WEBVTT - Get Out with Korama Danquah 0:00:00.960 --> 0:00:02.160 On the Bechdel Cast. 0:00:02.240 --> 0:00:05.720 The questions asked if movies have women and them, are 0:00:05.840 --> 0:00:08.440 all their discussions just boyfriends and husbands, or do they 0:00:08.440 --> 0:00:13.720 have individualism? It's the patriarchy, zeph and bast start changing 0:00:13.760 --> 0:00:15.920 it with the Bechdel Cast. 0:00:16.320 --> 0:00:22.760 Clink clink, Jamie, you're getting very sleepy now. 0:00:22.960 --> 0:00:25.560 I passed out. It's done. 0:00:25.760 --> 0:00:26.320 It's done. 0:00:26.360 --> 0:00:27.360 Oh those so easy. 0:00:27.800 --> 0:00:30.520 Yeah, I know, I know. I mean, that's that's what 0:00:30.640 --> 0:00:32.240 the movies are about. 0:00:34.880 --> 0:00:37.479 Oh goodness. Welcome to the Bechdel Cast. My name is 0:00:37.520 --> 0:00:38.320 Caitlin Derante. 0:00:38.600 --> 0:00:41.639 Clink clink, my name is Jamie Loftus, and this is 0:00:41.720 --> 0:00:45.159 our podcast where we talk about your favorite movies from 0:00:45.159 --> 0:00:49.400 an intersectional feminist lens using the Bechdel test. 0:00:49.720 --> 0:00:50.760 Cast test. 0:00:51.240 --> 0:00:54.160 We've been doing this for eight years as a jumping 0:00:54.200 --> 0:00:55.240 off point for discussion. 0:00:55.280 --> 0:00:56.840 But Caitlin, what the hell is that? 0:00:57.640 --> 0:01:00.360 Oh? Gee whiz. It's a media metric to buy a 0:01:00.400 --> 0:01:03.440 queer cartoonist Alison Bechdel, sometimes called the Bechdel Wallace Test. 0:01:03.640 --> 0:01:07.600 It has many versions, and ours is this. Do two 0:01:08.000 --> 0:01:11.920 characters of a marginalized gender have names? Do they speak 0:01:11.920 --> 0:01:15.040 to each other? And is the conversation about something other 0:01:15.160 --> 0:01:19.120 than a man, and we especially like it when it's 0:01:19.160 --> 0:01:23.280 a narratively meaningful conversation and not just you know, throw 0:01:23.360 --> 0:01:24.400 away dialogue. 0:01:24.600 --> 0:01:28.199 Very true. And today we're doing one of our rare 0:01:29.040 --> 0:01:35.760 do over episodes. We are covering the twenty seventeen movie 0:01:36.120 --> 0:01:36.760 get Out. 0:01:37.560 --> 0:01:38.479 If you were a. 0:01:38.400 --> 0:01:42.360 Matreon subscriber, which you should be, this was I think 0:01:42.520 --> 0:01:47.919 the first matreard episode we ever did that was a 0:01:47.960 --> 0:01:49.560 live okay. 0:01:49.240 --> 0:01:50.720 Okay, listen, listen. 0:01:50.760 --> 0:01:53.440 It was a moment in time. Listen okay. So what 0:01:53.480 --> 0:01:56.960 we were the circumstances under which we recorded our first 0:01:56.960 --> 0:02:00.360 get Out episode was in the basement of a pizza 0:02:00.400 --> 0:02:01.600 parlor in Brooklyn. 0:02:02.200 --> 0:02:04.160 Yeah, as a part of a comedy festival. 0:02:04.200 --> 0:02:07.160 I don't remember which one, but one that was comfortable 0:02:07.160 --> 0:02:09.120 putting us in the basement of a pizza. 0:02:08.800 --> 0:02:14.360 Parlor certainly not a venue that was conducive to a 0:02:14.400 --> 0:02:18.600 live podcast show, to the point where there was not 0:02:18.760 --> 0:02:21.760 a sound system that allowed it, that allowed us to 0:02:21.960 --> 0:02:24.639 record audio from the soundboard, which is how we would 0:02:24.720 --> 0:02:27.920 normally record audio from a live show. And there weren't 0:02:27.919 --> 0:02:31.639 even enough microphones. Jamie and I had to share a microphone. 0:02:31.360 --> 0:02:35.040 Yes, and we only had like a half hour. So anyways, 0:02:35.120 --> 0:02:39.359 and this was also it in to give us some 0:02:39.400 --> 0:02:41.680 criticism as well. This is before we kind of realized 0:02:41.720 --> 0:02:46.400 that a movie that requires a lot of discussion is 0:02:46.440 --> 0:02:48.200 maybe not ideal for a live show. 0:02:48.720 --> 0:02:50.880 So too a lot like. 0:02:50.800 --> 0:02:53.280 We didn't have enough time, We didn't know how to 0:02:53.280 --> 0:02:54.360 do a live podcast. 0:02:54.480 --> 0:02:56.480 It was twenty seventeen, and. 0:02:57.480 --> 0:03:02.919 We want to resolve because yes, get Out deserves better. 0:03:02.960 --> 0:03:07.000 So today we are recovering get Out in the Year 0:03:07.000 --> 0:03:09.840 of Our Lord twenty twenty four with an incredible guest, 0:03:10.440 --> 0:03:11.680 a returning guest. 0:03:12.000 --> 0:03:13.239 Yes, a friend of the pod. 0:03:13.600 --> 0:03:17.480 Indeed, she's a writer actor. She wrote on I Carly 0:03:17.600 --> 0:03:20.640 and Raven's Home. You remember her from our episodes on 0:03:21.120 --> 0:03:26.200 the movies US and Cheetah Girls. It's Carama Donqua, Hello. 0:03:26.040 --> 0:03:29.480 Hello, bye, thank you so much for having me back. 0:03:29.520 --> 0:03:32.079 I hope I'm not like a best friend of the 0:03:32.120 --> 0:03:34.400 pod like you know best friends a tear. I like 0:03:34.440 --> 0:03:37.120 to think I'm a best friend of the pod. Oh yeah, absolutely, 0:03:37.200 --> 0:03:39.080 I don't want to like force it or anything. 0:03:40.360 --> 0:03:41.520 Happening naturally. 0:03:41.640 --> 0:03:46.600 Three Timers Club, Yeah, three pet I love I also 0:03:46.680 --> 0:03:49.240 love that. Yeah. I kind of forgot what a wide 0:03:49.480 --> 0:03:51.560 range of movies we've covered with you. 0:03:52.600 --> 0:03:57.560 Yeah, yeah, to Jordan Peele Movies Now and Cheetah Girls. 0:03:57.320 --> 0:04:01.720 Yes, one cinema classic. And to Jordan Peel Films. 0:04:02.400 --> 0:04:06.200 Yes, yes, exactly, yes, And of course shout out to 0:04:06.200 --> 0:04:08.640 our our guest on the original episode, Ray Sonni, and 0:04:08.640 --> 0:04:11.840 shout out to anyone who was there at the pizza parlor, not. 0:04:11.840 --> 0:04:15.320 On Ray and not on the pizza parlor attendees. Yes, 0:04:15.480 --> 0:04:18.560 we take we take full accountability. And plus the comedy 0:04:18.560 --> 0:04:22.480 Fuzzle Will, which I don't remember the name of. So yeah, whatever. 0:04:22.320 --> 0:04:26.920 I am because Ray was, you know, like precisely, And yes, 0:04:26.960 --> 0:04:30.400 we're so excited to have you to talk about this movie, Kroma. 0:04:30.480 --> 0:04:32.480 What's your relationship with get Out? 0:04:33.360 --> 0:04:36.640 What is my relationship with get Out? I went to 0:04:36.680 --> 0:04:39.440 see it. You know, it's so funny because I'm gonna 0:04:39.440 --> 0:04:42.560 tell a story that's gonna sound almost identical to my 0:04:42.720 --> 0:04:45.800 story about Us. I went to go see it in 0:04:45.880 --> 0:04:49.080 theaters with my friend Mike. I went and saw Us 0:04:49.160 --> 0:04:51.840 with my other friend Mike. I have a lot of 0:04:51.880 --> 0:04:56.280 white men, different mic friends that are named Mike, don't 0:04:56.320 --> 0:05:00.240 well and some non white mics Michael's in my life, 0:05:00.240 --> 0:05:03.279 but most of them are white men named Mike. But 0:05:03.400 --> 0:05:05.880 I went and saw it in the Cinerama Dome rip 0:05:07.600 --> 0:05:11.040 and I didn't know a ton before I went and 0:05:11.080 --> 0:05:15.640 saw it. My friend Mike, this particular mic is kind 0:05:15.680 --> 0:05:18.160 of always like, come see this movie, and I just go. 0:05:18.800 --> 0:05:21.400 And that's how I saw Moonlight. Also, we went to 0:05:21.440 --> 0:05:25.240 an advanced screening of Moonlight together. He doesn't have a 0:05:25.279 --> 0:05:27.640 lot of black friends, so he tends to see black 0:05:27.680 --> 0:05:31.039 movies with me, which is fine. I love that for him. 0:05:31.120 --> 0:05:33.520 I'm not upset about it. But we went to an 0:05:33.520 --> 0:05:37.560 advanced screening of Moonlight at Lakhma and Janelle Monet was 0:05:37.600 --> 0:05:43.240 there and my breath gone, Wow, they took it. Yeah. 0:05:43.279 --> 0:05:45.080 But so I went and saw it at the Cinerama Dome. 0:05:45.200 --> 0:05:48.880 And I love horror and I love Jordan Peele and 0:05:48.920 --> 0:05:51.880 I love Danielkluja. I was a Skins person. My ring 0:05:51.960 --> 0:05:54.880 tone on my phone is the Skins theme song. No 0:05:54.920 --> 0:05:56.920 one ever hears it because my phone's on silent all 0:05:56.960 --> 0:06:01.240 the time, but I but, you know, yeah, And I 0:06:01.279 --> 0:06:07.159 was really struck with get Out, how tight the script 0:06:07.400 --> 0:06:12.320 was and how well constructed it was. I love a 0:06:12.520 --> 0:06:17.279 well constructed piece of writing. Like you know, the word 0:06:17.320 --> 0:06:20.839 play right is spelled weird because a rite is a builder, 0:06:21.200 --> 0:06:24.880 and writing things is about like building them, and I 0:06:25.360 --> 0:06:29.680 think that Jordan Peele built a masterpiece. But yeah, that's 0:06:29.680 --> 0:06:31.800 where I'm at. And then I took my little brother 0:06:31.839 --> 0:06:33.640 to see it because I was like, this is important 0:06:33.640 --> 0:06:35.479 for him to see and no one else is going 0:06:35.560 --> 0:06:38.159 to take him to see it. And he was like 0:06:38.200 --> 0:06:39.120 seventeen at the time. 0:06:39.760 --> 0:06:42.760 I was like, oh cool, Yeah. 0:06:42.120 --> 0:06:45.000 It was not his first rated R movie. I did 0:06:45.040 --> 0:06:47.159 show him his first rated OUR movie, which was kick Ass. 0:06:47.560 --> 0:06:49.800 Okay, okay, another solid choice. 0:06:50.960 --> 0:06:53.520 But I really wanted to like share it with my brother, 0:06:53.640 --> 0:06:56.680 especially because it has so much to do with the 0:06:56.720 --> 0:07:00.160 way that black men in particular are perceived in society. 0:07:00.560 --> 0:07:03.960 And I don't think that my brother had somebody who 0:07:04.040 --> 0:07:05.960 was going to really talk to him about that and 0:07:06.000 --> 0:07:08.280 what it meant in the way that I was going 0:07:08.320 --> 0:07:11.040 to like discuss the film with him, And like, I 0:07:11.080 --> 0:07:12.600 get to discuss it with you two today. 0:07:12.880 --> 0:07:14.640 Yeah, yeah, so I'm so excited. 0:07:15.880 --> 0:07:16.160 Jamie. 0:07:16.200 --> 0:07:18.400 What's your relationship with the movie. 0:07:19.120 --> 0:07:21.200 My relationship with the movie is I didn't see it 0:07:21.240 --> 0:07:23.800 in theaters during its first run, which I really regret. 0:07:23.880 --> 0:07:26.920 I feel like early twenty seventeen was just before I 0:07:26.960 --> 0:07:29.640 got a movie pass and before I knew stubs existed, 0:07:29.680 --> 0:07:32.800 so I just wasn't in the theaters a lot at 0:07:32.800 --> 0:07:35.800 this time. But I saw it later, I think later 0:07:35.880 --> 0:07:40.880 that year, in twenty seventeen, and immediately it was like, fuck, 0:07:41.040 --> 0:07:43.800 I want to see this in a theater so badly. 0:07:44.600 --> 0:07:47.120 And it took me a couple of years, but I 0:07:47.120 --> 0:07:49.360 finally did see it. I think I saw it at Vidiots, 0:07:49.360 --> 0:07:51.840 maybe like a year ago or so. But it's just 0:07:52.360 --> 0:07:54.720 like you're saying, Karma, it's a masterpiece. It's so good. 0:07:55.600 --> 0:07:59.480 I feel like this movie at least I don't know. 0:07:59.520 --> 0:08:01.800 I mean, I'm I'm a horror fan, but I don't 0:08:01.800 --> 0:08:04.640 know every single thing about horror. But it just seems 0:08:04.680 --> 0:08:07.680 like get Out really kicked off a whole new generation 0:08:08.080 --> 0:08:11.520 of horror films, kind of for better. 0:08:11.360 --> 0:08:11.840 Or for worse. 0:08:11.880 --> 0:08:13.520 There's a lot of movies you'll see, like a lot 0:08:13.560 --> 0:08:16.120 of horror movies. Now you're like, Okay, you know, there's 0:08:16.160 --> 0:08:17.600 a lot of people that want to do what Jordan 0:08:17.640 --> 0:08:20.480 Peele does, but no one can because he's fucking incredible. 0:08:20.600 --> 0:08:23.840 And yeah, it was really interesting to go back and 0:08:24.480 --> 0:08:27.120 revisit this with sort of the knowledge of the better 0:08:27.160 --> 0:08:30.680 part of ten years of clearly how this was. I 0:08:30.680 --> 0:08:33.000 feel like get Out was sort of immediately a classic, 0:08:33.080 --> 0:08:34.599 but now seven years. 0:08:34.360 --> 0:08:37.320 On, its influence is so. 0:08:36.880 --> 0:08:40.160 So present, to the point where like Jordan Peele has 0:08:40.240 --> 0:08:45.040 to work around the influence of this movie. Yeah, Daniel 0:08:45.080 --> 0:08:47.920 Culia is incredible. I was not a Skins head. I 0:08:47.960 --> 0:08:49.719 regret it was. I feel like I went the de 0:08:49.800 --> 0:08:52.920 Grassy way and then I never I never went to 0:08:53.280 --> 0:08:54.600 England with my teen TV. 0:08:55.080 --> 0:09:02.800 I'm bisexual. I love both Degrassis and Skins. 0:09:01.800 --> 0:09:06.760 The two genders. Yes, yes, but yeah I was. 0:09:06.960 --> 0:09:09.360 I could have been watching Daniel Coluia, but instead I 0:09:09.400 --> 0:09:10.400 was watching a bunch of. 0:09:10.559 --> 0:09:14.080 Door Drake I was watching. I know, I was watching Drake. 0:09:15.360 --> 0:09:18.400 Huge l for me, but yeah, this was. 0:09:18.520 --> 0:09:21.320 I haven't seen it in about a year or so, 0:09:22.200 --> 0:09:24.559 but yeah, it's a masterpiece. And also just going back 0:09:24.600 --> 0:09:27.600 to I've been rewatching a lot of horror classics lately, 0:09:27.679 --> 0:09:31.160 and I recently rewatched Rosemary's Baby and The Step for 0:09:31.280 --> 0:09:33.760 Wives and a lot of things that going through this are, 0:09:34.280 --> 0:09:37.600 you know, very clear influences on Jordan Peel and listening 0:09:37.640 --> 0:09:40.400 to him talk. I don't know, it's just it's great. 0:09:40.800 --> 0:09:42.400 Kaitlin Winster history with this movie. 0:09:42.720 --> 0:09:45.600 This is one of my favorite movies of all time. 0:09:45.960 --> 0:09:48.400 I agree that it's a masterpiece. I teach it in 0:09:48.440 --> 0:09:53.520 my screenwriting classes, using it as an example for many 0:09:53.600 --> 0:09:56.120 examples of what the movie does so well as far 0:09:56.160 --> 0:10:00.560 as crafting a story and planting payoff and you know, 0:10:00.640 --> 0:10:04.160 withholding information for later reveal and all this kind of stuff. 0:10:04.960 --> 0:10:08.600 So I am just astounded by this movie every time 0:10:08.600 --> 0:10:11.520 I watch it, because it holds up on a rewatch 0:10:11.720 --> 0:10:14.720 so so well, the way that some horror movies or 0:10:14.760 --> 0:10:17.360 some movies with like a big twist don't hold up 0:10:17.400 --> 0:10:20.000 because then the story logic just kind of falls apart 0:10:20.040 --> 0:10:23.440 when you rewatch it after knowing the twist. But this 0:10:23.760 --> 0:10:26.240 movie holds up so well. And yeah, I saw it 0:10:26.240 --> 0:10:29.120 in theaters and it was one of my favorite theater 0:10:29.280 --> 0:10:34.800 going experiences ever. I would say, especially the very end, Yes, 0:10:35.000 --> 0:10:38.880 when the cop car pulls up and you're like, fuck 0:10:39.679 --> 0:10:42.600 the fear you feel for Chris, and then the door 0:10:42.640 --> 0:10:45.640 swings open and it says airport and Lil Rel steps 0:10:45.640 --> 0:10:51.040 out and the whole crowd screaming, cheering, just like it 0:10:51.080 --> 0:10:51.719 was incredible. 0:10:51.840 --> 0:10:55.040 Nobody has loved TSA as much as they did. I 0:10:55.120 --> 0:10:58.000 was gonna say in February of twenty seventeen. 0:10:58.240 --> 0:10:59.920 What a moment for the TSA. 0:11:00.200 --> 0:11:04.600 Truly, I've never seen them get good press anywhere before 0:11:04.760 --> 0:11:08.120 or since. But yes, Iconic DSA employee. 0:11:09.000 --> 0:11:14.240 Oh god, right, right, right, So yeah, I had a 0:11:14.240 --> 0:11:17.360 great time seeing in theaters and yeah, I've seen this 0:11:17.440 --> 0:11:19.640 movie probably like twenty times now and. 0:11:20.400 --> 0:11:20.960 I love it. 0:11:22.600 --> 0:11:25.160 Let's take a quick break and then come back for 0:11:25.200 --> 0:11:26.400 the recap, shall we. 0:11:26.600 --> 0:11:27.160 Let's do it? 0:11:27.200 --> 0:11:38.720 Sounds great, and we're back. 0:11:39.200 --> 0:11:40.880 I was gonna say, I forgot to. 0:11:41.160 --> 0:11:43.280 I think I mentioned this in our first go round 0:11:43.440 --> 0:11:46.600 of I saw like I saw the wrong Jordan Peele 0:11:46.640 --> 0:11:49.400 movie in theaters. During this period of time, I did 0:11:49.440 --> 0:11:54.760 goes to see Keanu in theater. Oh my gosh, why, 0:11:55.240 --> 0:11:56.760 I mean, that's a fun movie. 0:11:56.880 --> 0:11:58.040 There's a cat in it. 0:11:58.720 --> 0:11:59.480 There's a cat. 0:12:00.080 --> 0:12:02.640 Literally, I got dumped by a prop comedian and I 0:12:02.720 --> 0:12:05.120 was just like, I gotta go do something, And so 0:12:05.200 --> 0:12:07.440 I went to see Keanu and I was just like 0:12:07.440 --> 0:12:09.520 sitting in the back of Keanu crying. 0:12:10.240 --> 0:12:16.480 I'm sorry, that's so dark. Getting dumped by a prop 0:12:16.520 --> 0:12:20.880 comedian is. Yeah, I know that you've gone through some shit, 0:12:21.040 --> 0:12:23.480 but that is probably the darkest thing I've ever heard 0:12:23.520 --> 0:12:24.040 you go through. 0:12:24.640 --> 0:12:26.280 That's kind of what it is like. 0:12:26.480 --> 0:12:29.560 Once you've been not just dumped, but cheated on by 0:12:29.600 --> 0:12:34.360 a prop comedian. You really it really puts things into perspective. 0:12:34.440 --> 0:12:37.160 You're like, no one can truly hurt me ever again. 0:12:37.880 --> 0:12:38.480 Yeah. 0:12:38.840 --> 0:12:40.959 Wow, Anyways, Keanu was there for. 0:12:41.000 --> 0:12:45.000 Me when glad to hear. Yeah, oh, we should cover 0:12:45.080 --> 0:12:47.360 Keanu sometime on the podcast. 0:12:47.679 --> 0:12:49.600 Yeah. I mean I haven't seen it since I had 0:12:49.679 --> 0:12:53.040 negative a strong negative association, but it was funny, it 0:12:53.080 --> 0:12:55.200 was anyways, Yes, and that came out I think less 0:12:55.200 --> 0:12:58.680 than a year before Get Out, which is wild the range. Yeah, 0:12:58.679 --> 0:13:01.160 it came out, like, I think in space of six months. 0:13:01.200 --> 0:13:04.199 I'm pretty sure both if if my breakup timeline is correct, 0:13:05.240 --> 0:13:07.800 both of these movies came out so close together. And 0:13:07.840 --> 0:13:11.240 that was the other like really exciting thing was like Jordan, 0:13:11.360 --> 0:13:14.720 I mean huge Key and Peel fan obviously, like yeah, 0:13:15.000 --> 0:13:17.720 loved love, loved Key and Peel Forever is like one 0:13:17.760 --> 0:13:20.760 of the best sketch comedy shows ever. And then just 0:13:20.800 --> 0:13:23.760 being like and Jordan, Peele can do this, Like it 0:13:23.840 --> 0:13:27.880 was just so fucking cool. So many comedians have tried 0:13:27.880 --> 0:13:29.680 to do it since, and no one's pulled it off 0:13:29.720 --> 0:13:34.000 because he's just different. He's great anyways, Yeah, just wanted 0:13:34.000 --> 0:13:37.080 to shout out, like we're all comedians here too, and 0:13:37.280 --> 0:13:40.720 seeing someone who is like at the top of the 0:13:40.720 --> 0:13:44.240 sketch comedy world immediately also become one of the top 0:13:44.400 --> 0:13:46.880 tours in the world. It's just like the coolest and 0:13:46.960 --> 0:13:48.080 get Out is super funny. 0:13:48.120 --> 0:13:49.280 Like it's just yeah, it's great. 0:13:49.320 --> 0:13:52.440 Yeah yeah he Also, I mean he Jordan Peele talks 0:13:52.440 --> 0:13:56.920 about the similarities and parallels between horror and comedy and 0:13:56.960 --> 0:14:01.079 how they function so similarly as like storytelling devices, and yeah, 0:14:01.240 --> 0:14:05.120 so it just makes sense. Also, the Gremlins two Key 0:14:05.160 --> 0:14:06.559 and Peel sketch. 0:14:06.440 --> 0:14:08.240 Is like where is this going? 0:14:09.120 --> 0:14:09.280 OK? 0:14:11.360 --> 0:14:14.680 I watch it like once a month. It's the funniest 0:14:14.720 --> 0:14:18.080 thing to me. Everyone paused this episode and go watch 0:14:18.120 --> 0:14:19.800 the Gremlins two Key and Peel sketch. 0:14:20.520 --> 0:14:23.680 My favorite Key and Peel sketch is the one about 0:14:24.360 --> 0:14:27.480 the two ethnic restaurants across the street from each other 0:14:28.000 --> 0:14:32.520 with the chip BOMBI and my mom loves that sketch 0:14:32.640 --> 0:14:34.440 so so so much because I think it kind of 0:14:34.480 --> 0:14:37.360 reminds her of like West African Jeeloff Wars. It's like 0:14:37.400 --> 0:14:41.800 it's all Rice, calm down, and I can say that 0:14:41.840 --> 0:14:45.120 I'm gonna and we have the best off. Don't fight me. 0:14:46.000 --> 0:14:49.800 But I worked with Keith and Michael Key a couple 0:14:49.760 --> 0:14:53.960 of years ago on a show, and my mom was like, Karama, 0:14:54.680 --> 0:14:57.080 tell him I love the chip Boppy sketch. And I 0:14:57.200 --> 0:14:59.320 was like, okay, Mom, I'll tell him. And I didn't. 0:14:59.360 --> 0:15:00.960 He was like that one. 0:15:03.040 --> 0:15:07.840 Look to each their own. I liked the Continental Breakfast one. 0:15:07.880 --> 0:15:10.160 Do you remember that one? That was always my favorite classic? 0:15:10.440 --> 0:15:13.240 But yes, anyways, listeners, also let us know your favorite 0:15:13.280 --> 0:15:15.560 Key and Peel sketches. It's just like amazing, and then 0:15:15.600 --> 0:15:18.280 I this is beside the point, but here we are. 0:15:19.000 --> 0:15:19.640 Do you remember? 0:15:19.760 --> 0:15:22.200 This was I think the same year that A Quiet 0:15:22.240 --> 0:15:25.000 Place one came out, and there was this brief moment 0:15:25.040 --> 0:15:28.200 where they're like two brilliant O tours Jordan Peele and 0:15:28.240 --> 0:15:30.760 John Krasinsky, And then I think we disabused ourselves of 0:15:30.800 --> 0:15:34.840 that pretty quickly, were like one great O tour and 0:15:35.240 --> 0:15:36.520 John Krasinski you. 0:15:36.520 --> 0:15:39.440 Didn't like if? Are you talking about? 0:15:40.200 --> 0:15:40.400 Oh? 0:15:40.680 --> 0:15:43.640 Did direct that if? Or a quieplace? 0:15:44.080 --> 0:15:48.080 I think he uh wrote if or like developed. 0:15:47.480 --> 0:15:51.520 If if being like imaginary friend right that wait was 0:15:51.560 --> 0:15:54.680 that the horror movie that came out about Imaginary Friends. 0:15:56.240 --> 0:15:56.640 Comedy. 0:15:56.920 --> 0:15:59.720 Okay, okay, it's the one that felt very Foster's Home 0:16:00.120 --> 0:16:03.440 Imaginary Friends, but like wasn't Yeah I. 0:16:03.360 --> 0:16:06.560 Saw Imaginary I think is what it was called a 0:16:06.760 --> 0:16:10.480 horror movie. Yeah, it was not good, except the third 0:16:10.520 --> 0:16:14.120 act just goes off the rails in the most hilarious way. 0:16:14.360 --> 0:16:18.120 Highly recommend watching the third act of that movie. Anyway, 0:16:18.120 --> 0:16:19.000 we're here to talk about it. 0:16:19.560 --> 0:16:21.160 Yeah, I think what makes it out so good is 0:16:21.160 --> 0:16:23.440 that a lot of horror movies really fall apart in 0:16:23.480 --> 0:16:26.880 the third act for sure, and this one is like, no, no, 0:16:27.280 --> 0:16:29.960 we're just getting better, like a fine wine over time. 0:16:30.160 --> 0:16:31.280 Just wow to. 0:16:31.320 --> 0:16:35.880 The last wine, like the the TSA line. It's just. 0:16:37.920 --> 0:16:38.440 Incredible. 0:16:38.560 --> 0:16:40.240 All right, Yeah, let's get into it. Sorry, I just 0:16:40.320 --> 0:16:42.160 needed to do a quick key and peel. 0:16:42.320 --> 0:16:46.480 Diverse check in. Yes, no important. So for the recap 0:16:46.520 --> 0:16:50.120 forget Out, I'll place the content warning for anti black 0:16:50.200 --> 0:16:55.560 racism and violence. So we open on a young black 0:16:55.600 --> 0:16:59.280 man played by Lakeith Stanfield who is walking in a 0:16:59.360 --> 0:17:02.560 suburb at night. He's trying to get somewhere, but he's 0:17:02.600 --> 0:17:05.880 kind of lost, and then a car approaches and starts 0:17:06.200 --> 0:17:11.200 creepily following him. The driver gets out, wearing a medieval 0:17:11.480 --> 0:17:17.120 helmet and attacks and abducts the man. We then meet 0:17:17.240 --> 0:17:22.239 Chris Washington played by Daniel Caluya, a photographer living in 0:17:22.600 --> 0:17:25.639 I think New York City is where it's meant to be. 0:17:26.440 --> 0:17:32.000 He's dating Rose Armitage played by Alison Williams, and they're 0:17:32.040 --> 0:17:34.760 about to leave on a weekend trip to visit her parents, 0:17:35.119 --> 0:17:38.320 who Chris will be meeting for the first time, and 0:17:38.840 --> 0:17:43.040 he asks Rose, who is white, if her parents know 0:17:43.160 --> 0:17:47.159 that he's black, and she's like, no, but it's not 0:17:47.240 --> 0:17:52.480 a big deal. My parents aren't racist, and he's like okay. 0:17:54.280 --> 0:17:58.760 Chris's friend Rod, played by little Ral Howry, is similarly skeptical. 0:17:59.200 --> 0:18:00.720 He works for the TSA. 0:18:01.520 --> 0:18:04.840 This is defining characteristic. That's kind of all we know 0:18:04.960 --> 0:18:08.119 about him. Loves the TSA outside of the fact that 0:18:08.160 --> 0:18:09.280 he's Chris's best friend. 0:18:09.400 --> 0:18:11.520 He works for the TSA, and that is what we know. 0:18:11.600 --> 0:18:14.000 And he's a dog sitter on occasion. 0:18:13.600 --> 0:18:14.840 Yes, he's a dog lover. 0:18:15.600 --> 0:18:19.680 He's dog sitting Chris's dog, Sid while Chris is gone, 0:18:20.119 --> 0:18:23.320 and he jokes to Chris about how he needs to 0:18:23.359 --> 0:18:26.320 be careful around these white people. He's like, don't go 0:18:26.440 --> 0:18:32.439 into their house. But despite Little World's warnings, Chris and 0:18:32.680 --> 0:18:36.080 Rose head out on the road to her parents' house. 0:18:36.760 --> 0:18:40.040 They hit a deer that suddenly runs out on the road, 0:18:40.560 --> 0:18:44.159 and Chris can't really do anything about it, but you know, 0:18:44.280 --> 0:18:45.840 watch it slowly die. 0:18:46.080 --> 0:18:48.399 I know, we just watched Triangle of Sadness and I 0:18:48.480 --> 0:18:50.840 was like, wait, they don't do a Triangle of sadness 0:18:50.840 --> 0:18:51.840 animal sacrifice? 0:18:51.880 --> 0:18:52.200 Do they? 0:18:52.320 --> 0:18:55.160 Then they don't. I was just thinking, what. 0:18:55.040 --> 0:18:56.640 Do they killing Triangle of Sadness? 0:18:56.640 --> 0:18:59.439 It's like a donkey a donkey. Yeah, I don't know. 0:18:59.480 --> 0:19:03.000 I just had a flash back to that. Anyways, we're 0:19:03.000 --> 0:19:03.520 spared that. 0:19:04.240 --> 0:19:09.159 Yes, So a cop shows up to this, you know, 0:19:09.240 --> 0:19:12.840 like accident, wanting to see Chris's ID even though he 0:19:12.920 --> 0:19:17.800 wasn't driving, and Rose implies that the cop is being racist, 0:19:18.160 --> 0:19:22.240 and so the cop concedes and leaves. They arrive at 0:19:22.280 --> 0:19:27.560 the Armitage house, this like you know, large rich people home. 0:19:28.760 --> 0:19:33.160 We meet Rose's dad, Dean played by Bradley Whitford, and 0:19:33.280 --> 0:19:37.679 her mom, Missy, played by Catherine Keener, and they seem 0:19:38.920 --> 0:19:44.480 warm and inviting to Chris. We also meet a grounds 0:19:44.560 --> 0:19:48.040 keeper and a housekeeper who work for the Armitage family, 0:19:48.320 --> 0:19:52.840 Walter and Georgina played by Marcus Henderson and Betty Gabriel. 0:19:53.280 --> 0:19:56.320 Both of them are black, and Chris can't help but 0:19:56.440 --> 0:20:01.720 notice that they seem kind of weird. Then Chris and 0:20:01.760 --> 0:20:03.520 the family get to know each other a bit more. 0:20:04.119 --> 0:20:06.520 We find out that Chris's mom died in a car 0:20:06.560 --> 0:20:10.880 accident when he was a kid. Also, Dean suggests that 0:20:11.040 --> 0:20:15.800 Missy hypnotized Chris to help him quit smoking. She's a 0:20:15.800 --> 0:20:20.439 psychiatrist and she's like developed this method of hypnosis. But 0:20:20.720 --> 0:20:25.560 Chris is like, no thanks, I'm good. Then Rose's brother 0:20:25.680 --> 0:20:29.719 Jeremy played by Caleb Landry Jones shows up to the house. 0:20:30.320 --> 0:20:34.679 He's there for a party that Rose's grandfather used to 0:20:34.720 --> 0:20:38.240 throw every year while he was alive, and the family 0:20:38.280 --> 0:20:41.280 just like kept this tradition going of throwing this annual party. 0:20:42.440 --> 0:20:46.919 Jeremy is generally an asshole. He says some weird things 0:20:46.960 --> 0:20:51.679 to Chris about his physique and genetic makeup, and he 0:20:51.760 --> 0:20:54.760 tries to play fight with Chris, and so there's you know, 0:20:54.880 --> 0:20:56.800 weird vibes from him as well. 0:20:57.119 --> 0:20:58.879 And I know this isn't true, but this is always 0:20:58.920 --> 0:21:00.320 the point in the movie where I'm like. 0:21:00.280 --> 0:21:04.159 Is this supposed to be Jonah Piretti because. 0:21:03.880 --> 0:21:08.720 Oh, because of Chelsea was famously a piece of shit. Anyways, 0:21:09.920 --> 0:21:11.360 maybe Jordan Peele says, no. 0:21:12.600 --> 0:21:13.679 Well, I think he'd have to. 0:21:14.240 --> 0:21:17.119 Yeah, you can't be like, yes, it's my brother in 0:21:17.240 --> 0:21:18.040 law who I hate. 0:21:18.320 --> 0:21:20.720 Yeah, mister BuzzFeed him son. 0:21:21.640 --> 0:21:27.280 Oh gosh. So Rose is like, oh, sorry about my family, 0:21:27.560 --> 0:21:31.600 maybe they are racist, and Chris is like, yeah, no shit, 0:21:31.760 --> 0:21:32.439 I told you so. 0:21:33.400 --> 0:21:33.520 Uh. 0:21:33.680 --> 0:21:36.960 Later that night, Chris can't sleep, so he goes outside 0:21:37.040 --> 0:21:40.280 for a cigarette. He sees more of Walter and Georgina 0:21:40.359 --> 0:21:44.840 being weird, and when Chris goes back in, Missy reprimands 0:21:44.880 --> 0:21:47.880 him for smoking and that she kind of coaxes him 0:21:47.920 --> 0:21:53.040 into being hypnotized. She's swirling a spoon around a teacup, 0:21:53.600 --> 0:21:56.800 and she weaponizes the guilt that he feels about his 0:21:56.880 --> 0:21:57.480 mother's death. 0:21:57.840 --> 0:21:59.720 Catherine Keener is terrifying. 0:22:00.119 --> 0:22:03.400 Oh my gosh, she's very, very scary. The performances all 0:22:03.440 --> 0:22:06.080 around in this movie are just like next level. 0:22:06.560 --> 0:22:10.399 Yeah, I mean, but Daniel Kleia obviously is like the 0:22:10.440 --> 0:22:13.719 reaction shots of him are like iconic at this point. 0:22:14.000 --> 0:22:17.359 But yeah, that like every single performance it's so well cast. 0:22:17.440 --> 0:22:18.520 It's yeah, it's great. 0:22:19.000 --> 0:22:22.760 He really shows that acting is reacting because he doesn't 0:22:22.880 --> 0:22:26.240 talk a lot. Yeah, he's a man of few words. 0:22:26.280 --> 0:22:30.840 He's very observant. Yeah, and not he doesn't he holds 0:22:30.840 --> 0:22:32.400 his cards a little close to the best. 0:22:32.680 --> 0:22:34.879 Yeah, for sure. And I also, I mean, just I 0:22:35.560 --> 0:22:38.560 didn't really think about it before, but like Jordan Peel's 0:22:39.040 --> 0:22:42.160 casting process, he's like chosen these white actors that are 0:22:42.200 --> 0:22:46.240 associated with these famous white liberal shows like Alison Williams 0:22:46.240 --> 0:22:48.400 Is and Girls. Bradley Whitfer was in the West Wing, 0:22:48.640 --> 0:22:51.439 so it's like there's already this sort of subconscious association 0:22:51.800 --> 0:22:55.639 with white liberalism with the casting too, and then the 0:22:55.680 --> 0:23:00.639 performances are just unbelievable. It's yeah, he's playing five D chess. 0:23:00.080 --> 0:23:03.000 Very much reminds me of Emerald Fennel's casting process for 0:23:03.080 --> 0:23:06.280 promising young women, where she was like, I want all 0:23:06.320 --> 0:23:09.359 of the men to be like these lovable white boys 0:23:09.400 --> 0:23:11.920 that everybody is like, oh my god, he's the best, 0:23:12.560 --> 0:23:16.240 and then they're horrible sexual assaulters. 0:23:16.000 --> 0:23:20.160 Right and or complicit Adam Brodie bo burn up, Yeah. 0:23:19.760 --> 0:23:24.240 Max Greenfield my husband right, right. 0:23:25.320 --> 0:23:27.840 Yeah. I guess that never like really fully clicked for 0:23:27.920 --> 0:23:29.800 me on previous viewings, but I was like, wow, he's 0:23:29.840 --> 0:23:33.680 really playing a game of five DCHSS for the viewers. 0:23:35.320 --> 0:23:38.760 So we're in the middle of this hypnosis scene. Chris 0:23:38.920 --> 0:23:44.840 is crying, he's scratching at the armchair, and then Missy 0:23:44.960 --> 0:23:49.080 puts him in the sunken place where he's basically trapped 0:23:49.080 --> 0:23:52.240 in his own mind. He can see what's happening in 0:23:52.359 --> 0:23:55.200 the world around him from a distance, but he can't 0:23:55.240 --> 0:23:59.040 move and he no longer has control over his own body. 0:24:00.080 --> 0:24:03.440 Cut to him waking up in bed. Things seem back 0:24:03.480 --> 0:24:07.040 to normal. He thinks it was probably a dream. And 0:24:07.359 --> 0:24:11.840 shortly after this, guests start arriving for this party. They 0:24:12.000 --> 0:24:17.399 are almost entirely older, wealthy white people. They direct several 0:24:17.520 --> 0:24:20.960 racist microaggressions at Chris and macro. 0:24:20.720 --> 0:24:25.280 Aggressions, yeah, just to also aggression. 0:24:24.560 --> 0:24:25.320 A lot of everything. 0:24:25.720 --> 0:24:29.520 My favorite of the aggressions is when when that woman 0:24:29.720 --> 0:24:33.000 looks at Rose and says, is it better? Yeah? 0:24:32.800 --> 0:24:36.160 Ohh god, lady yeah. 0:24:36.200 --> 0:24:39.600 And then Chris notices the one other black guest at 0:24:39.600 --> 0:24:44.199 the party and approaches him. We recognize him as the 0:24:44.320 --> 0:24:46.639 Lakeith Stanfield character we saw at the very beginning of 0:24:46.680 --> 0:24:50.360 the movie, although now he's acting and speaking and dressing 0:24:50.800 --> 0:24:54.760 very differently, and he seems to be like romantically with 0:24:54.880 --> 0:24:58.760 a much older white woman, so the vibes are very 0:24:58.760 --> 0:25:01.280 weird there. The inter action he has with Chris is 0:25:01.359 --> 0:25:07.200 very weird. And then Chris Cross's path Chris Cross Chris 0:25:07.240 --> 0:25:11.399 Cross's paths with a guy named Jim Hudson played by 0:25:11.400 --> 0:25:15.199 Stephen Root, who Chris had heard of because he's an 0:25:15.320 --> 0:25:19.280 art dealer. Jim knows of Chris as well because he's 0:25:19.400 --> 0:25:23.679 an admirer of Chris's photography, although he hasn't been able 0:25:23.800 --> 0:25:27.120 to see it because due to a genetic disease, Jim 0:25:27.200 --> 0:25:31.080 Hudson went blind, and he explains that he has his 0:25:31.520 --> 0:25:36.000 assistant describe artists work to him in detail, so he 0:25:36.040 --> 0:25:38.320 knows if he wants to, you know, buy and deal 0:25:38.359 --> 0:25:43.119 it or not. Then Chris goes inside and we see 0:25:43.160 --> 0:25:47.639 that all the guests are hyper fixated on Chris being there. 0:25:47.840 --> 0:25:48.960 It's very eerie. 0:25:49.480 --> 0:25:52.680 The moment where he walks upstairs and everyone pauses is 0:25:52.960 --> 0:25:56.119 just like everyone's worst fear. 0:25:56.320 --> 0:25:59.359 I remember that being in the trailer. You know, watching 0:25:59.359 --> 0:26:02.040 the trailer, you don't really know the context, so. 0:26:02.000 --> 0:26:03.520 You're just like, what's going on? 0:26:04.720 --> 0:26:06.400 And then you see the movie and you're like, oh 0:26:06.440 --> 0:26:11.640 my god. But anyway, Chris calls Rod, who is convinced 0:26:11.640 --> 0:26:15.080 that the family is trying to hypnotize him and turn 0:26:15.160 --> 0:26:18.720 him into a sex slave. Chris is like, a haha, 0:26:18.800 --> 0:26:22.200 I don't know. And then Chris has a bizarre interaction 0:26:22.359 --> 0:26:26.520 with Georgina. We also have seen him have a similarly 0:26:27.160 --> 0:26:33.000 bizarre interaction with Walter. Those performances are also incredible from 0:26:33.000 --> 0:26:36.480 the actors playing Georgina and Walter. And then Chris returns 0:26:36.480 --> 0:26:40.400 to the party. He observes more of the Lakeith Stanfield 0:26:40.520 --> 0:26:43.760 character being weird, so Chris tries to take a picture 0:26:43.760 --> 0:26:47.040 of him on his phone in secret, but the flash 0:26:47.080 --> 0:26:53.760 goes off and this seems to perhaps unhypnotize Lakeith's character, 0:26:54.320 --> 0:26:58.000 and he screams at Chris to get out, Hey, that's 0:26:58.040 --> 0:26:58.879 the name of the movie. 0:26:58.960 --> 0:27:02.119 You're like, whoa, oh asah. 0:27:02.560 --> 0:27:08.680 And the family explains this character's behavior away as being 0:27:08.800 --> 0:27:12.720 an epileptic seizure. And when we see the la Keith 0:27:12.800 --> 0:27:17.320 character again, he's back to being this like bizarro hypnotized 0:27:17.440 --> 0:27:21.120 version of himself. So Chris and Rose go off by 0:27:21.160 --> 0:27:24.199 themselves and Chris is like, that was no seizure. This 0:27:24.320 --> 0:27:27.200 whole thing is very uncomfortable and I want to go home, 0:27:27.920 --> 0:27:31.320 and eventually she's like, yeah, this sucks, let's get out 0:27:31.320 --> 0:27:31.600 of here. 0:27:31.840 --> 0:27:34.760 So yeah, the way that she soft nags him throughout 0:27:35.320 --> 0:27:37.080 the movie is so effective. 0:27:38.000 --> 0:27:42.920 Yeah, she's the master. She is. Give credit where credits 0:27:43.000 --> 0:27:46.440 due that woman, the character Rose Oscar. 0:27:47.200 --> 0:27:50.199 I mean it's like, I will, truly I will. It 0:27:50.320 --> 0:27:52.960 took me, probably on my first viewing too long to 0:27:53.040 --> 0:27:55.360 catch on that she's almost certainly in on it. 0:27:55.440 --> 0:27:58.600 But I didn't get it till the keys right right, same, 0:27:59.119 --> 0:28:02.639 And you're like, fuck, yeah, of course right, because the 0:28:02.680 --> 0:28:07.320 movie kind of implies that maybe she's also hypnotized. 0:28:06.359 --> 0:28:09.960 And if she's doing this, it's against her will. But 0:28:10.200 --> 0:28:11.960 just kidding, No, she's in on it. 0:28:12.119 --> 0:28:12.359 Yeah. 0:28:12.400 --> 0:28:16.160 But before we get that reveal, we see what appears 0:28:16.200 --> 0:28:19.080 to be an auction. It's like disguised as a bingo game, 0:28:19.160 --> 0:28:23.439 but it's an auction that Dean Armitage is conducting, and 0:28:23.480 --> 0:28:28.200 it's revealed that what is being sold is Chris and 0:28:28.240 --> 0:28:32.320 the highest bidder is that art dealer, Jim Hudson, and 0:28:32.400 --> 0:28:36.040 all of this is of course unbeknownst to Chris. So 0:28:36.160 --> 0:28:38.120 Chris and Rose go back inside and they get ready 0:28:38.160 --> 0:28:41.120 to leave, and he sends the picture he took of 0:28:41.200 --> 0:28:44.480 Lekeith to his friend Rod, and Rod is like, wait 0:28:44.480 --> 0:28:46.720 a minute, I know that guy. His name is Dre 0:28:47.480 --> 0:28:49.920 and Chris is like, yeah, I thought I recognized him. 0:28:50.040 --> 0:28:54.640 And he's explaining how different Drey is now and then 0:28:54.960 --> 0:28:56.720 and this is the only part of the movie that like, 0:28:57.480 --> 0:28:59.760 I'm like, oh, this is a perfect movie, except for 0:28:59.800 --> 0:29:04.000 this where Chris just kind of randomly finds this statue 0:29:04.040 --> 0:29:09.040 of photos in Rose's room, and each one is of 0:29:09.480 --> 0:29:12.640 Rose and a black person, and the last two photos 0:29:12.680 --> 0:29:18.000 are of her and Walter and Georgina. And so Chris 0:29:18.040 --> 0:29:22.880 is now very much panicking. He's trying to get out 0:29:23.240 --> 0:29:28.480 right now. But Rose's family descends on him, including Rose, 0:29:28.520 --> 0:29:32.440 who surprise is in on the whole thing, and Missy 0:29:32.520 --> 0:29:36.680 hypnotizes Chris via the teacup and spoon and puts him 0:29:36.680 --> 0:29:41.080 in the sunken place. He wakes up in the basement 0:29:41.120 --> 0:29:43.960 of the house, strapped to a chair. There's a TV 0:29:44.040 --> 0:29:46.080 in front of him, and it starts playing a video 0:29:46.240 --> 0:29:52.440 about the coagula procedure, a surgery where part of a 0:29:52.440 --> 0:29:57.640 person's brain will be transplanted into Chris's body in this case, 0:29:57.800 --> 0:30:01.680 Jim Hudson, who will have control roll over Chris's body 0:30:02.320 --> 0:30:06.120 and Chris's consciousness will live in the sunken place. 0:30:06.480 --> 0:30:09.440 This is one of my favorite, like horror movie tropes, 0:30:09.520 --> 0:30:12.080 is all of a sudden when the instructional video comes 0:30:12.080 --> 0:30:15.280 on and it's like, Hi, you might be wondering what 0:30:15.360 --> 0:30:19.080 the scary thing is. Well, I'm a scary guy, and 0:30:19.120 --> 0:30:21.520 here's what the scary thing is. I love it. 0:30:21.600 --> 0:30:24.200 I will say Jordan Pield does a good job of 0:30:24.280 --> 0:30:29.640 giving an in world reason because he has Jim Hudson 0:30:29.720 --> 0:30:32.800 say you know, they say that our mutual understanding of 0:30:32.840 --> 0:30:35.360 the procedure helps it take root. 0:30:35.320 --> 0:30:36.480 And you're like, yeah, I believe that. 0:30:36.600 --> 0:30:40.480 I was like, why is this an evil monologue situation? 0:30:41.160 --> 0:30:43.200 Like they don't need to tell him? And then I 0:30:43.200 --> 0:30:44.560 was like, oh, okay, that makes sense. 0:30:44.560 --> 0:30:46.080 He has to understand for it to work. 0:30:46.120 --> 0:30:48.200 But it's justified, right. Yeah. 0:30:48.040 --> 0:30:50.960 The reason I don't like Chris just like randomly finding 0:30:50.960 --> 0:30:54.240 all those photos is because one, like it feels a 0:30:54.280 --> 0:30:56.560 little too much like a coincidence that he just randomly 0:30:56.560 --> 0:30:59.240 finds them to me at least, and two like, why 0:30:59.240 --> 0:31:02.480 would they have that evidence? Like very out in the 0:31:02.520 --> 0:31:05.920 open and available for him to see. I don't know 0:31:05.960 --> 0:31:07.760 it just it felt a little silly to me, but 0:31:08.160 --> 0:31:12.880 otherwise perfect movie anyway. So we understand that this coigular 0:31:12.880 --> 0:31:17.240 procedure is what must have happened to Drey and Walter 0:31:17.360 --> 0:31:20.760 and Georgina. And then Chris is hypnotized again via the 0:31:21.120 --> 0:31:25.840 teacup and spoon coming on the TV screen. Meanwhile, back 0:31:25.840 --> 0:31:30.959 in the city, Rod starts investigating this whole ordeal and 0:31:31.080 --> 0:31:35.840 discovers that Drey has been missing for six months. So 0:31:36.040 --> 0:31:38.880 Rod goes to the police and tries to explain that 0:31:38.960 --> 0:31:43.280 he thinks the Armitage family is abducting black people, brainwashing them, 0:31:43.280 --> 0:31:46.560 and turning them to sex slaves, but the cops all 0:31:46.960 --> 0:31:51.520 laugh him off. Back at the Armitage house, Dean and 0:31:51.680 --> 0:31:55.800 Jeremy prepare for the surgery. Jeremy goes to collect Chris, 0:31:55.920 --> 0:32:01.080 thinking he's hypnotized, but just kidding he's not because Chris 0:32:01.080 --> 0:32:04.880 had stuffed cotton in his ears from the armchair that 0:32:04.960 --> 0:32:09.120 he was anxiously scratching, so he didn't hear the teacup 0:32:09.280 --> 0:32:12.520 thing that triggers the hypnosis, which means he's able to 0:32:12.560 --> 0:32:15.480 fight back against Jeremy. He bashes him over the head 0:32:15.480 --> 0:32:20.920 with I think a bochi ball feels appropriate, right, And 0:32:20.960 --> 0:32:26.400 then Chris impales Dean with the antlers of a taxidermied buck. 0:32:27.480 --> 0:32:31.880 He breaks Missy's teacup and stabs her and kills her, 0:32:33.000 --> 0:32:36.240 and then Chris takes Jeremy's keys and starts to drive off, 0:32:36.680 --> 0:32:42.480 but then Georgina, who is actually Rose's grandmother, tries to 0:32:42.520 --> 0:32:48.680 stop him and Rose, who's eating cereal inside here's the 0:32:48.720 --> 0:32:54.360 commotion and goes outside with a rifle. Walter, who is 0:32:54.920 --> 0:32:59.800 Rose's grandfather, chases after Chris, but Chris is able to 0:33:00.160 --> 0:33:04.120 use the flash on his phone to unhypnotize Walter, so 0:33:04.280 --> 0:33:08.520 Walter shoots Rose and then himself. Though Rose is still 0:33:08.520 --> 0:33:12.840 alive and Chris starts strangling her, but then a cop 0:33:12.880 --> 0:33:16.000 car shows up and Rose is like, help me, and 0:33:16.040 --> 0:33:20.440 again we think, oh no, but the door swings open 0:33:20.920 --> 0:33:23.680 on the car and it says airport because it's Rod 0:33:23.800 --> 0:33:27.000 in a TSA car there to save his friend, and we. 0:33:26.960 --> 0:33:30.560 Can't stop cheering, and we're like, I didn't know. 0:33:30.520 --> 0:33:32.800 That there were alternative endings to this movie until I 0:33:32.880 --> 0:33:34.280 was researching for this. 0:33:35.400 --> 0:33:38.480 People did not like the alternate ending, and I don't 0:33:38.520 --> 0:33:39.680 think I would have liked it either. 0:33:39.840 --> 0:33:42.560 No, yeah, no. So this ending that we see, you know, 0:33:42.600 --> 0:33:45.040 the theatrical ending is that Chris gets in the car 0:33:45.160 --> 0:33:49.200 and they drive off to safety. The end, the alternate ending, 0:33:49.360 --> 0:33:50.080 at least one of them. 0:33:50.160 --> 0:33:51.280 It seems like there's a couple. 0:33:51.520 --> 0:33:55.520 Yeah, there was one that was actually shot. So Chris 0:33:55.680 --> 0:34:00.360 strangles Rose and kills her, so she dies, and the 0:34:00.400 --> 0:34:03.400 cops still show up in that moment, and it's actually 0:34:03.480 --> 0:34:07.760 the police, not Rod in his TSACR. The cops arrest 0:34:07.880 --> 0:34:10.719 Chris and he goes to jail. We cut to six 0:34:10.719 --> 0:34:14.920 months later. Rod visits him in prison. He's trying to 0:34:14.920 --> 0:34:19.920 help Chris clear his name, but Chris, realizing that the 0:34:20.080 --> 0:34:23.400 racist system won't work in his favor, he's just like, 0:34:23.440 --> 0:34:26.600 it's okay, like I stopped this from happening again. And 0:34:26.640 --> 0:34:29.440 then Chris walks away and that's the end of the movie. 0:34:29.600 --> 0:34:33.399 And Jordan Peele spoke about this as far as when 0:34:33.440 --> 0:34:35.520 he was writing the movie, that was the ending that 0:34:35.680 --> 0:34:39.560 he had envisioned. He wanted this sort of gut punch 0:34:39.680 --> 0:34:41.480 realistic ending. 0:34:41.560 --> 0:34:44.400 Which does feel like more in step with what he 0:34:44.440 --> 0:34:46.560 says his influences are, because like the step for wives, 0:34:46.560 --> 0:34:50.080 Anne Rosemary's Baby both end with like a pretty severe 0:34:50.120 --> 0:34:52.120 defeat of the protagonist for. 0:34:52.120 --> 0:34:55.560 Sure, right, But by the time he was shooting the movie, 0:34:55.600 --> 0:34:59.480 he realized that he wanted an ending that would be 0:34:59.560 --> 0:35:04.080 like cathartic and uplifting and empowering. And that's why we 0:35:04.160 --> 0:35:07.160 get the ending that we get where Chris triumphs and 0:35:07.280 --> 0:35:08.360 Rod saves him. 0:35:08.400 --> 0:35:11.040 So, yeah, that is that. 0:35:11.840 --> 0:35:13.759 Let's take another quick break and then we'll come back 0:35:13.800 --> 0:35:24.920 to discuss. 0:35:24.920 --> 0:35:26.280 And where we're back. 0:35:26.760 --> 0:35:28.800 I missed you guys during the breaks. 0:35:28.920 --> 0:35:29.719 I miss you too. 0:35:30.320 --> 0:35:34.680 I feel so safe now I'm back with my friends. Yeah, 0:35:34.600 --> 0:35:36.040 where do we want to start? 0:35:36.640 --> 0:35:40.359 I guess I want to start talking about like the influences. 0:35:40.400 --> 0:35:43.880 We talked a little bit about Rosemary's Baby and Stepford 0:35:43.880 --> 0:35:47.279 Wives being influences, which both of those are written by 0:35:47.360 --> 0:35:51.440 the same person. The original text I relevent Or eleven. 0:35:51.760 --> 0:35:55.400 And the first time I ever heard it compared to 0:35:55.719 --> 0:35:59.040 Stepford Wives, I was at work and one of my 0:35:59.080 --> 0:36:02.879 coworkers who I didn't like, said, you know, get Out 0:36:03.000 --> 0:36:05.759 is just like a ripoff, like a bad ripoff of 0:36:05.800 --> 0:36:08.440 Stepford Wives. Oh, And I was like, I knew I 0:36:08.480 --> 0:36:13.600 didn't like you, and I was kind of resentful of 0:36:13.640 --> 0:36:17.799 the comparison at all, not knowing that Peel himself had said, yeah, no, 0:36:17.880 --> 0:36:22.000 I drew from Stepford Wives. And I think what's really 0:36:22.120 --> 0:36:26.200 specific about Stepford Wives in particular this did not happen 0:36:26.200 --> 0:36:30.080 in the two thousand and four remake because it's bad, 0:36:30.120 --> 0:36:34.040 But in the nineteen seventy five original film and the 0:36:34.120 --> 0:36:40.960 nineteen seventy two book, the end is that Joanne or Joanna, 0:36:41.000 --> 0:36:43.520 I don't remember which one is her name, but she is. 0:36:43.840 --> 0:36:47.040 She becomes a Stepford wife, and at the grocery store 0:36:47.160 --> 0:36:51.239 she sees this like black family moving into the neighborhood, 0:36:51.760 --> 0:36:54.719 integrating the neighborhood, and it's very heavily implied that they 0:36:54.760 --> 0:36:56.920 will be next. So I feel like it was sort of, 0:36:57.440 --> 0:37:01.600 in a way a symbolic passing of the tour of 0:37:01.640 --> 0:37:07.320 the baton to tell this story about blackness, because Stepford 0:37:07.320 --> 0:37:10.040 Wives is very specifically kind of like in the way 0:37:10.120 --> 0:37:14.480 the feminine mystique exists by Betty for Dan is foreign 0:37:14.920 --> 0:37:18.879 about white women. And I think that it is very 0:37:18.920 --> 0:37:21.640 dynamic and it is very of its time, but it 0:37:21.719 --> 0:37:25.560 is definitely foreign about white women. And this movie is 0:37:26.440 --> 0:37:30.600 for and about black men in a way that draws 0:37:30.640 --> 0:37:34.960 from Stepford Wives, but is not a cheap ripoff of it. 0:37:35.719 --> 0:37:38.480 Man from work whose name I don't remember. 0:37:38.400 --> 0:37:43.760 Good God, I love men in writers' rooms. 0:37:43.800 --> 0:37:47.120 They never this was not a writer's room. I will 0:37:47.200 --> 0:37:49.200 give credit where credits do. I don't want anybody to 0:37:49.200 --> 0:37:51.680 think that anybody like I Carly or Raven's Home was 0:37:51.680 --> 0:37:54.920 saying that stuff. I was working as a telemarketer at 0:37:54.920 --> 0:37:59.080 the time. Very different vibe right around when Sorry to 0:37:59.120 --> 0:38:03.560 Bother You came out, which, uh was you know interesting 0:38:03.560 --> 0:38:07.520 that Lakeith Stanfield has taken on many roles embodying like 0:38:07.560 --> 0:38:09.200 whiteness and blackness at the same time. 0:38:09.520 --> 0:38:15.480 Yeah, yeah, I mean I didn't really connect what Peel's 0:38:15.480 --> 0:38:18.759 influences were before. I just like happened to rewatch these 0:38:18.800 --> 0:38:22.759 and then yeah, he does cite that. But you're totally right, Crum. 0:38:22.840 --> 0:38:26.759 I mean, any anyone saying that Get Out is derivative 0:38:27.040 --> 0:38:31.600 is a fucking liar who just like and and just 0:38:31.640 --> 0:38:35.360 with like the specificity of who this movie is for, 0:38:35.640 --> 0:38:39.280 because absolutely like the Rosemary's Baby and steph For Wives 0:38:39.719 --> 0:38:43.919 have this like whiff of second wave feminism about them, 0:38:44.040 --> 0:38:47.640 where you know, points are made, and also it's so 0:38:47.800 --> 0:38:52.080 clearly focused on middle to upper class white women and 0:38:52.360 --> 0:38:57.080 what their struggles were, ignoring everybody else and get out. 0:38:57.120 --> 0:39:00.000 I mean, it's just like it's clear what Jordan Peel's folks, 0:39:00.400 --> 0:39:03.359 and it's like you can reference and be inspired by 0:39:03.880 --> 0:39:05.520 other works. 0:39:05.760 --> 0:39:07.080 But this is so different. 0:39:07.360 --> 0:39:10.960 And the fact that in this movie, like white women 0:39:11.239 --> 0:39:14.320 of this same class as Stepford wives are taken to task. 0:39:14.400 --> 0:39:18.839 They are the active aggressors in this situation, and he's 0:39:18.840 --> 0:39:20.960 not shying away from that. So it almost feels like 0:39:20.960 --> 0:39:23.160 it's in conversation with stephyr Wise. But to say it's 0:39:23.160 --> 0:39:24.960 a ripoff is just like a lot. 0:39:25.960 --> 0:39:29.560 It was. It was deeply appalling, Like it has stuck 0:39:29.600 --> 0:39:31.840 with me that this man said that and I didn't 0:39:32.120 --> 0:39:36.160 I flames flames on the side of my face. 0:39:36.400 --> 0:39:43.600 Okay, clue reference you love to see it? Yeah, I mean, 0:39:44.120 --> 0:39:46.160 you know, this movie is obviously one that has a 0:39:46.239 --> 0:39:50.880 very clear agenda as far as examining anti black racism 0:39:51.120 --> 0:39:54.279 in the US. It's a movie that forced a lot 0:39:54.280 --> 0:39:58.799 of people, especially white people, to interrogate their history with 0:39:58.960 --> 0:40:04.760 anti black racism, to interrogate their allyship if they consider 0:40:04.800 --> 0:40:09.040 themselves to be anti racist allies or non racist allies, 0:40:09.360 --> 0:40:12.719 and how they approach allyship and whether or not it's 0:40:12.760 --> 0:40:18.040 actually helpful or if it's performative and false. It's a 0:40:18.080 --> 0:40:24.480 movie that examines racial and cultural appropriation of black people 0:40:24.520 --> 0:40:29.000 and examines the exploitation of black bodies throughout history into 0:40:29.040 --> 0:40:31.720 present day. Like it's doing all these things, and also 0:40:31.800 --> 0:40:35.560 like all these metaphors that you can apply as far 0:40:35.640 --> 0:40:41.160 as the prison industrial complex, slavery, that the bingo scene, 0:40:41.880 --> 0:40:45.200 you know, being an allegory for a slave auction, like 0:40:45.320 --> 0:40:45.919 all these things. 0:40:46.000 --> 0:40:48.560 I have to say something about the bingo scene and 0:40:48.640 --> 0:40:51.399 just something that always is bone chilling for me when 0:40:51.440 --> 0:40:55.080 I watch a movie where somebody sinister does like crafts 0:40:55.400 --> 0:40:59.360 to prepare for their sinister activities. I'm just like, you 0:40:59.760 --> 0:41:03.280 weren't to FedEx copy and print and got those bingo 0:41:03.440 --> 0:41:06.600 cards made and had like a big ass picture of 0:41:06.800 --> 0:41:09.920 Chris printed and framed it and put it on an easel. 0:41:10.200 --> 0:41:13.040 That's not that's not nothing. I co hosted a bridal 0:41:13.040 --> 0:41:14.960 shower for my friend. There were a lot of little 0:41:14.960 --> 0:41:17.560 things that I had to do and it was exhausting, 0:41:17.600 --> 0:41:18.120 and I'm. 0:41:17.960 --> 0:41:19.960 Just like, you're so evil you had to go to 0:41:20.000 --> 0:41:21.000 CVS about that. 0:41:21.320 --> 0:41:26.000 Yes, someone put stickers on the Bengo cards and very 0:41:26.040 --> 0:41:31.440 specific places and like color coded them and everything like yeah, effort, No. 0:41:31.360 --> 0:41:32.640 It's nefarious. 0:41:32.680 --> 0:41:35.080 And I don't think Bradley Whitford is doing that either, 0:41:35.239 --> 0:41:37.120 like he's outsourcing that labor. 0:41:37.480 --> 0:41:39.840 I don't think that Georgina's doing it either, because she 0:41:39.920 --> 0:41:43.759 is secretly the grandma, right. But like I'm wondering if 0:41:43.800 --> 0:41:46.960 they do have sort of a what Rod's thinking of, 0:41:47.239 --> 0:41:50.960 like separate like actual slave people doing it, or if 0:41:50.960 --> 0:41:54.759 they just have like an assistant. I don't know, someone 0:41:54.800 --> 0:42:00.799 might tell it's like it's a turn. 0:41:59.040 --> 0:41:59.760 Even the house. 0:42:00.160 --> 0:42:03.160 The house is very like plantation coded I know is 0:42:03.239 --> 0:42:06.880 shot in the South. Like there's just so many signifiers 0:42:07.000 --> 0:42:10.520 of this slavery era in the US and then to 0:42:10.640 --> 0:42:13.320 have I don't know, I mean, like speaking to your point, Caitlin, 0:42:13.400 --> 0:42:16.560 of how a lot of people, not all of them, 0:42:16.560 --> 0:42:20.040 because there are people who are just outwardly racist they're 0:42:20.040 --> 0:42:23.759 not even pretending to not be. But for you know, 0:42:23.800 --> 0:42:26.360 I guess with the exception of Jeremy, for like Rose 0:42:26.400 --> 0:42:29.000 and her parents, it's like they're saying the right thing, 0:42:29.080 --> 0:42:32.799 but they're not doing I mean, they're actively inflicting harm 0:42:32.840 --> 0:42:36.319 with their actions, and it's like it's just I don't know. 0:42:36.680 --> 0:42:39.200 It's like the best possible use of the horror genre 0:42:39.719 --> 0:42:41.600 to make that point for me. 0:42:41.719 --> 0:42:46.040 With the outwardly racist people at the party, it's really 0:42:46.040 --> 0:42:50.480 interesting because they're never outwardly racist in the way that 0:42:50.640 --> 0:42:53.080 is like bad that you're like, oh, this is a 0:42:53.160 --> 0:42:56.160 bad person because they're being racist. But like to bring 0:42:56.200 --> 0:43:00.960 up that lady again who is man handling Chris, and 0:43:01.000 --> 0:43:04.200 then is like asking Rose like is it true that 0:43:04.239 --> 0:43:08.480 sex with black men is better? That is obviously very racist, 0:43:08.520 --> 0:43:10.200 But then you know, you always have those people who 0:43:10.239 --> 0:43:14.400 are like, but it's a compliment to say that sex 0:43:14.440 --> 0:43:17.600 with black people is better, Like we're saying a good thing, 0:43:17.719 --> 0:43:21.839 and it's sort of like the positive stereotypes that are 0:43:22.160 --> 0:43:25.520 just as harmful as the negative stereotypes, but sort of 0:43:25.560 --> 0:43:29.320 like passed over. So it's like, oh, I love Tiger Woods. 0:43:28.920 --> 0:43:31.320 And I'm just like, oh my god, buddy for Obama 0:43:31.400 --> 0:43:34.640 the third time, Like right, it's. 0:43:34.600 --> 0:43:36.000 Very Northeast racism. 0:43:36.280 --> 0:43:38.879 I feel, yeah, well that's the thing, Like even though 0:43:38.920 --> 0:43:42.960 the movie was shot in the South, Jordan Peele deliberately 0:43:43.040 --> 0:43:46.400 was like, I want to communicate that these are like 0:43:46.719 --> 0:43:51.800 New York upstate like neoliberal white rich people, because he's like, 0:43:51.840 --> 0:43:54.360 it would have been too easy to like do a 0:43:54.520 --> 0:43:58.440 very like, you know, southern plantation racist kind of thing. 0:43:58.640 --> 0:44:02.360 Right, people, We've all men like it's right. There's people 0:44:02.400 --> 0:44:06.360 in my family that it's just like there's uncomfortable echoes 0:44:06.719 --> 0:44:11.120 of cringe inducing, embarrassing, gross shit that they would say 0:44:11.160 --> 0:44:14.480 and be like, but what you're just like, you're awful, 0:44:14.560 --> 0:44:17.560 you're awful, And I think that you know, we don't 0:44:17.560 --> 0:44:18.560 know what we don't know. 0:44:18.960 --> 0:44:21.600 And for some people, the first time that they say 0:44:21.600 --> 0:44:23.319 something like that and somebody's like, hey, that's not cool, 0:44:23.360 --> 0:44:25.719 they're like, oh my god, I totally didn't know that, 0:44:25.760 --> 0:44:29.320 Thank you so much. But I think it's the well, 0:44:29.400 --> 0:44:32.960 I'm not a racist and not being willing to confront 0:44:33.400 --> 0:44:38.680 like you can be racist accidentally and that's okay as 0:44:38.719 --> 0:44:42.279 long as you are like, oh, racism is not great, 0:44:42.360 --> 0:44:45.279 let me not do that again. Like nobody is saying like, oh, 0:44:45.360 --> 0:44:48.520 once you do a racism, you are automatically hitler, Like 0:44:48.600 --> 0:44:50.360 that's not how it works. And I feel like a 0:44:50.400 --> 0:44:53.920 lot of people feel like that, and there's like a 0:44:54.440 --> 0:44:57.560 discomfort that they're not willing to sit with for sure. 0:44:57.719 --> 0:45:00.520 Yeah, yeah, And I feel like that is the idea 0:45:00.560 --> 0:45:05.200 that if you are racist in any contact at any point, 0:45:05.239 --> 0:45:09.839 that you are forever horrible is used as like a 0:45:09.880 --> 0:45:14.400 defense mechanism by people to refuse to learn and just 0:45:14.480 --> 0:45:19.239 like double down and make people calling them out seem 0:45:19.480 --> 0:45:22.040 like inherently unreasonable, where it's like, well, no, you're like 0:45:22.080 --> 0:45:27.800 being asked to listen and adjust your behavior and think. 0:45:27.960 --> 0:45:31.759 And I feel like that is just so antithetical too. 0:45:32.200 --> 0:45:36.960 That's what I find so interesting and like effective about 0:45:37.040 --> 0:45:40.480 the way most of the members of the Armitage family 0:45:40.920 --> 0:45:46.600 behave as like fake allies basically, where for example, with Rose, 0:45:46.680 --> 0:45:52.040 we are seeing her anytime that Chris brings up something 0:45:52.080 --> 0:45:55.239 about oh someone said something that made me uncomfortable or 0:45:55.320 --> 0:45:58.399 I told you they were probably racist, you see her 0:45:58.600 --> 0:46:02.719 like downplaying his concerns but like joking around about them. 0:46:02.800 --> 0:46:06.640 And on the surface, initially that could be interpreted as like, oh, 0:46:06.719 --> 0:46:10.200 she's trying to put him at ease, she's like, you know, 0:46:10.200 --> 0:46:15.120 bringing levity to the situation, but really she's gaslighting him 0:46:15.239 --> 0:46:18.000 and luring him into a false sense of security so 0:46:18.040 --> 0:46:20.680 that her family can entrap him and steal his body. 0:46:20.840 --> 0:46:23.960 And even the part where she you know, calls out 0:46:23.960 --> 0:46:27.120 the cop for wanting to see his ID in a 0:46:27.160 --> 0:46:31.919 way that feels racist. Her defending Chris wasn't her being 0:46:31.960 --> 0:46:35.280 anti racist, That was her like avoiding a paper trail. 0:46:35.440 --> 0:46:38.960 So there's like all these things that could be you know, 0:46:39.000 --> 0:46:41.960 interpreted through different lenses depending on what you already know 0:46:42.400 --> 0:46:47.760 about these characters. And then like Dean when he first 0:46:47.760 --> 0:46:49.759 meets Chris and he's like giving him the tour of 0:46:49.800 --> 0:46:53.839 the house, he's saying some like cringey things the way 0:46:54.080 --> 0:46:57.520 a like rich white boomer man would try to be 0:46:57.600 --> 0:47:00.759 an ally and they're cringey, But it seems like he 0:47:00.840 --> 0:47:04.719 means well, like he acknowledges the optics of being a 0:47:04.719 --> 0:47:08.640 wealthy white family having black servants. He's saying the you know, 0:47:08.680 --> 0:47:11.839 I would have voted for Obama a third term. He 0:47:12.400 --> 0:47:15.120 you know, makes a comment about Jesse Owens winning gold 0:47:15.280 --> 0:47:17.400 at the Olympics in front of Hitler and like all 0:47:17.440 --> 0:47:22.279 this stuff. Again, it seems like he's trying, but it's 0:47:22.560 --> 0:47:24.719 all a facade and it's all right. 0:47:24.719 --> 0:47:28.680 But because it's like everything he's doing is like self defensive, 0:47:28.719 --> 0:47:31.799 which we later learned is because he has a lot 0:47:31.840 --> 0:47:35.120 of reasons to be like, oh, don't nothing to see here, 0:47:36.120 --> 0:47:39.000 But on like subsequent viewings, you're like, he's not trying 0:47:39.040 --> 0:47:41.080 to get to know Chris at all because he doesn't care, 0:47:41.280 --> 0:47:43.799 Like he's just pointing out all of the ways in 0:47:43.840 --> 0:47:48.800 which he is not racist towards black people and doesn't 0:47:48.840 --> 0:47:52.600 ask Chris a single question about himself right at any point, 0:47:52.800 --> 0:47:54.719 Like never gets to try to know the guy at all. 0:47:55.080 --> 0:47:58.799 Yeah, I think the different ways that different generations and 0:47:58.880 --> 0:48:02.600 genders of people in the Armitage family are sort of 0:48:02.680 --> 0:48:08.000 representative of a class of racism is very interesting. Sort 0:48:08.040 --> 0:48:10.480 of like the one that stands out the most is 0:48:10.640 --> 0:48:14.840 Jeremy the brother, and he sort of gives off this 0:48:15.239 --> 0:48:19.560 like angry alt right internet. 0:48:19.160 --> 0:48:23.400 Boy down to the haircut down down like sort. 0:48:23.280 --> 0:48:27.359 Of racism where he is like trying to scrap with 0:48:27.480 --> 0:48:32.799 him and talks about physical superiority, which is very reminiscent 0:48:32.840 --> 0:48:35.359 of the way that like in Cells talk and gives 0:48:35.360 --> 0:48:39.959 me like Elliott Roger vibes. I think about Elliott Rodger 0:48:39.960 --> 0:48:42.040 all the time. He's so scary to me, Like I 0:48:43.200 --> 0:48:46.440 never got past that. That was like really freaky for me. 0:48:47.000 --> 0:48:50.279 But I think that then when you also look at 0:48:50.520 --> 0:48:53.640 you know, his dad, this older boomer who is a doctor, 0:48:54.040 --> 0:48:59.360 not for nothing. The medical system is very, very racist. 0:49:00.600 --> 0:49:03.480 They're trying, some people are trying within the system, but 0:49:03.640 --> 0:49:04.799 you know, it's still bad. 0:49:05.280 --> 0:49:07.960 Same with psychiatry too, yeah, yeah, mm hmm. 0:49:08.280 --> 0:49:13.520 And he is sort of this more one microaggressive racism 0:49:13.600 --> 0:49:17.480 when he's like, oh yo, how long has this thang 0:49:17.640 --> 0:49:24.200 been happening? Which I'm not joking. My family friend has 0:49:24.360 --> 0:49:26.839 this husband who is an older white man who's been 0:49:26.920 --> 0:49:29.279 rich for most of his life. And I would go 0:49:29.360 --> 0:49:32.839 to the family friend's house and I stopped going there 0:49:32.880 --> 0:49:36.400 because I felt so microaggressed because when I would go 0:49:36.520 --> 0:49:39.600 over there, the husband would be like, Oh, what's up, dog, 0:49:39.800 --> 0:49:42.560 And I'm like, I don't talk like that. You don't 0:49:42.600 --> 0:49:46.520 talk like that. Why are we doing this? And it 0:49:46.640 --> 0:49:49.080 was just exhausting to deal with every time I was there, 0:49:49.120 --> 0:49:52.319 and it was very real and these different classes, and 0:49:52.320 --> 0:49:55.640 then we can talk more about like Rose and Missy 0:49:56.160 --> 0:49:58.799 and the ways in which it's like one of them 0:49:59.080 --> 0:50:01.799 is like, well, I deep black men, so like I'm 0:50:01.800 --> 0:50:06.040 not racist, and the other one is sort of like 0:50:06.080 --> 0:50:09.600 bringing up this trauma that he has and weaponizing it 0:50:09.640 --> 0:50:12.640 against him in the way that like, you know, a 0:50:12.760 --> 0:50:17.840 Karen would sort of weaponize her whiteness, white womanness. It's interesting, 0:50:17.960 --> 0:50:20.279 it's very it's all very deliberate, like we said at 0:50:20.320 --> 0:50:21.800 the beginning, it's all very well crafted. 0:50:22.239 --> 0:50:26.640 Yeah, and then the I don't know if like compromises 0:50:26.719 --> 0:50:29.359 is the right word, but like what Chris does in 0:50:29.400 --> 0:50:33.880 response to these constant aggressions from the family or like 0:50:33.960 --> 0:50:37.200 the guests at the party, and like it's a sort 0:50:37.200 --> 0:50:39.880 of like choosing his battle sort of thing, but he 0:50:39.960 --> 0:50:44.920 isn't able to actually like he just has to say, well, 0:50:45.040 --> 0:50:47.600 there was another one. Okay, I'm gonna go over here 0:50:47.640 --> 0:50:49.920 now and pretend to take pictures so I don't have 0:50:49.960 --> 0:50:52.439 to talk to these people. And then he's interrupted from 0:50:52.440 --> 0:50:56.880 that and more, you know, macro and microaggressions are hurled 0:50:56.920 --> 0:50:57.680 at him and. 0:50:58.040 --> 0:51:02.319 As well as like with with Rose occasionally, and this 0:51:02.400 --> 0:51:04.960 caused me to reflect, I'm like, fuck do I do that? 0:51:05.000 --> 0:51:07.640 I don't know. I mean, you have one must consider, 0:51:08.239 --> 0:51:12.279 but how you know, Rose will occasionally sort of monologue 0:51:12.320 --> 0:51:14.799 about like, wasn't it fucked up when they did this? 0:51:15.000 --> 0:51:16.200 Wasn't it fucked up when they did this? 0:51:16.280 --> 0:51:18.040 And you can see that Chris is like kind of 0:51:18.080 --> 0:51:21.560 exhausted by it and is like can we just not 0:51:21.920 --> 0:51:25.080 because she's not really doing anything about it, which we 0:51:25.160 --> 0:51:28.319 realize is very deliberately she's not doing anything about it, 0:51:28.920 --> 0:51:32.640 but just like seeing this be yet another sort of 0:51:32.680 --> 0:51:36.880 like drain and burden upon Chris to like have to 0:51:36.920 --> 0:51:40.799 listen to his girlfriend recap the ways in which people 0:51:40.840 --> 0:51:43.359 were racist to him throughout the day and then being like, well, 0:51:43.400 --> 0:51:46.439 I'm not okay with it, and he's like, all right, great, can. 0:51:46.400 --> 0:51:48.200 You say something about it to your family? 0:51:48.520 --> 0:51:48.680 Right? 0:51:48.760 --> 0:51:48.960 Yeah? 0:51:49.640 --> 0:51:51.799 She's like nah, yeah. 0:51:51.520 --> 0:51:54.680 Yeah, she's She's just again, she's a master. She needs 0:51:54.719 --> 0:51:57.160 a she needs an oscar and a copy of the 0:51:57.200 --> 0:51:58.560 DSMM that wamon. 0:52:00.040 --> 0:52:02.799 And they cut to her drinking milk with headphones on. 0:52:02.840 --> 0:52:06.160 I'm like, that is very funny when like listening to 0:52:06.239 --> 0:52:08.920 I've had the time of my life drinking milk like and. 0:52:09.280 --> 0:52:13.000 Outing other people to try to abduct. Yeah. 0:52:13.080 --> 0:52:16.200 I do wonder about and this is I hadn't thought 0:52:16.200 --> 0:52:18.719 about this before on previous watches, so it's like not 0:52:18.800 --> 0:52:22.759 a big deal, But I wonder at the logistics because 0:52:22.880 --> 0:52:27.040 if you look at say like Jim, he is a 0:52:27.200 --> 0:52:30.120 major art dealer, to the point where you know Chris 0:52:30.160 --> 0:52:34.640 knows who he is separate from Rose like, where does 0:52:34.719 --> 0:52:39.040 he go because he's his physical body is gone? And 0:52:39.080 --> 0:52:43.520 then like does Chris just kind of step into that role? 0:52:43.719 --> 0:52:45.560 Like I don't understand the logistics. 0:52:45.560 --> 0:52:47.600 Is he just like kept on like life support? 0:52:47.600 --> 0:52:47.759 ID? 0:52:47.840 --> 0:52:48.040 Yeah? 0:52:48.239 --> 0:52:48.640 Unclear? 0:52:49.360 --> 0:52:54.640 Yeah, not sure either. But that brings to mind a 0:52:55.000 --> 0:52:58.080 piece I wanted to quote from by Damon Young in 0:52:58.200 --> 0:53:02.359 a Slate piece entitled The Disturbing Truth that makes Get 0:53:02.400 --> 0:53:08.799 Out depressingly plausible, where he compares and contrasts get Out 0:53:09.160 --> 0:53:13.080 and Gone Girl, just saying the latter, of course, being 0:53:13.239 --> 0:53:16.640 a movie about a pretty white woman who goes missing 0:53:16.760 --> 0:53:22.520 and how that captivates and paralyzes the nation, which is 0:53:22.560 --> 0:53:26.440 what tends to happen when white women are missing, and 0:53:26.480 --> 0:53:29.759 then he goes on to say, quote and get Out, 0:53:29.880 --> 0:53:33.200 the Armitage family and their dozens of co conspirators are 0:53:33.239 --> 0:53:36.000 able to do what they do and are able to 0:53:36.120 --> 0:53:38.279 continue to do it for what seems to be at 0:53:38.360 --> 0:53:42.320 least a decade, because well, no one gives a damn 0:53:42.360 --> 0:53:45.520 about missing black people. The writer goes on to say, 0:53:45.920 --> 0:53:49.680 the actual facts on the disparities in regard and attention 0:53:49.880 --> 0:53:54.400 between missing white people and missing black people are predictably disheartening. 0:53:54.840 --> 0:53:58.719 Although black people only comprise thirteen percent of America's population, 0:53:59.280 --> 0:54:03.480 we are thirty four percent of America's missing, a reality 0:54:03.520 --> 0:54:07.080 that exists as the result of a millange of racial 0:54:07.239 --> 0:54:13.000 and socioeconomic factors, rendering black lives demonstratively less valuable than 0:54:13.040 --> 0:54:16.600 the lives of our white counterparts unquote. And then he 0:54:16.640 --> 0:54:18.600 goes on to discuss, you know, the lack of media 0:54:18.640 --> 0:54:23.320 attention paid to missing black people versus the disproportionate amount 0:54:23.360 --> 0:54:27.680 of attention paid to missing white woman syndrome. So as 0:54:27.680 --> 0:54:30.520 far as like the logistics of like, yeah, would Chris 0:54:30.600 --> 0:54:33.920 just be the art dealer at Hudson Galleries now, or like, 0:54:33.960 --> 0:54:39.279 you know, Chris's body piloted by Jim Hudson, or how 0:54:39.320 --> 0:54:41.759 does that work? It seems like they do keep a 0:54:41.880 --> 0:54:47.399 very like close knit community for this to work. But also, 0:54:47.440 --> 0:54:51.560 as this piece points out, like this is plausible because 0:54:51.760 --> 0:54:56.160 of how law enforcement and media and all this stuff 0:54:56.560 --> 0:55:00.000 doesn't pay much attention to missing black pa. 0:55:00.360 --> 0:55:02.240 Well, I mean, we get the scene in the police 0:55:02.280 --> 0:55:08.879 station where three black officers laugh in Rod's face when 0:55:08.920 --> 0:55:12.000 he's like, hey, my friend was supposed to come back. 0:55:12.760 --> 0:55:16.080 He didn't. He also found this man who has been 0:55:16.120 --> 0:55:18.360 missing for six months and even just a statement like, 0:55:18.560 --> 0:55:22.319 well it doesn't look missing because we found him. 0:55:25.400 --> 0:55:29.840 Yeah, effective commentary on you know, policing and cops not 0:55:29.960 --> 0:55:32.359 believing people absolutely. 0:55:31.840 --> 0:55:33.799 Right and to just have police force like I mean, 0:55:33.960 --> 0:55:37.080 just do answer to white supremacy at the end of 0:55:37.080 --> 0:55:39.600 the day. And like I mean, I thought the way 0:55:39.640 --> 0:55:42.279 that even it's reference, I mean, it's it is like 0:55:42.280 --> 0:55:45.520 to get the plot moving forward. But even how like 0:55:45.600 --> 0:55:48.600 if Andre was missing for six months and he was 0:55:48.640 --> 0:55:52.319 a white man, everyone at the Armitage House would know 0:55:52.400 --> 0:55:55.800 about him because of how the media is different. And 0:55:55.840 --> 0:55:58.240 so the fact that the reveal that he's been missing 0:55:58.280 --> 0:56:01.719 for six months is just presented very passively, and it's 0:56:01.760 --> 0:56:03.920 like there are these old news articles, but it's clear 0:56:04.040 --> 0:56:07.440 that there was no you know, like media blitz the 0:56:07.480 --> 0:56:10.520 way that there would be if if he'd been white. 0:56:11.239 --> 0:56:13.040 You know, it's like that's how they get away with it, 0:56:13.080 --> 0:56:18.040 is that armitages are very knowingly taking advantage of how 0:56:18.080 --> 0:56:22.160 they know the world works, and that they're like, you know, sure, 0:56:22.200 --> 0:56:25.160 maybe Chris has people in his life who will miss him, 0:56:25.280 --> 0:56:27.960 but you know, no one's going to actually pay attention 0:56:28.080 --> 0:56:30.640 outside of maybe a few people. That's what they're betting 0:56:30.680 --> 0:56:34.080 on not knowing that the TSA is on it. 0:56:35.120 --> 0:56:38.600 Well, and also he is notably an orphan and exactly 0:56:38.719 --> 0:56:42.880 no family, no actual like blood family. That's gonna be like, no, 0:56:43.080 --> 0:56:45.520 we are going to keep looking in the same way. 0:56:45.719 --> 0:56:49.480 Yeah, I mean, just like the way that his vulnerabilities 0:56:49.520 --> 0:56:54.720 are targeted is so disgusting on like on subsequent viewings, 0:56:54.719 --> 0:56:57.520 because at first I didn't even really fully take in. 0:56:57.600 --> 0:56:59.360 I was like, oh, you know, part of the reason 0:56:59.440 --> 0:57:03.680 Rose target him specifically is because he has suffered so 0:57:03.760 --> 0:57:07.440 many losses in his life. Yeah, and then the way 0:57:07.480 --> 0:57:09.680 I mean the scene with Missy where he's she's just 0:57:09.800 --> 0:57:13.000 digging in and in and in on the worst thing 0:57:13.000 --> 0:57:16.000 that's ever happened to him, Like it's just. 0:57:17.320 --> 0:57:21.280 I also want to talk about the selection process of 0:57:21.360 --> 0:57:25.480 picking who these people are. What's interesting to me is 0:57:26.400 --> 0:57:30.080 sort of the reactions, Like we talked about Chris's reactions 0:57:30.120 --> 0:57:33.800 like oh, it's probably fine, and sort of picking his battles, 0:57:33.880 --> 0:57:37.840 and you see Rod's reactions which are much bigger to 0:57:38.000 --> 0:57:40.400 these things. And part of it is Rod is supposed 0:57:40.400 --> 0:57:42.360 to be a comedic character. But part of it, also, 0:57:42.400 --> 0:57:45.680 I think, is the reason that they choose a Chris 0:57:45.720 --> 0:57:49.320 over a Rod and this idea of sort of palatable 0:57:49.440 --> 0:57:52.800 blackness and being black but in the right way. He 0:57:52.880 --> 0:57:55.520 works as a photographer, he's involved in the arts, and 0:57:55.560 --> 0:57:59.520 then you find out that Andre Dre was a jazz musician, 0:58:00.240 --> 0:58:03.880 and they're sort of like, you know, pretty chill. When 0:58:03.960 --> 0:58:07.720 we see Dre walking through the suburbs, you know, he's like, 0:58:08.120 --> 0:58:11.280 I don't feel comfortable here, But when he sees that car, 0:58:11.320 --> 0:58:13.040 he kind of turns and walks the other way. He 0:58:13.080 --> 0:58:16.920 doesn't want to get into a confrontation. And I think 0:58:17.000 --> 0:58:23.240 that there is a reliance on choosing palatable black people, 0:58:23.720 --> 0:58:26.360 people that are not going to call people out in 0:58:26.400 --> 0:58:29.120 their face the way that a Rod would like, nah, 0:58:29.400 --> 0:58:30.080 I'm out of here. 0:58:30.360 --> 0:58:33.360 Because Chris had so many opportunities to be like, yeah, 0:58:33.400 --> 0:58:36.320 that's a very fucked up thing to say. And to 0:58:36.400 --> 0:58:38.880 be clear, I am not you know, passing judgment against 0:58:38.960 --> 0:58:42.640 him for not calling out people in those situations. I 0:58:42.760 --> 0:58:46.200 just mean that it happened very frequently that he was 0:58:46.400 --> 0:58:48.800 put into those situations. 0:58:48.360 --> 0:58:51.040 Which almost feels like it's getting into I mean, just 0:58:51.040 --> 0:58:53.440 speaking to like the like working artists, it's like that 0:58:53.680 --> 0:58:57.120 becomes a class thing too, where I feel like, you know, 0:58:57.240 --> 0:58:59.480 Rod working for the TSA and having a working class 0:58:59.600 --> 0:59:03.320 job versus Chris being a working artist. Like yeah, like 0:59:03.360 --> 0:59:07.800 you're saying, GRAMA is like a very intentional choice from 0:59:07.880 --> 0:59:11.560 I mean by the armitages, but also you know, by Chris. 0:59:11.600 --> 0:59:13.320 I thought there was a There was an interesting quote 0:59:13.320 --> 0:59:16.880 from Jordan Peele. He said, Chris feels like an everyman. 0:59:17.280 --> 0:59:20.800 He's kind of like J Cole. Chris is that guy 0:59:20.880 --> 0:59:23.400 everyone knows who has been in everyone's class at school, 0:59:23.720 --> 0:59:26.000 that good guy from around the area, which is just 0:59:26.040 --> 0:59:28.560 I feel like a really like speaks to what you 0:59:28.560 --> 0:59:31.120 were both just saying. And also that the j. Cole 0:59:31.160 --> 0:59:32.600 comparison is funny to me. 0:59:33.040 --> 0:59:37.160 That's very funny. I wanted to talk about black women 0:59:37.600 --> 0:59:41.000 because there are three black women I would say in 0:59:41.040 --> 0:59:43.880 this movie, two you see when you don't, and the 0:59:43.960 --> 0:59:47.120 two you see are Georgina and the police officer, and 0:59:47.200 --> 0:59:50.520 then the one you don't is Chris's mother. I think 0:59:50.600 --> 0:59:53.400 that it's really interesting the sort of and not to 0:59:53.520 --> 0:59:56.000 rag on Jordan Peel, he made a masterpiece, like I said, 0:59:56.240 --> 0:59:59.760 but the erasure of black women in this conversation and 1:00:00.000 --> 1:00:05.000 sort of the only time that anyone explicitly mentions black 1:00:05.160 --> 1:00:09.640 women and Black womanhood is to talk about the purported 1:00:09.880 --> 1:00:13.880 jealousy that black women express when they see black men 1:00:14.000 --> 1:00:17.920 with white women, which like, you can have him, Like 1:00:18.120 --> 1:00:24.880 it's fine, I'm not mad at you. Calm down, and 1:00:25.120 --> 1:00:27.840 you know how he says, like it's a thing, and 1:00:27.880 --> 1:00:31.120 then Rose tries to downplay it by saying, Oh, you're 1:00:31.160 --> 1:00:33.840 just so sexy that people are unplugging your phone, like 1:00:33.920 --> 1:00:35.120 that's what's happening. 1:00:35.360 --> 1:00:38.520 She responds by gaslighting her mem. 1:00:38.880 --> 1:00:42.120 And you know, at the end of the day, he 1:00:42.360 --> 1:00:45.120 is able to, in a way, heal the trauma of 1:00:45.240 --> 1:00:48.000 not doing what he was supposed to do for his 1:00:48.080 --> 1:00:51.560 mother by going back for Georgina, because even though she 1:00:51.760 --> 1:00:56.200 is inhabited by evil Grandma Armitage, he knows that there 1:00:56.280 --> 1:01:00.000 is a black woman in there. But she's also sacrificed 1:01:00.840 --> 1:01:04.880 in his attempts to escape, and she doesn't kill herself, 1:01:05.320 --> 1:01:09.160 Walter kills himself. So I really am intentionally using the 1:01:09.160 --> 1:01:13.440 word sacrificed. And it's interesting the way that the film 1:01:13.840 --> 1:01:17.200 shies away from showing violence against white women in the 1:01:17.200 --> 1:01:20.280 same way that it shows the violence that Georgina faces 1:01:20.640 --> 1:01:22.880 when she gets hit by the car and later when 1:01:22.920 --> 1:01:27.080 she's in the car because we don't see Missy die 1:01:27.240 --> 1:01:29.680 on screen the camera pans away, and. 1:01:29.600 --> 1:01:32.680 We also don't see Rose technically die. I mean, we 1:01:32.720 --> 1:01:34.400 see her get almost off. 1:01:34.400 --> 1:01:38.360 We see her get shot, but then he stops after everything, 1:01:38.960 --> 1:01:44.280 and I just stop. He just violently violently killed her father, 1:01:44.720 --> 1:01:48.640 her brother, and her mother, but something about her is 1:01:48.720 --> 1:01:51.360 still like he still loves her a little bit, I 1:01:51.400 --> 1:01:54.560 think despite all of that, and watching him wrap his 1:01:54.600 --> 1:01:57.160 hands around her throat, it made me think of Othello 1:01:58.880 --> 1:02:00.800 and I was like, oh, yeah, you know, because he 1:02:00.880 --> 1:02:01.720 jokes does Theemona. 1:02:02.280 --> 1:02:06.200 Yeah, I've definitely read that. I am so educated, and 1:02:06.280 --> 1:02:08.840 I've read so much Shakespeare. 1:02:09.120 --> 1:02:11.920 Yes, people, for people who aren't as educated in Shakespeare 1:02:11.920 --> 1:02:12.840 as Caitlin. 1:02:13.200 --> 1:02:15.280 Oh yeah, please explain it for them. 1:02:15.840 --> 1:02:20.920 Othello is a Shakespearean tragedy that features at its center 1:02:21.120 --> 1:02:25.200 a black man named Othello. Fun fact, my college did 1:02:25.240 --> 1:02:27.600 a production of Othello with zero black people. 1:02:27.880 --> 1:02:30.320 Oh oh my god. 1:02:32.560 --> 1:02:35.760 So we can talk about that on a whole other episode. 1:02:35.800 --> 1:02:39.960 But Othello is this sort of like military, like decorated 1:02:40.000 --> 1:02:44.040 military man, and he has this white wife named Desdemona, 1:02:44.520 --> 1:02:47.320 and this other man, this white man who's jealous of Othello, 1:02:48.160 --> 1:02:50.800 And I might be glossing over a lot. But basically, 1:02:50.800 --> 1:02:55.640 this Maniago, who's jealous of Othello, convinces him that Desdemona 1:02:55.680 --> 1:02:58.919 is cheating on him, and then he murders Desdemona by 1:02:59.200 --> 1:03:02.640 strangling her. And there's a really good you know, I 1:03:02.640 --> 1:03:05.560 love a Shakespeare adaptation, as does any person who was 1:03:05.560 --> 1:03:07.960 a teen in the two thousands, but there's a good 1:03:07.960 --> 1:03:13.479 adaptation with Julia Styles as Destimona called oh and. 1:03:14.000 --> 1:03:16.360 Yes, I've never seen it, but yeah, I remember it. 1:03:16.440 --> 1:03:19.440 Yeah, but like the visual definitely reminded me of that, 1:03:19.720 --> 1:03:22.640 And when he stopped, I was like, oh, that's interesting. 1:03:23.480 --> 1:03:26.560 And the tragedy of Othello is that he kills this 1:03:26.640 --> 1:03:29.680 woman and then he ends up suffering for it. And 1:03:29.880 --> 1:03:34.280 I wonder if, in this sort of remade version of 1:03:34.840 --> 1:03:37.960 not of Othello but like the do over ending, the 1:03:38.080 --> 1:03:41.760 alternate ending that became the theatrical cut, if it was 1:03:41.800 --> 1:03:44.919 supposed to be a softer ending than him actually killing her, 1:03:45.320 --> 1:03:47.320 because if it is the police, and we think it's 1:03:47.360 --> 1:03:49.800 the police, it's like, okay, well they can save her 1:03:49.840 --> 1:03:52.040 and question her or whatever and she'll lie, but they 1:03:52.040 --> 1:03:52.880 can get rid too. 1:03:53.120 --> 1:03:57.600 Yeah, I mean, unfortunately, like they needed to kill her, 1:03:57.920 --> 1:03:58.680 like they had to. 1:03:59.200 --> 1:04:00.720 Yeah, I mean she had to go. 1:04:00.960 --> 1:04:04.240 I mean not even unfortunately, like, yeah, she she had 1:04:04.240 --> 1:04:08.240 to go. But I honestly, like I hadn't really I 1:04:08.320 --> 1:04:13.640 noticed the absence of black women in roles that. I mean, 1:04:14.160 --> 1:04:18.320 so much of Chris's characterization is defined by his mother's absence, 1:04:18.960 --> 1:04:23.200 her violent absence. And yeah, we don't really get to 1:04:23.240 --> 1:04:27.880 spend any time with anyone other than Georgina, who, as 1:04:27.880 --> 1:04:30.520 you were saying, Croma, it's very complicated, like where is 1:04:30.600 --> 1:04:36.120 Georgina within Georgina? But I hadn't really connected the Yeah, 1:04:35.880 --> 1:04:41.080 the the sort of avoidance of violence towards white women. 1:04:41.240 --> 1:04:43.480 I kind of wonder, like seven years on, if that 1:04:43.520 --> 1:04:47.680 would not be as much of an avoidance if this 1:04:47.840 --> 1:04:49.520 was made right now. I'm not really sure. 1:04:49.960 --> 1:04:52.520 I think I think it probably would be, and I 1:04:52.520 --> 1:04:56.840 do think that also, Jordan Peel is married to a 1:04:56.880 --> 1:05:01.440 white woman, and I think it's very interesting the I 1:05:01.440 --> 1:05:03.840 mean sort of the mention of, you know, black women 1:05:03.840 --> 1:05:05.720 look at East sideways when you're with white women, when 1:05:05.760 --> 1:05:09.880 you're with white women, and maybe that is his experience. 1:05:10.440 --> 1:05:13.160 I love Chelsea Peretti, I'm not looking at anybody sideways. 1:05:13.160 --> 1:05:17.040 They're a great duo, but I do think that, you know, 1:05:17.400 --> 1:05:20.320 the life experiences that we have color the way that 1:05:20.360 --> 1:05:24.040 we see the world. And also, again, he is biracial, 1:05:24.040 --> 1:05:27.560 and I believe that his mother is white, if I'm 1:05:27.560 --> 1:05:30.240 not saying, okay, So I think that his connection to 1:05:30.240 --> 1:05:32.040 white women is interesting. And I don't know if it 1:05:32.080 --> 1:05:35.320 was not to say it wasn't intentional, like he doesn't 1:05:35.360 --> 1:05:37.840 do things intentionally, but I wonder if there was a 1:05:37.880 --> 1:05:41.880 subconscious sort of wanting to protect white women in there. 1:05:42.440 --> 1:05:45.800 Yeah, that's very possible. And he had also spoken about 1:05:46.080 --> 1:05:49.600 when he was making this movie that he was concerned 1:05:49.680 --> 1:05:52.400 that it wouldn't do well or that no one would 1:05:52.400 --> 1:05:55.040 come to see it because he was concerned that black 1:05:55.080 --> 1:06:00.600 people wouldn't want to watch black people be victimized, and 1:06:00.920 --> 1:06:03.320 he was worried that white people wouldn't want to go 1:06:03.320 --> 1:06:05.720 see it because white people are the villains. So I 1:06:05.760 --> 1:06:09.800 wonder if that kind of informed some of those choices. 1:06:10.680 --> 1:06:14.040 Hard to say, but I do know that he had 1:06:14.080 --> 1:06:16.680 those concerns when he was making the movie. 1:06:16.760 --> 1:06:21.200 I remember a yeah, because I mean, it's I didn't 1:06:21.480 --> 1:06:23.560 really connect to the fact that I was like, oh, 1:06:23.800 --> 1:06:26.000 I guess this could be an awkward night at the 1:06:26.080 --> 1:06:30.320 Parrettes for Jordan Peel after Get Out comes out. But 1:06:30.440 --> 1:06:33.600 I did remember this tweet from Chelsea Pretti I think 1:06:33.640 --> 1:06:36.000 a couple weeks after Getout came out, where I think 1:06:36.080 --> 1:06:38.360 everyone was, you know, like tweeting at her, being. 1:06:38.160 --> 1:06:40.400 Like, is this about you? 1:06:41.120 --> 1:06:44.640 And Chelsea Pretti replied in a very Chelsea Pretti way, 1:06:44.720 --> 1:06:46.640 she said, we all cried for weeks. We were so 1:06:46.720 --> 1:06:49.480 hurt to see our family secrets exposed in this documentary. 1:06:52.480 --> 1:06:55.200 I almost forgot about that, right, which is the only 1:06:55.320 --> 1:06:57.320 rational response to it, because you're just like. 1:06:57.480 --> 1:06:59.280 Shut up, just go see the movie. 1:07:00.040 --> 1:07:01.920 But yeah, I mean I think that that is interesting, 1:07:01.960 --> 1:07:04.360 and I guess it's not. Yeah, it's not even like 1:07:04.440 --> 1:07:07.800 necessarily a criticism of Jordan Peele, but just that's that's 1:07:07.880 --> 1:07:11.000 O tour shit where it's like, it's not unreasonable to 1:07:11.000 --> 1:07:13.439 think that some of his own personal stuff is gonna 1:07:13.440 --> 1:07:16.520 get tangled up in it because of how it was made. 1:07:16.800 --> 1:07:19.560 And it's not bad stuff. It's just interesting stuff to 1:07:19.640 --> 1:07:22.760 note and stuff that you know, my personal experience is 1:07:22.800 --> 1:07:25.840 also going to make me notice because I am a 1:07:25.880 --> 1:07:30.760 black woman, and I also I don't know if Rose 1:07:31.080 --> 1:07:34.000 is queer or not, but I also do think it's 1:07:34.040 --> 1:07:38.720 interesting that Georgina is queer and one of the only 1:07:38.800 --> 1:07:41.200 Black women that we, you know, learn the name of 1:07:41.280 --> 1:07:45.360 Get to See is a queer Black woman, and they 1:07:45.560 --> 1:07:48.040 sort of double oppressed her. 1:07:48.680 --> 1:07:52.000 Right we only see a version of her that's inhabited 1:07:52.080 --> 1:07:56.880 by thiss like grandmother, so we don't even get to know. Yeah, 1:07:56.920 --> 1:07:59.920 to your point, Grama, it is. I found it disappointing 1:08:00.120 --> 1:08:05.000 that this movie about anti black racism and black liberation 1:08:05.560 --> 1:08:10.040 because of how the movie ends, mostly leaves out black women. 1:08:10.680 --> 1:08:14.160 And I don't know if this would have been narratively possible, 1:08:14.160 --> 1:08:18.320 but I wish the movie had found a way to 1:08:18.520 --> 1:08:24.880 save Georgina where he unhypnotizes her and there's enough of 1:08:24.920 --> 1:08:29.360 her left in there that she can, you know, be 1:08:29.520 --> 1:08:33.160 liberated from this situation. But it's tricky because, like, you know, 1:08:33.200 --> 1:08:38.280 you see Walter kill himself, and you can imagine that 1:08:38.320 --> 1:08:41.960 it's because he wouldn't want to go on living after 1:08:42.000 --> 1:08:44.200 having experienced these horrors of Welle. 1:08:44.360 --> 1:08:48.160 Also, the other guy is in there and it's mostly him, 1:08:48.520 --> 1:08:51.400 so I think that he's like, no, I'd rather die. 1:08:51.600 --> 1:08:54.719 Yeah, I just feel like there is room for there 1:08:54.840 --> 1:08:59.200 is room for black women in this narrative without meaningfully 1:08:59.360 --> 1:08:59.920 changing it. 1:09:00.160 --> 1:09:02.040 I will say. I will say one thing that I 1:09:02.040 --> 1:09:07.559 did think was interesting is we see three coagulate black 1:09:07.680 --> 1:09:11.400 people throughout the film, and two of them are men, 1:09:11.479 --> 1:09:15.360 one is a woman, and the two men get released 1:09:15.840 --> 1:09:20.200 through the camera flash at some point and we see 1:09:20.800 --> 1:09:25.160 a peeking through of the real Georgina. Yeah, without that, 1:09:25.640 --> 1:09:27.720 and the black woman is the only one who is 1:09:27.760 --> 1:09:31.080 strong enough to keep continually fighting to get out to 1:09:31.120 --> 1:09:33.320 the point where she is in tears. And we know 1:09:33.400 --> 1:09:37.000 that your physical nervous system is what is connected to you, 1:09:37.040 --> 1:09:39.920 so those tears are coming from her. It's yeah. 1:09:39.960 --> 1:09:42.439 And the scene when she's pouring tea and like almost 1:09:42.600 --> 1:09:47.160 spills it, it's like she's trying to break free from this. 1:09:47.439 --> 1:09:52.960 Yeah, it's really really really good performance from Betty Gabriel, Like, yeah, who, 1:09:53.640 --> 1:09:57.720 I didn't realize she's like a scream queen. She's a 1:09:57.720 --> 1:10:02.320 Bluemhouse girly in the Purge election year. She is an 1:10:02.439 --> 1:10:05.160 unfriended dark web, which I have seen and I was like, oh, 1:10:05.560 --> 1:10:09.439 she's she's an unfriended dark web. She's in upgrade, she's 1:10:09.479 --> 1:10:12.400 in it, lives inside. I mean, she is a but 1:10:13.040 --> 1:10:17.280 just like a really really great performance from her, especially 1:10:17.280 --> 1:10:21.240 because it's like she's not given that much screen time. 1:10:21.360 --> 1:10:24.360 But Yeah, makes a meal of it. I agree. 1:10:24.360 --> 1:10:28.200 I don't know, like narratively, how to get around all 1:10:28.240 --> 1:10:31.160 of this sort of lore, but I do. It's just 1:10:31.200 --> 1:10:35.320 like there there was room for black women within this 1:10:35.439 --> 1:10:40.960 plot and it feels intentional, feels like too, but like it, 1:10:41.280 --> 1:10:41.680 I don't know. 1:10:41.800 --> 1:10:44.000 I think. I also think that black men are allowed 1:10:44.000 --> 1:10:47.719 to have their own stories, their struggles an entirely different thing. 1:10:48.320 --> 1:10:51.519 I just am pointing out what I see. And I 1:10:51.560 --> 1:10:53.439 think that a lot of people talk about Get Out 1:10:53.680 --> 1:10:57.559 as being black generally, and I think that there are 1:10:57.600 --> 1:10:59.600 a lot of women who are black, a lot of 1:10:59.600 --> 1:11:02.360 women of all races who do love get Out, but 1:11:02.720 --> 1:11:06.920 it is definitely specifically a story about and for black men. 1:11:08.160 --> 1:11:11.120 Yeah, And I mean something that I think Jordan Peel 1:11:11.160 --> 1:11:17.080 does really well. Conversely is like knoweeling how white women 1:11:17.160 --> 1:11:21.280 can weaponize their white womanhood in all. 1:11:21.160 --> 1:11:22.280 Of these different ways. 1:11:22.320 --> 1:11:25.719 Where I mean, by the end, you see that Rose 1:11:26.000 --> 1:11:30.320 has spent whatever the better part of a decade weaponizing 1:11:30.520 --> 1:11:36.479 her white womanhood to bring people to her family's creepy estate. 1:11:36.640 --> 1:11:39.040 And the way that Missy acts, I want to talk 1:11:39.040 --> 1:11:41.320 about Missy a little bit, because it's like that character 1:11:41.520 --> 1:11:43.759 is so ah. 1:11:45.080 --> 1:11:47.040 Yeah, I do want to just stay on Rose for 1:11:47.080 --> 1:11:50.880 a second and talk about the weaponization of her white woman. 1:11:50.960 --> 1:11:53.920 This and one that I don't think I've ever heard 1:11:53.960 --> 1:11:57.120 anybody talk about, and that doesn't mean people aren't talking 1:11:57.120 --> 1:11:59.840 about it. That stuck out to me on this rewatch 1:12:00.320 --> 1:12:03.720 was when Rod calls to check in on Chris and 1:12:03.760 --> 1:12:07.360 he finally gets through to Chris's number and she does 1:12:07.400 --> 1:12:16.240 this again, absolutely alarming performance. Yeah, just blank blank face, 1:12:17.280 --> 1:12:21.839 and she's like, Chris, where are you? Is this Chris? 1:12:22.120 --> 1:12:24.320 And then Rod's like, he's not with you. He left 1:12:24.320 --> 1:12:27.960 two days ago. And then when Rod is like, you 1:12:28.000 --> 1:12:30.880 know what, this bitch talks too much. I'm gonna I'm 1:12:30.880 --> 1:12:36.000 gonna catch her and starts recording, she switches tactics and 1:12:36.680 --> 1:12:40.640 makes it seem like he is sexually predatory towards her, 1:12:40.840 --> 1:12:45.160 which is very for me, reminiscent of like Emmett Till 1:12:45.840 --> 1:12:50.200 and this idea of protecting white women's virtue. And he knows. 1:12:50.240 --> 1:12:52.680 He's like, I'm fucked, Like this is this is not 1:12:52.800 --> 1:12:55.120 helping Chris. This is only going to hurt me. I 1:12:55.160 --> 1:12:57.519 need to shut this down. This recording is of no use, 1:12:58.120 --> 1:13:00.400 and she knows to do that. She's like, no, he's 1:13:00.400 --> 1:13:03.040 gonna start recording. I've been doing this for ten years. 1:13:03.200 --> 1:13:06.240 I know what to do. And it's very insidious and 1:13:06.280 --> 1:13:11.000 it is very calculated. And I'm also very angry that 1:13:11.000 --> 1:13:13.600 that woman who lied about Emmitt til never went to 1:13:13.680 --> 1:13:17.559 jail and she said she lied. She said she lied, yeah, 1:13:17.600 --> 1:13:20.599 and they were like, well, she's an old lady. What 1:13:20.640 --> 1:13:21.559 are we gonna do. Now. 1:13:22.160 --> 1:13:23.800 That's part of the reason where it's like we should 1:13:23.800 --> 1:13:27.880 be We should have just seen Rose die on screen 1:13:28.160 --> 1:13:31.280 like she has a coming, because you see her, I mean, 1:13:31.280 --> 1:13:34.440 and in the movies last moments, you see her preparing 1:13:34.520 --> 1:13:39.080 to do the exact same thing to Chris. She says, I. 1:13:38.960 --> 1:13:41.400 Love you, she yes, which is tactic. 1:13:41.479 --> 1:13:45.240 Well, I mean, like when she thinks that a white 1:13:45.320 --> 1:13:49.360 police officer has arrived, she's preparing to be like he 1:13:49.439 --> 1:13:52.799 attacked me, I don't blah blah blah, and just playing 1:13:52.840 --> 1:13:56.920 into all of these white supremacist narratives that police, you know, 1:13:57.000 --> 1:14:01.800 don't blink at. But thankfully it's the TSA right. 1:14:02.080 --> 1:14:05.640 But even before that, like she's trying to save herself. 1:14:05.880 --> 1:14:08.840 She knows that he wants to strangle her to death. 1:14:09.080 --> 1:14:12.599 So she's like, I love you even though she's just 1:14:12.680 --> 1:14:15.479 tried to kill him with a gun. But she's like 1:14:15.680 --> 1:14:19.920 she to the very very end, she's doing these manipulating tactics. 1:14:20.000 --> 1:14:23.960 Whatever she thinks, will you know, save her, get her 1:14:24.040 --> 1:14:26.800 out of this situation. And he doesn't buy it. But 1:14:27.000 --> 1:14:30.920 then I'm like, just kill her, just strangle her to death, 1:14:31.640 --> 1:14:32.519 finish the job. 1:14:32.640 --> 1:14:36.400 Chris the gun is my favorite plant in Payoff when 1:14:36.400 --> 1:14:38.479 he says at the very beginning, like I just don't 1:14:38.479 --> 1:14:40.440 want to get chased off the lawn with a shotgun, 1:14:40.960 --> 1:14:43.760 and then that is the very thing that happens to him. 1:14:43.800 --> 1:14:50.240 But she, yes, should we get into Missy. 1:14:50.760 --> 1:14:52.080 Yeah, let's talk about Missy. 1:14:52.360 --> 1:14:55.400 I feel like she is i mean speaking to like 1:14:55.479 --> 1:14:58.080 the generational stuff we've been talking about, Like she is 1:14:58.200 --> 1:15:00.760 a different kind of white woman doing a different kind 1:15:00.800 --> 1:15:04.040 of white woman thing where she's clearly playing off of 1:15:04.080 --> 1:15:06.559 her husband, which you know, later revealed to be this 1:15:06.720 --> 1:15:10.439 very insidious performance. This family like the worst piece of 1:15:10.439 --> 1:15:14.840 community theater ever to take place, but that she's playing 1:15:14.880 --> 1:15:18.360 off of like, oh my husband, please ignore him, Like 1:15:18.560 --> 1:15:21.720 I'm I'm the nice parent, I'm the normal parent, and 1:15:21.960 --> 1:15:25.280 the second she gets Chris alone still tries to sort 1:15:25.280 --> 1:15:29.799 of maintain that for as long as possible, while pushing 1:15:29.840 --> 1:15:35.120 past every single boundary that he sets, until he's plot 1:15:35.120 --> 1:15:41.240 wise completely paralyzed. Yeah, I just noticed you're wearing a 1:15:41.240 --> 1:15:42.120 Shrek shirt. 1:15:42.160 --> 1:15:48.880 Sorry, yes, well, I mean I wasn't sure when or 1:15:48.920 --> 1:15:51.400 if I would bring this up, but I did at 1:15:51.400 --> 1:15:55.240 some point want to draw some parallels between Get Out 1:15:55.280 --> 1:15:56.240 and Shrek two. 1:15:57.240 --> 1:15:59.439 Okay, okay, okay, listening the parents. 1:16:00.200 --> 1:16:05.040 So, a man who is marginalized by society goes to 1:16:05.120 --> 1:16:07.840 meet the family of his partner, who is far more 1:16:07.960 --> 1:16:11.960 privileged than he is. It's very uncomfortable. The family, you know, 1:16:12.560 --> 1:16:17.519 makes a bunch of aggressive comments towards him. The family 1:16:17.680 --> 1:16:21.400 of both has a secret that deals with inhabiting a 1:16:21.520 --> 1:16:26.120 different body because in Shrek two, the king is actually 1:16:26.840 --> 1:16:32.080 a frog. Okay, not the same secret, but but there's 1:16:32.160 --> 1:16:37.559 divergences right. Similarly, you know, the protagonists of both movies, 1:16:38.200 --> 1:16:42.920 they either exchange bodies or almost has their body taken 1:16:42.960 --> 1:16:46.920 over by someone else because in Shrek Too, Shrek becomes 1:16:47.960 --> 1:16:53.959 a human, a white human man. So a body swapping 1:16:54.040 --> 1:16:59.639 element in both movies, and both protagonists have a comic 1:17:00.120 --> 1:17:04.320 relief sidekick friend played by a black comedian. 1:17:04.800 --> 1:17:08.120 Wow, it's crazy how get Out is a cheap knockoff 1:17:08.120 --> 1:17:09.600 of Shrek Too. 1:17:10.040 --> 1:17:14.719 Don't tell that to the guy worked with, so he'll 1:17:14.720 --> 1:17:16.599 be taking that theory all around town. 1:17:18.640 --> 1:17:21.599 I feel well, I read was this true that Shrek 1:17:21.800 --> 1:17:25.160 Too takes inspiration from guess who's coming to dinner? 1:17:25.800 --> 1:17:30.920 I would believe that. I one believe that having seen 1:17:31.000 --> 1:17:31.679 both movies. 1:17:32.120 --> 1:17:35.920 I vaguely, I vaguely remember us talking about that in 1:17:35.960 --> 1:17:37.200 our Shrek two episode. 1:17:37.280 --> 1:17:40.559 Yeah, and Jordan Peele, you know, cites that is somewhat 1:17:40.560 --> 1:17:42.760 of an inspiration for get Out as well. 1:17:42.640 --> 1:17:47.080 So by way of by way of Shrek Too. 1:17:49.520 --> 1:17:52.160 And then the get Out and Titanic parallels are that 1:17:52.240 --> 1:17:55.880 both movies have a character named Roseye come from a 1:17:55.960 --> 1:17:56.960 rich white family. 1:17:57.520 --> 1:17:58.479 Wow, the end. 1:17:58.720 --> 1:17:59.400 That's the end of. 1:17:59.320 --> 1:18:03.720 Those the similarities. Hopefully we don't know. Our family is 1:18:03.760 --> 1:18:07.280 pretty pretty fucked. Yeah do we have? 1:18:07.360 --> 1:18:09.000 Is there anything else we wanted to talk about with 1:18:09.000 --> 1:18:09.519 with Missy? 1:18:11.240 --> 1:18:14.880 Just that Again, everyone in this family is such a 1:18:15.000 --> 1:18:20.200 master manipulator, and they're doing things to either put on 1:18:20.320 --> 1:18:24.120 the facade of allyship to try to manipulate Chris into 1:18:24.120 --> 1:18:27.920 feeling more of a sense of ease, or they are 1:18:28.040 --> 1:18:31.599 weaponizing things about him against him, like you know, Missy 1:18:31.680 --> 1:18:35.960 with the almost like using therapy speech as a weapon 1:18:35.960 --> 1:18:36.920 in the way that some people do. 1:18:37.040 --> 1:18:40.000 Know what I was gonna say, is, you know, by 1:18:41.000 --> 1:18:46.120 leaps and bounds therapy and psychiatry and psychology, is it 1:18:46.160 --> 1:18:50.120 feel dominated by white women? Definitely more psychology than psychiatry, 1:18:50.160 --> 1:18:53.440 just because you know, medicine. But I think it's interesting 1:18:53.560 --> 1:18:57.120 that we have created a sort of system where the 1:18:57.160 --> 1:19:00.960 people that you're supposed to turn to in trying to 1:19:01.040 --> 1:19:04.559 figure out how to navigate, you know, what you're struggling with, 1:19:04.920 --> 1:19:07.840 for the most part, are white women, And like, what 1:19:07.960 --> 1:19:14.320 if white women are the problem? And which is true 1:19:14.439 --> 1:19:17.120 in this case. And she's let me help you, let 1:19:17.200 --> 1:19:20.679 me help you stop smoking. He's like, no, that's fine, 1:19:20.920 --> 1:19:24.000 I'm good. And it's not that he doesn't want to quit. 1:19:24.080 --> 1:19:27.840 He just doesn't want to get hypnotized with good reason, right, 1:19:28.720 --> 1:19:32.240 And she's like, no, trust me, bro, And that's sort 1:19:32.280 --> 1:19:35.519 of like the thing you I mean, I have never 1:19:35.640 --> 1:19:39.839 had a black therapist. I have primarily had white women therapists. 1:19:39.840 --> 1:19:43.080 And I've had some great therapists but there are times 1:19:43.120 --> 1:19:45.920 in therapy where I have to like stop and explain 1:19:46.080 --> 1:19:49.200 something in a way that I wouldn't have to if 1:19:49.280 --> 1:19:52.280 I had somebody who was from a similar background to me. 1:19:52.320 --> 1:19:54.840 And there are times where it's like, you look like 1:19:54.920 --> 1:19:58.160 the problem. And now I'm at a point in my 1:19:58.240 --> 1:20:01.960 therapy where I'm comfortable enough, but it's hard at first 1:20:01.960 --> 1:20:04.280 to be like, you look like the problem, and I 1:20:04.320 --> 1:20:07.479 need to tell you about the problem, and I need 1:20:07.520 --> 1:20:09.280 you to not take this personally, and I don't know 1:20:09.320 --> 1:20:09.960 if you can do that. 1:20:10.360 --> 1:20:14.760 Yeah, which theoretically a therapist should, but boy, are there 1:20:14.760 --> 1:20:17.799 are a lot of therapists out there who take shit so personally. 1:20:18.479 --> 1:20:18.919 Yeah. 1:20:19.000 --> 1:20:23.240 Yeah, it felt very again just like intentional of in 1:20:23.560 --> 1:20:27.760 a gendered way, like you're saying, like, because therapy in 1:20:27.800 --> 1:20:30.640 the US is so dominated by white women, and the 1:20:30.720 --> 1:20:33.439 fact that like it's almost sort of implied with like, well, 1:20:33.720 --> 1:20:37.719 the man is the doctor the surgeon, and the woman 1:20:38.040 --> 1:20:42.439 handles emotions, and it's like it's prescriptive in a gendered 1:20:42.479 --> 1:20:45.519 sense too, but they are very much working in tandem 1:20:45.560 --> 1:20:48.320 with each other towards a common goal. 1:20:49.200 --> 1:20:50.480 And just like Catherine. 1:20:50.160 --> 1:20:53.400 Keener is so scary and I feel like also is 1:20:53.520 --> 1:20:57.200 just very well cast in like, you know this lady, 1:20:57.680 --> 1:20:59.839 she wouldn't hurt you, right, Like it's. 1:21:00.160 --> 1:21:02.840 And I think it's interesting that when they're talking about 1:21:02.960 --> 1:21:06.240 Jeremy being in medical school, Dean says, oh, he wants 1:21:06.280 --> 1:21:08.720 to follow in his old man's footsteps, and it's like, 1:21:08.880 --> 1:21:11.080 you're both doctors. I hope you know that. 1:21:11.400 --> 1:21:15.080 Yeah, rightst psychiatrist go to medical school. 1:21:15.560 --> 1:21:15.720 Right. 1:21:15.800 --> 1:21:19.559 So there are these little like I do appreciate, I 1:21:19.560 --> 1:21:23.480 guess in movies where it's like gender discrimination is acknowledged, 1:21:23.560 --> 1:21:25.880 but not as something that would get you off the 1:21:25.880 --> 1:21:29.960 hook for being actively aggressive in the way that Missy is, 1:21:30.760 --> 1:21:33.360 where like the harm is like this is not the 1:21:33.400 --> 1:21:36.439 same amount of aggression that's being experienced, and she is 1:21:36.640 --> 1:21:40.360 the perpetrator of so much of it. And yeah, I 1:21:40.400 --> 1:21:42.600 guess we should have seen her die on screen a 1:21:42.600 --> 1:21:44.400 little more brutally. It's weird that we didn't. 1:21:44.880 --> 1:21:46.920 It could be a contract thing. I don't know. 1:21:47.280 --> 1:21:49.599 Katherine Keener will not screen. 1:21:50.400 --> 1:21:53.840 I know that the Julia and Moore thing, Julia Moore 1:21:53.920 --> 1:21:56.920 will not die on screen. That's her. That's her rule, 1:21:57.680 --> 1:21:59.960 So I guess don't look for her in a slasher movie. 1:22:00.439 --> 1:22:03.840 My favorite rule is that Denzel Washington will not kiss 1:22:03.840 --> 1:22:07.400 white women on screen. Really yea good for him, and 1:22:07.840 --> 1:22:10.840 not because he's got anything against them, but because he 1:22:11.000 --> 1:22:15.480 thinks that it would be alienating to his target demographic, 1:22:15.520 --> 1:22:18.000 which is primarily black women. And I think that that 1:22:18.160 --> 1:22:22.000 is absolutely true, particularly black women of a certain age. 1:22:22.479 --> 1:22:27.120 And I think that it's really interesting and kind of 1:22:27.160 --> 1:22:29.800 wonderful that he has put that much thought into it. 1:22:30.400 --> 1:22:33.920 And he's like, no, I know who I know who 1:22:34.439 --> 1:22:37.000 supports me, and I want to support them back. 1:22:37.320 --> 1:22:41.040 Yeah, right, Yeah, that's beautiful. My favorite rule of an 1:22:41.080 --> 1:22:44.639 actor is that Leonardo DiCaprio has to be fully clothed 1:22:44.680 --> 1:22:47.800 in water in all of his movies. This is not 1:22:47.840 --> 1:22:50.719 actually substantiated. This is not kram I see your face. 1:22:50.800 --> 1:22:54.439 It's it's just something that happens mysteriously in every Leonardo 1:22:54.520 --> 1:22:57.519 DiCaprio movie. I think he might have a no topless 1:22:57.600 --> 1:22:59.599 rule or something. I feel like you rarely see him 1:22:59.640 --> 1:23:03.160 shirt yeah, most hunks you see short lists more. I 1:23:03.160 --> 1:23:04.720 feel like maybe he's just not comfortable with it. 1:23:04.760 --> 1:23:08.479 There's like ten movies where he's fully clothed in water. 1:23:08.800 --> 1:23:10.320 We've been working on this theory for years. 1:23:10.760 --> 1:23:13.679 I feel like the woman in that meme where there's 1:23:13.720 --> 1:23:19.320 like math in front of her. I'm like, what, like, 1:23:19.360 --> 1:23:21.719 it's like a beautiful mind. I'm like putting things together. 1:23:22.439 --> 1:23:24.160 I'm like, I don't think I've ever seen that man 1:23:24.200 --> 1:23:25.320 with his shirt off in water. 1:23:25.360 --> 1:23:30.800 You're right, it's a Titanic, Romeo, Plust, Juliet inception, the 1:23:31.800 --> 1:23:34.040 Shutter Island. The list goes on. 1:23:34.240 --> 1:23:38.360 There's a few exceptions, but it's way, yeah, vastly. He's 1:23:38.520 --> 1:23:42.160 he's always wearing a clingy shirt underwater. 1:23:41.960 --> 1:23:44.360 The beach anyway, the Beach one. 1:23:44.240 --> 1:23:47.800 Of our famous, our most famous underwater actors and later 1:23:47.840 --> 1:23:49.720 add to Dicapria. 1:23:50.520 --> 1:23:51.000 One thing I. 1:23:50.920 --> 1:23:53.720 Wanted to just get everyone's feeling on. 1:23:54.000 --> 1:23:56.880 I mean, this is like a again trope of the 1:23:56.920 --> 1:23:59.760 horror genre, but the Stephen Root character, which I was 1:23:59.760 --> 1:24:01.400 also like, how do I know this guy? How do 1:24:01.439 --> 1:24:05.360 I know this guy? Milton got Space, Milton off Space 1:24:05.400 --> 1:24:08.360 Office Space. Yeah, did not connect that until this viewing. 1:24:08.720 --> 1:24:16.000 Good for Milton, but the incorporation of his blindness as 1:24:16.200 --> 1:24:18.960 a you know, I don't know, it's just I'm curious 1:24:18.960 --> 1:24:22.479 what you guys think from a disability perspective of how 1:24:22.600 --> 1:24:24.400 that is used, because I know that's something that is 1:24:24.479 --> 1:24:27.840 used in the horror Disability is weaponized in the horror 1:24:27.840 --> 1:24:29.080 genre very frequently. 1:24:29.640 --> 1:24:30.240 I think it is. 1:24:30.439 --> 1:24:33.960 Easy to understand what you know, Jordan Peel is going 1:24:34.000 --> 1:24:39.719 for metaphorically with sight and the sort of horrific quality 1:24:39.840 --> 1:24:44.920 of a white man wanting to literally steal and take 1:24:45.320 --> 1:24:48.519 a black man's perspective from him, which I feel like 1:24:48.640 --> 1:24:52.040 is very much what he's saying, because Chris as a photographer, 1:24:52.080 --> 1:24:56.640 his perspective is very you know, crucial to who he is, 1:24:56.880 --> 1:25:00.559 and you know, Jim Hudson knows he's very town and 1:25:00.600 --> 1:25:03.240 he wants to take that from him and claim it 1:25:03.280 --> 1:25:05.920 as his own. So I think as a metaphor it works, but. 1:25:06.040 --> 1:25:11.240 It feels absolutely like nonsensical to think that now that 1:25:11.280 --> 1:25:13.599 you're in his body and you have his physical eyes, 1:25:13.640 --> 1:25:17.360 that you will gain his perspective because his talent being 1:25:17.400 --> 1:25:22.879 a photographer is not about having literal good eyes. Yeah, 1:25:23.160 --> 1:25:26.719 it's about noticing things, and the ways that we notice 1:25:26.720 --> 1:25:29.160 things are influenced by the things that we go through. 1:25:29.360 --> 1:25:33.559 And we can see these sunken place people and how 1:25:34.040 --> 1:25:38.519 they're not black, like they look black, They're not black. 1:25:38.680 --> 1:25:41.800 There's nothing about them that feels black. And it was 1:25:42.000 --> 1:25:44.920 interesting that and I'll get back to Stephen Root's character 1:25:44.960 --> 1:25:48.400 in just a second. It was interesting that Chris said 1:25:48.840 --> 1:25:53.560 that when he saw Dre he felt like he knew him, 1:25:53.560 --> 1:25:56.520 and it sort of felt like kind of a positive 1:25:56.600 --> 1:25:59.479 inversion of the idea that all black people know each 1:25:59.479 --> 1:26:03.320 other and like knowing your people when you see your people. 1:26:03.360 --> 1:26:06.200 And he was very clear that like, I didn't know 1:26:06.280 --> 1:26:08.799 that first guy, I knew the second guy. 1:26:08.760 --> 1:26:09.960 Yeah, the guy who came at me. 1:26:10.280 --> 1:26:13.360 Yeah, right, which I think was interesting with Stephen Root 1:26:13.479 --> 1:26:17.799 and the blindness. I think one he gets to Nazee 1:26:17.840 --> 1:26:20.600 color and very explicitly says like I could give a 1:26:20.680 --> 1:26:23.639 damn about what color you are. I half wanted him 1:26:23.640 --> 1:26:26.920 to say, like he could be black, white, green. 1:26:26.760 --> 1:26:33.519 Purple, that old boomer boom chestnut. 1:26:34.080 --> 1:26:36.240 I love it when they say that. It's so funny. 1:26:36.240 --> 1:26:38.519 To me, it's so funny because like, show me the 1:26:38.520 --> 1:26:40.479 purple people, show. 1:26:40.280 --> 1:26:42.960 Me the purple, well, show me the green people. It's Shrek. 1:26:43.280 --> 1:26:48.000 But anyway, but the thing about obviously like he gets 1:26:48.000 --> 1:26:50.040 to be colorblind, and that's a statement on that, and 1:26:50.080 --> 1:26:52.719 it's like even if you're not seeing race, you're still 1:26:52.720 --> 1:26:57.160 being racist. But also talking about disability in horror, I 1:26:57.200 --> 1:27:01.639 think a lot of times disability makes the people evil. 1:27:01.680 --> 1:27:04.240 It's like they're disfigured and we're seeing they're evil on 1:27:04.280 --> 1:27:10.040 the outside. This for me feels more like the problematic 1:27:10.120 --> 1:27:15.120 aspect of disabled people always wanting a cure for their disability, 1:27:15.800 --> 1:27:19.040 and he's willing to go to these evil lengths to 1:27:19.080 --> 1:27:23.200 get a cure for his blindness, which is yes, comes 1:27:23.240 --> 1:27:25.120 from a genetic disorder and it's not something that he 1:27:25.200 --> 1:27:29.640 was born with. But it's like when you have a disability, 1:27:29.880 --> 1:27:31.920 it is a change in perspective and it is a 1:27:32.000 --> 1:27:33.800 change in the way you live your life. But not 1:27:33.880 --> 1:27:37.200 everybody wants a cure for their disability. They want accessibility, 1:27:37.439 --> 1:27:39.960 but they don't want a cure, right, Yeah. 1:27:40.040 --> 1:27:44.639 That and it's just another example of a disabled character 1:27:44.760 --> 1:27:51.080 being played by enable bodied miltoner by Milton. So yeah, 1:27:51.280 --> 1:27:54.840 I think that could have been handled very differently and 1:27:55.200 --> 1:27:56.680 better than it is. 1:27:57.040 --> 1:27:59.720 Yeah, it's not. I mean, it's not the most egregious 1:28:00.120 --> 1:28:02.680 example we've seen of it by a long shot in 1:28:02.720 --> 1:28:06.000 the horror genre, but it did feel worth mentioning, And 1:28:06.040 --> 1:28:08.200 I honestly, I mean, like even hearing you say, like, 1:28:08.760 --> 1:28:12.160 how like ridiculous is it that Jim Hudson would expect 1:28:12.240 --> 1:28:16.400 to like gain Chris's artistic perspective by having his body 1:28:16.520 --> 1:28:20.200 is like just another way that he's reducing every black 1:28:20.240 --> 1:28:25.160 person he encounters to a body versus a person or 1:28:25.160 --> 1:28:29.160 a consciousness or like you know, he's like eyeballs equal perspective, 1:28:29.200 --> 1:28:32.719 which is pretty fucking rich coming from an art dealer. 1:28:32.760 --> 1:28:36.679 I'm like, Okay, so you just don't understand your own job, 1:28:38.040 --> 1:28:41.360 which is a lot of people in high places, so. 1:28:42.200 --> 1:28:44.519 You can just say you want to see Jim like 1:28:44.600 --> 1:28:48.080 it's okay, Yeah, yeah, you can say that, right, and 1:28:48.080 --> 1:28:51.840 that's okay, you can want that. Yeah, don't lie to 1:28:51.880 --> 1:28:53.479 yourself and don't lie to me that you're like, I 1:28:53.479 --> 1:28:57.559 want to be able to take real good pictures. That's 1:28:57.680 --> 1:28:58.040 the goal. 1:28:58.120 --> 1:29:02.600 That's why I'm doing the eugenicist experimented Bradley went for 1:29:02.640 --> 1:29:07.200 his house. It's just fucking horrible, Like I yeah, I mean, 1:29:07.240 --> 1:29:09.479 and I do think that it's like a valid point 1:29:09.560 --> 1:29:12.679 that yeah, I mean, the fact that you know, Jim 1:29:12.760 --> 1:29:16.840 Hudson sort of uses his disability to explain why he 1:29:17.000 --> 1:29:21.840 isn't racist, where that's not how racism works. It's not 1:29:21.880 --> 1:29:24.599 connected to your ability to see it's connected to how 1:29:24.640 --> 1:29:29.280 you've been societally conditioned. And Jim Hudson is fifty sixty 1:29:29.280 --> 1:29:33.679 whatever years old. Yes, he does have internalized and externalized racism. 1:29:34.439 --> 1:29:36.400 So I get I mean, I don't know, I get 1:29:36.400 --> 1:29:39.160 why from like a writing perspective, Jordan Peele did that. 1:29:39.560 --> 1:29:42.400 But yeah, there's a few things that I mean, starting 1:29:42.400 --> 1:29:46.120 with by actually casting a disabled actor would have you. 1:29:46.080 --> 1:29:49.080 Know, yeah, because there's no reason not to. Yeah, there's 1:29:49.120 --> 1:29:53.480 literally there's no reason you don't have to draw. 1:29:53.920 --> 1:29:56.479 Right. It took me almost ten years to figure out, Oh, 1:29:56.479 --> 1:29:57.400 that's Milton. 1:29:57.280 --> 1:29:59.960 And you know, he's a great actor, but I'm sure 1:30:00.160 --> 1:30:03.280 that there was a great blind actor who could have 1:30:03.600 --> 1:30:06.040 then been the draw for the next big movie if 1:30:06.040 --> 1:30:07.800 we knew who he was for sure. 1:30:08.000 --> 1:30:13.680 Yes, I also wanted to chat about the character of 1:30:13.920 --> 1:30:17.559 Hiroki Tanaka. Yes, so this is one of the party 1:30:17.600 --> 1:30:23.599 goers at the Armitage family party. He is the lone 1:30:24.040 --> 1:30:29.160 Asian man, the only person of color who hasn't been 1:30:29.640 --> 1:30:33.800 you know, coagula procedured, and he's one of the people like, 1:30:34.000 --> 1:30:37.200 you know, bidding in this auction, and a lot of 1:30:37.200 --> 1:30:40.200 people were like, wait a minute, why is an Asian 1:30:40.240 --> 1:30:42.800 person at this racist party hanging out with all these 1:30:42.920 --> 1:30:46.160 racist white people, and a lot of people have written 1:30:46.160 --> 1:30:50.200 about it, and the response was mixed, where some of 1:30:50.280 --> 1:30:54.439 what I saw were op eds from Asian writers that 1:30:55.000 --> 1:30:59.600 interpreted the inclusion of the Hiroki Tanaka character in this 1:30:59.640 --> 1:31:04.400 particulgular context as commentary on the existence of anti black 1:31:04.479 --> 1:31:09.280 racism and complicitness in white supremacy in the Asian community. 1:31:10.400 --> 1:31:17.280 I'll share a quote from a piece by Rainier Miningding 1:31:17.720 --> 1:31:21.880 in Next Shark entitled why Get Out? A movie about 1:31:21.880 --> 1:31:26.360 anti black racism, had an Asian character says, quote to 1:31:26.479 --> 1:31:30.320 understand why the Asian man asked this being the question 1:31:30.400 --> 1:31:33.519 that he poses, which is something like, do you find 1:31:33.800 --> 1:31:38.160 that being African American has more advantages or disadvantages in 1:31:38.200 --> 1:31:41.080 the modern world? So that's the question the character asks. 1:31:41.160 --> 1:31:44.400 So to understand why the Asian man asked this, you 1:31:44.479 --> 1:31:47.840 have to consider Claire gene Kim's theory of racial triangulation. 1:31:48.400 --> 1:31:52.120 Racial triangulation posits that Asians exist on a spectrum where 1:31:52.160 --> 1:31:55.760 they are one perceived as better than blacks but not 1:31:55.840 --> 1:32:00.600 as good as whites, and two categorized as perpetual foreigners 1:32:00.640 --> 1:32:04.040 who will never be accepted as quote unquote full Americans. 1:32:04.560 --> 1:32:09.559 According to racial triangulation, Asians are in racial limbo, trying 1:32:09.600 --> 1:32:13.360 desperately to achieve whiteness and status as quote unquote real 1:32:13.400 --> 1:32:17.160 Americans by stepping on the heads of black folks. So 1:32:17.320 --> 1:32:20.160 when the Asian man asks Chris, is the African American 1:32:20.200 --> 1:32:24.160 experience an advantage or disadvantage, he wasn't just making small talk. 1:32:24.320 --> 1:32:26.800 He was wrestling with the decision of whether or not 1:32:26.880 --> 1:32:29.559 it would be better to trade bodies with Chris and 1:32:29.760 --> 1:32:33.840 experience anti blackness, or stay the same and live life 1:32:33.920 --> 1:32:38.640 as an Asian man in America and experience xenophobia unquote. 1:32:39.000 --> 1:32:42.280 And that piece goes on to describe other ways in 1:32:42.320 --> 1:32:45.840 which Asian people have been complicit in white supremacy, not 1:32:45.960 --> 1:32:48.680 saying that that's a universal thing or anything like that, 1:32:48.920 --> 1:32:52.880 but that there is a history of that happening. And 1:32:52.920 --> 1:32:56.479 then other writers felt the portrayal of this character plays 1:32:56.520 --> 1:33:01.040 into stereotypes about Asian people and perpetuates the idea of 1:33:01.200 --> 1:33:06.479 Asians as foreigners and perpetuates the myth of Asian people 1:33:06.600 --> 1:33:11.160 being the quote unquote model minority. Where friend of the 1:33:11.240 --> 1:33:15.599 show Olivia Truffau Wong wrote in a piece on Bustle 1:33:16.280 --> 1:33:20.639 entitled why the Asian character in Get Out matters. She says, 1:33:20.880 --> 1:33:25.040 quote the inclusion of such an individual in this particular 1:33:25.080 --> 1:33:29.559 context trivializes the Asian experience. The discussion of race relations 1:33:29.560 --> 1:33:33.200 between Asians and African Americans is an important one and 1:33:33.280 --> 1:33:36.760 it deserves more than a throwaway line and a few 1:33:36.800 --> 1:33:42.840 short scenes unquote. So again, mixed interpretations of it, but 1:33:43.280 --> 1:33:44.080 I just wanted to. 1:33:44.439 --> 1:33:48.640 I think everyone's right. I think that it is a 1:33:48.720 --> 1:33:52.800 very nuanced conversation. A couple of things that I'll say. 1:33:52.840 --> 1:33:56.240 I want to first talk about the Supreme Court, which 1:33:56.360 --> 1:33:58.400 I could talk about the Supreme Court for a long time, 1:33:58.720 --> 1:34:01.439 but I specific want to talk about I don't know 1:34:01.479 --> 1:34:04.200 if you guys remember Becky with the bad grades, that 1:34:04.320 --> 1:34:08.439 girl who didn't get into University of Texas at Austin. 1:34:09.000 --> 1:34:11.400 And she was like, it is because I am being 1:34:11.520 --> 1:34:16.040 discriminated against because I am white. And she wanted to 1:34:16.600 --> 1:34:20.519 get rid of which has successfully happened. Wanted to get 1:34:20.640 --> 1:34:24.040 rid of affirmative action, which white women are the primary 1:34:24.080 --> 1:34:27.599 beneficiaries of. She wanted to get rid of affirmative action 1:34:28.120 --> 1:34:31.400 in college admissions because she didn't get into the school. 1:34:31.439 --> 1:34:34.840 And she's like, I saw people who were less qualified 1:34:34.920 --> 1:34:38.080 than me, who were black and brown who got in, 1:34:38.120 --> 1:34:40.439 and they just got in because of that, which what's 1:34:40.479 --> 1:34:42.280 funny to me is, first of all, Becky with the 1:34:42.320 --> 1:34:46.400 bad grade, you t Austin has an admissions policy where 1:34:46.400 --> 1:34:48.040 if you were in the top ten percent of your 1:34:48.120 --> 1:34:51.280 high school class, you automatically get in. You can go 1:34:51.320 --> 1:34:53.920 to Utube. I didn't know that. Yeah, no, that's what 1:34:54.000 --> 1:34:56.599 makes it so much funnier to me. And she was like, 1:34:56.800 --> 1:35:00.120 well I didn't get in, and I'm like, okay. 1:35:00.080 --> 1:35:01.360 You weren't good enough at school. 1:35:01.680 --> 1:35:04.320 Yeah, it sounds like you should have invested more time 1:35:04.360 --> 1:35:07.880 in working on your grades, ma'am. But I do think 1:35:07.880 --> 1:35:10.599 that it is very interesting that that Supreme Court case 1:35:10.840 --> 1:35:13.760 failed when the white woman was the person behind it, 1:35:14.080 --> 1:35:18.800 but succeeded when it was spearheaded by Asian people. And 1:35:19.360 --> 1:35:21.720 Asian people were saying that they were hurt by these 1:35:21.800 --> 1:35:24.840 quotas because people can like, we're like, oh, there's too 1:35:24.920 --> 1:35:29.520 many Asian people who are excelling and who are qualified, 1:35:29.560 --> 1:35:31.679 and we have to have a certain number of them. 1:35:32.080 --> 1:35:34.160 And now that we've had this policy in place for 1:35:34.200 --> 1:35:37.000 a few years, the numbers of Asian people who are 1:35:37.000 --> 1:35:41.080 getting into elite colleges has in fact decreased who defunk it. 1:35:41.680 --> 1:35:46.120 But and with the idea of Asians being seen as 1:35:46.160 --> 1:35:49.760 the perpetual foreigner, which I think is very true. And 1:35:49.880 --> 1:35:54.599 it's interesting because my parents are actually immigrants, and people 1:35:54.680 --> 1:35:58.080 never assume that about me. Because people, when they see 1:35:58.120 --> 1:36:01.559 black people in America make a sound about the Atlantic 1:36:01.600 --> 1:36:04.320 slave trade, and the majority of black people in America 1:36:04.479 --> 1:36:07.719 did end up here because of that. But Asian people 1:36:07.720 --> 1:36:10.639 who have been here for just as long and who 1:36:10.800 --> 1:36:13.400 you know, came and were building railroads and also helped 1:36:13.400 --> 1:36:17.200 build this country are seen as foreigners, which is bad. 1:36:17.920 --> 1:36:22.120 It's bad, end of story. But when you're applying to college, 1:36:22.360 --> 1:36:23.880 they don't see a picture of you, but they see 1:36:23.920 --> 1:36:27.400 your name, and if you have a name that sounds 1:36:27.439 --> 1:36:31.040 explicitly Asian, even if they don't see you, they make 1:36:31.080 --> 1:36:34.080 their judgments. And I think that it's really interesting that 1:36:34.120 --> 1:36:38.479 Asians were spearheading this because of that particular detail that 1:36:39.040 --> 1:36:42.240 there are more Asian people who have names that specifically 1:36:42.280 --> 1:36:44.800 out them as Asian than there are black people who 1:36:44.840 --> 1:36:47.439 have names that specifically out them as black, especially because 1:36:47.479 --> 1:36:50.519 black people in America for a very long time have 1:36:50.720 --> 1:36:52.679 and I think the tide is turning on this more now, 1:36:53.000 --> 1:36:56.040 but have specifically named their children so that they would 1:36:56.080 --> 1:36:58.880 be able to later in life, be able to get 1:36:58.960 --> 1:37:02.320 jobs and be able to have like a resume name 1:37:02.479 --> 1:37:05.640 that wouldn't get their resume thrown out. And then the 1:37:05.760 --> 1:37:09.519 other thing I wanted to say about I forgot his name, 1:37:09.600 --> 1:37:13.280 Hiroki Tanaka, that's his name? Is that Jordan Peele explicitly 1:37:13.280 --> 1:37:16.519 said that he was paying homage to again Rosemary's Baby 1:37:16.920 --> 1:37:19.080 because at the end of Rosemary's Baby there is one 1:37:19.200 --> 1:37:22.800 Japanese man there. And he said that it's about the 1:37:22.880 --> 1:37:26.080 double worship being a global thing. It's not just these 1:37:26.120 --> 1:37:29.679 people in this place. It is global. And I think 1:37:29.760 --> 1:37:33.680 that if we look at it from that perspective, it 1:37:33.760 --> 1:37:36.759 could be a nod to the idea that anti blackness 1:37:36.800 --> 1:37:40.200 is global. And we think of anti blackness, and we 1:37:40.240 --> 1:37:42.360 think of black and white a lot in this country, 1:37:42.680 --> 1:37:45.040 but there are more layers and more nuance to it. 1:37:46.160 --> 1:37:50.519 It is far reaching. Jordan Peele lists two other reasons. 1:37:50.520 --> 1:37:54.240 He was a guest on the Tiger Belly podcast hosted 1:37:54.280 --> 1:37:59.000 by Bobby Lee and Klaia kuhn Yep and they ask 1:37:59.120 --> 1:38:02.040 him about this about this character being included in the movie. 1:38:02.800 --> 1:38:07.120 And I'll paraphrase here, but Jordan Peel in addition to 1:38:07.200 --> 1:38:11.439 the homage to Rosemary's Baby and you know, wanting to 1:38:12.400 --> 1:38:17.040 kind of showcase how far reaching an underground society like 1:38:17.080 --> 1:38:21.960 this could be. He also said that, and you know, 1:38:22.000 --> 1:38:26.000 we can discuss this if we want, but he wanted 1:38:26.560 --> 1:38:31.200 the fact that because the character's first language is not English, 1:38:31.200 --> 1:38:33.840 and he's posing the question in a kind of more 1:38:33.920 --> 1:38:38.439 direct way than perhaps a native English speaker might ask 1:38:38.520 --> 1:38:42.320 a question like that, he wanted to like use that 1:38:42.439 --> 1:38:46.880 to heighten the awkwardness of the situation. So there's that. 1:38:47.080 --> 1:38:51.160 And then he also says, and also, like, what doesn't 1:38:51.200 --> 1:38:54.880 make sense an old Japanese billionaire comes and wants to 1:38:54.960 --> 1:38:57.800 buy a black body, I think is what he says. 1:38:57.840 --> 1:39:00.679 He's interrupted by the host, so it's kind of hard 1:39:00.680 --> 1:39:03.680 to tell what the last few words were, but I mean, 1:39:03.720 --> 1:39:06.639 that is why all those people are there for the party. 1:39:06.760 --> 1:39:09.719 So but anyway, the hosts jump in and they agree 1:39:09.720 --> 1:39:11.759 and they're like, yeah, it makes sense to me, honestly. 1:39:12.400 --> 1:39:15.519 So those are the least the reasons he cites. 1:39:16.760 --> 1:39:18.360 Yeah, I mean, you know, I. 1:39:18.760 --> 1:39:21.920 Don't feel like I can make any intelligent comment on this, 1:39:22.000 --> 1:39:25.080 I think get Out is not a movie that is 1:39:25.720 --> 1:39:32.479 I think trying to deconstruct this particular dynamic, and it's 1:39:32.800 --> 1:39:34.759 I feel like it is always a slippery slope between 1:39:34.880 --> 1:39:38.320 expecting everything of one movie. But I agree with the 1:39:38.400 --> 1:39:42.120 Krama that all, like every perspective we've talked about makes 1:39:42.200 --> 1:39:46.160 total sense, and there's no like perspective on that character 1:39:46.240 --> 1:39:49.200 that I don't know. I'd be comfortable being like, no, 1:39:49.280 --> 1:39:51.200 you're wrong, because I think you can also go into 1:39:51.360 --> 1:39:55.000 like histories of colonialism between different countries. I mean, there's 1:39:55.040 --> 1:39:59.880 like a lot of different ways to approach that conversation. 1:40:00.200 --> 1:40:04.600 Of like also co opting blackness for like cool aesthetics. 1:40:04.640 --> 1:40:08.120 That is something that is very prevalent in many different 1:40:08.160 --> 1:40:11.240 Asian countries. I would say most prevalent in the way 1:40:11.240 --> 1:40:16.080 that we see K pop borrowing from arguably stealing from 1:40:16.360 --> 1:40:20.840 black R and B music from the nineties and sort 1:40:20.880 --> 1:40:23.960 of recreating these sort of like voice to men situations, 1:40:24.479 --> 1:40:30.360 and they even have like similar dance aesthetics and things 1:40:30.439 --> 1:40:34.760 like that. It's very much steeped in black culture. And 1:40:34.800 --> 1:40:37.160 like I saw Black Pink in concert with my mom 1:40:37.240 --> 1:40:39.160 because I'm cool and also parent. 1:40:41.520 --> 1:40:43.160 I love that you and your mom went together. 1:40:44.320 --> 1:40:46.639 It was we went to Coachella together and Black Pink 1:40:46.720 --> 1:40:52.280 was headlining, so it's even cooler than you thought. But 1:40:52.320 --> 1:40:54.840 my mom was kind of like checked out during Black Pink, 1:40:54.920 --> 1:40:58.719 which I expected that that's fine, that's not her her vibe. 1:40:58.760 --> 1:41:03.559 She listens to Joni Mitchell, so I but I was like, oh, 1:41:03.680 --> 1:41:05.680 aren't they cool? And my mom was like, I just 1:41:06.600 --> 1:41:09.679 I'm really sick of people who are not black taking 1:41:09.720 --> 1:41:13.639 black things and becoming more popular than black people. And 1:41:13.760 --> 1:41:17.480 so I don't think that the prospect of this Japanese 1:41:17.520 --> 1:41:21.360 billionaire coming to this party and wanting to co opt 1:41:21.560 --> 1:41:26.120 blackness in a way is that far reaching. And I think, 1:41:26.160 --> 1:41:28.600 you know, we can have the conversation about wrestling with 1:41:28.840 --> 1:41:32.360 is it better to be experiencing xenophobia or is it 1:41:32.400 --> 1:41:34.360 better to be experiencing what it is to be a 1:41:34.400 --> 1:41:40.040 black American, which they're all, it's it's not good either way, 1:41:40.240 --> 1:41:44.360 I think personally. But I also think that there is 1:41:44.400 --> 1:41:48.320 the idea that you know, Jim talks about. I keep 1:41:48.320 --> 1:41:50.880 wanting to say Jim Henson instead of Jim Hudson. 1:41:52.240 --> 1:41:55.559 Because it's like Jim Hudson Galleries, and you've got like 1:41:55.680 --> 1:41:57.760 Jim Henson Studio. 1:42:00.360 --> 1:42:03.479 Would never Oh, I thought we were talking about Jim Henson, I. 1:42:03.400 --> 1:42:10.000 Know, But Jim Hudson talks about like because Chris asks 1:42:10.040 --> 1:42:13.120 the very valid question why black people, which also makes 1:42:13.160 --> 1:42:15.200 me think of Zulander, Why male models? 1:42:17.400 --> 1:42:19.840 Oh my god, oh Zuland. 1:42:20.479 --> 1:42:24.560 But he asks why black people, and Jim says, some 1:42:24.600 --> 1:42:27.080 people want to be faster, some people want to be stronger, 1:42:27.280 --> 1:42:30.200 some people want to be cooler. And I don't think 1:42:30.240 --> 1:42:34.479 it's out of the realm of possibility that a wealthy 1:42:35.040 --> 1:42:39.680 Asian businessman would want to be cooler. I just think that, oh, 1:42:39.720 --> 1:42:42.599 taking a black man's body is the way to do that, right, 1:42:42.680 --> 1:42:45.160 I think that there is precedent for them. 1:42:45.240 --> 1:42:48.519 Yeah, I guess I like assumed that the intention of 1:42:48.640 --> 1:42:53.200 including that character was to say that anti blackness is 1:42:53.240 --> 1:42:56.960 a global problem and not a problem that is siphoned 1:42:57.080 --> 1:43:02.360 to white liberal Americans, even though they're obviously a disproportionate 1:43:02.360 --> 1:43:06.000 perpetrator of anti blackness. But I also like totally understand 1:43:06.000 --> 1:43:10.320 the perspective that, like, having such a complicated dynamic siphoned 1:43:10.360 --> 1:43:13.760 into like one character is not gonna sit well. 1:43:14.120 --> 1:43:18.040 Yeah, I think that the movie did not benefit enough 1:43:18.200 --> 1:43:23.320 from that addition to be like, no, it's necessary. Yeah, 1:43:23.640 --> 1:43:25.680 I think that it's fine with it. I think it 1:43:25.720 --> 1:43:28.200 would have been just as fine without it. But I'm 1:43:28.240 --> 1:43:32.559 glad that that man got a job that is not 1:43:32.680 --> 1:43:33.280 an actor. 1:43:33.520 --> 1:43:36.960 He's Ken Marino's father in law. 1:43:37.240 --> 1:43:39.280 Yeah, and a karate master. 1:43:40.120 --> 1:43:44.519 What wait, Yeah, he's not really an actor, although there 1:43:44.640 --> 1:43:47.840 is an actor named Hiroki Tanaka. 1:43:48.120 --> 1:43:50.080 Oh that's fine, you know, different guy. 1:43:50.240 --> 1:43:52.120 Well, because a lot of the op eds I read 1:43:52.160 --> 1:43:55.880 about this, it's like it's a character named yeah, so 1:43:55.960 --> 1:44:00.720 he go a Yoma played by actor Hiroki Tanaka, but 1:44:00.760 --> 1:44:02.960 it's flipped. Yeah, the guy's real. 1:44:02.760 --> 1:44:03.680 Name is. 1:44:05.240 --> 1:44:08.760 Yeah, so he go a Yoma. But they, I think 1:44:08.800 --> 1:44:11.880 were just like looking up what the actor's name was, 1:44:12.040 --> 1:44:14.479 and because there was an actor named Hiroki Tanaka, they 1:44:14.520 --> 1:44:16.479 thought that that anyway. 1:44:16.640 --> 1:44:19.880 So that's so it's it's so funny, like how in 1:44:20.479 --> 1:44:23.599 Jordan Peel's work you occasionally just get like a weird 1:44:24.160 --> 1:44:29.000 gen X comedy connection. We were like, oh, yeah, of course 1:44:29.320 --> 1:44:32.280 Jordan Peel and Ken Marino are pals, and this would 1:44:32.360 --> 1:44:34.679 be some weird thing that would happen in the same 1:44:34.720 --> 1:44:37.400 way that in US when you're like, wait, why is 1:44:37.439 --> 1:44:40.880 Tim Heidecker here and you're like, oh, because him and 1:44:40.960 --> 1:44:43.479 Jordan Peele have probably known each other for five thousand years. 1:44:44.120 --> 1:44:46.760 Yeah, and you know the reason that he hired this 1:44:46.800 --> 1:44:48.880 man who was not an actors because they were doing 1:44:48.920 --> 1:44:52.440 all of the casting for the secondary characters in Mississippi. 1:44:52.840 --> 1:44:57.240 And shockingly, there are not a lot of Japanese actors 1:44:57.320 --> 1:44:58.080 in Mississippi. 1:44:58.120 --> 1:44:59.200 Well I thought it was Alabama. 1:44:59.479 --> 1:45:00.840 Oh, maybe it was Alabama. 1:45:01.160 --> 1:45:04.200 I could be either way, but yeah, I mean not 1:45:04.200 --> 1:45:08.799 not a lot of Japanese actors in either place. Something 1:45:08.800 --> 1:45:11.800 I remember learning a while back, or maybe it was 1:45:11.800 --> 1:45:13.760 even kind of recently that sort of show. Oh, yeah, 1:45:13.760 --> 1:45:18.560 it was recently, because this was revealed on Graham Norton's show. 1:45:18.720 --> 1:45:21.080 I Love Graham Norton. My goal in life is to 1:45:21.120 --> 1:45:23.320 be famous enough to be a guest on Graham Norton. 1:45:24.120 --> 1:45:26.800 I wish you all the best that's gonna happen. 1:45:27.000 --> 1:45:31.200 Daniel Klulia was on the show and revealed that he 1:45:31.360 --> 1:45:35.120 was not invited to the world premiere of Get Out 1:45:35.360 --> 1:45:39.559 at the twenty seventeen Sun Dance Film Festival. He said 1:45:39.560 --> 1:45:43.439 he cleared his schedule knowing when it would happen, thinking 1:45:43.479 --> 1:45:45.639 he would be invited and then he was just never 1:45:45.720 --> 1:45:49.360 invited and blames it on the industry. 1:45:50.040 --> 1:45:50.439 I don't. 1:45:51.040 --> 1:45:54.519 I'm sure people advocated for him to be invited, but yeah, he. 1:45:54.439 --> 1:45:56.320 Just was nominated for an Oscar what. 1:45:56.640 --> 1:46:00.920 No, he was not invited and so he did not 1:46:01.920 --> 1:46:04.599 go to the premiere. Yeah, I don't think I had 1:46:04.600 --> 1:46:07.120 anything to do with any like bad Blood or anything 1:46:07.160 --> 1:46:09.720 between like him and Jordan Peele they go on to 1:46:10.600 --> 1:46:14.599 make Nope together and everything. But yeah, he just wasn't 1:46:14.680 --> 1:46:17.800 invited and someone fucked up. 1:46:17.840 --> 1:46:22.880 Basically, I'm curious if like Catherine Keener was invited and 1:46:23.120 --> 1:46:28.560 Alison Williams was invited. Maybe they weren't either, But I'm curious. 1:46:28.600 --> 1:46:29.479 Hard to say, we don't. 1:46:29.479 --> 1:46:30.000 We don't know. 1:46:30.240 --> 1:46:31.200 I haven't looked it up. 1:46:31.360 --> 1:46:34.479 But he's I just am like he is the star 1:46:34.640 --> 1:46:36.200 of the movie. 1:46:36.520 --> 1:46:38.520 Like it makes me so sad. 1:46:38.320 --> 1:46:43.400 That, Yeah, that's ridiculous. Well that's a bomber. 1:46:43.439 --> 1:46:49.280 I did not know that. However, this movie was obviously 1:46:49.439 --> 1:46:50.400 don't need me to tell you. 1:46:50.520 --> 1:46:51.920 Tremendously successful. 1:46:52.840 --> 1:46:55.800 It was made for less than five million dollars and 1:46:55.920 --> 1:46:58.240 made a quarter of a billion dollars. 1:46:58.760 --> 1:47:00.559 Geez, Louise, Yeah, I. 1:47:01.840 --> 1:47:04.080 Didn't even I didn't realize it was like making its 1:47:04.320 --> 1:47:08.520 budget back eighty times successful, but it absolutely was obviously 1:47:08.640 --> 1:47:12.280 launched an incredible directing career for Jordan Peel, and Jordan 1:47:12.320 --> 1:47:16.160 Peele also produces a lot of a lot of director's 1:47:16.200 --> 1:47:18.320 works as well. It seems like, I mean, whatever, we 1:47:18.360 --> 1:47:21.479 love Jordan Peele. We don't need to belabor that point, 1:47:21.520 --> 1:47:25.439 but that this movie got It also won Jordan Peele 1:47:25.479 --> 1:47:29.760 his first Oscar. He won for Best Original Screenplay, also 1:47:29.800 --> 1:47:33.080 a nomination he got a nomination for Director. I don't 1:47:33.080 --> 1:47:35.320 know who he lost to that year, but the movie 1:47:35.479 --> 1:47:38.160 was nominated for Best Picture, Best Director, Best Actor for 1:47:38.280 --> 1:47:42.840 Daniel Caluia, and Best Original Screenplay, and it won Best 1:47:42.840 --> 1:47:44.400 Original Screenplay. 1:47:44.680 --> 1:47:48.559 And Jordan Peele is the first and only black person 1:47:48.640 --> 1:47:52.280 to win for Best Original Screenplay. I will say there 1:47:52.320 --> 1:47:55.800 are like, I think seven or eight black people who 1:47:55.800 --> 1:47:59.680 have won for Best Adapted Screenplay, So that's got a 1:47:59.720 --> 1:48:02.599 little bit more a little bit more weight behind it. 1:48:02.960 --> 1:48:08.320 I yeah, And I think it's interesting that there's such 1:48:08.320 --> 1:48:12.439 a disparity between original and adapted, and it kind of 1:48:12.520 --> 1:48:15.920 speaks to sort of the fun thing that's happening in 1:48:15.920 --> 1:48:18.840 the industry right now where they want a sure thing, 1:48:19.520 --> 1:48:23.360 and they're like, this thing that was already commercially successful, 1:48:23.560 --> 1:48:26.519 that we can adapt this ip. We will. We will 1:48:26.560 --> 1:48:30.040 take a chance on you to do that because we 1:48:30.120 --> 1:48:32.000 are pretty sure that you can't fuck it up. 1:48:34.080 --> 1:48:38.439 And that's why we don't have enough original stories from 1:48:38.880 --> 1:48:40.880 marginalized filmmakers in general. 1:48:42.240 --> 1:48:45.240 Because it's like Precious. I think the guy who wrote 1:48:45.280 --> 1:48:46.960 Precious based on the novel Push by. 1:48:46.840 --> 1:48:48.080 Sapphire famously based on. 1:48:49.800 --> 1:48:52.600 It's right there on the poster, which I think Sapphire 1:48:52.720 --> 1:48:55.920 like made them include that legally good for her, which 1:48:56.439 --> 1:48:58.639 you know, because the book has a different title and 1:48:58.720 --> 1:49:02.040 it's gonna be forgotten and overshadowed by the movie. And 1:49:02.080 --> 1:49:05.040 I you know what, I more power to her. Yeah, 1:49:05.040 --> 1:49:07.960 But Precious based on novel Push by Sapphire. The guy 1:49:08.000 --> 1:49:10.280 who wrote that was the first black person to win 1:49:10.600 --> 1:49:14.320 Best Adapted Screenplay, and I know that the guy who 1:49:14.320 --> 1:49:18.960 wrote Twelve Years of Slave also won. I think that 1:49:19.080 --> 1:49:23.720 American fiction most recently won. And then two of the 1:49:23.880 --> 1:49:28.519 four writers for Black Clansmen were black as well, and they. 1:49:28.400 --> 1:49:31.040 Won, which is a Jordan Peel produced movie. 1:49:31.280 --> 1:49:35.600 He's everywhere, It's all connected, everywhere, his influence. 1:49:36.240 --> 1:49:39.439 I'm just I'm looking back at the Academy Award page 1:49:39.439 --> 1:49:41.639 from this year, it's always funny. I mean, and I 1:49:41.800 --> 1:49:43.880 like the Shape of Water a lot, but the Shape 1:49:43.880 --> 1:49:46.760 of Water sort of became the Oscar Movie of the 1:49:46.840 --> 1:49:51.200 Year this particular year, where right with all love to 1:49:51.920 --> 1:49:54.200 Giamo del Toro and the Shape of Water a movie 1:49:54.200 --> 1:49:58.960 I very much like, you know, get Out and Ladybird 1:49:59.040 --> 1:49:59.439 and Phantom. 1:49:59.600 --> 1:50:04.040 I mean, come on, I was gunning hard for get 1:50:04.040 --> 1:50:07.000 Out to win Best Picture, and I will admit being 1:50:07.400 --> 1:50:09.960 furious that Shape of Water one instead. 1:50:10.560 --> 1:50:13.320 I mean, yeah, I mean it's not only I mean, 1:50:13.360 --> 1:50:17.639 there's so much like horror movies are so I mean, 1:50:17.680 --> 1:50:21.280 I think get Out kind of changed this narrative. But 1:50:21.600 --> 1:50:25.639 not only is you know, Jordan Peel marginalized director, he's 1:50:25.640 --> 1:50:27.880 also directing a genre film. And I feel like the 1:50:27.920 --> 1:50:32.000 Oscars love to dismiss genre films up until very recently, 1:50:32.960 --> 1:50:36.120 because get Out was so fucking good. 1:50:36.439 --> 1:50:40.519 I think only six horror films have been nominated for 1:50:40.600 --> 1:50:43.120 Best Picture, and Silence of the Lambs is the only 1:50:43.160 --> 1:50:43.960 one that's ever won. 1:50:44.240 --> 1:50:46.920 Yeah, Exorcist too, because we just covered that on the 1:50:46.920 --> 1:50:48.960 The Exorcis the Matreon, But it didn't win. 1:50:49.040 --> 1:50:50.040 It just was nominated. 1:50:50.120 --> 1:50:52.519 Yeah, yeah, I don't think the Issis won anything. 1:50:52.840 --> 1:50:55.400 Yeah, they took away like one our hearts. 1:50:57.080 --> 1:51:00.000 It was nominated for like ten things and won only two. 1:51:00.200 --> 1:51:01.760 I want to say I was kind of surprised I 1:51:01.880 --> 1:51:04.679 was nominated for that much in any case. I mean, 1:51:04.760 --> 1:51:07.840 I like, get Out broke all of these barriers, and 1:51:07.880 --> 1:51:10.800 I feel like it's not very often discussed what a 1:51:10.880 --> 1:51:14.519 huge thing it was for the horror genre as well 1:51:14.640 --> 1:51:17.519 of just like getting all of these I mean, because 1:51:17.600 --> 1:51:21.400 it is a masterpiece and it is better than the 1:51:21.400 --> 1:51:23.120 Shape of Water. Not to pit them against each other, 1:51:23.120 --> 1:51:24.160 but that's what the oscars is. 1:51:25.120 --> 1:51:25.800 Yeah, that's true. 1:51:26.000 --> 1:51:28.599 Yeah, first movie or no, not for it was his 1:51:28.640 --> 1:51:30.280 first movie. It was his directorial debut. 1:51:30.439 --> 1:51:33.000 It was Yeah, he wrote Keanu, he did not direct Kian. 1:51:33.840 --> 1:51:36.519 Yeah, you know, we don't know what Keanu could have 1:51:36.600 --> 1:51:38.680 been had they let Jordan direct. 1:51:38.439 --> 1:51:41.240 His vision would have changed the game. I also thought 1:51:41.280 --> 1:51:44.559 it was this was just nice. I don't I mean, 1:51:44.600 --> 1:51:47.880 I don't know what the deal is with Key and Peele. 1:51:47.880 --> 1:51:49.360 I feel like there's all these theories as to why 1:51:49.360 --> 1:51:54.320 they don't work together anymore. However, get Out was made 1:51:54.439 --> 1:51:58.679 possible by Keeth and Michael Key, and he introduced Jordan 1:51:58.760 --> 1:52:03.160 Peel to a producer director he knew the producer of 1:52:03.240 --> 1:52:07.000 like Donnie Darko, and that was like, how this conversation 1:52:07.040 --> 1:52:10.680 around get Out got started was by his friend and 1:52:10.760 --> 1:52:14.600 collaborator being like, Jordan is obsessed with horror movies. He 1:52:14.640 --> 1:52:16.439 has a lot of great ideas. You should talk to him, 1:52:16.479 --> 1:52:18.840 And that was how get Out sort of came to be. 1:52:19.080 --> 1:52:22.240 So yeah, they had a lunch and Jordan Peel pitched 1:52:22.320 --> 1:52:25.160 get Out to this producer and he like bought the 1:52:25.200 --> 1:52:27.200 pitch at that very moment, and. 1:52:27.760 --> 1:52:31.240 Thank god different times truth, I know, I was like, 1:52:31.280 --> 1:52:32.599 this was ten years ago. 1:52:34.120 --> 1:52:36.800 I actually can very confidently say that the reason that 1:52:36.960 --> 1:52:40.560 Key and Peel don't work together anymore is a disagreement 1:52:40.640 --> 1:52:44.480 over a recipe for chibapyous. 1:52:45.800 --> 1:52:47.519 It was a documentary the whole time. 1:52:48.600 --> 1:52:50.519 What if I had the tea? What if I actually 1:52:50.600 --> 1:52:53.360 had the tea? You know, I think their careers are 1:52:53.400 --> 1:52:56.920 just going in different directions and different people have different priorities. 1:52:56.960 --> 1:53:00.920 And I know the Twitter algorithm is design to torture 1:53:01.000 --> 1:53:03.840 me with speculation as to why they don't work together. 1:53:03.880 --> 1:53:05.960 So maybe it's just always on my mind because the 1:53:05.960 --> 1:53:07.200 algorithm decided that. 1:53:07.840 --> 1:53:09.760 But if anyone knows, let me know. 1:53:09.960 --> 1:53:14.000 Yeah. I love when a movie and I feel like 1:53:14.000 --> 1:53:20.479 this happens, maybe most often with horror thriller type movies, 1:53:20.600 --> 1:53:24.960 but when the audience is so affected by it that 1:53:25.040 --> 1:53:31.360 they become like for example, Fatal Attraction, everyone like being 1:53:31.400 --> 1:53:35.040 so scared of Glenn close and like being afraid that 1:53:35.040 --> 1:53:38.360 that would happen to them, Or the way that like 1:53:38.520 --> 1:53:42.120 Misery made everyone be so afraid of Kathy Baits and 1:53:42.520 --> 1:53:43.439 I the. 1:53:43.400 --> 1:53:46.240 First time I ever saw Kathy Baits on film was 1:53:46.280 --> 1:53:48.200 in the movie Misery when I was twelve. 1:53:48.320 --> 1:53:50.400 Yeah, oh it was now too. 1:53:50.439 --> 1:53:53.840 I was too young and she was too scary, And 1:53:54.680 --> 1:53:56.080 I can't watch Matt Locke. 1:53:55.800 --> 1:54:02.560 Now you watch Titanic, though, But that sentence was a journey. 1:54:02.680 --> 1:54:03.559 This is a journey. 1:54:04.760 --> 1:54:07.599 But just the way that like certain movies will have 1:54:07.640 --> 1:54:11.680 such a cultural impact and like incite fear in so 1:54:11.760 --> 1:54:14.280 many people. I feel like get Out is another one 1:54:14.280 --> 1:54:17.880 of those movies where on like dating apps, for a 1:54:17.920 --> 1:54:20.479 few years after this movie came out, I saw a 1:54:20.520 --> 1:54:23.559 lot of people's profiles be like, if you're a white woman, 1:54:23.840 --> 1:54:27.080 please don't get out me, Like that was a thing, 1:54:27.840 --> 1:54:29.560 so so interesting. 1:54:29.840 --> 1:54:33.200 I don't remember seeing that, which doesn't mean it wasn't there. 1:54:33.320 --> 1:54:35.160 I think I've blocked out a lot of the trauma 1:54:35.200 --> 1:54:36.080 of dating apps. 1:54:37.440 --> 1:54:38.560 They're so traumatic. 1:54:39.280 --> 1:54:42.120 My favorite dating app copy pasta for a while was 1:54:42.520 --> 1:54:44.760 when Game of Thrones was still in the air. It 1:54:44.880 --> 1:54:46.800 was like, oh, I'm just a bastard looking for my 1:54:46.880 --> 1:54:53.440 wild lang and I'm like, okay more, Oh dude, awesome, 1:54:55.000 --> 1:54:58.160 I'm so happy for you. The first time I saw it, 1:54:58.200 --> 1:55:00.360 I chuckled, and then I realized that guy and come 1:55:00.440 --> 1:55:01.240 up with it, and. 1:55:01.160 --> 1:55:02.880 I was like, oh, isn't that. 1:55:02.920 --> 1:55:05.160 It's such as Yeah, every time you're like, oh, that 1:55:05.280 --> 1:55:08.280 man was clever, and you're like, wait a second, that's a. 1:55:08.160 --> 1:55:10.280 Thirty year old movie. I haven't seen. 1:55:10.560 --> 1:55:10.960 Fuck you. 1:55:13.080 --> 1:55:15.800 Yeah, he loves the office, Oh my god, oh. 1:55:15.640 --> 1:55:17.080 Wow, so original? 1:55:17.280 --> 1:55:17.600 Wow? 1:55:18.040 --> 1:55:20.120 Or another Game of Thrones thing is I'm still not 1:55:20.280 --> 1:55:22.000 over the last season of. 1:55:22.040 --> 1:55:23.200 Game of Thrones. 1:55:23.640 --> 1:55:26.960 Oh you and eight million other people shut up say 1:55:28.000 --> 1:55:33.000 yeah that too. Anyway, does anyone have any other thoughts 1:55:33.040 --> 1:55:34.040 about Get Out? 1:55:35.280 --> 1:55:37.800 I want to talk about the music for a second. Yeah, 1:55:37.840 --> 1:55:41.080 because the guy who did the music was the same 1:55:41.080 --> 1:55:42.720 guy who did the music for us, and I talked 1:55:42.760 --> 1:55:45.560 a little bit about him and not. And his name 1:55:45.680 --> 1:55:48.520 is Michael Abels, and I love him. This was his 1:55:48.800 --> 1:55:53.800 first film score ever, nailed it ever in the world. 1:55:54.080 --> 1:55:56.600 He was like a professional composer, but he's just never 1:55:56.600 --> 1:55:57.240 done a film. 1:55:57.080 --> 1:55:59.120 Okay, yeah, yeah, yeah he and he went to like 1:55:59.120 --> 1:56:02.960 the Thornton School of me at USC so he yeah, 1:56:03.000 --> 1:56:06.480 he has the pedigree, he has the talent, and now 1:56:06.480 --> 1:56:10.120 he's a Pulitzer Prize winner. Fun fact, he won the 1:56:10.120 --> 1:56:13.080 Pulitzer Prize for Music in twenty twenty three for an 1:56:13.160 --> 1:56:18.320 opera that he wrote called what is it called? I 1:56:18.320 --> 1:56:20.800 don't think down? What it was called Omar Yes, yeah, 1:56:20.800 --> 1:56:23.960 and it was about Omar ibn said, who was an 1:56:24.040 --> 1:56:28.040 enslaved Muslim man, and he wrote a he wrote an 1:56:28.080 --> 1:56:31.400 autobiography that was primarily an Arabic and it's, I think, 1:56:31.640 --> 1:56:35.480 if not the only, one of the only autobiographies by 1:56:35.520 --> 1:56:37.839 an enslaved person written primarily in Arabic. 1:56:38.360 --> 1:56:38.960 Wow. 1:56:39.040 --> 1:56:42.600 And I think what's interesting about Michael Abels is that, 1:56:43.280 --> 1:56:45.040 you know, he sort of cut his teeth on this 1:56:45.360 --> 1:56:49.640 very successful film. And he is a black composer. And 1:56:49.880 --> 1:56:53.640 if you look at his work on IMDb, he has 1:56:53.920 --> 1:56:57.640 by and large worked on films that tell black stories 1:56:57.720 --> 1:57:00.800 like he worked on See You Yesterday, also worked on 1:57:00.920 --> 1:57:04.080 us and films that have primarily black casts, which I 1:57:04.080 --> 1:57:07.720 think is a really interesting calling card and you know, 1:57:07.800 --> 1:57:11.800 a gift to be able to do not exclusively those. 1:57:11.880 --> 1:57:14.240 He worked on Bad Education, which. 1:57:14.080 --> 1:57:16.320 By that weird HBO movie. I was like, huh is 1:57:16.320 --> 1:57:18.080 that what my friend. 1:57:17.840 --> 1:57:21.360 Wrote that movie? Oh? Really, my friend Mike, who I 1:57:21.400 --> 1:57:24.600 saw it out with. Yeah, my god, white Mike. 1:57:26.440 --> 1:57:29.040 That's so that's wild. 1:57:29.680 --> 1:57:31.000 Yeah, I watched that movie. 1:57:31.120 --> 1:57:33.440 I think that movie came out during the pandemic, right. 1:57:33.480 --> 1:57:34.720 It came out during Lockdown. 1:57:34.800 --> 1:57:36.720 Yeah, I need to rewatch it because I feel like 1:57:36.760 --> 1:57:42.520 I saw it, liked it, memory hold it because Lockdown. 1:57:41.720 --> 1:57:48.240 Yeah, highly recommend am fully biased. But my mom also 1:57:48.360 --> 1:57:49.960 liked it, and she was like, oh my god, tell Mike, 1:57:50.000 --> 1:57:52.880 I'm so proud of him. Hugh jack Finn, I'm telling 1:57:52.960 --> 1:57:53.520 the truth. 1:57:53.600 --> 1:57:55.839 And Jenny Okay, yeah. 1:57:55.680 --> 1:57:57.600 I have no memory of this movie. I'll have to 1:57:57.680 --> 1:57:58.040 check it out. 1:57:58.040 --> 1:58:00.160 We'll talk about That Education well, because it was so 1:58:00.240 --> 1:58:03.320 theatrically released. If you want to talk about it, I 1:58:03.320 --> 1:58:04.280 have an end with Mike. 1:58:06.840 --> 1:58:12.240 Mike, come on the pod. That's fascinating. I didn't realize 1:58:12.280 --> 1:58:14.320 that Michael Abels had gone on to win a Pulitzer 1:58:14.360 --> 1:58:15.760 since we last talked about him. 1:58:15.800 --> 1:58:17.720 That's fucking incredible, and. 1:58:17.680 --> 1:58:21.200 Not the first black opera to win a pullet Serprize, 1:58:21.200 --> 1:58:24.120 which I thought was really interesting. There was one that 1:58:24.200 --> 1:58:25.840 I actually saw, and I'm gonna be really honest, I 1:58:25.920 --> 1:58:29.520 did not like that was about the I think the 1:58:29.600 --> 1:58:32.920 Exonerated five is what they're called now, but the people 1:58:32.960 --> 1:58:36.800 who were accused of that horrible sexual assault in Central 1:58:36.840 --> 1:58:41.400 Park all those years ago and were eventually exonerated because 1:58:41.400 --> 1:58:44.960 they were in fact innocent. But there was an opera 1:58:45.080 --> 1:58:48.800 about that as well that won a Pulitzerprize. So I 1:58:48.800 --> 1:58:50.640 think that it's interesting that there is this sort of 1:58:51.440 --> 1:58:54.680 growing world of black opera telling black stories, and that 1:58:54.720 --> 1:58:59.280 Michael Abels is, you know, out there repin yeah, oh yeah, yeah. 1:58:59.360 --> 1:59:02.840 There's also like I just now that we have three 1:59:02.880 --> 1:59:05.640 Jordan Peel movies too to pull from, Like you can 1:59:05.680 --> 1:59:07.880 see sort of how he has like this repeated motif 1:59:07.920 --> 1:59:11.400 of rabbits in his movies and then like the opening 1:59:11.440 --> 1:59:17.800 song and like the repeated song, yeah. 1:59:16.920 --> 1:59:20.440 Where's the rabbit in No, I don't remember the rabbit. 1:59:20.600 --> 1:59:22.680 I don't know there was a rabbit refer it was not. 1:59:22.920 --> 1:59:25.480 I mean, I feel like US is still the movie 1:59:25.480 --> 1:59:30.440 that obviously references rabbits most heavily. Yeah, because that opening 1:59:30.440 --> 1:59:34.800 shot lives in my mind rent Free all the time. 1:59:35.560 --> 1:59:38.200 But I've said it before and I'll say it again, 1:59:38.440 --> 1:59:41.320 the most upsetting and scary part of the movie US 1:59:41.440 --> 1:59:43.080 was the part at the beginning where they talked about 1:59:43.120 --> 1:59:49.560 all the tunnels creepy. I'm not okay, I don't like it. 1:59:50.120 --> 1:59:56.920 Yeah, it's unsettling. Yeah, as far as the Bechdel test goes, 1:59:58.520 --> 2:00:01.200 I mean, I think the movie Probab passes. I wasn't 2:00:01.240 --> 2:00:03.720 really paying much and Rose and Missy. 2:00:03.760 --> 2:00:07.120 It like lightly passes. Yeah, I think that there's the 2:00:07.120 --> 2:00:10.360 conversation that Missy and Georgina have about how it's like 2:00:10.440 --> 2:00:14.960 you should lie down that passes. But I do think 2:00:15.000 --> 2:00:18.480 the majority of the conversations are about Chris, So I 2:00:18.920 --> 2:00:24.200 don't think Missy and Rose have any one on one conversations. 2:00:24.600 --> 2:00:26.440 I don't think Georgina and Rose have any one on 2:00:26.440 --> 2:00:29.880 one conversations. There just aren't a lot of women also, right, 2:00:30.000 --> 2:00:31.080 there aren't a lot of people. 2:00:31.200 --> 2:00:34.320 To be fair, this is true, but it does feel 2:00:34.440 --> 2:00:39.560 especially glaring knowing that black women were mostly left out 2:00:39.600 --> 2:00:42.320 of this narrative, right, and it just speaks to the 2:00:42.360 --> 2:00:46.920 need of more stories featuring black women and black people 2:00:47.000 --> 2:00:48.560 of marginalized genders. 2:00:48.840 --> 2:00:53.160 And I will say black women are much much more 2:00:53.200 --> 2:00:56.760 at the center of the stories that are in us 2:00:56.840 --> 2:00:58.879 And Nope, yes, for sure. 2:00:59.240 --> 2:01:04.040 Yeah, it's definitely an you know, continued glaring thing throughout 2:01:04.080 --> 2:01:07.600 his filmography. Yeah, so I yeah, And I also, I mean, 2:01:07.680 --> 2:01:09.920 just going back to your original point at the beginning 2:01:09.960 --> 2:01:12.640 of the episode, Krama, it's like, this is a movie 2:01:12.680 --> 2:01:16.640 made by a black men about black men and for everyone, 2:01:16.720 --> 2:01:19.400 but it's like particularly made with that audience in mind. 2:01:19.560 --> 2:01:21.800 And that's you know, we don't have a lot of 2:01:21.840 --> 2:01:22.440 movies like that. 2:01:22.640 --> 2:01:25.200 And yeah, and I think that he gets to tell 2:01:25.200 --> 2:01:28.120 that story, and I'm so glad that he told that story. Yeah, 2:01:28.160 --> 2:01:31.959 and I'm so glad that it resonated on this massive 2:01:32.240 --> 2:01:37.400 global scale where people enjoyed it, people were moved by it, 2:01:37.440 --> 2:01:41.800 people were provoked to think by it regardless of their 2:01:41.800 --> 2:01:43.240 own personal experience. 2:01:43.640 --> 2:01:44.320 Yeah. 2:01:44.920 --> 2:01:49.240 Absolutely. As far as our nipple scale zero to five 2:01:49.320 --> 2:01:54.320 nipples based on examining the movie through an intersectional feminist lens, 2:01:54.880 --> 2:01:57.760 I mean, and maybe this is just how much I 2:01:57.800 --> 2:02:01.200 love this movie coming into play here, but I want 2:02:01.200 --> 2:02:03.400 to give it like four four and a half nipples. 2:02:03.680 --> 2:02:08.240 I do feel like there could have been and should 2:02:08.280 --> 2:02:11.480 have been more inclusion of black women. 2:02:11.280 --> 2:02:12.000 In this narrative. 2:02:12.320 --> 2:02:14.880 Make Little Rall's character, you know, cast a woman in 2:02:14.920 --> 2:02:17.880 that role that's an active participant in the story, who's 2:02:18.400 --> 2:02:22.840 you know, helping and who saves Chris at the end. 2:02:22.920 --> 2:02:26.440 You know, that could have been something or just found 2:02:26.480 --> 2:02:30.040 other ways to include black women more significantly. So with 2:02:30.040 --> 2:02:32.360 that in mind, I think I'll give it four out 2:02:32.360 --> 2:02:35.320 of five. But I just I love this movie so 2:02:35.440 --> 2:02:40.560 much and I think it has so many interesting, important 2:02:40.560 --> 2:02:46.240 things to say, And yeah, four nipples. I'll give one 2:02:46.240 --> 2:02:52.000 to Jordan Peel, I'll give one to Betty Gabriel who 2:02:52.000 --> 2:02:58.200 plays Georgina. I'll give one to Sid the Dog, and 2:02:58.240 --> 2:03:01.320 I'll give my final nipple to the Gremlins. Two sketch 2:03:01.360 --> 2:03:02.360 of k and people. 2:03:05.040 --> 2:03:06.240 I'm going to meet you at four. 2:03:06.680 --> 2:03:07.600 I agree. 2:03:07.640 --> 2:03:09.240 I mean, it's like, because this is a podcast about 2:03:09.240 --> 2:03:13.240 intersectional feminism, it cannot get the full five unfortunately, But 2:03:13.880 --> 2:03:16.879 you know, I think that this is I'm I'm glad 2:03:16.960 --> 2:03:21.120 and encouraged to see that Jordan Peele has centered and 2:03:21.320 --> 2:03:25.280 prioritized black women in the movies that he's made since. 2:03:25.880 --> 2:03:28.840 So I would maybe granted a little more harshly if 2:03:29.000 --> 2:03:31.400 we didn't have the sort of benefit of future knowledge. 2:03:31.440 --> 2:03:34.440 This is not a continued issue in his filmography and 2:03:34.520 --> 2:03:36.600 get Out is just a fucking masterpiece. 2:03:36.960 --> 2:03:37.720 We didn't get into it. 2:03:37.760 --> 2:03:40.280 But I also think it was I'm trying to remember. 2:03:40.320 --> 2:03:42.640 I think it was maybe on the press cycle for Us, 2:03:43.160 --> 2:03:47.760 where there was this expectation that all of Jordan Peele's 2:03:47.760 --> 2:03:50.920 movies were going to be about race, and then US 2:03:51.600 --> 2:03:55.720 wasn't explicitly about race, and it like broke a lot 2:03:55.760 --> 2:03:59.360 of moviegoers' brains where they're like, wait, why are you 2:03:59.400 --> 2:04:01.080 trying to make a move about something else? And he's like, 2:04:01.120 --> 2:04:03.520 because I'm a filmmaker. 2:04:02.720 --> 2:04:05.400 And I have other things I want to talk about. 2:04:05.440 --> 2:04:07.920 And like people were like, but there's black people. 2:04:07.560 --> 2:04:12.840 In it, but it's not explicitly about race, and he's like, yeah, 2:04:12.880 --> 2:04:15.960 Like I yeah, he's he's had to be at the 2:04:16.000 --> 2:04:19.320 center of all of these like obnoxious media press cycles, 2:04:19.360 --> 2:04:21.800 and I just like, also. 2:04:22.200 --> 2:04:24.720 The movie was not about like blackness, but it was 2:04:24.880 --> 2:04:28.600 very explicitly about the idea of stealing land and the 2:04:28.680 --> 2:04:32.320 idea of taking land from Native people, indigenous people in 2:04:32.360 --> 2:04:35.560 this country. Yeah, and how we're living on top of 2:04:35.760 --> 2:04:39.480 them and their second class citizens. Like that was not subtle, 2:04:40.200 --> 2:04:40.960 Absolutely not. 2:04:41.320 --> 2:04:43.160 I mean, and I think that that just like goes 2:04:43.200 --> 2:04:44.840 back to something we've talked about on the show a 2:04:44.880 --> 2:04:49.080 lot of just like when you are a marginalized filmmaker, 2:04:49.080 --> 2:04:52.400 that you are expected to only make stories that reflect 2:04:52.520 --> 2:04:56.640 your specific experience, and that like original stories outside of 2:04:56.680 --> 2:05:00.240 your own experience that references your own experience in the 2:05:00.280 --> 2:05:02.720 way that like an executive would expect is. 2:05:02.640 --> 2:05:06.040 Not permissible or is like this. 2:05:06.040 --> 2:05:11.120 Radical act when it's like, no, that's just what filmmakers do, 2:05:11.520 --> 2:05:17.280 and it's not an opportunity that's given to enough marginalized filmmakers. 2:05:18.760 --> 2:05:22.080 So anyways, just Jordan Peel fucking rocks. I like, his 2:05:23.120 --> 2:05:27.400 movies are so distinct, and get Out is probably one 2:05:27.400 --> 2:05:32.920 of the old timer like directorial debuts. It's it's ridiculous, 2:05:33.080 --> 2:05:37.040 it's it's unfair, it's fucked up. He's so good. So 2:05:37.080 --> 2:05:41.320 I'm gonna give it four nipples. I'm gonna give two 2:05:41.400 --> 2:05:46.640 to Jordan Peel, one to Daniel Cleia because it's just 2:05:46.880 --> 2:05:51.520 like the wildest performance, and I'll I'll also give one 2:05:51.560 --> 2:05:52.960 to Betty Gabriel. 2:05:53.080 --> 2:05:56.800 Nice I am. I'm gonna come in a little lower 2:05:56.840 --> 2:05:59.320 than you guys on the nipple scale. I'm gonna give 2:05:59.360 --> 2:06:02.040 it three nips. I was going to start with one, 2:06:02.120 --> 2:06:04.240 but then I heard you guys out and I was like, okay, 2:06:04.280 --> 2:06:07.040 they have points, they have points. Let me, let me, 2:06:07.160 --> 2:06:10.160 let me readjust so I'm going to do three nipples. 2:06:10.600 --> 2:06:15.880 I think that through the lens of intersectional feminism, the 2:06:15.920 --> 2:06:20.240 best thing that this film does is lambast the weaponization 2:06:20.560 --> 2:06:25.040 of white womanhood, and that is like that was always 2:06:25.040 --> 2:06:26.680 going to get one of the nipples. I think it 2:06:26.720 --> 2:06:30.720 does a great job at that, and it is very 2:06:31.080 --> 2:06:35.400 unflinching in its ability to do that. I'm going to 2:06:35.440 --> 2:06:39.120 give a nipple to Daniel Kluya because I've loved him 2:06:39.160 --> 2:06:43.560 since his days is Posh Kenneth on Skins, which fun fact, 2:06:43.560 --> 2:06:45.800 he also wrote an episode of Skins. 2:06:45.840 --> 2:06:48.720 Really not kidding, God, he's so fucking cool. I forgot. 2:06:48.760 --> 2:06:50.280 I was like, where did I think I had I 2:06:50.320 --> 2:06:51.760 had first seen him in Black Mirror. 2:06:52.760 --> 2:06:57.880 Yes, yeah, And then I will give my final nipple 2:06:57.960 --> 2:07:01.440 to Georgina's no no, no, no no scene. 2:07:02.360 --> 2:07:03.240 It's so good. 2:07:03.600 --> 2:07:07.280 I love a scene that just really stands out, and 2:07:07.360 --> 2:07:10.480 it's kind of up there for me with Viola Davis 2:07:10.480 --> 2:07:13.800 in Doubt, which interesting that they both involve a black 2:07:13.840 --> 2:07:16.520 woman crying but stand out performances. 2:07:16.800 --> 2:07:17.520 Yeah. 2:07:17.840 --> 2:07:20.200 Absolutely, Well, we haven't brought up doubt in a while 2:07:20.240 --> 2:07:20.720 on the show. 2:07:21.400 --> 2:07:23.400 I love about times what I'm here for now. 2:07:24.480 --> 2:07:27.440 We found it. We found it in the eleventh hour. 2:07:27.560 --> 2:07:28.640 We brought it back to doubt. 2:07:30.240 --> 2:07:33.720 All roads on the podcast lead back to Titanic, Shrek 2:07:33.920 --> 2:07:34.600 or doubt. 2:07:34.400 --> 2:07:35.880 And occasionally a doubt. 2:07:37.080 --> 2:07:40.160 Just word saying Alfred Molina could have been in this movie, 2:07:40.400 --> 2:07:42.160 but I'm just assuming he was busy. 2:07:42.560 --> 2:07:45.400 I feel like he also could have been not Jim Henson, 2:07:45.520 --> 2:07:46.440 but Jim Hudson. 2:07:46.880 --> 2:07:48.879 Oh yeah, yeah. 2:07:49.000 --> 2:07:51.720 Again, we want a disabled actor to play a disabled character. 2:07:51.760 --> 2:07:55.280 But if they were gonna cast a draw non disabled actor, 2:07:55.520 --> 2:07:57.760 Alfred Molina, Yeah, there you go. 2:07:57.920 --> 2:08:00.360 Yeah, I mean, I you know, let's let's speak it 2:08:00.400 --> 2:08:03.520 into an existence, a Jordan Peel al Ford Molina collaboration. 2:08:03.680 --> 2:08:05.640 It's not a question of if, it's a question of when. 2:08:06.640 --> 2:08:09.760 And I personally can't wait for when. 2:08:11.680 --> 2:08:13.800 Yes, well, Karama, thank you so much for joining us 2:08:13.840 --> 2:08:15.200 once again. Come back anytime. 2:08:15.320 --> 2:08:17.000 Thank you so much for having me again. 2:08:17.240 --> 2:08:20.600 Oh we love having you. Tell us where people can 2:08:20.840 --> 2:08:23.200 follow you online and check out your work. 2:08:23.600 --> 2:08:28.360 I am at Karama Drama on all platforms including Yes, 2:08:28.400 --> 2:08:30.800 I'm back on Twitter. I came crawling back. 2:08:32.160 --> 2:08:33.120 I there with you. 2:08:33.320 --> 2:08:35.080 I had a thought about yogurt and I had no 2:08:35.080 --> 2:08:39.760 one to tell it too, so I wish I were joking, 2:08:39.840 --> 2:08:42.760 but that's what brought me back. I was like, strawberry 2:08:42.840 --> 2:08:45.440 yogurt is that bitch, and no one can tell me otherwise. 2:08:45.680 --> 2:08:48.480 You're like, Okay, I'm reactivating. I'm reactivating. 2:08:50.400 --> 2:08:54.600 So Karama Drama on Twitter, Instagram occasionally TikTok, but really 2:08:54.640 --> 2:08:57.360 not really it's too much, man. 2:08:57.440 --> 2:09:00.360 I'm too I'm too fucking old. I'm not doing it. 2:09:00.600 --> 2:09:03.600 I'm not I'm a watcher. I'm just not a creator. 2:09:03.680 --> 2:09:06.320 I don't have it in me. That's I am like 2:09:06.600 --> 2:09:09.520 a plus commenter though, I feel like my comment game 2:09:09.720 --> 2:09:13.080 on point. So if you follow me, I'll comment on 2:09:13.160 --> 2:09:16.600 your stuff. Where can they find you, guys? 2:09:17.000 --> 2:09:18.680 Oh my gosh. 2:09:18.000 --> 2:09:18.240 Thanks. 2:09:18.720 --> 2:09:22.720 You can follow me at Caitlin Durante on Instagram and 2:09:23.840 --> 2:09:27.160 you can follow us on Beachtel Cast also on Instagram 2:09:27.440 --> 2:09:33.840 and our Patreon slash Maytreon. Two episodes a month, it's 2:09:33.880 --> 2:09:35.640 five dollars a month and it's always on a fun 2:09:35.640 --> 2:09:37.680 little theme that Jamie and I cook up. 2:09:37.880 --> 2:09:40.520 Yes, that's less than a latte, honestly, a. 2:09:40.520 --> 2:09:44.080 Steal, exactly exactly. And you get our back catalog of 2:09:44.120 --> 2:09:46.000 over one hundred and fifty episodes. 2:09:46.680 --> 2:09:47.240 It's a blast. 2:09:47.240 --> 2:09:51.640 We've been having fun over there. We just are finishing 2:09:51.720 --> 2:09:54.160 up horror movies. We just covered The Exorcist, which is 2:09:54.160 --> 2:09:56.640 why exercise the Exorcises top of mind. We did the 2:09:56.680 --> 2:09:59.680 exercise and Pearl Over in the Matreon this month. If 2:09:59.760 --> 2:10:02.520 you to check it out, it's a blast over there. 2:10:02.880 --> 2:10:05.560 You can get merch at teapublic dot com slash the 2:10:05.720 --> 2:10:08.720 Bechdel Cast, which is the name of the podcast. I 2:10:08.840 --> 2:10:14.760 just almost said it wrong, and uh with that, all 2:10:14.800 --> 2:10:16.320 hail the TSA. 2:10:16.200 --> 2:10:23.080 Yes, Wow, yes, bye bye. 2:10:23.920 --> 2:10:27.160 The Bechdel Cast is a production of iHeartMedia, hosted by 2:10:27.240 --> 2:10:31.160 Caitlin Derante and Jamie loftis produced by Sophie Lichterman, edited 2:10:31.240 --> 2:10:34.400 by Mola Board. Our theme song was composed by Mike 2:10:34.520 --> 2:10:38.880 Kaplan with vocals by Katherine Voskressenski. Our logo in Merch 2:10:39.040 --> 2:10:42.000 is designed by Jamie Loftis and a special thanks to 2:10:42.040 --> 2:10:46.480 Aristotle Acevedo. For more information about the podcast, please visit 2:10:46.520 --> 2:10:48.080 link tree slash Bechdel Cast