01:36:25,040
Speaker 2: the US. But yeah, please subscribe. It's really really fun

1608
01:36:25,600 --> 01:36:28,360
Speaker 2: and it helps support the show. We really appreciate it.

1609
01:36:28,800 --> 01:36:31,080
Speaker 2: And not only do you get access to new episodes,

1610
01:36:31,120 --> 01:36:35,000
Speaker 2: you get access to in a backlog of over one

1611
01:36:35,120 --> 01:36:38,160
Speaker 2: hundred and fifty past episodes, because we've had this going

1612
01:36:38,320 --> 01:36:42,040
Speaker 2: since twenty seventeen. Get in there.

1613
01:36:42,439 --> 01:36:47,080
Speaker 3: That was such a good sales pitch, Jamie final, I'll subscribe. Okay,

1614
01:36:47,120 --> 01:36:51,439
Speaker 3: I'll do it. Thank you, you're a regular, Jordan Bellefort.

1615
01:36:52,680 --> 01:36:55,080
Speaker 3: Thank you. So cue. Now, now let me sell you

1616
01:36:55,160 --> 01:36:59,040
Speaker 3: our merch shall I? Yes? Well, first of all, all

1617
01:36:59,080 --> 01:37:02,879
Speaker 3: you gotta do is go to teapublic dot com slash

1618
01:37:03,000 --> 01:37:06,760
Speaker 3: the Bechdel Cast. So simple, so easy, And then you

1619
01:37:06,800 --> 01:37:11,440
Speaker 3: just find the designs that a one Jamie loftis designed,

1620
01:37:13,040 --> 01:37:17,240
Speaker 3: and so you know you're supporting Jamie's art. Okay, hello.

1621
01:37:18,160 --> 01:37:23,640
Speaker 3: And then there's t shirts, there's pillows, there's mugs, there's stickers,

1622
01:37:23,720 --> 01:37:26,800
Speaker 3: all kinds of stuff that you need and you want

1623
01:37:27,120 --> 01:37:32,960
Speaker 3: so treat yourself and uh and do it? Is that

1624
01:37:33,040 --> 01:37:33,840
Speaker 3: a good sale?

1625
01:37:33,920 --> 01:37:35,959
Speaker 2: I think that's good. I think that's good.

1626
01:37:36,240 --> 01:37:36,800
Speaker 3: Thank you.

1627
01:37:37,040 --> 01:37:38,880
Speaker 2: I'm buying that damn peg.

1628
01:37:40,240 --> 01:37:42,760
Speaker 7: Bye bye bye.

1629
01:37:46,240 --> 01:37:49,519
Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by

1630
01:37:49,600 --> 01:37:53,479
Speaker 3: Caitlin Derante and Jamie loftis produced by Sophie Lichterman, edited

1631
01:37:53,560 --> 01:37:56,760
Speaker 3: by Mola Board. Our theme song was composed by Mike

1632
01:37:56,840 --> 01:38:01,200
Speaker 3: Kaplan with vocals by Catherine Vosskrosenski. Our logo and merch

1633
01:38:01,360 --> 01:38:04,360
Speaker 3: is designed by Jamie Loftus and a special thanks to

1634
01:38:04,360 --> 01:38:08,800
Speaker 3: Aristotle Acevedo. For more information about the podcast, please visit

1635
01:38:08,840 --> 01:38:10,400
Speaker 3: link Tree slash Bechtelcast