WEBVTT - ALISON BECHDEL IS ON THE BECHDEL CAST!!!

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<v Speaker 1>On the Bechdel Cast.

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<v Speaker 2>The questions asked if movies have.

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<v Speaker 3>Women and them, are all their discussions just boyfriends and husbands,

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<v Speaker 3>or do they have individualism? It's the patriarchy, zeph and

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<v Speaker 3>best start changing it with the Bechdel Cast.

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<v Speaker 2>Welcome to the Bechdel Cast. It's not April Fools. Maybe

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<v Speaker 2>you looked at the title of this episode and thought, no, there's.

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<v Speaker 4>No way that's real. But well, guess what.

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<v Speaker 2>Look at the month. It's not April, it's real.

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<v Speaker 4>It's May. And when we were joking on the April

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<v Speaker 4>Fool's episode on Snakes on a Plane where we were like,

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<v Speaker 4>it's been all leading up to this, that actually applies

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<v Speaker 4>to today's episode.

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<v Speaker 2>It's kind of true. I mean, I cannot believe that

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<v Speaker 2>this happened. We recorded this interview yesterday and I can't

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<v Speaker 2>believe it. If this is your first episode of the

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<v Speaker 2>Bechdel Cast and you're coming here because of our guest,

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<v Speaker 2>my name's Jamie.

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<v Speaker 4>Loft It, my name is Caitlin Durante.

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<v Speaker 2>And this is our podcast where we talk about in

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<v Speaker 2>a normal episode. This is a very special episode. It

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<v Speaker 2>is just an interview, and not just an interview. It

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<v Speaker 2>is the interview, but we're not talking about a movie.

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<v Speaker 2>We're talking about living, laughing, loving with you know, she

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<v Speaker 2>who shall be named in just a moment. Every week

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<v Speaker 2>for almost nine years now, we have talked about your

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<v Speaker 2>favorite movies using an intersectional feminist lens, using the and

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<v Speaker 2>here's where it gets interesting Bechdel test as a jumping off,

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<v Speaker 2>like for a discussion. And normally we would tell you

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<v Speaker 2>and the Bechdel test is this thing, and we tell

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<v Speaker 2>and someone invented it, and she's our guest today we've

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<v Speaker 2>been using her name. I truly have been I've like,

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<v Speaker 2>not quite lostly, but I've for years wondered, is she

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<v Speaker 2>mad at us? My favorite looping thought to have this

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<v Speaker 2>person I've never met who doesn't know I exist, are

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<v Speaker 2>they at him? And we can answer definitively, it does.

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<v Speaker 2>It doesn't seem it doesn't seem like it. It doesn't

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<v Speaker 2>seem like we can't be sure. Maybe she was just

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<v Speaker 2>being nice, but it doesn't seem like it. We're so

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<v Speaker 2>thrilled to have Alison Bechdel on the show today. We

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<v Speaker 2>are talking about a couple of things. We're talking obviously

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<v Speaker 2>about the Bechdel Test, but we are also talking about

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<v Speaker 2>her new book Spent, which we've both gotten a chance

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<v Speaker 2>to read. It will be out right around the time

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<v Speaker 2>you're hearing this episode, and it's terrific. So yeah, I

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<v Speaker 2>guess what I wanted to say before we start is that,

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<v Speaker 2>you know, if you're listening to this, I'm assuming you're

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<v Speaker 2>familiar with the Bechdel Test, but if you're not familiar

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<v Speaker 2>with the work of Alison Bechdel, that really is where

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<v Speaker 2>the good shit is. And the more that we like

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<v Speaker 2>revisit her work because, as we've discussed, the Bechdel Test

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<v Speaker 2>was a one off joke she made in the eighties

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<v Speaker 2>that has become a serious media metric. But so much

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<v Speaker 2>of what we actually talk about on this show, intersectional

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<v Speaker 2>feminist issues and just trying to survive in a capitalist hellscape.

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<v Speaker 2>That is literally what she's been writing about for forty

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<v Speaker 2>years in a very funny, thoughtful way. And so you know,

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<v Speaker 2>we'll have all the links in the description to her work,

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<v Speaker 2>but you know, let this be a reminder if you

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<v Speaker 2>haven't picked up in Alison Bechdel book, You simply must,

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<v Speaker 2>You simply must.

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<v Speaker 4>You simply must. And also she is touring with her

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<v Speaker 4>I think the tour has already kicked off by the

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<v Speaker 4>time you are hearing this episode, but she's on a

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<v Speaker 4>book tour in possibly a city near you, and so

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<v Speaker 4>check out her website her Instagram for tour dates and

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<v Speaker 4>be sure to go out and support Are now best

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<v Speaker 4>friend Alison Bechtel URBFF and I think, without much further ado,

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<v Speaker 4>here's our interview with our best friend, Alison Bechdel Enjoycast.

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<v Speaker 4>I'm going to say the very cliche thing that our

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<v Speaker 4>guest today needs no introduction, but it's true, and we're

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<v Speaker 4>going to introduce her anyway. She is an author and cartoonist.

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<v Speaker 4>Her works include Dikes to Watch Out For, Are You

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<v Speaker 4>My Mother? Fun Home, and her new comic novel Spent,

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<v Speaker 4>which everyone should buy right now. And our podcast is

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<v Speaker 4>named after her. It's Alison Bechdel, Hello and well welcome.

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<v Speaker 1>Hi Caitlin, Hi Jamie. I'm very happy to be here.

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<v Speaker 4>Oh We're so happy to have you. It's a dream

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<v Speaker 4>come true.

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<v Speaker 1>Thank you for naming your podcast after the Bechdel Test.

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<v Speaker 1>That's crazy.

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<v Speaker 4>Oh my gosh.

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<v Speaker 2>Thank you for we were talking about this off Mike. Thank

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<v Speaker 2>you for not being mad at us about it. This

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<v Speaker 2>is like, this is so surreal. We're so excited to

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<v Speaker 2>have you.

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<v Speaker 1>I was just listening to some episodes. I I listened

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<v Speaker 1>to the Groundhog Day episode because that's one of my

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<v Speaker 1>favorite movies. Though of course it doesn't pass.

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<v Speaker 4>The test, and that's one of our very old episodes,

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<v Speaker 4>which we are I'm sure humiliated by in the year

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<v Speaker 4>twenty twenty five.

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<v Speaker 1>But well, Caitlin, I learned that you are also a

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<v Speaker 1>Pennsylvanian like me.

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<v Speaker 4>Yes, yes, I'm originally from rural western Pennsylvania and now

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<v Speaker 4>my family lives around the State College area.

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<v Speaker 1>So yeah, you were just in State College? I was, yeah, yeah,

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<v Speaker 1>and you went to penn State.

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<v Speaker 4>I did. I been doing a little research for my

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<v Speaker 4>first degree, which I would never mention, but but yeah,

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<v Speaker 4>so we have Pennsylvania roots.

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<v Speaker 1>Did you have fun in State College on this recent visit.

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<v Speaker 4>I did. I did a comedy show there at a

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<v Speaker 4>theater called the Blue Brick Theater. Everyone checked that out

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<v Speaker 4>if you're ever in the State College area. But yeah,

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<v Speaker 4>I did a stand up show and it was a

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<v Speaker 4>lot of fun.

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<v Speaker 1>Wow.

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<v Speaker 4>Yeah. But anyway, again, thank you so much for being here.

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<v Speaker 4>We want to start by just chatting a bit about

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<v Speaker 4>your new book, Book Spent, So just to start us off,

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<v Speaker 4>tell us a little bit about it, give us an overview,

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<v Speaker 4>and we'll go from there.

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<v Speaker 1>Spent is a subtitle is a comic novel, because of

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<v Speaker 1>course it's told in comics, and it's also hopefully funny.

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<v Speaker 4>It can confirm.

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<v Speaker 1>It's a kind of funny mashup of my memoirs that

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<v Speaker 1>I've written about me and my life and my comic

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<v Speaker 1>strip Likes to Watch out for from back in the

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<v Speaker 1>olden days in the eighties and nineties and early aughts,

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<v Speaker 1>where I wrote about a whole little community of friends.

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<v Speaker 1>In this new book, this new book, Spent, it's funny.

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<v Speaker 1>It was. My plan was that it was just going

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<v Speaker 1>to be another memoir. It was going to be like

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<v Speaker 1>fun Home or Are You My Mother? This book where

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<v Speaker 1>I looked at my own life, in this case, looked

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<v Speaker 1>at my own life, my financial life, and my relationship

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<v Speaker 1>to money and privilege and living in capitalism and everything.

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<v Speaker 1>But when I sat down to start working on that,

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<v Speaker 1>I just felt like I wanted to go to sleep.

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<v Speaker 1>It was just like, oh my God, I can't do that.

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<v Speaker 1>And then I got this almost immediately. I had this

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<v Speaker 1>great idea, Well, what if I'm writing about a cartoonist

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<v Speaker 1>named Alison Bechtel who's trying to write a memoir about

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<v Speaker 1>money and just constantly getting distracted by other things. And

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<v Speaker 1>so that's what I ended up doing, and it was

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<v Speaker 1>much more fun. And one of the directions that it

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<v Speaker 1>went off in was my friends in this new book,

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<v Speaker 1>my friends who lived down the hill for me in

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<v Speaker 1>Vermont are actually some of the old Dikes to watch

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<v Speaker 1>out for characters Oh cool, Lois and Ginger and Sparrow

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<v Speaker 1>who used to live together in this group house one

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<v Speaker 1>hundred years ago and they're still living there and they're

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<v Speaker 1>still now, but now they're in their sixties. And it

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<v Speaker 1>was really fun to rediscover those people and to start

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<v Speaker 1>writing about them again. And I just felt like, oh

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<v Speaker 1>my god, I missed you guys. So it's about It's

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<v Speaker 1>kind of about me and my real life with my

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<v Speaker 1>partner Holly, even though it's also filled with all kinds

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<v Speaker 1>of purely fictional scenarios like in the book, Holly and

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<v Speaker 1>I live on a pygmy goat sanctuary, which in real

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<v Speaker 1>life we do not do. But I just let myself

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<v Speaker 1>do whatever I wanted and it was so fun.

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<v Speaker 2>Yeah, So I kept as I was reading it, I

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<v Speaker 2>was like, Oh, this is like Alison Buchdel Avengers Endgame.

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<v Speaker 2>It's all of your world's like colliding in this super

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<v Speaker 2>cool way.

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<v Speaker 1>I don't know that reference, but yes, that's exactly what

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<v Speaker 1>I'm going for.

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<v Speaker 2>Yeah, because how long had it been since you had

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<v Speaker 2>worked with the Dykes to watch up for characters?

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<v Speaker 1>A really long time. I wrote my last Dyke's episode

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<v Speaker 1>in two thousand and eight, so I can't do that

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<v Speaker 1>math anymore. A long time.

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<v Speaker 4>Ago, almost twenty years, seventeen years something.

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<v Speaker 2>It was so cool. Yeah, we're both big fans of

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<v Speaker 2>the original comics, so it was really cool kind of

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<v Speaker 2>catching up with the character.

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<v Speaker 4>It was really nice. Definitely.

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<v Speaker 2>Yeah, we're in the process of writing this book. How

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<v Speaker 2>long did it take to write? And Yeah, A lot

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<v Speaker 2>of what you're talking about in the book has to

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<v Speaker 2>do with I mean, it takes place during the pandemic era,

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<v Speaker 2>I think mostly in twenty twenty two. How much were

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<v Speaker 2>you pulling from your feelings and anxieties of that time?

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<v Speaker 1>A lot? I mean that was the saving grace of it, Like,

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<v Speaker 1>you know, everything is just so fucking crazy. Yeah, life

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<v Speaker 1>is insane, and it was an outlet for that, and

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<v Speaker 1>you know, like a constructive outlet to take all my

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<v Speaker 1>anxieties and fears and put them into these characters and

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<v Speaker 1>you know, keep them somewhat at arm's length, but also

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<v Speaker 1>just to process it all. So I was living through

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<v Speaker 1>the news. This is something I missed from the old

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<v Speaker 1>days with the comic strip, was it was a way

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<v Speaker 1>to respond and figure out what was happening in the

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<v Speaker 1>world as it unspooled, because the comic strip was not

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<v Speaker 1>just about the carearacter's lives but about the news. So

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<v Speaker 1>this was a way to kind of get back to

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<v Speaker 1>that modality to you know, keeping track of what like this,

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<v Speaker 1>the story was happening in real time. You know, certain

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<v Speaker 1>things happen in the news, the characters would respond to them,

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<v Speaker 1>and yeah, it happens like between twenty twenty two and

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<v Speaker 1>twenty twenty four. I finished it just before the election,

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<v Speaker 1>so I had to I didn't know what was going

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<v Speaker 1>to happen, so I had to sort of leave things

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<v Speaker 1>somewhat open. Oh God, I can't even think about it.

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<v Speaker 1>Are we all just having some kind of collective bad dream?

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<v Speaker 1>Could that be?

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<v Speaker 4>I hope?

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<v Speaker 2>So that being the best case scenario is scary, I mean,

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<v Speaker 2>but there's so much of the anxiety is that you're

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<v Speaker 2>having that we talk about on the show all the

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<v Speaker 2>time now of like trying to make art and connect

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<v Speaker 2>with people during a time where it feels like you

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<v Speaker 2>have to sort of dissociate in order to even try

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<v Speaker 2>to do that, and it's impossible to do without ending

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<v Speaker 2>on I mean, like we work for iHeartRadio. That's probably

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<v Speaker 2>not good to all of these like you know, constant compromises.

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<v Speaker 4>Yeah, yeah, yeah.

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<v Speaker 1>Alison is definitely struggling with those kind of choices in

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<v Speaker 1>the book and those decisions, Like it starts with her

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<v Speaker 1>getting a very high offer to have her book published

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<v Speaker 1>by megalipub, this big evil empire publishing company that you know,

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<v Speaker 1>she accepts their offer, but then she's tortured by it.

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<v Speaker 1>Just the challenge of creating, of doing anything constructive and

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<v Speaker 1>creative in this atmosphere. That's also kind of what the

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<v Speaker 1>book is about. And Alison in the book is just

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<v Speaker 1>like can't concentrate on anything. She's so upset about the news.

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<v Speaker 1>She's flitting from one project to another, which is very

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<v Speaker 1>much like my actual creative process.

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<v Speaker 4>Same. Yeah, to the point where I never get anything done.

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<v Speaker 4>But I also love an aspect of the book is

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<v Speaker 4>commentary on the state of Hollywood, basically because they're not

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<v Speaker 4>to you know, I'm going to try to avoid spoilers,

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<v Speaker 4>but there's a part where the Alison character goes to

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<v Speaker 4>La and pitches a show and also visits the set

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<v Speaker 4>of a different show. And the way that the creator

0:12:28.000 --> 0:12:33.600
<v Speaker 4>of this show has adapted your work or your character's work,

0:12:33.880 --> 0:12:37.560
<v Speaker 4>and just the hollywoodification of it all. It's all. It's very,

0:12:37.640 --> 0:12:38.199
<v Speaker 4>very funny.

0:12:38.280 --> 0:12:42.200
<v Speaker 2>And the detail, one of my favorite details or jokes

0:12:42.200 --> 0:12:47.840
<v Speaker 2>in the book is Alison googling how expensive someone's stove is,

0:12:49.360 --> 0:12:52.160
<v Speaker 2>because I've definitely done that where I was like, I

0:12:52.200 --> 0:12:54.319
<v Speaker 2>don't like that person. Let me find out how much

0:12:54.360 --> 0:12:57.079
<v Speaker 2>there's stove costs. And the answer you never like to

0:12:57.120 --> 0:12:57.400
<v Speaker 2>hear it.

0:12:57.679 --> 0:13:00.800
<v Speaker 1>Yeah, that's Allison is having a zoom session with the

0:13:00.840 --> 0:13:05.960
<v Speaker 1>showrunner of the television show that's based on a memoir

0:13:06.000 --> 0:13:09.720
<v Speaker 1>that Allison wrote in her youth. It's kind of it's

0:13:09.720 --> 0:13:12.679
<v Speaker 1>a way to play with my book fun Home that

0:13:12.720 --> 0:13:15.360
<v Speaker 1>got turned into a Broadway musical, and in this book,

0:13:15.559 --> 0:13:20.199
<v Speaker 1>Allison's has written a memoir about her father, the taxidermist,

0:13:21.400 --> 0:13:25.199
<v Speaker 1>death and Taxidermy. It gets turned into a Prestige TV

0:13:25.400 --> 0:13:26.839
<v Speaker 1>series and this woman.

0:13:27.200 --> 0:13:29.880
<v Speaker 2>Sadilla cast in the Fake Oh yeah.

0:13:31.120 --> 0:13:35.280
<v Speaker 1>It's starring Benedette Cumberbatch and Sarah Paulson and Aubrey Plaza

0:13:35.400 --> 0:13:38.640
<v Speaker 1>as Alison. It's funny. I was talking to someone the

0:13:38.679 --> 0:13:40.840
<v Speaker 1>other day doing an interview and they were like, I

0:13:40.920 --> 0:13:43.120
<v Speaker 1>googled that show, but I couldn't find anything.

0:13:44.559 --> 0:13:48.520
<v Speaker 4>Thought it was real. I'm tue it would be. I mean,

0:13:48.640 --> 0:13:52.800
<v Speaker 4>I know that the Alison character is a little resentful

0:13:53.160 --> 0:13:58.040
<v Speaker 4>of different creative embellishments that are made, but might have

0:13:58.040 --> 0:13:58.720
<v Speaker 4>been a fun show.

0:13:59.120 --> 0:14:02.160
<v Speaker 1>It does sound fun. Yeah, Sadilla is just kicking all

0:14:02.240 --> 0:14:05.320
<v Speaker 1>kinds of liberties with Alison's manuscript, and she has this

0:14:05.480 --> 0:14:08.680
<v Speaker 1>very fancy wolf stove with red knobs that Alison is

0:14:08.720 --> 0:14:10.960
<v Speaker 1>mesmerized by when they have their Zoom meetings.

0:14:12.600 --> 0:14:14.800
<v Speaker 2>That was another I mean, that was another thing that

0:14:14.880 --> 0:14:18.000
<v Speaker 2>I don't know. It's just like we've been again, we've

0:14:18.000 --> 0:14:19.600
<v Speaker 2>been fans of your work for so long, and seeing

0:14:19.640 --> 0:14:22.440
<v Speaker 2>all of these themes and seeing you sort of interface

0:14:22.520 --> 0:14:24.920
<v Speaker 2>with work you've done in the past in this book,

0:14:25.280 --> 0:14:29.320
<v Speaker 2>especially with the adaptation, I'm so curious, Like, yeah, reflecting

0:14:29.400 --> 0:14:31.680
<v Speaker 2>on I mean, I guess we kind of want to

0:14:31.720 --> 0:14:34.240
<v Speaker 2>talk about this with the Bechdel Test as well, you know,

0:14:34.320 --> 0:14:37.520
<v Speaker 2>creating this tremendously successful work and fun home and then

0:14:37.560 --> 0:14:40.600
<v Speaker 2>having it adapted, and then having this version of yourself

0:14:40.640 --> 0:14:45.600
<v Speaker 2>in the world that is kind of outside of your control. Yeah,

0:14:45.640 --> 0:14:48.400
<v Speaker 2>I mean in your own life. How do you manage that?

0:14:49.840 --> 0:14:53.440
<v Speaker 1>It's weird and crazy? And I managed it in this

0:14:53.520 --> 0:14:56.240
<v Speaker 1>case by like writing about it and playing with it

0:14:56.360 --> 0:14:59.280
<v Speaker 1>in this book form. It was really fun to get

0:14:59.280 --> 0:15:03.240
<v Speaker 1>to just sort of free associate about I don't know,

0:15:03.280 --> 0:15:06.520
<v Speaker 1>I feel very lucky that Phone Home turned out as well,

0:15:06.640 --> 0:15:10.160
<v Speaker 1>that the musical that was made from Phone Home was

0:15:10.200 --> 0:15:12.680
<v Speaker 1>so good, but it could have gone the other way,

0:15:12.720 --> 0:15:14.360
<v Speaker 1>and so this was kind of a way of exploring

0:15:14.400 --> 0:15:15.840
<v Speaker 1>that possibility.

0:15:16.040 --> 0:15:20.640
<v Speaker 4>Yeah, for sure. Well, I mean, speaking of the Bechdel test,

0:15:20.880 --> 0:15:26.120
<v Speaker 4>I ever heard of it? We we always say in

0:15:26.160 --> 0:15:28.440
<v Speaker 4>the show, like at the beginning of every episode, like

0:15:28.520 --> 0:15:31.800
<v Speaker 4>we use this as a jumping off point, and you know,

0:15:31.840 --> 0:15:34.520
<v Speaker 4>it's it's to initiate larger conversations. But we're just we're

0:15:34.520 --> 0:15:37.200
<v Speaker 4>you know, we're curious about a lot of different things.

0:15:37.240 --> 0:15:41.480
<v Speaker 4>As far as I guess, like, when did you first

0:15:41.520 --> 0:15:45.640
<v Speaker 4>realize that the Bechdel test that people were using and

0:15:45.720 --> 0:15:50.480
<v Speaker 4>applying to media as a metric was becoming like a thing.

0:15:51.200 --> 0:15:55.000
<v Speaker 1>It was sometime in the early two thousands. I should

0:15:55.000 --> 0:15:58.240
<v Speaker 1>probably try and like, well, I have tried to write

0:15:58.240 --> 0:16:01.320
<v Speaker 1>about it somewhere, like on my blogger or something, my blog.

0:16:05.440 --> 0:16:07.120
<v Speaker 1>Oh my god, I just can't keep up.

0:16:07.960 --> 0:16:11.080
<v Speaker 2>Like substocks are basically blogs, They just go by a

0:16:11.160 --> 0:16:12.800
<v Speaker 2>vigilian substacks.

0:16:12.840 --> 0:16:15.120
<v Speaker 1>I mean, how many substacks do you guys subscribe to?

0:16:15.120 --> 0:16:15.160
<v Speaker 3>You?

0:16:15.280 --> 0:16:17.040
<v Speaker 1>How are you supposed to keep up with all these people?

0:16:17.120 --> 0:16:18.840
<v Speaker 1>Isn't that what newspapers were used to be for?

0:16:19.320 --> 0:16:23.280
<v Speaker 2>Yeah? Yeah, yeah, I feel that I have most of

0:16:23.280 --> 0:16:25.640
<v Speaker 2>my inboxes on red substacks.

0:16:25.920 --> 0:16:28.440
<v Speaker 1>Yeah. I don't know what to do with them anyhow. Wait,

0:16:28.640 --> 0:16:31.520
<v Speaker 1>we're digressing. What were we? Oh? Oh the Bechdel Test.

0:16:31.560 --> 0:16:33.160
<v Speaker 1>Like yeah, it was like in the early two thousands.

0:16:33.160 --> 0:16:36.520
<v Speaker 1>I was like, what, that's crazy. Like I had written

0:16:36.560 --> 0:16:40.160
<v Speaker 1>this comic strip, the comic strip from which it got

0:16:40.200 --> 0:16:44.840
<v Speaker 1>adapted in nineteen eighty five, like a thousand years ago,

0:16:45.640 --> 0:16:48.000
<v Speaker 1>and I didn't really think much about it after that,

0:16:48.080 --> 0:16:50.880
<v Speaker 1>you know, I wrote this cartoon. It was the kind

0:16:50.920 --> 0:16:54.680
<v Speaker 1>of humor me and my lesbian feminist pals would bandy

0:16:54.760 --> 0:16:58.280
<v Speaker 1>about in those days, something that we never thought anyone

0:16:58.560 --> 0:17:01.560
<v Speaker 1>outside of that little sub culture would get and so

0:17:01.600 --> 0:17:03.920
<v Speaker 1>it was very surprising and gratifying to me to see

0:17:03.960 --> 0:17:08.719
<v Speaker 1>it entering this larger realm. I think it was feminist

0:17:08.920 --> 0:17:12.240
<v Speaker 1>film students who somehow stumbled on it and felt like

0:17:12.280 --> 0:17:16.120
<v Speaker 1>it expressed a useful concept and just started circulating it.

0:17:16.440 --> 0:17:19.440
<v Speaker 1>But at first I was a little like, I didn't

0:17:19.440 --> 0:17:22.480
<v Speaker 1>mean for it to be real. Way, this is my name?

0:17:22.560 --> 0:17:25.400
<v Speaker 1>What are you doing? Right? I mean I never objected

0:17:25.400 --> 0:17:28.240
<v Speaker 1>because it was always fine, but it was weird.

0:17:28.640 --> 0:17:29.720
<v Speaker 4>I can only imagine.

0:17:29.760 --> 0:17:32.920
<v Speaker 1>And some people, you know, mostly people think I made

0:17:32.920 --> 0:17:35.160
<v Speaker 1>this declaration, which I never did.

0:17:35.600 --> 0:17:38.320
<v Speaker 2>Yeah, that's the thing. I mean, just how I kind

0:17:38.359 --> 0:17:42.520
<v Speaker 2>of forget how. Yeah, there's two full decades between the

0:17:42.560 --> 0:17:46.240
<v Speaker 2>strip and then it becoming this like very commonly cited

0:17:46.600 --> 0:17:49.400
<v Speaker 2>media test. That's really bizarre.

0:17:49.600 --> 0:17:53.960
<v Speaker 1>Well, I learned about something called Stigler's law of eponymy

0:17:54.280 --> 0:17:59.160
<v Speaker 1>oooh okay, same more, anything that has gotten named after

0:17:59.240 --> 0:18:04.520
<v Speaker 1>a person that's eponymous is never named after the actual

0:18:04.560 --> 0:18:08.000
<v Speaker 1>person who invented it, but someone sort of obliquely related

0:18:08.080 --> 0:18:13.840
<v Speaker 1>to it, like Murphy's Law was not really invented by Murphy,

0:18:13.920 --> 0:18:17.040
<v Speaker 1>and in fact, Stiegler's law of economy was not invented

0:18:17.040 --> 0:18:18.560
<v Speaker 1>by Stiegler but someone.

0:18:19.840 --> 0:18:20.359
<v Speaker 4>Adjacent.

0:18:22.440 --> 0:18:25.520
<v Speaker 2>Well, speaking of the name of the test every so often,

0:18:25.520 --> 0:18:28.320
<v Speaker 2>really it is technically called the Bechdel Wallace test. We

0:18:28.359 --> 0:18:31.800
<v Speaker 2>try every so often to remind people of the original

0:18:32.119 --> 0:18:33.560
<v Speaker 2>context of the town.

0:18:33.640 --> 0:18:34.399
<v Speaker 1>That's very good of you.

0:18:35.040 --> 0:18:38.520
<v Speaker 2>We try our best, thank you, But we'd be curious

0:18:38.560 --> 0:18:41.600
<v Speaker 2>just to share with our listeners why it's called the

0:18:41.600 --> 0:18:44.760
<v Speaker 2>Bechdel Wallace test. And a little more about Liz Wallace.

0:18:45.200 --> 0:18:48.399
<v Speaker 1>I feel quite sheepish about this because I honestly have

0:18:48.520 --> 0:18:51.720
<v Speaker 1>not been in touch with Liz Wallace since nineteen eighty five.

0:18:52.520 --> 0:18:54.480
<v Speaker 1>She was someone in my karate class.

0:18:54.760 --> 0:18:56.280
<v Speaker 2>What that's so cool?

0:18:56.520 --> 0:19:00.040
<v Speaker 1>Yeah, I did karate and she was talking about this

0:19:00.080 --> 0:19:02.000
<v Speaker 1>one day as we were all changing our clothes, and

0:19:02.720 --> 0:19:04.520
<v Speaker 1>I just worked it into my comic stare. I mean

0:19:04.680 --> 0:19:06.240
<v Speaker 1>at the time I told her I was doing it,

0:19:06.280 --> 0:19:08.879
<v Speaker 1>and she knew that. But in this later iteration, now

0:19:08.960 --> 0:19:11.159
<v Speaker 1>that it's become a thing, I've I have had no

0:19:11.200 --> 0:19:12.919
<v Speaker 1>contact with her. I don't even know how to find her.

0:19:12.920 --> 0:19:14.480
<v Speaker 1>And how can you find someone with a name like that,

0:19:14.520 --> 0:19:15.399
<v Speaker 1>It's like very common.

0:19:16.920 --> 0:19:19.960
<v Speaker 2>Maybe she's still haunting the karate studio to this day.

0:19:20.000 --> 0:19:20.439
<v Speaker 4>We don't know.

0:19:20.680 --> 0:19:21.320
<v Speaker 1>Maybe she is.

0:19:22.800 --> 0:19:26.120
<v Speaker 4>That's so cool. But like you said, Allison, I think

0:19:26.160 --> 0:19:29.800
<v Speaker 4>that people think that you set out to create this

0:19:30.000 --> 0:19:34.040
<v Speaker 4>test that would be used with like those intentions.

0:19:33.440 --> 0:19:36.080
<v Speaker 2>In like a very academic way, which.

0:19:36.000 --> 0:19:39.120
<v Speaker 4>People have done since then because they were inspired by

0:19:39.119 --> 0:19:39.520
<v Speaker 4>your test.

0:19:39.640 --> 0:19:41.960
<v Speaker 1>If I had done that, it wouldn't have caught on.

0:19:42.040 --> 0:19:42.959
<v Speaker 1>That's the beauty of it.

0:19:43.200 --> 0:19:46.320
<v Speaker 4>Yeah, you know, it just has to happen organically. Yes,

0:19:46.600 --> 0:19:50.439
<v Speaker 4>But as Jamie was alluding to the origins of the

0:19:50.480 --> 0:19:53.840
<v Speaker 4>test that appear in Dykes to Watch Out For, the

0:19:53.920 --> 0:19:59.359
<v Speaker 4>implication in the scene is characters discussing basically having to

0:19:59.520 --> 0:20:03.399
<v Speaker 4>ship two women together in movies that they watch, because

0:20:03.600 --> 0:20:07.680
<v Speaker 4>representation of lesbians in mainstream movies was like virtually non

0:20:07.720 --> 0:20:10.439
<v Speaker 4>existent back then. But wait a.

0:20:10.440 --> 0:20:12.960
<v Speaker 1>Second, what is this word ship? I am like an

0:20:13.040 --> 0:20:15.359
<v Speaker 1>old person. I have no idea what you're talking about.

0:20:15.400 --> 0:20:16.160
<v Speaker 2>That's what we're here for.

0:20:16.600 --> 0:20:18.280
<v Speaker 4>Shivving is Jamie, take it away?

0:20:19.280 --> 0:20:24.200
<v Speaker 2>Oh gosh, now I'm gonna whiff it. Shipping is basically

0:20:24.320 --> 0:20:27.080
<v Speaker 2>fan fiction in your head of like, oh, these I'm

0:20:27.119 --> 0:20:31.800
<v Speaker 2>just imagining these two characters together because mainstream movies are

0:20:31.960 --> 0:20:36.120
<v Speaker 2>so aggressively heteronormative that they would never put a queer

0:20:36.119 --> 0:20:37.679
<v Speaker 2>couple on screen. So I'm trying to think of, like,

0:20:37.680 --> 0:20:41.320
<v Speaker 2>what is a classic example, Caitlin of Oh, it happens

0:20:41.320 --> 0:20:42.479
<v Speaker 2>in TV all the time.

0:20:42.800 --> 0:20:46.120
<v Speaker 1>Yeah, what's it called shipping? Like what does that imply.

0:20:46.119 --> 0:20:50.840
<v Speaker 2>That I wish I do? I'm not quite online enough

0:20:50.960 --> 0:20:51.320
<v Speaker 2>to know.

0:20:51.520 --> 0:20:54.800
<v Speaker 4>Me either, And I'm gonna take a guess and it

0:20:54.840 --> 0:20:57.440
<v Speaker 4>might be so wrong, but I wonder if ship comes

0:20:57.440 --> 0:21:00.800
<v Speaker 4>from like relationship and they're hoping that these two characters

0:21:00.920 --> 0:21:03.879
<v Speaker 4>enter a relationship that I don't know. Actually I maybe

0:21:03.920 --> 0:21:04.520
<v Speaker 4>made that up.

0:21:04.640 --> 0:21:05.280
<v Speaker 2>Let's go with that.

0:21:05.520 --> 0:21:10.359
<v Speaker 4>Yeah, But all this to say, the test has queer

0:21:10.480 --> 0:21:13.720
<v Speaker 4>roots that are often erased in this sort of like

0:21:13.800 --> 0:21:19.280
<v Speaker 4>more mainstream application of the Bechdel Test. And curious about

0:21:19.320 --> 0:21:23.440
<v Speaker 4>your thoughts on that, and also we're curious about how

0:21:23.480 --> 0:21:27.680
<v Speaker 4>you feel representation of queer characters in media has evolved

0:21:28.280 --> 0:21:32.040
<v Speaker 4>since the test first appears in Dick's To Watch Out

0:21:32.040 --> 0:21:35.520
<v Speaker 4>For in the eighties, because there has been some progress

0:21:35.720 --> 0:21:40.080
<v Speaker 4>since then where people don't have to ship, you know,

0:21:40.160 --> 0:21:43.879
<v Speaker 4>two women together for example, because that does happen on

0:21:43.960 --> 0:21:46.560
<v Speaker 4>screen now. So yeah, that's on all that.

0:21:46.920 --> 0:21:50.480
<v Speaker 1>Right, Well, yeah, there's been a huge amount of progress.

0:21:50.520 --> 0:21:53.679
<v Speaker 1>I'll put that in quotes, because yeah, there's tons of

0:21:53.680 --> 0:21:58.199
<v Speaker 1>representation now, but not all of it is great, you

0:21:58.280 --> 0:22:02.640
<v Speaker 1>know for sure. And also I just at a certain point,

0:22:03.280 --> 0:22:07.199
<v Speaker 1>I just started feeling like, man, I missed the battle

0:22:07.320 --> 0:22:09.199
<v Speaker 1>days when like we were in the shadows and no

0:22:09.240 --> 0:22:11.560
<v Speaker 1>one knew what we were up to and like we

0:22:11.600 --> 0:22:13.520
<v Speaker 1>were just free, you know, it didn't have to be

0:22:14.359 --> 0:22:19.159
<v Speaker 1>representing or performing. I don't really want to go back

0:22:19.240 --> 0:22:21.720
<v Speaker 1>to that those days, although I don't really have much

0:22:21.760 --> 0:22:24.199
<v Speaker 1>say in it since that's whoever're all headed on a

0:22:24.240 --> 0:22:29.120
<v Speaker 1>grease pole. But yeah, things improved somewhat.

0:22:29.440 --> 0:22:32.360
<v Speaker 4>Do you have any favorite movies in particular?

0:22:32.680 --> 0:22:34.880
<v Speaker 1>Well, here's the thing. I am not like a really

0:22:34.920 --> 0:22:37.520
<v Speaker 1>a movie person, so I get really embarrassed when people

0:22:37.600 --> 0:22:39.919
<v Speaker 1>ask me, like, what films passed the Bechdel Test? I

0:22:39.920 --> 0:22:40.720
<v Speaker 1>don't fucking know.

0:22:41.320 --> 0:22:45.480
<v Speaker 4>And really do the math yourself. Yeah, that's our job.

0:22:45.800 --> 0:22:46.840
<v Speaker 4>That's literally our job.

0:22:46.960 --> 0:22:49.080
<v Speaker 1>So yeah, no, I'm so glad you guys are on it.

0:22:49.119 --> 0:22:53.600
<v Speaker 1>And in fact, I always laugh because literally Groundhog Day

0:22:53.640 --> 0:22:55.280
<v Speaker 1>is one of my favorite movies of all time and

0:22:55.320 --> 0:22:57.600
<v Speaker 1>it totally doesn't pass the test. And I was just

0:22:57.600 --> 0:22:59.399
<v Speaker 1>listening to your episode on it.

0:22:59.600 --> 0:23:02.640
<v Speaker 2>Yeah, I mean so many of our favorite movies. That's

0:23:02.640 --> 0:23:05.439
<v Speaker 2>like sort of what, I don't know. It's interesting like

0:23:05.520 --> 0:23:07.920
<v Speaker 2>having guests on the show over the years and having

0:23:07.960 --> 0:23:11.320
<v Speaker 2>the discussion of like it's okay, like your favorite movie

0:23:11.359 --> 0:23:14.399
<v Speaker 2>is your favorite movie. We're not here to yell at

0:23:14.440 --> 0:23:15.240
<v Speaker 2>you about it.

0:23:15.280 --> 0:23:17.679
<v Speaker 1>And also sometimes you just want to check out. I

0:23:17.680 --> 0:23:20.840
<v Speaker 1>don't want to watch something totally relevant to my life

0:23:20.880 --> 0:23:24.040
<v Speaker 1>when I'm trying to relax. That would just not be soothing.

0:23:24.359 --> 0:23:27.280
<v Speaker 4>Yeah, I love escapist media.

0:23:27.400 --> 0:23:31.840
<v Speaker 2>Yeah, and we to continue the spiral of weirdness. We

0:23:32.200 --> 0:23:37.399
<v Speaker 2>call that taking off our Bechdel goggles, when we just

0:23:37.520 --> 0:23:42.320
<v Speaker 2>watch a movie and don't think about Yes, yeah.

0:23:42.119 --> 0:23:45.000
<v Speaker 1>It was actually you know, that strip came out of

0:23:45.760 --> 0:23:49.240
<v Speaker 1>the weird cognitive dissonance that I started to experience as

0:23:49.240 --> 0:23:52.320
<v Speaker 1>a young woman when I was getting woke, when I

0:23:52.400 --> 0:23:55.840
<v Speaker 1>was suddenly realizing, oh my god, the world is like

0:23:56.000 --> 0:23:59.400
<v Speaker 1>this huge power play and this half is oppressing this half.

0:24:00.080 --> 0:24:02.080
<v Speaker 1>I realized that I couldn't just watch a movie and

0:24:02.200 --> 0:24:05.959
<v Speaker 1>enjoy it, that everything was like really racist and oppressive

0:24:06.000 --> 0:24:09.719
<v Speaker 1>and rape and you know, you couldn't just you couldn't

0:24:09.800 --> 0:24:12.320
<v Speaker 1>check out and watch a movie. So I understand why

0:24:12.359 --> 0:24:14.640
<v Speaker 1>you would want to take off your Bechdel goggles.

0:24:15.359 --> 0:24:18.040
<v Speaker 4>I do it every time I go to the movies, and.

0:24:18.480 --> 0:24:19.840
<v Speaker 2>You gotta watch Indiana Jones.

0:24:19.880 --> 0:24:23.360
<v Speaker 4>Somehow that's there. It must, Yeah, And then I put

0:24:23.400 --> 0:24:26.359
<v Speaker 4>them on when we record episodes of our podcast.

0:24:26.760 --> 0:24:30.960
<v Speaker 2>So that another question we're curious about. Have you heard

0:24:31.160 --> 0:24:34.600
<v Speaker 2>we've over the years learned more about sort of other

0:24:34.720 --> 0:24:39.720
<v Speaker 2>media metrics inspired by the Bechdel Test. Have you encountered

0:24:39.760 --> 0:24:41.959
<v Speaker 2>any of these ye over the years?

0:24:42.200 --> 0:24:44.320
<v Speaker 1>Yeah, I mean I don't know if if they have

0:24:44.440 --> 0:24:47.479
<v Speaker 1>names and stuff, but I know there's ones like are

0:24:47.480 --> 0:24:49.439
<v Speaker 1>there two people of color in the movie? Do they

0:24:49.480 --> 0:24:52.919
<v Speaker 1>talk to each other about something besides racism or a

0:24:52.960 --> 0:24:57.320
<v Speaker 1>white person? But my favorite one is this new climate

0:24:57.359 --> 0:24:58.440
<v Speaker 1>one have you heard about that?

0:24:58.760 --> 0:24:59.480
<v Speaker 2>I don't think so.

0:25:00.200 --> 0:25:00.640
<v Speaker 4>Tell us.

0:25:00.800 --> 0:25:04.920
<v Speaker 1>It's called the climate reality check, and a movie passes

0:25:04.960 --> 0:25:08.119
<v Speaker 1>if in a movie that's set in the present or

0:25:08.160 --> 0:25:11.879
<v Speaker 1>remotely around the present, climate change has to be acknowledged

0:25:11.880 --> 0:25:15.120
<v Speaker 1>and the main character has to be like cognizant of that,

0:25:16.040 --> 0:25:19.119
<v Speaker 1>which I think is awesome for sure. Hacks Hacks is

0:25:19.160 --> 0:25:21.800
<v Speaker 1>a great example of a show that passes that test

0:25:21.800 --> 0:25:25.800
<v Speaker 1>with flying colors, because they're constantly definitely talking about that awesome.

0:25:26.000 --> 0:25:28.520
<v Speaker 2>Yeah, it does feel like, there's like it has to

0:25:28.560 --> 0:25:32.000
<v Speaker 2>be escapist media to happen now and not feature climate

0:25:32.040 --> 0:25:34.040
<v Speaker 2>anxiety to some extent.

0:25:34.480 --> 0:25:37.520
<v Speaker 1>Yeah, I mean it's yeah, it's it's just you can't

0:25:37.840 --> 0:25:40.800
<v Speaker 1>not mention it or it's just really bad.

0:25:42.119 --> 0:25:45.600
<v Speaker 2>I mean, but you've been writing about it for literally decades.

0:25:45.600 --> 0:25:47.800
<v Speaker 2>I mean I was going back and reading some old stuff.

0:25:47.840 --> 0:25:50.480
<v Speaker 2>I was like, Okay, this is she's been on this.

0:25:50.680 --> 0:25:54.480
<v Speaker 1>Lesbians were on the cutting edge. We knew everything back

0:25:54.520 --> 0:25:54.960
<v Speaker 1>in the day.

0:25:55.040 --> 0:25:59.520
<v Speaker 2>Always well, you're talking about about sort of how dicks

0:25:59.560 --> 0:26:01.480
<v Speaker 2>to watch out. There was a lot of things you

0:26:01.480 --> 0:26:04.280
<v Speaker 2>were writing and as you were, you know, getting woke

0:26:04.440 --> 0:26:08.600
<v Speaker 2>in your early twenties and throughout your twenties. Yeah, and now,

0:26:08.720 --> 0:26:11.280
<v Speaker 2>I mean there is a huge fan base for you

0:26:11.359 --> 0:26:13.680
<v Speaker 2>that are you know, queer people of the next generation

0:26:14.040 --> 0:26:15.840
<v Speaker 2>and what is it? What is it like sort of

0:26:16.960 --> 0:26:19.480
<v Speaker 2>I guess this is a big question. But having those

0:26:19.560 --> 0:26:23.639
<v Speaker 2>that role kind of reversed and watching new generation of

0:26:23.720 --> 0:26:26.960
<v Speaker 2>people awakened to these issues that you've been talking about

0:26:26.960 --> 0:26:27.720
<v Speaker 2>since eighties.

0:26:29.680 --> 0:26:32.320
<v Speaker 1>I love that young people are still reading my work.

0:26:32.400 --> 0:26:36.679
<v Speaker 1>I think that's so cool and it doesn't always happen,

0:26:36.720 --> 0:26:39.679
<v Speaker 1>but of course it's for a tragic reason. Which is

0:26:39.760 --> 0:26:43.000
<v Speaker 1>that they're still dealing with the same shit my generation

0:26:43.960 --> 0:26:46.119
<v Speaker 1>was dealing with. But I hear from a lot of

0:26:46.119 --> 0:26:48.600
<v Speaker 1>young people that they find it heartening and helpful to

0:26:49.119 --> 0:26:52.760
<v Speaker 1>see these people, you know, trying to do what they're

0:26:52.800 --> 0:26:57.159
<v Speaker 1>trying to do. So I love that. I've recently learned

0:26:57.160 --> 0:27:00.800
<v Speaker 1>something funny, which is that I had this whole bunch

0:27:00.840 --> 0:27:04.760
<v Speaker 1>of unintended readers of my comic strip when I was

0:27:04.800 --> 0:27:08.320
<v Speaker 1>doing it, which was the children of lesbians. I hear

0:27:08.359 --> 0:27:11.720
<v Speaker 1>from so many young or not even so young adults

0:27:12.320 --> 0:27:15.080
<v Speaker 1>these days, like people in their thirties who say, you know,

0:27:15.119 --> 0:27:18.520
<v Speaker 1>and they're just totally straight, regular people who know my

0:27:18.600 --> 0:27:21.320
<v Speaker 1>work intimately because they read it as small children stealing

0:27:21.320 --> 0:27:23.520
<v Speaker 1>it from their mother's shelves.

0:27:24.080 --> 0:27:24.880
<v Speaker 4>I love.

0:27:25.359 --> 0:27:28.040
<v Speaker 1>So that's really cool too, that I had no idea

0:27:28.080 --> 0:27:31.439
<v Speaker 1>those kids were doing that. You never know who's gonna

0:27:31.960 --> 0:27:33.080
<v Speaker 1>read your stuff.

0:27:32.920 --> 0:27:36.840
<v Speaker 4>Yeah, you truly never do. I love the characters and

0:27:37.440 --> 0:27:43.280
<v Speaker 4>spent Jr. And Badger who are I guess it would

0:27:43.320 --> 0:27:46.960
<v Speaker 4>be gen Z. Yeah they're gen Z and they come

0:27:47.080 --> 0:27:48.120
<v Speaker 4>to less track of all.

0:27:48.040 --> 0:27:50.480
<v Speaker 2>Those gens yeah blurs.

0:27:50.520 --> 0:27:54.600
<v Speaker 1>But I love these kids. God, I love JR. And Badger. Jr.

0:27:54.720 --> 0:27:59.439
<v Speaker 1>Is the daughter or the child. They're non binary. Jr.

0:27:59.520 --> 0:28:03.320
<v Speaker 1>Is the daughter of my characters Sparrow and Stuart, and

0:28:03.680 --> 0:28:06.560
<v Speaker 1>back in the day they were just a little kid

0:28:06.680 --> 0:28:09.760
<v Speaker 1>like I think there were five when I last had

0:28:09.800 --> 0:28:11.560
<v Speaker 1>sight of them. So I had to imagine, how is

0:28:11.640 --> 0:28:13.520
<v Speaker 1>j are going to grow up? And what are they

0:28:13.560 --> 0:28:16.560
<v Speaker 1>doing now? And she's there at Oberlin, which is where

0:28:16.600 --> 0:28:20.880
<v Speaker 1>I went to college. They're they're in a non binary

0:28:21.280 --> 0:28:26.359
<v Speaker 1>asexual polycule with a bunch of people, and they are

0:28:26.440 --> 0:28:31.640
<v Speaker 1>especially close with Badger this other friend, and the two

0:28:31.680 --> 0:28:34.280
<v Speaker 1>of them drop out and come home and move into

0:28:34.359 --> 0:28:38.520
<v Speaker 1>Alison's yurt. And it's just my fantasy of wanting to

0:28:38.520 --> 0:28:41.960
<v Speaker 1>have children because I never had kids, and I'm always

0:28:42.040 --> 0:28:44.760
<v Speaker 1>envious of my friends with children, not really not so

0:28:44.880 --> 0:28:48.800
<v Speaker 1>envious that I'm they're going to wish I haven't done anything, Yeah,

0:28:49.080 --> 0:28:51.200
<v Speaker 1>but it would be like it. It'd be kind of

0:28:51.200 --> 0:28:53.600
<v Speaker 1>cool to have some like grown up kids hanging around.

0:28:53.680 --> 0:28:55.560
<v Speaker 1>So I got to play with that idea. And they

0:28:55.560 --> 0:28:57.880
<v Speaker 1>come live in the yurt and do their podcast.

0:28:58.200 --> 0:29:04.160
<v Speaker 2>Yes, yes, that way we are, yeah, podcasting from I

0:29:04.200 --> 0:29:06.040
<v Speaker 2>guess what we're asking is can we move in?

0:29:06.280 --> 0:29:11.360
<v Speaker 4>Can we move into your at your definitely real goat sanctuary.

0:29:11.600 --> 0:29:13.520
<v Speaker 1>Yeah, well, I definitely don't have a yurt, so you

0:29:13.640 --> 0:29:16.040
<v Speaker 1>just got to like live in my office.

0:29:16.440 --> 0:29:21.120
<v Speaker 2>Right, that won't be disruptive at all. I am curious

0:29:21.160 --> 0:29:26.960
<v Speaker 2>about the character Sheila. I had a lot of fun

0:29:27.040 --> 0:29:31.160
<v Speaker 2>sort of because I had just recently reread Fun Home

0:29:31.440 --> 0:29:33.840
<v Speaker 2>and then as I as you know, you're sort of

0:29:33.880 --> 0:29:37.720
<v Speaker 2>eased into the some Israel some is not of spent,

0:29:37.840 --> 0:29:41.719
<v Speaker 2>I was like, wait, did I miss a sister? I

0:29:41.760 --> 0:29:44.080
<v Speaker 2>did not miss a sister. I had to check Wikipedia

0:29:44.120 --> 0:29:46.920
<v Speaker 2>and I felt at ease. But yeah, there's there's this

0:29:47.160 --> 0:29:50.640
<v Speaker 2>conservative sister character. Where did that come from?

0:29:51.360 --> 0:29:55.600
<v Speaker 1>Uh? Kind of an amalgamation of you know, I do

0:29:55.720 --> 0:30:00.640
<v Speaker 1>have some trump bites in my some consent circles of

0:30:00.680 --> 0:30:02.480
<v Speaker 1>my family, and it was a way to write about

0:30:02.520 --> 0:30:05.120
<v Speaker 1>that without pinning it on anyone in particular, since it's

0:30:05.160 --> 0:30:09.560
<v Speaker 1>about my imaginary sister. But that was very cathartic. You know,

0:30:09.680 --> 0:30:14.560
<v Speaker 1>she's trying to get my book banned. She joins this group,

0:30:14.720 --> 0:30:17.720
<v Speaker 1>like what's that group called? In real life, they're called

0:30:18.480 --> 0:30:21.480
<v Speaker 1>Moms for Liberty, but in my strip, I call them

0:30:21.520 --> 0:30:27.480
<v Speaker 1>Liberty Mothers. And she's very envious of Alison, and she's

0:30:27.480 --> 0:30:31.200
<v Speaker 1>also writing a counter memoir, because when Alison wrote her

0:30:31.680 --> 0:30:35.320
<v Speaker 1>memoir about growing up with their father, the taxidermist, she

0:30:35.400 --> 0:30:38.920
<v Speaker 1>totally left her sister out of it, thinking that, well,

0:30:38.960 --> 0:30:42.360
<v Speaker 1>you know, it's all just exploring all these different aspects

0:30:42.440 --> 0:30:44.040
<v Speaker 1>of the kind of work I've done. And yes, writing

0:30:44.040 --> 0:30:46.080
<v Speaker 1>a memoir is a very one sided kind of thing

0:30:46.120 --> 0:30:48.800
<v Speaker 1>to do. I thought when I was writing Phone Home

0:30:48.840 --> 0:30:51.560
<v Speaker 1>that I was telling like the truth of my family,

0:30:52.280 --> 0:30:56.440
<v Speaker 1>but I was just telling my version, And so Allison

0:30:56.520 --> 0:30:58.320
<v Speaker 1>is having to grapple with that, like Sheila had a

0:30:58.360 --> 0:31:01.239
<v Speaker 1>whole experience that Alice and knew nothing about when they

0:31:01.240 --> 0:31:02.240
<v Speaker 1>were young.

0:31:03.560 --> 0:31:06.440
<v Speaker 4>I mean, that's the beauty of this book and your

0:31:06.440 --> 0:31:10.560
<v Speaker 4>work in general. There's there's there's so rich, there's such

0:31:10.680 --> 0:31:13.120
<v Speaker 4>rich texts. They explore so many things. There's so many

0:31:14.080 --> 0:31:19.360
<v Speaker 4>also just relatable and comfortingly familiar moments, Like there's a

0:31:19.400 --> 0:31:22.920
<v Speaker 4>scene where the Alison character and her partner go to

0:31:23.360 --> 0:31:26.520
<v Speaker 4>their friend's place and they like it's during the pandemic

0:31:26.600 --> 0:31:30.200
<v Speaker 4>and they test they do those like by next yeah, yeah,

0:31:30.200 --> 0:31:34.480
<v Speaker 4>COVID tests before anyone can enter. And I was just like, exactly,

0:31:34.640 --> 0:31:36.520
<v Speaker 4>I did that. Yeah, that was like the first time

0:31:36.560 --> 0:31:39.600
<v Speaker 4>I'd seen each other's stoops, right, and I was like,

0:31:40.080 --> 0:31:43.160
<v Speaker 4>I haven't seen that in all the you know, post

0:31:43.200 --> 0:31:45.680
<v Speaker 4>pandemic media that's come out. I was like, I haven't

0:31:45.680 --> 0:31:50.280
<v Speaker 4>actually really seen anyone do that or acknowledge the Well,

0:31:50.360 --> 0:31:54.040
<v Speaker 4>it's just that simple, very familiar thing. Yeah, that's the thing.

0:31:53.920 --> 0:31:58.800
<v Speaker 1>About drawing stuff. You know about comics, you can and

0:31:58.800 --> 0:32:02.120
<v Speaker 1>and must show things, show the details of things. And

0:32:02.160 --> 0:32:05.400
<v Speaker 1>I just find that also interesting. It was, how do

0:32:05.480 --> 0:32:07.160
<v Speaker 1>you do a COVID test? And I would, you know,

0:32:07.320 --> 0:32:10.040
<v Speaker 1>got the things out and unwrap stuff and took pictures

0:32:10.080 --> 0:32:13.800
<v Speaker 1>and like, it's important to document these things even though

0:32:13.840 --> 0:32:16.160
<v Speaker 1>we all don't want to think about it.

0:32:16.160 --> 0:32:21.280
<v Speaker 2>It's nice having it between covers. But but but it's

0:32:21.920 --> 0:32:24.600
<v Speaker 2>it is really cool. I love your memoir work. But

0:32:24.640 --> 0:32:27.840
<v Speaker 2>it is really it was like such a fun way

0:32:27.880 --> 0:32:30.120
<v Speaker 2>to like return to your work by saying you comment

0:32:30.160 --> 0:32:33.000
<v Speaker 2>on things basically as they're happening, like you used to

0:32:33.000 --> 0:32:34.880
<v Speaker 2>do in a weekly strip.

0:32:35.720 --> 0:32:38.000
<v Speaker 1>Yeah, yeah, I miss that. It's just fun.

0:32:38.480 --> 0:32:45.920
<v Speaker 2>Yeah, it's incredible. The thing that I really appreciate about

0:32:46.280 --> 0:32:49.160
<v Speaker 2>Spent that I also loved about Digs to Watch out

0:32:49.160 --> 0:32:52.520
<v Speaker 2>For is like Kaitlyn was just saying, the details of

0:32:52.720 --> 0:32:56.840
<v Speaker 2>the world are so specific to when you're writing it,

0:32:57.080 --> 0:32:59.440
<v Speaker 2>and the fact that you know a media trend that

0:32:59.480 --> 0:33:01.920
<v Speaker 2>we talk about a lot that I think comes from

0:33:01.920 --> 0:33:04.520
<v Speaker 2>a good place. But it's like, you know, this is

0:33:04.560 --> 0:33:07.760
<v Speaker 2>the book that will solve late capitalism or there are

0:33:07.800 --> 0:33:11.280
<v Speaker 2>these you know, broad solutions, and it's like, if everyone

0:33:11.400 --> 0:33:14.280
<v Speaker 2>did everything right, then this wouldn't have happened to us.

0:33:14.520 --> 0:33:17.720
<v Speaker 2>And what I love about your work is you don't

0:33:17.760 --> 0:33:21.720
<v Speaker 2>shy away from any of the problems that are plaguing

0:33:21.800 --> 0:33:25.440
<v Speaker 2>everybody to different degrees. But you also are like and

0:33:25.520 --> 0:33:28.600
<v Speaker 2>it's very stressful to be a person, and you know

0:33:28.760 --> 0:33:31.920
<v Speaker 2>you're not always going to be totally successful and you're

0:33:31.920 --> 0:33:34.280
<v Speaker 2>not going to be a perfect anti capitalist every day

0:33:34.360 --> 0:33:36.320
<v Speaker 2>because it's hard.

0:33:36.800 --> 0:33:37.239
<v Speaker 4>I don't know.

0:33:37.720 --> 0:33:40.080
<v Speaker 1>Well, one thing I feel very grateful to young people

0:33:40.160 --> 0:33:44.240
<v Speaker 1>for teaching me is that it's not on us. My god.

0:33:44.360 --> 0:33:47.480
<v Speaker 1>You know, Okay, Mike generation grew up thinking, Okay, if

0:33:47.520 --> 0:33:50.640
<v Speaker 1>I stop eating meat, my one tiny gesture is going

0:33:50.720 --> 0:33:53.000
<v Speaker 1>to change the world. And yes, that's good and useful

0:33:53.240 --> 0:33:55.160
<v Speaker 1>to do, but it got turned against us, you know,

0:33:55.960 --> 0:33:59.560
<v Speaker 1>the fossil fuel industry, the meat industry, they would love

0:33:59.600 --> 0:34:01.560
<v Speaker 1>for us all to be torn up with guilt and

0:34:01.600 --> 0:34:06.440
<v Speaker 1>anxiety about our personal behavior and that's just ridiculous. They're

0:34:06.440 --> 0:34:07.840
<v Speaker 1>the bad guys, not us.

0:34:08.480 --> 0:34:12.200
<v Speaker 2>Yeah, absolutely, I god, I'm I could go on an

0:34:12.239 --> 0:34:15.560
<v Speaker 2>infinity tangent, but I was just reading about how like

0:34:15.960 --> 0:34:19.560
<v Speaker 2>mobile gas created the idea of carbon footprints to make

0:34:19.560 --> 0:34:22.439
<v Speaker 2>people feel bad and adjust them to the planet's dying.

0:34:22.480 --> 0:34:27.000
<v Speaker 2>I'm like, you're sick. Oh yeah, because there are, I mean,

0:34:27.360 --> 0:34:30.040
<v Speaker 2>and you're you're the world of your books are populated

0:34:30.040 --> 0:34:33.160
<v Speaker 2>with them, like people who want to do right by

0:34:33.160 --> 0:34:37.239
<v Speaker 2>the people around them, but feeling so futile in those

0:34:37.239 --> 0:34:38.879
<v Speaker 2>individual gestures.

0:34:39.120 --> 0:34:41.239
<v Speaker 1>I just love those people. I love how earnest and

0:34:41.280 --> 0:34:42.880
<v Speaker 1>good they are, you know, And I want to I

0:34:42.880 --> 0:34:46.600
<v Speaker 1>want to. I feel like leftists, progressives in general get

0:34:46.680 --> 0:34:50.680
<v Speaker 1>such a fucking bad rap, Like what what is everyone

0:34:50.800 --> 0:34:54.040
<v Speaker 1>so exercised about? All we want to do is make

0:34:54.239 --> 0:34:58.359
<v Speaker 1>the world a better place? What is the problem? And

0:34:59.120 --> 0:35:01.960
<v Speaker 1>so I just wanted to try and really show them

0:35:01.960 --> 0:35:02.399
<v Speaker 1>some love.

0:35:03.120 --> 0:35:06.359
<v Speaker 4>You nailed it, thank you, and.

0:35:06.320 --> 0:35:09.560
<v Speaker 2>Then sort of to start wrapping stuff up. I mean,

0:35:09.640 --> 0:35:12.160
<v Speaker 2>you've in the last ten years your work has been

0:35:12.200 --> 0:35:14.239
<v Speaker 2>adapted in all of these different ways. I know that

0:35:14.280 --> 0:35:18.040
<v Speaker 2>there was a podcast, there's obviously the musical, and the

0:35:18.080 --> 0:35:22.399
<v Speaker 2>book is to some extent about your character navigating TV.

0:35:22.600 --> 0:35:26.040
<v Speaker 2>Are there other mediums that you're interested in working in?

0:35:26.120 --> 0:35:28.520
<v Speaker 2>Are there like stories you've had on the back burner

0:35:28.560 --> 0:35:30.680
<v Speaker 2>that you want to come back to. What are you

0:35:30.719 --> 0:35:31.759
<v Speaker 2>excited about right now?

0:35:31.800 --> 0:35:36.200
<v Speaker 1>I guess well, I'm perpetually trying to get an animated

0:35:36.280 --> 0:35:39.400
<v Speaker 1>version of Dikes to watch out for happening. But this

0:35:39.640 --> 0:35:42.719
<v Speaker 1>hasn't happened yet. But I'm really excited right now. I'm

0:35:42.760 --> 0:35:46.840
<v Speaker 1>in the middle of making the audiobook Have Spent Yeah,

0:35:46.880 --> 0:35:50.520
<v Speaker 1>which is such a funny project. Like it's all visual

0:35:50.640 --> 0:35:53.960
<v Speaker 1>humor and jokes. How do you translate that to something

0:35:54.000 --> 0:35:57.200
<v Speaker 1>where people can't see anything, it's just all sound. So

0:35:57.239 --> 0:35:59.480
<v Speaker 1>that's been a really fun project, like thinking up sound

0:35:59.520 --> 0:36:03.000
<v Speaker 1>effects to tell the story sound. Yeah.

0:36:03.160 --> 0:36:06.080
<v Speaker 4>Yeah. And I mean, speaking of those visual jokes, they're

0:36:06.239 --> 0:36:09.680
<v Speaker 4>one of my favorites. Was they're gearing up for they're

0:36:09.719 --> 0:36:14.280
<v Speaker 4>like anti colonial, anti Thanksgiving Thanksgiving dinner.

0:36:14.400 --> 0:36:16.160
<v Speaker 2>Yeah. I was like, oh, yeah, we did that.

0:36:17.040 --> 0:36:20.879
<v Speaker 4>We do that. And they're not sure how many toe

0:36:20.960 --> 0:36:23.600
<v Speaker 4>Ferky's to get, and so they get one to Furky

0:36:23.760 --> 0:36:26.680
<v Speaker 4>and that's on the like cashier conveyor belt, and then

0:36:26.680 --> 0:36:31.040
<v Speaker 4>they get another one that's faux Turkey. So it's toe fergyho.

0:36:31.360 --> 0:36:34.840
<v Speaker 4>I'm like, genius, perfect, amazing.

0:36:34.680 --> 0:36:36.800
<v Speaker 1>Oh good, thank you for noticing.

0:36:38.600 --> 0:36:42.040
<v Speaker 4>But there's so many of those similar jokes that populate

0:36:42.320 --> 0:36:48.000
<v Speaker 4>the book, and it's awesome. Yeah, is there any anything

0:36:48.000 --> 0:36:51.200
<v Speaker 4>else you want to talk about? Tell us share?

0:36:51.880 --> 0:36:54.759
<v Speaker 1>I don't know. I always go blank when people ask

0:36:54.800 --> 0:36:57.319
<v Speaker 1>me that question because I I don't know why, but

0:36:57.400 --> 0:36:59.400
<v Speaker 1>I just do. It's like, at this point it's a

0:36:59.440 --> 0:37:03.200
<v Speaker 1>Pavlovian response. My mind was completely blank. But feel free

0:37:03.200 --> 0:37:05.799
<v Speaker 1>to ask me anything, Ask me anything, anything you've been

0:37:05.800 --> 0:37:06.400
<v Speaker 1>wanting to know.

0:37:06.800 --> 0:37:09.360
<v Speaker 2>Oh my gosh. I'm like, I feel like when we

0:37:09.400 --> 0:37:10.799
<v Speaker 2>found out we were going to talk to you, we

0:37:10.880 --> 0:37:12.799
<v Speaker 2>had a million questions and then we were going through

0:37:12.880 --> 0:37:14.800
<v Speaker 2>them and they were like, this is stupid.

0:37:14.920 --> 0:37:19.480
<v Speaker 1>No, what's the stupidest one? Ask me the stupidest one?

0:37:19.560 --> 0:37:22.800
<v Speaker 2>Oh man, that's Caitlyn.

0:37:22.800 --> 0:37:25.680
<v Speaker 4>What do you what do you think? I don't know

0:37:25.719 --> 0:37:28.719
<v Speaker 4>if this is stupid necessarily, but what I am, let's

0:37:28.719 --> 0:37:32.560
<v Speaker 4>say curious about is and we've already kind of touched

0:37:32.600 --> 0:37:35.520
<v Speaker 4>on this, but maybe to sum it all up, like

0:37:35.920 --> 0:37:39.120
<v Speaker 4>I really want to know about your feelings about like

0:37:39.160 --> 0:37:44.160
<v Speaker 4>the legacy of the Bechdel Test, especially just considering that

0:37:44.360 --> 0:37:48.120
<v Speaker 4>it wasn't originally conceived to be used the way it's

0:37:48.320 --> 0:37:52.919
<v Speaker 4>used now, and how there are often, I would say,

0:37:53.160 --> 0:37:57.400
<v Speaker 4>kind of misinterpretations of the test where people will say

0:37:57.440 --> 0:38:01.919
<v Speaker 4>this movie passes the Bechdel Test for it's a feminist masterpiece,

0:38:02.200 --> 0:38:04.759
<v Speaker 4>or sort of the opposite of that, of like, this

0:38:04.840 --> 0:38:09.640
<v Speaker 4>movie doesn't pass, and that means it's misogynist trash, you

0:38:09.680 --> 0:38:12.239
<v Speaker 4>know that kind of thing. So yeah, I mean, I'm

0:38:12.280 --> 0:38:17.000
<v Speaker 4>just curious about your thoughts on its function in culture

0:38:17.360 --> 0:38:19.920
<v Speaker 4>and its overall legacy.

0:38:20.440 --> 0:38:24.440
<v Speaker 1>Well, yeah, I got over my ambivalence about it because

0:38:24.600 --> 0:38:28.360
<v Speaker 1>I feel like it's a great thing to have be

0:38:28.480 --> 0:38:31.000
<v Speaker 1>my legacy. It sums up in a way what my

0:38:31.120 --> 0:38:35.400
<v Speaker 1>work is all about, which is whose stories count, whose

0:38:35.440 --> 0:38:40.359
<v Speaker 1>subjectivity matters? And this I feel like our real fundamental

0:38:40.400 --> 0:38:43.640
<v Speaker 1>issue as humans is our inability to see outside of

0:38:43.680 --> 0:38:48.640
<v Speaker 1>our own little, diminished, puny self and to understand that

0:38:48.760 --> 0:38:53.200
<v Speaker 1>other people have their own agency and motivations and drives,

0:38:53.239 --> 0:38:56.080
<v Speaker 1>and we don't. Even even in our intimate relationships, we

0:38:56.120 --> 0:38:59.719
<v Speaker 1>want to like neutralize that other person so that they're

0:38:59.719 --> 0:39:02.880
<v Speaker 1>not in pinging on us. We have to learn to

0:39:03.239 --> 0:39:06.640
<v Speaker 1>live with others, to see other people, to actually have

0:39:07.160 --> 0:39:10.200
<v Speaker 1>mutual recognition with other people, and to me, that's kind

0:39:10.200 --> 0:39:12.240
<v Speaker 1>of what the test is about.

0:39:12.560 --> 0:39:16.680
<v Speaker 2>Yeah, absolutely, Yeah, And what I love about it is, Yeah,

0:39:16.719 --> 0:39:19.040
<v Speaker 2>for those kinds of conversations that we've had over the

0:39:19.120 --> 0:39:21.839
<v Speaker 2>years where it's like it's a jumping off point and

0:39:22.239 --> 0:39:25.080
<v Speaker 2>your work is uniquely like sending people to your work.

0:39:25.200 --> 0:39:28.520
<v Speaker 2>You're talking about all of that and have been and

0:39:28.600 --> 0:39:32.760
<v Speaker 2>it's just Yeah, it's it's like such an honor to

0:39:32.800 --> 0:39:35.040
<v Speaker 2>be able to talk to you well.

0:39:34.840 --> 0:39:36.839
<v Speaker 1>Back at Yeah, and thank you so much for doing

0:39:36.840 --> 0:39:39.359
<v Speaker 1>this whole project. I love that you're doing it.

0:39:39.719 --> 0:39:40.440
<v Speaker 4>Thank you so much.

0:39:40.920 --> 0:39:41.120
<v Speaker 3>Yeah.

0:39:41.160 --> 0:39:42.640
<v Speaker 4>Yeah, eight years strong.

0:39:43.400 --> 0:39:44.520
<v Speaker 1>Yeah, that's amazing.

0:39:45.719 --> 0:39:49.800
<v Speaker 2>It's longer than any relationship I've ever had. We're podcast

0:39:49.840 --> 0:39:50.560
<v Speaker 2>common law.

0:39:50.400 --> 0:39:52.440
<v Speaker 4>Married, love you Jamie.

0:39:52.719 --> 0:39:55.240
<v Speaker 1>Let me where are you in the same city where.

0:39:55.560 --> 0:39:56.879
<v Speaker 4>We're both based in La Yeah?

0:39:57.040 --> 0:39:57.680
<v Speaker 1>Yeah, oh cool.

0:39:57.840 --> 0:40:01.640
<v Speaker 4>So if you ever come out to pitch a ta

0:40:00.480 --> 0:40:04.680
<v Speaker 4>as your character does and spend look us.

0:40:04.680 --> 0:40:05.960
<v Speaker 1>Up, that would be awesome.

0:40:06.280 --> 0:40:09.480
<v Speaker 4>I will do that and we'll speaking of cities and

0:40:09.920 --> 0:40:14.359
<v Speaker 4>going places. You are about to do a book tour, Yes,

0:40:14.680 --> 0:40:16.040
<v Speaker 4>I am tell us about that.

0:40:16.200 --> 0:40:18.080
<v Speaker 1>Am I coming to La? I gotta look at my thing?

0:40:18.440 --> 0:40:21.560
<v Speaker 2>No, I checked, we checked if you're going to San Francisco.

0:40:22.000 --> 0:40:24.680
<v Speaker 1>Yes, I am going to San Francisco and Santa Cruz

0:40:24.719 --> 0:40:27.439
<v Speaker 1>and a bunch of other places. So check my check

0:40:27.480 --> 0:40:31.720
<v Speaker 1>my website and you can find them all. My my blog, sorry,

0:40:31.719 --> 0:40:32.600
<v Speaker 1>my blog.

0:40:34.480 --> 0:40:37.440
<v Speaker 4>And we'll speaking of that. Where can people find your blog?

0:40:37.640 --> 0:40:38.080
<v Speaker 4>What's oh?

0:40:38.120 --> 0:40:42.720
<v Speaker 1>My blog? You guys. I'm like, so, I can't get

0:40:42.760 --> 0:40:46.319
<v Speaker 1>into this social media groove. I have I stopped doing

0:40:46.360 --> 0:40:49.319
<v Speaker 1>it now. I'm all rusty and I just hate it.

0:40:49.360 --> 0:40:51.960
<v Speaker 1>I just hate Facebook, I hate Twitter. But I have

0:40:52.000 --> 0:40:54.280
<v Speaker 1>to do it to get the word out about this book.

0:40:55.400 --> 0:40:59.479
<v Speaker 1>If you go to Alisonbechdel dot com, that's easy enough,

0:40:59.719 --> 0:41:02.799
<v Speaker 1>and then and hit the blog tab and then you'll

0:41:02.800 --> 0:41:05.560
<v Speaker 1>be in the in the Bloggi sphere. I love it,

0:41:05.640 --> 0:41:07.160
<v Speaker 1>and you'll see my latest posts.

0:41:07.480 --> 0:41:09.919
<v Speaker 2>Yeah that was not to keep going back to the book,

0:41:09.960 --> 0:41:13.959
<v Speaker 2>but I also loved the like for promoting a book

0:41:14.040 --> 0:41:16.279
<v Speaker 2>or promoting whatever else. They're like, Okay, you actually need

0:41:16.320 --> 0:41:19.960
<v Speaker 2>to post fifty tiktoks a day and become famous in

0:41:20.000 --> 0:41:21.400
<v Speaker 2>a totally different way.

0:41:21.960 --> 0:41:24.480
<v Speaker 1>Yeah, my editor is constantly haranguing me about having to

0:41:24.520 --> 0:41:26.920
<v Speaker 1>do this. And now in real life, my editors and

0:41:27.360 --> 0:41:31.239
<v Speaker 1>the publicity people are saying Allison, have you posted that

0:41:31.719 --> 0:41:34.200
<v Speaker 1>post we gave you. I don't know where to put

0:41:34.239 --> 0:41:36.120
<v Speaker 1>it or what to do with it.

0:41:36.120 --> 0:41:37.520
<v Speaker 2>It always finds the right people.

0:41:37.560 --> 0:41:41.600
<v Speaker 4>The good news is that approximately five billion people listen

0:41:41.719 --> 0:41:45.080
<v Speaker 4>to the Bechdel Cast. So let's go with that word.

0:41:45.320 --> 0:41:46.399
<v Speaker 4>The word is getting out.

0:41:47.120 --> 0:41:48.040
<v Speaker 1>This is all I need to do.

0:41:48.080 --> 0:41:52.120
<v Speaker 4>Then, Yeah, yeah, pretty much? Yeah no, but truly, thank

0:41:52.160 --> 0:41:55.799
<v Speaker 4>you so much for joining us. This has been such delightful.

0:41:56.040 --> 0:41:58.880
<v Speaker 1>Caitlin and Jamie, thank you. It has indeed been a

0:41:58.920 --> 0:41:59.879
<v Speaker 1>delight for me as well.

0:42:00.080 --> 0:42:03.800
<v Speaker 2>Thank you for just like being you. You're so cool.

0:42:05.239 --> 0:42:12.720
<v Speaker 4>Thanks there you have at everybody. Our interview with Alison Bechdel,

0:42:12.960 --> 0:42:17.480
<v Speaker 4>isn't she great? She's so great and we were so

0:42:17.520 --> 0:42:22.560
<v Speaker 4>delighted to be able to chat with her and again,

0:42:23.080 --> 0:42:27.040
<v Speaker 4>grab her book Spent, grab her other books.

0:42:26.840 --> 0:42:29.279
<v Speaker 2>Grab fun Home, Grab are You my Mother? Grabbed Dykes

0:42:29.320 --> 0:42:31.759
<v Speaker 2>to Watch Out For? Go see the musical Fun Home.

0:42:31.920 --> 0:42:34.680
<v Speaker 2>There's so many options. Also, Deux to Watch Out For

0:42:34.960 --> 0:42:40.200
<v Speaker 2>was adapted into a podcast last year. You've got options, yes,

0:42:40.360 --> 0:42:42.800
<v Speaker 2>but start with Spent. It's a really, really terrific book.

0:42:42.960 --> 0:42:43.520
<v Speaker 4>It's awesome.

0:42:43.640 --> 0:42:47.000
<v Speaker 2>I feel like it's I was afraid to keep making comparisons.

0:42:47.040 --> 0:42:49.759
<v Speaker 2>To things, but it also felt kind of like Adaptation Me,

0:42:50.239 --> 0:42:51.560
<v Speaker 2>which is a movie I really love.

0:42:51.840 --> 0:42:55.839
<v Speaker 4>Oh yeah no, because it's it's very like meta and.

0:42:55.800 --> 0:42:59.480
<v Speaker 2>It's about writer's block a lot, and like it's if

0:42:59.520 --> 0:43:02.920
<v Speaker 2>you enjoy the movie Adaptation, and you should, you will

0:43:02.920 --> 0:43:06.160
<v Speaker 2>really enjoy this book as well. Yes, yeah, so we'll

0:43:06.200 --> 0:43:09.360
<v Speaker 2>link to everything that. All the relevant links will be

0:43:09.400 --> 0:43:11.839
<v Speaker 2>in the description as well as the link to her

0:43:11.880 --> 0:43:15.040
<v Speaker 2>book tour. And again, thanks so much to Alison Bechdel

0:43:15.480 --> 0:43:19.759
<v Speaker 2>for her work and for being cool enough to come

0:43:19.840 --> 0:43:23.080
<v Speaker 2>on this show. Yeah, we're obviously big fans.

0:43:23.840 --> 0:43:28.520
<v Speaker 4>We were so grateful, and we'll post the links on

0:43:28.560 --> 0:43:31.239
<v Speaker 4>our link tree as well. So go to link tree

0:43:31.280 --> 0:43:34.479
<v Speaker 4>slash Bechdel Cast and then you can also follow us

0:43:34.560 --> 0:43:41.880
<v Speaker 4>on Instagram and our Patreon aka Matreon and all the

0:43:41.880 --> 0:43:44.920
<v Speaker 4>good stuff. But I'm just so grateful to have been

0:43:44.960 --> 0:43:46.160
<v Speaker 4>able to talk to her.

0:43:46.360 --> 0:43:49.160
<v Speaker 2>I know it's it was truly. I still I believe

0:43:49.200 --> 0:43:51.719
<v Speaker 2>it happened. I know it was worth waiting nine years for.

0:43:52.680 --> 0:43:55.279
<v Speaker 2>And thank you to our listeners for supporting the show

0:43:55.520 --> 0:43:58.040
<v Speaker 2>so that it exists for this episode to have happened.

0:43:58.840 --> 0:44:02.160
<v Speaker 2>We're very grateful to you, and yeah, we will see

0:44:02.200 --> 0:44:05.480
<v Speaker 2>you next week, we will return to your normal programming,

0:44:05.640 --> 0:44:09.080
<v Speaker 2>but savor this moment. It probably won't happen again.

0:44:09.800 --> 0:44:16.840
<v Speaker 4>Uh lovey bye, bye bye. The Bechdel Cast is a

0:44:16.880 --> 0:44:20.960
<v Speaker 4>production of iHeartMedia, hosted by Caitlin Derante and Jamie Loftis,

0:44:21.080 --> 0:44:24.959
<v Speaker 4>produced by Sophie Lichterman, edited by Mola Board. Our theme

0:44:25.000 --> 0:44:29.240
<v Speaker 4>song was composed by Mike Kaplan with vocals by Catherine Vosskrosenski.

0:44:29.719 --> 0:44:33.040
<v Speaker 4>Our logo in merch is designed by Jamie Loftis and

0:44:33.120 --> 0:44:36.959
<v Speaker 4>a special thanks to Aristotle Assevedo. For more information about

0:44:37.000 --> 0:44:40.359
<v Speaker 4>the podcast, please visit linktree slash Bechdel Cast