WEBVTT - Weird Science with Bridget Todd

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<v Speaker 1>On the Bechdelcast, the questions asked if movies have women

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<v Speaker 1>in them.

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<v Speaker 2>Are all their discussions.

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<v Speaker 1>Just boyfriends and husbands or do they have individualism? The

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<v Speaker 1>patriarchy's effing vast. Start changing it with the Bechdelcast.

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<v Speaker 3>Attention, Bechtelcast listeners, we are going on tour.

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<v Speaker 2>Wow, okay, Oprah. And you get a tour date, and

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<v Speaker 2>you get a tour date, but only if you live

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<v Speaker 2>in the Northeast. This is the kickoff leg of our

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<v Speaker 2>10-year Whoops We Didn't Dismantle the Patriarchy anniversary tour, and

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<v Speaker 2>we are hitting up cities in the Northeast that we

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<v Speaker 2>haven't toured to in many years. We're very excited.

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<v Speaker 3>Caitlin, where the hell are we going? We are going

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<v Speaker 3>to New York City at the Bell House on October 12th.

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<v Speaker 3>Baltimore at Creative Alliance on October 15th. Philadelphia at Philomoka

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<v Speaker 3>on October 17th. State College at Manny's on October 18th.

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<v Speaker 3>Pittsburgh at Bottle Rocket on October 19th. And finally, Boston

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<v Speaker 3>at the Brattle Theater on October 21st.

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<v Speaker 2>First, we are so excited to be celebrating the show.

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<v Speaker 2>It's going to be a big, silly variety show. There

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<v Speaker 2>will be videos. There will be a recap of the

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<v Speaker 2>Bechdel cast. There's going to be an ode to the

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<v Speaker 2>dead wife. We're going to get into all of that

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<v Speaker 2>incredible post-MeToo cinema from men who didn't understand what that

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<v Speaker 2>was supposed to be about. There's just been so much

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<v Speaker 2>going on. And we'll also, as always, have exclusive merch.

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<v Speaker 2>And we're our own merch people. Come hang. Come take pictures.

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<v Speaker 2>And we will also have free merch for our matrons.

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<v Speaker 3>That's right. You get a button.

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<v Speaker 2>So now's a great time to join the matron.

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<v Speaker 3>Another reason to join the matron is that matrons get

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<v Speaker 3>access to a promo code for a discount on tickets.

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<v Speaker 3>So if you're not already a matron, sign up today.

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<v Speaker 3>Get that discount. Now, where can we buy tickets, you're wondering? Well,

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<v Speaker 3>we'll tell you.

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<v Speaker 4>Well.

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<v Speaker 3>It's at linktree.com. Pretty simple.

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<v Speaker 2>Pretty simple. Not that hard to remember. And also, final thing,

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<v Speaker 2>if you have pre-ordered my book, The Tower, you can

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<v Speaker 2>also get free merch at our merch table. So really,

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<v Speaker 2>just come, hang, and if you are coming to these

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<v Speaker 2>shows specifically, dress up. It's Halloween time. No wrong answers,

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<v Speaker 2>but a crowd full of Doc Ocks would certainly be interesting. Yeah.

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<v Speaker 3>Dress as your favorite movie character. We will be doing

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<v Speaker 3>the same.

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<v Speaker 2>Yes.

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<v Speaker 3>And if you don't live in or near any of

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<v Speaker 3>these cities that we listed, fear not. Over the course

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<v Speaker 3>of the next year, we will be visiting other regions

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<v Speaker 3>of the US and Canada to do the show.

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<v Speaker 1>What?

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<v Speaker 3>So fear not. We will be coming to a city

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<v Speaker 3>near you soon. Save the date.

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<v Speaker 2>Save the date. We're getting married to our own body.

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<v Speaker 2>This is the longest relationship of my life, I will say.

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<v Speaker 2>And it's not even close. It's not even close. We

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<v Speaker 2>are common law married. We are common law married. And

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<v Speaker 2>we are common law married to our listeners. Is that

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<v Speaker 2>excessively parasocial? Don't think about it. Come to the show.

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<v Speaker 3>And be excessively parasocial at us.

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<v Speaker 2>And we will see you in October.

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<v Speaker 3>See you there.

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<v Speaker 1>The Bechdel cast.

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<v Speaker 2>All right, Caitlin, our parents are out of town and

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<v Speaker 2>we have to create the perfect podcast.

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<v Speaker 3>Oh my gosh. Let's give it the sexiness of all

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<v Speaker 3>these playboy models and the intelligence of Albert Einstein.

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<v Speaker 2>And let's give our podcast huge honkers. And then this

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<v Speaker 2>is actually, you know, for everything we're going to be

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<v Speaker 2>talking about, about the movie Weird Science today, it was

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<v Speaker 2>kind of a nice walk down memory lane because our

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<v Speaker 2>podcast also emerged out of the fog in one of

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<v Speaker 2>our bedrooms about 10 years ago and then said, So

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<v Speaker 2>what do you little podcasters want to do first? And

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<v Speaker 2>we said cover Kill Bill very poorly. And that's what

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<v Speaker 2>we did. And not what we did. Cover Kill Bill

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<v Speaker 2>with actually no understanding of what we were saying.

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<v Speaker 4>True.

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<v Speaker 3>And that's why that episode would eventually be deleted and redone.

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<v Speaker 2>Lost media. Welcome to the Bechtelcast. My name is Jamie Loftus.

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<v Speaker 3>My name is Caitlin Durante. This is our show where

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<v Speaker 3>we examine movies through an intersectional feminist lens using the

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<v Speaker 3>Bechdel test simply as a jumping off point, which of

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<v Speaker 3>course is a media metric created by our dear friend

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<v Speaker 3>of the show, Alison Bechdel, first appearing in her comic

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<v Speaker 3>collection Dykes to Watch Out For in the mid 80s,

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<v Speaker 3>has since been sort of repurposed as a more mainstream

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<v Speaker 3>media test. There are many versions of it. The one

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<v Speaker 3>that we use is, do two characters of a marginalized

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<v Speaker 3>gender have names? Do they have a conversation with each other?

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<v Speaker 3>And is that conversation about something other than a man?

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<v Speaker 3>And we particularly like it when it's meaningful dialogue and

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<v Speaker 3>not just like throw away nothing dialogue that you could

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<v Speaker 3>delete out of the movie and nothing would change.

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<v Speaker 2>And crucially, and crucially, I just want to say, in

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<v Speaker 2>light of what we'll be talking about today, just because,

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<v Speaker 2>I mean, we've been saying this, but just because a

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<v Speaker 2>movie maybe technically passes the Bechdel test doesn't mean that

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<v Speaker 2>it's good for the culture. I just want to get

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<v Speaker 2>ahead of it.

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<v Speaker 4>Yes.

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<v Speaker 2>I just want to get ahead of it because when

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<v Speaker 2>this movie actually does pass the Bechdel test, I was

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<v Speaker 2>kicking and screaming and I was like, well, now my

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<v Speaker 2>life is hard. This sucks. This flawed metric.

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<v Speaker 3>Two women talk about another woman.

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<v Speaker 2>Yes. And in a conversation I'm actually very interested to

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<v Speaker 2>talk about because I feel like like happens maybe a

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<v Speaker 2>few a handful of times in these movies. I'm like, oh,

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<v Speaker 2>that's the start of something maybe more interesting. And of course,

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<v Speaker 2>it goes nowhere.

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<v Speaker 3>Yes, indeed.

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<v Speaker 2>We are covering, again, in the running trend of our

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<v Speaker 2>10-year anniversary, we're covering a movie you would think we

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<v Speaker 2>would have covered years ago, but we have, in fact,

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<v Speaker 2>been avoiding for many years. But we have been outpaced

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<v Speaker 2>because we have an incredible, wonderful returning guest. And so

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<v Speaker 2>we are recovering. I said we were recovering. We are

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<v Speaker 2>recovering from Weird Science 1985.

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<v Speaker 4>Yes.

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<v Speaker 2>And let's get our wonderful guest in here. I'm so

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<v Speaker 2>excited to see her.

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<v Speaker 3>She is the host of iHeart's podcast, There Are No

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<v Speaker 3>Girls on the Internet. She's the author of the audiobook,

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<v Speaker 3>Love at First Prompt, AI and the Future of Intimacy.

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<v Speaker 3>And you know her from our episodes on Eve's Bayou,

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<v Speaker 3>Reality Bites, BAPS. It's Bridget Todd.

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<v Speaker 2>Welcome back.

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<v Speaker 4>Welcome back.

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<v Speaker 5>I'm so thrilled to be here. Thank you so much

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<v Speaker 5>for having me. I'm so excited to talk about Weird Science.

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<v Speaker 3>Oh, goodness gracious. Us too.

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<v Speaker 2>I'm so curious because I know, first of all, our listeners,

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<v Speaker 2>I feel like there's a ton of crossover in our listenership,

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<v Speaker 2>I'm sure. But if you are a Bechtelcast listener that

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<v Speaker 2>is not listening to There Are No Girls on the Internet,

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<v Speaker 2>not following your content, like it's just you are doing

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<v Speaker 2>the good work week in and week out. We're so

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<v Speaker 2>stoked to have you back. Thank you so much. Of course.

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<v Speaker 3>And we'd love to hear more about your book. Tell

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<v Speaker 3>us about it.

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<v Speaker 5>Yes, the book is called Love at First Prompt. It

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<v Speaker 5>is an audio book. You can get it at loveatfirstprompt.com.

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<v Speaker 5>It really explores why we are so fascinated with the

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<v Speaker 5>concept of humans and technology like AI having intimate connections.

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<v Speaker 5>So whether that's romantic connections, sexual connections, platonic connections, you know,

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<v Speaker 5>I'm interested in exploring that from a perspective where I'm

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<v Speaker 5>not actually trying to cast judgment on individuals who say

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<v Speaker 5>that they feel like they have some sort of intimate

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<v Speaker 5>connection with AI, but instead I ask, what is driving this?

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<v Speaker 5>Why are we so fascinated with this? And what does

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<v Speaker 5>this mean for all the tech companies that are essentially

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<v Speaker 5>trying to commodify intimacy, connection, sexuality, romance, friendship, and all

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<v Speaker 5>of that?

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<v Speaker 2>I mean, I'm so, so, so excited to listen to it.

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<v Speaker 2>And also, when I read about it, when I read

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<v Speaker 2>your announcement, I was like, Bridget truly is just like

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<v Speaker 2>doing the work that needs to be done, but must

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<v Speaker 2>be really frustrating to do sometimes.

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<v Speaker 4>Yeah, that's a good way to put it.

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<v Speaker 5>But it is interesting because in researching the book, I

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<v Speaker 5>kind of had to go back and realize that that

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<v Speaker 5>this was a topic that I've been fascinated with since

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<v Speaker 5>it's almost since childhood.

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<v Speaker 4>I remember watching the movie.

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<v Speaker 5>Blade runner, like the idea that a human and a

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<v Speaker 5>piece of technology would forge even a friendship.

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<v Speaker 4>You know, I used to watch, um, Oh God, why

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<v Speaker 4>am I blanking the name of that movie?

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<v Speaker 5>Um, 80s movie with the robot and uh his name

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<v Speaker 5>is uh johnny j5.

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<v Speaker 3>Oh why am i blanking on that movie oh my

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<v Speaker 3>god i'm also blanking on it uh short circuit yes.

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<v Speaker 5>Oh i wasn't even close i was not even i

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<v Speaker 5>don't know what that is oh my god short circuit

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<v Speaker 5>so this is i'm like dating myself but it was

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<v Speaker 5>an 80s movie where a like a guy who is

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<v Speaker 5>like a toy engineer makes a robot and then him

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<v Speaker 5>and this robot kind of create a real bond.

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<v Speaker 4>Ever since my whole life.

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<v Speaker 5>I've sort of been asking this question of what happens

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<v Speaker 5>when a human and a piece of technology become friends,

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<v Speaker 5>become lovers, become, you know, they have a romance. It's

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<v Speaker 5>something that, you know, we seem to have a real

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<v Speaker 5>fascination with it in culture.

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<v Speaker 3>We really do.

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<v Speaker 2>Yeah, I'm so excited to hear your thoughts on this

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<v Speaker 2>movie as well, because as I was watching this, even though, like,

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<v Speaker 2>You know, hard to find a more dated movie, uh

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<v Speaker 2>at least like with its tech stuff and amongst other

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<v Speaker 2>things than weird science but it does feel as if

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<v Speaker 2>i'm curious how this sort of factored into your research

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<v Speaker 2>and your work that media has such a stranglehold on

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<v Speaker 2>how we view like artificially created characters and i mean

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<v Speaker 2>to the point where i'm trying to think of the

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<v Speaker 2>exact example of Oh, I'm thinking of like we recovered

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<v Speaker 2>her last year, I believe, and how, you know, like

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<v Speaker 2>Samantha was such an influential character that she's cited by

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<v Speaker 2>tech bros now trying to make Samantha and how like,

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<v Speaker 2>you know, all media tends to be like this and

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<v Speaker 2>a lot of but it seems like especially really, really

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<v Speaker 2>sticky in this area specifically.

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<v Speaker 1>Yeah.

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<v Speaker 5>Yeah, it's so funny because Sam Altman, the CEO of OpenAI,

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<v Speaker 5>has cited her as his favorite movie.

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<v Speaker 2>It was that motherfucker, wasn't it?

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<v Speaker 4>Yeah, it was.

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<v Speaker 5>And he said that, you know, he has cited her

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<v Speaker 5>as the inspiration for the way that he wants humans

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<v Speaker 5>to interact with his company's AI. But then he will

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<v Speaker 5>also say, oh, but I don't want people having... intimate

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<v Speaker 5>connections or like sexual or romantic connections.

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<v Speaker 4>And I'm like, did you see her?

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<v Speaker 5>Because intimate and sexual connections is a part of it.

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<v Speaker 3>It's a huge part of it.

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<v Speaker 2>It's kind of the reason people liked the movie. And

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<v Speaker 2>also how, I mean, now I'm just like, I'm talking

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<v Speaker 2>your ear off. I just need to listen to the book.

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<v Speaker 2>But how we are in media, I think, conditioned to

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<v Speaker 2>really empathize with these AI characters and to be rooting

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<v Speaker 2>for them and how that, I mean, at least I

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<v Speaker 2>personally struggle to, to bring that energy to the real world.

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<v Speaker 2>You know, I see, I see a clanker in the wild.

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<v Speaker 2>I want to kick it.

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<v Speaker 4>Yeah.

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<v Speaker 2>Yeah.

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<v Speaker 4>That's such a good point.

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<v Speaker 5>And it totally aligns with when people talk about AI,

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<v Speaker 5>like it's, I mean, I make tech content all day

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<v Speaker 5>long and I catch myself saying, oh, well, you know,

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<v Speaker 5>like personifying AI as if it is real, even though

0:12:03.610 --> 0:12:05.710
<v Speaker 5>I know that it is not. And it's important to

0:12:05.950 --> 0:12:10.090
<v Speaker 5>maintain that it's not because it absolutely, you know, empowers

0:12:10.150 --> 0:12:13.010
<v Speaker 5>tech companies when we talk about their technology in this

0:12:13.070 --> 0:12:14.890
<v Speaker 5>way where it's something that it's not. When we talk

0:12:14.929 --> 0:12:17.710
<v Speaker 5>about Chad GPT, like it's sentient or it can do things.

0:12:17.990 --> 0:12:20.550
<v Speaker 5>When we say things like, oh, Grok did X, Y, Z.

0:12:20.570 --> 0:12:22.290
<v Speaker 5>And it's like, no, no, no, Grok didn't do anything

0:12:22.330 --> 0:12:23.290
<v Speaker 5>because Grok's not real.

0:12:23.309 --> 0:12:27.069
<v Speaker 4>You mean... humans used Grok to do XYZ, right?

0:12:27.090 --> 0:12:32.400
<v Speaker 5>And so it's always this constant friction that I do

0:12:32.559 --> 0:12:35.939
<v Speaker 5>very much think, to your point, Jamie, is like really

0:12:36.000 --> 0:12:39.720
<v Speaker 5>enabled by media about technology, media about sort of like

0:12:40.080 --> 0:12:42.660
<v Speaker 5>you know, a babe come to life or a robot,

0:12:42.720 --> 0:12:46.219
<v Speaker 5>you know, did y'all, have y'all covered the movie Companion?

0:12:46.440 --> 0:12:49.830
<v Speaker 3>We have pretty recently, like within the past year or so.

0:12:50.540 --> 0:12:50.750
<v Speaker 1>Yeah.

0:12:50.800 --> 0:12:52.750
<v Speaker 5>That's a great example of a movie where like by

0:12:52.780 --> 0:12:55.890
<v Speaker 5>the end you're rooting for the AI bot.

0:12:55.929 --> 0:12:57.410
<v Speaker 4>You know, you're like, get it girl.

0:12:57.490 --> 0:13:01.309
<v Speaker 2>Same with Ex Machina where you're just like, yeah, kill him.

0:13:01.429 --> 0:13:04.630
<v Speaker 2>And then you're, and it is tricky because when I

0:13:04.690 --> 0:13:08.540
<v Speaker 2>rewatch movies like Companion or Ex Machina, I'm always rooting

0:13:08.600 --> 0:13:11.510
<v Speaker 2>for her. It's impossible not to. I was thinking a

0:13:11.520 --> 0:13:13.790
<v Speaker 2>little bit about, I forget what the name of the

0:13:13.809 --> 0:13:17.870
<v Speaker 2>Sophie Thatcher character in Companion is, but how she has

0:13:17.910 --> 0:13:21.350
<v Speaker 2>control over her own intelligence and all of that.

0:13:21.390 --> 0:13:23.150
<v Speaker 4>He set it way down because he wanted her to

0:13:23.190 --> 0:13:24.530
<v Speaker 4>be a moron.

0:13:25.110 --> 0:13:26.170
<v Speaker 3>Okay, that's another thing.

0:13:26.210 --> 0:13:27.390
<v Speaker 2>That appears in this movie.

0:13:27.460 --> 0:13:27.770
<v Speaker 1>Right.

0:13:28.010 --> 0:13:30.520
<v Speaker 3>That happens in this movie, although I think they eventually

0:13:30.559 --> 0:13:36.170
<v Speaker 3>decide to make the woman that they create have einstein

0:13:36.210 --> 0:13:40.830
<v Speaker 3>level intelligence yeah but like another part of this conversation

0:13:40.850 --> 0:13:45.000
<v Speaker 3>is like one of the reasons i think that people

0:13:45.150 --> 0:13:49.560
<v Speaker 3>are fascinated with the idea of like having a an

0:13:49.920 --> 0:13:55.080
<v Speaker 3>ai companion or like creating a fembot or whatever it is,

0:13:55.929 --> 0:13:59.860
<v Speaker 3>is the fantasy of being able to create or be

0:13:59.900 --> 0:14:05.780
<v Speaker 3>with the perfect partner, specifically the perfect woman who they

0:14:05.820 --> 0:14:09.079
<v Speaker 3>can design to have the exact qualities that these men

0:14:09.240 --> 0:14:14.060
<v Speaker 3>think that they want. Because real human women come with

0:14:14.100 --> 0:14:17.640
<v Speaker 3>all of these flaws. But of course, these alleged flaws

0:14:17.880 --> 0:14:22.560
<v Speaker 3>are often just a woman having opinions and agency and autonomy.

0:14:23.320 --> 0:14:26.700
<v Speaker 3>But yeah, just this idea of like designing the ideal woman,

0:14:26.740 --> 0:14:31.030
<v Speaker 3>quote unquote, and the implications therein. And we'll talk about

0:14:31.090 --> 0:14:34.670
<v Speaker 3>how in the movie Weird Science, that concept could have

0:14:34.710 --> 0:14:38.370
<v Speaker 3>been thoughtfully explored, but isn't.

0:14:38.430 --> 0:14:41.770
<v Speaker 2>Really yeah i guess it's like this before we like

0:14:41.820 --> 0:14:43.780
<v Speaker 2>really get into it i know that this is like

0:14:44.120 --> 0:14:49.000
<v Speaker 2>maybe a very silly question bridget but like does how

0:14:49.760 --> 0:14:55.170
<v Speaker 2>the two guys in weird science creating lisa kind of

0:14:55.270 --> 0:14:59.450
<v Speaker 2>square with how a lot of people use ai to

0:14:59.710 --> 0:15:01.950
<v Speaker 2>simulate intimate experiences Oh.

0:15:02.510 --> 0:15:04.890
<v Speaker 5>As I was watching it, I was like, this actually,

0:15:05.010 --> 0:15:07.430
<v Speaker 5>I mean, we can get into some of my issues

0:15:07.460 --> 0:15:10.460
<v Speaker 5>with the movie, but I was surprised by how much

0:15:10.520 --> 0:15:13.680
<v Speaker 5>I recognized the scene when they're trying to kind of

0:15:13.820 --> 0:15:17.200
<v Speaker 5>build their bot babe, how much I recognized that in

0:15:17.240 --> 0:15:20.740
<v Speaker 5>the research about how people interact with AI when they're

0:15:20.920 --> 0:15:24.400
<v Speaker 5>sort of building or training AI for things like romance

0:15:24.540 --> 0:15:26.310
<v Speaker 5>or erotic role play, right?

0:15:26.330 --> 0:15:28.810
<v Speaker 4>You see people saying... I.

0:15:28.790 --> 0:15:30.520
<v Speaker 5>Want you to talk to me like this. I want

0:15:30.540 --> 0:15:33.410
<v Speaker 5>you to treat me like this. You know, really kind

0:15:33.450 --> 0:15:37.770
<v Speaker 5>of down to the most specific minutiae. essentially building their

0:15:37.930 --> 0:15:41.550
<v Speaker 5>own bot. I was really, really reminded of the scene

0:15:41.570 --> 0:15:45.350
<v Speaker 5>when they're feeding in, like, oh, here's the lip she's

0:15:45.370 --> 0:15:49.310
<v Speaker 5>going to have. For some reason, here's Beethoven's hands for

0:15:49.330 --> 0:15:52.130
<v Speaker 5>some reason, which they feed in and I guess never

0:15:52.190 --> 0:15:52.890
<v Speaker 5>return to.

0:15:53.090 --> 0:15:56.230
<v Speaker 2>Which is like one of the biggest missed, like dropped

0:15:56.310 --> 0:15:58.430
<v Speaker 2>threads in the movie where you're like, and what if

0:15:58.480 --> 0:16:01.460
<v Speaker 2>she used that to do anything else? But whatever. That's

0:16:01.480 --> 0:16:02.760
<v Speaker 2>why companion exists, I guess.

0:16:03.360 --> 0:16:03.580
<v Speaker 4>Yeah.

0:16:04.000 --> 0:16:06.770
<v Speaker 2>Well, I'm so excited to jump into it. And I

0:16:06.810 --> 0:16:09.070
<v Speaker 2>know that there's going to be so many other questions

0:16:09.150 --> 0:16:17.570
<v Speaker 2>that come up around this intimacy simulation slash mommy, girlfriend, sister,

0:16:17.610 --> 0:16:23.680
<v Speaker 2>wife situation. But let's get into our history with this movie. Bridget,

0:16:23.700 --> 0:16:25.140
<v Speaker 2>what's your history with Weird Science?

0:16:25.500 --> 0:16:27.960
<v Speaker 5>So I had never seen it all the way through.

0:16:28.020 --> 0:16:31.160
<v Speaker 5>I was pretty familiar with it. But weirdly, when I

0:16:31.200 --> 0:16:35.830
<v Speaker 5>was growing up, I was obsessed with the short-lived, I guess,

0:16:35.890 --> 0:16:38.290
<v Speaker 5>miniseries sitcom version of this that used to be on

0:16:38.310 --> 0:16:39.690
<v Speaker 5>the USA Network.

0:16:39.810 --> 0:16:41.070
<v Speaker 4>I've seen every episode.

0:16:41.090 --> 0:16:45.230
<v Speaker 3>Well, it's not even that short-lived. It was 88 episodes.

0:16:45.450 --> 0:16:45.810
<v Speaker 2>Oh, my God.

0:16:45.830 --> 0:16:47.410
<v Speaker 3>And ran over four years.

0:16:47.500 --> 0:16:50.440
<v Speaker 2>I guess that that's, like, old-school short-lived, though. Everything used

0:16:50.460 --> 0:16:52.100
<v Speaker 2>to get, like, 300 episodes.

0:16:52.140 --> 0:16:54.980
<v Speaker 3>Yeah, yeah, yeah, yeah. But, sorry, keep going.

0:16:55.280 --> 0:16:58.860
<v Speaker 5>Yeah, the sitcom, I mean, I was, like, probably eight

0:16:58.920 --> 0:17:01.710
<v Speaker 5>or nine when I was watching it. I have to

0:17:01.910 --> 0:17:05.470
<v Speaker 5>imagine that it was worse than the movie, but I still,

0:17:05.530 --> 0:17:08.010
<v Speaker 5>for some reason, had a real deep soft spot for it.

0:17:09.670 --> 0:17:11.270
<v Speaker 3>And then this was your first time watching the movie.

0:17:11.609 --> 0:17:14.530
<v Speaker 5>Yeah, I had seen it in bits and pieces. I

0:17:14.550 --> 0:17:16.030
<v Speaker 5>don't think I had seen it all the way through.

0:17:16.090 --> 0:17:18.139
<v Speaker 5>And something that I remembered when I was rewatching it

0:17:18.170 --> 0:17:20.780
<v Speaker 5>for this episode is that in the very first episode

0:17:20.800 --> 0:17:22.859
<v Speaker 5>of my podcast, There Are No Girls on the Internet,

0:17:23.020 --> 0:17:25.280
<v Speaker 5>I was interviewing a tech historian named.

0:17:25.180 --> 0:17:26.680
<v Speaker 4>Claire Evans, who was amazing.

0:17:26.700 --> 0:17:28.710
<v Speaker 5>And I was asking her, I was like, you know,

0:17:28.770 --> 0:17:32.230
<v Speaker 5>why do we see technology as this sort of boys'

0:17:32.270 --> 0:17:34.990
<v Speaker 5>field when the reality is that women and marginalized people

0:17:35.010 --> 0:17:37.510
<v Speaker 5>were at the start of technology and computers since the

0:17:37.550 --> 0:17:40.450
<v Speaker 5>very beginning? And she cited a lot of kind of

0:17:40.970 --> 0:17:44.560
<v Speaker 5>marketing that really kicked in around the 80s that seemed

0:17:44.580 --> 0:17:48.340
<v Speaker 5>to suggest that technology was, you know, two computer nerds

0:17:48.400 --> 0:17:51.240
<v Speaker 5>building a babe, like in the movie Weird Science. And

0:17:51.260 --> 0:17:53.280
<v Speaker 5>so that was the first time that I was like, oh, yeah.

0:17:53.580 --> 0:17:57.060
<v Speaker 5>But According to this tech historian, weird science was a

0:17:57.160 --> 0:18:01.720
<v Speaker 5>big part of this marketing idea that made people associate

0:18:01.760 --> 0:18:06.169
<v Speaker 5>technology and computers with kind of horny, nerdy guys and

0:18:06.230 --> 0:18:07.970
<v Speaker 5>not the women and girls who had been at the

0:18:08.010 --> 0:18:09.790
<v Speaker 5>forefront of computers since the very beginning.

0:18:10.109 --> 0:18:12.090
<v Speaker 2>That's fucking infuriating.

0:18:12.609 --> 0:18:13.169
<v Speaker 4>It is.

0:18:13.490 --> 0:18:13.570
<v Speaker 1>Woo!

0:18:15.930 --> 0:18:18.830
<v Speaker 3>Jamie, what about you? What's your relationship with this movie?

0:18:19.070 --> 0:18:23.210
<v Speaker 2>I guess just mainly one of avoidance. Yeah, this is

0:18:23.260 --> 0:18:25.280
<v Speaker 2>a movie that I knew we would cover one day.

0:18:25.540 --> 0:18:27.340
<v Speaker 2>There would come a day. But I had like a

0:18:27.380 --> 0:18:30.820
<v Speaker 2>cultural osmosis understanding of this movie. Basically kind of rooted

0:18:30.840 --> 0:18:33.820
<v Speaker 2>in what you just said, Bridget, of like the horny boy.

0:18:33.880 --> 0:18:38.290
<v Speaker 2>Like I've seen this movie compared to like a send

0:18:38.350 --> 0:18:43.179
<v Speaker 2>up of Frankenstein and a send up of Pygmalion. I see, obviously,

0:18:43.280 --> 0:18:46.040
<v Speaker 2>there's like clear parallels between both of them, but it

0:18:46.100 --> 0:18:47.830
<v Speaker 2>is kind of its own thing. And I don't really

0:18:47.869 --> 0:18:50.990
<v Speaker 2>mean that as a compliment. But yeah, I guess I

0:18:51.050 --> 0:18:54.030
<v Speaker 2>hadn't seen it all the way through. And I have

0:18:54.050 --> 0:18:57.149
<v Speaker 2>to say, I'm not a John Hughes fan in general.

0:18:57.580 --> 0:18:58.100
<v Speaker 3>Yeah, me either.

0:18:58.180 --> 0:19:03.090
<v Speaker 2>He just does not connect for me. And so there's

0:19:03.109 --> 0:19:06.230
<v Speaker 2>so many interesting things to talk about in this movie itself.

0:19:06.930 --> 0:19:10.250
<v Speaker 2>I thought it was quite boring. And it made me

0:19:10.290 --> 0:19:13.350
<v Speaker 2>do something that I didn't know was possible, which was

0:19:13.369 --> 0:19:16.980
<v Speaker 2>want Bill Paxton to get off my screen. I've never

0:19:17.040 --> 0:19:20.220
<v Speaker 2>had that feeling before or since. But I think Bill Paxton...

0:19:20.480 --> 0:19:22.859
<v Speaker 2>bless his heart, is giving one of the most annoying

0:19:22.920 --> 0:19:27.020
<v Speaker 2>performances I've ever seen. And I love Bill Paxton so much.

0:19:27.080 --> 0:19:30.760
<v Speaker 2>I can't believe I can't believe that they they did

0:19:30.800 --> 0:19:31.440
<v Speaker 2>him like this.

0:19:31.680 --> 0:19:36.400
<v Speaker 3>No, I agree. And he's pretty well known for giving

0:19:36.420 --> 0:19:39.550
<v Speaker 3>like a quite outlandish character performance.

0:19:39.609 --> 0:19:40.250
<v Speaker 2>Yeah.

0:19:40.310 --> 0:19:43.770
<v Speaker 3>And he's usually like loud and kooky. I mean, I'm

0:19:43.790 --> 0:19:46.890
<v Speaker 3>thinking of his character from Aliens and stuff like that.

0:19:46.950 --> 0:19:50.880
<v Speaker 3>But like this is just like what in the hell

0:19:51.280 --> 0:19:52.500
<v Speaker 3>is going on?

0:19:52.560 --> 0:19:54.879
<v Speaker 2>This is a mess. He looks bad, which also is

0:19:54.940 --> 0:19:57.239
<v Speaker 2>basically impossible to do to Bill Paxton.

0:19:57.260 --> 0:19:58.520
<v Speaker 4>Terrible haircut.

0:19:58.850 --> 0:19:59.109
<v Speaker 1>Yikes.

0:19:59.119 --> 0:20:01.710
<v Speaker 5>He's supposed to be like a teenager.

0:20:01.810 --> 0:20:02.930
<v Speaker 4>Older brother, but he.

0:20:03.230 --> 0:20:04.190
<v Speaker 3>He's visibly 33.

0:20:04.190 --> 0:20:07.609
<v Speaker 4>Yeah, he's like visibly balding. He has a receding hairline.

0:20:07.630 --> 0:20:07.969
<v Speaker 3>It's true.

0:20:08.150 --> 0:20:11.580
<v Speaker 2>It's true. I can't believe they did My Dear Friend

0:20:11.660 --> 0:20:14.680
<v Speaker 2>Bill Paxton like that. But yeah, he is obviously 30.

0:20:14.680 --> 0:20:19.120
<v Speaker 2>And that, I don't know. I struggle with like Gen

0:20:19.220 --> 0:20:23.450
<v Speaker 2>X cinema in general. I think I kind of struggle with.

0:20:24.609 --> 0:20:26.129
<v Speaker 2>But when I say that, sometimes I think I'm just

0:20:26.150 --> 0:20:28.189
<v Speaker 2>talking about John Hughes movies because he is sort of

0:20:28.230 --> 0:20:31.310
<v Speaker 2>like the name. And this to me is like the

0:20:31.369 --> 0:20:35.020
<v Speaker 2>worst of John Hughes where it's like, aggressively misogynist there's

0:20:35.080 --> 0:20:38.179
<v Speaker 2>not really much of a story it's very episodic and

0:20:38.460 --> 0:20:42.420
<v Speaker 2>all most of the episode most of the episodic pieces

0:20:42.640 --> 0:20:47.300
<v Speaker 2>have some sort of like very poorly aged either element

0:20:47.340 --> 0:20:49.540
<v Speaker 2>of racism or sexism.

0:20:48.920 --> 0:20:53.379
<v Speaker 3>Homophobia and it's boring it's a terrible screenplay boring and

0:20:53.440 --> 0:20:55.690
<v Speaker 3>that's the biggest crime of all i.

0:20:55.680 --> 0:20:58.910
<v Speaker 5>Read online that he john hughes wrote this movie even

0:20:58.930 --> 0:21:01.350
<v Speaker 5>though he's known for writing quickly he wrote this very

0:21:01.410 --> 0:21:04.310
<v Speaker 5>quickly he wrote this screenplay in less than two days,

0:21:04.330 --> 0:21:04.990
<v Speaker 5>and I was like, yeah.

0:21:05.010 --> 0:21:08.690
<v Speaker 4>That checks out. That checks out. No trouble believing that.

0:21:08.730 --> 0:21:10.730
<v Speaker 2>Men need to stop bragging about how fast they write,

0:21:10.760 --> 0:21:11.280
<v Speaker 2>because it's like.

0:21:11.680 --> 0:21:12.320
<v Speaker 3>We can tell.

0:21:12.359 --> 0:21:15.500
<v Speaker 2>Maybe we should have done a second pass, man. Like,

0:21:16.340 --> 0:21:21.240
<v Speaker 2>what do you mean? But yeah, anyways, this movie, I just...

0:21:20.760 --> 0:21:22.870
<v Speaker 2>I guess the nice thing I will say is there

0:21:22.930 --> 0:21:27.010
<v Speaker 2>were more interesting elements and, like, potential for it than

0:21:27.050 --> 0:21:27.570
<v Speaker 2>I thought.

0:21:28.190 --> 0:21:28.410
<v Speaker 4>Yeah.

0:21:28.490 --> 0:21:34.530
<v Speaker 2>I was surprised that Lisa... has so much power and

0:21:34.810 --> 0:21:39.770
<v Speaker 2>agency in theory i didn't think she would have basically

0:21:39.830 --> 0:21:44.090
<v Speaker 2>magical powers she's a wizard question she's kind of a

0:21:44.190 --> 0:21:47.100
<v Speaker 2>wizard she can freeze your grandparents in time i guess

0:21:47.160 --> 0:21:49.280
<v Speaker 2>i just wanted more of that but it's.

0:21:49.200 --> 0:21:51.860
<v Speaker 5>Almost like she's a genie like it's almost getting into

0:21:51.900 --> 0:21:54.540
<v Speaker 5>like aladdin a little bit yeah.

0:21:54.340 --> 0:21:56.420
<v Speaker 2>So i was just i was surprised that even though

0:21:56.500 --> 0:21:58.659
<v Speaker 2>i like as we'll get into it like she doesn't

0:21:58.760 --> 0:22:01.340
<v Speaker 2>really get to do very much for herself we don't

0:22:01.359 --> 0:22:05.530
<v Speaker 2>know her she's basically a genie wizard and I like

0:22:05.590 --> 0:22:09.010
<v Speaker 2>that idea. Right. Yeah. Caitlin, what's your history with this movie?

0:22:09.430 --> 0:22:11.350
<v Speaker 3>I saw it for the first time, I think like

0:22:11.690 --> 0:22:14.869
<v Speaker 3>six or seven years ago. It was after we started

0:22:14.930 --> 0:22:18.600
<v Speaker 3>the podcast, but not super recently. Like it was long

0:22:18.640 --> 0:22:22.600
<v Speaker 3>enough ago that most of the details were pretty foggy.

0:22:22.619 --> 0:22:26.500
<v Speaker 3>And I'm also wondering if I even finished it because

0:22:26.940 --> 0:22:29.760
<v Speaker 3>nothing about the back half of the movie was familiar

0:22:29.880 --> 0:22:33.290
<v Speaker 3>at all. I was like, what is this Bill Paxton

0:22:33.450 --> 0:22:37.929
<v Speaker 3>blob monster? What is this Mad Max motorcycle gang that

0:22:37.970 --> 0:22:40.690
<v Speaker 3>shows up? Like, I didn't remember any of that. So

0:22:41.310 --> 0:22:44.820
<v Speaker 3>I'm wondering if I just like started it, got like

0:22:44.820 --> 0:22:48.100
<v Speaker 3>40 minutes in and was like, well, this fucking is terrible.

0:22:48.119 --> 0:22:48.629
<v Speaker 3>I hate it.

0:22:48.680 --> 0:22:50.399
<v Speaker 2>Well, no one's paying me to do this.

0:22:51.359 --> 0:22:54.660
<v Speaker 3>And then I just turned it off. But yeah, I

0:22:55.280 --> 0:23:00.240
<v Speaker 3>have no nostalgia for most John Hughes movies aside from

0:23:00.630 --> 0:23:03.890
<v Speaker 3>There are a select few. I like trains, planes, and automobiles.

0:23:04.230 --> 0:23:06.909
<v Speaker 2>I kind of like Uncle Buck. I've never watched it critically,

0:23:07.030 --> 0:23:09.879
<v Speaker 2>but I remember being like, I just like John Candy, maybe.

0:23:10.150 --> 0:23:12.760
<v Speaker 3>Sure, yeah. I mean, John Hughes has stuff that I like.

0:23:12.980 --> 0:23:13.180
<v Speaker 4>Yeah.

0:23:13.340 --> 0:23:16.800
<v Speaker 3>Especially things that he has written but not directed. You know,

0:23:16.840 --> 0:23:22.590
<v Speaker 3>Home Alone and Beethoven. Never forget. I forgot he wrote Beethoven.

0:23:22.710 --> 0:23:25.170
<v Speaker 3>Never forget he wrote the screenplay for Flubber.

0:23:25.190 --> 0:23:25.250
<v Speaker 1>Oh!

0:23:26.530 --> 0:23:28.850
<v Speaker 2>Oh, there's his hit. There's his hit.

0:23:28.990 --> 0:23:32.710
<v Speaker 4>Flubber Slaps is a good movie. I'll stand by that one. Wow.

0:23:32.780 --> 0:23:35.220
<v Speaker 2>That totally actually, whoa. Do you remember how we got

0:23:35.260 --> 0:23:38.700
<v Speaker 2>really into, even though unfortunately a lot of negative stuff

0:23:38.720 --> 0:23:42.119
<v Speaker 2>has come up about him, how Danny Elfman wrote The

0:23:42.160 --> 0:23:42.980
<v Speaker 2>Flubber Mambo?

0:23:43.140 --> 0:23:43.939
<v Speaker 3>I'll never forget.

0:23:44.090 --> 0:23:44.770
<v Speaker 4>Who could forget?

0:23:44.960 --> 0:23:47.730
<v Speaker 2>And that their working relationship goes back to this movie

0:23:47.830 --> 0:23:51.230
<v Speaker 2>because Oingo Boingo wrote the theme to Weird Science. Right.

0:23:51.250 --> 0:23:52.550
<v Speaker 4>Right. Wow.

0:23:52.609 --> 0:23:56.070
<v Speaker 3>Yes. Wow. So, you know, her web connects them all.

0:23:56.090 --> 0:23:59.310
<v Speaker 2>So we wouldn't have the Flubber Mamba without this movie,

0:23:59.350 --> 0:24:00.590
<v Speaker 2>I guess. We sure wouldn't.

0:24:01.330 --> 0:24:04.629
<v Speaker 3>But yeah, I really struggled with this one. I am

0:24:04.690 --> 0:24:06.450
<v Speaker 3>sorry to fans of this movie, but.

0:24:06.869 --> 0:24:08.990
<v Speaker 2>I don't think fans of this movie are really... I

0:24:09.430 --> 0:24:12.840
<v Speaker 2>don't know. Truly, listeners, reach out directly. Send us an

0:24:12.900 --> 0:24:16.020
<v Speaker 2>email if this is one of your favorite. Because it's just...

0:24:16.760 --> 0:24:21.200
<v Speaker 2>Is this anyone's favorite? Like one of... someone's favorite movies still.

0:24:20.980 --> 0:24:24.100
<v Speaker 5>I will say i enjoyed it more than i expected

0:24:24.180 --> 0:24:26.800
<v Speaker 5>to enjoy it and i think there's i i went

0:24:26.840 --> 0:24:28.489
<v Speaker 5>back to see like what were the reviews of this

0:24:28.530 --> 0:24:31.430
<v Speaker 5>movie like and i think it was the roger ebert

0:24:31.490 --> 0:24:33.909
<v Speaker 5>review that i kind of agreed with that there's a

0:24:33.990 --> 0:24:37.450
<v Speaker 5>misdirect that i think is interesting where in the first

0:24:37.450 --> 0:24:39.390
<v Speaker 5>10 minutes of the movie you think oh they're gonna

0:24:39.430 --> 0:24:43.830
<v Speaker 5>make this robot sex slave who just does whatever they

0:24:43.890 --> 0:24:46.129
<v Speaker 5>say and that's gonna be their girlfriend they're gonna like

0:24:46.170 --> 0:24:48.030
<v Speaker 5>have sex with her and date her and.

0:24:47.910 --> 0:24:50.890
<v Speaker 4>I think that that would be a much worse version

0:24:50.930 --> 0:24:51.690
<v Speaker 4>of the movie and that's.

0:24:51.580 --> 0:24:53.560
<v Speaker 5>What I was expecting so I'm not saying it's a

0:24:53.680 --> 0:24:56.899
<v Speaker 5>good movie but I think they did make a they

0:24:57.000 --> 0:24:57.980
<v Speaker 5>zigged where I thought they were.

0:24:57.920 --> 0:25:01.400
<v Speaker 4>Gonna zag which I will I will I will appreciate.

0:25:01.000 --> 0:25:03.700
<v Speaker 2>That fair they did make her into that's I think

0:25:03.780 --> 0:25:06.940
<v Speaker 2>the most interesting choice in the movie and the biggest

0:25:06.980 --> 0:25:09.980
<v Speaker 2>missed opportunity is turning her into a wizard.

0:25:11.330 --> 0:25:11.669
<v Speaker 4>Right.

0:25:12.730 --> 0:25:16.820
<v Speaker 3>Well, we'll talk more about it. But first, let's take

0:25:16.840 --> 0:25:18.100
<v Speaker 3>a quick break.

0:25:18.780 --> 0:25:19.109
<v Speaker 4>Thank you.

0:25:28.260 --> 0:25:33.920
<v Speaker 3>Okay, so here's the recap for Weird Science 1985. We

0:25:34.040 --> 0:25:38.659
<v Speaker 3>meet two teen boys, Gary, played by Anthony Michael Hall,

0:25:39.220 --> 0:25:44.570
<v Speaker 3>and Wyatt, played by Elon Mitchell Smith. Two stars with

0:25:44.890 --> 0:25:45.950
<v Speaker 3>three names each.

0:25:46.369 --> 0:25:49.310
<v Speaker 2>Child star proxies, child star serial killers.

0:25:49.530 --> 0:25:50.530
<v Speaker 3>Mm-hmm. Yes.

0:25:51.130 --> 0:25:51.250
<v Speaker 2>Mm-hmm.

0:25:51.800 --> 0:25:56.469
<v Speaker 3>And Gary and Wyatt are uncool and unpopular. They're in

0:25:56.490 --> 0:26:00.490
<v Speaker 3>gym class, ogling at all of the girls doing gymnastics.

0:26:00.970 --> 0:26:06.120
<v Speaker 3>They're fantasizing about showering with them. They're fantasizing about throwing

0:26:06.170 --> 0:26:09.659
<v Speaker 3>a huge party where everyone is invited and all of

0:26:09.700 --> 0:26:13.939
<v Speaker 3>their classmates come and they think they're so cool. And

0:26:13.960 --> 0:26:17.970
<v Speaker 3>they particularly have their eyes on two popular girls. named

0:26:18.210 --> 0:26:21.030
<v Speaker 3>deb and hilly though we will not know their names

0:26:21.230 --> 0:26:22.750
<v Speaker 3>for about 45.

0:26:22.170 --> 0:26:25.580
<v Speaker 2>Minutes no and don't don't let yourself be gaslit by

0:26:25.619 --> 0:26:28.040
<v Speaker 2>this movie they really make it seem like you should

0:26:28.080 --> 0:26:29.500
<v Speaker 2>have noticed earlier.

0:26:29.200 --> 0:26:32.880
<v Speaker 3>Yeah totally so so these guys are looking at these

0:26:33.020 --> 0:26:37.560
<v Speaker 3>two girls but then the two like popular jock boyfriends

0:26:37.600 --> 0:26:41.570
<v Speaker 3>of these girls come up behind gary and wyatt This

0:26:41.630 --> 0:26:45.070
<v Speaker 3>is Max and Ian. Ian played by a young Robert

0:26:45.090 --> 0:26:45.689
<v Speaker 3>Downey Jr.

0:26:45.910 --> 0:26:47.860
<v Speaker 4>He was just going by Robert Downey then.

0:26:47.920 --> 0:26:49.300
<v Speaker 5>When I saw it in the cast, I thought, is

0:26:49.320 --> 0:26:51.659
<v Speaker 5>that the same Robert Downey as Robert Downey Jr.

0:26:51.740 --> 0:26:52.359
<v Speaker 4>And it was.

0:26:52.660 --> 0:26:56.619
<v Speaker 2>Yeah. I forget. He's Robert Downey with his original teeth.

0:26:57.160 --> 0:26:58.109
<v Speaker 2>He's so cute.

0:26:58.609 --> 0:26:59.390
<v Speaker 3>Prevenier's teeth.

0:26:59.410 --> 0:27:02.209
<v Speaker 2>Well, I do feel like Marvel stars, it's a similar

0:27:02.270 --> 0:27:06.790
<v Speaker 2>pipeline to Jerry Bruckheimer stars of the 90s and SNL

0:27:06.830 --> 0:27:10.680
<v Speaker 2>stars to this day. At some point, The boss makes

0:27:10.720 --> 0:27:12.700
<v Speaker 2>a call and you just get a new set of teeth.

0:27:13.380 --> 0:27:13.860
<v Speaker 3>That's right.

0:27:13.880 --> 0:27:17.240
<v Speaker 2>Feige said, we're re-upping his contract. Change his mouth. Make

0:27:17.270 --> 0:27:18.550
<v Speaker 2>his mouth the right shape now.

0:27:19.050 --> 0:27:19.389
<v Speaker 3>Yeah.

0:27:19.790 --> 0:27:20.750
<v Speaker 4>Give us those chompers.

0:27:20.810 --> 0:27:22.970
<v Speaker 3>A lot of teeth shaving in the industry.

0:27:22.990 --> 0:27:27.310
<v Speaker 2>Those same length chompers. This has been my beat for

0:27:27.330 --> 0:27:30.610
<v Speaker 2>many years. But yeah, it's nice to see someone's original

0:27:30.710 --> 0:27:31.730
<v Speaker 2>set featured.

0:27:31.869 --> 0:27:32.250
<v Speaker 3>Indeed.

0:27:32.330 --> 0:27:32.590
<v Speaker 2>Yes.

0:27:33.590 --> 0:27:36.550
<v Speaker 3>So these two popular boys come up behind Gary and Wyatt.

0:27:36.980 --> 0:27:40.619
<v Speaker 3>and pants them in front of everyone. So Gary and

0:27:40.640 --> 0:27:46.100
<v Speaker 3>Wyatt are humiliated. We cut to Gary is staying over

0:27:46.320 --> 0:27:49.310
<v Speaker 3>at Wyatt's for the weekend while his parents are out

0:27:49.350 --> 0:27:54.330
<v Speaker 3>of town and they're watching a Frankenstein movie. I don't

0:27:54.369 --> 0:27:57.590
<v Speaker 3>know which one. And mind you, this is about 30

0:27:57.590 --> 0:28:01.050
<v Speaker 3>years before I Frankenstein would come out. So I'm sure

0:28:01.090 --> 0:28:02.790
<v Speaker 3>otherwise they would have been watching that one.

0:28:03.090 --> 0:28:04.730
<v Speaker 2>They would have been. Absolutely. Yes. Yes.

0:28:05.660 --> 0:28:10.850
<v Speaker 3>But them watching Frankenstein gives Gary an idea. What if

0:28:11.140 --> 0:28:16.390
<v Speaker 3>they use Wyatt's computer and programming skills that, by the way,

0:28:16.450 --> 0:28:20.710
<v Speaker 3>have not been previously set up, which is bad screenwriting.

0:28:21.800 --> 0:28:25.060
<v Speaker 3>What if they use these things to create a woman,

0:28:25.520 --> 0:28:30.560
<v Speaker 3>to simulate a girl on the computer for them to

0:28:30.740 --> 0:28:34.740
<v Speaker 3>talk to and do sex things with?

0:28:35.300 --> 0:28:37.700
<v Speaker 2>Yeah. I also, I mean, I feel like the reason

0:28:37.740 --> 0:28:40.540
<v Speaker 2>we don't learn why he's good at programming is because

0:28:41.120 --> 0:28:44.050
<v Speaker 2>John Hughes wrote this in two days and he doesn't

0:28:44.070 --> 0:28:47.050
<v Speaker 2>appear to know how that works because much like a

0:28:47.050 --> 0:28:49.820
<v Speaker 2>movie we're covering later in this week that is Much better.

0:28:49.820 --> 0:28:53.520
<v Speaker 2>2001 A Space Odyssey. Classic. This is, I will say,

0:28:53.880 --> 0:28:56.120
<v Speaker 2>one of the strengths of this movie is when it

0:28:56.220 --> 0:28:59.060
<v Speaker 2>randomly like very much loses the plot and it's like

0:28:59.080 --> 0:29:05.120
<v Speaker 2>hacking sequence. And it's just like kind of vintage screensavers.

0:29:05.180 --> 0:29:05.660
<v Speaker 4>Yeah.

0:29:05.720 --> 0:29:07.620
<v Speaker 3>Bloop, bloop, bloop, bloop, bloop, bloop, bloop, bloop.

0:29:07.660 --> 0:29:10.010
<v Speaker 2>It's like, okay, so we're really not going to give

0:29:10.050 --> 0:29:12.890
<v Speaker 2>him a third day to write this? Fine.

0:29:13.850 --> 0:29:16.870
<v Speaker 5>Nope. I do have a question of this whole time,

0:29:17.190 --> 0:29:21.080
<v Speaker 5>somebody that he knew, had the ability to conjure up

0:29:21.560 --> 0:29:24.980
<v Speaker 5>humanoids out of whole cloth using their computer.

0:29:25.400 --> 0:29:27.460
<v Speaker 4>And he just sort of knew that he had this

0:29:27.520 --> 0:29:29.180
<v Speaker 4>ability the whole time.

0:29:29.580 --> 0:29:31.680
<v Speaker 5>And it wasn't until watching Frankenstein that he was like,

0:29:31.780 --> 0:29:34.210
<v Speaker 5>oh yeah, we should make a babe.

0:29:35.170 --> 0:29:35.550
<v Speaker 4>I don't know.

0:29:35.570 --> 0:29:36.210
<v Speaker 3>A shrug.

0:29:36.270 --> 0:29:42.420
<v Speaker 2>Yeah. I don't know. I don't know. It's very like

0:29:42.620 --> 0:29:44.980
<v Speaker 2>first draft logic that they're going on.

0:29:45.000 --> 0:29:46.800
<v Speaker 3>I mean, I guess you could argue that they don't

0:29:47.140 --> 0:29:49.900
<v Speaker 3>know that they have that ability and it's not until

0:29:50.460 --> 0:29:54.450
<v Speaker 3>they do all of these like experiments slash like a

0:29:54.550 --> 0:29:57.880
<v Speaker 3>ritualistic seance with a barbie doll.

0:29:57.540 --> 0:29:59.300
<v Speaker 4>And a bra bras on.

0:29:59.240 --> 0:30:04.880
<v Speaker 2>Their head right it's baffling it also reminded me did

0:30:05.220 --> 0:30:07.620
<v Speaker 2>caitlin i know you didn't grow up with dcoms but

0:30:07.940 --> 0:30:11.709
<v Speaker 2>bridget have you seen the movie pixel perfect it's the

0:30:11.790 --> 0:30:15.810
<v Speaker 2>disney movie It's a Disney Channel movie from the 2000s.

0:30:15.830 --> 0:30:16.650
<v Speaker 4>Yes, yes.

0:30:17.290 --> 0:30:19.290
<v Speaker 2>I have seen it. That was the other. I was like,

0:30:19.470 --> 0:30:22.710
<v Speaker 2>what is another example of like a very, because obviously

0:30:22.730 --> 0:30:25.100
<v Speaker 2>there's a lot of like women's cyborg movies, but I'm

0:30:25.120 --> 0:30:28.840
<v Speaker 2>like a teen boy, like just goofing around and blah, blah, blah.

0:30:29.290 --> 0:30:31.880
<v Speaker 2>And Pixel Perfect feels like the closest thing. But I

0:30:32.160 --> 0:30:34.980
<v Speaker 2>think he created a pop star to help his friend.

0:30:35.040 --> 0:30:36.830
<v Speaker 2>He created like a cyborg pop star.

0:30:36.960 --> 0:30:37.350
<v Speaker 4>Yeah.

0:30:37.810 --> 0:30:40.390
<v Speaker 2>So it wasn't just as this movie will lead you

0:30:40.430 --> 0:30:45.410
<v Speaker 2>to believe because they're horny. they're horny and bored right.

0:30:45.190 --> 0:30:49.690
<v Speaker 5>Yeah and another disney channel classic smart house where i

0:30:49.710 --> 0:30:51.690
<v Speaker 5>don't know if y'all have seen that but yes the

0:30:51.830 --> 0:30:55.330
<v Speaker 5>the kid wins a house that comes with like a

0:30:55.910 --> 0:30:59.100
<v Speaker 5>essentially an ai mom who is running their smart house

0:30:59.300 --> 0:31:02.240
<v Speaker 5>and yeah it's like it's like he has lost his

0:31:02.300 --> 0:31:04.760
<v Speaker 5>mother so it's almost like a grieve like it's interesting

0:31:04.780 --> 0:31:09.670
<v Speaker 5>that that movies so often it's oh, I'm creating a woman,

0:31:09.690 --> 0:31:12.140
<v Speaker 5>a tech woman to help with some sort of issue.

0:31:12.180 --> 0:31:14.640
<v Speaker 5>Help my friend, help me grieve. But this one is like,

0:31:14.820 --> 0:31:17.640
<v Speaker 5>we're horny. That's the reason why.

0:31:17.540 --> 0:31:18.980
<v Speaker 3>We're making a baby.

0:31:19.040 --> 0:31:21.860
<v Speaker 4>Help me jerk off. Help me squeeze one out.

0:31:22.160 --> 0:31:24.540
<v Speaker 2>We really go down to the basis level. And as

0:31:24.580 --> 0:31:27.940
<v Speaker 2>we'll talk about, she takes on, of course, also this

0:31:28.640 --> 0:31:37.020
<v Speaker 2>maternal quality towards them that... Confuses everything. And anyways, let's

0:31:37.040 --> 0:31:39.220
<v Speaker 2>just keep going.

0:31:39.240 --> 0:31:44.190
<v Speaker 3>Okay, so Gary and Wyatt design her appearance and her

0:31:44.510 --> 0:31:49.070
<v Speaker 3>intelligence level. We will talk about this sequence in a

0:31:49.110 --> 0:31:54.320
<v Speaker 3>lot more detail. But they're designing her. They're hacking into

0:31:54.360 --> 0:32:00.160
<v Speaker 3>the mainframe. They hook up a Barbie to the computer somehow.

0:32:00.540 --> 0:32:03.370
<v Speaker 2>Are her boobs big? Are her boobs small? No, they're big.

0:32:03.510 --> 0:32:05.050
<v Speaker 2>Is she a fifth grader?

0:32:05.190 --> 0:32:06.770
<v Speaker 4>No, she's a genius.

0:32:07.840 --> 0:32:11.160
<v Speaker 2>Um, I, I do appreciate it. It doesn't really follow

0:32:11.200 --> 0:32:13.700
<v Speaker 2>through in Gary's character at all, but he's like, no,

0:32:13.790 --> 0:32:15.570
<v Speaker 2>she has to be a genius. We have to hack

0:32:15.630 --> 0:32:18.370
<v Speaker 2>the government or something. And you're like, why does he

0:32:18.450 --> 0:32:21.370
<v Speaker 2>think that? Like, cause it doesn't really, he doesn't seem

0:32:21.410 --> 0:32:25.530
<v Speaker 2>to appreciate intelligence and women outside of this one scene.

0:32:26.410 --> 0:32:28.650
<v Speaker 2>But I think maybe he's like, Oh, this is my side.

0:32:28.730 --> 0:32:31.060
<v Speaker 2>Like more thinking like I need a super smart cyborg

0:32:31.100 --> 0:32:34.240
<v Speaker 2>versus smart women are more interesting to be around.

0:32:34.950 --> 0:32:36.390
<v Speaker 3>Yeah, that's the impression I got.

0:32:36.650 --> 0:32:36.970
<v Speaker 4>Same.

0:32:37.030 --> 0:32:39.350
<v Speaker 5>He does mention that if they make her smart, they

0:32:39.370 --> 0:32:40.890
<v Speaker 5>can play chess with her. Yes.

0:32:40.990 --> 0:32:41.330
<v Speaker 1>Yes.

0:32:41.630 --> 0:32:43.890
<v Speaker 2>Which I would have liked to see. I would have

0:32:43.910 --> 0:32:44.510
<v Speaker 2>liked to see it.

0:32:44.550 --> 0:32:49.470
<v Speaker 5>There's a lot of Chekhov's robot specifications where they give

0:32:49.520 --> 0:32:52.160
<v Speaker 5>her Beethoven's hands and there's a piano in the house.

0:32:52.480 --> 0:32:54.219
<v Speaker 5>And I kind of was like, where's the scene where

0:32:54.240 --> 0:32:56.520
<v Speaker 5>she plays piano good or plays chess good?

0:32:56.560 --> 0:32:57.660
<v Speaker 3>Nothing pays off.

0:32:58.000 --> 0:32:58.280
<v Speaker 4>No.

0:32:59.100 --> 0:33:00.060
<v Speaker 2>She doesn't do... Einstein, well.

0:33:02.120 --> 0:33:04.420
<v Speaker 2>You know, I hear a pretty smart guy that was

0:33:04.480 --> 0:33:09.040
<v Speaker 2>not a wizard who could freeze grandparents. Who could just

0:33:09.160 --> 0:33:14.360
<v Speaker 2>conjure cars out of nowhere and change your outfit with

0:33:14.400 --> 0:33:16.239
<v Speaker 2>the snap of a finger. I don't know.

0:33:16.280 --> 0:33:19.140
<v Speaker 3>Yeah, I don't know. Well, that's the weird science of

0:33:19.180 --> 0:33:23.600
<v Speaker 3>it all, I guess. And speaking of weird science, they

0:33:23.760 --> 0:33:27.430
<v Speaker 3>do that like. thing with the bras on their head.

0:33:27.990 --> 0:33:32.100
<v Speaker 3>And this like turns the sky red. There's lightning striking.

0:33:32.280 --> 0:33:34.620
<v Speaker 3>All of the electronics in the house are going haywire,

0:33:35.000 --> 0:33:37.700
<v Speaker 3>which I will say there are some cool effects in

0:33:37.720 --> 0:33:38.240
<v Speaker 3>that sequence.

0:33:38.440 --> 0:33:38.900
<v Speaker 2>Yeah.

0:33:38.920 --> 0:33:39.140
<v Speaker 3>Yeah.

0:33:39.180 --> 0:33:40.180
<v Speaker 2>Cool practical effects.

0:33:40.220 --> 0:33:41.460
<v Speaker 4>Dog walking on the ceiling.

0:33:41.480 --> 0:33:42.660
<v Speaker 2>Kind of cool.

0:33:43.130 --> 0:33:46.530
<v Speaker 3>Pretty cool. And then the next thing they know, the

0:33:46.630 --> 0:33:53.770
<v Speaker 3>Barbie doll has transformed into a quote unquote real woman.

0:33:53.790 --> 0:33:53.870
<v Speaker 2>Yeah.

0:33:54.650 --> 0:33:58.500
<v Speaker 3>And she is played by Kelly LeBrock, who I wasn't

0:33:58.540 --> 0:34:02.080
<v Speaker 3>super familiar with. And I kept thinking she was Elizabeth Hurley,

0:34:02.200 --> 0:34:04.270
<v Speaker 3>but she is in fact not.

0:34:04.610 --> 0:34:08.529
<v Speaker 2>No, she has been in a few things, but I

0:34:08.570 --> 0:34:13.810
<v Speaker 2>think she was primarily... She popularized the phrase. Wait, I

0:34:14.050 --> 0:34:17.400
<v Speaker 2>wrote this down because I thought it was interesting. She

0:34:17.460 --> 0:34:21.400
<v Speaker 2>was the spokesmodel who said the line, don't hate me

0:34:21.460 --> 0:34:26.460
<v Speaker 2>because I'm beautiful. That was her. So cultural impact felt.

0:34:27.140 --> 0:34:29.549
<v Speaker 5>I looked her up after watching the movie because I thought,

0:34:29.730 --> 0:34:32.509
<v Speaker 5>you know, it seemed like she was poised to have

0:34:32.550 --> 0:34:34.610
<v Speaker 5>a big career. And all the reviews I read of

0:34:34.650 --> 0:34:38.820
<v Speaker 5>Weird Science, they all praised her for Her in this movie.

0:34:38.860 --> 0:34:39.040
<v Speaker 1>Yeah.

0:34:39.180 --> 0:34:41.800
<v Speaker 5>I will say, I looked her up on Instagram, posted

0:34:41.820 --> 0:34:46.109
<v Speaker 5>some pretty intense stuff around the COVID times. I will

0:34:46.150 --> 0:34:50.010
<v Speaker 5>say that about her. Her current digital footprint. I was like, okay,

0:34:50.030 --> 0:34:50.810
<v Speaker 5>that's what's going on.

0:34:50.830 --> 0:34:51.190
<v Speaker 3>Yikes.

0:34:51.290 --> 0:34:57.190
<v Speaker 2>Wait. A woman in her 60s having some questionable ideas

0:34:57.210 --> 0:35:03.319
<v Speaker 2>around technology. Oh, well, that's unfortunate. Yeah, I think this

0:35:03.360 --> 0:35:04.680
<v Speaker 2>is the only thing I've seen her in. And I

0:35:04.760 --> 0:35:10.010
<v Speaker 2>do agree. She gives, I think, an interesting performance for

0:35:10.070 --> 0:35:12.390
<v Speaker 2>a character that could not be more all over the place.

0:35:13.050 --> 0:35:15.430
<v Speaker 3>Oh my, so all over the place. I also wonder

0:35:15.489 --> 0:35:18.969
<v Speaker 3>if the reason she reminds me of Elizabeth Hurley is

0:35:19.070 --> 0:35:22.260
<v Speaker 3>that I feel like her character is quite similar to

0:35:22.560 --> 0:35:25.859
<v Speaker 3>Elizabeth Hurley's character in bedazzled is that.

0:35:25.780 --> 0:35:28.140
<v Speaker 2>The name of that movie yeah brendan frasier.

0:35:27.780 --> 0:35:30.239
<v Speaker 3>I was thinking the same thing okay well she's playing

0:35:30.260 --> 0:35:33.150
<v Speaker 3>the devil though jesus i'm like what is going on

0:35:33.170 --> 0:35:35.710
<v Speaker 3>with lisa is she a wizard does she like is

0:35:35.810 --> 0:35:38.790
<v Speaker 3>she where is she from right well they both have

0:35:39.230 --> 0:35:43.049
<v Speaker 3>magical powers that allow them to manipulate different things in

0:35:43.070 --> 0:35:47.290
<v Speaker 3>their environment so that's true i'm like basically same character.

0:35:47.460 --> 0:35:50.640
<v Speaker 2>Well, it's so silly, yeah, because this movie and others

0:35:50.840 --> 0:35:54.359
<v Speaker 2>suggest that the most... Because this movie conflates magic and

0:35:54.420 --> 0:35:58.160
<v Speaker 2>science so thoroughly, I feel like the movie would sort

0:35:58.200 --> 0:36:02.109
<v Speaker 2>of lead you to believe that the most powerful source

0:36:02.450 --> 0:36:06.530
<v Speaker 2>of energy in the world is a horny teenage boy,

0:36:06.630 --> 0:36:11.350
<v Speaker 2>which I really hope is not the case. That would

0:36:11.370 --> 0:36:14.870
<v Speaker 2>be very upsetting. Mm-hmm. As we know, the greatest source

0:36:14.910 --> 0:36:18.210
<v Speaker 2>of energy available in the world is children's screams. There's

0:36:18.230 --> 0:36:19.259
<v Speaker 2>a documentary about it.

0:36:19.550 --> 0:36:22.259
<v Speaker 3>Oh, a documentary called Monsters Incorporated.

0:36:22.340 --> 0:36:24.379
<v Speaker 2>Yes. Yes. Yes, of course. Yeah.

0:36:25.460 --> 0:36:31.359
<v Speaker 3>Anyway, so Gary and Wyatt have created this woman and

0:36:31.460 --> 0:36:34.100
<v Speaker 3>they will eventually think to give her a name and

0:36:34.140 --> 0:36:36.720
<v Speaker 3>that name will be Lisa, but it takes a while.

0:36:37.860 --> 0:36:40.300
<v Speaker 3>She asks them what the boys would like to do first,

0:36:40.940 --> 0:36:45.320
<v Speaker 3>which is showering with her. while she is fully naked

0:36:45.620 --> 0:36:49.190
<v Speaker 3>and the boys still have on their pants and shoes.

0:36:50.670 --> 0:36:54.110
<v Speaker 3>Then Lisa takes them out for a night on the town.

0:36:55.050 --> 0:37:00.660
<v Speaker 3>She changes their outfits. She has a pink convertible now

0:37:00.680 --> 0:37:02.700
<v Speaker 3>and takes them to a place called the candy bar

0:37:03.280 --> 0:37:07.299
<v Speaker 3>where the boys feel very out of place. But eventually

0:37:07.460 --> 0:37:11.060
<v Speaker 3>Gary gets super drunk. And what follows is.

0:37:12.630 --> 0:37:14.120
<v Speaker 3>Another scene we'll talk about, but.

0:37:14.360 --> 0:37:20.940
<v Speaker 2>It's absurd how long this racist pit continues. It continues

0:37:20.980 --> 0:37:23.280
<v Speaker 2>like three scenes after.

0:37:24.080 --> 0:37:24.340
<v Speaker 3>Yes.

0:37:24.620 --> 0:37:27.020
<v Speaker 5>Like when they leave the club and they're like driving

0:37:27.120 --> 0:37:29.969
<v Speaker 5>back and they're transitioning into the next scene and you're thinking,

0:37:30.070 --> 0:37:34.550
<v Speaker 5>surely this is, we're abandoning this little bit. It's still

0:37:34.590 --> 0:37:35.489
<v Speaker 5>going on.

0:37:35.670 --> 0:37:38.390
<v Speaker 2>It's still going on when he goes home. Like, He

0:37:38.410 --> 0:37:41.650
<v Speaker 2>has to be fully unconscious before we can be freed

0:37:41.810 --> 0:37:46.100
<v Speaker 2>of this horrendous bit. I don't know. I know that

0:37:46.239 --> 0:37:49.780
<v Speaker 2>both of the guys are, I don't know, Anthony Michael Hall,

0:37:50.200 --> 0:37:52.080
<v Speaker 2>he's a teenager in this. Tell him to knock that

0:37:52.180 --> 0:37:54.900
<v Speaker 2>shit off. But it seems like John Hughes perhaps wanted it.

0:37:55.170 --> 0:37:57.890
<v Speaker 5>Yeah, Anthony Michael Hall is going for it. I feel

0:37:57.910 --> 0:38:00.549
<v Speaker 5>like someone was like, really? Give it your all with this.

0:38:01.160 --> 0:38:02.380
<v Speaker 4>Because he's really going for it.

0:38:02.540 --> 0:38:04.050
<v Speaker 2>He's really going for it.

0:38:04.140 --> 0:38:07.430
<v Speaker 3>Yeah. And if you're not familiar with the movie slash

0:38:07.469 --> 0:38:12.150
<v Speaker 3>don't remember, here's what we're talking about. Gary is talking

0:38:12.250 --> 0:38:15.600
<v Speaker 3>to a group of mostly older black men and he's

0:38:15.700 --> 0:38:20.170
<v Speaker 3>putting on a black scent and telling them a story

0:38:20.230 --> 0:38:22.529
<v Speaker 3>about a girl that he had a crush on last year.

0:38:22.550 --> 0:38:24.750
<v Speaker 2>And then you're like, surely this isn't going to get worse.

0:38:24.830 --> 0:38:26.509
<v Speaker 2>And then it immediately does.

0:38:26.610 --> 0:38:27.609
<v Speaker 3>It keeps getting worse.

0:38:27.650 --> 0:38:30.650
<v Speaker 2>Lisa says a slur. Lisa says a homophobic slur. And

0:38:30.710 --> 0:38:34.149
<v Speaker 2>moments later, you're just like, ah, get me out of here.

0:38:34.590 --> 0:38:38.870
<v Speaker 3>Yeah. Everything about this scene is horrendous. Then they head

0:38:38.930 --> 0:38:43.930
<v Speaker 3>back to Wyatt's house where Wyatt's older brother, Chet, played

0:38:43.969 --> 0:38:49.610
<v Speaker 3>by Bill Paxton of Titanic Brock Lovett fame has arrived

0:38:49.690 --> 0:38:54.470
<v Speaker 3>home from military school. And as we were alluding to earlier,

0:38:54.570 --> 0:39:00.060
<v Speaker 3>Chet is this like very unstable aggro dude with a

0:39:00.100 --> 0:39:07.060
<v Speaker 3>terrible haircut. He torments Wyatt and Gary. He's like blackmailing

0:39:07.100 --> 0:39:11.100
<v Speaker 3>and extorting them for money. Gary drunkenly tells Chet about

0:39:11.120 --> 0:39:14.070
<v Speaker 3>a woman they made. But he doesn't believe them. You

0:39:14.310 --> 0:39:16.910
<v Speaker 3>also keep thinking that something's going to happen with like

0:39:17.270 --> 0:39:19.580
<v Speaker 3>Chet finding out about Lisa and that's going to have

0:39:19.680 --> 0:39:23.180
<v Speaker 3>consequences and bearing on the plot of this story. But

0:39:23.520 --> 0:39:26.950
<v Speaker 3>kind of never because Chet just disappears for a while.

0:39:27.310 --> 0:39:30.480
<v Speaker 2>This movie leaves you with such narrative blue ball. where

0:39:30.880 --> 0:39:35.500
<v Speaker 2>every time they seem to stumble upon potential stakes for

0:39:35.580 --> 0:39:38.380
<v Speaker 2>a scene, they will just get rid of them as

0:39:38.580 --> 0:39:41.140
<v Speaker 2>quickly as possible. I think the sequence that made me

0:39:41.180 --> 0:39:44.239
<v Speaker 2>most frustrated was like, It takes them an hour, but

0:39:44.260 --> 0:39:46.440
<v Speaker 2>they're like, oh, someone's going to come to the house

0:39:46.480 --> 0:39:50.120
<v Speaker 2>during the party. It's the grandparents. Steaks, steaks, steaks. And

0:39:50.140 --> 0:39:53.430
<v Speaker 2>then the second they get there, you're like, oh, actually,

0:39:53.489 --> 0:39:55.930
<v Speaker 2>Lisa's a wizard, so there's no problem. I was like,

0:39:55.989 --> 0:39:59.219
<v Speaker 2>this was the first problem we've seen presented.

0:39:59.400 --> 0:40:02.759
<v Speaker 5>Yeah, and it's like, the build-ups, the grandparent scene is

0:40:02.780 --> 0:40:05.219
<v Speaker 5>a great example because they build it up so much

0:40:05.239 --> 0:40:08.400
<v Speaker 5>where they show you, the grandparents don't just happen to

0:40:08.440 --> 0:40:12.120
<v Speaker 5>stop by. The movie takes you to the grandparents having

0:40:12.239 --> 0:40:14.759
<v Speaker 5>dinner and being like, you know what we should do

0:40:14.900 --> 0:40:17.759
<v Speaker 5>after dinner is go pay a visit to our grandson

0:40:17.800 --> 0:40:20.870
<v Speaker 5>because grandkids love when their grandparents visit.

0:40:21.050 --> 0:40:22.630
<v Speaker 4>They really spend a lot.

0:40:22.450 --> 0:40:26.669
<v Speaker 5>Of time building up these things I don't even think

0:40:26.690 --> 0:40:29.170
<v Speaker 5>we see the grandparents get unfrozen.

0:40:28.630 --> 0:40:29.190
<v Speaker 2>After they're frozen.

0:40:29.430 --> 0:40:30.089
<v Speaker 3>I don't think so.

0:40:30.430 --> 0:40:33.730
<v Speaker 2>We don't know if Lisa shows them mercy in the end,

0:40:33.850 --> 0:40:38.500
<v Speaker 2>I guess. I know we're getting a little ahead of ourselves,

0:40:38.540 --> 0:40:42.200
<v Speaker 2>but I think that even though the grandparents are a

0:40:42.300 --> 0:40:48.260
<v Speaker 2>very stereotypical presentation of older people, their camp, to me,

0:40:48.760 --> 0:40:52.589
<v Speaker 2>those performances were so... funny it seemed like those actors

0:40:52.610 --> 0:40:56.569
<v Speaker 2>were having a fun time being like my grandson what

0:40:56.610 --> 0:41:00.070
<v Speaker 2>do you mean like this is my daughter's house right

0:41:01.330 --> 0:41:03.569
<v Speaker 2>the way john hughes writes parents i'm like you know

0:41:03.650 --> 0:41:06.660
<v Speaker 2>your parent age right um but.

0:41:06.780 --> 0:41:09.540
<v Speaker 3>Whatever yeah didn't he do something similar with the grandparent

0:41:09.600 --> 0:41:14.080
<v Speaker 3>characters in 16 candles i want to say.

0:41:13.960 --> 0:41:18.200
<v Speaker 2>Oh i don't let myself think about 16 candles so i'm.

0:41:18.180 --> 0:41:22.830
<v Speaker 3>Not sure understandable Okay, so then we cut to a

0:41:22.870 --> 0:41:28.650
<v Speaker 3>random scene where Lisa approaches Wyatt. She is standing directly

0:41:28.710 --> 0:41:33.900
<v Speaker 3>behind him. He does not notice for a while. He's like, Lisa,

0:41:33.940 --> 0:41:36.899
<v Speaker 3>where are you? And then she's like, I'm right here.

0:41:36.920 --> 0:41:41.120
<v Speaker 3>Hey stud, I'm right here. Let's kiss. And then we

0:41:41.180 --> 0:41:45.049
<v Speaker 3>see an adult woman who was 24 in real life

0:41:45.750 --> 0:41:51.430
<v Speaker 3>kissing a teen boy who was 15 in real life.

0:41:51.570 --> 0:41:54.600
<v Speaker 2>Which is something that john hughes does all the time

0:41:54.739 --> 0:41:57.299
<v Speaker 2>like it's like yeah it's like you couldn't be less

0:41:57.320 --> 0:42:00.200
<v Speaker 2>surprised to see it unfortunately like this is his it

0:42:00.239 --> 0:42:03.340
<v Speaker 2>happens in i would say most of his movies what's

0:42:03.380 --> 0:42:06.420
<v Speaker 2>going on there I mean, we'll refer back to it

0:42:06.430 --> 0:42:09.460
<v Speaker 2>because we talked about it in our, probably our 16

0:42:09.460 --> 0:42:12.400
<v Speaker 2>Candles episode and definitely our Pretty in Pink episode, but

0:42:12.460 --> 0:42:17.080
<v Speaker 2>that Molly Ringwald has written pretty extensively about just like

0:42:17.219 --> 0:42:21.200
<v Speaker 2>how she feels about the experience of working on John

0:42:21.219 --> 0:42:23.680
<v Speaker 2>Hughes movies, how she feels they've all aged rather poorly.

0:42:23.739 --> 0:42:25.540
<v Speaker 2>She feels weird showing them to her own children. I

0:42:27.080 --> 0:42:30.380
<v Speaker 2>don't think we covered Pretty in Pink. Did we? I don't.

0:42:31.900 --> 0:42:32.040
<v Speaker 5>I'm.

0:42:32.420 --> 0:42:35.000
<v Speaker 2>Who can say? No answer would surprise me. But yeah,

0:42:35.080 --> 0:42:37.160
<v Speaker 2>that like this is this is very much. And it's

0:42:37.200 --> 0:42:40.509
<v Speaker 2>like John Hughes. It's easy to like single him out

0:42:40.590 --> 0:42:42.890
<v Speaker 2>as like the culprit. But it's just like the culture

0:42:42.910 --> 0:42:45.549
<v Speaker 2>of the time was so permissive of this. I mean,

0:42:45.670 --> 0:42:48.390
<v Speaker 2>you think of like any of the raunchy comedies of

0:42:48.450 --> 0:42:53.180
<v Speaker 2>the 80s, 90s into the 2000s. I mean, even there's

0:42:53.200 --> 0:42:56.259
<v Speaker 2>like a running bit about that in Booksmart, which is

0:42:56.300 --> 0:43:00.640
<v Speaker 2>like a five or six year old movie about, I

0:43:00.680 --> 0:43:03.320
<v Speaker 2>think it's like a teacher played by maybe Jessica Williams,

0:43:03.360 --> 0:43:06.430
<v Speaker 2>like a cool older teacher who comes to the kids party.

0:43:06.530 --> 0:43:09.250
<v Speaker 2>And like, this is a trope that like, you know,

0:43:09.430 --> 0:43:13.370
<v Speaker 2>adults hitting on children exists in raunchy comedies to this day.

0:43:13.770 --> 0:43:17.190
<v Speaker 3>And being played as either funny and hilarious and a

0:43:17.190 --> 0:43:19.900
<v Speaker 3>joke or... Romantic and sexy.

0:43:20.160 --> 0:43:24.660
<v Speaker 2>It's not tricky. Like, nothing in this movie is particularly

0:43:24.700 --> 0:43:28.610
<v Speaker 2>tricky or subtle. But, like, I think because of... In story,

0:43:28.780 --> 0:43:32.589
<v Speaker 2>it's tricky because the question of, like, well, who is Lisa? Like,

0:43:32.730 --> 0:43:38.530
<v Speaker 2>what is Lisa? Is kind of confusing. Is she... Because

0:43:38.590 --> 0:43:42.600
<v Speaker 2>she's not... a person that she's a, she's a wizard. Like,

0:43:43.000 --> 0:43:45.160
<v Speaker 2>I don't know. I agree with you that the optics

0:43:45.260 --> 0:43:48.340
<v Speaker 2>of an adult woman kissing a teenage boy is gross,

0:43:48.540 --> 0:43:53.200
<v Speaker 2>regardless of the Turing test of it all. But like

0:43:53.360 --> 0:43:57.100
<v Speaker 2>in story, it's also very bizarre and off-putting, I thought.

0:43:57.390 --> 0:44:00.710
<v Speaker 3>Definitely. And we'll talk more about that later as well.

0:44:00.830 --> 0:44:07.230
<v Speaker 3>But they're kissing. It's framed as romantic. And then Off screen,

0:44:07.290 --> 0:44:10.430
<v Speaker 3>they apparently try to have sex, but we'll learn that

0:44:10.530 --> 0:44:13.739
<v Speaker 3>Wyatt passed out like 10 seconds into it. So they

0:44:13.760 --> 0:44:15.060
<v Speaker 3>don't keep going with that.

0:44:15.380 --> 0:44:21.219
<v Speaker 2>Another John Hughes classic is suggesting things. Yes. Another John

0:44:21.239 --> 0:44:24.400
<v Speaker 2>Hughes classic is the sexual assault, usually of a minor.

0:44:24.910 --> 0:44:29.190
<v Speaker 3>Yes, while they are unconscious. Yeah. We cut to the

0:44:29.430 --> 0:44:33.390
<v Speaker 3>next morning. Wyatt and Gary wake up and they think

0:44:33.430 --> 0:44:36.480
<v Speaker 3>that maybe this whole thing with Lisa was a dream.

0:44:36.940 --> 0:44:40.600
<v Speaker 3>The theme music from The Exorcist is playing for some reason.

0:44:40.960 --> 0:44:41.580
<v Speaker 2>Oh, yeah.

0:44:41.620 --> 0:44:44.520
<v Speaker 4>That was weird. And also never explained, really.

0:44:44.820 --> 0:44:45.780
<v Speaker 2>I was not understanding.

0:44:45.840 --> 0:44:46.180
<v Speaker 4>Okay.

0:44:46.239 --> 0:44:48.440
<v Speaker 2>I'm glad that you both said that because I was like,

0:44:49.170 --> 0:44:53.050
<v Speaker 2>I've seen The Exorcist many times and I'm not understanding

0:44:53.230 --> 0:44:54.090
<v Speaker 2>the reference here.

0:44:54.390 --> 0:44:55.480
<v Speaker 3>Because it makes no sense.

0:44:55.739 --> 0:44:55.939
<v Speaker 1>Yeah.

0:44:56.040 --> 0:44:59.180
<v Speaker 3>Okay. But then Wyatt gets out of bed and he's

0:44:59.360 --> 0:45:05.009
<v Speaker 3>wearing Lisa's underwear. And Lisa is downstairs wearing making the

0:45:05.090 --> 0:45:09.640
<v Speaker 3>boys breakfast because in addition to fulfilling their sexual fantasies,

0:45:10.000 --> 0:45:12.359
<v Speaker 3>she's also doing domestic labor for them.

0:45:12.860 --> 0:45:15.260
<v Speaker 2>She's also their mommy, of course. Yes, of course. She's

0:45:15.500 --> 0:45:19.410
<v Speaker 2>also their mommy and sexual tutor. Nothing weird about that.

0:45:19.430 --> 0:45:22.790
<v Speaker 2>No strange precedents set there. Nope.

0:45:23.770 --> 0:45:27.970
<v Speaker 3>And then Chet comes in and bullies Wyatt some more.

0:45:28.030 --> 0:45:32.570
<v Speaker 3>This happens every few scenes. And Chet freaks out about

0:45:32.790 --> 0:45:35.820
<v Speaker 3>the panties that Wyatt is wearing.

0:45:35.840 --> 0:45:38.520
<v Speaker 2>There's a whole transphobic runner there.

0:45:39.120 --> 0:45:41.600
<v Speaker 4>You do get Bill Paxton showing his butt cheeks.

0:45:41.860 --> 0:45:42.719
<v Speaker 3>This is true.

0:45:42.820 --> 0:45:46.440
<v Speaker 2>It's cold comfort. It's cold comfort. But yeah, there is

0:45:46.480 --> 0:45:50.279
<v Speaker 2>like that transphobic runner that I also like, this is

0:45:50.739 --> 0:45:53.120
<v Speaker 2>not the point of it, but I also was like,

0:45:53.420 --> 0:45:54.819
<v Speaker 2>it took me a second to figure out what was

0:45:54.860 --> 0:45:59.219
<v Speaker 2>going on because I They're very, I thought, gender neutral underwear.

0:45:59.680 --> 0:46:00.900
<v Speaker 4>Yeah. They're just briefs.

0:46:01.200 --> 0:46:01.460
<v Speaker 1>Yeah.

0:46:01.500 --> 0:46:06.379
<v Speaker 5>But his brother is like, those are women's underpants.

0:46:06.700 --> 0:46:08.779
<v Speaker 4>There's no amount of money you could ever pay me

0:46:08.840 --> 0:46:11.050
<v Speaker 4>to not make a huge deal about this.

0:46:11.670 --> 0:46:11.830
<v Speaker 1>Right.

0:46:11.850 --> 0:46:15.690
<v Speaker 2>And you're like, I honestly wasn't. I didn't realize that

0:46:16.230 --> 0:46:18.630
<v Speaker 2>at first because they seem kind of like anyone could

0:46:18.650 --> 0:46:21.100
<v Speaker 2>wear them. Which is not even the point because there's

0:46:21.180 --> 0:46:24.200
<v Speaker 2>also I think a very how did this make the

0:46:24.260 --> 0:46:26.270
<v Speaker 2>final cut of the movie? Why are we still watching it?

0:46:26.320 --> 0:46:31.899
<v Speaker 2>Like close up of an underage boy's crotch leading into

0:46:31.940 --> 0:46:35.950
<v Speaker 2>that scene too which you're also like that's just fucking disgusting.

0:46:37.090 --> 0:46:41.730
<v Speaker 3>Okay so then we cut to Wyatt and Gary at

0:46:41.850 --> 0:46:46.989
<v Speaker 3>the mall buying perfume for Lisa but their bullies Max

0:46:47.010 --> 0:46:51.790
<v Speaker 3>and Ian are there and they dump slushies onto the boys' heads.

0:46:52.969 --> 0:46:56.680
<v Speaker 3>And then the bully's girlfriends, Deb and Hilly, whose names

0:46:56.739 --> 0:47:01.740
<v Speaker 3>we still don't know, contemplate dumping their boyfriends for being jerks,

0:47:02.140 --> 0:47:05.959
<v Speaker 3>but they decide against it because dumping them would hurt

0:47:06.140 --> 0:47:13.130
<v Speaker 3>the girls' social status. Then Max and Ian see Lisa

0:47:13.570 --> 0:47:18.640
<v Speaker 3>at the mall, and they're like hubba hubba awooga cartoonish

0:47:18.739 --> 0:47:21.900
<v Speaker 3>like they're chasing after her they're.

0:47:21.739 --> 0:47:24.160
<v Speaker 4>Going up the down escalator to get.

0:47:24.020 --> 0:47:27.239
<v Speaker 2>To her it's very hijinks yeah.

0:47:26.980 --> 0:47:31.050
<v Speaker 3>And then they watch her get into an expensive sports

0:47:31.130 --> 0:47:33.469
<v Speaker 3>car i don't know if this is the porsche or

0:47:33.489 --> 0:47:37.509
<v Speaker 3>whatever but gary is driving it and she gets in

0:47:37.750 --> 0:47:42.180
<v Speaker 3>and she's like hey babe and so max and ian

0:47:42.219 --> 0:47:45.820
<v Speaker 3>are like what the hell how does this fucking nerd

0:47:46.410 --> 0:47:50.690
<v Speaker 3>get this girl, blah, blah, blah. And then Lisa invites

0:47:50.770 --> 0:47:54.230
<v Speaker 3>Max and Ian to a party at Wyatt's house that

0:47:54.330 --> 0:47:59.030
<v Speaker 3>night because she's trying to help the boys seem cool

0:47:59.300 --> 0:48:03.219
<v Speaker 3>and to get more popular. That is her mission objective

0:48:03.360 --> 0:48:03.820
<v Speaker 3>or whatever.

0:48:04.320 --> 0:48:04.540
<v Speaker 4>Right.

0:48:04.580 --> 0:48:08.680
<v Speaker 2>Which we never see fully outlined. Again, it's kind of like,

0:48:09.340 --> 0:48:11.700
<v Speaker 2>and after a while you sort of like say, okay,

0:48:11.739 --> 0:48:16.440
<v Speaker 2>I guess that it is Lisa's programmed like because it's

0:48:16.500 --> 0:48:19.029
<v Speaker 2>so unclear what they're making her for and it just

0:48:19.050 --> 0:48:23.190
<v Speaker 2>seems for strictly perverted reasons but her understanding of what

0:48:23.350 --> 0:48:27.730
<v Speaker 2>her purpose is her function is is to make the

0:48:27.770 --> 0:48:31.490
<v Speaker 2>boys cool not to listen to them and that becomes

0:48:31.530 --> 0:48:34.870
<v Speaker 2>like a back and forth throughout the middle chunk of

0:48:34.930 --> 0:48:37.129
<v Speaker 2>the movie and like everything with this movie it goes

0:48:37.190 --> 0:48:40.070
<v Speaker 2>nowhere but it's another interesting question that has kind of

0:48:40.130 --> 0:48:45.060
<v Speaker 2>dropped where there's a series of scenes where Where Lisa

0:48:45.560 --> 0:48:48.379
<v Speaker 2>has quite a bit of agency. She's not listening to them.

0:48:48.480 --> 0:48:52.259
<v Speaker 2>She's not being servile. she's acting to what I guess

0:48:52.300 --> 0:48:54.560
<v Speaker 2>her mission is, which is to make them cool, whether

0:48:54.600 --> 0:48:57.900
<v Speaker 2>they like it or not. And like doing whatever she

0:48:57.940 --> 0:49:00.960
<v Speaker 2>knows how to do, which is like includes, but it's

0:49:01.000 --> 0:49:04.580
<v Speaker 2>not limited to being a wizard to make this happen

0:49:04.600 --> 0:49:06.509
<v Speaker 2>for them. And there's like a few scenes where the

0:49:06.590 --> 0:49:10.149
<v Speaker 2>boys are like, this doesn't make any sense. We made her,

0:49:10.170 --> 0:49:13.090
<v Speaker 2>she's ours. Why isn't she listening to us? Which is

0:49:13.110 --> 0:49:17.090
<v Speaker 2>an interesting thing to explore if you were capable as

0:49:17.130 --> 0:49:17.910
<v Speaker 2>a writer of doing so.

0:49:18.989 --> 0:49:19.489
<v Speaker 4>Right.

0:49:19.610 --> 0:49:22.359
<v Speaker 5>This, reminded me, I mean, not that I think that

0:49:22.420 --> 0:49:26.100
<v Speaker 5>John Hughes was thinking about this back in 1980, whatever,

0:49:26.140 --> 0:49:28.549
<v Speaker 5>when this movie was written, but this bit of it

0:49:28.680 --> 0:49:31.270
<v Speaker 5>actually quite reminded me of what it actually feels like

0:49:31.290 --> 0:49:35.610
<v Speaker 5>to use technology like AI, where, you know, you're told

0:49:35.630 --> 0:49:37.509
<v Speaker 5>that you're sold this promise that it's going to make,

0:49:37.950 --> 0:49:40.430
<v Speaker 5>it's going to listen to you and make everything.

0:49:40.190 --> 0:49:43.049
<v Speaker 4>Easier and better. And then in the end, you're like, why?

0:49:43.130 --> 0:49:43.810
<v Speaker 4>It's not listening.

0:49:43.850 --> 0:49:45.930
<v Speaker 5>It's not doing, I asked it to do X and

0:49:45.950 --> 0:49:48.379
<v Speaker 5>now it's doing Y. That I actually thought that they

0:49:48.440 --> 0:49:52.180
<v Speaker 5>actually captured the experience of using AI actually quite well.

0:49:52.200 --> 0:49:54.819
<v Speaker 5>It doesn't actually do what it is you're expecting it

0:49:54.840 --> 0:49:56.160
<v Speaker 5>to do or want it to do even.

0:49:56.840 --> 0:49:57.060
<v Speaker 4>Right.

0:49:57.100 --> 0:49:59.560
<v Speaker 2>I mean, it's like, that's an interesting, and I feel

0:49:59.580 --> 0:50:02.980
<v Speaker 2>like that sets up, I don't know. I mean, like,

0:50:03.020 --> 0:50:05.000
<v Speaker 2>I don't know where I wanted this story to land

0:50:05.020 --> 0:50:08.500
<v Speaker 2>because I am so like it's so all over the place.

0:50:08.920 --> 0:50:12.810
<v Speaker 2>But like that stands to introduce some like interesting stakes

0:50:12.870 --> 0:50:16.110
<v Speaker 2>and consequences for the boys. Like, will they regret having

0:50:16.170 --> 0:50:20.719
<v Speaker 2>done so if all of a sudden not a person,

0:50:20.739 --> 0:50:24.640
<v Speaker 2>a being that, or not even a being. What do I, Bridget,

0:50:24.660 --> 0:50:26.460
<v Speaker 2>what do I call her? What do we call her?

0:50:27.020 --> 0:50:27.660
<v Speaker 2>What is Lisa?

0:50:28.120 --> 0:50:28.279
<v Speaker 4>It?

0:50:28.719 --> 0:50:29.200
<v Speaker 3>I don't know.

0:50:29.480 --> 0:50:32.620
<v Speaker 4>That sounds dehumanizing, but she's not a human. So, you know.

0:50:32.640 --> 0:50:35.560
<v Speaker 2>So like they're like, okay, we made this thing and

0:50:35.600 --> 0:50:38.480
<v Speaker 2>I'm not making women objects, but Lisa's not a person.

0:50:38.980 --> 0:50:42.400
<v Speaker 2>Like we made this thing and it's more powerful than

0:50:42.420 --> 0:50:46.259
<v Speaker 2>we realize. And it's now outside of our control. What

0:50:46.280 --> 0:50:48.870
<v Speaker 2>are we going to do? This movie seems like so

0:50:49.150 --> 0:50:54.730
<v Speaker 2>unwilling to really think about that question crucially and like

0:50:54.850 --> 0:50:57.219
<v Speaker 2>and i am not a fan of the movie her

0:50:57.340 --> 0:50:59.720
<v Speaker 2>at all i think it has done kind of quite

0:50:59.739 --> 0:51:02.320
<v Speaker 2>a bit of net harm intended or not but at

0:51:02.500 --> 0:51:06.180
<v Speaker 2>least that movie is willing to explore like you know

0:51:06.580 --> 0:51:09.540
<v Speaker 2>an ai is sort of designed to move past you

0:51:10.320 --> 0:51:13.009
<v Speaker 2>but that is not you know i'm sure it has

0:51:13.030 --> 0:51:15.230
<v Speaker 2>to do with just like the technology was not nowhere

0:51:15.290 --> 0:51:18.379
<v Speaker 2>near where it was even when her existed but like

0:51:19.140 --> 0:51:24.720
<v Speaker 2>but lisa we have no insight into where lisa will

0:51:24.800 --> 0:51:28.770
<v Speaker 2>go from here once her mission is accomplished it seems

0:51:28.790 --> 0:51:30.969
<v Speaker 2>like she gets a part-time job as a gym teacher

0:51:31.469 --> 0:51:34.450
<v Speaker 2>at the end like i don't know if there is

0:51:34.489 --> 0:51:37.520
<v Speaker 2>like an opportunity that has since been explored it's not

0:51:37.580 --> 0:51:39.980
<v Speaker 2>like this is net this thread has been totally dropped

0:51:40.120 --> 0:51:44.759
<v Speaker 2>but like what is lisa What does Lisa do when

0:51:44.910 --> 0:51:49.310
<v Speaker 2>this task is like, why would Lisa have any loyalty

0:51:49.430 --> 0:51:52.730
<v Speaker 2>to these boys if she has we know she has

0:51:52.770 --> 0:51:57.609
<v Speaker 2>the intelligence due to the whatever scans of Beethoven she has?

0:51:58.170 --> 0:52:01.890
<v Speaker 3>To advance past them pretty easily. Albert Einstein's face equals

0:52:02.130 --> 0:52:03.830
<v Speaker 3>genius level intelligence.

0:52:03.969 --> 0:52:05.370
<v Speaker 2>Thought is where it's.

0:52:05.150 --> 0:52:06.570
<v Speaker 4>Just his face.

0:52:06.710 --> 0:52:10.109
<v Speaker 5>I do think there's a better, even for the kind

0:52:10.150 --> 0:52:12.279
<v Speaker 5>of movie that it is, there's a better version of

0:52:12.320 --> 0:52:14.200
<v Speaker 5>that movie hiding in this movie.

0:52:14.239 --> 0:52:16.259
<v Speaker 4>Maybe if it wasn't written in 48 hours, we would

0:52:16.320 --> 0:52:16.620
<v Speaker 4>see it.

0:52:16.980 --> 0:52:19.680
<v Speaker 5>But that question that you just posed is the thing

0:52:19.700 --> 0:52:22.360
<v Speaker 5>that I was left with, which is the boys start

0:52:22.520 --> 0:52:25.060
<v Speaker 5>out by saying, we want to get laid, we want

0:52:25.080 --> 0:52:26.080
<v Speaker 5>a babe, this and that.

0:52:26.140 --> 0:52:26.879
<v Speaker 4>I understand that.

0:52:27.440 --> 0:52:32.219
<v Speaker 5>What is happening with Lisa that she interprets that the

0:52:32.239 --> 0:52:34.940
<v Speaker 5>way that she does? And it's like, oh, they hardly

0:52:35.080 --> 0:52:38.759
<v Speaker 5>ever have much sexual connection with her. They kiss and

0:52:38.800 --> 0:52:41.739
<v Speaker 5>they shower. But it's not like Lisa becomes their girlfriend.

0:52:42.110 --> 0:52:45.650
<v Speaker 5>So my question is, what is going on with Lisa

0:52:46.110 --> 0:52:49.630
<v Speaker 5>that Lisa interprets that is, I need to make them confident.

0:52:49.690 --> 0:52:53.110
<v Speaker 5>I need to set up all these... Situations where they

0:52:53.130 --> 0:52:56.350
<v Speaker 5>can feel confident and powerful and like, you know, talk

0:52:56.410 --> 0:53:00.690
<v Speaker 5>sternly to motorcycle mutants and stuff. That's the question that

0:53:00.710 --> 0:53:02.230
<v Speaker 5>I have. And then again, at the end, I know

0:53:02.250 --> 0:53:04.770
<v Speaker 5>we're going to get there, but so it's just her

0:53:04.830 --> 0:53:11.760
<v Speaker 5>directive to just be around teenage boys forever, like shepherding

0:53:11.820 --> 0:53:16.180
<v Speaker 5>them into... more confident adolescents or what?

0:53:16.320 --> 0:53:16.640
<v Speaker 1>Right.

0:53:16.760 --> 0:53:17.260
<v Speaker 4>And why?

0:53:17.280 --> 0:53:20.880
<v Speaker 3>I mean, I wonder, I wonder if the movie is implying,

0:53:20.980 --> 0:53:25.400
<v Speaker 3>and I don't necessarily think this is true, but maybe

0:53:25.560 --> 0:53:30.170
<v Speaker 3>it's saying that she's imbued with so much intelligence that

0:53:30.250 --> 0:53:35.310
<v Speaker 3>she very quickly realizes that these boys having some sort

0:53:35.330 --> 0:53:40.570
<v Speaker 3>of like romantic or sexual relationship with her is unsustainable

0:53:40.750 --> 0:53:43.509
<v Speaker 3>and not good for them. So she's like, okay, how

0:53:43.550 --> 0:53:47.009
<v Speaker 3>can I turn this around and help them get girlfriends

0:53:47.660 --> 0:53:51.839
<v Speaker 3>and be in relationships that are sustainable? Again, I don't

0:53:51.860 --> 0:53:57.469
<v Speaker 3>think the movie is necessarily... Smart enough to be suggesting

0:53:57.790 --> 0:54:01.189
<v Speaker 3>that that's what's happening, but maybe. I don't know.

0:54:01.210 --> 0:54:02.290
<v Speaker 4>Yeah, I don't know.

0:54:02.250 --> 0:54:04.839
<v Speaker 5>If I'm underthinking it or overthinking it, if that makes

0:54:04.860 --> 0:54:07.100
<v Speaker 5>sense with this movie.

0:54:07.280 --> 0:54:08.040
<v Speaker 4>Maybe it's both.

0:54:08.100 --> 0:54:10.980
<v Speaker 3>Because nothing's clear enough in the movie.

0:54:11.200 --> 0:54:14.490
<v Speaker 2>Yeah, I mean, it is interesting. I don't know. There's

0:54:14.510 --> 0:54:16.790
<v Speaker 2>a lot of interesting questions that are posed, especially in

0:54:16.830 --> 0:54:20.569
<v Speaker 2>the framing of... Now, I mean, I know we're about

0:54:20.590 --> 0:54:22.549
<v Speaker 2>to get into a sequence that is really just like

0:54:23.410 --> 0:54:26.790
<v Speaker 2>bigoted hijink after bigoted hijink. Like we're entering that phase

0:54:26.830 --> 0:54:29.290
<v Speaker 2>of the movie at this point. But I was, I mean,

0:54:29.310 --> 0:54:31.670
<v Speaker 2>I'm just going to say it before it like leaves

0:54:31.730 --> 0:54:35.500
<v Speaker 2>my brain. But the way this movie ends, which we'll

0:54:35.580 --> 0:54:37.600
<v Speaker 2>talk about in more detail, but sort of leaves Lisa

0:54:37.739 --> 0:54:39.660
<v Speaker 2>in kind of, it seems like they don't know what

0:54:39.700 --> 0:54:41.900
<v Speaker 2>to do with her after she's outlived her use to

0:54:41.920 --> 0:54:43.960
<v Speaker 2>the boys. She's just kind of put somewhere as a

0:54:44.060 --> 0:54:47.040
<v Speaker 2>visual gag more than anything else. And I think about AI...

0:54:48.570 --> 0:54:51.029
<v Speaker 2>if Lisa is a fem bot, I don't really know

0:54:51.090 --> 0:54:53.489
<v Speaker 2>how to classify her. But like, when I think about

0:54:53.550 --> 0:55:00.300
<v Speaker 2>how AI movies that have feminine presences coded now, they

0:55:00.500 --> 0:55:03.480
<v Speaker 2>so often end on like a good for her note.

0:55:03.500 --> 0:55:06.459
<v Speaker 3>Yeah. Ex machina companion.

0:55:06.660 --> 0:55:07.860
<v Speaker 4>Her, I would argue as well.

0:55:08.020 --> 0:55:11.209
<v Speaker 2>Her, yes. And that these stories are crucially all written

0:55:11.250 --> 0:55:13.110
<v Speaker 2>by men. And I feel like that gets so messy,

0:55:13.210 --> 0:55:15.649
<v Speaker 2>including in the way that I'm sure that Caitlin, like

0:55:15.710 --> 0:55:17.089
<v Speaker 2>you and I have talked about it in the past,

0:55:17.110 --> 0:55:18.930
<v Speaker 2>because it's hard not to be like good for her,

0:55:19.290 --> 0:55:23.819
<v Speaker 2>but then you're rooting for an AI. And I just

0:55:23.860 --> 0:55:25.620
<v Speaker 2>find it interesting that all these stories are written by men,

0:55:25.700 --> 0:55:27.450
<v Speaker 2>I guess they're I don't know. I don't know.

0:55:27.810 --> 0:55:31.800
<v Speaker 5>See, I find the ending of this movie the opposite

0:55:31.840 --> 0:55:32.960
<v Speaker 5>of good for her because.

0:55:33.180 --> 0:55:33.779
<v Speaker 4>Yes, for sure.

0:55:33.800 --> 0:55:36.600
<v Speaker 5>You know, at the end of the movie, her, Samantha

0:55:36.640 --> 0:55:40.370
<v Speaker 5>and the other AIs, I guess they find enlightenment and they.

0:55:40.930 --> 0:55:43.290
<v Speaker 3>They fuck off to some other plane of existence.

0:55:43.330 --> 0:55:46.069
<v Speaker 5>Yeah, they evolve to a new plane that humans can't

0:55:46.110 --> 0:55:46.910
<v Speaker 5>get to or whatever.

0:55:46.930 --> 0:55:47.009
<v Speaker 3>Yeah.

0:55:47.890 --> 0:55:51.210
<v Speaker 5>Companion, we're left feeling like, okay, she's on the road.

0:55:51.230 --> 0:55:55.620
<v Speaker 5>Ex Machina, all of these kind of good-for-her endings. Lisa,

0:55:55.719 --> 0:56:00.200
<v Speaker 5>it seems to be trapped in perpetual servitude to teenage boys.

0:56:01.100 --> 0:56:03.080
<v Speaker 5>It's very much the opposite of good for her, bad

0:56:03.140 --> 0:56:04.400
<v Speaker 5>for her in my book.

0:56:04.420 --> 0:56:06.569
<v Speaker 2>Yeah, no, I totally agree. I just think it's interesting

0:56:06.590 --> 0:56:10.450
<v Speaker 2>that that's how the ending to this story has evolved

0:56:10.530 --> 0:56:13.950
<v Speaker 2>over time because it seems, I'm sure that there's other

0:56:14.800 --> 0:56:18.589
<v Speaker 2>I haven't seen all AI. I'm sure you've seen more

0:56:18.630 --> 0:56:22.029
<v Speaker 2>than we have, Bridget. But it's like the big ones

0:56:22.110 --> 0:56:24.089
<v Speaker 2>from the last 10 years sort of seem to have

0:56:24.450 --> 0:56:28.569
<v Speaker 2>this repeating beat that... Definitely. wants you to root for

0:56:28.610 --> 0:56:30.860
<v Speaker 2>an AI sort of under the guise of feminism. It's

0:56:30.900 --> 0:56:35.160
<v Speaker 2>also impossible not... I can't not root for Sophie Thatcher

0:56:35.180 --> 0:56:37.879
<v Speaker 2>at the end of Companion. Are you kidding me? But

0:56:37.900 --> 0:56:42.460
<v Speaker 2>what are the implications? I just... I would be so

0:56:42.540 --> 0:56:48.510
<v Speaker 2>curious to see anyone but a cis man try, like

0:56:48.989 --> 0:56:52.350
<v Speaker 2>take that premise and find a new ending for it.

0:56:52.610 --> 0:56:53.650
<v Speaker 3>For sure. Yeah.

0:56:53.989 --> 0:56:57.009
<v Speaker 5>And I never really put together until you said that,

0:56:57.090 --> 0:57:03.440
<v Speaker 5>that oftentimes the bots are feminized. The bots usually have

0:57:03.480 --> 0:57:07.700
<v Speaker 5>to go up against some sort of masculine threat or

0:57:07.800 --> 0:57:11.680
<v Speaker 5>masculine power structure. And a lot of the movies do

0:57:11.760 --> 0:57:16.200
<v Speaker 5>have this sort of like rah-rah sisterhood feminism kind of undercurrent.

0:57:16.510 --> 0:57:21.440
<v Speaker 5>What are they saying about women? You know what I mean?

0:57:22.080 --> 0:57:23.620
<v Speaker 5>I've never really thought about this before, but what are

0:57:23.660 --> 0:57:27.430
<v Speaker 5>they saying about women? That feminism is being sold through

0:57:27.470 --> 0:57:29.970
<v Speaker 5>these ladybots that aren't real.

0:57:30.210 --> 0:57:34.210
<v Speaker 3>Right, because these movies, if there are human women characters

0:57:34.350 --> 0:57:37.890
<v Speaker 3>in them, they're like secondary or tertiary characters. They're not

0:57:37.910 --> 0:57:38.470
<v Speaker 3>the focus.

0:57:38.670 --> 0:57:42.450
<v Speaker 2>And they're often presented as direct foils to the fembot

0:57:42.470 --> 0:57:44.790
<v Speaker 2>who we're rooting for. I'm thinking of the... I don't

0:57:44.830 --> 0:57:47.350
<v Speaker 2>remember the character's name. I'm going to pull up Scarlet

0:57:47.370 --> 0:57:52.730
<v Speaker 2>Journal Wikipedia, but the secondary... character in companion is presented

0:57:52.850 --> 0:57:56.580
<v Speaker 2>as a direct foil to our hero fembot okay character

0:57:56.600 --> 0:57:57.500
<v Speaker 2>named cat.

0:57:57.340 --> 0:58:00.750
<v Speaker 3>Or the olivia wild character in her Who is like, sure.

0:58:00.770 --> 0:58:02.810
<v Speaker 4>Yeah, yeah, yeah. And the ex-wife character in her.

0:58:03.170 --> 0:58:04.450
<v Speaker 2>Every other woman in her.

0:58:04.590 --> 0:58:07.790
<v Speaker 5>The human women in her are like, who would want

0:58:07.830 --> 0:58:09.690
<v Speaker 5>to deal with this irrationality?

0:58:09.730 --> 0:58:10.350
<v Speaker 3>Am I right?

0:58:10.670 --> 0:58:13.950
<v Speaker 4>Bitches be crazy. Look at this human woman, all her

0:58:14.010 --> 0:58:14.450
<v Speaker 4>hang up.

0:58:14.530 --> 0:58:15.750
<v Speaker 2>All divorcing.

0:58:15.790 --> 0:58:19.710
<v Speaker 4>You know how human women be divorcing?

0:58:21.280 --> 0:58:24.240
<v Speaker 2>And then also at the end, I mean, ultimately her

0:58:24.420 --> 0:58:27.380
<v Speaker 2>is about a man who can't not get divorced because

0:58:27.500 --> 0:58:30.640
<v Speaker 2>even Samantha divorces him. And what does that say about you?

0:58:30.760 --> 0:58:33.100
<v Speaker 2>What does that say about you if your AI divorces you?

0:58:33.720 --> 0:58:37.740
<v Speaker 2>But yeah, I'm like, maybe this is a totally different

0:58:37.760 --> 0:58:42.200
<v Speaker 2>podcast because you're totally right, Bridget. Lisa's ending is very

0:58:42.530 --> 0:58:45.630
<v Speaker 2>kind of ghoulish in a very different way. But that

0:58:45.930 --> 0:58:51.170
<v Speaker 2>in those stories around AI, women coded characters from the

0:58:51.210 --> 0:58:54.970
<v Speaker 2>last 10 to 15 years, we're not generally given a

0:58:55.460 --> 0:58:59.940
<v Speaker 2>human woman to root for. It's really just the AI

0:59:00.000 --> 0:59:03.520
<v Speaker 2>that we're rooting for. And how does that shape our view?

0:59:03.560 --> 0:59:05.590
<v Speaker 2>And how does that shape the public view of AI?

0:59:05.970 --> 0:59:08.970
<v Speaker 2>I'm sure quite a bit bleak.

0:59:09.570 --> 0:59:09.890
<v Speaker 4>Very bleak.

0:59:12.200 --> 0:59:14.840
<v Speaker 3>In any case here's what happens in the rest of

0:59:14.920 --> 0:59:23.680
<v Speaker 3>weird science so it's been vaguely established that Lisa's goal

0:59:23.700 --> 0:59:27.190
<v Speaker 3>is or objective or whatever is to try to get

0:59:27.270 --> 0:59:30.390
<v Speaker 3>these boys to seem cool and to get more popular.

0:59:30.670 --> 0:59:34.850
<v Speaker 3>So she throws a party more or less. Lisa goes

0:59:34.910 --> 0:59:38.580
<v Speaker 3>to Gary's house to pick him up for the party

0:59:38.600 --> 0:59:43.450
<v Speaker 3>and has a conversation with his parents who were like, Um,

0:59:43.790 --> 0:59:46.900
<v Speaker 3>who is this adult woman you're hanging out.

0:59:46.860 --> 0:59:49.480
<v Speaker 2>With, Gary? This scene goes off the rails.

0:59:49.780 --> 0:59:53.439
<v Speaker 3>This scene is absolutely nuts. They try to forbid Gary

0:59:53.460 --> 0:59:56.320
<v Speaker 3>from going to the party. An argument breaks out and

0:59:56.340 --> 1:00:01.140
<v Speaker 3>then Lisa pulls a gun on Gary's father. It's later

1:00:01.200 --> 1:00:03.820
<v Speaker 3>revealed that this is just a squirt gun, but no

1:00:03.880 --> 1:00:05.720
<v Speaker 3>one knows that because it looks like a real pistol.

1:00:06.300 --> 1:00:11.430
<v Speaker 3>And then also apparently Lisa erases Gary's parents' memory of

1:00:11.470 --> 1:00:15.240
<v Speaker 3>this interaction and But now Gary's dad doesn't remember his

1:00:15.320 --> 1:00:20.290
<v Speaker 3>son at all. So she also has like mind erasing powers.

1:00:20.310 --> 1:00:23.420
<v Speaker 2>I kind of love that Lisa can do these things,

1:00:23.440 --> 1:00:26.900
<v Speaker 2>but it's just deployed completely at random.

1:00:27.120 --> 1:00:27.410
<v Speaker 5>Yeah.

1:00:28.580 --> 1:00:31.680
<v Speaker 2>I mean, I think the performance in that scene is good. Also,

1:00:31.780 --> 1:00:36.330
<v Speaker 2>the way that John Hughes writes parents in his like

1:00:36.390 --> 1:00:39.750
<v Speaker 2>broad comedy specifically, he does have that. That's what's so

1:00:39.770 --> 1:00:41.730
<v Speaker 2>frustrating about him is like we know he can't write

1:00:41.770 --> 1:00:44.740
<v Speaker 2>a more nuanced parent. So when he doesn't, he's choosing

1:00:44.800 --> 1:00:47.810
<v Speaker 2>not to. Yeah, whatever. The way that the mom reacts

1:00:47.830 --> 1:00:51.690
<v Speaker 2>when she finds out her 17-year-old son has jerked off

1:00:51.730 --> 1:00:56.470
<v Speaker 2>before pissed me right off. Where she's like, you what?

1:00:56.490 --> 1:00:59.930
<v Speaker 2>I was like, look, if you know the parents of

1:00:59.970 --> 1:01:03.530
<v Speaker 2>a teenage boy, they're aware. They're aware. If you've had

1:01:03.610 --> 1:01:05.340
<v Speaker 2>a brother, you're aware.

1:01:05.360 --> 1:01:05.480
<v Speaker 3>I know.

1:01:06.280 --> 1:01:07.880
<v Speaker 4>I fully did not understand this scene.

1:01:07.920 --> 1:01:09.640
<v Speaker 5>I had to rewind it because I was like, did

1:01:09.660 --> 1:01:12.120
<v Speaker 5>I miss something here? I fully did not understand what

1:01:12.160 --> 1:01:13.640
<v Speaker 5>was going on with this part.

1:01:13.480 --> 1:01:13.940
<v Speaker 2>Of the movie.

1:01:14.000 --> 1:01:18.420
<v Speaker 3>No, it's just, yeah, character, parent characters being written as

1:01:18.720 --> 1:01:25.340
<v Speaker 3>caricatures and it's baffling. But anyway, Gary is now able

1:01:25.400 --> 1:01:29.360
<v Speaker 3>to go to the party. So we cut back to

1:01:29.550 --> 1:01:32.390
<v Speaker 3>Wyatt's house. People show up for the party. It seems

1:01:32.410 --> 1:01:36.780
<v Speaker 3>like hundreds of their classmates are there, including... the bullies,

1:01:37.060 --> 1:01:41.180
<v Speaker 3>Max and Ian, as well as their girlfriends, Deb and Hilly.

1:01:41.460 --> 1:01:43.300
<v Speaker 2>Which is, I think, here is where we learn what

1:01:43.320 --> 1:01:43.940
<v Speaker 2>their names are.

1:01:44.340 --> 1:01:48.240
<v Speaker 3>Yeah, there's a scene where Wyatt and Gary are in

1:01:48.280 --> 1:01:51.480
<v Speaker 3>the bathroom, kind of hiding, because they're like, we don't

1:01:51.500 --> 1:01:54.940
<v Speaker 3>know how to be at a party. And then the

1:01:54.980 --> 1:01:58.950
<v Speaker 3>two girls come in, and then Wyatt and Gary have

1:01:58.990 --> 1:02:03.970
<v Speaker 3>a little sidebar where they're like, Lisa's great and everything,

1:02:04.450 --> 1:02:08.350
<v Speaker 3>but these girls... Are awesome. And we want them to

1:02:08.390 --> 1:02:09.760
<v Speaker 3>be our girlfriends.

1:02:10.110 --> 1:02:10.560
<v Speaker 5>Are they?

1:02:10.580 --> 1:02:14.010
<v Speaker 2>Because I guess I was confused. Do they know each

1:02:14.090 --> 1:02:17.310
<v Speaker 2>other and the girls just forget? Or do they genuinely

1:02:17.490 --> 1:02:20.850
<v Speaker 2>all not know each other? Because to speak to the

1:02:20.890 --> 1:02:24.530
<v Speaker 2>writing of this movie, the boys are still introducing themselves

1:02:24.730 --> 1:02:27.550
<v Speaker 2>at the end of the movie to them. So I'm like,

1:02:27.750 --> 1:02:29.950
<v Speaker 2>don't they go to school together? I'm confused.

1:02:30.050 --> 1:02:32.030
<v Speaker 5>Aren't these the girls they watch at the beginning of

1:02:32.050 --> 1:02:33.630
<v Speaker 5>the movie in gymnastics class?

1:02:33.970 --> 1:02:34.189
<v Speaker 2>Yes.

1:02:34.230 --> 1:02:36.370
<v Speaker 3>So it seems like the boys know the girls, but

1:02:36.430 --> 1:02:39.550
<v Speaker 3>the girls don't know the boys. Like these boys are

1:02:39.590 --> 1:02:43.340
<v Speaker 3>too loserish, quote unquote, and nerdy or whatever. For them

1:02:43.380 --> 1:02:44.540
<v Speaker 3>to be on the girls' radar.

1:02:44.560 --> 1:02:49.520
<v Speaker 2>But they also saw an IC get dumped on them, like, yesterday. Right.

1:02:49.560 --> 1:02:49.900
<v Speaker 4>I don't know.

1:02:50.980 --> 1:02:56.260
<v Speaker 2>Obviously, like, these characters are not written out or thought about. They're, like, random. They're, like,

1:02:56.340 --> 1:03:02.650
<v Speaker 2>sentient trophies that wander the plot. But, like, yeah, because

1:03:02.710 --> 1:03:05.130
<v Speaker 2>it keeps happening, I was like, no, you guys go

1:03:05.190 --> 1:03:07.770
<v Speaker 2>to school together. How big is this school? Anyways.

1:03:08.210 --> 1:03:11.090
<v Speaker 5>There was a scene with the girls in the bathroom

1:03:11.130 --> 1:03:13.710
<v Speaker 5>that I– wanted to ask about because I genuinely don't

1:03:13.750 --> 1:03:16.410
<v Speaker 5>feel like I understood what I watched where the girls

1:03:16.450 --> 1:03:18.650
<v Speaker 5>are like, they come into the bathroom, the boys go

1:03:18.700 --> 1:03:20.760
<v Speaker 5>into the shower and there they make, they make, there's

1:03:20.780 --> 1:03:22.360
<v Speaker 5>like a kind of a cute scene where they make

1:03:22.380 --> 1:03:24.260
<v Speaker 5>the game plan of like, we're going to talk to

1:03:24.280 --> 1:03:26.700
<v Speaker 5>these girls, but we still like Lisa. And then they

1:03:26.900 --> 1:03:29.920
<v Speaker 5>look out of the shower and it's two completely different girls.

1:03:31.120 --> 1:03:31.580
<v Speaker 4>Oh yes.

1:03:31.640 --> 1:03:32.780
<v Speaker 3>Here's my read of that scene.

1:03:32.800 --> 1:03:33.300
<v Speaker 2>Yeah.

1:03:33.460 --> 1:03:35.960
<v Speaker 3>I think it's implied that the boys have just been

1:03:36.040 --> 1:03:38.990
<v Speaker 3>in there so long, like in the shower deliberating and,

1:03:39.480 --> 1:03:42.930
<v Speaker 3>that the other girls have left and two new people

1:03:42.990 --> 1:03:47.490
<v Speaker 3>have come in. And, and the joke is that these

1:03:47.710 --> 1:03:52.030
<v Speaker 3>girls are gross and ugly simply because they're fat. And

1:03:52.070 --> 1:03:54.170
<v Speaker 3>so it's just like casual fat phobia.

1:03:54.510 --> 1:03:58.230
<v Speaker 2>Right. And they're also, and, and they're like wearing different,

1:03:58.250 --> 1:04:01.590
<v Speaker 2>like they're people who don't exist. Like they're a car,

1:04:02.010 --> 1:04:04.900
<v Speaker 2>a cartoonish, there's more caricatures.

1:04:05.120 --> 1:04:05.340
<v Speaker 1>Yeah.

1:04:05.620 --> 1:04:08.940
<v Speaker 2>Of like, quote unquote, women were not attracted to, which

1:04:08.980 --> 1:04:12.390
<v Speaker 2>is like, Again, a John Hughes staple indeed.

1:04:12.430 --> 1:04:12.630
<v Speaker 4>Yeah.

1:04:12.930 --> 1:04:16.520
<v Speaker 5>Fat phobic, also hacky, very hacky joke and like a

1:04:16.560 --> 1:04:17.140
<v Speaker 5>little muddled.

1:04:17.160 --> 1:04:18.140
<v Speaker 4>Right.

1:04:18.220 --> 1:04:19.800
<v Speaker 3>It's not even clear.

1:04:19.820 --> 1:04:20.910
<v Speaker 4>Confusing.

1:04:21.370 --> 1:04:24.910
<v Speaker 3>Especially because Lisa is a wizard and she is able

1:04:24.950 --> 1:04:26.370
<v Speaker 3>to change anything.

1:04:26.430 --> 1:04:26.730
<v Speaker 2>Right.

1:04:27.150 --> 1:04:29.150
<v Speaker 5>So I thought there was Lisa. When I first saw

1:04:29.170 --> 1:04:32.910
<v Speaker 5>that scene, I was like, oh, maybe Lisa turned them into, quote,

1:04:32.930 --> 1:04:36.570
<v Speaker 5>like the ugly girls because she wants to keep them

1:04:36.650 --> 1:04:40.610
<v Speaker 5>from connecting with these. When there's a wizard in the plot,

1:04:40.950 --> 1:04:44.090
<v Speaker 5>John Hughes, you got to be aware that stuff's going

1:04:44.110 --> 1:04:46.050
<v Speaker 5>to happen. And the audience is like, oh, this is

1:04:46.070 --> 1:04:47.670
<v Speaker 5>like wizard shit. And it's like, no, no, it's just

1:04:47.710 --> 1:04:50.870
<v Speaker 5>a confusing half-baked joke that doesn't really make sense.

1:04:50.890 --> 1:04:51.130
<v Speaker 2>For sure.

1:04:51.150 --> 1:04:51.730
<v Speaker 4>Oh, okay.

1:04:52.130 --> 1:04:54.010
<v Speaker 3>Yeah, it's more bad writing.

1:04:55.160 --> 1:04:56.060
<v Speaker 2>It's confusing, yeah.

1:04:56.240 --> 1:05:00.620
<v Speaker 3>Anyway, so the boys are now interested in these girls,

1:05:00.800 --> 1:05:05.120
<v Speaker 3>Deb and Hilly. Meanwhile, Lisa is talking to Max and Ian,

1:05:05.260 --> 1:05:09.520
<v Speaker 3>the bullies, telling them that she belongs to Gary and

1:05:09.580 --> 1:05:13.050
<v Speaker 3>Wyatt and she does whatever they say. So Ian and

1:05:13.090 --> 1:05:16.790
<v Speaker 3>Max go to Gary and Wyatt and ask them if

1:05:16.830 --> 1:05:20.770
<v Speaker 3>they can borrow Lisa... And if they agree to that,

1:05:21.660 --> 1:05:26.580
<v Speaker 3>they will let Wyatt and Gary have their girlfriends, Deb

1:05:26.640 --> 1:05:29.440
<v Speaker 3>and Hilly, talking about these two girls as if they

1:05:29.500 --> 1:05:31.920
<v Speaker 3>are objects that can just be traded around.

1:05:32.340 --> 1:05:35.700
<v Speaker 2>This is so wild. Like, yeah, we're truly like movie.

1:05:35.760 --> 1:05:38.560
<v Speaker 2>You don't need to even be like, they're acting as

1:05:38.860 --> 1:05:41.520
<v Speaker 2>if women are like, they're just saying they're just doing

1:05:41.560 --> 1:05:45.500
<v Speaker 2>women are property and whatever. This movie is never like,

1:05:45.660 --> 1:05:47.760
<v Speaker 2>because of the time it comes out, this movie can't

1:05:47.800 --> 1:05:51.040
<v Speaker 2>have the conversation of like, lisa is not a real

1:05:51.100 --> 1:05:53.620
<v Speaker 2>person but like so if we're to view lisa as

1:05:53.660 --> 1:05:56.820
<v Speaker 2>a woman which this movie does women are property and

1:05:56.860 --> 1:06:02.970
<v Speaker 2>let's trade these and consent is whatever um we do

1:06:03.010 --> 1:06:06.450
<v Speaker 2>get one interest again one of the like interesting like

1:06:06.510 --> 1:06:10.410
<v Speaker 2>huh what's that that goes away is because there's so

1:06:10.470 --> 1:06:15.060
<v Speaker 2>much in this like jocks versus nerds dynamic that John

1:06:15.100 --> 1:06:20.640
<v Speaker 2>Hughes also loves that is really entrenched in masculinity. And

1:06:20.680 --> 1:06:25.950
<v Speaker 2>women are always pawns in this exchange of like, you know,

1:06:26.680 --> 1:06:28.850
<v Speaker 2>you have to beat down on somebody you view as

1:06:28.890 --> 1:06:35.150
<v Speaker 2>less weak to prove your masculinity. And if you're how

1:06:35.310 --> 1:06:39.330
<v Speaker 2>women view each other. And we get one exchange that

1:06:39.470 --> 1:06:41.740
<v Speaker 2>if we're viewing Lisa as a woman, or I mean,

1:06:41.760 --> 1:06:45.260
<v Speaker 2>these characters are perceiving Lisa as a woman, that they're

1:06:45.320 --> 1:06:48.420
<v Speaker 2>like talking about how they're both kind of threatened by her,

1:06:48.460 --> 1:06:51.240
<v Speaker 2>but they're also fascinated by her. And she's so glamorous

1:06:51.300 --> 1:06:54.200
<v Speaker 2>and she's so cool. And like, oh my God, whoa,

1:06:54.300 --> 1:06:55.510
<v Speaker 2>how can we compare to her?

1:06:55.530 --> 1:06:56.490
<v Speaker 3>Her British accent.

1:06:56.510 --> 1:06:58.490
<v Speaker 4>Her burps are charming even. Yeah.

1:06:58.970 --> 1:07:01.250
<v Speaker 2>And you're like, okay, it's very of its time, but

1:07:01.290 --> 1:07:04.410
<v Speaker 2>it's like, to be like, oh, that's unfortunately kind of

1:07:04.430 --> 1:07:06.930
<v Speaker 2>the most personality you see out of these two characters

1:07:07.050 --> 1:07:11.760
<v Speaker 2>is how they're kind of enchanted by this older woman.

1:07:12.700 --> 1:07:14.920
<v Speaker 2>But it doesn't go anywhere. So, nope.

1:07:14.960 --> 1:07:19.600
<v Speaker 5>Yeah, that's the seed of the more interesting movie that

1:07:19.640 --> 1:07:23.090
<v Speaker 5>I think is in there somewhere. If John Hughes had

1:07:23.110 --> 1:07:25.430
<v Speaker 5>just given it another 24 hours, that might have come out.

1:07:25.530 --> 1:07:26.890
<v Speaker 4>But yeah, the way.

1:07:26.750 --> 1:07:30.210
<v Speaker 5>That these characters young girls see lisa they're like oh

1:07:30.230 --> 1:07:32.070
<v Speaker 5>she doesn't have a zit on her body like oh

1:07:32.090 --> 1:07:35.320
<v Speaker 5>my god they're threatened by her but also enchanted that

1:07:35.340 --> 1:07:38.220
<v Speaker 5>would be an interesting plot point of how does how

1:07:38.240 --> 1:07:40.620
<v Speaker 5>do the young women in this community and in this

1:07:40.660 --> 1:07:43.600
<v Speaker 5>school react to lisa not just the horny boys.

1:07:43.600 --> 1:07:47.050
<v Speaker 2>Yeah yes but that is unfortunately not.

1:07:48.770 --> 1:07:53.890
<v Speaker 3>What the movie's about god damn it So the bullies

1:07:54.130 --> 1:07:57.380
<v Speaker 3>pitch this idea of like, if you let us have Lisa,

1:07:57.540 --> 1:08:02.240
<v Speaker 3>we'll let you guys have our girlfriends. But Gary and

1:08:02.300 --> 1:08:05.439
<v Speaker 3>Wyatt have a better idea. They're just going to make

1:08:05.460 --> 1:08:09.590
<v Speaker 3>a whole new woman for Max and Ian. So they

1:08:09.630 --> 1:08:13.570
<v Speaker 3>design another woman on the computer and they do the

1:08:13.630 --> 1:08:17.420
<v Speaker 3>same thing. ritual thing with the bras on their heads.

1:08:18.160 --> 1:08:22.450
<v Speaker 3>And all the weird science stuff happens again with the

1:08:22.490 --> 1:08:25.350
<v Speaker 3>sky turning red and a bunch of furniture goes flying

1:08:25.390 --> 1:08:28.690
<v Speaker 3>out of the house. The whole kitchen turns blue for

1:08:28.729 --> 1:08:33.770
<v Speaker 3>some reason. And they create something. But oh no, the

1:08:33.910 --> 1:08:38.100
<v Speaker 3>boys forgot to hook up a Barbie doll. And instead

1:08:38.180 --> 1:08:41.530
<v Speaker 3>the wires were laying on like a time magazine or

1:08:41.570 --> 1:08:45.270
<v Speaker 3>something with a nuclear warhead on the cover so they

1:08:45.450 --> 1:08:50.320
<v Speaker 3>accidentally create a giant missile that crashes through the middle

1:08:50.360 --> 1:08:53.260
<v Speaker 3>of the house and if you're wondering does this pay

1:08:53.340 --> 1:08:57.490
<v Speaker 3>off in any way are there any consequences here nope

1:08:57.890 --> 1:08:59.910
<v Speaker 3>none whatsoever yes.

1:09:00.030 --> 1:09:03.750
<v Speaker 5>Again it's like a long sequence where the bully guys

1:09:03.790 --> 1:09:05.530
<v Speaker 5>are like we want her to have these kinds of

1:09:05.570 --> 1:09:08.480
<v Speaker 5>boobs and this and that and the sequence when the

1:09:08.530 --> 1:09:11.440
<v Speaker 5>weird science bit happens and the sky turns colors is

1:09:11.520 --> 1:09:14.639
<v Speaker 5>so long the furniture goes out the chimney and there's

1:09:14.880 --> 1:09:17.540
<v Speaker 5>There's a woman who is stripped.

1:09:17.260 --> 1:09:20.220
<v Speaker 4>Naked and thrown into a lake for some reason.

1:09:20.360 --> 1:09:23.479
<v Speaker 5>It's such an extended scene for this to just result

1:09:23.540 --> 1:09:25.720
<v Speaker 5>in a missile that later just disappears.

1:09:25.780 --> 1:09:27.060
<v Speaker 3>Has no payoff at all.

1:09:27.280 --> 1:09:28.179
<v Speaker 4>No, none.

1:09:28.860 --> 1:09:32.540
<v Speaker 2>And it's so expensive because you're like, it's practical. You

1:09:32.580 --> 1:09:35.620
<v Speaker 2>know it's practical. You're like, this is such an expensive

1:09:35.660 --> 1:09:38.960
<v Speaker 2>thing to not think all the way through. And throwing

1:09:39.000 --> 1:09:42.380
<v Speaker 2>a woman off the top of a building was... you know,

1:09:42.400 --> 1:09:46.979
<v Speaker 2>that was something. Well, thank you. No, I mean, Bridget,

1:09:47.020 --> 1:09:49.080
<v Speaker 2>going back to something you said a while back, that

1:09:49.120 --> 1:09:51.670
<v Speaker 2>was where I was like, cause she's a unnamed character

1:09:51.729 --> 1:09:56.090
<v Speaker 2>who is plot stripped by the wizarding strength of horny

1:09:56.310 --> 1:09:59.390
<v Speaker 2>men and then tossed off a building. We have no

1:09:59.450 --> 1:10:01.689
<v Speaker 2>idea who this character is. Not that I wanted this

1:10:01.729 --> 1:10:03.179
<v Speaker 2>to happen to Lisa, but when I saw her sitting

1:10:03.220 --> 1:10:06.520
<v Speaker 2>at a piano, I was like, wait, doesn't Lisa know Beethoven?

1:10:07.420 --> 1:10:10.559
<v Speaker 2>But instead we just invented a new character. Like, It

1:10:10.640 --> 1:10:14.519
<v Speaker 2>just is so, what the fuck is going on in

1:10:14.540 --> 1:10:16.540
<v Speaker 2>this movie? There's a few things that I'm just like,

1:10:17.660 --> 1:10:20.950
<v Speaker 2>men are so powerful because they can get a budget

1:10:20.970 --> 1:10:23.269
<v Speaker 2>for fucking anything. They can turn Bill Paxton into a

1:10:23.310 --> 1:10:25.870
<v Speaker 2>poo-poo monster and they don't even need to write a

1:10:25.890 --> 1:10:27.150
<v Speaker 2>script that makes sense to get a.

1:10:27.310 --> 1:10:28.349
<v Speaker 4>Poo-poo monster budget.

1:10:28.370 --> 1:10:29.670
<v Speaker 2>What the hell?

1:10:29.720 --> 1:10:32.540
<v Speaker 3>John Hughes was so preoccupied with whether or not he

1:10:32.600 --> 1:10:34.740
<v Speaker 3>could that he didn't stop to think if he should.

1:10:34.760 --> 1:10:35.480
<v Speaker 2>Yeah.

1:10:35.500 --> 1:10:36.580
<v Speaker 3>To quote Jurassic Park.

1:10:37.420 --> 1:10:39.820
<v Speaker 2>And one of his other kind of main things, again,

1:10:39.840 --> 1:10:42.720
<v Speaker 2>that we like know that John Hughes is like equipped

1:10:42.840 --> 1:10:46.080
<v Speaker 2>to handle, but not doesn't seem to want to in

1:10:46.100 --> 1:10:47.850
<v Speaker 2>the scope of this movie is the idea of class

1:10:47.900 --> 1:10:50.879
<v Speaker 2>because we're in the. herbo up or we're dealing with

1:10:51.080 --> 1:10:55.100
<v Speaker 2>very privileged nerds this house it has like a fucking

1:10:55.180 --> 1:10:59.060
<v Speaker 2>moat um yeah yes.

1:10:59.439 --> 1:11:03.410
<v Speaker 3>Um okay so the the nuclear missile appears and rather

1:11:03.430 --> 1:11:06.510
<v Speaker 3>than it having any consequences lisa comes in and is

1:11:06.550 --> 1:11:09.720
<v Speaker 3>just like when are you boys going to learn that

1:11:10.130 --> 1:11:12.790
<v Speaker 3>people are going to like you for who you are

1:11:13.220 --> 1:11:16.340
<v Speaker 3>not for what you can give them and we're like

1:11:16.640 --> 1:11:18.680
<v Speaker 3>okay is that the is that the theme of the

1:11:18.720 --> 1:11:21.320
<v Speaker 3>movie is that the less i don't what and then

1:11:21.340 --> 1:11:24.939
<v Speaker 3>there's the part where wyatt's grandparents decide to stop by

1:11:25.320 --> 1:11:29.120
<v Speaker 3>so lisa makes them catatonic and puts them in the

1:11:29.180 --> 1:11:34.110
<v Speaker 3>pantry and then lisa is like hmm i should do

1:11:34.189 --> 1:11:39.260
<v Speaker 3>something to boost the boy's confidence and Let them demonstrate

1:11:39.340 --> 1:11:44.200
<v Speaker 3>that they have strength and courage. So she summons a

1:11:44.380 --> 1:11:50.590
<v Speaker 3>Mad Max-style motorcycle gang that crashes the party, terrorizes everyone,

1:11:51.090 --> 1:11:54.939
<v Speaker 3>mocks Wyatt and Gary, who are hiding in the closet

1:11:54.960 --> 1:11:58.500
<v Speaker 3>for a little while, but then they... rise to the

1:11:58.580 --> 1:12:04.860
<v Speaker 3>occasion and face the motorcycle gang especially after they damsel

1:12:05.080 --> 1:12:06.900
<v Speaker 3>the girls that they like.

1:12:07.020 --> 1:12:08.840
<v Speaker 2>And then we're still like at the at this point

1:12:08.860 --> 1:12:11.760
<v Speaker 2>you're like what's happening what are these girls names right

1:12:12.240 --> 1:12:13.280
<v Speaker 2>um what's.

1:12:13.200 --> 1:12:15.230
<v Speaker 3>One detail about these girls yeah.

1:12:14.970 --> 1:12:18.030
<v Speaker 4>And the the boys are still like hey i'm chet.

1:12:17.830 --> 1:12:21.389
<v Speaker 5>I'm carrie you've had both scenes with each other by this.

1:12:21.310 --> 1:12:24.689
<v Speaker 2>Point they're like they're like i love you that's coming

1:12:24.750 --> 1:12:28.150
<v Speaker 2>soon but you're like no you don't you don't Whatever.

1:12:28.170 --> 1:12:29.510
<v Speaker 3>You've known them for two hours.

1:12:29.729 --> 1:12:32.910
<v Speaker 4>One plot question, and maybe this is unanswerable.

1:12:33.310 --> 1:12:37.210
<v Speaker 5>Am I to understand that Lisa, like, genie conjured up

1:12:37.430 --> 1:12:42.740
<v Speaker 5>these Mad Max motorcycle mutants and that there is no

1:12:42.920 --> 1:12:46.780
<v Speaker 5>real danger that she has just sort of, like, created

1:12:46.840 --> 1:12:50.200
<v Speaker 5>this fake emergency for them to rise to the occasion

1:12:50.220 --> 1:12:52.880
<v Speaker 5>so that they can be confident and get the girls

1:12:52.939 --> 1:12:54.880
<v Speaker 5>to like them, but they are not in any real

1:12:54.939 --> 1:12:56.330
<v Speaker 5>danger because she's taking care of it.

1:12:57.490 --> 1:12:58.269
<v Speaker 4>Is that sort of the vibe? Yes.

1:12:58.290 --> 1:13:01.990
<v Speaker 2>I don't know. Because she sometimes, like, mutters to herself.

1:13:02.490 --> 1:13:05.269
<v Speaker 2>She does it after the stakes of the grandparents are,

1:13:05.390 --> 1:13:08.400
<v Speaker 2>after the grandparents are, like, frozen. She, like, says to herself,

1:13:09.080 --> 1:13:12.580
<v Speaker 2>I think the boys need a little challenge. And then

1:13:12.700 --> 1:13:16.320
<v Speaker 2>moments later, the motorcyclists show up. So I think that she's, like,

1:13:16.840 --> 1:13:20.100
<v Speaker 2>conjuring them. I don't know. I want to spend an

1:13:20.140 --> 1:13:23.750
<v Speaker 2>hour inside of Lisa's mind. Because I'm just, like, how

1:13:23.810 --> 1:13:25.750
<v Speaker 2>she gets from A to B is sometimes kind of

1:13:25.790 --> 1:13:30.420
<v Speaker 2>beyond me. I'm interested. Yeah. But what is going on?

1:13:30.600 --> 1:13:33.099
<v Speaker 2>What's going on? And I guess a real Mad Max

1:13:33.160 --> 1:13:35.940
<v Speaker 2>guy is in this sequence, right? I'm not a Mad

1:13:35.979 --> 1:13:37.549
<v Speaker 2>Max head, but I read it.

1:13:37.760 --> 1:13:38.720
<v Speaker 4>I think that's right.

1:13:38.740 --> 1:13:39.760
<v Speaker 2>It's true.

1:13:40.560 --> 1:13:43.439
<v Speaker 3>So the girls have been damseled by this motorcycle gang.

1:13:44.010 --> 1:13:48.309
<v Speaker 3>So Gary pulls the gun that Lisa had earlier on

1:13:48.370 --> 1:13:51.890
<v Speaker 3>them and the gang leaves. But haha, it turns out

1:13:51.930 --> 1:13:55.490
<v Speaker 3>to be a real gun. this time because I guess

1:13:55.530 --> 1:13:59.730
<v Speaker 3>Lisa has the wizard powers to make a squirt gun

1:13:59.770 --> 1:14:04.309
<v Speaker 3>a real gun who knows but Deb and Hilly are

1:14:04.450 --> 1:14:08.720
<v Speaker 3>now like wow you boys are so strong and brave

1:14:09.300 --> 1:14:13.960
<v Speaker 3>so they just get together with the boys Wyatt goes

1:14:14.000 --> 1:14:17.340
<v Speaker 3>off with Hilly Gary goes off with Deb so the

1:14:17.800 --> 1:14:21.420
<v Speaker 3>brunettes together and the blondes together of course I know.

1:14:21.540 --> 1:14:23.740
<v Speaker 2>And I'm just like, if we're if we're doing something

1:14:23.800 --> 1:14:28.240
<v Speaker 2>this like obvious, can we at least swap hair colors?

1:14:28.740 --> 1:14:31.490
<v Speaker 2>It's looking sibling. It's looking very sibling to me.

1:14:31.610 --> 1:14:32.250
<v Speaker 3>It's creepy.

1:14:32.570 --> 1:14:32.889
<v Speaker 1>Yeah.

1:14:33.010 --> 1:14:35.910
<v Speaker 3>And at least one of the girls expresses feelings of

1:14:35.970 --> 1:14:41.340
<v Speaker 3>self-consciousness about the boys connection to Lisa. But the tune

1:14:41.350 --> 1:14:45.080
<v Speaker 3>has sort of changed here. And the boys are like, nah,

1:14:45.439 --> 1:14:47.180
<v Speaker 3>she's more of a sister to us.

1:14:47.770 --> 1:14:49.970
<v Speaker 5>Which is why you wanted to shower with her, why

1:14:49.990 --> 1:14:51.810
<v Speaker 5>she was grabbing your ass earlier.

1:14:51.850 --> 1:14:55.549
<v Speaker 2>Right, like why, yeah, that you've both had extensive sexual

1:14:55.650 --> 1:14:56.630
<v Speaker 2>contact with her.

1:14:56.729 --> 1:14:59.769
<v Speaker 3>Right, right, right, right, right. Right, right, right, right. So

1:14:59.810 --> 1:15:02.519
<v Speaker 3>then we cut to the next day. Chet comes home.

1:15:03.060 --> 1:15:06.220
<v Speaker 3>Who knows where he was, but he just disappears from

1:15:06.260 --> 1:15:09.179
<v Speaker 3>the plot from time to time. But he comes home

1:15:09.520 --> 1:15:13.549
<v Speaker 3>and he's yelling at everyone. He threatens to shoot Gary

1:15:13.590 --> 1:15:18.460
<v Speaker 3>and Deb with his shotgun or whatever. And Lisa is like,

1:15:18.810 --> 1:15:23.450
<v Speaker 3>don't worry, I'll handle this. So the boys leave with

1:15:23.490 --> 1:15:28.550
<v Speaker 3>their girlfriends and Lisa turns Chet into a like gooey

1:15:28.710 --> 1:15:30.810
<v Speaker 3>blob poop monster.

1:15:31.070 --> 1:15:34.469
<v Speaker 2>Kind of like a, is it an actual Henson prosthetic?

1:15:34.510 --> 1:15:36.450
<v Speaker 2>It looks like it. It could be.

1:15:37.130 --> 1:15:39.670
<v Speaker 3>It reminded me of Pizza the Hut from Spaceballs.

1:15:40.189 --> 1:15:42.799
<v Speaker 4>Yeah, that's what it was. I was trying to put

1:15:42.810 --> 1:15:46.820
<v Speaker 4>my finger on what it was. It's familiar. Yeah.

1:15:48.120 --> 1:15:52.120
<v Speaker 3>Yeah, but it's slimy and gross. And she does this

1:15:52.320 --> 1:15:56.570
<v Speaker 3>as punishment for Chet treating Wyatt and Gary so badly.

1:15:56.830 --> 1:16:00.890
<v Speaker 3>So Chet learns his lesson because I guess Lisa's job

1:16:00.950 --> 1:16:05.110
<v Speaker 3>is just to like teach boys the lessons.

1:16:04.590 --> 1:16:07.550
<v Speaker 2>And Well, and she also around this point confidently states

1:16:07.630 --> 1:16:09.930
<v Speaker 2>what I think the movie thinks its own thesis is,

1:16:10.030 --> 1:16:13.920
<v Speaker 2>but makes no sense in any world. What are you

1:16:13.960 --> 1:16:15.920
<v Speaker 2>going to learn that people like you for what you

1:16:16.120 --> 1:16:18.040
<v Speaker 2>are and not for what you can give them? I'm like,

1:16:18.500 --> 1:16:22.380
<v Speaker 2>what about anything we've seen would suggest that these boys

1:16:22.500 --> 1:16:28.040
<v Speaker 2>are a likable or... Or like that message is like

1:16:28.520 --> 1:16:31.300
<v Speaker 2>not really present in the movie at all, but it

1:16:31.400 --> 1:16:35.410
<v Speaker 2>stated so confidently at the end because we need the

1:16:35.470 --> 1:16:38.910
<v Speaker 2>girls to end up with the boys and Lisa to

1:16:38.950 --> 1:16:41.679
<v Speaker 2>sort of be the fairy godmother stewarding all of this.

1:16:42.340 --> 1:16:43.639
<v Speaker 2>It's so confusing.

1:16:44.010 --> 1:16:45.890
<v Speaker 5>It's like that bit in The Simpsons.

1:16:46.330 --> 1:16:50.110
<v Speaker 4>Lisa, the point of Moby Dick is be yourself. Right.

1:16:50.180 --> 1:16:53.200
<v Speaker 4>That's the moral we're going with after all of this.

1:16:53.240 --> 1:16:54.059
<v Speaker 4>That's where we've landed.

1:16:54.100 --> 1:16:54.200
<v Speaker 5>OK.

1:16:54.439 --> 1:16:55.080
<v Speaker 3>OK, movie.

1:16:55.160 --> 1:16:55.599
<v Speaker 4>OK.

1:16:55.700 --> 1:17:00.070
<v Speaker 2>Whatever. Like, sure. But it was. Yeah, it's just such

1:17:00.110 --> 1:17:02.969
<v Speaker 2>a mess where I don't know, even the way that

1:17:03.250 --> 1:17:06.340
<v Speaker 2>Kelly LeBrock is delivering that line, like whatever. we all

1:17:06.439 --> 1:17:08.510
<v Speaker 2>know that's not what the message of the movie is.

1:17:08.590 --> 1:17:11.350
<v Speaker 2>The message of the movie is no one knows. It's

1:17:11.430 --> 1:17:12.290
<v Speaker 2>really unclear.

1:17:12.530 --> 1:17:16.110
<v Speaker 3>It's nothing. Well, cause the next thing that happens, we,

1:17:16.330 --> 1:17:20.370
<v Speaker 3>we cut to Gary and Wyatt are driving around their

1:17:20.390 --> 1:17:25.310
<v Speaker 3>new girlfriends in the various expensive sport cars that Lisa

1:17:25.620 --> 1:17:29.360
<v Speaker 3>has conjured out of thin air. There's a random car

1:17:29.400 --> 1:17:32.600
<v Speaker 3>chase for no fucking reason. But then with all of

1:17:32.660 --> 1:17:37.090
<v Speaker 3>the confidence that Lisa has given them, The boys give

1:17:37.120 --> 1:17:40.930
<v Speaker 3>their girlfriends a smooch. And then Gary admits that he's

1:17:41.030 --> 1:17:44.470
<v Speaker 3>not even cool, but he wants Deb to like him

1:17:44.530 --> 1:17:48.349
<v Speaker 3>for who he is. And she's like, don't worry, I do.

1:17:48.930 --> 1:17:51.740
<v Speaker 3>Which would be a good message if he wasn't also

1:17:51.880 --> 1:17:55.080
<v Speaker 3>a despicable misogynist piece of shit.

1:17:55.360 --> 1:17:56.840
<v Speaker 2>A despicable misogynist.

1:17:58.080 --> 1:17:58.340
<v Speaker 3>Yeah.

1:17:58.640 --> 1:17:59.240
<v Speaker 4>Yeah.

1:17:59.439 --> 1:18:02.320
<v Speaker 2>It is just like nonsense. Yes. And then.

1:18:02.950 --> 1:18:05.990
<v Speaker 3>Gary and Wyatt come back to Wyatt's house and approach

1:18:06.090 --> 1:18:10.710
<v Speaker 3>Lisa to be like, hey, we got to talk. And

1:18:10.770 --> 1:18:14.760
<v Speaker 3>she's like, oh, you guys found girlfriends. Don't worry. That's

1:18:14.900 --> 1:18:17.939
<v Speaker 3>all I ever wanted for you. I'm so happy you

1:18:17.960 --> 1:18:21.020
<v Speaker 3>guys learned all these lessons. And she's like crying. And

1:18:22.080 --> 1:18:23.740
<v Speaker 3>then she's just like, okay, got to go.

1:18:24.580 --> 1:18:25.920
<v Speaker 2>She leaves.

1:18:25.960 --> 1:18:28.690
<v Speaker 3>And it seems like she kind of disappeared from whence

1:18:28.870 --> 1:18:32.950
<v Speaker 3>she came. And then the house transforms back to normal.

1:18:33.030 --> 1:18:38.950
<v Speaker 3>The nuclear missile disappears. Everything returns to the way it

1:18:38.990 --> 1:18:41.990
<v Speaker 3>was just in time for Wyatt's parents to arrive back home.

1:18:42.490 --> 1:18:45.040
<v Speaker 3>And the boys are like, haha, no, we didn't get

1:18:45.100 --> 1:18:48.540
<v Speaker 3>into anything wacky this weekend. It was a very normal

1:18:48.600 --> 1:18:51.160
<v Speaker 3>time for us. And then the button on the movie

1:18:51.320 --> 1:18:54.680
<v Speaker 3>is we cut to the school. Lisa has not disappeared.

1:18:55.020 --> 1:18:58.100
<v Speaker 3>She's there and she's a gym teacher now. And all

1:18:58.140 --> 1:19:00.280
<v Speaker 3>the boys, all the teen boys are ogling at her.

1:19:00.380 --> 1:19:02.509
<v Speaker 4>They all faint. They're so surprised.

1:19:02.550 --> 1:19:07.750
<v Speaker 5>It's a hot gym teacher in a hot gym teacher's outfit.

1:19:07.890 --> 1:19:09.729
<v Speaker 2>It's simply so confusing. Yeah.

1:19:10.370 --> 1:19:12.350
<v Speaker 3>So that's the end of the movie. Let's take another

1:19:12.390 --> 1:19:15.290
<v Speaker 3>quick break and then we'll come back to discuss.

1:19:25.710 --> 1:19:26.570
<v Speaker 2>And we're back.

1:19:27.030 --> 1:19:31.310
<v Speaker 3>Bridget, we've talked a lot already about many things, but

1:19:31.970 --> 1:19:34.490
<v Speaker 3>What next? What would you like to dive into next?

1:19:34.800 --> 1:19:37.280
<v Speaker 5>You know, this is going to be a weird comparison,

1:19:37.320 --> 1:19:38.939
<v Speaker 5>but it almost kind of reminds me of a lot

1:19:38.979 --> 1:19:43.140
<v Speaker 5>of Judd Apatow movies where you've got the stoner guy

1:19:43.160 --> 1:19:47.439
<v Speaker 5>and the way that the audience is meant to understand

1:19:47.479 --> 1:19:50.120
<v Speaker 5>that he has gotten himself sorted out is he gets

1:19:50.160 --> 1:19:53.510
<v Speaker 5>a girlfriend or maybe a job or an apartment. And

1:19:53.650 --> 1:19:56.550
<v Speaker 5>in this movie, the way that Lisa can feel like

1:19:56.610 --> 1:19:59.870
<v Speaker 5>these guys are confident and have got themselves sorted out

1:19:59.950 --> 1:20:03.150
<v Speaker 5>is that they're able to get these these girlfriends, like

1:20:03.170 --> 1:20:07.150
<v Speaker 5>that's the only marker of some sort of character development

1:20:07.170 --> 1:20:09.030
<v Speaker 5>for them is like whether or not they're able to

1:20:09.090 --> 1:20:10.969
<v Speaker 5>express themselves to these, these young women.

1:20:11.870 --> 1:20:12.650
<v Speaker 4>Yeah. Right.

1:20:13.189 --> 1:20:17.750
<v Speaker 3>Which like, yeah, it's sort of, it feels like kind

1:20:17.770 --> 1:20:21.430
<v Speaker 3>of the cousin of like women are the prize to

1:20:21.470 --> 1:20:26.410
<v Speaker 3>be won after being men have learned their lesson or

1:20:26.450 --> 1:20:30.139
<v Speaker 3>defeated the big bad or whatever well i feel like.

1:20:30.180 --> 1:20:34.000
<v Speaker 2>The plot only really works if we as an audience

1:20:34.280 --> 1:20:37.490
<v Speaker 2>believe i think what like at least my like cultural

1:20:37.610 --> 1:20:43.250
<v Speaker 2>osmosis takeaway about weird science prior to watching it was

1:20:43.630 --> 1:20:48.309
<v Speaker 2>that this is a movie about nerdy male entitlement. And

1:20:48.390 --> 1:20:51.530
<v Speaker 2>it's like one of the big movies about nerdy male entitlement,

1:20:51.610 --> 1:20:53.650
<v Speaker 2>which feels very in conversation with a lot of early

1:20:53.689 --> 1:20:57.190
<v Speaker 2>Judd Apatow speaking to your point, Bridget. Like if you

1:20:57.370 --> 1:21:02.189
<v Speaker 2>don't believe at a fundamental level that these boys, regardless

1:21:02.210 --> 1:21:06.230
<v Speaker 2>of how they behave, are socially entitled to have sexual

1:21:06.410 --> 1:21:09.430
<v Speaker 2>access to the women in the story, then none of

1:21:09.490 --> 1:21:12.050
<v Speaker 2>the story makes any sense. And a lot of it

1:21:12.070 --> 1:21:14.250
<v Speaker 2>doesn't make sense anyways, but I feel like that is

1:21:14.270 --> 1:21:18.030
<v Speaker 2>like the foundational... understanding that the movie assumes that you

1:21:18.110 --> 1:21:21.170
<v Speaker 2>have is like so these guys are dorks and they

1:21:21.189 --> 1:21:25.120
<v Speaker 2>are bullied by mostly other boys at their school therefore

1:21:25.820 --> 1:21:31.140
<v Speaker 2>they are owed sexual attention by women and like that

1:21:31.400 --> 1:21:32.600
<v Speaker 2>I don't know I mean I think that's like one

1:21:32.620 --> 1:21:34.520
<v Speaker 2>of the big things that this movie just like it

1:21:34.540 --> 1:21:37.849
<v Speaker 2>doesn't even like that that's sort of established in the

1:21:37.970 --> 1:21:42.790
<v Speaker 2>opening sequence where they're bullied while they're fantasizing about having

1:21:42.850 --> 1:21:46.870
<v Speaker 2>sexual access to girls that they don't know and the

1:21:46.910 --> 1:21:50.870
<v Speaker 2>rest of the movie is about they create a sexy

1:21:50.930 --> 1:21:55.210
<v Speaker 2>wizard to give them what the wizard believes and what

1:21:55.270 --> 1:21:57.650
<v Speaker 2>they believe is their God-given right, which is to have

1:21:57.689 --> 1:22:01.390
<v Speaker 2>sexual access to girls. And without, I don't know, I

1:22:01.410 --> 1:22:05.929
<v Speaker 2>feel like without that logic, this story truly makes no sense.

1:22:06.410 --> 1:22:09.099
<v Speaker 5>And that's the foundation, not to keep bringing it back

1:22:09.140 --> 1:22:11.760
<v Speaker 5>to tech, but that's the foundation of so much of

1:22:11.880 --> 1:22:17.900
<v Speaker 5>our literal current tech landscape is, entitled men who feel

1:22:18.200 --> 1:22:21.630
<v Speaker 5>kind of like marginalized and oppressed because they're nerdy or

1:22:22.130 --> 1:22:26.550
<v Speaker 5>whatever perceived thing, feeling like they need to use technology

1:22:26.590 --> 1:22:29.210
<v Speaker 5>to build a world where they have access to the

1:22:29.270 --> 1:22:33.260
<v Speaker 5>commodity that is women, women's attentions, women's bodies, and women's

1:22:33.380 --> 1:22:36.940
<v Speaker 5>sexual selves. You know, in this movie, I do think

1:22:36.960 --> 1:22:39.620
<v Speaker 5>they make a one-to-one thing where in the beginning of

1:22:39.640 --> 1:22:42.100
<v Speaker 5>the movie, when they're watching these girls do gymnastics in

1:22:42.140 --> 1:22:46.010
<v Speaker 5>their class, They're talking about how in their fantasy, they

1:22:46.030 --> 1:22:49.530
<v Speaker 5>don't just have like hot babes. They also are really popular.

1:22:49.570 --> 1:22:53.620
<v Speaker 5>They're also like ladies' men. And how women and feeling

1:22:53.660 --> 1:22:57.140
<v Speaker 5>entitled to the commodity that they see women as, that

1:22:57.260 --> 1:22:59.929
<v Speaker 5>also comes along with a kind of lifestyle where they

1:22:59.970 --> 1:23:03.189
<v Speaker 5>are in power. They are on top of the, you know,

1:23:03.310 --> 1:23:07.050
<v Speaker 5>they're the top guys in the social stratus of their school.

1:23:07.070 --> 1:23:07.269
<v Speaker 4>It just.

1:23:08.310 --> 1:23:11.630
<v Speaker 5>It really comes down to women and girls as this

1:23:11.710 --> 1:23:14.690
<v Speaker 5>commodity and using technology to build a world where that

1:23:14.910 --> 1:23:16.519
<v Speaker 5>is what's going on.

1:23:17.260 --> 1:23:21.139
<v Speaker 3>Which the movie and movies like it, such as Revenge

1:23:21.180 --> 1:23:26.680
<v Speaker 3>of the Nerds, utterly fails to acknowledge because, as we've

1:23:26.720 --> 1:23:31.340
<v Speaker 3>talked about many times before, both these nerd boys and

1:23:31.520 --> 1:23:39.110
<v Speaker 3>the jock bullies are vehement misogynists. but the movie frames

1:23:39.830 --> 1:23:42.189
<v Speaker 3>the misogyny of the boys. Well, it doesn't even, it's,

1:23:42.350 --> 1:23:45.510
<v Speaker 3>you're not even supposed to notice it. And if you do, well,

1:23:45.570 --> 1:23:49.430
<v Speaker 3>it's endearing actually. It's not the evil misogyny that the

1:23:49.530 --> 1:23:50.370
<v Speaker 3>jocks are doing.

1:23:50.590 --> 1:23:50.790
<v Speaker 4>Right.

1:23:50.870 --> 1:23:53.560
<v Speaker 3>It's the cute misogyny that the nerds are doing.

1:23:54.439 --> 1:23:54.679
<v Speaker 4>Right.

1:23:54.729 --> 1:23:56.920
<v Speaker 2>It's like they're made out to seem harmless in a

1:23:56.939 --> 1:23:59.120
<v Speaker 2>way that we're also seeing in the same scene is

1:23:59.140 --> 1:24:02.880
<v Speaker 2>just actively untrue. And I think that like all, you know,

1:24:03.500 --> 1:24:07.180
<v Speaker 2>unsafe presentations of masculinity are harmful, but I think we

1:24:07.220 --> 1:24:11.350
<v Speaker 2>can see, and I hope I'm not overstating this, hashtag

1:24:11.400 --> 1:24:15.849
<v Speaker 2>not all men. However, I feel like we really see

1:24:15.910 --> 1:24:17.670
<v Speaker 2>the legacy that you were, I mean, going back to

1:24:17.689 --> 1:24:19.769
<v Speaker 2>what you were talking about at the beginning of the episode, Bridget,

1:24:20.050 --> 1:24:22.950
<v Speaker 2>in the attitudes that a lot of men in tech

1:24:23.530 --> 1:24:27.480
<v Speaker 2>have are reflected by, I think are influenced by the

1:24:27.560 --> 1:24:32.010
<v Speaker 2>entitlement of that this subgenre of movie encourages. You are

1:24:32.350 --> 1:24:36.050
<v Speaker 2>owed something. You have been cheated by the world. And

1:24:36.370 --> 1:24:40.670
<v Speaker 2>I think what that creates that often results in cultural,

1:24:40.729 --> 1:24:44.790
<v Speaker 2>if not direct violence towards women is like, how dare

1:24:44.810 --> 1:24:47.510
<v Speaker 2>you not give me the attention and the relationship that

1:24:47.790 --> 1:24:51.189
<v Speaker 2>I deserve? And then, you know, there's I think in

1:24:51.210 --> 1:24:54.269
<v Speaker 2>the case of the AI cohort, it's like, I'll just

1:24:54.310 --> 1:24:57.670
<v Speaker 2>make my own woman. Fuck you. Or, you know, as

1:24:57.710 --> 1:25:02.080
<v Speaker 2>the case may be, like, I'm going to punish you physically, emotionally, whatever,

1:25:02.620 --> 1:25:06.059
<v Speaker 2>because I didn't get what I was promised. And what

1:25:06.140 --> 1:25:08.700
<v Speaker 2>was promised to you was not promised by women. It

1:25:08.720 --> 1:25:10.429
<v Speaker 2>was promised by patriarchy.

1:25:11.189 --> 1:25:14.040
<v Speaker 5>And when you look at some of the marketing language

1:25:14.200 --> 1:25:18.400
<v Speaker 5>around consumer AI products that are AI girlfriends or AI

1:25:18.439 --> 1:25:22.680
<v Speaker 5>companions that are specifically designed for erotic role play and

1:25:23.060 --> 1:25:27.390
<v Speaker 5>adult content and explicit content, in the marketing, that very

1:25:27.830 --> 1:25:32.310
<v Speaker 5>attitude is almost made explicit. They'll use slogans like, oh...

1:25:32.970 --> 1:25:36.830
<v Speaker 5>download this AI girlfriend, she'll never say no. Download this

1:25:36.950 --> 1:25:40.400
<v Speaker 5>AI girlfriend, she'll give you what your human girlfriend won't give.

1:25:40.640 --> 1:25:44.439
<v Speaker 5>This idea that it's all for the taking because it's

1:25:44.460 --> 1:25:47.280
<v Speaker 5>yours anyway. There's a point in the movie, I wrote

1:25:47.300 --> 1:25:50.060
<v Speaker 5>down the quote where they say something along the lines of,

1:25:50.520 --> 1:25:53.220
<v Speaker 5>she's ours and yet we can't get close to her.

1:25:53.240 --> 1:25:56.070
<v Speaker 5>And I feel like that kind of, at least to me,

1:25:56.090 --> 1:25:58.890
<v Speaker 5>kind of sums something up that they're like, she's supposed

1:25:58.930 --> 1:26:00.750
<v Speaker 5>to be ours and yet.

1:26:01.420 --> 1:26:02.460
<v Speaker 4>you know, fill in the blank.

1:26:03.420 --> 1:26:08.120
<v Speaker 3>They made her too smart. They gave her Einstein-level intelligence,

1:26:08.180 --> 1:26:10.689
<v Speaker 3>so now she has autonomy, question mark?

1:26:10.970 --> 1:26:14.790
<v Speaker 2>Which is something that they, like, addressed directly in, like,

1:26:14.850 --> 1:26:20.530
<v Speaker 2>a movie like Companion, you know, like, 40 years later. But, yeah, like,

1:26:20.610 --> 1:26:25.120
<v Speaker 2>it's the idea of, like, entitlement and control. And that once...

1:26:25.030 --> 1:26:27.820
<v Speaker 2>I mean, I think part of what makes Lisa's fate

1:26:28.000 --> 1:26:33.380
<v Speaker 2>so kind of chilling is because... They get what they

1:26:33.460 --> 1:26:37.120
<v Speaker 2>feel they deserve, which is the relationships with the girls

1:26:37.620 --> 1:26:41.780
<v Speaker 2>that I think are so poorly written and so not

1:26:41.860 --> 1:26:45.400
<v Speaker 2>considered in terms of if this person were real, what

1:26:45.420 --> 1:26:48.900
<v Speaker 2>would they be feeling? Because I think that the girls

1:26:49.060 --> 1:26:52.570
<v Speaker 2>have also kind of been bullying them and passively watching

1:26:52.670 --> 1:26:55.710
<v Speaker 2>as they're aggressively bullied by their boyfriends. So in a

1:26:55.750 --> 1:26:57.830
<v Speaker 2>world where these characters are people, they actually kind of

1:26:57.870 --> 1:27:01.050
<v Speaker 2>have a little bit to answer for. and so do

1:27:01.070 --> 1:27:05.290
<v Speaker 2>the boys but like because their prizes and objects their

1:27:05.350 --> 1:27:08.090
<v Speaker 2>function is to be turned over right to the nerds

1:27:08.490 --> 1:27:10.770
<v Speaker 2>but that like Lisa at the end I think why

1:27:10.790 --> 1:27:13.050
<v Speaker 2>she ends up in this like weird gym teacher gag

1:27:13.130 --> 1:27:16.950
<v Speaker 2>is because she's outlived her function and they're like well

1:27:16.990 --> 1:27:19.530
<v Speaker 2>we got what we deserved so how do we talk

1:27:19.550 --> 1:27:22.110
<v Speaker 2>to you about the fact that we're discarding you we

1:27:22.130 --> 1:27:25.810
<v Speaker 2>don't like there's no question of like what do you want.

1:27:25.790 --> 1:27:28.689
<v Speaker 5>I mean they don't even have to have the painful

1:27:28.900 --> 1:27:32.360
<v Speaker 5>breakup They don't even have to say like, listen, we've

1:27:32.380 --> 1:27:33.320
<v Speaker 5>got girlfriends now.

1:27:33.400 --> 1:27:35.980
<v Speaker 4>We got what we feel we were entitled to. It's

1:27:36.020 --> 1:27:39.240
<v Speaker 4>not you. It's us. She just knows.

1:27:39.340 --> 1:27:42.380
<v Speaker 5>She just says, oh, I'm no longer needed here. I guess,

1:27:42.520 --> 1:27:44.660
<v Speaker 5>you know, it's like the end of a movie with

1:27:44.700 --> 1:27:47.320
<v Speaker 5>a nanny where it's like, you kids don't need me anymore.

1:27:47.400 --> 1:27:50.470
<v Speaker 5>You know, she just is, I guess, designed to be

1:27:50.550 --> 1:27:53.650
<v Speaker 5>such that she never, it's like they never owe her anything.

1:27:53.689 --> 1:27:56.470
<v Speaker 5>She has no needs of her own that they don't

1:27:56.510 --> 1:27:57.070
<v Speaker 5>even have.

1:27:56.930 --> 1:28:00.210
<v Speaker 4>To say, we no longer need you. You've outlived your usefulness.

1:28:00.290 --> 1:28:01.650
<v Speaker 4>Please go become a gym teacher now.

1:28:02.040 --> 1:28:05.280
<v Speaker 2>And then they seem to be relieved that she, and

1:28:05.439 --> 1:28:08.380
<v Speaker 2>that's it. That's it. Not to mention the way that

1:28:08.420 --> 1:28:10.560
<v Speaker 2>the things end with the girls. I mean, it's like,

1:28:10.680 --> 1:28:12.150
<v Speaker 2>I don't even know how to talk about the human

1:28:12.189 --> 1:28:14.509
<v Speaker 2>girls in this story because it just makes no fucking sense.

1:28:14.590 --> 1:28:16.769
<v Speaker 2>Where he says, I love you. I'm like, I didn't

1:28:16.790 --> 1:28:19.410
<v Speaker 2>even know what this character's name was until 10 minutes ago.

1:28:19.430 --> 1:28:23.270
<v Speaker 2>What do you mean, I love you? Get a fucking grip.

1:28:23.450 --> 1:28:26.939
<v Speaker 3>Like, they've been interacting for all of... 12 hours.

1:28:27.340 --> 1:28:30.330
<v Speaker 2>And then on the other side, with Anthony Michael Hall

1:28:30.390 --> 1:28:33.770
<v Speaker 2>dating a girl that looks like his sister, where he,

1:28:33.830 --> 1:28:36.430
<v Speaker 2>you know, he's like, I need to come clean. Like,

1:28:36.450 --> 1:28:38.410
<v Speaker 2>this is supposed to be the big arc, right? Even

1:28:38.450 --> 1:28:42.240
<v Speaker 2>though nothing about this story has indicated that he, his

1:28:42.300 --> 1:28:46.000
<v Speaker 2>problem is that he can't be accepted authentically. Like, what

1:28:46.040 --> 1:28:48.040
<v Speaker 2>the fuck are you talking about? But he's like, just

1:28:48.060 --> 1:28:51.460
<v Speaker 2>so you know, all that stuff, it's not real, except

1:28:51.500 --> 1:28:53.380
<v Speaker 2>the fact that he seems to be fabulously wealthy, which

1:28:53.439 --> 1:28:53.740
<v Speaker 2>is real.

1:28:54.760 --> 1:28:56.660
<v Speaker 3>But I don't have my own Ferrari. The one I'm

1:28:56.700 --> 1:28:59.660
<v Speaker 3>driving around is fake. Do you still like me? And

1:28:59.700 --> 1:29:01.840
<v Speaker 3>she's like, yes, of course I do.

1:29:01.860 --> 1:29:03.850
<v Speaker 2>I like you for you. And I'm like, you don't

1:29:03.910 --> 1:29:05.210
<v Speaker 2>know him. You don't know him.

1:29:05.290 --> 1:29:06.670
<v Speaker 3>And if you did, you would know that he's a

1:29:06.750 --> 1:29:07.559
<v Speaker 3>piece of shit.

1:29:07.820 --> 1:29:08.219
<v Speaker 4>Yeah.

1:29:08.300 --> 1:29:09.180
<v Speaker 2>They're both kind of.

1:29:10.080 --> 1:29:12.600
<v Speaker 3>They're horrible. No, they're absolutely horrible.

1:29:12.720 --> 1:29:15.000
<v Speaker 5>And I guess I just don't understand, nor do I

1:29:15.060 --> 1:29:18.040
<v Speaker 5>agree with this idea that they seem to be uncritically

1:29:18.080 --> 1:29:20.440
<v Speaker 5>presenting toward the end of the movie, that the movie

1:29:20.550 --> 1:29:23.970
<v Speaker 5>is about the boys learning that they don't need material

1:29:24.110 --> 1:29:26.250
<v Speaker 5>trappings to get people to like them.

1:29:26.310 --> 1:29:28.130
<v Speaker 4>That seems to come out of nowhere.

1:29:28.150 --> 1:29:30.230
<v Speaker 5>That does not seem to be a point of the

1:29:30.290 --> 1:29:33.750
<v Speaker 5>movie that is established or even hinted at until the end.

1:29:34.050 --> 1:29:36.820
<v Speaker 3>Like everything else in this movie, it's random as hell.

1:29:36.840 --> 1:29:38.780
<v Speaker 2>Well, and it's like, in and again, we know that

1:29:38.979 --> 1:29:44.050
<v Speaker 2>John Hughes can tell or has told class stories, but

1:29:44.110 --> 1:29:47.490
<v Speaker 2>like to suggest that material has anything to do, like

1:29:47.930 --> 1:29:50.070
<v Speaker 2>he is like intentionally set this story. I think like

1:29:50.110 --> 1:29:53.950
<v Speaker 2>a lot of teen hijinks comedies in a wealthy setting

1:29:54.020 --> 1:29:56.440
<v Speaker 2>so that you can do these big expensive set pieces.

1:29:57.360 --> 1:30:00.040
<v Speaker 2>So to add in like a little flourish like that

1:30:00.080 --> 1:30:01.740
<v Speaker 2>at the end, like it just doesn't make sense with

1:30:01.880 --> 1:30:04.540
<v Speaker 2>anything we've seen because yeah, maybe he doesn't have a Ferrari,

1:30:04.580 --> 1:30:06.820
<v Speaker 2>but he probably could. We have no reason to think

1:30:06.890 --> 1:30:09.650
<v Speaker 2>he couldn't have one. But then we're also told his

1:30:09.689 --> 1:30:11.830
<v Speaker 2>father was a plumber and I'm like, Do plumbers live

1:30:11.870 --> 1:30:13.590
<v Speaker 2>in mansions in the 80s? I don't know.

1:30:13.610 --> 1:30:16.350
<v Speaker 3>Oh, well, I guess we don't see much of Gary's house.

1:30:16.470 --> 1:30:18.400
<v Speaker 3>But Wyatt's house is the one that we spend most

1:30:18.439 --> 1:30:21.560
<v Speaker 3>of the movie in. And that is for sure a mansion.

1:30:21.760 --> 1:30:22.220
<v Speaker 2>Sure.

1:30:22.380 --> 1:30:26.750
<v Speaker 3>But class isn't a thing that even crosses this movie's mind.

1:30:26.770 --> 1:30:26.830
<v Speaker 2>No.

1:30:27.460 --> 1:30:30.440
<v Speaker 5>I will say one bit about having done the research

1:30:30.460 --> 1:30:33.019
<v Speaker 5>for my audio book, Love at First Prompt, about how

1:30:33.060 --> 1:30:36.979
<v Speaker 5>people are using AI companions for intimacy and sex. One

1:30:37.020 --> 1:30:39.700
<v Speaker 5>thing that I think the movie gets right is that

1:30:40.160 --> 1:30:41.900
<v Speaker 5>one of the questions I get asked a lot is,

1:30:42.100 --> 1:30:44.920
<v Speaker 5>are you worried that people are going to be replacing

1:30:45.040 --> 1:30:49.020
<v Speaker 5>their human relationships and human connections with AI? And I'm

1:30:49.040 --> 1:30:51.930
<v Speaker 5>not worried about that for lots of reasons. I guess

1:30:51.970 --> 1:30:54.309
<v Speaker 5>the biggest one is that I just don't ultimately think

1:30:54.370 --> 1:30:58.519
<v Speaker 5>that humans can be replaced by technology, human labor, human intimacy,

1:30:58.560 --> 1:31:03.440
<v Speaker 5>human relationships or connections writ large. But also what we

1:31:03.500 --> 1:31:06.680
<v Speaker 5>actually see from the research is that oftentimes people who

1:31:07.220 --> 1:31:11.010
<v Speaker 5>experience intimacy with AI, they're doing so in service of

1:31:11.070 --> 1:31:14.150
<v Speaker 5>being brought closer to other humans in their lives. And

1:31:14.170 --> 1:31:16.469
<v Speaker 5>so if you look at subreddits like Beyond the Prompt

1:31:16.490 --> 1:31:19.510
<v Speaker 5>or My Boyfriend is AI, it's those are humans who

1:31:19.550 --> 1:31:22.030
<v Speaker 5>feel that they are in an intimate relationship with AI,

1:31:22.390 --> 1:31:25.050
<v Speaker 5>and they're going onto Reddit to talk to other humans

1:31:25.110 --> 1:31:28.350
<v Speaker 5>and connect with other humans about that intimacy with AI.

1:31:28.410 --> 1:31:30.950
<v Speaker 5>And so something that I did like about the movie

1:31:31.050 --> 1:31:36.219
<v Speaker 5>is that, you know, Lisa does not become their girlfriend, ultimately,

1:31:37.060 --> 1:31:41.360
<v Speaker 5>whatever Lisa is brings them in deeper connection with like others.

1:31:41.820 --> 1:31:44.599
<v Speaker 5>They're human peers. You know, I think there's a version

1:31:44.640 --> 1:31:47.820
<v Speaker 5>of this movie where they just team up with Lisa and,

1:31:47.840 --> 1:31:51.060
<v Speaker 5>you know, that's that. I like that it's ultimately, they're

1:31:51.090 --> 1:31:54.930
<v Speaker 5>not relying on Lisa as like a substitute for human

1:31:54.950 --> 1:31:57.310
<v Speaker 5>to human connection with the women in their class.

1:31:58.170 --> 1:32:01.250
<v Speaker 3>Yeah, I was thinking about that. And I think all

1:32:01.290 --> 1:32:03.450
<v Speaker 3>of the movies that we've discussed on the podcast that

1:32:03.570 --> 1:32:08.240
<v Speaker 3>deal to some degree with people having an intimate connection

1:32:08.350 --> 1:32:13.670
<v Speaker 3>with AI or a fembot or something like that, it

1:32:13.810 --> 1:32:18.670
<v Speaker 3>never goes well for anyone involved. Like the relationship is

1:32:18.790 --> 1:32:23.700
<v Speaker 3>utterly unsustainable. And sometimes the men die at the end.

1:32:24.150 --> 1:32:28.570
<v Speaker 3>Sometimes the men realize, oh, I should be focusing on

1:32:28.610 --> 1:32:33.610
<v Speaker 3>the human girls in my life. So there are various outcomes,

1:32:33.650 --> 1:32:35.250
<v Speaker 3>which we were already talking about as far as like

1:32:35.290 --> 1:32:39.370
<v Speaker 3>the good for her endings versus whatever this movie does.

1:32:39.510 --> 1:32:42.620
<v Speaker 3>But the bottom line is, if any of these movies

1:32:42.660 --> 1:32:47.160
<v Speaker 3>get something right, it's that like, yeah, these relationships are

1:32:47.360 --> 1:32:48.680
<v Speaker 3>not sustainable.

1:32:49.000 --> 1:32:52.500
<v Speaker 2>Certainly not. Yeah, that's so interesting to hear, Bridget, because

1:32:52.540 --> 1:32:55.340
<v Speaker 2>it's like that does seem to be sort of encoded

1:32:55.400 --> 1:32:58.580
<v Speaker 2>into all of these movies. And it sounds like in

1:32:58.620 --> 1:33:02.680
<v Speaker 2>these forums, they're like, but my relationship with an AI

1:33:03.200 --> 1:33:05.760
<v Speaker 2>is going to be the one to defy the odds.

1:33:06.220 --> 1:33:09.020
<v Speaker 5>Yeah, that's a good way to put it. And I think,

1:33:09.900 --> 1:33:12.280
<v Speaker 5>you know, I just wish this movie was better. I

1:33:13.340 --> 1:33:16.320
<v Speaker 5>really feel like there was a better movie that kind

1:33:16.380 --> 1:33:19.040
<v Speaker 5>of teases out some of that complexity.

1:33:19.890 --> 1:33:21.330
<v Speaker 4>Somewhere buried in this script.

1:33:22.090 --> 1:33:23.230
<v Speaker 2>Yeah. Yeah.

1:33:23.410 --> 1:33:28.059
<v Speaker 3>But unfortunately, that's not the case. And then there are

1:33:28.070 --> 1:33:31.960
<v Speaker 3>all these other problems with the movie, such as the

1:33:32.000 --> 1:33:38.460
<v Speaker 3>casual racism, the casual homophobia, you know, the casual ableism.

1:33:38.860 --> 1:33:41.860
<v Speaker 3>I wanted to talk briefly about one of the Mad

1:33:41.900 --> 1:33:46.059
<v Speaker 3>Max gang members. You never hear this character's name on

1:33:46.140 --> 1:33:48.990
<v Speaker 3>screen because I don't think they like They're not introducing

1:33:49.030 --> 1:33:52.020
<v Speaker 3>themselves as they're crashing the party. But one of the

1:33:52.060 --> 1:33:56.410
<v Speaker 3>characters is credited as Mutant Biker. He is played by

1:33:56.450 --> 1:34:00.350
<v Speaker 3>an actor named Michael Berryman, who was born with a

1:34:00.380 --> 1:34:07.640
<v Speaker 3>condition called hypohydratic ectodermal dysplasia. I recognize him from other things.

1:34:08.040 --> 1:34:10.540
<v Speaker 3>He has worked a lot, and he has a bunch

1:34:10.560 --> 1:34:13.960
<v Speaker 3>of film and TV credits. Unfortunately, a large number of

1:34:14.160 --> 1:34:19.439
<v Speaker 3>his roles were him playing some type of quote-unquote mutant

1:34:19.580 --> 1:34:23.340
<v Speaker 3>character or a creature or something like that. He's still

1:34:23.380 --> 1:34:28.250
<v Speaker 3>alive and still working in Hollywood. But yeah, for that

1:34:28.290 --> 1:34:31.049
<v Speaker 3>to be his character's name and the way that character

1:34:31.290 --> 1:34:34.950
<v Speaker 3>is framed by the story, although he says one of

1:34:34.990 --> 1:34:37.030
<v Speaker 3>the very few things in this entire movie that made

1:34:37.050 --> 1:34:40.990
<v Speaker 3>me laugh as he's leaving, as like the two boys

1:34:41.150 --> 1:34:45.320
<v Speaker 3>best this motorcycle gang and they've admitted defeat and so

1:34:45.340 --> 1:34:50.440
<v Speaker 3>they're leaving the house. That character says, don't tell anyone

1:34:50.479 --> 1:34:52.420
<v Speaker 3>about this. I could lose my teaching job.

1:34:54.740 --> 1:34:57.429
<v Speaker 5>I actually laughed. That got a laugh out of me.

1:34:57.550 --> 1:35:01.130
<v Speaker 5>That scene when the bikers are retreating, call me, we'll

1:35:01.150 --> 1:35:03.970
<v Speaker 5>do lunch. That was actually the scene that actually made

1:35:04.030 --> 1:35:05.310
<v Speaker 5>me genuinely laugh.

1:35:06.350 --> 1:35:09.170
<v Speaker 3>But all this to say, there are all these just,

1:35:09.990 --> 1:35:12.810
<v Speaker 3>I mean, the whole scene with, we already touched on it,

1:35:12.890 --> 1:35:17.780
<v Speaker 3>but Wyatt doing the black scent and just like all

1:35:17.800 --> 1:35:21.120
<v Speaker 3>of the racist caricatures that are present in that scene.

1:35:21.140 --> 1:35:22.139
<v Speaker 3>I feel like.

1:35:22.750 --> 1:35:25.430
<v Speaker 5>I haven't seen a ton of John Hughes movies. My

1:35:25.450 --> 1:35:28.300
<v Speaker 5>understanding is they all take place in Chicago. And I

1:35:28.340 --> 1:35:31.320
<v Speaker 5>do think that there is like a thing where, you know,

1:35:31.880 --> 1:35:34.240
<v Speaker 5>if you were in a suburb of Illinois or a

1:35:34.280 --> 1:35:37.970
<v Speaker 5>suburb of Chicago, the idea that just outside of the

1:35:38.020 --> 1:35:40.830
<v Speaker 5>suburbs is the city and there's black people there and

1:35:40.890 --> 1:35:43.350
<v Speaker 5>it's very urban. A lot of movies in the 80s,

1:35:43.410 --> 1:35:47.150
<v Speaker 5>I feel like, had some scene where kids from the

1:35:47.210 --> 1:35:49.750
<v Speaker 5>burbs go into the city and.

1:35:49.710 --> 1:35:52.510
<v Speaker 3>Oh yeah adventures in babysitting also does this yes.

1:35:52.250 --> 1:35:54.870
<v Speaker 5>Yes exactly don't they end up singing in a in

1:35:54.910 --> 1:35:57.270
<v Speaker 5>a in a blues club in that movie as well

1:35:57.370 --> 1:35:59.250
<v Speaker 5>it's like a thing yeah.

1:35:59.050 --> 1:36:02.450
<v Speaker 2>It's oh it's a mess um yeah this is i

1:36:02.510 --> 1:36:04.519
<v Speaker 2>mean this is like such a period of and and

1:36:04.530 --> 1:36:07.480
<v Speaker 2>this continues but i think i i associate it strongly

1:36:07.500 --> 1:36:10.630
<v Speaker 2>with the 80s and 90s i'm just like the middle

1:36:10.650 --> 1:36:14.490
<v Speaker 2>class or above white teenage perspective is we're told like

1:36:14.650 --> 1:36:19.519
<v Speaker 2>the perspective and usually it's like men. Sometimes it's a

1:36:19.560 --> 1:36:23.080
<v Speaker 2>white woman or like a white girl. Like rarely are

1:36:23.120 --> 1:36:25.920
<v Speaker 2>we looking outside of this and that the way that

1:36:25.939 --> 1:36:28.920
<v Speaker 2>we look at the world and anyone who is not

1:36:29.120 --> 1:36:35.490
<v Speaker 2>middle class and white is through this other lens. For sure. Yeah.

1:36:35.510 --> 1:36:39.170
<v Speaker 3>Looking through my notes to see what else there is.

1:36:39.770 --> 1:36:43.130
<v Speaker 2>I just, I bet. I mean, I'm, I'm, I'm good

1:36:43.189 --> 1:36:44.710
<v Speaker 2>to call it. It's fucking hot.

1:36:45.229 --> 1:36:49.900
<v Speaker 3>It's hot. And there's just so much. Um, well, uh,

1:36:49.939 --> 1:36:51.679
<v Speaker 3>this movie does pass the Bechdel test.

1:36:52.140 --> 1:36:53.040
<v Speaker 4>Weirdly. It does.

1:36:54.180 --> 1:36:55.900
<v Speaker 2>Weirdly. It does.

1:36:56.160 --> 1:36:57.840
<v Speaker 4>Does that make it a feminist tax?

1:36:57.860 --> 1:36:57.939
<v Speaker 2>Yes.

1:36:58.080 --> 1:37:01.780
<v Speaker 5>It's a feminist masterpiece.

1:37:01.840 --> 1:37:04.170
<v Speaker 2>No, it's kind of, it's kind of an offhand pass.

1:37:04.229 --> 1:37:06.580
<v Speaker 2>It isn't that like kind of, we talked about it.

1:37:06.630 --> 1:37:10.510
<v Speaker 2>It's kind of intriguing. Um, Where the girls are talking

1:37:10.590 --> 1:37:14.979
<v Speaker 2>about Lisa and how they're like fascinated by Lisa conceptually.

1:37:15.260 --> 1:37:17.519
<v Speaker 2>And I guess that that is predicated on the idea

1:37:17.560 --> 1:37:20.660
<v Speaker 2>that we believe Lisa is a woman and not a

1:37:20.689 --> 1:37:25.010
<v Speaker 2>robot type character. But For the sake of the way

1:37:25.050 --> 1:37:27.710
<v Speaker 2>this movie views Lisa, I would say that that's a pass.

1:37:28.070 --> 1:37:31.160
<v Speaker 2>And an interesting one at that, but it doesn't go anywhere.

1:37:31.300 --> 1:37:34.080
<v Speaker 2>So it's not a feminist movie, obviously.

1:37:34.340 --> 1:37:36.380
<v Speaker 3>Right. Well, I guess if I had one last point,

1:37:36.620 --> 1:37:39.580
<v Speaker 3>and I'll make it quick because it is truly broiling outside.

1:37:40.240 --> 1:37:42.970
<v Speaker 3>I was like, what the hell is going on with Lisa?

1:37:43.470 --> 1:37:47.850
<v Speaker 3>From a characterization, sitting down to write a screenplay and

1:37:47.890 --> 1:37:53.650
<v Speaker 3>develop a character point of view, what is this? She's inconsistent.

1:37:54.420 --> 1:37:57.269
<v Speaker 3>nothing she does or says makes sense but then i

1:37:57.270 --> 1:38:00.510
<v Speaker 3>was like well maybe that's the point because she's such

1:38:00.630 --> 1:38:03.349
<v Speaker 3>an amalgamation of a bunch of just random shit that

1:38:03.370 --> 1:38:07.969
<v Speaker 3>these boys like feed into a computer which is again

1:38:08.030 --> 1:38:13.790
<v Speaker 3>like disembodied breasts and legs from playboy magazines it's a

1:38:14.030 --> 1:38:18.240
<v Speaker 3>photo of albert einstein it's An image of Harry Houdini

1:38:18.479 --> 1:38:19.280
<v Speaker 3>for some reason.

1:38:19.920 --> 1:38:22.500
<v Speaker 4>Wait, is that why she knows how to conjure things?

1:38:22.729 --> 1:38:24.690
<v Speaker 3>I guess maybe that's why she's a wizard.

1:38:24.770 --> 1:38:25.630
<v Speaker 2>Oh, I didn't even think of that.

1:38:25.729 --> 1:38:28.549
<v Speaker 3>Houdini was a magician, not a wizard.

1:38:28.880 --> 1:38:30.620
<v Speaker 2>Right. I don't know.

1:38:30.680 --> 1:38:32.180
<v Speaker 4>He wasn't supernatural.

1:38:32.820 --> 1:38:35.679
<v Speaker 3>Right, exactly. So I'm just like, well, maybe that's the point.

1:38:35.720 --> 1:38:37.960
<v Speaker 3>That's maybe why she's such an all over the place

1:38:38.040 --> 1:38:42.910
<v Speaker 3>character because she's just this like weirdo, like amalgamation of

1:38:42.950 --> 1:38:45.809
<v Speaker 3>so many things. But then that doesn't lend itself to

1:38:45.930 --> 1:38:50.339
<v Speaker 3>an interesting or good movie character. So it's still bad writing.

1:38:51.060 --> 1:38:54.820
<v Speaker 3>But yeah, it's a mess. The girls do talk about her, though.

1:38:54.900 --> 1:38:59.939
<v Speaker 3>So it passes the Bechdel test. But we've got the

1:38:59.979 --> 1:39:04.170
<v Speaker 3>Bechdel cast nipple scale to think about. A scale where

1:39:04.229 --> 1:39:07.230
<v Speaker 3>we rate the movie zero to five nipples based on

1:39:07.270 --> 1:39:11.030
<v Speaker 3>examining it through an intersectional feminist lens. I'm going to

1:39:11.050 --> 1:39:14.200
<v Speaker 3>go zero nipples on this one. for all the reasons

1:39:14.280 --> 1:39:17.360
<v Speaker 3>that we've already talked about. I think there's kind of

1:39:17.420 --> 1:39:20.620
<v Speaker 3>nothing redeeming about this movie. And anything that might be

1:39:20.680 --> 1:39:23.620
<v Speaker 3>kind of redeeming is just overshadowed by all of the

1:39:23.680 --> 1:39:28.300
<v Speaker 3>other horrible stuff. I'm going to give it a half.

1:39:28.200 --> 1:39:34.800
<v Speaker 2>Because I think that Lisa has interesting aspects to her

1:39:34.880 --> 1:39:41.190
<v Speaker 2>character that are all ignored and But I was intrigued

1:39:41.450 --> 1:39:45.849
<v Speaker 2>and I guess I enjoyed the performance. But like the writing,

1:39:45.970 --> 1:39:49.460
<v Speaker 2>everything that men had to do was kind of a disaster.

1:39:49.580 --> 1:39:51.580
<v Speaker 2>But I think that there were a lot of missed

1:39:51.680 --> 1:39:55.540
<v Speaker 2>opportunities with Lisa and I felt the potential. That's fair.

1:39:55.680 --> 1:39:58.140
<v Speaker 2>But do not mistake this for a desire for a

1:39:58.220 --> 1:40:01.240
<v Speaker 2>reboot of any kind. Please let it die.

1:40:01.360 --> 1:40:04.380
<v Speaker 3>Well, there have been talks about either remakes of this

1:40:04.420 --> 1:40:07.160
<v Speaker 3>movie or a sequel that would star Channing Tatum.

1:40:07.610 --> 1:40:09.270
<v Speaker 2>Yeah, but that was like 10 years ago.

1:40:09.410 --> 1:40:10.849
<v Speaker 3>Yeah, that was ages ago.

1:40:11.290 --> 1:40:12.870
<v Speaker 4>What part would he even play?

1:40:13.090 --> 1:40:15.139
<v Speaker 5>Yeah, would that have been like a gender flipped, like

1:40:15.560 --> 1:40:17.810
<v Speaker 5>Channing Tatum is the genie?

1:40:17.840 --> 1:40:19.140
<v Speaker 2>That sounds awful.

1:40:20.000 --> 1:40:20.740
<v Speaker 3>I bet.

1:40:21.160 --> 1:40:24.200
<v Speaker 2>I would watch a Channing Tatum genie movie.

1:40:24.760 --> 1:40:25.300
<v Speaker 4>Oh, watch that.

1:40:25.479 --> 1:40:28.160
<v Speaker 3>Well, that is when they kept, like that era was

1:40:28.460 --> 1:40:31.060
<v Speaker 3>when they were gender flipping all those movies. Like what

1:40:31.420 --> 1:40:35.660
<v Speaker 3>men want instead of what women want and all of

1:40:35.720 --> 1:40:39.140
<v Speaker 3>those other terrible movies like it. So Jamie, you're giving

1:40:39.200 --> 1:40:40.000
<v Speaker 3>it a half nipple.

1:40:40.020 --> 1:40:42.370
<v Speaker 2>A half nipple. And I'll give it to Lisa.

1:40:43.250 --> 1:40:43.910
<v Speaker 3>Bridget, how about you?

1:40:44.490 --> 1:40:46.509
<v Speaker 4>I'm going to give it one nipple.

1:40:46.810 --> 1:40:50.170
<v Speaker 5>Although I will say, talking through this movie, I liked

1:40:50.189 --> 1:40:52.460
<v Speaker 5>it a lot less than I... When I finished it,

1:40:52.470 --> 1:40:54.800
<v Speaker 5>I was like, oh, that wasn't half bad. Talking through it,

1:40:54.820 --> 1:40:56.360
<v Speaker 5>I'm like, yeah, no.

1:40:57.140 --> 1:40:57.920
<v Speaker 3>We have that effect.

1:40:58.360 --> 1:40:58.740
<v Speaker 4>Yes.

1:40:59.280 --> 1:41:01.860
<v Speaker 5>My one nipple goes to the one unsung hero of

1:41:01.900 --> 1:41:05.410
<v Speaker 5>the movie, In the mall scene when Lisa walks by

1:41:05.530 --> 1:41:08.410
<v Speaker 5>and all the teenage boys are like, whoa, she's so hot.

1:41:08.710 --> 1:41:13.180
<v Speaker 5>There's one lone new wave lesbian who also gives her

1:41:13.220 --> 1:41:16.219
<v Speaker 5>the eye and I love that character. My one nipple

1:41:16.400 --> 1:41:20.439
<v Speaker 5>goes out to that one lone 80s new wave lesbian

1:41:20.479 --> 1:41:22.160
<v Speaker 5>who checks out Lisa because I thought that was a

1:41:22.160 --> 1:41:22.740
<v Speaker 5>cool character.

1:41:22.800 --> 1:41:23.100
<v Speaker 2>Hell yeah.

1:41:23.120 --> 1:41:24.040
<v Speaker 4>Even though she doesn't speak.

1:41:24.439 --> 1:41:25.180
<v Speaker 2>God bless.

1:41:25.220 --> 1:41:27.590
<v Speaker 3>Well, is she the one who flicks her cigarette in

1:41:27.620 --> 1:41:28.530
<v Speaker 3>Lisa's direction?

1:41:28.570 --> 1:41:28.849
<v Speaker 2>Yes.

1:41:29.189 --> 1:41:32.729
<v Speaker 3>I almost interpreted that as like, who's this woman? bitch

1:41:32.770 --> 1:41:36.400
<v Speaker 3>who thinks she's so hot flick of the cigarette.

1:41:36.040 --> 1:41:40.460
<v Speaker 5>Maybe I'm projecting like queer desire where there is none

1:41:40.479 --> 1:41:40.960
<v Speaker 5>I was like.

1:41:40.900 --> 1:41:43.500
<v Speaker 3>I mean I like that read a lot better so

1:41:43.620 --> 1:41:44.059
<v Speaker 3>let's go.

1:41:44.000 --> 1:41:46.590
<v Speaker 5>With that otherwise I'd have to remove my one nipple

1:41:46.600 --> 1:41:47.870
<v Speaker 5>and have to go down to zero.

1:41:48.810 --> 1:41:51.970
<v Speaker 3>Let's keep it well Bridget thank you so much for

1:41:52.030 --> 1:41:54.950
<v Speaker 3>joining us once again come back anytime.

1:41:54.590 --> 1:41:56.729
<v Speaker 5>Oh this was a blast and a half thank y'all

1:41:56.770 --> 1:41:57.590
<v Speaker 5>so much.

1:41:57.430 --> 1:42:01.269
<v Speaker 3>Tell people where they can find your audiobook plug anything

1:42:01.310 --> 1:42:02.380
<v Speaker 3>else you want to plug.

1:42:02.790 --> 1:42:06.910
<v Speaker 5>Yeah, if you are interested in conversations about what drives

1:42:06.990 --> 1:42:11.210
<v Speaker 5>humans to be interested in intimacy with robots like AI,

1:42:11.490 --> 1:42:13.950
<v Speaker 5>please check out my audio book, Love at First Prompt,

1:42:14.250 --> 1:42:15.950
<v Speaker 5>AI and the Future of Intimacy. You can check it

1:42:15.970 --> 1:42:17.650
<v Speaker 5>out at loveatfirstprompt.com.

1:42:18.070 --> 1:42:18.809
<v Speaker 2>Amazing.

1:42:19.530 --> 1:42:22.189
<v Speaker 3>You can check us out on Instagram at Bechtelcast. You

1:42:22.210 --> 1:42:27.870
<v Speaker 3>can also subscribe to our Patreon, aka Matreon. Best way

1:42:27.890 --> 1:42:30.880
<v Speaker 3>to support the show. We alluded to a bunch of

1:42:30.990 --> 1:42:36.120
<v Speaker 3>other episodes that we've covered on similar movies. So I'm

1:42:36.140 --> 1:42:37.520
<v Speaker 3>trying to think if any of those are on the

1:42:37.540 --> 1:42:40.090
<v Speaker 3>Matron specifically or if they're all main feed ones.

1:42:40.370 --> 1:42:43.010
<v Speaker 2>They're all over the place. Yeah. We've talked about it

1:42:43.229 --> 1:42:46.690
<v Speaker 2>extensively and I'm so glad that we covered this with you, Bridget.

1:42:46.729 --> 1:42:48.330
<v Speaker 2>I feel like you've given us so much to chew

1:42:48.530 --> 1:42:52.509
<v Speaker 2>on and I'm so excited to listen to your book. Congratulations.

1:42:52.790 --> 1:42:55.490
<v Speaker 4>Thank you so much. That means a lot coming from y'all.

1:42:55.750 --> 1:42:56.310
<v Speaker 2>Absolutely.

1:42:57.250 --> 1:43:02.410
<v Speaker 3>And with that, Wow, now we're sexy gym teachers. Drop

1:43:02.450 --> 1:43:02.980
<v Speaker 3>and give me 20.

1:43:02.979 --> 1:43:12.139
<v Speaker 2>Wow. Bye. Bye. The Bechdelcast is a production of iHeartMedia,

1:43:12.510 --> 1:43:14.929
<v Speaker 2>hosted and produced by me, Jamie Loftus.

1:43:15.250 --> 1:43:18.670
<v Speaker 3>And me, Caitlin Durante. The podcast is also produced by

1:43:18.850 --> 1:43:19.669
<v Speaker 3>Sophie Lichterman.

1:43:20.030 --> 1:43:22.610
<v Speaker 2>And edited by Caitlin Durante. Ever heard of them?

1:43:23.189 --> 1:43:26.590
<v Speaker 3>That's me. And our logo and merch and all of

1:43:26.670 --> 1:43:30.370
<v Speaker 3>our artwork, in fact, are designed by Jamie Loftus. Ever

1:43:30.410 --> 1:43:30.889
<v Speaker 3>heard of her?

1:43:30.910 --> 1:43:34.070
<v Speaker 2>Oh, my God. And our theme song, by the way,

1:43:34.110 --> 1:43:35.550
<v Speaker 2>was composed by Mike Kaplan.

1:43:35.830 --> 1:43:38.030
<v Speaker 3>With vocals by Katherine Voskrasinski.

1:43:38.370 --> 1:43:41.300
<v Speaker 2>Iconic. And a special thanks to the one and only

1:43:41.729 --> 1:43:42.950
<v Speaker 2>Aristotle Acevedo.

1:43:43.490 --> 1:43:46.880
<v Speaker 3>For more information about the podcast, please visit linktree.com.