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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson, and.

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Speaker 1: We're film lovers ready to pour out our hearts to you.

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Speaker 2: I didn't know that. I was not prepared to pour

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Speaker 2: my heart out, but I'll do it. Sometimes.

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Speaker 1: I'm like, try like whatever, I like start the podcast,

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Speaker 1: I'm like, what is something that is going to come.

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Speaker 2: Up later in the episode?

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Speaker 1: And then I try too hard and then it comes

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Speaker 1: out like garbage.

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Speaker 2: But you know, well, I'm excited to see maybe there

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Speaker 2: will be.

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Speaker 1: A pouring of hearts out at some point in the episode.

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Speaker 2: Oh gotch uh, we can make it happen. Yeah, what's

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Speaker 2: what's happening with you? And I'd take.

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Speaker 3: Carrot into the vet this morning for his annual, just routine,

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Speaker 3: annual checkup.

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Speaker 2: Oh yeah, and.

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Speaker 3: It was fucking mayhem, Like I'm constantly bringing cats to

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Speaker 3: the vet now, yeah, but Carrot, of all the cats,

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Speaker 3: Carrot hates going to the vet the most and he

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Speaker 3: always has.

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Speaker 2: So I got up. It's like really early.

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Speaker 3: I tried to give him a Gama pent and he

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Speaker 3: spit it right the fuck out, spit like two of

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Speaker 3: them out.

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Speaker 2: Oh.

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Speaker 3: I just not having it. Finally just picked him up

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Speaker 3: and in a blanket. I had to like hannibal lecter him,

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Speaker 3: like I had to wrap him up in a blanket,

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Speaker 3: put him on a hand cart, hold his mouth and

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Speaker 3: put him on a hand cart, and like put him

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Speaker 3: in in his little bags a little crep yeah, and

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Speaker 3: he was just like even the VET texts were laughing

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Speaker 3: their ass off.

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Speaker 2: When we got it, because it's a.

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Speaker 3: Soft bag, like one that you can put on an airplane,

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Speaker 3: and so he was like bumping his head up against

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Speaker 3: the top of it like it looks like that scene

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Speaker 3: from Alien, Like he's gonna come popping out any second now.

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Speaker 2: He was fury.

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Speaker 1: Oh my gosh.

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Speaker 3: The last time I took him, he's actually the last

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Speaker 3: two times I took him to the VET, he shit

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Speaker 3: in the bag, like he just shit.

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Speaker 2: He was so mad.

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Speaker 3: I know this time he didn't shit, so and but

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Speaker 3: he has gained three pounds this year.

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Speaker 2: So the bet was like, oh.

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Speaker 3: We're not we're not morbidly obese, but we're approaching obese.

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Speaker 2: So you gotta cut that food down.

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Speaker 3: And I was like, bitch, you're talking to both of

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Speaker 3: us right now.

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Speaker 1: Do you feed him like is he a grazer like Sophie,

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Speaker 1: my dog is. You know, I can put out a

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Speaker 1: bowl of food and she just kind of like hits

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Speaker 1: it every once in a while.

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Speaker 2: Yeah. I know.

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Speaker 1: Some animals you can't do that because they will literally

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Speaker 1: eat themselves to death if you put food in front

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Speaker 1: of him.

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Speaker 2: That's carrot is it? Okay, that's carrot beans.

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Speaker 3: Baxter Henderson will eat himself to fucking puking if you leave.

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Speaker 2: A bowl out all day.

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Speaker 3: Yeah, and he gets so excited to eat in the

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Speaker 3: morning that sometimes he pukes because he's just so excited

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Speaker 3: to eat.

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Speaker 1: Oh my god, I know the feeling, to be honest.

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Speaker 2: So he is not a grazer.

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Speaker 3: But I also I switched him to this like quote

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Speaker 3: unquote healthy cat food, like a male delivery healthy cat food,

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Speaker 3: and I think that's why he's gained so much weight.

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Speaker 3: They're like, yeah, sometimes that stuffs good for their digestion,

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Speaker 3: but it packs on the pounds. And I'm like, for

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Speaker 3: an animal that sleeps twenty out of twenty four hours

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Speaker 3: a day, I cannot be giving him food that actively

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Speaker 3: packs on the pounds. So we might be switching from

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Speaker 3: his fancy food to like something else.

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Speaker 1: Now, let me ask you this, Does he like get

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Speaker 1: pissed off when you don't give him the food? Like,

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Speaker 1: is he on a schedule?

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Speaker 2: Yeah, of course he's on a tight fucking schedule.

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Speaker 3: And he usually wakes up when I wake up, and

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Speaker 3: I thankfully I wake up early, so I don't like

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Speaker 3: catch him being too shitty about it. But he wakes

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Speaker 3: up and immediately has to eat immediately, so I feed

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Speaker 3: him right away. And then during the day he'll come

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Speaker 3: down and yell at me for snacks, and I give him,

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Speaker 3: like again, a healthy one or two healthy snacks, like

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Speaker 3: he's not sucking down cheer rus a day or like

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Speaker 3: like an ice cream cones all day. Like it just

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Speaker 3: a couple of healthy snacks, and then he eats dinner

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Speaker 3: around five.

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Speaker 2: Yeah, and he's on point.

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Speaker 3: But what I also, I think, what I have to

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Speaker 3: stop doing for my own benefit so he's not like

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Speaker 3: in my face every day at three o'clock in the morning.

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Speaker 2: I give him a.

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Speaker 3: Little bit of dry food, just like a little scoop

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Speaker 3: of dry food every night before I go to bed,

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Speaker 3: so you can like graze at night. Yeah, And I've

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Speaker 3: been doing that for years, and he was, you know,

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Speaker 3: steady fourteen pounds for years. So I think it's the

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Speaker 3: new food plus the snacking and yeah, it's just it's

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Speaker 3: gonna be Mayhem.

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Speaker 2: It was Mayhem.

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Speaker 3: He's thankfully not pissed off at me. We had a

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Speaker 3: nice little cuddle when we got home.

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Speaker 1: It's Kille.

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Speaker 3: I'm like, you leave the house once a fucking year. Yeah,

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Speaker 3: and it's a disaster.

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Speaker 1: Yeah, I think the only real manipulation that my dog performs. Okay,

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Speaker 1: this is outrageous, by the way. I like, I'm about

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Speaker 1: to say this, and I'm like, I'm I'm not going

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Speaker 1: to embarrass myself, but like, so she's obsessed with these

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Speaker 1: expensive beef jerky called the Chomps.

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Speaker 2: You are not beating that dog. Chomps.

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Speaker 3: Chomps are like fourteen dollars for six fucking things at Target.

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Speaker 1: No shit. And I'm like, I am like, why did

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Speaker 1: this start? I don't even remember how it started. Well,

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Speaker 1: actually I do know how it started, because when I

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Speaker 1: was on the whole thirty like many years ago, right,

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Speaker 1: I was researching snacks that do not have sugar, and

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Speaker 1: there's very little out there, right, but I realized that

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Speaker 1: there's this brand Chomps that has no sugar in their

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Speaker 1: beef jerky, and I was like, fuck it, let's buy

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Speaker 1: a whole thing. I saw him at Trader Joe's.

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Speaker 2: I was like, let's go. Absolutely.

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Speaker 3: I did the same fucking thing when I did a

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Speaker 3: whole thirty, same fucking thing.

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Speaker 1: And there was only maybe like two things that came

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Speaker 1: out of that whole thirty experiences. I've talked about one

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Speaker 1: of them once, Like one is that I stopped drinking

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Speaker 1: sugar in my coffee, which is fantastic. But the other

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Speaker 1: is that I now eat these chomps like snacks all

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Speaker 1: the time. So I think once I started eating those

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Speaker 1: chomps and they were in the house, Sophie just was

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Speaker 1: like is that for me? And I'm like, yeah, why

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Speaker 1: would that be for you? She's like, because it looks

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Speaker 1: like a dog tree. I mean it's a stick of

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Speaker 1: beef jerky. It looks like a fucking bully stick. And

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Speaker 1: she just was like she when the minute it came

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Speaker 1: out of the little wrapping, she was like, what, like

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Speaker 1: an alarm went off? Like I said, she's a grazer.

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Speaker 1: She's not really going towards food in that kind of way.

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Speaker 1: So I was like, Wow, she really wants this beef

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Speaker 1: jerkey and then so I gave her a little bit

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Speaker 1: of a nibble, and then it just went from there.

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Speaker 2: There you go.

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Speaker 1: So now I buy these fucking expensive ass beef jerky

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Speaker 1: sticks and pretty much give.

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Speaker 2: Them to her.

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Speaker 1: So she's eating like a two dollars and fifty cent stick, okay,

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Speaker 1: like multiple times a day.

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Speaker 3: Also, I know for a goddamn fact that you give

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Speaker 3: this dog on occasion, I don't know how regularly, but

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Speaker 3: you also give this dog restaurant chicken nuggets.

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Speaker 2: Yes, this is why you and getting a.

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Speaker 3: Job, because you're like Joan Crawford in my movie Today.

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Speaker 2: You're like, I have to keep my child in the

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Speaker 2: lifestyle for which she is accustomed.

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Speaker 1: My dog is veda, is what you're saying.

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Speaker 2: Dog is Veda.

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Speaker 3: You're like, I gotta get this dog fancy chicken nuggets

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Speaker 3: and chomp sticks.

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Speaker 2: Yes, I'm like, I feel I feel the pressure out

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Speaker 2: of house.

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Speaker 1: And home because of her expense. Okay, let's get down

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Speaker 1: to it. She eats these really expensive chomps. I will

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Speaker 1: literally buy her restaurant chicken nuggets, Like like, if I'm

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Speaker 1: out at a restaurant and they have a chicken nugget thing,

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Speaker 1: I'll buy.

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Speaker 2: Them for her.

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Speaker 1: She also eats Indian food.

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Speaker 2: I don't know why. I don't know why she loves

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Speaker 2: Indian food. Sophie's living forever, that's all I can say.

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Speaker 1: Not the super spicy stuff. But she loves like, you know,

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Speaker 1: like whatever, like what do you call it? Butter chicken

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Speaker 1: like or you know whatever. And she loves pasta. I

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Speaker 1: think it's like a tomato. She was like tomato sauce dishes.

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Speaker 1: I don't know what it is. But yeah, there are

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Speaker 1: times where I've made dinner for myself and then I

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Speaker 1: give her.

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Speaker 2: A plate because I'm like, she wants it.

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Speaker 1: I don't know why, and I think it's because I'm like,

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Speaker 1: she doesn't eat that much. I'm not seeing her eat

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Speaker 1: that much, so I'm like, maybe she's starving.

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Speaker 2: Let me give her this expensive show.

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Speaker 3: Also, she's older, so you want to spoil her a

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Speaker 3: little bit. Because she's older, she's had some health stuff.

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Speaker 3: But yes, let me tell you twenty twenty four rude

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Speaker 3: awakening for Sophie.

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Speaker 2: MO. MA ain't got it like that anymore. You can't

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Speaker 2: be given this dum.

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Speaker 1: We're gonna have to go back to wonderbread and peanut

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Speaker 1: butter because this shit.

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Speaker 2: Ain't happening, Like you're on alpo.

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Speaker 3: Fuck Purina even lower, I've had her alpo.

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Speaker 2: In a hot minute, You're going in that.

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Speaker 3: White can that just says dog food and black, like Lost,

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Speaker 3: like the TV show Lost when they would drop food

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Speaker 3: from the Darma Initiative, Like Sophie's getting some Darma initiative

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Speaker 3: dog food this year.

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Speaker 2: Momma ain't got it like that anymore?

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Speaker 1: Do you think about this sometimes? Like think about the

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Speaker 1: ways in which like we were children and we own pets, Like,

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Speaker 1: doesn't that look like straight up fucking abuse in the

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Speaker 1: modern era? Like the way that people treated their animals

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Speaker 1: in the eighties.

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Speaker 3: You're like, what, there has been such a fucking turnaround

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Speaker 3: and like in our lifetime and it's great, but it's

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Speaker 3: shocking because.

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Speaker 2: When I had a cat.

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Speaker 3: I had a cat when I was a kid, and

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Speaker 3: its name was Rambo, and I tried to let it

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Speaker 3: sleep in my room once. I think I wrote about

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Speaker 3: this in my book, Like I tried to let it

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Speaker 3: sleep in my room once and it shit in my

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Speaker 3: bed and I rolled over on it had shit on

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Speaker 3: my back.

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Speaker 2: At breakfast the next morning and everyone was making fun

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Speaker 2: of me.

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Speaker 3: I saw that cat like four times total like that

225
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Speaker 3: cat was an outdoor cat would come around sometimes I

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Speaker 3: didn't really have a cat.

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Speaker 2: I kind of saw a cat sometimes. Yeah, Like we.

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Speaker 3: Didn't even keep track of our fucking pets back then.

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Speaker 2: They were out out of rum spring every fucking day.

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Speaker 1: We would literally like open the door let our family

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Speaker 1: dog out. That dog was like traversing the neighborhood, went

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Speaker 1: into like it would go into like there was a

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Speaker 1: church behind our house. It would go into the field

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Speaker 1: of the church where they had horses and like roll

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Speaker 1: around in horse shit and then come back like but

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Speaker 1: that dog was gone for like thirty forty five minutes.

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Speaker 1: There was no care in the world about this dog,

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Speaker 1: like skanky dog, no bath like eaten alpo, like there's

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Speaker 1: no there's no two dollars and fifty cent chomp.

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Speaker 3: I see a single person give a dog a bath.

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Speaker 3: Until nineteen ninety three, Oh yeah, no one was bathing

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Speaker 3: dog unless it was like like one hundred percent like

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Speaker 3: that you can't do that on television.

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Speaker 2: Sludge pipe full of shit fell on them. Then maybe

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Speaker 2: people would bathe them.

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Speaker 1: And then it was always like outside with the hose.

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Speaker 1: Al was a hose hose and off.

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Speaker 3: Truly outside with a hose, like fucking silk wood shower

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Speaker 3: was the best.

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Speaker 2: The dog was gonna get I now.

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Speaker 1: Man, Like I talk about that with my sister all

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Speaker 1: the time, because my sister was super aggressive. She like

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Speaker 1: hugged the dog constantly. She was like one of those

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Speaker 1: little kids that was like obsessed with the dog and

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Speaker 1: just like wanted to squeeze it all the time and

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Speaker 1: hung it, and the dog was like, get the fuck

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Speaker 1: off me. So anytime she.

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Speaker 2: Was around, the dog would like run under the bed

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Speaker 2: and then.

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Speaker 1: She would grab it by the tail and pull it

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Speaker 1: out from under the bed.

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Speaker 2: And be like love me, love me.

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Speaker 3: See, this is why Sophie gets played topasta because you

264
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Speaker 3: had that guilt. Oh yeah, because we had a dog

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Speaker 3: in the eighties.

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Speaker 1: Simply because I had a dog in the eighties.

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Speaker 2: Sock in the eighties.

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Speaker 1: Now I give this dog a full Indian buffet.

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Speaker 3: Oh good, So holy shit, Well this is look, it's

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Speaker 3: all for the best. We don't need to call Sarah

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Speaker 3: McLaughlin in arms of an Angel, which apparently is the

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Speaker 3: thing I'm gonna reference all year. How many times I've

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Speaker 3: got from Coco Beware to Sarah McLaughlin. Nice shift as

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Speaker 3: you do, but I'm happy to see it, but I'm

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Speaker 3: also furious to see it. Like we now treat our

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Speaker 3: pets better than we treat most human beings.

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Speaker 2: Yeah, but that's a grift.

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Speaker 3: That's a grift that pets have somehow pulled off in

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Speaker 3: our lifetime.

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Speaker 1: Yeah, well, carrot. I'm glad that carrot is healthy. I'm

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Speaker 1: glad he's uh, you know, back at it. And you

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Speaker 1: know that's that's what happens when you love something.

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Speaker 2: He's back on his bullshit.

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Speaker 3: He's gonna rip my face to ribbons when he realized

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Speaker 3: he's getting less food. But for now, take a look,

286
00:12:35,520 --> 00:12:38,199
Speaker 3: because he's gonna start fucking my shit up on a

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Speaker 3: routine basis. We're going to go through some tough times here.

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Speaker 2: Speaking of loving something.

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Speaker 1: M I love this email that we got ooh from

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Speaker 1: one of our listeners. I was hoping that maybe you'd

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Speaker 1: want to take a crack at it.

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Speaker 2: Yeah, read it out.

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Speaker 1: Okay, So this is from LeeAnne. She her pronouns. The

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Speaker 1: title of the email is a Mary fuck kill for

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Speaker 1: the ages, one for M and one for me. I mean,

296
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Speaker 1: that's fantastic, but let's up top address this for our

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Speaker 1: generation and for our purposes.

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Speaker 2: It is always fuck Mary Kill.

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Speaker 1: Yeah, so yeah, I was. That is a question that

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00:13:22,640 --> 00:13:26,360
Speaker 1: I've had ever since we started these shenanigans. Is the

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00:13:26,480 --> 00:13:30,200
Speaker 1: variations of this I have noted as fuck Mary Kill,

302
00:13:30,640 --> 00:13:31,920
Speaker 1: but I see Mary fuck kill.

303
00:13:32,040 --> 00:13:35,240
Speaker 3: I don't co sign the variations the same way that

304
00:13:35,320 --> 00:13:38,360
Speaker 3: I saw on Instagram. Is on Instagram ad for a

305
00:13:38,520 --> 00:13:42,320
Speaker 3: vibe ring and it was a fucking mood ring. We're

306
00:13:42,320 --> 00:13:47,360
Speaker 3: not updating everything. Aha, it's a fucking mood ring and

307
00:13:47,400 --> 00:13:50,000
Speaker 3: it's fuck Mary Kill. But Leanne I will let that

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Speaker 3: go and not just Leanne because we get a few

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Speaker 3: that are like out of order.

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Speaker 1: Well, I'm about to blow your fucking mind. Oh my god,

311
00:13:56,280 --> 00:13:59,400
Speaker 1: because the first the first sentence of this email, it starts,

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Speaker 1: hello friends. I've been playing Mary fuck Kill with girlfriends

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Speaker 1: for years.

314
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Speaker 2: We call it.

315
00:14:05,920 --> 00:14:10,040
Speaker 1: I do do you you die?

316
00:14:11,360 --> 00:14:14,080
Speaker 2: Mmmm? That's a lot. That's a lot.

317
00:14:16,160 --> 00:14:18,320
Speaker 1: I do do you do that? See, that's that's a ton.

318
00:14:18,360 --> 00:14:20,680
Speaker 2: I can't do it. I do do you Die? I can't. Yeah,

319
00:14:20,680 --> 00:14:21,560
Speaker 2: I can't. That's a lot.

320
00:14:21,920 --> 00:14:25,200
Speaker 1: No disrespectfully, am, I'm just saying I feel like maybe

321
00:14:25,280 --> 00:14:27,680
Speaker 1: you and your girlfriends have better speech patterns.

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00:14:27,920 --> 00:14:29,800
Speaker 2: Yeah, I have better diction than we do.

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Speaker 1: Yeah, Okay, continuing on, after listening to your podcast, since

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00:14:36,040 --> 00:14:39,000
Speaker 1: Karen and Georgia set you out into our world, I

325
00:14:39,040 --> 00:14:42,480
Speaker 1: have accumulated a little knowledge about what you hate and

326
00:14:42,520 --> 00:14:46,760
Speaker 1: what you'd quote unquote hit. It all comes down to this.

327
00:14:47,120 --> 00:14:50,920
Speaker 1: I have an MFK for you. Okay, here it goes,

328
00:14:51,400 --> 00:14:55,040
Speaker 1: and it basically is something tailored towards you, Danielle, and

329
00:14:55,040 --> 00:14:57,280
Speaker 1: something Taylor towards me. But I say that we answer

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Speaker 1: them both.

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Speaker 2: Okay, okay, yeah, all.

332
00:14:59,280 --> 00:15:01,680
Speaker 1: Right, And then the end of the email says thank

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00:15:01,720 --> 00:15:04,160
Speaker 1: you for the laughter and the film learnings. Millie, some

334
00:15:04,240 --> 00:15:07,360
Speaker 1: wonderful employer will scoop you up soon. And Danielle, please

335
00:15:07,360 --> 00:15:10,040
Speaker 1: save this Hudson Valley fledgling writer a room in your

336
00:15:10,080 --> 00:15:15,840
Speaker 1: future artist retreat. You're simply the best. Lean Okay, first

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00:15:15,840 --> 00:15:18,840
Speaker 1: of all, I'm calling it an FMK. I know Leanne

338
00:15:18,840 --> 00:15:23,440
Speaker 1: you're saying MFK. Can't do it FMK. So Danielle, your

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00:15:23,600 --> 00:15:29,000
Speaker 1: FMK from Leanne is as follows. Fuck Mary Kill, Kevin Klein,

340
00:15:30,000 --> 00:15:32,720
Speaker 1: Steve Buscemi, and Gregory Peck.

341
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Speaker 3: Only Millie can see my face right now, Livid live

342
00:15:39,120 --> 00:15:46,000
Speaker 3: in This is the meanest fucking thing that anyone has

343
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Speaker 3: ever said.

344
00:15:47,320 --> 00:15:49,720
Speaker 2: To me in my life, she.

345
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Speaker 1: Went for the jug.

346
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Speaker 2: She really is the cruelest experience.

347
00:15:54,800 --> 00:15:57,600
Speaker 3: And I was an abused child on welfare and this

348
00:15:57,640 --> 00:15:58,760
Speaker 3: is the meanest fucking thing.

349
00:15:58,640 --> 00:15:59,480
Speaker 2: That ever happened.

350
00:16:02,040 --> 00:16:06,400
Speaker 3: I was a neglected, abused child, and this tops the list.

351
00:16:07,240 --> 00:16:09,160
Speaker 3: At the end of my life when people are you know,

352
00:16:09,160 --> 00:16:13,520
Speaker 3: when I meet whatever cosmic force I'm gonna meet, like, oh,

353
00:16:13,560 --> 00:16:14,960
Speaker 3: how is your life, I'll be like, you know what

354
00:16:15,040 --> 00:16:18,840
Speaker 3: happened to me in March of twenty twenty four, The

355
00:16:18,880 --> 00:16:21,360
Speaker 3: meanest fucking thing in my life.

356
00:16:21,720 --> 00:16:24,160
Speaker 1: I feel like for you, this is the Sophist of

357
00:16:24,200 --> 00:16:26,360
Speaker 1: Sophie's choices, Like, this is really rough.

358
00:16:26,920 --> 00:16:29,880
Speaker 3: I almost want to refuse to answer, but I won't.

359
00:16:32,280 --> 00:16:36,160
Speaker 3: I almost want to plead the fifth. That's how hard

360
00:16:36,200 --> 00:16:36,960
Speaker 3: this is for me.

361
00:16:37,560 --> 00:16:39,720
Speaker 1: Should we say that this is a definitive answer or

362
00:16:39,760 --> 00:16:42,400
Speaker 1: should we say is this like flexible?

363
00:16:42,720 --> 00:16:46,360
Speaker 3: This is flexible? Okay, Okay, this has to be flexible. Okay,

364
00:16:46,400 --> 00:16:48,440
Speaker 3: here's where I'm going with this. Here's how I'm gonna

365
00:16:48,480 --> 00:16:54,040
Speaker 3: do this. Okay, I'm going to fuck Gregory Peck.

366
00:16:56,040 --> 00:16:59,080
Speaker 2: What I mean, come on, we all know why, We've

367
00:16:59,120 --> 00:17:06,880
Speaker 2: all heard the episode. Destroy would absolutely destroy that old man.

368
00:17:08,800 --> 00:17:11,760
Speaker 1: You know, I gotta say in my movie this week,

369
00:17:12,440 --> 00:17:14,880
Speaker 1: Gregory Peck's hotness gets brought up.

370
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Speaker 3: It does like immediately, like first five minutes of the movie.

371
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Speaker 1: I'm like, that's fucked up. So I see it. I

372
00:17:24,600 --> 00:17:27,879
Speaker 1: see why you would fuck him, because it's only like

373
00:17:27,920 --> 00:17:30,000
Speaker 1: you've been talking about it for like three or four

374
00:17:30,119 --> 00:17:31,200
Speaker 1: years at this point.

375
00:17:31,520 --> 00:17:35,640
Speaker 2: I mean, he's a high asked gentleman, to my knowledge,

376
00:17:35,680 --> 00:17:38,320
Speaker 2: as the time of his recording and as of the

377
00:17:38,359 --> 00:17:41,480
Speaker 2: time of his death, didn't do anything supremely fucked up.

378
00:17:42,040 --> 00:17:44,120
Speaker 1: He's got a rumble.

379
00:17:44,760 --> 00:17:48,720
Speaker 2: Got a rumbling voice, good head of hair. I'm gonna

380
00:17:48,720 --> 00:17:52,880
Speaker 2: fuck him into dust. Gregory Peck. That's how you're going

381
00:17:52,960 --> 00:17:54,679
Speaker 2: out if you come back from the dead, That's how

382
00:17:54,720 --> 00:17:57,600
Speaker 2: you're going out. Okay, that's totally fair.

383
00:17:58,000 --> 00:18:03,200
Speaker 3: I'm going to Mary Steve yure Semi.

384
00:18:03,640 --> 00:18:09,680
Speaker 2: Oh no, I'm so fucking mad right now.

385
00:18:09,720 --> 00:18:12,480
Speaker 3: I cannot even stand this, but I have to kill

386
00:18:12,520 --> 00:18:15,720
Speaker 3: any of them is and in justice.

387
00:18:16,720 --> 00:18:18,879
Speaker 2: I'm gonna marry Steve Psmi. I think he's cool.

388
00:18:19,000 --> 00:18:20,960
Speaker 3: I think it'd be fun. He had a long term,

389
00:18:20,960 --> 00:18:23,159
Speaker 3: like thirty plus year marriage. I think he would be

390
00:18:23,320 --> 00:18:26,639
Speaker 3: He wouldn't leave toast sweat on the counter, he acts

391
00:18:26,720 --> 00:18:29,400
Speaker 3: and directs, so what out of the house all the time,

392
00:18:29,480 --> 00:18:32,080
Speaker 3: probably lives in New York, has a shit together on

393
00:18:32,200 --> 00:18:37,080
Speaker 3: Mary Steve HEMI I am only killing Kevin Kleine because

394
00:18:37,080 --> 00:18:40,760
Speaker 3: I haven't seen him in a while. Honestly, that's it.

395
00:18:41,400 --> 00:18:44,320
Speaker 3: That's the only reason. And Leanne, I will never forgive you.

396
00:18:45,040 --> 00:18:49,280
Speaker 2: Yeah, I'm only gonna kill Kevin Kline because that is

397
00:18:49,359 --> 00:18:51,560
Speaker 2: mean as shit. Isn't that the worst?

398
00:18:51,960 --> 00:18:54,600
Speaker 1: What choice do you have? What choice do you have?

399
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Speaker 2: I can't believe I should have killed Gregory pet because

400
00:18:57,240 --> 00:19:04,359
Speaker 2: he's already dead. But I can't. It's too established that

401
00:19:04,400 --> 00:19:09,600
Speaker 2: I would fuck Gregory peg Ah. Man, this is crazy.

402
00:19:09,800 --> 00:19:12,320
Speaker 1: I can't believe that somebody put you up to this

403
00:19:12,480 --> 00:19:14,159
Speaker 1: like ultimate task.

404
00:19:15,000 --> 00:19:16,120
Speaker 2: I'm so fucking mad.

405
00:19:16,520 --> 00:19:20,560
Speaker 1: It's but listen, that will will time stamp that today,

406
00:19:20,880 --> 00:19:24,879
Speaker 1: twenty twenty four, In six months, maybe a different lineup,

407
00:19:24,920 --> 00:19:28,840
Speaker 1: who knows, But for right now he is your answers.

408
00:19:28,480 --> 00:19:32,600
Speaker 3: Absolutely also as mad as I am, LeAnn, you really

409
00:19:32,640 --> 00:19:35,520
Speaker 3: do know us, So thank you for the thoughtfulness of this,

410
00:19:36,359 --> 00:19:37,560
Speaker 3: even if I will never forgive you.

411
00:19:37,640 --> 00:19:39,760
Speaker 2: Okay, how are you going to answer this? Okay?

412
00:19:40,240 --> 00:19:44,560
Speaker 1: I am going to answer it in the exact same

413
00:19:44,600 --> 00:19:45,280
Speaker 1: way you did.

414
00:19:45,560 --> 00:19:47,440
Speaker 2: No, you're not. Yes, I am.

415
00:19:47,280 --> 00:19:50,240
Speaker 3: I'm going to give reasons for your why. Give me

416
00:19:50,280 --> 00:19:52,040
Speaker 3: your why, as Oprah would say.

417
00:19:52,080 --> 00:19:56,439
Speaker 1: Okay, Gregory Pack is a fuck for me simply because

418
00:19:56,480 --> 00:20:00,480
Speaker 1: of Duel in the Sun, the Western that he where

419
00:20:00,480 --> 00:20:06,080
Speaker 1: he plays this like bad boy, like mean bad boy,

420
00:20:07,200 --> 00:20:09,320
Speaker 1: but he's like kind of hot and Duel in the Sun.

421
00:20:10,240 --> 00:20:10,800
Speaker 2: Oh good.

422
00:20:11,080 --> 00:20:12,800
Speaker 1: Let me try to pull up a picture of him,

423
00:20:12,880 --> 00:20:15,359
Speaker 1: just to remind myself of this, because I'm good.

424
00:20:15,640 --> 00:20:16,080
Speaker 2: I think.

425
00:20:17,040 --> 00:20:21,560
Speaker 1: In previous episodes, right, I talked about how I could

426
00:20:21,560 --> 00:20:24,440
Speaker 1: not imagine having sex with Gregory Pick because he's such

427
00:20:24,480 --> 00:20:26,960
Speaker 1: a grandpa. Like I was like, oh, he's like he's

428
00:20:27,080 --> 00:20:29,280
Speaker 1: like you know, Atticus.

429
00:20:28,880 --> 00:20:33,119
Speaker 2: Finch, She's just he's revered. He's like, you know, you

430
00:20:33,160 --> 00:20:34,040
Speaker 2: thought he was too light.

431
00:20:34,160 --> 00:20:38,720
Speaker 1: He's like America's classic movie Grandpa. But in Duel in

432
00:20:38,760 --> 00:20:41,680
Speaker 1: the Sun he's kind of a kind of an asshole.

433
00:20:44,440 --> 00:20:45,960
Speaker 2: Let me tell you about Duel in the Sun.

434
00:20:46,280 --> 00:20:49,840
Speaker 3: Hair, a little bit long, handkerchief on, dirty shirt on.

435
00:20:49,960 --> 00:20:51,440
Speaker 3: He's a fucking dirtbag in this movie.

436
00:20:51,520 --> 00:20:55,600
Speaker 1: Oh yeah, he's kind of a rough dude. So in

437
00:20:55,680 --> 00:20:58,920
Speaker 1: that regard, I'm like, I don't know I could hang

438
00:20:58,920 --> 00:21:02,040
Speaker 1: out with that guy, it's not long term.

439
00:21:02,200 --> 00:21:04,560
Speaker 3: He's fucking people in piles of dirt and in Hey

440
00:21:04,680 --> 00:21:05,800
Speaker 3: like he's.

441
00:21:06,359 --> 00:21:09,679
Speaker 2: Got it, got come on this movie. Look how cute

442
00:21:09,680 --> 00:21:10,000
Speaker 2: he is.

443
00:21:10,200 --> 00:21:11,680
Speaker 1: I just put a link in the chow.

444
00:21:11,760 --> 00:21:15,119
Speaker 2: Oh my god, he's so cute. Oh hell yeah. He

445
00:21:15,200 --> 00:21:17,280
Speaker 2: looks good, girl, He looks good.

446
00:21:17,359 --> 00:21:18,440
Speaker 1: Look at that straight tea.

447
00:21:18,520 --> 00:21:21,800
Speaker 2: He looks dirty. Yes, he's all like sweaty. Look at

448
00:21:21,800 --> 00:21:24,000
Speaker 2: that nick. That nick is like I've been in this.

449
00:21:24,240 --> 00:21:26,600
Speaker 3: This is pre sunscreen, Like I've been in the sun

450
00:21:26,720 --> 00:21:27,920
Speaker 3: filming this so long.

451
00:21:28,080 --> 00:21:31,600
Speaker 1: Oh yeah, he's like towering over Jennifer Jones.

452
00:21:31,640 --> 00:21:32,840
Speaker 2: But I love that answer.

453
00:21:33,280 --> 00:21:36,960
Speaker 1: Oh yeah, simply duel in the Sun is a fuckable

454
00:21:37,000 --> 00:21:39,959
Speaker 1: Gregory peck. Okay, I'll give it to you, and then

455
00:21:39,960 --> 00:21:43,160
Speaker 1: the rest of the it goes pretty much exactly as yours.

456
00:21:43,200 --> 00:21:45,919
Speaker 1: I mean, I would marry Steve Buscemi. I feel like

457
00:21:45,960 --> 00:21:48,719
Speaker 1: we would have a really cute marriage. And you know,

458
00:21:48,960 --> 00:21:55,000
Speaker 1: we're we're both creatives, and you know, we would you know,

459
00:21:55,000 --> 00:21:57,440
Speaker 1: we'd be on a lot of boards together and this

460
00:21:57,560 --> 00:21:58,080
Speaker 1: kind of thing.

461
00:22:01,280 --> 00:22:02,040
Speaker 2: We would go to the.

462
00:22:02,040 --> 00:22:06,120
Speaker 3: Farmers market, go to a DGA.

463
00:22:07,359 --> 00:22:09,640
Speaker 2: It's a cute relationship.

464
00:22:09,080 --> 00:22:11,760
Speaker 1: Right, Yeah. We would go to Ace Hardware on the

465
00:22:11,760 --> 00:22:14,160
Speaker 1: weekends and buy you know, plants.

466
00:22:14,280 --> 00:22:16,240
Speaker 2: Oh, you know, the man can swing a hammer. I

467
00:22:16,320 --> 00:22:19,520
Speaker 2: love it. He's out in a garden. Yeah, he's puttering.

468
00:22:19,560 --> 00:22:20,320
Speaker 2: He's a putterer.

469
00:22:20,880 --> 00:22:23,360
Speaker 1: Yeah. And we would have like a spread and architectural

470
00:22:23,440 --> 00:22:27,159
Speaker 1: digest about our whole house. And I just I see that.

471
00:22:27,359 --> 00:22:29,480
Speaker 1: I see that for me and Steve. Now we gotta

472
00:22:29,520 --> 00:22:32,960
Speaker 1: kill Kevin Klein, and I just I think it's a

473
00:22:33,280 --> 00:22:35,440
Speaker 1: It's like, you're right, you haven't seen him in a

474
00:22:35,520 --> 00:22:39,520
Speaker 1: long time. I feel like, out of the three, I'm like, Okay,

475
00:22:39,600 --> 00:22:42,760
Speaker 1: I don't know if I necessarily want to be with

476
00:22:42,840 --> 00:22:45,960
Speaker 1: him forever. You know, it's just like you, but you

477
00:22:46,080 --> 00:22:49,760
Speaker 1: have to decide. Ultimately, there's nothing wrong with Kevin Klein.

478
00:22:50,160 --> 00:22:51,880
Speaker 2: Of course not. He's hot as shit.

479
00:22:52,080 --> 00:22:54,040
Speaker 1: That was mean for you, that was mean.

480
00:22:54,560 --> 00:22:57,000
Speaker 3: I feel like we just stop, Like we don't have

481
00:22:57,040 --> 00:23:02,480
Speaker 3: to record anymore. Can I take a break for four

482
00:23:02,520 --> 00:23:03,520
Speaker 3: months to get over this?

483
00:23:04,240 --> 00:23:06,639
Speaker 2: Yeah? This is crazy to me.

484
00:23:06,960 --> 00:23:10,280
Speaker 3: Also, I gotta say the upcoming round for Milly not

485
00:23:10,560 --> 00:23:13,480
Speaker 3: even close to being as difficult, because I know for

486
00:23:13,560 --> 00:23:20,000
Speaker 3: a fact she doesn't want to fuck two of these dudes. Millie,

487
00:23:20,040 --> 00:23:23,520
Speaker 3: you are skating, You are skating on this one. Meanwhile,

488
00:23:23,600 --> 00:23:28,080
Speaker 3: I had this not just the sophiest of Sophie's choice choices.

489
00:23:28,480 --> 00:23:30,800
Speaker 2: I feel like that was some slum dog millionaire shit.

490
00:23:33,000 --> 00:23:36,000
Speaker 3: Yours is easy by comparison, I stand by it.

491
00:23:36,200 --> 00:23:37,520
Speaker 2: Yeah, but let's get into it.

492
00:23:37,560 --> 00:23:40,440
Speaker 1: I gotta say mine is easier, for sure, but also

493
00:23:40,520 --> 00:23:42,040
Speaker 1: more ridiculous than your.

494
00:23:42,359 --> 00:23:42,639
Speaker 2: Okay.

495
00:23:42,640 --> 00:23:48,280
Speaker 1: So here's my fmk Okay, ridiculous as perlyan okay, and

496
00:23:48,359 --> 00:23:52,800
Speaker 1: you have to answer to fuck Wherry kill Christian Slater

497
00:23:52,960 --> 00:23:56,680
Speaker 1: in Gleaming the Cube, the popping and locking guy from

498
00:23:56,680 --> 00:24:00,040
Speaker 1: the end of Footloose, who I believe you're referring to

499
00:24:00,040 --> 00:24:07,920
Speaker 1: to the Vanilla Popper and thick country boy Daniel Khluia.

500
00:24:10,000 --> 00:24:12,720
Speaker 2: All right, give it to me. How you answer you away,

501
00:24:12,760 --> 00:24:14,800
Speaker 2: I'm voting first. I can go first. This is real

502
00:24:14,880 --> 00:24:15,399
Speaker 2: easy for me.

503
00:24:15,640 --> 00:24:16,639
Speaker 1: Okay, Yeah, I want to hear it.

504
00:24:16,680 --> 00:24:19,680
Speaker 2: Go ahead on killing the Vanilla Popper because I'll know him.

505
00:24:19,960 --> 00:24:24,280
Speaker 3: I'll want him, bitch.

506
00:24:24,320 --> 00:24:27,080
Speaker 2: He's a straight freak. That man is a straight freak.

507
00:24:27,200 --> 00:24:29,920
Speaker 3: Wait see them, since he could be doing some fucking

508
00:24:30,560 --> 00:24:32,320
Speaker 3: queanon shit, I know him.

509
00:24:32,640 --> 00:24:37,040
Speaker 2: I'm killing him. I'm gonna marry Christian Slater.

510
00:24:36,800 --> 00:24:40,879
Speaker 3: And Gleaming Cube because my childhood dreams would come true.

511
00:24:41,160 --> 00:24:43,520
Speaker 3: There you go, And I'm gonna I'm gonna fuck Daniel

512
00:24:43,560 --> 00:24:47,080
Speaker 3: Coluiah thick country Boy, any any version of Daniel Khluiah

513
00:24:47,080 --> 00:24:49,199
Speaker 3: I would I would vote, which I probably should not

514
00:24:49,280 --> 00:24:51,760
Speaker 3: say as someone who is actively in an industry that

515
00:24:51,840 --> 00:24:52,360
Speaker 3: he is in.

516
00:24:52,640 --> 00:24:53,760
Speaker 2: Look, but here we are.

517
00:24:54,000 --> 00:24:58,560
Speaker 1: This is again you setting this intention for yourself that

518
00:24:58,720 --> 00:25:03,840
Speaker 1: will haunt you in due time. Anytime you talk about, yeah,

519
00:25:03,880 --> 00:25:08,800
Speaker 1: a current star who is alive sexually, they are in

520
00:25:08,880 --> 00:25:11,960
Speaker 1: your orbit within six months in some way.

521
00:25:12,040 --> 00:25:14,639
Speaker 3: I guarantee I'm going to turn in a screenplay and

522
00:25:14,680 --> 00:25:17,359
Speaker 3: my agent's gonna be like, oh, Steve Husami wants to

523
00:25:17,400 --> 00:25:19,320
Speaker 3: direct it, and Daniel Kolia wants a star in it,

524
00:25:19,320 --> 00:25:20,320
Speaker 3: and I'll be like, I can't.

525
00:25:20,760 --> 00:25:24,960
Speaker 1: Yeah, And Kevin Klein is around the corner making craft

526
00:25:25,000 --> 00:25:25,840
Speaker 1: services for.

527
00:25:27,400 --> 00:25:33,159
Speaker 3: Like Kevinklin's gonna produce it, and Gregory Peck's grandson is

528
00:25:33,200 --> 00:25:35,680
Speaker 3: going to act in it, and I'll be like, turn

529
00:25:35,720 --> 00:25:38,200
Speaker 3: it off. And Christian Slater wants to do the soundtrack.

530
00:25:38,240 --> 00:25:40,520
Speaker 3: I'll be like, turn it all down, turn it all down.

531
00:25:41,280 --> 00:25:43,480
Speaker 3: But yeah, I'm gonna fuck Daniel Kouy the entire cast

532
00:25:43,520 --> 00:25:46,440
Speaker 3: and crew of your next project will be stabbed by

533
00:25:46,440 --> 00:25:49,840
Speaker 3: people you've talked about sexually on a podcast for four years,

534
00:25:50,920 --> 00:25:53,320
Speaker 3: and I guarantee they'll be like, now it's cool, we

535
00:25:53,320 --> 00:25:55,440
Speaker 3: can work together, and then I'll get sued from fucking

536
00:25:55,680 --> 00:25:57,720
Speaker 3: HR as soon as they listen to the episode. They'll

537
00:25:57,760 --> 00:25:59,120
Speaker 3: be like, oh no, we didn't listen to the episode

538
00:25:59,119 --> 00:26:00,240
Speaker 3: before we signed the paper work.

539
00:26:00,680 --> 00:26:03,359
Speaker 2: Been just crazy. So there's just gonna be a huge

540
00:26:03,400 --> 00:26:05,520
Speaker 2: red stamp stamped on the cover of the screenplay that

541
00:26:05,640 --> 00:26:10,600
Speaker 2: just says horny, horny for everybody, get her ahead of here.

542
00:26:11,880 --> 00:26:15,240
Speaker 1: Well, that actually totally tracks for you, because I was like, yeah,

543
00:26:15,280 --> 00:26:17,240
Speaker 1: what are you thinking about that vanilla popper? I was like,

544
00:26:17,280 --> 00:26:18,080
Speaker 1: you've got no ties.

545
00:26:18,119 --> 00:26:19,320
Speaker 2: I'm going near that, dude.

546
00:26:19,440 --> 00:26:20,640
Speaker 1: You got no skin in that game.

547
00:26:20,680 --> 00:26:22,360
Speaker 2: I got no skin in that game at all.

548
00:26:22,400 --> 00:26:25,280
Speaker 3: He's probably he's either, like we said, under a boardwalk

549
00:26:25,800 --> 00:26:28,840
Speaker 3: corpse style in a pop lock position, or he's like

550
00:26:28,880 --> 00:26:30,960
Speaker 3: a lawyer somewhere in racing in Wisconsin.

551
00:26:31,040 --> 00:26:31,399
Speaker 2: I don't know.

552
00:26:32,440 --> 00:26:35,000
Speaker 3: I don't know that dude. He was not ever on

553
00:26:35,080 --> 00:26:37,600
Speaker 3: my radar as cute. He was on my radar as weird.

554
00:26:38,119 --> 00:26:40,720
Speaker 1: So yeah, no, I hear you, I hear you.

555
00:26:41,680 --> 00:26:42,880
Speaker 2: Okay for your answers.

556
00:26:43,000 --> 00:26:46,960
Speaker 1: Let's bring up the caboose on this fucking weirdly personal

557
00:26:46,960 --> 00:26:53,159
Speaker 1: and mean FMK from LeAnn my fmks as follows, I

558
00:26:53,200 --> 00:26:55,800
Speaker 1: am going to fuck the popping in lock and guy

559
00:26:55,920 --> 00:26:57,640
Speaker 1: from the end of Footloose, aka.

560
00:26:57,480 --> 00:27:03,240
Speaker 2: The Vanilla Popper. Come on, come on, why what is

561
00:27:03,400 --> 00:27:04,240
Speaker 2: happening there?

562
00:27:05,080 --> 00:27:09,040
Speaker 1: We are talking about the character, right, so in a

563
00:27:09,119 --> 00:27:11,320
Speaker 1: sense we're like, okay, we're not talking about who that

564
00:27:11,400 --> 00:27:14,320
Speaker 1: person actually is who. We could not even really figure

565
00:27:14,320 --> 00:27:15,960
Speaker 1: out who it is. I know, all of our listeners

566
00:27:16,000 --> 00:27:18,120
Speaker 1: really we found out it's this guy. It's this guy.

567
00:27:18,119 --> 00:27:21,680
Speaker 1: I'm like, okay, well, he's not come forward in any

568
00:27:21,720 --> 00:27:25,600
Speaker 1: public areada to say he's the Vanilla Popper. So because

569
00:27:25,640 --> 00:27:26,960
Speaker 1: of that, I think it's.

570
00:27:26,800 --> 00:27:28,399
Speaker 2: Still TBD who this guy is.

571
00:27:28,440 --> 00:27:31,119
Speaker 1: I'm with you, But in the context of this FMK,

572
00:27:31,280 --> 00:27:34,320
Speaker 1: he's listed as the Vanilla Popper, So I'm just gonna

573
00:27:34,400 --> 00:27:37,880
Speaker 1: go on that information. Here's what I think happens. I'm

574
00:27:37,920 --> 00:27:40,280
Speaker 1: at the prom at the end of Footloose, me and

575
00:27:40,320 --> 00:27:44,080
Speaker 1: the Vanilla Popper sneak away. At some point he probably

576
00:27:44,119 --> 00:27:47,479
Speaker 1: got a hotel room in some like Motel six and

577
00:27:47,480 --> 00:27:51,520
Speaker 1: that dusty ass Christian town that the movie takes place

578
00:27:51,520 --> 00:27:53,560
Speaker 1: in you think there's a motel happening, you are going

579
00:27:53,640 --> 00:27:55,520
Speaker 1: to be in an old barn with.

580
00:27:55,560 --> 00:27:59,080
Speaker 2: Some tennis nails. I'd rather be an old barn than

581
00:27:59,119 --> 00:27:59,920
Speaker 2: in a motel six.

582
00:28:00,840 --> 00:28:04,520
Speaker 1: Like there is some like romance to a barn, but

583
00:28:05,040 --> 00:28:07,919
Speaker 1: a motel six would be slazier. But anyway, I'm just

584
00:28:07,960 --> 00:28:10,639
Speaker 1: saying the night of that prom Me and the Vanilla

585
00:28:10,680 --> 00:28:13,879
Speaker 1: Popper are definitely losing our virginity to each other. And

586
00:28:13,920 --> 00:28:15,280
Speaker 1: that's it. I love that.

587
00:28:15,680 --> 00:28:16,359
Speaker 2: I love that for you.

588
00:28:16,520 --> 00:28:21,000
Speaker 1: That's a fan fic. I created fan fiction about myself

589
00:28:21,359 --> 00:28:25,639
Speaker 1: and this dancer at the end of Footloose, So I

590
00:28:25,680 --> 00:28:26,280
Speaker 1: love this for you.

591
00:28:26,600 --> 00:28:27,439
Speaker 2: Somebody write it up.

592
00:28:28,480 --> 00:28:35,879
Speaker 1: Marrying fucking marrying till death the thick Country Boy day

593
00:28:35,960 --> 00:28:36,600
Speaker 1: in Korea.

594
00:28:36,720 --> 00:28:37,120
Speaker 2: Like I.

595
00:28:38,680 --> 00:28:41,320
Speaker 1: He is gonna be my partner for life.

596
00:28:42,080 --> 00:28:44,000
Speaker 2: See that one I knew. I will never.

597
00:28:43,840 --> 00:28:45,320
Speaker 1: Remarry after he dies.

598
00:28:45,520 --> 00:28:47,000
Speaker 2: You're gonna be miss Havisham.

599
00:28:47,040 --> 00:28:49,120
Speaker 3: You're gonna sit at a dining room table for the

600
00:28:49,120 --> 00:28:50,320
Speaker 3: rest of your fucking life.

601
00:28:50,360 --> 00:28:52,120
Speaker 2: Maybe prop a little picture of him next to you

602
00:28:52,160 --> 00:28:52,680
Speaker 2: while you eat.

603
00:28:53,080 --> 00:28:55,240
Speaker 1: Yeah, I'm gonna be married to him for the rest

604
00:28:55,280 --> 00:28:57,160
Speaker 1: of my life, even if he dies. So there's that

605
00:28:57,680 --> 00:29:00,920
Speaker 1: and of course we have to kill Christian and Gleaming

606
00:29:00,920 --> 00:29:03,040
Speaker 1: the Cube. And I know that's sad for you, Daniel,

607
00:29:03,120 --> 00:29:04,880
Speaker 1: but that's that's what's gonna happen.

608
00:29:05,360 --> 00:29:08,360
Speaker 2: The only surprise for me here was the fuck.

609
00:29:08,520 --> 00:29:12,280
Speaker 3: I knew you would marry Daniel Khaluja, and I just

610
00:29:12,360 --> 00:29:14,720
Speaker 3: could not tell if you were gonna kill or fuck

611
00:29:15,000 --> 00:29:19,120
Speaker 3: Pop lock In the Vanilla Popper or Christian Slater. None

612
00:29:19,160 --> 00:29:20,640
Speaker 3: of this is a surprise to me. That you would

613
00:29:20,680 --> 00:29:26,960
Speaker 3: kill Christian Slater in Gleaming the Cube absolutely on track

614
00:29:27,000 --> 00:29:27,400
Speaker 3: for you.

615
00:29:27,920 --> 00:29:32,200
Speaker 1: Well here we go, Leanne. I hope that that satisfied

616
00:29:32,760 --> 00:29:35,080
Speaker 1: your curiosity about us.

617
00:29:35,480 --> 00:29:37,960
Speaker 2: I am Daniel's.

618
00:29:37,560 --> 00:29:39,880
Speaker 1: Never gonna let it, let it go that you made

619
00:29:39,920 --> 00:29:43,000
Speaker 1: her choose between her three boyfriends.

620
00:29:43,120 --> 00:29:43,360
Speaker 2: Never.

621
00:29:43,440 --> 00:29:45,440
Speaker 3: I mean, I don't want anything bad to happen to you,

622
00:29:46,120 --> 00:29:50,440
Speaker 3: but I hope that like your lunch is warm when

623
00:29:50,480 --> 00:29:52,200
Speaker 3: it should be cold, and cold when it should be

624
00:29:53,960 --> 00:29:56,160
Speaker 3: just for today, and then I'll just want to forgive you.

625
00:29:56,720 --> 00:29:59,240
Speaker 1: Well, thanks, Leanne. We appreciate it. And listen if you

626
00:29:59,280 --> 00:30:01,360
Speaker 1: have an email for for us, we are at I

627
00:30:01,400 --> 00:30:05,360
Speaker 1: saw you did potajemail dot com. All right, Danielle, so

628
00:30:05,520 --> 00:30:09,280
Speaker 1: let's talk about our theme this week. Because we're doing

629
00:30:09,440 --> 00:30:11,680
Speaker 1: something in honor of Women's History Month. We thought this

630
00:30:11,720 --> 00:30:15,320
Speaker 1: would be like a fun, cool theme to do, and

631
00:30:15,880 --> 00:30:20,960
Speaker 1: we've decided that we're going to do an episode about

632
00:30:20,960 --> 00:30:24,680
Speaker 1: a singular actress. Danielle came up with the name, and

633
00:30:24,680 --> 00:30:26,040
Speaker 1: I'd like for her to reveal it.

634
00:30:26,520 --> 00:30:26,840
Speaker 2: Now.

635
00:30:27,440 --> 00:30:30,680
Speaker 3: Our theme this week is an ounce of common sense

636
00:30:30,720 --> 00:30:33,720
Speaker 3: and one good friend. We're doing movies about Joan Crawford.

637
00:30:33,880 --> 00:30:35,520
Speaker 3: And that is a quote of hers that I love.

638
00:30:35,600 --> 00:30:37,160
Speaker 3: If you look up the quote you'll get it in full.

639
00:30:37,960 --> 00:30:41,040
Speaker 3: But also what a way to discuss Women's History Month

640
00:30:41,120 --> 00:30:43,959
Speaker 3: and honor it with one of the worst mothers on record?

641
00:30:47,400 --> 00:30:50,440
Speaker 2: What is wrong with us? What is wrong with us?

642
00:30:52,400 --> 00:30:53,880
Speaker 2: If you just look at her career, we're good. But

643
00:30:53,880 --> 00:30:56,920
Speaker 2: if you look at her actual life, don't.

644
00:30:57,400 --> 00:31:00,400
Speaker 1: Well, cho you tell me, you tell This is something

645
00:31:00,400 --> 00:31:02,680
Speaker 1: that I was gonna I was probably going to talk

646
00:31:02,720 --> 00:31:06,960
Speaker 1: about at some point, and just in my movie, but

647
00:31:07,360 --> 00:31:10,040
Speaker 1: in other things too. I mean, of course, there's a

648
00:31:10,080 --> 00:31:14,160
Speaker 1: lot of mythology around Joan Crawford for so many things.

649
00:31:14,200 --> 00:31:17,800
Speaker 1: I mean, it's like the Betty Davis feud, the Mommy

650
00:31:17,920 --> 00:31:21,280
Speaker 1: Darvist thing, the fact that she was just a very

651
00:31:21,400 --> 00:31:26,040
Speaker 1: powerful woman in Hollywood for many, many years, and you know,

652
00:31:26,120 --> 00:31:30,040
Speaker 1: she kind of unapologetically kind of ran her own show.

653
00:31:30,240 --> 00:31:34,560
Speaker 1: Like she was definitely one of the most powerful women

654
00:31:34,600 --> 00:31:37,360
Speaker 1: in Hollywood in the classic era who was just basically like,

655
00:31:37,400 --> 00:31:39,240
Speaker 1: I don't take any shit and I do what I want,

656
00:31:39,440 --> 00:31:43,520
Speaker 1: I hire who I want, and that's that. And so, yeah,

657
00:31:43,560 --> 00:31:46,600
Speaker 1: I think one of the biggest you know, stories about

658
00:31:46,640 --> 00:31:51,560
Speaker 1: her was sort of her parenting and one of her daughters.

659
00:31:51,600 --> 00:31:55,760
Speaker 1: You know, she adopted five kids, one of whom actually

660
00:31:56,320 --> 00:32:00,600
Speaker 1: was reclaimed by her birth mother, so she went back

661
00:32:00,600 --> 00:32:02,360
Speaker 1: to her real mom. But you know, Joan had four

662
00:32:02,480 --> 00:32:06,200
Speaker 1: kids and one of them wrote a very salacious tell

663
00:32:06,240 --> 00:32:09,320
Speaker 1: all book about her called Mommy Dearest, and you know,

664
00:32:09,440 --> 00:32:11,240
Speaker 1: it was it was a big shock because of how

665
00:32:11,240 --> 00:32:13,760
Speaker 1: famous Joan Crawford was, and then it eventually got turned

666
00:32:13,760 --> 00:32:17,880
Speaker 1: into a movie with fade unaway. But you know, there

667
00:32:17,920 --> 00:32:20,920
Speaker 1: were other members of the family that said that that

668
00:32:21,000 --> 00:32:22,960
Speaker 1: book was false, and there's been a lot of like

669
00:32:23,000 --> 00:32:26,120
Speaker 1: back and forth about the truth of what was going on.

670
00:32:26,280 --> 00:32:31,479
Speaker 1: And actually her one of her other daughters, Kathy, I believe,

671
00:32:32,360 --> 00:32:37,120
Speaker 1: sued the sister that wrote the book for defamation or something,

672
00:32:37,720 --> 00:32:41,160
Speaker 1: because yeah, two of the sisters have always defended their

673
00:32:41,200 --> 00:32:43,360
Speaker 1: mother and had said that none of this stuff happened.

674
00:32:43,400 --> 00:32:47,000
Speaker 1: So it's very complicated, and I know, wow, it's very

675
00:32:47,040 --> 00:32:49,960
Speaker 1: hard because, like I said, you know, we are obviously

676
00:32:50,000 --> 00:32:52,920
Speaker 1: wanting to believe women, and obviously you know this is

677
00:32:53,000 --> 00:32:59,040
Speaker 1: such a famous family too. But yeah, it's it's it's

678
00:32:59,080 --> 00:32:59,440
Speaker 1: a mess.

679
00:32:59,440 --> 00:33:02,320
Speaker 3: But it's part of her complicated legacy, I think, yes,

680
00:33:02,480 --> 00:33:04,640
Speaker 3: and not complicated in a bad way. But just like

681
00:33:04,680 --> 00:33:06,920
Speaker 3: you said, the fact that she was an incredibly powerful

682
00:33:06,920 --> 00:33:09,960
Speaker 3: woman at a time when that was an aberration in

683
00:33:10,000 --> 00:33:12,760
Speaker 3: Hollywood has always given her this tinge of like there's

684
00:33:12,760 --> 00:33:13,600
Speaker 3: a fear to her.

685
00:33:13,800 --> 00:33:17,320
Speaker 1: We were born on the same day, so we had

686
00:33:17,320 --> 00:33:20,360
Speaker 1: the same birthday, March twenty third, and you know, any

687
00:33:20,440 --> 00:33:23,400
Speaker 1: time when I was growing up and like looking at

688
00:33:23,440 --> 00:33:26,400
Speaker 1: my birthday, like everybody, like all of the newspapers and

689
00:33:26,480 --> 00:33:29,240
Speaker 1: it's like, it's Joan Crawford's birthday, I'm like, it's my

690
00:33:29,360 --> 00:33:33,160
Speaker 1: birthday too. Who is Joan Crawford? And then eventually I

691
00:33:33,200 --> 00:33:35,920
Speaker 1: became a teenager and started realizing who Joan Crawford was.

692
00:33:35,960 --> 00:33:37,760
Speaker 1: And then I started watching her movies and I.

693
00:33:37,720 --> 00:33:39,920
Speaker 2: Was kind of thinking, Okay.

694
00:33:39,680 --> 00:33:43,520
Speaker 1: She definitely symbolizes to me that sort of like tough actress.

695
00:33:43,560 --> 00:33:46,160
Speaker 1: She played a lot of roles where she was sort

696
00:33:46,200 --> 00:33:50,719
Speaker 1: of the resourceful woman who you know, climbed the ranks

697
00:33:50,760 --> 00:33:54,200
Speaker 1: and made it and she didn't take shit from men.

698
00:33:55,160 --> 00:33:57,200
Speaker 1: And I don't know, that's just for me, kind of

699
00:33:57,200 --> 00:33:59,640
Speaker 1: a narrative that I connect with and I love so

700
00:34:00,160 --> 00:34:02,800
Speaker 1: I love her too, yeah, you know, and she's she's

701
00:34:02,840 --> 00:34:07,240
Speaker 1: a gay icon. She's an icon in so many different ways.

702
00:34:07,320 --> 00:34:09,240
Speaker 1: I'll just give you like a tiny bit of background

703
00:34:09,239 --> 00:34:15,000
Speaker 1: about her. She was Her real name is Lucille Fay Lasseur,

704
00:34:15,680 --> 00:34:18,719
Speaker 1: so Joan Crawford was obviously a Hollywood stage name. She

705
00:34:18,920 --> 00:34:22,920
Speaker 1: was born March twenty third, nineteen oh four in San Antonio, Texas.

706
00:34:23,600 --> 00:34:27,400
Speaker 1: So she's a Southern gal. She began her career in

707
00:34:27,520 --> 00:34:31,680
Speaker 1: silent film, obviously, and then you know, in that silent era,

708
00:34:31,960 --> 00:34:36,200
Speaker 1: she very quickly realized that she wanted better roles for herself.

709
00:34:36,239 --> 00:34:39,560
Speaker 1: So she was out there promoting herself in her very

710
00:34:39,600 --> 00:34:43,440
Speaker 1: early career. And you know, which is kind of remarkable

711
00:34:43,440 --> 00:34:45,279
Speaker 1: if you think about it, because you know, Hollywood was

712
00:34:45,360 --> 00:34:48,240
Speaker 1: just starting and obviously, like you're thinking, you know, nineteen

713
00:34:48,400 --> 00:34:53,520
Speaker 1: twenties like not a very like good era for women necessarily,

714
00:34:53,600 --> 00:34:56,320
Speaker 1: but she was out there really busting her ass and

715
00:34:56,360 --> 00:34:58,720
Speaker 1: trying to make a name for herself, and she eventually

716
00:34:58,719 --> 00:35:02,719
Speaker 1: sort of became one of the most famous flappers in

717
00:35:02,800 --> 00:35:05,600
Speaker 1: that era, which I think is really fun. It's really cute,

718
00:35:05,760 --> 00:35:08,280
Speaker 1: and she kind of, you know, alongside people like Clara

719
00:35:08,360 --> 00:35:11,960
Speaker 1: Bow Like she kind of made She was idolized by

720
00:35:12,000 --> 00:35:13,920
Speaker 1: young women in this era as being kind of this

721
00:35:14,080 --> 00:35:17,279
Speaker 1: like spitfire, kind of knew what she wanted, type of

722
00:35:18,280 --> 00:35:21,640
Speaker 1: famous person. They saw her as like very modern, you know,

723
00:35:21,920 --> 00:35:24,759
Speaker 1: and she had this great quote that I saw as

724
00:35:24,760 --> 00:35:27,440
Speaker 1: I was looking up some research in this book that

725
00:35:27,440 --> 00:35:29,400
Speaker 1: I have about her, if you want to see the

726
00:35:29,480 --> 00:35:31,640
Speaker 1: girl next door, go next door.

727
00:35:33,400 --> 00:35:38,320
Speaker 2: Ah, that is great, pretty great, keep on walking.

728
00:35:44,760 --> 00:35:48,000
Speaker 1: But then she obviously made the transition to sound films,

729
00:35:48,040 --> 00:35:50,239
Speaker 1: you know, and then again sort of was typecast as

730
00:35:50,239 --> 00:35:54,040
Speaker 1: as very like strong woman. But weirdly enough, like by

731
00:35:54,080 --> 00:35:57,440
Speaker 1: the nineteen thirties, she was sort of done. Like she

732
00:35:57,560 --> 00:36:00,560
Speaker 1: was labeled quote box office poison, which at that time

733
00:36:00,680 --> 00:36:03,120
Speaker 1: was I think a new term they came up with

734
00:36:03,160 --> 00:36:06,800
Speaker 1: for her and for other actresses in her in her world.

735
00:36:07,400 --> 00:36:09,800
Speaker 1: But then she kind of staged a comeback for herself,

736
00:36:09,840 --> 00:36:12,160
Speaker 1: which she was in movies like The Women and obviously

737
00:36:12,280 --> 00:36:15,560
Speaker 1: your film Mildred Pears, and she won an Academy Award

738
00:36:15,600 --> 00:36:18,680
Speaker 1: for that for Best Actress. So she climbed out of

739
00:36:18,680 --> 00:36:21,800
Speaker 1: that box office poison thing and kind of kept working.

740
00:36:22,520 --> 00:36:26,080
Speaker 1: And like I said, she's very known for her you know,

741
00:36:26,239 --> 00:36:31,200
Speaker 1: intense work ethics. She was very business savvy. She was

742
00:36:31,520 --> 00:36:34,600
Speaker 1: one of the few women in Hollywood who were negotiating

743
00:36:34,600 --> 00:36:37,320
Speaker 1: her own contracts and she managed her own career.

744
00:36:38,320 --> 00:36:38,480
Speaker 2: You know.

745
00:36:38,560 --> 00:36:40,560
Speaker 1: This, you know kind of stuff is very uncommon in

746
00:36:40,640 --> 00:36:41,719
Speaker 1: classic Hollywood.

747
00:36:42,000 --> 00:36:42,160
Speaker 2: You know.

748
00:36:42,239 --> 00:36:46,160
Speaker 1: She was even one of the first major classic Hollywood

749
00:36:46,160 --> 00:36:50,680
Speaker 1: stars to cross into television, so she had her own

750
00:36:50,719 --> 00:36:54,560
Speaker 1: TV show in the fifties. She was married four times,

751
00:36:54,760 --> 00:36:57,040
Speaker 1: you know too. She was married to very famous actors,

752
00:36:57,120 --> 00:37:01,480
Speaker 1: you know, like Douglas Fairbanks Junior and French. But then

753
00:37:01,520 --> 00:37:05,080
Speaker 1: her last husband was the head of Pepsi, so she

754
00:37:05,280 --> 00:37:08,959
Speaker 1: was very involved in Pepsi like later in her life.

755
00:37:09,760 --> 00:37:12,120
Speaker 1: And like I said, yeah, we talked about this. She

756
00:37:12,120 --> 00:37:18,239
Speaker 1: she had adopted five children and her actually know one

757
00:37:18,239 --> 00:37:22,520
Speaker 1: of her grandsons, Casey, who I met through working at TCM,

758
00:37:22,520 --> 00:37:25,960
Speaker 1: and he's wonderful, Like he has a lot of her

759
00:37:26,000 --> 00:37:29,439
Speaker 1: home movies and he's a really great guy.

760
00:37:29,640 --> 00:37:31,640
Speaker 3: I love that she spanned so many decades that she

761
00:37:31,760 --> 00:37:33,160
Speaker 3: kind of kept going at a time where it was

762
00:37:33,200 --> 00:37:36,600
Speaker 3: abnormal for women to keep going. Yeah, and she like secured,

763
00:37:36,880 --> 00:37:39,399
Speaker 3: she secured her own shit, she kept her life moving

764
00:37:39,400 --> 00:37:41,280
Speaker 3: the way she wanted to. It's really impressive.

765
00:37:41,440 --> 00:37:43,719
Speaker 1: Yeah, I mean, I think that's obviously something that like

766
00:37:44,000 --> 00:37:48,000
Speaker 1: women of our generation really are inspired by. And not

767
00:37:48,120 --> 00:37:52,960
Speaker 1: for nothing, we got two fucking bangers. I have to say, like,

768
00:37:53,200 --> 00:37:55,600
Speaker 1: I've seen your movie many times and I haven't seen

769
00:37:55,640 --> 00:37:57,920
Speaker 1: it in probably about five years, and damn.

770
00:37:57,640 --> 00:37:59,479
Speaker 2: It's a good one. It still hits.

771
00:37:59,600 --> 00:38:02,080
Speaker 1: It's oh good. It's a classic for a reason. Maybe

772
00:38:02,760 --> 00:38:04,080
Speaker 1: maybe her most famous movie.

773
00:38:04,080 --> 00:38:07,319
Speaker 3: I would say, maybe, I'm well, I'm going to go

774
00:38:07,360 --> 00:38:10,480
Speaker 3: into it because I love my film this week and

775
00:38:10,640 --> 00:38:13,160
Speaker 3: I can't wait the time A mant it. My movie

776
00:38:13,480 --> 00:38:16,080
Speaker 3: was released in nineteen forty five. It was directed by

777
00:38:16,160 --> 00:38:19,880
Speaker 3: Michael Curtiz. Writer is Randall McDougall, and it's based on

778
00:38:19,960 --> 00:38:21,600
Speaker 3: the novel by James and Kin.

779
00:38:22,280 --> 00:38:24,400
Speaker 2: My movie is Mildred Pearce.

780
00:38:25,080 --> 00:38:30,320
Speaker 4: Mildred, a name gasped in the night, the one last

781
00:38:30,400 --> 00:38:34,120
Speaker 4: word of a dying man, but one word that tells

782
00:38:34,160 --> 00:38:37,840
Speaker 4: a thousand stories of a woman who left her mark

783
00:38:37,920 --> 00:38:39,920
Speaker 4: on every man she met.

784
00:38:40,239 --> 00:38:44,160
Speaker 3: All right, I have a one sentence synopsis, said it,

785
00:38:44,719 --> 00:38:47,600
Speaker 3: and then I have another one sentence synopsis. My first

786
00:38:47,640 --> 00:38:50,640
Speaker 3: one sentence synopsis is y'all be out here doing too

787
00:38:50,719 --> 00:38:59,160
Speaker 3: much for these fucking kids. As a child free woman,

788
00:39:00,200 --> 00:39:03,760
Speaker 3: this shit drives me crazy to see in film.

789
00:39:04,080 --> 00:39:08,680
Speaker 1: Oh dude, no kidding. This is on par with freakin'

790
00:39:08,840 --> 00:39:10,640
Speaker 1: all that Heaven allows.

791
00:39:10,560 --> 00:39:12,320
Speaker 2: Too much for these fucking kids.

792
00:39:12,440 --> 00:39:16,040
Speaker 1: No, these like bratty ass devil kids.

793
00:39:16,840 --> 00:39:17,839
Speaker 2: Ugh, no, no.

794
00:39:18,719 --> 00:39:21,080
Speaker 3: And my other once in the synopsis, if that's not

795
00:39:21,880 --> 00:39:26,320
Speaker 3: good enough for you, is a woman works her way

796
00:39:27,200 --> 00:39:32,280
Speaker 3: out of near poverty, only to have her spoiled bread

797
00:39:32,360 --> 00:39:35,240
Speaker 3: of a daughter bring her to the brink.

798
00:39:36,960 --> 00:39:39,520
Speaker 2: To say the least, dude, to say the least.

799
00:39:39,800 --> 00:39:41,840
Speaker 3: Let me just say that Veda is not my favorite.

800
00:39:41,920 --> 00:39:44,280
Speaker 3: I mean, and blythe the actress is fantastic, But Beda

801
00:39:44,320 --> 00:39:46,120
Speaker 3: there is a character can go to straight to fucking hell.

802
00:39:46,560 --> 00:39:50,319
Speaker 1: She is a white devil. So I'll just say it.

803
00:39:50,360 --> 00:39:56,720
Speaker 2: She is hell on wheels, hell odd wheels. I cannot

804
00:39:56,760 --> 00:39:57,120
Speaker 2: with her.

805
00:39:58,760 --> 00:40:00,799
Speaker 3: Listen, this movie is fucking green. Miller already said it

806
00:40:01,160 --> 00:40:03,840
Speaker 3: that Joan Crawford won Academy Award for this I personally,

807
00:40:04,320 --> 00:40:07,480
Speaker 3: out of her entire uber, I picked this one because

808
00:40:07,520 --> 00:40:09,920
Speaker 3: I think she kind of looks the coolest and she

809
00:40:10,360 --> 00:40:15,000
Speaker 3: is very powerful, Like the character is so powerful, and

810
00:40:15,040 --> 00:40:17,279
Speaker 3: I just love her face in this movie, Like she

811
00:40:17,320 --> 00:40:20,839
Speaker 3: has these incredible reaction shots and like it's and it's

812
00:40:20,840 --> 00:40:23,799
Speaker 3: also like very very old Hollywood. It's like the you know,

813
00:40:23,840 --> 00:40:26,640
Speaker 3: there's this point where in the beginning when they're talking,

814
00:40:26,840 --> 00:40:29,400
Speaker 3: someone's saying like, hello, my baby, Hello am I dollin

815
00:40:29,480 --> 00:40:32,000
Speaker 3: in the background while someone's like, hey, look here, see

816
00:40:32,280 --> 00:40:33,040
Speaker 3: you want I got a drink?

817
00:40:33,120 --> 00:40:35,239
Speaker 2: Say it's on me, Say like, I love that shit.

818
00:40:39,920 --> 00:40:40,480
Speaker 2: I love it.

819
00:40:40,719 --> 00:40:43,719
Speaker 3: So the setup of this movie is at the start

820
00:40:44,000 --> 00:40:47,640
Speaker 3: of the film, a man has been shot, right, he's shot,

821
00:40:47,719 --> 00:40:50,080
Speaker 3: and he says the name Mildred as a woman is

822
00:40:50,160 --> 00:40:52,719
Speaker 3: driving away from the house to go hang out at

823
00:40:52,719 --> 00:40:53,240
Speaker 3: the boardwalk.

824
00:40:53,320 --> 00:40:54,360
Speaker 2: So I love her already.

825
00:40:54,880 --> 00:40:57,040
Speaker 3: Yeah right, I'm like, I think she shot this dude.

826
00:40:57,400 --> 00:40:58,719
Speaker 3: And now she's like, you know what, let me just

827
00:40:58,760 --> 00:41:00,919
Speaker 3: go to the boardwalk and see what's up. She thinks

828
00:41:00,920 --> 00:41:03,400
Speaker 3: she's gonna jump into the ocean, but a policeman stops

829
00:41:03,400 --> 00:41:05,360
Speaker 3: her because he doesn't feel like saving her. He's like,

830
00:41:05,360 --> 00:41:07,040
Speaker 3: if you get wet, I have to get wet, which

831
00:41:07,040 --> 00:41:12,680
Speaker 3: is a remarkable psychological entry point to community work.

832
00:41:13,160 --> 00:41:14,680
Speaker 2: Like if you do it, I gotta do it. I

833
00:41:14,680 --> 00:41:16,160
Speaker 2: don't want to do it. Yeah.

834
00:41:16,440 --> 00:41:20,200
Speaker 1: I actually love that part because you know, he's basically like, listen,

835
00:41:20,440 --> 00:41:23,960
Speaker 1: don't kill yourself. You don't want to do it, then

836
00:41:24,000 --> 00:41:28,320
Speaker 1: we both gotta fucking deal with crap. Who who wants

837
00:41:28,400 --> 00:41:31,640
Speaker 1: to do this? Nobody wants to get what here.

838
00:41:32,920 --> 00:41:36,680
Speaker 3: Which back in my when I was having intense suicidal

839
00:41:36,719 --> 00:41:40,520
Speaker 3: ideation constantly would not have worked on me. I'd be like,

840
00:41:40,600 --> 00:41:44,000
Speaker 3: jump the fuck in, motherfucker, we're getting wet. Today I

841
00:41:44,040 --> 00:41:46,960
Speaker 3: was like, I ain't thinking about you. Okay, let's just

842
00:41:47,000 --> 00:41:49,520
Speaker 3: say that stranger that's dark as.

843
00:41:49,360 --> 00:41:58,840
Speaker 2: Fuck, but welcome to a my bra, welcome to my brain.

844
00:41:59,080 --> 00:41:59,360
Speaker 1: Hello.

845
00:42:00,200 --> 00:42:05,600
Speaker 3: Hell Well, that's what happens next, because she goes to

846
00:42:05,680 --> 00:42:08,160
Speaker 3: this bar, like she's walking around and this guy Wally

847
00:42:08,239 --> 00:42:09,680
Speaker 3: comes out and is like, hey, let me buy you

848
00:42:09,719 --> 00:42:11,520
Speaker 3: a drink. He owns the bar, and he's like, you know,

849
00:42:11,560 --> 00:42:14,560
Speaker 3: he emphasizes that it's for free, which I love because

850
00:42:14,560 --> 00:42:16,680
Speaker 3: she looks like she could buy and sell the whole pier,

851
00:42:16,840 --> 00:42:19,560
Speaker 3: like she's wearing this fucking fur hat and fur coat

852
00:42:19,560 --> 00:42:21,600
Speaker 3: and she looks like she could buy and sell the

853
00:42:21,600 --> 00:42:23,560
Speaker 3: whole town. He's like, let me give you this free drink.

854
00:42:23,960 --> 00:42:26,879
Speaker 3: But it's fucking wonderful. So this place is amazing. They're

855
00:42:26,880 --> 00:42:29,360
Speaker 3: singing in the background. He's like kind of trying to

856
00:42:29,360 --> 00:42:31,040
Speaker 3: put the moves on her. You can tell their friends

857
00:42:31,080 --> 00:42:34,240
Speaker 3: or they've known each other for a while. And she's like, well,

858
00:42:34,280 --> 00:42:36,080
Speaker 3: tonight might be your night. Why don't you come back

859
00:42:36,120 --> 00:42:39,600
Speaker 3: to my fucking beach house. And he does, and Wally

860
00:42:39,719 --> 00:42:42,160
Speaker 3: thinks it's get down time, and you know what, this

861
00:42:42,200 --> 00:42:45,160
Speaker 3: place is pretty amazing. She has a spiral staircase in

862
00:42:45,200 --> 00:42:47,400
Speaker 3: her beach house. Like, if you have a spiral staircase

863
00:42:47,440 --> 00:42:48,400
Speaker 3: in your beach house.

864
00:42:48,239 --> 00:42:50,120
Speaker 2: You're doing all right. Yeah, you're doing all right.

865
00:42:50,200 --> 00:42:52,040
Speaker 3: And he's like, what about your husband, and she's like, nah,

866
00:42:52,120 --> 00:42:55,120
Speaker 3: he's not here. But then he is dad upstairs on

867
00:42:55,160 --> 00:42:57,360
Speaker 3: the floor, like they just walk past him in the dark.

868
00:42:58,000 --> 00:43:00,400
Speaker 3: So at this point I'm like, she's a fucking psycho.

869
00:43:00,440 --> 00:43:05,000
Speaker 3: But what a g Like she's like, husband's dead. Let's fuck.

870
00:43:05,560 --> 00:43:06,840
Speaker 2: What are your thoughts?

871
00:43:08,640 --> 00:43:14,960
Speaker 1: Horny alert, Beobyoby, what do you think of Jack? Carson. No, No,

872
00:43:15,520 --> 00:43:17,280
Speaker 1: you don't think he's a beefy little hottie.

873
00:43:17,640 --> 00:43:19,120
Speaker 2: I think he's a fucking creep.

874
00:43:21,320 --> 00:43:24,319
Speaker 3: He's got the face of a man who has thrown

875
00:43:24,400 --> 00:43:25,239
Speaker 3: a cat in a river.

876
00:43:25,640 --> 00:43:27,799
Speaker 2: But Jack Carson, no, he is the face of.

877
00:43:27,800 --> 00:43:31,600
Speaker 3: A man who, like when he eats a Zeppe, Lee

878
00:43:31,640 --> 00:43:34,440
Speaker 3: just gets the powdered sugar all over his shit and

879
00:43:34,560 --> 00:43:39,000
Speaker 3: just leaves it like he just has powdered sugar all

880
00:43:39,000 --> 00:43:40,200
Speaker 3: over his chin and shirt.

881
00:43:40,480 --> 00:43:41,680
Speaker 2: It just goes on a ride.

882
00:43:42,680 --> 00:43:46,080
Speaker 1: Part of what I love by asking these questions is

883
00:43:46,120 --> 00:43:50,000
Speaker 1: that you have to process old ass movie.

884
00:43:49,719 --> 00:43:53,600
Speaker 2: Stars sexually like that. To me, it makes me laugh

885
00:43:54,080 --> 00:43:57,560
Speaker 2: so much, and that's all I want. Wally can jump

886
00:43:57,560 --> 00:44:00,719
Speaker 2: in off the boardwalk. Yeah, all I care. You could go.

887
00:44:01,440 --> 00:44:03,879
Speaker 3: But instead when he does, he goes to this house

888
00:44:03,880 --> 00:44:06,840
Speaker 3: and he's like, cool, we are gonna fucking bone.

889
00:44:06,960 --> 00:44:09,960
Speaker 2: She's still in her full fur head to toe outfit,

890
00:44:10,680 --> 00:44:12,880
Speaker 2: and she's like, let me go change into something a

891
00:44:12,920 --> 00:44:15,560
Speaker 2: little bit uh more comfortable, And he's like, oh, yeah,

892
00:44:15,600 --> 00:44:18,120
Speaker 2: by the way, sorry about that business we did earlier today,

893
00:44:18,640 --> 00:44:20,759
Speaker 2: and she's like, yeah, I don't worry about it. She

894
00:44:21,360 --> 00:44:23,239
Speaker 2: I don't know how she even gets it. She goes

895
00:44:23,280 --> 00:44:26,040
Speaker 2: out a sliding last window or an actual window, but

896
00:44:26,160 --> 00:44:30,480
Speaker 2: she's gone. She bolts down the beach and leaves Wally

897
00:44:30,920 --> 00:44:33,840
Speaker 2: locked in the house with her dad husband.

898
00:44:34,800 --> 00:44:38,400
Speaker 3: So I'm like, all right, So I think her framing

899
00:44:38,520 --> 00:44:42,040
Speaker 3: him for murder means that she wins whatever.

900
00:44:41,719 --> 00:44:44,080
Speaker 2: Business they had that day, Like he might have walked

901
00:44:44,080 --> 00:44:46,759
Speaker 2: away from that meeting feeling like he won something, but

902
00:44:46,880 --> 00:44:51,120
Speaker 2: being framed for murder hours later is kind of the

903
00:44:51,120 --> 00:44:51,840
Speaker 2: clincher for me.

904
00:44:52,160 --> 00:44:54,680
Speaker 1: That's like one of the best moves ever in movies

905
00:44:54,719 --> 00:44:57,800
Speaker 1: and television is to let me slip into something more comfortable.

906
00:44:57,800 --> 00:44:59,839
Speaker 1: I'll be right back, and then she just fucking bo

907
00:45:01,239 --> 00:45:01,680
Speaker 1: If you.

908
00:45:01,600 --> 00:45:03,880
Speaker 3: Say you're gonna slip into something more comfortable and you

909
00:45:03,960 --> 00:45:05,880
Speaker 3: actually do, you're doing it wrong.

910
00:45:06,120 --> 00:45:09,200
Speaker 1: Yes, you have to leave out of a window or

911
00:45:09,239 --> 00:45:12,680
Speaker 1: a back door, even now, like twenty twenty four.

912
00:45:12,760 --> 00:45:15,319
Speaker 3: In your own life, if you say to someone, let

913
00:45:15,360 --> 00:45:17,320
Speaker 3: me slip into something we're comfortable, you better come.

914
00:45:17,200 --> 00:45:21,359
Speaker 2: Back with a full bear costume on, or like, you.

915
00:45:21,360 --> 00:45:24,600
Speaker 3: Better fucking out the fire escape, shim me down the

916
00:45:24,600 --> 00:45:27,440
Speaker 3: side of a building. Yeah, run through the lobby like

917
00:45:27,440 --> 00:45:30,319
Speaker 3: whatever you gotta do, get out. That is the signal MO,

918
00:45:30,560 --> 00:45:33,239
Speaker 3: never come back. In something more comfortable that is not

919
00:45:33,400 --> 00:45:34,279
Speaker 3: sexy at all.

920
00:45:36,280 --> 00:45:37,200
Speaker 2: So he's in there.

921
00:45:37,440 --> 00:45:40,279
Speaker 3: The cops are on the way. The cops blow my

922
00:45:40,360 --> 00:45:42,839
Speaker 3: mind too, because they show up and.

923
00:45:42,920 --> 00:45:47,799
Speaker 2: After rolling around this house at least three times, they're like, oh, wait,

924
00:45:47,840 --> 00:45:51,719
Speaker 2: there's a body here. Like I traverse this house from

925
00:45:51,760 --> 00:45:54,239
Speaker 2: top to bottom, and they're like, oh, oh yeah, there's

926
00:45:54,280 --> 00:45:54,759
Speaker 2: a body here.

927
00:45:54,880 --> 00:45:57,920
Speaker 3: And then they are way too chill about this corpse

928
00:45:58,480 --> 00:46:00,879
Speaker 3: all right, because Wally is figured out how to bust

929
00:46:00,880 --> 00:46:02,759
Speaker 3: out of this house. He like smashes a window and

930
00:46:02,800 --> 00:46:05,560
Speaker 3: he gets out. Cop show up and he's like, oh,

931
00:46:05,560 --> 00:46:06,960
Speaker 3: there's a body in there, and they're like, oh, you

932
00:46:07,000 --> 00:46:10,160
Speaker 3: don't say and I'm like, I'm sorry, And you're not

933
00:46:10,280 --> 00:46:13,080
Speaker 3: like tasering it, like obviously yeahs didn't exist, but like

934
00:46:13,239 --> 00:46:15,320
Speaker 3: you don't have this man on the ground like they're

935
00:46:15,520 --> 00:46:16,719
Speaker 3: patching his wounds.

936
00:46:17,200 --> 00:46:21,000
Speaker 1: Yeah, in nineteen forty five, they're like, oh, wait a minute,

937
00:46:21,520 --> 00:46:24,319
Speaker 1: you were just in there. Okay, I guess let's just

938
00:46:24,320 --> 00:46:24,640
Speaker 1: move on.

939
00:46:26,000 --> 00:46:28,680
Speaker 2: I just gave it a moment. There's so fucking chill

940
00:46:28,719 --> 00:46:30,799
Speaker 2: about it, so fucking chill.

941
00:46:30,960 --> 00:46:31,520
Speaker 1: I love it.

942
00:46:31,719 --> 00:46:35,319
Speaker 3: Meanwhile, Mildred goes back to her fucking mansion and her

943
00:46:35,400 --> 00:46:36,960
Speaker 3: daughter runs up and it's like, oh my god, there

944
00:46:36,960 --> 00:46:39,359
Speaker 3: are detectives here, and she acts surprised to find out

945
00:46:39,400 --> 00:46:41,960
Speaker 3: that her husband has been murdered. So this is the

946
00:46:41,960 --> 00:46:46,560
Speaker 3: primary setup. We go to the police station. There's a

947
00:46:46,600 --> 00:46:48,759
Speaker 3: woman there named Ida Carwin. They kind of seem to

948
00:46:48,760 --> 00:46:51,879
Speaker 3: know each other. But oh wait, Wally is also there

949
00:46:52,320 --> 00:46:56,440
Speaker 3: and her ex husband, So Mildred.

950
00:46:56,080 --> 00:46:57,440
Speaker 2: Has been married before.

951
00:46:57,960 --> 00:47:00,520
Speaker 1: I know, I'd just like, is this a classroomian? Why

952
00:47:00,520 --> 00:47:01,960
Speaker 1: the fuck are all these people I know here?

953
00:47:02,719 --> 00:47:08,080
Speaker 2: Whybody here? Burt and Mildred? Whe are you fox doing here?

954
00:47:10,160 --> 00:47:12,719
Speaker 3: So Burt pierceho is played by Bruce Bennett, is there

955
00:47:13,040 --> 00:47:14,640
Speaker 3: and like, your ex husband is here.

956
00:47:14,480 --> 00:47:14,799
Speaker 2: Ha ha.

957
00:47:15,520 --> 00:47:18,759
Speaker 3: And then they tell Mildred that she can go in

958
00:47:18,800 --> 00:47:21,600
Speaker 3: the most patronizing way possible because they're like, oh, yeah,

959
00:47:21,600 --> 00:47:24,799
Speaker 3: your ex husband clearly killed your current husband. He's like, oh,

960
00:47:24,840 --> 00:47:27,680
Speaker 3: this is what happens when a body is discovered, and

961
00:47:27,680 --> 00:47:30,960
Speaker 3: then we process it like it's just so fucking patronizing. Meanwhile,

962
00:47:31,080 --> 00:47:33,719
Speaker 3: this fucking cop is holding the gun and getting fingerprints

963
00:47:33,840 --> 00:47:34,359
Speaker 3: all over it.

964
00:47:34,760 --> 00:47:36,000
Speaker 2: Oh, I know, all over it.

965
00:47:36,120 --> 00:47:39,719
Speaker 1: The stupid cops. There's already just stupid cops up and

966
00:47:39,760 --> 00:47:40,600
Speaker 1: down this movie.

967
00:47:40,760 --> 00:47:42,560
Speaker 3: They don't give a shit about a fucking corpse. They

968
00:47:42,560 --> 00:47:46,120
Speaker 3: don't give a shit about handling evidence. There's no chain

969
00:47:46,160 --> 00:47:47,239
Speaker 3: of command here at all.

970
00:47:47,440 --> 00:47:48,480
Speaker 1: They don't want to get what.

971
00:47:48,680 --> 00:47:50,600
Speaker 2: Yeah, like, I know they're in like Santa Monica, like

972
00:47:50,600 --> 00:47:53,160
Speaker 2: they're in a beach town, but come on, gartshit together.

973
00:47:53,360 --> 00:47:55,120
Speaker 3: But this is when we go back in time to

974
00:47:55,120 --> 00:47:57,440
Speaker 3: discover how this event happened.

975
00:47:57,440 --> 00:48:00,759
Speaker 2: How did this man die? Who possible killed him?

976
00:48:01,080 --> 00:48:06,759
Speaker 3: We go back in time by four years, and we

977
00:48:06,880 --> 00:48:11,640
Speaker 3: discover that Mildred was indeed married to Bert Pierce. She

978
00:48:11,680 --> 00:48:15,239
Speaker 3: married him when she was seventeen. She's a housewife and

979
00:48:15,280 --> 00:48:19,080
Speaker 3: they have two girls, Vita and Kay, And Mildred's whole

980
00:48:19,120 --> 00:48:22,080
Speaker 3: life is making sure her children have the best of everything.

981
00:48:22,520 --> 00:48:28,240
Speaker 3: Like that's her shit, and her kids are wildly different

982
00:48:28,360 --> 00:48:31,800
Speaker 3: in this regard. Because Mildred buys a dress for Vita,

983
00:48:31,880 --> 00:48:34,840
Speaker 3: she's like baking pies to pay for it. Her husband

984
00:48:34,920 --> 00:48:37,399
Speaker 3: lost his job, so she's like, you know, this sucks.

985
00:48:37,440 --> 00:48:39,319
Speaker 3: He used to work in real estate with Wally, and

986
00:48:39,360 --> 00:48:41,799
Speaker 3: now he's not. You know, he's still looking for a job.

987
00:48:42,200 --> 00:48:44,279
Speaker 3: So I'm gonna bake pies and clean houses and do

988
00:48:44,320 --> 00:48:45,640
Speaker 3: whatever the fuck I have to do to make sure

989
00:48:45,680 --> 00:48:48,719
Speaker 3: that Vida has this dress and Kay has these dance lessons,

990
00:48:49,400 --> 00:48:53,640
Speaker 3: and when Burt comes home for the day and he's like, hey,

991
00:48:53,680 --> 00:48:55,400
Speaker 3: what's up, and she's like, Oh, I'm just baking pies

992
00:48:55,440 --> 00:48:57,400
Speaker 3: and like massive cakes for our fucking kids.

993
00:48:57,560 --> 00:48:58,880
Speaker 2: And he's like, Yo, our kids.

994
00:48:58,640 --> 00:49:01,640
Speaker 3: Are stuck up and you're turning them into fucking assholes.

995
00:49:01,680 --> 00:49:05,560
Speaker 3: Basically pretty much like Burt is not here for his

996
00:49:05,600 --> 00:49:07,200
Speaker 3: own children at this point because he's like, you turn

997
00:49:07,239 --> 00:49:08,120
Speaker 3: them into fucking pricks.

998
00:49:08,400 --> 00:49:08,840
Speaker 2: Yeah.

999
00:49:08,880 --> 00:49:12,600
Speaker 3: Meanwhile, he's cheating on her. His mistress calls the house.

1000
00:49:12,920 --> 00:49:17,680
Speaker 3: His mistress, Miss Maggie Beeterhoff, calls the house and it's like, hey,

1001
00:49:17,719 --> 00:49:20,319
Speaker 3: hen I talk to Burt, and Mildred's like fucking no.

1002
00:49:23,600 --> 00:49:26,480
Speaker 2: Fucking no, it ain't happened, and he answers the phone.

1003
00:49:26,480 --> 00:49:27,759
Speaker 2: He's like, oh, I can't talk right now.

1004
00:49:27,880 --> 00:49:30,120
Speaker 3: They get into a little discussion about it where she's like,

1005
00:49:30,120 --> 00:49:32,399
Speaker 3: I know exactly what the fuck you're doing, and then

1006
00:49:32,400 --> 00:49:35,160
Speaker 3: she tells him to pack up and go and he's like, okay,

1007
00:49:35,200 --> 00:49:38,040
Speaker 3: you want to go right now. Again, everyone is way

1008
00:49:38,080 --> 00:49:41,320
Speaker 3: too chill about the disillusion of this marriage because.

1009
00:49:41,080 --> 00:49:42,000
Speaker 2: He's like all right, cool.

1010
00:49:42,719 --> 00:49:46,920
Speaker 3: Cut to the girls are coming home and you see

1011
00:49:46,960 --> 00:49:49,440
Speaker 3: the dad not even putting clothes in a bag or

1012
00:49:49,480 --> 00:49:52,440
Speaker 3: a suitcase. He's just putting full clothes on hangers in

1013
00:49:52,440 --> 00:49:54,319
Speaker 3: the back seat of his car. Like, if you've ever

1014
00:49:54,440 --> 00:49:57,399
Speaker 3: moved that way, you know shit is dire because I've

1015
00:49:57,400 --> 00:49:58,280
Speaker 3: moved that way before.

1016
00:49:58,480 --> 00:50:00,640
Speaker 2: I'm like this, put it in the car, I'll it later.

1017
00:50:01,239 --> 00:50:02,240
Speaker 2: She is dire.

1018
00:50:02,640 --> 00:50:05,319
Speaker 3: But we also get to see that between Vita and Kay.

1019
00:50:05,440 --> 00:50:09,320
Speaker 3: Kay is the younger daughter. Vina is very prissy, very prim,

1020
00:50:09,440 --> 00:50:12,840
Speaker 3: very proper, and Kay is a fucking maniac. Kay is

1021
00:50:12,880 --> 00:50:16,360
Speaker 3: like covered in dirt. She probably eats fifteen worms a

1022
00:50:16,440 --> 00:50:19,600
Speaker 3: day just for fun. Yeah, Like she's just this adorable kid.

1023
00:50:19,640 --> 00:50:21,360
Speaker 3: And Bert even says that at one point he's like

1024
00:50:21,440 --> 00:50:24,160
Speaker 3: Kay is a perfect child as she is, Yeah, why

1025
00:50:24,239 --> 00:50:26,759
Speaker 3: are you forcing her to all these lessons? Like she

1026
00:50:26,840 --> 00:50:28,880
Speaker 3: wants to be outside playing with her friends in the street.

1027
00:50:29,239 --> 00:50:31,560
Speaker 2: So Bert's gone. Kids come home.

1028
00:50:31,800 --> 00:50:35,000
Speaker 3: Burt's former partner Wally comes over and is like, oh,

1029
00:50:35,080 --> 00:50:37,520
Speaker 3: you guys split up. Cool, I was waiting for that.

1030
00:50:37,719 --> 00:50:39,279
Speaker 3: I'm glad you split up, And then he just starts

1031
00:50:39,360 --> 00:50:43,040
Speaker 3: hitting on Mildred right away, like arm on the couch,

1032
00:50:43,160 --> 00:50:46,399
Speaker 3: like tongue alec like right away.

1033
00:50:47,040 --> 00:50:49,200
Speaker 2: She's like, how about you chill your fucking shit out.

1034
00:50:49,239 --> 00:50:50,600
Speaker 2: I have to get a job and take care of

1035
00:50:50,600 --> 00:50:52,480
Speaker 2: my children because my husband just left.

1036
00:50:53,200 --> 00:50:55,640
Speaker 3: But she has no experience, so she goes to this restaurant.

1037
00:50:55,680 --> 00:50:57,560
Speaker 3: After a couple of days of rolling around, she goes

1038
00:50:57,600 --> 00:51:00,719
Speaker 3: to this restaurant and asks for a job, and her

1039
00:51:00,760 --> 00:51:05,320
Speaker 3: boss is amazing. Her boss, Ida is played by Eve Arden,

1040
00:51:05,920 --> 00:51:10,000
Speaker 3: classic film actress. I love eve Rton, absolutely love her

1041
00:51:10,040 --> 00:51:13,600
Speaker 3: in general, love her in this movie. And she's like, look,

1042
00:51:14,200 --> 00:51:16,640
Speaker 3: we'll give you a chance. We'll definitely give you a chance,

1043
00:51:16,719 --> 00:51:18,880
Speaker 3: and you can keep your tips, but we are gonna

1044
00:51:18,920 --> 00:51:21,360
Speaker 3: charge the fuck out of you for your uniform, your shoes,

1045
00:51:21,440 --> 00:51:22,320
Speaker 3: everything else.

1046
00:51:22,560 --> 00:51:24,279
Speaker 2: Like first week or two you might not even get

1047
00:51:24,280 --> 00:51:28,279
Speaker 2: any money, but you can keep your But she's doing great.

1048
00:51:28,280 --> 00:51:29,319
Speaker 2: Mildred gets it down.

1049
00:51:29,440 --> 00:51:33,279
Speaker 3: She's like, I'm fucking I'm an awesome waitress and I'm

1050
00:51:33,320 --> 00:51:37,160
Speaker 3: baking pies for the restaurant by the dozen with Lottie

1051
00:51:37,760 --> 00:51:41,759
Speaker 3: played by Butterfly McQueen, who was in What Duel in

1052
00:51:41,800 --> 00:51:42,160
Speaker 3: the Sun.

1053
00:51:42,400 --> 00:51:46,560
Speaker 2: Hey, hey, well it's many other films.

1054
00:51:46,280 --> 00:51:49,680
Speaker 1: And a little movie, a little indie movie called Gone

1055
00:51:49,680 --> 00:51:50,560
Speaker 1: with the Wind.

1056
00:51:50,880 --> 00:51:56,080
Speaker 3: Little Dinny called God with the Wind, Hey, twenty four movie.

1057
00:51:55,840 --> 00:51:57,560
Speaker 1: Gone with the Wind, Yeah, you know.

1058
00:51:59,239 --> 00:52:00,200
Speaker 2: Twenty four or.

1059
00:52:01,680 --> 00:52:04,760
Speaker 1: Fucketdagin, I should.

1060
00:52:04,560 --> 00:52:07,480
Speaker 3: Pitch that rebike Gone with the Wind a twenty four style.

1061
00:52:08,280 --> 00:52:11,480
Speaker 3: Everyone is not white and they're all gonna die.

1062
00:52:13,560 --> 00:52:15,120
Speaker 2: And grew some crazy ways.

1063
00:52:17,360 --> 00:52:20,600
Speaker 3: O good, Lottie blows my mind because her voice is

1064
00:52:20,960 --> 00:52:23,520
Speaker 3: fucking wild. Just look at her and then just try

1065
00:52:23,640 --> 00:52:25,799
Speaker 3: looking away from the screen and listening to her talk,

1066
00:52:25,880 --> 00:52:28,160
Speaker 3: and you think it's like somebody pulled the string on one.

1067
00:52:28,080 --> 00:52:30,480
Speaker 2: Of those old dolls. Uh huh. You're like, oh, is

1068
00:52:30,520 --> 00:52:33,480
Speaker 2: this like an old doll talking like? Her voice is wild?

1069
00:52:33,680 --> 00:52:36,920
Speaker 3: And she's so adorable and she's there making these pies

1070
00:52:37,040 --> 00:52:39,480
Speaker 3: and I'm thinking the whole time, is Lottie getting paid, Like,

1071
00:52:39,520 --> 00:52:40,360
Speaker 3: what's going on with this?

1072
00:52:41,200 --> 00:52:42,680
Speaker 2: Because she's just making pies by the door.

1073
00:52:42,719 --> 00:52:44,799
Speaker 3: But you know, Mildred's figuring it out, and I think

1074
00:52:44,840 --> 00:52:47,560
Speaker 3: she's cool enough that she probably paid Lottie a little

1075
00:52:47,560 --> 00:52:50,279
Speaker 3: bit of something. Yeah, But the whole time she's doing this,

1076
00:52:51,000 --> 00:52:54,680
Speaker 3: she's worried that Vida's gonna find out that she's a waitress.

1077
00:52:55,080 --> 00:52:56,439
Speaker 2: And guess what Vida does.

1078
00:52:56,640 --> 00:53:00,319
Speaker 3: And in the cruelest way possible, Mildred comes home one

1079
00:53:00,400 --> 00:53:04,399
Speaker 3: day and finds out that Vita has made Lottie wear

1080
00:53:04,800 --> 00:53:08,680
Speaker 3: her uniform at home because she's like the hired help.

1081
00:53:09,120 --> 00:53:12,719
Speaker 2: This bitch, this fucking bitch I was.

1082
00:53:12,840 --> 00:53:15,400
Speaker 1: I have to say, my mom was a fucking waitress

1083
00:53:15,680 --> 00:53:19,120
Speaker 1: mine too when I was probably her age. The fact

1084
00:53:19,160 --> 00:53:22,600
Speaker 1: that she was so she's so obsessed with being like

1085
00:53:23,960 --> 00:53:29,480
Speaker 1: upper class, upper crust. She's super obsessed with being moneyed

1086
00:53:29,640 --> 00:53:34,839
Speaker 1: and having like she's like putting on French accents and shit,

1087
00:53:35,000 --> 00:53:38,879
Speaker 1: and I'm just like, this little girl can kiss my ass,

1088
00:53:39,440 --> 00:53:40,120
Speaker 1: like for real.

1089
00:53:40,040 --> 00:53:42,640
Speaker 3: And she's like seventeen, she's like fifteen at this point,

1090
00:53:42,920 --> 00:53:44,399
Speaker 3: you know, like she's not She's like a kid.

1091
00:53:45,000 --> 00:53:46,560
Speaker 2: Yeah, no, I'm not feeling it.

1092
00:53:46,719 --> 00:53:48,680
Speaker 1: It really it really hurt me that she was so

1093
00:53:48,800 --> 00:53:51,560
Speaker 1: embarrassed that her mom was a waitress. I was just like, yeah,

1094
00:53:51,719 --> 00:53:53,880
Speaker 1: fuck you, where the fuck are you getting these fancy

1095
00:53:53,960 --> 00:53:58,480
Speaker 1: ass Kentucky Derby hats? Then your mom is doing that.

1096
00:53:59,080 --> 00:54:02,399
Speaker 3: Mildred is so successful at being a waitress that she's

1097
00:54:02,440 --> 00:54:06,040
Speaker 3: able to pay for lessons and shit and like crazy clothes.

1098
00:54:06,280 --> 00:54:07,800
Speaker 3: You know how much you must have been rolling in

1099
00:54:07,920 --> 00:54:10,359
Speaker 3: tips and how hard she was working to make that money.

1100
00:54:10,400 --> 00:54:13,000
Speaker 3: And Beta is like this is degrading. Fuck you go

1101
00:54:13,080 --> 00:54:14,360
Speaker 3: out and get a job on your own and make

1102
00:54:14,400 --> 00:54:15,600
Speaker 3: your own god damn money.

1103
00:54:15,640 --> 00:54:16,040
Speaker 2: Trust me.

1104
00:54:16,520 --> 00:54:19,799
Speaker 1: And that's just this is just a tip of the Iceberg.

1105
00:54:19,800 --> 00:54:21,520
Speaker 2: Tip, the very tip.

1106
00:54:22,040 --> 00:54:24,719
Speaker 3: So Mildred confesses, she's like, oh my god, I can't

1107
00:54:24,719 --> 00:54:26,279
Speaker 3: believe you foun out. She's like sorry, She's like, I

1108
00:54:26,280 --> 00:54:28,640
Speaker 3: can't believe you found out I'm a waitress. But don't worry,

1109
00:54:28,840 --> 00:54:31,400
Speaker 3: because I actually want to open my own restaurant, like

1110
00:54:31,520 --> 00:54:34,560
Speaker 3: that's my goal, so that you'll be less embarrassed of me,

1111
00:54:35,640 --> 00:54:39,200
Speaker 3: Like hi, And she goes to her husband's old partner, Wally,

1112
00:54:39,360 --> 00:54:42,120
Speaker 3: for help, and she's like, look, I've done my research.

1113
00:54:42,239 --> 00:54:44,640
Speaker 3: I found a house. I've been out here counting cars.

1114
00:54:45,120 --> 00:54:47,600
Speaker 3: This is a great location for a restaurant. It's owned

1115
00:54:47,600 --> 00:54:50,200
Speaker 3: by the Barragon estate. And while he's like, oh cool,

1116
00:54:50,239 --> 00:54:52,560
Speaker 3: they're in trouble so they'll probably sell it for really cheap.

1117
00:54:52,960 --> 00:55:00,600
Speaker 3: And they go and meet Monty Barragon played by Zachary Scott. Hmmm,

1118
00:55:01,440 --> 00:55:04,160
Speaker 3: also not on my horny list. The mustache can go

1119
00:55:06,520 --> 00:55:09,600
Speaker 3: and he looks like the kind of person. He looks

1120
00:55:09,640 --> 00:55:12,320
Speaker 3: like the kind of guy who was in the mosh

1121
00:55:12,400 --> 00:55:14,600
Speaker 3: pit at Woodstock ninety nine.

1122
00:55:16,200 --> 00:55:20,080
Speaker 2: And like had the big junko jeans and.

1123
00:55:21,920 --> 00:55:27,200
Speaker 3: Has HBV yes and absolutely never wears condoms.

1124
00:55:27,320 --> 00:55:29,000
Speaker 2: Like that is the person he looks like. To me,

1125
00:55:29,239 --> 00:55:30,120
Speaker 2: I'm gonna just say it.

1126
00:55:30,920 --> 00:55:35,520
Speaker 1: He looks like he was an inner pole the band

1127
00:55:36,160 --> 00:55:38,239
Speaker 1: the band Interpol. He looks like he was a member

1128
00:55:38,280 --> 00:55:42,719
Speaker 1: of Interpol, but in all black, playing rock and roll

1129
00:55:42,800 --> 00:55:43,640
Speaker 1: in New York City.

1130
00:55:44,360 --> 00:55:47,879
Speaker 2: Like I'm just saying, and this is where I blow

1131
00:55:47,920 --> 00:55:50,520
Speaker 2: your mind that I'm friendly with Paul Banks.

1132
00:55:50,880 --> 00:55:52,440
Speaker 1: I was gonna say, that's the whole reason why I

1133
00:55:52,520 --> 00:55:53,160
Speaker 1: fucking said it.

1134
00:55:55,560 --> 00:55:58,000
Speaker 2: I know, you know what. They are the whitest people,

1135
00:55:59,320 --> 00:56:01,600
Speaker 2: but you're right, somehow he fits the mold.

1136
00:56:02,080 --> 00:56:04,600
Speaker 1: He just has that air to him. I would say

1137
00:56:04,719 --> 00:56:08,000
Speaker 1: not horny for me as well. But I actually love

1138
00:56:08,239 --> 00:56:10,640
Speaker 1: at the beginning of the film. I mean spoiler alert,

1139
00:56:10,680 --> 00:56:12,839
Speaker 1: it's not a spoiler alert because it fucking happens at

1140
00:56:12,840 --> 00:56:14,719
Speaker 1: the very beginning of the film. Yeah, but he gets

1141
00:56:15,400 --> 00:56:18,960
Speaker 1: shot and the way that he falls down with that

1142
00:56:19,120 --> 00:56:22,120
Speaker 1: like that little flop of hair that like pops out.

1143
00:56:22,120 --> 00:56:22,960
Speaker 2: Is so cool.

1144
00:56:23,040 --> 00:56:26,000
Speaker 1: I'm like, Yeo, he looks cool when he's getting shot.

1145
00:56:27,920 --> 00:56:29,560
Speaker 2: Love it as cool as hell.

1146
00:56:30,440 --> 00:56:33,759
Speaker 3: But he's like he's a diletant, like he is a

1147
00:56:33,920 --> 00:56:38,560
Speaker 3: rich man, and he's clearly running his family's businesses into

1148
00:56:38,640 --> 00:56:40,680
Speaker 3: the ground, like he has no idea what he's doing,

1149
00:56:41,600 --> 00:56:44,080
Speaker 3: to the point where Mildred and Wally are like, hey,

1150
00:56:44,200 --> 00:56:46,840
Speaker 3: we want this house that you own. We are absolutely

1151
00:56:46,920 --> 00:56:48,919
Speaker 3: not going to pay you for it for a year,

1152
00:56:49,080 --> 00:56:50,360
Speaker 3: but why don't you just give us the deed and

1153
00:56:50,480 --> 00:56:52,640
Speaker 3: let us open the restaurant now? And he's like, all right,

1154
00:56:54,800 --> 00:56:57,399
Speaker 3: that's how bad he is in business. Yeah, He's like, yeah,

1155
00:56:57,400 --> 00:56:59,120
Speaker 3: open your restaurant for a year, have the deed. You

1156
00:56:59,200 --> 00:57:02,280
Speaker 3: basically own the house for zero dollars, right, and Wally

1157
00:57:02,320 --> 00:57:04,560
Speaker 3: the whole one, you know, when they're kind of driving

1158
00:57:04,600 --> 00:57:07,160
Speaker 3: away and celebrating with you know, Mildred, he's like, you

1159
00:57:07,360 --> 00:57:09,719
Speaker 3: have to get divorced because of the community property law

1160
00:57:09,719 --> 00:57:11,960
Speaker 3: in California. Like if you don't get divorced, Burt is

1161
00:57:11,960 --> 00:57:14,960
Speaker 3: gonna own half of everything you have. And Bert won't

1162
00:57:14,960 --> 00:57:16,960
Speaker 3: agree to the divorce. He's like, fuck that, I ain't

1163
00:57:17,000 --> 00:57:19,320
Speaker 3: doing that. I'm gonna keep living with the fucking Maggie

1164
00:57:19,360 --> 00:57:24,560
Speaker 3: over here. That's right, I ain't doing that. So Mildred

1165
00:57:24,640 --> 00:57:26,840
Speaker 3: moves on, even though she's not divorced. She moves on

1166
00:57:27,200 --> 00:57:30,560
Speaker 3: and Barregon kind of woos her down to his beach house,

1167
00:57:30,680 --> 00:57:32,200
Speaker 3: the beach house that we saw in the beginning of

1168
00:57:32,240 --> 00:57:35,320
Speaker 3: the film that he gets murdered in. And there are

1169
00:57:35,480 --> 00:57:38,160
Speaker 3: like twenty bathing suits on hangars and some of them

1170
00:57:38,240 --> 00:57:41,960
Speaker 3: have zippers like old fucking swimwears wild.

1171
00:57:42,520 --> 00:57:47,160
Speaker 1: Okay, that might be like another connection point between our

1172
00:57:47,280 --> 00:57:50,160
Speaker 1: movies this week is that there are old bathing suits

1173
00:57:50,200 --> 00:57:52,120
Speaker 1: involved and they're part of like.

1174
00:57:52,200 --> 00:57:53,800
Speaker 2: The wooing, like the sex seness.

1175
00:57:54,200 --> 00:57:57,480
Speaker 3: Yeah, even though when she comes out she's wearing actual shorts.

1176
00:58:00,240 --> 00:58:03,160
Speaker 1: That was part of John Crawford's contract, right, She's like,

1177
00:58:03,440 --> 00:58:06,240
Speaker 1: I'm doing my contract for these movies. I must appear

1178
00:58:06,360 --> 00:58:08,840
Speaker 1: in an old timey bathing suit or else I quit.

1179
00:58:09,240 --> 00:58:12,240
Speaker 2: When we say old timey, we mean old timy, like

1180
00:58:12,400 --> 00:58:13,440
Speaker 2: down to the knee.

1181
00:58:13,760 --> 00:58:16,880
Speaker 3: She's like, you will not even see a glimpse of

1182
00:58:16,920 --> 00:58:19,280
Speaker 3: my belly button because it's gonna be pulled up to

1183
00:58:19,560 --> 00:58:22,360
Speaker 3: under my tits and reached down to my knees.

1184
00:58:22,840 --> 00:58:23,320
Speaker 2: And that's it.

1185
00:58:23,480 --> 00:58:28,440
Speaker 1: Yeah, this is some Coney Island ass strong man boardwalk

1186
00:58:28,520 --> 00:58:29,280
Speaker 1: bathing suit shit.

1187
00:58:29,840 --> 00:58:32,520
Speaker 3: And it's not that much better for Monty, who's basically

1188
00:58:32,600 --> 00:58:34,480
Speaker 3: wearing like black spiedos and a.

1189
00:58:34,680 --> 00:58:40,280
Speaker 2: V neck cable sweater. The fuck is happening on this beach.

1190
00:58:43,320 --> 00:58:46,240
Speaker 3: I've been to Santa Monica, I've been to Malibu. None

1191
00:58:46,280 --> 00:58:51,080
Speaker 3: of these outfits make any sense. A V neck cable sweater, Like,

1192
00:58:51,200 --> 00:58:53,840
Speaker 3: fuck out of here. And then he's just I don't know,

1193
00:58:53,920 --> 00:58:55,800
Speaker 3: he's just kind of he lays out on so thick

1194
00:58:55,840 --> 00:58:57,080
Speaker 3: with her, like they're kind of in front of the

1195
00:58:57,160 --> 00:59:01,040
Speaker 3: fire after they swim, but he's likeathing into her ears

1196
00:59:01,080 --> 00:59:02,880
Speaker 3: and he's like when we're close like this, I hear

1197
00:59:02,960 --> 00:59:04,360
Speaker 3: the beating of wings.

1198
00:59:04,040 --> 00:59:06,560
Speaker 2: And it's just like his hot breath and his mustache.

1199
00:59:06,600 --> 00:59:08,200
Speaker 2: And I'm like, Manty, take a fucking knee.

1200
00:59:08,400 --> 00:59:09,840
Speaker 3: Like she knows you're into her because you're on the

1201
00:59:09,880 --> 00:59:12,000
Speaker 3: ground in front of a fire and it's nineteen forty five.

1202
00:59:12,200 --> 00:59:14,240
Speaker 2: Yeah, like you don't need much more than that. But

1203
00:59:14,360 --> 00:59:18,080
Speaker 2: they bang, they bang, and Mildred is like, great, the

1204
00:59:18,160 --> 00:59:20,520
Speaker 2: girls are away with their dad for the weekend at Arrowhead.

1205
00:59:20,600 --> 00:59:23,680
Speaker 2: I'm getting boned by this hot, rich guy who doesn't

1206
00:59:23,720 --> 00:59:25,960
Speaker 2: know what he's doing in his life at all. Awesome.

1207
00:59:26,520 --> 00:59:28,840
Speaker 2: She comes home and all hell breaks lose.

1208
00:59:28,920 --> 00:59:31,200
Speaker 3: So basically she gets back and Burt is there and

1209
00:59:31,280 --> 00:59:33,200
Speaker 3: he's like, oh, by the way, we had to come

1210
00:59:33,240 --> 00:59:37,160
Speaker 3: back from Arrowhead because Kay has pneumonia, dude, and I

1211
00:59:37,200 --> 00:59:39,240
Speaker 3: didn't know where to bring her, so I brought her

1212
00:59:39,280 --> 00:59:42,760
Speaker 3: to Maggie's house, my mistress's house, because it was like

1213
00:59:42,840 --> 00:59:43,520
Speaker 3: an emergency.

1214
00:59:43,560 --> 00:59:45,320
Speaker 2: And I'm like, you didn't go to the hospital, b Burt,

1215
00:59:45,360 --> 00:59:46,160
Speaker 2: You're a bad dad.

1216
00:59:47,000 --> 00:59:51,439
Speaker 1: I was like, you put my daughter in your mistress's house.

1217
00:59:52,240 --> 00:59:52,680
Speaker 2: I can't.

1218
00:59:52,920 --> 00:59:56,080
Speaker 3: And then when she goes into the house, Kay is

1219
00:59:56,440 --> 01:00:00,440
Speaker 3: strugs to funk. She's like under a fucking as her

1220
01:00:00,600 --> 01:00:05,400
Speaker 3: tent and she dies in like two minutes after fucking

1221
01:00:05,480 --> 01:00:09,120
Speaker 3: Mildred shows up because they were only treating her with oxygen.

1222
01:00:09,560 --> 01:00:11,880
Speaker 2: Like, keep pumping up that oxygen. I'm like, this bitch

1223
01:00:12,000 --> 01:00:16,280
Speaker 2: is a gonner. She's like sweaty and tasty, her mouth's open,

1224
01:00:16,440 --> 01:00:20,400
Speaker 2: she's just like mama, and then she dies because they

1225
01:00:20,480 --> 01:00:23,080
Speaker 2: are just giving her oxygen. Dude.

1226
01:00:23,440 --> 01:00:25,640
Speaker 1: I'm about to send you a screen grab from this

1227
01:00:25,800 --> 01:00:31,480
Speaker 1: film because I was like, I forgot first of all,

1228
01:00:31,520 --> 01:00:33,320
Speaker 1: this whole sequence.

1229
01:00:34,320 --> 01:00:38,880
Speaker 2: Is absolutely insane to me, and it's so fast. It

1230
01:00:39,040 --> 01:00:51,360
Speaker 2: is so fast social media. This week when they cut

1231
01:00:51,520 --> 01:00:55,560
Speaker 2: two k who hit the bench, I was like, what

1232
01:00:56,000 --> 01:00:56,479
Speaker 2: the fuck?

1233
01:00:56,640 --> 01:01:00,880
Speaker 1: She looks terrible, and like they obviously this little girl

1234
01:01:01,000 --> 01:01:04,320
Speaker 1: actor and was like, let's put a bunch of like

1235
01:01:04,880 --> 01:01:07,680
Speaker 1: Ioto glycerin drops on her face to make her look

1236
01:01:07,720 --> 01:01:10,880
Speaker 1: like she's about to croak. And when they just cut

1237
01:01:10,960 --> 01:01:14,640
Speaker 1: to her little face, I'm like, Yo, she is busted

1238
01:01:14,760 --> 01:01:15,320
Speaker 1: as fuck.

1239
01:01:16,000 --> 01:01:16,960
Speaker 2: She's a gonner.

1240
01:01:17,440 --> 01:01:20,560
Speaker 3: She's like high five to the makeup prow because she

1241
01:01:20,840 --> 01:01:21,959
Speaker 3: was a gone earth.

1242
01:01:22,080 --> 01:01:24,960
Speaker 1: No, they made her look like absolute shit on the

1243
01:01:25,000 --> 01:01:28,960
Speaker 1: break of death, like hell, but that The craziest part

1244
01:01:29,040 --> 01:01:35,520
Speaker 1: to me about this film is again how chill everybody

1245
01:01:35,800 --> 01:01:37,080
Speaker 1: is when she dies.

1246
01:01:37,800 --> 01:01:40,200
Speaker 2: She dies, and I'm not even kidding. Within a minute,

1247
01:01:40,720 --> 01:01:42,880
Speaker 2: Mildred is holding onto Vita. Vida is kind of crying

1248
01:01:42,880 --> 01:01:46,760
Speaker 2: into her shoulder and Mildred is like, I'll never forget,

1249
01:01:46,960 --> 01:01:48,960
Speaker 2: and I'm like, it just happened. What do you mean

1250
01:01:49,000 --> 01:01:51,480
Speaker 2: you'll never forget. She's like, yeah, back to biz. Let's

1251
01:01:51,520 --> 01:01:52,760
Speaker 2: get this restaurant. Hopen.

1252
01:01:53,320 --> 01:01:55,280
Speaker 1: The mistress is like, let me get you some tea.

1253
01:01:55,320 --> 01:01:57,280
Speaker 1: I'm like, bitch, do not say a word to me

1254
01:01:57,400 --> 01:01:59,600
Speaker 1: after my daughter just died in front of her faces.

1255
01:02:00,120 --> 01:02:01,840
Speaker 2: What is wrong with you in your house?

1256
01:02:02,160 --> 01:02:04,080
Speaker 1: The worst part of it is the dog.

1257
01:02:04,200 --> 01:02:05,320
Speaker 2: It literally goes.

1258
01:02:05,200 --> 01:02:09,120
Speaker 1: From like, Oh, no, what's gonna happen? Nurse give her

1259
01:02:09,240 --> 01:02:12,920
Speaker 1: some extra ccs. Oh I'm sorry, she's dead. Like the

1260
01:02:13,040 --> 01:02:15,720
Speaker 1: doctor literally just says, oh, she just I couldn't save her.

1261
01:02:16,040 --> 01:02:18,880
Speaker 2: And they're like, what what about the cc that you

1262
01:02:19,040 --> 01:02:24,479
Speaker 2: just like what what were you just giving her water?

1263
01:02:24,800 --> 01:02:26,640
Speaker 2: Like you're shooting water into a fucking name.

1264
01:02:28,000 --> 01:02:30,920
Speaker 1: Did you actually give her a ccne because she's fucking

1265
01:02:31,040 --> 01:02:34,720
Speaker 1: dead now, Like, I'm like, what happened? Literally what happened?

1266
01:02:34,960 --> 01:02:37,520
Speaker 2: Just he's like, oh, that needle was just full of air.

1267
01:02:37,600 --> 01:02:40,560
Speaker 2: I killed her, sorry, and it shot a bunch of

1268
01:02:40,640 --> 01:02:44,800
Speaker 2: air directly into her fucking heart. It was so fast, dude.

1269
01:02:45,360 --> 01:02:47,360
Speaker 1: One of the wildest scenes in the movie for.

1270
01:02:47,480 --> 01:02:50,600
Speaker 2: Me, wildest scene three minutes done.

1271
01:02:50,640 --> 01:02:54,400
Speaker 3: And this is pre like Children's Code where they couldn't

1272
01:02:54,480 --> 01:02:56,480
Speaker 3: keep kids pass us through. They could have kept that

1273
01:02:56,520 --> 01:02:58,520
Speaker 3: bitcho their diet all day. And they're like, no, we

1274
01:02:58,560 --> 01:02:59,960
Speaker 3: gotta get done with this in three minutes.

1275
01:03:00,880 --> 01:03:04,080
Speaker 2: Can not fucking hang on this scene, Get Kay out

1276
01:03:04,120 --> 01:03:10,400
Speaker 2: of here. Last time we see k she's dancing around

1277
01:03:10,440 --> 01:03:13,760
Speaker 2: like Carmen Miranda and then she's just dead. She's just dead.

1278
01:03:14,800 --> 01:03:20,000
Speaker 2: Everyone moves on. Everyone moves on. Mildred says she's never

1279
01:03:20,040 --> 01:03:20,600
Speaker 2: gonna forget.

1280
01:03:20,680 --> 01:03:22,800
Speaker 3: She said mother and then she died, And I'm like,

1281
01:03:22,880 --> 01:03:26,080
Speaker 3: you literally never mentioned this child again, like you instantly forget.

1282
01:03:26,640 --> 01:03:29,920
Speaker 3: Oh my god, this scene crazy. But restaurants open and

1283
01:03:30,040 --> 01:03:32,600
Speaker 3: it's hoppin' just like she thought it would be. And

1284
01:03:32,720 --> 01:03:35,000
Speaker 3: she hires her old boss Aida to help her run

1285
01:03:35,040 --> 01:03:38,160
Speaker 3: the place. So Ida's around her. She has the best

1286
01:03:38,200 --> 01:03:41,000
Speaker 3: lines of the movie, Like everything she says, it's fucking hilarious.

1287
01:03:41,160 --> 01:03:42,720
Speaker 2: Gold. So they're having a great night.

1288
01:03:42,800 --> 01:03:45,800
Speaker 3: It's open, everyone's coming in, they're serving fried chicken, they're

1289
01:03:45,840 --> 01:03:47,760
Speaker 3: fucking on their shit. And Beta comes in and she's like,

1290
01:03:47,800 --> 01:03:49,640
Speaker 3: oh yeah, I actually like it. I'm like, you, little

1291
01:03:49,720 --> 01:03:53,360
Speaker 3: fucking bratt, fuck out of here. But also Manty comes

1292
01:03:53,440 --> 01:03:56,400
Speaker 3: in with some orchids and he's like, you know, I

1293
01:03:56,440 --> 01:03:58,560
Speaker 3: wouldn't want this to get around, but I come from

1294
01:03:58,600 --> 01:04:00,600
Speaker 3: a long line of fortune tellers. Is trying to, like,

1295
01:04:01,200 --> 01:04:06,360
Speaker 3: you know, tell Mildred's future, and I just want to

1296
01:04:06,400 --> 01:04:08,440
Speaker 3: say that at some point, like at one point he

1297
01:04:08,520 --> 01:04:10,880
Speaker 3: says this like seventeen times in this fucking movie, and

1298
01:04:10,960 --> 01:04:12,160
Speaker 3: he's like, I don't want this to get around.

1299
01:04:12,240 --> 01:04:14,040
Speaker 2: I'm like, well, then maybe stop talking about it, maybe

1300
01:04:14,080 --> 01:04:14,680
Speaker 2: stop saying this.

1301
01:04:15,280 --> 01:04:16,840
Speaker 1: That's his game, girl game.

1302
01:04:17,160 --> 01:04:18,120
Speaker 2: It ain't cute.

1303
01:04:18,720 --> 01:04:21,880
Speaker 3: Ain't Kurt cute, Manzi. But Burt comes in and he's like, cool,

1304
01:04:21,960 --> 01:04:24,440
Speaker 3: your restaurant's doing great. Actually, I will give you the divorce.

1305
01:04:25,120 --> 01:04:27,040
Speaker 3: And it's not because of Maggie because she's married. She

1306
01:04:27,120 --> 01:04:29,240
Speaker 3: married somebody else, Like I just want out of all

1307
01:04:29,320 --> 01:04:29,720
Speaker 3: this shit.

1308
01:04:30,240 --> 01:04:32,600
Speaker 2: Yeah. My hope for Burt is that he just went

1309
01:04:32,680 --> 01:04:35,840
Speaker 2: into some like man in the Woods yelling tribe. But

1310
01:04:36,000 --> 01:04:38,840
Speaker 2: he doesn't. He's like, I'm done with all of it.

1311
01:04:38,960 --> 01:04:40,400
Speaker 2: My kid's dead. Bye.

1312
01:04:40,520 --> 01:04:42,800
Speaker 3: But he just grants her the divorce. So then we

1313
01:04:42,920 --> 01:04:44,640
Speaker 3: kind of pop back into the present for a minute

1314
01:04:45,440 --> 01:04:49,000
Speaker 3: and Mildred is admitting to the murder. She's like, yep,

1315
01:04:49,040 --> 01:04:53,280
Speaker 3: I totally did it. I'm very successful. Over like three years,

1316
01:04:53,480 --> 01:04:55,440
Speaker 3: I built up a chain of restaurants. I had like

1317
01:04:55,520 --> 01:04:58,000
Speaker 3: five restaurants, and I did it all for Vita.

1318
01:04:58,800 --> 01:04:58,960
Speaker 2: Right.

1319
01:05:00,400 --> 01:05:04,560
Speaker 3: Meanwhile, Monty is going broke, so she's offering him money

1320
01:05:04,720 --> 01:05:07,840
Speaker 3: and he's saying it's alone. And the first time it happened,

1321
01:05:07,840 --> 01:05:09,720
Speaker 3: she's like, no, no, it's cool. But then it becomes

1322
01:05:09,760 --> 01:05:12,720
Speaker 3: a fucking habit and he's running up this huge bill,

1323
01:05:13,160 --> 01:05:16,000
Speaker 3: and Wally is pissed. He's like, this bitch is spending

1324
01:05:16,040 --> 01:05:18,760
Speaker 3: over seventeen hundred dollars a month on shirts?

1325
01:05:19,320 --> 01:05:20,920
Speaker 2: Who is this man? Why are you giving this man

1326
01:05:20,960 --> 01:05:21,520
Speaker 2: all this money?

1327
01:05:21,640 --> 01:05:23,959
Speaker 3: And seventeen hundred dollars in nineteen forty five. I didn't

1328
01:05:24,000 --> 01:05:27,040
Speaker 3: look up the calculations, but I would assume it's the

1329
01:05:27,120 --> 01:05:29,120
Speaker 3: equivalent of like eight hundred thousand dollars.

1330
01:05:29,200 --> 01:05:30,919
Speaker 2: Now, yeah, there's a lot of money.

1331
01:05:31,440 --> 01:05:36,320
Speaker 1: So here's the score. This dude is hanging out with

1332
01:05:36,480 --> 01:05:39,640
Speaker 1: her daughter on the rags. Yep, they're getting like Caviat,

1333
01:05:39,840 --> 01:05:42,640
Speaker 1: like the most fancy places in Beverly Hills, and he's

1334
01:05:42,720 --> 01:05:45,600
Speaker 1: getting monogram shirts that she's paying.

1335
01:05:45,440 --> 01:05:47,840
Speaker 2: For and Mildred's paying for all of it.

1336
01:05:49,400 --> 01:05:54,000
Speaker 3: And ps, it's Vita's birthday and Mildred finds out that

1337
01:05:54,080 --> 01:05:56,560
Speaker 3: she's been borrowing money all over town while she's been

1338
01:05:56,600 --> 01:05:59,080
Speaker 3: hanging out with Monty. So Mildred's like, all right, let

1339
01:05:59,080 --> 01:06:00,840
Speaker 3: me write check you this person and let me fucking

1340
01:06:00,880 --> 01:06:03,000
Speaker 3: pay this person. Because I was like, Yo, your daughter's

1341
01:06:03,280 --> 01:06:06,920
Speaker 3: off the hook, she's out of bounds. Why are you

1342
01:06:07,040 --> 01:06:08,840
Speaker 3: doing this? Everyone wants to know, why are you doing this?

1343
01:06:08,920 --> 01:06:11,600
Speaker 2: She's like, I don't know. I just love my daughter. Also,

1344
01:06:11,680 --> 01:06:13,480
Speaker 2: I bought her a brand new car for her birthday.

1345
01:06:14,280 --> 01:06:16,920
Speaker 3: So Vita just like pulls a fucking Lizzie Grubman and

1346
01:06:17,040 --> 01:06:20,560
Speaker 3: backs into like ten people, and then she's just hanging

1347
01:06:20,600 --> 01:06:23,080
Speaker 3: out with Monty all the time. So Mildred finally is like, Yo,

1348
01:06:23,120 --> 01:06:24,840
Speaker 3: you gotta stop hanging out with my fucking daughter like

1349
01:06:24,920 --> 01:06:28,520
Speaker 3: she's dating someone Ted Forrester's her, dude, stop this shit.

1350
01:06:28,600 --> 01:06:29,960
Speaker 2: And also I can't afford.

1351
01:06:29,720 --> 01:06:32,880
Speaker 3: It right, And Monty and Vita look down on Mildred

1352
01:06:33,000 --> 01:06:36,120
Speaker 3: so much for working, even though they're both sucking her dry.

1353
01:06:37,000 --> 01:06:39,080
Speaker 3: So when she finally cuts him a check and she's like,

1354
01:06:39,120 --> 01:06:40,760
Speaker 3: I don't know how much you think I owe you,

1355
01:06:40,880 --> 01:06:43,320
Speaker 3: but here's a check. Get the fuck out, you're like,

1356
01:06:43,680 --> 01:06:46,160
Speaker 3: thank god. The rest of this movie should just be

1357
01:06:47,240 --> 01:06:49,600
Speaker 3: Monty is killed in as beach house by somebody else

1358
01:06:50,480 --> 01:06:53,000
Speaker 3: and you move on with your life and open a

1359
01:06:53,080 --> 01:06:55,360
Speaker 3: chair like a Popeye style chain of fucking restaurants.

1360
01:06:55,520 --> 01:06:56,480
Speaker 2: But that's not what happens.

1361
01:06:56,800 --> 01:07:01,040
Speaker 1: Listen, this movie makes you want to like go out

1362
01:07:01,080 --> 01:07:05,040
Speaker 1: there and buy yourself one of those leather bound, giant

1363
01:07:05,960 --> 01:07:12,080
Speaker 1: commercial bank checkbook register things in the event that you're

1364
01:07:12,120 --> 01:07:14,320
Speaker 1: gonna have to break up with someone or end a friendship.

1365
01:07:14,680 --> 01:07:17,400
Speaker 1: I just write a check to that motherfucker, rip it

1366
01:07:17,480 --> 01:07:21,280
Speaker 1: out of that big ass book, and then that's that's it.

1367
01:07:21,600 --> 01:07:25,000
Speaker 1: We don't talk anymore. I'm just like, we're settled. Here's

1368
01:07:25,240 --> 01:07:28,400
Speaker 1: here's a check out of a giant fucking book. Goodbye.

1369
01:07:28,920 --> 01:07:31,640
Speaker 3: Just a punctuation mark on the end of this experience,

1370
01:07:32,560 --> 01:07:34,840
Speaker 3: even if the check is for a dollar twenty, just

1371
01:07:34,920 --> 01:07:35,480
Speaker 3: like get out.

1372
01:07:37,080 --> 01:07:41,880
Speaker 1: It's the best most dramatic way to end a relationship

1373
01:07:41,960 --> 01:07:44,480
Speaker 1: with anyone, Oh your life, just slamming that book clothes

1374
01:07:44,560 --> 01:07:45,040
Speaker 1: and being like.

1375
01:07:45,120 --> 01:07:50,040
Speaker 3: Fucking here, great over a big ass desk. I don't

1376
01:07:50,040 --> 01:07:51,800
Speaker 3: care if that check is for five dollars. I want

1377
01:07:51,840 --> 01:07:53,440
Speaker 3: to do that one day, like you are out of

1378
01:07:53,480 --> 01:07:56,840
Speaker 3: my life. Obsessed, obsessed. I'll give a check to Carrot

1379
01:07:56,880 --> 01:07:58,880
Speaker 3: and be like goodbye, and he'll be like no, and

1380
01:07:58,960 --> 01:07:59,880
Speaker 3: we're not cosmar than this.

1381
01:08:00,120 --> 01:08:01,080
Speaker 2: I'm lere more than this.

1382
01:08:01,760 --> 01:08:06,840
Speaker 3: So Vita eventually meets up with Ted Forrester's mother because

1383
01:08:06,840 --> 01:08:08,880
Speaker 3: the mother comes in and is like, yo, I am

1384
01:08:09,000 --> 01:08:13,240
Speaker 3: not about to let your daughter and my son get married.

1385
01:08:13,480 --> 01:08:17,599
Speaker 3: They're fucking engaged, and Mildred's like, I'm sorry, what because Vita,

1386
01:08:17,800 --> 01:08:21,160
Speaker 3: the bitch from Hell, didn't even tell her that she's engaged.

1387
01:08:21,560 --> 01:08:25,080
Speaker 3: Then when she confronts Vita, Vita's like, oh, we're already married.

1388
01:08:25,439 --> 01:08:27,439
Speaker 3: And also it was a mistake because I don't love

1389
01:08:27,439 --> 01:08:29,880
Speaker 3: that dude. I don't love Ted. So they're at the

1390
01:08:30,000 --> 01:08:34,040
Speaker 3: lawyer's office forcing through this divorce or annulment, and Beta's like, oh,

1391
01:08:35,280 --> 01:08:37,800
Speaker 3: because you know Ted's family's like, well, you get nothing,

1392
01:08:38,040 --> 01:08:38,639
Speaker 3: you are nothing.

1393
01:08:38,760 --> 01:08:39,200
Speaker 2: We hate you.

1394
01:08:40,280 --> 01:08:42,679
Speaker 3: And Vita's like, oh, except I do want ten thousand

1395
01:08:42,760 --> 01:08:43,920
Speaker 3: dollars because I'm pregnant.

1396
01:08:44,680 --> 01:08:46,360
Speaker 2: Just blows everyone out of the fucking water.

1397
01:08:46,800 --> 01:08:47,840
Speaker 1: Done, done, done.

1398
01:08:48,439 --> 01:08:51,599
Speaker 3: But then she gets home and she's like, oh, I'm

1399
01:08:51,640 --> 01:08:54,400
Speaker 3: not pregnant. I just wanted ten thousand dollars to get

1400
01:08:54,439 --> 01:08:59,760
Speaker 3: away from you, mom, dude. And Mildred has fucking had it.

1401
01:09:00,600 --> 01:09:02,880
Speaker 3: They are like slapping each other. She steals the check

1402
01:09:02,920 --> 01:09:04,680
Speaker 3: and rips it up, which back in those days meant

1403
01:09:04,720 --> 01:09:05,599
Speaker 3: you didn't have that money.

1404
01:09:05,640 --> 01:09:06,559
Speaker 2: There was no going back.

1405
01:09:06,800 --> 01:09:08,439
Speaker 1: Oh no, you can't tape that back up.

1406
01:09:08,600 --> 01:09:14,160
Speaker 2: There's no way, no duplicates, And Mildred's like, fuck you bitch, and.

1407
01:09:14,240 --> 01:09:18,240
Speaker 3: She kicks Vita out like I fucking had it, kicks

1408
01:09:18,280 --> 01:09:21,519
Speaker 3: her out, goes to Mexico for like a month, and

1409
01:09:21,600 --> 01:09:22,960
Speaker 3: then she comes back and she's like, oh, I want

1410
01:09:23,000 --> 01:09:25,680
Speaker 3: my daughter back. I feel really bad. And Bird's like,

1411
01:09:25,720 --> 01:09:27,880
Speaker 3: all right, why don't we meet for a drink? And

1412
01:09:27,960 --> 01:09:29,719
Speaker 3: they meet for a drink and they go to Walie's

1413
01:09:31,040 --> 01:09:36,000
Speaker 3: and guess who's performing on stage? Like a in those days,

1414
01:09:36,040 --> 01:09:39,360
Speaker 3: what would have been a straight up hussy move. It's Vita,

1415
01:09:40,720 --> 01:09:42,680
Speaker 3: and like she's just singing, but you would think she

1416
01:09:42,800 --> 01:09:46,320
Speaker 3: was doing a donkey show. By Mildred's reaction, Mildred is

1417
01:09:46,400 --> 01:09:48,639
Speaker 3: fucking scandalized that her kid is up on stage singing

1418
01:09:48,680 --> 01:09:50,720
Speaker 3: and dancing. And I'm like, you're the one who paid

1419
01:09:50,720 --> 01:09:52,160
Speaker 3: for all those fucking lessons. What do you think she

1420
01:09:52,280 --> 01:09:55,439
Speaker 3: was gonna do with it? But she's she's not pissed

1421
01:09:55,479 --> 01:09:58,080
Speaker 3: that Vita. She's pissed at Wally because she's like, I

1422
01:09:58,160 --> 01:10:01,800
Speaker 3: can't believe you hired my daughter to do this. So

1423
01:10:01,920 --> 01:10:04,000
Speaker 3: she asked Vita to come home, and Vida's like, no,

1424
01:10:04,200 --> 01:10:07,680
Speaker 3: I still think your house sucks a lot, so I'm

1425
01:10:07,720 --> 01:10:08,360
Speaker 3: not coming home.

1426
01:10:08,520 --> 01:10:10,840
Speaker 2: So what does Mildred do instead of going back to

1427
01:10:10,920 --> 01:10:11,400
Speaker 2: Mexico and.

1428
01:10:11,400 --> 01:10:13,799
Speaker 3: Getting a goddamn pinikilada and getting a massage.

1429
01:10:14,240 --> 01:10:16,479
Speaker 2: She offers to buy Monty's mansion.

1430
01:10:16,720 --> 01:10:18,479
Speaker 3: She's like, all right, my daughter won't come home till

1431
01:10:18,479 --> 01:10:19,840
Speaker 3: I live in a better house, so I'll buy this

1432
01:10:19,960 --> 01:10:20,639
Speaker 3: fucking mansion.

1433
01:10:20,880 --> 01:10:21,040
Speaker 2: Oh.

1434
01:10:21,160 --> 01:10:24,400
Speaker 3: Also, Monty, why don't you ask me to marry you?

1435
01:10:24,880 --> 01:10:27,160
Speaker 3: And he's like, oh, I'll do it if I get

1436
01:10:27,240 --> 01:10:30,720
Speaker 3: to own one third of a share in your businesses.

1437
01:10:33,240 --> 01:10:37,519
Speaker 3: Just these fucking gamers, these schemers, these schemers, these devils.

1438
01:10:37,640 --> 01:10:38,800
Speaker 2: Monty's disgusting.

1439
01:10:38,880 --> 01:10:40,960
Speaker 3: But I do love the move where she like they

1440
01:10:41,080 --> 01:10:42,519
Speaker 3: kind of make this deal and they're on the couch

1441
01:10:42,560 --> 01:10:44,320
Speaker 3: and he leans in to give her a kiss, and

1442
01:10:44,400 --> 01:10:46,639
Speaker 3: she just holds up her glass. She's like, all right,

1443
01:10:46,800 --> 01:10:50,320
Speaker 3: sold one barragon and just like clinks the glass and

1444
01:10:50,479 --> 01:10:51,280
Speaker 3: is like, this is a.

1445
01:10:51,280 --> 01:10:54,960
Speaker 2: Fucking arrangement, dude. Yeah. And even Bert is like do

1446
01:10:55,040 --> 01:10:59,320
Speaker 2: you love this, dude? And Mildred's like, man, no, Like

1447
01:10:59,439 --> 01:11:00,880
Speaker 2: he's a mean an end for me to get my

1448
01:11:00,920 --> 01:11:03,960
Speaker 2: fucking kid back. Yeah, and she does come back.

1449
01:11:04,040 --> 01:11:08,120
Speaker 3: Vita comes back and moves in and Mildred's kind of

1450
01:11:08,200 --> 01:11:10,439
Speaker 3: like this happens also very quickly. But Mildred gets in

1451
01:11:10,520 --> 01:11:13,360
Speaker 3: some trouble, like she has some creditors who might try

1452
01:11:13,360 --> 01:11:16,120
Speaker 3: to force her into bankruptcy, and you realize it's because

1453
01:11:16,240 --> 01:11:17,439
Speaker 3: Wally has brokered this deal.

1454
01:11:17,479 --> 01:11:18,680
Speaker 2: This is the deal that we talked about at the

1455
01:11:18,680 --> 01:11:19,280
Speaker 2: top of the film.

1456
01:11:20,080 --> 01:11:23,040
Speaker 3: Wally is broger this deal where she has to sell

1457
01:11:23,479 --> 01:11:28,080
Speaker 3: her business essentially, and then she finds out from Wally

1458
01:11:28,760 --> 01:11:32,160
Speaker 3: that it was Monty's idea to sell his share of

1459
01:11:32,240 --> 01:11:37,240
Speaker 3: the business. So his sale of his shares forced the deal,

1460
01:11:38,800 --> 01:11:41,320
Speaker 3: and that's when Mildred goes ape.

1461
01:11:41,320 --> 01:11:42,920
Speaker 2: Shit. And I'm not going to spoil the end of

1462
01:11:42,960 --> 01:11:46,320
Speaker 2: this movie, but all this shit.

1463
01:11:46,200 --> 01:11:49,360
Speaker 3: That happens with Manty being killed and what happens next,

1464
01:11:49,600 --> 01:11:52,120
Speaker 3: he has ruined her life.

1465
01:11:53,439 --> 01:11:54,960
Speaker 2: In every possible way.

1466
01:11:55,960 --> 01:11:58,360
Speaker 3: He is fucking with her daughter, he's fucking with her

1467
01:11:58,800 --> 01:12:01,960
Speaker 3: her business, he's with everything she built up. So the

1468
01:12:02,000 --> 01:12:04,120
Speaker 3: fact that he's murdered in the beginning of the movie,

1469
01:12:04,160 --> 01:12:06,920
Speaker 3: you're like, again, kind of a weird move, but you're

1470
01:12:07,000 --> 01:12:08,280
Speaker 3: kind of a g Yeah.

1471
01:12:08,840 --> 01:12:10,439
Speaker 2: So I love this movie. You have to watch it

1472
01:12:10,520 --> 01:12:11,800
Speaker 2: to the end. It's fucking great.

1473
01:12:12,240 --> 01:12:16,880
Speaker 1: Oh It's a one hundred percent classic top to bottom.

1474
01:12:16,920 --> 01:12:19,560
Speaker 1: It is like the best of both worlds. It's like

1475
01:12:19,600 --> 01:12:24,360
Speaker 1: a noir and a melodrama. I am obsessed. I love

1476
01:12:24,439 --> 01:12:26,960
Speaker 1: this movie so much, so good. I'm so glad we

1477
01:12:27,040 --> 01:12:27,840
Speaker 1: got to watch it again.

1478
01:12:28,760 --> 01:12:31,080
Speaker 2: Me too. And just do you all do out here

1479
01:12:31,160 --> 01:12:32,559
Speaker 2: doing too much for these fucking kids?

1480
01:12:33,479 --> 01:12:36,120
Speaker 1: Yeah, I mean again, like I know that this you

1481
01:12:36,200 --> 01:12:39,680
Speaker 1: know the the way that melodrama typically works is that

1482
01:12:40,160 --> 01:12:42,759
Speaker 1: that is what you do. Like there's a female character

1483
01:12:42,920 --> 01:12:47,400
Speaker 1: that's literally like sacrificing everything for her family and getting nothing.

1484
01:12:48,400 --> 01:12:51,879
Speaker 1: But again, this kid.

1485
01:12:53,600 --> 01:12:55,000
Speaker 2: Is too much, takes the case.

1486
01:12:55,240 --> 01:12:59,280
Speaker 1: I mean, just one of the worst children in classic

1487
01:12:59,360 --> 01:13:04,360
Speaker 1: film history. Absolutely, and I'm saying she and those two

1488
01:13:04,479 --> 01:13:07,920
Speaker 1: kids from all that Heaven allows with their fucking television set,

1489
01:13:08,040 --> 01:13:11,559
Speaker 1: they can all go straight to hell as far as

1490
01:13:11,600 --> 01:13:12,120
Speaker 1: I'm concerned.

1491
01:13:12,160 --> 01:13:15,120
Speaker 3: Put them in an apartment and walk away. Get all

1492
01:13:15,200 --> 01:13:17,040
Speaker 3: three of them in an apartment to walk the fuck away.

1493
01:13:17,439 --> 01:13:20,639
Speaker 1: Yeah, they can go do their frickin' hussy dances down

1494
01:13:20,680 --> 01:13:22,360
Speaker 1: on the docks or whatever the fuck for the rest

1495
01:13:22,360 --> 01:13:22,880
Speaker 1: of their lives.

1496
01:13:23,360 --> 01:13:25,799
Speaker 2: They don't deserve another dime from these moms.

1497
01:13:30,640 --> 01:13:32,439
Speaker 3: Well, I went way too long, but I had a

1498
01:13:32,520 --> 01:13:34,280
Speaker 3: lot to say because I love that movie, and I

1499
01:13:34,360 --> 01:13:35,360
Speaker 3: also love your movie.

1500
01:13:35,720 --> 01:13:41,479
Speaker 1: Okay, we're gonna transition to yet another melodrama featuring Joan

1501
01:13:42,240 --> 01:13:44,720
Speaker 1: and here's the thing when we were coming up with

1502
01:13:44,960 --> 01:13:47,720
Speaker 1: like what movies we could do. You know, there's so

1503
01:13:47,960 --> 01:13:50,360
Speaker 1: many movies we could pick. Joan Crawford had a really

1504
01:13:50,479 --> 01:13:54,120
Speaker 1: long career, but I wanted to pick like a little

1505
01:13:54,160 --> 01:13:58,000
Speaker 1: Bit of a Hidden Gem because I absolutely fucking love

1506
01:13:58,080 --> 01:14:01,160
Speaker 1: this movie so much. I can believe how excited I

1507
01:14:01,240 --> 01:14:04,080
Speaker 1: am to talk about on this podcast. I've been standing

1508
01:14:04,160 --> 01:14:06,160
Speaker 1: this movie since the first time I saw it, like

1509
01:14:06,280 --> 01:14:07,519
Speaker 1: fifteen years ago, and.

1510
01:14:07,600 --> 01:14:09,519
Speaker 2: I'd never seen it, so I'm so glad that I

1511
01:14:09,640 --> 01:14:10,360
Speaker 2: got to see it.

1512
01:14:10,680 --> 01:14:14,760
Speaker 1: Yeah, it is even wilder in terms of the melodrama.

1513
01:14:15,160 --> 01:14:18,040
Speaker 1: It gets kicked up a notch for sure. But my

1514
01:14:18,240 --> 01:14:21,320
Speaker 1: movie is from nineteen fifty six. It was written by

1515
01:14:22,320 --> 01:14:27,680
Speaker 1: Jean Ruveral and Hugo Butler, even though the movie was

1516
01:14:27,760 --> 01:14:32,800
Speaker 1: actually credited to Jack Jeffney because Jean Rouverol and Hugo

1517
01:14:32,840 --> 01:14:35,439
Speaker 1: Butler were blacklisted when this movie came out, so it's

1518
01:14:35,520 --> 01:14:39,680
Speaker 1: credited to a shadow writer. But it was directed by

1519
01:14:39,760 --> 01:14:43,040
Speaker 1: Robert Aldriche and it's called Autumn Leaves.

1520
01:14:43,400 --> 01:14:47,360
Speaker 2: Where's your decency? And what garbage? Don't mister Hanson? And

1521
01:14:47,439 --> 01:14:48,040
Speaker 2: where's yours?

1522
01:14:48,120 --> 01:14:48,519
Speaker 1: Your trump?

1523
01:14:48,640 --> 01:14:49,519
Speaker 2: I don't have to listen to that.

1524
01:14:50,000 --> 01:14:51,200
Speaker 1: She's the one who's crazy.

1525
01:14:51,240 --> 01:14:52,640
Speaker 2: You'd have to be crazy to be put up with

1526
01:14:52,680 --> 01:14:54,160
Speaker 2: that weekly you is.

1527
01:14:54,280 --> 01:14:57,880
Speaker 1: Loving, donating fraud of a father and you you've slut

1528
01:14:58,120 --> 01:15:03,200
Speaker 1: You're both so consumed with evil, so rough you all filth.

1529
01:15:03,280 --> 01:15:05,479
Speaker 2: These souls are too evil for a hell itself.

1530
01:15:07,760 --> 01:15:10,639
Speaker 1: This is my Orson Welles slow clap at the beginning

1531
01:15:10,720 --> 01:15:17,479
Speaker 1: of my own presentation. I love this movie so much, so,

1532
01:15:17,680 --> 01:15:21,160
Speaker 1: so much. So we've talked about Whatever Happened to Baby Jane,

1533
01:15:21,760 --> 01:15:24,240
Speaker 1: but this was the first movie that Joan Crawford and

1534
01:15:24,680 --> 01:15:28,400
Speaker 1: the director Robert Aldrich made together. Obviously they would go

1535
01:15:28,439 --> 01:15:30,599
Speaker 1: on to make Whatever Happened to Baby Jane, and then

1536
01:15:30,720 --> 01:15:35,360
Speaker 1: technically after that Hush Hush, Sweet Charlotte, even though Joan

1537
01:15:35,400 --> 01:15:38,839
Speaker 1: Crawford left that movie and her role went to Olivia

1538
01:15:38,840 --> 01:15:40,799
Speaker 1: de Havlin. But so technically they've worked together.

1539
01:15:40,640 --> 01:15:41,160
Speaker 2: Like three times.

1540
01:15:41,280 --> 01:15:44,000
Speaker 1: Right, This is what I will say about this film.

1541
01:15:44,680 --> 01:15:50,639
Speaker 1: It is a weepy baby like of the highest order.

1542
01:15:50,840 --> 01:15:53,720
Speaker 1: I can't even tell you, Like I'm a huge fan

1543
01:15:53,840 --> 01:15:57,960
Speaker 1: of melodrama, Like as I've gone on record, to me,

1544
01:15:58,960 --> 01:16:06,280
Speaker 1: melodrama is like a horror film of emotions. Yeah, Like

1545
01:16:06,439 --> 01:16:10,479
Speaker 1: it is chaotic for a reason. It is high drama

1546
01:16:10,520 --> 01:16:14,000
Speaker 1: for reason, and it's all it's basically emotional violence if

1547
01:16:14,040 --> 01:16:15,920
Speaker 1: you get down to brast acts. And this is what

1548
01:16:16,040 --> 01:16:19,439
Speaker 1: this fucking movie is. It is like every angle of

1549
01:16:19,479 --> 01:16:24,600
Speaker 1: the story is so sad, but we're gonna get into it.

1550
01:16:24,800 --> 01:16:25,120
Speaker 2: Truly.

1551
01:16:25,560 --> 01:16:30,960
Speaker 1: My one sentence synopsis is right here, a lonely older

1552
01:16:31,000 --> 01:16:33,600
Speaker 1: woman falls in love with a younger man who she

1553
01:16:33,760 --> 01:16:38,080
Speaker 1: discovers maybe experiencing a complete mental breakdown.

1554
01:16:38,920 --> 01:16:42,880
Speaker 2: I mean, what's happened to all of this? It's true,

1555
01:16:42,960 --> 01:16:46,000
Speaker 2: that's party. You just fucking roll the dice, you really do.

1556
01:16:46,880 --> 01:16:49,760
Speaker 1: And I will say that this movie hits me hard

1557
01:16:49,840 --> 01:16:52,840
Speaker 1: on many levels. Number one that Joan Crawford's character's name

1558
01:16:52,920 --> 01:16:55,599
Speaker 1: is Milli. But here's why it resonates with me because

1559
01:16:56,439 --> 01:17:03,679
Speaker 1: Millie is a single, middle aged woman who hangs out

1560
01:17:03,760 --> 01:17:09,120
Speaker 1: with her landlord and basically has spent her entire life

1561
01:17:09,200 --> 01:17:12,080
Speaker 1: caring for others and not herself. Right She's she was

1562
01:17:12,600 --> 01:17:16,120
Speaker 1: caring for her sick father. She was trying to, you know,

1563
01:17:16,320 --> 01:17:20,320
Speaker 1: basically build up her career. She's a typist and she

1564
01:17:20,520 --> 01:17:22,759
Speaker 1: wants to like be a work from home.

1565
01:17:22,960 --> 01:17:24,240
Speaker 2: Freelancer if you will.

1566
01:17:24,760 --> 01:17:27,599
Speaker 1: So all these things that I'm like, oh yeah, I'm

1567
01:17:27,640 --> 01:17:31,080
Speaker 1: seeing this. I'm saying through lines into you know, the

1568
01:17:31,240 --> 01:17:33,320
Speaker 1: lives of me and the women that I know.

1569
01:17:35,520 --> 01:17:40,280
Speaker 3: And she lives in the uh, Richard Marx, don't mean

1570
01:17:40,360 --> 01:17:42,280
Speaker 3: nothing apartments in Los Angeles.

1571
01:17:42,640 --> 01:17:47,200
Speaker 2: You are so fucking funny. I did not believe you

1572
01:17:47,360 --> 01:17:54,120
Speaker 2: said that. That's the first thing I thought when I

1573
01:17:54,160 --> 01:17:56,360
Speaker 2: saw those apartments. I'm like, that's some don't mean nothing shit.

1574
01:17:56,680 --> 01:17:59,680
Speaker 1: That is a don't mean nothing bugalow in LA And

1575
01:17:59,800 --> 01:18:00,320
Speaker 1: you know it.

1576
01:18:01,280 --> 01:18:04,760
Speaker 2: Fuck, that's so good with a courtyard in the middle. Hell, yeah,

1577
01:18:05,520 --> 01:18:06,599
Speaker 2: that is so good.

1578
01:18:09,880 --> 01:18:12,559
Speaker 1: So this is a woman again like this, this kind

1579
01:18:12,600 --> 01:18:16,360
Speaker 1: of stalk like melodrama character in a way, lonely older woman.

1580
01:18:16,680 --> 01:18:16,840
Speaker 4: You know.

1581
01:18:16,960 --> 01:18:20,320
Speaker 1: Basically, she cared about her family, she cared about her career.

1582
01:18:20,640 --> 01:18:22,080
Speaker 1: She thought she had all the time in the world

1583
01:18:22,160 --> 01:18:23,840
Speaker 1: to find love. But then the year's caught up with

1584
01:18:23,920 --> 01:18:26,679
Speaker 1: her and now she's just a lonely lady that's walking

1585
01:18:26,720 --> 01:18:29,800
Speaker 1: the street. It's sad, okay, And one night she takes

1586
01:18:29,840 --> 01:18:31,840
Speaker 1: herself out to the theater. She gets some theater tickets

1587
01:18:31,880 --> 01:18:33,240
Speaker 1: from one of her clients, and she goes to the

1588
01:18:33,320 --> 01:18:36,240
Speaker 1: theater and then afterwards goes to this like diner near

1589
01:18:36,280 --> 01:18:39,280
Speaker 1: the theater, it's very busy. One of the services like

1590
01:18:39,320 --> 01:18:41,679
Speaker 1: go sit in that booth by yourself because you ain't

1591
01:18:41,720 --> 01:18:44,320
Speaker 1: got no man, go alone, Go sit it alone over there.

1592
01:18:44,479 --> 01:18:45,000
Speaker 2: Spinca.

1593
01:18:45,960 --> 01:18:49,439
Speaker 3: Also, can we bring back trading in two balcony seats

1594
01:18:49,479 --> 01:18:51,519
Speaker 3: for an orchestra seat at the fucking theater?

1595
01:18:51,760 --> 01:18:52,040
Speaker 2: Okay?

1596
01:18:52,320 --> 01:18:56,040
Speaker 1: That rocked me this time because I was like, can

1597
01:18:56,120 --> 01:18:57,040
Speaker 1: you do that? Like?

1598
01:18:57,360 --> 01:19:00,880
Speaker 2: Is that? Is there a legal residents for this?

1599
01:19:01,360 --> 01:19:02,880
Speaker 1: I know cause I go to a lot of sports

1600
01:19:03,040 --> 01:19:04,639
Speaker 1: games and I'm like, Yo, can I get like two

1601
01:19:04,920 --> 01:19:07,599
Speaker 1: upper deck or tickets for like one box seat behind

1602
01:19:07,680 --> 01:19:08,120
Speaker 1: home plate?

1603
01:19:08,200 --> 01:19:08,400
Speaker 2: Yeah?

1604
01:19:08,560 --> 01:19:11,360
Speaker 1: But that one, because that's essentially what happens. Like she's like,

1605
01:19:11,400 --> 01:19:13,799
Speaker 1: can I try these two shitty tickets for an orchestra?

1606
01:19:14,000 --> 01:19:16,679
Speaker 1: And then she's like five rows behind the piano player.

1607
01:19:16,720 --> 01:19:20,360
Speaker 1: I'm like, damn yeah, tight fucking hell yeah. But so

1608
01:19:20,479 --> 01:19:22,680
Speaker 1: she's in this diner and she's eating by herself, and

1609
01:19:22,720 --> 01:19:26,080
Speaker 1: then like in comes this young man, this young buck,

1610
01:19:27,240 --> 01:19:32,960
Speaker 1: and it is Craggy Hot Royalty himself Cliff Robertson pre

1611
01:19:33,200 --> 01:19:36,880
Speaker 1: Big Kahuna from Gidget. So he's he's a young man

1612
01:19:37,800 --> 01:19:41,439
Speaker 1: but still craggy again, Craggy his entire fucking life he

1613
01:19:41,479 --> 01:19:43,360
Speaker 1: looks like what twenty seven in this movie, and You're like,

1614
01:19:43,800 --> 01:19:45,400
Speaker 1: he looks like he's sixty five.

1615
01:19:46,040 --> 01:19:48,600
Speaker 2: Love, that could be a grandpa. We don't know. We

1616
01:19:48,720 --> 01:19:49,000
Speaker 2: don't know.

1617
01:19:49,640 --> 01:19:51,639
Speaker 1: But he's in the restaurant and he's kind of looking around.

1618
01:19:51,640 --> 01:19:54,400
Speaker 1: He's like to, oh, look there's a single woman. She's

1619
01:19:54,439 --> 01:19:57,000
Speaker 1: got an entire booth to herself. I can't sit down.

1620
01:19:57,360 --> 01:19:58,800
Speaker 1: Maybe I'll just go over to her and see if

1621
01:19:58,840 --> 01:20:02,000
Speaker 1: she'll share. And you know, he walks up and she's like, oh,

1622
01:20:02,080 --> 01:20:04,160
Speaker 1: hell no, like I'm here by myself and I don't

1623
01:20:04,200 --> 01:20:06,800
Speaker 1: want you here. But then he like wears her down.

1624
01:20:08,479 --> 01:20:11,639
Speaker 3: He stands there whistling along to the song she's put

1625
01:20:11,680 --> 01:20:13,840
Speaker 3: on the jukebox, and I'm like, you're just being a

1626
01:20:13,920 --> 01:20:14,800
Speaker 3: creep at this point.

1627
01:20:14,960 --> 01:20:18,720
Speaker 2: Now you're just being aggressive, like she already said no, yeah,

1628
01:20:19,080 --> 01:20:19,760
Speaker 2: get out of here.

1629
01:20:20,240 --> 01:20:22,960
Speaker 1: It's it's a real hard cell that in retrospect if

1630
01:20:23,000 --> 01:20:25,640
Speaker 1: you're like looking at this from modernizer, like, yo, this

1631
01:20:25,800 --> 01:20:28,880
Speaker 1: guy is too much. Like she said no multiple times

1632
01:20:28,920 --> 01:20:30,800
Speaker 1: and he's like, but can I but can I? I

1633
01:20:30,920 --> 01:20:32,360
Speaker 1: want to sit. I want to sit, and then he

1634
01:20:32,439 --> 01:20:36,080
Speaker 1: starts like unloading on her, coming in real hot.

1635
01:20:36,479 --> 01:20:40,000
Speaker 2: Too many lay missize red flags.

1636
01:20:39,880 --> 01:20:42,679
Speaker 1: Rolling, Oh already one hundred percent?

1637
01:20:42,840 --> 01:20:45,519
Speaker 2: Fact? Can you hear the people sing like he is

1638
01:20:45,640 --> 01:20:46,800
Speaker 2: fucking waving that shit?

1639
01:20:47,600 --> 01:20:52,760
Speaker 1: Ha ha, And here's probably the biggest reddest flag. The

1640
01:20:52,840 --> 01:20:54,479
Speaker 1: minute he sits down, he looks at her and he's like,

1641
01:20:54,520 --> 01:20:55,799
Speaker 1: you know something, you're lonely.

1642
01:20:57,240 --> 01:21:03,519
Speaker 2: Betch what what? That rocked me? That rocks me? I'm like,

1643
01:21:03,640 --> 01:21:06,160
Speaker 2: this is how you're coming into this. Yeah.

1644
01:21:07,160 --> 01:21:10,160
Speaker 1: I would have been like, get the fuck out of here.

1645
01:21:11,280 --> 01:21:13,920
Speaker 1: Here's a check, here's a giant check from my stupid

1646
01:21:14,000 --> 01:21:18,559
Speaker 1: fucking check book. But I've known you for two minutes,

1647
01:21:18,760 --> 01:21:21,800
Speaker 1: but you get a check, get out of my life.

1648
01:21:22,240 --> 01:21:24,320
Speaker 2: I would have kicked him in the dick under the table.

1649
01:21:27,720 --> 01:21:31,200
Speaker 1: But guess what, somehow she just hangs in there with

1650
01:21:31,280 --> 01:21:33,519
Speaker 1: this guy. And then he's like, it's okay if you're lonely,

1651
01:21:33,560 --> 01:21:34,240
Speaker 1: I'm lonely too.

1652
01:21:34,640 --> 01:21:35,920
Speaker 2: You know, I had a hard life.

1653
01:21:36,000 --> 01:21:38,040
Speaker 1: I'm a veteran, I was in the army. I don't

1654
01:21:38,080 --> 01:21:41,880
Speaker 1: have parents, Like, no one likes me and wants to

1655
01:21:41,960 --> 01:21:44,559
Speaker 1: talk to me. And of course is like wearing her

1656
01:21:44,640 --> 01:21:45,960
Speaker 1: down by all of this.

1657
01:21:46,479 --> 01:21:49,320
Speaker 3: Did you ever read that book Alexander and the Terrible, Horrible,

1658
01:21:49,400 --> 01:21:50,439
Speaker 3: no good, very Bad Day?

1659
01:21:50,800 --> 01:21:53,639
Speaker 2: Yeah, not since like I was in elementary school. That's

1660
01:21:53,720 --> 01:21:57,280
Speaker 2: this dude. He's just like everything's mad for me to me.

1661
01:21:57,800 --> 01:22:01,760
Speaker 1: Yeah, and again he wears her down to the point

1662
01:22:01,760 --> 01:22:05,000
Speaker 1: where she's just like, you know what, maybe I'll hang

1663
01:22:05,040 --> 01:22:07,120
Speaker 1: out with this guy. He seems like okay, I guess,

1664
01:22:07,240 --> 01:22:10,400
Speaker 1: even though he's he's definitely not okay, even in this

1665
01:22:10,640 --> 01:22:13,000
Speaker 1: very beginning. But then they go on a walk after

1666
01:22:13,120 --> 01:22:15,120
Speaker 1: the dinner, and then all of a sudden, he's like,

1667
01:22:15,320 --> 01:22:17,320
Speaker 1: I want to walk you to the door. You should

1668
01:22:17,320 --> 01:22:18,280
Speaker 1: take tomorrow off.

1669
01:22:18,160 --> 01:22:19,640
Speaker 2: And go to the beach with me, And she's like,

1670
01:22:20,120 --> 01:22:24,040
Speaker 2: I guess I will. I've got a bathing suit with

1671
01:22:24,120 --> 01:22:26,600
Speaker 2: his zipper on it. Why not? Why the fuck not?

1672
01:22:26,760 --> 01:22:27,960
Speaker 2: And then that's exactly what happens.

1673
01:22:27,960 --> 01:22:30,080
Speaker 1: The next day, they go to the beach, they have

1674
01:22:30,200 --> 01:22:33,000
Speaker 1: their from here to eternity moments, kiss it in the

1675
01:22:33,080 --> 01:22:37,200
Speaker 1: fucking sand. She met him then like literally like maybe

1676
01:22:37,280 --> 01:22:42,800
Speaker 1: twelve hours before if that. But hey, she's like, here's

1677
01:22:42,840 --> 01:22:46,120
Speaker 1: this young guy coming in hot. I haven't seen any

1678
01:22:46,200 --> 01:22:49,720
Speaker 1: action in a long time, so why not? Okay, And

1679
01:22:50,120 --> 01:22:53,320
Speaker 1: that entire day they're making out everywhere, by the way,

1680
01:22:53,439 --> 01:22:55,920
Speaker 1: like this guy is making out with her, not just

1681
01:22:56,040 --> 01:22:59,840
Speaker 1: on the beach, but like every five seconds, and you know,

1682
01:23:00,760 --> 01:23:05,000
Speaker 1: Millie is like, okay, let's let's pump the brakes, Like

1683
01:23:05,680 --> 01:23:07,600
Speaker 1: you gotta find a girl your own age. I'm like,

1684
01:23:07,760 --> 01:23:10,439
Speaker 1: way older than you, and you just sat in a

1685
01:23:10,479 --> 01:23:12,840
Speaker 1: booth the other night and told me how lonely you are,

1686
01:23:13,080 --> 01:23:14,599
Speaker 1: so like, this doesn't feel.

1687
01:23:14,360 --> 01:23:15,920
Speaker 2: Good for me? Do you know what I mean?

1688
01:23:16,200 --> 01:23:19,599
Speaker 1: Like exactly, you're coming in real hot. We can't hang

1689
01:23:19,640 --> 01:23:21,479
Speaker 1: out because I can't be making out with you around

1690
01:23:21,560 --> 01:23:23,920
Speaker 1: town and taking days off of work and all this shit,

1691
01:23:24,720 --> 01:23:26,920
Speaker 1: And she tries to forget him. They spend a lot

1692
01:23:26,960 --> 01:23:30,320
Speaker 1: of time apart, but then guess what. A month later,

1693
01:23:30,479 --> 01:23:33,280
Speaker 1: a month goes by, She's like, where's my guy? I

1694
01:23:33,360 --> 01:23:38,280
Speaker 1: guess that's it? And then he shows up in her apartment. Okay,

1695
01:23:38,479 --> 01:23:41,360
Speaker 1: when she comes home, I know she didn't lock her door.

1696
01:23:42,479 --> 01:23:44,080
Speaker 1: No one did I guess of this era?

1697
01:23:44,360 --> 01:23:47,920
Speaker 2: No, But what the creepy hell is this?

1698
01:23:51,200 --> 01:23:53,599
Speaker 3: You're sitting in my apartment playing my records. I don't

1699
01:23:53,600 --> 01:23:54,880
Speaker 3: know how long you've been here. I don't know if

1700
01:23:54,880 --> 01:23:56,760
Speaker 3: you took a shit in my toilet. Did you make

1701
01:23:56,800 --> 01:23:58,920
Speaker 3: a fucking sandwich while you were at Like? What are

1702
01:23:59,000 --> 01:24:01,919
Speaker 3: you doing? This is fucking charming, this is creepy.

1703
01:24:02,760 --> 01:24:04,519
Speaker 1: Yeah, it was a bit much. And of course he's

1704
01:24:04,600 --> 01:24:07,639
Speaker 1: like on a record player playing their number one jam

1705
01:24:07,800 --> 01:24:10,280
Speaker 1: that they listen to together on the jukebox and the diner.

1706
01:24:10,560 --> 01:24:12,640
Speaker 1: So he's really like appealing to her right now.

1707
01:24:13,160 --> 01:24:18,760
Speaker 2: He puts on don't disturb this groove exactly, a sign

1708
01:24:19,000 --> 01:24:22,599
Speaker 2: up on the door. He puts on don't Mean Nothing

1709
01:24:22,640 --> 01:24:24,519
Speaker 2: by Richard Marks. He's like, remember our song.

1710
01:24:31,120 --> 01:24:34,000
Speaker 1: But that's the thing is that she's like, what are

1711
01:24:34,040 --> 01:24:36,320
Speaker 1: you doing here? I told you to fuck off, Like

1712
01:24:36,640 --> 01:24:40,519
Speaker 1: we can't be together, it's too ridiculous. And he's like, listen,

1713
01:24:40,720 --> 01:24:42,519
Speaker 1: I spent this month. I went out with a lot

1714
01:24:42,560 --> 01:24:45,120
Speaker 1: of girls my age. I don't like them. They shoot

1715
01:24:45,160 --> 01:24:48,760
Speaker 1: too much bubblegum, they love Gregory Peck too much.

1716
01:24:49,680 --> 01:24:51,280
Speaker 2: And she's like, bitch, I do too.

1717
01:24:52,680 --> 01:24:52,880
Speaker 1: I know.

1718
01:24:53,000 --> 01:24:57,559
Speaker 2: John Cravern's like, who doesn't, which is true? Who doesn't

1719
01:24:57,880 --> 01:25:01,280
Speaker 2: get your shit together? Cliff robertson, Yes, don't be jealous.

1720
01:25:02,400 --> 01:25:06,040
Speaker 1: Yeah, But so he's like, listen, I'm not here because

1721
01:25:06,040 --> 01:25:08,719
Speaker 1: I'm lonely and have an old lady finish. I actually

1722
01:25:08,880 --> 01:25:12,559
Speaker 1: like you, and she's just like, you're wearing me down, son,

1723
01:25:12,560 --> 01:25:16,280
Speaker 1: You're wearing me down, and then he's like, I love you.

1724
01:25:16,479 --> 01:25:20,320
Speaker 1: Let's get married, and she's like what, But guess what

1725
01:25:21,240 --> 01:25:26,719
Speaker 1: the fucking next scene they're getting married in Mexico because

1726
01:25:26,880 --> 01:25:31,320
Speaker 1: ultimately Millie is scared. She knows that loves about taking

1727
01:25:31,400 --> 01:25:34,559
Speaker 1: that leap, and she just finally decided, let me take

1728
01:25:34,600 --> 01:25:36,760
Speaker 1: a leap with this guy. I don't really know a

1729
01:25:36,840 --> 01:25:39,439
Speaker 1: ton about him, but I like this too much. I

1730
01:25:39,600 --> 01:25:40,920
Speaker 1: like making out with this young guy.

1731
01:25:42,120 --> 01:25:42,800
Speaker 2: It is what it is.

1732
01:25:43,080 --> 01:25:44,200
Speaker 1: I'll just marry him in.

1733
01:25:44,200 --> 01:25:45,800
Speaker 2: A foreign country, totally fine.

1734
01:25:46,200 --> 01:25:49,880
Speaker 1: So here's the thing. They get married in Mexico, their

1735
01:25:49,960 --> 01:25:53,400
Speaker 1: husband and wife. They're fucking all around the bungalow, all

1736
01:25:53,479 --> 01:25:54,959
Speaker 1: around the Richard Marks bungalow.

1737
01:25:55,560 --> 01:25:57,080
Speaker 2: Then suddenly.

1738
01:25:58,400 --> 01:26:01,880
Speaker 1: They're talking and he stars saying things about himself that

1739
01:26:02,160 --> 01:26:04,280
Speaker 1: don't match up with the things that he's told her

1740
01:26:04,720 --> 01:26:06,320
Speaker 1: prior in the film.

1741
01:26:06,520 --> 01:26:08,720
Speaker 3: We're just saying something because they've only spent like two

1742
01:26:08,840 --> 01:26:11,240
Speaker 3: days together, and she's like, oh, I remember that you

1743
01:26:11,320 --> 01:26:12,320
Speaker 3: said something different.

1744
01:26:12,840 --> 01:26:16,080
Speaker 1: Yeah, this time, he claims he's from Racing, Wisconsin, and

1745
01:26:16,120 --> 01:26:18,439
Speaker 1: then as it turns out, he's actually from Chicago, which

1746
01:26:18,479 --> 01:26:22,640
Speaker 1: is like not that huge of a stretch, but I'm like,

1747
01:26:23,479 --> 01:26:25,880
Speaker 1: that's interesting that you would tell me that you were

1748
01:26:25,920 --> 01:26:29,720
Speaker 1: from Wisconsin and you're actually from Illinois. Yeah, but then

1749
01:26:29,840 --> 01:26:33,880
Speaker 1: other things happen, like, you know, sort of his you know,

1750
01:26:34,439 --> 01:26:37,720
Speaker 1: veteran status or his army stuff comes into question two

1751
01:26:37,880 --> 01:26:39,720
Speaker 1: in one scene, and so she's just like, what the fuck.

1752
01:26:40,080 --> 01:26:44,120
Speaker 1: Then this shit gets kicked up an ultimate notch because

1753
01:26:44,200 --> 01:26:46,400
Speaker 1: a woman shows up one day at the front door.

1754
01:26:46,840 --> 01:26:51,799
Speaker 1: Turns out she's Bert's ex wife and they were married

1755
01:26:52,040 --> 01:26:54,879
Speaker 1: up until a month ago, which.

1756
01:26:54,760 --> 01:26:57,200
Speaker 2: Means that first date they had a the diither he

1757
01:26:57,400 --> 01:26:58,479
Speaker 2: was married, he.

1758
01:26:58,840 --> 01:27:03,280
Speaker 1: Was married if you do that time number stuff, because

1759
01:27:03,320 --> 01:27:05,880
Speaker 1: they member they spent a month apart while he was

1760
01:27:05,920 --> 01:27:08,320
Speaker 1: trying to go out with bubblegum girls and that kind

1761
01:27:08,320 --> 01:27:10,760
Speaker 1: of thing. So yeah, he was likely married to this

1762
01:27:10,880 --> 01:27:13,680
Speaker 1: woman when he was in the diner. So there's all that.

1763
01:27:14,240 --> 01:27:17,280
Speaker 1: Then the ex wife just comes in and starts spilling

1764
01:27:17,320 --> 01:27:20,639
Speaker 1: all kinds of tea. She's like, uh, he just totally

1765
01:27:20,840 --> 01:27:23,960
Speaker 1: disappeared one day, which is why we were divorced. And

1766
01:27:24,520 --> 01:27:28,920
Speaker 1: guess what, his father ain't dead. His father is actually alive.

1767
01:27:29,600 --> 01:27:32,760
Speaker 1: And Milly is like spun out from all of this

1768
01:27:32,920 --> 01:27:35,560
Speaker 1: information because she's like, who did I marry? Who the

1769
01:27:35,680 --> 01:27:41,920
Speaker 1: bleep did I marry, right, So then cut to Millie's like, well,

1770
01:27:42,000 --> 01:27:43,720
Speaker 1: let me go see this father. Let's go see what

1771
01:27:43,800 --> 01:27:46,320
Speaker 1: this father's about. So she shows up the next day

1772
01:27:46,640 --> 01:27:49,560
Speaker 1: to meet Bert's father, who is actually alive, and it

1773
01:27:49,600 --> 01:27:52,719
Speaker 1: turns out to be Lorn Green from Bonanza.

1774
01:27:53,160 --> 01:27:56,120
Speaker 2: And this guy is real kooky by the way.

1775
01:27:56,240 --> 01:27:57,920
Speaker 1: Like she like shows up and the dad is like

1776
01:27:58,600 --> 01:28:01,720
Speaker 1: sitting on his dead and he's wearing one of those

1777
01:28:01,800 --> 01:28:05,720
Speaker 1: like old timey like tight old men shirts, you know,

1778
01:28:05,840 --> 01:28:09,640
Speaker 1: it's like real tight, like maybe polyester or something, and

1779
01:28:10,200 --> 01:28:12,479
Speaker 1: he's like coming in hot about his own son. He's like, yo,

1780
01:28:12,560 --> 01:28:16,800
Speaker 1: my son is a piece of shit. Like he's a

1781
01:28:16,880 --> 01:28:19,560
Speaker 1: liar and a thief, and he's lied about everything. And

1782
01:28:20,240 --> 01:28:21,880
Speaker 1: he told you that I was dead when I wasn't

1783
01:28:23,120 --> 01:28:27,960
Speaker 1: so know that. And she's like what the hell, Like

1784
01:28:28,040 --> 01:28:32,400
Speaker 1: she's completely blown away from this information. So that is established,

1785
01:28:32,479 --> 01:28:38,519
Speaker 1: but then it immediately cuts to essentially the big dramatic

1786
01:28:38,640 --> 01:28:41,759
Speaker 1: point of the film, which is this as it turns

1787
01:28:41,800 --> 01:28:48,240
Speaker 1: out Bert's ex wife and his father were fucking, yes,

1788
01:28:48,320 --> 01:28:53,439
Speaker 1: they were blinking, and that Bert walked in on them

1789
01:28:53,720 --> 01:28:57,479
Speaker 1: having sex and has been traumatized by it ever since,

1790
01:28:57,960 --> 01:29:01,560
Speaker 1: and he's suffering from mental health issues. You know, he

1791
01:29:01,720 --> 01:29:05,639
Speaker 1: was a veteran. He sees this whole shit go down,

1792
01:29:05,680 --> 01:29:10,400
Speaker 1: which is definitely traumatic, and you know, basically the dad

1793
01:29:10,640 --> 01:29:13,760
Speaker 1: and the ex wife are like, he's crazy. We got

1794
01:29:13,880 --> 01:29:15,760
Speaker 1: to put him away. And by the way, he also

1795
01:29:15,840 --> 01:29:17,760
Speaker 1: has to sign over this property to us so we

1796
01:29:17,840 --> 01:29:19,120
Speaker 1: can live together forever.

1797
01:29:19,800 --> 01:29:20,400
Speaker 2: Dirty moves.

1798
01:29:20,479 --> 01:29:25,799
Speaker 1: It's a bad scene, bad scene, and you know, Millie,

1799
01:29:25,920 --> 01:29:28,600
Speaker 1: the Joan Crawford character, is basically like, Yo, this is

1800
01:29:28,680 --> 01:29:30,880
Speaker 1: not what I signed up for. But you know what, Like,

1801
01:29:31,040 --> 01:29:33,599
Speaker 1: I love this guy. I love this guy, and I'm

1802
01:29:33,640 --> 01:29:37,320
Speaker 1: here for him. I'm gonna cuss out his dad and

1803
01:29:37,520 --> 01:29:41,640
Speaker 1: his ex on the street. I'm gonna call her a

1804
01:29:41,840 --> 01:29:45,160
Speaker 1: slut in front of my Richard Marx bungalow with all

1805
01:29:45,200 --> 01:29:48,080
Speaker 1: the neighbors watching. She like is defending her man to

1806
01:29:48,160 --> 01:29:55,160
Speaker 1: the hilt, you know. And this is where Bert's official

1807
01:29:55,439 --> 01:29:59,800
Speaker 1: psychotic break kicks into full gear. He is like paranoid

1808
01:30:00,000 --> 01:30:02,880
Speaker 1: that she was actually conspiring with the two of them

1809
01:30:03,360 --> 01:30:06,840
Speaker 1: to hurt him. He's in the house with her, He's

1810
01:30:07,000 --> 01:30:11,680
Speaker 1: like turns super violent. He smashes her hand with her typewriter,

1811
01:30:12,080 --> 01:30:13,880
Speaker 1: which is so disturbing.

1812
01:30:14,439 --> 01:30:16,320
Speaker 2: It happens so fast, and you're like wait, wait, wait,

1813
01:30:16,320 --> 01:30:16,920
Speaker 2: wait what huh.

1814
01:30:17,400 --> 01:30:20,479
Speaker 1: Yeah, it's like ooh, one of the most over the

1815
01:30:20,600 --> 01:30:24,200
Speaker 1: top melodramatic violent scenes. I mean it's just like insane

1816
01:30:24,280 --> 01:30:27,640
Speaker 1: that and they actually show the hand getting smashed with

1817
01:30:27,760 --> 01:30:35,040
Speaker 1: the typewriter and I'm just like, holy shit, that is wild, wild.

1818
01:30:34,800 --> 01:30:37,639
Speaker 2: For fifty six, Wild for fifty six.

1819
01:30:38,200 --> 01:30:40,240
Speaker 1: But this is the thing is that he's in such

1820
01:30:40,280 --> 01:30:43,240
Speaker 1: a state that the next day it's like he doesn't

1821
01:30:43,280 --> 01:30:45,800
Speaker 1: even realize that he did it, and he's having nightmares

1822
01:30:45,840 --> 01:30:48,120
Speaker 1: and he's crying all night long, and she's just like

1823
01:30:48,320 --> 01:30:49,559
Speaker 1: trying to hold it together.

1824
01:30:49,720 --> 01:30:49,880
Speaker 3: You know.

1825
01:30:50,000 --> 01:30:52,840
Speaker 1: She's like she's at the grocery store with her with

1826
01:30:52,960 --> 01:30:55,880
Speaker 1: the sunglasses on and the black eye and the hand,

1827
01:30:55,920 --> 01:30:59,080
Speaker 1: and she's just like, you know, my husband is not well,

1828
01:31:00,080 --> 01:31:02,479
Speaker 1: but she's not even telling him that he's not well.

1829
01:31:02,600 --> 01:31:05,800
Speaker 1: She's just like trying to keep up appearances, right. And

1830
01:31:06,439 --> 01:31:09,240
Speaker 1: this is when like Joan Crawford's like like it made

1831
01:31:09,280 --> 01:31:11,760
Speaker 1: me realize like how great of an actress she is,

1832
01:31:11,840 --> 01:31:15,080
Speaker 1: because she's like in this mode of her being like.

1833
01:31:15,560 --> 01:31:17,160
Speaker 2: I'm just trying to keep it together.

1834
01:31:17,520 --> 01:31:21,640
Speaker 1: I'm trying to maintain status quo, Like I'm trying to

1835
01:31:21,720 --> 01:31:24,000
Speaker 1: care for this husband that I love so much, who's

1836
01:31:24,040 --> 01:31:27,360
Speaker 1: obviously like abusing me. To me, I was like, yo,

1837
01:31:27,520 --> 01:31:31,280
Speaker 1: she's a great actress. She's doing incredible work in this movie.

1838
01:31:31,320 --> 01:31:31,880
Speaker 2: I have the same.

1839
01:31:32,840 --> 01:31:35,920
Speaker 1: But eventually she makes this gut wrenching decision that she

1840
01:31:35,960 --> 01:31:38,280
Speaker 1: has to make, which is that she's got to commit him, right,

1841
01:31:39,040 --> 01:31:42,080
Speaker 1: And the thing about it is that she he obviously

1842
01:31:42,160 --> 01:31:45,280
Speaker 1: needs help, right. But then you know, she has this

1843
01:31:45,439 --> 01:31:48,639
Speaker 1: conference with the doctor and you know, basically he's telling

1844
01:31:48,720 --> 01:31:52,639
Speaker 1: her like, after we treat him, he may not even

1845
01:31:52,800 --> 01:31:56,000
Speaker 1: know you. He might have no memory of you, yeah,

1846
01:31:56,080 --> 01:31:57,639
Speaker 1: and is at the risk that you want to take

1847
01:31:57,880 --> 01:32:01,400
Speaker 1: you know, obviously, And that is like her struggle. Is

1848
01:32:01,520 --> 01:32:06,120
Speaker 1: this idea of like, in order to make him well.

1849
01:32:06,479 --> 01:32:07,360
Speaker 2: This may be over.

1850
01:32:08,479 --> 01:32:15,280
Speaker 3: Yeah, that's brutal, brutal, like the most brutal mellow drama

1851
01:32:16,040 --> 01:32:21,720
Speaker 3: fifties weepy nightmare scenario ever. And at what point the

1852
01:32:21,800 --> 01:32:24,160
Speaker 3: doctor is like, well, yeah, he might remember you, but

1853
01:32:24,240 --> 01:32:25,760
Speaker 3: do you want him to have another psychotic break?

1854
01:32:25,800 --> 01:32:27,600
Speaker 2: And you're like, shit, doc, can you just like I

1855
01:32:27,720 --> 01:32:30,200
Speaker 2: get it, I get it, Like give me a minute.

1856
01:32:30,800 --> 01:32:33,400
Speaker 1: And that's the thing, And that plays out into the

1857
01:32:33,439 --> 01:32:35,200
Speaker 1: rest of the film, which I don't want to give

1858
01:32:35,240 --> 01:32:38,559
Speaker 1: away because it's high drama, Like you should watch it. Yes,

1859
01:32:39,120 --> 01:32:42,599
Speaker 1: very dramatic, but like, this is the thing I'm obsessed

1860
01:32:42,600 --> 01:32:46,559
Speaker 1: with about this movie is that it is such high drama,

1861
01:32:46,800 --> 01:32:50,360
Speaker 1: like these plot points over and over again. It's like

1862
01:32:50,479 --> 01:32:55,720
Speaker 1: the single, middle aged woman finally finds a man and

1863
01:32:56,000 --> 01:33:04,960
Speaker 1: he is going through family issues, mental illness, possible, Like

1864
01:33:05,520 --> 01:33:08,120
Speaker 1: you know, he might be a liar, he might be

1865
01:33:08,200 --> 01:33:11,479
Speaker 1: a thief, his own dad is fucking his ex wife.

1866
01:33:11,520 --> 01:33:15,880
Speaker 1: I mean, it's just like all of these huge storylines. Yeah,

1867
01:33:15,960 --> 01:33:18,000
Speaker 1: And I just think the thing about it is that

1868
01:33:18,160 --> 01:33:20,920
Speaker 1: even though this movie is so over the top and

1869
01:33:21,320 --> 01:33:24,040
Speaker 1: you know, kind of borders on the camp obviously as

1870
01:33:24,080 --> 01:33:26,120
Speaker 1: a lot of like melodrama does, right, I mean that's

1871
01:33:26,320 --> 01:33:28,320
Speaker 1: like part of how we see it these days is that,

1872
01:33:28,400 --> 01:33:30,880
Speaker 1: I mean this was like, quote unquote a woman's picture,

1873
01:33:31,280 --> 01:33:34,360
Speaker 1: Like it was appealing to women's emotions and sensibilities. Right.

1874
01:33:35,040 --> 01:33:37,280
Speaker 1: I still think she's incredible in this movie, Like she

1875
01:33:37,560 --> 01:33:41,320
Speaker 1: legit makes me cry, Like she's there's a scene where

1876
01:33:41,920 --> 01:33:43,640
Speaker 1: he's just crying. He's just crying in the middle of

1877
01:33:43,680 --> 01:33:45,720
Speaker 1: the night, and she's like he's on the floor the

1878
01:33:45,800 --> 01:33:49,799
Speaker 1: fetal position and she's holding him and she's like, please

1879
01:33:49,840 --> 01:33:50,160
Speaker 1: help me.

1880
01:33:50,240 --> 01:33:52,000
Speaker 2: God, I was like weeping.

1881
01:33:52,320 --> 01:33:53,000
Speaker 1: I was weeping.

1882
01:33:53,080 --> 01:33:54,960
Speaker 2: I was doing exactly what they wanted me to do.

1883
01:33:56,439 --> 01:33:58,760
Speaker 3: It was beautiful and brutal, and I'm so glad I

1884
01:33:58,960 --> 01:34:00,519
Speaker 3: got a chance to see it. I didn't know what

1885
01:34:00,680 --> 01:34:03,800
Speaker 3: to expect. So when there's a turning point where the

1886
01:34:03,880 --> 01:34:04,960
Speaker 3: pace starts picking up, and.

1887
01:34:04,960 --> 01:34:06,240
Speaker 2: I'm like, ooh, this is relentless.

1888
01:34:06,320 --> 01:34:10,120
Speaker 3: This is interesting, Like it's very very interesting how the

1889
01:34:10,200 --> 01:34:12,320
Speaker 3: movie kind of twists and turns.

1890
01:34:12,040 --> 01:34:16,120
Speaker 2: And brings you along for this wildness. Yeah, that's so good.

1891
01:34:16,600 --> 01:34:20,600
Speaker 1: And there's like legit moments in the film because you're like,

1892
01:34:21,400 --> 01:34:22,880
Speaker 1: what is she thinking about this guy?

1893
01:34:23,000 --> 01:34:23,680
Speaker 2: He's like what?

1894
01:34:24,200 --> 01:34:26,120
Speaker 1: But then there are moments in the film where you're like, oh, yeah,

1895
01:34:26,200 --> 01:34:29,400
Speaker 1: he's he's got game, He's he's wooing her like he's

1896
01:34:29,760 --> 01:34:32,680
Speaker 1: you know, like they're like in the bed after like

1897
01:34:32,840 --> 01:34:35,519
Speaker 1: a night of love making and he's like, I don't

1898
01:34:35,520 --> 01:34:38,080
Speaker 1: want to go to work today, huh, Like let's fuck

1899
01:34:38,160 --> 01:34:42,479
Speaker 1: all day. And she's like, ooh, this is awesome shit,

1900
01:34:42,720 --> 01:34:44,639
Speaker 1: Like I spent a long time since I've been hanging

1901
01:34:44,640 --> 01:34:46,400
Speaker 1: out like a dude, and all he wants to do

1902
01:34:46,560 --> 01:34:48,920
Speaker 1: is like sleep with me all day, I feel like

1903
01:34:49,040 --> 01:34:52,200
Speaker 1: this is a movie that somehow just like doesn't get

1904
01:34:52,240 --> 01:34:55,760
Speaker 1: talked about a lot in her filmography. I mean, she

1905
01:34:55,840 --> 01:34:58,800
Speaker 1: made a lot of movies in the fifties obviously that

1906
01:34:59,000 --> 01:35:01,040
Speaker 1: were you know, melodrama, is that kind of stuff. But

1907
01:35:01,120 --> 01:35:03,479
Speaker 1: I feel like this, for some reason, this one was

1908
01:35:03,600 --> 01:35:05,280
Speaker 1: not talked about as much, and I just feel like

1909
01:35:05,320 --> 01:35:08,280
Speaker 1: it should be because it's really Yeah, it's one of

1910
01:35:08,360 --> 01:35:09,200
Speaker 1: her classics.

1911
01:35:09,760 --> 01:35:11,320
Speaker 3: Well I wonder if it was part of the whole

1912
01:35:11,439 --> 01:35:14,479
Speaker 3: because you know, the writers were blacklisted or that was

1913
01:35:14,520 --> 01:35:16,639
Speaker 3: part of the reason why it wasn't as widely known.

1914
01:35:16,760 --> 01:35:18,200
Speaker 3: But I'm just I'm glad I got a chance to

1915
01:35:18,200 --> 01:35:22,439
Speaker 3: see it. It's very very interesting, yeah, and general and

1916
01:35:22,520 --> 01:35:23,880
Speaker 3: also in terms of her career.

1917
01:35:24,200 --> 01:35:25,120
Speaker 2: Yeah for sure.

1918
01:35:25,280 --> 01:35:27,120
Speaker 1: And you know, we had to find it on YouTube,

1919
01:35:27,479 --> 01:35:29,120
Speaker 1: so if you haven't, if you weren't able to find

1920
01:35:29,160 --> 01:35:31,800
Speaker 1: it readily, Yeah, that's probably a part of it too.

1921
01:35:32,080 --> 01:35:33,880
Speaker 1: Is that another reason why I was kind of a

1922
01:35:34,000 --> 01:35:35,840
Speaker 1: hidden gem is because it's kind of part.

1923
01:35:35,720 --> 01:35:36,879
Speaker 2: Of fine exactly.

1924
01:35:37,840 --> 01:35:40,800
Speaker 1: At the end of the day, I thought this was

1925
01:35:40,880 --> 01:35:43,400
Speaker 1: a great pairing. I watched him as a double feature,

1926
01:35:43,880 --> 01:35:46,200
Speaker 1: and I was like, this is heaven on.

1927
01:35:46,320 --> 01:35:51,760
Speaker 2: Earth, the best heaven oh, I loved it. I loved it,

1928
01:35:52,080 --> 01:35:52,639
Speaker 2: loved this week.

1929
01:35:52,840 --> 01:35:54,760
Speaker 1: Well, if you want to email us, we are at

1930
01:35:54,800 --> 01:35:56,439
Speaker 1: I Saw What you Did pot at gmail dot com.

1931
01:35:56,680 --> 01:36:00,519
Speaker 1: Please send us questions for bonus episodes FMK that kind

1932
01:36:00,520 --> 01:36:02,519
Speaker 1: of stuff. And we also have a pel box if

1933
01:36:02,520 --> 01:36:05,479
Speaker 1: you want to send us handwritten letters, and the address

1934
01:36:05,520 --> 01:36:08,080
Speaker 1: for our po box is on our link tree, which

1935
01:36:08,120 --> 01:36:10,200
Speaker 1: you can find on our social media We are at

1936
01:36:10,320 --> 01:36:13,960
Speaker 1: I Saw pod on Instagram, Blue Sky, and Twitter or x.

1937
01:36:14,640 --> 01:36:16,680
Speaker 1: You can also leave us a voicemail to play on

1938
01:36:16,720 --> 01:36:18,400
Speaker 1: the show. Now, all you have to do is record

1939
01:36:18,439 --> 01:36:21,280
Speaker 1: a voice memo on your phone, email it to us

1940
01:36:21,640 --> 01:36:22,080
Speaker 1: I Saw what.

1941
01:36:22,080 --> 01:36:24,479
Speaker 3: You did pot at gmail dot com. Please make it

1942
01:36:24,560 --> 01:36:27,160
Speaker 3: sixty seconds or less and record in a quiet space.

1943
01:36:27,400 --> 01:36:27,840
Speaker 2: And that's it.

1944
01:36:28,280 --> 01:36:30,720
Speaker 1: And we've got merch. Go to exactly whystore dot com

1945
01:36:30,800 --> 01:36:31,880
Speaker 1: to find it, and we.

1946
01:36:31,920 --> 01:36:35,439
Speaker 2: Have bonus episodes on the third Thursday of every month.

1947
01:36:36,280 --> 01:36:39,679
Speaker 1: Oh my god, Danielle, you have to tell the people

1948
01:36:39,800 --> 01:36:42,439
Speaker 1: what the next episode is going to be.

1949
01:36:43,560 --> 01:36:49,599
Speaker 3: The next episode. The movies are very I think hard.

1950
01:36:49,680 --> 01:36:51,360
Speaker 3: It's going to be hard to get the theme, but

1951
01:36:51,479 --> 01:36:57,519
Speaker 3: it always is so great for me. Our movies next

1952
01:36:57,600 --> 01:37:02,080
Speaker 3: week are Secretary In two thousand and two and The

1953
01:37:02,240 --> 01:37:04,440
Speaker 3: Fox from nineteen sixty seven.

1954
01:37:05,000 --> 01:37:09,160
Speaker 1: And as of this recording, The Fox is on Internet archive.

1955
01:37:09,760 --> 01:37:12,479
Speaker 1: I'm just saying, we've tried to do this movie many times,

1956
01:37:12,520 --> 01:37:15,080
Speaker 1: and I feel like we're in a good spot so.

1957
01:37:15,320 --> 01:37:18,120
Speaker 2: Exactly finally get let's just do it now before.

1958
01:37:17,880 --> 01:37:22,360
Speaker 1: It goes away. As always, Danielle, a fucking pleasure. I'm

1959
01:37:22,400 --> 01:37:24,759
Speaker 1: doing this podcast with you the best.

1960
01:37:24,920 --> 01:37:25,519
Speaker 2: I love it.

1961
01:37:29,320 --> 01:37:29,960
Speaker 1: I was gonna say it.

1962
01:37:29,960 --> 01:37:32,360
Speaker 2: Don't mean nothing, but I don't want to don't mean

1963
01:37:32,479 --> 01:37:43,000
Speaker 2: nothing that This has been an exactly right production.

1964
01:37:43,280 --> 01:37:46,680
Speaker 3: Produced by Casey O'Brien, episode mixing and theme music by

1965
01:37:46,760 --> 01:37:50,760
Speaker 3: Tom Bryfogel, artwork by Garrett Ross. Our executive producers are

1966
01:37:50,840 --> 01:37:53,640
Speaker 3: Georgia Hart, Start Caring kil Gareff, and Daniel Kramer. You

1967
01:37:53,720 --> 01:37:56,559
Speaker 3: can follow us on Instagram and Twitter at I Saw Pod,

1968
01:37:57,000 --> 01:37:58,960
Speaker 3: and you can email us at I Saw What you

1969
01:37:59,040 --> 01:38:00,120
Speaker 3: Did Pod at GA No