1 00:00:00,960 --> 00:00:02,120 Speaker 1: On the Bechdel Cast. 2 00:00:02,240 --> 00:00:04,000 Speaker 2: The questions asked if movies have. 3 00:00:04,080 --> 00:00:07,920 Speaker 1: Women and them, are all their discussions just boyfriends and husbands, 4 00:00:08,000 --> 00:00:12,400 Speaker 1: or do they have individualism? It's the patriarchy, Zephyn bast 5 00:00:12,800 --> 00:00:15,280 Speaker 1: start changing with the Bechdel Cast. 6 00:00:16,440 --> 00:00:23,400 Speaker 2: I call this meeting of the the man Hating Bechdel 7 00:00:23,640 --> 00:00:24,759 Speaker 2: Cast Club. 8 00:00:24,920 --> 00:00:31,800 Speaker 1: To order, O tay otay. That was my takeaway. That 9 00:00:32,000 --> 00:00:37,720 Speaker 1: was my takeaway. Welcome to the bechel Cast AKA. Some 10 00:00:37,840 --> 00:00:41,360 Speaker 1: critics would say the man Hating Club, O tay. 11 00:00:41,600 --> 00:00:44,920 Speaker 2: My name is Jamie Loftus, my name is Caitlin Droonte. 12 00:00:45,280 --> 00:00:47,360 Speaker 2: This is our show where we examine movies through an 13 00:00:47,400 --> 00:00:51,920 Speaker 2: intersectional feminist lens, using the Bechdel Test simply as a 14 00:00:52,000 --> 00:00:55,240 Speaker 2: jumping off point. It's not the focus of the show. 15 00:00:55,360 --> 00:01:00,400 Speaker 2: We just use it to launch bigger conversations about little 16 00:01:00,400 --> 00:01:02,840 Speaker 2: boys who hate women. 17 00:01:02,840 --> 00:01:06,759 Speaker 1: And little boys who like women but are a shame. 18 00:01:08,400 --> 00:01:11,240 Speaker 2: Yes. The Bechtel Test, of course, being a media metric 19 00:01:11,360 --> 00:01:14,600 Speaker 2: created by queer cartoonist Alison Bechdel, sometimes called the Bechdel 20 00:01:14,600 --> 00:01:18,440 Speaker 2: Wallace Test, it has many versions. Ours is do two 21 00:01:18,560 --> 00:01:22,319 Speaker 2: characters of a marginalized gender have names? Do they speak 22 00:01:22,360 --> 00:01:25,520 Speaker 2: to each other? And is their conversation about something other 23 00:01:25,560 --> 00:01:29,640 Speaker 2: than a man. Ideally, we like it when the conversation 24 00:01:29,840 --> 00:01:33,840 Speaker 2: is like narratively relevant and not just like throwaway dialogue. 25 00:01:34,760 --> 00:01:40,680 Speaker 2: We'll figure out if the he man women hating characters 26 00:01:40,760 --> 00:01:46,160 Speaker 2: of this movie past the Bechdel test. But yeah, today's 27 00:01:46,200 --> 00:01:51,160 Speaker 2: episode is The Little Rascals nineteen ninety four, directed by 28 00:01:51,280 --> 00:01:52,560 Speaker 2: Penelope Spherus. 29 00:01:52,800 --> 00:01:56,320 Speaker 1: Yes, I think our second Penelope Spherus on the show 30 00:01:56,360 --> 00:01:58,040 Speaker 1: because we also did Wayne's World. 31 00:01:58,760 --> 00:02:02,280 Speaker 2: M we sure did. Today we have a wonderful guest 32 00:02:02,520 --> 00:02:05,680 Speaker 2: with us to discuss the movie. We're very excited. He 33 00:02:05,720 --> 00:02:10,760 Speaker 2: is a writer and journalist. It's Tarak rove Hi. Welcome. Hello, 34 00:02:11,240 --> 00:02:15,160 Speaker 2: you brought us this movie. Tell us about your relationship, 35 00:02:15,440 --> 00:02:18,040 Speaker 2: your history, et cetera with it. I love how we 36 00:02:18,600 --> 00:02:21,239 Speaker 2: start ours by being like, you brought us this movie. 37 00:02:21,600 --> 00:02:24,920 Speaker 1: So why why. 38 00:02:24,800 --> 00:02:26,480 Speaker 3: Why did you make me watch this? 39 00:02:26,800 --> 00:02:28,720 Speaker 2: Well explain yourself. 40 00:02:29,960 --> 00:02:32,040 Speaker 3: Uh, you know, it was really fond of it for 41 00:02:32,080 --> 00:02:34,040 Speaker 3: such a long time. I remember watching it as a kid. 42 00:02:34,360 --> 00:02:36,800 Speaker 3: I remember watching it just being in awe and like, 43 00:02:36,840 --> 00:02:40,280 Speaker 3: I specifically remember the pickle scene, like remembering the pickle 44 00:02:40,360 --> 00:02:42,920 Speaker 3: scene as a kid, being like I love pickles, I 45 00:02:42,960 --> 00:02:46,080 Speaker 3: love the pickle dance. And like it just was a 46 00:02:46,120 --> 00:02:48,440 Speaker 3: fun time and I and I was like, I haven't 47 00:02:48,480 --> 00:02:51,800 Speaker 3: seen the Little Rascals in years. So I was like, 48 00:02:51,960 --> 00:02:54,760 Speaker 3: I saw that on your on your most requested list. 49 00:02:54,800 --> 00:02:57,000 Speaker 3: I was like, m hm, yeah, let's let's do it, 50 00:02:58,000 --> 00:03:00,919 Speaker 3: especially because I I kind of remembered that they were 51 00:03:00,960 --> 00:03:03,799 Speaker 3: in a club and it realized quite how women hating 52 00:03:03,840 --> 00:03:08,400 Speaker 3: their club was. Until I was watching, I was like, oh, okay, 53 00:03:09,000 --> 00:03:11,000 Speaker 3: I thought it would be a really fascinating movie to 54 00:03:11,080 --> 00:03:13,120 Speaker 3: dissect from this lens it is. 55 00:03:13,840 --> 00:03:17,920 Speaker 2: I also didn't remember the extent to which like gender 56 00:03:18,000 --> 00:03:22,680 Speaker 2: politics plays into this children's movie. It's yeah, wild, Yeah, 57 00:03:22,800 --> 00:03:25,480 Speaker 2: I have to be honest like that. 58 00:03:25,680 --> 00:03:28,600 Speaker 1: I went into this viewing being like, this is going 59 00:03:28,680 --> 00:03:33,520 Speaker 1: to be a breeze. It's a kid's movie, eighty minutes long, amazing, great, 60 00:03:33,840 --> 00:03:36,400 Speaker 1: and then you know, within the first two minutes you're like, oh, 61 00:03:36,520 --> 00:03:38,760 Speaker 1: I have to lock the fuck in, like this is 62 00:03:39,880 --> 00:03:40,960 Speaker 1: this is a text. 63 00:03:42,360 --> 00:03:45,360 Speaker 2: So this was a big movie of your childhood tark right. 64 00:03:45,240 --> 00:03:47,480 Speaker 3: Yeah, I mean, like I think I was, like I 65 00:03:47,520 --> 00:03:49,880 Speaker 3: was probably I was born in ninety one, and I 66 00:03:49,920 --> 00:03:51,600 Speaker 3: don't remember when this movie came out, but I was 67 00:03:51,640 --> 00:03:54,080 Speaker 3: like roughly around like the same age as these kids, 68 00:03:54,360 --> 00:03:55,840 Speaker 3: I think when it came out, so. 69 00:03:56,240 --> 00:03:57,960 Speaker 1: Yeah, I came out. I remember this being like a 70 00:03:58,040 --> 00:04:04,200 Speaker 1: very popular like VHS pick. This came out in ninety four. 71 00:04:04,720 --> 00:04:06,200 Speaker 2: Yeah, I was ninety four. 72 00:04:06,360 --> 00:04:08,640 Speaker 3: Yeah, so I was like I was definitely like in 73 00:04:08,680 --> 00:04:12,320 Speaker 3: the age range of like Alfalfa. Like when I watched it, 74 00:04:12,360 --> 00:04:13,800 Speaker 3: I was like, oh, I like this. 75 00:04:14,640 --> 00:04:17,000 Speaker 2: Right, Well, some of the kids are like they seem 76 00:04:17,040 --> 00:04:20,400 Speaker 2: to be like like Buckwheat and Porky are like four 77 00:04:20,600 --> 00:04:24,719 Speaker 2: maybe five years old Alfalfa and some of the older 78 00:04:24,800 --> 00:04:28,479 Speaker 2: kids are like nine. But yeah, because I'm the same 79 00:04:28,520 --> 00:04:33,280 Speaker 2: age as like the actors who played Alfalfa and Waldo 80 00:04:33,960 --> 00:04:36,560 Speaker 2: and a couple of the other ones, I. 81 00:04:36,520 --> 00:04:39,120 Speaker 1: Made the mistake of being like, what is Alfalfa up 82 00:04:39,160 --> 00:04:39,720 Speaker 1: to today? 83 00:04:40,400 --> 00:04:42,719 Speaker 3: Oh, yeah, don't do that, don't google him. 84 00:04:43,400 --> 00:04:46,320 Speaker 1: Really, I mean, well, just I don't want to. Let 85 00:04:46,600 --> 00:04:48,240 Speaker 1: let's say that, I don't want to talk about it. 86 00:04:48,240 --> 00:04:52,080 Speaker 1: It's a long story short, it's a bumber. It's a 87 00:04:52,080 --> 00:04:53,880 Speaker 1: bummer bug hall Man. 88 00:04:53,839 --> 00:04:54,440 Speaker 2: Bug a Hall. 89 00:04:54,560 --> 00:04:56,280 Speaker 1: I was like, what a fun name. Wonder what he's 90 00:04:56,360 --> 00:04:59,600 Speaker 1: up to. Don't recommend, don't recommend finding out when he's 91 00:04:59,680 --> 00:05:02,520 Speaker 1: up to anyways, we'll. 92 00:05:01,560 --> 00:05:04,560 Speaker 2: Circle back, sure for sure, But Yeah. This was also 93 00:05:04,600 --> 00:05:09,760 Speaker 2: a big movie of my childhood, and I watched it 94 00:05:09,800 --> 00:05:12,839 Speaker 2: a ton as a kid, probably from like you know, 95 00:05:13,000 --> 00:05:18,120 Speaker 2: ninety four to ninety seven, and then that's when Titanic 96 00:05:18,160 --> 00:05:21,200 Speaker 2: came out, so I pretty much only was watching that 97 00:05:21,320 --> 00:05:26,279 Speaker 2: for many years. Same, but I rewatched this movie recently, 98 00:05:26,760 --> 00:05:29,279 Speaker 2: kind of apropos of nothing. I was like, oh, that's 99 00:05:29,279 --> 00:05:31,840 Speaker 2: on a streaming platform. This is a movie I used 100 00:05:31,839 --> 00:05:34,800 Speaker 2: to love as a kid, and I rewatched it probably 101 00:05:34,839 --> 00:05:38,120 Speaker 2: like a year ago. It's pretty recently. Did not remember 102 00:05:38,440 --> 00:05:42,799 Speaker 2: most of it. I do very distinctly remember the scene 103 00:05:43,120 --> 00:05:47,040 Speaker 2: where the I guess it's four kids, two of them 104 00:05:47,120 --> 00:05:50,240 Speaker 2: are stacked on the shoulders of two others. They go 105 00:05:50,320 --> 00:05:52,320 Speaker 2: into the bank to try to get alone. Did not 106 00:05:52,400 --> 00:05:55,200 Speaker 2: remember it was from mel Brooks. 107 00:05:55,160 --> 00:05:57,880 Speaker 1: Which is kind of the I mean, as we'll talk 108 00:05:57,920 --> 00:06:02,520 Speaker 1: about the cameo situation. This movie really runs the gamut 109 00:06:02,640 --> 00:06:08,000 Speaker 1: of kinds of cameos. Some age great, one really doesn't. 110 00:06:08,279 --> 00:06:12,320 Speaker 2: One does not know because he's not our fascist dictator 111 00:06:12,360 --> 00:06:13,039 Speaker 2: of America. 112 00:06:13,360 --> 00:06:13,600 Speaker 1: Yeah. 113 00:06:13,920 --> 00:06:15,760 Speaker 3: Yeah, my jaw dropped when I saw him. 114 00:06:16,279 --> 00:06:20,440 Speaker 1: I was and unfortunately at the time I can see 115 00:06:20,480 --> 00:06:24,320 Speaker 1: why it made perfect sense. You're just like, fuck, that 116 00:06:24,480 --> 00:06:27,400 Speaker 1: was in our lifetimes. Anyways, Well, he. 117 00:06:27,400 --> 00:06:31,440 Speaker 2: Made a few cameos in different movies alone too, and 118 00:06:31,440 --> 00:06:34,760 Speaker 2: then he's also in Zulander. As we discussed recently. 119 00:06:34,560 --> 00:06:39,640 Speaker 1: Right inescapable. But baby, Raven Simone, you're just. 120 00:06:39,560 --> 00:06:43,760 Speaker 3: Like, yes, I love that. I had to pause. I 121 00:06:43,800 --> 00:06:44,640 Speaker 3: was like, what I know. 122 00:06:45,080 --> 00:06:47,039 Speaker 1: It's like all the famous trousers of the day. I 123 00:06:47,040 --> 00:06:49,520 Speaker 1: was like, wow, they got they got the they brought 124 00:06:49,560 --> 00:06:52,560 Speaker 1: it in the heavy hitters. Although I will say so 125 00:06:52,760 --> 00:06:55,040 Speaker 1: none of the cameos have names. But for some reason, 126 00:06:55,120 --> 00:06:59,160 Speaker 1: Raven Simone is credited as Steimy's girlfriend at the club, 127 00:06:59,440 --> 00:07:03,080 Speaker 1: which makes it sound like she's twenty five and not 128 00:07:04,920 --> 00:07:06,919 Speaker 1: a little bit the clerb. 129 00:07:07,520 --> 00:07:09,720 Speaker 3: Like, no one's gonna no one's gonna clock this. But 130 00:07:09,760 --> 00:07:12,800 Speaker 3: the little sister from Smart House was also in this, 131 00:07:13,720 --> 00:07:17,400 Speaker 3: which I recognized her. She was like very tiny. 132 00:07:17,480 --> 00:07:21,160 Speaker 1: Yeah, oh my god, well spotted because we've covered we've 133 00:07:21,160 --> 00:07:22,360 Speaker 1: covered Smart House. 134 00:07:22,160 --> 00:07:23,320 Speaker 2: And I didn't wow. 135 00:07:24,080 --> 00:07:26,400 Speaker 1: And then yeah you got you got Riba Riba in 136 00:07:26,480 --> 00:07:30,240 Speaker 1: her second best cameo after Barbin Star go to Visa 137 00:07:30,280 --> 00:07:33,680 Speaker 1: del Mar. Oh my gosh, right, that's her best one. 138 00:07:33,720 --> 00:07:35,000 Speaker 2: You've got WHOOPI Goldberg. 139 00:07:35,440 --> 00:07:38,760 Speaker 1: Yeah, it's a great one. Daryl Hannah, who I didn't 140 00:07:38,800 --> 00:07:42,760 Speaker 1: recognize as Daryl Hannah, but then I realized and I smiled. 141 00:07:43,560 --> 00:07:46,400 Speaker 3: Wow the end, I feel like maybe that's why we 142 00:07:46,480 --> 00:07:49,160 Speaker 3: remember this movie so well. As partly it's just because 143 00:07:49,160 --> 00:07:51,040 Speaker 3: like we remember all the stars and we were like 144 00:07:51,680 --> 00:07:54,360 Speaker 3: in awe from it, and then we didn't remember any 145 00:07:54,400 --> 00:07:55,000 Speaker 3: of the plot. 146 00:07:55,240 --> 00:07:56,320 Speaker 1: Yeah, totally. 147 00:07:57,760 --> 00:07:57,960 Speaker 4: No. 148 00:07:58,440 --> 00:08:00,440 Speaker 2: I again, I didn't remember the they were in a 149 00:08:00,520 --> 00:08:03,480 Speaker 2: he man woman haters club and that that was like 150 00:08:03,520 --> 00:08:05,480 Speaker 2: a huge focal point of the movie. 151 00:08:05,680 --> 00:08:09,040 Speaker 1: Really, I was curious if okay, so that is. 152 00:08:08,960 --> 00:08:10,760 Speaker 2: Not that did not stick with me. 153 00:08:11,040 --> 00:08:13,120 Speaker 3: I'm a little ashamed to say that. As I was 154 00:08:13,160 --> 00:08:15,760 Speaker 3: watching this film, I thought to myself, I was like, 155 00:08:16,520 --> 00:08:17,640 Speaker 3: this movie's really bad. 156 00:08:20,040 --> 00:08:25,440 Speaker 2: Okay, I thank you for some light defenses of this movie. 157 00:08:25,960 --> 00:08:31,200 Speaker 2: I will you know it does does it fix feminism 158 00:08:31,240 --> 00:08:33,400 Speaker 2: the way it tries to claim that it does at 159 00:08:33,400 --> 00:08:35,280 Speaker 2: the end, I would say, no. 160 00:08:35,360 --> 00:08:37,640 Speaker 1: Didn't work for bug Hall. He's a member of the 161 00:08:37,760 --> 00:08:40,680 Speaker 1: he Man Woman Hating Club to this day. 162 00:08:41,480 --> 00:08:45,640 Speaker 2: Yikes, which is ironic because Alfalfa is the only boy 163 00:08:45,640 --> 00:08:46,920 Speaker 2: in the club who loves women. 164 00:08:47,200 --> 00:08:47,400 Speaker 4: Well. 165 00:08:47,440 --> 00:08:49,960 Speaker 1: But also I have but I have some thoughts on 166 00:08:50,000 --> 00:08:54,400 Speaker 1: Alfalfa and his little boner haircut. Oh my god, how 167 00:08:54,400 --> 00:08:56,280 Speaker 1: many boner drugs are going to be in this movie? 168 00:08:56,360 --> 00:08:57,319 Speaker 1: Starring seven year old? 169 00:08:57,480 --> 00:09:00,760 Speaker 3: It was still a little uncomfortable. It was a little 170 00:09:03,320 --> 00:09:06,720 Speaker 3: Reba McIntire saying like like, are you is that a hair? 171 00:09:07,120 --> 00:09:08,880 Speaker 3: A hairla? Or you just happy to see me? 172 00:09:09,040 --> 00:09:09,320 Speaker 2: Was like. 173 00:09:10,920 --> 00:09:11,400 Speaker 3: Years old. 174 00:09:11,400 --> 00:09:13,079 Speaker 2: It was a child, you're speaking to me? 175 00:09:13,120 --> 00:09:15,439 Speaker 1: Read the room. A lot of the jokes. 176 00:09:15,200 --> 00:09:18,000 Speaker 2: Though, in this movie are like comedy gold. The joke 177 00:09:18,040 --> 00:09:21,600 Speaker 2: writing in this movie is largely very fun. I like 178 00:09:21,800 --> 00:09:25,800 Speaker 2: Penelope Spears as a comedy director. There's lots to discuss, 179 00:09:25,920 --> 00:09:28,040 Speaker 2: but yeah, we'll get there. I love it. 180 00:09:28,080 --> 00:09:32,600 Speaker 1: I feel like Kaitlyn, you're rarely the defender of the movie. 181 00:09:32,679 --> 00:09:35,840 Speaker 1: This is exciting. So this is a childhood favorite of 182 00:09:35,840 --> 00:09:37,679 Speaker 1: yours that you recently revisited. 183 00:09:37,920 --> 00:09:39,920 Speaker 2: Yes, and Jamie, what about you? 184 00:09:40,320 --> 00:09:43,079 Speaker 1: I had not seen this one. I don't know why. 185 00:09:43,200 --> 00:09:45,960 Speaker 1: I've found that I mix it up constantly with the 186 00:09:46,000 --> 00:09:50,079 Speaker 1: Sandlot because the posters look very similar. But no, I 187 00:09:50,400 --> 00:09:53,760 Speaker 1: hadn't seen it before, and it's like it's a weird 188 00:09:53,840 --> 00:09:58,040 Speaker 1: little movie. I didn't hate it, and I didn't hate it. 189 00:09:59,679 --> 00:10:01,559 Speaker 1: I guess that's my review. I didn't hate it. I 190 00:10:01,880 --> 00:10:05,679 Speaker 1: think it is like pretty fucking impressive that Penelope Spheeris 191 00:10:05,840 --> 00:10:10,360 Speaker 1: pulled off a movie this like vast with a cast 192 00:10:10,559 --> 00:10:14,520 Speaker 1: this young, because like the kids are doing okay, I mean, 193 00:10:14,600 --> 00:10:16,880 Speaker 1: you're not gonna get a star every time, and in 194 00:10:16,920 --> 00:10:18,520 Speaker 1: this case, I think they're kind of batting. 195 00:10:18,559 --> 00:10:19,200 Speaker 2: Oh for ten. 196 00:10:19,320 --> 00:10:22,800 Speaker 1: No offense to the kids, except actually the fancy the 197 00:10:22,800 --> 00:10:27,000 Speaker 1: fancy little kid, I like Stymy and the fancy boy. 198 00:10:27,160 --> 00:10:28,880 Speaker 1: I was like, they they were they were cooking. 199 00:10:29,440 --> 00:10:33,240 Speaker 2: Oh you mean Waldo Alo Wishous Johnston the third. 200 00:10:33,320 --> 00:10:35,880 Speaker 1: Oh my god, fancy McCaulay culkin is how I refer 201 00:10:35,920 --> 00:10:39,880 Speaker 1: to my notes. For a second, I was like, is 202 00:10:39,920 --> 00:10:43,120 Speaker 1: it no? But McCaulay culkin played Ritchie Rich around the 203 00:10:43,160 --> 00:10:43,640 Speaker 1: same time. 204 00:10:43,840 --> 00:10:45,000 Speaker 2: So I also found. 205 00:10:44,760 --> 00:10:47,120 Speaker 1: It interesting, like looking back at because I knew that 206 00:10:47,160 --> 00:10:49,480 Speaker 1: the Little Rascals had history. I didn't know it was 207 00:10:49,520 --> 00:10:53,120 Speaker 1: like over one hundred years of history. So I have 208 00:10:53,640 --> 00:10:55,840 Speaker 1: some some notes on that. 209 00:10:56,480 --> 00:10:57,800 Speaker 2: But it's you know, I think it's. 210 00:10:57,679 --> 00:11:00,920 Speaker 1: Like an interesting way to adapt it for the nineties. 211 00:11:00,960 --> 00:11:04,840 Speaker 1: I like that these like little Newsy kids live in 212 00:11:05,240 --> 00:11:08,160 Speaker 1: la in nineteen ninety four and that's just cannon Like 213 00:11:08,480 --> 00:11:13,880 Speaker 1: it's sweet. Yeah, it didn't really solve feminism, but I 214 00:11:13,920 --> 00:11:17,400 Speaker 1: think it's nice that it thought it did. 215 00:11:17,080 --> 00:11:19,760 Speaker 2: It was it was trying for something. 216 00:11:20,360 --> 00:11:23,080 Speaker 3: Does I think it solves feminism? Is that when the 217 00:11:23,120 --> 00:11:24,120 Speaker 3: movie stands, you think. 218 00:11:24,160 --> 00:11:27,880 Speaker 2: I don't actually think so. But at the end when 219 00:11:27,920 --> 00:11:31,240 Speaker 2: they're like, yeah, women, you're allowed in our club in 220 00:11:31,280 --> 00:11:33,760 Speaker 2: which we hate women. You're welcome here now. 221 00:11:35,360 --> 00:11:38,920 Speaker 1: But I'm like, I don't see them getting leadership positions 222 00:11:39,040 --> 00:11:40,000 Speaker 1: anytime soon. 223 00:11:40,400 --> 00:11:42,600 Speaker 2: I'll tell you what they're basically framed is like the 224 00:11:42,679 --> 00:11:45,679 Speaker 2: girlfriends now, which I have a whole shpielan. We'll talk 225 00:11:45,760 --> 00:11:46,480 Speaker 2: about it, but. 226 00:11:46,520 --> 00:11:52,280 Speaker 1: Well, yeah, Stimey's girlfriend at the club. Yeah, and the 227 00:11:52,280 --> 00:11:55,360 Speaker 1: club we all vam or what is the thing is 228 00:11:55,400 --> 00:11:58,920 Speaker 1: that it? No, wait, I don't know. I don't I 229 00:11:58,960 --> 00:12:00,679 Speaker 1: know what you're talking about. It's just funny to hear 230 00:12:00,720 --> 00:12:02,280 Speaker 1: it from you and the clerb. 231 00:12:02,440 --> 00:12:03,600 Speaker 3: We all sam. 232 00:12:03,960 --> 00:12:07,320 Speaker 2: Yeah, anyway, let's take a quick break and then we'll 233 00:12:07,320 --> 00:12:22,640 Speaker 2: come back for the recap. And we're back. We're okay. 234 00:12:22,679 --> 00:12:26,200 Speaker 2: Here's the recap of the Little Rascals nineteen ninety four. 235 00:12:27,320 --> 00:12:33,760 Speaker 2: A little boy named Spanky. The names in this incredible. 236 00:12:33,320 --> 00:12:34,680 Speaker 1: Yeah we got we gotta bring that back. 237 00:12:35,720 --> 00:12:40,200 Speaker 2: Kids name Spanky, kids named Froggy, kids named Porky and 238 00:12:40,280 --> 00:12:42,720 Speaker 2: Buckwheat and Alfalfa and wim. 239 00:12:42,920 --> 00:12:45,560 Speaker 1: Yeah they all have Looney Tunes names. 240 00:12:46,280 --> 00:12:50,640 Speaker 2: Okay, So Spanky sends a note around town via pd 241 00:12:50,880 --> 00:12:55,080 Speaker 2: the Dog to announce an emergency meeting of some sort. 242 00:12:55,720 --> 00:12:58,520 Speaker 2: This note is seen by a kid named Stymy when 243 00:12:58,559 --> 00:13:03,079 Speaker 2: he's playing baseball. Then a kid named Froggy at his house. 244 00:13:03,800 --> 00:13:05,760 Speaker 2: I guess that's his name because he has a very 245 00:13:05,840 --> 00:13:08,040 Speaker 2: like raspy froggy voice. 246 00:13:07,960 --> 00:13:11,839 Speaker 1: Which I no offense to Little Rascals defenders. I found 247 00:13:11,920 --> 00:13:16,199 Speaker 1: so obnoxious and distracted it hard to listen to. Not 248 00:13:16,320 --> 00:13:19,920 Speaker 1: the kid's fault, but I was like, Okay, yeah, not 249 00:13:20,000 --> 00:13:20,520 Speaker 1: my favorite. 250 00:13:20,679 --> 00:13:23,120 Speaker 3: I loved it. 251 00:13:21,559 --> 00:13:26,640 Speaker 1: I do like I hope that this is the movie 252 00:13:26,640 --> 00:13:31,040 Speaker 1: that breaks the podcast. I hope the little I hope 253 00:13:31,080 --> 00:13:32,400 Speaker 1: the Little Rascals do us end. 254 00:13:33,240 --> 00:13:36,000 Speaker 2: This episode is going to end in blood and tears. 255 00:13:36,640 --> 00:13:38,200 Speaker 2: No swee be Froggy. 256 00:13:38,679 --> 00:13:38,800 Speaker 3: Uh. 257 00:13:39,080 --> 00:13:43,000 Speaker 2: Then Pete goes to two kids who are fishing, Porky 258 00:13:43,040 --> 00:13:49,319 Speaker 2: and Buckwheat. Then eventually the boys the Little Rascals gather 259 00:13:49,480 --> 00:13:52,839 Speaker 2: at their clubhouse for a meeting at the Clerb At 260 00:13:52,840 --> 00:13:57,320 Speaker 2: the Clerb House, uh huh, for a meeting for the 261 00:13:57,480 --> 00:14:03,440 Speaker 2: he Man Woman Haters Club they recite their oath, which states, 262 00:14:03,840 --> 00:14:06,840 Speaker 2: I do solemnly swear to be a he man and 263 00:14:07,240 --> 00:14:09,760 Speaker 2: hate women and not play with them or talk to 264 00:14:09,800 --> 00:14:13,840 Speaker 2: them unless I have to, and especially never fall in love. 265 00:14:14,360 --> 00:14:17,040 Speaker 2: And then it goes on about what the punishments are 266 00:14:17,120 --> 00:14:20,920 Speaker 2: and blah blah blah. A character named uh huh who 267 00:14:20,960 --> 00:14:27,720 Speaker 2: seems to only say uh huh, takes minutes from the meeting. Meanwhile, 268 00:14:28,160 --> 00:14:32,400 Speaker 2: outside to bullies who are not allowed in the club. 269 00:14:32,480 --> 00:14:35,360 Speaker 1: Oh my god, having great great bully names. 270 00:14:35,680 --> 00:14:38,920 Speaker 2: Yeah, butch and wom And I'm like, is that like 271 00:14:39,080 --> 00:14:41,160 Speaker 2: worm but in a. 272 00:14:41,120 --> 00:14:42,520 Speaker 1: In like baby noozies? 273 00:14:42,560 --> 00:14:42,880 Speaker 2: I think? 274 00:14:45,080 --> 00:14:47,320 Speaker 3: Get right. 275 00:14:48,720 --> 00:14:51,640 Speaker 2: The two bullies talk about how they're looking forward to 276 00:14:51,720 --> 00:14:56,000 Speaker 2: beating the Rascals in an upcoming go kart race with 277 00:14:56,440 --> 00:14:59,680 Speaker 2: their go kart, which is called the Beast. Meanwhile, the 278 00:15:00,000 --> 00:15:05,000 Speaker 2: little Rascal's go kart, the Blur, is their club's pride 279 00:15:05,080 --> 00:15:09,640 Speaker 2: and joy. They pay respects to it and to their hero, 280 00:15:09,880 --> 00:15:13,480 Speaker 2: their idol, a race car driver named A J. Ferguson, 281 00:15:13,680 --> 00:15:17,400 Speaker 2: and they're like, he's the best race car driver that 282 00:15:17,520 --> 00:15:21,640 Speaker 2: ever lived. Then they select a name out of a 283 00:15:21,680 --> 00:15:24,880 Speaker 2: hat to see who's going to drive the Blur in 284 00:15:24,960 --> 00:15:27,880 Speaker 2: the upcoming go kart race and the name that they 285 00:15:27,960 --> 00:15:32,480 Speaker 2: select is Alsalfa, who is not there at the meeting. 286 00:15:32,880 --> 00:15:39,560 Speaker 2: They discover that Alfalfa is secretly spending time with his girlfriend, Darla, because, 287 00:15:39,640 --> 00:15:42,720 Speaker 2: unlike the other members of the he Man Woman Haters Club, 288 00:15:43,160 --> 00:15:49,760 Speaker 2: Alfalfa is sensitive and romantic and he loves women. And 289 00:15:49,880 --> 00:15:51,720 Speaker 2: Darla is like, well, then why the fuck are you 290 00:15:51,800 --> 00:15:54,560 Speaker 2: in this ridiculous misogyny club. 291 00:15:55,040 --> 00:15:59,160 Speaker 1: I love Darla. I love Darla so much. Darla takes 292 00:15:59,200 --> 00:16:03,160 Speaker 1: no nonsense from these little boys. She has no time 293 00:16:03,200 --> 00:16:04,120 Speaker 1: for them. I love it. 294 00:16:04,880 --> 00:16:06,240 Speaker 3: She doesn't very grown. 295 00:16:06,840 --> 00:16:10,360 Speaker 2: Yes, she's so grown, despite being like four years old 296 00:16:10,400 --> 00:16:13,160 Speaker 2: when production started, so little. 297 00:16:13,440 --> 00:16:16,520 Speaker 1: She's so tiny and you can just hear I don't know. 298 00:16:16,560 --> 00:16:18,760 Speaker 1: Like the blooperrial was so cute because you're like, God, 299 00:16:18,800 --> 00:16:21,560 Speaker 1: these kids are these kids are are just like hanging 300 00:16:21,640 --> 00:16:24,720 Speaker 1: on by their little fingernails trying to remember these sentences. 301 00:16:25,880 --> 00:16:30,040 Speaker 2: It's so cute. And Darla's little blooperrial segment at the end. 302 00:16:30,120 --> 00:16:31,960 Speaker 3: Is like, stop looking at the camera. 303 00:16:32,840 --> 00:16:37,560 Speaker 2: Yeah, so cute. I have a whole spiel about the 304 00:16:37,600 --> 00:16:41,480 Speaker 2: age difference between her and her various love interests, but 305 00:16:41,520 --> 00:16:47,320 Speaker 2: we'll get we'll get to it. Wow, okay. So Alfalfa 306 00:16:47,520 --> 00:16:50,600 Speaker 2: tells Darla that he's going to take her on a picnic, 307 00:16:50,680 --> 00:16:54,040 Speaker 2: and she suggests they have it at his clubhouse so 308 00:16:54,080 --> 00:16:57,440 Speaker 2: that he can prove that he's not ashamed of her 309 00:16:57,640 --> 00:17:00,640 Speaker 2: and that he's proud of her. So the next day, 310 00:17:00,720 --> 00:17:04,359 Speaker 2: Alfalfa goes to pick up Darla, he's attacked by a 311 00:17:04,400 --> 00:17:09,199 Speaker 2: dog that belongs to Waldo. Aloisious Johnston the Third, a 312 00:17:09,440 --> 00:17:12,160 Speaker 2: rich kid who absolutely sucks. 313 00:17:12,760 --> 00:17:16,760 Speaker 1: Unfortunately, he's so funny, and I hate it. It is 314 00:17:16,880 --> 00:17:19,880 Speaker 1: it feels very nineties that they make a little social 315 00:17:19,920 --> 00:17:21,639 Speaker 1: statement with what a piece of shit he is. Like, 316 00:17:21,680 --> 00:17:23,600 Speaker 1: they go out of their way to be like he's 317 00:17:24,000 --> 00:17:27,680 Speaker 1: a mini oil baron and you're like, what a detail, 318 00:17:27,800 --> 00:17:30,639 Speaker 1: what a detail to just have there. I kind of 319 00:17:30,680 --> 00:17:31,320 Speaker 1: loved it. 320 00:17:31,760 --> 00:17:34,760 Speaker 2: And produces a great joke where yeah, he's like, my 321 00:17:34,880 --> 00:17:37,760 Speaker 2: dad just bought the local oil refinery and Darla's like, 322 00:17:37,760 --> 00:17:41,160 Speaker 2: that explains why you're so refined in Alfalfa and why 323 00:17:41,200 --> 00:17:42,360 Speaker 2: you're so oily. 324 00:17:43,520 --> 00:17:46,840 Speaker 1: That's hilarious as those are good. The jokes are good, 325 00:17:46,880 --> 00:17:48,760 Speaker 1: the good jokes, Thank. 326 00:17:48,600 --> 00:17:53,080 Speaker 2: You, thank you. Okay, So Waldo sucks, but he takes 327 00:17:53,080 --> 00:17:57,959 Speaker 2: a liking to Darla to Alfalfa's dismay. Alfalfa and Darla 328 00:17:58,040 --> 00:18:02,639 Speaker 2: go on a candlelight picnic the clubhouse the clubhouse, but 329 00:18:03,280 --> 00:18:07,719 Speaker 2: the little rascals sabotage it by putting a whoopee cushion 330 00:18:07,800 --> 00:18:11,880 Speaker 2: under Alfalfa. They put kitty litter in their sandwiches, all 331 00:18:11,880 --> 00:18:14,399 Speaker 2: this kind of stuff, and then they start like banging 332 00:18:14,400 --> 00:18:19,359 Speaker 2: on the door. So Alfalfa hurriedly shoes Darla away and 333 00:18:19,400 --> 00:18:22,400 Speaker 2: tries to clean everything up, but he accidentally doesn't blow 334 00:18:22,440 --> 00:18:25,399 Speaker 2: out one of the candles, so the clubhouse catches fire. 335 00:18:26,240 --> 00:18:29,000 Speaker 2: The kids try to put out the fire, but the 336 00:18:29,000 --> 00:18:30,240 Speaker 2: clubhouse burns down. 337 00:18:30,440 --> 00:18:34,640 Speaker 1: I love this sequence when they're the little baby firefighters. 338 00:18:34,840 --> 00:18:37,680 Speaker 2: It's so cute, cute. 339 00:18:37,840 --> 00:18:40,440 Speaker 3: I like the entire time, I'm just like, where are 340 00:18:40,480 --> 00:18:43,760 Speaker 3: any of the adults? The adults like they they they 341 00:18:43,840 --> 00:18:45,680 Speaker 3: just don't exist in this worl These. 342 00:18:45,600 --> 00:18:46,600 Speaker 2: Kids are never home. 343 00:18:47,119 --> 00:18:50,000 Speaker 1: I kind of love the like just lot because it's like, 344 00:18:50,040 --> 00:18:52,600 Speaker 1: because I was worried that they're gonna like single out 345 00:18:52,720 --> 00:18:56,000 Speaker 1: specific kids, but it's just like, this is a world 346 00:18:56,040 --> 00:18:58,400 Speaker 1: with no parents, except at the end when you see 347 00:18:58,440 --> 00:19:01,160 Speaker 1: that they do have parents and they look exactly like them, 348 00:19:01,200 --> 00:19:05,320 Speaker 1: but bigger and I liked that joke a lot, Like 349 00:19:05,720 --> 00:19:10,439 Speaker 1: these parents are are bad at their job, but I 350 00:19:10,480 --> 00:19:12,000 Speaker 1: love that. I feel like it is like this like 351 00:19:12,240 --> 00:19:16,240 Speaker 1: fantasy for like people of our generation to be as 352 00:19:16,359 --> 00:19:18,280 Speaker 1: loose as the little rascals are. 353 00:19:19,119 --> 00:19:22,040 Speaker 3: Do whatever you want, live life without a care in 354 00:19:22,080 --> 00:19:24,720 Speaker 3: the world, without any adults. You know, you can't do that. 355 00:19:24,920 --> 00:19:28,240 Speaker 1: Your parents have no idea. You've organized a hate group. 356 00:19:30,320 --> 00:19:31,080 Speaker 2: Underground. 357 00:19:31,400 --> 00:19:34,440 Speaker 1: They didn't used to know these things, right, And these kids. 358 00:19:34,200 --> 00:19:37,119 Speaker 2: Are like not going home for what seems like days 359 00:19:37,160 --> 00:19:39,680 Speaker 2: at a time. They're just sort of like sleeping out 360 00:19:39,720 --> 00:19:40,879 Speaker 2: at the club house. 361 00:19:40,760 --> 00:19:44,440 Speaker 1: Maroon Alfalfa fishing out on a lake on their own. 362 00:19:45,840 --> 00:19:46,320 Speaker 2: I like that. 363 00:19:46,480 --> 00:19:48,919 Speaker 1: Yeah, it does feel like this. This takes place in 364 00:19:48,960 --> 00:19:52,080 Speaker 1: the South one hundred years ago, but also in Los 365 00:19:52,119 --> 00:19:55,720 Speaker 1: Angeles in the nineties, and both reads are correct. 366 00:19:56,160 --> 00:20:00,400 Speaker 2: Yeah, absolutely, for sure. It's great. Okay, so the house 367 00:20:00,480 --> 00:20:06,760 Speaker 2: is burnt down. Meanwhile, because Alfalfa had tried to hide Darla, 368 00:20:06,920 --> 00:20:09,959 Speaker 2: she realizes that he is ashamed of her, so she 369 00:20:10,040 --> 00:20:14,240 Speaker 2: dumps his ass and leaves with that rich prick Waldo. 370 00:20:14,680 --> 00:20:14,880 Speaker 3: Hie. 371 00:20:14,960 --> 00:20:19,280 Speaker 1: Yeah, yeah, it's I wrote down. This is very specific, 372 00:20:19,320 --> 00:20:23,600 Speaker 1: but it reminded me of when Jane Fonda divorced her 373 00:20:23,640 --> 00:20:31,280 Speaker 1: activist husband and married Ted Turner. Wow, Jane Fonda heads 374 00:20:31,440 --> 00:20:32,520 Speaker 1: will well know. 375 00:20:33,680 --> 00:20:34,600 Speaker 2: Are they still married? 376 00:20:35,640 --> 00:20:38,680 Speaker 1: No, she divorces ass too. She's I mean, she's the best, 377 00:20:39,240 --> 00:20:42,200 Speaker 1: but she was married to Ted Turner. 378 00:20:41,880 --> 00:20:43,879 Speaker 2: Which is why suspicious truly. 379 00:20:43,960 --> 00:20:45,360 Speaker 1: Yeah. 380 00:20:45,400 --> 00:20:50,600 Speaker 2: In any case, the rascals put Alfalfa on trial and 381 00:20:50,640 --> 00:20:54,520 Speaker 2: then on probation, and his punishment is to guard their 382 00:20:54,520 --> 00:20:57,800 Speaker 2: go kart the Blur day and night, and he can 383 00:20:57,880 --> 00:21:01,760 Speaker 2: never talk to, or see or think about Darla ever again. 384 00:21:02,560 --> 00:21:06,400 Speaker 2: So that night, when Alfalfa's guarding the go kart, all 385 00:21:06,400 --> 00:21:08,840 Speaker 2: the boys join him for a little sleepover in a 386 00:21:08,920 --> 00:21:14,480 Speaker 2: tent and they're talking about why they think girls are gross. Meanwhile, 387 00:21:14,600 --> 00:21:18,600 Speaker 2: Darla is having a sleepover with her girl friends and 388 00:21:18,920 --> 00:21:22,960 Speaker 2: they're talking about why they think boys are gross. It's 389 00:21:22,960 --> 00:21:27,160 Speaker 2: a really fun like intercut scene. The next day, the 390 00:21:27,200 --> 00:21:31,040 Speaker 2: boys get to work on rebuilding their clubhouse, but they 391 00:21:31,040 --> 00:21:34,760 Speaker 2: don't have the money for lumber, which they try to 392 00:21:34,800 --> 00:21:40,320 Speaker 2: buy from Norm from Cheers, so a few of them 393 00:21:40,440 --> 00:21:43,399 Speaker 2: go into a bank. This is the scene that I 394 00:21:43,480 --> 00:21:46,639 Speaker 2: distinctly remember from watching this as a kid. They're like 395 00:21:46,720 --> 00:21:50,080 Speaker 2: stacked on each other's shoulders and they try to get 396 00:21:50,080 --> 00:21:55,720 Speaker 2: a bank loan from mel Brooks, which he denies them. Meanwhile, 397 00:21:56,240 --> 00:21:59,320 Speaker 2: there's a scene where Alfalfa writes a love note and 398 00:21:59,359 --> 00:22:03,800 Speaker 2: then has Buckwheat and Porky deliver it to Darla. But 399 00:22:03,840 --> 00:22:08,800 Speaker 2: it's this whole comedy of errors situation where Darla ends 400 00:22:08,880 --> 00:22:12,760 Speaker 2: up even more mad at Alfalfa because there's like, yeah, 401 00:22:12,800 --> 00:22:14,760 Speaker 2: the misinterpretation of what happens. 402 00:22:15,200 --> 00:22:18,199 Speaker 1: I thought it was interesting that that whole gag is 403 00:22:18,240 --> 00:22:21,320 Speaker 1: predicated on you have to be able to read to understand, 404 00:22:21,400 --> 00:22:23,160 Speaker 1: and I was like, I don't think the target audience 405 00:22:23,160 --> 00:22:26,280 Speaker 1: of this movie can read yet. Well. 406 00:22:26,320 --> 00:22:28,159 Speaker 2: I mean, let me say I was eight when the 407 00:22:28,200 --> 00:22:31,680 Speaker 2: movie came out, and I knew how to read at 408 00:22:31,760 --> 00:22:32,480 Speaker 2: age eight. 409 00:22:32,680 --> 00:22:33,120 Speaker 1: That's free. 410 00:22:33,200 --> 00:22:35,280 Speaker 2: But also, I don't remember that joke at all, and 411 00:22:35,320 --> 00:22:38,800 Speaker 2: I don't remember ever knowing what that letter said, so 412 00:22:38,880 --> 00:22:41,760 Speaker 2: I don't know if I ever even understood what was 413 00:22:41,760 --> 00:22:42,760 Speaker 2: happening in that scene. 414 00:22:42,840 --> 00:22:44,760 Speaker 1: I mean, you can like cut this. This is a 415 00:22:44,800 --> 00:22:48,360 Speaker 1: movie based on vibes. She ends up mattering absolutely, yeah, 416 00:22:49,200 --> 00:22:50,760 Speaker 1: I want to show this movie to my niece, but 417 00:22:50,800 --> 00:22:52,520 Speaker 1: I don't know if she reads well enough yet to 418 00:22:52,920 --> 00:22:53,560 Speaker 1: get the joke. 419 00:22:53,680 --> 00:22:57,200 Speaker 2: She's five. Yeah, Well, it turns out you won't get 420 00:22:57,200 --> 00:23:00,320 Speaker 2: any of the jokes when you're eight or maybe even ten, 421 00:23:00,520 --> 00:23:05,120 Speaker 2: so who knows. I truly was like, oh, there are 422 00:23:05,160 --> 00:23:07,720 Speaker 2: like a dozen jokes that I never understood as a 423 00:23:07,760 --> 00:23:11,560 Speaker 2: kid that I had to wait till adulthood. 424 00:23:11,840 --> 00:23:13,920 Speaker 1: It's just like Shrek in that way. 425 00:23:13,960 --> 00:23:18,880 Speaker 2: Wow makes you think, That makes you think really really hard. Okay, 426 00:23:18,960 --> 00:23:24,520 Speaker 2: So Darla's even more mad at Alfalfa. So Alfalfa goes 427 00:23:24,560 --> 00:23:27,600 Speaker 2: to Darla's ballet recital to try to clear things up, 428 00:23:28,160 --> 00:23:32,200 Speaker 2: but Spanky insists on going with him to ensure that 429 00:23:32,320 --> 00:23:37,359 Speaker 2: Alfalfa breaks up with Darla once and for all. Meanwhile, 430 00:23:37,400 --> 00:23:42,800 Speaker 2: the two bullies Butch and Woim distract Buckwheat and Porky, 431 00:23:42,840 --> 00:23:45,000 Speaker 2: who are guarding the Blur in this moment, so that 432 00:23:45,040 --> 00:23:48,720 Speaker 2: they can steal the go kart, but the little rascals 433 00:23:48,720 --> 00:23:54,560 Speaker 2: had set up a like Rube Goldberg pickle trap, so 434 00:23:55,200 --> 00:23:58,959 Speaker 2: they are unsuccessful at stealing the Blur. Back at the recital, 435 00:23:59,320 --> 00:24:04,600 Speaker 2: Alfalfa and Spanky dress as girls in like wigs and 436 00:24:04,680 --> 00:24:09,040 Speaker 2: tutus in order to hide from Butch and Womb, and 437 00:24:09,080 --> 00:24:14,280 Speaker 2: then while they're still in like little girl drag, Alfalfa 438 00:24:14,400 --> 00:24:18,680 Speaker 2: and Spanky talk to Darla, who doesn't realize she's talking 439 00:24:18,680 --> 00:24:22,080 Speaker 2: to these boys, and she's like, oh, here, take my handkerchief. 440 00:24:22,200 --> 00:24:25,840 Speaker 2: Oh yeah, I remember Alfalfa. He took the best years 441 00:24:25,880 --> 00:24:29,639 Speaker 2: of my life. Hilarious joke. And then she also says 442 00:24:29,680 --> 00:24:33,200 Speaker 2: like I couldn't resist his singing voice because that's gonna 443 00:24:33,280 --> 00:24:39,280 Speaker 2: all pay off later. Then Alfalfa and Spanky get shuffled 444 00:24:39,280 --> 00:24:41,320 Speaker 2: in with the other ballerinas who are about to go 445 00:24:41,400 --> 00:24:44,399 Speaker 2: on stage. They perform in the recital, they ruin it, 446 00:24:44,720 --> 00:24:49,920 Speaker 2: which infuriates the instructor aka Leah Thompson aka Lorraine from 447 00:24:49,960 --> 00:24:54,800 Speaker 2: Back to the Future. She chases them out, but oh no, 448 00:24:54,840 --> 00:24:58,000 Speaker 2: the bullies are waiting for them, so they start chasing Alfalfa. 449 00:24:58,600 --> 00:25:01,800 Speaker 2: He's in his underwear, by the way, because there was 450 00:25:01,840 --> 00:25:05,440 Speaker 2: like a frog in his tutu. This the whole thing. 451 00:25:05,480 --> 00:25:08,560 Speaker 1: I'm like, YadA YadA, frog twuto you know. 452 00:25:09,280 --> 00:25:12,399 Speaker 2: You know, And I'm like, why are we making kids 453 00:25:12,480 --> 00:25:16,840 Speaker 2: run around in their underwear on screen? Anyway, he runs 454 00:25:16,840 --> 00:25:21,080 Speaker 2: into Darla and Waldo, who are like lounging by the 455 00:25:21,200 --> 00:25:24,639 Speaker 2: pool drinking cocktails. They're getting fucked up in. 456 00:25:24,720 --> 00:25:29,040 Speaker 3: The hot tub with umbrellas and like, like, what are 457 00:25:29,080 --> 00:25:29,760 Speaker 3: you drinking? 458 00:25:30,080 --> 00:25:34,240 Speaker 2: It's it is funny, but it's also just goofy as hell, 459 00:25:34,880 --> 00:25:37,680 Speaker 2: and they see him naked. They see Alfalfa naked and 460 00:25:38,320 --> 00:25:44,720 Speaker 2: it's weird. Meanwhile, the other little Rascals head to a 461 00:25:44,880 --> 00:25:47,840 Speaker 2: fair to try to raise money to rebuild their clubhouse. 462 00:25:48,800 --> 00:25:52,280 Speaker 2: Then back at the burnt down clubhouse, Alfalfa finds the 463 00:25:52,440 --> 00:25:55,159 Speaker 2: checklist that his friends were using to sabotage his picnic 464 00:25:55,200 --> 00:26:00,720 Speaker 2: with Darla, and Alfalfa realizes that they and especially are 465 00:26:00,760 --> 00:26:04,480 Speaker 2: to blame for Darla hating Alfalfa, so he takes off 466 00:26:04,480 --> 00:26:08,560 Speaker 2: in the blur to confront Spanky at the fair. Back 467 00:26:08,600 --> 00:26:12,160 Speaker 2: at the fair, Buckwee and Porky have scammed people into 468 00:26:12,200 --> 00:26:14,560 Speaker 2: paying admission for a free talent show. 469 00:26:14,960 --> 00:26:17,000 Speaker 3: Listen. I would have paid for the four foot tall 470 00:26:17,040 --> 00:26:17,920 Speaker 3: man eating chicken. 471 00:26:18,840 --> 00:26:22,040 Speaker 2: Also such a good joke because you think it's gonna 472 00:26:22,040 --> 00:26:24,840 Speaker 2: be eat a chicken who eats men men? 473 00:26:25,240 --> 00:26:27,280 Speaker 3: But if I gotta scammed out of that, I'd be like, 474 00:26:27,320 --> 00:26:31,880 Speaker 3: you know what, you it exactly? I was. 475 00:26:32,440 --> 00:26:34,840 Speaker 1: I was shocked at how long it took me to 476 00:26:34,880 --> 00:26:38,840 Speaker 1: figure out what that choke So funny, it's really funny. 477 00:26:39,920 --> 00:26:43,800 Speaker 2: Okay, So this is when we see Darryl Hannah. She 478 00:26:44,440 --> 00:26:48,000 Speaker 2: is like the coordinator of the talent show, named Miss Crabtree. 479 00:26:48,359 --> 00:26:52,840 Speaker 2: She discovers this ruse and reprimands the boys, although Spanky 480 00:26:52,920 --> 00:26:56,040 Speaker 2: makes a suggestion for what to do with the money, 481 00:26:56,400 --> 00:26:59,920 Speaker 2: which is to award it to whoever wins first place 482 00:27:00,200 --> 00:27:05,080 Speaker 2: at the upcoming go Kart derby. Then Alfalfa arrives at 483 00:27:05,080 --> 00:27:09,040 Speaker 2: the fair where Waldo and Darla are singing a duet 484 00:27:09,080 --> 00:27:13,080 Speaker 2: in the talent show. Alfalfa also performs a song, knowing 485 00:27:13,160 --> 00:27:17,840 Speaker 2: that Darla melts when she hears his singing voice, although 486 00:27:18,160 --> 00:27:22,719 Speaker 2: Waldo sabotages the performance by putting like dish soap into 487 00:27:23,160 --> 00:27:27,399 Speaker 2: Alfalfa's glass of water, so he's like blowing bubbles and 488 00:27:27,480 --> 00:27:30,240 Speaker 2: Darla's like, you suck Alfalfa. 489 00:27:30,280 --> 00:27:32,840 Speaker 3: I remember this part too, and I'm being like, wow, 490 00:27:33,000 --> 00:27:33,760 Speaker 3: so cool. 491 00:27:37,200 --> 00:27:41,280 Speaker 2: Look when you're five, it is so cute. It's cute. 492 00:27:41,359 --> 00:27:44,040 Speaker 3: Yeah, and maybe you want to drink dish soap and burn. 493 00:27:46,080 --> 00:27:48,000 Speaker 2: Honestly a lot of things. I was like, I want 494 00:27:48,040 --> 00:27:50,480 Speaker 2: to build a Rube Goldberg pickle machine. 495 00:27:51,040 --> 00:27:53,040 Speaker 3: I also wanted an etch A sketch because of how 496 00:27:53,080 --> 00:27:56,560 Speaker 3: well they drew that at there in that car. 497 00:27:57,119 --> 00:28:02,919 Speaker 2: Yeah, okay, So meanwhile, the bullies butch and Wims steal 498 00:28:02,960 --> 00:28:05,880 Speaker 2: the Blur while it's parked outside the fair, and then 499 00:28:05,920 --> 00:28:09,320 Speaker 2: after Alfalfa's performance, he and Spanky get in a huge 500 00:28:09,400 --> 00:28:13,240 Speaker 2: fight and Alfalfa storms off and all the little rascals 501 00:28:13,240 --> 00:28:17,600 Speaker 2: are sad, but then they eventually make up and all 502 00:28:17,640 --> 00:28:21,199 Speaker 2: the boys reconvene and get to work on building a 503 00:28:21,320 --> 00:28:26,320 Speaker 2: new go kart for the Derby. The Blur Too colon 504 00:28:26,560 --> 00:28:29,320 Speaker 2: the sequel, or as I like to call it, an 505 00:28:29,359 --> 00:28:31,920 Speaker 2: extremely blurry gok kurt. 506 00:28:32,280 --> 00:28:35,320 Speaker 1: Yes exactly, exactly, yes, and. 507 00:28:35,280 --> 00:28:37,960 Speaker 2: They build it out of like a trash can and 508 00:28:38,240 --> 00:28:43,680 Speaker 2: washing machine parts and other random little do dads. Cut 509 00:28:43,720 --> 00:28:47,520 Speaker 2: to the Derby, Alfalfa and Spanky are together in their 510 00:28:47,560 --> 00:28:50,280 Speaker 2: new go krt, the Blur Too, an extremely blurry go kart. 511 00:28:50,840 --> 00:28:54,479 Speaker 2: Several other drivers are there, such as Butch and Woim 512 00:28:54,680 --> 00:28:58,480 Speaker 2: in the stolen Blur with a new paint job. Waldo 513 00:28:58,640 --> 00:29:03,600 Speaker 2: and Darla are in like Waldo's rich kid go kart. 514 00:29:04,480 --> 00:29:08,920 Speaker 2: By the way, Darla is starting to realize how much 515 00:29:09,080 --> 00:29:13,160 Speaker 2: Waldo sucks. Yeah, Reba McIntyre is there, is the announcer. 516 00:29:13,560 --> 00:29:16,360 Speaker 2: She makes a boner choke to a child and we're like. 517 00:29:17,360 --> 00:29:19,800 Speaker 1: Was that normal in nineteen ninety four or was it 518 00:29:19,840 --> 00:29:22,640 Speaker 1: weird then too? If we don't know, I think it was. 519 00:29:22,760 --> 00:29:28,360 Speaker 2: More normal back then. Also, as we mentioned, our fascist 520 00:29:28,880 --> 00:29:33,880 Speaker 2: American president slash dictator Donald Trump is there as Waldo's father, 521 00:29:34,280 --> 00:29:38,920 Speaker 2: what Pe Goldberger's there. The race begins, There's some confusion 522 00:29:39,000 --> 00:29:42,480 Speaker 2: and for a while, like Alfalfa and Spanky and the 523 00:29:42,520 --> 00:29:45,760 Speaker 2: bullies and Waldo and Darla accidentally go the wrong way 524 00:29:45,880 --> 00:29:48,960 Speaker 2: and get separated from the other racers. Waldo tries to 525 00:29:49,000 --> 00:29:52,880 Speaker 2: sabotage Alfalfa and Spanky's go cart, so Darla is like, 526 00:29:53,080 --> 00:29:56,640 Speaker 2: fuck you, Waldo, I'm done with you, so he pulls 527 00:29:56,640 --> 00:30:00,520 Speaker 2: over to let her out of the go kart. Then 528 00:30:00,720 --> 00:30:04,520 Speaker 2: the bullies try to sabotage Alfalfa and Spanky, but then 529 00:30:04,560 --> 00:30:09,160 Speaker 2: it seems like Waldo helps them, but we can't super 530 00:30:09,240 --> 00:30:12,440 Speaker 2: tell because they're wearing a helmet that obscures their face, 531 00:30:12,440 --> 00:30:13,960 Speaker 2: so we don't know exactly who it is, but we 532 00:30:13,960 --> 00:30:15,680 Speaker 2: think it's supposed to be Waldo. 533 00:30:15,560 --> 00:30:20,240 Speaker 1: My gosh, and then get ready for a classic trope. 534 00:30:20,600 --> 00:30:24,160 Speaker 2: Then the race is almost over. They're almost across the 535 00:30:24,200 --> 00:30:28,200 Speaker 2: finish line, and Alfalfa and Spanky win by a hair 536 00:30:28,720 --> 00:30:34,400 Speaker 2: literally because it's Alfalfa's little spike thing that crosses the 537 00:30:34,400 --> 00:30:37,520 Speaker 2: finish line first, and then they realize that the person 538 00:30:37,560 --> 00:30:40,800 Speaker 2: who helped them was not Waldo because they take off 539 00:30:40,840 --> 00:30:42,280 Speaker 2: their helmet and it's. 540 00:30:42,240 --> 00:30:45,280 Speaker 1: Darla, good good, good, good girl. 541 00:30:48,480 --> 00:30:50,560 Speaker 2: Oh my goodness. The person you thought was a man 542 00:30:50,640 --> 00:30:56,280 Speaker 2: because they're doing a traditionally masculine activity is actually a woman. Astonished, 543 00:30:56,400 --> 00:30:57,720 Speaker 2: I can't believe it. 544 00:30:57,920 --> 00:31:02,200 Speaker 1: The joke here is that a girl, well kid drive right. 545 00:31:03,480 --> 00:31:09,600 Speaker 2: So Darla has forgiven Alfalfa after realizing his devotion to her. Also, 546 00:31:09,960 --> 00:31:12,680 Speaker 2: Alfalfa and Spanky win the five hundred dollars cash prize, 547 00:31:12,720 --> 00:31:16,560 Speaker 2: which means that they can finally rebuild their clubhouse. They 548 00:31:16,600 --> 00:31:20,959 Speaker 2: also learn that their idol, A J. Ferguson, is a 549 00:31:21,000 --> 00:31:24,680 Speaker 2: whoa whoa whoa whoa woman. 550 00:31:25,920 --> 00:31:27,840 Speaker 1: I know, great twist from Riba. 551 00:31:30,360 --> 00:31:33,480 Speaker 2: And because of all of this, they make an amendment 552 00:31:33,720 --> 00:31:37,360 Speaker 2: to their club. They are still the he Man Woman 553 00:31:37,400 --> 00:31:42,440 Speaker 2: Haters Club, but now they allow women to join. We 554 00:31:42,520 --> 00:31:47,520 Speaker 2: see the Little Rascals along with Darla and her friends 555 00:31:48,080 --> 00:31:50,160 Speaker 2: along with the Raven Simone. 556 00:31:49,760 --> 00:31:51,840 Speaker 1: Raving Simone Stany's girlfriend at the. 557 00:31:51,760 --> 00:31:59,400 Speaker 2: Club exactly, and they're now coexisting in harmony because the 558 00:31:59,400 --> 00:32:03,520 Speaker 2: Little rast Gals fixed misogyny question. 559 00:32:03,240 --> 00:32:07,080 Speaker 1: Mark or just made it more inclusive. They're like, we 560 00:32:07,160 --> 00:32:09,320 Speaker 1: are now, I mean it kind of is like a 561 00:32:09,360 --> 00:32:11,520 Speaker 1: lot of like right wing movements right now. We're like, 562 00:32:11,560 --> 00:32:15,280 Speaker 1: we're also allowing the targets of our hatred to join 563 00:32:15,320 --> 00:32:19,400 Speaker 1: the group. And you're like, okay, do. 564 00:32:19,400 --> 00:32:21,440 Speaker 3: They also become women haters? 565 00:32:21,600 --> 00:32:27,840 Speaker 2: Unclear? Well right, like many such cases internalized misogyny, which 566 00:32:28,280 --> 00:32:30,440 Speaker 2: you know a lot of girls, especially in this era, 567 00:32:30,600 --> 00:32:35,640 Speaker 2: were you know, socialized to have so could be. 568 00:32:35,640 --> 00:32:36,719 Speaker 3: Do they become TERFs? 569 00:32:37,160 --> 00:32:43,280 Speaker 1: Oh no not, I don't. I don't want to know 570 00:32:43,320 --> 00:32:45,040 Speaker 1: what happens to these kids when they get older. 571 00:32:45,120 --> 00:32:45,440 Speaker 4: I have. 572 00:32:46,960 --> 00:32:49,520 Speaker 1: I just feel like they're headed down a dark road. 573 00:32:49,600 --> 00:32:54,280 Speaker 2: It's dark. Guts are fucked up. So that's the movie. 574 00:32:54,400 --> 00:32:56,360 Speaker 2: Let's take another quick break and then we'll come back 575 00:32:56,440 --> 00:33:20,000 Speaker 2: to discuss. 576 00:33:08,480 --> 00:33:11,720 Speaker 1: And we're back back. Should we just start at the 577 00:33:11,760 --> 00:33:18,120 Speaker 1: he Man woman haters? Clumb I was curious, so the rundown, 578 00:33:18,440 --> 00:33:21,320 Speaker 1: I mean there is truly if you're a true Little 579 00:33:21,360 --> 00:33:24,040 Speaker 1: Rascals head, like going back to the very beginning. 580 00:33:24,520 --> 00:33:26,040 Speaker 2: Literally there's not enough time. 581 00:33:26,720 --> 00:33:29,800 Speaker 1: The longest Wikipedia page to ever exist is the Little 582 00:33:29,840 --> 00:33:34,680 Speaker 1: Rascals page, because oh yeah, because they began as these 583 00:33:34,880 --> 00:33:40,160 Speaker 1: theatrical shorts called Our Gang. The franchise began in nineteen 584 00:33:40,360 --> 00:33:41,440 Speaker 1: twenty two. 585 00:33:41,600 --> 00:33:43,080 Speaker 2: During like the Silent era. 586 00:33:43,560 --> 00:33:47,320 Speaker 1: Yeah, so, like the Little Rascals have been around with 587 00:33:47,440 --> 00:33:51,240 Speaker 1: us for basically as long as movies have, give or 588 00:33:51,280 --> 00:33:55,720 Speaker 1: take like a decade or so. And they've changed over 589 00:33:55,760 --> 00:33:59,160 Speaker 1: the years, which I can't speak to every single change. 590 00:33:59,440 --> 00:34:02,280 Speaker 1: But the He Man Woman Haters Club, as far as 591 00:34:02,320 --> 00:34:05,440 Speaker 1: I could tell, goes as far back as nineteen thirty seven. 592 00:34:05,640 --> 00:34:09,040 Speaker 1: Because I was curious if this was an invention of 593 00:34:09,080 --> 00:34:13,000 Speaker 1: the franchise or this movie specifically to try to have 594 00:34:13,080 --> 00:34:17,000 Speaker 1: some gender commentary, but it's it's canon. It goes back 595 00:34:17,040 --> 00:34:19,960 Speaker 1: to nineteen thirty seven. There is a lot to be 596 00:34:20,120 --> 00:34:23,080 Speaker 1: said for what I can tell about Our Gang or 597 00:34:23,200 --> 00:34:27,120 Speaker 1: the Little Rascals or Hal Roach's Little Rascals. 598 00:34:27,680 --> 00:34:28,440 Speaker 2: Over the years. 599 00:34:28,560 --> 00:34:29,680 Speaker 3: This page is insane. 600 00:34:29,840 --> 00:34:30,920 Speaker 2: It's so long. 601 00:34:32,560 --> 00:34:37,480 Speaker 1: I've got to say I scanned it. But like hal 602 00:34:37,560 --> 00:34:39,799 Speaker 1: Roach is like a big I remember him coming up 603 00:34:39,840 --> 00:34:43,080 Speaker 1: in like film school because he also created the Laurel 604 00:34:43,160 --> 00:34:47,440 Speaker 1: and Hardy series. Like, he's very influential in early movies. 605 00:34:47,560 --> 00:34:49,120 Speaker 1: There's a lot to be said, and I know that 606 00:34:49,120 --> 00:34:51,640 Speaker 1: we'll talk about it later in this episode. With regards 607 00:34:51,640 --> 00:34:55,839 Speaker 1: to this movie. But this series relationship with race, as 608 00:34:55,880 --> 00:34:58,680 Speaker 1: maybe you could imagine because it started in nineteen twenty two, 609 00:34:59,320 --> 00:35:03,280 Speaker 1: is all over the place. It's extremely fraught. 610 00:35:03,480 --> 00:35:03,680 Speaker 2: You know. 611 00:35:03,719 --> 00:35:07,800 Speaker 1: As far as the early shorts go, there have always 612 00:35:07,880 --> 00:35:12,480 Speaker 1: been young black actors in Our Gang or the Little Rascals, 613 00:35:13,280 --> 00:35:17,320 Speaker 1: which in the twenties was polarizing for different reasons because 614 00:35:17,880 --> 00:35:22,920 Speaker 1: many black audiences felt correctly that the kids were being 615 00:35:23,160 --> 00:35:26,560 Speaker 1: heavily racially stereotyped in the roles they were casted. And 616 00:35:26,600 --> 00:35:28,799 Speaker 1: then there were a lot of white audiences that were 617 00:35:28,840 --> 00:35:32,120 Speaker 1: just angry that there was a black character at all. 618 00:35:32,280 --> 00:35:35,440 Speaker 1: So there's a lot to be said about that. But 619 00:35:35,760 --> 00:35:39,680 Speaker 1: from what I can tell, the characters have been pretty consistent. 620 00:35:39,880 --> 00:35:43,360 Speaker 1: They would be you know, throughout the twenties, thirties, and forties, 621 00:35:43,400 --> 00:35:46,239 Speaker 1: they would be recast like they would just put a 622 00:35:46,360 --> 00:35:48,640 Speaker 1: child in the garbage and then be like this is 623 00:35:48,680 --> 00:35:52,960 Speaker 1: the new Alfalfa like and that would happen every couple 624 00:35:53,000 --> 00:35:56,280 Speaker 1: of years. It was a big way to like launch 625 00:35:56,320 --> 00:35:58,839 Speaker 1: your career in the studio system back in the day. 626 00:35:59,640 --> 00:36:02,600 Speaker 1: It's one of the reasons that there's now more labor 627 00:36:02,880 --> 00:36:07,200 Speaker 1: rights for child actors because most of the kids who 628 00:36:07,320 --> 00:36:10,000 Speaker 1: starred in them, didn't go on to have like an 629 00:36:10,080 --> 00:36:14,120 Speaker 1: enduring Hollywood career, and also didn't get any residuals or anything, 630 00:36:14,239 --> 00:36:16,840 Speaker 1: even though the series, you know, the shorts were shown 631 00:36:16,880 --> 00:36:17,520 Speaker 1: over and over. 632 00:36:18,520 --> 00:36:20,759 Speaker 3: So you're saying, this is like the Doctor Who of 633 00:36:20,800 --> 00:36:23,880 Speaker 3: Old America where you can regenerate and get a new alfalfa. 634 00:36:24,280 --> 00:36:27,759 Speaker 1: Exactly, yes, kind of yeah, like I and this is 635 00:36:27,880 --> 00:36:30,560 Speaker 1: like to be clear, I did not know a bar 636 00:36:30,680 --> 00:36:37,000 Speaker 1: of this before this morning. So thankfully the Our Gang 637 00:36:37,120 --> 00:36:40,759 Speaker 1: wikia was also very helpful to me because the he 638 00:36:40,880 --> 00:36:43,600 Speaker 1: Man Woman Haters Club has its own page. So the 639 00:36:43,600 --> 00:36:47,480 Speaker 1: he Man Woman Haters Club goes back to the thirties 640 00:36:48,239 --> 00:36:52,560 Speaker 1: in the short male and female but male spelled m ail, 641 00:36:52,719 --> 00:36:55,200 Speaker 1: which I'm sure is a hilarious joke in text. Don't 642 00:36:55,239 --> 00:36:58,360 Speaker 1: really know, so I'll tell you that three times the 643 00:36:58,400 --> 00:37:00,520 Speaker 1: he Man Woman Haters Club come up in the series. 644 00:37:00,560 --> 00:37:03,480 Speaker 1: The first is in nineteen thirty seven, kind of a 645 00:37:03,560 --> 00:37:08,440 Speaker 1: similar story from the nineties. Okay, Spanky had I'm quoted 646 00:37:08,480 --> 00:37:11,400 Speaker 1: here from the Ourgang dot fandom dot com. 647 00:37:11,239 --> 00:37:14,600 Speaker 2: Wow scholarly journal. Yeah, which whoever is? 648 00:37:15,080 --> 00:37:19,920 Speaker 1: I'm like, who is this for? But I guess us? Okay, 649 00:37:21,160 --> 00:37:23,880 Speaker 1: Spanky had founded the Exclusive Club as a defense against 650 00:37:23,960 --> 00:37:27,200 Speaker 1: girls and Valentine's Day, but Alfalfa's heart was just. 651 00:37:27,120 --> 00:37:27,600 Speaker 2: Not in it. 652 00:37:27,880 --> 00:37:30,080 Speaker 1: His love for Darla keeps him from taking it seriously, 653 00:37:30,160 --> 00:37:33,239 Speaker 1: but Spanky soon forces him to realize the bonds of brotherhood. 654 00:37:34,080 --> 00:37:37,320 Speaker 1: Spanky later restores the club as an act of revenge 655 00:37:37,680 --> 00:37:40,040 Speaker 1: after none of the boys get invited to the Makilla 656 00:37:40,160 --> 00:37:45,440 Speaker 1: Cutty Girls party, and institutes Alfalfa as president. However, when 657 00:37:45,440 --> 00:37:48,319 Speaker 1: Alfalfa learns the club rules to never fraternize with the 658 00:37:48,360 --> 00:37:50,600 Speaker 1: girls again, he is forced to rush back and get 659 00:37:50,640 --> 00:37:52,799 Speaker 1: a love note he sent to Darla, later trapping the 660 00:37:52,800 --> 00:37:55,200 Speaker 1: club members there, but he gets busted when the love 661 00:37:55,239 --> 00:37:59,160 Speaker 1: note is discovered. So like, there's similarities, right. There were 662 00:37:59,239 --> 00:38:03,319 Speaker 1: adaptations in the eighties as well. I believe most of 663 00:38:03,320 --> 00:38:06,719 Speaker 1: them were cartoons. But this is where in the eighties 664 00:38:07,040 --> 00:38:09,919 Speaker 1: the he Man This is so much I'm sorry, guys, 665 00:38:10,200 --> 00:38:13,640 Speaker 1: the he Man Woman Haters Club comes back around over 666 00:38:13,719 --> 00:38:14,879 Speaker 1: sixty years. 667 00:38:14,520 --> 00:38:17,880 Speaker 2: Into the Gang's run. So wait, let me pause you 668 00:38:17,960 --> 00:38:21,319 Speaker 2: for one second. Yeah, so it's only in one episode 669 00:38:21,360 --> 00:38:24,960 Speaker 2: slash one short film that the he Man Woman Haters 670 00:38:25,000 --> 00:38:29,360 Speaker 2: comes up in the original run of this series. Is 671 00:38:29,360 --> 00:38:29,719 Speaker 2: that right? 672 00:38:30,560 --> 00:38:33,320 Speaker 1: I cannot confirm that for sure. I was only able 673 00:38:33,360 --> 00:38:35,759 Speaker 1: to find that it's very relevant to the plot in 674 00:38:35,840 --> 00:38:39,759 Speaker 1: exactly one short from nineteen thirty seven. Okay, okay, so 675 00:38:39,880 --> 00:38:41,520 Speaker 1: I can't say that for sure, but it seems like 676 00:38:41,680 --> 00:38:43,879 Speaker 1: this is just something that's planted. And then when they 677 00:38:43,920 --> 00:38:46,200 Speaker 1: go back to it in the eighties, they find this 678 00:38:46,280 --> 00:38:49,160 Speaker 1: episode and they're like, oh, let's bring back the Misogyny Club. 679 00:38:49,200 --> 00:38:54,320 Speaker 1: That was fun, right right okay, which which is congratulations, 680 00:38:54,320 --> 00:38:58,000 Speaker 1: So whoever the fuck did that? So okay in the 681 00:38:58,040 --> 00:39:01,359 Speaker 1: eighties version, you can all see like shadows of what's 682 00:39:01,360 --> 00:39:05,120 Speaker 1: going to happen in the nineties, Spanky refounds the club 683 00:39:05,280 --> 00:39:09,560 Speaker 1: and installs himself as president. Darla briefly considers starting her 684 00:39:09,560 --> 00:39:13,520 Speaker 1: own club, the She Woman Man Haters Club. However, in 685 00:39:13,520 --> 00:39:16,040 Speaker 1: an attempt to cheer Darla up for losing the town 686 00:39:16,160 --> 00:39:19,560 Speaker 1: beauty pageant, the boys make Darla queen of their club. 687 00:39:19,920 --> 00:39:23,120 Speaker 1: Darla's response to her role is, I guess anybody can 688 00:39:23,160 --> 00:39:25,800 Speaker 1: be a beauty queen, but not everybody can be Queen 689 00:39:25,960 --> 00:39:29,719 Speaker 1: of the He Man Woman Haters Club. So that's how 690 00:39:29,719 --> 00:39:34,000 Speaker 1: they tackle it in the eighties, and which is like, 691 00:39:34,120 --> 00:39:38,319 Speaker 1: somehow worse than the first time. And then there's the 692 00:39:38,520 --> 00:39:40,160 Speaker 1: reference to this one in the nineties. 693 00:39:40,920 --> 00:39:44,399 Speaker 3: So are there threads of the little rascals that don't 694 00:39:44,440 --> 00:39:45,760 Speaker 3: include a misogyny club? 695 00:39:46,520 --> 00:39:49,759 Speaker 1: That is a really good question, not that I've been 696 00:39:50,040 --> 00:39:51,600 Speaker 1: able to tell. 697 00:39:52,360 --> 00:39:55,560 Speaker 3: I mean, misogyny really is just timeless, isn't it. 698 00:39:55,560 --> 00:39:59,480 Speaker 2: It's everywhere, It's always. 699 00:39:58,320 --> 00:40:02,000 Speaker 1: So my understanding is, yeah, it starts as silent films, 700 00:40:02,120 --> 00:40:07,520 Speaker 1: it goes into the sound era. The kids are recast constantly, 701 00:40:08,239 --> 00:40:11,840 Speaker 1: but it basically is released like seasons of TV before 702 00:40:11,920 --> 00:40:15,000 Speaker 1: TV existed, so they would be shown before kids movies 703 00:40:15,800 --> 00:40:20,680 Speaker 1: and stuff like that. And yeah, it's relationship with race 704 00:40:20,760 --> 00:40:24,719 Speaker 1: is very complicated and it's been around for over one 705 00:40:24,760 --> 00:40:28,000 Speaker 1: hundred years wild and for what. But let's talk about 706 00:40:28,040 --> 00:40:28,680 Speaker 1: it a lot. 707 00:40:30,880 --> 00:40:34,759 Speaker 2: So the way the He Man Woman Haters Club is 708 00:40:34,800 --> 00:40:39,120 Speaker 2: represented in the movie, this nineteen ninety four movie is 709 00:40:39,480 --> 00:40:44,640 Speaker 2: I feel like, very emblematic of the vibes when you 710 00:40:44,680 --> 00:40:48,200 Speaker 2: were if you were a kid in the nineties, it 711 00:40:48,280 --> 00:40:52,640 Speaker 2: was just like no girls allowed, you know, boys thinking 712 00:40:52,760 --> 00:40:55,960 Speaker 2: that girls were grossed and awful because. 713 00:40:55,680 --> 00:41:02,160 Speaker 3: They maybe this is why I'm gay. Girl. 714 00:41:02,680 --> 00:41:07,480 Speaker 2: Ninety's misogyny made people gay. No, but like but little 715 00:41:07,520 --> 00:41:11,719 Speaker 2: boys were little boys like hated girls simply because they 716 00:41:11,719 --> 00:41:14,239 Speaker 2: were conditioned to think that they were supposed to and 717 00:41:14,280 --> 00:41:16,960 Speaker 2: that they were told that like, you know, quote unquote 718 00:41:17,000 --> 00:41:21,600 Speaker 2: girly things were bad and they were synonymous with like 719 00:41:21,920 --> 00:41:28,400 Speaker 2: weakness and other negative qualities. And clearly the kids in 720 00:41:28,440 --> 00:41:32,680 Speaker 2: this movie, like kids that young, haven't given much or 721 00:41:32,719 --> 00:41:36,160 Speaker 2: any critical thought to why they hate girls and women, 722 00:41:36,920 --> 00:41:40,239 Speaker 2: partly because they don't have the like cognitive capacity to 723 00:41:41,120 --> 00:41:43,720 Speaker 2: do that type of critical thinking because they're just simply 724 00:41:43,719 --> 00:41:46,239 Speaker 2: too young. But like they're just like, yeah, I hate 725 00:41:46,320 --> 00:41:49,000 Speaker 2: girls because I'm supposed to because I'm a boy. You know, 726 00:41:49,080 --> 00:41:52,719 Speaker 2: it's just like right, senseless reasons, and so that was 727 00:41:52,840 --> 00:41:55,040 Speaker 2: very common. I remember like growing up as a kid, 728 00:41:55,200 --> 00:41:56,960 Speaker 2: like being excluded. 729 00:41:56,360 --> 00:41:58,640 Speaker 1: From I mean, I think it's still a thing. 730 00:41:59,160 --> 00:42:03,279 Speaker 2: Yeah right, yeah, and yeah this movie is just like 731 00:42:03,680 --> 00:42:09,000 Speaker 2: and let's have that. But you know, you have one 732 00:42:09,200 --> 00:42:13,880 Speaker 2: this kid, Alfalfa, who belongs to the club for some reason, 733 00:42:13,960 --> 00:42:21,160 Speaker 2: even though he is a self proclaimed male feminist or something. 734 00:42:21,160 --> 00:42:23,560 Speaker 1: But he's also like I feel like he's like a 735 00:42:23,560 --> 00:42:28,000 Speaker 1: closet feminist because it's not like he's he's not a 736 00:42:28,040 --> 00:42:33,200 Speaker 1: feminist when it counts when he's around his voice. 737 00:42:33,239 --> 00:42:36,399 Speaker 3: I'm not like those other kids. Darlin like, yes, I'm 738 00:42:36,400 --> 00:42:38,160 Speaker 3: in touch with my feminine side. 739 00:42:39,560 --> 00:42:42,720 Speaker 1: I do love the little boat. 740 00:42:43,480 --> 00:42:46,560 Speaker 2: It's cute. And he's like, I'm a sensitive male. I'm 741 00:42:46,560 --> 00:42:51,040 Speaker 2: into sharing, caring, feeling and healing. And then so you know, 742 00:42:51,080 --> 00:42:53,920 Speaker 2: you have this kid who's like secretly at odds with 743 00:42:54,160 --> 00:42:57,920 Speaker 2: the misogyny club, but he does nothing to like challenge 744 00:42:58,360 --> 00:43:01,759 Speaker 2: them really, and then you have this arc by the 745 00:43:02,040 --> 00:43:07,520 Speaker 2: end where after you know, realizing that their race car 746 00:43:07,680 --> 00:43:11,280 Speaker 2: Idol is actually a woman and realizing that the person 747 00:43:11,680 --> 00:43:15,000 Speaker 2: who helped them in the race was a little girl 748 00:43:15,320 --> 00:43:18,240 Speaker 2: and not a boy like they thought, They're like, maybe 749 00:43:18,400 --> 00:43:21,759 Speaker 2: girls aren't so bad after all, let's let them into 750 00:43:21,880 --> 00:43:28,440 Speaker 2: our hateful club. And the arc of the story you're like, 751 00:43:29,480 --> 00:43:35,439 Speaker 2: it's a start question where right? I did enjoy this 752 00:43:35,680 --> 00:43:38,880 Speaker 2: scene although it's you know, just referring to a bunch 753 00:43:38,920 --> 00:43:42,680 Speaker 2: of stereotypes, but like the sleepover scenes that are like 754 00:43:42,800 --> 00:43:46,960 Speaker 2: juxtaposed against each other, where the girls are like, girls 755 00:43:46,960 --> 00:43:51,040 Speaker 2: get along with each other, boys stand up for themselves. 756 00:43:51,360 --> 00:43:56,239 Speaker 2: Girls care, boys take what's theirs. Boys won't listen. All 757 00:43:56,360 --> 00:43:59,279 Speaker 2: girls want to do is talk. They'd ever shut the 758 00:43:59,440 --> 00:44:02,680 Speaker 2: fuck up. Boys like tomon girls and they're like, no, 759 00:44:02,800 --> 00:44:05,440 Speaker 2: we don't as if they're like having a conversation with 760 00:44:05,440 --> 00:44:08,880 Speaker 2: It's so funny. But yeah, they're just like going on 761 00:44:08,920 --> 00:44:14,319 Speaker 2: and on about like, oh, stereotypically girls like this and 762 00:44:14,400 --> 00:44:19,800 Speaker 2: stereotypically boys like this, and you know, it's it's I 763 00:44:19,840 --> 00:44:20,960 Speaker 2: don't know. I thought it was. 764 00:44:21,040 --> 00:44:23,160 Speaker 1: I thought it was like it's it's so like, I 765 00:44:23,160 --> 00:44:25,879 Speaker 1: don't know, it's it's a tricky needle to thread right where. 766 00:44:25,880 --> 00:44:28,200 Speaker 1: I like that they are they are they're clearly like 767 00:44:28,320 --> 00:44:32,280 Speaker 1: parroting things they've heard from other people and not standing 768 00:44:32,360 --> 00:44:35,440 Speaker 1: at his fact. Like the movie is to some extent 769 00:44:35,520 --> 00:44:38,160 Speaker 1: trying to push back on these assumptions, but it never 770 00:44:38,239 --> 00:44:41,240 Speaker 1: pushes quite far enough because it seems like in every 771 00:44:41,360 --> 00:44:46,400 Speaker 1: version of this story, best case scenario, the girls join 772 00:44:46,600 --> 00:44:50,600 Speaker 1: the girl hating group, right, So it's weird. 773 00:44:50,719 --> 00:44:53,040 Speaker 2: I don't know. And this was like the spiel that 774 00:44:53,080 --> 00:44:56,200 Speaker 2: I was gonna give about it, where like at the 775 00:44:56,320 --> 00:45:00,920 Speaker 2: very end, when the girls are present at the misogyny 776 00:45:00,960 --> 00:45:05,200 Speaker 2: clerb and we see like we see a few quick 777 00:45:05,239 --> 00:45:09,759 Speaker 2: cuts of the girls and boys like sharing interests, their 778 00:45:09,800 --> 00:45:13,640 Speaker 2: interests with each other, like dolls and lizards and sticking 779 00:45:13,680 --> 00:45:16,960 Speaker 2: pencils up your nose. But then also we see like 780 00:45:17,080 --> 00:45:22,600 Speaker 2: the boys kissing the girls a few times, which felt unnecessary, 781 00:45:22,640 --> 00:45:26,359 Speaker 2: both from a like can we not have children kiss 782 00:45:26,400 --> 00:45:30,480 Speaker 2: each other in movies? That just feels like a very weird, grossicky, 783 00:45:30,680 --> 00:45:35,400 Speaker 2: like thankfully outdated thing that I don't think really happens anymore, 784 00:45:35,440 --> 00:45:39,840 Speaker 2: but it also just seems to suggest, like, well, a 785 00:45:39,920 --> 00:45:43,440 Speaker 2: big reason that the boys are now allowing the girls 786 00:45:43,480 --> 00:45:45,919 Speaker 2: to hang out with them is because the girls are 787 00:45:46,080 --> 00:45:51,359 Speaker 2: becoming objects of the boy's romantic affection, and that's the 788 00:45:51,400 --> 00:45:55,600 Speaker 2: main function of women in a patriarchal society. So those 789 00:45:55,680 --> 00:45:57,839 Speaker 2: like little kisses at the end, I was like, hmm, 790 00:45:58,400 --> 00:46:00,879 Speaker 2: don't like the implications that I. 791 00:46:00,800 --> 00:46:04,400 Speaker 1: Agree, yeah, And I luckily don't think that that. I 792 00:46:04,440 --> 00:46:05,839 Speaker 1: hope that that wouldn't happen now. 793 00:46:05,880 --> 00:46:06,440 Speaker 2: I'm like, ugh. 794 00:46:07,840 --> 00:46:10,680 Speaker 3: One thing I noticed was like this movie was very 795 00:46:10,760 --> 00:46:14,799 Speaker 3: reminiscent of like the problematic over sexualization of children in 796 00:46:14,840 --> 00:46:17,640 Speaker 3: the nineties and how no one really ever thought about 797 00:46:17,680 --> 00:46:20,440 Speaker 3: it and they just make all these awful jokes, and 798 00:46:20,560 --> 00:46:23,320 Speaker 3: like there was no need for Alfalfa to be swimming 799 00:46:23,400 --> 00:46:26,440 Speaker 3: in white briefs in a pool and be naked, and 800 00:46:26,480 --> 00:46:29,600 Speaker 3: like it was tasteless, it was just like, why is 801 00:46:29,640 --> 00:46:30,319 Speaker 3: this even here? 802 00:46:30,440 --> 00:46:35,279 Speaker 1: Like I really like it's so yeah, it's gross. I 803 00:46:35,320 --> 00:46:39,040 Speaker 1: know that we'll touch on Bug Hall really quick. Bug Haul. 804 00:46:39,640 --> 00:46:42,920 Speaker 1: I have not watched the video, but I know that 805 00:46:42,960 --> 00:46:45,880 Speaker 1: he has spoken out on feeling that he was mistreated 806 00:46:45,920 --> 00:46:49,560 Speaker 1: in Hollywood as a child and that that really affected 807 00:46:50,080 --> 00:46:54,840 Speaker 1: his life. He he continued to act through like up 808 00:46:54,920 --> 00:46:59,040 Speaker 1: until a couple of years ago, had some addiction issues, 809 00:46:59,719 --> 00:47:03,279 Speaker 1: but most relevantly, I guess to the content of this movie. 810 00:47:03,320 --> 00:47:05,960 Speaker 1: So I do want to acknowledge that he and again 811 00:47:06,000 --> 00:47:08,200 Speaker 1: I don't know the details of it, but says that 812 00:47:08,280 --> 00:47:10,600 Speaker 1: he was mistreated as a kid. I don't know how 813 00:47:10,640 --> 00:47:14,160 Speaker 1: severe the allegations are or anything like that, but he 814 00:47:14,280 --> 00:47:19,240 Speaker 1: also hates women to this day. This is from scholarly 815 00:47:19,320 --> 00:47:23,680 Speaker 1: journal Wikipedia. In twenty thirteen, Hall converted to Catholicism, later 816 00:47:23,800 --> 00:47:26,680 Speaker 1: leaving Hollywood. In twenty twenty and twenty twenty one, Hall 817 00:47:26,760 --> 00:47:28,520 Speaker 1: stated that he and his family had moved to a 818 00:47:28,560 --> 00:47:31,040 Speaker 1: farm in the Midwest so as to undertake a vow 819 00:47:31,160 --> 00:47:34,960 Speaker 1: of poverty. In December twenty twenty two, Hall was temporarily 820 00:47:35,000 --> 00:47:37,600 Speaker 1: banned on Twitter after posting tweets in support of marital 821 00:47:37,640 --> 00:47:41,120 Speaker 1: debt and corporal punishment of minors. Regarding his two daughters, 822 00:47:41,960 --> 00:47:46,600 Speaker 1: marital debt is like your wife is legally obligated to 823 00:47:46,600 --> 00:47:47,600 Speaker 1: have sex with you when you. 824 00:47:47,520 --> 00:47:49,280 Speaker 2: Want to have sex with her. Oh my god. 825 00:47:49,760 --> 00:47:52,000 Speaker 1: He followed up on the band through his Instagram, saying, 826 00:47:52,040 --> 00:47:55,440 Speaker 1: the truth will always be unpopular, the truthful will always 827 00:47:55,440 --> 00:48:00,560 Speaker 1: be persecuted, but eternity will always be sweet. Remember twenty 828 00:48:00,560 --> 00:48:03,800 Speaker 1: twenty four, Hall was criticized for referring to his daughters 829 00:48:03,800 --> 00:48:07,520 Speaker 1: as dishwashers in an ex post regarding the birth of 830 00:48:07,560 --> 00:48:13,680 Speaker 1: his first son, who he called his heir. So boo 831 00:48:13,760 --> 00:48:16,920 Speaker 1: boo to wow, we'reas I mean, there's a lot of 832 00:48:16,920 --> 00:48:19,680 Speaker 1: these kids didn't work very long in Hollywood, so I 833 00:48:19,960 --> 00:48:24,960 Speaker 1: can't follow everyone's career. But interestingly, Alfalfa, our hero turns 834 00:48:24,960 --> 00:48:28,279 Speaker 1: out to be a real life villain. Meanwhile, Waldo our 835 00:48:28,560 --> 00:48:32,959 Speaker 1: villain villain, Blake McIvor Ewing is a queer icon and 836 00:48:34,080 --> 00:48:37,200 Speaker 1: has he's gay. He's gay, Oh my god. He's like 837 00:48:37,280 --> 00:48:40,359 Speaker 1: done work for the It Gets Better project. He's been 838 00:48:40,440 --> 00:48:43,480 Speaker 1: in La Go Go Dancer and like has been a 839 00:48:43,560 --> 00:48:46,280 Speaker 1: huge advocate for gay rights for a very long time. 840 00:48:46,440 --> 00:48:52,839 Speaker 3: So I need a book, a flight to La. 841 00:48:50,920 --> 00:48:55,359 Speaker 1: Get over here Blake's waiting, but it's really I was. 842 00:48:55,440 --> 00:48:59,480 Speaker 1: I was like, yeah, it's so it's the bug Hall 843 00:48:59,480 --> 00:49:01,440 Speaker 1: stuff through me for a damn loop. 844 00:49:02,200 --> 00:49:06,480 Speaker 2: Yeah. I did not encounter that in my research. Yikes. 845 00:49:06,760 --> 00:49:09,799 Speaker 3: Yeah, this this film really like doesn't really hit you 846 00:49:09,880 --> 00:49:13,760 Speaker 3: on the head enough with like it's if its intent 847 00:49:14,000 --> 00:49:17,279 Speaker 3: was to be like, well, like, actually women are like 848 00:49:17,480 --> 00:49:19,960 Speaker 3: equal and like we should like these are all stereotypes 849 00:49:20,000 --> 00:49:22,719 Speaker 3: that we fight and that we should be combating like that, 850 00:49:22,840 --> 00:49:25,359 Speaker 3: it doesn't really do that at all. It like really 851 00:49:25,440 --> 00:49:27,480 Speaker 3: elevates a lot of that stuff. 852 00:49:27,680 --> 00:49:30,320 Speaker 1: Right, which is weird because I felt like, well, I 853 00:49:30,360 --> 00:49:33,640 Speaker 1: don't know what what y'all think, but like I felt 854 00:49:33,640 --> 00:49:35,680 Speaker 1: like in nineteen ninety four you could get away with 855 00:49:35,719 --> 00:49:38,239 Speaker 1: doing that, but especially in a movie that is like 856 00:49:39,120 --> 00:49:42,280 Speaker 1: I mean, I'm I love Penelope Spherists and who knows, 857 00:49:42,360 --> 00:49:44,360 Speaker 1: you know, I'm sure this movie was like noted in 858 00:49:44,520 --> 00:49:47,759 Speaker 1: studio Notes to Death. But I do wonder if there 859 00:49:47,920 --> 00:49:51,520 Speaker 1: was ever if that was ever even like floated. 860 00:49:51,400 --> 00:49:55,520 Speaker 3: Like having it be more like more feminist in its approach. 861 00:49:55,840 --> 00:49:58,399 Speaker 1: Yeah, yeah, I just wonder if that was ever even 862 00:49:58,440 --> 00:50:00,359 Speaker 1: like on the table, like. 863 00:50:00,360 --> 00:50:03,279 Speaker 3: So, actually I just watched TUTSI the other day, which 864 00:50:03,320 --> 00:50:04,960 Speaker 3: is really funny because I saw it on your list 865 00:50:05,000 --> 00:50:08,200 Speaker 3: and then my husband had it in our library and 866 00:50:08,239 --> 00:50:10,080 Speaker 3: I was like, oh, let's check this out. And that 867 00:50:10,120 --> 00:50:12,759 Speaker 3: movie was made in the eighties, and that movie does 868 00:50:12,800 --> 00:50:17,640 Speaker 3: a really great job at like talking about gender equality 869 00:50:17,800 --> 00:50:20,600 Speaker 3: and like expectations of women at the time in the eighties, 870 00:50:21,040 --> 00:50:22,640 Speaker 3: and I'm like, that was in the eighties, so like 871 00:50:22,800 --> 00:50:26,160 Speaker 3: this was like ten years later. Like they absolutely could 872 00:50:26,200 --> 00:50:28,800 Speaker 3: have gone way further with it. 873 00:50:29,040 --> 00:50:31,319 Speaker 1: Especially in a movie for kids, where it would be 874 00:50:31,400 --> 00:50:36,080 Speaker 1: extra valuable to include those values. And I don't know, 875 00:50:36,120 --> 00:50:39,080 Speaker 1: it seems like they built out, you know, Darlaw's world 876 00:50:39,120 --> 00:50:40,959 Speaker 1: a little bit more, but her her world is still 877 00:50:41,080 --> 00:50:46,760 Speaker 1: very like stereotypically feminine, and it's like ballet and sleepovers 878 00:50:46,840 --> 00:50:49,920 Speaker 1: and tudas, and the world of the boys is very 879 00:50:49,920 --> 00:50:54,120 Speaker 1: stereotypically masculine. I liked the drag sequence was kind of fun, 880 00:50:55,480 --> 00:50:56,960 Speaker 1: so I thought it was sweet. 881 00:50:57,080 --> 00:51:00,960 Speaker 2: I don't know, there were a couple like moments of 882 00:51:01,200 --> 00:51:05,920 Speaker 2: sort of like queer phobia where, for example, because of 883 00:51:05,920 --> 00:51:08,440 Speaker 2: the girls who are talking to the two boys in 884 00:51:09,160 --> 00:51:12,000 Speaker 2: Tutu's in wigs and everything, and they don't realize they're 885 00:51:12,000 --> 00:51:17,319 Speaker 2: talking to boys. They are talking about Alfalfa as if 886 00:51:17,320 --> 00:51:20,160 Speaker 2: he's not there, and I think it's Spanky goes, well, 887 00:51:20,200 --> 00:51:25,160 Speaker 2: I heard Alfalfa dresses in girls clothing, I e. In 888 00:51:25,239 --> 00:51:28,160 Speaker 2: this exact moment, right, and then all the girls are 889 00:51:28,200 --> 00:51:35,560 Speaker 2: like shock and maybe discussed very dated. And then there's 890 00:51:35,600 --> 00:51:38,080 Speaker 2: like a no homo joke where. 891 00:51:38,280 --> 00:51:42,360 Speaker 1: Like they're eight like that I'm doing right, They're like weird. 892 00:51:42,360 --> 00:51:46,560 Speaker 2: No, the girls see the boys again, not realizing they're boys, 893 00:51:46,719 --> 00:51:49,440 Speaker 2: and they say, oh, are you fairies and they're like, no, 894 00:51:49,480 --> 00:51:52,280 Speaker 2: we're not fairies, as if like eight year old kids 895 00:51:52,360 --> 00:51:56,000 Speaker 2: understand that euphemism, and then they're like, no, we mean like, 896 00:51:56,040 --> 00:51:58,400 Speaker 2: are you sugar plum fairies because they're about to like 897 00:51:58,440 --> 00:52:02,120 Speaker 2: do scenes from the Nutcrack and they're like, oh, yeah, yeah, 898 00:52:02,120 --> 00:52:03,560 Speaker 2: we're sugar plum fairies. 899 00:52:03,960 --> 00:52:06,560 Speaker 1: So it's just I mean this, I think, and I'm 900 00:52:06,560 --> 00:52:09,680 Speaker 1: sure it has to do with its like age, but 901 00:52:10,320 --> 00:52:15,279 Speaker 1: this like franchise has just struggled with equality conceptually. It 902 00:52:15,360 --> 00:52:20,080 Speaker 1: seems like at every stage of its existence, the. 903 00:52:20,040 --> 00:52:22,879 Speaker 3: Best thing it has going for it are it's cameos. 904 00:52:23,239 --> 00:52:26,360 Speaker 1: Truly, yes, and I've like that that firmly places this 905 00:52:26,440 --> 00:52:29,400 Speaker 1: movie in the nineties, where the characters are from nineteen 906 00:52:29,480 --> 00:52:33,839 Speaker 1: forty for some reason, but they know Reba, so how 907 00:52:33,840 --> 00:52:38,800 Speaker 1: bad could it be? Yeah, I guess I was curious 908 00:52:38,880 --> 00:52:42,160 Speaker 1: because there this is a I guess for a nineteen 909 00:52:42,200 --> 00:52:44,880 Speaker 1: ninety four movie, more diverse than I expected. And I 910 00:52:44,920 --> 00:52:50,240 Speaker 1: also didn't know that that is canonical to the series 911 00:52:50,280 --> 00:52:54,279 Speaker 1: going back one hundred years. But we don't really know 912 00:52:54,360 --> 00:52:57,600 Speaker 1: anything about the black characters, and almost everything they do 913 00:52:57,800 --> 00:53:01,280 Speaker 1: is to support Alfalfa or Spanky. 914 00:53:01,560 --> 00:53:05,720 Speaker 2: It seems like right it is a predominantly white cast, 915 00:53:06,200 --> 00:53:10,279 Speaker 2: but as you mentioned, Jamie, I guess the inclusion of 916 00:53:10,320 --> 00:53:13,600 Speaker 2: the two black characters who are among the main cast, 917 00:53:13,680 --> 00:53:17,439 Speaker 2: between Steami and Buckwheat, it is kind of pulling from 918 00:53:17,920 --> 00:53:23,080 Speaker 2: the original series from the twenties, thirties, and forties, which 919 00:53:23,440 --> 00:53:26,560 Speaker 2: was considered to be groundbreaking because it was like one 920 00:53:26,600 --> 00:53:29,759 Speaker 2: of the first and few pieces of media at the 921 00:53:29,800 --> 00:53:35,359 Speaker 2: time that was portraying black and white children interacting as 922 00:53:35,520 --> 00:53:40,600 Speaker 2: equals in the Jim Crow era. As you also said, 923 00:53:40,719 --> 00:53:45,880 Speaker 2: the black characters were basically just racial stereotypes and that 924 00:53:45,920 --> 00:53:49,920 Speaker 2: there were various like very racially charged gags that were 925 00:53:50,200 --> 00:53:54,840 Speaker 2: just absolutely disgusting throughout the series, which was also further complicated. 926 00:53:54,880 --> 00:53:57,640 Speaker 1: I'm trying to think of I forget what movie we 927 00:53:57,680 --> 00:54:02,000 Speaker 1: talked about that had a simpler legacy where the actors 928 00:54:02,640 --> 00:54:05,879 Speaker 1: who played these parts in the original shorts were sort 929 00:54:05,880 --> 00:54:10,719 Speaker 1: of like later kind of defensive of the arguing shorts 930 00:54:10,760 --> 00:54:14,880 Speaker 1: where I guess that Eddie Murphy performed as Buckwheat on 931 00:54:15,040 --> 00:54:19,120 Speaker 1: SNL in the eighties and the original Buckwheat's family reached 932 00:54:19,160 --> 00:54:21,760 Speaker 1: out and was like, fuck you, Eddie Murphy. 933 00:54:21,840 --> 00:54:23,040 Speaker 2: It's a whoa. 934 00:54:23,120 --> 00:54:25,799 Speaker 1: But it sounds like I haven't seen the sketches, but 935 00:54:25,840 --> 00:54:28,799 Speaker 1: it seems like the sketches were built around like, yes, 936 00:54:28,920 --> 00:54:31,520 Speaker 1: this was a black character on TV, but how like 937 00:54:31,680 --> 00:54:33,600 Speaker 1: how racist were they being to this character? 938 00:54:34,080 --> 00:54:36,719 Speaker 2: Right? I mean, as many people have pointed out when 939 00:54:36,719 --> 00:54:40,239 Speaker 2: it comes to inclusion in media, just because a marginalized 940 00:54:40,239 --> 00:54:44,480 Speaker 2: person is represented on screen doesn't mean that representation is 941 00:54:44,680 --> 00:54:48,760 Speaker 2: thoughtful or responsible. Because going back to the nineteen ninety 942 00:54:48,760 --> 00:54:53,040 Speaker 2: four movie, of the main cast, it is predominantly white. 943 00:54:53,520 --> 00:54:57,160 Speaker 2: There are a couple black characters who are given some characterization. 944 00:54:58,000 --> 00:55:01,799 Speaker 2: There's an Asian character who doesn't speak at all, because 945 00:55:01,800 --> 00:55:04,120 Speaker 2: there's like I don't know, a dozen or so little 946 00:55:04,200 --> 00:55:06,920 Speaker 2: rascals that are just extras, like they're in the club, 947 00:55:06,920 --> 00:55:09,680 Speaker 2: but we don't ever meet them or anything like that. 948 00:55:10,360 --> 00:55:14,240 Speaker 2: I'd say, at the very least, the very offensive racial 949 00:55:14,239 --> 00:55:19,279 Speaker 2: stereotyping from the original series doesn't carry over into the 950 00:55:19,360 --> 00:55:22,040 Speaker 2: black characters in the movie. But that is such a 951 00:55:22,040 --> 00:55:25,040 Speaker 2: low bar and it is not an accomplishment. 952 00:55:25,520 --> 00:55:29,280 Speaker 1: It just feels like there's still a deeply reduced role 953 00:55:30,080 --> 00:55:34,719 Speaker 1: as a results for sure. Yeah, and that I think 954 00:55:34,760 --> 00:55:37,319 Speaker 1: the only like young black girl that we see is 955 00:55:37,800 --> 00:55:39,560 Speaker 1: raven In passing. 956 00:55:39,520 --> 00:55:42,880 Speaker 2: In one second. Yeah. I also think it's interesting that, 957 00:55:43,000 --> 00:55:47,040 Speaker 2: like the nineties idea of racial diversity is like mostly 958 00:55:47,040 --> 00:55:50,720 Speaker 2: white people and then a few black people, other racial 959 00:55:50,760 --> 00:55:56,320 Speaker 2: identities never heard of them, especially, so like I mean whatever, 960 00:55:56,360 --> 00:55:58,840 Speaker 2: I'm not saying anything that we don't know already, but like, 961 00:55:59,280 --> 00:56:02,799 Speaker 2: especially because this is canonically in LA, which has like 962 00:56:02,920 --> 00:56:06,640 Speaker 2: always been a very very diverse place, like updated or 963 00:56:06,680 --> 00:56:08,080 Speaker 2: don't pick a lane. 964 00:56:08,400 --> 00:56:10,799 Speaker 3: Yeah, it's like they sought out to like recreate this 965 00:56:10,880 --> 00:56:14,480 Speaker 3: like classic story and they're just like, let's just tell 966 00:56:14,600 --> 00:56:17,120 Speaker 3: a fun little gig and let's not actually make it 967 00:56:17,160 --> 00:56:18,400 Speaker 3: meaningful in any way. 968 00:56:18,960 --> 00:56:21,759 Speaker 1: Right, And you're like, well, then yeah, why not do 969 00:56:21,840 --> 00:56:24,160 Speaker 1: something like why not do a different story in that case? 970 00:56:24,200 --> 00:56:27,000 Speaker 1: Because I just don't see the point of like, I mean, 971 00:56:27,040 --> 00:56:30,120 Speaker 1: this still happens obviously all the time, but like why 972 00:56:30,160 --> 00:56:32,880 Speaker 1: redo it if you have nothing new to say? And 973 00:56:32,920 --> 00:56:36,520 Speaker 1: the answer is money, So I guess that's the answer, 974 00:56:37,360 --> 00:56:37,640 Speaker 1: you know. 975 00:56:37,640 --> 00:56:40,279 Speaker 3: And that's that's a really curious thing to bring up, 976 00:56:40,360 --> 00:56:43,799 Speaker 3: is like how many like like how many people love 977 00:56:43,880 --> 00:56:46,080 Speaker 3: The Little Rascals like from the eighties or like grew 978 00:56:46,160 --> 00:56:48,239 Speaker 3: up with this this stuff or like were like, oh, 979 00:56:48,320 --> 00:56:50,359 Speaker 3: I want to be in this like remake of this 980 00:56:50,400 --> 00:56:52,520 Speaker 3: thing that I grew up with or that my grandfather 981 00:56:52,800 --> 00:56:55,319 Speaker 3: father like loves. Like I wonder how large The Little 982 00:56:55,360 --> 00:56:57,480 Speaker 3: Rascals was because I'm just like, how do they get 983 00:56:57,560 --> 00:57:00,840 Speaker 3: all these celebrities to get to be in this really 984 00:57:00,880 --> 00:57:01,520 Speaker 3: weird movie? 985 00:57:01,800 --> 00:57:07,080 Speaker 2: Like right this ip from early Hollywood to people, well, 986 00:57:07,120 --> 00:57:10,160 Speaker 2: like Penelope's sphere being like present enough. It was like 987 00:57:10,280 --> 00:57:13,600 Speaker 2: I watched these growing up, and that's part of why 988 00:57:13,719 --> 00:57:15,719 Speaker 2: I was hired to direct it. 989 00:57:15,800 --> 00:57:19,480 Speaker 1: But I think that they were like fairly enduring throughout 990 00:57:19,520 --> 00:57:22,320 Speaker 1: the year because they would like reair on TV and 991 00:57:22,360 --> 00:57:25,840 Speaker 1: stuff too, so it wasn't like they only aired in 992 00:57:25,960 --> 00:57:29,560 Speaker 1: a void. I think that they were rebroadcast a fair amount, 993 00:57:29,640 --> 00:57:31,440 Speaker 1: But I don't know. I also feel like it has 994 00:57:31,480 --> 00:57:34,720 Speaker 1: to do with like weird nostalgia cycles, like how I 995 00:57:34,720 --> 00:57:36,040 Speaker 1: feel like it was a couple of years ago now, 996 00:57:36,040 --> 00:57:38,400 Speaker 1: but how like every Kid series took place in the eighties, 997 00:57:38,520 --> 00:57:42,520 Speaker 1: the second Stranger Things did well because people who are 998 00:57:42,560 --> 00:57:47,760 Speaker 1: kids in the eighties are now old and think, you like, 999 00:57:47,840 --> 00:57:50,440 Speaker 1: that'll happen to the nineties, like it happened, It comes 1000 00:57:50,480 --> 00:57:50,880 Speaker 1: for us. 1001 00:57:50,760 --> 00:57:53,800 Speaker 3: All happening. It's currently happening to the nineties, and it's 1002 00:57:54,160 --> 00:57:56,760 Speaker 3: It's the terrifying thing is it's you can start seeing 1003 00:57:56,760 --> 00:57:58,320 Speaker 3: it happen with the two thousands as well. 1004 00:57:58,960 --> 00:58:02,400 Speaker 1: Oh no, oh no, we're not even the most recently 1005 00:58:02,520 --> 00:58:03,400 Speaker 1: old people. 1006 00:58:05,200 --> 00:58:05,760 Speaker 2: So scary. 1007 00:58:06,000 --> 00:58:07,720 Speaker 1: It's actually kind of I feel like it's kind of 1008 00:58:07,760 --> 00:58:09,680 Speaker 1: a relief now that it's like, oh, now kids who 1009 00:58:09,680 --> 00:58:12,240 Speaker 1: were born in the early two thousands feel old and 1010 00:58:12,280 --> 00:58:15,439 Speaker 1: I can just be old forever. But yeah, I mean, 1011 00:58:15,600 --> 00:58:18,280 Speaker 1: it seems like because this is like around the time 1012 00:58:18,320 --> 00:58:21,360 Speaker 1: the McCauley culkin Richie Rich movie comes out, too, which 1013 00:58:21,400 --> 00:58:25,240 Speaker 1: is also this like old timey thing, Like I wonder 1014 00:58:25,280 --> 00:58:27,480 Speaker 1: if this was just a nostalgia cycle that was taking 1015 00:58:27,560 --> 00:58:30,360 Speaker 1: place for parents in the way that a lot of 1016 00:58:30,400 --> 00:58:33,160 Speaker 1: stuff is happening now in the nineties and two thousands. 1017 00:58:35,160 --> 00:58:38,760 Speaker 3: Right, it's like the era of Richie Rich and Home 1018 00:58:38,800 --> 00:58:41,640 Speaker 3: Alone in like blank Check, yes. 1019 00:58:42,200 --> 00:58:43,680 Speaker 1: All the Macaulay Culkin. 1020 00:58:45,840 --> 00:58:47,560 Speaker 2: And like Cheaper by the Dozen. 1021 00:58:47,600 --> 00:58:49,520 Speaker 1: I feel like was one thing I didn't know when 1022 00:58:49,560 --> 00:58:51,720 Speaker 1: I was a kid that Doctor Dolittle or Cheaper by 1023 00:58:51,720 --> 00:58:54,440 Speaker 1: the Dozen had already been done a trillion times. I 1024 00:58:54,480 --> 00:58:57,040 Speaker 1: thought it was a new, awesome idea, and I think 1025 00:58:57,080 --> 00:58:58,920 Speaker 1: so did every kid that saw the Little Rascals. They 1026 00:58:58,960 --> 00:59:00,400 Speaker 1: were like, whoa who what are these? 1027 00:59:00,480 --> 00:59:01,120 Speaker 2: What is these? 1028 00:59:01,440 --> 00:59:04,320 Speaker 1: This fresh news story that takes place one hundred years ago. 1029 00:59:04,400 --> 00:59:08,560 Speaker 2: Same thing with Flubber being an adaptation from the whatever 1030 00:59:08,880 --> 00:59:12,120 Speaker 2: fucking thing Absent Minded Professor? 1031 00:59:12,240 --> 00:59:15,720 Speaker 1: Maybe yeah, I mean I'll never watch The Absent Minded 1032 00:59:15,840 --> 00:59:17,720 Speaker 1: Professor because Flubber has all. 1033 00:59:17,600 --> 00:59:20,160 Speaker 2: I need in a movie. I mean, hello, it has 1034 00:59:20,240 --> 00:59:21,840 Speaker 2: the Flubber mambo, it. 1035 00:59:21,680 --> 00:59:24,160 Speaker 1: Has the Flobber mambo, it has the dance and go. 1036 00:59:24,960 --> 00:59:27,840 Speaker 2: I'm like, it has a. 1037 00:59:27,840 --> 00:59:30,480 Speaker 1: Robot that has a crush on Robin Williams. What else 1038 00:59:30,520 --> 00:59:30,960 Speaker 1: do I need? 1039 00:59:31,120 --> 00:59:31,440 Speaker 2: Nothing? 1040 00:59:31,840 --> 00:59:35,280 Speaker 3: Yeah, this film is like reminiscent of like Hollywood's obsession 1041 00:59:35,400 --> 00:59:39,080 Speaker 3: with IP and like its inability to think of something new. 1042 00:59:39,160 --> 00:59:43,400 Speaker 3: And then also it's like it's Oh, I forgot what 1043 00:59:43,440 --> 00:59:45,120 Speaker 3: the second point is, but it is it really is 1044 00:59:45,240 --> 00:59:48,920 Speaker 3: truly just an obsession with the IP and like the 1045 00:59:48,960 --> 00:59:52,800 Speaker 3: refusal to come up with new creative stuff because it's 1046 00:59:52,840 --> 00:59:53,920 Speaker 3: too much of a risk. 1047 00:59:53,840 --> 00:59:56,080 Speaker 2: Too whiskey to make money. 1048 00:59:56,320 --> 00:59:58,240 Speaker 1: I'm just realizing I have it in my notes that 1049 00:59:58,680 --> 01:00:01,520 Speaker 1: this was the same year that the like the Flintstones 1050 01:00:01,560 --> 01:00:03,800 Speaker 1: live action movie came out, so there was just like 1051 01:00:03,840 --> 01:00:07,400 Speaker 1: this big wave of nostalgia content that was coming out 1052 01:00:07,720 --> 01:00:13,240 Speaker 1: of varying degrees of goodness. I think I remember. 1053 01:00:12,880 --> 01:00:17,000 Speaker 2: Loving the flint Stones movie, but nus I watched it 1054 01:00:17,080 --> 01:00:19,680 Speaker 2: for the first time kind of recently, and I think 1055 01:00:19,720 --> 01:00:23,240 Speaker 2: it would be a very fascinating episode for us to cover. Yeah, 1056 01:00:23,360 --> 01:00:26,720 Speaker 2: I was also thinking about the Okay, and this might 1057 01:00:26,720 --> 01:00:31,400 Speaker 2: be me being a fool. Is the Adams Family based 1058 01:00:31,440 --> 01:00:34,600 Speaker 2: on IP from like it was a cartoonis or seventies 1059 01:00:34,680 --> 01:00:37,280 Speaker 2: or something? Okay, it was like a newspaper cartoon, right, 1060 01:00:37,440 --> 01:00:41,000 Speaker 2: because this was also around the time the Adams Family's 1061 01:00:41,160 --> 01:00:44,919 Speaker 2: movies were coming out. So yeah, Hollywood just does this 1062 01:00:45,400 --> 01:00:48,880 Speaker 2: time and time again for money reasons. And speaking of money, 1063 01:00:49,560 --> 01:00:51,720 Speaker 2: I want to talk about how the movie handles class 1064 01:00:52,440 --> 01:00:58,760 Speaker 2: because yes, the kids all seemed to come from you know, 1065 01:00:58,840 --> 01:01:04,000 Speaker 2: either working class, middle class families. One of the villains, 1066 01:01:04,000 --> 01:01:06,480 Speaker 2: because we have like villains in the bully kids who 1067 01:01:06,520 --> 01:01:09,080 Speaker 2: also seem to come from like, you know, a more 1068 01:01:09,200 --> 01:01:13,080 Speaker 2: working class background. But one of the bullies is this 1069 01:01:13,480 --> 01:01:19,520 Speaker 2: rich bitch, Waldo, whose dad is literally Donald Trump. There's 1070 01:01:19,520 --> 01:01:22,760 Speaker 2: a really funny joke toward the end where Waldo's on 1071 01:01:22,760 --> 01:01:25,480 Speaker 2: the phone with his dad and then Trump says, you're 1072 01:01:25,520 --> 01:01:29,160 Speaker 2: the best son money can buy. And I'm like, that's 1073 01:01:29,200 --> 01:01:32,280 Speaker 2: a funny joke. Obviously credit to the writer and not 1074 01:01:32,440 --> 01:01:34,760 Speaker 2: to fucking Trump delivering it, but. 1075 01:01:35,160 --> 01:01:36,520 Speaker 1: It wasn't it wasn't delivered. 1076 01:01:36,560 --> 01:01:42,400 Speaker 2: Well no, but I appreciate that, Like there's this villainization 1077 01:01:42,960 --> 01:01:47,520 Speaker 2: of you know, extreme wealth, and this is also pulling 1078 01:01:47,560 --> 01:01:50,200 Speaker 2: from the original series where you know, most of the 1079 01:01:50,280 --> 01:01:55,640 Speaker 2: kids were poor and they were at odds with snobbish 1080 01:01:55,720 --> 01:02:00,560 Speaker 2: rich kids. So I appreciated that because there are there 1081 01:02:00,720 --> 01:02:05,080 Speaker 2: have been a lot of movie, like just media from 1082 01:02:06,000 --> 01:02:11,240 Speaker 2: decades past the glorified wealth and that like featured pretty 1083 01:02:11,320 --> 01:02:16,400 Speaker 2: much exclusively you know, upper class families and kids. So 1084 01:02:17,000 --> 01:02:19,720 Speaker 2: I appreciated that this movie didn't go that route. 1085 01:02:20,200 --> 01:02:22,680 Speaker 1: Yeah, this the kids are so I know that they 1086 01:02:22,760 --> 01:02:25,320 Speaker 1: like date back to earlier than this, and also the 1087 01:02:25,360 --> 01:02:27,600 Speaker 1: original cast. I think they were just pulling the names 1088 01:02:27,640 --> 01:02:30,880 Speaker 1: from the actual children, Like the original Darla's name was Darla. 1089 01:02:31,160 --> 01:02:31,560 Speaker 2: Oh like that. 1090 01:02:31,600 --> 01:02:34,120 Speaker 1: I think because they were Yeah, I think because they 1091 01:02:34,160 --> 01:02:36,240 Speaker 1: were so young that they were like. 1092 01:02:36,520 --> 01:02:39,880 Speaker 2: It'll confuse them. Her name is Darla. We're calling her. 1093 01:02:39,880 --> 01:02:43,400 Speaker 1: Darla because she was like two originally, because old Hollywood 1094 01:02:43,440 --> 01:02:47,640 Speaker 1: is terrifying where they're like, just I don't know, find 1095 01:02:47,680 --> 01:02:50,000 Speaker 1: a baby, put it in a movie. It kind of 1096 01:02:50,040 --> 01:02:54,440 Speaker 1: remighted be of in Massachusetts, there is that like the 1097 01:02:54,680 --> 01:02:57,320 Speaker 1: on Zoom. Did I or if you watched Zoom growing 1098 01:02:57,400 --> 01:03:01,680 Speaker 1: up on PBS? No, Oh my gosh. It was this 1099 01:03:01,760 --> 01:03:05,000 Speaker 1: show on PBS where it was like the only show 1100 01:03:05,160 --> 01:03:08,520 Speaker 1: made in Boston that starred kids. So every kid was like, 1101 01:03:08,800 --> 01:03:10,600 Speaker 1: I'm going to be on Zoom and then I'm going 1102 01:03:10,640 --> 01:03:14,400 Speaker 1: to be famous across the country. And our friend Taylor 1103 01:03:14,440 --> 01:03:16,800 Speaker 1: Garron was on Zoom because when I met him. 1104 01:03:16,720 --> 01:03:19,080 Speaker 2: Oh is that when she's okay? Okay? When I met 1105 01:03:19,120 --> 01:03:19,800 Speaker 2: her later. 1106 01:03:19,640 --> 01:03:23,560 Speaker 1: I was like, you're famous and she was like, I yeah, 1107 01:03:23,680 --> 01:03:27,840 Speaker 1: it's true because she was on Zoom. And it seems 1108 01:03:27,920 --> 01:03:31,520 Speaker 1: like Argang was the zoom of its time, where every 1109 01:03:31,600 --> 01:03:33,680 Speaker 1: little kid in La was like I want to be 1110 01:03:33,720 --> 01:03:36,920 Speaker 1: an argang. A lot of the actors were like plucked 1111 01:03:36,920 --> 01:03:39,600 Speaker 1: out of East LA, like they were all local kids 1112 01:03:40,280 --> 01:03:45,600 Speaker 1: that did this and then proceeded to make uh no money. 1113 01:03:46,560 --> 01:03:49,160 Speaker 1: But the just circularly by just a fact I thought 1114 01:03:49,240 --> 01:03:52,640 Speaker 1: was fun was the original. Buckwheat later went on to 1115 01:03:53,120 --> 01:03:56,280 Speaker 1: become like a film editor and was one of the 1116 01:03:56,440 --> 01:03:58,080 Speaker 1: editors on Jaws. 1117 01:03:58,680 --> 01:03:59,240 Speaker 2: Isn't that weird? 1118 01:03:59,360 --> 01:04:00,880 Speaker 3: Oh? Yeah, that's cool. 1119 01:04:01,240 --> 01:04:02,960 Speaker 2: Wait the kid. 1120 01:04:03,120 --> 01:04:05,240 Speaker 1: Not No, not in the movie in the original. 1121 01:04:05,720 --> 01:04:07,280 Speaker 2: Oh, I was gonna how did this? 1122 01:04:07,880 --> 01:04:13,840 Speaker 3: How did a four year old kid. 1123 01:04:12,040 --> 01:04:15,920 Speaker 1: Back in time, you know, like someone who was a 1124 01:04:16,160 --> 01:04:19,680 Speaker 1: kid in the thirties was later an editor would Okay, 1125 01:04:19,720 --> 01:04:22,440 Speaker 1: that makes much more sense. Yeah, sorry, I should I 1126 01:04:22,480 --> 01:04:23,400 Speaker 1: was not being clear enough. 1127 01:04:24,120 --> 01:04:27,200 Speaker 2: No, I should have used one speck of logic to 1128 01:04:27,360 --> 01:04:31,400 Speaker 2: understand what you must have meant. Well, good, good for 1129 01:04:31,640 --> 01:04:37,160 Speaker 2: good for that actor turned Jaws editor. Yeah, there's there's 1130 01:04:37,200 --> 01:04:40,840 Speaker 2: a lot of like fascinating production stuff around this movie. 1131 01:04:41,160 --> 01:04:43,840 Speaker 2: I want to talk about Penelope Sphearist a little bit. 1132 01:04:43,840 --> 01:04:46,600 Speaker 2: We also discussed her to some extent on our Wayne's 1133 01:04:46,600 --> 01:04:52,200 Speaker 2: World episode, but she directed this movie. She co wrote 1134 01:04:52,200 --> 01:04:54,920 Speaker 2: the screenplay. There's a lot of like credited writers as 1135 01:04:54,920 --> 01:04:57,080 Speaker 2: far as like story by credits, and then there's three 1136 01:04:57,080 --> 01:05:01,840 Speaker 2: credited screenwriters. But she had a pretty big creative role 1137 01:05:02,000 --> 01:05:03,600 Speaker 2: in this in the sense that she was a co 1138 01:05:03,680 --> 01:05:07,200 Speaker 2: writer and director. Of course, just a little bit about 1139 01:05:07,240 --> 01:05:11,240 Speaker 2: her career. She started out directing music videos and music documentaries, 1140 01:05:11,840 --> 01:05:16,560 Speaker 2: mostly about punk and metal and rock and roll, including 1141 01:05:16,640 --> 01:05:21,160 Speaker 2: a trilogy of documentaries called The Decline of Western Civilization 1142 01:05:21,320 --> 01:05:23,160 Speaker 2: that kind of like put her on the map as 1143 01:05:23,160 --> 01:05:23,840 Speaker 2: a filmmaker. 1144 01:05:23,880 --> 01:05:24,880 Speaker 1: She's so cool. 1145 01:05:25,200 --> 01:05:29,160 Speaker 2: By the early nineties, she was directing big studio comedies 1146 01:05:29,480 --> 01:05:34,440 Speaker 2: like Wayne's World, like Beverly Hillbillies, like Black Sheep. She 1147 01:05:34,600 --> 01:05:38,080 Speaker 2: was one of only a handful of women directors during 1148 01:05:38,120 --> 01:05:42,400 Speaker 2: that time, directing mainstream studio movies in the US, and 1149 01:05:42,440 --> 01:05:46,560 Speaker 2: particularly like broad comedies, because almost no women were directing 1150 01:05:46,600 --> 01:05:47,640 Speaker 2: those at the time. 1151 01:05:48,200 --> 01:05:52,000 Speaker 1: Yeah, especially ones that were not centered. Because I feel 1152 01:05:52,040 --> 01:05:55,720 Speaker 1: like this to this day, it's like women can direct comedies, 1153 01:05:55,760 --> 01:05:56,240 Speaker 1: but they. 1154 01:05:56,240 --> 01:05:57,920 Speaker 2: Better be about other women. 1155 01:05:58,080 --> 01:06:01,640 Speaker 1: Like the fact that she directed this, you know, not 1156 01:06:01,680 --> 01:06:03,840 Speaker 1: even I mean, I wouldn't call Wayne's World a hyper 1157 01:06:03,880 --> 01:06:05,960 Speaker 1: masculine movie, but just around two guys. 1158 01:06:06,040 --> 01:06:08,880 Speaker 2: It's very cool, right, because like, if women were directing 1159 01:06:09,440 --> 01:06:13,560 Speaker 2: comedies around this time, they were almost always rom comms. 1160 01:06:13,600 --> 01:06:15,600 Speaker 2: I'm thinking of, you know, like Nora Ephron and. 1161 01:06:15,840 --> 01:06:19,640 Speaker 1: Right, which is like, you know, they're not knocking those whatsoever, 1162 01:06:20,080 --> 01:06:23,720 Speaker 1: right classics, But but yeah, like she is kind of 1163 01:06:23,760 --> 01:06:26,240 Speaker 1: an outlier in that way for sure. 1164 01:06:26,320 --> 01:06:28,320 Speaker 3: I kind of like the way that this movie had 1165 01:06:28,360 --> 01:06:33,080 Speaker 3: a Matilda esque vibe where it was just cartoonish enough, 1166 01:06:33,320 --> 01:06:36,840 Speaker 3: where like things were like a little out there, but 1167 01:06:36,920 --> 01:06:39,720 Speaker 3: like like cartoonishly weird. 1168 01:06:40,080 --> 01:06:41,560 Speaker 2: Yeah, like with the. 1169 01:06:41,480 --> 01:06:44,000 Speaker 3: Hose and like riding the hose and when they're trying 1170 01:06:44,040 --> 01:06:47,360 Speaker 3: to put out the thing, and then like the the 1171 01:06:47,360 --> 01:06:50,800 Speaker 3: the two villain kids getting like splattered with paint and 1172 01:06:50,840 --> 01:06:54,000 Speaker 3: they're like shadows around the van. Like I thought it 1173 01:06:54,040 --> 01:06:57,400 Speaker 3: was like really really fun, Like it took the absurdity 1174 01:06:57,440 --> 01:07:00,360 Speaker 3: of the film to a next to another level, And 1175 01:07:00,400 --> 01:07:02,160 Speaker 3: I just kind of wish they wrote that a little 1176 01:07:02,200 --> 01:07:06,280 Speaker 3: bit more and just even more absurd with it, you. 1177 01:07:06,240 --> 01:07:09,760 Speaker 2: Know, I have a live action cartoon. 1178 01:07:09,600 --> 01:07:13,480 Speaker 1: Yeah, especially when it's like like this movie feels so 1179 01:07:13,640 --> 01:07:17,600 Speaker 1: clearly for kids, which is obvious, but stay with me. 1180 01:07:18,240 --> 01:07:20,440 Speaker 1: I feel like there's a lot of movies of the 1181 01:07:20,480 --> 01:07:26,520 Speaker 1: past whatever decade or so except for Minions movies have 1182 01:07:27,000 --> 01:07:29,360 Speaker 1: been I think it's just like because Pixar movies do 1183 01:07:29,440 --> 01:07:33,320 Speaker 1: so well and there's always this like profound message and 1184 01:07:33,800 --> 01:07:38,440 Speaker 1: like the villain is exposed to have this like Freudian 1185 01:07:38,560 --> 01:07:41,240 Speaker 1: problem that is resolved by the end of the film, 1186 01:07:41,640 --> 01:07:43,600 Speaker 1: and it is nice to go back and watch a 1187 01:07:43,640 --> 01:07:46,840 Speaker 1: kid's movie that you're like, this is just silly. This 1188 01:07:46,920 --> 01:07:50,400 Speaker 1: is a silly billy movie for silly billy's. The good 1189 01:07:50,440 --> 01:07:54,440 Speaker 1: kids are good, the bad kids they suck. We're not 1190 01:07:54,600 --> 01:08:00,400 Speaker 1: interested in like Waldo's trauma. We just want him to 1191 01:08:00,440 --> 01:08:02,200 Speaker 1: get the fuck out of the movie by the end. 1192 01:08:02,240 --> 01:08:03,880 Speaker 1: Like I just, I don't know. It made me feel 1193 01:08:03,960 --> 01:08:07,520 Speaker 1: very nostalgic for dare I say, a simpler time. 1194 01:08:09,760 --> 01:08:13,920 Speaker 2: But you mentioning Matilda reminds me of how few movies 1195 01:08:14,360 --> 01:08:17,719 Speaker 2: there were from this era that focused on little girls. 1196 01:08:18,520 --> 01:08:22,160 Speaker 2: Because Little Rascals is one of many that's about either 1197 01:08:22,200 --> 01:08:25,280 Speaker 2: a group of little boys, such as The Sandlot, which 1198 01:08:25,320 --> 01:08:28,000 Speaker 2: you mentioned earlier, Jamie. There's a lot of other like 1199 01:08:28,800 --> 01:08:32,639 Speaker 2: little boys doing sports or like little boys just hanging out, 1200 01:08:33,320 --> 01:08:35,839 Speaker 2: and there were so few, it's a handful. 1201 01:08:35,920 --> 01:08:37,559 Speaker 1: I was like, I think the ones that come to 1202 01:08:37,560 --> 01:08:42,720 Speaker 1: mind are Harriet the Spy, ri Ip, Michelle, and a 1203 01:08:42,760 --> 01:08:45,720 Speaker 1: Little Princess is the only and obviously Matilda, but those 1204 01:08:45,720 --> 01:08:47,160 Speaker 1: are kind of the only ones that come to mind. 1205 01:08:47,800 --> 01:08:51,040 Speaker 2: Yeah, yeah, there's more, we know, but like, yeah, it 1206 01:08:51,240 --> 01:08:55,160 Speaker 2: just was so much rarer to see little girls featured 1207 01:08:55,320 --> 01:08:57,040 Speaker 2: in a movie from this era. 1208 01:08:57,520 --> 01:08:59,400 Speaker 3: I just wish the girls in this film were not 1209 01:08:59,560 --> 01:09:00,720 Speaker 3: just the objects of men. 1210 01:09:01,600 --> 01:09:04,759 Speaker 2: That would be nice. That would have been Where's Little Rascal, 1211 01:09:04,880 --> 01:09:09,400 Speaker 2: Little girl Rascals, or just little rascals starring girls, little 1212 01:09:09,479 --> 01:09:15,280 Speaker 2: rast lets, you know, like, yeah. 1213 01:09:13,400 --> 01:09:16,080 Speaker 3: I want to see a movie about a woman, like 1214 01:09:16,160 --> 01:09:19,599 Speaker 3: a man hating club of women that like sabotaged these 1215 01:09:19,600 --> 01:09:22,719 Speaker 3: little boys lives and like they just like I would 1216 01:09:22,760 --> 01:09:23,360 Speaker 3: love that. 1217 01:09:23,320 --> 01:09:25,920 Speaker 1: And the movie ends by them doubling down and being 1218 01:09:26,000 --> 01:09:29,200 Speaker 1: like we were right, we were right exactly. 1219 01:09:30,520 --> 01:09:32,120 Speaker 3: You were not welcome in our club. 1220 01:09:31,920 --> 01:09:38,160 Speaker 2: Ever, because the fuck miss andry is a response to misogyny. 1221 01:09:38,240 --> 01:09:40,720 Speaker 2: It's not like, you know, girls and women are like 1222 01:09:40,920 --> 01:09:44,240 Speaker 2: also men are bad in a vacuum. It's just like, no, 1223 01:09:44,360 --> 01:09:47,200 Speaker 2: we don't like men because they hate us. They hated 1224 01:09:47,280 --> 01:09:47,679 Speaker 2: us first. 1225 01:09:47,880 --> 01:09:50,840 Speaker 1: What I what I learned this fairly recently when I 1226 01:09:50,880 --> 01:09:54,000 Speaker 1: was like I had to do a very unfortunate project 1227 01:09:54,040 --> 01:09:58,040 Speaker 1: on the Manisphere on my other show, and I learned 1228 01:09:58,040 --> 01:10:00,680 Speaker 1: that the term miss Andrey was little really made up 1229 01:10:00,680 --> 01:10:02,960 Speaker 1: by misogynists to be like, oh, I know you were, 1230 01:10:03,000 --> 01:10:06,639 Speaker 1: but what am I? So it's like it's barely a thing, 1231 01:10:06,880 --> 01:10:09,439 Speaker 1: because you're right. It's just like a logical response, which 1232 01:10:09,439 --> 01:10:10,879 Speaker 1: is why the word didn't exist. 1233 01:10:12,040 --> 01:10:12,320 Speaker 3: Right. 1234 01:10:13,200 --> 01:10:16,439 Speaker 2: Going back to Penelope Speirrus for a moment, so you know, 1235 01:10:16,520 --> 01:10:21,640 Speaker 2: she was one of a few women directing mainstream Hollywood 1236 01:10:21,640 --> 01:10:26,840 Speaker 2: movies in the early nineties. Her career eventually took a turn. 1237 01:10:27,439 --> 01:10:31,400 Speaker 2: There's an interview with her in The av Club from 1238 01:10:31,439 --> 01:10:33,680 Speaker 2: twenty nineteen. I think we referenced this a little bit 1239 01:10:33,680 --> 01:10:36,720 Speaker 2: in Our Land's World episode, but she basically describes her 1240 01:10:36,800 --> 01:10:40,800 Speaker 2: last studio movie, something called Senseless from nineteen ninety eight. 1241 01:10:41,320 --> 01:10:45,160 Speaker 2: It was a box office flop, and because she's a woman, 1242 01:10:45,439 --> 01:10:47,839 Speaker 2: that was enough to put her in like quote unquote 1243 01:10:47,840 --> 01:10:51,360 Speaker 2: director jail, because, as she points out in the interview, 1244 01:10:51,880 --> 01:10:54,599 Speaker 2: women don't get a second chance in Hollywood after they 1245 01:10:54,640 --> 01:10:59,519 Speaker 2: make one flop, while men get infinite chances. She also 1246 01:10:59,560 --> 01:11:03,400 Speaker 2: says that working with Harvey and Bob Weinstein, which she 1247 01:11:03,479 --> 01:11:06,640 Speaker 2: did on that movie Senseless, was a tipping point that 1248 01:11:06,720 --> 01:11:08,800 Speaker 2: made her realize that she didn't want to work in 1249 01:11:08,840 --> 01:11:13,639 Speaker 2: Hollywood anymore. To Penelope Right, a few choice quotes from 1250 01:11:13,680 --> 01:11:18,800 Speaker 2: her from this interview. Quote, you have no friends in Hollywood. 1251 01:11:19,040 --> 01:11:22,320 Speaker 2: Hollywood is a lonely, lonely desert, especially as a woman. 1252 01:11:23,560 --> 01:11:26,439 Speaker 2: Quote If they don't hire me because I'm a woman, 1253 01:11:27,120 --> 01:11:29,720 Speaker 2: because I'm an older woman, If they don't hire me, 1254 01:11:29,880 --> 01:11:33,439 Speaker 2: I don't give a shit. And quote I don't need them. 1255 01:11:33,479 --> 01:11:35,800 Speaker 2: I really don't. Especially now, what am I going to 1256 01:11:35,840 --> 01:11:37,720 Speaker 2: do work for a year on a movie and make 1257 01:11:37,760 --> 01:11:41,120 Speaker 2: fifty thousand dollars. They can blow me. That's a quote 1258 01:11:41,160 --> 01:11:42,040 Speaker 2: you can print that. 1259 01:11:43,520 --> 01:11:45,200 Speaker 1: I love her. I love her. 1260 01:11:45,240 --> 01:11:46,200 Speaker 3: That is incredible. 1261 01:11:46,320 --> 01:11:48,120 Speaker 2: But then you read on in this interview and you 1262 01:11:48,160 --> 01:11:51,160 Speaker 2: find out that she owns six houses and she's a landlord, 1263 01:11:51,280 --> 01:11:53,960 Speaker 2: and then you're like, oh shit. 1264 01:11:54,280 --> 01:12:00,360 Speaker 1: I honestly, I mean, yeah, landlord evil. But it also 1265 01:12:00,479 --> 01:12:03,840 Speaker 1: makes me. It makes me sad in more than one way, 1266 01:12:03,880 --> 01:12:06,920 Speaker 1: because I'm like, Wow, they used to pay people that 1267 01:12:07,439 --> 01:12:13,519 Speaker 1: much to do a job here, because the tules exist, Like. 1268 01:12:13,479 --> 01:12:16,559 Speaker 2: In the nineties, she would she made like nearly three 1269 01:12:16,600 --> 01:12:19,240 Speaker 2: million dollars directing. I think it was senseless. And then 1270 01:12:19,280 --> 01:12:23,680 Speaker 2: she's like and then now if I do something, I 1271 01:12:23,720 --> 01:12:29,000 Speaker 2: will get basically no money. Yeah. Yeah, So that's that's 1272 01:12:29,040 --> 01:12:34,599 Speaker 2: all I had on the director. I wanted to just 1273 01:12:35,120 --> 01:12:39,639 Speaker 2: say a few kind of stray thoughts. Oh the age 1274 01:12:39,680 --> 01:12:45,400 Speaker 2: difference between Darla Drag Them Them and the boys that 1275 01:12:45,479 --> 01:12:48,840 Speaker 2: love her. Okay, So we've talked about the common occurrence 1276 01:12:49,080 --> 01:12:53,120 Speaker 2: of older men being paired with a much younger woman 1277 01:12:53,240 --> 01:12:57,559 Speaker 2: in a romantic storyline in media, which often carries the 1278 01:12:57,600 --> 01:13:03,240 Speaker 2: implications of like older women or romantically desirable or you know, 1279 01:13:03,320 --> 01:13:08,480 Speaker 2: women should be valued for their youth and things like that. Obviously, 1280 01:13:08,680 --> 01:13:13,400 Speaker 2: usually we see this in adults, but it happens in 1281 01:13:13,439 --> 01:13:15,200 Speaker 2: this movie with these kids. 1282 01:13:15,240 --> 01:13:17,519 Speaker 1: So eight year old girl would be simply too old 1283 01:13:17,800 --> 01:13:19,360 Speaker 1: for Alfalfa. 1284 01:13:18,760 --> 01:13:22,559 Speaker 2: Too old for these eight year old boys. So Darla 1285 01:13:22,600 --> 01:13:26,800 Speaker 2: is played by an actor named Brittany Ashton Holmes. She 1286 01:13:27,000 --> 01:13:29,080 Speaker 2: was four years old at the beginning of the production. 1287 01:13:29,280 --> 01:13:35,280 Speaker 2: She turned five part way through. Alfalfa and Waldo, played 1288 01:13:35,280 --> 01:13:39,240 Speaker 2: by Bug Hall and Blake Ewing, respectively, were both eight 1289 01:13:39,920 --> 01:13:43,559 Speaker 2: when the production started, and they turned nine part way through. 1290 01:13:43,600 --> 01:13:46,640 Speaker 2: They all had birthdays in this like four month shoot. 1291 01:13:47,040 --> 01:13:51,640 Speaker 2: So these boys are like twice the age yucky of her, like, 1292 01:13:51,680 --> 01:13:54,160 Speaker 2: obviously a four year age gap is not a big 1293 01:13:54,200 --> 01:13:57,120 Speaker 2: deal if you're an adult, but when you're that young, 1294 01:13:57,479 --> 01:14:02,479 Speaker 2: like those years really make a developmental difference, and it's. 1295 01:14:02,400 --> 01:14:03,559 Speaker 1: Just two of your life. 1296 01:14:04,320 --> 01:14:08,000 Speaker 2: It's so it was I never picked up when this 1297 01:14:08,040 --> 01:14:10,400 Speaker 2: as a kid, but as an adult, I'm like, she 1298 01:14:10,520 --> 01:14:14,120 Speaker 2: seems so much younger than them, and it's because she is. 1299 01:14:15,040 --> 01:14:18,559 Speaker 2: And it was just really gross to me that these 1300 01:14:18,600 --> 01:14:23,559 Speaker 2: boys were lusting after a little girl who is basically 1301 01:14:23,560 --> 01:14:24,840 Speaker 2: still a toddler. 1302 01:14:24,920 --> 01:14:28,240 Speaker 1: Who doesn't know to not look at the camera. You 1303 01:14:28,280 --> 01:14:32,080 Speaker 1: shouldn't be making that kid kiss someone she doesn't. 1304 01:14:31,840 --> 01:14:33,120 Speaker 2: Know the camera. 1305 01:14:34,280 --> 01:14:38,880 Speaker 3: So icky, the way that heterosexual people sexualized children, and 1306 01:14:38,920 --> 01:14:41,720 Speaker 3: then it's always the queer people that get that get 1307 01:14:41,880 --> 01:14:45,880 Speaker 3: blamed for it, Like it's ridiculous, it's horrendous. 1308 01:14:46,040 --> 01:14:48,599 Speaker 1: Every time I go into like every time I walk 1309 01:14:48,680 --> 01:14:52,120 Speaker 1: through like a greeting card aisle, you're reminded at still 1310 01:14:52,160 --> 01:14:54,960 Speaker 1: how over sexualized little kids are. Where I don't like 1311 01:14:55,240 --> 01:14:57,360 Speaker 1: I was looking for like my friends got engaged. I 1312 01:14:57,400 --> 01:14:59,360 Speaker 1: was trying to buy an engagement card, and so many 1313 01:14:59,360 --> 01:15:03,680 Speaker 1: of them are like little kids kissing, and you're like, why. 1314 01:15:03,800 --> 01:15:05,880 Speaker 2: We're doing that, Why are we making them do that? 1315 01:15:06,000 --> 01:15:10,080 Speaker 2: Get over it? Yeah. The one thing I'll say about 1316 01:15:10,200 --> 01:15:13,240 Speaker 2: kids kissing on screen in this movie is that at 1317 01:15:13,320 --> 01:15:17,280 Speaker 2: least we see an example a boy asking a girl 1318 01:15:17,600 --> 01:15:19,360 Speaker 2: for consent to kiss her. 1319 01:15:19,520 --> 01:15:24,000 Speaker 4: The King of Consent, Alfalfa Alfalfa says, Darla, would you 1320 01:15:24,040 --> 01:15:26,840 Speaker 4: think me forward if I asked you for a big 1321 01:15:26,920 --> 01:15:29,960 Speaker 4: wet one and she's like what, and he's like a 1322 01:15:30,080 --> 01:15:34,080 Speaker 4: kiss and she's like okay, And so he asks for 1323 01:15:34,280 --> 01:15:36,080 Speaker 4: and then receives consent. 1324 01:15:36,400 --> 01:15:39,360 Speaker 2: The fact that we see them kiss then completely unnecessary. 1325 01:15:39,479 --> 01:15:41,800 Speaker 2: But I guess at the very least we see an 1326 01:15:41,800 --> 01:15:46,559 Speaker 2: example of someone asking for consent. Yeah, so there's that. 1327 01:15:47,880 --> 01:15:52,120 Speaker 2: Let me see if I had any other straight thoughts, Oh, 1328 01:15:52,240 --> 01:15:54,519 Speaker 2: just that this was like probably the first example I 1329 01:15:54,680 --> 01:15:58,240 Speaker 2: saw in a movie of the trope of like someone 1330 01:15:58,320 --> 01:16:01,840 Speaker 2: who's doing something that's consent that are traditionally masculine, and 1331 01:16:01,880 --> 01:16:04,920 Speaker 2: we assume it's a man, but we can't tell because 1332 01:16:04,920 --> 01:16:07,480 Speaker 2: they're wearing like a mask or a helmet that obscures 1333 01:16:07,520 --> 01:16:13,040 Speaker 2: their face. Twist it's a will woa woman or a girl. Yeah, 1334 01:16:13,120 --> 01:16:15,720 Speaker 2: we get like kind of two examples of that between yeah, 1335 01:16:15,760 --> 01:16:19,360 Speaker 2: back to back. Aj Ferguson turns out their Idol, their 1336 01:16:19,400 --> 01:16:22,360 Speaker 2: race car driver. Idol is a woman, and then with 1337 01:16:22,840 --> 01:16:26,960 Speaker 2: Darla taking off her helmet. So yeah, whenever I see 1338 01:16:26,960 --> 01:16:29,559 Speaker 2: that trope like this movie is the first thing I 1339 01:16:29,600 --> 01:16:31,200 Speaker 2: think of because I'm like, oh, I think I saw 1340 01:16:31,200 --> 01:16:32,800 Speaker 2: it there for the first time. 1341 01:16:33,000 --> 01:16:34,880 Speaker 1: I don't remember where I saw it for the first time. 1342 01:16:34,960 --> 01:16:37,000 Speaker 1: But it's never the last time. It's all I know. 1343 01:16:37,640 --> 01:16:41,479 Speaker 3: I know it never never, and it will never. It's 1344 01:16:41,520 --> 01:16:43,000 Speaker 3: gonna still happen twenty twenty five. 1345 01:16:43,560 --> 01:16:46,800 Speaker 1: That's what I mean. One of the many downsides of 1346 01:16:48,840 --> 01:16:52,040 Speaker 1: fascism is that this shit is gonna roll back and 1347 01:16:52,120 --> 01:16:54,200 Speaker 1: back and back. Where to see tropes we haven't seen 1348 01:16:54,240 --> 01:16:59,479 Speaker 1: in thirty years popping up in movies. It's but no, 1349 01:16:59,760 --> 01:17:03,320 Speaker 1: our podcast fixed it. I wanted to add. I wanted 1350 01:17:03,360 --> 01:17:06,280 Speaker 1: to add a quick just like a fun nineties kids 1351 01:17:06,400 --> 01:17:12,080 Speaker 1: fact that the voice of Froggy is Eg Daily aka 1352 01:17:12,360 --> 01:17:16,479 Speaker 1: the voice of Tommy, Pickles and Bubbles from Powerpuff Girls. 1353 01:17:16,800 --> 01:17:20,960 Speaker 1: She's a legend. She's also in Peebe's Big Adventure, Big 1354 01:17:21,000 --> 01:17:24,519 Speaker 1: eg daily Head, eg daily Head fans Unite. 1355 01:17:25,000 --> 01:17:27,360 Speaker 3: I'm so you know, I'm actually a little bum. That's 1356 01:17:27,400 --> 01:17:28,000 Speaker 3: not his real. 1357 01:17:27,960 --> 01:17:30,280 Speaker 1: Voice, right, It was like that, I mean, it would 1358 01:17:30,320 --> 01:17:32,160 Speaker 1: have been a hell of a beforeance, but it is. 1359 01:17:32,920 --> 01:17:35,960 Speaker 3: I'm like, damn, that kid's got pipes, Like did they 1360 01:17:35,960 --> 01:17:36,920 Speaker 3: make him speak like that? 1361 01:17:36,960 --> 01:17:40,960 Speaker 2: In the entire time, I was wondering what sort of 1362 01:17:41,000 --> 01:17:44,040 Speaker 2: like voice modifying situation was happening there. But it's like 1363 01:17:44,080 --> 01:17:44,719 Speaker 2: a voice actor. 1364 01:17:44,760 --> 01:17:48,640 Speaker 1: It wasn't. It's just a voice actor who very frequently 1365 01:17:48,760 --> 01:17:54,280 Speaker 1: voiced little boys like such as Tommy Pickles. I love 1366 01:17:54,320 --> 01:17:57,280 Speaker 1: eg daily. She's like, so, she's incredibly awesome. 1367 01:17:57,439 --> 01:18:01,400 Speaker 2: She's great. Does anyone have anything else they'd like to discuss? 1368 01:18:02,080 --> 01:18:04,760 Speaker 3: I'm so sorry for making you watch this film. 1369 01:18:05,200 --> 01:18:07,960 Speaker 1: No, I had there so much to talk about there 1370 01:18:08,000 --> 01:18:08,559 Speaker 1: really was. 1371 01:18:08,720 --> 01:18:11,600 Speaker 2: I had a great time revisiting this again. There's so 1372 01:18:11,760 --> 01:18:15,400 Speaker 2: many hilarious joke Like the comedy writing in this movie 1373 01:18:15,680 --> 01:18:19,960 Speaker 2: is really on par with some of the best comedy 1374 01:18:19,960 --> 01:18:24,519 Speaker 2: movies out there. For example, Spanky, how do you plead 1375 01:18:24,960 --> 01:18:28,120 Speaker 2: Alfalfa like this? And then he proceeds to show how 1376 01:18:28,160 --> 01:18:32,040 Speaker 2: he begs for mercy, and then Spanky's like, and now 1377 01:18:32,120 --> 01:18:39,240 Speaker 2: you're sentenced to execution at dawn? Hilarious Buckwheat and Alfalfa 1378 01:18:39,280 --> 01:18:41,479 Speaker 2: trying to call nine one one, but they're like, what's 1379 01:18:41,520 --> 01:18:43,840 Speaker 2: the number to nine one one? How should I know? 1380 01:18:44,000 --> 01:18:45,880 Speaker 2: And then pan over and they're right next to a 1381 01:18:45,880 --> 01:18:48,240 Speaker 2: fire station that they just walk past because they don't 1382 01:18:48,240 --> 01:18:53,519 Speaker 2: realize that that would help them. Oh, Alfalfa and Darla 1383 01:18:53,600 --> 01:18:57,240 Speaker 2: drink disgusting grape juice, and Alfalfa says, must have been 1384 01:18:57,280 --> 01:19:01,320 Speaker 2: a bad year, as if it's why that's pretty, that's 1385 01:19:01,400 --> 01:19:07,240 Speaker 2: good comedy. Alfalfa, we're singing a duet Waldo, how redundant. 1386 01:19:08,000 --> 01:19:10,200 Speaker 2: That's funny in and of itself. And then Alfalfa says, 1387 01:19:10,400 --> 01:19:12,759 Speaker 2: thank you if he's receiving a comedy. 1388 01:19:12,800 --> 01:19:15,760 Speaker 1: Kayla, you're defending this movie with your life. It's so 1389 01:19:15,960 --> 01:19:18,719 Speaker 1: fun to your life. Your body's on the train tracks. 1390 01:19:20,720 --> 01:19:27,720 Speaker 2: Look, okay, well we'll get tone. I mean, let's let's 1391 01:19:27,760 --> 01:19:32,719 Speaker 2: get to the Bechdel test. The movie does not pass. 1392 01:19:33,439 --> 01:19:35,800 Speaker 2: Darla and her friends do talk to each other, but 1393 01:19:35,840 --> 01:19:39,960 Speaker 2: it's always them either like fawning over Waldo or talking 1394 01:19:40,000 --> 01:19:43,519 Speaker 2: about how gross boys are at the sleepover, which I 1395 01:19:43,560 --> 01:19:47,240 Speaker 2: think actually might be an exception to the Bechdel test, 1396 01:19:47,680 --> 01:19:49,040 Speaker 2: but that's just me. 1397 01:19:49,360 --> 01:19:54,400 Speaker 1: I feel like spiritually that exchange passes, but technically it doesn't. 1398 01:19:54,400 --> 01:19:55,880 Speaker 1: I don't think this movie is doing I think in 1399 01:19:56,120 --> 01:20:00,120 Speaker 1: the movie that ends in all the girls joining the 1400 01:20:00,160 --> 01:20:03,840 Speaker 1: woman Haters Club. I don't. I think it doesn't pass there, 1401 01:20:03,880 --> 01:20:04,360 Speaker 1: I said it. 1402 01:20:04,760 --> 01:20:08,320 Speaker 2: I really wish that they had changed the sign. Yeah, 1403 01:20:08,360 --> 01:20:14,160 Speaker 2: and that it was like the Woman Tolerators Club. They're 1404 01:20:14,200 --> 01:20:18,120 Speaker 2: not going to go straight into you know, intersectional feminism, 1405 01:20:18,240 --> 01:20:21,840 Speaker 2: but the woman Tolerators Club woman. 1406 01:20:23,800 --> 01:20:25,920 Speaker 3: Yeah, I don't. I don't. I don't really think this test, 1407 01:20:26,120 --> 01:20:27,720 Speaker 3: this movie passes the test at all. 1408 01:20:28,080 --> 01:20:31,040 Speaker 1: No, I have something to say about a man that 1409 01:20:31,120 --> 01:20:32,360 Speaker 1: I forgot to mention earlier. 1410 01:20:32,600 --> 01:20:33,760 Speaker 2: Oh no, please, Yes. 1411 01:20:33,920 --> 01:20:37,439 Speaker 1: Did you know that Norm from Cheers is Jason Sedeikus's uncle? 1412 01:20:37,920 --> 01:20:40,840 Speaker 2: What I did discover that in my research? I didn't. 1413 01:20:40,840 --> 01:20:45,560 Speaker 1: I was like stealth nepotism. I did not know that. 1414 01:20:45,560 --> 01:20:51,120 Speaker 2: That's my favorite no idea, the like aunt uncle, Like 1415 01:20:51,320 --> 01:20:54,559 Speaker 2: that's you don't see that one coming. I know, because 1416 01:20:54,600 --> 01:20:57,559 Speaker 2: it's like that kid, that Wahlberg kid from the Dora 1417 01:20:57,680 --> 01:21:04,160 Speaker 2: movie is Mark Wahlberg's neewa. Emma Roberts is Julia Roberts's niece. 1418 01:21:04,280 --> 01:21:06,559 Speaker 1: Like it's but she's also Eric roberts daughter, you know, 1419 01:21:06,680 --> 01:21:07,519 Speaker 1: so like she is. 1420 01:21:07,520 --> 01:21:11,320 Speaker 2: True proper nepotism. Yeah, But as far as our nipple 1421 01:21:11,439 --> 01:21:13,320 Speaker 2: scale goes, the scale where we. 1422 01:21:13,360 --> 01:21:17,080 Speaker 3: Okay, I'm so sorry. How does how does this work? 1423 01:21:17,640 --> 01:21:18,639 Speaker 3: This nipple scale? 1424 01:21:19,040 --> 01:21:22,439 Speaker 2: Yes, okay, but don't you worry. So we've got you covered. 1425 01:21:22,560 --> 01:21:25,720 Speaker 2: It's a scale where we rate the movie zero to 1426 01:21:25,880 --> 01:21:30,880 Speaker 2: five nipples based on examining it through an intersectional feminist lens. 1427 01:21:31,080 --> 01:21:34,520 Speaker 2: So a movie that does horribly would get zero nipples, 1428 01:21:34,520 --> 01:21:38,200 Speaker 2: like zero or one. The most feminist like intersectional feminist 1429 01:21:38,280 --> 01:21:41,320 Speaker 2: movie of all time would get five nipple. We almost 1430 01:21:41,439 --> 01:21:43,400 Speaker 2: never award five nipples. 1431 01:21:43,000 --> 01:21:45,840 Speaker 1: Just yeah, and if we do, we almost always take 1432 01:21:45,880 --> 01:21:46,519 Speaker 1: it back later. 1433 01:21:46,680 --> 01:21:47,599 Speaker 2: We regret it later. 1434 01:21:49,680 --> 01:21:53,040 Speaker 3: Okay, So that's fantastic. I love that. 1435 01:21:53,880 --> 01:21:57,640 Speaker 2: I'm going to give this. I'm kind of between like 1436 01:21:57,640 --> 01:21:59,960 Speaker 2: a one point five and a two because it does 1437 01:22:00,640 --> 01:22:06,000 Speaker 2: try to address gender and it tries to address misogyny, 1438 01:22:06,160 --> 01:22:08,840 Speaker 2: and the lesson at the end is the boys learn 1439 01:22:09,760 --> 01:22:16,280 Speaker 2: that their misogyny was based in nothing and that women 1440 01:22:16,760 --> 01:22:22,320 Speaker 2: can contribute to society. The movie does this on a 1441 01:22:22,439 --> 01:22:25,880 Speaker 2: very surface level, but it does make an attempt, and 1442 01:22:25,920 --> 01:22:29,080 Speaker 2: that's more than most movies from the nineties were doing. 1443 01:22:29,120 --> 01:22:31,519 Speaker 2: That's more than most kids movies from the nineties were doing, 1444 01:22:31,600 --> 01:22:36,559 Speaker 2: especially ones that feature a cast full of boys. So 1445 01:22:37,120 --> 01:22:38,280 Speaker 2: with your two. 1446 01:22:38,240 --> 01:22:43,479 Speaker 3: Nipples, Jamie's face right now is so great, the tight 1447 01:22:43,560 --> 01:22:44,800 Speaker 3: lipped smile. 1448 01:22:44,880 --> 01:22:50,920 Speaker 2: Just like I. Because this is a movie. I don't 1449 01:22:50,960 --> 01:22:53,880 Speaker 2: even think I owned this on VHS, but this is 1450 01:22:53,920 --> 01:22:56,840 Speaker 2: one that we would We rented so many times from 1451 01:22:56,880 --> 01:22:59,080 Speaker 2: the video store that it would have been way more 1452 01:22:59,120 --> 01:23:01,519 Speaker 2: cost effective if my mom had just bought it, because 1453 01:23:01,520 --> 01:23:04,800 Speaker 2: she spent so much money on like me, insisting on 1454 01:23:04,880 --> 01:23:08,280 Speaker 2: renting it all the time. Yeah, so I saw You 1455 01:23:08,280 --> 01:23:11,040 Speaker 2: Know on repeat a lot as a kid, and so 1456 01:23:11,080 --> 01:23:14,800 Speaker 2: I do have an attachment to it. And again, the 1457 01:23:14,880 --> 01:23:18,760 Speaker 2: jokes in this movie are fire, most of them. So yeah, 1458 01:23:18,920 --> 01:23:21,519 Speaker 2: two nipples. It does try to do something, it doesn't 1459 01:23:21,520 --> 01:23:25,160 Speaker 2: do it successfully. Two nipples is still two out of five. 1460 01:23:25,280 --> 01:23:29,200 Speaker 2: That's an f that's forty percent, But it's trying. 1461 01:23:30,760 --> 01:23:33,880 Speaker 1: I'm gonna go one nipple because I bravely think this 1462 01:23:33,920 --> 01:23:38,240 Speaker 1: movie is not trying and it did just as bad, 1463 01:23:38,360 --> 01:23:40,840 Speaker 1: if not worse, than it did in the eighties. I 1464 01:23:40,880 --> 01:23:44,879 Speaker 1: don't see enough of a meaningful difference in between nineteen 1465 01:23:44,920 --> 01:23:49,479 Speaker 1: twenty two and this movie in terms of how women 1466 01:23:49,520 --> 01:23:53,320 Speaker 1: and girls are her trade. But I love Penelope Spheares. 1467 01:23:53,360 --> 01:23:56,000 Speaker 1: I think she's punk rock, She's very very cool. I 1468 01:23:56,040 --> 01:23:58,920 Speaker 1: love Wayne's World, and I won't hold it against this 1469 01:23:59,000 --> 01:24:03,080 Speaker 1: movie too much, but this was I mean, it was 1470 01:24:03,080 --> 01:24:04,840 Speaker 1: a really fun episode to put together because I just 1471 01:24:04,880 --> 01:24:08,240 Speaker 1: like did not know how much there was going to 1472 01:24:08,280 --> 01:24:09,519 Speaker 1: be to talk about Sorr. 1473 01:24:09,560 --> 01:24:10,599 Speaker 2: I should have warned you. 1474 01:24:10,640 --> 01:24:11,639 Speaker 1: No, I mean it was good. 1475 01:24:11,720 --> 01:24:11,920 Speaker 4: It was. 1476 01:24:12,800 --> 01:24:13,160 Speaker 2: I don't know. 1477 01:24:13,200 --> 01:24:15,679 Speaker 1: We've covered so many movies from this span of time, 1478 01:24:15,760 --> 01:24:17,880 Speaker 1: but we have never covered a movie quite like this. 1479 01:24:18,080 --> 01:24:19,720 Speaker 2: So I enjoyed it. 1480 01:24:20,240 --> 01:24:23,280 Speaker 1: I yeah, it's a fun movie to watch, but I 1481 01:24:23,280 --> 01:24:25,639 Speaker 1: don't think it's really trying to do very much other 1482 01:24:25,680 --> 01:24:31,759 Speaker 1: than you know, have women joined the misogyny Club nineteen 1483 01:24:31,800 --> 01:24:34,120 Speaker 1: ninety four. I mean, like you were saying earlier, talk 1484 01:24:34,200 --> 01:24:37,040 Speaker 1: like there were movies that coming out decades before this 1485 01:24:37,200 --> 01:24:41,759 Speaker 1: that were doing more so one nipple and I'm giving 1486 01:24:41,760 --> 01:24:46,479 Speaker 1: it to Darla, Oh, my friend, talk how about you? 1487 01:24:46,840 --> 01:24:49,480 Speaker 3: I'm sorry? Are we assigning characters nipples? 1488 01:24:49,640 --> 01:24:52,320 Speaker 2: You can award them? Yeah, like so I forgot too, 1489 01:24:52,360 --> 01:24:55,439 Speaker 2: But I'll give my two nipples, one to Pedi the 1490 01:24:55,520 --> 01:24:57,600 Speaker 2: dog and the other one to oh I forget the 1491 01:24:57,600 --> 01:25:00,800 Speaker 2: monkey's name. But I like to give myn I think 1492 01:25:01,000 --> 01:25:01,920 Speaker 2: number yeah Olmer. 1493 01:25:02,120 --> 01:25:05,400 Speaker 3: Yeah, I'm also gonna give it. One nibble is a 1494 01:25:05,520 --> 01:25:07,240 Speaker 3: zero nibble, Like is that. 1495 01:25:07,160 --> 01:25:10,160 Speaker 2: Even like a do as little as sometimes we give 1496 01:25:10,479 --> 01:25:11,479 Speaker 2: negative nipples. 1497 01:25:11,560 --> 01:25:14,320 Speaker 3: I would say a one nibble because of the cameos. 1498 01:25:14,360 --> 01:25:18,200 Speaker 3: The cameos really they really make it stand out. I 1499 01:25:18,240 --> 01:25:21,040 Speaker 3: agree with you. I think they didn't try nearly hard enough. 1500 01:25:21,120 --> 01:25:25,080 Speaker 3: I think they went in for a flimsy, little fun 1501 01:25:25,920 --> 01:25:29,320 Speaker 3: movie about kids doing kids stuff, but like they had 1502 01:25:29,400 --> 01:25:31,559 Speaker 3: nothing new to add to the lore or to the 1503 01:25:32,640 --> 01:25:35,759 Speaker 3: to the franchise to like really make it a true 1504 01:25:35,840 --> 01:25:38,320 Speaker 3: sign of its times and the sign of its times, 1505 01:25:38,360 --> 01:25:41,280 Speaker 3: meaning like in the nineties there were there was so 1506 01:25:41,360 --> 01:25:44,240 Speaker 3: much more happening in terms of like trying to get 1507 01:25:44,320 --> 01:25:47,400 Speaker 3: better representation of women on screen, and they could have 1508 01:25:47,439 --> 01:25:51,040 Speaker 3: been one of one of those attempts, and they didn't 1509 01:25:51,080 --> 01:25:55,559 Speaker 3: really try hard at all. So I'm with you, Jamie, 1510 01:25:56,520 --> 01:26:03,040 Speaker 3: And then I would I would award Oh gosh, I 1511 01:26:03,040 --> 01:26:06,520 Speaker 3: guess I would award my no Alter to Elmer. 1512 01:26:06,400 --> 01:26:07,680 Speaker 2: Because I love that much. 1513 01:26:07,760 --> 01:26:10,800 Speaker 1: Yeah, Elmer is a cutie pie. I'm like, I I 1514 01:26:10,880 --> 01:26:13,439 Speaker 1: don't believe that Elmer. I think Elmer Petie learned the 1515 01:26:13,520 --> 01:26:19,439 Speaker 1: error of their ways and started a woman tolerators club nearby. 1516 01:26:20,880 --> 01:26:27,040 Speaker 2: Yeah. Yeah, well now that I'm crying, as was foreseen earlier, 1517 01:26:27,240 --> 01:26:30,000 Speaker 2: no tark. Thank you so much for joining us for 1518 01:26:30,080 --> 01:26:31,280 Speaker 2: this has been a bust. 1519 01:26:31,640 --> 01:26:33,600 Speaker 3: Thank you for having me on. It was fantastic. 1520 01:26:33,640 --> 01:26:39,000 Speaker 2: Anytime, come back anytime. Where can people follow you online? 1521 01:26:39,320 --> 01:26:41,000 Speaker 2: Plug anything you'd like to plug? 1522 01:26:41,640 --> 01:26:44,680 Speaker 3: You can follow me on Instagram turk t A r 1523 01:26:44,840 --> 01:26:47,880 Speaker 3: i Q underscore r A O U F. I'm also 1524 01:26:48,000 --> 01:26:51,639 Speaker 3: on Twitter, which is same, use your name and then 1525 01:26:51,720 --> 01:26:53,439 Speaker 3: like I'm on TikTok to you, but like it's like 1526 01:26:53,479 --> 01:26:55,120 Speaker 3: all the same stuff on Instagram. So if you don't 1527 01:26:55,120 --> 01:26:57,559 Speaker 3: want to be on Instagram, I'm on TikTok to youa 1528 01:26:57,880 --> 01:26:58,599 Speaker 3: same use your name. 1529 01:26:59,040 --> 01:27:02,439 Speaker 2: I love it. You can follow us on Instagram. At 1530 01:27:02,600 --> 01:27:06,720 Speaker 2: Bechtel Cast, you can subscribe to our Patreon aka Matreon 1531 01:27:07,760 --> 01:27:10,160 Speaker 2: at patreon dot com slash Bechtel Cast. 1532 01:27:10,000 --> 01:27:13,639 Speaker 1: Where currently we're doing the important work over there. We've 1533 01:27:13,680 --> 01:27:17,280 Speaker 1: recently done a month about insect movies and we just 1534 01:27:17,320 --> 01:27:20,160 Speaker 1: finished doing a month about rats. 1535 01:27:21,000 --> 01:27:25,040 Speaker 2: So it's roadent timber over there with episodes on Ratatui 1536 01:27:25,200 --> 01:27:27,120 Speaker 2: and The Great Mouse Detective. 1537 01:27:27,479 --> 01:27:30,320 Speaker 1: Really important disccourse taking place. Don't miss it. 1538 01:27:30,800 --> 01:27:34,519 Speaker 3: Yeah, yeah, I'm I have fomo not being a part 1539 01:27:34,520 --> 01:27:35,120 Speaker 3: of your matron. 1540 01:27:35,960 --> 01:27:37,880 Speaker 2: Well, it's only five dollars a month. 1541 01:27:38,040 --> 01:27:42,160 Speaker 1: So I think the Bratituy episode was was a banger. 1542 01:27:42,200 --> 01:27:43,040 Speaker 1: I think it was really good. 1543 01:27:43,439 --> 01:27:47,160 Speaker 2: Yeah. I think by the time this episode comes out, 1544 01:27:47,479 --> 01:27:49,880 Speaker 2: it'll either have just been released or it's about to be. 1545 01:27:50,040 --> 01:27:54,360 Speaker 2: Like Yeah, listeners, be on the lookout for Ratatue in front. 1546 01:27:54,400 --> 01:27:58,439 Speaker 2: Don't walk. I like that, we're talking this scurry, scurry 1547 01:27:58,479 --> 01:28:02,320 Speaker 2: your little rat. Pause over to that episode. And with that, 1548 01:28:03,080 --> 01:28:08,640 Speaker 2: I call this meeting of the man hating women and 1549 01:28:09,360 --> 01:28:17,360 Speaker 2: marginalized gender people loving club to an end, all in favor. 1550 01:28:17,880 --> 01:28:23,800 Speaker 1: Oh Tay tay, Bye, bye, bye, bye bye. 1551 01:28:26,800 --> 01:28:30,040 Speaker 2: The Bechdel Cast is a production of iHeartMedia, hosted by 1552 01:28:30,120 --> 01:28:34,000 Speaker 2: Caitlin Derante and Jamie Loftis, produced by Sophie Lichterman, edited 1553 01:28:34,120 --> 01:28:37,280 Speaker 2: by Mola Board. Our theme song was composed by Mike 1554 01:28:37,400 --> 01:28:41,759 Speaker 2: Kaplan with vocals by Catherine Vosskrosensky. Our logo and merch 1555 01:28:41,920 --> 01:28:44,880 Speaker 2: is designed by Jamie Loftis and a special thanks to 1556 01:28:44,920 --> 01:28:49,280 Speaker 2: Aristotle Acevedo. For more information about the podcast, please visit 1557 01:28:49,400 --> 01:28:50,960 Speaker 2: link tree slash Bechdel Cast