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Speaker 1: On the beck Del Cast, the questions asked if movies

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Speaker 1: have women in um, are all their discussions just boyfriends

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Speaker 1: and husbands or do they have individualism the patriarchy? Zef

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Speaker 1: invest start changing it with the Bechdel Cast. Hello, Becktel

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Speaker 1: Cast listeners, It's me Kitlin Toronto and me Jamie Loftus

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Speaker 1: and we're back for yet another episode of the Bechdel Cast.

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Speaker 1: But wait, it's a little different today. Oh my gosh,

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Speaker 1: we're unlocking one of our Patreon a k a. Matreon episodes. Gasp.

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Speaker 1: I know we do it every so often, and this

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Speaker 1: week we're doing it for a special little occasion. Tell

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Speaker 1: me more, Okay, I will um So. I have a

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Speaker 1: new solo series coming out. It's one of my one

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Speaker 1: of Jamie's a Little investigations. It does not have a

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Speaker 1: ton to do with the subject matter of today's movie,

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Speaker 1: which is the Da Vinci Code, which spoiler alert is Apple.

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Speaker 1: But in any case, uh no, we're we're unlocking an

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Speaker 1: episode today because it's an episode about kind of religious

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Speaker 1: conspiracies and esoteric bizarre ship and uh that is what

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Speaker 1: my new show is about. It it's out starting now.

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Speaker 1: It will be releasing episodes every single Monday. It's called

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Speaker 1: Ghost Church, and what it is is, UM, it's kind

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Speaker 1: of half investigation, half history of a fringe religion in UM.

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Speaker 1: That's it's across the West called Spiritualism. And so what

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Speaker 1: the show is about is it's kind of two tracks.

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Speaker 1: The first is the history of Spiritualism, which is really

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Speaker 1: really fascinating. It's it kind of came up in the

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Speaker 1: mid eighteen hundreds, beginning with two young girls. Wow, girl,

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Speaker 1: us go off just like us, Well if we were

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Speaker 1: eleven and fourteen, Um, they're y are we are? We

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Speaker 1: have to get permission slips to record this today. UM.

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Speaker 1: But yeah, it kind of UM on windside tracks their story.

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Speaker 1: Their names are Maggie and Kate Fox, and they kind

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Speaker 1: of um accidentally started a religion that is built around

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Speaker 1: the concept of being able to communicate with spirit or

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Speaker 1: ghosts and communicating with the dead. Um, which is just

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Speaker 1: like a very roller coastery kind of story that I

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Speaker 1: couldn't possibly summarize for you here and I won't because

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Speaker 1: you gotta go listen to that damn show. And then

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Speaker 1: on the other end, because the religion is UM still

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Speaker 1: very much around, mostly in h small camps throughout the country,

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Speaker 1: too in particular, and I spent a week at one

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Speaker 1: of them, uh in Florida, in the Orlando area. I

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Speaker 1: hung out with a bunch of mediums all week to

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Speaker 1: learn more about what the religion looks like now, UM

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Speaker 1: kind of how a how a fringe religion develops over time, UM,

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Speaker 1: what brings people to it? And uh watching people communicate

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Speaker 1: with the dead in real time? It was. It was

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Speaker 1: a weird one. It was an adventure. Um. And so

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Speaker 1: I won't I won't spoil anything else from there. If

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Speaker 1: you're into spiritual stuff, I would recommend you check it out.

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Speaker 1: If you're not into spiritual stuff, I would also recommend

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Speaker 1: you check it out because I'm not trying to really

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Speaker 1: sway anyone one way or another. It's it's more just

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Speaker 1: a very bizarrow journey. And I had a lot of

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Speaker 1: fun putting it together. It's a show for everyone. It's

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Speaker 1: for everyone. You think we can talk to ghosts, well

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Speaker 1: you better check it out. You don't think we can

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Speaker 1: talk to ghosts, Well, there's plenty of people on the

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Speaker 1: show who feel exactly that way. Me. I don't fucking know.

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Speaker 1: It's in. The more I talk to people, the less

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Speaker 1: I know. Wow, I'm sure, there's a folk song about that,

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Speaker 1: so where, but that is true. I it's such a

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Speaker 1: it's such a fascinating topic. Everyone feels strongly one way

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Speaker 1: or another. Um, and I'm just kind of floating in

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Speaker 1: the goo in the middle, uh, you know, trying to

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Speaker 1: trying to not get yelled at by mediums in Florida,

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Speaker 1: which isn't too hard. But you'll have to listen to

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Speaker 1: the show in any case. That is what we are

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Speaker 1: celebrating on the show today. We'll have another episode coming

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Speaker 1: up that will also sort of be addressing this kind

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Speaker 1: of stuff. The Da Vinci code today. This is a

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Speaker 1: little more of like on the like weird religion side

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Speaker 1: of stuff. And what I will say for spiritualism is

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Speaker 1: it is nowhere near as fucked up as Christianity. So

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Speaker 1: blockl in because yeah, we recorded this. When did this

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Speaker 1: come out? This came out I believe sometime on the

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Speaker 1: Matreon last year, Yes, March twenty one. I believe in

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Speaker 1: that ballpark and so this If you're not a Matreon subscriber,

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Speaker 1: this is also a reminder that if you are running

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Speaker 1: thinn On episodes on our main free feed, we do

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Speaker 1: to bonus episodes a month with just Caitlin and myself

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Speaker 1: most of the time. Over on our patreon aka Matreon,

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Speaker 1: there's over a hundred episodes there. This is just one

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Speaker 1: of them. We keep it loose, do a lot of

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Speaker 1: do a lot of bits. I'm sure I shout the

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Speaker 1: Da Vinci code as Apple no less than seven thousand

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Speaker 1: times in this episode conservatively. Yeah. So yeah, enjoy it

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Speaker 1: and we will be linking to the patreon ak matreon

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Speaker 1: if you're interested in joining that community. It's such a blast.

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Speaker 1: D But first, before we get into it, we over

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Speaker 1: in the Matreon, we assume that everyone knows what the

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Speaker 1: Battel Test is and what the show is, because you know,

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Speaker 1: you're you're there, you're you're part, you're in the Inn crew,

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Speaker 1: you know. So we don't waste time being like, well,

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Speaker 1: here's who we are, here's what the Bechdel Test is.

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Speaker 1: I love we're making fun of what we're about to do.

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Speaker 1: Oh like, but but that's said, even though Caitlin thinks

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Speaker 1: it's ridiculous, apparently we are going to do it right now.

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Speaker 1: We are going to tell you that this is our show,

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Speaker 1: The Bechtel Cast, in which we examine movies through an

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Speaker 1: intersectional feminist lens. Using the Bechtel test simply is a

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Speaker 1: jumping off point. Now. The Bechdel Test, of course, is

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Speaker 1: a media metric created by queer cartoonist Alison Bechtel, sometimes

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Speaker 1: called the Bechtel Wallace Test, where by our version because

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Speaker 1: there are many renditions of the test, but the one

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Speaker 1: that we currently use requires that two characters of a

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Speaker 1: marginalized gender have names, speak to each other about something

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Speaker 1: other than a may on, and ideally that conversation is

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Speaker 1: narratively meaningful. Yes, so, if you've seen the Da Vinci Code,

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Speaker 1: don't hold your breath. But you know, if you're a

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Speaker 1: Tom Hanks fan, also, don't hold your breath. It's not

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Speaker 1: his best and with with no further ado, without further

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Speaker 1: with no without without without much further ado. Hello, oh

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Speaker 1: my god, without further ado, please enjoy the unlocked Da

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Speaker 1: Vinci Code. It's Apple Cast. Welcome back, matrons. Wow. Is

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Speaker 1: this the main event? This is what this entire podcast

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Speaker 1: has been leading up to. He I am really excited

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Speaker 1: in a way. This movie is all my feeavorite parts

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Speaker 1: of I Frankenstein mixed with all my favorite parts from

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Speaker 1: National Treasure. But when all of the fun just sucked

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Speaker 1: out through a straw. It's shocking. Uh huh. This is

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Speaker 1: a very similar premise, but none of my favorite parts.

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Speaker 1: It's it's wild that a movie is toxic as Indiana

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Speaker 1: Jones and The Last Crusade is a far more enjoyable

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Speaker 1: movie to watch for me, at least than this suck fest.

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Speaker 1: You didn't have fun watching The Da Vinci Cup The

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Speaker 1: Da Vinci I honestly, it was like such a journey.

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Speaker 1: It was such a right because it was like I

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Speaker 1: started out being like, oh, yeah, this movie is just

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Speaker 1: people saying words. This could be fun, right, because there's

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Speaker 1: that whole oh my god, the moment where I was like,

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Speaker 1: wait a second, what if this movie fucking rocks? Is

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Speaker 1: when Tom Hanks is staring at the Mona Lisa and

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Speaker 1: then he just goes moons, sermons, charms, demons, sermons, monks, ranks, rocks,

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Speaker 1: And I was like, oh, this movie is nonsense. I'm

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Speaker 1: gonna love it. But then it gets but then it

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Speaker 1: gets really boring for like an hour and a half,

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Speaker 1: and then it gets funny again at the end. Like

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Speaker 1: it starts funny and then it's boring for a long time,

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Speaker 1: and then it gets funny again at the very end

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Speaker 1: where he's like, Okay, first of all, Matrons, if you

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Speaker 1: were wondering if you went into the da Vinci Code

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Speaker 1: thinking I don't know, I was like, did not in

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Speaker 1: spite of the fact that I definitely like interacted with

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Speaker 1: this property at it in its heyday, I did not

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Speaker 1: remember what the da Vinci code was, and I was

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Speaker 1: knocked on my do you know have you been watching

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Speaker 1: one division? I have not at this time. Here's a

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Speaker 1: scene where a character is sent through like fort walls

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Speaker 1: in a row, and that's how I felt when I

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Speaker 1: found out that the da Vinci code is Apple, and

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Speaker 1: I have I have a whole theory to go with. Okay, Caitlin,

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Speaker 1: this episode is going to be chaos, by the way,

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Speaker 1: of course, So the da Vinci code is Apple. That's

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Speaker 1: I didn't. I'm the fact that that's the funniest thing

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Speaker 1: I've ever heard in my entire life is you've been

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Speaker 1: watching this movie for six hours and then they're like, oh,

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Speaker 1: the da Vinci code was literally Apple, not Apple in Latin,

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Speaker 1: not Apple in and just Apple. So if you were

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Speaker 1: reading the book, which I definitely I read it when

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Speaker 1: I was like eleven maybe, and I was like, whoa

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Speaker 1: I really understand this. I did it, but you have

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Speaker 1: to imagine once by the time you it's just kind

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Speaker 1: of like aggressively mean towards the reader because you you

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Speaker 1: have to probably find out that the da Vinci code

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Speaker 1: is Apple on page like five hundred, and you're like,

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Speaker 1: I went all this way for this. The da Vinci

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Speaker 1: code is Apple. Here's my theory. Yes, please, and keep

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Speaker 1: in mind neither of us have reread the book and

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Speaker 1: we're not going to. I thought about it, but guess what,

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Speaker 1: for some reason on the library app every copy is

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Speaker 1: checked out. WHOA, it's still I genuinely was thinking about, like, oh,

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Speaker 1: maybe I'll get like the audio book and like funk

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Speaker 1: around a little. It could be fun. It's it's a

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Speaker 1: waiting list around the corner to get. Even in the year,

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Speaker 1: people are still reading the da Vinci Code. It's shocking.

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Speaker 1: So I don't know. I'm sure stuff is different in

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Speaker 1: the book. If you're yelling at someone about what happens

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Speaker 1: in the Da Vinci Code book versus the movie, you

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Speaker 1: have to move on, right. But my theory is because

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Speaker 1: in the movie, it's one of the funniest scenes in

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Speaker 1: the movie because it's Ian McKellen is literally like the spy,

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Speaker 1: like it's full Star Wars. He's the spy, Audrey. I'm

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Speaker 1: just gonna call her Omily the whole episode, Sorry, Omily.

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Speaker 1: It doesn't know what the da Vinci code is because

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Speaker 1: she doesn't know anything the whole movie. And then Tom

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Speaker 1: Hanks is like, I know what the da Vinci code is,

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Speaker 1: and you're like, huh, what how? And then he's like

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Speaker 1: standing and he all of a sudden sees the solar system.

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Speaker 1: It reminds me of that meme where a bunch of

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Speaker 1: math problems happened in front of that lady's face. Um,

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Speaker 1: it's that, but it's supposed to be really serious. And

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Speaker 1: then he smashes the cryptex he's he figures out. So

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Speaker 1: here's my theory. The da Vinci code was not Apple.

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Speaker 1: We never found he we never saw him put the

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Speaker 1: code into the crypt He broke it and he smashed it,

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Speaker 1: and then he the da Vinci code was not Apple,

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Speaker 1: it was something else. It was I like how he

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Speaker 1: just said it so matter of factly, and were so

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Speaker 1: conditioned to trust, like you know, men with bad haircuts,

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Speaker 1: and also like you know professors, right, But there's there

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Speaker 1: was no proof that the DaVinci code was Apple, and

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Speaker 1: that's and honestly I don't think that da Vinci was,

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Speaker 1: which is weird that what DaVinci my theory is Tom

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Speaker 1: Haks was dead wrong and we'll never know. Well never

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Speaker 1: know because the movie too much. I would argue, cuts

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Speaker 1: in two flashbacks that look like absolute hell. They look

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Speaker 1: like should they look like it's like a really but

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Speaker 1: you can tell it's expensive too, But it looks like

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Speaker 1: it was edited in like Windows movie maker. Yeah, they

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Speaker 1: put some weird filter over the flashbacks to like let

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Speaker 1: the audience know, don't like, don't be confused, this didn't happen. Now,

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Speaker 1: this happened before, but like they look like ship but

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Speaker 1: we didn't. There's just so many scenes. There will be

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Speaker 1: a fly back to like to clue the audience in, oh,

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Speaker 1: you weren't sure how this came to be. Here's a

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Speaker 1: flashback to fill in the gaps, but it doesn't do that.

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Speaker 1: With Robert Langdon putting in Apple into the cryptex, so yeah,

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Speaker 1: he just sees the solar system and he's like, it's Apple. Yeah,

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Speaker 1: I maybe in the book, it's like definitively he puts

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Speaker 1: it into the cryptex. The cryptex goes it opens in

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Speaker 1: the movie. I'm going to say, canonically, there's no way

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Speaker 1: it was Apple. That is a ridiculous answer. Everything else

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Speaker 1: happened in this movie and fucking Latin and anagrams that

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Speaker 1: the Da Vinci code was not Apple. A fourth grader

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Speaker 1: could figure that out. But that's kind of part of

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Speaker 1: the point. That's part of the appeal of the Da

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Speaker 1: Vinci Code is it just like makes you feel really smart,

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Speaker 1: but then you're like, wait a second, I didn't understand

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Speaker 1: a word of that, and I'm pretty sure that it's

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Speaker 1: all made up. But it's good. I kind of like

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Speaker 1: this was a kind of an interesting case study for like,

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Speaker 1: I mean, it's not an easy thing to do, and

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Speaker 1: I would argue this movie fails it doing it by

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Speaker 1: trying to like take something super complex that requires this

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Speaker 1: vast knowledge base and make it easy to understand for

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Speaker 1: like the widest audience possible. Like I can't think of

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Speaker 1: an example of it of that going well, because when

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Speaker 1: the people they it's like this movie stops every two

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Speaker 1: seconds to explain to you something that happened three thousand

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Speaker 1: years ago, and then you're like huh, and then they're like,

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Speaker 1: it's fine, the da Vinci Code is Apple. Like they

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Speaker 1: they make it sound really hard, but the solutions are

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Speaker 1: like not that hard and they kind of and they

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Speaker 1: like make basically no sense. But those feels smart because

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Speaker 1: you like Ian McKellan read forty five Wikipedia articles at

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Speaker 1: you about how he's a male feminist. This movie is

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Speaker 1: I was cracking up. I was this the beginning and

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Speaker 1: end of this movie. It just really puts you in

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Speaker 1: a really specific time and plays because we really were

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Speaker 1: just like sitting in our seats in two thousand and six,

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Speaker 1: it's the fucking Bush administration and we're like, the da

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Speaker 1: Vinci Code is Apple? That like I would, you couldn't

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Speaker 1: pay me to go back there. What's going on? What

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Speaker 1: is your relationship with the da Vinci Code, The book,

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Speaker 1: the movie, Dan Brown's Ubra in general, Robert Langdon, first

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Speaker 1: of all, Sunny loves Robert lancoln. Of course, Sonny the

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Speaker 1: Dog loves Robert Lee like Robert Langdon, literal genius. Robert

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Speaker 1: Langdon should be in the m c U. That's his

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Speaker 1: whole thing. Um. He thinks that Robert Langdon could really

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Speaker 1: make a killing in the NCU. My my history with

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Speaker 1: the da Vinci Code is that I don't know. I

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Speaker 1: mean I think that I was like just old enough

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Speaker 1: to participate, and I was really excited because the book

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Speaker 1: came out in two thousand three, so I was like young,

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Speaker 1: but like I could read. I could read, so I

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Speaker 1: thought I could understand everything, so I was really excited.

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Speaker 1: I remember that there was like a raggedy copy of

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Speaker 1: the Da Vinci Code that made its way across my

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Speaker 1: entire family throughout probably two thousand four, two thousand five

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Speaker 1: or something. I remember I read the whole thing really fast.

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Speaker 1: I read most of it in like a bathtub over

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Speaker 1: the course of eight hours, and then I got sick

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Speaker 1: because I don't sit in a bath for eight hours.

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Speaker 1: That's gross. But I did, and I just remember feeling

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Speaker 1: really cool that I read the book, and I remember

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Speaker 1: low keeping like I didn't catch a word of it,

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Speaker 1: but I read every word and that's what counts. And

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Speaker 1: then I did see the movie. But by that point,

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Speaker 1: I think, even like for because I was like twelve

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Speaker 1: or thirteen when the movie came out, and even by then,

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Speaker 1: I think I was like I already did it know.

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Speaker 1: I was like that, that's so whatever, like sixth grade

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Speaker 1: or what. Um. But then I I don't know, and

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Speaker 1: I also I learned because I haven't revisited it since that,

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Speaker 1: I retained like nothing. All I remembered going in was

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Speaker 1: Fibonacci numbers. I just remember the phrase. I don't remember

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Speaker 1: what it meant, but I remember Fibonacci numbers. But but

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Speaker 1: it was interesting watching the movie because it was like

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Speaker 1: plot points were slowly coming back to me, like it

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Speaker 1: was just a long forgotten dream, like as I was like, oh,

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Speaker 1: because like when Ian McKellan came on screen, I'm like,

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Speaker 1: there's something going on with this guy, but I don't

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Speaker 1: remember what. And then he's like, I'm the spy, and

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Speaker 1: You're like, right, he was a spy. I forget. Yeah,

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Speaker 1: So that's that's my history. What about yours? Well, I

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Speaker 1: too read the book in probably two thousand three. I

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Speaker 1: was nearing the end of high school at that point,

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Speaker 1: and I did you understand it? Yes, I was old

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Speaker 1: enough to Yeah, I understood the duvincicode. And I'll be honest,

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Speaker 1: you know this is this is a property that is

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Speaker 1: very easy and popular to dunk on now. But if

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Speaker 1: I'm being perfectly honest with myself and others, I fucking

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Speaker 1: loved this book. When I first read it as a

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Speaker 1: sighting at the time, I remember like the trajectory of

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Speaker 1: it too, so basically like it got published, word caught

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Speaker 1: on that it was really fun and really good. So

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Speaker 1: I I read it. All my high school friends read it.

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Speaker 1: We were like, this is the best book I've ever read.

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Speaker 1: Then I read Angels and Demons and I and I

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Speaker 1: was like, because it's like, this type of story is

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Speaker 1: like very up my alley in terms of just like

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Speaker 1: an adventure quest, like let's follow clue news and it

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Speaker 1: was like again reminiscent of Indiana Jones. And I was like, cool, fun, fun.

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Speaker 1: And then I also just appreciate as a lifelong devout atheist,

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Speaker 1: I appreciate anything that like criticizes and comments on Christianity.

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Speaker 1: So I just felt very cool and I was like, oh,

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Speaker 1: this is like anyway, it was exciting, So I read

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Speaker 1: the book rather those two books. I have not read Inferno,

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Speaker 1: but there's apparently a fourth one also Origin I did.

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Speaker 1: I remember reading Angels and Demons and then being like, wow,

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Speaker 1: it's so cool to know what Robert Langdon was doing

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Speaker 1: before the Da Vinci Code. Didn't they make that into

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Speaker 1: a movie too, Yes, And So Inferno is also a

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Speaker 1: movie that came out in You're lying, I am telling

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Speaker 1: the Tom Tom Hanks is in it, Yes, as is

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Speaker 1: I think it's Zoe Deschanelle. But I truly only looked

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Speaker 1: at one still image of the movie and I don't

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Speaker 1: know if that's who it is or not. That's so

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Speaker 1: bold because it's like who was who cares? So anyway,

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Speaker 1: So I had read those books, and by the time

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Speaker 1: the movie came out, I was in college and I

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Speaker 1: went to go see it in theaters. I remember, like

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Speaker 1: my enthusiasm for the books had definitely waned by that point,

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Speaker 1: but I was excited enough that I still like went

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Speaker 1: to go see the movie opening night, and then the

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00:21:29,480 --> 00:21:33,480
Speaker 1: movie was such a turd that I was like, oh,

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Speaker 1: you hated it. Yeah, I was like, this is bad,

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Speaker 1: like I could like, I still probably enjoyed myself, and

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Speaker 1: like because I was. I went with friends and we

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Speaker 1: were like we a night out on the town. But um,

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Speaker 1: I knew then that the like the dialogue especially was

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Speaker 1: just like clunky. I hated Tom Hanks as Robert Langdon.

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Speaker 1: I don't know who I thought Robert Langdon should have

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Speaker 1: been played by, but definitely not Tom Hanks. I was

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Speaker 1: picturing someone a little more young. I don't know, I

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Speaker 1: just didn't I forget how old Robert Linkedon was. But

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Speaker 1: I like the book. I don't know if the book

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Speaker 1: wants you to kind of have a crush on him,

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Speaker 1: but like, as an eleven year old, I'm like, Wow,

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Speaker 1: he's so cool and so smart. Like you picture kind

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Speaker 1: of like a movie. Maybe Tom Hanks ten years before

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Speaker 1: this movie came up, maybe with a different haircut, with

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Speaker 1: a different His haircut is so distracting that I like,

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Speaker 1: I don't even know what the movie is about. I

356
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Speaker 1: just was looking at this terrible haircut the entire time.

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Speaker 1: Do you remember, um, do you remember if in the

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Speaker 1: book the Da Vinci Could is there a romance in

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Speaker 1: the book or is it also scaled back? Because I

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Speaker 1: was like, are they scaling it back in the movie

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Speaker 1: because the age gap is so icky? Or like, what's

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Speaker 1: going on? If I'm remembering correctly, and this is again

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Speaker 1: strictly from my memory bank, so I might be wrong

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Speaker 1: about this, but there is no romance in the book

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Speaker 1: between Sophie and Robert Langdon in the Da Vinci Code. However,

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Speaker 1: in the movie, I feel like they want you to

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Speaker 1: want it, but they don't want it. But I think

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Speaker 1: there is a like romance and like I think even

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Speaker 1: Robert Langdon has sex with like the female lead of

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Speaker 1: the Book of Angels and Demons. I've not seen the

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Speaker 1: movie Angels and Demons. I don't know if they include

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Speaker 1: that or not, or if even I'm remembering this correctly,

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Speaker 1: but I remember being like, oh, wow, Robert Langdon Fox

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Speaker 1: because he like Fox the Lady. Maybe that's why I

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Speaker 1: was thrown by it being like Woody, because that would

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Speaker 1: have been like, I'm like, why is Woody playing like

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Speaker 1: this character I was told was like this kind of

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Speaker 1: like low key intellectual sex god, Like that's not what

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Speaker 1: he's serving me in this movie. And I feel like, okay,

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Speaker 1: of the I think that you are, like you are

381
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Speaker 1: supposed to think that you want them to kiss at

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Speaker 1: the end, and then they don't write like that seemed

383
00:24:06,160 --> 00:24:11,520
Speaker 1: was so it was so icky because it was like

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Speaker 1: even in two thousand six, nobody wants that, Like nobody

385
00:24:15,520 --> 00:24:20,600
Speaker 1: wanted Woody to kiss Emily, Like no, no, no, that's gross.

386
00:24:20,840 --> 00:24:23,640
Speaker 1: But there's like there's that like there's like a few

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Speaker 1: moments where I'm like, I think they want me to

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Speaker 1: want this to happen, where like when Robert Langton goes,

389
00:24:29,520 --> 00:24:34,359
Speaker 1: I never knew a girl who knew that much, and

390
00:24:34,440 --> 00:24:38,440
Speaker 1: I'm like, no, gross, get away from her. And then

391
00:24:38,680 --> 00:24:41,000
Speaker 1: that part at the end where they like hug for

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00:24:41,040 --> 00:24:43,080
Speaker 1: a weird amount of time and then he kisses her

393
00:24:43,160 --> 00:24:49,800
Speaker 1: forehead and you're like, creepy uncle, energy don't like it? Uh,

394
00:24:49,840 --> 00:24:52,560
Speaker 1: well should we? I guess we should just get into it.

395
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Speaker 1: Also happy Alfred Molina Month on the Matreon Alfred March,

396
00:24:58,520 --> 00:25:03,200
Speaker 1: Lena and Melina March Welcome he's playing? Is his character Italian? What?

397
00:25:03,600 --> 00:25:06,080
Speaker 1: What is his character? I think his character is from Spain,

398
00:25:06,480 --> 00:25:09,400
Speaker 1: but I oh, I am not certain. Wow, that would

399
00:25:09,440 --> 00:25:13,399
Speaker 1: actually be Alpha Molena canon, because yeah, he he is

400
00:25:13,440 --> 00:25:16,879
Speaker 1: speaking well, speaking Latin a lot of the time. But

401
00:25:16,920 --> 00:25:20,919
Speaker 1: he's also I believe, speaking in Spanish to Silas on

402
00:25:21,000 --> 00:25:24,080
Speaker 1: different occasions. Yes, oh yes he is. But I also

403
00:25:24,640 --> 00:25:28,960
Speaker 1: I cannot detect a Spanish accent from an Italian accent

404
00:25:29,560 --> 00:25:34,440
Speaker 1: as um an uncultured American. So I don't really know.

405
00:25:34,840 --> 00:25:39,240
Speaker 1: Here's how here's how simple my my understanding of the

406
00:25:39,320 --> 00:25:42,200
Speaker 1: Catholic churches. I was like, oh, well, the pope lives

407
00:25:42,240 --> 00:25:47,560
Speaker 1: in Italy, so he's Italian. I mean that that I

408
00:25:47,840 --> 00:25:51,320
Speaker 1: see your logic. I'm probably wrong, but yeah, I think

409
00:25:51,400 --> 00:25:57,280
Speaker 1: he's from Spain. Question Mark, Wait, what is your like? Okay,

410
00:25:57,480 --> 00:25:59,159
Speaker 1: I know that you're an atheist now, but where you

411
00:25:59,320 --> 00:26:03,040
Speaker 1: raised cass Flick know, I was, I was raised in atheists.

412
00:26:03,080 --> 00:26:07,160
Speaker 1: You were rased, okay, because I was like baptized Catholic,

413
00:26:07,640 --> 00:26:12,560
Speaker 1: but then we immediately went to like a different flavor

414
00:26:12,600 --> 00:26:15,040
Speaker 1: of Christianity. And then when I was eleven, my mom

415
00:26:15,160 --> 00:26:18,760
Speaker 1: was like, Land, this is boring and toxic. So my

416
00:26:18,960 --> 00:26:22,159
Speaker 1: like most of my family is Catholic because they're from

417
00:26:22,200 --> 00:26:27,359
Speaker 1: Massachusetts and it's like the law, and but I feel like, yeah,

418
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Speaker 1: I only I only understand. I don't understand the ins

419
00:26:30,240 --> 00:26:33,760
Speaker 1: and outs of Catholicism like canonically, I just understand the

420
00:26:33,840 --> 00:26:40,120
Speaker 1: negative traits it brings out in New England families. Sure. Yeah,

421
00:26:40,119 --> 00:26:44,199
Speaker 1: I know very little about the mythology, if you will,

422
00:26:44,640 --> 00:26:48,560
Speaker 1: of Christianity, Like I know the main Bible stories that

423
00:26:48,640 --> 00:26:53,200
Speaker 1: most people know, but beyond that, I know very little.

424
00:26:53,840 --> 00:26:56,040
Speaker 1: I mean, I kind of appreciate that this movie does,

425
00:26:56,200 --> 00:26:58,800
Speaker 1: like you're you don't need to know that much to

426
00:26:58,880 --> 00:27:02,400
Speaker 1: watch this movie. They're going to tell you everything. They're

427
00:27:02,440 --> 00:27:08,080
Speaker 1: like this is Jesus and you're like, thank I'm with you.

428
00:27:08,160 --> 00:27:11,879
Speaker 1: And then then literally the most iconic movie speech. I

429
00:27:11,920 --> 00:27:13,879
Speaker 1: don't know why it's not on an an FHI list,

430
00:27:14,840 --> 00:27:19,199
Speaker 1: Moon Sermons, Charms, Damon Sermons, Monks, Rank Rocks, Madonna of

431
00:27:19,200 --> 00:27:25,920
Speaker 1: the Rocks, Vinci And that's how this like, this is genius.

432
00:27:25,960 --> 00:27:30,760
Speaker 1: This is genius dialogue. The dialogue sucks so bad and

433
00:27:30,800 --> 00:27:34,600
Speaker 1: it's delivery is terrible. If what a mess. I don't

434
00:27:34,600 --> 00:27:37,320
Speaker 1: know what it is like because Ron Howard has made

435
00:27:37,600 --> 00:27:44,000
Speaker 1: very I like Ron Howard. I yeah, I mean I

436
00:27:44,040 --> 00:27:46,520
Speaker 1: was like, I don't think he's a bad but this

437
00:27:46,680 --> 00:27:49,080
Speaker 1: is like, oh boy, the way people are talking to

438
00:27:49,119 --> 00:27:51,200
Speaker 1: each other, it's like so it just sounds like they're

439
00:27:51,200 --> 00:27:54,640
Speaker 1: not even in the same room. Like the conversations feel

440
00:27:54,720 --> 00:27:56,840
Speaker 1: so like this and I don't know what it is.

441
00:27:57,040 --> 00:28:03,240
Speaker 1: I've never in my life seen such expository dialogue. In

442
00:28:03,640 --> 00:28:07,760
Speaker 1: every single line of dialogue, it's just like, I mean,

443
00:28:07,880 --> 00:28:10,760
Speaker 1: I I am very pro like, don't talk down to

444
00:28:10,800 --> 00:28:12,920
Speaker 1: your audience, but if you want this to be like,

445
00:28:13,640 --> 00:28:17,040
Speaker 1: this is just like a really difficult it's a it's

446
00:28:17,080 --> 00:28:20,879
Speaker 1: too dense too. I feel like fit into like a

447
00:28:21,040 --> 00:28:24,239
Speaker 1: fun movie like it's there's just too much you have

448
00:28:24,280 --> 00:28:27,200
Speaker 1: to you have to stop and explain things every two seconds,

449
00:28:27,240 --> 00:28:30,480
Speaker 1: and then that's just most of the movie, right, Yeah,

450
00:28:30,760 --> 00:28:33,879
Speaker 1: they tried. The da Vinci code was literally Apple, so

451
00:28:33,920 --> 00:28:36,840
Speaker 1: it turns out none of it mattered. I can't get

452
00:28:36,880 --> 00:28:39,720
Speaker 1: over it. I feel interesting that you're you're like isolating

453
00:28:39,720 --> 00:28:42,400
Speaker 1: the da Vinci code into that one particular code that

454
00:28:42,440 --> 00:28:45,320
Speaker 1: you punched into the cryptext. To me, the da Vinci

455
00:28:45,400 --> 00:28:48,440
Speaker 1: code is like it's a feeling, it's a sensation, it's

456
00:28:48,480 --> 00:28:52,959
Speaker 1: the whole experience. It's the roller coaster ride that is

457
00:28:53,080 --> 00:28:57,480
Speaker 1: the whole movie. Oh I thought it was silly me.

458
00:28:57,600 --> 00:28:59,240
Speaker 1: I thought it was the code you put into the

459
00:28:59,320 --> 00:29:06,520
Speaker 1: Da Vinci thing. You fool there. I don't know what

460
00:29:06,680 --> 00:29:08,720
Speaker 1: or the da Vinci code. The da Vinci code was

461
00:29:08,760 --> 00:29:14,240
Speaker 1: either Apple or women unclear to me. What I can't

462
00:29:14,280 --> 00:29:19,160
Speaker 1: wait to talk about this movie is so male feminist.

463
00:29:19,240 --> 00:29:21,959
Speaker 1: Like it's like we were talking about this in our

464
00:29:22,040 --> 00:29:26,280
Speaker 1: last episode of Just Like the Most Like it's like

465
00:29:26,360 --> 00:29:30,280
Speaker 1: when a guy's like, oh, I'm I'm such a male

466
00:29:30,360 --> 00:29:33,200
Speaker 1: feminist and then they just explained what feminism is to

467
00:29:33,440 --> 00:29:35,640
Speaker 1: you for two and a half hours, and then you're

468
00:29:35,680 --> 00:29:37,800
Speaker 1: like wait, I haven't talked yet, and he's like, yeah,

469
00:29:37,840 --> 00:29:41,320
Speaker 1: I respect you so much. I don't even want to

470
00:29:41,400 --> 00:29:45,600
Speaker 1: know a thing about you. Like I just it's so

471
00:29:45,720 --> 00:29:49,960
Speaker 1: exhausting the fact that there are so many opportunities to

472
00:29:50,120 --> 00:29:53,320
Speaker 1: bring Sophie into the narrative and bring her expertise into

473
00:29:53,400 --> 00:29:57,880
Speaker 1: the narrative constantly, and she's literally a cryptologist, not that

474
00:29:57,960 --> 00:30:02,920
Speaker 1: you'd know based on how many could she solves, like,

475
00:30:03,520 --> 00:30:05,760
Speaker 1: and then just Ian McKellan shows up. He's like, oh,

476
00:30:05,840 --> 00:30:08,520
Speaker 1: actually I know everything that it would be way more

477
00:30:08,560 --> 00:30:12,000
Speaker 1: interesting if the if the only woman in the story knew.

478
00:30:12,920 --> 00:30:15,000
Speaker 1: But let's just tell her. Let's just tell her what's

479
00:30:15,040 --> 00:30:18,560
Speaker 1: going on. And then she goes, wait, that can't be,

480
00:30:18,840 --> 00:30:22,320
Speaker 1: Like that's everything. She says, wait, that can't be, and

481
00:30:22,360 --> 00:30:27,880
Speaker 1: it's like you're Jesus's niece. Get used to it, lady there.

482
00:30:27,920 --> 00:30:29,560
Speaker 1: And then she's like, well, I don't know any of

483
00:30:29,600 --> 00:30:33,680
Speaker 1: this stuff because I hate history. And then Tom Hanks,

484
00:30:34,560 --> 00:30:37,600
Speaker 1: you hate history? What do you mean? No one hates history.

485
00:30:37,680 --> 00:30:40,520
Speaker 1: They hate their own histories. And it's just like Robert Lincton,

486
00:30:40,600 --> 00:30:43,880
Speaker 1: what shut up? That's a really annoying thing for Robert

487
00:30:43,960 --> 00:30:46,160
Speaker 1: Lindon to say, But also I would argue, that's a

488
00:30:46,320 --> 00:30:50,160
Speaker 1: really like bizarre thing for so, like, who's like I

489
00:30:50,240 --> 00:30:54,000
Speaker 1: hate history? Like that is such a broad concept to hate,

490
00:30:54,120 --> 00:30:58,600
Speaker 1: like you've hated everything that's ever happened. Ever, Like what

491
00:30:58,640 --> 00:31:00,880
Speaker 1: do you mean? What do you mean when you say

492
00:31:00,920 --> 00:31:05,600
Speaker 1: that it's like I hate history, I hate everything that's

493
00:31:05,600 --> 00:31:08,960
Speaker 1: ever happened? Is I just hate it? Like, well, I

494
00:31:09,000 --> 00:31:12,880
Speaker 1: don't know what to tell you. Oh my god, I'm

495
00:31:13,040 --> 00:31:17,160
Speaker 1: just laughing, laughing, laughing this whole movie. It makes no sense. Also,

496
00:31:17,240 --> 00:31:21,760
Speaker 1: the character names are so silly teeming a ringa Rosa.

497
00:31:22,320 --> 00:31:24,680
Speaker 1: You're just like, I'm sure it's all I'm like, maybe

498
00:31:24,680 --> 00:31:31,240
Speaker 1: it means, oh, here's something fun. Uh there? This was okay.

499
00:31:31,320 --> 00:31:34,480
Speaker 1: So when I was like younger, like probably more like

500
00:31:34,680 --> 00:31:39,040
Speaker 1: high school, I used to love when like famous writers

501
00:31:39,080 --> 00:31:43,000
Speaker 1: would give information on like this is my writing routine

502
00:31:43,160 --> 00:31:45,920
Speaker 1: and like this is how I write. And I used

503
00:31:45,960 --> 00:31:48,960
Speaker 1: to like look up whatever. I would love stories like that.

504
00:31:49,400 --> 00:31:53,400
Speaker 1: And Dan Brown has done this several times. I guess

505
00:31:53,480 --> 00:31:55,200
Speaker 1: he most recently did it a couple of years ago.

506
00:31:55,280 --> 00:31:58,760
Speaker 1: I'm thinking of something from like fifteen years ago. But

507
00:31:58,960 --> 00:32:03,840
Speaker 1: he like discussed his writing routine and it's like so

508
00:32:04,560 --> 00:32:08,720
Speaker 1: fucked up. Like he wakes up. It sounds like do

509
00:32:08,760 --> 00:32:12,880
Speaker 1: you remember when like Mark, what's his name, the evil

510
00:32:12,960 --> 00:32:22,760
Speaker 1: one from Ted Mark Wahlberg Wallberg, Mark Wallberg released his

511
00:32:23,120 --> 00:32:25,560
Speaker 1: like workout routine. He's like, I wake up at three

512
00:32:25,600 --> 00:32:29,959
Speaker 1: am and scream, like it's like scary. Dan Brown is

513
00:32:30,160 --> 00:32:33,560
Speaker 1: like that, but for writing shitty books about Robert Langton.

514
00:32:34,040 --> 00:32:37,560
Speaker 1: Like he's he wakes up at four am and drinks

515
00:32:37,600 --> 00:32:41,360
Speaker 1: like a spinach milkshake and then he writes for like

516
00:32:41,640 --> 00:32:45,840
Speaker 1: fifteen hours, and then he's like then I whatever, like

517
00:32:46,720 --> 00:32:49,280
Speaker 1: give my son a encouraging pat on the back and

518
00:32:49,320 --> 00:32:51,200
Speaker 1: go right to bed. And I was like, he sounds

519
00:32:51,680 --> 00:32:54,560
Speaker 1: he sounds like the worst. He just sounds like he's horrible.

520
00:32:56,000 --> 00:32:59,280
Speaker 1: Oh well, he has a masterclass. We should watch it.

521
00:32:59,720 --> 00:33:05,600
Speaker 1: We should. He just seems like such a like snobby jerk.

522
00:33:05,640 --> 00:33:07,720
Speaker 1: I think he thinks I mean, he probably thinks he's

523
00:33:07,840 --> 00:33:15,240
Speaker 1: Robert langdon I bet? Yeah? Well shall we? I need

524
00:33:15,280 --> 00:33:18,320
Speaker 1: to get some wine. Yeah, go get someone fills um

525
00:33:18,440 --> 00:33:20,720
Speaker 1: fill your chelice and by that I mean your womb

526
00:33:21,800 --> 00:33:25,640
Speaker 1: like wine and drink your womb wine out of your vagina,

527
00:33:25,760 --> 00:33:39,360
Speaker 1: because that's what this movie is about. Because woman is mother. Okay, okay,

528
00:33:39,400 --> 00:33:42,760
Speaker 1: I'm here, all right, welcome back. I'm gonna do the recap.

529
00:33:42,880 --> 00:33:46,160
Speaker 1: I am going to skip over a lot of details

530
00:33:46,160 --> 00:33:49,040
Speaker 1: because there are just too many things, and I'm gonna

531
00:33:49,280 --> 00:33:53,400
Speaker 1: flash back and say exactly what happened. And he's like,

532
00:33:53,520 --> 00:33:58,880
Speaker 1: it has to do with Constantine. Actually Constantine was a pagan,

533
00:33:59,440 --> 00:34:04,480
Speaker 1: and I'm just shut up, shut up, I very. It's like,

534
00:34:05,040 --> 00:34:09,200
Speaker 1: I feel like it speaks to this movie's exhausting nature

535
00:34:09,400 --> 00:34:12,719
Speaker 1: that I never want Ian McKellen to shut up, but

536
00:34:12,800 --> 00:34:17,400
Speaker 1: in this movie, I really wanted him to shut up constantly.

537
00:34:17,960 --> 00:34:20,560
Speaker 1: It's like, stop talking, but not as much as I

538
00:34:20,600 --> 00:34:23,840
Speaker 1: wanted Tom Hanks to shut up. I know. It's really

539
00:34:23,880 --> 00:34:28,800
Speaker 1: taking like the icons that are pretty like culturally untouchable

540
00:34:28,920 --> 00:34:32,359
Speaker 1: at the time of this recording and makes you just

541
00:34:32,480 --> 00:34:39,200
Speaker 1: like absolutely despise hearing their voice. It's remarkable. So yeah,

542
00:34:39,400 --> 00:34:41,760
Speaker 1: I skip over a lot of things in the recap,

543
00:34:42,200 --> 00:34:45,799
Speaker 1: so it might not make any sense, but I did

544
00:34:45,880 --> 00:34:54,839
Speaker 1: my best. So the movie opens in the Louvery. Oh

545
00:34:54,880 --> 00:34:56,840
Speaker 1: my god. The closing shot of this movie at the

546
00:34:56,920 --> 00:35:01,680
Speaker 1: loube speak. Okay, this movie much like Ralph Freaks the Internet,

547
00:35:01,719 --> 00:35:03,960
Speaker 1: except this movie is horrible and it's I would say

548
00:35:04,000 --> 00:35:06,520
Speaker 1: that this movie is like almost camp. It's so bad,

549
00:35:07,000 --> 00:35:10,759
Speaker 1: Like this movie ends forty five different times, but the

550
00:35:11,719 --> 00:35:15,400
Speaker 1: final ending is the funniest one where Robert Liked runs

551
00:35:15,440 --> 00:35:18,080
Speaker 1: back to the louver and like she feels on the

552
00:35:18,200 --> 00:35:26,960
Speaker 1: louver like it's oh boy, it's remarkable. Perfect. Okay, So

553
00:35:27,000 --> 00:35:30,760
Speaker 1: we're in the louver and there's a monk named Silas

554
00:35:30,760 --> 00:35:34,680
Speaker 1: played by Paul Bettany, and he is trying to get

555
00:35:34,800 --> 00:35:39,600
Speaker 1: some information from uh, this man who I don't know

556
00:35:39,600 --> 00:35:41,799
Speaker 1: if he's a curator there, I don't know. He's in

557
00:35:41,840 --> 00:35:45,640
Speaker 1: the louver and the link gets the information and then

558
00:35:45,719 --> 00:35:49,960
Speaker 1: shoots sonya. Let me cut to Robert Langdon played by

559
00:35:50,040 --> 00:35:52,600
Speaker 1: Tom Hanks, of course, and he is a professor of

560
00:35:52,800 --> 00:35:57,480
Speaker 1: religious symbology giving a presentation in Paris, and then he

561
00:35:57,600 --> 00:36:01,120
Speaker 1: is approached by the French FBI and they want to

562
00:36:01,160 --> 00:36:08,280
Speaker 1: talk to Langdon French b I, if you will um,

563
00:36:08,320 --> 00:36:12,719
Speaker 1: the French Bureau of Investigations. They want to talk to

564
00:36:12,840 --> 00:36:16,720
Speaker 1: Langdon about the murder that we just saw take place.

565
00:36:17,640 --> 00:36:20,799
Speaker 1: Then we cut back to Silas, the monk. He is

566
00:36:20,840 --> 00:36:24,000
Speaker 1: talking on the phone with someone who he calls teacher,

567
00:36:24,719 --> 00:36:28,560
Speaker 1: and guess who else is talking on the phone in

568
00:36:28,600 --> 00:36:34,440
Speaker 1: a different scene with the teacher is Alfred Molina, and

569
00:36:34,600 --> 00:36:38,719
Speaker 1: he's doing an accent, and we don't know what the

570
00:36:39,080 --> 00:36:43,879
Speaker 1: accent is. I love to see him in his Catholic hat.

571
00:36:45,440 --> 00:36:48,680
Speaker 1: It's what I mean. He feels like he's playing a

572
00:36:48,760 --> 00:36:51,920
Speaker 1: very similar character to me. I mean, we know him

573
00:36:51,960 --> 00:36:54,759
Speaker 1: as a great villain. He plays the hell out of

574
00:36:54,760 --> 00:36:57,360
Speaker 1: a villain. He's playing a very similar villain to me

575
00:36:57,600 --> 00:37:01,400
Speaker 1: as a character he plays in Chakola I I totally agree,

576
00:37:01,440 --> 00:37:04,880
Speaker 1: except with none of the like lovable. I'm like, what

577
00:37:05,000 --> 00:37:09,120
Speaker 1: if there just floating some ideas for our reboot of

578
00:37:09,120 --> 00:37:14,600
Speaker 1: the Da Vinci Code. Uh, what if there were a

579
00:37:14,600 --> 00:37:16,920
Speaker 1: a cake scene? Where is the cake scene in the

580
00:37:17,080 --> 00:37:21,840
Speaker 1: Vinci Where is the scene where this Bishop of Opus

581
00:37:21,920 --> 00:37:26,680
Speaker 1: day is refusing to indulge in any sort of sweets

582
00:37:26,719 --> 00:37:30,120
Speaker 1: or chocolates until he hits a breaking point in which

583
00:37:30,200 --> 00:37:34,279
Speaker 1: he just goes balls to the wall, eating every bit

584
00:37:34,320 --> 00:37:37,080
Speaker 1: of chocolate in sight to the point where he's basically

585
00:37:37,080 --> 00:37:40,160
Speaker 1: having sex with chocolate. Why isn't that scene in the

586
00:37:40,239 --> 00:37:44,040
Speaker 1: Da Vinci Code? What's going on? There are a few

587
00:37:44,400 --> 00:37:48,000
Speaker 1: like really iconically good shots of Alfred Bolina. The first

588
00:37:48,160 --> 00:37:50,759
Speaker 1: was like Paul Betny wakes up and Alfred Bolina is

589
00:37:50,800 --> 00:37:53,120
Speaker 1: just like standing over him, and I was like, this

590
00:37:53,360 --> 00:37:57,399
Speaker 1: is for me ideal, Like I wish I were Paul

591
00:37:57,440 --> 00:38:01,320
Speaker 1: Bettany in the scene. Um I. Then there's the clip

592
00:38:01,360 --> 00:38:05,640
Speaker 1: that you sent me of like launching out of a car,

593
00:38:06,040 --> 00:38:09,320
Speaker 1: Like it's so good, it's really that is the literally

594
00:38:09,360 --> 00:38:11,040
Speaker 1: the best part of the movie because there's this really

595
00:38:11,040 --> 00:38:14,160
Speaker 1: like epic music playing and it's like one of the

596
00:38:14,239 --> 00:38:17,120
Speaker 1: few times in the movie where like interesting camera work

597
00:38:17,200 --> 00:38:19,480
Speaker 1: is actually happening. And like I'm not normally a big

598
00:38:19,520 --> 00:38:22,880
Speaker 1: snob about like the mechanics of filmmaking in terms of

599
00:38:22,920 --> 00:38:25,719
Speaker 1: like cinematography and editing and stuff like that, but like

600
00:38:26,200 --> 00:38:28,839
Speaker 1: this movie does everything so poorly that you can't help

601
00:38:28,880 --> 00:38:30,799
Speaker 1: but notice it. But like there is one moment where

602
00:38:30,800 --> 00:38:33,400
Speaker 1: I'm like, look at this camera work where the camera's

603
00:38:33,480 --> 00:38:36,440
Speaker 1: kind of like it's tracking with one person and then

604
00:38:36,440 --> 00:38:39,200
Speaker 1: it kind of shifts over to focus on Alt from

605
00:38:39,280 --> 00:38:41,160
Speaker 1: Lena getting out of a car and then he like

606
00:38:41,239 --> 00:38:43,920
Speaker 1: sees something and then starts sprinting out of frame and

607
00:38:43,960 --> 00:38:49,200
Speaker 1: it's just like this beautiful fluid movement and h it's

608
00:38:49,200 --> 00:38:51,279
Speaker 1: a scene from a better movie. I was like, that

609
00:38:51,360 --> 00:38:56,560
Speaker 1: was a singular gorgeous shot. Indeed, I wish I knew.

610
00:38:56,600 --> 00:38:58,160
Speaker 1: I wish I didn't know what movie it was in.

611
00:38:59,760 --> 00:39:05,080
Speaker 1: Uh okay. So Alfred Molina plays Bishop Aaron Garossa, who

612
00:39:05,400 --> 00:39:10,200
Speaker 1: is a religious figure of Opus Day, a sect of

613
00:39:10,280 --> 00:39:16,760
Speaker 1: Catholicism that seems, according to this movie, pretty scary, and

614
00:39:17,320 --> 00:39:23,240
Speaker 1: he is like Silas's mentor. So meanwhile, Langdon is taken

615
00:39:23,320 --> 00:39:27,120
Speaker 1: to the Louver and Captain Fash a k genre no,

616
00:39:27,960 --> 00:39:34,319
Speaker 1: you're literally like Fash And then I was like, I

617
00:39:34,360 --> 00:39:36,239
Speaker 1: don't know, and then I just kept watching because that's

618
00:39:36,239 --> 00:39:38,000
Speaker 1: how you that's the only way you can watch the

619
00:39:38,080 --> 00:39:41,000
Speaker 1: Da Vincico this to be like hmmm, maybe that's something,

620
00:39:41,120 --> 00:39:44,440
Speaker 1: and then you're like, well, I don't know. Okay, something

621
00:39:44,440 --> 00:39:47,000
Speaker 1: else is happening now. Now we're talking about Constantine and

622
00:39:47,040 --> 00:39:52,320
Speaker 1: the Holy Wars. Yeah, so Captain Fash is Genrino and

623
00:39:52,520 --> 00:40:02,600
Speaker 1: he is. He's there as well as Sophie. It's very French,

624
00:40:02,840 --> 00:40:05,920
Speaker 1: and it's they literally cast Emily, so we're like, okay,

625
00:40:05,960 --> 00:40:10,120
Speaker 1: she is for French. So it's yeah, Audrey Tattoo or

626
00:40:10,160 --> 00:40:13,520
Speaker 1: however you say any name in French. And I love her.

627
00:40:13,560 --> 00:40:15,440
Speaker 1: I wish she had been given a single thing to

628
00:40:15,520 --> 00:40:18,439
Speaker 1: do in this entire movie. Truly, I hope she made

629
00:40:18,480 --> 00:40:20,640
Speaker 1: so much money. That's it would give me peace to

630
00:40:20,680 --> 00:40:22,840
Speaker 1: know that Audrey Tattoo made a lot of money. But

631
00:40:22,880 --> 00:40:24,799
Speaker 1: I have a feeling that she probably made much less

632
00:40:24,800 --> 00:40:28,560
Speaker 1: money than literally every man on screen. That's probably true,

633
00:40:28,840 --> 00:40:32,840
Speaker 1: and that's upsetting. Her character is a cryptologist for the

634
00:40:32,880 --> 00:40:38,880
Speaker 1: French police, and she's like, hey, Robert, they think the

635
00:40:38,880 --> 00:40:43,040
Speaker 1: police think that you killed sna Also, by the way,

636
00:40:43,239 --> 00:40:46,239
Speaker 1: he was my grandfather and as he was dying, he

637
00:40:46,360 --> 00:40:49,239
Speaker 1: left all of these clues, so you and I have

638
00:40:49,320 --> 00:40:53,560
Speaker 1: to work together to solve them. Because basically Sania had

639
00:40:53,719 --> 00:40:57,360
Speaker 1: put himself in the position of the Vitruvian man. And

640
00:40:57,360 --> 00:40:59,000
Speaker 1: then he also wrote a bunch of words on the

641
00:40:59,040 --> 00:41:02,120
Speaker 1: floor an invisible ink, which read how long was this

642
00:41:02,239 --> 00:41:06,279
Speaker 1: man dying? Like this? I had a funny because I

643
00:41:06,320 --> 00:41:08,799
Speaker 1: forgot what the because I remember, like as a kid,

644
00:41:08,840 --> 00:41:12,000
Speaker 1: being like whoa the like long ass codes where he's

645
00:41:12,000 --> 00:41:15,040
Speaker 1: just stumbling around the loop like writing poems and ship

646
00:41:15,560 --> 00:41:18,279
Speaker 1: and but I was I couldn't remember, and so I

647
00:41:18,320 --> 00:41:19,880
Speaker 1: was like, what if it was what if he just

648
00:41:19,960 --> 00:41:24,080
Speaker 1: smeared some pig out in bluff like that would be

649
00:41:24,120 --> 00:41:27,399
Speaker 1: a more interesting choice to be than whatever the funk

650
00:41:27,440 --> 00:41:36,120
Speaker 1: he did, thoughts something to consider for our reboot. Yeah,

651
00:41:36,239 --> 00:41:40,759
Speaker 1: like could be a fun iconic message relieve. Also, I

652
00:41:40,840 --> 00:41:43,600
Speaker 1: forget who someone it might have been a friend of

653
00:41:43,640 --> 00:41:47,160
Speaker 1: the show, Matt Rogers, but like someone recently tweeted like

654
00:41:47,280 --> 00:41:50,520
Speaker 1: what what a like weak endorsement that was on the

655
00:41:50,600 --> 00:41:55,080
Speaker 1: part of Charlotte and her web, like like, who's this guy?

656
00:41:55,120 --> 00:41:58,319
Speaker 1: I don't know, some pig. He is some pig And

657
00:41:58,400 --> 00:42:00,560
Speaker 1: everyone was like, wow, he must be really special and

658
00:42:00,600 --> 00:42:04,440
Speaker 1: you're like, well, that's not what she said. Oh goodness,

659
00:42:04,640 --> 00:42:11,000
Speaker 1: listen to women and what they weave in their web. Okay,

660
00:42:11,280 --> 00:42:16,799
Speaker 1: So um Sonia had written O draconian devil, oh lame

661
00:42:16,920 --> 00:42:21,440
Speaker 1: st and Langdon figures out that these words are an

662
00:42:21,480 --> 00:42:26,279
Speaker 1: anagram and shout out to anagrams and my very anagrammable name,

663
00:42:26,560 --> 00:42:31,120
Speaker 1: please and thank you. Um that anagrams to Leonardo da

664
00:42:31,200 --> 00:42:34,160
Speaker 1: Vinci the Mona Lisa, and then we're like, wow, Da

665
00:42:34,200 --> 00:42:38,799
Speaker 1: Vinci code alert it's starting. So they go over to

666
00:42:38,840 --> 00:42:41,319
Speaker 1: the Mona Lisa and there's another clue there, and that

667
00:42:41,400 --> 00:42:44,040
Speaker 1: leads to another clue and then another and it's like

668
00:42:44,160 --> 00:42:48,000
Speaker 1: National Treasure all over again. It's yeah, National Treasure. If

669
00:42:48,040 --> 00:42:51,880
Speaker 1: fept way longer and worse, way less fun and there's

670
00:42:52,000 --> 00:42:56,880
Speaker 1: no where is my Bartinary Bartha insight, I feel like

671
00:42:56,920 --> 00:43:00,239
Speaker 1: this movie really would benefit from a Bartha type chater,

672
00:43:00,520 --> 00:43:03,279
Speaker 1: like because you have the similar set, because whatever in

673
00:43:03,760 --> 00:43:08,640
Speaker 1: the National in the Da Vinci National Treasure Frankenstein Code,

674
00:43:09,440 --> 00:43:12,600
Speaker 1: it's like you have it's kind of like a sacred,

675
00:43:13,719 --> 00:43:18,080
Speaker 1: sacred triptych right, Like you have your like agro hero

676
00:43:18,480 --> 00:43:21,040
Speaker 1: in Nicolas Cage. You have a woman who will not

677
00:43:21,080 --> 00:43:24,040
Speaker 1: be allowed to do anything but is there in the

678
00:43:24,080 --> 00:43:27,240
Speaker 1: form of Abigail. And then you have a little cartoon

679
00:43:27,280 --> 00:43:29,880
Speaker 1: squirrel guy in the form of Justin Bartha. And I

680
00:43:29,880 --> 00:43:32,400
Speaker 1: feel like the da Vinci Code could really have used

681
00:43:32,840 --> 00:43:36,319
Speaker 1: the Justin Bartha character to keep us, to keep us

682
00:43:36,400 --> 00:43:39,000
Speaker 1: having some fun in a movie that is really not

683
00:43:39,200 --> 00:43:42,600
Speaker 1: that fun to watch. Right, Yeah, we need some kind

684
00:43:42,640 --> 00:43:47,640
Speaker 1: of comic relief for squirrel relief, for Bartha relief. It's

685
00:43:47,680 --> 00:43:52,040
Speaker 1: not like Justin Bartha wasn't available, you know, was his

686
00:43:52,120 --> 00:43:58,440
Speaker 1: availability is open? Okay? So then they pick up the

687
00:43:58,520 --> 00:44:01,800
Speaker 1: flur de Leys, which is this like key like object

688
00:44:01,840 --> 00:44:05,879
Speaker 1: as they're going around the louver discovering clues. But then

689
00:44:06,280 --> 00:44:09,440
Speaker 1: Langdon and Sophie have to run because the cops are

690
00:44:09,480 --> 00:44:13,160
Speaker 1: chasing them, and while they're on the run, Langdon tells

691
00:44:13,160 --> 00:44:16,800
Speaker 1: Sophie about the Priory of Ssion, which is a secret

692
00:44:16,840 --> 00:44:22,360
Speaker 1: society that protects a secret treasure, the Holy Grail. Um. So,

693
00:44:22,400 --> 00:44:26,000
Speaker 1: now I guess the story is about finding the Holy Grail, right,

694
00:44:26,040 --> 00:44:29,160
Speaker 1: which I was like, I think, oh right, that was

695
00:44:29,200 --> 00:44:32,239
Speaker 1: another thing. I was like, oh right, that's what the

696
00:44:32,320 --> 00:44:41,960
Speaker 1: Da Vinci code was looking for. Question mark. Yes. So meanwhile,

697
00:44:42,480 --> 00:44:45,920
Speaker 1: Silas has followed the clue that Son had given him,

698
00:44:45,960 --> 00:44:48,520
Speaker 1: but it turns out to be a decoy and he

699
00:44:48,760 --> 00:44:52,319
Speaker 1: is so mad that he murders a nun about it.

700
00:44:53,120 --> 00:44:56,160
Speaker 1: He really is on a mission from God, and that

701
00:44:56,239 --> 00:44:58,799
Speaker 1: mission is to kill as many nuns as he possibly can,

702
00:44:59,080 --> 00:45:03,320
Speaker 1: because he kills a lot of one. Yeah. So then

703
00:45:03,640 --> 00:45:07,839
Speaker 1: we cut back to Langdon and Sophie. They take the

704
00:45:07,880 --> 00:45:12,640
Speaker 1: flur dey key thing to this like very fancy bank,

705
00:45:12,680 --> 00:45:17,880
Speaker 1: I guess where in a safety deposit box there is

706
00:45:18,160 --> 00:45:22,360
Speaker 1: a smaller wooden box with a rose on it, and

707
00:45:22,520 --> 00:45:28,480
Speaker 1: inside that box is the DaVinci. That's the only thing

708
00:45:28,520 --> 00:45:31,439
Speaker 1: that Sophie knows in the entire movie is like, how

709
00:45:31,480 --> 00:45:34,279
Speaker 1: the Da Vinci could works, but she doesn't know how

710
00:45:34,280 --> 00:45:37,000
Speaker 1: to unlock it, and she doesn't try. And yes, she

711
00:45:37,040 --> 00:45:39,080
Speaker 1: knows what a cryptics is, which is the thing that's

712
00:45:39,080 --> 00:45:42,239
Speaker 1: in this little box, and it's this device that you

713
00:45:42,280 --> 00:45:45,719
Speaker 1: have to spell out a five letter word to unlock

714
00:45:45,800 --> 00:45:49,759
Speaker 1: it and retrieve like a little piece of papyrus inside.

715
00:45:50,160 --> 00:45:53,520
Speaker 1: But if you break it, then the vinegar also inside

716
00:45:53,560 --> 00:45:56,520
Speaker 1: the cryptics will dissolve the papyrus and then the secrets

717
00:45:56,560 --> 00:45:59,640
Speaker 1: lost forever. So that's a lot of exposition that she

718
00:46:00,040 --> 00:46:03,960
Speaker 1: very clunk Lee delivers to us. Mess I liked it

719
00:46:04,000 --> 00:46:08,799
Speaker 1: better when it was just squirting like lemon juice on

720
00:46:08,840 --> 00:46:13,840
Speaker 1: the Declaration of Independence. That was a little more my speed.

721
00:46:13,960 --> 00:46:17,200
Speaker 1: But whatever, they made a choice, sure, sure, sure, But

722
00:46:17,280 --> 00:46:21,520
Speaker 1: now they've hit a dead end because Langdon doesn't know

723
00:46:22,080 --> 00:46:25,080
Speaker 1: enough stuff about the Grail legend. So they go to

724
00:46:25,680 --> 00:46:31,040
Speaker 1: Lee Teping aka Ian McKellen, who is a Grail historian

725
00:46:31,080 --> 00:46:33,839
Speaker 1: who is also a billionaire, and it is not clear

726
00:46:33,880 --> 00:46:37,440
Speaker 1: how he has any of his money. That was my thing, Like,

727
00:46:37,480 --> 00:46:39,919
Speaker 1: once you find out he's the spy, you're like, well,

728
00:46:39,920 --> 00:46:42,520
Speaker 1: of course he had to have some grift going on,

729
00:46:42,600 --> 00:46:46,720
Speaker 1: because like Grail historians, that has to pay four dollars

730
00:46:46,719 --> 00:46:50,480
Speaker 1: a year, Like what who is? Like? I feel like

731
00:46:50,520 --> 00:46:53,200
Speaker 1: that's not like a thriving job market where you would

732
00:46:53,239 --> 00:46:57,839
Speaker 1: have like entire zip code to yourself. Maybe he's nepotism,

733
00:46:57,840 --> 00:47:01,080
Speaker 1: we don't know, could be who care that being a

734
00:47:01,080 --> 00:47:03,720
Speaker 1: Grail historian is the type of job that you would

735
00:47:03,719 --> 00:47:06,520
Speaker 1: have if you're like the kid of a very wealthy

736
00:47:06,680 --> 00:47:08,759
Speaker 1: family and you don't have to actually have a real

737
00:47:08,880 --> 00:47:12,080
Speaker 1: job or work or anything. I got so bored at

738
00:47:12,080 --> 00:47:14,279
Speaker 1: this part that I started to do a thought experiment

739
00:47:14,400 --> 00:47:16,840
Speaker 1: of like what if you were on a date with

740
00:47:16,880 --> 00:47:20,239
Speaker 1: someone and you were getting along and then you're like,

741
00:47:20,400 --> 00:47:22,480
Speaker 1: what do you do? And they were like, I'm a

742
00:47:22,520 --> 00:47:26,279
Speaker 1: Grail historian. Would you feel like I need to go?

743
00:47:27,120 --> 00:47:31,799
Speaker 1: Or would you say I'd better stay. I feel like

744
00:47:31,840 --> 00:47:34,719
Speaker 1: I would be kind of turned off by a Grail historian.

745
00:47:35,680 --> 00:47:39,280
Speaker 1: I'm inclined to agree in the same way many people

746
00:47:39,320 --> 00:47:43,160
Speaker 1: are like comedian, I have to go, and it's like

747
00:47:43,239 --> 00:47:46,439
Speaker 1: I get it. Um, that's how I would feel about

748
00:47:46,440 --> 00:47:48,520
Speaker 1: a Grail historian, And actually maybe I would feel a

749
00:47:48,520 --> 00:47:50,680
Speaker 1: little superior. I'm like, oh, you found a job that's

750
00:47:50,719 --> 00:47:57,560
Speaker 1: more embarrassing than nine. Yeah. True. Um. So they go

751
00:47:57,680 --> 00:48:02,240
Speaker 1: to Lee teeping, and Lee explains that the Holy Grail

752
00:48:02,480 --> 00:48:05,160
Speaker 1: is not a cup, which is what it is commonly

753
00:48:05,160 --> 00:48:09,920
Speaker 1: thought to be. It's a woman, but not just any woman.

754
00:48:10,440 --> 00:48:16,000
Speaker 1: It's which one Mary Magdalen. And not only that Mary

755
00:48:16,040 --> 00:48:23,600
Speaker 1: Magdalene was Jesus's his wife what and then but wait,

756
00:48:23,640 --> 00:48:28,560
Speaker 1: there's more. There's more, which is that that she was

757
00:48:28,840 --> 00:48:33,640
Speaker 1: gregnant as hell with Jesus as greg That wasn't in

758
00:48:33,760 --> 00:48:39,040
Speaker 1: Jesus Christ Superstar. My mind was blown once that platfoin

759
00:48:39,160 --> 00:48:41,560
Speaker 1: came up. I'm like, oh, I do remember reading that

760
00:48:41,600 --> 00:48:46,839
Speaker 1: in the book and being like, oh, what how could

761
00:48:46,880 --> 00:48:49,799
Speaker 1: it be? Or like does all this like you know,

762
00:48:49,880 --> 00:48:53,719
Speaker 1: it's like high key bullshit, but it is fun. Like

763
00:48:55,080 --> 00:48:57,320
Speaker 1: maybe it was more fun in the early two thousand's

764
00:48:57,400 --> 00:49:01,480
Speaker 1: when like online conspiracies were not um killing people at

765
00:49:01,480 --> 00:49:04,400
Speaker 1: the same rates they are these days. But at the time,

766
00:49:04,600 --> 00:49:07,080
Speaker 1: I was like, oh, yeah, there is no cup in

767
00:49:07,120 --> 00:49:11,800
Speaker 1: that painting. It must mean that Emily is Jesus's niece

768
00:49:12,400 --> 00:49:18,360
Speaker 1: like that it's so conspiratorial and weird, and yeah, I

769
00:49:18,400 --> 00:49:20,319
Speaker 1: mean it is, like those kinds of scenes are really

770
00:49:20,360 --> 00:49:22,840
Speaker 1: fun to watch, especially when they end up being correct.

771
00:49:22,920 --> 00:49:26,000
Speaker 1: You're like, wow, you you you made a big swing

772
00:49:26,560 --> 00:49:29,319
Speaker 1: and you were right. Yeah. So basically t Being is

773
00:49:29,360 --> 00:49:33,759
Speaker 1: making the argument here that da Vinci had left all

774
00:49:33,800 --> 00:49:39,319
Speaker 1: these clues in his work that Mary Magdalene was Jesus's

775
00:49:39,360 --> 00:49:44,799
Speaker 1: his wife and that she is the actual Grail and

776
00:49:44,840 --> 00:49:47,319
Speaker 1: that it's not this like Chilice thing anyway. So he's

777
00:49:47,360 --> 00:49:50,120
Speaker 1: like going through this whole power point presentation, and then

778
00:49:50,160 --> 00:49:54,800
Speaker 1: he says that once Jesus was crucified, Mary Magdalen fled

779
00:49:54,840 --> 00:49:59,600
Speaker 1: to France and gave birth to a daughter. So basically,

780
00:49:59,800 --> 00:50:02,880
Speaker 1: the secret that the Priory of Scion has been protecting

781
00:50:02,960 --> 00:50:07,080
Speaker 1: for the past two thousand years is the fact that

782
00:50:07,160 --> 00:50:12,400
Speaker 1: Jesus has a bloodline. And this whole string of airs

783
00:50:13,080 --> 00:50:18,400
Speaker 1: makes you think and the reason that like Silas and

784
00:50:18,480 --> 00:50:22,080
Speaker 1: Alfred Molina's character and like Opus Day exists is that

785
00:50:22,120 --> 00:50:27,080
Speaker 1: they are trying to kill Jesus. Is fair the descendants

786
00:50:27,120 --> 00:50:32,560
Speaker 1: of Jesus family, because the revelation that Jesus was like

787
00:50:32,719 --> 00:50:36,120
Speaker 1: a mortal man who can get people gregnant would kind

788
00:50:36,120 --> 00:50:39,960
Speaker 1: of unravel the church's teachings of like the divinity of

789
00:50:40,080 --> 00:50:43,680
Speaker 1: Jesus Christ, we can't be having that. It was Oh

790
00:50:43,719 --> 00:50:47,760
Speaker 1: my god, it's so sailing, And this whole scene takes

791
00:50:47,800 --> 00:50:51,200
Speaker 1: like twenty minutes. It takes a lot. They cut away

792
00:50:51,200 --> 00:50:52,960
Speaker 1: to other stuff every once in a while, but I'm like,

793
00:50:53,200 --> 00:50:55,479
Speaker 1: you think I don't notice that Ian McKellan and Tom

794
00:50:55,520 --> 00:50:59,360
Speaker 1: Hanks have been debating for twenty minutes about Mary Magdalen

795
00:50:59,400 --> 00:51:03,319
Speaker 1: because I did Audrey tattoo is barely there. She's like

796
00:51:03,760 --> 00:51:08,399
Speaker 1: it could it can't be what? No, And then like

797
00:51:08,600 --> 00:51:12,320
Speaker 1: Ian McLellan keeps asking her rhetorical questions that she gets wrong,

798
00:51:12,520 --> 00:51:15,920
Speaker 1: Like that's the whole. It's so much. I think that

799
00:51:16,000 --> 00:51:20,640
Speaker 1: it's worth mentioning, just in keeping with our male feminist

800
00:51:20,800 --> 00:51:26,440
Speaker 1: king narrative that Robert Langton he's written a book and

801
00:51:26,520 --> 00:51:29,320
Speaker 1: you know because we see him reading his own book

802
00:51:29,400 --> 00:51:34,839
Speaker 1: at multiple points in the UH and it's called Feminine Saclair,

803
00:51:35,840 --> 00:51:40,280
Speaker 1: The Sacred Feminine, and you're like, god, he's so toxic,

804
00:51:40,680 --> 00:51:43,680
Speaker 1: but he like the whole it's so two thousand and six,

805
00:51:43,719 --> 00:51:46,920
Speaker 1: but it's still kind of like something that doesn't not

806
00:51:47,080 --> 00:51:51,120
Speaker 1: exist now, where it's like sure like siss head men

807
00:51:51,160 --> 00:51:54,680
Speaker 1: who are so invested in proving their respect women that

808
00:51:54,719 --> 00:51:57,800
Speaker 1: they just speak over women for hours on end without

809
00:51:57,800 --> 00:52:03,520
Speaker 1: even noticing, Like at every man who is like good

810
00:52:03,760 --> 00:52:06,680
Speaker 1: quote unquote in this movie, it's just talking over women

811
00:52:07,480 --> 00:52:14,160
Speaker 1: and explaining women to them, and to extend being like, no,

812
00:52:14,360 --> 00:52:16,839
Speaker 1: I am obsessed with him and I respect them, but

813
00:52:17,280 --> 00:52:23,080
Speaker 1: only if they are says reproducing wives. Does that make sense?

814
00:52:23,200 --> 00:52:25,799
Speaker 1: And you're just like, okay, the way we're defining womenhood

815
00:52:25,840 --> 00:52:33,080
Speaker 1: is also toxic, Robert langdon oh. Yes. So it's at

816
00:52:33,080 --> 00:52:36,760
Speaker 1: this point in the story where after all this stuff

817
00:52:36,800 --> 00:52:40,520
Speaker 1: has been explained to the only woman in the narrative

818
00:52:40,520 --> 00:52:44,480
Speaker 1: who has no idea what's going on, right, Lee starts

819
00:52:44,560 --> 00:52:48,120
Speaker 1: to decipher the cryptics, which is against supposed to have

820
00:52:48,160 --> 00:52:50,560
Speaker 1: a map inside that's going to lead to the Holy Grail.

821
00:52:51,040 --> 00:52:54,759
Speaker 1: But just then Silas Sneak attacks them, so they have

822
00:52:54,880 --> 00:52:59,759
Speaker 1: to flee in Lee Teebing's plane, which he has a

823
00:53:00,000 --> 00:53:02,440
Speaker 1: of a jet of the plane, and they go to

824
00:53:02,520 --> 00:53:05,520
Speaker 1: London and they take Silas as a hostage, and on

825
00:53:05,560 --> 00:53:09,799
Speaker 1: the plane, Robert finds another clue in the box that

826
00:53:09,840 --> 00:53:13,760
Speaker 1: the cryptics came in, so they go to the tomb

827
00:53:14,160 --> 00:53:17,719
Speaker 1: that this clue speaks of, and they're they're trying to

828
00:53:17,760 --> 00:53:20,719
Speaker 1: get more information or something. This is a whole this

829
00:53:20,800 --> 00:53:24,880
Speaker 1: is another like and then or something happens where I

830
00:53:24,920 --> 00:53:28,719
Speaker 1: don't really know why anyone is doing anything. So they're

831
00:53:28,719 --> 00:53:32,880
Speaker 1: trying to find some information. But te Bing's servant man Remy,

832
00:53:33,040 --> 00:53:35,040
Speaker 1: kind of turns on them and he turns out to

833
00:53:35,080 --> 00:53:39,600
Speaker 1: be the teacher. But oh wait, just kidding, it's Lee.

834
00:53:39,840 --> 00:53:43,160
Speaker 1: Ian McKellen is the teacher. He was the spy. He

835
00:53:43,280 --> 00:53:48,480
Speaker 1: was the spy again, another wide swing that ends up

836
00:53:48,480 --> 00:53:50,880
Speaker 1: working out for Ian McKellan. I'm like, how did you

837
00:53:50,920 --> 00:53:54,840
Speaker 1: get away with that? He's calling from his home phone number,

838
00:53:55,800 --> 00:54:01,080
Speaker 1: like being like, I, oh, yeah, I know, Jesus is niece.

839
00:54:01,440 --> 00:54:07,200
Speaker 1: Don't worry about it, like just weird stuff, weird stuff

840
00:54:07,560 --> 00:54:10,640
Speaker 1: I don't know. Um, But so he's not he's the

841
00:54:10,680 --> 00:54:14,640
Speaker 1: bad guy. And then so he he in like Langdon

842
00:54:14,640 --> 00:54:17,080
Speaker 1: and Sophie have kind of like gotten away from each other,

843
00:54:17,120 --> 00:54:19,360
Speaker 1: but then they crossed paths again and he's trying to

844
00:54:19,360 --> 00:54:22,160
Speaker 1: get them to like solve the cryptexs and he his

845
00:54:22,239 --> 00:54:24,800
Speaker 1: whole thing is he wants the secret of the Grail

846
00:54:24,920 --> 00:54:28,440
Speaker 1: to be exposed. So that's why he's like obsessed with

847
00:54:28,480 --> 00:54:32,800
Speaker 1: like finding the location of I don't know they're looking

848
00:54:32,840 --> 00:54:36,760
Speaker 1: for like Mary Magdalen's sarcophagus. I don't even know what's happening.

849
00:54:36,880 --> 00:54:39,680
Speaker 1: I don't even know what. And then Robert Langdon it's

850
00:54:39,680 --> 00:54:43,880
Speaker 1: at the right. That also made no sense to me.

851
00:54:43,920 --> 00:54:46,480
Speaker 1: I'm like, so the louve is just why do they

852
00:54:46,480 --> 00:54:49,680
Speaker 1: have it? What? And who put it there? I guess

853
00:54:49,680 --> 00:54:51,839
Speaker 1: the priory of Scion put it there, but how did

854
00:54:51,880 --> 00:54:55,919
Speaker 1: they manage that? I feel like these are questions who

855
00:54:56,160 --> 00:55:02,600
Speaker 1: that weren't intended to be asked. So then we see

856
00:55:02,600 --> 00:55:08,960
Speaker 1: a scene where Silas accidentally shoots Alfred Molina but he survives,

857
00:55:09,160 --> 00:55:12,120
Speaker 1: so it's okay, yes, but Silas guess what he dies?

858
00:55:12,320 --> 00:55:17,759
Speaker 1: He dies? And then um, let's see okay, So this

859
00:55:17,840 --> 00:55:20,719
Speaker 1: is where Lee finds Sophie and Langdon again, and he's

860
00:55:20,760 --> 00:55:23,239
Speaker 1: holding them at gunpoint trying to make them open the

861
00:55:23,239 --> 00:55:26,680
Speaker 1: cryptechs and then Robert breaks it on purpose, knowing that

862
00:55:26,719 --> 00:55:30,000
Speaker 1: it's going to destroy whatever's inside, but he knows what

863
00:55:30,040 --> 00:55:32,400
Speaker 1: the Da Vinci code is K and and right. I

864
00:55:32,440 --> 00:55:35,040
Speaker 1: didn't even I'd like skipped over the whole Apple thing

865
00:55:35,160 --> 00:55:37,959
Speaker 1: in I was like, this is too preposterous. I can't

866
00:55:37,960 --> 00:55:40,239
Speaker 1: even include It's the most important part of the movie.

867
00:55:40,400 --> 00:55:45,000
Speaker 1: When Tom Hanks turns away from where Audrey tattoos in

868
00:55:45,040 --> 00:55:48,160
Speaker 1: the middle of being damseled root of him. Right, he

869
00:55:48,200 --> 00:55:51,880
Speaker 1: turns around, envisions the solar system, figures out the da

870
00:55:51,920 --> 00:55:54,959
Speaker 1: Vinci code was Apple. They smashes the da Vinci code

871
00:55:54,960 --> 00:55:57,440
Speaker 1: just in case it wasn't Apple, and he doesn't want

872
00:55:57,440 --> 00:56:01,160
Speaker 1: to embarrass himself. That was I I think that Audrey

873
00:56:01,239 --> 00:56:04,640
Speaker 1: Tattoo should have been like she seems okay, Like she

874
00:56:04,680 --> 00:56:08,680
Speaker 1: seems just like kind of like not invested enough in

875
00:56:08,760 --> 00:56:12,360
Speaker 1: what's going on, as even though it's like it's theoretically

876
00:56:12,840 --> 00:56:15,840
Speaker 1: she's got the most on the line here, she seems

877
00:56:15,920 --> 00:56:18,200
Speaker 1: kind of indifferent towards a lot of the events of

878
00:56:18,239 --> 00:56:20,839
Speaker 1: the movie. When he smashes the da Vinci code. Later,

879
00:56:20,880 --> 00:56:23,760
Speaker 1: she's just like, why did you smash the da Vinci code?

880
00:56:24,200 --> 00:56:27,959
Speaker 1: I was like, dude, like Jesus's map was in there,

881
00:56:28,320 --> 00:56:32,799
Speaker 1: Like why are why do you care so little? It's

882
00:56:32,840 --> 00:56:35,719
Speaker 1: just like her character is just so underwritten that she's like,

883
00:56:35,760 --> 00:56:38,600
Speaker 1: why why would you smash a da Vinci code. He's like,

884
00:56:38,600 --> 00:56:41,800
Speaker 1: while it was Apple, and she's like, you're so smart,

885
00:56:43,040 --> 00:56:46,759
Speaker 1: like so the da Vinci code is Apple? Question. Also,

886
00:56:47,040 --> 00:56:51,520
Speaker 1: there's just really bad storytelling here where somehow, I mean

887
00:56:51,680 --> 00:56:55,400
Speaker 1: everywhere in this movie, but yeah, here, especially where the

888
00:56:55,440 --> 00:56:59,800
Speaker 1: police come in and arrest Lee because Fash had figured

889
00:56:59,840 --> 00:57:01,880
Speaker 1: out that he's the bad guy. And I don't remember

890
00:57:01,920 --> 00:57:05,720
Speaker 1: exactly how that happens, but they know that Lee is bad,

891
00:57:05,880 --> 00:57:08,239
Speaker 1: so they arrest him. And as he's getting arrested, he

892
00:57:08,400 --> 00:57:14,560
Speaker 1: like somehow realizes that Langdon had figured out the cryptics

893
00:57:14,560 --> 00:57:17,000
Speaker 1: and he's like screaming about He's like, you figured it out,

894
00:57:17,080 --> 00:57:20,160
Speaker 1: that's awesome, good for you. So he's like carrying on

895
00:57:20,200 --> 00:57:23,680
Speaker 1: as he's getting arrested, which spoils what should have been

896
00:57:23,680 --> 00:57:27,480
Speaker 1: a reveal that yes, he did figure it out and

897
00:57:27,520 --> 00:57:29,800
Speaker 1: he had he did know that it was Apple, and

898
00:57:29,840 --> 00:57:31,680
Speaker 1: he had taken the map out like it was a

899
00:57:31,840 --> 00:57:35,000
Speaker 1: lucky guess. I still think it's a really lucky guess,

900
00:57:35,040 --> 00:57:38,360
Speaker 1: because there's no way I just have call me a

901
00:57:38,480 --> 00:57:40,840
Speaker 1: da Vinci truther. But I just think he would have

902
00:57:40,880 --> 00:57:44,920
Speaker 1: thought it out more than Apple in in modern English.

903
00:57:45,000 --> 00:57:48,400
Speaker 1: But it doesn't make sense. Well, I think that is

904
00:57:48,480 --> 00:57:53,520
Speaker 1: like Son was the one who devised that cryptex, because

905
00:57:53,520 --> 00:57:56,480
Speaker 1: they've got to like figure out like as the secret

906
00:57:56,480 --> 00:57:59,560
Speaker 1: gets passed on down the centuries, not not to be

907
00:57:59,640 --> 00:58:09,520
Speaker 1: a defender being Apple. I'm actually fully defending this choice.

908
00:58:09,560 --> 00:58:13,720
Speaker 1: I think it's brilliant. I think the clue of like fleshy,

909
00:58:14,200 --> 00:58:21,439
Speaker 1: red seated womb equals apple. That's a perfect clue. The

910
00:58:21,480 --> 00:58:24,320
Speaker 1: more you think about the da Vinci could being apple,

911
00:58:24,520 --> 00:58:31,040
Speaker 1: the worth a grocer, it gets yes. Anyway, so the

912
00:58:31,080 --> 00:58:34,520
Speaker 1: reveal gets spoiled that in fact, Langdon did solve the

913
00:58:34,560 --> 00:58:37,040
Speaker 1: cryptics and he took the map out, and the map

914
00:58:37,200 --> 00:58:41,480
Speaker 1: is just another clue which leads them to Roslyn Chapel,

915
00:58:42,200 --> 00:58:46,400
Speaker 1: which is this like Church of Many Faiths built by

916
00:58:46,680 --> 00:58:50,400
Speaker 1: the Priory of Scion or something. And then they find

917
00:58:50,400 --> 00:58:53,640
Speaker 1: this secret room with a bunch of documents about the Grail,

918
00:58:54,440 --> 00:58:59,880
Speaker 1: and Langdon discovers that Son was not actually Sophie's grandfather.

919
00:59:00,400 --> 00:59:06,080
Speaker 1: He was just protecting Sophie because she is the Holy Grail.

920
00:59:06,320 --> 00:59:09,840
Speaker 1: She is the heir of Jesus Christ and Mary Magdalene.

921
00:59:09,920 --> 00:59:14,200
Speaker 1: At this point, I'm just like, who cares, not Sophie,

922
00:59:14,440 --> 00:59:18,040
Speaker 1: So why should I care? Sophie literally could not react

923
00:59:18,240 --> 00:59:23,080
Speaker 1: less to being Jesus's niece. It's so she she just

924
00:59:23,240 --> 00:59:25,760
Speaker 1: once again, it's like it can't be. I'm like, you're

925
00:59:25,760 --> 00:59:29,600
Speaker 1: in the National Treasure Basement, like what is what are

926
00:59:29,640 --> 00:59:36,200
Speaker 1: you talking about? She's so just We're getting nothing from her. Nothing.

927
00:59:36,560 --> 00:59:38,440
Speaker 1: What if you if you thought out you were Jesus's

928
00:59:38,560 --> 00:59:44,520
Speaker 1: biological niece, you would react, Yeah, one would. I wouldn't

929
00:59:44,560 --> 00:59:47,760
Speaker 1: say nothing. Everyone react a little different, but I wouldn't

930
00:59:47,800 --> 00:59:56,600
Speaker 1: say nothing. And god, God, so frustrating. I'm like, she really,

931
00:59:56,840 --> 01:00:02,600
Speaker 1: she really just said huh okay me but I'm so boring,

932
01:00:02,760 --> 01:00:08,640
Speaker 1: and it's like, you're not wrong there. So then meanwhile,

933
01:00:08,720 --> 01:00:12,240
Speaker 1: all all of the priory of scion has gathered because

934
01:00:12,280 --> 01:00:17,000
Speaker 1: they live a half hour away or something, yeah, and

935
01:00:17,240 --> 01:00:20,600
Speaker 1: they're like, Hi, sophieze, we've known who you were this

936
01:00:20,640 --> 01:00:24,640
Speaker 1: whole time. And then her grandmother is there? Is that

937
01:00:24,720 --> 01:00:28,160
Speaker 1: her biological grandmother? I don't know. I was really unclear

938
01:00:28,160 --> 01:00:32,160
Speaker 1: in that. I'm like, is that Jackson's wife or is

939
01:00:32,200 --> 01:00:34,920
Speaker 1: that her biological because they were like, oh, Sophie is

940
01:00:34,960 --> 01:00:36,640
Speaker 1: the only living person, and I'm like, but wait, what

941
01:00:36,680 --> 01:00:40,640
Speaker 1: about that lady? Yeah, we don't know. She doesn't have

942
01:00:40,840 --> 01:00:44,680
Speaker 1: her womb doesn't work anymore, so she's rendered obsolete. I

943
01:00:44,720 --> 01:00:48,080
Speaker 1: guess who doesn't give a ship either way. Sophie. She

944
01:00:48,120 --> 01:00:53,720
Speaker 1: doesn't ask a single question. She just goes, oh, what

945
01:00:53,880 --> 01:00:59,600
Speaker 1: a day, What a day I'm having? Like, yeah, gosh, okay,

946
01:00:59,640 --> 01:01:04,160
Speaker 1: so then Robert Langdon and Sophie say goodbye. But later

947
01:01:04,600 --> 01:01:09,080
Speaker 1: Langdon's like, hang on, Mary Magdalen's sarcophagus wasn't there? Where

948
01:01:09,160 --> 01:01:11,880
Speaker 1: was it? The mystery still isn't He reads his own

949
01:01:11,920 --> 01:01:14,920
Speaker 1: book again, reads his own book to find the answers,

950
01:01:15,080 --> 01:01:18,160
Speaker 1: and he's like, bloodline Rose, line Rose, what does it

951
01:01:18,200 --> 01:01:24,320
Speaker 1: all mean? And then he realizes sarcophages rocks, ranks socks

952
01:01:28,400 --> 01:01:31,520
Speaker 1: and then I'm just like, I don't think he figured

953
01:01:31,600 --> 01:01:35,520
Speaker 1: anything out. I think he just stumbled around guess an

954
01:01:35,520 --> 01:01:39,520
Speaker 1: old library. And then he's like, I can't believe Mary

955
01:01:39,600 --> 01:01:43,800
Speaker 1: Magdalen's buried at the louver, Like what are a perfect

956
01:01:43,880 --> 01:01:48,280
Speaker 1: ending shot? Though so expensive looking? So yeah, so he

957
01:01:48,360 --> 01:01:52,680
Speaker 1: goes to he realizes somehow that Mary Magdalen's sarcophagus is

958
01:01:52,840 --> 01:01:56,080
Speaker 1: under the louver or like somewhere in the loop. I

959
01:01:56,080 --> 01:02:00,160
Speaker 1: don't know, and then he kneels down and he prays,

960
01:02:00,400 --> 01:02:14,200
Speaker 1: and that's the end of the movie. Questions, No, it

961
01:02:14,240 --> 01:02:18,600
Speaker 1: made total sense to me. I this movie is hilarious,

962
01:02:18,640 --> 01:02:23,960
Speaker 1: Like there's just it's just so expensive it wants you

963
01:02:24,000 --> 01:02:27,320
Speaker 1: to think it's It's like, I don't know. It is

964
01:02:27,360 --> 01:02:29,680
Speaker 1: like fun to watch a movie that really thinks it's

965
01:02:29,720 --> 01:02:34,280
Speaker 1: doing something, you know, and it's like so like sweeping

966
01:02:34,320 --> 01:02:36,840
Speaker 1: and engaging, and you know that people really liked it

967
01:02:36,880 --> 01:02:39,600
Speaker 1: when it came out, and then there was like, I mean,

968
01:02:39,600 --> 01:02:42,240
Speaker 1: there was such a huge controversy around this movie and

969
01:02:42,280 --> 01:02:44,800
Speaker 1: everyone was like, you know, but but then you watch

970
01:02:44,840 --> 01:02:49,280
Speaker 1: it and you're like, this is ridiculous. I wanted to

971
01:02:49,600 --> 01:02:53,800
Speaker 1: start by I want to just kind of uh start

972
01:02:53,840 --> 01:02:58,280
Speaker 1: by talking about how albinism is portrayed in this movie

973
01:02:58,720 --> 01:03:04,200
Speaker 1: and many so that's I think one of the biggest

974
01:03:04,640 --> 01:03:08,520
Speaker 1: missteps in the I mean just the story as a whole,

975
01:03:08,520 --> 01:03:11,320
Speaker 1: because I know that that is I believe Cannon to

976
01:03:11,400 --> 01:03:14,920
Speaker 1: the book as well. Yes, I believe so so um

977
01:03:14,960 --> 01:03:18,640
Speaker 1: so yeah. I mean there is just a very traceable

978
01:03:18,800 --> 01:03:23,560
Speaker 1: history of, um not just prejudice against albino people, but

979
01:03:23,840 --> 01:03:29,720
Speaker 1: prejudice against albinism in movies specifically and using albinism as

980
01:03:29,840 --> 01:03:36,000
Speaker 1: a shorthand for demonizing a character. I have an article

981
01:03:36,040 --> 01:03:38,280
Speaker 1: that came out at the time this movie was released

982
01:03:38,880 --> 01:03:42,280
Speaker 1: in summer two thousand and six. It was in Shadow

983
01:03:42,520 --> 01:03:46,880
Speaker 1: Penn State News. I found that one as well. I thought,

984
01:03:47,000 --> 01:03:49,520
Speaker 1: you know, it's it's it's kind of a cursory or review,

985
01:03:49,560 --> 01:03:52,960
Speaker 1: but kind of gives you a short history of villains

986
01:03:53,280 --> 01:03:56,800
Speaker 1: who are albino in movies. There's also, I mean, I

987
01:03:56,800 --> 01:04:00,360
Speaker 1: think it's it's worth saying that there is part of

988
01:04:00,400 --> 01:04:02,080
Speaker 1: the reason this shows up in movies a lot is

989
01:04:02,080 --> 01:04:05,880
Speaker 1: because there has been prejudice that has been extremely violent

990
01:04:06,280 --> 01:04:10,480
Speaker 1: towards albino people from all over the world for like

991
01:04:10,680 --> 01:04:13,800
Speaker 1: hundreds of thousands of years. There were people who were

992
01:04:13,840 --> 01:04:18,160
Speaker 1: sent to prison for hunting albino people as recently as

993
01:04:18,200 --> 01:04:21,720
Speaker 1: two thousand and nine. Like it is like a very

994
01:04:21,920 --> 01:04:27,640
Speaker 1: very pervasive prejudice that is really really rarely discussed, and

995
01:04:28,040 --> 01:04:31,200
Speaker 1: it's very present in this movie through the character of Silas,

996
01:04:31,320 --> 01:04:35,120
Speaker 1: who is played by Paul Bettany, who we know is

997
01:04:35,120 --> 01:04:38,040
Speaker 1: not an albino person. So I just wanted to read

998
01:04:38,240 --> 01:04:44,240
Speaker 1: a quote from this piece from the Penn State News

999
01:04:44,440 --> 01:04:48,440
Speaker 1: to kind of open the discussion. It's from Marybeth Oliver,

1000
01:04:48,600 --> 01:04:52,320
Speaker 1: who is a Penn State professor and talks about the

1001
01:04:52,400 --> 01:04:57,160
Speaker 1: psychological effects of media. Basically breaks down that a lot

1002
01:04:57,280 --> 01:05:02,160
Speaker 1: of albino stereotypes are connected to vampires, going back as

1003
01:05:02,200 --> 01:05:06,560
Speaker 1: far as nose furraw too, and just associating paleness and

1004
01:05:07,000 --> 01:05:10,680
Speaker 1: like really really light pigmentation of the eyes, of the hair,

1005
01:05:11,080 --> 01:05:15,680
Speaker 1: and of this skin, with zombies, with vampires, and just

1006
01:05:15,840 --> 01:05:20,240
Speaker 1: with inherent badness. So and and uh, the article kind

1007
01:05:20,240 --> 01:05:23,320
Speaker 1: of goes down to and Silas in the Da Vinci

1008
01:05:23,360 --> 01:05:26,360
Speaker 1: Code is kind of the most recent version of this

1009
01:05:26,600 --> 01:05:31,040
Speaker 1: prejudice seeping into a villain because it is in no

1010
01:05:31,160 --> 01:05:34,320
Speaker 1: way necessary to Silas's character for him to be an

1011
01:05:34,320 --> 01:05:38,560
Speaker 1: albino character. He is a religious extremist with a traumatic

1012
01:05:38,640 --> 01:05:42,240
Speaker 1: pass that can be literally anybody. So the choice for

1013
01:05:42,320 --> 01:05:46,480
Speaker 1: him to be an albino character an extremely underrepresented population

1014
01:05:46,520 --> 01:05:50,360
Speaker 1: in movies is really intentional, you know. And so uh,

1015
01:05:50,520 --> 01:05:54,800
Speaker 1: Mary Beth Oliver says, quote to portray any group as

1016
01:05:54,840 --> 01:05:58,240
Speaker 1: one dimensional is a problematic thing, even if negative portrayals

1017
01:05:58,240 --> 01:06:01,120
Speaker 1: are infrequent. If it's the case that every time albinos

1018
01:06:01,120 --> 01:06:05,280
Speaker 1: are depicted it's negatively, then the images become connected. Demonization

1019
01:06:05,320 --> 01:06:07,480
Speaker 1: of any group runs the risk of affecting us in

1020
01:06:07,480 --> 01:06:10,320
Speaker 1: ways we might not be aware of. Um and then

1021
01:06:10,400 --> 01:06:15,280
Speaker 1: kind of notes that Silas is uh symptomatic of this prejudice,

1022
01:06:15,320 --> 01:06:18,200
Speaker 1: but is in no way singular. This is like a

1023
01:06:18,320 --> 01:06:26,000
Speaker 1: very distinct media trend that is like very rarely discuss Yes, indeed, UM.

1024
01:06:26,440 --> 01:06:28,720
Speaker 1: I did a little bit of research on this as

1025
01:06:28,760 --> 01:06:32,560
Speaker 1: well and wanted to share something I found from the

1026
01:06:32,840 --> 01:06:39,240
Speaker 1: Tri City Herald shout out UM so this was published

1027
01:06:39,400 --> 01:06:44,680
Speaker 1: in It talks about a study from the University of

1028
01:06:44,760 --> 01:06:49,960
Speaker 1: Texas that examined heroes and villains the top ten heroes

1029
01:06:50,000 --> 01:06:53,800
Speaker 1: and villains from the a f i S Greatest Heroes

1030
01:06:53,840 --> 01:06:56,440
Speaker 1: and Villains list and found that sixty percent of the

1031
01:06:56,520 --> 01:06:59,520
Speaker 1: villains had some form of skin disease and none of

1032
01:06:59,520 --> 01:07:01,760
Speaker 1: the hero none of the heroes did. So just like

1033
01:07:02,040 --> 01:07:05,600
Speaker 1: extending beyond Albanism, there's like a just a huge We've

1034
01:07:05,600 --> 01:07:08,560
Speaker 1: talked about this before in terms of like disability often

1035
01:07:08,600 --> 01:07:14,680
Speaker 1: being ascribed to villains absolutely and then therefore demonizing disability

1036
01:07:14,800 --> 01:07:18,560
Speaker 1: UM and then quote. The study also mentions the widespread

1037
01:07:18,600 --> 01:07:22,280
Speaker 1: trope of the evil albino, in which TV shows, movies,

1038
01:07:22,320 --> 01:07:26,560
Speaker 1: and other media treat albino characters as untrustworthy, ill intentioned,

1039
01:07:26,600 --> 01:07:30,400
Speaker 1: and villainous. According to the National Organization for Albanism and

1040
01:07:30,520 --> 01:07:35,080
Speaker 1: hypo Pigmentation, sixty eight movies released between nineteen sixty and

1041
01:07:35,120 --> 01:07:39,600
Speaker 1: two thousand six feature evil albino characters, with a large

1042
01:07:39,680 --> 01:07:44,240
Speaker 1: portion of those coming after the year two thousand. UM

1043
01:07:44,280 --> 01:07:48,120
Speaker 1: it talks about how this movie was protested by the

1044
01:07:48,240 --> 01:07:52,600
Speaker 1: National Organization for Albanism and hypo Pigmentation, but you know,

1045
01:07:52,760 --> 01:07:57,840
Speaker 1: the filmmakers still made the choice to include this trope.

1046
01:07:58,720 --> 01:08:03,200
Speaker 1: And this is a quote from Michael McGowan, the president

1047
01:08:03,320 --> 01:08:06,600
Speaker 1: of NOAH at the time that he did an interview

1048
01:08:06,600 --> 01:08:11,840
Speaker 1: with the Associated Press in the earlier mid two thousand's said, quote,

1049
01:08:12,000 --> 01:08:15,040
Speaker 1: the problem is that there has been no balance. There

1050
01:08:15,040 --> 01:08:19,360
Speaker 1: are no realistic, sympathetic or heroic characters with Albanism that

1051
01:08:19,479 --> 01:08:22,840
Speaker 1: you can find in movies or popular culture. So it's

1052
01:08:22,880 --> 01:08:25,920
Speaker 1: the same end quote. So it's the same thing that

1053
01:08:26,439 --> 01:08:31,439
Speaker 1: we see all the time with villains being mothered in

1054
01:08:31,520 --> 01:08:34,599
Speaker 1: some way that ends up being very toxic and harmful

1055
01:08:34,920 --> 01:08:39,720
Speaker 1: for people, an extremely marginalized group. And it's I mean,

1056
01:08:39,960 --> 01:08:41,680
Speaker 1: and on top of that, I mean, in the in

1057
01:08:41,720 --> 01:08:45,599
Speaker 1: the same way that we've been having ongoing conversations about

1058
01:08:45,640 --> 01:08:50,320
Speaker 1: how disabled characters and and just are are very rarely

1059
01:08:50,360 --> 01:08:55,120
Speaker 1: played by actors who have that disability. And Paul Bettany

1060
01:08:55,320 --> 01:08:59,880
Speaker 1: is a wonderful actor, but certainly cannot speak to that experience.

1061
01:09:00,120 --> 01:09:03,040
Speaker 1: And it's just it couldn't be more obvious in the

1062
01:09:03,080 --> 01:09:08,000
Speaker 1: context of this movie that albinism is used to other

1063
01:09:08,160 --> 01:09:12,080
Speaker 1: this character. It is used to make the character look

1064
01:09:12,120 --> 01:09:16,600
Speaker 1: different from other people and to some extent like justify, well, oh,

1065
01:09:16,720 --> 01:09:19,240
Speaker 1: they look so different from what I'm used to. Of course,

1066
01:09:19,400 --> 01:09:23,080
Speaker 1: they're not going to be the good guy in this movie.

1067
01:09:23,200 --> 01:09:26,960
Speaker 1: And it's it's it's so it's really I mean, I

1068
01:09:26,960 --> 01:09:28,639
Speaker 1: think that this is the first time we've talked about

1069
01:09:28,680 --> 01:09:32,519
Speaker 1: it extensively on this show. But it is like such

1070
01:09:33,880 --> 01:09:38,880
Speaker 1: uh longstanding issue, and there are still not like, I mean,

1071
01:09:38,920 --> 01:09:43,080
Speaker 1: I can't think of like an extremely successful albino actor,

1072
01:09:43,160 --> 01:09:46,559
Speaker 1: even though there are you know, many who are working

1073
01:09:46,680 --> 01:09:51,080
Speaker 1: and so yeah, I don't know, I mean this, yeah,

1074
01:09:51,160 --> 01:09:57,200
Speaker 1: it's just for me. It's like the worst part of

1075
01:09:57,600 --> 01:10:01,920
Speaker 1: the movie by a long shot. And what will link

1076
01:10:02,000 --> 01:10:04,760
Speaker 1: in the description of the episode some resources where you

1077
01:10:04,800 --> 01:10:09,200
Speaker 1: can learn more as well. Yeah, I mean that's where

1078
01:10:09,320 --> 01:10:12,720
Speaker 1: it's just there's absolutely no argument to be made by

1079
01:10:12,800 --> 01:10:15,960
Speaker 1: perpetuating this stereotype in two thousand and six in a

1080
01:10:16,000 --> 01:10:20,439
Speaker 1: way that like it couldn't be less necessary. This is

1081
01:10:20,479 --> 01:10:25,320
Speaker 1: a religious extremist character. You don't need to marginalize a

1082
01:10:25,479 --> 01:10:31,680
Speaker 1: community to get across that religious extremism is not good. Like,

1083
01:10:31,720 --> 01:10:37,840
Speaker 1: it's just so absurd that it's uh, it's it's really

1084
01:10:37,920 --> 01:10:41,840
Speaker 1: upsetting to watch. And then similarly, one of the other

1085
01:10:41,920 --> 01:10:46,080
Speaker 1: characters who ends up being a major villain the t

1086
01:10:46,280 --> 01:10:49,240
Speaker 1: being a k Ian McKellen is a character with a

1087
01:10:49,320 --> 01:10:54,360
Speaker 1: physical disability. He uses canes and they like repeatedly refer

1088
01:10:54,479 --> 01:10:57,559
Speaker 1: to him jokingly as he, oh, he's a cripple, and

1089
01:10:57,640 --> 01:11:01,160
Speaker 1: like everyone is like may being fun of his and

1090
01:11:01,200 --> 01:11:03,479
Speaker 1: it's like you can still see it's it's being done

1091
01:11:03,600 --> 01:11:09,240
Speaker 1: for this very unnecessary, ablest narrative reason. It's like, oh,

1092
01:11:09,280 --> 01:11:12,800
Speaker 1: we need to make him look, you know, harmless, So

1093
01:11:12,920 --> 01:11:15,200
Speaker 1: what will we do. Let's give him a disability And

1094
01:11:15,240 --> 01:11:19,200
Speaker 1: it's like that is just I mean it we talked

1095
01:11:19,200 --> 01:11:23,360
Speaker 1: about it a lot, but it's just it's so harmful

1096
01:11:23,479 --> 01:11:27,200
Speaker 1: and lazy. It's really it's it sucks. And then also

1097
01:11:27,320 --> 01:11:32,520
Speaker 1: that you see like him like pushed around while he's

1098
01:11:32,640 --> 01:11:37,280
Speaker 1: navigating with canes and just like it's it's so it's

1099
01:11:37,360 --> 01:11:43,440
Speaker 1: just so aggressively unnecessary. That is trash. It is simply trash,

1100
01:11:43,600 --> 01:11:48,639
Speaker 1: and we do not like it. Um but wait, there's

1101
01:11:48,680 --> 01:11:52,920
Speaker 1: more more that we don't like. I mean, we we

1102
01:11:52,960 --> 01:11:55,280
Speaker 1: already started to kind of get it that like let's

1103
01:11:55,320 --> 01:11:57,400
Speaker 1: just get like we're going to get all the like

1104
01:11:57,520 --> 01:12:00,360
Speaker 1: truly harmful evil ship out of the way, and then

1105
01:12:00,360 --> 01:12:04,760
Speaker 1: we're just gonna dunk on the Da Vinci code. But yeah,

1106
01:12:04,800 --> 01:12:10,920
Speaker 1: I mean, the this movie's view of valuing and respecting

1107
01:12:11,040 --> 01:12:18,400
Speaker 1: women is so fucking goofy. It's it's for I mean,

1108
01:12:18,479 --> 01:12:22,479
Speaker 1: it's extremely siss normative, where it's like, well, the reason

1109
01:12:22,520 --> 01:12:26,400
Speaker 1: that Mary Magdalene is important is because of like her womb.

1110
01:12:26,560 --> 01:12:31,080
Speaker 1: I'm like, it's just like creepy, turfy language. And then

1111
01:12:31,120 --> 01:12:33,439
Speaker 1: on top of that, it's like I feel like we're

1112
01:12:33,439 --> 01:12:39,000
Speaker 1: supposed to believe that Robert Langdon and like what Lee

1113
01:12:39,080 --> 01:12:46,000
Speaker 1: t being are like feminists because they acknowledged a woman's existence,

1114
01:12:46,200 --> 01:12:48,840
Speaker 1: Like it's just so bottom of the barrel. And then

1115
01:12:48,920 --> 01:12:51,040
Speaker 1: even but even so, it's like, well, of course we

1116
01:12:51,200 --> 01:12:53,280
Speaker 1: valued her because she was as a wife and a mother,

1117
01:12:53,520 --> 01:12:57,320
Speaker 1: but we acknowledged that she was a real person. And also,

1118
01:12:58,000 --> 01:13:00,639
Speaker 1: don't say she's a sex worker because I like that,

1119
01:13:01,040 --> 01:13:05,760
Speaker 1: and like that offhand comment of like Ian McKellan being,

1120
01:13:06,000 --> 01:13:10,080
Speaker 1: you know, horrified that it was suggested that Mary Magdalen

1121
01:13:10,160 --> 01:13:12,880
Speaker 1: was a sex worker, which, as we I mean, it's

1122
01:13:12,920 --> 01:13:18,200
Speaker 1: just another extremely marginalized and stereotyped community in film, and

1123
01:13:18,960 --> 01:13:23,560
Speaker 1: it's just God, I'm like, this is this the feminism

1124
01:13:23,640 --> 01:13:26,840
Speaker 1: you ordered? I guess this is Bush administration. Feminism is

1125
01:13:27,200 --> 01:13:30,400
Speaker 1: so a man, a man screaming at you that it's

1126
01:13:30,400 --> 01:13:33,519
Speaker 1: okay to be a wife and a mother, Like shut up.

1127
01:13:33,960 --> 01:13:39,320
Speaker 1: A huge component of this movie is like the symbology

1128
01:13:39,840 --> 01:13:46,760
Speaker 1: surrounding Oh, this symbol equals male, and this symbol equals female,

1129
01:13:47,000 --> 01:13:53,320
Speaker 1: and Holy Grail equals woman's womb and is as you said,

1130
01:13:53,479 --> 01:13:58,160
Speaker 1: just like reductive, insist normative. And but the characters are

1131
01:13:58,160 --> 01:14:02,400
Speaker 1: presenting this information as if they're like, actually, it's awesome

1132
01:14:03,080 --> 01:14:08,080
Speaker 1: that the Holy Grail is Mary Magdalen's womb and her bloodline.

1133
01:14:08,640 --> 01:14:13,160
Speaker 1: And it's and it's because of the church hated women

1134
01:14:13,280 --> 01:14:15,680
Speaker 1: and they and they burned witches at the steak. But

1135
01:14:15,720 --> 01:14:20,000
Speaker 1: women are actually cool because of their ability to have

1136
01:14:20,080 --> 01:14:26,599
Speaker 1: sex with men and give them children. It's so it's

1137
01:14:26,800 --> 01:14:30,320
Speaker 1: it's like just so frustrating that they're like, this is

1138
01:14:30,360 --> 01:14:34,200
Speaker 1: what women this mel Gibson thought he knew what women wanted.

1139
01:14:34,479 --> 01:14:39,080
Speaker 1: This is what women want to be called God. It's

1140
01:14:39,160 --> 01:14:41,439
Speaker 1: obviously we say this all the time too. It's like

1141
01:14:41,640 --> 01:14:45,559
Speaker 1: no disrespect to like people who have babies and people

1142
01:14:45,560 --> 01:14:48,760
Speaker 1: who give birth like amazing, keep it up if you

1143
01:14:48,800 --> 01:14:53,640
Speaker 1: want to write. But yeah, it's just like the most basic, reductive,

1144
01:14:54,520 --> 01:14:59,800
Speaker 1: incorrect way to define. It's just so annoying. They don't

1145
01:14:59,800 --> 01:15:04,240
Speaker 1: say anything about Mary Magdalene except that she was a wife,

1146
01:15:04,280 --> 01:15:07,599
Speaker 1: a mother and moved to France, like and not a

1147
01:15:07,600 --> 01:15:10,519
Speaker 1: sex worker. And on top of that, this kind of

1148
01:15:10,600 --> 01:15:14,639
Speaker 1: like dovetails into what there is to discuss about Sophie.

1149
01:15:14,680 --> 01:15:17,559
Speaker 1: It's like they're just talking at a woman the entire

1150
01:15:17,680 --> 01:15:21,680
Speaker 1: movie who is Like again, it's it's kind of I

1151
01:15:21,680 --> 01:15:24,080
Speaker 1: don't I guess it's the opposite of a Mary Sue.

1152
01:15:24,160 --> 01:15:28,800
Speaker 1: I don't, it's a it's a Susan Marie, where where

1153
01:15:28,880 --> 01:15:31,280
Speaker 1: we're presented with a woman who should know how to

1154
01:15:31,320 --> 01:15:33,400
Speaker 1: do a lot of things but is not allowed to

1155
01:15:33,439 --> 01:15:37,519
Speaker 1: do anything. Like we meet Sophie as like a well

1156
01:15:37,600 --> 01:15:41,320
Speaker 1: respected cryptologist. I kind of like how she's introduced. She

1157
01:15:41,680 --> 01:15:44,559
Speaker 1: enters very authoritatively, She's like, I am Sophie, I am

1158
01:15:44,640 --> 01:15:48,280
Speaker 1: a cryptologist. Everyone takes her very seriously, like it's immediately

1159
01:15:48,280 --> 01:15:50,799
Speaker 1: she's in control of the situation. She gets a little

1160
01:15:50,840 --> 01:15:54,720
Speaker 1: code across to Langdon and yeah, I thought it was

1161
01:15:54,880 --> 01:15:57,760
Speaker 1: generally kind of a strong introduction to that character. But

1162
01:15:57,840 --> 01:16:01,080
Speaker 1: then it's just like she proceeds to contribute nothing to

1163
01:16:01,120 --> 01:16:04,040
Speaker 1: the story, not seem to really care what's going on

1164
01:16:04,080 --> 01:16:06,519
Speaker 1: in this story, even though it very much concerns her,

1165
01:16:07,000 --> 01:16:10,679
Speaker 1: like and it's just like she she's she's damseled several times,

1166
01:16:10,800 --> 01:16:14,720
Speaker 1: even though usually when she's damseled, she's damseled first, but

1167
01:16:14,760 --> 01:16:19,200
Speaker 1: then everyone's damseled and you're just like, okay, what It's

1168
01:16:19,200 --> 01:16:22,880
Speaker 1: just there's just like we find out. I mean, I

1169
01:16:22,920 --> 01:16:26,639
Speaker 1: guess the things I can say about her are I

1170
01:16:26,720 --> 01:16:31,920
Speaker 1: love Audrey Tattoo. She's great. We do know more I

1171
01:16:31,960 --> 01:16:36,320
Speaker 1: think about, like Sophie's background than we know about Robert Langdon's.

1172
01:16:36,320 --> 01:16:37,960
Speaker 1: Like all we really know about Robert Langdon as he

1173
01:16:38,000 --> 01:16:41,639
Speaker 1: teaches at Harvard and he fell in a well true,

1174
01:16:41,720 --> 01:16:45,000
Speaker 1: but I would argue that a lot of like men

1175
01:16:45,040 --> 01:16:49,120
Speaker 1: who are writing a female, like a strong female character, well,

1176
01:16:49,280 --> 01:16:52,719
Speaker 1: she's defined by her trauma exactly. It's like a character

1177
01:16:52,800 --> 01:16:57,320
Speaker 1: who has a tragic backstory and then it has turned

1178
01:16:57,360 --> 01:17:04,400
Speaker 1: them into this kind of like stoic, almost cold, emotionless personality.

1179
01:17:04,600 --> 01:17:07,559
Speaker 1: Lists is that even what she's supposed to be coming

1180
01:17:07,640 --> 01:17:10,360
Speaker 1: off as like, it's so uncure how we're supposed to

1181
01:17:10,360 --> 01:17:12,960
Speaker 1: be receiving her, because there's just nothing. It's just I

1182
01:17:13,040 --> 01:17:16,240
Speaker 1: just woke, I just woke flee up with my screaming

1183
01:17:16,240 --> 01:17:19,800
Speaker 1: about the Da Vinci code. But yeah, I mean, she

1184
01:17:19,920 --> 01:17:25,920
Speaker 1: just like she's devoid of any kind of personality, humor,

1185
01:17:25,920 --> 01:17:30,080
Speaker 1: emotion of any kind. Nothing. She's like, I hate history.

1186
01:17:30,560 --> 01:17:33,439
Speaker 1: I was like, but what do you like? Like, do

1187
01:17:33,479 --> 01:17:37,000
Speaker 1: you even like breaking codes? It sure doesn't seem that way,

1188
01:17:37,439 --> 01:17:39,680
Speaker 1: right because you don't have any You don't seem to

1189
01:17:39,720 --> 01:17:41,720
Speaker 1: be able to do it, because we don't see you

1190
01:17:41,760 --> 01:17:45,240
Speaker 1: do it at any point, except she knows that PS

1191
01:17:45,360 --> 01:17:51,240
Speaker 1: equals Princess Sophie I'm which is like, well, if we're

1192
01:17:51,320 --> 01:17:53,559
Speaker 1: I guess while we're in the reductive zone, why not

1193
01:17:54,360 --> 01:17:56,880
Speaker 1: Like I'm gonna I'm gonna try to coin this. She's

1194
01:17:56,880 --> 01:17:59,240
Speaker 1: a full on Susan Marie. She should know how to

1195
01:17:59,280 --> 01:18:02,120
Speaker 1: solve a number of problems that are going on in

1196
01:18:02,160 --> 01:18:04,880
Speaker 1: this story were introduced to her as a person who

1197
01:18:04,960 --> 01:18:09,240
Speaker 1: is extremely qualified to solve this, but instead of her

1198
01:18:09,280 --> 01:18:13,439
Speaker 1: solving anything, we are just introduced by Robert Langdon to

1199
01:18:13,680 --> 01:18:16,599
Speaker 1: other characters who should be able to break a code

1200
01:18:16,840 --> 01:18:20,679
Speaker 1: and it's like, but she's right there, like it's it's

1201
01:18:20,680 --> 01:18:23,640
Speaker 1: so and it is like doubly frustrating to me that

1202
01:18:23,720 --> 01:18:29,479
Speaker 1: she just doesn't even seem interested in codes, And it's like, well,

1203
01:18:29,520 --> 01:18:32,920
Speaker 1: if you're not interested in codes, why were we introduced

1204
01:18:32,960 --> 01:18:35,800
Speaker 1: to you as a code expert? Like if she was

1205
01:18:35,880 --> 01:18:39,679
Speaker 1: just I would I would feel less insulted by this choice. Honestly,

1206
01:18:39,720 --> 01:18:42,240
Speaker 1: if she was just like a regular person, she's like,

1207
01:18:42,280 --> 01:18:44,400
Speaker 1: I don't know. I own a I own a plant shop.

1208
01:18:44,439 --> 01:18:47,360
Speaker 1: I don't know about this, Like that would make more

1209
01:18:47,439 --> 01:18:50,240
Speaker 1: narrative sense, given how little she does, if she had

1210
01:18:50,280 --> 01:18:53,240
Speaker 1: no expertise in this, but we're told she has extreme expertise.

1211
01:18:53,479 --> 01:18:56,240
Speaker 1: And then she's just like I don't know. Like when

1212
01:18:56,479 --> 01:18:59,640
Speaker 1: Ian McKellan has a gun to her head and he's like,

1213
01:18:59,720 --> 01:19:03,200
Speaker 1: what the da Vinci code, she's like, I d K,

1214
01:19:03,720 --> 01:19:06,360
Speaker 1: I d K my bff gill, I guess he'll just

1215
01:19:06,400 --> 01:19:09,960
Speaker 1: have to kill me, and like she doesn't even try.

1216
01:19:10,479 --> 01:19:13,479
Speaker 1: She hasn't think for a second about what the da

1217
01:19:13,520 --> 01:19:16,760
Speaker 1: Vinci code might be. She doesn't seem to care, like

1218
01:19:16,840 --> 01:19:21,080
Speaker 1: it's just so bizarre. And then when they're like looking

1219
01:19:21,120 --> 01:19:24,160
Speaker 1: at all the invisible ink scrawled all over the floor,

1220
01:19:24,439 --> 01:19:28,360
Speaker 1: and he's like, wait a minute, the Fibonacci sequence, they're

1221
01:19:28,400 --> 01:19:31,879
Speaker 1: out of order. Maybe that's a clue that the letters

1222
01:19:31,880 --> 01:19:34,640
Speaker 1: are out of order. And she's like, oh, an anagram.

1223
01:19:34,840 --> 01:19:38,080
Speaker 1: And then, rather than trying to solve an anagram as

1224
01:19:38,120 --> 01:19:43,000
Speaker 1: a fucking cryptologist, she's like, shrug, can you do it? Robert,

1225
01:19:43,040 --> 01:19:45,960
Speaker 1: and he's like, you bet you then, and then he

1226
01:19:46,240 --> 01:19:51,840
Speaker 1: iconically says moons, sermons, charms, demons, sermons, monks. He's has

1227
01:19:51,840 --> 01:19:56,400
Speaker 1: servants twice, also monks, ranks, rocks, like at least Robert

1228
01:19:56,479 --> 01:20:00,000
Speaker 1: Langdon for someone who is not a cryptologist. Uh, seems

1229
01:20:00,040 --> 01:20:04,479
Speaker 1: drisketed in breaking coach like it's even though he clearly

1230
01:20:04,479 --> 01:20:06,439
Speaker 1: sucks at it. And he thought that Da Vinci Coulde

1231
01:20:06,479 --> 01:20:10,320
Speaker 1: was Apple, which I am increasingly convinced it was not. Okay,

1232
01:20:10,400 --> 01:20:14,160
Speaker 1: here's another thing I'm I'm realizing in real time here,

1233
01:20:14,320 --> 01:20:18,439
Speaker 1: so bear with me. But okay, okay, So Sen what's

1234
01:20:18,520 --> 01:20:21,200
Speaker 1: is his name? Sennier? I don't I don't know how

1235
01:20:21,240 --> 01:20:25,880
Speaker 1: French Jacqueslier I feel. I also think that Dan Brown.

1236
01:20:26,439 --> 01:20:29,519
Speaker 1: Maybe I'm totally right if we have French matrons. Uh,

1237
01:20:29,840 --> 01:20:32,479
Speaker 1: please correct me if I'm wrong, But it does just

1238
01:20:32,479 --> 01:20:35,200
Speaker 1: sound like Dan Brown is writing down the most French

1239
01:20:35,320 --> 01:20:40,479
Speaker 1: names he can think of. Like he's like, um, Jacques Soldier, sure, yeah,

1240
01:20:40,680 --> 01:20:44,360
Speaker 1: print it. I'm a billionaire. Now watch my master class.

1241
01:20:44,439 --> 01:20:47,280
Speaker 1: I'm going to watch his masterclass and he's going to

1242
01:20:47,360 --> 01:20:49,840
Speaker 1: talk have a four am and eat spinach, and I'm

1243
01:20:49,840 --> 01:20:51,880
Speaker 1: gonna turn it off and then you're going to be

1244
01:20:51,920 --> 01:20:55,479
Speaker 1: the most successful writer of all time, Jamie. Um. Okay.

1245
01:20:55,560 --> 01:21:01,640
Speaker 1: So Jacques, who we learned through flashbacks, has been training

1246
01:21:02,280 --> 01:21:08,200
Speaker 1: Sophie to break codes and follow clues and like he's

1247
01:21:08,240 --> 01:21:11,640
Speaker 1: been like prepping her for her entire life for this

1248
01:21:11,720 --> 01:21:15,479
Speaker 1: kind of thing. But she cares, which she doesn't care.

1249
01:21:15,600 --> 01:21:19,479
Speaker 1: And he has so little faith apparently that she will

1250
01:21:19,520 --> 01:21:22,360
Speaker 1: be able to solve any of this stuff that he

1251
01:21:22,720 --> 01:21:27,800
Speaker 1: explicitly tells her find Robert Langdon, even though he is

1252
01:21:27,880 --> 01:21:31,719
Speaker 1: not a cryptologist and is not an expert in deciphering code.

1253
01:21:31,960 --> 01:21:34,880
Speaker 1: I was kind of wondering that, like why, because Robert

1254
01:21:34,960 --> 01:21:38,400
Speaker 1: Langdon himself says, I don't know why I would be

1255
01:21:38,439 --> 01:21:41,599
Speaker 1: the person to go to, right But this the entire

1256
01:21:41,680 --> 01:21:44,800
Speaker 1: plot of this movie hinges on the fact that a

1257
01:21:44,880 --> 01:21:48,280
Speaker 1: man had so little faith in a woman to be

1258
01:21:48,360 --> 01:21:53,120
Speaker 1: able to propel the story forward that he's like, Okay,

1259
01:21:53,360 --> 01:21:56,559
Speaker 1: woman who I know, find this man over here because

1260
01:21:56,560 --> 01:22:01,120
Speaker 1: he'll be able to help you. Okay, But also canonically

1261
01:22:02,000 --> 01:22:05,280
Speaker 1: it was he wrong. It wasn't like Sophie could solve

1262
01:22:05,560 --> 01:22:09,000
Speaker 1: any of the codes. He solves zero of the codes.

1263
01:22:09,240 --> 01:22:11,719
Speaker 1: She just knew that one thing had a code inside

1264
01:22:11,760 --> 01:22:14,680
Speaker 1: of it. True, But that is just because the writing

1265
01:22:14,800 --> 01:22:18,320
Speaker 1: is such dogshit. Well yeah, like of course it's it's

1266
01:22:18,360 --> 01:22:22,519
Speaker 1: because Dan Brown doesn't actually care about women, Like that's obvious.

1267
01:22:22,800 --> 01:22:25,720
Speaker 1: But like in the Cannon, it makes total sense to

1268
01:22:25,720 --> 01:22:28,160
Speaker 1: me that Chaque Sag would have very little faith in

1269
01:22:28,280 --> 01:22:31,000
Speaker 1: Sophie's ability to solve this code because she doesn't solve

1270
01:22:31,000 --> 01:22:34,479
Speaker 1: a single code. And the movies four hours long. I'm

1271
01:22:34,479 --> 01:22:38,000
Speaker 1: also realizing I have all these notes saying Robert and Sophie,

1272
01:22:38,040 --> 01:22:40,160
Speaker 1: Robert and Sophie, Robert and Sophie, and I'm like, literally

1273
01:22:41,320 --> 01:22:44,679
Speaker 1: Robert Evans and Sophie was literally our friends. I wrote

1274
01:22:44,680 --> 01:22:46,599
Speaker 1: it down five hundred times last night, and I literally

1275
01:22:46,640 --> 01:22:48,240
Speaker 1: at one point like, this feels weird. I feel like

1276
01:22:48,240 --> 01:22:52,960
Speaker 1: I've written this before. Uh because wait, wait, what if

1277
01:22:53,040 --> 01:22:55,920
Speaker 1: that's of my closest friends. Wait a minute, just saying

1278
01:22:56,200 --> 01:22:59,000
Speaker 1: what if that's code. What if the movie is trying

1279
01:22:59,040 --> 01:23:02,360
Speaker 1: to tell us something about friends Robert and Sophie. I

1280
01:23:02,400 --> 01:23:08,480
Speaker 1: hope not. Let's just say, as someone who really detests

1281
01:23:08,600 --> 01:23:12,720
Speaker 1: both of these characters, I hope not. I hope. Oh

1282
01:23:12,760 --> 01:23:15,320
Speaker 1: my god, that's so funny, though. They should. They should

1283
01:23:15,320 --> 01:23:18,800
Speaker 1: start in our reboot. Yeah, yeah, absolutely, Robert and so

1284
01:23:18,880 --> 01:23:22,200
Speaker 1: except this time Sophie does know how to do things

1285
01:23:23,240 --> 01:23:28,000
Speaker 1: and Robert isn't. He's just carrying guns around. Yeah, he

1286
01:23:28,120 --> 01:23:30,479
Speaker 1: just has he doesn't really, Yeah, he just has the

1287
01:23:30,600 --> 01:23:34,360
Speaker 1: He's kind of the muscle of the operation. Um, I

1288
01:23:34,360 --> 01:23:36,720
Speaker 1: don't know who Ian McKellen is in this situation. We'll

1289
01:23:36,760 --> 01:23:40,960
Speaker 1: figure it out. Let's think on it. But um, yeah,

1290
01:23:41,040 --> 01:23:43,200
Speaker 1: to kind of go back to just like a lot

1291
01:23:43,240 --> 01:23:47,680
Speaker 1: of this plot is men explaining things to women. This

1292
01:23:47,760 --> 01:23:51,760
Speaker 1: happens a lot in a lot of movies across many genres,

1293
01:23:51,960 --> 01:23:56,000
Speaker 1: where it's like basically a storytelling device, and I think

1294
01:23:56,120 --> 01:23:59,960
Speaker 1: I think it actually um composes like the vast majority

1295
01:24:00,080 --> 01:24:07,080
Speaker 1: of human interaction. I've had so many things that I

1296
01:24:07,160 --> 01:24:10,679
Speaker 1: already know explained to me by men and it doesn't

1297
01:24:10,680 --> 01:24:15,200
Speaker 1: come from nowhere, right, Um, So what happens here with

1298
01:24:15,400 --> 01:24:19,479
Speaker 1: this kind of trope even is that there's a story

1299
01:24:19,520 --> 01:24:22,720
Speaker 1: that requires a lot of like world building or exposition,

1300
01:24:23,240 --> 01:24:25,240
Speaker 1: and the writer needs to figure out a way to

1301
01:24:25,280 --> 01:24:28,920
Speaker 1: get this across clearly to the audience. So what they

1302
01:24:29,000 --> 01:24:32,200
Speaker 1: usually do is pull in a character, like, you know,

1303
01:24:32,240 --> 01:24:36,920
Speaker 1: an audience proxy who the other characters can explain things too,

1304
01:24:37,080 --> 01:24:40,200
Speaker 1: so that the audience can get this information. What usually happens,

1305
01:24:40,280 --> 01:24:42,639
Speaker 1: or what often happens, is that this character is like

1306
01:24:43,120 --> 01:24:45,880
Speaker 1: the only woman or one of only a very few

1307
01:24:45,960 --> 01:24:50,599
Speaker 1: number of women in the story. I remember talking about

1308
01:24:50,640 --> 01:24:55,080
Speaker 1: this in the Casino Royale episode. This happens in Laura Croft,

1309
01:24:55,240 --> 01:24:58,320
Speaker 1: this happens literally. I mean, I think it's like honestly

1310
01:24:58,400 --> 01:25:01,839
Speaker 1: part and parcel to every genre, but it's like it's

1311
01:25:01,880 --> 01:25:07,599
Speaker 1: prevalent in the action genre, like action sci fi. Yeah,

1312
01:25:07,720 --> 01:25:11,400
Speaker 1: world building genres especially, and I think that it has

1313
01:25:11,439 --> 01:25:14,400
Speaker 1: a lot to do with I would guess that genres

1314
01:25:14,479 --> 01:25:17,679
Speaker 1: that people assumed for a very long time that men

1315
01:25:17,800 --> 01:25:20,960
Speaker 1: are the main audience for this genre, that it features

1316
01:25:21,000 --> 01:25:24,599
Speaker 1: a lot of men talking at women, right, And it's

1317
01:25:24,640 --> 01:25:27,040
Speaker 1: just like it's just a it's a trope that operates

1318
01:25:27,120 --> 01:25:33,040
Speaker 1: under and reinforces the assumption that like women don't know things,

1319
01:25:33,200 --> 01:25:36,280
Speaker 1: women don't know as much as men. Women aren't smart.

1320
01:25:36,400 --> 01:25:39,360
Speaker 1: Men are smart. Men need to explain things to women,

1321
01:25:39,680 --> 01:25:43,599
Speaker 1: and like that is just like such a widely held

1322
01:25:44,080 --> 01:25:48,599
Speaker 1: belief still, particularly by men. But this one is like

1323
01:25:48,760 --> 01:25:53,760
Speaker 1: even it just feels like a very weird mutation of

1324
01:25:53,800 --> 01:25:57,920
Speaker 1: that trope because it's men talking at women, not just

1325
01:25:58,400 --> 01:26:02,040
Speaker 1: about anything. Of this is how spaceship work, this is

1326
01:26:02,080 --> 01:26:05,800
Speaker 1: how computer work, or like extremely binary assumptions of like

1327
01:26:05,920 --> 01:26:08,360
Speaker 1: men know about this thing, women know about this thing.

1328
01:26:08,680 --> 01:26:12,639
Speaker 1: These are men who are talking about women a woman

1329
01:26:12,680 --> 01:26:15,839
Speaker 1: like it's it's like worse than the normal one because

1330
01:26:15,880 --> 01:26:19,240
Speaker 1: like it's all bad, but it's especially annoying to hear

1331
01:26:19,320 --> 01:26:22,639
Speaker 1: men explain women to them Like that is just like

1332
01:26:23,040 --> 01:26:26,240
Speaker 1: what are you doing? Like the room couldn't be less

1333
01:26:26,280 --> 01:26:30,120
Speaker 1: read in this scenario. There's at that scene is fucking

1334
01:26:30,160 --> 01:26:36,519
Speaker 1: twenty minutes long where they're explaining birth and marriage and

1335
01:26:36,720 --> 01:26:41,200
Speaker 1: like just and what aren't they explaining about sis women

1336
01:26:41,840 --> 01:26:44,760
Speaker 1: to us this woman who's sitting right there, Like it's

1337
01:26:44,800 --> 01:26:48,960
Speaker 1: just so And then it just means that like because

1338
01:26:49,040 --> 01:26:52,320
Speaker 1: the two men already know things about this and they

1339
01:26:52,479 --> 01:26:56,920
Speaker 1: formed their own theories, they get to like debate and

1340
01:26:57,000 --> 01:27:02,480
Speaker 1: like actually have a discussion, whereas Sophie is just talked

1341
01:27:02,520 --> 01:27:05,760
Speaker 1: at and explained to. And it's just but again, the

1342
01:27:05,800 --> 01:27:09,400
Speaker 1: thing is, like Sophie should be able to engage with

1343
01:27:09,479 --> 01:27:12,800
Speaker 1: this discussion to some extent based on what we know

1344
01:27:12,880 --> 01:27:17,680
Speaker 1: about her. She just the writer's Dan Brown slash the

1345
01:27:17,760 --> 01:27:20,840
Speaker 1: guy who wrote this movie. Don't let her. That's why

1346
01:27:20,880 --> 01:27:23,360
Speaker 1: it really bothers me. Is like we have been told

1347
01:27:23,400 --> 01:27:27,439
Speaker 1: that she has a level of knowledge that at least,

1348
01:27:27,479 --> 01:27:30,120
Speaker 1: even if she doesn't know jack shit about the Bible,

1349
01:27:30,479 --> 01:27:33,439
Speaker 1: she is a cryptologist. She's a very critical thinker, Like

1350
01:27:33,520 --> 01:27:37,960
Speaker 1: she would be able to engage with this conversation actively,

1351
01:27:38,080 --> 01:27:40,960
Speaker 1: even if she wasn't the expert on the subject, she

1352
01:27:40,960 --> 01:27:44,479
Speaker 1: would at least be able to intelligently interact with this topic.

1353
01:27:44,800 --> 01:27:48,600
Speaker 1: But she just doesn't. She just say they don't just

1354
01:27:48,680 --> 01:27:52,599
Speaker 1: make her sit there and like be like, huh what,

1355
01:27:52,960 --> 01:27:56,080
Speaker 1: That's not what I heard. And then I cut to

1356
01:27:56,120 --> 01:27:58,680
Speaker 1: Audrey Tattoo, who like wakes up from the nap she

1357
01:27:58,800 --> 01:28:01,800
Speaker 1: was taking because she hasn't they haven't put a camera

1358
01:28:01,840 --> 01:28:04,920
Speaker 1: on her in fourteen hours, and she goes that can't

1359
01:28:04,960 --> 01:28:08,559
Speaker 1: be or she goes like but wait, or like Ian mceellan,

1360
01:28:08,640 --> 01:28:12,000
Speaker 1: like multiple with that scene asks her questions that he

1361
01:28:12,040 --> 01:28:14,080
Speaker 1: knows the answer to that he knows she doesn't know

1362
01:28:14,160 --> 01:28:17,920
Speaker 1: the answer to, and then she will answer it wrong,

1363
01:28:18,000 --> 01:28:20,439
Speaker 1: and then I'll be like ha ha ha ha, No,

1364
01:28:20,680 --> 01:28:25,880
Speaker 1: you fool, it's Mary Magdalene and she's your mom. And

1365
01:28:25,920 --> 01:28:31,360
Speaker 1: then you're just like, oh my god, this is exhausting.

1366
01:28:31,760 --> 01:28:37,679
Speaker 1: It also makes you wonder why Jacques would not tell

1367
01:28:38,080 --> 01:28:43,240
Speaker 1: Sophie anything about her true identity or her history. Like

1368
01:28:43,280 --> 01:28:45,919
Speaker 1: it's not like she's too young. She's like in her thirties.

1369
01:28:46,120 --> 01:28:48,080
Speaker 1: It's not like, oh, I couldn't tell her she was

1370
01:28:48,120 --> 01:28:50,679
Speaker 1: only you know, she's ten years old. She couldn't handle

1371
01:28:50,680 --> 01:28:53,479
Speaker 1: the truth. Yet it's like, no, she's like she's thirty

1372
01:28:53,560 --> 01:28:56,280
Speaker 1: three years And I think the movie tries to like

1373
01:28:56,320 --> 01:28:59,120
Speaker 1: explain this, this story of the book whatever, tries to

1374
01:28:59,160 --> 01:29:02,280
Speaker 1: explain this away by like saying, oh, no, they lost touch.

1375
01:29:02,640 --> 01:29:07,080
Speaker 1: But why would the grand Master of the Priory of

1376
01:29:07,320 --> 01:29:11,400
Speaker 1: Scion let that happen, let himself lose touch with the

1377
01:29:11,520 --> 01:29:15,720
Speaker 1: last living air of Jesus if his whole thing is

1378
01:29:16,080 --> 01:29:20,680
Speaker 1: protecting this air, Like he literally had one job. He

1379
01:29:20,720 --> 01:29:24,639
Speaker 1: had one job and then he like, I just it's

1380
01:29:24,720 --> 01:29:29,280
Speaker 1: so funny. I would love not the let's scale that down.

1381
01:29:29,640 --> 01:29:33,280
Speaker 1: I think it would be really funny, like the amount

1382
01:29:33,640 --> 01:29:37,160
Speaker 1: started to go back to the whole, like invisible ink

1383
01:29:37,240 --> 01:29:43,280
Speaker 1: in the loop, But how long must it have taken?

1384
01:29:43,960 --> 01:29:47,200
Speaker 1: Like and you never see you see? I think I

1385
01:29:47,320 --> 01:29:49,800
Speaker 1: mean were to assume all of the invisible ink he

1386
01:29:50,200 --> 01:29:56,400
Speaker 1: had on hand when he died at the louver. But

1387
01:29:56,640 --> 01:30:00,320
Speaker 1: his his hand never falters. It's all in the same fond.

1388
01:30:00,400 --> 01:30:04,160
Speaker 1: It's all in like comics hands b and he just

1389
01:30:04,360 --> 01:30:07,400
Speaker 1: is like whoop, whoop, whoop. He's doing like anagrams in

1390
01:30:07,479 --> 01:30:11,120
Speaker 1: his head as he's like bleeding out from his stomach

1391
01:30:11,680 --> 01:30:17,080
Speaker 1: like god the okay, yes, so ultimately the point So

1392
01:30:17,200 --> 01:30:19,840
Speaker 1: and we didn't Caitly and I agreed, we're not going

1393
01:30:19,880 --> 01:30:24,759
Speaker 1: to get into the extreme sexism in Catholicism or organized

1394
01:30:24,760 --> 01:30:27,639
Speaker 1: religion in any way because it is just too vast

1395
01:30:27,720 --> 01:30:31,479
Speaker 1: and we wanted to have fun today. Okay, But I

1396
01:30:31,520 --> 01:30:39,879
Speaker 1: do feel like Dan Brown uses extreme misogyny in organized

1397
01:30:39,880 --> 01:30:44,160
Speaker 1: religion to make his misogyny look not that bad. I

1398
01:30:44,200 --> 01:30:47,040
Speaker 1: feel like he kind of offsets it, like any time

1399
01:30:47,560 --> 01:30:50,960
Speaker 1: he is there's like a scene of a woman being

1400
01:30:51,000 --> 01:30:55,040
Speaker 1: talked over, ignored, whatever, it's you know, a crime against

1401
01:30:55,080 --> 01:30:59,400
Speaker 1: women that is far more violent. Is like invoked almost

1402
01:30:59,439 --> 01:31:02,320
Speaker 1: as if to say, like, sure, I'm an asshole to women,

1403
01:31:02,439 --> 01:31:05,880
Speaker 1: but I wouldn't murder one in the Holy Wars. Like

1404
01:31:05,960 --> 01:31:08,479
Speaker 1: it's just kind of this weird equivalent. I wouldn't burn

1405
01:31:08,520 --> 01:31:14,519
Speaker 1: a witch at the steak for free like that. It's

1406
01:31:14,600 --> 01:31:19,679
Speaker 1: just yeah, I think he again, I just really think

1407
01:31:19,680 --> 01:31:23,439
Speaker 1: he thinks he's doing something. Um when it's like a

1408
01:31:23,800 --> 01:31:26,320
Speaker 1: tattoo has is technically in the scene, but she hasn't

1409
01:31:26,360 --> 01:31:32,920
Speaker 1: had a line of dialogue in minutes. Um, it's just ridiculous. Yeah,

1410
01:31:33,720 --> 01:31:37,360
Speaker 1: this is just such a It's it's just like a

1411
01:31:37,400 --> 01:31:41,760
Speaker 1: female character who is couldn't be more important to the

1412
01:31:41,840 --> 01:31:47,720
Speaker 1: story and couldn't be worse written, less engaged. But I

1413
01:31:47,720 --> 01:31:50,120
Speaker 1: feel like it's just like whatever, it's two thousand six

1414
01:31:50,200 --> 01:31:54,680
Speaker 1: and having a woman physically present is like we did it,

1415
01:31:55,120 --> 01:31:59,760
Speaker 1: you know, Like it's just so have asked and annoying.

1416
01:32:00,000 --> 01:32:03,320
Speaker 1: He's just right, She's just there to basically be a

1417
01:32:03,360 --> 01:32:06,880
Speaker 1: big reveal, Like her function in the story is to

1418
01:32:06,960 --> 01:32:10,040
Speaker 1: like be the twist. She's just he's just carrying around

1419
01:32:10,200 --> 01:32:15,400
Speaker 1: Chekhov's womb, right, So, but if that is something you

1420
01:32:15,439 --> 01:32:19,320
Speaker 1: want to do in your story. Fine, I guess, but

1421
01:32:19,400 --> 01:32:22,000
Speaker 1: also you have to spend the rest of the story

1422
01:32:22,040 --> 01:32:26,400
Speaker 1: carefully characterizing her and not just like having her tag along.

1423
01:32:26,760 --> 01:32:28,760
Speaker 1: The other thing that really annoys me about it is

1424
01:32:28,840 --> 01:32:32,760
Speaker 1: that um they keep referring to once. They like they're like, yes,

1425
01:32:32,840 --> 01:32:36,000
Speaker 1: I guess, well, let's agree that the Holy Grail is

1426
01:32:36,280 --> 01:32:39,880
Speaker 1: a human as the sun, the heir to the air

1427
01:32:39,920 --> 01:32:44,840
Speaker 1: of Jesus. And they keep using he pronouns, you know,

1428
01:32:44,920 --> 01:32:49,240
Speaker 1: whoever this living air of Jesus, because because they just assume.

1429
01:32:49,280 --> 01:32:50,880
Speaker 1: But it's also I think the air they can take

1430
01:32:50,960 --> 01:32:54,840
Speaker 1: seriously that, but it's also I think just done to

1431
01:32:54,960 --> 01:32:58,240
Speaker 1: like throw you off the trail of the big twist

1432
01:32:58,360 --> 01:33:01,160
Speaker 1: that it's Sophie. So it feels like that thing where

1433
01:33:01,160 --> 01:33:04,120
Speaker 1: it's like, oh, the person who was like writing that

1434
01:33:04,200 --> 01:33:06,800
Speaker 1: motorcycle and had a helmet on, who you thought was

1435
01:33:06,840 --> 01:33:10,080
Speaker 1: a man. Oh, they took the helmet off and it's

1436
01:33:10,120 --> 01:33:13,360
Speaker 1: actually a woman. It feels like adjacent to that, right,

1437
01:33:13,400 --> 01:33:18,760
Speaker 1: and then it's like end of observation. I've gotta I've

1438
01:33:18,800 --> 01:33:21,839
Speaker 1: got to I've got a quote. I've got a quote. Okay,

1439
01:33:21,920 --> 01:33:26,760
Speaker 1: this is classic backdel cast citation process. This is the

1440
01:33:26,880 --> 01:33:30,599
Speaker 1: abstract of a paper I would have had to pay

1441
01:33:30,640 --> 01:33:33,919
Speaker 1: forty dollars to read, So I'm gonna go into the abstract.

1442
01:33:34,040 --> 01:33:36,679
Speaker 1: I would like to find this paper for not forty dollars.

1443
01:33:36,920 --> 01:33:40,559
Speaker 1: No disrespect to its author um. This was published in

1444
01:33:40,640 --> 01:33:45,520
Speaker 1: two eight. It is by a professor at the University

1445
01:33:45,520 --> 01:33:54,879
Speaker 1: of Robert UH feminist King UH by Professor Christie Maddox,

1446
01:33:55,640 --> 01:33:57,960
Speaker 1: and it is called the da Vinci Code and the

1447
01:33:58,040 --> 01:34:01,400
Speaker 1: regressive gender politics of Celebrate Wating Women. And I really

1448
01:34:01,720 --> 01:34:06,080
Speaker 1: uh should read this paper because it's the abstract I

1449
01:34:06,080 --> 01:34:10,160
Speaker 1: feel like really concisely boils down the kind of like

1450
01:34:10,439 --> 01:34:14,360
Speaker 1: both nous of like them thinking they're being feminist while

1451
01:34:14,439 --> 01:34:20,280
Speaker 1: ignoring all female characters. So here's what Christian Maddox says. Quote.

1452
01:34:20,439 --> 01:34:23,439
Speaker 1: The public outcry prompted by the Da Vinci Code accused

1453
01:34:23,439 --> 01:34:26,560
Speaker 1: the novel of being a radical feminist text with potentially

1454
01:34:26,640 --> 01:34:31,000
Speaker 1: dangerous implications for Christianity. The novel celebrates women, the quote

1455
01:34:31,080 --> 01:34:35,360
Speaker 1: unquote sacred feminism and quote unquote goddess worship, which on

1456
01:34:35,360 --> 01:34:38,639
Speaker 1: one level gives it ideological kinship with the important tradition

1457
01:34:39,000 --> 01:34:43,360
Speaker 1: of difference or cultural feminism. This analysis, however, argues that

1458
01:34:43,400 --> 01:34:46,759
Speaker 1: the novel undercuts its feminist moves through its persistent recourse

1459
01:34:46,800 --> 01:34:50,920
Speaker 1: to the private sphere and it's unremitting celebration of the biological.

1460
01:34:51,560 --> 01:34:54,559
Speaker 1: The narrative falls victim to the problem that commonly inheres

1461
01:34:54,800 --> 01:34:59,040
Speaker 1: in different slash cultural feminism. It redefines the binary system

1462
01:34:59,040 --> 01:35:03,639
Speaker 1: of gender as well as resulting heterosexuality. Through these anti

1463
01:35:03,680 --> 01:35:06,519
Speaker 1: feminist impulses, the da Vinci Code makes plain that celebrating

1464
01:35:06,560 --> 01:35:09,600
Speaker 1: women does not always make for feminist progress. Instead, the

1465
01:35:09,680 --> 01:35:13,120
Speaker 1: da Vinci Code highlights the dangerous inherent in cultural slash

1466
01:35:13,160 --> 01:35:17,640
Speaker 1: difference feminism. Finally situated with its religious context, the da

1467
01:35:17,680 --> 01:35:21,760
Speaker 1: Vinci Code demonstrates the possibility for feminisms co optation by

1468
01:35:21,800 --> 01:35:24,680
Speaker 1: moral reform politics, which I think is just kind of

1469
01:35:24,720 --> 01:35:28,400
Speaker 1: an academic way of saying like sort of what we've

1470
01:35:28,439 --> 01:35:32,040
Speaker 1: been circling around this whole time, which is that, you know,

1471
01:35:33,680 --> 01:35:38,639
Speaker 1: Dan Brown, this movie in general seems to be saying

1472
01:35:38,680 --> 01:35:43,960
Speaker 1: that by you know, celebrating women in any narrow, extremely

1473
01:35:44,200 --> 01:35:48,599
Speaker 1: sis binary way is enough of a win to call

1474
01:35:48,680 --> 01:35:52,160
Speaker 1: itself a feminist text, which wasn't helped by how this

1475
01:35:52,200 --> 01:35:56,760
Speaker 1: movie was received because it was, you know, like denounced

1476
01:35:56,760 --> 01:35:59,600
Speaker 1: by the Catholic Church. And I mean it's like I

1477
01:35:59,640 --> 01:36:04,120
Speaker 1: feel like we both kind of remember and like ever

1478
01:36:04,160 --> 01:36:07,920
Speaker 1: helps a movie ever like, But part of the ground

1479
01:36:08,000 --> 01:36:11,000
Speaker 1: that was banned on was like, well, they're deifying women

1480
01:36:11,160 --> 01:36:16,240
Speaker 1: and we don't do that in Catholicism, which is you know, true, right,

1481
01:36:17,240 --> 01:36:21,240
Speaker 1: but it resulted in this property being cast in this

1482
01:36:21,439 --> 01:36:25,880
Speaker 1: like radical feminist lens, in a property where there's only

1483
01:36:25,960 --> 01:36:30,920
Speaker 1: one female character who has nothing going on like at

1484
01:36:30,920 --> 01:36:35,320
Speaker 1: any point, and so um yeah, I wanted to shout

1485
01:36:35,320 --> 01:36:38,040
Speaker 1: out Christie Maddox. I feel like she very intelligently said

1486
01:36:38,600 --> 01:36:42,120
Speaker 1: something that I felt strongly watching this movie, but couldn't

1487
01:36:42,160 --> 01:36:46,760
Speaker 1: like get into those words. It's like, it's just it

1488
01:36:46,920 --> 01:36:51,160
Speaker 1: just speaks to I think this bar on the floor

1489
01:36:51,240 --> 01:36:55,400
Speaker 1: at this time. Well, it's it's kind of operating under

1490
01:36:55,439 --> 01:37:00,640
Speaker 1: the same logic that like conservative like the way that

1491
01:37:00,720 --> 01:37:05,519
Speaker 1: the patriarchy values women, because you'll find plenty of like

1492
01:37:05,720 --> 01:37:10,000
Speaker 1: misogynists people out there who are like, no, I love women,

1493
01:37:10,439 --> 01:37:12,960
Speaker 1: their sacred. We have to protect them because there are

1494
01:37:13,080 --> 01:37:15,760
Speaker 1: mothers and our wives like it's and our daughters and

1495
01:37:15,760 --> 01:37:19,000
Speaker 1: our daughters. And it's literally like Ted Crustyle, like I

1496
01:37:19,080 --> 01:37:22,160
Speaker 1: have a daughter, I cannot possibly be a bad person,

1497
01:37:22,320 --> 01:37:24,880
Speaker 1: Like you're just like sir, right, and it's just like

1498
01:37:24,960 --> 01:37:29,360
Speaker 1: operating under the same logic almost like of well, women

1499
01:37:29,400 --> 01:37:32,759
Speaker 1: are so special to the world because they're the ones

1500
01:37:32,800 --> 01:37:39,040
Speaker 1: who give life and who are wombs walking wombs, which

1501
01:37:39,080 --> 01:37:41,680
Speaker 1: is like no disrespect to people with whoobs that you

1502
01:37:41,680 --> 01:37:44,360
Speaker 1: don't want to have babies with the whoops. It's just

1503
01:37:45,160 --> 01:37:47,960
Speaker 1: the reductive ism of of the thing that it just

1504
01:37:48,040 --> 01:37:54,000
Speaker 1: excludes so many people. And it's a god I mean,

1505
01:37:55,080 --> 01:38:00,000
Speaker 1: just like sciss men are never reduced to a biological function.

1506
01:38:00,000 --> 01:38:05,240
Speaker 1: And in this way ever, like to the point where

1507
01:38:05,479 --> 01:38:12,320
Speaker 1: as Robert Langdon is explaining male and female symbology to Sophie,

1508
01:38:13,080 --> 01:38:16,920
Speaker 1: he's like, the the the triangle that whatever, I don't

1509
01:38:16,920 --> 01:38:19,639
Speaker 1: even know what that symbol is, but like an upside

1510
01:38:19,640 --> 01:38:23,520
Speaker 1: down V. That's the symbol for man. It's a rudimentary

1511
01:38:23,560 --> 01:38:28,519
Speaker 1: fallast known as the blade represents aggression and manhood. And

1512
01:38:28,560 --> 01:38:31,920
Speaker 1: then he's like, as you might imagine, the exact opposite

1513
01:38:32,200 --> 01:38:35,240
Speaker 1: of that is the female symbol, as if male and

1514
01:38:35,439 --> 01:38:39,080
Speaker 1: female are opposite things like that, I mean, I think,

1515
01:38:39,520 --> 01:38:42,040
Speaker 1: I guess, not in defense of him, but like I

1516
01:38:42,040 --> 01:38:45,160
Speaker 1: I do understand, like that is like a historical like

1517
01:38:45,240 --> 01:38:47,559
Speaker 1: that is like a symbolic thing that's existed for a

1518
01:38:47,600 --> 01:38:49,880
Speaker 1: long time, but he just presents it as kind of

1519
01:38:49,920 --> 01:38:53,479
Speaker 1: like this is a fact, right, I mean, which I

1520
01:38:53,479 --> 01:38:56,360
Speaker 1: think is is extremely of the time. It's like in

1521
01:38:56,439 --> 01:38:58,800
Speaker 1: two thousand six, there I don't think they're I mean,

1522
01:38:58,800 --> 01:39:04,040
Speaker 1: there really wasn't much conversation in depth in the mainstream

1523
01:39:04,160 --> 01:39:11,480
Speaker 1: about challenging gender roles and like the sis binary gender

1524
01:39:12,040 --> 01:39:14,519
Speaker 1: dynamic in in really any way. And I feel like

1525
01:39:14,600 --> 01:39:17,960
Speaker 1: that scenes like that, really it takes like an ancient

1526
01:39:18,080 --> 01:39:22,879
Speaker 1: symbol and obviously the further you go back, the worst

1527
01:39:22,960 --> 01:39:26,479
Speaker 1: gender politics grow, like, but it's still presenting it in

1528
01:39:26,600 --> 01:39:29,559
Speaker 1: a very matter of fact way of like, well, of

1529
01:39:29,640 --> 01:39:35,800
Speaker 1: course this is boy and this is the it resembles

1530
01:39:36,120 --> 01:39:39,759
Speaker 1: the shape of a woman's womb, and it's like, why,

1531
01:39:39,760 --> 01:39:42,920
Speaker 1: why is this the way you're presenting this information. I mean,

1532
01:39:42,960 --> 01:39:46,160
Speaker 1: it's like it's it isn't surprising and like I didn't

1533
01:39:46,200 --> 01:39:51,280
Speaker 1: expect better of this movie, but it's yeah, it's it's

1534
01:39:51,360 --> 01:39:56,200
Speaker 1: just like it's an extremely of its time movie that

1535
01:39:56,479 --> 01:39:59,200
Speaker 1: like the fact that that is like a very matter

1536
01:39:59,240 --> 01:40:01,600
Speaker 1: of fact line dialogue delivered in a movie that is

1537
01:40:01,640 --> 01:40:05,320
Speaker 1: supposedly progressive on gender politics is like, well, that's all

1538
01:40:05,360 --> 01:40:08,240
Speaker 1: you need to know, right, I wanted to go. We

1539
01:40:08,280 --> 01:40:11,520
Speaker 1: touched on this also a little bit about like the

1540
01:40:11,600 --> 01:40:15,479
Speaker 1: lack of romantic subplot in the story that like it

1541
01:40:15,560 --> 01:40:18,920
Speaker 1: almost seems like, well, maybe it was going to be there,

1542
01:40:19,000 --> 01:40:21,400
Speaker 1: but then and then it's just not. I think they

1543
01:40:21,520 --> 01:40:23,880
Speaker 1: wanted us to do a will there, won't they? But

1544
01:40:24,640 --> 01:40:28,679
Speaker 1: but I can't. I cannot think of a single were

1545
01:40:28,960 --> 01:40:34,400
Speaker 1: we really was anyone in the audience like kids, like right,

1546
01:40:34,560 --> 01:40:38,639
Speaker 1: I wasn't feeling that. I appreciate that they didn't force

1547
01:40:39,080 --> 01:40:43,439
Speaker 1: any kind of like romantic subplot. Although there's this one moment.

1548
01:40:44,400 --> 01:40:47,160
Speaker 1: It's the scene where Lee he's like holding them at

1549
01:40:47,200 --> 01:40:51,439
Speaker 1: gunpoint and he's threatening to kill Robert Langdon, and he's

1550
01:40:51,439 --> 01:40:53,920
Speaker 1: talking to Sophie and he's like, oh, by the way

1551
01:40:53,960 --> 01:40:57,120
Speaker 1: that you've been looking at your hero, you wouldn't let

1552
01:40:57,240 --> 01:41:00,439
Speaker 1: him die, would you? And I'm like, is the aplication

1553
01:41:00,479 --> 01:41:03,800
Speaker 1: there that like she is romantically interested in him and

1554
01:41:03,840 --> 01:41:07,960
Speaker 1: he's sort of like using Langdon as leverage to get

1555
01:41:08,040 --> 01:41:10,760
Speaker 1: what he wants, because he thinks that Sophie's in love

1556
01:41:10,880 --> 01:41:15,280
Speaker 1: with him. Huh. And I was like, what is what?

1557
01:41:15,840 --> 01:41:21,960
Speaker 1: Why is that there? I It's just like I don't

1558
01:41:22,720 --> 01:41:25,080
Speaker 1: I don't want to think about it. I don't. I

1559
01:41:25,920 --> 01:41:28,600
Speaker 1: you you you, and the fact that we are like

1560
01:41:29,080 --> 01:41:34,599
Speaker 1: to I mean, yeah, it's again, it's just maybe so tired,

1561
01:41:34,720 --> 01:41:37,559
Speaker 1: Kaitlin that you can think about like, first of all,

1562
01:41:37,680 --> 01:41:42,360
Speaker 1: impossible to root for it because it's like even large

1563
01:41:42,479 --> 01:41:45,639
Speaker 1: age gap aside, which is another like trophy tropy trophy

1564
01:41:45,760 --> 01:41:53,080
Speaker 1: element of this genre, specifically action genre loves an enormous

1565
01:41:53,160 --> 01:41:55,120
Speaker 1: age gap. And that is not too I want to

1566
01:41:55,200 --> 01:41:58,200
Speaker 1: be a little clearer on that, because I feel like

1567
01:41:58,280 --> 01:42:00,760
Speaker 1: there is just kind of like a general feeling that

1568
01:42:01,040 --> 01:42:05,560
Speaker 1: any age gap is not okay, that is not you

1569
01:42:05,640 --> 01:42:08,559
Speaker 1: know that that's that's not true. I mean, there's many

1570
01:42:08,840 --> 01:42:11,680
Speaker 1: relationships in which an age gap is present and the

1571
01:42:11,720 --> 01:42:14,800
Speaker 1: relationship is perfectly healthy and it's fine. And like, I

1572
01:42:15,120 --> 01:42:18,280
Speaker 1: don't mean to like cast that net so widely as

1573
01:42:18,320 --> 01:42:21,720
Speaker 1: I think we have in the past. I just I

1574
01:42:21,880 --> 01:42:24,800
Speaker 1: just think that it is in this case, I think

1575
01:42:24,840 --> 01:42:28,320
Speaker 1: pretty clearly done because of the value that a woman's

1576
01:42:28,479 --> 01:42:32,160
Speaker 1: youth has on screen and how that is not as

1577
01:42:32,240 --> 01:42:34,599
Speaker 1: much of an issue when it comes to assist male actor,

1578
01:42:34,800 --> 01:42:37,639
Speaker 1: and that is I think, you know, a huge reason

1579
01:42:37,680 --> 01:42:40,840
Speaker 1: why we see those age gaps present is because even

1580
01:42:40,920 --> 01:42:43,599
Speaker 1: in two thousand six, it was only acceptable to see

1581
01:42:43,720 --> 01:42:48,479
Speaker 1: a female lead in an action movie. You know, you

1582
01:42:48,640 --> 01:42:51,040
Speaker 1: cannot crust the age of forty or all of a

1583
01:42:51,120 --> 01:42:54,320
Speaker 1: sudden you need to be an Oscar winner or extremely famous,

1584
01:42:54,520 --> 01:42:57,439
Speaker 1: or we have a problem, and like there's just kind

1585
01:42:57,479 --> 01:43:00,439
Speaker 1: of this unspoken set of rules. And then on top

1586
01:43:00,520 --> 01:43:03,800
Speaker 1: of that, if you're Tom Hanks and Audrey Tattoo and

1587
01:43:03,920 --> 01:43:08,519
Speaker 1: you have no chemistry, and part of the reason I

1588
01:43:08,560 --> 01:43:10,040
Speaker 1: don't I don't even want to put that on them

1589
01:43:10,160 --> 01:43:12,680
Speaker 1: too much because it's because they didn't write Audrey a

1590
01:43:12,880 --> 01:43:17,400
Speaker 1: character like maybe there would have been some chemistry between

1591
01:43:17,479 --> 01:43:20,479
Speaker 1: them if she had had anything to do or say

1592
01:43:20,720 --> 01:43:24,599
Speaker 1: or think. Like I feel like that whole thing speaks

1593
01:43:24,640 --> 01:43:29,600
Speaker 1: to like a series of small issues that it's like,

1594
01:43:29,760 --> 01:43:32,040
Speaker 1: I mean, I think we've talked about this recently, is

1595
01:43:32,080 --> 01:43:36,439
Speaker 1: like we're not like completely against a romance in a movie.

1596
01:43:36,520 --> 01:43:39,719
Speaker 1: The romance just has to like be healthy and makes sense.

1597
01:43:40,280 --> 01:43:43,800
Speaker 1: Like it's really like, I mean, it is kind of

1598
01:43:43,840 --> 01:43:46,640
Speaker 1: a high bar. Declare just speaking from experience, but like

1599
01:43:47,120 --> 01:43:50,240
Speaker 1: it is not an impossible thing to be rooting for

1600
01:43:50,400 --> 01:43:54,160
Speaker 1: a romance in a movie, even ahead or a rim romance,

1601
01:43:54,479 --> 01:43:59,519
Speaker 1: like it can be done. We've done it, maybe we'll

1602
01:43:59,560 --> 01:44:02,000
Speaker 1: do it again and we don't know. But but it's

1603
01:44:02,080 --> 01:44:05,559
Speaker 1: just the way that this is set up is like God,

1604
01:44:05,600 --> 01:44:08,120
Speaker 1: I mean, it's impossible to root for because we're just

1605
01:44:08,240 --> 01:44:13,160
Speaker 1: given nothing. We're given Tom Hanks and the expectation that

1606
01:44:13,280 --> 01:44:16,160
Speaker 1: we want Tom Hanks to fuck and it's like I'm

1607
01:44:16,240 --> 01:44:19,920
Speaker 1: just not really there, like he you know, he can

1608
01:44:20,280 --> 01:44:24,400
Speaker 1: mind his business, and but it's yeah, okay, that was

1609
01:44:24,560 --> 01:44:27,120
Speaker 1: my Jamie's a little ran no please. And to just

1610
01:44:27,280 --> 01:44:30,800
Speaker 1: add to that the age gap thing. Another component of

1611
01:44:31,240 --> 01:44:34,600
Speaker 1: how it can become problematic is when there's like a

1612
01:44:35,280 --> 01:44:40,719
Speaker 1: series where we see the same male star aging James

1613
01:44:40,800 --> 01:44:44,800
Speaker 1: Bond syndrome, yeah, and then the female lead cast alongside

1614
01:44:44,880 --> 01:44:48,760
Speaker 1: him is usually different. In every movie, it's literally McConaughey ship,

1615
01:44:49,000 --> 01:44:52,759
Speaker 1: like they stay the same age and he stops getting

1616
01:44:52,800 --> 01:44:55,759
Speaker 1: over there like exactly. Yeah. We've talked about that before

1617
01:44:55,800 --> 01:44:59,200
Speaker 1: on different episodes. But and it's I mean, with let

1618
01:44:59,280 --> 01:45:01,080
Speaker 1: me look up, what the hell is this movie called.

1619
01:45:01,120 --> 01:45:06,120
Speaker 1: It's Felicity. It's Felicity Jones, who is younger. So it's

1620
01:45:06,320 --> 01:45:11,160
Speaker 1: not Zoe Deschanel got it similar haircut. I think you

1621
01:45:11,240 --> 01:45:13,240
Speaker 1: were you were tricked by the haircut, because she does

1622
01:45:13,320 --> 01:45:17,040
Speaker 1: have bangs in this movie. But it's Felicity Jones, who

1623
01:45:17,240 --> 01:45:20,479
Speaker 1: is I think almost ten years younger than Audrey Tattoo.

1624
01:45:21,320 --> 01:45:23,519
Speaker 1: Um because the movie came out ten years later, so

1625
01:45:23,760 --> 01:45:26,640
Speaker 1: they legally need to be thirty five. No matter what,

1626
01:45:27,439 --> 01:45:30,800
Speaker 1: even if there isn't a actual romantic subplot in a

1627
01:45:30,920 --> 01:45:34,640
Speaker 1: movie like this, it's still framed as like, look at

1628
01:45:34,720 --> 01:45:39,160
Speaker 1: these two people doing action scenes together, and they're spending

1629
01:45:39,160 --> 01:45:42,759
Speaker 1: a lot of time together, and they're both attractive, especially

1630
01:45:42,840 --> 01:45:46,160
Speaker 1: the woman that it's presented as if it is from,

1631
01:45:46,320 --> 01:45:48,280
Speaker 1: because if you look at the I mean even on

1632
01:45:49,200 --> 01:45:53,240
Speaker 1: the Da Vinci code poster on Wikipedia, I think it's

1633
01:45:53,280 --> 01:45:57,639
Speaker 1: pretty unambiguously like Audrey Tattoo is like afraid impressed against

1634
01:45:57,720 --> 01:46:01,360
Speaker 1: Tom Hanks's chest, like you are supposed to be thinking

1635
01:46:01,600 --> 01:46:06,439
Speaker 1: of this as a potential for romance, Like it's pretty

1636
01:46:06,520 --> 01:46:09,760
Speaker 1: unambiguously like that's what you're supposed to think. And even

1637
01:46:09,840 --> 01:46:12,479
Speaker 1: if they don't even actually like kiss or have sex

1638
01:46:12,640 --> 01:46:16,559
Speaker 1: or anything like that in the story, and thank god

1639
01:46:16,640 --> 01:46:20,200
Speaker 1: they don't. Just like the quest the adventure, the like

1640
01:46:20,360 --> 01:46:23,479
Speaker 1: close proximity they're in is just like yes, like presented,

1641
01:46:23,600 --> 01:46:26,400
Speaker 1: is this like sexy thing, the fact that she heals

1642
01:46:26,560 --> 01:46:30,040
Speaker 1: him with her christ like power, hears him of his

1643
01:46:30,240 --> 01:46:33,519
Speaker 1: fear of falling in a well again with her christ

1644
01:46:33,680 --> 01:46:36,920
Speaker 1: like hands, and you're like, I mean whatever, it's just

1645
01:46:37,600 --> 01:46:39,760
Speaker 1: it's just annoying. I just I wanted to bring up

1646
01:46:39,760 --> 01:46:42,559
Speaker 1: that age gap thing because I I was thinking about

1647
01:46:43,520 --> 01:46:46,760
Speaker 1: how Florence Pew took a ton of ship and even

1648
01:46:46,840 --> 01:46:48,960
Speaker 1: like I was like on the wrong side of that

1649
01:46:49,080 --> 01:46:53,479
Speaker 1: issue originally, where like Florence Pew is dating Zac Breath,

1650
01:46:53,560 --> 01:46:56,880
Speaker 1: they seem to be very happy together and people were,

1651
01:46:57,120 --> 01:46:58,679
Speaker 1: you know, giving them a ton of ship for their

1652
01:46:58,720 --> 01:47:01,200
Speaker 1: being and not in faking age gap, I guess in

1653
01:47:01,280 --> 01:47:05,160
Speaker 1: that relationship. And she was like, I am an adult.

1654
01:47:05,439 --> 01:47:08,280
Speaker 1: I'm like twenty six years old. Shut the funk up,

1655
01:47:08,479 --> 01:47:11,559
Speaker 1: like stay out of my life. And it's like, yeah,

1656
01:47:11,680 --> 01:47:15,400
Speaker 1: point take it, like live your life like it's it's

1657
01:47:15,600 --> 01:47:20,200
Speaker 1: just it's But in terms of like this kind of universe,

1658
01:47:20,280 --> 01:47:22,679
Speaker 1: I think it has I don't know, it's I feel

1659
01:47:22,680 --> 01:47:25,400
Speaker 1: like it's slightly it's kind of a different discussion between

1660
01:47:25,520 --> 01:47:28,040
Speaker 1: like people that exist in the world and are in

1661
01:47:28,160 --> 01:47:32,720
Speaker 1: love in the world versus a forced movie couple with

1662
01:47:32,960 --> 01:47:39,080
Speaker 1: absolutely no chemistry, like it's two different discussions, and we're

1663
01:47:39,120 --> 01:47:42,639
Speaker 1: having the movie discussion here. And because like, at least

1664
01:47:42,680 --> 01:47:47,120
Speaker 1: where I usually come from is like, because a woman's

1665
01:47:47,200 --> 01:47:53,320
Speaker 1: youth is usually valued far beyond other qualities about them.

1666
01:47:54,200 --> 01:47:56,720
Speaker 1: It's just something that always pings me. And we see

1667
01:47:56,760 --> 01:48:00,560
Speaker 1: these trends in media of age gaps that usually have

1668
01:48:00,680 --> 01:48:05,720
Speaker 1: the implication of demonizing a woman aging. And you know,

1669
01:48:05,800 --> 01:48:09,559
Speaker 1: there's the this idea that men are allowed to age,

1670
01:48:09,840 --> 01:48:12,680
Speaker 1: but people only want to see women on screen who

1671
01:48:12,760 --> 01:48:17,160
Speaker 1: were young. But again, it's worthwhile to examine this on

1672
01:48:17,320 --> 01:48:20,320
Speaker 1: a case by case basis rather than making any kind

1673
01:48:20,360 --> 01:48:23,920
Speaker 1: of sweeping generalizations about it. It's a fair I mean,

1674
01:48:23,960 --> 01:48:26,800
Speaker 1: it's a really complicated issue, and I will fully admit

1675
01:48:26,920 --> 01:48:29,320
Speaker 1: that I have like had kind of an unfair take

1676
01:48:30,000 --> 01:48:32,840
Speaker 1: uh in the past in some cases, in cases like this,

1677
01:48:33,120 --> 01:48:38,800
Speaker 1: I feel like it's kind of unambiguously like what the fuck? Uh.

1678
01:48:39,880 --> 01:48:44,679
Speaker 1: So you know, it's the da Vinci code. I don't

1679
01:48:44,680 --> 01:48:49,080
Speaker 1: know what we expected. The da Vinci code is Apple,

1680
01:48:49,400 --> 01:48:55,960
Speaker 1: So any question none. Um. There were a few scenes

1681
01:48:56,040 --> 01:48:59,599
Speaker 1: where I was like, where Sophie participates in the action

1682
01:48:59,680 --> 01:49:02,320
Speaker 1: that I was kind of surprised. I was like, oh,

1683
01:49:02,600 --> 01:49:06,200
Speaker 1: she like bashes Silas's head against the ground after he

1684
01:49:06,439 --> 01:49:09,080
Speaker 1: attacks them at the chateau, and then later she like

1685
01:49:09,160 --> 01:49:11,880
Speaker 1: picks up Lee's gun after he's been disarmed. And then

1686
01:49:11,920 --> 01:49:14,760
Speaker 1: I was like, all right, she does that because she's

1687
01:49:14,760 --> 01:49:18,200
Speaker 1: a cop, Like I forgot that. She was, like what

1688
01:49:18,400 --> 01:49:21,960
Speaker 1: her even background in training is because the movie cares

1689
01:49:22,080 --> 01:49:24,720
Speaker 1: so little about letting you know anything about her that

1690
01:49:24,800 --> 01:49:27,479
Speaker 1: she would like have some like combat skills and she

1691
01:49:27,520 --> 01:49:30,439
Speaker 1: would know how to handle a gun. But it was

1692
01:49:30,520 --> 01:49:33,400
Speaker 1: just like, oh, Okay, she's allowed to. She's not like

1693
01:49:33,600 --> 01:49:36,800
Speaker 1: fully sidelined every time. She actually does participate in some

1694
01:49:36,920 --> 01:49:38,960
Speaker 1: of the action. And then I was like, all right,

1695
01:49:39,000 --> 01:49:40,560
Speaker 1: she knows how to do that because she's like a

1696
01:49:40,600 --> 01:49:43,439
Speaker 1: trained police officer anyway. So I was like, well, I

1697
01:49:43,479 --> 01:49:46,439
Speaker 1: guess points and then points taken back away. The other

1698
01:49:46,520 --> 01:49:49,400
Speaker 1: thing is that like, and this is just this is

1699
01:49:49,520 --> 01:49:53,000
Speaker 1: probably neither here nor there, but she is wearing high

1700
01:49:53,080 --> 01:49:56,360
Speaker 1: heels and a pencil skirt throughout the entire movie. And

1701
01:49:56,560 --> 01:49:58,360
Speaker 1: if it were me and I found myself in the

1702
01:49:58,439 --> 01:50:01,160
Speaker 1: middle of a Grail quest, the first thing I would

1703
01:50:01,160 --> 01:50:02,920
Speaker 1: do is be like, hey, can we go to a

1704
01:50:03,080 --> 01:50:06,000
Speaker 1: store or like to my apartment so I can change

1705
01:50:06,640 --> 01:50:12,960
Speaker 1: into like pants and well it's comfortable cloth. I also

1706
01:50:13,200 --> 01:50:16,160
Speaker 1: like going back to the romance platform a second. The

1707
01:50:16,200 --> 01:50:18,519
Speaker 1: fact that we're supposed to like they have spent a

1708
01:50:18,720 --> 01:50:23,000
Speaker 1: maximum of thirty six hours together, Like I understand that

1709
01:50:23,240 --> 01:50:25,559
Speaker 1: a good old fashioned trauma bond, but it's not been

1710
01:50:25,600 --> 01:50:27,680
Speaker 1: that long. Yeah, I do. And I think that that

1711
01:50:27,880 --> 01:50:33,120
Speaker 1: is the problem you're describing is a Howard specific problem

1712
01:50:33,240 --> 01:50:35,880
Speaker 1: because was that not the exact same thing that came

1713
01:50:35,960 --> 01:50:38,639
Speaker 1: up with Bryce Dallas Howard when she was in those

1714
01:50:38,760 --> 01:50:42,160
Speaker 1: damn Jurassic Park movies. I didn't watch. Yes, that is

1715
01:50:42,280 --> 01:50:45,400
Speaker 1: exactly it. It was like she was wearing high heels,

1716
01:50:45,439 --> 01:50:51,960
Speaker 1: but she was a genius scientist running from the Jurassic Park. Yeah, Like, yeah,

1717
01:50:52,000 --> 01:50:53,680
Speaker 1: it is kind of a similar thing where it's like

1718
01:50:54,760 --> 01:50:57,760
Speaker 1: again it's it's it's frustrating to me because it's like

1719
01:50:57,960 --> 01:51:03,080
Speaker 1: we we know as lovers of cinema. Then Audrey Tattoo

1720
01:51:03,200 --> 01:51:07,880
Speaker 1: is an incredibly dynamic like character actress. She can pull

1721
01:51:07,960 --> 01:51:09,880
Speaker 1: off a lot of looks, she can pull off a

1722
01:51:10,000 --> 01:51:14,240
Speaker 1: lot of different energies. Like she's really talented and we're

1723
01:51:14,360 --> 01:51:18,519
Speaker 1: just thrown into like I feel bad for her watching

1724
01:51:18,600 --> 01:51:21,920
Speaker 1: this movie because it's just like she's just thrown into

1725
01:51:22,000 --> 01:51:26,160
Speaker 1: this generic ass role where it's like she's dressed generically,

1726
01:51:26,520 --> 01:51:30,920
Speaker 1: her character is written barely, and when it is, it's generically,

1727
01:51:31,080 --> 01:51:33,519
Speaker 1: and it's like, God, you were like you've been given

1728
01:51:33,600 --> 01:51:37,800
Speaker 1: this incredible I mean to invoke another French actress who

1729
01:51:37,880 --> 01:51:42,200
Speaker 1: people try to like inject into like aggro male American movies.

1730
01:51:42,320 --> 01:51:46,719
Speaker 1: It's like Marianne Courtyard and Inception, where you're like, here's

1731
01:51:46,720 --> 01:51:52,200
Speaker 1: this enormously talented actor who is like being given just

1732
01:51:52,760 --> 01:51:58,320
Speaker 1: wife shit to do. It's just yeah, it's just annoying, man.

1733
01:51:58,560 --> 01:52:02,760
Speaker 1: It's it's like, if you want to I I resent that,

1734
01:52:03,160 --> 01:52:09,440
Speaker 1: Like these really talented female actors are hired because they're talented,

1735
01:52:10,200 --> 01:52:12,599
Speaker 1: and then they're not given anything to do that would

1736
01:52:12,880 --> 01:52:15,400
Speaker 1: showcase that talent in any way. It ends up making

1737
01:52:15,560 --> 01:52:19,240
Speaker 1: them look bad. And that's like just not fair, Like

1738
01:52:19,400 --> 01:52:22,479
Speaker 1: that's such an unfair exchange to have to make. But

1739
01:52:22,600 --> 01:52:25,519
Speaker 1: it does feel like very often with like and this

1740
01:52:25,720 --> 01:52:28,880
Speaker 1: is again, this is changing over time, and it is

1741
01:52:29,320 --> 01:52:34,439
Speaker 1: more significant in marginalized communities. And but this exchange of

1742
01:52:34,600 --> 01:52:37,760
Speaker 1: like to go from like being an indie darling to

1743
01:52:37,840 --> 01:52:40,439
Speaker 1: being a mainstream star means that you need to kind

1744
01:52:40,439 --> 01:52:45,200
Speaker 1: of like sacrifice everything about yourself that was interesting and

1745
01:52:45,360 --> 01:52:49,280
Speaker 1: showed like that you were like this, you know, dynamic actor.

1746
01:52:49,560 --> 01:52:53,599
Speaker 1: Like it's just when that isn't true for for most

1747
01:52:53,720 --> 01:52:56,040
Speaker 1: sis male actors. They're allowed to, you know, take the

1748
01:52:56,160 --> 01:52:59,360
Speaker 1: charisma that made them successful and carry it into the

1749
01:52:59,400 --> 01:53:03,320
Speaker 1: mainstream because that fucking makes sense. Like why would you

1750
01:53:03,560 --> 01:53:08,280
Speaker 1: hire a really interesting, talented actor and then give them

1751
01:53:08,479 --> 01:53:10,679
Speaker 1: I just don't get it. It's like, in that case,

1752
01:53:10,760 --> 01:53:13,840
Speaker 1: then hire fucking anybody, Hire someone who sucks it acting.

1753
01:53:13,880 --> 01:53:17,120
Speaker 1: You wouldn't even know the difference, you know, like it's

1754
01:53:17,200 --> 01:53:22,160
Speaker 1: just weird. Hire me, I suck at acting, and yeah,

1755
01:53:22,320 --> 01:53:24,559
Speaker 1: but I wouldn't. You would never know because I wouldn't

1756
01:53:24,560 --> 01:53:26,759
Speaker 1: have to say anything. But can you wear a shoe?

1757
01:53:27,280 --> 01:53:29,360
Speaker 1: Like that's all used that to be able to like

1758
01:53:29,800 --> 01:53:33,680
Speaker 1: talk at Tom Hanks and just be like, what, No,

1759
01:53:34,400 --> 01:53:38,960
Speaker 1: that can't be. It couldn't be. Like it's any any

1760
01:53:39,280 --> 01:53:41,479
Speaker 1: you know, human person who could say it couldn't be

1761
01:53:41,560 --> 01:53:43,960
Speaker 1: could have played that role. So it's it's extra shitty

1762
01:53:44,120 --> 01:53:47,479
Speaker 1: that it took a very talented actor who deserved a

1763
01:53:47,680 --> 01:53:55,000
Speaker 1: meteor mainstream role and was given nothing well but anything else.

1764
01:53:55,600 --> 01:54:03,000
Speaker 1: I think I've said everything that the Vinci code was ultimately,

1765
01:54:03,640 --> 01:54:06,519
Speaker 1: did this movie pass the excelsas I honestly, I'm going

1766
01:54:06,560 --> 01:54:09,599
Speaker 1: to guess no. I don't think so. I didn't forget

1767
01:54:09,640 --> 01:54:15,160
Speaker 1: to pay because the only other female characters who we

1768
01:54:15,280 --> 01:54:20,760
Speaker 1: see are like the occasional none or are there any?

1769
01:54:21,120 --> 01:54:24,840
Speaker 1: I really don't the fact that we're talking about women

1770
01:54:24,880 --> 01:54:29,040
Speaker 1: this entire movie, barely any appear. Yeah. I do not

1771
01:54:29,360 --> 01:54:34,720
Speaker 1: believe that this passes the Bectel test. It's what a

1772
01:54:35,000 --> 01:54:37,760
Speaker 1: what a stinker? Wait, I just I just googled that

1773
01:54:37,920 --> 01:54:41,360
Speaker 1: this is funny. Okay, So there is this website that

1774
01:54:41,440 --> 01:54:44,040
Speaker 1: I don't think we've ever directly cited, even though it's

1775
01:54:44,600 --> 01:54:47,320
Speaker 1: hilariously perfect thing for us to talk about. It's Bectel

1776
01:54:47,360 --> 01:54:51,560
Speaker 1: test dot com. Uh, and it's it's a pretty I

1777
01:54:51,600 --> 01:54:53,560
Speaker 1: think it's kind of an old website. It looks kind

1778
01:54:53,560 --> 01:54:56,440
Speaker 1: of html E and then it just you can just

1779
01:54:56,560 --> 01:54:58,320
Speaker 1: look up the name of a movie and then people

1780
01:54:58,640 --> 01:55:01,000
Speaker 1: will comment whether you think it passed the Back to

1781
01:55:01,160 --> 01:55:04,879
Speaker 1: Tis by our Magic. I do not think it passes.

1782
01:55:05,520 --> 01:55:10,680
Speaker 1: But here are the three comments. Dr space Goat said this.

1783
01:55:11,840 --> 01:55:15,960
Speaker 1: Dr space Goat said it passes. Sophie and Sister San

1784
01:55:16,120 --> 01:55:18,880
Speaker 1: Dreen the letter of which is killed off in the

1785
01:55:19,000 --> 01:55:21,800
Speaker 1: third of the first third of the movie, and I'm like, well,

1786
01:55:21,960 --> 01:55:24,240
Speaker 1: I don't know whose sister Sandrin is, so that's a no.

1787
01:55:24,520 --> 01:55:27,600
Speaker 1: And maybe she was credited on IMDb. I didn't hear

1788
01:55:27,720 --> 01:55:30,880
Speaker 1: that name spoken. But I don't think she and Sophie

1789
01:55:30,920 --> 01:55:33,400
Speaker 1: even do they talk to each other. She's I think

1790
01:55:33,480 --> 01:55:37,840
Speaker 1: she's the nun who gets killed by Silas. Uh. See

1791
01:55:37,880 --> 01:55:39,880
Speaker 1: the fact that we even have this question is I mean,

1792
01:55:40,000 --> 01:55:42,720
Speaker 1: maybe it's another nun. Does she talk to a different nun?

1793
01:55:43,240 --> 01:55:47,200
Speaker 1: Sophie does talk to her grandma, who is maybe not

1794
01:55:47,400 --> 01:55:50,360
Speaker 1: actually her grandma, and she's like, I'm your grandma, So

1795
01:55:50,920 --> 01:55:54,720
Speaker 1: does I don't know? Okay, So Larissa five six five

1796
01:55:54,800 --> 01:55:59,000
Speaker 1: six had something to say about that. Larissa says the

1797
01:55:59,080 --> 01:56:02,760
Speaker 1: grandmother doesn't count as a named character. While book readers

1798
01:56:02,800 --> 01:56:06,280
Speaker 1: will recognize her as Marie Chauvel, she doesn't say this

1799
01:56:06,440 --> 01:56:09,640
Speaker 1: in the movie, and it's credited only as elegant woman

1800
01:56:09,800 --> 01:56:13,640
Speaker 1: at ross Lynn in the film's credits, So I'm gonna

1801
01:56:13,680 --> 01:56:17,160
Speaker 1: say that doesn't count. Wow. So you know, there's a

1802
01:56:17,200 --> 01:56:19,600
Speaker 1: little and then there's a guy named Greg who threw

1803
01:56:19,720 --> 01:56:22,400
Speaker 1: his hat into the ring and said it did pass.

1804
01:56:22,640 --> 01:56:27,760
Speaker 1: But Okay, this is fun. Greg says Sophie and her

1805
01:56:27,800 --> 01:56:30,440
Speaker 1: grandmother have a conversation. In the end, it is about

1806
01:56:30,560 --> 01:56:33,400
Speaker 1: giving her up to Jacques Sonyer, I don't think that

1807
01:56:33,600 --> 01:56:36,000
Speaker 1: is really about a man. And it's like, Greg, do

1808
01:56:36,080 --> 01:56:39,760
Speaker 1: you hear yourself when you talk? Um? So, I'm gonna say,

1809
01:56:39,920 --> 01:56:42,560
Speaker 1: based on Bechtel test dot com, I can't think of

1810
01:56:42,600 --> 01:56:47,839
Speaker 1: about a resource. Uh doesn't pass. I guess that's Sophie

1811
01:56:47,880 --> 01:56:50,680
Speaker 1: does talk to someone who identifies as her grandmother, but

1812
01:56:50,880 --> 01:56:53,840
Speaker 1: we only know as elegant woman at ross Lynn. Well,

1813
01:56:53,920 --> 01:56:58,360
Speaker 1: if we're going by my new caveat that I'm going

1814
01:56:58,480 --> 01:57:02,520
Speaker 1: to add into the mix from now on, which is

1815
01:57:02,840 --> 01:57:07,120
Speaker 1: does the interaction between women is it meaningful to the story?

1816
01:57:07,560 --> 01:57:09,920
Speaker 1: Could it be taken out and the story would be

1817
01:57:10,240 --> 01:57:13,160
Speaker 1: or feel no different? And in this case, you could

1818
01:57:13,200 --> 01:57:17,240
Speaker 1: take Sophie. You could take Sophia. She could be The

1819
01:57:17,360 --> 01:57:21,960
Speaker 1: thing is like, ultimately Sophie could exist in the narrative

1820
01:57:22,120 --> 01:57:26,880
Speaker 1: and be off screen the entire movie period, and that

1821
01:57:27,040 --> 01:57:29,600
Speaker 1: does not bode well. Like they could be like, there's

1822
01:57:29,640 --> 01:57:33,680
Speaker 1: this woman named Sophie, she's Jesus's niece. I've never met her,

1823
01:57:34,000 --> 01:57:37,400
Speaker 1: and the movie could basically play out the same way. Yeah,

1824
01:57:37,560 --> 01:57:40,120
Speaker 1: more or less outside of one or two buks on

1825
01:57:40,200 --> 01:57:44,280
Speaker 1: the head. So uh, this for me is a no

1826
01:57:44,960 --> 01:57:50,320
Speaker 1: as far as passing the test um. It's also a

1827
01:57:50,400 --> 01:57:55,600
Speaker 1: painfully white movie. Absolutely yes. So um, this movie sucks

1828
01:57:55,920 --> 01:58:00,640
Speaker 1: and I would give it. I guess, like I don't

1829
01:58:01,160 --> 01:58:05,040
Speaker 1: half nipples, zero nipples. I don't know, does it deserve anything.

1830
01:58:05,480 --> 01:58:08,760
Speaker 1: I'm giving a zero. I'm giving a zero for Hubris

1831
01:58:09,160 --> 01:58:11,520
Speaker 1: because it really thinks it's doing a lot and it's

1832
01:58:11,760 --> 01:58:15,640
Speaker 1: it's just not I'll say I love the first at

1833
01:58:15,720 --> 01:58:20,480
Speaker 1: last twenty minutes of this movie are just hilarious. They're

1834
01:58:20,600 --> 01:58:23,320
Speaker 1: so funny. There's so much going on. You have no

1835
01:58:23,560 --> 01:58:26,040
Speaker 1: idea what's going on, and it's just like happening at

1836
01:58:26,120 --> 01:58:31,120
Speaker 1: you and you're like, like, it's it's very it's a

1837
01:58:31,240 --> 01:58:34,320
Speaker 1: very engaging experience because you're just like, why are they

1838
01:58:34,440 --> 01:58:37,120
Speaker 1: yelling at me? And they're they're like, I've got it,

1839
01:58:37,320 --> 01:58:42,040
Speaker 1: Moon Sun Star Isaac Newton, Like it's just it's really

1840
01:58:42,520 --> 01:58:45,200
Speaker 1: funny on that like it's it's hilarious, but it is.

1841
01:58:45,400 --> 01:58:49,280
Speaker 1: It's not doing anything for anybody. It's just it's just

1842
01:58:49,360 --> 01:58:52,480
Speaker 1: a bunch of bullshit, you know whatever. Some guy that

1843
01:58:52,760 --> 01:58:55,800
Speaker 1: has like a christ complex made a million dollars off

1844
01:58:55,880 --> 01:58:58,040
Speaker 1: of it, and now we can watch his masterclass. But

1845
01:58:58,200 --> 01:59:02,240
Speaker 1: it's just it's no nipple. What it what? What? It's

1846
01:59:02,320 --> 01:59:08,960
Speaker 1: like the most reductive interpretation of women period that excludes

1847
01:59:09,360 --> 01:59:13,720
Speaker 1: a great many women. It's it's like defining womanhood in

1848
01:59:13,800 --> 01:59:17,080
Speaker 1: a very disingenuous way, which is having a womb and

1849
01:59:17,160 --> 01:59:21,640
Speaker 1: being married to Jesus. Well, guess what that's that's a

1850
01:59:21,840 --> 01:59:27,880
Speaker 1: really weird bar to clear. Well, as someone who identifies

1851
01:59:28,040 --> 01:59:32,360
Speaker 1: as a womb first and second as Jesus is his wife,

1852
01:59:32,600 --> 01:59:36,080
Speaker 1: I take offense to that. Jamie, Well, honestly, you are

1853
01:59:36,160 --> 01:59:40,440
Speaker 1: the target demo. It's just a disaster. Like it's It's

1854
01:59:40,520 --> 01:59:44,760
Speaker 1: just it's reductive in so many ways. It's ablest. It's

1855
01:59:44,760 --> 01:59:48,480
Speaker 1: all white people. Really. I mean, if if I had

1856
01:59:48,520 --> 01:59:52,920
Speaker 1: a nipple, I would give it to that hilarious Tom Hanks,

1857
01:59:53,880 --> 01:59:57,680
Speaker 1: Moon Sermons, Charmed, Demon Sermons, Muggs, Rank Rocks, Madonna of

1858
01:59:57,720 --> 02:00:00,800
Speaker 1: the Rocks, Da Vinci. That should be on the A

1859
02:00:01,000 --> 02:00:04,320
Speaker 1: five Best movie lines list. But outside of that, I

1860
02:00:04,440 --> 02:00:08,160
Speaker 1: just I just even if this movie is attempting to

1861
02:00:08,400 --> 02:00:12,360
Speaker 1: and I think it is attempting to with some success,

1862
02:00:12,400 --> 02:00:16,320
Speaker 1: in a very narrow amount of time attempting to include

1863
02:00:17,160 --> 02:00:21,000
Speaker 1: women at a fundamental level in Christianity, which is not

1864
02:00:21,240 --> 02:00:25,720
Speaker 1: an insignificant attempt, right, Like that is that's not the

1865
02:00:25,800 --> 02:00:28,080
Speaker 1: worst thing I've ever heard of. Sure, let's get women

1866
02:00:28,120 --> 02:00:31,120
Speaker 1: in there, let's throw a girl boss into Christianity, see

1867
02:00:31,160 --> 02:00:34,800
Speaker 1: what happens. But but ultimately, I just I'm just kind

1868
02:00:34,840 --> 02:00:38,920
Speaker 1: of like rolling my eyes at like how much this

1869
02:00:39,080 --> 02:00:42,440
Speaker 1: movie thinks it's doing versus what it's actually doing, which

1870
02:00:42,520 --> 02:00:48,040
Speaker 1: is being really long and boring. Zero nipples. Yes, but

1871
02:00:48,160 --> 02:00:51,880
Speaker 1: shout out to Alfred Molina, a character who I also

1872
02:00:51,960 --> 02:00:53,600
Speaker 1: I think could be taken out of the movie and

1873
02:00:53,640 --> 02:00:56,040
Speaker 1: the movie would really be not that much different. But

1874
02:00:56,160 --> 02:00:59,320
Speaker 1: we're so glad that he's there. We're thrilled he's there.

1875
02:00:59,400 --> 02:01:02,640
Speaker 1: He's really um he's I mean, he's great in the

1876
02:01:02,680 --> 02:01:05,080
Speaker 1: scenes he's in I don't know what he's sucking talking about.

1877
02:01:05,720 --> 02:01:08,400
Speaker 1: Like every time they brought up the name of his cult,

1878
02:01:08,480 --> 02:01:10,800
Speaker 1: they're like opus day and I was like, what is that?

1879
02:01:11,040 --> 02:01:14,040
Speaker 1: Is that like a computer but it's a group? Uh.

1880
02:01:14,400 --> 02:01:16,960
Speaker 1: I have no idea what he's talking about at any point,

1881
02:01:17,960 --> 02:01:22,920
Speaker 1: but I did love to see him, So this is weird.

1882
02:01:23,000 --> 02:01:26,080
Speaker 1: This is like, I mean, speaking to life of a

1883
02:01:26,240 --> 02:01:29,800
Speaker 1: character actor, much like Alfred Mallina is an iconic character actor.

1884
02:01:30,240 --> 02:01:33,800
Speaker 1: But he's in both movies we've covered this week. Uh

1885
02:01:34,320 --> 02:01:37,760
Speaker 1: really not that much at all, very minimally in pretty

1886
02:01:38,000 --> 02:01:43,520
Speaker 1: like kind of villainous, antagonistic roles. Let Alfred Molina play

1887
02:01:43,600 --> 02:01:47,840
Speaker 1: the lead? Why didn't he play the lead? More? Come on?

1888
02:01:48,400 --> 02:01:53,200
Speaker 1: And Dad thinks he's nice? Well? Um tuned back in

1889
02:01:53,520 --> 02:01:58,120
Speaker 1: at some point down the road for March Fred Molina

1890
02:01:58,400 --> 02:02:02,640
Speaker 1: Part two, in which will cover an education as well

1891
02:02:02,800 --> 02:02:07,800
Speaker 1: as species. I insist I want to see Alfred willing

1892
02:02:07,880 --> 02:02:10,800
Speaker 1: to have sex with an alien. So no pushback here.

1893
02:02:10,920 --> 02:02:13,280
Speaker 1: It's on. It's on Hulu. It's it's quite excited it's

1894
02:02:13,320 --> 02:02:17,040
Speaker 1: on Hulu. Are there no? Oh yeah, Oh. I thought

1895
02:02:17,040 --> 02:02:20,280
Speaker 1: you're like, oh yeah, there's a ton of vestors. There's nothing,

1896
02:02:20,400 --> 02:02:25,520
Speaker 1: but okay, I'll watch it. I'm excited, but I think

1897
02:02:25,680 --> 02:02:28,440
Speaker 1: as it stands, Um, first of all, to everyone, for

1898
02:02:28,560 --> 02:02:31,440
Speaker 1: to all over four hundred of you who voted for

1899
02:02:31,680 --> 02:02:34,880
Speaker 1: the Da Vinci code, I hope you're happy. I don't

1900
02:02:34,880 --> 02:02:38,240
Speaker 1: know what you wanted or what you expected. We basically

1901
02:02:38,320 --> 02:02:41,920
Speaker 1: included the Da Vinci choked, the Da Vinci chode Okay,

1902
02:02:42,400 --> 02:02:46,480
Speaker 1: I've had two glasses of wine and I'm the division.

1903
02:02:47,600 --> 02:03:00,280
Speaker 1: That's what our reboot is called. It's called The Boy.

1904
02:03:01,040 --> 02:03:03,200
Speaker 1: I would say, you know, I don't know what you

1905
02:03:03,480 --> 02:03:06,160
Speaker 1: what what this little joke was that you were playing.

1906
02:03:06,640 --> 02:03:11,600
Speaker 1: But us, it feels like the Matrons are pranking us

1907
02:03:11,760 --> 02:03:15,839
Speaker 1: by voting for I think I think that the Matron's

1908
02:03:16,040 --> 02:03:18,600
Speaker 1: historically like a movie that it seems like we'll have

1909
02:03:18,880 --> 02:03:21,240
Speaker 1: nothing to say about, and then we always have two

1910
02:03:21,320 --> 02:03:24,600
Speaker 1: hours worth of more hours worth of things to say.

1911
02:03:24,960 --> 02:03:27,160
Speaker 1: My little theorious people don't come to the Matreon for

1912
02:03:27,280 --> 02:03:33,200
Speaker 1: productive discussion. Sound off of the comments if you agree

1913
02:03:33,360 --> 02:03:36,560
Speaker 1: that this is where we drink wine and get confused.

1914
02:03:37,440 --> 02:03:41,920
Speaker 1: Uh this yeah, this movie is trash. What I think

1915
02:03:42,040 --> 02:03:45,520
Speaker 1: is going to be really fun is that guaranteed? Like

1916
02:03:46,280 --> 02:03:49,080
Speaker 1: maybe if the if the world doesn't burnt to a

1917
02:03:49,160 --> 02:03:52,040
Speaker 1: crisp in ten years, um, I will watch the Da

1918
02:03:52,080 --> 02:03:55,920
Speaker 1: Vinci Code again in ten years and have no recollection

1919
02:03:56,080 --> 02:03:58,960
Speaker 1: of anything. And this is just kind of like a

1920
02:03:59,080 --> 02:04:03,480
Speaker 1: once a decade they weekend experience, UM, where we're like, wait,

1921
02:04:03,560 --> 02:04:06,760
Speaker 1: the Da Vinci Code is Apple, That's what the fuck?

1922
02:04:07,200 --> 02:04:09,280
Speaker 1: And we can just have this. I think in that

1923
02:04:09,400 --> 02:04:11,960
Speaker 1: way it was all worth it because we just get

1924
02:04:12,040 --> 02:04:17,640
Speaker 1: to have this gorgeous experience of realizing that that we've

1925
02:04:17,680 --> 02:04:21,160
Speaker 1: been watching this long ass movie for the worst twist

1926
02:04:21,240 --> 02:04:24,640
Speaker 1: of all time. I'm tempted to because even though I've

1927
02:04:24,680 --> 02:04:27,520
Speaker 1: read the book Angels and Demons, I simply don't remember

1928
02:04:27,560 --> 02:04:29,920
Speaker 1: anything about it. So now I'm tempted to watch that

1929
02:04:30,160 --> 02:04:35,360
Speaker 1: movie and just have a similar experience Angels and Demons, April.

1930
02:04:39,040 --> 02:04:40,760
Speaker 1: They don't want it. They don't want to. You know,

1931
02:04:40,840 --> 02:04:43,800
Speaker 1: what what if we what if we punish the if

1932
02:04:43,840 --> 02:04:46,920
Speaker 1: we punish the Matreon by being like, oh, you wanted

1933
02:04:46,960 --> 02:04:53,400
Speaker 1: the Da Vinci code, Well, now we're doing an I

1934
02:04:53,480 --> 02:04:57,320
Speaker 1: hope you thought that little joke was funny everybody, because

1935
02:04:57,520 --> 02:05:00,480
Speaker 1: we're never going to stop talking about the Robert Langdon universe.

1936
02:05:00,920 --> 02:05:05,360
Speaker 1: Oh my god, Robert Langdon is the most basic name

1937
02:05:05,840 --> 02:05:10,160
Speaker 1: for a man. There. Robert Langdon study was like just

1938
02:05:10,480 --> 02:05:17,760
Speaker 1: absolutely going off. Um, well, thanks for tuning in Matrons

1939
02:05:18,160 --> 02:05:21,520
Speaker 1: to Alfred marsh Lena. We love you. We resent you

1940
02:05:21,680 --> 02:05:26,160
Speaker 1: for this one, but we love you. I'm gonna go

1941
02:05:26,560 --> 02:05:29,760
Speaker 1: guess what I'm about to do, Jamie read every word

1942
02:05:29,800 --> 02:05:35,040
Speaker 1: of Angels and Demons without pea breaks. I'm gonna sit

1943
02:05:35,080 --> 02:05:39,480
Speaker 1: in the bathtub for eight hours. I literally got sick.

1944
02:05:39,560 --> 02:05:42,480
Speaker 1: My mom was so mad at me, It's like, why

1945
02:05:42,560 --> 02:05:45,720
Speaker 1: are you sneezing? Was like, I didn't leave the baths

1946
02:05:45,800 --> 02:05:48,240
Speaker 1: up until I finished the Da Vinci. It was like

1947
02:05:48,760 --> 02:05:51,360
Speaker 1: the most two thousand four interaction I've ever had. That's

1948
02:05:51,360 --> 02:05:54,560
Speaker 1: impressive that you read in eight hours. I don't know.

1949
02:05:54,640 --> 02:05:57,400
Speaker 1: I think I read like I finished it. I probably

1950
02:05:57,520 --> 02:06:00,280
Speaker 1: came in with it like whatever, a percentage the way

1951
02:06:00,720 --> 02:06:05,560
Speaker 1: and then refuse to leave until I had full on pneumonia,

1952
02:06:06,320 --> 02:06:10,280
Speaker 1: like well, I'm gonna I'm about to suffer the same fate.

1953
02:06:10,560 --> 02:06:12,360
Speaker 1: So but I want what I'm going to read it

1954
02:06:13,880 --> 02:06:16,720
Speaker 1: I was going to say is that I'm gonna go

1955
02:06:16,840 --> 02:06:22,040
Speaker 1: eat an apple. It's better feel really symbolic. I want

1956
02:06:22,120 --> 02:06:26,920
Speaker 1: you to think of my womb when you you're rosy,

1957
02:06:27,080 --> 02:06:33,320
Speaker 1: fleshy womb, my rosy fleshy, fertile Jesus womb full of seeds.

1958
02:06:33,640 --> 02:06:35,240
Speaker 1: And then I want you to run. I want you

1959
02:06:35,280 --> 02:06:37,440
Speaker 1: to sprint. I don't want you to take a bus

1960
02:06:37,880 --> 02:06:39,880
Speaker 1: or an uber or I don't want you to drive.

1961
02:06:40,040 --> 02:06:44,240
Speaker 1: I want you to run to the louver and neil

1962
02:06:44,440 --> 02:06:47,760
Speaker 1: at the loom and think of my fertile womb, because

1963
02:06:47,920 --> 02:06:51,480
Speaker 1: that is what it's all about. That is the real apple,

1964
02:06:52,120 --> 02:06:56,840
Speaker 1: the sacred feminine. Honestly, I feel like, ultimately you can

1965
02:06:56,880 --> 02:06:59,440
Speaker 1: get all the same story beats out of I Frankenstein

1966
02:06:59,560 --> 02:07:03,080
Speaker 1: and it's more fun to watch, Like the Holy Wars are.

1967
02:07:03,240 --> 02:07:07,560
Speaker 1: Literally it's just like the battle between demons and gargoyles.

1968
02:07:07,680 --> 02:07:11,600
Speaker 1: It's the same. It's all the same, and I Frankenstein

1969
02:07:11,760 --> 02:07:14,240
Speaker 1: is a more fun movie to watch. Justice for I

1970
02:07:14,400 --> 02:07:22,440
Speaker 1: Frankenstein fingers crossed for this year's Oscars, Oh gosh, Well,

1971
02:07:22,720 --> 02:07:24,760
Speaker 1: all right, I if I'm gonna go, I'm gonna go

1972
02:07:25,000 --> 02:07:31,879
Speaker 1: laid down, lie down. I don't know. Okay, thanks everyone,

1973
02:07:32,000 --> 02:07:32,480
Speaker 1: Bye bye,