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Speaker 1: On the Bechdel Cast.

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Speaker 2: The questions asked if movies have women and them, are

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Speaker 2: all their discussions just boyfriends and husbands, or do they

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Speaker 2: have individualism? It's the patriarchy, zeph and bast start changing

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Speaker 2: it with the Bechdel Cast.

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Speaker 3: Clink clink, Jamie, you're getting very sleepy now.

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Speaker 4: I passed out. It's done.

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Speaker 5: It's done.

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Speaker 3: Oh those so easy.

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Speaker 5: Yeah, I know, I know. I mean, that's that's what

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Speaker 5: the movies are about.

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Speaker 3: Oh goodness. Welcome to the Bechdel Cast. My name is

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Speaker 3: Caitlin Derante.

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Speaker 5: Clink clink, my name is Jamie Loftus, and this is

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Speaker 5: our podcast where we talk about your favorite movies from

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Speaker 5: an intersectional feminist lens using the Bechdel test.

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Speaker 4: Cast test.

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Speaker 5: We've been doing this for eight years as a jumping

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Speaker 5: off point for discussion.

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Speaker 4: But Caitlin, what the hell is that?

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Speaker 3: Oh? Gee whiz. It's a media metric to buy a

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Speaker 3: queer cartoonist Alison Bechdel, sometimes called the Bechdel Wallace Test.

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Speaker 3: It has many versions, and ours is this. Do two

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

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

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Speaker 3: than a man, and we especially like it when it's

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Speaker 3: a narratively meaningful conversation and not just you know, throw

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Speaker 3: away dialogue.

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Speaker 5: Very true. And today we're doing one of our rare

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Speaker 5: do over episodes. We are covering the twenty seventeen movie

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Speaker 5: get Out.

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Speaker 4: If you were a.

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Speaker 5: Matreon subscriber, which you should be, this was I think

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Speaker 5: the first matreard episode we ever did that was a

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Speaker 5: live okay.

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Speaker 4: Okay, listen, listen.

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Speaker 5: It was a moment in time. Listen okay. So what

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Speaker 5: we were the circumstances under which we recorded our first

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Speaker 5: get Out episode was in the basement of a pizza

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Speaker 5: parlor in Brooklyn.

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Speaker 4: Yeah, as a part of a comedy festival.

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Speaker 5: I don't remember which one, but one that was comfortable

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Speaker 5: putting us in the basement of a pizza.

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Speaker 3: Parlor certainly not a venue that was conducive to a

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Speaker 3: live podcast show, to the point where there was not

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Speaker 3: a sound system that allowed it, that allowed us to

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Speaker 3: record audio from the soundboard, which is how we would

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Speaker 3: normally record audio from a live show. And there weren't

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Speaker 3: even enough microphones. Jamie and I had to share a microphone.

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Speaker 5: Yes, and we only had like a half hour. So anyways,

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Speaker 5: and this was also it in to give us some

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Speaker 5: criticism as well. This is before we kind of realized

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Speaker 5: that a movie that requires a lot of discussion is

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Speaker 5: maybe not ideal for a live show.

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Speaker 4: So too a lot like.

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Speaker 5: We didn't have enough time, We didn't know how to

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Speaker 5: do a live podcast.

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Speaker 4: It was twenty seventeen, and.

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Speaker 5: We want to resolve because yes, get Out deserves better.

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Speaker 5: So today we are recovering get Out in the Year

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Speaker 5: of Our Lord twenty twenty four with an incredible guest,

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Speaker 5: a returning guest.

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Speaker 4: Yes, a friend of the pod.

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Speaker 3: Indeed, she's a writer actor. She wrote on I Carly

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Speaker 3: and Raven's Home. You remember her from our episodes on

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Speaker 3: the movies US and Cheetah Girls. It's Carama Donqua, Hello.

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Speaker 1: Hello, bye, thank you so much for having me back.

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Speaker 1: I hope I'm not like a best friend of the

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Speaker 1: pod like you know best friends a tear. I like

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Speaker 1: to think I'm a best friend of the pod. Oh yeah, absolutely,

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Speaker 1: I don't want to like force it or anything.

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Speaker 3: Happening naturally.

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Speaker 5: Three Timers Club, Yeah, three pet I love I also

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Speaker 5: love that. Yeah. I kind of forgot what a wide

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Speaker 5: range of movies we've covered with you.

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Speaker 3: Yeah, yeah, to Jordan Peele Movies Now and Cheetah Girls.

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Speaker 1: Yes, one cinema classic. And to Jordan Peel Films.

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Speaker 3: Yes, yes, exactly, yes, And of course shout out to

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Speaker 3: our our guest on the original episode, Ray Sonni, and

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Speaker 3: shout out to anyone who was there at the pizza parlor, not.

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Speaker 5: On Ray and not on the pizza parlor attendees. Yes,

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Speaker 5: we take we take full accountability. And plus the comedy

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Speaker 5: Fuzzle Will, which I don't remember the name of. So yeah, whatever.

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Speaker 3: I am because Ray was, you know, like precisely, And yes,

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Speaker 3: we're so excited to have you to talk about this movie, Kroma.

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Speaker 3: What's your relationship with get Out?

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Speaker 1: What is my relationship with get Out? I went to

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Speaker 1: see it. You know, it's so funny because I'm gonna

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Speaker 1: tell a story that's gonna sound almost identical to my

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Speaker 1: story about Us. I went to go see it in

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Speaker 1: theaters with my friend Mike. I went and saw Us

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Speaker 1: with my other friend Mike. I have a lot of

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Speaker 1: white men, different mic friends that are named Mike, don't

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Speaker 1: well and some non white mics Michael's in my life,

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Speaker 1: but most of them are white men named Mike. But

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Speaker 1: I went and saw it in the Cinerama Dome rip

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Speaker 1: and I didn't know a ton before I went and

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Speaker 1: saw it. My friend Mike, this particular mic is kind

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Speaker 1: of always like, come see this movie, and I just go.

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Speaker 1: And that's how I saw Moonlight. Also, we went to

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Speaker 1: an advanced screening of Moonlight together. He doesn't have a

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Speaker 1: lot of black friends, so he tends to see black

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Speaker 1: movies with me, which is fine. I love that for him.

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Speaker 1: I'm not upset about it. But we went to an

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Speaker 1: advanced screening of Moonlight at Lakhma and Janelle Monet was

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Speaker 1: there and my breath gone, Wow, they took it. Yeah.

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Speaker 1: But so I went and saw it at the Cinerama Dome.

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Speaker 1: And I love horror and I love Jordan Peele and

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Speaker 1: I love Danielkluja. I was a Skins person. My ring

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Speaker 1: tone on my phone is the Skins theme song. No

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Speaker 1: one ever hears it because my phone's on silent all

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Speaker 1: the time, but I but, you know, yeah, And I

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Speaker 1: was really struck with get Out, how tight the script

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Speaker 1: was and how well constructed it was. I love a

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Speaker 1: well constructed piece of writing. Like you know, the word

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Speaker 1: play right is spelled weird because a rite is a builder,

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Speaker 1: and writing things is about like building them, and I

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Speaker 1: think that Jordan Peele built a masterpiece. But yeah, that's

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Speaker 1: where I'm at. And then I took my little brother

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Speaker 1: to see it because I was like, this is important

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Speaker 1: for him to see and no one else is going

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Speaker 1: to take him to see it. And he was like

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Speaker 1: seventeen at the time.

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Speaker 5: I was like, oh cool, Yeah.

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Speaker 1: It was not his first rated R movie. I did

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Speaker 1: show him his first rated OUR movie, which was kick Ass.

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Speaker 5: Okay, okay, another solid choice.

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Speaker 1: But I really wanted to like share it with my brother,

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Speaker 1: especially because it has so much to do with the

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Speaker 1: way that black men in particular are perceived in society.

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Speaker 1: And I don't think that my brother had somebody who

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Speaker 1: was going to really talk to him about that and

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Speaker 1: what it meant in the way that I was going

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Speaker 1: to like discuss the film with him, And like, I

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Speaker 1: get to discuss it with you two today.

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Speaker 3: Yeah, yeah, so I'm so excited.

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Speaker 5: Jamie.

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Speaker 3: What's your relationship with the movie.

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Speaker 5: My relationship with the movie is I didn't see it

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Speaker 5: in theaters during its first run, which I really regret.

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Speaker 5: I feel like early twenty seventeen was just before I

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Speaker 5: got a movie pass and before I knew stubs existed,

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Speaker 5: so I just wasn't in the theaters a lot at

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Speaker 5: this time. But I saw it later, I think later

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Speaker 5: that year, in twenty seventeen, and immediately it was like, fuck,

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Speaker 5: I want to see this in a theater so badly.

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Speaker 5: And it took me a couple of years, but I

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Speaker 5: finally did see it. I think I saw it at Vidiots,

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Speaker 5: maybe like a year ago or so. But it's just

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Speaker 5: like you're saying, Karma, it's a masterpiece. It's so good.

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Speaker 5: I feel like this movie at least I don't know.

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Speaker 5: I mean, I'm I'm a horror fan, but I don't

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Speaker 5: know every single thing about horror. But it just seems

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Speaker 5: like get Out really kicked off a whole new generation

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Speaker 5: of horror films, kind of for better.

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Speaker 4: Or for worse.

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Speaker 5: There's a lot of movies you'll see, like a lot

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Speaker 5: of horror movies. Now you're like, Okay, you know, there's

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Speaker 5: a lot of people that want to do what Jordan

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Speaker 5: Peele does, but no one can because he's fucking incredible.

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Speaker 5: And yeah, it was really interesting to go back and

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Speaker 5: revisit this with sort of the knowledge of the better

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Speaker 5: part of ten years of clearly how this was. I

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Speaker 5: feel like get Out was sort of immediately a classic,

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Speaker 5: but now seven years.

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Speaker 4: On, its influence is so.

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Speaker 5: So present, to the point where like Jordan Peele has

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Speaker 5: to work around the influence of this movie. Yeah, Daniel

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Speaker 5: Culia is incredible. I was not a Skins head. I

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Speaker 5: regret it was. I feel like I went the de

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Speaker 5: Grassy way and then I never I never went to

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Speaker 5: England with my teen TV.

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Speaker 1: I'm bisexual. I love both Degrassis and Skins.

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Speaker 4: The two genders. Yes, yes, but yeah I was.

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Speaker 5: I could have been watching Daniel Coluia, but instead I

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Speaker 5: was watching a bunch of.

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Speaker 4: Door Drake I was watching. I know, I was watching Drake.

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Speaker 4: Huge l for me, but yeah, this was.

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Speaker 5: I haven't seen it in about a year or so,

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Speaker 5: but yeah, it's a masterpiece. And also just going back

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Speaker 5: to I've been rewatching a lot of horror classics lately,

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Speaker 5: and I recently rewatched Rosemary's Baby and The Step for

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Speaker 5: Wives and a lot of things that going through this are,

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Speaker 5: you know, very clear influences on Jordan Peel and listening

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Speaker 5: to him talk. I don't know, it's just it's great.

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Speaker 4: Kaitlin Winster history with this movie.

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Speaker 3: This is one of my favorite movies of all time.

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Speaker 3: I agree that it's a masterpiece. I teach it in

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Speaker 3: my screenwriting classes, using it as an example for many

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Speaker 3: examples of what the movie does so well as far

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Speaker 3: as crafting a story and planting payoff and you know,

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Speaker 3: withholding information for later reveal and all this kind of stuff.

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Speaker 3: So I am just astounded by this movie every time

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Speaker 3: I watch it, because it holds up on a rewatch

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Speaker 3: so so well, the way that some horror movies or

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Speaker 3: some movies with like a big twist don't hold up

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Speaker 3: because then the story logic just kind of falls apart

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Speaker 3: when you rewatch it after knowing the twist. But this

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Speaker 3: movie holds up so well. And yeah, I saw it

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Speaker 3: in theaters and it was one of my favorite theater

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Speaker 3: going experiences ever. I would say, especially the very end, Yes,

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Speaker 3: when the cop car pulls up and you're like, fuck

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Speaker 3: the fear you feel for Chris, and then the door

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Speaker 3: swings open and it says airport and Lil Rel steps

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Speaker 3: out and the whole crowd screaming, cheering, just like it

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Speaker 3: was incredible.

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Speaker 1: Nobody has loved TSA as much as they did. I

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Speaker 1: was gonna say in February of twenty seventeen.

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Speaker 4: What a moment for the TSA.

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Speaker 5: Truly, I've never seen them get good press anywhere before

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Speaker 5: or since. But yes, Iconic DSA employee.

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Speaker 3: Oh god, right, right, right, So yeah, I had a

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Speaker 3: great time seeing in theaters and yeah, I've seen this

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Speaker 3: movie probably like twenty times now and.

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Speaker 4: I love it.

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Speaker 3: Let's take a quick break and then come back for

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Speaker 3: the recap, shall we.

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Speaker 5: Let's do it?

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Speaker 6: Sounds great, and we're back.

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Speaker 4: I was gonna say, I forgot to.

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Speaker 5: I think I mentioned this in our first go round

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Speaker 5: of I saw like I saw the wrong Jordan Peele

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Speaker 5: movie in theaters. During this period of time, I did

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Speaker 5: goes to see Keanu in theater. Oh my gosh, why,

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Speaker 5: I mean, that's a fun movie.

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Speaker 1: There's a cat in it.

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Speaker 4: There's a cat.

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Speaker 5: Literally, I got dumped by a prop comedian and I

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Speaker 5: was just like, I gotta go do something, And so

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Speaker 5: I went to see Keanu and I was just like

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Speaker 5: sitting in the back of Keanu crying.

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Speaker 1: I'm sorry, that's so dark. Getting dumped by a prop

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Speaker 1: comedian is. Yeah, I know that you've gone through some shit,

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Speaker 1: but that is probably the darkest thing I've ever heard

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Speaker 1: you go through.

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Speaker 4: That's kind of what it is like.

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Speaker 5: Once you've been not just dumped, but cheated on by

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Speaker 5: a prop comedian. You really it really puts things into perspective.

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Speaker 5: You're like, no one can truly hurt me ever again.

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Speaker 3: Yeah.

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Speaker 5: Wow, Anyways, Keanu was there for.

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Speaker 3: Me when glad to hear. Yeah, oh, we should cover

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Speaker 3: Keanu sometime on the podcast.

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Speaker 5: Yeah. I mean I haven't seen it since I had

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Speaker 5: negative a strong negative association, but it was funny, it

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Speaker 5: was anyways, Yes, and that came out I think less

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Speaker 5: than a year before Get Out, which is wild the range. Yeah,

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Speaker 5: it came out, like, I think in space of six months.

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Speaker 5: I'm pretty sure both if if my breakup timeline is correct,

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Speaker 5: both of these movies came out so close together. And

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Speaker 5: that was the other like really exciting thing was like Jordan,

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Speaker 5: I mean huge Key and Peel fan obviously, like yeah,

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Speaker 5: loved love, loved Key and Peel Forever is like one

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Speaker 5: of the best sketch comedy shows ever. And then just

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Speaker 5: being like and Jordan, Peele can do this, Like it

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Speaker 5: was just so fucking cool. So many comedians have tried

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Speaker 5: to do it since, and no one's pulled it off

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Speaker 5: because he's just different. He's great anyways, Yeah, just wanted

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Speaker 5: to shout out, like we're all comedians here too, and

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Speaker 5: seeing someone who is like at the top of the

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Speaker 5: sketch comedy world immediately also become one of the top

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Speaker 5: tours in the world. It's just like the coolest and

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Speaker 5: get Out is super funny.

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Speaker 4: Like it's just yeah, it's great.

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Speaker 3: Yeah yeah he Also, I mean he Jordan Peele talks

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Speaker 3: about the similarities and parallels between horror and comedy and

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Speaker 3: how they function so similarly as like storytelling devices, and yeah,

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Speaker 3: so it just makes sense. Also, the Gremlins two Key

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Speaker 3: and Peel sketch.

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Speaker 4: Is like where is this going?

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Speaker 1: OK?

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Speaker 3: I watch it like once a month. It's the funniest

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Speaker 3: thing to me. Everyone paused this episode and go watch

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Speaker 3: the Gremlins two Key and Peel sketch.

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Speaker 1: My favorite Key and Peel sketch is the one about

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Speaker 1: the two ethnic restaurants across the street from each other

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Speaker 1: with the chip BOMBI and my mom loves that sketch

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Speaker 1: so so so much because I think it kind of

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Speaker 1: reminds her of like West African Jeeloff Wars. It's like

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Speaker 1: it's all Rice, calm down, and I can say that

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Speaker 1: I'm gonna and we have the best off. Don't fight me.

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Speaker 1: But I worked with Keith and Michael Key a couple

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Speaker 1: of years ago on a show, and my mom was like, Karama,

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Speaker 1: tell him I love the chip Boppy sketch. And I

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Speaker 1: was like, okay, Mom, I'll tell him. And I didn't.

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Speaker 1: He was like that one.

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Speaker 5: Look to each their own. I liked the Continental Breakfast one.

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Speaker 5: Do you remember that one? That was always my favorite classic?

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Speaker 5: But yes, anyways, listeners, also let us know your favorite

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Speaker 5: Key and Peel sketches. It's just like amazing, and then

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Speaker 5: I this is beside the point, but here we are.

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Speaker 4: Do you remember?

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Speaker 5: This was I think the same year that A Quiet

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Speaker 5: Place one came out, and there was this brief moment

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Speaker 5: where they're like two brilliant O tours Jordan Peele and

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Speaker 5: John Krasinsky, And then I think we disabused ourselves of

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Speaker 5: that pretty quickly, were like one great O tour and

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Speaker 5: John Krasinski you.

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Speaker 1: Didn't like if? Are you talking about?

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Speaker 5: Oh?

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Speaker 4: Did direct that if? Or a quieplace?

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Speaker 1: I think he uh wrote if or like developed.

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Speaker 3: If if being like imaginary friend right that wait was

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Speaker 3: that the horror movie that came out about Imaginary Friends.

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Speaker 5: Comedy.

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Speaker 1: Okay, okay, it's the one that felt very Foster's Home

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Speaker 1: Imaginary Friends, but like wasn't Yeah I.

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Speaker 3: Saw Imaginary I think is what it was called a

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Speaker 3: horror movie. Yeah, it was not good, except the third

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Speaker 3: act just goes off the rails in the most hilarious way.

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Speaker 3: Highly recommend watching the third act of that movie. Anyway,

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Speaker 3: we're here to talk about it.

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Speaker 1: Yeah, I think what makes it out so good is

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Speaker 1: that a lot of horror movies really fall apart in

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Speaker 1: the third act for sure, and this one is like, no, no,

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Speaker 1: we're just getting better, like a fine wine over time.

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Speaker 1: Just wow to.

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Speaker 5: The last wine, like the the TSA line. It's just.

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Speaker 1: Incredible.

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Speaker 5: All right, Yeah, let's get into it. Sorry, I just

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Speaker 5: needed to do a quick key and peel.

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Speaker 3: Diverse check in. Yes, no important. So for the recap

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Speaker 3: forget Out, I'll place the content warning for anti black

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Speaker 3: racism and violence. So we open on a young black

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Speaker 3: man played by Lakeith Stanfield who is walking in a

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Speaker 3: suburb at night. He's trying to get somewhere, but he's

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Speaker 3: kind of lost, and then a car approaches and starts

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Speaker 3: creepily following him. The driver gets out, wearing a medieval

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Speaker 3: helmet and attacks and abducts the man. We then meet

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Speaker 3: Chris Washington played by Daniel Caluya, a photographer living in

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Speaker 3: I think New York City is where it's meant to be.

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Speaker 3: He's dating Rose Armitage played by Alison Williams, and they're

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Speaker 3: about to leave on a weekend trip to visit her parents,

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Speaker 3: who Chris will be meeting for the first time, and

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Speaker 3: he asks Rose, who is white, if her parents know

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Speaker 3: that he's black, and she's like, no, but it's not

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Speaker 3: a big deal. My parents aren't racist, and he's like okay.

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Speaker 3: Chris's friend Rod, played by little Ral Howry, is similarly skeptical.

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Speaker 3: He works for the TSA.

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Speaker 5: This is defining characteristic. That's kind of all we know

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Speaker 5: about him. Loves the TSA outside of the fact that

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Speaker 5: he's Chris's best friend.

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Speaker 4: He works for the TSA, and that is what we know.

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Speaker 1: And he's a dog sitter on occasion.

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Speaker 4: Yes, he's a dog lover.

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Speaker 3: He's dog sitting Chris's dog, Sid while Chris is gone,

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Speaker 3: and he jokes to Chris about how he needs to

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Speaker 3: be careful around these white people. He's like, don't go

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Speaker 3: into their house. But despite Little World's warnings, Chris and

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Speaker 3: Rose head out on the road to her parents' house.

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Speaker 3: They hit a deer that suddenly runs out on the road,

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Speaker 3: and Chris can't really do anything about it, but you know,

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Speaker 3: watch it slowly die.

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Speaker 5: I know, we just watched Triangle of Sadness and I

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Speaker 5: was like, wait, they don't do a Triangle of sadness

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Speaker 5: animal sacrifice?

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Speaker 1: Do they?

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Speaker 5: Then they don't. I was just thinking, what.

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Speaker 4: Do they killing Triangle of Sadness?

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Speaker 5: It's like a donkey a donkey. Yeah, I don't know.

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Speaker 5: I just had a flash back to that. Anyways, we're

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Speaker 5: spared that.

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Speaker 3: Yes, So a cop shows up to this, you know,

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Speaker 3: like accident, wanting to see Chris's ID even though he

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Speaker 3: wasn't driving, and Rose implies that the cop is being racist,

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Speaker 3: and so the cop concedes and leaves. They arrive at

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Speaker 3: the Armitage house, this like you know, large rich people home.

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Speaker 3: We meet Rose's dad, Dean played by Bradley Whitford, and

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Speaker 3: her mom, Missy, played by Catherine Keener, and they seem

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Speaker 3: warm and inviting to Chris. We also meet a grounds

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Speaker 3: keeper and a housekeeper who work for the Armitage family,

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Speaker 3: Walter and Georgina played by Marcus Henderson and Betty Gabriel.

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Speaker 3: Both of them are black, and Chris can't help but

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Speaker 3: notice that they seem kind of weird. Then Chris and

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Speaker 3: the family get to know each other a bit more.

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Speaker 3: We find out that Chris's mom died in a car

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Speaker 3: accident when he was a kid. Also, Dean suggests that

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Speaker 3: Missy hypnotized Chris to help him quit smoking. She's a

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Speaker 3: psychiatrist and she's like developed this method of hypnosis. But

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Speaker 3: Chris is like, no thanks, I'm good. Then Rose's brother

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Speaker 3: Jeremy played by Caleb Landry Jones shows up to the house.

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Speaker 3: He's there for a party that Rose's grandfather used to

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Speaker 3: throw every year while he was alive, and the family

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Speaker 3: just like kept this tradition going of throwing this annual party.

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Speaker 3: Jeremy is generally an asshole. He says some weird things

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Speaker 3: to Chris about his physique and genetic makeup, and he

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Speaker 3: tries to play fight with Chris, and so there's you know,

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Speaker 3: weird vibes from him as well.

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Speaker 5: And I know this isn't true, but this is always

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Speaker 5: the point in the movie where I'm like.

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Speaker 4: Is this supposed to be Jonah Piretti because.

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Speaker 5: Oh, because of Chelsea was famously a piece of shit. Anyways,

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Speaker 5: maybe Jordan Peele says, no.

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Speaker 1: Well, I think he'd have to.

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Speaker 3: Yeah, you can't be like, yes, it's my brother in

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Speaker 3: law who I hate.

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Speaker 5: Yeah, mister BuzzFeed him son.

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Speaker 3: Oh gosh. So Rose is like, oh, sorry about my family,

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Speaker 3: maybe they are racist, and Chris is like, yeah, no shit,

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Speaker 3: I told you so.

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Speaker 1: Uh.

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Speaker 3: Later that night, Chris can't sleep, so he goes outside

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Speaker 3: for a cigarette. He sees more of Walter and Georgina

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Speaker 3: being weird, and when Chris goes back in, Missy reprimands

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Speaker 3: him for smoking and that she kind of coaxes him

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Speaker 3: into being hypnotized. She's swirling a spoon around a teacup,

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Speaker 3: and she weaponizes the guilt that he feels about his

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Speaker 3: mother's death.

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Speaker 5: Catherine Keener is terrifying.

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Speaker 3: Oh my gosh, she's very, very scary. The performances all

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Speaker 3: around in this movie are just like next level.

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Speaker 5: Yeah, I mean, but Daniel Kleia obviously is like the

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Speaker 5: reaction shots of him are like iconic at this point.

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Speaker 5: But yeah, that like every single performance it's so well cast.

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Speaker 5: It's yeah, it's great.

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Speaker 1: He really shows that acting is reacting because he doesn't

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Speaker 1: talk a lot. Yeah, he's a man of few words.

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Speaker 1: He's very observant. Yeah, and not he doesn't he holds

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Speaker 1: his cards a little close to the best.

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Speaker 5: Yeah, for sure. And I also, I mean, just I

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Speaker 5: didn't really think about it before, but like Jordan Peel's

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Speaker 5: casting process, he's like chosen these white actors that are

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Speaker 5: associated with these famous white liberal shows like Alison Williams

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Speaker 5: Is and Girls. Bradley Whitfer was in the West Wing,

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Speaker 5: so it's like there's already this sort of subconscious association

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Speaker 5: with white liberalism with the casting too, and then the

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Speaker 5: performances are just unbelievable. It's yeah, he's playing five D chess.

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Speaker 1: Very much reminds me of Emerald Fennel's casting process for

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Speaker 1: promising young women, where she was like, I want all

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Speaker 1: of the men to be like these lovable white boys

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Speaker 1: that everybody is like, oh my god, he's the best,

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Speaker 1: and then they're horrible sexual assaulters.

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Speaker 5: Right and or complicit Adam Brodie bo burn up, Yeah.

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Speaker 1: Max Greenfield my husband right, right.

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Speaker 5: Yeah. I guess that never like really fully clicked for

436
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Speaker 5: me on previous viewings, but I was like, wow, he's

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Speaker 5: really playing a game of five DCHSS for the viewers.

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Speaker 3: So we're in the middle of this hypnosis scene. Chris

439
00:23:38,920 --> 00:23:44,840
Speaker 3: is crying, he's scratching at the armchair, and then Missy

440
00:23:44,960 --> 00:23:49,080
Speaker 3: puts him in the sunken place where he's basically trapped

441
00:23:49,080 --> 00:23:52,240
Speaker 3: in his own mind. He can see what's happening in

442
00:23:52,359 --> 00:23:55,200
Speaker 3: the world around him from a distance, but he can't

443
00:23:55,240 --> 00:23:59,040
Speaker 3: move and he no longer has control over his own body.

444
00:24:00,080 --> 00:24:03,440
Speaker 3: Cut to him waking up in bed. Things seem back

445
00:24:03,480 --> 00:24:07,040
Speaker 3: to normal. He thinks it was probably a dream. And

446
00:24:07,359 --> 00:24:11,840
Speaker 3: shortly after this, guests start arriving for this party. They

447
00:24:12,000 --> 00:24:17,399
Speaker 3: are almost entirely older, wealthy white people. They direct several

448
00:24:17,520 --> 00:24:20,960
Speaker 3: racist microaggressions at Chris and macro.

449
00:24:20,720 --> 00:24:25,280
Speaker 5: Aggressions, yeah, just to also aggression.

450
00:24:24,560 --> 00:24:25,320
Speaker 3: A lot of everything.

451
00:24:25,720 --> 00:24:29,520
Speaker 1: My favorite of the aggressions is when when that woman

452
00:24:29,720 --> 00:24:33,000
Speaker 1: looks at Rose and says, is it better? Yeah?

453
00:24:32,800 --> 00:24:36,160
Speaker 4: Ohh god, lady yeah.

454
00:24:36,200 --> 00:24:39,600
Speaker 3: And then Chris notices the one other black guest at

455
00:24:39,600 --> 00:24:44,199
Speaker 3: the party and approaches him. We recognize him as the

456
00:24:44,320 --> 00:24:46,639
Speaker 3: Lakeith Stanfield character we saw at the very beginning of

457
00:24:46,680 --> 00:24:50,360
Speaker 3: the movie, although now he's acting and speaking and dressing

458
00:24:50,800 --> 00:24:54,760
Speaker 3: very differently, and he seems to be like romantically with

459
00:24:54,880 --> 00:24:58,760
Speaker 3: a much older white woman, so the vibes are very

460
00:24:58,760 --> 00:25:01,280
Speaker 3: weird there. The inter action he has with Chris is

461
00:25:01,359 --> 00:25:07,200
Speaker 3: very weird. And then Chris Cross's path Chris Cross Chris

462
00:25:07,240 --> 00:25:11,399
Speaker 3: Cross's paths with a guy named Jim Hudson played by

463
00:25:11,400 --> 00:25:15,199
Speaker 3: Stephen Root, who Chris had heard of because he's an

464
00:25:15,320 --> 00:25:19,280
Speaker 3: art dealer. Jim knows of Chris as well because he's

465
00:25:19,400 --> 00:25:23,679
Speaker 3: an admirer of Chris's photography, although he hasn't been able

466
00:25:23,800 --> 00:25:27,120
Speaker 3: to see it because due to a genetic disease, Jim

467
00:25:27,200 --> 00:25:31,080
Speaker 3: Hudson went blind, and he explains that he has his

468
00:25:31,520 --> 00:25:36,000
Speaker 3: assistant describe artists work to him in detail, so he

469
00:25:36,040 --> 00:25:38,320
Speaker 3: knows if he wants to, you know, buy and deal

470
00:25:38,359 --> 00:25:43,119
Speaker 3: it or not. Then Chris goes inside and we see

471
00:25:43,160 --> 00:25:47,639
Speaker 3: that all the guests are hyper fixated on Chris being there.

472
00:25:47,840 --> 00:25:48,960
Speaker 4: It's very eerie.

473
00:25:49,480 --> 00:25:52,680
Speaker 5: The moment where he walks upstairs and everyone pauses is

474
00:25:52,960 --> 00:25:56,119
Speaker 5: just like everyone's worst fear.

475
00:25:56,320 --> 00:25:59,359
Speaker 3: I remember that being in the trailer. You know, watching

476
00:25:59,359 --> 00:26:02,040
Speaker 3: the trailer, you don't really know the context, so.

477
00:26:02,000 --> 00:26:03,520
Speaker 4: You're just like, what's going on?

478
00:26:04,720 --> 00:26:06,400
Speaker 3: And then you see the movie and you're like, oh

479
00:26:06,440 --> 00:26:11,640
Speaker 3: my god. But anyway, Chris calls Rod, who is convinced

480
00:26:11,640 --> 00:26:15,080
Speaker 3: that the family is trying to hypnotize him and turn

481
00:26:15,160 --> 00:26:18,720
Speaker 3: him into a sex slave. Chris is like, a haha,

482
00:26:18,800 --> 00:26:22,200
Speaker 3: I don't know. And then Chris has a bizarre interaction

483
00:26:22,359 --> 00:26:26,520
Speaker 3: with Georgina. We also have seen him have a similarly

484
00:26:27,160 --> 00:26:33,000
Speaker 3: bizarre interaction with Walter. Those performances are also incredible from

485
00:26:33,000 --> 00:26:36,480
Speaker 3: the actors playing Georgina and Walter. And then Chris returns

486
00:26:36,480 --> 00:26:40,400
Speaker 3: to the party. He observes more of the Lakeith Stanfield

487
00:26:40,520 --> 00:26:43,760
Speaker 3: character being weird, so Chris tries to take a picture

488
00:26:43,760 --> 00:26:47,040
Speaker 3: of him on his phone in secret, but the flash

489
00:26:47,080 --> 00:26:53,760
Speaker 3: goes off and this seems to perhaps unhypnotize Lakeith's character,

490
00:26:54,320 --> 00:26:58,000
Speaker 3: and he screams at Chris to get out, Hey, that's

491
00:26:58,040 --> 00:26:58,879
Speaker 3: the name of the movie.

492
00:26:58,960 --> 00:27:02,119
Speaker 4: You're like, whoa, oh asah.

493
00:27:02,560 --> 00:27:08,680
Speaker 3: And the family explains this character's behavior away as being

494
00:27:08,800 --> 00:27:12,720
Speaker 3: an epileptic seizure. And when we see the la Keith

495
00:27:12,800 --> 00:27:17,320
Speaker 3: character again, he's back to being this like bizarro hypnotized

496
00:27:17,440 --> 00:27:21,120
Speaker 3: version of himself. So Chris and Rose go off by

497
00:27:21,160 --> 00:27:24,199
Speaker 3: themselves and Chris is like, that was no seizure. This

498
00:27:24,320 --> 00:27:27,200
Speaker 3: whole thing is very uncomfortable and I want to go home,

499
00:27:27,920 --> 00:27:31,320
Speaker 3: and eventually she's like, yeah, this sucks, let's get out

500
00:27:31,320 --> 00:27:31,600
Speaker 3: of here.

501
00:27:31,840 --> 00:27:34,760
Speaker 5: So yeah, the way that she soft nags him throughout

502
00:27:35,320 --> 00:27:37,080
Speaker 5: the movie is so effective.

503
00:27:38,000 --> 00:27:42,920
Speaker 1: Yeah, she's the master. She is. Give credit where credits

504
00:27:43,000 --> 00:27:46,440
Speaker 1: due that woman, the character Rose Oscar.

505
00:27:47,200 --> 00:27:50,199
Speaker 5: I mean it's like, I will, truly I will. It

506
00:27:50,320 --> 00:27:52,960
Speaker 5: took me, probably on my first viewing too long to

507
00:27:53,040 --> 00:27:55,360
Speaker 5: catch on that she's almost certainly in on it.

508
00:27:55,440 --> 00:27:58,600
Speaker 7: But I didn't get it till the keys right right, same,

509
00:27:59,119 --> 00:28:02,639
Speaker 7: And you're like, fuck, yeah, of course right, because the

510
00:28:02,680 --> 00:28:07,320
Speaker 7: movie kind of implies that maybe she's also hypnotized.

511
00:28:06,359 --> 00:28:09,960
Speaker 3: And if she's doing this, it's against her will. But

512
00:28:10,200 --> 00:28:11,960
Speaker 3: just kidding, No, she's in on it.

513
00:28:12,119 --> 00:28:12,359
Speaker 5: Yeah.

514
00:28:12,400 --> 00:28:16,160
Speaker 3: But before we get that reveal, we see what appears

515
00:28:16,200 --> 00:28:19,080
Speaker 3: to be an auction. It's like disguised as a bingo game,

516
00:28:19,160 --> 00:28:23,439
Speaker 3: but it's an auction that Dean Armitage is conducting, and

517
00:28:23,480 --> 00:28:28,200
Speaker 3: it's revealed that what is being sold is Chris and

518
00:28:28,240 --> 00:28:32,320
Speaker 3: the highest bidder is that art dealer, Jim Hudson, and

519
00:28:32,400 --> 00:28:36,040
Speaker 3: all of this is of course unbeknownst to Chris. So

520
00:28:36,160 --> 00:28:38,120
Speaker 3: Chris and Rose go back inside and they get ready

521
00:28:38,160 --> 00:28:41,120
Speaker 3: to leave, and he sends the picture he took of

522
00:28:41,200 --> 00:28:44,480
Speaker 3: Lekeith to his friend Rod, and Rod is like, wait

523
00:28:44,480 --> 00:28:46,720
Speaker 3: a minute, I know that guy. His name is Dre

524
00:28:47,480 --> 00:28:49,920
Speaker 3: and Chris is like, yeah, I thought I recognized him.

525
00:28:50,040 --> 00:28:54,640
Speaker 3: And he's explaining how different Drey is now and then

526
00:28:54,960 --> 00:28:56,720
Speaker 3: and this is the only part of the movie that like,

527
00:28:57,480 --> 00:28:59,760
Speaker 3: I'm like, oh, this is a perfect movie, except for

528
00:28:59,800 --> 00:29:04,000
Speaker 3: this where Chris just kind of randomly finds this statue

529
00:29:04,040 --> 00:29:09,040
Speaker 3: of photos in Rose's room, and each one is of

530
00:29:09,480 --> 00:29:12,640
Speaker 3: Rose and a black person, and the last two photos

531
00:29:12,680 --> 00:29:18,000
Speaker 3: are of her and Walter and Georgina. And so Chris

532
00:29:18,040 --> 00:29:22,880
Speaker 3: is now very much panicking. He's trying to get out

533
00:29:23,240 --> 00:29:28,480
Speaker 3: right now. But Rose's family descends on him, including Rose,

534
00:29:28,520 --> 00:29:32,440
Speaker 3: who surprise is in on the whole thing, and Missy

535
00:29:32,520 --> 00:29:36,680
Speaker 3: hypnotizes Chris via the teacup and spoon and puts him

536
00:29:36,680 --> 00:29:41,080
Speaker 3: in the sunken place. He wakes up in the basement

537
00:29:41,120 --> 00:29:43,960
Speaker 3: of the house, strapped to a chair. There's a TV

538
00:29:44,040 --> 00:29:46,080
Speaker 3: in front of him, and it starts playing a video

539
00:29:46,240 --> 00:29:52,440
Speaker 3: about the coagula procedure, a surgery where part of a

540
00:29:52,440 --> 00:29:57,640
Speaker 3: person's brain will be transplanted into Chris's body in this case,

541
00:29:57,800 --> 00:30:01,680
Speaker 3: Jim Hudson, who will have control roll over Chris's body

542
00:30:02,320 --> 00:30:06,120
Speaker 3: and Chris's consciousness will live in the sunken place.

543
00:30:06,480 --> 00:30:09,440
Speaker 5: This is one of my favorite, like horror movie tropes,

544
00:30:09,520 --> 00:30:12,080
Speaker 5: is all of a sudden when the instructional video comes

545
00:30:12,080 --> 00:30:15,280
Speaker 5: on and it's like, Hi, you might be wondering what

546
00:30:15,360 --> 00:30:19,080
Speaker 5: the scary thing is. Well, I'm a scary guy, and

547
00:30:19,120 --> 00:30:21,520
Speaker 5: here's what the scary thing is. I love it.

548
00:30:21,600 --> 00:30:24,200
Speaker 1: I will say Jordan Pield does a good job of

549
00:30:24,280 --> 00:30:29,640
Speaker 1: giving an in world reason because he has Jim Hudson

550
00:30:29,720 --> 00:30:32,800
Speaker 1: say you know, they say that our mutual understanding of

551
00:30:32,840 --> 00:30:35,360
Speaker 1: the procedure helps it take root.

552
00:30:35,320 --> 00:30:36,480
Speaker 4: And you're like, yeah, I believe that.

553
00:30:36,600 --> 00:30:40,480
Speaker 1: I was like, why is this an evil monologue situation?

554
00:30:41,160 --> 00:30:43,200
Speaker 1: Like they don't need to tell him? And then I

555
00:30:43,200 --> 00:30:44,560
Speaker 1: was like, oh, okay, that makes sense.

556
00:30:44,560 --> 00:30:46,080
Speaker 5: He has to understand for it to work.

557
00:30:46,120 --> 00:30:48,200
Speaker 4: But it's justified, right. Yeah.

558
00:30:48,040 --> 00:30:50,960
Speaker 3: The reason I don't like Chris just like randomly finding

559
00:30:50,960 --> 00:30:54,240
Speaker 3: all those photos is because one, like it feels a

560
00:30:54,280 --> 00:30:56,560
Speaker 3: little too much like a coincidence that he just randomly

561
00:30:56,560 --> 00:30:59,240
Speaker 3: finds them to me at least, and two like, why

562
00:30:59,240 --> 00:31:02,480
Speaker 3: would they have that evidence? Like very out in the

563
00:31:02,520 --> 00:31:05,920
Speaker 3: open and available for him to see. I don't know

564
00:31:05,960 --> 00:31:07,760
Speaker 3: it just it felt a little silly to me, but

565
00:31:08,160 --> 00:31:12,880
Speaker 3: otherwise perfect movie anyway. So we understand that this coigular

566
00:31:12,880 --> 00:31:17,240
Speaker 3: procedure is what must have happened to Drey and Walter

567
00:31:17,360 --> 00:31:20,760
Speaker 3: and Georgina. And then Chris is hypnotized again via the

568
00:31:21,120 --> 00:31:25,840
Speaker 3: teacup and spoon coming on the TV screen. Meanwhile, back

569
00:31:25,840 --> 00:31:30,959
Speaker 3: in the city, Rod starts investigating this whole ordeal and

570
00:31:31,080 --> 00:31:35,840
Speaker 3: discovers that Drey has been missing for six months. So

571
00:31:36,040 --> 00:31:38,880
Speaker 3: Rod goes to the police and tries to explain that

572
00:31:38,960 --> 00:31:43,280
Speaker 3: he thinks the Armitage family is abducting black people, brainwashing them,

573
00:31:43,280 --> 00:31:46,560
Speaker 3: and turning them to sex slaves, but the cops all

574
00:31:46,960 --> 00:31:51,520
Speaker 3: laugh him off. Back at the Armitage house, Dean and

575
00:31:51,680 --> 00:31:55,800
Speaker 3: Jeremy prepare for the surgery. Jeremy goes to collect Chris,

576
00:31:55,920 --> 00:32:01,080
Speaker 3: thinking he's hypnotized, but just kidding he's not because Chris

577
00:32:01,080 --> 00:32:04,880
Speaker 3: had stuffed cotton in his ears from the armchair that

578
00:32:04,960 --> 00:32:09,120
Speaker 3: he was anxiously scratching, so he didn't hear the teacup

579
00:32:09,280 --> 00:32:12,520
Speaker 3: thing that triggers the hypnosis, which means he's able to

580
00:32:12,560 --> 00:32:15,480
Speaker 3: fight back against Jeremy. He bashes him over the head

581
00:32:15,480 --> 00:32:20,920
Speaker 3: with I think a bochi ball feels appropriate, right, And

582
00:32:20,960 --> 00:32:26,400
Speaker 3: then Chris impales Dean with the antlers of a taxidermied buck.

583
00:32:27,480 --> 00:32:31,880
Speaker 3: He breaks Missy's teacup and stabs her and kills her,

584
00:32:33,000 --> 00:32:36,240
Speaker 3: and then Chris takes Jeremy's keys and starts to drive off,

585
00:32:36,680 --> 00:32:42,480
Speaker 3: but then Georgina, who is actually Rose's grandmother, tries to

586
00:32:42,520 --> 00:32:48,680
Speaker 3: stop him and Rose, who's eating cereal inside here's the

587
00:32:48,720 --> 00:32:54,360
Speaker 3: commotion and goes outside with a rifle. Walter, who is

588
00:32:54,920 --> 00:32:59,800
Speaker 3: Rose's grandfather, chases after Chris, but Chris is able to

589
00:33:00,160 --> 00:33:04,120
Speaker 3: use the flash on his phone to unhypnotize Walter, so

590
00:33:04,280 --> 00:33:08,520
Speaker 3: Walter shoots Rose and then himself. Though Rose is still

591
00:33:08,520 --> 00:33:12,840
Speaker 3: alive and Chris starts strangling her, but then a cop

592
00:33:12,880 --> 00:33:16,000
Speaker 3: car shows up and Rose is like, help me, and

593
00:33:16,040 --> 00:33:20,440
Speaker 3: again we think, oh no, but the door swings open

594
00:33:20,920 --> 00:33:23,680
Speaker 3: on the car and it says airport because it's Rod

595
00:33:23,800 --> 00:33:27,000
Speaker 3: in a TSA car there to save his friend, and we.

596
00:33:26,960 --> 00:33:30,560
Speaker 4: Can't stop cheering, and we're like, I didn't know.

597
00:33:30,520 --> 00:33:32,800
Speaker 5: That there were alternative endings to this movie until I

598
00:33:32,880 --> 00:33:34,280
Speaker 5: was researching for this.

599
00:33:35,400 --> 00:33:38,480
Speaker 1: People did not like the alternate ending, and I don't

600
00:33:38,520 --> 00:33:39,680
Speaker 1: think I would have liked it either.

601
00:33:39,840 --> 00:33:42,560
Speaker 3: No, yeah, no. So this ending that we see, you know,

602
00:33:42,600 --> 00:33:45,040
Speaker 3: the theatrical ending is that Chris gets in the car

603
00:33:45,160 --> 00:33:49,200
Speaker 3: and they drive off to safety. The end, the alternate ending,

604
00:33:49,360 --> 00:33:50,080
Speaker 3: at least one of them.

605
00:33:50,160 --> 00:33:51,280
Speaker 5: It seems like there's a couple.

606
00:33:51,520 --> 00:33:55,520
Speaker 3: Yeah, there was one that was actually shot. So Chris

607
00:33:55,680 --> 00:34:00,360
Speaker 3: strangles Rose and kills her, so she dies, and the

608
00:34:00,400 --> 00:34:03,400
Speaker 3: cops still show up in that moment, and it's actually

609
00:34:03,480 --> 00:34:07,760
Speaker 3: the police, not Rod in his TSACR. The cops arrest

610
00:34:07,880 --> 00:34:10,719
Speaker 3: Chris and he goes to jail. We cut to six

611
00:34:10,719 --> 00:34:14,920
Speaker 3: months later. Rod visits him in prison. He's trying to

612
00:34:14,920 --> 00:34:19,920
Speaker 3: help Chris clear his name, but Chris, realizing that the

613
00:34:20,080 --> 00:34:23,400
Speaker 3: racist system won't work in his favor, he's just like,

614
00:34:23,440 --> 00:34:26,600
Speaker 3: it's okay, like I stopped this from happening again. And

615
00:34:26,640 --> 00:34:29,440
Speaker 3: then Chris walks away and that's the end of the movie.

616
00:34:29,600 --> 00:34:33,399
Speaker 3: And Jordan Peele spoke about this as far as when

617
00:34:33,440 --> 00:34:35,520
Speaker 3: he was writing the movie, that was the ending that

618
00:34:35,680 --> 00:34:39,560
Speaker 3: he had envisioned. He wanted this sort of gut punch

619
00:34:39,680 --> 00:34:41,480
Speaker 3: realistic ending.

620
00:34:41,560 --> 00:34:44,400
Speaker 5: Which does feel like more in step with what he

621
00:34:44,440 --> 00:34:46,560
Speaker 5: says his influences are, because like the step for wives,

622
00:34:46,560 --> 00:34:50,080
Speaker 5: Anne Rosemary's Baby both end with like a pretty severe

623
00:34:50,120 --> 00:34:52,120
Speaker 5: defeat of the protagonist for.

624
00:34:52,120 --> 00:34:55,560
Speaker 3: Sure, right, But by the time he was shooting the movie,

625
00:34:55,600 --> 00:34:59,480
Speaker 3: he realized that he wanted an ending that would be

626
00:34:59,560 --> 00:35:04,080
Speaker 3: like cathartic and uplifting and empowering. And that's why we

627
00:35:04,160 --> 00:35:07,160
Speaker 3: get the ending that we get where Chris triumphs and

628
00:35:07,280 --> 00:35:08,360
Speaker 3: Rod saves him.

629
00:35:08,400 --> 00:35:11,040
Speaker 4: So, yeah, that is that.

630
00:35:11,840 --> 00:35:13,759
Speaker 3: Let's take another quick break and then we'll come back

631
00:35:13,800 --> 00:35:24,920
Speaker 3: to discuss.

632
00:35:24,920 --> 00:35:26,280
Speaker 4: And where we're back.

633
00:35:26,760 --> 00:35:28,800
Speaker 1: I missed you guys during the breaks.

634
00:35:28,920 --> 00:35:29,719
Speaker 3: I miss you too.

635
00:35:30,320 --> 00:35:34,680
Speaker 5: I feel so safe now I'm back with my friends. Yeah,

636
00:35:34,600 --> 00:35:36,040
Speaker 5: where do we want to start?

637
00:35:36,640 --> 00:35:40,359
Speaker 1: I guess I want to start talking about like the influences.

638
00:35:40,400 --> 00:35:43,880
Speaker 1: We talked a little bit about Rosemary's Baby and Stepford

639
00:35:43,880 --> 00:35:47,279
Speaker 1: Wives being influences, which both of those are written by

640
00:35:47,360 --> 00:35:51,440
Speaker 1: the same person. The original text I relevent Or eleven.

641
00:35:51,760 --> 00:35:55,400
Speaker 1: And the first time I ever heard it compared to

642
00:35:55,719 --> 00:35:59,040
Speaker 1: Stepford Wives, I was at work and one of my

643
00:35:59,080 --> 00:36:02,879
Speaker 1: coworkers who I didn't like, said, you know, get Out

644
00:36:03,000 --> 00:36:05,759
Speaker 1: is just like a ripoff, like a bad ripoff of

645
00:36:05,800 --> 00:36:08,440
Speaker 1: Stepford Wives. Oh, And I was like, I knew I

646
00:36:08,480 --> 00:36:13,600
Speaker 1: didn't like you, and I was kind of resentful of

647
00:36:13,640 --> 00:36:17,799
Speaker 1: the comparison at all, not knowing that Peel himself had said, yeah, no,

648
00:36:17,880 --> 00:36:22,000
Speaker 1: I drew from Stepford Wives. And I think what's really

649
00:36:22,120 --> 00:36:26,200
Speaker 1: specific about Stepford Wives in particular this did not happen

650
00:36:26,200 --> 00:36:30,080
Speaker 1: in the two thousand and four remake because it's bad,

651
00:36:30,120 --> 00:36:34,040
Speaker 1: But in the nineteen seventy five original film and the

652
00:36:34,120 --> 00:36:40,960
Speaker 1: nineteen seventy two book, the end is that Joanne or Joanna,

653
00:36:41,000 --> 00:36:43,520
Speaker 1: I don't remember which one is her name, but she is.

654
00:36:43,840 --> 00:36:47,040
Speaker 1: She becomes a Stepford wife, and at the grocery store

655
00:36:47,160 --> 00:36:51,239
Speaker 1: she sees this like black family moving into the neighborhood,

656
00:36:51,760 --> 00:36:54,719
Speaker 1: integrating the neighborhood, and it's very heavily implied that they

657
00:36:54,760 --> 00:36:56,920
Speaker 1: will be next. So I feel like it was sort of,

658
00:36:57,440 --> 00:37:01,600
Speaker 1: in a way a symbolic passing of the tour of

659
00:37:01,640 --> 00:37:07,320
Speaker 1: the baton to tell this story about blackness, because Stepford

660
00:37:07,320 --> 00:37:10,040
Speaker 1: Wives is very specifically kind of like in the way

661
00:37:10,120 --> 00:37:14,480
Speaker 1: the feminine mystique exists by Betty for Dan is foreign

662
00:37:14,920 --> 00:37:18,879
Speaker 1: about white women. And I think that it is very

663
00:37:18,920 --> 00:37:21,640
Speaker 1: dynamic and it is very of its time, but it

664
00:37:21,719 --> 00:37:25,560
Speaker 1: is definitely foreign about white women. And this movie is

665
00:37:26,440 --> 00:37:30,600
Speaker 1: for and about black men in a way that draws

666
00:37:30,640 --> 00:37:34,960
Speaker 1: from Stepford Wives, but is not a cheap ripoff of it.

667
00:37:35,719 --> 00:37:38,480
Speaker 1: Man from work whose name I don't remember.

668
00:37:38,400 --> 00:37:43,760
Speaker 5: Good God, I love men in writers' rooms.

669
00:37:43,800 --> 00:37:47,120
Speaker 1: They never this was not a writer's room. I will

670
00:37:47,200 --> 00:37:49,200
Speaker 1: give credit where credits do. I don't want anybody to

671
00:37:49,200 --> 00:37:51,680
Speaker 1: think that anybody like I Carly or Raven's Home was

672
00:37:51,680 --> 00:37:54,920
Speaker 1: saying that stuff. I was working as a telemarketer at

673
00:37:54,920 --> 00:37:59,080
Speaker 1: the time. Very different vibe right around when Sorry to

674
00:37:59,120 --> 00:38:03,560
Speaker 1: Bother You came out, which, uh was you know interesting

675
00:38:03,560 --> 00:38:07,520
Speaker 1: that Lakeith Stanfield has taken on many roles embodying like

676
00:38:07,560 --> 00:38:09,200
Speaker 1: whiteness and blackness at the same time.

677
00:38:09,520 --> 00:38:15,480
Speaker 5: Yeah, yeah, I mean I didn't really connect what Peel's

678
00:38:15,480 --> 00:38:18,759
Speaker 5: influences were before. I just like happened to rewatch these

679
00:38:18,800 --> 00:38:22,759
Speaker 5: and then yeah, he does cite that. But you're totally right, Crum.

680
00:38:22,840 --> 00:38:26,759
Speaker 5: I mean, any anyone saying that Get Out is derivative

681
00:38:27,040 --> 00:38:31,600
Speaker 5: is a fucking liar who just like and and just

682
00:38:31,640 --> 00:38:35,360
Speaker 5: with like the specificity of who this movie is for,

683
00:38:35,640 --> 00:38:39,280
Speaker 5: because absolutely like the Rosemary's Baby and steph For Wives

684
00:38:39,719 --> 00:38:43,919
Speaker 5: have this like whiff of second wave feminism about them,

685
00:38:44,040 --> 00:38:47,640
Speaker 5: where you know, points are made, and also it's so

686
00:38:47,800 --> 00:38:52,080
Speaker 5: clearly focused on middle to upper class white women and

687
00:38:52,360 --> 00:38:57,080
Speaker 5: what their struggles were, ignoring everybody else and get out.

688
00:38:57,120 --> 00:39:00,000
Speaker 5: I mean, it's just like it's clear what Jordan Peel's folks,

689
00:39:00,400 --> 00:39:03,359
Speaker 5: and it's like you can reference and be inspired by

690
00:39:03,880 --> 00:39:05,520
Speaker 5: other works.

691
00:39:05,760 --> 00:39:07,080
Speaker 4: But this is so different.

692
00:39:07,360 --> 00:39:10,960
Speaker 5: And the fact that in this movie, like white women

693
00:39:11,239 --> 00:39:14,320
Speaker 5: of this same class as Stepford wives are taken to task.

694
00:39:14,400 --> 00:39:18,839
Speaker 5: They are the active aggressors in this situation, and he's

695
00:39:18,840 --> 00:39:20,960
Speaker 5: not shying away from that. So it almost feels like

696
00:39:20,960 --> 00:39:23,160
Speaker 5: it's in conversation with stephyr Wise. But to say it's

697
00:39:23,160 --> 00:39:24,960
Speaker 5: a ripoff is just like a lot.

698
00:39:25,960 --> 00:39:29,560
Speaker 1: It was. It was deeply appalling, Like it has stuck

699
00:39:29,600 --> 00:39:31,840
Speaker 1: with me that this man said that and I didn't

700
00:39:32,120 --> 00:39:36,160
Speaker 1: I flames flames on the side of my face.

701
00:39:36,400 --> 00:39:43,600
Speaker 3: Okay, clue reference you love to see it? Yeah, I mean,

702
00:39:44,120 --> 00:39:46,160
Speaker 3: you know, this movie is obviously one that has a

703
00:39:46,239 --> 00:39:50,880
Speaker 3: very clear agenda as far as examining anti black racism

704
00:39:51,120 --> 00:39:54,279
Speaker 3: in the US. It's a movie that forced a lot

705
00:39:54,280 --> 00:39:58,799
Speaker 3: of people, especially white people, to interrogate their history with

706
00:39:58,960 --> 00:40:04,760
Speaker 3: anti black racism, to interrogate their allyship if they consider

707
00:40:04,800 --> 00:40:09,040
Speaker 3: themselves to be anti racist allies or non racist allies,

708
00:40:09,360 --> 00:40:12,719
Speaker 3: and how they approach allyship and whether or not it's

709
00:40:12,760 --> 00:40:18,040
Speaker 3: actually helpful or if it's performative and false. It's a

710
00:40:18,080 --> 00:40:24,480
Speaker 3: movie that examines racial and cultural appropriation of black people

711
00:40:24,520 --> 00:40:29,000
Speaker 3: and examines the exploitation of black bodies throughout history into

712
00:40:29,040 --> 00:40:31,720
Speaker 3: present day. Like it's doing all these things, and also

713
00:40:31,800 --> 00:40:35,560
Speaker 3: like all these metaphors that you can apply as far

714
00:40:35,640 --> 00:40:41,160
Speaker 3: as the prison industrial complex, slavery, that the bingo scene,

715
00:40:41,880 --> 00:40:45,200
Speaker 3: you know, being an allegory for a slave auction, like

716
00:40:45,320 --> 00:40:45,919
Speaker 3: all these things.

717
00:40:46,000 --> 00:40:48,560
Speaker 1: I have to say something about the bingo scene and

718
00:40:48,640 --> 00:40:51,399
Speaker 1: just something that always is bone chilling for me when

719
00:40:51,440 --> 00:40:55,080
Speaker 1: I watch a movie where somebody sinister does like crafts

720
00:40:55,400 --> 00:40:59,360
Speaker 1: to prepare for their sinister activities. I'm just like, you

721
00:40:59,760 --> 00:41:03,280
Speaker 1: weren't to FedEx copy and print and got those bingo

722
00:41:03,440 --> 00:41:06,600
Speaker 1: cards made and had like a big ass picture of

723
00:41:06,800 --> 00:41:09,920
Speaker 1: Chris printed and framed it and put it on an easel.

724
00:41:10,200 --> 00:41:13,040
Speaker 1: That's not that's not nothing. I co hosted a bridal

725
00:41:13,040 --> 00:41:14,960
Speaker 1: shower for my friend. There were a lot of little

726
00:41:14,960 --> 00:41:17,560
Speaker 1: things that I had to do and it was exhausting,

727
00:41:17,600 --> 00:41:18,120
Speaker 1: and I'm.

728
00:41:17,960 --> 00:41:19,960
Speaker 5: Just like, you're so evil you had to go to

729
00:41:20,000 --> 00:41:21,000
Speaker 5: CVS about that.

730
00:41:21,320 --> 00:41:26,000
Speaker 3: Yes, someone put stickers on the Bengo cards and very

731
00:41:26,040 --> 00:41:31,440
Speaker 3: specific places and like color coded them and everything like yeah, effort, No.

732
00:41:31,360 --> 00:41:32,640
Speaker 1: It's nefarious.

733
00:41:32,680 --> 00:41:35,080
Speaker 5: And I don't think Bradley Whitford is doing that either,

734
00:41:35,239 --> 00:41:37,120
Speaker 5: like he's outsourcing that labor.

735
00:41:37,480 --> 00:41:39,840
Speaker 1: I don't think that Georgina's doing it either, because she

736
00:41:39,920 --> 00:41:43,759
Speaker 1: is secretly the grandma, right. But like I'm wondering if

737
00:41:43,800 --> 00:41:46,960
Speaker 1: they do have sort of a what Rod's thinking of,

738
00:41:47,239 --> 00:41:50,960
Speaker 1: like separate like actual slave people doing it, or if

739
00:41:50,960 --> 00:41:54,759
Speaker 1: they just have like an assistant. I don't know, someone

740
00:41:54,800 --> 00:42:00,799
Speaker 1: might tell it's like it's a turn.

741
00:41:59,040 --> 00:41:59,760
Speaker 4: Even the house.

742
00:42:00,160 --> 00:42:03,160
Speaker 5: The house is very like plantation coded I know is

743
00:42:03,239 --> 00:42:06,880
Speaker 5: shot in the South. Like there's just so many signifiers

744
00:42:07,000 --> 00:42:10,520
Speaker 5: of this slavery era in the US and then to

745
00:42:10,640 --> 00:42:13,320
Speaker 5: have I don't know, I mean, like speaking to your point, Caitlin,

746
00:42:13,400 --> 00:42:16,560
Speaker 5: of how a lot of people, not all of them,

747
00:42:16,560 --> 00:42:20,040
Speaker 5: because there are people who are just outwardly racist they're

748
00:42:20,040 --> 00:42:23,759
Speaker 5: not even pretending to not be. But for you know,

749
00:42:23,800 --> 00:42:26,360
Speaker 5: I guess with the exception of Jeremy, for like Rose

750
00:42:26,400 --> 00:42:29,000
Speaker 5: and her parents, it's like they're saying the right thing,

751
00:42:29,080 --> 00:42:32,799
Speaker 5: but they're not doing I mean, they're actively inflicting harm

752
00:42:32,840 --> 00:42:36,319
Speaker 5: with their actions, and it's like it's just I don't know.

753
00:42:36,680 --> 00:42:39,200
Speaker 5: It's like the best possible use of the horror genre

754
00:42:39,719 --> 00:42:41,600
Speaker 5: to make that point for me.

755
00:42:41,719 --> 00:42:46,040
Speaker 1: With the outwardly racist people at the party, it's really

756
00:42:46,040 --> 00:42:50,480
Speaker 1: interesting because they're never outwardly racist in the way that

757
00:42:50,640 --> 00:42:53,080
Speaker 1: is like bad that you're like, oh, this is a

758
00:42:53,160 --> 00:42:56,160
Speaker 1: bad person because they're being racist. But like to bring

759
00:42:56,200 --> 00:43:00,960
Speaker 1: up that lady again who is man handling Chris, and

760
00:43:01,000 --> 00:43:04,200
Speaker 1: then is like asking Rose like is it true that

761
00:43:04,239 --> 00:43:08,480
Speaker 1: sex with black men is better? That is obviously very racist,

762
00:43:08,520 --> 00:43:10,200
Speaker 1: But then you know, you always have those people who

763
00:43:10,239 --> 00:43:14,400
Speaker 1: are like, but it's a compliment to say that sex

764
00:43:14,440 --> 00:43:17,600
Speaker 1: with black people is better, Like we're saying a good thing,

765
00:43:17,719 --> 00:43:21,839
Speaker 1: and it's sort of like the positive stereotypes that are

766
00:43:22,160 --> 00:43:25,520
Speaker 1: just as harmful as the negative stereotypes, but sort of

767
00:43:25,560 --> 00:43:29,320
Speaker 1: like passed over. So it's like, oh, I love Tiger Woods.

768
00:43:28,920 --> 00:43:31,320
Speaker 5: And I'm just like, oh my god, buddy for Obama

769
00:43:31,400 --> 00:43:34,640
Speaker 5: the third time, Like right, it's.

770
00:43:34,600 --> 00:43:36,000
Speaker 1: Very Northeast racism.

771
00:43:36,280 --> 00:43:38,879
Speaker 3: I feel, yeah, well that's the thing, Like even though

772
00:43:38,920 --> 00:43:42,960
Speaker 3: the movie was shot in the South, Jordan Peele deliberately

773
00:43:43,040 --> 00:43:46,400
Speaker 3: was like, I want to communicate that these are like

774
00:43:46,719 --> 00:43:51,800
Speaker 3: New York upstate like neoliberal white rich people, because he's like,

775
00:43:51,840 --> 00:43:54,360
Speaker 3: it would have been too easy to like do a

776
00:43:54,520 --> 00:43:58,440
Speaker 3: very like, you know, southern plantation racist kind of thing.

777
00:43:58,640 --> 00:44:02,360
Speaker 5: Right, people, We've all men like it's right. There's people

778
00:44:02,400 --> 00:44:06,360
Speaker 5: in my family that it's just like there's uncomfortable echoes

779
00:44:06,719 --> 00:44:11,120
Speaker 5: of cringe inducing, embarrassing, gross shit that they would say

780
00:44:11,160 --> 00:44:14,480
Speaker 5: and be like, but what you're just like, you're awful,

781
00:44:14,560 --> 00:44:17,560
Speaker 5: you're awful, And I think that you know, we don't

782
00:44:17,560 --> 00:44:18,560
Speaker 5: know what we don't know.

783
00:44:18,960 --> 00:44:21,600
Speaker 1: And for some people, the first time that they say

784
00:44:21,600 --> 00:44:23,319
Speaker 1: something like that and somebody's like, hey, that's not cool,

785
00:44:23,360 --> 00:44:25,719
Speaker 1: they're like, oh my god, I totally didn't know that,

786
00:44:25,760 --> 00:44:29,320
Speaker 1: Thank you so much. But I think it's the well,

787
00:44:29,400 --> 00:44:32,960
Speaker 1: I'm not a racist and not being willing to confront

788
00:44:33,400 --> 00:44:38,680
Speaker 1: like you can be racist accidentally and that's okay as

789
00:44:38,719 --> 00:44:42,279
Speaker 1: long as you are like, oh, racism is not great,

790
00:44:42,360 --> 00:44:45,279
Speaker 1: let me not do that again. Like nobody is saying like, oh,

791
00:44:45,360 --> 00:44:48,520
Speaker 1: once you do a racism, you are automatically hitler, Like

792
00:44:48,600 --> 00:44:50,360
Speaker 1: that's not how it works. And I feel like a

793
00:44:50,400 --> 00:44:53,920
Speaker 1: lot of people feel like that, and there's like a

794
00:44:54,440 --> 00:44:57,560
Speaker 1: discomfort that they're not willing to sit with for sure.

795
00:44:57,719 --> 00:45:00,520
Speaker 5: Yeah, yeah, And I feel like that is the idea

796
00:45:00,560 --> 00:45:05,200
Speaker 5: that if you are racist in any contact at any point,

797
00:45:05,239 --> 00:45:09,839
Speaker 5: that you are forever horrible is used as like a

798
00:45:09,880 --> 00:45:14,400
Speaker 5: defense mechanism by people to refuse to learn and just

799
00:45:14,480 --> 00:45:19,239
Speaker 5: like double down and make people calling them out seem

800
00:45:19,480 --> 00:45:22,040
Speaker 5: like inherently unreasonable, where it's like, well, no, you're like

801
00:45:22,080 --> 00:45:27,800
Speaker 5: being asked to listen and adjust your behavior and think.

802
00:45:27,960 --> 00:45:31,759
Speaker 5: And I feel like that is just so antithetical too.

803
00:45:32,200 --> 00:45:36,960
Speaker 3: That's what I find so interesting and like effective about

804
00:45:37,040 --> 00:45:40,480
Speaker 3: the way most of the members of the Armitage family

805
00:45:40,920 --> 00:45:46,600
Speaker 3: behave as like fake allies basically, where for example, with Rose,

806
00:45:46,680 --> 00:45:52,040
Speaker 3: we are seeing her anytime that Chris brings up something

807
00:45:52,080 --> 00:45:55,239
Speaker 3: about oh someone said something that made me uncomfortable or

808
00:45:55,320 --> 00:45:58,399
Speaker 3: I told you they were probably racist, you see her

809
00:45:58,600 --> 00:46:02,719
Speaker 3: like downplaying his concerns but like joking around about them.

810
00:46:02,800 --> 00:46:06,640
Speaker 3: And on the surface, initially that could be interpreted as like, oh,

811
00:46:06,719 --> 00:46:10,200
Speaker 3: she's trying to put him at ease, she's like, you know,

812
00:46:10,200 --> 00:46:15,120
Speaker 3: bringing levity to the situation, but really she's gaslighting him

813
00:46:15,239 --> 00:46:18,000
Speaker 3: and luring him into a false sense of security so

814
00:46:18,040 --> 00:46:20,680
Speaker 3: that her family can entrap him and steal his body.

815
00:46:20,840 --> 00:46:23,960
Speaker 3: And even the part where she you know, calls out

816
00:46:23,960 --> 00:46:27,120
Speaker 3: the cop for wanting to see his ID in a

817
00:46:27,160 --> 00:46:31,919
Speaker 3: way that feels racist. Her defending Chris wasn't her being

818
00:46:31,960 --> 00:46:35,280
Speaker 3: anti racist, That was her like avoiding a paper trail.

819
00:46:35,440 --> 00:46:38,960
Speaker 3: So there's like all these things that could be you know,

820
00:46:39,000 --> 00:46:41,960
Speaker 3: interpreted through different lenses depending on what you already know

821
00:46:42,400 --> 00:46:47,760
Speaker 3: about these characters. And then like Dean when he first

822
00:46:47,760 --> 00:46:49,759
Speaker 3: meets Chris and he's like giving him the tour of

823
00:46:49,800 --> 00:46:53,839
Speaker 3: the house, he's saying some like cringey things the way

824
00:46:54,080 --> 00:46:57,520
Speaker 3: a like rich white boomer man would try to be

825
00:46:57,600 --> 00:47:00,759
Speaker 3: an ally and they're cringey, But it seems like he

826
00:47:00,840 --> 00:47:04,719
Speaker 3: means well, like he acknowledges the optics of being a

827
00:47:04,719 --> 00:47:08,640
Speaker 3: wealthy white family having black servants. He's saying the you know,

828
00:47:08,680 --> 00:47:11,839
Speaker 3: I would have voted for Obama a third term. He

829
00:47:12,400 --> 00:47:15,120
Speaker 3: you know, makes a comment about Jesse Owens winning gold

830
00:47:15,280 --> 00:47:17,400
Speaker 3: at the Olympics in front of Hitler and like all

831
00:47:17,440 --> 00:47:22,279
Speaker 3: this stuff. Again, it seems like he's trying, but it's

832
00:47:22,560 --> 00:47:24,719
Speaker 3: all a facade and it's all right.

833
00:47:24,719 --> 00:47:28,680
Speaker 5: But because it's like everything he's doing is like self defensive,

834
00:47:28,719 --> 00:47:31,799
Speaker 5: which we later learned is because he has a lot

835
00:47:31,840 --> 00:47:35,120
Speaker 5: of reasons to be like, oh, don't nothing to see here,

836
00:47:36,120 --> 00:47:39,000
Speaker 5: But on like subsequent viewings, you're like, he's not trying

837
00:47:39,040 --> 00:47:41,080
Speaker 5: to get to know Chris at all because he doesn't care,

838
00:47:41,280 --> 00:47:43,799
Speaker 5: Like he's just pointing out all of the ways in

839
00:47:43,840 --> 00:47:48,800
Speaker 5: which he is not racist towards black people and doesn't

840
00:47:48,840 --> 00:47:52,600
Speaker 5: ask Chris a single question about himself right at any point,

841
00:47:52,800 --> 00:47:54,719
Speaker 5: Like never gets to try to know the guy at all.

842
00:47:55,080 --> 00:47:58,799
Speaker 1: Yeah, I think the different ways that different generations and

843
00:47:58,880 --> 00:48:02,600
Speaker 1: genders of people in the Armitage family are sort of

844
00:48:02,680 --> 00:48:08,000
Speaker 1: representative of a class of racism is very interesting. Sort

845
00:48:08,040 --> 00:48:10,480
Speaker 1: of like the one that stands out the most is

846
00:48:10,640 --> 00:48:14,840
Speaker 1: Jeremy the brother, and he sort of gives off this

847
00:48:15,239 --> 00:48:19,560
Speaker 1: like angry alt right internet.

848
00:48:19,160 --> 00:48:23,400
Speaker 5: Boy down to the haircut down down like sort.

849
00:48:23,280 --> 00:48:27,359
Speaker 1: Of racism where he is like trying to scrap with

850
00:48:27,480 --> 00:48:32,799
Speaker 1: him and talks about physical superiority, which is very reminiscent

851
00:48:32,840 --> 00:48:35,359
Speaker 1: of the way that like in Cells talk and gives

852
00:48:35,360 --> 00:48:39,959
Speaker 1: me like Elliott Roger vibes. I think about Elliott Rodger

853
00:48:39,960 --> 00:48:42,040
Speaker 1: all the time. He's so scary to me, Like I

854
00:48:43,200 --> 00:48:46,440
Speaker 1: never got past that. That was like really freaky for me.

855
00:48:47,000 --> 00:48:50,279
Speaker 1: But I think that then when you also look at

856
00:48:50,520 --> 00:48:53,640
Speaker 1: you know, his dad, this older boomer who is a doctor,

857
00:48:54,040 --> 00:48:59,360
Speaker 1: not for nothing. The medical system is very, very racist.

858
00:49:00,600 --> 00:49:03,480
Speaker 1: They're trying, some people are trying within the system, but

859
00:49:03,640 --> 00:49:04,799
Speaker 1: you know, it's still bad.

860
00:49:05,280 --> 00:49:07,960
Speaker 5: Same with psychiatry too, yeah, yeah, mm hmm.

861
00:49:08,280 --> 00:49:13,520
Speaker 1: And he is sort of this more one microaggressive racism

862
00:49:13,600 --> 00:49:17,480
Speaker 1: when he's like, oh yo, how long has this thang

863
00:49:17,640 --> 00:49:24,200
Speaker 1: been happening? Which I'm not joking. My family friend has

864
00:49:24,360 --> 00:49:26,839
Speaker 1: this husband who is an older white man who's been

865
00:49:26,920 --> 00:49:29,279
Speaker 1: rich for most of his life. And I would go

866
00:49:29,360 --> 00:49:32,839
Speaker 1: to the family friend's house and I stopped going there

867
00:49:32,880 --> 00:49:36,400
Speaker 1: because I felt so microaggressed because when I would go

868
00:49:36,520 --> 00:49:39,600
Speaker 1: over there, the husband would be like, Oh, what's up, dog,

869
00:49:39,800 --> 00:49:42,560
Speaker 1: And I'm like, I don't talk like that. You don't

870
00:49:42,600 --> 00:49:46,520
Speaker 1: talk like that. Why are we doing this? And it

871
00:49:46,640 --> 00:49:49,080
Speaker 1: was just exhausting to deal with every time I was there,

872
00:49:49,120 --> 00:49:52,319
Speaker 1: and it was very real and these different classes, and

873
00:49:52,320 --> 00:49:55,640
Speaker 1: then we can talk more about like Rose and Missy

874
00:49:56,160 --> 00:49:58,799
Speaker 1: and the ways in which it's like one of them

875
00:49:59,080 --> 00:50:01,799
Speaker 1: is like, well, I deep black men, so like I'm

876
00:50:01,800 --> 00:50:06,040
Speaker 1: not racist, and the other one is sort of like

877
00:50:06,080 --> 00:50:09,600
Speaker 1: bringing up this trauma that he has and weaponizing it

878
00:50:09,640 --> 00:50:12,640
Speaker 1: against him in the way that like, you know, a

879
00:50:12,760 --> 00:50:17,840
Speaker 1: Karen would sort of weaponize her whiteness, white womanness. It's interesting,

880
00:50:17,960 --> 00:50:20,279
Speaker 1: it's very it's all very deliberate, like we said at

881
00:50:20,320 --> 00:50:21,800
Speaker 1: the beginning, it's all very well crafted.

882
00:50:22,239 --> 00:50:26,640
Speaker 3: Yeah, and then the I don't know if like compromises

883
00:50:26,719 --> 00:50:29,359
Speaker 3: is the right word, but like what Chris does in

884
00:50:29,400 --> 00:50:33,880
Speaker 3: response to these constant aggressions from the family or like

885
00:50:33,960 --> 00:50:37,200
Speaker 3: the guests at the party, and like it's a sort

886
00:50:37,200 --> 00:50:39,880
Speaker 3: of like choosing his battle sort of thing, but he

887
00:50:39,960 --> 00:50:44,920
Speaker 3: isn't able to actually like he just has to say, well,

888
00:50:45,040 --> 00:50:47,600
Speaker 3: there was another one. Okay, I'm gonna go over here

889
00:50:47,640 --> 00:50:49,920
Speaker 3: now and pretend to take pictures so I don't have

890
00:50:49,960 --> 00:50:52,439
Speaker 3: to talk to these people. And then he's interrupted from

891
00:50:52,440 --> 00:50:56,880
Speaker 3: that and more, you know, macro and microaggressions are hurled

892
00:50:56,920 --> 00:50:57,680
Speaker 3: at him and.

893
00:50:58,040 --> 00:51:02,319
Speaker 5: As well as like with with Rose occasionally, and this

894
00:51:02,400 --> 00:51:04,960
Speaker 5: caused me to reflect, I'm like, fuck do I do that?

895
00:51:05,000 --> 00:51:07,640
Speaker 5: I don't know. I mean, you have one must consider,

896
00:51:08,239 --> 00:51:12,279
Speaker 5: but how you know, Rose will occasionally sort of monologue

897
00:51:12,320 --> 00:51:14,799
Speaker 5: about like, wasn't it fucked up when they did this?

898
00:51:15,000 --> 00:51:16,200
Speaker 4: Wasn't it fucked up when they did this?

899
00:51:16,280 --> 00:51:18,040
Speaker 5: And you can see that Chris is like kind of

900
00:51:18,080 --> 00:51:21,560
Speaker 5: exhausted by it and is like can we just not

901
00:51:21,920 --> 00:51:25,080
Speaker 5: because she's not really doing anything about it, which we

902
00:51:25,160 --> 00:51:28,319
Speaker 5: realize is very deliberately she's not doing anything about it,

903
00:51:28,920 --> 00:51:32,640
Speaker 5: but just like seeing this be yet another sort of

904
00:51:32,680 --> 00:51:36,880
Speaker 5: like drain and burden upon Chris to like have to

905
00:51:36,920 --> 00:51:40,799
Speaker 5: listen to his girlfriend recap the ways in which people

906
00:51:40,840 --> 00:51:43,359
Speaker 5: were racist to him throughout the day and then being like, well,

907
00:51:43,400 --> 00:51:46,439
Speaker 5: I'm not okay with it, and he's like, all right, great, can.

908
00:51:46,400 --> 00:51:48,200
Speaker 3: You say something about it to your family?

909
00:51:48,520 --> 00:51:48,680
Speaker 5: Right?

910
00:51:48,760 --> 00:51:48,960
Speaker 1: Yeah?

911
00:51:49,640 --> 00:51:51,799
Speaker 3: She's like nah, yeah.

912
00:51:51,520 --> 00:51:54,680
Speaker 1: Yeah, she's She's just again, she's a master. She needs

913
00:51:54,719 --> 00:51:57,160
Speaker 1: a she needs an oscar and a copy of the

914
00:51:57,200 --> 00:51:58,560
Speaker 1: DSMM that wamon.

915
00:52:00,040 --> 00:52:02,799
Speaker 5: And they cut to her drinking milk with headphones on.

916
00:52:02,840 --> 00:52:06,160
Speaker 5: I'm like, that is very funny when like listening to

917
00:52:06,239 --> 00:52:08,920
Speaker 5: I've had the time of my life drinking milk like and.

918
00:52:09,280 --> 00:52:13,000
Speaker 3: Outing other people to try to abduct. Yeah.

919
00:52:13,080 --> 00:52:16,200
Speaker 1: I do wonder about and this is I hadn't thought

920
00:52:16,200 --> 00:52:18,719
Speaker 1: about this before on previous watches, so it's like not

921
00:52:18,800 --> 00:52:22,759
Speaker 1: a big deal, But I wonder at the logistics because

922
00:52:22,880 --> 00:52:27,040
Speaker 1: if you look at say like Jim, he is a

923
00:52:27,200 --> 00:52:30,120
Speaker 1: major art dealer, to the point where you know Chris

924
00:52:30,160 --> 00:52:34,640
Speaker 1: knows who he is separate from Rose like, where does

925
00:52:34,719 --> 00:52:39,040
Speaker 1: he go because he's his physical body is gone? And

926
00:52:39,080 --> 00:52:43,520
Speaker 1: then like does Chris just kind of step into that role?

927
00:52:43,719 --> 00:52:45,560
Speaker 1: Like I don't understand the logistics.

928
00:52:45,560 --> 00:52:47,600
Speaker 5: Is he just like kept on like life support?

929
00:52:47,600 --> 00:52:47,759
Speaker 7: ID?

930
00:52:47,840 --> 00:52:48,040
Speaker 5: Yeah?

931
00:52:48,239 --> 00:52:48,640
Speaker 4: Unclear?

932
00:52:49,360 --> 00:52:54,640
Speaker 3: Yeah, not sure either. But that brings to mind a

933
00:52:55,000 --> 00:52:58,080
Speaker 3: piece I wanted to quote from by Damon Young in

934
00:52:58,200 --> 00:53:02,359
Speaker 3: a Slate piece entitled The Disturbing Truth that makes Get

935
00:53:02,400 --> 00:53:08,799
Speaker 3: Out depressingly plausible, where he compares and contrasts get Out

936
00:53:09,160 --> 00:53:13,080
Speaker 3: and Gone Girl, just saying the latter, of course, being

937
00:53:13,239 --> 00:53:16,640
Speaker 3: a movie about a pretty white woman who goes missing

938
00:53:16,760 --> 00:53:22,520
Speaker 3: and how that captivates and paralyzes the nation, which is

939
00:53:22,560 --> 00:53:26,440
Speaker 3: what tends to happen when white women are missing, and

940
00:53:26,480 --> 00:53:29,759
Speaker 3: then he goes on to say, quote and get Out,

941
00:53:29,880 --> 00:53:33,200
Speaker 3: the Armitage family and their dozens of co conspirators are

942
00:53:33,239 --> 00:53:36,000
Speaker 3: able to do what they do and are able to

943
00:53:36,120 --> 00:53:38,279
Speaker 3: continue to do it for what seems to be at

944
00:53:38,360 --> 00:53:42,320
Speaker 3: least a decade, because well, no one gives a damn

945
00:53:42,360 --> 00:53:45,520
Speaker 3: about missing black people. The writer goes on to say,

946
00:53:45,920 --> 00:53:49,680
Speaker 3: the actual facts on the disparities in regard and attention

947
00:53:49,880 --> 00:53:54,400
Speaker 3: between missing white people and missing black people are predictably disheartening.

948
00:53:54,840 --> 00:53:58,719
Speaker 3: Although black people only comprise thirteen percent of America's population,

949
00:53:59,280 --> 00:54:03,480
Speaker 3: we are thirty four percent of America's missing, a reality

950
00:54:03,520 --> 00:54:07,080
Speaker 3: that exists as the result of a millange of racial

951
00:54:07,239 --> 00:54:13,000
Speaker 3: and socioeconomic factors, rendering black lives demonstratively less valuable than

952
00:54:13,040 --> 00:54:16,600
Speaker 3: the lives of our white counterparts unquote. And then he

953
00:54:16,640 --> 00:54:18,600
Speaker 3: goes on to discuss, you know, the lack of media

954
00:54:18,640 --> 00:54:23,320
Speaker 3: attention paid to missing black people versus the disproportionate amount

955
00:54:23,360 --> 00:54:27,680
Speaker 3: of attention paid to missing white woman syndrome. So as

956
00:54:27,680 --> 00:54:30,520
Speaker 3: far as like the logistics of like, yeah, would Chris

957
00:54:30,600 --> 00:54:33,920
Speaker 3: just be the art dealer at Hudson Galleries now, or like,

958
00:54:33,960 --> 00:54:39,279
Speaker 3: you know, Chris's body piloted by Jim Hudson, or how

959
00:54:39,320 --> 00:54:41,759
Speaker 3: does that work? It seems like they do keep a

960
00:54:41,880 --> 00:54:47,399
Speaker 3: very like close knit community for this to work. But also,

961
00:54:47,440 --> 00:54:51,560
Speaker 3: as this piece points out, like this is plausible because

962
00:54:51,760 --> 00:54:56,160
Speaker 3: of how law enforcement and media and all this stuff

963
00:54:56,560 --> 00:55:00,000
Speaker 3: doesn't pay much attention to missing black pa.

964
00:55:00,360 --> 00:55:02,240
Speaker 1: Well, I mean, we get the scene in the police

965
00:55:02,280 --> 00:55:08,879
Speaker 1: station where three black officers laugh in Rod's face when

966
00:55:08,920 --> 00:55:12,000
Speaker 1: he's like, hey, my friend was supposed to come back.

967
00:55:12,760 --> 00:55:16,080
Speaker 1: He didn't. He also found this man who has been

968
00:55:16,120 --> 00:55:18,360
Speaker 1: missing for six months and even just a statement like,

969
00:55:18,560 --> 00:55:22,319
Speaker 1: well it doesn't look missing because we found him.

970
00:55:25,400 --> 00:55:29,840
Speaker 3: Yeah, effective commentary on you know, policing and cops not

971
00:55:29,960 --> 00:55:32,359
Speaker 3: believing people absolutely.

972
00:55:31,840 --> 00:55:33,799
Speaker 5: Right and to just have police force like I mean,

973
00:55:33,960 --> 00:55:37,080
Speaker 5: just do answer to white supremacy at the end of

974
00:55:37,080 --> 00:55:39,600
Speaker 5: the day. And like I mean, I thought the way

975
00:55:39,640 --> 00:55:42,279
Speaker 5: that even it's reference, I mean, it's it is like

976
00:55:42,280 --> 00:55:45,520
Speaker 5: to get the plot moving forward. But even how like

977
00:55:45,600 --> 00:55:48,600
Speaker 5: if Andre was missing for six months and he was

978
00:55:48,640 --> 00:55:52,319
Speaker 5: a white man, everyone at the Armitage House would know

979
00:55:52,400 --> 00:55:55,800
Speaker 5: about him because of how the media is different. And

980
00:55:55,840 --> 00:55:58,240
Speaker 5: so the fact that the reveal that he's been missing

981
00:55:58,280 --> 00:56:01,719
Speaker 5: for six months is just presented very passively, and it's

982
00:56:01,760 --> 00:56:03,920
Speaker 5: like there are these old news articles, but it's clear

983
00:56:04,040 --> 00:56:07,440
Speaker 5: that there was no you know, like media blitz the

984
00:56:07,480 --> 00:56:10,520
Speaker 5: way that there would be if if he'd been white.

985
00:56:11,239 --> 00:56:13,040
Speaker 5: You know, it's like that's how they get away with it,

986
00:56:13,080 --> 00:56:18,040
Speaker 5: is that armitages are very knowingly taking advantage of how

987
00:56:18,080 --> 00:56:22,160
Speaker 5: they know the world works, and that they're like, you know, sure,

988
00:56:22,200 --> 00:56:25,160
Speaker 5: maybe Chris has people in his life who will miss him,

989
00:56:25,280 --> 00:56:27,960
Speaker 5: but you know, no one's going to actually pay attention

990
00:56:28,080 --> 00:56:30,640
Speaker 5: outside of maybe a few people. That's what they're betting

991
00:56:30,680 --> 00:56:34,080
Speaker 5: on not knowing that the TSA is on it.

992
00:56:35,120 --> 00:56:38,600
Speaker 1: Well, and also he is notably an orphan and exactly

993
00:56:38,719 --> 00:56:42,880
Speaker 1: no family, no actual like blood family. That's gonna be like, no,

994
00:56:43,080 --> 00:56:45,520
Speaker 1: we are going to keep looking in the same way.

995
00:56:45,719 --> 00:56:49,480
Speaker 5: Yeah, I mean, just like the way that his vulnerabilities

996
00:56:49,520 --> 00:56:54,720
Speaker 5: are targeted is so disgusting on like on subsequent viewings,

997
00:56:54,719 --> 00:56:57,520
Speaker 5: because at first I didn't even really fully take in.

998
00:56:57,600 --> 00:56:59,360
Speaker 5: I was like, oh, you know, part of the reason

999
00:56:59,440 --> 00:57:03,680
Speaker 5: Rose target him specifically is because he has suffered so

1000
00:57:03,760 --> 00:57:07,440
Speaker 5: many losses in his life. Yeah, and then the way

1001
00:57:07,480 --> 00:57:09,680
Speaker 5: I mean the scene with Missy where he's she's just

1002
00:57:09,800 --> 00:57:13,000
Speaker 5: digging in and in and in on the worst thing

1003
00:57:13,000 --> 00:57:16,000
Speaker 5: that's ever happened to him, Like it's just.

1004
00:57:17,320 --> 00:57:21,280
Speaker 1: I also want to talk about the selection process of

1005
00:57:21,360 --> 00:57:25,480
Speaker 1: picking who these people are. What's interesting to me is

1006
00:57:26,400 --> 00:57:30,080
Speaker 1: sort of the reactions, Like we talked about Chris's reactions

1007
00:57:30,120 --> 00:57:33,800
Speaker 1: like oh, it's probably fine, and sort of picking his battles,

1008
00:57:33,880 --> 00:57:37,840
Speaker 1: and you see Rod's reactions which are much bigger to

1009
00:57:38,000 --> 00:57:40,400
Speaker 1: these things. And part of it is Rod is supposed

1010
00:57:40,400 --> 00:57:42,360
Speaker 1: to be a comedic character. But part of it, also,

1011
00:57:42,400 --> 00:57:45,680
Speaker 1: I think, is the reason that they choose a Chris

1012
00:57:45,720 --> 00:57:49,320
Speaker 1: over a Rod and this idea of sort of palatable

1013
00:57:49,440 --> 00:57:52,800
Speaker 1: blackness and being black but in the right way. He

1014
00:57:52,880 --> 00:57:55,520
Speaker 1: works as a photographer, he's involved in the arts, and

1015
00:57:55,560 --> 00:57:59,520
Speaker 1: then you find out that Andre Dre was a jazz musician,

1016
00:58:00,240 --> 00:58:03,880
Speaker 1: and they're sort of like, you know, pretty chill. When

1017
00:58:03,960 --> 00:58:07,720
Speaker 1: we see Dre walking through the suburbs, you know, he's like,

1018
00:58:08,120 --> 00:58:11,280
Speaker 1: I don't feel comfortable here, But when he sees that car,

1019
00:58:11,320 --> 00:58:13,040
Speaker 1: he kind of turns and walks the other way. He

1020
00:58:13,080 --> 00:58:16,920
Speaker 1: doesn't want to get into a confrontation. And I think

1021
00:58:17,000 --> 00:58:23,240
Speaker 1: that there is a reliance on choosing palatable black people,

1022
00:58:23,720 --> 00:58:26,360
Speaker 1: people that are not going to call people out in

1023
00:58:26,400 --> 00:58:29,120
Speaker 1: their face the way that a Rod would like, nah,

1024
00:58:29,400 --> 00:58:30,080
Speaker 1: I'm out of here.

1025
00:58:30,360 --> 00:58:33,360
Speaker 3: Because Chris had so many opportunities to be like, yeah,

1026
00:58:33,400 --> 00:58:36,320
Speaker 3: that's a very fucked up thing to say. And to

1027
00:58:36,400 --> 00:58:38,880
Speaker 3: be clear, I am not you know, passing judgment against

1028
00:58:38,960 --> 00:58:42,640
Speaker 3: him for not calling out people in those situations. I

1029
00:58:42,760 --> 00:58:46,200
Speaker 3: just mean that it happened very frequently that he was

1030
00:58:46,400 --> 00:58:48,800
Speaker 3: put into those situations.

1031
00:58:48,360 --> 00:58:51,040
Speaker 5: Which almost feels like it's getting into I mean, just

1032
00:58:51,040 --> 00:58:53,440
Speaker 5: speaking to like the like working artists, it's like that

1033
00:58:53,680 --> 00:58:57,120
Speaker 5: becomes a class thing too, where I feel like, you know,

1034
00:58:57,240 --> 00:58:59,480
Speaker 5: Rod working for the TSA and having a working class

1035
00:58:59,600 --> 00:59:03,320
Speaker 5: job versus Chris being a working artist. Like yeah, like

1036
00:59:03,360 --> 00:59:07,800
Speaker 5: you're saying, GRAMA is like a very intentional choice from

1037
00:59:07,880 --> 00:59:11,560
Speaker 5: I mean by the armitages, but also you know, by Chris.

1038
00:59:11,600 --> 00:59:13,320
Speaker 5: I thought there was a There was an interesting quote

1039
00:59:13,320 --> 00:59:16,880
Speaker 5: from Jordan Peele. He said, Chris feels like an everyman.

1040
00:59:17,280 --> 00:59:20,800
Speaker 5: He's kind of like J Cole. Chris is that guy

1041
00:59:20,880 --> 00:59:23,400
Speaker 5: everyone knows who has been in everyone's class at school,

1042
00:59:23,720 --> 00:59:26,000
Speaker 5: that good guy from around the area, which is just

1043
00:59:26,040 --> 00:59:28,560
Speaker 5: I feel like a really like speaks to what you

1044
00:59:28,560 --> 00:59:31,120
Speaker 5: were both just saying. And also that the j. Cole

1045
00:59:31,160 --> 00:59:32,600
Speaker 5: comparison is funny to me.

1046
00:59:33,040 --> 00:59:37,160
Speaker 1: That's very funny. I wanted to talk about black women

1047
00:59:37,600 --> 00:59:41,000
Speaker 1: because there are three black women I would say in

1048
00:59:41,040 --> 00:59:43,880
Speaker 1: this movie, two you see when you don't, and the

1049
00:59:43,960 --> 00:59:47,120
Speaker 1: two you see are Georgina and the police officer, and

1050
00:59:47,200 --> 00:59:50,520
Speaker 1: then the one you don't is Chris's mother. I think

1051
00:59:50,600 --> 00:59:53,400
Speaker 1: that it's really interesting the sort of and not to

1052
00:59:53,520 --> 00:59:56,000
Speaker 1: rag on Jordan Peel, he made a masterpiece, like I said,

1053
00:59:56,240 --> 00:59:59,760
Speaker 1: but the erasure of black women in this conversation and

1054
01:00:00,000 --> 01:00:05,000
Speaker 1: sort of the only time that anyone explicitly mentions black

1055
01:00:05,160 --> 01:00:09,640
Speaker 1: women and Black womanhood is to talk about the purported

1056
01:00:09,880 --> 01:00:13,880
Speaker 1: jealousy that black women express when they see black men

1057
01:00:14,000 --> 01:00:17,920
Speaker 1: with white women, which like, you can have him, Like

1058
01:00:18,120 --> 01:00:24,880
Speaker 1: it's fine, I'm not mad at you. Calm down, and

1059
01:00:25,120 --> 01:00:27,840
Speaker 1: you know how he says, like it's a thing, and

1060
01:00:27,880 --> 01:00:31,120
Speaker 1: then Rose tries to downplay it by saying, Oh, you're

1061
01:00:31,160 --> 01:00:33,840
Speaker 1: just so sexy that people are unplugging your phone, like

1062
01:00:33,920 --> 01:00:35,120
Speaker 1: that's what's happening.

1063
01:00:35,360 --> 01:00:38,520
Speaker 5: She responds by gaslighting her mem.

1064
01:00:38,880 --> 01:00:42,120
Speaker 1: And you know, at the end of the day, he

1065
01:00:42,360 --> 01:00:45,120
Speaker 1: is able to, in a way, heal the trauma of

1066
01:00:45,240 --> 01:00:48,000
Speaker 1: not doing what he was supposed to do for his

1067
01:00:48,080 --> 01:00:51,560
Speaker 1: mother by going back for Georgina, because even though she

1068
01:00:51,760 --> 01:00:56,200
Speaker 1: is inhabited by evil Grandma Armitage, he knows that there

1069
01:00:56,280 --> 01:01:00,000
Speaker 1: is a black woman in there. But she's also sacrificed

1070
01:01:00,840 --> 01:01:04,880
Speaker 1: in his attempts to escape, and she doesn't kill herself,

1071
01:01:05,320 --> 01:01:09,160
Speaker 1: Walter kills himself. So I really am intentionally using the

1072
01:01:09,160 --> 01:01:13,440
Speaker 1: word sacrificed. And it's interesting the way that the film

1073
01:01:13,840 --> 01:01:17,200
Speaker 1: shies away from showing violence against white women in the

1074
01:01:17,200 --> 01:01:20,280
Speaker 1: same way that it shows the violence that Georgina faces

1075
01:01:20,640 --> 01:01:22,880
Speaker 1: when she gets hit by the car and later when

1076
01:01:22,920 --> 01:01:27,080
Speaker 1: she's in the car because we don't see Missy die

1077
01:01:27,240 --> 01:01:29,680
Speaker 1: on screen the camera pans away, and.

1078
01:01:29,600 --> 01:01:32,680
Speaker 5: We also don't see Rose technically die. I mean, we

1079
01:01:32,720 --> 01:01:34,400
Speaker 5: see her get almost off.

1080
01:01:34,400 --> 01:01:38,360
Speaker 1: We see her get shot, but then he stops after everything,

1081
01:01:38,960 --> 01:01:44,280
Speaker 1: and I just stop. He just violently violently killed her father,

1082
01:01:44,720 --> 01:01:48,640
Speaker 1: her brother, and her mother, but something about her is

1083
01:01:48,720 --> 01:01:51,360
Speaker 1: still like he still loves her a little bit, I

1084
01:01:51,400 --> 01:01:54,560
Speaker 1: think despite all of that, and watching him wrap his

1085
01:01:54,600 --> 01:01:57,160
Speaker 1: hands around her throat, it made me think of Othello

1086
01:01:58,880 --> 01:02:00,800
Speaker 1: and I was like, oh, yeah, you know, because he

1087
01:02:00,880 --> 01:02:01,720
Speaker 1: jokes does Theemona.

1088
01:02:02,280 --> 01:02:06,200
Speaker 3: Yeah, I've definitely read that. I am so educated, and

1089
01:02:06,280 --> 01:02:08,840
Speaker 3: I've read so much Shakespeare.

1090
01:02:09,120 --> 01:02:11,920
Speaker 1: Yes, people, for people who aren't as educated in Shakespeare

1091
01:02:11,920 --> 01:02:12,840
Speaker 1: as Caitlin.

1092
01:02:13,200 --> 01:02:15,280
Speaker 4: Oh yeah, please explain it for them.

1093
01:02:15,840 --> 01:02:20,920
Speaker 1: Othello is a Shakespearean tragedy that features at its center

1094
01:02:21,120 --> 01:02:25,200
Speaker 1: a black man named Othello. Fun fact, my college did

1095
01:02:25,240 --> 01:02:27,600
Speaker 1: a production of Othello with zero black people.

1096
01:02:27,880 --> 01:02:30,320
Speaker 5: Oh oh my god.

1097
01:02:32,560 --> 01:02:35,760
Speaker 1: So we can talk about that on a whole other episode.

1098
01:02:35,800 --> 01:02:39,960
Speaker 1: But Othello is this sort of like military, like decorated

1099
01:02:40,000 --> 01:02:44,040
Speaker 1: military man, and he has this white wife named Desdemona,

1100
01:02:44,520 --> 01:02:47,320
Speaker 1: and this other man, this white man who's jealous of Othello,

1101
01:02:48,160 --> 01:02:50,800
Speaker 1: And I might be glossing over a lot. But basically,

1102
01:02:50,800 --> 01:02:55,640
Speaker 1: this Maniago, who's jealous of Othello, convinces him that Desdemona

1103
01:02:55,680 --> 01:02:58,919
Speaker 1: is cheating on him, and then he murders Desdemona by

1104
01:02:59,200 --> 01:03:02,640
Speaker 1: strangling her. And there's a really good you know, I

1105
01:03:02,640 --> 01:03:05,560
Speaker 1: love a Shakespeare adaptation, as does any person who was

1106
01:03:05,560 --> 01:03:07,960
Speaker 1: a teen in the two thousands, but there's a good

1107
01:03:07,960 --> 01:03:13,479
Speaker 1: adaptation with Julia Styles as Destimona called oh and.

1108
01:03:14,000 --> 01:03:16,360
Speaker 3: Yes, I've never seen it, but yeah, I remember it.

1109
01:03:16,440 --> 01:03:19,440
Speaker 1: Yeah, but like the visual definitely reminded me of that,

1110
01:03:19,720 --> 01:03:22,640
Speaker 1: And when he stopped, I was like, oh, that's interesting.

1111
01:03:23,480 --> 01:03:26,560
Speaker 1: And the tragedy of Othello is that he kills this

1112
01:03:26,640 --> 01:03:29,680
Speaker 1: woman and then he ends up suffering for it. And

1113
01:03:29,880 --> 01:03:34,280
Speaker 1: I wonder if, in this sort of remade version of

1114
01:03:34,840 --> 01:03:37,960
Speaker 1: not of Othello but like the do over ending, the

1115
01:03:38,080 --> 01:03:41,760
Speaker 1: alternate ending that became the theatrical cut, if it was

1116
01:03:41,800 --> 01:03:44,919
Speaker 1: supposed to be a softer ending than him actually killing her,

1117
01:03:45,320 --> 01:03:47,320
Speaker 1: because if it is the police, and we think it's

1118
01:03:47,360 --> 01:03:49,800
Speaker 1: the police, it's like, okay, well they can save her

1119
01:03:49,840 --> 01:03:52,040
Speaker 1: and question her or whatever and she'll lie, but they

1120
01:03:52,040 --> 01:03:52,880
Speaker 1: can get rid too.

1121
01:03:53,120 --> 01:03:57,600
Speaker 5: Yeah, I mean, unfortunately, like they needed to kill her,

1122
01:03:57,920 --> 01:03:58,680
Speaker 5: like they had to.

1123
01:03:59,200 --> 01:04:00,720
Speaker 4: Yeah, I mean she had to go.

1124
01:04:00,960 --> 01:04:04,240
Speaker 5: I mean not even unfortunately, like, yeah, she she had

1125
01:04:04,240 --> 01:04:08,240
Speaker 5: to go. But I honestly, like I hadn't really I

1126
01:04:08,320 --> 01:04:13,640
Speaker 5: noticed the absence of black women in roles that. I mean,

1127
01:04:14,160 --> 01:04:18,320
Speaker 5: so much of Chris's characterization is defined by his mother's absence,

1128
01:04:18,960 --> 01:04:23,200
Speaker 5: her violent absence. And yeah, we don't really get to

1129
01:04:23,240 --> 01:04:27,880
Speaker 5: spend any time with anyone other than Georgina, who, as

1130
01:04:27,880 --> 01:04:30,520
Speaker 5: you were saying, Croma, it's very complicated, like where is

1131
01:04:30,600 --> 01:04:36,120
Speaker 5: Georgina within Georgina? But I hadn't really connected the Yeah,

1132
01:04:35,880 --> 01:04:41,080
Speaker 5: the the sort of avoidance of violence towards white women.

1133
01:04:41,240 --> 01:04:43,480
Speaker 5: I kind of wonder, like seven years on, if that

1134
01:04:43,520 --> 01:04:47,680
Speaker 5: would not be as much of an avoidance if this

1135
01:04:47,840 --> 01:04:49,520
Speaker 5: was made right now. I'm not really sure.

1136
01:04:49,960 --> 01:04:52,520
Speaker 1: I think I think it probably would be, and I

1137
01:04:52,520 --> 01:04:56,840
Speaker 1: do think that also, Jordan Peel is married to a

1138
01:04:56,880 --> 01:05:01,440
Speaker 1: white woman, and I think it's very interesting the I

1139
01:05:01,440 --> 01:05:03,840
Speaker 1: mean sort of the mention of, you know, black women

1140
01:05:03,840 --> 01:05:05,720
Speaker 1: look at East sideways when you're with white women, when

1141
01:05:05,760 --> 01:05:09,880
Speaker 1: you're with white women, and maybe that is his experience.

1142
01:05:10,440 --> 01:05:13,160
Speaker 1: I love Chelsea Peretti, I'm not looking at anybody sideways.

1143
01:05:13,160 --> 01:05:17,040
Speaker 1: They're a great duo, but I do think that, you know,

1144
01:05:17,400 --> 01:05:20,320
Speaker 1: the life experiences that we have color the way that

1145
01:05:20,360 --> 01:05:24,040
Speaker 1: we see the world. And also, again, he is biracial,

1146
01:05:24,040 --> 01:05:27,560
Speaker 1: and I believe that his mother is white, if I'm

1147
01:05:27,560 --> 01:05:30,240
Speaker 1: not saying, okay, So I think that his connection to

1148
01:05:30,240 --> 01:05:32,040
Speaker 1: white women is interesting. And I don't know if it

1149
01:05:32,080 --> 01:05:35,320
Speaker 1: was not to say it wasn't intentional, like he doesn't

1150
01:05:35,360 --> 01:05:37,840
Speaker 1: do things intentionally, but I wonder if there was a

1151
01:05:37,880 --> 01:05:41,880
Speaker 1: subconscious sort of wanting to protect white women in there.

1152
01:05:42,440 --> 01:05:45,800
Speaker 3: Yeah, that's very possible. And he had also spoken about

1153
01:05:46,080 --> 01:05:49,600
Speaker 3: when he was making this movie that he was concerned

1154
01:05:49,680 --> 01:05:52,400
Speaker 3: that it wouldn't do well or that no one would

1155
01:05:52,400 --> 01:05:55,040
Speaker 3: come to see it because he was concerned that black

1156
01:05:55,080 --> 01:06:00,600
Speaker 3: people wouldn't want to watch black people be victimized, and

1157
01:06:00,920 --> 01:06:03,320
Speaker 3: he was worried that white people wouldn't want to go

1158
01:06:03,320 --> 01:06:05,720
Speaker 3: see it because white people are the villains. So I

1159
01:06:05,760 --> 01:06:09,800
Speaker 3: wonder if that kind of informed some of those choices.

1160
01:06:10,680 --> 01:06:14,040
Speaker 3: Hard to say, but I do know that he had

1161
01:06:14,080 --> 01:06:16,680
Speaker 3: those concerns when he was making the movie.

1162
01:06:16,760 --> 01:06:21,200
Speaker 5: I remember a yeah, because I mean, it's I didn't

1163
01:06:21,480 --> 01:06:23,560
Speaker 5: really connect to the fact that I was like, oh,

1164
01:06:23,800 --> 01:06:26,000
Speaker 5: I guess this could be an awkward night at the

1165
01:06:26,080 --> 01:06:30,320
Speaker 5: Parrettes for Jordan Peel after Get Out comes out. But

1166
01:06:30,440 --> 01:06:33,600
Speaker 5: I did remember this tweet from Chelsea Pretti I think

1167
01:06:33,640 --> 01:06:36,000
Speaker 5: a couple weeks after Getout came out, where I think

1168
01:06:36,080 --> 01:06:38,360
Speaker 5: everyone was, you know, like tweeting at her, being.

1169
01:06:38,160 --> 01:06:40,400
Speaker 4: Like, is this about you?

1170
01:06:41,120 --> 01:06:44,640
Speaker 5: And Chelsea Pretti replied in a very Chelsea Pretti way,

1171
01:06:44,720 --> 01:06:46,640
Speaker 5: she said, we all cried for weeks. We were so

1172
01:06:46,720 --> 01:06:49,480
Speaker 5: hurt to see our family secrets exposed in this documentary.

1173
01:06:52,480 --> 01:06:55,200
Speaker 5: I almost forgot about that, right, which is the only

1174
01:06:55,320 --> 01:06:57,320
Speaker 5: rational response to it, because you're just like.

1175
01:06:57,480 --> 01:06:59,280
Speaker 4: Shut up, just go see the movie.

1176
01:07:00,040 --> 01:07:01,920
Speaker 5: But yeah, I mean I think that that is interesting,

1177
01:07:01,960 --> 01:07:04,360
Speaker 5: and I guess it's not. Yeah, it's not even like

1178
01:07:04,440 --> 01:07:07,800
Speaker 5: necessarily a criticism of Jordan Peele, but just that's that's

1179
01:07:07,880 --> 01:07:11,000
Speaker 5: O tour shit where it's like, it's not unreasonable to

1180
01:07:11,000 --> 01:07:13,439
Speaker 5: think that some of his own personal stuff is gonna

1181
01:07:13,440 --> 01:07:16,520
Speaker 5: get tangled up in it because of how it was made.

1182
01:07:16,800 --> 01:07:19,560
Speaker 1: And it's not bad stuff. It's just interesting stuff to

1183
01:07:19,640 --> 01:07:22,760
Speaker 1: note and stuff that you know, my personal experience is

1184
01:07:22,800 --> 01:07:25,840
Speaker 1: also going to make me notice because I am a

1185
01:07:25,880 --> 01:07:30,760
Speaker 1: black woman, and I also I don't know if Rose

1186
01:07:31,080 --> 01:07:34,000
Speaker 1: is queer or not, but I also do think it's

1187
01:07:34,040 --> 01:07:38,720
Speaker 1: interesting that Georgina is queer and one of the only

1188
01:07:38,800 --> 01:07:41,200
Speaker 1: Black women that we, you know, learn the name of

1189
01:07:41,280 --> 01:07:45,360
Speaker 1: Get to See is a queer Black woman, and they

1190
01:07:45,560 --> 01:07:48,040
Speaker 1: sort of double oppressed her.

1191
01:07:48,680 --> 01:07:52,000
Speaker 3: Right we only see a version of her that's inhabited

1192
01:07:52,080 --> 01:07:56,880
Speaker 3: by thiss like grandmother, so we don't even get to know. Yeah,

1193
01:07:56,920 --> 01:07:59,920
Speaker 3: to your point, Grama, it is. I found it disappointing

1194
01:08:00,120 --> 01:08:05,000
Speaker 3: that this movie about anti black racism and black liberation

1195
01:08:05,560 --> 01:08:10,040
Speaker 3: because of how the movie ends, mostly leaves out black women.

1196
01:08:10,680 --> 01:08:14,160
Speaker 3: And I don't know if this would have been narratively possible,

1197
01:08:14,160 --> 01:08:18,320
Speaker 3: but I wish the movie had found a way to

1198
01:08:18,520 --> 01:08:24,880
Speaker 3: save Georgina where he unhypnotizes her and there's enough of

1199
01:08:24,920 --> 01:08:29,360
Speaker 3: her left in there that she can, you know, be

1200
01:08:29,520 --> 01:08:33,160
Speaker 3: liberated from this situation. But it's tricky because, like, you know,

1201
01:08:33,200 --> 01:08:38,280
Speaker 3: you see Walter kill himself, and you can imagine that

1202
01:08:38,320 --> 01:08:41,960
Speaker 3: it's because he wouldn't want to go on living after

1203
01:08:42,000 --> 01:08:44,200
Speaker 3: having experienced these horrors of Welle.

1204
01:08:44,360 --> 01:08:48,160
Speaker 1: Also, the other guy is in there and it's mostly him,

1205
01:08:48,520 --> 01:08:51,400
Speaker 1: so I think that he's like, no, I'd rather die.

1206
01:08:51,600 --> 01:08:54,719
Speaker 5: Yeah, I just feel like there is room for there

1207
01:08:54,840 --> 01:08:59,200
Speaker 5: is room for black women in this narrative without meaningfully

1208
01:08:59,360 --> 01:08:59,920
Speaker 5: changing it.

1209
01:09:00,160 --> 01:09:02,040
Speaker 1: I will say. I will say one thing that I

1210
01:09:02,040 --> 01:09:07,559
Speaker 1: did think was interesting is we see three coagulate black

1211
01:09:07,680 --> 01:09:11,400
Speaker 1: people throughout the film, and two of them are men,

1212
01:09:11,479 --> 01:09:15,360
Speaker 1: one is a woman, and the two men get released

1213
01:09:15,840 --> 01:09:20,200
Speaker 1: through the camera flash at some point and we see

1214
01:09:20,800 --> 01:09:25,160
Speaker 1: a peeking through of the real Georgina. Yeah, without that,

1215
01:09:25,640 --> 01:09:27,720
Speaker 1: and the black woman is the only one who is

1216
01:09:27,760 --> 01:09:31,080
Speaker 1: strong enough to keep continually fighting to get out to

1217
01:09:31,120 --> 01:09:33,320
Speaker 1: the point where she is in tears. And we know

1218
01:09:33,400 --> 01:09:37,000
Speaker 1: that your physical nervous system is what is connected to you,

1219
01:09:37,040 --> 01:09:39,920
Speaker 1: so those tears are coming from her. It's yeah.

1220
01:09:39,960 --> 01:09:42,439
Speaker 3: And the scene when she's pouring tea and like almost

1221
01:09:42,600 --> 01:09:47,160
Speaker 3: spills it, it's like she's trying to break free from this.

1222
01:09:47,439 --> 01:09:52,960
Speaker 5: Yeah, it's really really really good performance from Betty Gabriel, Like, yeah, who,

1223
01:09:53,640 --> 01:09:57,720
Speaker 5: I didn't realize she's like a scream queen. She's a

1224
01:09:57,720 --> 01:10:02,320
Speaker 5: Bluemhouse girly in the Purge election year. She is an

1225
01:10:02,439 --> 01:10:05,160
Speaker 5: unfriended dark web, which I have seen and I was like, oh,

1226
01:10:05,560 --> 01:10:09,439
Speaker 5: she's she's an unfriended dark web. She's in upgrade, she's

1227
01:10:09,479 --> 01:10:12,400
Speaker 5: in it, lives inside. I mean, she is a but

1228
01:10:13,040 --> 01:10:17,280
Speaker 5: just like a really really great performance from her, especially

1229
01:10:17,280 --> 01:10:21,240
Speaker 5: because it's like she's not given that much screen time.

1230
01:10:21,360 --> 01:10:24,360
Speaker 4: But Yeah, makes a meal of it. I agree.

1231
01:10:24,360 --> 01:10:28,200
Speaker 5: I don't know, like narratively, how to get around all

1232
01:10:28,240 --> 01:10:31,160
Speaker 5: of this sort of lore, but I do. It's just

1233
01:10:31,200 --> 01:10:35,320
Speaker 5: like there there was room for black women within this

1234
01:10:35,439 --> 01:10:40,960
Speaker 5: plot and it feels intentional, feels like too, but like it,

1235
01:10:41,280 --> 01:10:41,680
Speaker 5: I don't know.

1236
01:10:41,800 --> 01:10:44,000
Speaker 1: I think. I also think that black men are allowed

1237
01:10:44,000 --> 01:10:47,719
Speaker 1: to have their own stories, their struggles an entirely different thing.

1238
01:10:48,320 --> 01:10:51,519
Speaker 1: I just am pointing out what I see. And I

1239
01:10:51,560 --> 01:10:53,439
Speaker 1: think that a lot of people talk about Get Out

1240
01:10:53,680 --> 01:10:57,559
Speaker 1: as being black generally, and I think that there are

1241
01:10:57,600 --> 01:10:59,600
Speaker 1: a lot of women who are black, a lot of

1242
01:10:59,600 --> 01:11:02,360
Speaker 1: women of all races who do love get Out, but

1243
01:11:02,720 --> 01:11:06,920
Speaker 1: it is definitely specifically a story about and for black men.

1244
01:11:08,160 --> 01:11:11,120
Speaker 5: Yeah, And I mean something that I think Jordan Peel

1245
01:11:11,160 --> 01:11:17,080
Speaker 5: does really well. Conversely is like knoweeling how white women

1246
01:11:17,160 --> 01:11:21,280
Speaker 5: can weaponize their white womanhood in all.

1247
01:11:21,160 --> 01:11:22,280
Speaker 4: Of these different ways.

1248
01:11:22,320 --> 01:11:25,719
Speaker 5: Where I mean, by the end, you see that Rose

1249
01:11:26,000 --> 01:11:30,320
Speaker 5: has spent whatever the better part of a decade weaponizing

1250
01:11:30,520 --> 01:11:36,479
Speaker 5: her white womanhood to bring people to her family's creepy estate.

1251
01:11:36,640 --> 01:11:39,040
Speaker 5: And the way that Missy acts, I want to talk

1252
01:11:39,040 --> 01:11:41,320
Speaker 5: about Missy a little bit, because it's like that character

1253
01:11:41,520 --> 01:11:43,759
Speaker 5: is so ah.

1254
01:11:45,080 --> 01:11:47,040
Speaker 1: Yeah, I do want to just stay on Rose for

1255
01:11:47,080 --> 01:11:50,880
Speaker 1: a second and talk about the weaponization of her white woman.

1256
01:11:50,960 --> 01:11:53,920
Speaker 1: This and one that I don't think I've ever heard

1257
01:11:53,960 --> 01:11:57,120
Speaker 1: anybody talk about, and that doesn't mean people aren't talking

1258
01:11:57,120 --> 01:11:59,840
Speaker 1: about it. That stuck out to me on this rewatch

1259
01:12:00,320 --> 01:12:03,720
Speaker 1: was when Rod calls to check in on Chris and

1260
01:12:03,760 --> 01:12:07,360
Speaker 1: he finally gets through to Chris's number and she does

1261
01:12:07,400 --> 01:12:16,240
Speaker 1: this again, absolutely alarming performance. Yeah, just blank blank face,

1262
01:12:17,280 --> 01:12:21,839
Speaker 1: and she's like, Chris, where are you? Is this Chris?

1263
01:12:22,120 --> 01:12:24,320
Speaker 1: And then Rod's like, he's not with you. He left

1264
01:12:24,320 --> 01:12:27,960
Speaker 1: two days ago. And then when Rod is like, you

1265
01:12:28,000 --> 01:12:30,880
Speaker 1: know what, this bitch talks too much. I'm gonna I'm

1266
01:12:30,880 --> 01:12:36,000
Speaker 1: gonna catch her and starts recording, she switches tactics and

1267
01:12:36,680 --> 01:12:40,640
Speaker 1: makes it seem like he is sexually predatory towards her,

1268
01:12:40,840 --> 01:12:45,160
Speaker 1: which is very for me, reminiscent of like Emmett Till

1269
01:12:45,840 --> 01:12:50,200
Speaker 1: and this idea of protecting white women's virtue. And he knows.

1270
01:12:50,240 --> 01:12:52,680
Speaker 1: He's like, I'm fucked, Like this is this is not

1271
01:12:52,800 --> 01:12:55,120
Speaker 1: helping Chris. This is only going to hurt me. I

1272
01:12:55,160 --> 01:12:57,519
Speaker 1: need to shut this down. This recording is of no use,

1273
01:12:58,120 --> 01:13:00,400
Speaker 1: and she knows to do that. She's like, no, he's

1274
01:13:00,400 --> 01:13:03,040
Speaker 1: gonna start recording. I've been doing this for ten years.

1275
01:13:03,200 --> 01:13:06,240
Speaker 1: I know what to do. And it's very insidious and

1276
01:13:06,280 --> 01:13:11,000
Speaker 1: it is very calculated. And I'm also very angry that

1277
01:13:11,000 --> 01:13:13,600
Speaker 1: that woman who lied about Emmitt til never went to

1278
01:13:13,680 --> 01:13:17,559
Speaker 1: jail and she said she lied. She said she lied, yeah,

1279
01:13:17,600 --> 01:13:20,599
Speaker 1: and they were like, well, she's an old lady. What

1280
01:13:20,640 --> 01:13:21,559
Speaker 1: are we gonna do. Now.

1281
01:13:22,160 --> 01:13:23,800
Speaker 5: That's part of the reason where it's like we should

1282
01:13:23,800 --> 01:13:27,880
Speaker 5: be We should have just seen Rose die on screen

1283
01:13:28,160 --> 01:13:31,280
Speaker 5: like she has a coming, because you see her, I mean,

1284
01:13:31,280 --> 01:13:34,440
Speaker 5: and in the movies last moments, you see her preparing

1285
01:13:34,520 --> 01:13:39,080
Speaker 5: to do the exact same thing to Chris. She says, I.

1286
01:13:38,960 --> 01:13:41,400
Speaker 3: Love you, she yes, which is tactic.

1287
01:13:41,479 --> 01:13:45,240
Speaker 5: Well, I mean, like when she thinks that a white

1288
01:13:45,320 --> 01:13:49,360
Speaker 5: police officer has arrived, she's preparing to be like he

1289
01:13:49,439 --> 01:13:52,799
Speaker 5: attacked me, I don't blah blah blah, and just playing

1290
01:13:52,840 --> 01:13:56,920
Speaker 5: into all of these white supremacist narratives that police, you know,

1291
01:13:57,000 --> 01:14:01,800
Speaker 5: don't blink at. But thankfully it's the TSA right.

1292
01:14:02,080 --> 01:14:05,640
Speaker 3: But even before that, like she's trying to save herself.

1293
01:14:05,880 --> 01:14:08,840
Speaker 3: She knows that he wants to strangle her to death.

1294
01:14:09,080 --> 01:14:12,599
Speaker 3: So she's like, I love you even though she's just

1295
01:14:12,680 --> 01:14:15,479
Speaker 3: tried to kill him with a gun. But she's like

1296
01:14:15,680 --> 01:14:19,920
Speaker 3: she to the very very end, she's doing these manipulating tactics.

1297
01:14:20,000 --> 01:14:23,960
Speaker 3: Whatever she thinks, will you know, save her, get her

1298
01:14:24,040 --> 01:14:26,800
Speaker 3: out of this situation. And he doesn't buy it. But

1299
01:14:27,000 --> 01:14:30,920
Speaker 3: then I'm like, just kill her, just strangle her to death,

1300
01:14:31,640 --> 01:14:32,519
Speaker 3: finish the job.

1301
01:14:32,640 --> 01:14:36,400
Speaker 1: Chris the gun is my favorite plant in Payoff when

1302
01:14:36,400 --> 01:14:38,479
Speaker 1: he says at the very beginning, like I just don't

1303
01:14:38,479 --> 01:14:40,440
Speaker 1: want to get chased off the lawn with a shotgun,

1304
01:14:40,960 --> 01:14:43,760
Speaker 1: and then that is the very thing that happens to him.

1305
01:14:43,800 --> 01:14:50,240
Speaker 3: But she, yes, should we get into Missy.

1306
01:14:50,760 --> 01:14:52,080
Speaker 4: Yeah, let's talk about Missy.

1307
01:14:52,360 --> 01:14:55,400
Speaker 5: I feel like she is i mean speaking to like

1308
01:14:55,479 --> 01:14:58,080
Speaker 5: the generational stuff we've been talking about, Like she is

1309
01:14:58,200 --> 01:15:00,760
Speaker 5: a different kind of white woman doing a different kind

1310
01:15:00,800 --> 01:15:04,040
Speaker 5: of white woman thing where she's clearly playing off of

1311
01:15:04,080 --> 01:15:06,559
Speaker 5: her husband, which you know, later revealed to be this

1312
01:15:06,720 --> 01:15:10,439
Speaker 5: very insidious performance. This family like the worst piece of

1313
01:15:10,439 --> 01:15:14,840
Speaker 5: community theater ever to take place, but that she's playing

1314
01:15:14,880 --> 01:15:18,360
Speaker 5: off of like, oh my husband, please ignore him, Like

1315
01:15:18,560 --> 01:15:21,720
Speaker 5: I'm I'm the nice parent, I'm the normal parent, and

1316
01:15:21,960 --> 01:15:25,280
Speaker 5: the second she gets Chris alone still tries to sort

1317
01:15:25,280 --> 01:15:29,799
Speaker 5: of maintain that for as long as possible, while pushing

1318
01:15:29,840 --> 01:15:35,120
Speaker 5: past every single boundary that he sets, until he's plot

1319
01:15:35,120 --> 01:15:41,240
Speaker 5: wise completely paralyzed. Yeah, I just noticed you're wearing a

1320
01:15:41,240 --> 01:15:42,120
Speaker 5: Shrek shirt.

1321
01:15:42,160 --> 01:15:48,880
Speaker 3: Sorry, yes, well, I mean I wasn't sure when or

1322
01:15:48,920 --> 01:15:51,400
Speaker 3: if I would bring this up, but I did at

1323
01:15:51,400 --> 01:15:55,240
Speaker 3: some point want to draw some parallels between Get Out

1324
01:15:55,280 --> 01:15:56,240
Speaker 3: and Shrek two.

1325
01:15:57,240 --> 01:15:59,439
Speaker 4: Okay, okay, okay, listening the parents.

1326
01:16:00,200 --> 01:16:05,040
Speaker 3: So, a man who is marginalized by society goes to

1327
01:16:05,120 --> 01:16:07,840
Speaker 3: meet the family of his partner, who is far more

1328
01:16:07,960 --> 01:16:11,960
Speaker 3: privileged than he is. It's very uncomfortable. The family, you know,

1329
01:16:12,560 --> 01:16:17,519
Speaker 3: makes a bunch of aggressive comments towards him. The family

1330
01:16:17,680 --> 01:16:21,400
Speaker 3: of both has a secret that deals with inhabiting a

1331
01:16:21,520 --> 01:16:26,120
Speaker 3: different body because in Shrek two, the king is actually

1332
01:16:26,840 --> 01:16:32,080
Speaker 3: a frog. Okay, not the same secret, but but there's

1333
01:16:32,160 --> 01:16:37,559
Speaker 3: divergences right. Similarly, you know, the protagonists of both movies,

1334
01:16:38,200 --> 01:16:42,920
Speaker 3: they either exchange bodies or almost has their body taken

1335
01:16:42,960 --> 01:16:46,920
Speaker 3: over by someone else because in Shrek Too, Shrek becomes

1336
01:16:47,960 --> 01:16:53,959
Speaker 3: a human, a white human man. So a body swapping

1337
01:16:54,040 --> 01:16:59,639
Speaker 3: element in both movies, and both protagonists have a comic

1338
01:17:00,120 --> 01:17:04,320
Speaker 3: relief sidekick friend played by a black comedian.

1339
01:17:04,800 --> 01:17:08,120
Speaker 1: Wow, it's crazy how get Out is a cheap knockoff

1340
01:17:08,120 --> 01:17:09,600
Speaker 1: of Shrek Too.

1341
01:17:10,040 --> 01:17:14,719
Speaker 5: Don't tell that to the guy worked with, so he'll

1342
01:17:14,720 --> 01:17:16,599
Speaker 5: be taking that theory all around town.

1343
01:17:18,640 --> 01:17:21,599
Speaker 3: I feel well, I read was this true that Shrek

1344
01:17:21,800 --> 01:17:25,160
Speaker 3: Too takes inspiration from guess who's coming to dinner?

1345
01:17:25,800 --> 01:17:30,920
Speaker 1: I would believe that. I one believe that having seen

1346
01:17:31,000 --> 01:17:31,679
Speaker 1: both movies.

1347
01:17:32,120 --> 01:17:35,920
Speaker 5: I vaguely, I vaguely remember us talking about that in

1348
01:17:35,960 --> 01:17:37,200
Speaker 5: our Shrek two episode.

1349
01:17:37,280 --> 01:17:40,559
Speaker 3: Yeah, and Jordan Peele, you know, cites that is somewhat

1350
01:17:40,560 --> 01:17:42,760
Speaker 3: of an inspiration for get Out as well.

1351
01:17:42,640 --> 01:17:47,080
Speaker 5: So by way of by way of Shrek Too.

1352
01:17:49,520 --> 01:17:52,160
Speaker 3: And then the get Out and Titanic parallels are that

1353
01:17:52,240 --> 01:17:55,880
Speaker 3: both movies have a character named Roseye come from a

1354
01:17:55,960 --> 01:17:56,960
Speaker 3: rich white family.

1355
01:17:57,520 --> 01:17:58,479
Speaker 4: Wow, the end.

1356
01:17:58,720 --> 01:17:59,400
Speaker 3: That's the end of.

1357
01:17:59,320 --> 01:18:03,720
Speaker 5: Those the similarities. Hopefully we don't know. Our family is

1358
01:18:03,760 --> 01:18:07,280
Speaker 5: pretty pretty fucked. Yeah do we have?

1359
01:18:07,360 --> 01:18:09,000
Speaker 4: Is there anything else we wanted to talk about with

1360
01:18:09,000 --> 01:18:09,519
Speaker 4: with Missy?

1361
01:18:11,240 --> 01:18:14,880
Speaker 3: Just that Again, everyone in this family is such a

1362
01:18:15,000 --> 01:18:20,200
Speaker 3: master manipulator, and they're doing things to either put on

1363
01:18:20,320 --> 01:18:24,120
Speaker 3: the facade of allyship to try to manipulate Chris into

1364
01:18:24,120 --> 01:18:27,920
Speaker 3: feeling more of a sense of ease, or they are

1365
01:18:28,040 --> 01:18:31,599
Speaker 3: weaponizing things about him against him, like you know, Missy

1366
01:18:31,680 --> 01:18:35,960
Speaker 3: with the almost like using therapy speech as a weapon

1367
01:18:35,960 --> 01:18:36,920
Speaker 3: in the way that some people do.

1368
01:18:37,040 --> 01:18:40,000
Speaker 1: Know what I was gonna say, is, you know, by

1369
01:18:41,000 --> 01:18:46,120
Speaker 1: leaps and bounds therapy and psychiatry and psychology, is it

1370
01:18:46,160 --> 01:18:50,120
Speaker 1: feel dominated by white women? Definitely more psychology than psychiatry,

1371
01:18:50,160 --> 01:18:53,440
Speaker 1: just because you know, medicine. But I think it's interesting

1372
01:18:53,560 --> 01:18:57,120
Speaker 1: that we have created a sort of system where the

1373
01:18:57,160 --> 01:19:00,960
Speaker 1: people that you're supposed to turn to in trying to

1374
01:19:01,040 --> 01:19:04,559
Speaker 1: figure out how to navigate, you know, what you're struggling with,

1375
01:19:04,920 --> 01:19:07,840
Speaker 1: for the most part, are white women, And like, what

1376
01:19:07,960 --> 01:19:14,320
Speaker 1: if white women are the problem? And which is true

1377
01:19:14,439 --> 01:19:17,120
Speaker 1: in this case. And she's let me help you, let

1378
01:19:17,200 --> 01:19:20,679
Speaker 1: me help you stop smoking. He's like, no, that's fine,

1379
01:19:20,920 --> 01:19:24,000
Speaker 1: I'm good. And it's not that he doesn't want to quit.

1380
01:19:24,080 --> 01:19:27,840
Speaker 1: He just doesn't want to get hypnotized with good reason, right,

1381
01:19:28,720 --> 01:19:32,240
Speaker 1: And she's like, no, trust me, bro, And that's sort

1382
01:19:32,280 --> 01:19:35,519
Speaker 1: of like the thing you I mean, I have never

1383
01:19:35,640 --> 01:19:39,839
Speaker 1: had a black therapist. I have primarily had white women therapists.

1384
01:19:39,840 --> 01:19:43,080
Speaker 1: And I've had some great therapists but there are times

1385
01:19:43,120 --> 01:19:45,920
Speaker 1: in therapy where I have to like stop and explain

1386
01:19:46,080 --> 01:19:49,200
Speaker 1: something in a way that I wouldn't have to if

1387
01:19:49,280 --> 01:19:52,280
Speaker 1: I had somebody who was from a similar background to me.

1388
01:19:52,320 --> 01:19:54,840
Speaker 1: And there are times where it's like, you look like

1389
01:19:54,920 --> 01:19:58,160
Speaker 1: the problem. And now I'm at a point in my

1390
01:19:58,240 --> 01:20:01,960
Speaker 1: therapy where I'm comfortable enough, but it's hard at first

1391
01:20:01,960 --> 01:20:04,280
Speaker 1: to be like, you look like the problem, and I

1392
01:20:04,320 --> 01:20:07,479
Speaker 1: need to tell you about the problem, and I need

1393
01:20:07,520 --> 01:20:09,280
Speaker 1: you to not take this personally, and I don't know

1394
01:20:09,320 --> 01:20:09,960
Speaker 1: if you can do that.

1395
01:20:10,360 --> 01:20:14,760
Speaker 5: Yeah, which theoretically a therapist should, but boy, are there

1396
01:20:14,760 --> 01:20:17,799
Speaker 5: are a lot of therapists out there who take shit so personally.

1397
01:20:18,479 --> 01:20:18,919
Speaker 3: Yeah.

1398
01:20:19,000 --> 01:20:23,240
Speaker 5: Yeah, it felt very again just like intentional of in

1399
01:20:23,560 --> 01:20:27,760
Speaker 5: a gendered way, like you're saying, like, because therapy in

1400
01:20:27,800 --> 01:20:30,640
Speaker 5: the US is so dominated by white women, and the

1401
01:20:30,720 --> 01:20:33,439
Speaker 5: fact that like it's almost sort of implied with like, well,

1402
01:20:33,720 --> 01:20:37,719
Speaker 5: the man is the doctor the surgeon, and the woman

1403
01:20:38,040 --> 01:20:42,439
Speaker 5: handles emotions, and it's like it's prescriptive in a gendered

1404
01:20:42,479 --> 01:20:45,519
Speaker 5: sense too, but they are very much working in tandem

1405
01:20:45,560 --> 01:20:48,320
Speaker 5: with each other towards a common goal.

1406
01:20:49,200 --> 01:20:50,480
Speaker 4: And just like Catherine.

1407
01:20:50,160 --> 01:20:53,400
Speaker 5: Keener is so scary and I feel like also is

1408
01:20:53,520 --> 01:20:57,200
Speaker 5: just very well cast in like, you know this lady,

1409
01:20:57,680 --> 01:20:59,839
Speaker 5: she wouldn't hurt you, right, Like it's.

1410
01:21:00,160 --> 01:21:02,840
Speaker 1: And I think it's interesting that when they're talking about

1411
01:21:02,960 --> 01:21:06,240
Speaker 1: Jeremy being in medical school, Dean says, oh, he wants

1412
01:21:06,280 --> 01:21:08,720
Speaker 1: to follow in his old man's footsteps, and it's like,

1413
01:21:08,880 --> 01:21:11,080
Speaker 1: you're both doctors. I hope you know that.

1414
01:21:11,400 --> 01:21:15,080
Speaker 3: Yeah, rightst psychiatrist go to medical school.

1415
01:21:15,560 --> 01:21:15,720
Speaker 1: Right.

1416
01:21:15,800 --> 01:21:19,559
Speaker 5: So there are these little like I do appreciate, I

1417
01:21:19,560 --> 01:21:23,480
Speaker 5: guess in movies where it's like gender discrimination is acknowledged,

1418
01:21:23,560 --> 01:21:25,880
Speaker 5: but not as something that would get you off the

1419
01:21:25,880 --> 01:21:29,960
Speaker 5: hook for being actively aggressive in the way that Missy is,

1420
01:21:30,760 --> 01:21:33,360
Speaker 5: where like the harm is like this is not the

1421
01:21:33,400 --> 01:21:36,439
Speaker 5: same amount of aggression that's being experienced, and she is

1422
01:21:36,640 --> 01:21:40,360
Speaker 5: the perpetrator of so much of it. And yeah, I

1423
01:21:40,400 --> 01:21:42,600
Speaker 5: guess we should have seen her die on screen a

1424
01:21:42,600 --> 01:21:44,400
Speaker 5: little more brutally. It's weird that we didn't.

1425
01:21:44,880 --> 01:21:46,920
Speaker 1: It could be a contract thing. I don't know.

1426
01:21:47,280 --> 01:21:49,599
Speaker 4: Katherine Keener will not screen.

1427
01:21:50,400 --> 01:21:53,840
Speaker 5: I know that the Julia and Moore thing, Julia Moore

1428
01:21:53,920 --> 01:21:56,920
Speaker 5: will not die on screen. That's her. That's her rule,

1429
01:21:57,680 --> 01:21:59,960
Speaker 5: So I guess don't look for her in a slasher movie.

1430
01:22:00,439 --> 01:22:03,840
Speaker 1: My favorite rule is that Denzel Washington will not kiss

1431
01:22:03,840 --> 01:22:07,400
Speaker 1: white women on screen. Really yea good for him, and

1432
01:22:07,840 --> 01:22:10,840
Speaker 1: not because he's got anything against them, but because he

1433
01:22:11,000 --> 01:22:15,480
Speaker 1: thinks that it would be alienating to his target demographic,

1434
01:22:15,520 --> 01:22:18,000
Speaker 1: which is primarily black women. And I think that that

1435
01:22:18,160 --> 01:22:22,000
Speaker 1: is absolutely true, particularly black women of a certain age.

1436
01:22:22,479 --> 01:22:27,120
Speaker 1: And I think that it's really interesting and kind of

1437
01:22:27,160 --> 01:22:29,800
Speaker 1: wonderful that he has put that much thought into it.

1438
01:22:30,400 --> 01:22:33,920
Speaker 1: And he's like, no, I know who I know who

1439
01:22:34,439 --> 01:22:37,000
Speaker 1: supports me, and I want to support them back.

1440
01:22:37,320 --> 01:22:41,040
Speaker 3: Yeah, right, Yeah, that's beautiful. My favorite rule of an

1441
01:22:41,080 --> 01:22:44,639
Speaker 3: actor is that Leonardo DiCaprio has to be fully clothed

1442
01:22:44,680 --> 01:22:47,800
Speaker 3: in water in all of his movies. This is not

1443
01:22:47,840 --> 01:22:50,719
Speaker 3: actually substantiated. This is not kram I see your face.

1444
01:22:50,800 --> 01:22:54,439
Speaker 5: It's it's just something that happens mysteriously in every Leonardo

1445
01:22:54,520 --> 01:22:57,519
Speaker 5: DiCaprio movie. I think he might have a no topless

1446
01:22:57,600 --> 01:22:59,599
Speaker 5: rule or something. I feel like you rarely see him

1447
01:22:59,640 --> 01:23:03,160
Speaker 5: shirt yeah, most hunks you see short lists more. I

1448
01:23:03,160 --> 01:23:04,720
Speaker 5: feel like maybe he's just not comfortable with it.

1449
01:23:04,760 --> 01:23:08,479
Speaker 3: There's like ten movies where he's fully clothed in water.

1450
01:23:08,800 --> 01:23:10,320
Speaker 5: We've been working on this theory for years.

1451
01:23:10,760 --> 01:23:13,679
Speaker 1: I feel like the woman in that meme where there's

1452
01:23:13,720 --> 01:23:19,320
Speaker 1: like math in front of her. I'm like, what, like,

1453
01:23:19,360 --> 01:23:21,719
Speaker 1: it's like a beautiful mind. I'm like putting things together.

1454
01:23:22,439 --> 01:23:24,160
Speaker 1: I'm like, I don't think I've ever seen that man

1455
01:23:24,200 --> 01:23:25,320
Speaker 1: with his shirt off in water.

1456
01:23:25,360 --> 01:23:30,800
Speaker 3: You're right, it's a Titanic, Romeo, Plust, Juliet inception, the

1457
01:23:31,800 --> 01:23:34,040
Speaker 3: Shutter Island. The list goes on.

1458
01:23:34,240 --> 01:23:38,360
Speaker 5: There's a few exceptions, but it's way, yeah, vastly. He's

1459
01:23:38,520 --> 01:23:42,160
Speaker 5: he's always wearing a clingy shirt underwater.

1460
01:23:41,960 --> 01:23:44,360
Speaker 4: The beach anyway, the Beach one.

1461
01:23:44,240 --> 01:23:47,800
Speaker 5: Of our famous, our most famous underwater actors and later

1462
01:23:47,840 --> 01:23:49,720
Speaker 5: add to Dicapria.

1463
01:23:50,520 --> 01:23:51,000
Speaker 1: One thing I.

1464
01:23:50,920 --> 01:23:53,720
Speaker 4: Wanted to just get everyone's feeling on.

1465
01:23:54,000 --> 01:23:56,880
Speaker 5: I mean, this is like a again trope of the

1466
01:23:56,920 --> 01:23:59,760
Speaker 5: horror genre, but the Stephen Root character, which I was

1467
01:23:59,760 --> 01:24:01,400
Speaker 5: also like, how do I know this guy? How do

1468
01:24:01,439 --> 01:24:05,360
Speaker 5: I know this guy? Milton got Space, Milton off Space

1469
01:24:05,400 --> 01:24:08,360
Speaker 5: Office Space. Yeah, did not connect that until this viewing.

1470
01:24:08,720 --> 01:24:16,000
Speaker 5: Good for Milton, but the incorporation of his blindness as

1471
01:24:16,200 --> 01:24:18,960
Speaker 5: a you know, I don't know, it's just I'm curious

1472
01:24:18,960 --> 01:24:22,479
Speaker 5: what you guys think from a disability perspective of how

1473
01:24:22,600 --> 01:24:24,400
Speaker 5: that is used, because I know that's something that is

1474
01:24:24,479 --> 01:24:27,840
Speaker 5: used in the horror Disability is weaponized in the horror

1475
01:24:27,840 --> 01:24:29,080
Speaker 5: genre very frequently.

1476
01:24:29,640 --> 01:24:30,240
Speaker 4: I think it is.

1477
01:24:30,439 --> 01:24:33,960
Speaker 5: Easy to understand what you know, Jordan Peel is going

1478
01:24:34,000 --> 01:24:39,719
Speaker 5: for metaphorically with sight and the sort of horrific quality

1479
01:24:39,840 --> 01:24:44,920
Speaker 5: of a white man wanting to literally steal and take

1480
01:24:45,320 --> 01:24:48,519
Speaker 5: a black man's perspective from him, which I feel like

1481
01:24:48,640 --> 01:24:52,040
Speaker 5: is very much what he's saying, because Chris as a photographer,

1482
01:24:52,080 --> 01:24:56,640
Speaker 5: his perspective is very you know, crucial to who he is,

1483
01:24:56,880 --> 01:25:00,559
Speaker 5: and you know, Jim Hudson knows he's very town and

1484
01:25:00,600 --> 01:25:03,240
Speaker 5: he wants to take that from him and claim it

1485
01:25:03,280 --> 01:25:05,920
Speaker 5: as his own. So I think as a metaphor it works, but.

1486
01:25:06,040 --> 01:25:11,240
Speaker 1: It feels absolutely like nonsensical to think that now that

1487
01:25:11,280 --> 01:25:13,599
Speaker 1: you're in his body and you have his physical eyes,

1488
01:25:13,640 --> 01:25:17,360
Speaker 1: that you will gain his perspective because his talent being

1489
01:25:17,400 --> 01:25:22,879
Speaker 1: a photographer is not about having literal good eyes. Yeah,

1490
01:25:23,160 --> 01:25:26,719
Speaker 1: it's about noticing things, and the ways that we notice

1491
01:25:26,720 --> 01:25:29,160
Speaker 1: things are influenced by the things that we go through.

1492
01:25:29,360 --> 01:25:33,559
Speaker 1: And we can see these sunken place people and how

1493
01:25:34,040 --> 01:25:38,519
Speaker 1: they're not black, like they look black, They're not black.

1494
01:25:38,680 --> 01:25:41,800
Speaker 1: There's nothing about them that feels black. And it was

1495
01:25:42,000 --> 01:25:44,920
Speaker 1: interesting that and I'll get back to Stephen Root's character

1496
01:25:44,960 --> 01:25:48,400
Speaker 1: in just a second. It was interesting that Chris said

1497
01:25:48,840 --> 01:25:53,560
Speaker 1: that when he saw Dre he felt like he knew him,

1498
01:25:53,560 --> 01:25:56,520
Speaker 1: and it sort of felt like kind of a positive

1499
01:25:56,600 --> 01:25:59,479
Speaker 1: inversion of the idea that all black people know each

1500
01:25:59,479 --> 01:26:03,320
Speaker 1: other and like knowing your people when you see your people.

1501
01:26:03,360 --> 01:26:06,200
Speaker 1: And he was very clear that like, I didn't know

1502
01:26:06,280 --> 01:26:08,799
Speaker 1: that first guy, I knew the second guy.

1503
01:26:08,760 --> 01:26:09,960
Speaker 4: Yeah, the guy who came at me.

1504
01:26:10,280 --> 01:26:13,360
Speaker 1: Yeah, right, which I think was interesting with Stephen Root

1505
01:26:13,479 --> 01:26:17,799
Speaker 1: and the blindness. I think one he gets to Nazee

1506
01:26:17,840 --> 01:26:20,600
Speaker 1: color and very explicitly says like I could give a

1507
01:26:20,680 --> 01:26:23,639
Speaker 1: damn about what color you are. I half wanted him

1508
01:26:23,640 --> 01:26:26,920
Speaker 1: to say, like he could be black, white, green.

1509
01:26:26,760 --> 01:26:33,519
Speaker 5: Purple, that old boomer boom chestnut.

1510
01:26:34,080 --> 01:26:36,240
Speaker 1: I love it when they say that. It's so funny.

1511
01:26:36,240 --> 01:26:38,519
Speaker 1: To me, it's so funny because like, show me the

1512
01:26:38,520 --> 01:26:40,479
Speaker 1: purple people, show.

1513
01:26:40,280 --> 01:26:42,960
Speaker 4: Me the purple, well, show me the green people. It's Shrek.

1514
01:26:43,280 --> 01:26:48,000
Speaker 1: But anyway, but the thing about obviously like he gets

1515
01:26:48,000 --> 01:26:50,040
Speaker 1: to be colorblind, and that's a statement on that, and

1516
01:26:50,080 --> 01:26:52,719
Speaker 1: it's like even if you're not seeing race, you're still

1517
01:26:52,720 --> 01:26:57,160
Speaker 1: being racist. But also talking about disability in horror, I

1518
01:26:57,200 --> 01:27:01,639
Speaker 1: think a lot of times disability makes the people evil.

1519
01:27:01,680 --> 01:27:04,240
Speaker 1: It's like they're disfigured and we're seeing they're evil on

1520
01:27:04,280 --> 01:27:10,040
Speaker 1: the outside. This for me feels more like the problematic

1521
01:27:10,120 --> 01:27:15,120
Speaker 1: aspect of disabled people always wanting a cure for their disability,

1522
01:27:15,800 --> 01:27:19,040
Speaker 1: and he's willing to go to these evil lengths to

1523
01:27:19,080 --> 01:27:23,200
Speaker 1: get a cure for his blindness, which is yes, comes

1524
01:27:23,240 --> 01:27:25,120
Speaker 1: from a genetic disorder and it's not something that he

1525
01:27:25,200 --> 01:27:29,640
Speaker 1: was born with. But it's like when you have a disability,

1526
01:27:29,880 --> 01:27:31,920
Speaker 1: it is a change in perspective and it is a

1527
01:27:32,000 --> 01:27:33,800
Speaker 1: change in the way you live your life. But not

1528
01:27:33,880 --> 01:27:37,200
Speaker 1: everybody wants a cure for their disability. They want accessibility,

1529
01:27:37,439 --> 01:27:39,960
Speaker 1: but they don't want a cure, right, Yeah.

1530
01:27:40,040 --> 01:27:44,639
Speaker 3: That and it's just another example of a disabled character

1531
01:27:44,760 --> 01:27:51,080
Speaker 3: being played by enable bodied miltoner by Milton. So yeah,

1532
01:27:51,280 --> 01:27:54,840
Speaker 3: I think that could have been handled very differently and

1533
01:27:55,200 --> 01:27:56,680
Speaker 3: better than it is.

1534
01:27:57,040 --> 01:27:59,720
Speaker 5: Yeah, it's not. I mean, it's not the most egregious

1535
01:28:00,120 --> 01:28:02,680
Speaker 5: example we've seen of it by a long shot in

1536
01:28:02,720 --> 01:28:06,000
Speaker 5: the horror genre, but it did feel worth mentioning, And

1537
01:28:06,040 --> 01:28:08,200
Speaker 5: I honestly, I mean, like even hearing you say, like,

1538
01:28:08,760 --> 01:28:12,160
Speaker 5: how like ridiculous is it that Jim Hudson would expect

1539
01:28:12,240 --> 01:28:16,400
Speaker 5: to like gain Chris's artistic perspective by having his body

1540
01:28:16,520 --> 01:28:20,200
Speaker 5: is like just another way that he's reducing every black

1541
01:28:20,240 --> 01:28:25,160
Speaker 5: person he encounters to a body versus a person or

1542
01:28:25,160 --> 01:28:29,160
Speaker 5: a consciousness or like you know, he's like eyeballs equal perspective,

1543
01:28:29,200 --> 01:28:32,719
Speaker 5: which is pretty fucking rich coming from an art dealer.

1544
01:28:32,760 --> 01:28:36,679
Speaker 5: I'm like, Okay, so you just don't understand your own job,

1545
01:28:38,040 --> 01:28:41,360
Speaker 5: which is a lot of people in high places, so.

1546
01:28:42,200 --> 01:28:44,519
Speaker 1: You can just say you want to see Jim like

1547
01:28:44,600 --> 01:28:48,080
Speaker 1: it's okay, Yeah, yeah, you can say that, right, and

1548
01:28:48,080 --> 01:28:51,840
Speaker 1: that's okay, you can want that. Yeah, don't lie to

1549
01:28:51,880 --> 01:28:53,479
Speaker 1: yourself and don't lie to me that you're like, I

1550
01:28:53,479 --> 01:28:57,559
Speaker 1: want to be able to take real good pictures. That's

1551
01:28:57,680 --> 01:28:58,040
Speaker 1: the goal.

1552
01:28:58,120 --> 01:29:02,600
Speaker 5: That's why I'm doing the eugenicist experimented Bradley went for

1553
01:29:02,640 --> 01:29:07,200
Speaker 5: his house. It's just fucking horrible, Like I yeah, I mean,

1554
01:29:07,240 --> 01:29:09,479
Speaker 5: and I do think that it's like a valid point

1555
01:29:09,560 --> 01:29:12,679
Speaker 5: that yeah, I mean, the fact that you know, Jim

1556
01:29:12,760 --> 01:29:16,840
Speaker 5: Hudson sort of uses his disability to explain why he

1557
01:29:17,000 --> 01:29:21,840
Speaker 5: isn't racist, where that's not how racism works. It's not

1558
01:29:21,880 --> 01:29:24,599
Speaker 5: connected to your ability to see it's connected to how

1559
01:29:24,640 --> 01:29:29,280
Speaker 5: you've been societally conditioned. And Jim Hudson is fifty sixty

1560
01:29:29,280 --> 01:29:33,679
Speaker 5: whatever years old. Yes, he does have internalized and externalized racism.

1561
01:29:34,439 --> 01:29:36,400
Speaker 5: So I get I mean, I don't know, I get

1562
01:29:36,400 --> 01:29:39,160
Speaker 5: why from like a writing perspective, Jordan Peele did that.

1563
01:29:39,560 --> 01:29:42,400
Speaker 5: But yeah, there's a few things that I mean, starting

1564
01:29:42,400 --> 01:29:46,120
Speaker 5: with by actually casting a disabled actor would have you.

1565
01:29:46,080 --> 01:29:49,080
Speaker 1: Know, yeah, because there's no reason not to. Yeah, there's

1566
01:29:49,120 --> 01:29:53,480
Speaker 1: literally there's no reason you don't have to draw.

1567
01:29:53,920 --> 01:29:56,479
Speaker 5: Right. It took me almost ten years to figure out, Oh,

1568
01:29:56,479 --> 01:29:57,400
Speaker 5: that's Milton.

1569
01:29:57,280 --> 01:29:59,960
Speaker 1: And you know, he's a great actor, but I'm sure

1570
01:30:00,160 --> 01:30:03,280
Speaker 1: that there was a great blind actor who could have

1571
01:30:03,600 --> 01:30:06,040
Speaker 1: then been the draw for the next big movie if

1572
01:30:06,040 --> 01:30:07,800
Speaker 1: we knew who he was for sure.

1573
01:30:08,000 --> 01:30:13,680
Speaker 3: Yes, I also wanted to chat about the character of

1574
01:30:13,920 --> 01:30:17,559
Speaker 3: Hiroki Tanaka. Yes, so this is one of the party

1575
01:30:17,600 --> 01:30:23,599
Speaker 3: goers at the Armitage family party. He is the lone

1576
01:30:24,040 --> 01:30:29,160
Speaker 3: Asian man, the only person of color who hasn't been

1577
01:30:29,640 --> 01:30:33,800
Speaker 3: you know, coagula procedured, and he's one of the people like,

1578
01:30:34,000 --> 01:30:37,200
Speaker 3: you know, bidding in this auction, and a lot of

1579
01:30:37,200 --> 01:30:40,200
Speaker 3: people were like, wait a minute, why is an Asian

1580
01:30:40,240 --> 01:30:42,800
Speaker 3: person at this racist party hanging out with all these

1581
01:30:42,920 --> 01:30:46,160
Speaker 3: racist white people, and a lot of people have written

1582
01:30:46,160 --> 01:30:50,200
Speaker 3: about it, and the response was mixed, where some of

1583
01:30:50,280 --> 01:30:54,439
Speaker 3: what I saw were op eds from Asian writers that

1584
01:30:55,000 --> 01:30:59,600
Speaker 3: interpreted the inclusion of the Hiroki Tanaka character in this

1585
01:30:59,640 --> 01:31:04,400
Speaker 3: particulgular context as commentary on the existence of anti black

1586
01:31:04,479 --> 01:31:09,280
Speaker 3: racism and complicitness in white supremacy in the Asian community.

1587
01:31:10,400 --> 01:31:17,280
Speaker 3: I'll share a quote from a piece by Rainier Miningding

1588
01:31:17,720 --> 01:31:21,880
Speaker 3: in Next Shark entitled why Get Out? A movie about

1589
01:31:21,880 --> 01:31:26,360
Speaker 3: anti black racism, had an Asian character says, quote to

1590
01:31:26,479 --> 01:31:30,320
Speaker 3: understand why the Asian man asked this being the question

1591
01:31:30,400 --> 01:31:33,519
Speaker 3: that he poses, which is something like, do you find

1592
01:31:33,800 --> 01:31:38,160
Speaker 3: that being African American has more advantages or disadvantages in

1593
01:31:38,200 --> 01:31:41,080
Speaker 3: the modern world? So that's the question the character asks.

1594
01:31:41,160 --> 01:31:44,400
Speaker 3: So to understand why the Asian man asked this, you

1595
01:31:44,479 --> 01:31:47,840
Speaker 3: have to consider Claire gene Kim's theory of racial triangulation.

1596
01:31:48,400 --> 01:31:52,120
Speaker 3: Racial triangulation posits that Asians exist on a spectrum where

1597
01:31:52,160 --> 01:31:55,760
Speaker 3: they are one perceived as better than blacks but not

1598
01:31:55,840 --> 01:32:00,600
Speaker 3: as good as whites, and two categorized as perpetual foreigners

1599
01:32:00,640 --> 01:32:04,040
Speaker 3: who will never be accepted as quote unquote full Americans.

1600
01:32:04,560 --> 01:32:09,559
Speaker 3: According to racial triangulation, Asians are in racial limbo, trying

1601
01:32:09,600 --> 01:32:13,360
Speaker 3: desperately to achieve whiteness and status as quote unquote real

1602
01:32:13,400 --> 01:32:17,160
Speaker 3: Americans by stepping on the heads of black folks. So

1603
01:32:17,320 --> 01:32:20,160
Speaker 3: when the Asian man asks Chris, is the African American

1604
01:32:20,200 --> 01:32:24,160
Speaker 3: experience an advantage or disadvantage, he wasn't just making small talk.

1605
01:32:24,320 --> 01:32:26,800
Speaker 3: He was wrestling with the decision of whether or not

1606
01:32:26,880 --> 01:32:29,559
Speaker 3: it would be better to trade bodies with Chris and

1607
01:32:29,760 --> 01:32:33,840
Speaker 3: experience anti blackness, or stay the same and live life

1608
01:32:33,920 --> 01:32:38,640
Speaker 3: as an Asian man in America and experience xenophobia unquote.

1609
01:32:39,000 --> 01:32:42,280
Speaker 3: And that piece goes on to describe other ways in

1610
01:32:42,320 --> 01:32:45,840
Speaker 3: which Asian people have been complicit in white supremacy, not

1611
01:32:45,960 --> 01:32:48,680
Speaker 3: saying that that's a universal thing or anything like that,

1612
01:32:48,920 --> 01:32:52,880
Speaker 3: but that there is a history of that happening. And

1613
01:32:52,920 --> 01:32:56,479
Speaker 3: then other writers felt the portrayal of this character plays

1614
01:32:56,520 --> 01:33:01,040
Speaker 3: into stereotypes about Asian people and perpetuates the idea of

1615
01:33:01,200 --> 01:33:06,479
Speaker 3: Asians as foreigners and perpetuates the myth of Asian people

1616
01:33:06,600 --> 01:33:11,160
Speaker 3: being the quote unquote model minority. Where friend of the

1617
01:33:11,240 --> 01:33:15,599
Speaker 3: show Olivia Truffau Wong wrote in a piece on Bustle

1618
01:33:16,280 --> 01:33:20,639
Speaker 3: entitled why the Asian character in Get Out matters. She says,

1619
01:33:20,880 --> 01:33:25,040
Speaker 3: quote the inclusion of such an individual in this particular

1620
01:33:25,080 --> 01:33:29,559
Speaker 3: context trivializes the Asian experience. The discussion of race relations

1621
01:33:29,560 --> 01:33:33,200
Speaker 3: between Asians and African Americans is an important one and

1622
01:33:33,280 --> 01:33:36,760
Speaker 3: it deserves more than a throwaway line and a few

1623
01:33:36,800 --> 01:33:42,840
Speaker 3: short scenes unquote. So again, mixed interpretations of it, but

1624
01:33:43,280 --> 01:33:44,080
Speaker 3: I just wanted to.

1625
01:33:44,439 --> 01:33:48,640
Speaker 1: I think everyone's right. I think that it is a

1626
01:33:48,720 --> 01:33:52,800
Speaker 1: very nuanced conversation. A couple of things that I'll say.

1627
01:33:52,840 --> 01:33:56,240
Speaker 1: I want to first talk about the Supreme Court, which

1628
01:33:56,360 --> 01:33:58,400
Speaker 1: I could talk about the Supreme Court for a long time,

1629
01:33:58,720 --> 01:34:01,439
Speaker 1: but I specific want to talk about I don't know

1630
01:34:01,479 --> 01:34:04,200
Speaker 1: if you guys remember Becky with the bad grades, that

1631
01:34:04,320 --> 01:34:08,439
Speaker 1: girl who didn't get into University of Texas at Austin.

1632
01:34:09,000 --> 01:34:11,400
Speaker 1: And she was like, it is because I am being

1633
01:34:11,520 --> 01:34:16,040
Speaker 1: discriminated against because I am white. And she wanted to

1634
01:34:16,600 --> 01:34:20,519
Speaker 1: get rid of which has successfully happened. Wanted to get

1635
01:34:20,640 --> 01:34:24,040
Speaker 1: rid of affirmative action, which white women are the primary

1636
01:34:24,080 --> 01:34:27,599
Speaker 1: beneficiaries of. She wanted to get rid of affirmative action

1637
01:34:28,120 --> 01:34:31,400
Speaker 1: in college admissions because she didn't get into the school.

1638
01:34:31,439 --> 01:34:34,840
Speaker 1: And she's like, I saw people who were less qualified

1639
01:34:34,920 --> 01:34:38,080
Speaker 1: than me, who were black and brown who got in,

1640
01:34:38,120 --> 01:34:40,439
Speaker 1: and they just got in because of that, which what's

1641
01:34:40,479 --> 01:34:42,280
Speaker 1: funny to me is, first of all, Becky with the

1642
01:34:42,320 --> 01:34:46,400
Speaker 1: bad grade, you t Austin has an admissions policy where

1643
01:34:46,400 --> 01:34:48,040
Speaker 1: if you were in the top ten percent of your

1644
01:34:48,120 --> 01:34:51,280
Speaker 1: high school class, you automatically get in. You can go

1645
01:34:51,320 --> 01:34:53,920
Speaker 1: to Utube. I didn't know that. Yeah, no, that's what

1646
01:34:54,000 --> 01:34:56,599
Speaker 1: makes it so much funnier to me. And she was like,

1647
01:34:56,800 --> 01:35:00,120
Speaker 1: well I didn't get in, and I'm like, okay.

1648
01:35:00,080 --> 01:35:01,360
Speaker 5: You weren't good enough at school.

1649
01:35:01,680 --> 01:35:04,320
Speaker 1: Yeah, it sounds like you should have invested more time

1650
01:35:04,360 --> 01:35:07,880
Speaker 1: in working on your grades, ma'am. But I do think

1651
01:35:07,880 --> 01:35:10,599
Speaker 1: that it is very interesting that that Supreme Court case

1652
01:35:10,840 --> 01:35:13,760
Speaker 1: failed when the white woman was the person behind it,

1653
01:35:14,080 --> 01:35:18,800
Speaker 1: but succeeded when it was spearheaded by Asian people. And

1654
01:35:19,360 --> 01:35:21,720
Speaker 1: Asian people were saying that they were hurt by these

1655
01:35:21,800 --> 01:35:24,840
Speaker 1: quotas because people can like, we're like, oh, there's too

1656
01:35:24,920 --> 01:35:29,520
Speaker 1: many Asian people who are excelling and who are qualified,

1657
01:35:29,560 --> 01:35:31,679
Speaker 1: and we have to have a certain number of them.

1658
01:35:32,080 --> 01:35:34,160
Speaker 1: And now that we've had this policy in place for

1659
01:35:34,200 --> 01:35:37,000
Speaker 1: a few years, the numbers of Asian people who are

1660
01:35:37,000 --> 01:35:41,080
Speaker 1: getting into elite colleges has in fact decreased who defunk it.

1661
01:35:41,680 --> 01:35:46,120
Speaker 1: But and with the idea of Asians being seen as

1662
01:35:46,160 --> 01:35:49,760
Speaker 1: the perpetual foreigner, which I think is very true. And

1663
01:35:49,880 --> 01:35:54,599
Speaker 1: it's interesting because my parents are actually immigrants, and people

1664
01:35:54,680 --> 01:35:58,080
Speaker 1: never assume that about me. Because people, when they see

1665
01:35:58,120 --> 01:36:01,559
Speaker 1: black people in America make a sound about the Atlantic

1666
01:36:01,600 --> 01:36:04,320
Speaker 1: slave trade, and the majority of black people in America

1667
01:36:04,479 --> 01:36:07,719
Speaker 1: did end up here because of that. But Asian people

1668
01:36:07,720 --> 01:36:10,639
Speaker 1: who have been here for just as long and who

1669
01:36:10,800 --> 01:36:13,400
Speaker 1: you know, came and were building railroads and also helped

1670
01:36:13,400 --> 01:36:17,200
Speaker 1: build this country are seen as foreigners, which is bad.

1671
01:36:17,920 --> 01:36:22,120
Speaker 1: It's bad, end of story. But when you're applying to college,

1672
01:36:22,360 --> 01:36:23,880
Speaker 1: they don't see a picture of you, but they see

1673
01:36:23,920 --> 01:36:27,400
Speaker 1: your name, and if you have a name that sounds

1674
01:36:27,439 --> 01:36:31,040
Speaker 1: explicitly Asian, even if they don't see you, they make

1675
01:36:31,080 --> 01:36:34,080
Speaker 1: their judgments. And I think that it's really interesting that

1676
01:36:34,120 --> 01:36:38,479
Speaker 1: Asians were spearheading this because of that particular detail that

1677
01:36:39,040 --> 01:36:42,240
Speaker 1: there are more Asian people who have names that specifically

1678
01:36:42,280 --> 01:36:44,800
Speaker 1: out them as Asian than there are black people who

1679
01:36:44,840 --> 01:36:47,439
Speaker 1: have names that specifically out them as black, especially because

1680
01:36:47,479 --> 01:36:50,519
Speaker 1: black people in America for a very long time have

1681
01:36:50,720 --> 01:36:52,679
Speaker 1: and I think the tide is turning on this more now,

1682
01:36:53,000 --> 01:36:56,040
Speaker 1: but have specifically named their children so that they would

1683
01:36:56,080 --> 01:36:58,880
Speaker 1: be able to later in life, be able to get

1684
01:36:58,960 --> 01:37:02,320
Speaker 1: jobs and be able to have like a resume name

1685
01:37:02,479 --> 01:37:05,640
Speaker 1: that wouldn't get their resume thrown out. And then the

1686
01:37:05,760 --> 01:37:09,519
Speaker 1: other thing I wanted to say about I forgot his name,

1687
01:37:09,600 --> 01:37:13,280
Speaker 1: Hiroki Tanaka, that's his name? Is that Jordan Peele explicitly

1688
01:37:13,280 --> 01:37:16,519
Speaker 1: said that he was paying homage to again Rosemary's Baby

1689
01:37:16,920 --> 01:37:19,080
Speaker 1: because at the end of Rosemary's Baby there is one

1690
01:37:19,200 --> 01:37:22,800
Speaker 1: Japanese man there. And he said that it's about the

1691
01:37:22,880 --> 01:37:26,080
Speaker 1: double worship being a global thing. It's not just these

1692
01:37:26,120 --> 01:37:29,679
Speaker 1: people in this place. It is global. And I think

1693
01:37:29,760 --> 01:37:33,680
Speaker 1: that if we look at it from that perspective, it

1694
01:37:33,760 --> 01:37:36,759
Speaker 1: could be a nod to the idea that anti blackness

1695
01:37:36,800 --> 01:37:40,200
Speaker 1: is global. And we think of anti blackness, and we

1696
01:37:40,240 --> 01:37:42,360
Speaker 1: think of black and white a lot in this country,

1697
01:37:42,680 --> 01:37:45,040
Speaker 1: but there are more layers and more nuance to it.

1698
01:37:46,160 --> 01:37:50,519
Speaker 3: It is far reaching. Jordan Peele lists two other reasons.

1699
01:37:50,520 --> 01:37:54,240
Speaker 3: He was a guest on the Tiger Belly podcast hosted

1700
01:37:54,280 --> 01:37:59,000
Speaker 3: by Bobby Lee and Klaia kuhn Yep and they ask

1701
01:37:59,120 --> 01:38:02,040
Speaker 3: him about this about this character being included in the movie.

1702
01:38:02,800 --> 01:38:07,120
Speaker 3: And I'll paraphrase here, but Jordan Peel in addition to

1703
01:38:07,200 --> 01:38:11,439
Speaker 3: the homage to Rosemary's Baby and you know, wanting to

1704
01:38:12,400 --> 01:38:17,040
Speaker 3: kind of showcase how far reaching an underground society like

1705
01:38:17,080 --> 01:38:21,960
Speaker 3: this could be. He also said that, and you know,

1706
01:38:22,000 --> 01:38:26,000
Speaker 3: we can discuss this if we want, but he wanted

1707
01:38:26,560 --> 01:38:31,200
Speaker 3: the fact that because the character's first language is not English,

1708
01:38:31,200 --> 01:38:33,840
Speaker 3: and he's posing the question in a kind of more

1709
01:38:33,920 --> 01:38:38,439
Speaker 3: direct way than perhaps a native English speaker might ask

1710
01:38:38,520 --> 01:38:42,320
Speaker 3: a question like that, he wanted to like use that

1711
01:38:42,439 --> 01:38:46,880
Speaker 3: to heighten the awkwardness of the situation. So there's that.

1712
01:38:47,080 --> 01:38:51,160
Speaker 3: And then he also says, and also, like, what doesn't

1713
01:38:51,200 --> 01:38:54,880
Speaker 3: make sense an old Japanese billionaire comes and wants to

1714
01:38:54,960 --> 01:38:57,800
Speaker 3: buy a black body, I think is what he says.

1715
01:38:57,840 --> 01:39:00,679
Speaker 3: He's interrupted by the host, so it's kind of hard

1716
01:39:00,680 --> 01:39:03,680
Speaker 3: to tell what the last few words were, but I mean,

1717
01:39:03,720 --> 01:39:06,639
Speaker 3: that is why all those people are there for the party.

1718
01:39:06,760 --> 01:39:09,719
Speaker 3: So but anyway, the hosts jump in and they agree

1719
01:39:09,720 --> 01:39:11,759
Speaker 3: and they're like, yeah, it makes sense to me, honestly.

1720
01:39:12,400 --> 01:39:15,519
Speaker 3: So those are the least the reasons he cites.

1721
01:39:16,760 --> 01:39:18,360
Speaker 4: Yeah, I mean, you know, I.

1722
01:39:18,760 --> 01:39:21,920
Speaker 5: Don't feel like I can make any intelligent comment on this,

1723
01:39:22,000 --> 01:39:25,080
Speaker 5: I think get Out is not a movie that is

1724
01:39:25,720 --> 01:39:32,479
Speaker 5: I think trying to deconstruct this particular dynamic, and it's

1725
01:39:32,800 --> 01:39:34,759
Speaker 5: I feel like it is always a slippery slope between

1726
01:39:34,880 --> 01:39:38,320
Speaker 5: expecting everything of one movie. But I agree with the

1727
01:39:38,400 --> 01:39:42,120
Speaker 5: Krama that all, like every perspective we've talked about makes

1728
01:39:42,200 --> 01:39:46,160
Speaker 5: total sense, and there's no like perspective on that character

1729
01:39:46,240 --> 01:39:49,200
Speaker 5: that I don't know. I'd be comfortable being like, no,

1730
01:39:49,280 --> 01:39:51,200
Speaker 5: you're wrong, because I think you can also go into

1731
01:39:51,360 --> 01:39:55,000
Speaker 5: like histories of colonialism between different countries. I mean, there's

1732
01:39:55,040 --> 01:39:59,880
Speaker 5: like a lot of different ways to approach that conversation.

1733
01:40:00,200 --> 01:40:04,600
Speaker 1: Of like also co opting blackness for like cool aesthetics.

1734
01:40:04,640 --> 01:40:08,120
Speaker 1: That is something that is very prevalent in many different

1735
01:40:08,160 --> 01:40:11,240
Speaker 1: Asian countries. I would say most prevalent in the way

1736
01:40:11,240 --> 01:40:16,080
Speaker 1: that we see K pop borrowing from arguably stealing from

1737
01:40:16,360 --> 01:40:20,840
Speaker 1: black R and B music from the nineties and sort

1738
01:40:20,880 --> 01:40:23,960
Speaker 1: of recreating these sort of like voice to men situations,

1739
01:40:24,479 --> 01:40:30,360
Speaker 1: and they even have like similar dance aesthetics and things

1740
01:40:30,439 --> 01:40:34,760
Speaker 1: like that. It's very much steeped in black culture. And

1741
01:40:34,800 --> 01:40:37,160
Speaker 1: like I saw Black Pink in concert with my mom

1742
01:40:37,240 --> 01:40:39,160
Speaker 1: because I'm cool and also parent.

1743
01:40:41,520 --> 01:40:43,160
Speaker 4: I love that you and your mom went together.

1744
01:40:44,320 --> 01:40:46,639
Speaker 1: It was we went to Coachella together and Black Pink

1745
01:40:46,720 --> 01:40:52,280
Speaker 1: was headlining, so it's even cooler than you thought. But

1746
01:40:52,320 --> 01:40:54,840
Speaker 1: my mom was kind of like checked out during Black Pink,

1747
01:40:54,920 --> 01:40:58,719
Speaker 1: which I expected that that's fine, that's not her her vibe.

1748
01:40:58,760 --> 01:41:03,559
Speaker 1: She listens to Joni Mitchell, so I but I was like, oh,

1749
01:41:03,680 --> 01:41:05,680
Speaker 1: aren't they cool? And my mom was like, I just

1750
01:41:06,600 --> 01:41:09,679
Speaker 1: I'm really sick of people who are not black taking

1751
01:41:09,720 --> 01:41:13,639
Speaker 1: black things and becoming more popular than black people. And

1752
01:41:13,760 --> 01:41:17,480
Speaker 1: so I don't think that the prospect of this Japanese

1753
01:41:17,520 --> 01:41:21,360
Speaker 1: billionaire coming to this party and wanting to co opt

1754
01:41:21,560 --> 01:41:26,120
Speaker 1: blackness in a way is that far reaching. And I think,

1755
01:41:26,160 --> 01:41:28,600
Speaker 1: you know, we can have the conversation about wrestling with

1756
01:41:28,840 --> 01:41:32,360
Speaker 1: is it better to be experiencing xenophobia or is it

1757
01:41:32,400 --> 01:41:34,360
Speaker 1: better to be experiencing what it is to be a

1758
01:41:34,400 --> 01:41:40,040
Speaker 1: black American, which they're all, it's it's not good either way,

1759
01:41:40,240 --> 01:41:44,360
Speaker 1: I think personally. But I also think that there is

1760
01:41:44,400 --> 01:41:48,320
Speaker 1: the idea that you know, Jim talks about. I keep

1761
01:41:48,320 --> 01:41:50,880
Speaker 1: wanting to say Jim Henson instead of Jim Hudson.

1762
01:41:52,240 --> 01:41:55,559
Speaker 3: Because it's like Jim Hudson Galleries, and you've got like

1763
01:41:55,680 --> 01:41:57,760
Speaker 3: Jim Henson Studio.

1764
01:42:00,360 --> 01:42:03,479
Speaker 5: Would never Oh, I thought we were talking about Jim Henson, I.

1765
01:42:03,400 --> 01:42:10,000
Speaker 1: Know, But Jim Hudson talks about like because Chris asks

1766
01:42:10,040 --> 01:42:13,120
Speaker 1: the very valid question why black people, which also makes

1767
01:42:13,160 --> 01:42:15,200
Speaker 1: me think of Zulander, Why male models?

1768
01:42:17,400 --> 01:42:19,840
Speaker 3: Oh my god, oh Zuland.

1769
01:42:20,479 --> 01:42:24,560
Speaker 1: But he asks why black people, and Jim says, some

1770
01:42:24,600 --> 01:42:27,080
Speaker 1: people want to be faster, some people want to be stronger,

1771
01:42:27,280 --> 01:42:30,200
Speaker 1: some people want to be cooler. And I don't think

1772
01:42:30,240 --> 01:42:34,479
Speaker 1: it's out of the realm of possibility that a wealthy

1773
01:42:35,040 --> 01:42:39,680
Speaker 1: Asian businessman would want to be cooler. I just think that, oh,

1774
01:42:39,720 --> 01:42:42,599
Speaker 1: taking a black man's body is the way to do that, right,

1775
01:42:42,680 --> 01:42:45,160
Speaker 1: I think that there is precedent for them.

1776
01:42:45,240 --> 01:42:48,519
Speaker 5: Yeah, I guess I like assumed that the intention of

1777
01:42:48,640 --> 01:42:53,200
Speaker 5: including that character was to say that anti blackness is

1778
01:42:53,240 --> 01:42:56,960
Speaker 5: a global problem and not a problem that is siphoned

1779
01:42:57,080 --> 01:43:02,360
Speaker 5: to white liberal Americans, even though they're obviously a disproportionate

1780
01:43:02,360 --> 01:43:06,000
Speaker 5: perpetrator of anti blackness. But I also like totally understand

1781
01:43:06,000 --> 01:43:10,320
Speaker 5: the perspective that, like, having such a complicated dynamic siphoned

1782
01:43:10,360 --> 01:43:13,760
Speaker 5: into like one character is not gonna sit well.

1783
01:43:14,120 --> 01:43:18,040
Speaker 1: Yeah, I think that the movie did not benefit enough

1784
01:43:18,200 --> 01:43:23,320
Speaker 1: from that addition to be like, no, it's necessary. Yeah,

1785
01:43:23,640 --> 01:43:25,680
Speaker 1: I think that it's fine with it. I think it

1786
01:43:25,720 --> 01:43:28,200
Speaker 1: would have been just as fine without it. But I'm

1787
01:43:28,240 --> 01:43:32,559
Speaker 1: glad that that man got a job that is not

1788
01:43:32,680 --> 01:43:33,280
Speaker 1: an actor.

1789
01:43:33,520 --> 01:43:36,960
Speaker 3: He's Ken Marino's father in law.

1790
01:43:37,240 --> 01:43:39,280
Speaker 1: Yeah, and a karate master.

1791
01:43:40,120 --> 01:43:44,519
Speaker 3: What wait, Yeah, he's not really an actor, although there

1792
01:43:44,640 --> 01:43:47,840
Speaker 3: is an actor named Hiroki Tanaka.

1793
01:43:48,120 --> 01:43:50,080
Speaker 1: Oh that's fine, you know, different guy.

1794
01:43:50,240 --> 01:43:52,120
Speaker 3: Well, because a lot of the op eds I read

1795
01:43:52,160 --> 01:43:55,880
Speaker 3: about this, it's like it's a character named yeah, so

1796
01:43:55,960 --> 01:44:00,720
Speaker 3: he go a Yoma played by actor Hiroki Tanaka, but

1797
01:44:00,760 --> 01:44:02,960
Speaker 3: it's flipped. Yeah, the guy's real.

1798
01:44:02,760 --> 01:44:03,680
Speaker 5: Name is.

1799
01:44:05,240 --> 01:44:08,760
Speaker 3: Yeah, so he go a Yoma. But they, I think

1800
01:44:08,800 --> 01:44:11,880
Speaker 3: were just like looking up what the actor's name was,

1801
01:44:12,040 --> 01:44:14,479
Speaker 3: and because there was an actor named Hiroki Tanaka, they

1802
01:44:14,520 --> 01:44:16,479
Speaker 3: thought that that anyway.

1803
01:44:16,640 --> 01:44:19,880
Speaker 5: So that's so it's it's so funny, like how in

1804
01:44:20,479 --> 01:44:23,599
Speaker 5: Jordan Peel's work you occasionally just get like a weird

1805
01:44:24,160 --> 01:44:29,000
Speaker 5: gen X comedy connection. We were like, oh, yeah, of course

1806
01:44:29,320 --> 01:44:32,280
Speaker 5: Jordan Peel and Ken Marino are pals, and this would

1807
01:44:32,360 --> 01:44:34,679
Speaker 5: be some weird thing that would happen in the same

1808
01:44:34,720 --> 01:44:37,400
Speaker 5: way that in US when you're like, wait, why is

1809
01:44:37,439 --> 01:44:40,880
Speaker 5: Tim Heidecker here and you're like, oh, because him and

1810
01:44:40,960 --> 01:44:43,479
Speaker 5: Jordan Peele have probably known each other for five thousand years.

1811
01:44:44,120 --> 01:44:46,760
Speaker 1: Yeah, and you know the reason that he hired this

1812
01:44:46,800 --> 01:44:48,880
Speaker 1: man who was not an actors because they were doing

1813
01:44:48,920 --> 01:44:52,440
Speaker 1: all of the casting for the secondary characters in Mississippi.

1814
01:44:52,840 --> 01:44:57,240
Speaker 1: And shockingly, there are not a lot of Japanese actors

1815
01:44:57,320 --> 01:44:58,080
Speaker 1: in Mississippi.

1816
01:44:58,120 --> 01:44:59,200
Speaker 3: Well I thought it was Alabama.

1817
01:44:59,479 --> 01:45:00,840
Speaker 1: Oh, maybe it was Alabama.

1818
01:45:01,160 --> 01:45:04,200
Speaker 3: I could be either way, but yeah, I mean not

1819
01:45:04,200 --> 01:45:08,799
Speaker 3: not a lot of Japanese actors in either place. Something

1820
01:45:08,800 --> 01:45:11,800
Speaker 3: I remember learning a while back, or maybe it was

1821
01:45:11,800 --> 01:45:13,760
Speaker 3: even kind of recently that sort of show. Oh, yeah,

1822
01:45:13,760 --> 01:45:18,560
Speaker 3: it was recently, because this was revealed on Graham Norton's show.

1823
01:45:18,720 --> 01:45:21,080
Speaker 1: I Love Graham Norton. My goal in life is to

1824
01:45:21,120 --> 01:45:23,320
Speaker 1: be famous enough to be a guest on Graham Norton.

1825
01:45:24,120 --> 01:45:26,800
Speaker 4: I wish you all the best that's gonna happen.

1826
01:45:27,000 --> 01:45:31,200
Speaker 3: Daniel Klulia was on the show and revealed that he

1827
01:45:31,360 --> 01:45:35,120
Speaker 3: was not invited to the world premiere of Get Out

1828
01:45:35,360 --> 01:45:39,559
Speaker 3: at the twenty seventeen Sun Dance Film Festival. He said

1829
01:45:39,560 --> 01:45:43,439
Speaker 3: he cleared his schedule knowing when it would happen, thinking

1830
01:45:43,479 --> 01:45:45,639
Speaker 3: he would be invited and then he was just never

1831
01:45:45,720 --> 01:45:49,360
Speaker 3: invited and blames it on the industry.

1832
01:45:50,040 --> 01:45:50,439
Speaker 4: I don't.

1833
01:45:51,040 --> 01:45:54,519
Speaker 3: I'm sure people advocated for him to be invited, but yeah, he.

1834
01:45:54,439 --> 01:45:56,320
Speaker 4: Just was nominated for an Oscar what.

1835
01:45:56,640 --> 01:46:00,920
Speaker 3: No, he was not invited and so he did not

1836
01:46:01,920 --> 01:46:04,599
Speaker 3: go to the premiere. Yeah, I don't think I had

1837
01:46:04,600 --> 01:46:07,120
Speaker 3: anything to do with any like bad Blood or anything

1838
01:46:07,160 --> 01:46:09,720
Speaker 3: between like him and Jordan Peele they go on to

1839
01:46:10,600 --> 01:46:14,599
Speaker 3: make Nope together and everything. But yeah, he just wasn't

1840
01:46:14,680 --> 01:46:17,800
Speaker 3: invited and someone fucked up.

1841
01:46:17,840 --> 01:46:22,880
Speaker 1: Basically, I'm curious if like Catherine Keener was invited and

1842
01:46:23,120 --> 01:46:28,560
Speaker 1: Alison Williams was invited. Maybe they weren't either, But I'm curious.

1843
01:46:28,600 --> 01:46:29,479
Speaker 3: Hard to say, we don't.

1844
01:46:29,479 --> 01:46:30,000
Speaker 4: We don't know.

1845
01:46:30,240 --> 01:46:31,200
Speaker 3: I haven't looked it up.

1846
01:46:31,360 --> 01:46:34,479
Speaker 5: But he's I just am like he is the star

1847
01:46:34,640 --> 01:46:36,200
Speaker 5: of the movie.

1848
01:46:36,520 --> 01:46:38,520
Speaker 1: Like it makes me so sad.

1849
01:46:38,320 --> 01:46:43,400
Speaker 4: That, Yeah, that's ridiculous. Well that's a bomber.

1850
01:46:43,439 --> 01:46:49,280
Speaker 5: I did not know that. However, this movie was obviously

1851
01:46:49,439 --> 01:46:50,400
Speaker 5: don't need me to tell you.

1852
01:46:50,520 --> 01:46:51,920
Speaker 4: Tremendously successful.

1853
01:46:52,840 --> 01:46:55,800
Speaker 5: It was made for less than five million dollars and

1854
01:46:55,920 --> 01:46:58,240
Speaker 5: made a quarter of a billion dollars.

1855
01:46:58,760 --> 01:47:00,559
Speaker 1: Geez, Louise, Yeah, I.

1856
01:47:01,840 --> 01:47:04,080
Speaker 5: Didn't even I didn't realize it was like making its

1857
01:47:04,320 --> 01:47:08,520
Speaker 5: budget back eighty times successful, but it absolutely was obviously

1858
01:47:08,640 --> 01:47:12,280
Speaker 5: launched an incredible directing career for Jordan Peel, and Jordan

1859
01:47:12,320 --> 01:47:16,160
Speaker 5: Peele also produces a lot of a lot of director's

1860
01:47:16,200 --> 01:47:18,320
Speaker 5: works as well. It seems like, I mean, whatever, we

1861
01:47:18,360 --> 01:47:21,479
Speaker 5: love Jordan Peele. We don't need to belabor that point,

1862
01:47:21,520 --> 01:47:25,439
Speaker 5: but that this movie got It also won Jordan Peele

1863
01:47:25,479 --> 01:47:29,760
Speaker 5: his first Oscar. He won for Best Original Screenplay, also

1864
01:47:29,800 --> 01:47:33,080
Speaker 5: a nomination he got a nomination for Director. I don't

1865
01:47:33,080 --> 01:47:35,320
Speaker 5: know who he lost to that year, but the movie

1866
01:47:35,479 --> 01:47:38,160
Speaker 5: was nominated for Best Picture, Best Director, Best Actor for

1867
01:47:38,280 --> 01:47:42,840
Speaker 5: Daniel Caluia, and Best Original Screenplay, and it won Best

1868
01:47:42,840 --> 01:47:44,400
Speaker 5: Original Screenplay.

1869
01:47:44,680 --> 01:47:48,559
Speaker 1: And Jordan Peele is the first and only black person

1870
01:47:48,640 --> 01:47:52,280
Speaker 1: to win for Best Original Screenplay. I will say there

1871
01:47:52,320 --> 01:47:55,800
Speaker 1: are like, I think seven or eight black people who

1872
01:47:55,800 --> 01:47:59,680
Speaker 1: have won for Best Adapted Screenplay, So that's got a

1873
01:47:59,720 --> 01:48:02,599
Speaker 1: little bit more a little bit more weight behind it.

1874
01:48:02,960 --> 01:48:08,320
Speaker 1: I yeah, And I think it's interesting that there's such

1875
01:48:08,320 --> 01:48:12,439
Speaker 1: a disparity between original and adapted, and it kind of

1876
01:48:12,520 --> 01:48:15,920
Speaker 1: speaks to sort of the fun thing that's happening in

1877
01:48:15,920 --> 01:48:18,840
Speaker 1: the industry right now where they want a sure thing,

1878
01:48:19,520 --> 01:48:23,360
Speaker 1: and they're like, this thing that was already commercially successful,

1879
01:48:23,560 --> 01:48:26,519
Speaker 1: that we can adapt this ip. We will. We will

1880
01:48:26,560 --> 01:48:30,040
Speaker 1: take a chance on you to do that because we

1881
01:48:30,120 --> 01:48:32,000
Speaker 1: are pretty sure that you can't fuck it up.

1882
01:48:34,080 --> 01:48:38,439
Speaker 3: And that's why we don't have enough original stories from

1883
01:48:38,880 --> 01:48:40,880
Speaker 3: marginalized filmmakers in general.

1884
01:48:42,240 --> 01:48:45,240
Speaker 1: Because it's like Precious. I think the guy who wrote

1885
01:48:45,280 --> 01:48:46,960
Speaker 1: Precious based on the novel Push by.

1886
01:48:46,840 --> 01:48:48,080
Speaker 4: Sapphire famously based on.

1887
01:48:49,800 --> 01:48:52,600
Speaker 1: It's right there on the poster, which I think Sapphire

1888
01:48:52,720 --> 01:48:55,920
Speaker 1: like made them include that legally good for her, which

1889
01:48:56,439 --> 01:48:58,639
Speaker 1: you know, because the book has a different title and

1890
01:48:58,720 --> 01:49:02,040
Speaker 1: it's gonna be forgotten and overshadowed by the movie. And

1891
01:49:02,080 --> 01:49:05,040
Speaker 1: I you know what, I more power to her. Yeah,

1892
01:49:05,040 --> 01:49:07,960
Speaker 1: But Precious based on novel Push by Sapphire. The guy

1893
01:49:08,000 --> 01:49:10,280
Speaker 1: who wrote that was the first black person to win

1894
01:49:10,600 --> 01:49:14,320
Speaker 1: Best Adapted Screenplay, and I know that the guy who

1895
01:49:14,320 --> 01:49:18,960
Speaker 1: wrote Twelve Years of Slave also won. I think that

1896
01:49:19,080 --> 01:49:23,720
Speaker 1: American fiction most recently won. And then two of the

1897
01:49:23,880 --> 01:49:28,519
Speaker 1: four writers for Black Clansmen were black as well, and they.

1898
01:49:28,400 --> 01:49:31,040
Speaker 4: Won, which is a Jordan Peel produced movie.

1899
01:49:31,280 --> 01:49:35,600
Speaker 1: He's everywhere, It's all connected, everywhere, his influence.

1900
01:49:36,240 --> 01:49:39,439
Speaker 5: I'm just I'm looking back at the Academy Award page

1901
01:49:39,439 --> 01:49:41,639
Speaker 5: from this year, it's always funny. I mean, and I

1902
01:49:41,800 --> 01:49:43,880
Speaker 5: like the Shape of Water a lot, but the Shape

1903
01:49:43,880 --> 01:49:46,760
Speaker 5: of Water sort of became the Oscar Movie of the

1904
01:49:46,840 --> 01:49:51,200
Speaker 5: Year this particular year, where right with all love to

1905
01:49:51,920 --> 01:49:54,200
Speaker 5: Giamo del Toro and the Shape of Water a movie

1906
01:49:54,200 --> 01:49:58,960
Speaker 5: I very much like, you know, get Out and Ladybird

1907
01:49:59,040 --> 01:49:59,439
Speaker 5: and Phantom.

1908
01:49:59,600 --> 01:50:04,040
Speaker 3: I mean, come on, I was gunning hard for get

1909
01:50:04,040 --> 01:50:07,000
Speaker 3: Out to win Best Picture, and I will admit being

1910
01:50:07,400 --> 01:50:09,960
Speaker 3: furious that Shape of Water one instead.

1911
01:50:10,560 --> 01:50:13,320
Speaker 5: I mean, yeah, I mean it's not only I mean,

1912
01:50:13,360 --> 01:50:17,639
Speaker 5: there's so much like horror movies are so I mean,

1913
01:50:17,680 --> 01:50:21,280
Speaker 5: I think get Out kind of changed this narrative. But

1914
01:50:21,600 --> 01:50:25,639
Speaker 5: not only is you know, Jordan Peel marginalized director, he's

1915
01:50:25,640 --> 01:50:27,880
Speaker 5: also directing a genre film. And I feel like the

1916
01:50:27,920 --> 01:50:32,000
Speaker 5: Oscars love to dismiss genre films up until very recently,

1917
01:50:32,960 --> 01:50:36,120
Speaker 5: because get Out was so fucking good.

1918
01:50:36,439 --> 01:50:40,519
Speaker 1: I think only six horror films have been nominated for

1919
01:50:40,600 --> 01:50:43,120
Speaker 1: Best Picture, and Silence of the Lambs is the only

1920
01:50:43,160 --> 01:50:43,960
Speaker 1: one that's ever won.

1921
01:50:44,240 --> 01:50:46,920
Speaker 3: Yeah, Exorcist too, because we just covered that on the

1922
01:50:46,920 --> 01:50:48,960
Speaker 3: The Exorcis the Matreon, But it didn't win.

1923
01:50:49,040 --> 01:50:50,040
Speaker 4: It just was nominated.

1924
01:50:50,120 --> 01:50:52,519
Speaker 5: Yeah, yeah, I don't think the Issis won anything.

1925
01:50:52,840 --> 01:50:55,400
Speaker 4: Yeah, they took away like one our hearts.

1926
01:50:57,080 --> 01:51:00,000
Speaker 3: It was nominated for like ten things and won only two.

1927
01:51:00,200 --> 01:51:01,760
Speaker 5: I want to say I was kind of surprised I

1928
01:51:01,880 --> 01:51:04,679
Speaker 5: was nominated for that much in any case. I mean,

1929
01:51:04,760 --> 01:51:07,840
Speaker 5: I like, get Out broke all of these barriers, and

1930
01:51:07,880 --> 01:51:10,800
Speaker 5: I feel like it's not very often discussed what a

1931
01:51:10,880 --> 01:51:14,519
Speaker 5: huge thing it was for the horror genre as well

1932
01:51:14,640 --> 01:51:17,519
Speaker 5: of just like getting all of these I mean, because

1933
01:51:17,600 --> 01:51:21,400
Speaker 5: it is a masterpiece and it is better than the

1934
01:51:21,400 --> 01:51:23,120
Speaker 5: Shape of Water. Not to pit them against each other,

1935
01:51:23,120 --> 01:51:24,160
Speaker 5: but that's what the oscars is.

1936
01:51:25,120 --> 01:51:25,800
Speaker 3: Yeah, that's true.

1937
01:51:26,000 --> 01:51:28,599
Speaker 1: Yeah, first movie or no, not for it was his

1938
01:51:28,640 --> 01:51:30,280
Speaker 1: first movie. It was his directorial debut.

1939
01:51:30,439 --> 01:51:33,000
Speaker 4: It was Yeah, he wrote Keanu, he did not direct Kian.

1940
01:51:33,840 --> 01:51:36,519
Speaker 1: Yeah, you know, we don't know what Keanu could have

1941
01:51:36,600 --> 01:51:38,680
Speaker 1: been had they let Jordan direct.

1942
01:51:38,439 --> 01:51:41,240
Speaker 5: His vision would have changed the game. I also thought

1943
01:51:41,280 --> 01:51:44,559
Speaker 5: it was this was just nice. I don't I mean,

1944
01:51:44,600 --> 01:51:47,880
Speaker 5: I don't know what the deal is with Key and Peele.

1945
01:51:47,880 --> 01:51:49,360
Speaker 5: I feel like there's all these theories as to why

1946
01:51:49,360 --> 01:51:54,320
Speaker 5: they don't work together anymore. However, get Out was made

1947
01:51:54,439 --> 01:51:58,679
Speaker 5: possible by Keeth and Michael Key, and he introduced Jordan

1948
01:51:58,760 --> 01:52:03,160
Speaker 5: Peel to a producer director he knew the producer of

1949
01:52:03,240 --> 01:52:07,000
Speaker 5: like Donnie Darko, and that was like, how this conversation

1950
01:52:07,040 --> 01:52:10,680
Speaker 5: around get Out got started was by his friend and

1951
01:52:10,760 --> 01:52:14,600
Speaker 5: collaborator being like, Jordan is obsessed with horror movies. He

1952
01:52:14,640 --> 01:52:16,439
Speaker 5: has a lot of great ideas. You should talk to him,

1953
01:52:16,479 --> 01:52:18,840
Speaker 5: And that was how get Out sort of came to be.

1954
01:52:19,080 --> 01:52:22,240
Speaker 3: So yeah, they had a lunch and Jordan Peel pitched

1955
01:52:22,320 --> 01:52:25,160
Speaker 3: get Out to this producer and he like bought the

1956
01:52:25,200 --> 01:52:27,200
Speaker 3: pitch at that very moment, and.

1957
01:52:27,760 --> 01:52:31,240
Speaker 5: Thank god different times truth, I know, I was like,

1958
01:52:31,280 --> 01:52:32,599
Speaker 5: this was ten years ago.

1959
01:52:34,120 --> 01:52:36,800
Speaker 1: I actually can very confidently say that the reason that

1960
01:52:36,960 --> 01:52:40,560
Speaker 1: Key and Peel don't work together anymore is a disagreement

1961
01:52:40,640 --> 01:52:44,480
Speaker 1: over a recipe for chibapyous.

1962
01:52:45,800 --> 01:52:47,519
Speaker 5: It was a documentary the whole time.

1963
01:52:48,600 --> 01:52:50,519
Speaker 1: What if I had the tea? What if I actually

1964
01:52:50,600 --> 01:52:53,360
Speaker 1: had the tea? You know, I think their careers are

1965
01:52:53,400 --> 01:52:56,920
Speaker 1: just going in different directions and different people have different priorities.

1966
01:52:56,960 --> 01:53:00,920
Speaker 5: And I know the Twitter algorithm is design to torture

1967
01:53:01,000 --> 01:53:03,840
Speaker 5: me with speculation as to why they don't work together.

1968
01:53:03,880 --> 01:53:05,960
Speaker 5: So maybe it's just always on my mind because the

1969
01:53:05,960 --> 01:53:07,200
Speaker 5: algorithm decided that.

1970
01:53:07,840 --> 01:53:09,760
Speaker 4: But if anyone knows, let me know.

1971
01:53:09,960 --> 01:53:14,000
Speaker 3: Yeah. I love when a movie and I feel like

1972
01:53:14,000 --> 01:53:20,479
Speaker 3: this happens, maybe most often with horror thriller type movies,

1973
01:53:20,600 --> 01:53:24,960
Speaker 3: but when the audience is so affected by it that

1974
01:53:25,040 --> 01:53:31,360
Speaker 3: they become like for example, Fatal Attraction, everyone like being

1975
01:53:31,400 --> 01:53:35,040
Speaker 3: so scared of Glenn close and like being afraid that

1976
01:53:35,040 --> 01:53:38,360
Speaker 3: that would happen to them, Or the way that like

1977
01:53:38,520 --> 01:53:42,120
Speaker 3: Misery made everyone be so afraid of Kathy Baits and

1978
01:53:42,520 --> 01:53:43,439
Speaker 3: I the.

1979
01:53:43,400 --> 01:53:46,240
Speaker 1: First time I ever saw Kathy Baits on film was

1980
01:53:46,280 --> 01:53:48,200
Speaker 1: in the movie Misery when I was twelve.

1981
01:53:48,320 --> 01:53:50,400
Speaker 4: Yeah, oh it was now too.

1982
01:53:50,439 --> 01:53:53,840
Speaker 1: I was too young and she was too scary, And

1983
01:53:54,680 --> 01:53:56,080
Speaker 1: I can't watch Matt Locke.

1984
01:53:55,800 --> 01:54:02,560
Speaker 5: Now you watch Titanic, though, But that sentence was a journey.

1985
01:54:02,680 --> 01:54:03,559
Speaker 4: This is a journey.

1986
01:54:04,760 --> 01:54:07,599
Speaker 3: But just the way that like certain movies will have

1987
01:54:07,640 --> 01:54:11,680
Speaker 3: such a cultural impact and like incite fear in so

1988
01:54:11,760 --> 01:54:14,280
Speaker 3: many people. I feel like get Out is another one

1989
01:54:14,280 --> 01:54:17,880
Speaker 3: of those movies where on like dating apps, for a

1990
01:54:17,920 --> 01:54:20,479
Speaker 3: few years after this movie came out, I saw a

1991
01:54:20,520 --> 01:54:23,559
Speaker 3: lot of people's profiles be like, if you're a white woman,

1992
01:54:23,840 --> 01:54:27,080
Speaker 3: please don't get out me, Like that was a thing,

1993
01:54:27,840 --> 01:54:29,560
Speaker 3: so so interesting.

1994
01:54:29,840 --> 01:54:33,200
Speaker 1: I don't remember seeing that, which doesn't mean it wasn't there.

1995
01:54:33,320 --> 01:54:35,160
Speaker 1: I think I've blocked out a lot of the trauma

1996
01:54:35,200 --> 01:54:36,080
Speaker 1: of dating apps.

1997
01:54:37,440 --> 01:54:38,560
Speaker 3: They're so traumatic.

1998
01:54:39,280 --> 01:54:42,120
Speaker 1: My favorite dating app copy pasta for a while was

1999
01:54:42,520 --> 01:54:44,760
Speaker 1: when Game of Thrones was still in the air. It

2000
01:54:44,880 --> 01:54:46,800
Speaker 1: was like, oh, I'm just a bastard looking for my

2001
01:54:46,880 --> 01:54:53,440
Speaker 1: wild lang and I'm like, okay more, Oh dude, awesome,

2002
01:54:55,000 --> 01:54:58,160
Speaker 1: I'm so happy for you. The first time I saw it,

2003
01:54:58,200 --> 01:55:00,360
Speaker 1: I chuckled, and then I realized that guy and come

2004
01:55:00,440 --> 01:55:01,240
Speaker 1: up with it, and.

2005
01:55:01,160 --> 01:55:02,880
Speaker 4: I was like, oh, isn't that.

2006
01:55:02,920 --> 01:55:05,160
Speaker 5: It's such as Yeah, every time you're like, oh, that

2007
01:55:05,280 --> 01:55:08,280
Speaker 5: man was clever, and you're like, wait a second, that's a.

2008
01:55:08,160 --> 01:55:10,280
Speaker 4: Thirty year old movie. I haven't seen.

2009
01:55:10,560 --> 01:55:10,960
Speaker 5: Fuck you.

2010
01:55:13,080 --> 01:55:15,800
Speaker 1: Yeah, he loves the office, Oh my god, oh.

2011
01:55:15,640 --> 01:55:17,080
Speaker 4: Wow, so original?

2012
01:55:17,280 --> 01:55:17,600
Speaker 1: Wow?

2013
01:55:18,040 --> 01:55:20,120
Speaker 3: Or another Game of Thrones thing is I'm still not

2014
01:55:20,280 --> 01:55:22,000
Speaker 3: over the last season of.

2015
01:55:22,040 --> 01:55:23,200
Speaker 4: Game of Thrones.

2016
01:55:23,640 --> 01:55:26,960
Speaker 3: Oh you and eight million other people shut up say

2017
01:55:28,000 --> 01:55:33,000
Speaker 3: yeah that too. Anyway, does anyone have any other thoughts

2018
01:55:33,040 --> 01:55:34,040
Speaker 3: about Get Out?

2019
01:55:35,280 --> 01:55:37,800
Speaker 1: I want to talk about the music for a second. Yeah,

2020
01:55:37,840 --> 01:55:41,080
Speaker 1: because the guy who did the music was the same

2021
01:55:41,080 --> 01:55:42,720
Speaker 1: guy who did the music for us, and I talked

2022
01:55:42,760 --> 01:55:45,560
Speaker 1: a little bit about him and not. And his name

2023
01:55:45,680 --> 01:55:48,520
Speaker 1: is Michael Abels, and I love him. This was his

2024
01:55:48,800 --> 01:55:53,800
Speaker 1: first film score ever, nailed it ever in the world.

2025
01:55:54,080 --> 01:55:56,600
Speaker 5: He was like a professional composer, but he's just never

2026
01:55:56,600 --> 01:55:57,240
Speaker 5: done a film.

2027
01:55:57,080 --> 01:55:59,120
Speaker 1: Okay, yeah, yeah, yeah he and he went to like

2028
01:55:59,120 --> 01:56:02,960
Speaker 1: the Thornton School of me at USC so he yeah,

2029
01:56:03,000 --> 01:56:06,480
Speaker 1: he has the pedigree, he has the talent, and now

2030
01:56:06,480 --> 01:56:10,120
Speaker 1: he's a Pulitzer Prize winner. Fun fact, he won the

2031
01:56:10,120 --> 01:56:13,080
Speaker 1: Pulitzer Prize for Music in twenty twenty three for an

2032
01:56:13,160 --> 01:56:18,320
Speaker 1: opera that he wrote called what is it called? I

2033
01:56:18,320 --> 01:56:20,800
Speaker 1: don't think down? What it was called Omar Yes, yeah,

2034
01:56:20,800 --> 01:56:23,960
Speaker 1: and it was about Omar ibn said, who was an

2035
01:56:24,040 --> 01:56:28,040
Speaker 1: enslaved Muslim man, and he wrote a he wrote an

2036
01:56:28,080 --> 01:56:31,400
Speaker 1: autobiography that was primarily an Arabic and it's, I think,

2037
01:56:31,640 --> 01:56:35,480
Speaker 1: if not the only, one of the only autobiographies by

2038
01:56:35,520 --> 01:56:37,839
Speaker 1: an enslaved person written primarily in Arabic.

2039
01:56:38,360 --> 01:56:38,960
Speaker 5: Wow.

2040
01:56:39,040 --> 01:56:42,600
Speaker 1: And I think what's interesting about Michael Abels is that,

2041
01:56:43,280 --> 01:56:45,040
Speaker 1: you know, he sort of cut his teeth on this

2042
01:56:45,360 --> 01:56:49,640
Speaker 1: very successful film. And he is a black composer. And

2043
01:56:49,880 --> 01:56:53,640
Speaker 1: if you look at his work on IMDb, he has

2044
01:56:53,920 --> 01:56:57,640
Speaker 1: by and large worked on films that tell black stories

2045
01:56:57,720 --> 01:57:00,800
Speaker 1: like he worked on See You Yesterday, also worked on

2046
01:57:00,920 --> 01:57:04,080
Speaker 1: us and films that have primarily black casts, which I

2047
01:57:04,080 --> 01:57:07,720
Speaker 1: think is a really interesting calling card and you know,

2048
01:57:07,800 --> 01:57:11,800
Speaker 1: a gift to be able to do not exclusively those.

2049
01:57:11,880 --> 01:57:14,240
Speaker 1: He worked on Bad Education, which.

2050
01:57:14,080 --> 01:57:16,320
Speaker 4: By that weird HBO movie. I was like, huh is

2051
01:57:16,320 --> 01:57:18,080
Speaker 4: that what my friend.

2052
01:57:17,840 --> 01:57:21,360
Speaker 1: Wrote that movie? Oh? Really, my friend Mike, who I

2053
01:57:21,400 --> 01:57:24,600
Speaker 1: saw it out with. Yeah, my god, white Mike.

2054
01:57:26,440 --> 01:57:29,040
Speaker 4: That's so that's wild.

2055
01:57:29,680 --> 01:57:31,000
Speaker 1: Yeah, I watched that movie.

2056
01:57:31,120 --> 01:57:33,440
Speaker 5: I think that movie came out during the pandemic, right.

2057
01:57:33,480 --> 01:57:34,720
Speaker 1: It came out during Lockdown.

2058
01:57:34,800 --> 01:57:36,720
Speaker 5: Yeah, I need to rewatch it because I feel like

2059
01:57:36,760 --> 01:57:42,520
Speaker 5: I saw it, liked it, memory hold it because Lockdown.

2060
01:57:41,720 --> 01:57:48,240
Speaker 1: Yeah, highly recommend am fully biased. But my mom also

2061
01:57:48,360 --> 01:57:49,960
Speaker 1: liked it, and she was like, oh my god, tell Mike,

2062
01:57:50,000 --> 01:57:52,880
Speaker 1: I'm so proud of him. Hugh jack Finn, I'm telling

2063
01:57:52,960 --> 01:57:53,520
Speaker 1: the truth.

2064
01:57:53,600 --> 01:57:55,839
Speaker 5: And Jenny Okay, yeah.

2065
01:57:55,680 --> 01:57:57,600
Speaker 3: I have no memory of this movie. I'll have to

2066
01:57:57,680 --> 01:57:58,040
Speaker 3: check it out.

2067
01:57:58,040 --> 01:58:00,160
Speaker 1: We'll talk about That Education well, because it was so

2068
01:58:00,240 --> 01:58:03,320
Speaker 1: theatrically released. If you want to talk about it, I

2069
01:58:03,320 --> 01:58:04,280
Speaker 1: have an end with Mike.

2070
01:58:06,840 --> 01:58:12,240
Speaker 5: Mike, come on the pod. That's fascinating. I didn't realize

2071
01:58:12,280 --> 01:58:14,320
Speaker 5: that Michael Abels had gone on to win a Pulitzer

2072
01:58:14,360 --> 01:58:15,760
Speaker 5: since we last talked about him.

2073
01:58:15,800 --> 01:58:17,720
Speaker 4: That's fucking incredible, and.

2074
01:58:17,680 --> 01:58:21,200
Speaker 1: Not the first black opera to win a pullet Serprize,

2075
01:58:21,200 --> 01:58:24,120
Speaker 1: which I thought was really interesting. There was one that

2076
01:58:24,200 --> 01:58:25,840
Speaker 1: I actually saw, and I'm gonna be really honest, I

2077
01:58:25,920 --> 01:58:29,520
Speaker 1: did not like that was about the I think the

2078
01:58:29,600 --> 01:58:32,920
Speaker 1: Exonerated five is what they're called now, but the people

2079
01:58:32,960 --> 01:58:36,800
Speaker 1: who were accused of that horrible sexual assault in Central

2080
01:58:36,840 --> 01:58:41,400
Speaker 1: Park all those years ago and were eventually exonerated because

2081
01:58:41,400 --> 01:58:44,960
Speaker 1: they were in fact innocent. But there was an opera

2082
01:58:45,080 --> 01:58:48,800
Speaker 1: about that as well that won a Pulitzerprize. So I

2083
01:58:48,800 --> 01:58:50,640
Speaker 1: think that it's interesting that there is this sort of

2084
01:58:51,440 --> 01:58:54,680
Speaker 1: growing world of black opera telling black stories, and that

2085
01:58:54,720 --> 01:58:59,280
Speaker 1: Michael Abels is, you know, out there repin yeah, oh yeah, yeah.

2086
01:58:59,360 --> 01:59:02,840
Speaker 5: There's also like I just now that we have three

2087
01:59:02,880 --> 01:59:05,640
Speaker 5: Jordan Peel movies too to pull from, Like you can

2088
01:59:05,680 --> 01:59:07,880
Speaker 5: see sort of how he has like this repeated motif

2089
01:59:07,920 --> 01:59:11,400
Speaker 5: of rabbits in his movies and then like the opening

2090
01:59:11,440 --> 01:59:17,800
Speaker 5: song and like the repeated song, yeah.

2091
01:59:16,920 --> 01:59:20,440
Speaker 1: Where's the rabbit in No, I don't remember the rabbit.

2092
01:59:20,600 --> 01:59:22,680
Speaker 5: I don't know there was a rabbit refer it was not.

2093
01:59:22,920 --> 01:59:25,480
Speaker 5: I mean, I feel like US is still the movie

2094
01:59:25,480 --> 01:59:30,440
Speaker 5: that obviously references rabbits most heavily. Yeah, because that opening

2095
01:59:30,440 --> 01:59:34,800
Speaker 5: shot lives in my mind rent Free all the time.

2096
01:59:35,560 --> 01:59:38,200
Speaker 1: But I've said it before and I'll say it again,

2097
01:59:38,440 --> 01:59:41,320
Speaker 1: the most upsetting and scary part of the movie US

2098
01:59:41,440 --> 01:59:43,080
Speaker 1: was the part at the beginning where they talked about

2099
01:59:43,120 --> 01:59:49,560
Speaker 1: all the tunnels creepy. I'm not okay, I don't like it.

2100
01:59:50,120 --> 01:59:56,920
Speaker 3: Yeah, it's unsettling. Yeah, as far as the Bechdel test goes,

2101
01:59:58,520 --> 02:00:01,200
Speaker 3: I mean, I think the movie Probab passes. I wasn't

2102
02:00:01,240 --> 02:00:03,720
Speaker 3: really paying much and Rose and Missy.

2103
02:00:03,760 --> 02:00:07,120
Speaker 1: It like lightly passes. Yeah, I think that there's the

2104
02:00:07,120 --> 02:00:10,360
Speaker 1: conversation that Missy and Georgina have about how it's like

2105
02:00:10,440 --> 02:00:14,960
Speaker 1: you should lie down that passes. But I do think

2106
02:00:15,000 --> 02:00:18,480
Speaker 1: the majority of the conversations are about Chris, So I

2107
02:00:18,920 --> 02:00:24,200
Speaker 1: don't think Missy and Rose have any one on one conversations.

2108
02:00:24,600 --> 02:00:26,440
Speaker 1: I don't think Georgina and Rose have any one on

2109
02:00:26,440 --> 02:00:29,880
Speaker 1: one conversations. There just aren't a lot of women also, right,

2110
02:00:30,000 --> 02:00:31,080
Speaker 1: there aren't a lot of people.

2111
02:00:31,200 --> 02:00:34,320
Speaker 3: To be fair, this is true, but it does feel

2112
02:00:34,440 --> 02:00:39,560
Speaker 3: especially glaring knowing that black women were mostly left out

2113
02:00:39,600 --> 02:00:42,320
Speaker 3: of this narrative, right, and it just speaks to the

2114
02:00:42,360 --> 02:00:46,920
Speaker 3: need of more stories featuring black women and black people

2115
02:00:47,000 --> 02:00:48,560
Speaker 3: of marginalized genders.

2116
02:00:48,840 --> 02:00:53,160
Speaker 1: And I will say black women are much much more

2117
02:00:53,200 --> 02:00:56,760
Speaker 1: at the center of the stories that are in us

2118
02:00:56,840 --> 02:00:58,879
Speaker 1: And Nope, yes, for sure.

2119
02:00:59,240 --> 02:01:04,040
Speaker 5: Yeah, it's definitely an you know, continued glaring thing throughout

2120
02:01:04,080 --> 02:01:07,600
Speaker 5: his filmography. Yeah, so I yeah, And I also, I mean,

2121
02:01:07,680 --> 02:01:09,920
Speaker 5: just going back to your original point at the beginning

2122
02:01:09,960 --> 02:01:12,640
Speaker 5: of the episode, Krama, it's like, this is a movie

2123
02:01:12,680 --> 02:01:16,640
Speaker 5: made by a black men about black men and for everyone,

2124
02:01:16,720 --> 02:01:19,400
Speaker 5: but it's like particularly made with that audience in mind.

2125
02:01:19,560 --> 02:01:21,800
Speaker 5: And that's you know, we don't have a lot of

2126
02:01:21,840 --> 02:01:22,440
Speaker 5: movies like that.

2127
02:01:22,640 --> 02:01:25,200
Speaker 1: And yeah, and I think that he gets to tell

2128
02:01:25,200 --> 02:01:28,120
Speaker 1: that story, and I'm so glad that he told that story. Yeah,

2129
02:01:28,160 --> 02:01:31,959
Speaker 1: and I'm so glad that it resonated on this massive

2130
02:01:32,240 --> 02:01:37,400
Speaker 1: global scale where people enjoyed it, people were moved by it,

2131
02:01:37,440 --> 02:01:41,800
Speaker 1: people were provoked to think by it regardless of their

2132
02:01:41,800 --> 02:01:43,240
Speaker 1: own personal experience.

2133
02:01:43,640 --> 02:01:44,320
Speaker 5: Yeah.

2134
02:01:44,920 --> 02:01:49,240
Speaker 3: Absolutely. As far as our nipple scale zero to five

2135
02:01:49,320 --> 02:01:54,320
Speaker 3: nipples based on examining the movie through an intersectional feminist lens,

2136
02:01:54,880 --> 02:01:57,760
Speaker 3: I mean, and maybe this is just how much I

2137
02:01:57,800 --> 02:02:01,200
Speaker 3: love this movie coming into play here, but I want

2138
02:02:01,200 --> 02:02:03,400
Speaker 3: to give it like four four and a half nipples.

2139
02:02:03,680 --> 02:02:08,240
Speaker 3: I do feel like there could have been and should

2140
02:02:08,280 --> 02:02:11,480
Speaker 3: have been more inclusion of black women.

2141
02:02:11,280 --> 02:02:12,000
Speaker 4: In this narrative.

2142
02:02:12,320 --> 02:02:14,880
Speaker 3: Make Little Rall's character, you know, cast a woman in

2143
02:02:14,920 --> 02:02:17,880
Speaker 3: that role that's an active participant in the story, who's

2144
02:02:18,400 --> 02:02:22,840
Speaker 3: you know, helping and who saves Chris at the end.

2145
02:02:22,920 --> 02:02:26,440
Speaker 3: You know, that could have been something or just found

2146
02:02:26,480 --> 02:02:30,040
Speaker 3: other ways to include black women more significantly. So with

2147
02:02:30,040 --> 02:02:32,360
Speaker 3: that in mind, I think I'll give it four out

2148
02:02:32,360 --> 02:02:35,320
Speaker 3: of five. But I just I love this movie so

2149
02:02:35,440 --> 02:02:40,560
Speaker 3: much and I think it has so many interesting, important

2150
02:02:40,560 --> 02:02:46,240
Speaker 3: things to say, And yeah, four nipples. I'll give one

2151
02:02:46,240 --> 02:02:52,000
Speaker 3: to Jordan Peel, I'll give one to Betty Gabriel who

2152
02:02:52,000 --> 02:02:58,200
Speaker 3: plays Georgina. I'll give one to Sid the Dog, and

2153
02:02:58,240 --> 02:03:01,320
Speaker 3: I'll give my final nipple to the Gremlins. Two sketch

2154
02:03:01,360 --> 02:03:02,360
Speaker 3: of k and people.

2155
02:03:05,040 --> 02:03:06,240
Speaker 5: I'm going to meet you at four.

2156
02:03:06,680 --> 02:03:07,600
Speaker 4: I agree.

2157
02:03:07,640 --> 02:03:09,240
Speaker 5: I mean, it's like, because this is a podcast about

2158
02:03:09,240 --> 02:03:13,240
Speaker 5: intersectional feminism, it cannot get the full five unfortunately, But

2159
02:03:13,880 --> 02:03:16,879
Speaker 5: you know, I think that this is I'm I'm glad

2160
02:03:16,960 --> 02:03:21,120
Speaker 5: and encouraged to see that Jordan Peele has centered and

2161
02:03:21,320 --> 02:03:25,280
Speaker 5: prioritized black women in the movies that he's made since.

2162
02:03:25,880 --> 02:03:28,840
Speaker 5: So I would maybe granted a little more harshly if

2163
02:03:29,000 --> 02:03:31,400
Speaker 5: we didn't have the sort of benefit of future knowledge.

2164
02:03:31,440 --> 02:03:34,440
Speaker 5: This is not a continued issue in his filmography and

2165
02:03:34,520 --> 02:03:36,600
Speaker 5: get Out is just a fucking masterpiece.

2166
02:03:36,960 --> 02:03:37,720
Speaker 4: We didn't get into it.

2167
02:03:37,760 --> 02:03:40,280
Speaker 5: But I also think it was I'm trying to remember.

2168
02:03:40,320 --> 02:03:42,640
Speaker 5: I think it was maybe on the press cycle for Us,

2169
02:03:43,160 --> 02:03:47,760
Speaker 5: where there was this expectation that all of Jordan Peele's

2170
02:03:47,760 --> 02:03:50,920
Speaker 5: movies were going to be about race, and then US

2171
02:03:51,600 --> 02:03:55,720
Speaker 5: wasn't explicitly about race, and it like broke a lot

2172
02:03:55,760 --> 02:03:59,360
Speaker 5: of moviegoers' brains where they're like, wait, why are you

2173
02:03:59,400 --> 02:04:01,080
Speaker 5: trying to make a move about something else? And he's like,

2174
02:04:01,120 --> 02:04:03,520
Speaker 5: because I'm a filmmaker.

2175
02:04:02,720 --> 02:04:05,400
Speaker 4: And I have other things I want to talk about.

2176
02:04:05,440 --> 02:04:07,920
Speaker 1: And like people were like, but there's black people.

2177
02:04:07,560 --> 02:04:12,840
Speaker 5: In it, but it's not explicitly about race, and he's like, yeah,

2178
02:04:12,880 --> 02:04:15,960
Speaker 5: Like I yeah, he's he's had to be at the

2179
02:04:16,000 --> 02:04:19,320
Speaker 5: center of all of these like obnoxious media press cycles,

2180
02:04:19,360 --> 02:04:21,800
Speaker 5: and I just like, also.

2181
02:04:22,200 --> 02:04:24,720
Speaker 1: The movie was not about like blackness, but it was

2182
02:04:24,880 --> 02:04:28,600
Speaker 1: very explicitly about the idea of stealing land and the

2183
02:04:28,680 --> 02:04:32,320
Speaker 1: idea of taking land from Native people, indigenous people in

2184
02:04:32,360 --> 02:04:35,560
Speaker 1: this country. Yeah, and how we're living on top of

2185
02:04:35,760 --> 02:04:39,480
Speaker 1: them and their second class citizens. Like that was not subtle,

2186
02:04:40,200 --> 02:04:40,960
Speaker 1: Absolutely not.

2187
02:04:41,320 --> 02:04:43,160
Speaker 5: I mean, and I think that that just like goes

2188
02:04:43,200 --> 02:04:44,840
Speaker 5: back to something we've talked about on the show a

2189
02:04:44,880 --> 02:04:49,080
Speaker 5: lot of just like when you are a marginalized filmmaker,

2190
02:04:49,080 --> 02:04:52,400
Speaker 5: that you are expected to only make stories that reflect

2191
02:04:52,520 --> 02:04:56,640
Speaker 5: your specific experience, and that like original stories outside of

2192
02:04:56,680 --> 02:05:00,240
Speaker 5: your own experience that references your own experience in the

2193
02:05:00,280 --> 02:05:02,720
Speaker 5: way that like an executive would expect is.

2194
02:05:02,640 --> 02:05:06,040
Speaker 4: Not permissible or is like this.

2195
02:05:06,040 --> 02:05:11,120
Speaker 5: Radical act when it's like, no, that's just what filmmakers do,

2196
02:05:11,520 --> 02:05:17,280
Speaker 5: and it's not an opportunity that's given to enough marginalized filmmakers.

2197
02:05:18,760 --> 02:05:22,080
Speaker 5: So anyways, just Jordan Peel fucking rocks. I like, his

2198
02:05:23,120 --> 02:05:27,400
Speaker 5: movies are so distinct, and get Out is probably one

2199
02:05:27,400 --> 02:05:32,920
Speaker 5: of the old timer like directorial debuts. It's it's ridiculous,

2200
02:05:33,080 --> 02:05:37,040
Speaker 5: it's it's unfair, it's fucked up. He's so good. So

2201
02:05:37,080 --> 02:05:41,320
Speaker 5: I'm gonna give it four nipples. I'm gonna give two

2202
02:05:41,400 --> 02:05:46,640
Speaker 5: to Jordan Peel, one to Daniel Cleia because it's just

2203
02:05:46,880 --> 02:05:51,520
Speaker 5: like the wildest performance, and I'll I'll also give one

2204
02:05:51,560 --> 02:05:52,960
Speaker 5: to Betty Gabriel.

2205
02:05:53,080 --> 02:05:56,800
Speaker 1: Nice I am. I'm gonna come in a little lower

2206
02:05:56,840 --> 02:05:59,320
Speaker 1: than you guys on the nipple scale. I'm gonna give

2207
02:05:59,360 --> 02:06:02,040
Speaker 1: it three nips. I was going to start with one,

2208
02:06:02,120 --> 02:06:04,240
Speaker 1: but then I heard you guys out and I was like, okay,

2209
02:06:04,280 --> 02:06:07,040
Speaker 1: they have points, they have points. Let me, let me,

2210
02:06:07,160 --> 02:06:10,160
Speaker 1: let me readjust so I'm going to do three nipples.

2211
02:06:10,600 --> 02:06:15,880
Speaker 1: I think that through the lens of intersectional feminism, the

2212
02:06:15,920 --> 02:06:20,240
Speaker 1: best thing that this film does is lambast the weaponization

2213
02:06:20,560 --> 02:06:25,040
Speaker 1: of white womanhood, and that is like that was always

2214
02:06:25,040 --> 02:06:26,680
Speaker 1: going to get one of the nipples. I think it

2215
02:06:26,720 --> 02:06:30,720
Speaker 1: does a great job at that, and it is very

2216
02:06:31,080 --> 02:06:35,400
Speaker 1: unflinching in its ability to do that. I'm going to

2217
02:06:35,440 --> 02:06:39,120
Speaker 1: give a nipple to Daniel Kluya because I've loved him

2218
02:06:39,160 --> 02:06:43,560
Speaker 1: since his days is Posh Kenneth on Skins, which fun fact,

2219
02:06:43,560 --> 02:06:45,800
Speaker 1: he also wrote an episode of Skins.

2220
02:06:45,840 --> 02:06:48,720
Speaker 4: Really not kidding, God, he's so fucking cool. I forgot.

2221
02:06:48,760 --> 02:06:50,280
Speaker 5: I was like, where did I think I had I

2222
02:06:50,320 --> 02:06:51,760
Speaker 5: had first seen him in Black Mirror.

2223
02:06:52,760 --> 02:06:57,880
Speaker 1: Yes, yeah, And then I will give my final nipple

2224
02:06:57,960 --> 02:07:01,440
Speaker 1: to Georgina's no no, no, no no scene.

2225
02:07:02,360 --> 02:07:03,240
Speaker 3: It's so good.

2226
02:07:03,600 --> 02:07:07,280
Speaker 1: I love a scene that just really stands out, and

2227
02:07:07,360 --> 02:07:10,480
Speaker 1: it's kind of up there for me with Viola Davis

2228
02:07:10,480 --> 02:07:13,800
Speaker 1: in Doubt, which interesting that they both involve a black

2229
02:07:13,840 --> 02:07:16,520
Speaker 1: woman crying but stand out performances.

2230
02:07:16,800 --> 02:07:17,520
Speaker 5: Yeah.

2231
02:07:17,840 --> 02:07:20,200
Speaker 3: Absolutely, Well, we haven't brought up doubt in a while

2232
02:07:20,240 --> 02:07:20,720
Speaker 3: on the show.

2233
02:07:21,400 --> 02:07:23,400
Speaker 1: I love about times what I'm here for now.

2234
02:07:24,480 --> 02:07:27,440
Speaker 5: We found it. We found it in the eleventh hour.

2235
02:07:27,560 --> 02:07:28,640
Speaker 5: We brought it back to doubt.

2236
02:07:30,240 --> 02:07:33,720
Speaker 3: All roads on the podcast lead back to Titanic, Shrek

2237
02:07:33,920 --> 02:07:34,600
Speaker 3: or doubt.

2238
02:07:34,400 --> 02:07:35,880
Speaker 4: And occasionally a doubt.

2239
02:07:37,080 --> 02:07:40,160
Speaker 5: Just word saying Alfred Molina could have been in this movie,

2240
02:07:40,400 --> 02:07:42,160
Speaker 5: but I'm just assuming he was busy.

2241
02:07:42,560 --> 02:07:45,400
Speaker 1: I feel like he also could have been not Jim Henson,

2242
02:07:45,520 --> 02:07:46,440
Speaker 1: but Jim Hudson.

2243
02:07:46,880 --> 02:07:48,879
Speaker 3: Oh yeah, yeah.

2244
02:07:49,000 --> 02:07:51,720
Speaker 1: Again, we want a disabled actor to play a disabled character.

2245
02:07:51,760 --> 02:07:55,280
Speaker 1: But if they were gonna cast a draw non disabled actor,

2246
02:07:55,520 --> 02:07:57,760
Speaker 1: Alfred Molina, Yeah, there you go.

2247
02:07:57,920 --> 02:08:00,360
Speaker 5: Yeah, I mean, I you know, let's let's speak it

2248
02:08:00,400 --> 02:08:03,520
Speaker 5: into an existence, a Jordan Peel al Ford Molina collaboration.

2249
02:08:03,680 --> 02:08:05,640
Speaker 5: It's not a question of if, it's a question of when.

2250
02:08:06,640 --> 02:08:09,760
Speaker 5: And I personally can't wait for when.

2251
02:08:11,680 --> 02:08:13,800
Speaker 3: Yes, well, Karama, thank you so much for joining us

2252
02:08:13,840 --> 02:08:15,200
Speaker 3: once again. Come back anytime.

2253
02:08:15,320 --> 02:08:17,000
Speaker 1: Thank you so much for having me again.

2254
02:08:17,240 --> 02:08:20,600
Speaker 3: Oh we love having you. Tell us where people can

2255
02:08:20,840 --> 02:08:23,200
Speaker 3: follow you online and check out your work.

2256
02:08:23,600 --> 02:08:28,360
Speaker 1: I am at Karama Drama on all platforms including Yes,

2257
02:08:28,400 --> 02:08:30,800
Speaker 1: I'm back on Twitter. I came crawling back.

2258
02:08:32,160 --> 02:08:33,120
Speaker 4: I there with you.

2259
02:08:33,320 --> 02:08:35,080
Speaker 1: I had a thought about yogurt and I had no

2260
02:08:35,080 --> 02:08:39,760
Speaker 1: one to tell it too, so I wish I were joking,

2261
02:08:39,840 --> 02:08:42,760
Speaker 1: but that's what brought me back. I was like, strawberry

2262
02:08:42,840 --> 02:08:45,440
Speaker 1: yogurt is that bitch, and no one can tell me otherwise.

2263
02:08:45,680 --> 02:08:48,480
Speaker 5: You're like, Okay, I'm reactivating. I'm reactivating.

2264
02:08:50,400 --> 02:08:54,600
Speaker 1: So Karama Drama on Twitter, Instagram occasionally TikTok, but really

2265
02:08:54,640 --> 02:08:57,360
Speaker 1: not really it's too much, man.

2266
02:08:57,440 --> 02:09:00,360
Speaker 5: I'm too I'm too fucking old. I'm not doing it.

2267
02:09:00,600 --> 02:09:03,600
Speaker 1: I'm not I'm a watcher. I'm just not a creator.

2268
02:09:03,680 --> 02:09:06,320
Speaker 1: I don't have it in me. That's I am like

2269
02:09:06,600 --> 02:09:09,520
Speaker 1: a plus commenter though, I feel like my comment game

2270
02:09:09,720 --> 02:09:13,080
Speaker 1: on point. So if you follow me, I'll comment on

2271
02:09:13,160 --> 02:09:16,600
Speaker 1: your stuff. Where can they find you, guys?

2272
02:09:17,000 --> 02:09:18,680
Speaker 3: Oh my gosh.

2273
02:09:18,000 --> 02:09:18,240
Speaker 1: Thanks.

2274
02:09:18,720 --> 02:09:22,720
Speaker 3: You can follow me at Caitlin Durante on Instagram and

2275
02:09:23,840 --> 02:09:27,160
Speaker 3: you can follow us on Beachtel Cast also on Instagram

2276
02:09:27,440 --> 02:09:33,840
Speaker 3: and our Patreon slash Maytreon. Two episodes a month, it's

2277
02:09:33,880 --> 02:09:35,640
Speaker 3: five dollars a month and it's always on a fun

2278
02:09:35,640 --> 02:09:37,680
Speaker 3: little theme that Jamie and I cook up.

2279
02:09:37,880 --> 02:09:40,520
Speaker 1: Yes, that's less than a latte, honestly, a.

2280
02:09:40,520 --> 02:09:44,080
Speaker 5: Steal, exactly exactly. And you get our back catalog of

2281
02:09:44,120 --> 02:09:46,000
Speaker 5: over one hundred and fifty episodes.

2282
02:09:46,680 --> 02:09:47,240
Speaker 4: It's a blast.

2283
02:09:47,240 --> 02:09:51,640
Speaker 5: We've been having fun over there. We just are finishing

2284
02:09:51,720 --> 02:09:54,160
Speaker 5: up horror movies. We just covered The Exorcist, which is

2285
02:09:54,160 --> 02:09:56,640
Speaker 5: why exercise the Exorcises top of mind. We did the

2286
02:09:56,680 --> 02:09:59,680
Speaker 5: exercise and Pearl Over in the Matreon this month. If

2287
02:09:59,760 --> 02:10:02,520
Speaker 5: you to check it out, it's a blast over there.

2288
02:10:02,880 --> 02:10:05,560
Speaker 5: You can get merch at teapublic dot com slash the

2289
02:10:05,720 --> 02:10:08,720
Speaker 5: Bechdel Cast, which is the name of the podcast. I

2290
02:10:08,840 --> 02:10:14,760
Speaker 5: just almost said it wrong, and uh with that, all

2291
02:10:14,800 --> 02:10:16,320
Speaker 5: hail the TSA.

2292
02:10:16,200 --> 02:10:23,080
Speaker 1: Yes, Wow, yes, bye bye.

2293
02:10:23,920 --> 02:10:27,160
Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by

2294
02:10:27,240 --> 02:10:31,160
Speaker 3: Caitlin Derante and Jamie loftis produced by Sophie Lichterman, edited

2295
02:10:31,240 --> 02:10:34,400
Speaker 3: by Mola Board. Our theme song was composed by Mike

2296
02:10:34,520 --> 02:10:38,880
Speaker 3: Kaplan with vocals by Katherine Voskressenski. Our logo in Merch

2297
02:10:39,040 --> 02:10:42,000
Speaker 3: is designed by Jamie Loftis and a special thanks to

2298
02:10:42,040 --> 02:10:46,480
Speaker 3: Aristotle Acevedo. For more information about the podcast, please visit

2299
02:10:46,520 --> 02:10:48,080
Speaker 3: link tree slash Bechdel Cast