1
00:00:00,400 --> 00:00:03,360
Speaker 1: On the Bechdel Cast, the questions asked if movies have

2
00:00:03,560 --> 00:00:07,400
Speaker 1: women in them, are all their discussions just boyfriends and husbands?

3
00:00:07,560 --> 00:00:13,160
Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing

4
00:00:13,200 --> 00:00:17,079
Speaker 1: it with the Bechdel Cast. Hi, and welcome to the

5
00:00:17,079 --> 00:00:20,400
Speaker 1: Bechdel Cast. My name is Caitlin, and we're having a

6
00:00:20,440 --> 00:00:28,440
Speaker 1: podcast today and every day. Yeah, I'm well, I'll tell

7
00:00:28,480 --> 00:00:30,080
Speaker 1: you what it is and then I'll go into I'm

8
00:00:30,080 --> 00:00:32,919
Speaker 1: having a day. Um. The Bechtel Cast is a podcast

9
00:00:32,920 --> 00:00:35,199
Speaker 1: where we talk about the portrayal of women in movies.

10
00:00:35,400 --> 00:00:38,440
Speaker 1: Why do we do this, Well, it's just because a

11
00:00:38,440 --> 00:00:42,040
Speaker 1: lot of movies because don't portray women well. But really

12
00:00:42,040 --> 00:00:44,879
Speaker 1: it's just because just because we felt like it. The

13
00:00:44,920 --> 00:00:48,440
Speaker 1: Bechtel Cast is inspired by the Bechdel Test, which requires

14
00:00:48,479 --> 00:00:51,400
Speaker 1: that two women in a movie have names, they talked

15
00:00:51,400 --> 00:00:54,400
Speaker 1: to each other about something other than a man. And

16
00:00:54,400 --> 00:00:58,360
Speaker 1: we'll figure out whether this movie passes later on. But first,

17
00:00:58,640 --> 00:01:01,560
Speaker 1: but first, you're having a day. My car got towed

18
00:01:01,560 --> 00:01:04,880
Speaker 1: because I'm a fucking idiot and I parked in front

19
00:01:04,880 --> 00:01:07,959
Speaker 1: of a driveway that I didn't realize was a driveway

20
00:01:08,000 --> 00:01:10,360
Speaker 1: because it had like a big gate over in it,

21
00:01:10,400 --> 00:01:11,960
Speaker 1: and it just looked like a fence, and I didn't

22
00:01:12,000 --> 00:01:15,000
Speaker 1: see that it was a driveway. Uh so I got

23
00:01:15,040 --> 00:01:17,080
Speaker 1: my car towed. I still don't know where it is.

24
00:01:17,160 --> 00:01:19,360
Speaker 1: I don't even know how to locate it. So I

25
00:01:19,360 --> 00:01:21,440
Speaker 1: think I just don't have a car anymore. I'm having

26
00:01:21,480 --> 00:01:24,720
Speaker 1: a day and it feels like a good day to die. WHOA,

27
00:01:25,040 --> 00:01:31,440
Speaker 1: WHOA into the movie we're talking about, which is Flatliners.

28
00:01:31,520 --> 00:01:34,759
Speaker 1: But before we get into it, let's introduce our guests.

29
00:01:35,560 --> 00:01:38,319
Speaker 1: You've seen him on Conan, You've seen him on Adam

30
00:01:38,400 --> 00:01:42,080
Speaker 1: Ruins Everything. He hosts a podcast called We Watch Wrestling.

31
00:01:42,720 --> 00:01:48,200
Speaker 1: Matt McCarthy, Hello, Hello, thank you for joining us on

32
00:01:48,280 --> 00:01:51,760
Speaker 1: this wonderful day that I'm having. Hey man, that ain't

33
00:01:51,800 --> 00:01:54,360
Speaker 1: your fault, Yeah, and it's kind of it was my fault.

34
00:01:54,560 --> 00:01:56,400
Speaker 1: What's gonna talk? Because like, I'm gonna have to pay

35
00:01:56,840 --> 00:02:00,360
Speaker 1: several hundred dollars to get it untowed. You know? Is

36
00:02:00,400 --> 00:02:03,200
Speaker 1: my mistake worth several hundred dollars? I don't think so,

37
00:02:03,280 --> 00:02:05,640
Speaker 1: but that's how much it'll probably cost. I think it's

38
00:02:05,640 --> 00:02:09,120
Speaker 1: worth it, because, after all, you just paid off your car, right.

39
00:02:09,200 --> 00:02:11,120
Speaker 1: Think of how many people just think of it as

40
00:02:11,200 --> 00:02:14,200
Speaker 1: this month's car payment. Well, Is it worth it to

41
00:02:14,240 --> 00:02:17,160
Speaker 1: get my car? Yes, of course, I'm saying, is the

42
00:02:17,240 --> 00:02:20,800
Speaker 1: mistake I made? Should my punish maybe several hundred dollars

43
00:02:20,840 --> 00:02:22,160
Speaker 1: that I have to pay. We think of all the

44
00:02:22,200 --> 00:02:25,120
Speaker 1: people that benefit from that money, either the county and

45
00:02:25,200 --> 00:02:28,760
Speaker 1: the tow truck people. They have kids too. You just

46
00:02:28,800 --> 00:02:32,520
Speaker 1: bought the tow truck person's family, you know, groceries. My

47
00:02:32,600 --> 00:02:36,200
Speaker 1: money was going to like the Southern Poverty Law Center

48
00:02:36,840 --> 00:02:41,600
Speaker 1: or to like help alleviate homelessness in Los Angeles. Fine,

49
00:02:41,760 --> 00:02:44,040
Speaker 1: but it's not going to go to those things. Oh,

50
00:02:44,120 --> 00:02:46,760
Speaker 1: I guess tow truck drivers should just eat out of

51
00:02:46,760 --> 00:02:49,200
Speaker 1: the garbage can and live on the street. I understand

52
00:02:50,560 --> 00:02:53,720
Speaker 1: they can tow away dumpsters for dinner that night. Is

53
00:02:53,760 --> 00:02:56,200
Speaker 1: that what you're saying. That's not what I'm saying. Their

54
00:02:56,320 --> 00:02:59,840
Speaker 1: daughters don't deserve to go to dance classes. Caitlinda nor

55
00:03:00,280 --> 00:03:02,560
Speaker 1: all right, well, I don't like where this is gone. Sorry,

56
00:03:02,560 --> 00:03:05,520
Speaker 1: you're having a bad day and everyone's getting up on you.

57
00:03:05,520 --> 00:03:08,320
Speaker 1: You did a good thing today. You're you're participating in

58
00:03:08,360 --> 00:03:13,760
Speaker 1: the economy. You're giving back. Yeah, you're literally giving back. Yeah,

59
00:03:13,919 --> 00:03:16,000
Speaker 1: you get to go to an impound Now, I don't

60
00:03:16,000 --> 00:03:18,360
Speaker 1: get would you when? Would you ever ever get to

61
00:03:18,360 --> 00:03:23,240
Speaker 1: do that? That's right. Maybe they'll be an experience. Maybe

62
00:03:23,680 --> 00:03:27,720
Speaker 1: maybe you'll meet my future domestic partner there, because I'm

63
00:03:27,760 --> 00:03:30,120
Speaker 1: not getting married ever. A lot of a lot of

64
00:03:30,320 --> 00:03:34,280
Speaker 1: sexy singles hang out at the impound lone, that's true. Yeah,

65
00:03:34,480 --> 00:03:38,960
Speaker 1: all right, let's talk about Flatliners. Matt When did you

66
00:03:39,000 --> 00:03:40,760
Speaker 1: see this movie for the first time? And what's your

67
00:03:40,760 --> 00:03:44,600
Speaker 1: relationship to this movie. Well, it's interesting because this is

68
00:03:45,160 --> 00:03:48,920
Speaker 1: I was terrified of scary movies and TV shows when

69
00:03:48,920 --> 00:03:54,960
Speaker 1: I was a kid, well into you know. Well, it's

70
00:03:55,000 --> 00:03:57,640
Speaker 1: like when here's like a good example and excuse my language,

71
00:03:57,680 --> 00:03:59,960
Speaker 1: but I want to get the quote right. When Michael

72
00:04:00,040 --> 00:04:03,680
Speaker 1: Jackson died, my cousin called my brother and said, hey, Michael,

73
00:04:04,040 --> 00:04:06,360
Speaker 1: asked your brother if he still cries like a bitch

74
00:04:06,360 --> 00:04:11,280
Speaker 1: when Thriller comes on the TV. So the Thriller music

75
00:04:11,400 --> 00:04:16,880
Speaker 1: video was scared? Oh my god. Yeah, yeah, I was scary. Yeah,

76
00:04:16,920 --> 00:04:19,880
Speaker 1: I had booky. I was so scared of well, I

77
00:04:19,960 --> 00:04:23,240
Speaker 1: was five when it came out, Like the Hogan Family

78
00:04:23,640 --> 00:04:29,000
Speaker 1: Halloween episode where all three brothers have nightmares. Scared me

79
00:04:29,080 --> 00:04:33,880
Speaker 1: so much I unplugged the TV. Yeah, so you saw

80
00:04:33,920 --> 00:04:38,920
Speaker 1: this movie made you very scared. Well, no, because this

81
00:04:39,120 --> 00:04:43,640
Speaker 1: was I saw this growing up. I watched Flatliners alone

82
00:04:44,120 --> 00:04:46,320
Speaker 1: and it scared the hell out of me. But it

83
00:04:46,440 --> 00:04:50,200
Speaker 1: has like a happy ending, like everything gets resolved. It

84
00:04:50,320 --> 00:04:52,440
Speaker 1: was the first scary movie I watched that. I was like,

85
00:04:52,520 --> 00:04:55,880
Speaker 1: I'm not scared afterwards or tonight going to bed, because

86
00:04:55,920 --> 00:04:58,159
Speaker 1: it was like there was a resolution and everybody was

87
00:04:58,440 --> 00:05:05,000
Speaker 1: one technically everyone but Oliver Plat die. I know, what

88
00:05:05,080 --> 00:05:08,599
Speaker 1: a whimp. God, I have a lot of He was

89
00:05:08,600 --> 00:05:15,040
Speaker 1: also part that could have been. Yeah, Oliver Platt was

90
00:05:15,080 --> 00:05:20,040
Speaker 1: born forty six years old. I don't know if so

91
00:05:20,080 --> 00:05:21,600
Speaker 1: if this came out ninety, I must have seen it.

92
00:05:21,640 --> 00:05:25,120
Speaker 1: In so I was like eleven, Jamie, what about you?

93
00:05:25,120 --> 00:05:27,200
Speaker 1: When did you see it? Last night? When I am

94
00:05:27,360 --> 00:05:31,040
Speaker 1: and I enjoyed it. I liked it. It was fun.

95
00:05:31,440 --> 00:05:32,839
Speaker 1: I think a lot of it was fun for me,

96
00:05:32,920 --> 00:05:36,880
Speaker 1: just because I love watching the Schumacher tropes. Just roll

97
00:05:37,000 --> 00:05:39,720
Speaker 1: on in. Do you mean? Like, well, I don't know

98
00:05:39,760 --> 00:05:42,440
Speaker 1: if this is a Schumacher trope, but the production design

99
00:05:42,480 --> 00:05:46,080
Speaker 1: in this movie, specifically the lighting, Yes, I think it's

100
00:05:46,440 --> 00:05:52,760
Speaker 1: so fucking corny. I think it like, yeah, it all

101
00:05:52,960 --> 00:05:55,480
Speaker 1: is sort of wit like a high school die trying

102
00:05:55,520 --> 00:05:59,159
Speaker 1: to be David Lynch. Yes, it looked like I was.

103
00:05:59,279 --> 00:06:01,240
Speaker 1: I watched it before where I came here, and it

104
00:06:01,320 --> 00:06:03,359
Speaker 1: was one of the scenes where Keifer Sutherland is in

105
00:06:03,480 --> 00:06:07,600
Speaker 1: his outrageous apartment with no furniture, and I go, it's

106
00:06:07,640 --> 00:06:11,119
Speaker 1: just it's a fucking music video. It's so music video

107
00:06:11,200 --> 00:06:13,479
Speaker 1: the whole movie. Well, they go to med school in

108
00:06:13,560 --> 00:06:17,400
Speaker 1: an art museum, in a museum that's under renovation, which

109
00:06:17,440 --> 00:06:20,240
Speaker 1: he thinks that they would address at any point, but

110
00:06:20,279 --> 00:06:23,680
Speaker 1: they never. Everywhere they go is either closed for the night,

111
00:06:24,440 --> 00:06:26,560
Speaker 1: like the diner, all the chairs are up, but they're

112
00:06:26,680 --> 00:06:29,320
Speaker 1: they're in there with one matress ripping cigarettes. Well, I

113
00:06:29,400 --> 00:06:32,799
Speaker 1: assumed that this movie took place in some alternative timeline,

114
00:06:32,839 --> 00:06:35,360
Speaker 1: but then they make all these very of the moment

115
00:06:35,440 --> 00:06:37,719
Speaker 1: references that it's like, oh no, they're just supposed to

116
00:06:37,720 --> 00:06:43,680
Speaker 1: be in Chicago. What's the used to because someone says

117
00:06:43,720 --> 00:06:45,960
Speaker 1: kind of Bacon says that he was on the l

118
00:06:46,120 --> 00:06:48,000
Speaker 1: or something right right and now, and then I was

119
00:06:48,040 --> 00:06:49,960
Speaker 1: just like, Okay, now I know, but it could out

120
00:06:50,000 --> 00:06:54,520
Speaker 1: to our Chicago fans and starting in the movie, Chicago,

121
00:06:54,640 --> 00:06:57,080
Speaker 1: not anyone who lives in Chicago. Yeah, yeah, people who

122
00:06:57,120 --> 00:07:01,680
Speaker 1: really love Richard your singing voice. This episodes dedicated to you. Yeah,

123
00:07:01,720 --> 00:07:04,720
Speaker 1: and the way that Joel Shoemaker styles it just looks

124
00:07:04,720 --> 00:07:09,160
Speaker 1: like like there's literally steam everywhere outside just the city

125
00:07:09,240 --> 00:07:12,040
Speaker 1: is just taking a long fart for the entire but

126
00:07:12,120 --> 00:07:14,880
Speaker 1: no one is there, like it's totally a band. Like

127
00:07:14,920 --> 00:07:16,560
Speaker 1: I thought that they were going to address like, oh

128
00:07:16,600 --> 00:07:20,840
Speaker 1: this is Chicago. If if everyone left, it was very strange. Well,

129
00:07:20,840 --> 00:07:24,840
Speaker 1: there's also the scene where Julie Robert's character is tending

130
00:07:24,880 --> 00:07:27,560
Speaker 1: to that very elderly woman who's on her deathbed and

131
00:07:27,600 --> 00:07:30,400
Speaker 1: they're the hospital that they're in, like it looks like

132
00:07:30,440 --> 00:07:36,200
Speaker 1: a World War two era Like, yes, it archaic looking,

133
00:07:36,240 --> 00:07:37,880
Speaker 1: you know the hospital scene and Gone with the Wind

134
00:07:38,040 --> 00:07:40,040
Speaker 1: reminded me of that, like just like a right, like

135
00:07:40,080 --> 00:07:42,520
Speaker 1: it's a makeshift hospital that got set up in the

136
00:07:42,560 --> 00:07:46,040
Speaker 1: hallway of someone's mansion. Yeah, it looks dirty. It doesn't

137
00:07:46,040 --> 00:07:48,840
Speaker 1: look like the production design is bonkers in this movie.

138
00:07:48,960 --> 00:07:51,640
Speaker 1: But yeah, I had not seen this movie. Either I

139
00:07:51,640 --> 00:07:53,960
Speaker 1: thought I did, or maybe it's just because I it

140
00:07:54,000 --> 00:07:56,520
Speaker 1: had been recommended to me so often and explained to

141
00:07:56,560 --> 00:07:58,520
Speaker 1: me like what the premise was that I was like, yeah,

142
00:07:58,520 --> 00:08:00,440
Speaker 1: I know this movie I must have. Then I watched

143
00:08:00,440 --> 00:08:02,520
Speaker 1: I was like, whoops, I've never seen it, but I

144
00:08:02,520 --> 00:08:05,720
Speaker 1: watched it twice. Generally I liked it, except I hate

145
00:08:05,760 --> 00:08:08,840
Speaker 1: the third act. I hate how it ends. The resolution

146
00:08:09,240 --> 00:08:11,200
Speaker 1: is so stupid, and I'll get into it later, but

147
00:08:11,400 --> 00:08:13,400
Speaker 1: it kind of ruined the whole movie for me. The

148
00:08:13,880 --> 00:08:16,960
Speaker 1: way the third act unfolds. I think the whole movie

149
00:08:17,040 --> 00:08:19,240
Speaker 1: is like I don't know, It's like I enjoyed watching it,

150
00:08:19,280 --> 00:08:23,480
Speaker 1: but it is very boring, where it's like, like, what

151
00:08:23,560 --> 00:08:26,200
Speaker 1: could you learn by watching this whole movie that you

152
00:08:26,200 --> 00:08:28,440
Speaker 1: couldn't take away by just watching the trailer, you know,

153
00:08:29,040 --> 00:08:32,240
Speaker 1: like they die over and over. I remember the bits

154
00:08:32,280 --> 00:08:34,760
Speaker 1: that were in the commercials of so many movies. So

155
00:08:34,800 --> 00:08:36,800
Speaker 1: as soon as Oliver plaqueas I didn't go to medical

156
00:08:36,840 --> 00:08:39,640
Speaker 1: school to help my classmates die or something like that,

157
00:08:39,640 --> 00:08:41,840
Speaker 1: that was I was like, Oh, that wasn't the commercial.

158
00:08:41,920 --> 00:08:45,240
Speaker 1: That was big time And today is a good day

159
00:08:45,240 --> 00:08:47,920
Speaker 1: to die. Of course, it's the best line in the movie,

160
00:08:48,000 --> 00:08:50,000
Speaker 1: and it's the first line of dialogue and it's all

161
00:08:50,040 --> 00:08:53,240
Speaker 1: downhill from there. The last line in the movies by

162
00:08:53,280 --> 00:08:56,360
Speaker 1: far the worst. It's not it's it's not such a

163
00:08:56,400 --> 00:08:59,920
Speaker 1: good day to turns out I was yeah, and then

164
00:09:00,160 --> 00:09:03,040
Speaker 1: just tuba music plays out there. I like the idea,

165
00:09:03,080 --> 00:09:05,960
Speaker 1: I like the story, but I mean the execution. I

166
00:09:05,960 --> 00:09:12,360
Speaker 1: don't like Joel Schuemaker movies. Shout out to my Phantom heads. I, well,

167
00:09:12,400 --> 00:09:13,640
Speaker 1: I don't know how to First of all, I like

168
00:09:13,720 --> 00:09:19,680
Speaker 1: the incredible shrinking woman. I haven't seen that I've seen ole.

169
00:09:21,000 --> 00:09:24,200
Speaker 1: I I just met met downstairs, and I did what

170
00:09:24,280 --> 00:09:27,120
Speaker 1: I do when I don't know how to start a conversation,

171
00:09:27,160 --> 00:09:29,199
Speaker 1: which is a bring up. Joel Schuewalker is the Fantom

172
00:09:29,200 --> 00:09:31,360
Speaker 1: of the Opera. Yeah, no, the number twenty three is

173
00:09:31,400 --> 00:09:33,319
Speaker 1: probably the worst movie I've ever seen. So that one's

174
00:09:33,480 --> 00:09:35,520
Speaker 1: very bad. That one's very I forgot that was a

175
00:09:35,600 --> 00:09:39,000
Speaker 1: Joel Schumaker joint Family of the Opera. Two guys for

176
00:09:39,240 --> 00:09:41,680
Speaker 1: cannot wait to cover it in a future episode. Shout

177
00:09:41,720 --> 00:09:43,920
Speaker 1: out to Jerry Butler, should have been your breakout roll.

178
00:09:44,000 --> 00:09:47,160
Speaker 1: Too bad you cannot sing? That was really the only

179
00:09:47,200 --> 00:09:51,400
Speaker 1: thing that in everything about the movie. Anyways. Shout out

180
00:09:51,400 --> 00:09:54,640
Speaker 1: to my Shoewalker heads. Joel shoe Walker is mediocre in

181
00:09:54,640 --> 00:09:57,360
Speaker 1: a very special way because he's trying, like he's going

182
00:09:57,480 --> 00:10:00,920
Speaker 1: for so much and none of it is like clearly,

183
00:10:01,720 --> 00:10:07,440
Speaker 1: I totally agree, Like he doesn't pay off Batman. He

184
00:10:07,440 --> 00:10:10,040
Speaker 1: put nipples on Batman, which is maybe the most famous

185
00:10:10,040 --> 00:10:13,120
Speaker 1: thing he's ever definite, and you can tell he's like

186
00:10:13,240 --> 00:10:17,400
Speaker 1: trying to go for David Lynch kind of it just

187
00:10:17,559 --> 00:10:23,200
Speaker 1: totally fails, but it fails spectacularly. Like the first I

188
00:10:23,200 --> 00:10:26,360
Speaker 1: can't remember exactly how many times it like six times

189
00:10:26,400 --> 00:10:29,200
Speaker 1: total that people die in this movie either way, the

190
00:10:29,240 --> 00:10:32,680
Speaker 1: first three just look like he took a clip from

191
00:10:32,760 --> 00:10:38,000
Speaker 1: like a discarded David Lynch short. And then eventually you

192
00:10:38,080 --> 00:10:40,360
Speaker 1: go to Kevin Bacon's and then it looks like, oh,

193
00:10:40,520 --> 00:10:44,520
Speaker 1: his version of death is a screensaver, you know, like

194
00:10:44,640 --> 00:10:48,000
Speaker 1: everyone's version of death is just like it's, oh God,

195
00:10:48,080 --> 00:10:53,160
Speaker 1: it's it's bad. Well, why not use this opportunity to

196
00:10:53,280 --> 00:10:57,280
Speaker 1: do the recap? Okay, here I go FLATLINERDS. It's got

197
00:10:57,320 --> 00:10:59,959
Speaker 1: a bit of an ensemble cast, but our main character

198
00:11:00,640 --> 00:11:03,600
Speaker 1: is Nelson played by Keefer Sutherland, and he is a

199
00:11:03,600 --> 00:11:07,320
Speaker 1: med student along with four fellow at school students who

200
00:11:07,679 --> 00:11:10,480
Speaker 1: go to again school in an art museum in an

201
00:11:10,480 --> 00:11:16,160
Speaker 1: empty building, and he's interested in seeing what might be

202
00:11:16,240 --> 00:11:18,120
Speaker 1: out there after death, like if they're sort of a

203
00:11:18,160 --> 00:11:20,160
Speaker 1: life after death or what happens where you go, and

204
00:11:20,200 --> 00:11:23,000
Speaker 1: he's interested in exploring this, so he and all his

205
00:11:23,080 --> 00:11:28,679
Speaker 1: med school friends basically they medically kill themselves for like first,

206
00:11:28,720 --> 00:11:30,320
Speaker 1: it's like a minute or a minute a half or

207
00:11:30,360 --> 00:11:32,720
Speaker 1: something like that, and then they keep going for longer

208
00:11:32,720 --> 00:11:38,040
Speaker 1: and longer, but they're betting too, yeah, longer, So after

209
00:11:38,080 --> 00:11:41,360
Speaker 1: they've been dead for a minute or so, then they

210
00:11:41,400 --> 00:11:43,480
Speaker 1: revived them and they have to give him a shot

211
00:11:43,480 --> 00:11:46,280
Speaker 1: of morphine and do their defibrillators and all that stuff,

212
00:11:46,640 --> 00:11:56,560
Speaker 1: and they she's back mouth to mouth like this, only

213
00:11:56,600 --> 00:11:59,080
Speaker 1: the sexy characters get to give mouth to mouth. I

214
00:11:59,160 --> 00:12:02,760
Speaker 1: turned it turned that day is a Schumacher rule. If

215
00:12:02,800 --> 00:12:06,480
Speaker 1: you're not in the top three most fuckable characters per

216
00:12:06,520 --> 00:12:08,880
Speaker 1: the story, you're not going to be given mouth to mouth.

217
00:12:08,960 --> 00:12:11,160
Speaker 1: You're not going to have mouth to mouth administered to you.

218
00:12:11,400 --> 00:12:16,320
Speaker 1: Oliver Platt, no way. Everyone else, literally everyone else in

219
00:12:16,320 --> 00:12:18,760
Speaker 1: the cast takes their shirt off at some point, except,

220
00:12:21,160 --> 00:12:23,719
Speaker 1: of course, it goes without saying that. It turns out,

221
00:12:23,760 --> 00:12:25,760
Speaker 1: I've seen a lot of movies that Oliver Plats, and

222
00:12:25,800 --> 00:12:27,480
Speaker 1: he's a character actor. He's in a lot of stuff,

223
00:12:27,880 --> 00:12:29,880
Speaker 1: and you just don't realize that till later. I have

224
00:12:29,880 --> 00:12:32,920
Speaker 1: a huge crush on him now, he's my favorite person.

225
00:12:33,360 --> 00:12:36,120
Speaker 1: He's in a time to kill another Schulmacher or ship show.

226
00:12:36,559 --> 00:12:39,160
Speaker 1: I don't know that I've actually seen any Joel Schumacher

227
00:12:39,280 --> 00:12:43,680
Speaker 1: movies besides this the number twenty three Batman boys. I

228
00:12:43,679 --> 00:12:46,240
Speaker 1: haven't seen last one. Wow, did you see saying almost fire? No?

229
00:12:46,400 --> 00:12:50,560
Speaker 1: I've seen almost no movies for someone falling down? Yes? Yeah?

230
00:12:50,600 --> 00:12:53,520
Speaker 1: Do you ever see falling Down? No? Wow? What's it

231
00:12:53,559 --> 00:12:57,000
Speaker 1: about it about falling out? Like? Kind of a cool premise,

232
00:12:57,080 --> 00:13:00,559
Speaker 1: but like again, poorly execute. Everything is wasted until Schumacher

233
00:13:00,720 --> 00:13:05,959
Speaker 1: goes without saying, well back to all I had to say,

234
00:13:06,000 --> 00:13:09,320
Speaker 1: I'll replet all for Billina easily could have played this part,

235
00:13:09,720 --> 00:13:12,760
Speaker 1: but I'll reply, did a great job. Go ahead and

236
00:13:12,800 --> 00:13:15,080
Speaker 1: agree with that. I've gound to make some charts with

237
00:13:15,200 --> 00:13:17,880
Speaker 1: the Platt Molina dichotomy. This is like opened up sort

238
00:13:17,880 --> 00:13:21,000
Speaker 1: of a new All the performances in the movie are good. Yeah,

239
00:13:21,040 --> 00:13:24,319
Speaker 1: everyone's good. Keif for Sutherland plays the best key for

240
00:13:24,440 --> 00:13:28,200
Speaker 1: Southerlan and I've ever seen keeper? How does he have

241
00:13:28,320 --> 00:13:31,360
Speaker 1: time to be a full time medical student, constantly dying

242
00:13:31,559 --> 00:13:36,480
Speaker 1: and maintain his bleached roots? I love his hair in

243
00:13:36,520 --> 00:13:40,000
Speaker 1: this movie, it's bananas and not even Frosty Tips, just

244
00:13:40,679 --> 00:13:45,600
Speaker 1: Frosty Jack frost Key for frost Baby. Bacon's great. Yeah,

245
00:13:45,760 --> 00:13:51,080
Speaker 1: Bacon shines even uh Billy Baldwin. Even I was like, Okay,

246
00:13:51,240 --> 00:13:52,960
Speaker 1: it's weird. It's like like how he's supposed to be

247
00:13:52,960 --> 00:13:56,640
Speaker 1: like the hot man, Like how hot he is. There's

248
00:13:56,679 --> 00:13:58,720
Speaker 1: a lot of Yeah, there's a lot of like hot

249
00:13:58,800 --> 00:14:01,679
Speaker 1: lady men with very different phases, which I feel like

250
00:14:01,720 --> 00:14:04,120
Speaker 1: doesn't happen anymore, Like everyone has the same face. Billy

251
00:14:04,120 --> 00:14:09,400
Speaker 1: Baldwin's big movie after this Sliver with Sharon Stone, I

252
00:14:09,440 --> 00:14:12,720
Speaker 1: still have never seen it again. It's like the voyeuristic

253
00:14:12,800 --> 00:14:16,400
Speaker 1: thing of like videotaping sex and people in hotels who

254
00:14:16,440 --> 00:14:18,600
Speaker 1: don't know that being videotaped in that whole thing. That's

255
00:14:18,640 --> 00:14:21,440
Speaker 1: just the vibe gives off. He seems like he'd be

256
00:14:21,520 --> 00:14:24,480
Speaker 1: taping like don't get into bed with this man. I love.

257
00:14:25,480 --> 00:14:28,800
Speaker 1: Love is not the word, but the look Billy Baldwin

258
00:14:28,920 --> 00:14:32,600
Speaker 1: gives his own camera while fucking for him to watch

259
00:14:32,720 --> 00:14:37,080
Speaker 1: later of him smirking at you're just like smirking at himself.

260
00:14:37,480 --> 00:14:41,520
Speaker 1: Here's no doubt mast He's like, yeah, what's up, future me?

261
00:14:41,920 --> 00:14:45,040
Speaker 1: And also if he is. Okay, just from a logistical obviously,

262
00:14:45,400 --> 00:14:48,560
Speaker 1: almost everything Billy Baldwin does is illegal in this movie,

263
00:14:48,600 --> 00:14:51,800
Speaker 1: and it's sort of sometimes played for humor, which like

264
00:14:52,600 --> 00:14:56,960
Speaker 1: perfect it's like Oliver Platt, but he also says, what

265
00:14:57,040 --> 00:15:02,440
Speaker 1: pussy marauder? Right, that's great. But Billy Baldwin logistically, he

266
00:15:02,480 --> 00:15:05,000
Speaker 1: knows he's filming this, he knows the angle. Presumably he

267
00:15:05,040 --> 00:15:07,480
Speaker 1: set it up that, but it's still it's always angle

268
00:15:07,600 --> 00:15:11,360
Speaker 1: that his it's missionary. He's like he's looking at his

269
00:15:11,360 --> 00:15:15,800
Speaker 1: own ascid face. Who rights not. Yeah, we didn't really

270
00:15:15,840 --> 00:15:17,400
Speaker 1: think that through. I don't think no, I think he

271
00:15:17,400 --> 00:15:19,680
Speaker 1: did the gime and he just wants to watch it himself.

272
00:15:19,760 --> 00:15:24,120
Speaker 1: Fuck I think. And also you know, it's like Kevin

273
00:15:24,120 --> 00:15:27,280
Speaker 1: Bacon and Kiefer they like make amends in it. He doesn't.

274
00:15:27,320 --> 00:15:30,200
Speaker 1: He just kind of gets busted. Well that's done. That

275
00:15:30,280 --> 00:15:33,920
Speaker 1: was the point I during the discussion. So just holding,

276
00:15:33,920 --> 00:15:39,640
Speaker 1: are we still recapping the Sorry? Sorry I screwed up

277
00:15:39,640 --> 00:15:42,320
Speaker 1: the recap by explaining something that happened in the movie.

278
00:15:42,720 --> 00:15:50,720
Speaker 1: And also cute So first Nelson he'd kill himself. Okay,

279
00:15:50,760 --> 00:15:56,640
Speaker 1: good Simpsons reference. Thank you. I love the recap I'm

280
00:15:56,680 --> 00:15:58,520
Speaker 1: telling you it's the best part of the episode. It

281
00:15:58,560 --> 00:16:02,200
Speaker 1: always takes four uh and I'm not sorry. So anyway,

282
00:16:02,360 --> 00:16:05,760
Speaker 1: Nelson is the first one to die see what happens

283
00:16:05,800 --> 00:16:09,280
Speaker 1: after death, and then Billy Baldwin and his vision he

284
00:16:09,400 --> 00:16:15,400
Speaker 1: likes he's like a lot of video, Robert Palmer music video.

285
00:16:16,040 --> 00:16:19,360
Speaker 1: And then Julie Roberts character Dr. Mannus is like, I

286
00:16:19,400 --> 00:16:21,400
Speaker 1: want to go next, and Kevin Bacon is like, no, me,

287
00:16:21,440 --> 00:16:23,040
Speaker 1: and they sort of get into this bidding more and

288
00:16:23,120 --> 00:16:26,840
Speaker 1: then then we have a crash in each other rights.

289
00:16:28,280 --> 00:16:32,400
Speaker 1: And then Kevin Bacon's character goes next. His name is

290
00:16:33,120 --> 00:16:36,880
Speaker 1: David Labrashio, which when you read it out it sort

291
00:16:36,920 --> 00:16:40,280
Speaker 1: of looks like lab rat almost but with like sees

292
00:16:40,360 --> 00:16:46,840
Speaker 1: and I'm like, what a fun, purposeful and whoever. Like,

293
00:16:46,920 --> 00:16:48,800
Speaker 1: that's like one of those moms where you see something

294
00:16:48,880 --> 00:16:51,440
Speaker 1: so cute either you're just like, oh, the screenwriter is

295
00:16:51,680 --> 00:16:56,080
Speaker 1: jerking himself off right now. He's so fucking proud of himself, right,

296
00:16:56,120 --> 00:16:58,000
Speaker 1: He's like, people thirty years from now we're going to

297
00:16:58,040 --> 00:17:00,440
Speaker 1: see that and be like, oh, my fucking god, what

298
00:17:00,520 --> 00:17:03,080
Speaker 1: a smart guy. Yeah, I sure did. Oh yeah. And

299
00:17:03,120 --> 00:17:06,000
Speaker 1: Billy Baldwin's character is Dr Joe Hurley, and he makes

300
00:17:06,000 --> 00:17:09,840
Speaker 1: you hurl the land. He has no first name or

301
00:17:09,920 --> 00:17:12,800
Speaker 1: last name. It's just some of the other characters are

302
00:17:12,840 --> 00:17:15,719
Speaker 1: like on IMDb are listed as like doctor rachel Man

303
00:17:15,840 --> 00:17:20,000
Speaker 1: as doctor Joe Hurley, but he's just Nelson. Are we

304
00:17:20,040 --> 00:17:22,280
Speaker 1: to believe he's not a doctor? Well, they're all in

305
00:17:22,320 --> 00:17:25,960
Speaker 1: medical school, alright, they're not doctors. I don't know what

306
00:17:26,280 --> 00:17:29,000
Speaker 1: I think about this movie. Also, the first scene, Kevin

307
00:17:29,040 --> 00:17:33,600
Speaker 1: Bacon isn't in this movie. He's scaling a building because

308
00:17:33,640 --> 00:17:36,040
Speaker 1: he gets kicked out of school and he's not allowed

309
00:17:36,080 --> 00:17:38,800
Speaker 1: to use the doors. He's suspended for four months. So

310
00:17:38,880 --> 00:17:41,080
Speaker 1: he decides to rick like he had to go on

311
00:17:41,119 --> 00:17:43,520
Speaker 1: to the roof of the building first to ring up

312
00:17:43,520 --> 00:17:47,320
Speaker 1: the ropes to then like scale the building, climbs out

313
00:17:47,320 --> 00:17:50,680
Speaker 1: of a second story. When they're make a casual conversation,

314
00:17:51,160 --> 00:17:53,480
Speaker 1: who are you a back you next semester? And Kevin

315
00:17:53,480 --> 00:17:56,040
Speaker 1: Bacon scaling, but he's like, it doesn't matter, I'd do

316
00:17:56,080 --> 00:17:59,280
Speaker 1: the same thing again, which is which is what you understand?

317
00:17:59,359 --> 00:18:01,840
Speaker 1: What why? He sort of intervened with like a patient

318
00:18:01,920 --> 00:18:03,680
Speaker 1: came in who was dying and they needed to save

319
00:18:03,680 --> 00:18:05,560
Speaker 1: her life, and he sort of intervened, was like, I'm

320
00:18:05,560 --> 00:18:07,160
Speaker 1: going to do this, and I think he saved her,

321
00:18:07,520 --> 00:18:09,840
Speaker 1: but he was like out a line, or he shouldn't

322
00:18:09,840 --> 00:18:14,920
Speaker 1: have done it, or he didn't follow procedures done it. Yeah,

323
00:18:14,960 --> 00:18:18,000
Speaker 1: so he gets suspended from school. Couldn't be further apart.

324
00:18:18,359 --> 00:18:21,320
Speaker 1: Keith's on the ground and and Kevin's on the building,

325
00:18:21,440 --> 00:18:23,440
Speaker 1: and then as soon as he lands, it's like extreme

326
00:18:23,440 --> 00:18:26,720
Speaker 1: close up, extreme close up. There's a lot of weird

327
00:18:26,760 --> 00:18:29,639
Speaker 1: tight shots in this movie, one of my favorites. Well,

328
00:18:30,600 --> 00:18:33,600
Speaker 1: let recap, get through this recap, and then we can Sorry,

329
00:18:34,000 --> 00:18:38,159
Speaker 1: Kevin began just entered. We've we've gone back about a

330
00:18:38,160 --> 00:18:41,359
Speaker 1: half that we've rewinded. I'm going to fast forward again. Finally,

331
00:18:41,640 --> 00:18:46,760
Speaker 1: it's Julia Roberts character's turn and he goes, which sounds

332
00:18:46,760 --> 00:18:53,120
Speaker 1: like again there's that screenwriter drinking himself off. And then

333
00:18:53,320 --> 00:18:56,640
Speaker 1: the visions that they have as they have been dead

334
00:18:56,680 --> 00:18:58,840
Speaker 1: for these few minutes, they're trying to make sense of

335
00:18:58,880 --> 00:19:00,399
Speaker 1: them and they're like, well, I did see something I

336
00:19:00,400 --> 00:19:03,159
Speaker 1: don't know what. And then like meanwhile, Kevin Bacon's He's like,

337
00:19:03,240 --> 00:19:07,480
Speaker 1: I'm an atheist, but I saw something I don't know

338
00:19:07,840 --> 00:19:10,920
Speaker 1: And then these sort of visions start to come back

339
00:19:10,960 --> 00:19:13,800
Speaker 1: and like kind of haunt them and torment them, and

340
00:19:13,840 --> 00:19:16,840
Speaker 1: you realize they're all things from these people's past, sins

341
00:19:16,880 --> 00:19:19,080
Speaker 1: that they've committed, or something that they feel guilty or

342
00:19:19,080 --> 00:19:21,880
Speaker 1: responsible for, and they start to come back and torment them.

343
00:19:21,920 --> 00:19:25,560
Speaker 1: And especially bad for Nelson because you find out that

344
00:19:25,600 --> 00:19:28,840
Speaker 1: he bullied a kid to death, and he's like, oh no,

345
00:19:29,000 --> 00:19:33,119
Speaker 1: and this this kid by mahoney, I didn't even have

346
00:19:33,200 --> 00:19:37,040
Speaker 1: to rewatch the movie today. Remember, Remember, sometimes I'll see

347
00:19:37,040 --> 00:19:39,080
Speaker 1: a kid in like a red hooded sweatshirt with the

348
00:19:39,119 --> 00:19:41,800
Speaker 1: hood up and I go, Billy, mahoney, Well, here's the

349
00:19:41,840 --> 00:19:45,359
Speaker 1: thing I wanted to mention. So remember when Nelson's in

350
00:19:45,520 --> 00:19:48,560
Speaker 1: Kevin Bacon's truck. They're out in the woods and he's

351
00:19:48,600 --> 00:19:51,120
Speaker 1: just sitting there and you see a little like kid

352
00:19:51,160 --> 00:19:53,640
Speaker 1: with the red hood up scurry by. Do you think

353
00:19:53,680 --> 00:19:57,720
Speaker 1: that's a nod to the Donald Sutherland movie Don't look

354
00:19:57,760 --> 00:20:03,440
Speaker 1: now saying they that little person? Well, consider he's buying

355
00:20:03,480 --> 00:20:06,439
Speaker 1: the red considering it's Joel Schumacher and he's made a

356
00:20:06,480 --> 00:20:14,359
Speaker 1: career of ripping off other movies. Yes, I wonder you know,

357
00:20:14,760 --> 00:20:17,480
Speaker 1: He's like, how funny would it be if Key for

358
00:20:17,640 --> 00:20:20,720
Speaker 1: Sutherland and we did this like visual nod to a

359
00:20:20,920 --> 00:20:24,959
Speaker 1: Donald Sutherland movie. That's the god how annoying for key

360
00:20:25,080 --> 00:20:29,320
Speaker 1: for something. So I can't make one fucking movie. So

361
00:20:29,480 --> 00:20:31,439
Speaker 1: I had I had a note in in in my

362
00:20:31,480 --> 00:20:33,560
Speaker 1: movie notes to make a point to look up later.

363
00:20:33,640 --> 00:20:37,040
Speaker 1: I just remembered, Uh, it says Billy Mahoney today hot

364
00:20:37,160 --> 00:20:41,480
Speaker 1: or not? And I just did the appropriate Google searches

365
00:20:41,560 --> 00:20:47,000
Speaker 1: answer not. But he's doing very well. He is a

366
00:20:47,040 --> 00:20:51,680
Speaker 1: principal and portfolio manager at Argyle Capital Partners. Good for him,

367
00:20:52,359 --> 00:20:55,960
Speaker 1: and he still uses hair gel and he's in l A.

368
00:20:56,280 --> 00:20:58,800
Speaker 1: Let's call him up. Let's call let's call this guy up,

369
00:20:59,040 --> 00:21:02,920
Speaker 1: Billy Mahoney. It's his real name, Joshua Rudoy. Boy. Can

370
00:21:02,920 --> 00:21:05,880
Speaker 1: that kid wheeled a hockey stick? Yeah? That's fun. Yeah.

371
00:21:05,880 --> 00:21:08,160
Speaker 1: So this kid beats the ship out of Keeper Sutherland

372
00:21:08,160 --> 00:21:11,560
Speaker 1: a few times and in the most evil dead too

373
00:21:11,720 --> 00:21:14,080
Speaker 1: way where it's just he finally gets him and then

374
00:21:14,119 --> 00:21:21,440
Speaker 1: it's just slapstick fighting and likes the loogie in his mouth. Yeah,

375
00:21:21,600 --> 00:21:22,840
Speaker 1: that was the only point in the movie where I

376
00:21:23,119 --> 00:21:26,360
Speaker 1: had to look away. That was an extended loogie. Yeah,

377
00:21:26,400 --> 00:21:29,400
Speaker 1: it was. It was gross. So then this kid's tormenting

378
00:21:29,480 --> 00:21:31,840
Speaker 1: him and you find out it's because he bullied him

379
00:21:31,960 --> 00:21:33,959
Speaker 1: and he fell out of a tree and died hit

380
00:21:34,000 --> 00:21:36,240
Speaker 1: him in the head with a rock, and everyone else

381
00:21:36,560 --> 00:21:41,520
Speaker 1: like trying to everyone else is like sort of taking

382
00:21:41,720 --> 00:21:45,240
Speaker 1: measures to correct the wrongs that they did in their past.

383
00:21:45,280 --> 00:21:47,960
Speaker 1: That are what's great is when the when Billy Mahoney dies,

384
00:21:48,119 --> 00:21:51,119
Speaker 1: Like the two kids that are with Keefer are like, oh, dude,

385
00:21:51,280 --> 00:21:55,480
Speaker 1: what the fuck the last rock? They also like, you

386
00:21:55,640 --> 00:21:59,680
Speaker 1: did that, dude, and it paralyzes that dog and the

387
00:22:01,119 --> 00:22:04,600
Speaker 1: ham hamp It's like fun, how like half that out.

388
00:22:04,640 --> 00:22:06,400
Speaker 1: A lot of these plot points are because the only

389
00:22:06,440 --> 00:22:09,679
Speaker 1: reason Julia Roberts thinks that it's her fault that her

390
00:22:09,720 --> 00:22:12,119
Speaker 1: dad died is because her mom turns to her and

391
00:22:12,119 --> 00:22:17,359
Speaker 1: it's very dramatically like it's your right, Like her whole life,

392
00:22:17,400 --> 00:22:19,879
Speaker 1: she thought she killed her dad by walking in on

393
00:22:20,000 --> 00:22:22,320
Speaker 1: him in the bathroom. But yeah, but it's like that

394
00:22:22,359 --> 00:22:26,560
Speaker 1: doesn't make it, doesn't He runs out of the bathroom

395
00:22:26,680 --> 00:22:28,359
Speaker 1: and I mean, I get from a five year olds

396
00:22:28,400 --> 00:22:31,920
Speaker 1: perspective how that would feel like it was. Well, Also,

397
00:22:32,040 --> 00:22:36,639
Speaker 1: mom flat out set up, so he's like, well, I

398
00:22:36,720 --> 00:22:38,920
Speaker 1: have to make amends, and he thinks that the only

399
00:22:38,920 --> 00:22:43,920
Speaker 1: way to do that is to go back under Nelson's like, yeah,

400
00:22:43,960 --> 00:22:47,280
Speaker 1: I gotta go kill myself again because Billy's also dead,

401
00:22:47,600 --> 00:22:49,560
Speaker 1: So how else is he going to make amends? I

402
00:22:49,600 --> 00:22:51,359
Speaker 1: think he does this with the intention that he'll just

403
00:22:51,400 --> 00:22:53,520
Speaker 1: remain dead. But then all his friends are like, oh no,

404
00:22:53,560 --> 00:22:56,359
Speaker 1: he's killing himself again. We gotta save him. But in

405
00:22:56,480 --> 00:23:00,240
Speaker 1: his afterlife, because he's dead for like twelve minutes, and

406
00:23:00,359 --> 00:23:03,479
Speaker 1: in that time he manages to like the roles are reversed,

407
00:23:03,480 --> 00:23:05,880
Speaker 1: and now he's up in the tree and he falls,

408
00:23:06,000 --> 00:23:08,840
Speaker 1: and that somehow makes everything better, Which is why I

409
00:23:08,920 --> 00:23:11,440
Speaker 1: hate the ending of this movie. It doesn't make any

410
00:23:11,480 --> 00:23:15,680
Speaker 1: sense to me anyway. I just don't like it. I mean,

411
00:23:15,800 --> 00:23:19,120
Speaker 1: you know how it feels. But then, like, how does

412
00:23:19,119 --> 00:23:21,880
Speaker 1: that somehow absolve him of any guilt? Like it just

413
00:23:22,080 --> 00:23:25,359
Speaker 1: I feel like, well, I feel like the only absolving

414
00:23:25,359 --> 00:23:28,520
Speaker 1: of guilt that makes sense of all four of them

415
00:23:28,720 --> 00:23:31,720
Speaker 1: is Kevin Bacon like that because he act, he's the

416
00:23:31,760 --> 00:23:34,280
Speaker 1: only one who actually goes and makes an amends. Right.

417
00:23:34,320 --> 00:23:37,080
Speaker 1: But and but in this it's like almost sort of

418
00:23:37,280 --> 00:23:40,600
Speaker 1: to Julia Roberts, We'll get to this, but like her

419
00:23:41,280 --> 00:23:44,600
Speaker 1: resolution has like a weird magical element about it where

420
00:23:44,640 --> 00:23:48,399
Speaker 1: she finds out new information that doesn't I don't know,

421
00:23:48,440 --> 00:23:50,080
Speaker 1: like none of them really line up with each other.

422
00:23:50,119 --> 00:23:53,600
Speaker 1: I guess that Billy Balin's abandoned and that's good, right, Well,

423
00:23:53,640 --> 00:23:57,119
Speaker 1: he's still like kind of fucked up even in the climax,

424
00:23:57,160 --> 00:24:00,280
Speaker 1: and it's like nothing's been resolved with this guy. He's

425
00:24:01,440 --> 00:24:04,960
Speaker 1: I don't think he deserves any sort of atonement like, well,

426
00:24:05,000 --> 00:24:07,879
Speaker 1: because he doesn't, because he doesn't continue to do it.

427
00:24:07,920 --> 00:24:12,040
Speaker 1: I think probably whether or not he had participated in

428
00:24:12,040 --> 00:24:15,560
Speaker 1: this at all. Well, she comes to visit him, the

429
00:24:15,600 --> 00:24:18,560
Speaker 1: fiance because of how disturbed he was on the phone,

430
00:24:18,760 --> 00:24:23,320
Speaker 1: so that that does instigate it. But he just gets busted, right,

431
00:24:23,359 --> 00:24:25,359
Speaker 1: and she brings up with him, which is punishment, But

432
00:24:25,680 --> 00:24:29,000
Speaker 1: he doesn't do anything to make it right. He doesn't know,

433
00:24:29,080 --> 00:24:32,119
Speaker 1: he doesn't. But do we even see him like delete

434
00:24:32,119 --> 00:24:36,760
Speaker 1: the tapes or anything. No, In fact, it's not clear

435
00:24:36,800 --> 00:24:40,119
Speaker 1: that he actually feels guilty for anything he's done, or

436
00:24:40,119 --> 00:24:44,000
Speaker 1: if he's just mad he gets caught, Yeah, because it's

437
00:24:44,040 --> 00:24:46,240
Speaker 1: not what you think. It's like she thinks you're fucking

438
00:24:46,240 --> 00:24:48,960
Speaker 1: other women in videotaping it without their knowledge, right, And

439
00:24:49,000 --> 00:24:53,800
Speaker 1: then she's like, yes, it is slam, but it's not so.

440
00:24:54,359 --> 00:24:58,600
Speaker 1: Videotaping women during sex without their permission or knowledge is

441
00:24:58,680 --> 00:25:03,080
Speaker 1: horrible and I'm guessing it's probably a crime. So it's

442
00:25:03,080 --> 00:25:05,960
Speaker 1: a crime, and it's also just morally repugnant. But also

443
00:25:06,600 --> 00:25:10,280
Speaker 1: the scene where the different women are repeating back things

444
00:25:10,359 --> 00:25:12,960
Speaker 1: that he has said to them, there's one that you're like,

445
00:25:12,960 --> 00:25:15,960
Speaker 1: there's a few. Well, there's one where she's like, you said,

446
00:25:16,000 --> 00:25:18,680
Speaker 1: we didn't have to do anything, we just want here underwear,

447
00:25:18,760 --> 00:25:21,480
Speaker 1: we can stop. When I was like, oh, so he's

448
00:25:21,520 --> 00:25:25,400
Speaker 1: also a rapist. He's gone above and beyond this videotaping

449
00:25:25,400 --> 00:25:27,720
Speaker 1: when also where the fund does he live? Like do

450
00:25:27,720 --> 00:25:29,520
Speaker 1: you remember that scene where it's like in the hospital

451
00:25:29,520 --> 00:25:33,400
Speaker 1: and then they pan up and Billy Baldwin's fucking none

452
00:25:33,400 --> 00:25:36,360
Speaker 1: of the locations make any sense. That's never called back

453
00:25:36,359 --> 00:25:38,439
Speaker 1: to it because like later on it looks like he

454
00:25:38,560 --> 00:25:41,480
Speaker 1: just has a two floor apartment. But there is one

455
00:25:41,520 --> 00:25:45,040
Speaker 1: shot where you're like watching something happen on the lower

456
00:25:45,080 --> 00:25:47,119
Speaker 1: floor and then it pans up and he's fucking a

457
00:25:47,200 --> 00:25:50,119
Speaker 1: lady and filming it very confused. Yeah, it's like is

458
00:25:50,160 --> 00:25:53,080
Speaker 1: this but then you see like his dorm a later

459
00:25:53,200 --> 00:25:56,320
Speaker 1: scene where he's going he's entering into an apartment building

460
00:25:56,359 --> 00:25:59,440
Speaker 1: from outside and that lady is sort of like harassing

461
00:26:00,000 --> 00:26:03,320
Speaker 1: at all. Yeah, because he's so you should have been

462
00:26:03,320 --> 00:26:05,879
Speaker 1: like Kevin Bacon, he forgot to bring his grappling hook.

463
00:26:06,320 --> 00:26:09,639
Speaker 1: He just scaled the building up to his room. It

464
00:26:09,800 --> 00:26:11,879
Speaker 1: is funny I never thought of until right now, but

465
00:26:12,000 --> 00:26:17,399
Speaker 1: there's almost foreshadowing that Schumacher will direct a Batman movie. Yeah,

466
00:26:17,440 --> 00:26:21,920
Speaker 1: in that scene of Kevin Bacon just casscading down the building. Well,

467
00:26:22,040 --> 00:26:23,680
Speaker 1: not to not to bring it back to Fantom with

468
00:26:23,720 --> 00:26:27,280
Speaker 1: the opera. However, it is in the early nineties when

469
00:26:27,400 --> 00:26:30,600
Speaker 1: Sir Angrew Lord Webber decides that he wants Joel Schumacher

470
00:26:30,680 --> 00:26:32,800
Speaker 1: to direct his Phantom movie, even though it doesn't come

471
00:26:32,800 --> 00:26:35,760
Speaker 1: out for fifteen years. So I enjoyed taking a step

472
00:26:35,760 --> 00:26:41,560
Speaker 1: back and watching all these fog machine scenes like everywhere,

473
00:26:41,600 --> 00:26:46,320
Speaker 1: like the drug store is foggy, the bars foggy, the

474
00:26:46,359 --> 00:26:49,359
Speaker 1: streets foggy, the hospital's foggy. And then see like Andrew

475
00:26:49,400 --> 00:26:53,120
Speaker 1: Lord Webber, like this is an excellent fit. This guy

476
00:26:53,200 --> 00:26:57,280
Speaker 1: gets me well mediocre, no subtlety match made in Heaven.

477
00:26:58,320 --> 00:27:01,400
Speaker 1: Do you remember that scene? It's right after Nelson has

478
00:27:01,440 --> 00:27:04,720
Speaker 1: been revived there in this sort of alley way constantly

479
00:27:04,840 --> 00:27:07,520
Speaker 1: in alleys, so many alleys. There no one lives in

480
00:27:07,520 --> 00:27:12,600
Speaker 1: this city Chicago. Do they go to Northwestern? I don't

481
00:27:12,600 --> 00:27:16,040
Speaker 1: know where they go to school anyway, not the still

482
00:27:16,240 --> 00:27:18,360
Speaker 1: don't matter in this bag. At one point they were

483
00:27:18,400 --> 00:27:21,400
Speaker 1: in a capital looking like in front of the Halloween

484
00:27:21,400 --> 00:27:23,399
Speaker 1: parties in front of the Capital looking building. So for

485
00:27:23,440 --> 00:27:24,919
Speaker 1: a while I thought they might be in d C.

486
00:27:25,480 --> 00:27:28,359
Speaker 1: But then about an hour and ten minutes and you're like, oh,

487
00:27:28,480 --> 00:27:33,000
Speaker 1: I guess this is Chicago, right, But so he's in

488
00:27:33,040 --> 00:27:35,440
Speaker 1: an alley and he sees Champ for the first time,

489
00:27:35,640 --> 00:27:39,159
Speaker 1: like dragging his legs around, and they're in this alley

490
00:27:39,200 --> 00:27:42,879
Speaker 1: with like these like neon green faces like painted on

491
00:27:42,960 --> 00:27:46,240
Speaker 1: the wall, like these murals almost, and it's like these

492
00:27:46,280 --> 00:27:50,040
Speaker 1: like spooky faces. And there's no other imagery like that

493
00:27:50,119 --> 00:27:52,360
Speaker 1: at any other point in the movie. So it seems

494
00:27:52,400 --> 00:27:55,040
Speaker 1: like really random and out of place that those are there,

495
00:27:55,080 --> 00:27:57,240
Speaker 1: because like that imagery just doesn't match up with anything

496
00:27:57,280 --> 00:27:59,840
Speaker 1: else that's in the movie. There's always a red light

497
00:28:00,000 --> 00:28:03,080
Speaker 1: somewhere in the background in every scene, and just like

498
00:28:03,119 --> 00:28:08,359
Speaker 1: who who is your production designed what we're probably Joel Schumacher. Yeah,

499
00:28:08,480 --> 00:28:11,840
Speaker 1: he's just like, hey, do we have about a bunch

500
00:28:11,840 --> 00:28:15,000
Speaker 1: of spotlights and a fog machine. Don't worry, I've got this.

501
00:28:16,040 --> 00:28:18,200
Speaker 1: Getting into the discussion of the things that we talked

502
00:28:18,200 --> 00:28:21,840
Speaker 1: about on this podcast, obviously have to mention that Julia

503
00:28:21,880 --> 00:28:25,240
Speaker 1: Roberts character Dr. Rachel manis a woman in stem but

504
00:28:25,320 --> 00:28:28,040
Speaker 1: also she's she's not No. One in this movie as

505
00:28:28,040 --> 00:28:32,640
Speaker 1: a doctor, not officially, but you do see here. So um.

506
00:28:32,840 --> 00:28:35,199
Speaker 1: The first actual point I wanted to make is that

507
00:28:35,240 --> 00:28:38,560
Speaker 1: I would argue that her character plays just as active

508
00:28:38,640 --> 00:28:42,440
Speaker 1: as a role as each of her male counterparts. So

509
00:28:42,480 --> 00:28:45,760
Speaker 1: she's doing every time they're killing the person and then

510
00:28:45,760 --> 00:28:48,520
Speaker 1: bringing them back to life, she's playing an active role

511
00:28:48,600 --> 00:28:52,440
Speaker 1: in doing different things, administering different shots of adrenaline, or

512
00:28:52,640 --> 00:28:57,680
Speaker 1: I would argue it's morphine, um, you know, resuscitating them

513
00:28:57,720 --> 00:29:01,720
Speaker 1: and using the defibrillators which I thought it was defibrillator.

514
00:29:02,000 --> 00:29:07,920
Speaker 1: It is a defibrillator, which sounds stupid to me, but

515
00:29:08,200 --> 00:29:12,240
Speaker 1: it's well, it does seem like her character, and Kevin

516
00:29:12,240 --> 00:29:15,680
Speaker 1: Bacon calls us out in a in a vaguely sexist

517
00:29:15,920 --> 00:29:18,920
Speaker 1: but somewhat clear way in one of their scenes. It

518
00:29:18,960 --> 00:29:23,360
Speaker 1: does seem like she's like the most respected of the group,

519
00:29:23,440 --> 00:29:25,880
Speaker 1: Like she and Kevin Bacon seemed to be the alpha

520
00:29:25,960 --> 00:29:30,920
Speaker 1: doctors in the group. Yeah, whereas clear that she's essential

521
00:29:30,960 --> 00:29:34,200
Speaker 1: to the operation from moment one because he's like, I

522
00:29:34,240 --> 00:29:36,600
Speaker 1: need you to handle the injections in the ivy. So

523
00:29:36,640 --> 00:29:38,840
Speaker 1: she plays a crucial role in the story. The problem

524
00:29:38,920 --> 00:29:42,520
Speaker 1: is when you add up all of those main five characters,

525
00:29:42,760 --> 00:29:46,240
Speaker 1: her role means that only of it is something a

526
00:29:46,240 --> 00:29:49,240
Speaker 1: woman is doing, and then eight percent of it is dudes.

527
00:29:49,440 --> 00:29:54,080
Speaker 1: It's major tokenism. Yeah, and interestingly, because the reason we're

528
00:29:54,080 --> 00:29:56,560
Speaker 1: doing this movie now is because there is a it's

529
00:29:56,600 --> 00:30:00,680
Speaker 1: not a remake apparently the people because Nelson's because right,

530
00:30:00,720 --> 00:30:04,240
Speaker 1: because Keeper's back, baby, I hope he's got the same hair. Uh.

531
00:30:04,280 --> 00:30:06,240
Speaker 1: And there are two female leads in the new one.

532
00:30:06,240 --> 00:30:09,640
Speaker 1: It's Ellen Page and Nino Dobrev a k A Vampire

533
00:30:09,720 --> 00:30:14,760
Speaker 1: Diaries Lady Lady for you, Big Degrassi. I thought there

534
00:30:14,840 --> 00:30:18,720
Speaker 1: might have even been three. There's also Kirscy Clemens. Oh

535
00:30:18,760 --> 00:30:21,360
Speaker 1: I didn't know. Okay, So as far as I can

536
00:30:21,440 --> 00:30:26,520
Speaker 1: also die from Dirty Dancing Havana Nights, Luna, I know

537
00:30:26,720 --> 00:30:30,239
Speaker 1: him as the guy from the Star Wars movie, and

538
00:30:30,280 --> 00:30:34,760
Speaker 1: also I think he's better for dirty dancing and yes,

539
00:30:35,000 --> 00:30:38,400
Speaker 1: I'm so sorry, and he's also in ech Mama Dumbien.

540
00:30:38,840 --> 00:30:44,280
Speaker 1: But he's pretty sure you can see you do see. So,

541
00:30:44,440 --> 00:30:46,880
Speaker 1: as far as I can tell, the five main men's

542
00:30:46,880 --> 00:30:49,640
Speaker 1: students in the sequel, two of them I think are

543
00:30:49,640 --> 00:30:51,920
Speaker 1: men and three of them are women. Hard to say, though,

544
00:30:51,920 --> 00:30:54,600
Speaker 1: I couldn't figure out which character is doing which things,

545
00:30:54,680 --> 00:30:57,040
Speaker 1: so I might be wrong about that. Either way, it

546
00:30:57,200 --> 00:30:58,960
Speaker 1: seems like there will be a little bit more of

547
00:30:59,000 --> 00:31:03,320
Speaker 1: a gender balance in this sequel. So hey, but Julia

548
00:31:03,400 --> 00:31:08,240
Speaker 1: Roberts character is major league tokenism in in the main ensemble,

549
00:31:09,000 --> 00:31:12,200
Speaker 1: it does seem like there are proportional amount of women

550
00:31:12,320 --> 00:31:16,320
Speaker 1: at the medical school because we see Julia Roberts talking

551
00:31:16,480 --> 00:31:19,680
Speaker 1: with there's another doctor who I think has a name,

552
00:31:19,880 --> 00:31:22,760
Speaker 1: which I think is Edna. We see her talking to

553
00:31:23,000 --> 00:31:26,000
Speaker 1: Na a couple of times, and then the professor that

554
00:31:26,120 --> 00:31:28,800
Speaker 1: keeps busting in and saying, you're all gonna get f

555
00:31:29,200 --> 00:31:33,680
Speaker 1: everything's writing on this I haven't to You're in competition

556
00:31:33,760 --> 00:31:37,800
Speaker 1: with each other. Rip open your could ever to not

557
00:31:37,880 --> 00:31:42,880
Speaker 1: be distracted by the artwork on the wall, don't put

558
00:31:42,920 --> 00:31:47,200
Speaker 1: on clubs. No one cuts, but she's you know, she's

559
00:31:47,280 --> 00:31:50,200
Speaker 1: she's intracted, doesn't seem like she's doing a particularly good job,

560
00:31:50,280 --> 00:31:53,880
Speaker 1: but she's in charge. So there are female figures, but

561
00:31:54,080 --> 00:31:57,920
Speaker 1: it's just not accurately reflected. I'm on the IMDb page

562
00:31:58,000 --> 00:32:01,080
Speaker 1: right now because I was trying to figure out I

563
00:32:01,160 --> 00:32:02,600
Speaker 1: was listening for in the movie, and I wasn't sure

564
00:32:02,640 --> 00:32:05,640
Speaker 1: if I missed it. If the old woman that Julia

565
00:32:05,760 --> 00:32:08,320
Speaker 1: Roberts talks to a number of times has a name,

566
00:32:08,840 --> 00:32:14,600
Speaker 1: she does not. She is credited as terminal woman. Also

567
00:32:15,080 --> 00:32:19,640
Speaker 1: feels worth mentioning that eleven different actresses are credited as

568
00:32:19,840 --> 00:32:24,640
Speaker 1: Joe's woman from that from that scene up the staircase.

569
00:32:24,760 --> 00:32:27,200
Speaker 1: What a horrible way to frame that horrible. Yeah. Well,

570
00:32:27,240 --> 00:32:30,400
Speaker 1: the woman in the one of the very early scenes

571
00:32:30,640 --> 00:32:33,080
Speaker 1: that Julia Roberts is talking to asking her what her

572
00:32:33,160 --> 00:32:35,200
Speaker 1: like near death experience was like, she does not have

573
00:32:35,240 --> 00:32:37,640
Speaker 1: a name. But the elderly woman that she talks to

574
00:32:37,840 --> 00:32:40,880
Speaker 1: does have a name, and she names her. It's Mrs Amsler.

575
00:32:41,320 --> 00:32:43,920
Speaker 1: Is this the woman who dies? Yeah? Oh, she's credited

576
00:32:43,920 --> 00:32:47,280
Speaker 1: as terminal weird. Well, she does have calls her. She's like,

577
00:32:47,520 --> 00:32:52,120
Speaker 1: you're doing better today, Mrs Amsler something. Yeah, because I

578
00:32:52,160 --> 00:32:54,720
Speaker 1: assumed that she must have at some point. Okay, she does, well,

579
00:32:54,760 --> 00:32:57,160
Speaker 1: that changes things. The doctor she talks to does have

580
00:32:57,160 --> 00:32:59,840
Speaker 1: a name, yes, and she calls her by name as well.

581
00:33:00,280 --> 00:33:04,560
Speaker 1: Another thing about rachel Man is that everyone's trying to

582
00:33:04,560 --> 00:33:09,680
Speaker 1: suck her. Yeah, maybe not Oliver Platt, but but like

583
00:33:09,760 --> 00:33:12,080
Speaker 1: what he turned down the opportunity. No, it would prob

584
00:33:12,200 --> 00:33:15,480
Speaker 1: be an honor for him, but earlier it's almost not.

585
00:33:15,520 --> 00:33:17,760
Speaker 1: In the movie, he's the only one of the five

586
00:33:17,880 --> 00:33:22,160
Speaker 1: who does not. Ever, he does not participate in the

587
00:33:22,200 --> 00:33:26,000
Speaker 1: moment love. He's dressed like Harry Potter for the whole movie,

588
00:33:26,080 --> 00:33:29,480
Speaker 1: is wearing the same dumbass scarf he says, pussy marauder.

589
00:33:29,960 --> 00:33:32,440
Speaker 1: He does a lot of exposition, like he's there for

590
00:33:32,560 --> 00:33:35,840
Speaker 1: exposition because he's literally recording major plot points into a

591
00:33:35,840 --> 00:33:39,600
Speaker 1: tape recorder for right portion of the movie. Billy Baldwin

592
00:33:39,920 --> 00:33:42,160
Speaker 1: tries to pick her up in like the first series. Really,

593
00:33:42,240 --> 00:33:44,719
Speaker 1: He's like, are you dating anyone? Just open up and

594
00:33:44,800 --> 00:33:47,120
Speaker 1: maybe we can get together for some serious thinking. And

595
00:33:47,200 --> 00:33:51,160
Speaker 1: later you're like, oh, she probably knows he's engaged, right, Yeah,

596
00:33:51,400 --> 00:33:54,480
Speaker 1: he's engaged. Yeah right, So no wonder she is the

597
00:33:54,480 --> 00:33:56,680
Speaker 1: woman that we see him having sex with in the

598
00:33:56,680 --> 00:33:59,880
Speaker 1: beginning that he's videotaping. Is that his fiance or not

599
00:34:00,000 --> 00:34:02,640
Speaker 1: it's a different woman because he's videotaping it, right, And

600
00:34:02,680 --> 00:34:05,480
Speaker 1: then it always says something like I gotta get one

601
00:34:05,720 --> 00:34:09,200
Speaker 1: last thing in before I get married, and then flat

602
00:34:09,200 --> 00:34:14,240
Speaker 1: whips out pussy Marada. If that's not a scream out band,

603
00:34:14,400 --> 00:34:20,439
Speaker 1: I'll be So that happens. And then whenever Nelson's about

604
00:34:20,480 --> 00:34:23,560
Speaker 1: to go under for the first time, he asks Julia

605
00:34:23,800 --> 00:34:27,720
Speaker 1: Roberts for one last kiss. And then the next morning,

606
00:34:27,719 --> 00:34:31,000
Speaker 1: after he wakes up after having flatlined, he's in his bed,

607
00:34:31,160 --> 00:34:34,560
Speaker 1: she's taking his pulse and then he says something like, um, god,

608
00:34:34,600 --> 00:34:37,560
Speaker 1: you're beautiful, and she sort of like moves away from him,

609
00:34:37,600 --> 00:34:39,400
Speaker 1: and she like grabs her and pulls her back, and

610
00:34:39,440 --> 00:34:41,359
Speaker 1: he's like, about twenty four hours ago, you didn't think

611
00:34:41,360 --> 00:34:44,440
Speaker 1: you'd spend the night here, and she's just like she

612
00:34:44,480 --> 00:34:47,320
Speaker 1: said something like you were lucky last night, Nelson, don't

613
00:34:47,360 --> 00:34:49,319
Speaker 1: push it, and then walks away. But it's like, what

614
00:34:49,360 --> 00:34:54,000
Speaker 1: a weird able to interact with. It seemed like they

615
00:34:54,040 --> 00:34:58,160
Speaker 1: had slept together. Yeah, it seems like there was also

616
00:34:58,239 --> 00:35:00,719
Speaker 1: a moment after he flatlined when they're like driving to

617
00:35:00,760 --> 00:35:03,840
Speaker 1: the bar where she like touches his shoulder. There's I

618
00:35:03,840 --> 00:35:06,080
Speaker 1: feel like it's at least implied that there's some sort

619
00:35:06,080 --> 00:35:10,240
Speaker 1: of history, but maybe that she doesn't want it to continue,

620
00:35:10,360 --> 00:35:14,600
Speaker 1: because then later she sleeps with Kevin Bacon's character, right,

621
00:35:14,760 --> 00:35:19,920
Speaker 1: she fries up some Bacon. I think I sanctioned that relationship.

622
00:35:20,000 --> 00:35:22,000
Speaker 1: I think that if she's gonna they both have the

623
00:35:22,040 --> 00:35:24,880
Speaker 1: best hair, exactly good hair, and they're both like the

624
00:35:24,880 --> 00:35:29,120
Speaker 1: most competent of the group, So it makes doctors best hair. Yeah,

625
00:35:29,239 --> 00:35:32,080
Speaker 1: it makes sense. She's a bunch of senior superlatives and

626
00:35:32,080 --> 00:35:37,040
Speaker 1: they've got all of them. Yeah, med school superlatives. Baby,

627
00:35:37,520 --> 00:35:41,400
Speaker 1: do we feel like we understand why the group is

628
00:35:41,440 --> 00:35:45,440
Speaker 1: pretty adamant about Julia Robbers not doing it? That's a

629
00:35:45,480 --> 00:35:48,680
Speaker 1: good question. Is it because she's a woman and they

630
00:35:48,719 --> 00:35:54,160
Speaker 1: feel protective of her? Or that was the implication that

631
00:35:54,320 --> 00:35:57,520
Speaker 1: I got. I mean, but again with the exception of

632
00:35:57,560 --> 00:36:00,000
Speaker 1: all of her Platt who doesn't want anyone to die

633
00:36:00,120 --> 00:36:03,160
Speaker 1: at any point, but it is also very willing to

634
00:36:03,200 --> 00:36:06,200
Speaker 1: be around because you know, we need expositions. Sometimes we

635
00:36:06,280 --> 00:36:08,640
Speaker 1: gotta shave off minutes on this movie, even though that's

636
00:36:08,640 --> 00:36:11,960
Speaker 1: still an hour and fifty five minutes long, but it

637
00:36:12,040 --> 00:36:14,759
Speaker 1: feels like they don't want her to go under because

638
00:36:14,800 --> 00:36:16,080
Speaker 1: they have a crush on her, and I feel like

639
00:36:16,120 --> 00:36:19,800
Speaker 1: Kevin Bacon almost implies that at one point. Yeah, see

640
00:36:19,800 --> 00:36:21,520
Speaker 1: with Bacon, I can say I can't even see it

641
00:36:21,520 --> 00:36:24,000
Speaker 1: with Key for two because it's like he's still in

642
00:36:24,040 --> 00:36:27,520
Speaker 1: love with her. Kevin Bacon is currently in love with her,

643
00:36:27,840 --> 00:36:30,400
Speaker 1: and Billy Baldwin's just a fucking I'll just try to

644
00:36:30,400 --> 00:36:35,960
Speaker 1: do anything that moves. But also I love that he's like, oh,

645
00:36:35,320 --> 00:36:38,040
Speaker 1: I I got I'm a filmmaker. I have a camera,

646
00:36:38,680 --> 00:36:41,560
Speaker 1: and it's like, oh yeah, camera, you use to commit crimes.

647
00:36:41,640 --> 00:36:45,440
Speaker 1: And he's not even good at that job. Like there's

648
00:36:45,440 --> 00:36:47,759
Speaker 1: a million times in the movie where they're like Joe

649
00:36:48,080 --> 00:36:51,000
Speaker 1: film and he's like, oh yeah, I was like, why

650
00:36:51,080 --> 00:36:53,160
Speaker 1: else are you here? He should take some And his

651
00:36:53,239 --> 00:36:56,239
Speaker 1: angles are stupid. We already pointed out, like the way

652
00:36:56,280 --> 00:36:59,359
Speaker 1: he captures himself from like bird's eye view, It's like,

653
00:36:59,400 --> 00:37:03,440
Speaker 1: that's not who wants to recapture that sex scene. And

654
00:37:03,480 --> 00:37:06,160
Speaker 1: he's only filming for like four seconds at a time,

655
00:37:06,160 --> 00:37:08,640
Speaker 1: and it's always a slow zoom so they can fade

656
00:37:08,680 --> 00:37:13,360
Speaker 1: into a screensaver. But back to what you were talking about.

657
00:37:13,600 --> 00:37:17,360
Speaker 1: There's a conversation between a doctor Rachel Mannis and a

658
00:37:17,440 --> 00:37:23,200
Speaker 1: doctor A David lab Ratty are not med school student

659
00:37:23,360 --> 00:37:27,480
Speaker 1: David Labrashio. Yeah. This is after Billy Baldwin has flatlined.

660
00:37:27,880 --> 00:37:30,040
Speaker 1: Julie's like, I want to go next, keep getting pushed

661
00:37:30,040 --> 00:37:32,360
Speaker 1: I want to go, and then, like Kevin Bacon, outbids

662
00:37:32,360 --> 00:37:34,600
Speaker 1: are basically he's like, I'll go for longer, and she's

663
00:37:34,640 --> 00:37:36,520
Speaker 1: kind of match storms out and he catches up with

664
00:37:36,520 --> 00:37:38,200
Speaker 1: her and she's like, no one seems to want me

665
00:37:38,239 --> 00:37:41,960
Speaker 1: to go under. I don't need your protection. He's like, well,

666
00:37:42,000 --> 00:37:45,040
Speaker 1: I just decided that if someone is smart and driven

667
00:37:45,080 --> 00:37:49,600
Speaker 1: as you are and incredibly beautiful, that part was just

668
00:37:49,680 --> 00:37:52,600
Speaker 1: like oh he was so close. Yeah, and then he

669
00:37:52,719 --> 00:37:55,120
Speaker 1: was like He's like it makes the rest of us nervous,

670
00:37:55,160 --> 00:37:57,320
Speaker 1: which I think, I don't even know if it's an implication.

671
00:37:57,360 --> 00:37:59,600
Speaker 1: It's like pretty straight up being like, we don't want

672
00:37:59,640 --> 00:38:01,640
Speaker 1: you to go under. We got to protect you. You're

673
00:38:01,680 --> 00:38:05,080
Speaker 1: the woman, you're smartest. Even though she's the one who

674
00:38:05,160 --> 00:38:07,640
Speaker 1: keeps being like I want to go because this is

675
00:38:07,680 --> 00:38:11,120
Speaker 1: her passion, she's interviewing people to figure out what's happening

676
00:38:11,600 --> 00:38:13,799
Speaker 1: after if they have a near death experience. She wants

677
00:38:13,840 --> 00:38:16,320
Speaker 1: to know and she wants to get that firsthand experience,

678
00:38:16,400 --> 00:38:18,719
Speaker 1: and they're all just like no. And Kevin Bacon even

679
00:38:18,800 --> 00:38:21,520
Speaker 1: says she gives the best reason for wanting to do it,

680
00:38:21,800 --> 00:38:24,000
Speaker 1: and she totally does, because, like Keifer says a couple

681
00:38:24,040 --> 00:38:26,920
Speaker 1: different times, like we're going to be famous, right, I'm

682
00:38:26,960 --> 00:38:30,359
Speaker 1: gonna be on sixty minutes. Yeah, yeah, And then she's

683
00:38:31,480 --> 00:38:34,319
Speaker 1: I wanna a lot of people close to me have died.

684
00:38:34,360 --> 00:38:36,440
Speaker 1: I want to see if they've gone to a better place.

685
00:38:36,760 --> 00:38:39,200
Speaker 1: And if you believe in that sort of thing. Sure,

686
00:38:39,280 --> 00:38:42,520
Speaker 1: that's a good reason to flatline yesh. I think she

687
00:38:42,600 --> 00:38:45,279
Speaker 1: does have the best reason. Yeah, because Keifer. I don't

688
00:38:45,280 --> 00:38:50,680
Speaker 1: know that anyone besides Keifer offers a reason. Like Bacon says, well,

689
00:38:50,719 --> 00:38:53,799
Speaker 1: I'm the control subject, so I'll go under because I'm

690
00:38:53,840 --> 00:38:56,640
Speaker 1: the kind of bully him for being an atheist. He's like, oh, yeah,

691
00:38:56,760 --> 00:38:59,640
Speaker 1: does the atheist suddenly believe in God? Well, I think

692
00:39:00,040 --> 00:39:02,960
Speaker 1: this is like it's not an Atheast joint, it's a

693
00:39:03,000 --> 00:39:08,120
Speaker 1: shoemak or joint. There's a lot of heavenly imagery. Sure,

694
00:39:08,719 --> 00:39:12,840
Speaker 1: I guess, or what he would perceives. But anyway, so

695
00:39:12,920 --> 00:39:15,200
Speaker 1: that conversation when he's like, oh, you're just so smart

696
00:39:15,239 --> 00:39:20,600
Speaker 1: and driven and incredibly beautiful, she gives this look that's like, okay,

697
00:39:20,600 --> 00:39:23,600
Speaker 1: I'll take that compliment, and then she changes the subject.

698
00:39:23,680 --> 00:39:32,359
Speaker 1: It's just like, no, just off camera, who made more

699
00:39:32,360 --> 00:39:35,040
Speaker 1: money and like it was more money spent on paying

700
00:39:35,040 --> 00:39:38,319
Speaker 1: Oliver Platt or buying fog machines. I feel like it

701
00:39:38,400 --> 00:39:42,479
Speaker 1: was probably very close for this movie. The other main

702
00:39:42,520 --> 00:39:45,080
Speaker 1: point I wanted to make about this movie is that

703
00:39:45,360 --> 00:39:49,200
Speaker 1: Julia Roberts character is the only one who's like sin

704
00:39:49,360 --> 00:39:52,040
Speaker 1: from her past the comes back to haunt her is

705
00:39:52,080 --> 00:39:56,440
Speaker 1: something that happened to her rather than something that she

706
00:39:56,600 --> 00:39:59,920
Speaker 1: did like the other ones. With Nelson, it's Billy Mahoney.

707
00:40:00,080 --> 00:40:03,799
Speaker 1: He killed him accidentally or not probably not accident because

708
00:40:03,800 --> 00:40:08,920
Speaker 1: he was bullying him and throwing rocks at him right. Uh.

709
00:40:08,960 --> 00:40:12,360
Speaker 1: And then with Kevin Bacon's character, he also bullied a

710
00:40:12,440 --> 00:40:17,160
Speaker 1: child Winnie Hicks. Winnie Hicks, who is thriving. Yeah, she's

711
00:40:17,160 --> 00:40:20,240
Speaker 1: got a huge house in a big greenhouse. We should

712
00:40:20,239 --> 00:40:22,840
Speaker 1: talk about her really. Yeah, that was an interesting scene.

713
00:40:22,920 --> 00:40:24,799
Speaker 1: That was the scene that I was a little bit

714
00:40:25,000 --> 00:40:26,560
Speaker 1: It was like one of those scenes that I feel

715
00:40:26,560 --> 00:40:28,839
Speaker 1: like we'd come across very frequently. I was like, Oh,

716
00:40:28,960 --> 00:40:31,720
Speaker 1: this scene could have passed the back Toles has so easily,

717
00:40:31,760 --> 00:40:34,680
Speaker 1: but it doesn't. Where her daughters are the whole time

718
00:40:34,719 --> 00:40:38,360
Speaker 1: and has a name but never has a line. Maybe

719
00:40:38,600 --> 00:40:41,400
Speaker 1: was the daughter's name Sheila? Oh? She She says a

720
00:40:41,400 --> 00:40:44,960
Speaker 1: couple different times, Sheilla go away, go away, and trying

721
00:40:45,000 --> 00:40:47,279
Speaker 1: to talk to Kevin Bacon, and she'lla never responds, but

722
00:40:47,360 --> 00:40:50,120
Speaker 1: she keeps like entering and exiting this scene. But that

723
00:40:50,320 --> 00:40:53,239
Speaker 1: I don't know, Like I like that character of of

724
00:40:53,320 --> 00:40:55,640
Speaker 1: Winnie Hicks. And but I think that has a lot

725
00:40:55,680 --> 00:40:58,560
Speaker 1: to do with the fact that Kevin Bacon's resolution is

726
00:40:58,600 --> 00:41:01,760
Speaker 1: really the only one that's actually satisfying of the whole

727
00:41:01,840 --> 00:41:04,719
Speaker 1: cat right, because he's the only one. So going back

728
00:41:04,719 --> 00:41:06,360
Speaker 1: to what I was saying earlier is that hers is

729
00:41:06,400 --> 00:41:08,560
Speaker 1: the only passive one where something happened to her. She

730
00:41:09,200 --> 00:41:12,160
Speaker 1: sees her father and we later find out that he

731
00:41:12,239 --> 00:41:16,000
Speaker 1: was I guess shooting up Heroin. And then because she's

732
00:41:16,760 --> 00:41:18,719
Speaker 1: a lot of the Vietnam that's coming back, man, they

733
00:41:18,719 --> 00:41:21,439
Speaker 1: couldn't deal with what happened in that goddamn hell hoole.

734
00:41:21,760 --> 00:41:24,120
Speaker 1: It's all your fault and they got to do heroin

735
00:41:24,360 --> 00:41:28,880
Speaker 1: or maybe hey, maybe it was morphine, my favorite drug,

736
00:41:29,120 --> 00:41:32,920
Speaker 1: all purpose drug, intravenous. You can use morphine for anything.

737
00:41:33,040 --> 00:41:35,080
Speaker 1: You can use it to bring you back to the life.

738
00:41:35,400 --> 00:41:39,120
Speaker 1: You can shoot up and have a great dish. Anyway,

739
00:41:39,280 --> 00:41:42,120
Speaker 1: So he's shooting up heroin, she sees it. I guess

740
00:41:42,200 --> 00:41:45,319
Speaker 1: he feels guilty that his daughter witnessed. So he goes

741
00:41:45,360 --> 00:41:48,160
Speaker 1: outside and kills himself, Which that doesn't make a whole

742
00:41:48,160 --> 00:41:51,320
Speaker 1: lot of sense to me, but maybe clearly the gentleman

743
00:41:51,360 --> 00:41:55,200
Speaker 1: had problems. Sure, who knows what happened when he was

744
00:41:55,239 --> 00:41:58,879
Speaker 1: in that denang pit of hell. But it's weird that

745
00:41:58,880 --> 00:42:01,080
Speaker 1: that that, like the whole sequence I mean, and I

746
00:42:01,120 --> 00:42:03,960
Speaker 1: guess you can sort of narratively write it off of like, well,

747
00:42:03,960 --> 00:42:07,279
Speaker 1: it's a child's recollection. It's probably not right. And it's

748
00:42:07,320 --> 00:42:10,800
Speaker 1: also we only see like Mom in the moment say

749
00:42:10,920 --> 00:42:15,080
Speaker 1: it's your fault. That was probably her whole life after that,

750
00:42:15,800 --> 00:42:18,719
Speaker 1: being driven in her head by her freaking allan on Mom,

751
00:42:18,760 --> 00:42:22,319
Speaker 1: who's just like you did this. Well, the thing with

752
00:42:22,360 --> 00:42:26,480
Speaker 1: that is that it means her redemption was passive also,

753
00:42:26,960 --> 00:42:29,600
Speaker 1: like she just has to go and watch the scene

754
00:42:29,760 --> 00:42:33,359
Speaker 1: unfold a little more and then she just hugs her

755
00:42:33,440 --> 00:42:37,240
Speaker 1: dad and then everything's fine. But she gets he because

756
00:42:37,280 --> 00:42:39,640
Speaker 1: she's weighed down by this guilt. So he gets to

757
00:42:40,080 --> 00:42:43,359
Speaker 1: relieve her of the guilt. She gets to forgive herself

758
00:42:43,400 --> 00:42:46,800
Speaker 1: he and and she gets to forgive him, and that's fine.

759
00:42:47,160 --> 00:42:49,960
Speaker 1: My point is that the choice was made. She was

760
00:42:50,000 --> 00:42:52,239
Speaker 1: the only one who had something happened to her passively.

761
00:42:52,640 --> 00:42:54,960
Speaker 1: Is it because she was a woman? Is it a coincidence?

762
00:42:55,000 --> 00:42:56,760
Speaker 1: Hard to say, but either way, the choice was made

763
00:42:57,200 --> 00:42:59,600
Speaker 1: so that the only female character of the main bunch

764
00:43:00,000 --> 00:43:02,680
Speaker 1: had a very passive sin and then redemption. So it's

765
00:43:02,719 --> 00:43:05,759
Speaker 1: just sort of perpetuating this idea that like a woman

766
00:43:06,200 --> 00:43:09,759
Speaker 1: was feeling guilty well and also like to reduce it

767
00:43:09,800 --> 00:43:13,560
Speaker 1: even for the main female character has serious daddy issues

768
00:43:13,640 --> 00:43:16,520
Speaker 1: like that is something we've seen a hundred thousand times,

769
00:43:16,560 --> 00:43:18,799
Speaker 1: and we don't see anyone else's parents reference out of

770
00:43:18,800 --> 00:43:21,840
Speaker 1: the main cast. Thank you for like verbalizing it. I

771
00:43:21,840 --> 00:43:24,000
Speaker 1: guess in that way because I was sort of at

772
00:43:24,040 --> 00:43:26,000
Speaker 1: the end of the movie, I was like, Julia roberts

773
00:43:26,160 --> 00:43:28,799
Speaker 1: storyline is the only one that has a sort of

774
00:43:29,280 --> 00:43:36,320
Speaker 1: magical resolution, where key for Billy and Bacon yep did it,

775
00:43:37,560 --> 00:43:41,520
Speaker 1: and Billy and Bacon the amazing spinoff series that ran

776
00:43:41,600 --> 00:43:45,840
Speaker 1: for eleven seasons afterwards. None of their resolutions, however, satisfying

777
00:43:45,920 --> 00:43:50,160
Speaker 1: or unsatisfying, resulted in them receiving any new information. It

778
00:43:50,239 --> 00:43:54,880
Speaker 1: was them somehow dealing with information that they already had.

779
00:43:55,320 --> 00:43:58,920
Speaker 1: And then where Julie. It's a reveal like it's a

780
00:43:59,000 --> 00:44:01,560
Speaker 1: reveal that herd I was a drug definitely which and

781
00:44:01,760 --> 00:44:04,719
Speaker 1: again passive. So it's just like I like and it

782
00:44:04,760 --> 00:44:07,800
Speaker 1: throws a wrench into the logic of the movie of

783
00:44:08,280 --> 00:44:11,279
Speaker 1: you know, like sort of the lesson is like, well,

784
00:44:11,320 --> 00:44:13,759
Speaker 1: you've got a tone for the bad things you do

785
00:44:13,960 --> 00:44:18,319
Speaker 1: in life. But Julia Rours didn't do anything bad, but

786
00:44:18,400 --> 00:44:22,239
Speaker 1: she somehow receives a message from the beyond that you know,

787
00:44:22,400 --> 00:44:25,240
Speaker 1: your dad was addicted to heroin, which is what she wanted.

788
00:44:25,320 --> 00:44:27,319
Speaker 1: She wanted to make sure her dad was okay, and

789
00:44:27,360 --> 00:44:31,680
Speaker 1: that she didn't. She was way down by this guilt

790
00:44:32,360 --> 00:44:34,799
Speaker 1: and then she was able to contact him and him

791
00:44:34,840 --> 00:44:37,879
Speaker 1: be like, you didn't do anything. It was me who

792
00:44:37,920 --> 00:44:40,880
Speaker 1: did it, right? I don't know. Like the spiritual elements

793
00:44:40,880 --> 00:44:43,000
Speaker 1: of this movie are kind of all over the place.

794
00:44:43,000 --> 00:44:47,000
Speaker 1: In Confused definitely like there's no there's no rhyme or

795
00:44:47,000 --> 00:44:49,520
Speaker 1: reason to like. And it's weird because I feel like

796
00:44:49,640 --> 00:44:52,960
Speaker 1: Rachel's storyline is the one that really introduces the weird,

797
00:44:53,120 --> 00:44:56,160
Speaker 1: like wait, wondering what are their rules here? And it

798
00:44:56,280 --> 00:44:58,680
Speaker 1: is also like three of them it's just ship that

799
00:44:58,719 --> 00:45:01,759
Speaker 1: happened when they were kids, and so they just they're

800
00:45:01,760 --> 00:45:04,840
Speaker 1: still kind of adult children. They can't process what happened.

801
00:45:04,880 --> 00:45:08,160
Speaker 1: Where's Billy Baldwin is currently a piece of ship and

802
00:45:08,200 --> 00:45:11,320
Speaker 1: he's the only one who's not making it right. Yeah,

803
00:45:11,400 --> 00:45:14,520
Speaker 1: he doesn't do anything. He's a rapist and a sex criminal.

804
00:45:14,680 --> 00:45:16,640
Speaker 1: And there's that scene where like they all start to

805
00:45:16,640 --> 00:45:20,359
Speaker 1: realize that each of them is like being tormented by

806
00:45:20,360 --> 00:45:23,480
Speaker 1: the ghosts of their past, and uh, they're turning to

807
00:45:23,480 --> 00:45:28,680
Speaker 1: buy the ghost of Christmas present. But Billy Baldwin reveals

808
00:45:28,760 --> 00:45:32,120
Speaker 1: he's like, yeah, these women I videotaped them and they

809
00:45:32,120 --> 00:45:35,000
Speaker 1: didn't know about it. Women complaining and then all my

810
00:45:35,120 --> 00:45:40,440
Speaker 1: sex crimes and Oliver Platt's characters like, oh, you you pervert,

811
00:45:40,719 --> 00:45:43,880
Speaker 1: And then Kevin Bacon doesn't even address it. He moves on.

812
00:45:43,960 --> 00:45:46,840
Speaker 1: He was like, how about you, Nelson, who are you seeing?

813
00:45:46,920 --> 00:45:49,120
Speaker 1: And he's like oh this kid Billy mahoney, but like

814
00:45:49,160 --> 00:45:53,040
Speaker 1: he just changes the subject after Billy Baldwin has revealed

815
00:45:53,239 --> 00:45:56,279
Speaker 1: that he's a fucking sex criminal and everyone's just like, oh, well,

816
00:45:56,360 --> 00:45:59,480
Speaker 1: let's move on. Well that's part of Billy Baldwin thing

817
00:45:59,480 --> 00:46:02,839
Speaker 1: where it's like again like a weird dissonance. Like sometimes

818
00:46:03,000 --> 00:46:06,720
Speaker 1: it's played as well, yeah, this is his major wrong

819
00:46:06,760 --> 00:46:09,640
Speaker 1: as he's wronged all these women then womanizers kind of

820
00:46:09,680 --> 00:46:13,280
Speaker 1: what the right. It's never it's never stated or even

821
00:46:13,320 --> 00:46:16,200
Speaker 1: implied that what he's doing is a crime, but then

822
00:46:16,320 --> 00:46:19,920
Speaker 1: other moments it's like played for humor of like calling

823
00:46:20,080 --> 00:46:22,759
Speaker 1: a sex criminal pervert and then moving on to the

824
00:46:22,800 --> 00:46:27,600
Speaker 1: next plat point is obviously very irresponsible, and he's he's

825
00:46:27,640 --> 00:46:30,360
Speaker 1: sort of I feel like, presented along with Oliver flat

826
00:46:30,400 --> 00:46:34,040
Speaker 1: as like the goofear of the character. I mean, you

827
00:46:34,080 --> 00:46:36,680
Speaker 1: could argue that the fact that this is what's tormenting

828
00:46:36,760 --> 00:46:39,400
Speaker 1: him is the movie's way of saying, like this, he

829
00:46:39,440 --> 00:46:42,279
Speaker 1: did a bad thing, but he's hardly punished for it,

830
00:46:42,280 --> 00:46:44,520
Speaker 1: and he doesn't do anything to redeem himself or try

831
00:46:44,560 --> 00:46:47,040
Speaker 1: to make any amends. He does get broken up with

832
00:46:47,160 --> 00:46:49,560
Speaker 1: by his fiance, but he doesn't even seem that upset

833
00:46:49,560 --> 00:46:53,360
Speaker 1: about it, like eventually and does Basically, I want his

834
00:46:53,640 --> 00:46:57,319
Speaker 1: dick to stop working. That's the only way I think.

835
00:46:57,640 --> 00:47:00,800
Speaker 1: So does that make his and the actor stopped working?

836
00:47:08,560 --> 00:47:12,759
Speaker 1: That's stroking a cat right now. Yeah, well what does

837
00:47:12,800 --> 00:47:16,120
Speaker 1: that mean that there are two resolutions that are passive?

838
00:47:16,480 --> 00:47:19,480
Speaker 1: If Billy Baldwin doesn't do anything, he doesn't even really

839
00:47:19,480 --> 00:47:22,400
Speaker 1: get a resolution because the other three. Not that he

840
00:47:22,480 --> 00:47:27,719
Speaker 1: deserves one, but I'm thinking, but something does happen to him.

841
00:47:27,760 --> 00:47:29,839
Speaker 1: He does get dumped, and I'm not saying that that's

842
00:47:29,840 --> 00:47:33,000
Speaker 1: a fair punishment. It certainly is not. Um that should

843
00:47:33,000 --> 00:47:35,640
Speaker 1: be step one of a series of punishments that end

844
00:47:35,719 --> 00:47:38,399
Speaker 1: with him serving jail time. Maybe she went and called

845
00:47:38,400 --> 00:47:42,440
Speaker 1: the cops afterwards, Let's hope that port that girl and

846
00:47:42,760 --> 00:47:44,960
Speaker 1: they go. The narrative goes out of the way to

847
00:47:45,040 --> 00:47:47,120
Speaker 1: be like, she's a student, she's working hard, she's she

848
00:47:47,320 --> 00:47:50,120
Speaker 1: you know, she lives far away, and you're like, okay, cool,

849
00:47:50,320 --> 00:47:52,279
Speaker 1: she's she seems like a cool lady. And then she

850
00:47:52,360 --> 00:47:54,800
Speaker 1: did you know, they do a little bit. I'm pretty

851
00:47:54,800 --> 00:47:59,919
Speaker 1: sure she has a name. Yeah that's the bar. Yeah,

852
00:48:00,120 --> 00:48:02,120
Speaker 1: it's like, oh, she has a name, and they said

853
00:48:02,160 --> 00:48:06,000
Speaker 1: she went to school so good for them. They did

854
00:48:06,080 --> 00:48:10,600
Speaker 1: it feminism right. I like Billy Baldwin's character's line when

855
00:48:10,640 --> 00:48:13,080
Speaker 1: he's like trying to pick up Rachel because he says

856
00:48:13,120 --> 00:48:16,239
Speaker 1: something like, these rumors I've been hearing about you, they're

857
00:48:16,239 --> 00:48:19,560
Speaker 1: not true. You're not some cold, frigid woman. I bet

858
00:48:19,560 --> 00:48:24,640
Speaker 1: you're very warm and well. And and that's another amazing

859
00:48:25,200 --> 00:48:29,560
Speaker 1: blockbuster recurrence of like, oh she's she's got goals and

860
00:48:29,640 --> 00:48:34,120
Speaker 1: she's good at something. She must be a fid Oh.

861
00:48:34,200 --> 00:48:36,440
Speaker 1: You know what I was gonna say. You know what

862
00:48:36,719 --> 00:48:40,120
Speaker 1: dawned on me is the fact that her sin more

863
00:48:40,200 --> 00:48:43,560
Speaker 1: or less is um totally passive. She didn't do anything.

864
00:48:43,920 --> 00:48:48,720
Speaker 1: Because I feel like the Hollywood logic is you can't

865
00:48:48,840 --> 00:48:53,439
Speaker 1: have the female character have done anything wrong because then

866
00:48:53,440 --> 00:48:56,120
Speaker 1: the audience would not forgive her and just see her

867
00:48:56,120 --> 00:48:59,520
Speaker 1: as a bitch the whole time, you know what I mean. Yeah,

868
00:48:59,640 --> 00:49:02,120
Speaker 1: Whereas like the men can't have the redemption, but the

869
00:49:02,120 --> 00:49:04,960
Speaker 1: woman it's like, oh, no, fuck her, she fucking did

870
00:49:05,000 --> 00:49:07,120
Speaker 1: that to so and so. Because where I feel like

871
00:49:07,160 --> 00:49:10,520
Speaker 1: we're socialized to I think that like women have to

872
00:49:10,560 --> 00:49:13,200
Speaker 1: be perfect little angels all the time. They can't make mistakes.

873
00:49:13,280 --> 00:49:15,560
Speaker 1: And because I remember I did a commercial once and

874
00:49:15,640 --> 00:49:18,320
Speaker 1: the actress was playing my wife, and like the director

875
00:49:18,400 --> 00:49:22,160
Speaker 1: was like, you, you have to smile throughout the entire scene. Otherwise,

876
00:49:22,200 --> 00:49:26,120
Speaker 1: like the clients are like, she's being mean to him, right,

877
00:49:26,200 --> 00:49:30,560
Speaker 1: that type of and and it sort of plays to

878
00:49:30,680 --> 00:49:34,720
Speaker 1: like a virginal kind of or like whatever, spirtually virginal,

879
00:49:34,840 --> 00:49:38,000
Speaker 1: like she's untainted. And it turns out that that's an

880
00:49:38,040 --> 00:49:43,400
Speaker 1: amazing point. Yeah, oh god, right, because if anything, it

881
00:49:43,440 --> 00:49:45,839
Speaker 1: would have I mean, I'm not saying this in any

882
00:49:45,880 --> 00:49:49,080
Speaker 1: other way of like it would have made sense if

883
00:49:49,120 --> 00:49:51,560
Speaker 1: she had also bullied like a girl when she was

884
00:49:51,600 --> 00:49:55,319
Speaker 1: growing up. There's almost no coming back from that from

885
00:49:55,320 --> 00:49:59,000
Speaker 1: a character standpoint of looking at like, oh god, even

886
00:49:59,080 --> 00:50:01,120
Speaker 1: with the scene, if it was and Whinnie Hicks, I

887
00:50:01,160 --> 00:50:03,640
Speaker 1: bet the Hollywood view would be, like, people still won't

888
00:50:03,680 --> 00:50:07,560
Speaker 1: get on her side, even the lovable Julia Roberts, because yeah,

889
00:50:07,600 --> 00:50:11,799
Speaker 1: with like with Keeford bullying for killed a kid and

890
00:50:11,840 --> 00:50:15,600
Speaker 1: he's it was hard for me to by the end

891
00:50:15,640 --> 00:50:17,799
Speaker 1: of this movie, I was not on Keefer's side, but

892
00:50:17,840 --> 00:50:20,719
Speaker 1: I feel like you are supposed to be still definitely,

893
00:50:21,080 --> 00:50:24,120
Speaker 1: but ultimately it's like he's doing it to himself. He's

894
00:50:24,160 --> 00:50:27,960
Speaker 1: literally beating himself up over it, you know. But it's

895
00:50:27,960 --> 00:50:30,680
Speaker 1: a delicate thing because if if Winnie Hicks hadn't been

896
00:50:30,760 --> 00:50:33,760
Speaker 1: so well off, would we be so quick to forgive

897
00:50:33,840 --> 00:50:38,120
Speaker 1: Kevin Bacon, Like if her life had been yeah, you'd

898
00:50:38,120 --> 00:50:40,520
Speaker 1: be like, look what you did to her as opposed

899
00:50:40,560 --> 00:50:42,800
Speaker 1: to you could even make the argument, well, you instilled

900
00:50:42,800 --> 00:50:45,920
Speaker 1: her with character, and you know that she overcame, and

901
00:50:46,000 --> 00:50:50,480
Speaker 1: blah blah blah. Everyone in this movie, besides Julia Roberts,

902
00:50:50,520 --> 00:50:53,080
Speaker 1: like all the male characters get off too easy, because

903
00:50:53,120 --> 00:50:56,920
Speaker 1: even like the the end scene with Billy Mahoney, after

904
00:50:57,239 --> 00:51:00,000
Speaker 1: Keefer Sutherland as an adult gets crushed by a tree

905
00:51:00,320 --> 00:51:03,359
Speaker 1: comes up and he like smiles, yeah, and he's like, oh,

906
00:51:03,440 --> 00:51:09,440
Speaker 1: he forgives I think that why, that's because they were kids.

907
00:51:09,840 --> 00:51:14,440
Speaker 1: They were kids. I'm not defending saying it's dumb. I

908
00:51:14,440 --> 00:51:17,160
Speaker 1: think that it has to do like where current climate

909
00:51:17,239 --> 00:51:21,080
Speaker 1: considered it. It is harder to get on board with

910
00:51:21,880 --> 00:51:25,680
Speaker 1: someone who did a horrible thing being forgiven. But the

911
00:51:25,680 --> 00:51:27,440
Speaker 1: point I wanted to make about that is that like

912
00:51:28,000 --> 00:51:32,400
Speaker 1: keep for bullying Billy Mahoney, Kevin Bacon's character bullying Winnie,

913
00:51:32,600 --> 00:51:35,560
Speaker 1: those are like we're socialized. There's Wow, boys will be boys.

914
00:51:35,600 --> 00:51:38,520
Speaker 1: Boys are just mean little bullies, okay, and then and

915
00:51:38,560 --> 00:51:41,520
Speaker 1: then when they grow up, that's their chance to be like, Okay,

916
00:51:41,560 --> 00:51:44,080
Speaker 1: they've they've grown up, they've matured, and now they can

917
00:51:44,360 --> 00:51:47,399
Speaker 1: apologize and everything they find. But where it's like, like

918
00:51:47,440 --> 00:51:50,600
Speaker 1: you were saying, women, you know, we're socialized to view

919
00:51:50,600 --> 00:51:53,120
Speaker 1: women differently, so like there's we just don't we're not

920
00:51:53,160 --> 00:51:56,200
Speaker 1: going to be like, oh, girls will be girls. You know,

921
00:51:56,320 --> 00:52:00,520
Speaker 1: girls always being schoolyard bullies and oh, it's okay, they'll learn,

922
00:52:00,680 --> 00:52:03,360
Speaker 1: they'll they'll be nicer when they're older. Like that's not

923
00:52:03,440 --> 00:52:09,560
Speaker 1: how or will they women? It seems like flawed but

924
00:52:09,840 --> 00:52:15,520
Speaker 1: still sympathetic female protagonist is a relatively new thing to

925
00:52:15,640 --> 00:52:19,759
Speaker 1: be excepted. Like usually the woman with the flaw is

926
00:52:19,960 --> 00:52:24,000
Speaker 1: the villain, right as opposed to like where I think,

927
00:52:24,040 --> 00:52:26,560
Speaker 1: you know, you could earn past past, which a couple

928
00:52:26,560 --> 00:52:28,839
Speaker 1: of years, like there's even like even a few years

929
00:52:28,840 --> 00:52:32,200
Speaker 1: after this was my best friend's wedding, and I remember

930
00:52:32,239 --> 00:52:34,279
Speaker 1: a lot of people coming away from that movie being

931
00:52:34,360 --> 00:52:37,040
Speaker 1: like I don't like Julia Roberts, like she was a

932
00:52:37,520 --> 00:52:39,759
Speaker 1: she's the hero quote unquote of the movie. But it's

933
00:52:39,760 --> 00:52:42,880
Speaker 1: like a woman doing it leaves a bad taste in

934
00:52:42,880 --> 00:52:46,080
Speaker 1: the audience's mouth, especially in this country. You know, watching

935
00:52:46,080 --> 00:52:48,560
Speaker 1: movies where they're like, oh, what a bit she was

936
00:52:48,600 --> 00:52:51,920
Speaker 1: and poured Cameron Diaz and blah blah blah blah blah,

937
00:52:51,960 --> 00:52:55,200
Speaker 1: which is like ridiculous, because for a character to be

938
00:52:55,520 --> 00:52:59,160
Speaker 1: interesting and dynamic and multidimensional, they have to have flaws

939
00:52:59,520 --> 00:53:02,680
Speaker 1: like which is probably part of why so many female

940
00:53:02,719 --> 00:53:06,040
Speaker 1: characters are underwritten and underdeveloped, because they're like, well, I

941
00:53:06,400 --> 00:53:10,000
Speaker 1: have a very vague and limited understanding of women as

942
00:53:10,040 --> 00:53:14,560
Speaker 1: a male screenwriter. So she's this person who's nice, and

943
00:53:14,640 --> 00:53:18,920
Speaker 1: she's nice, and that's all she is. She's but also

944
00:53:19,040 --> 00:53:23,160
Speaker 1: she's hot, and if she's not nice, then she's right right,

945
00:53:23,200 --> 00:53:26,239
Speaker 1: not hot enough that because then she's because then she's unrelatable.

946
00:53:28,800 --> 00:53:31,200
Speaker 1: But if she is, then she's the villain, and then

947
00:53:31,360 --> 00:53:34,399
Speaker 1: that's her only quality. Also is that she's mean. That's

948
00:53:34,400 --> 00:53:36,400
Speaker 1: not how people are. They don't have just one quality.

949
00:53:37,400 --> 00:53:42,680
Speaker 1: I have to and they're under my shirt. We're back

950
00:53:42,719 --> 00:53:45,080
Speaker 1: to that again. Oh that. The first thing I wanted

951
00:53:45,080 --> 00:53:47,520
Speaker 1: to say was like, it'd be great if they really

952
00:53:47,880 --> 00:53:50,000
Speaker 1: made it. Well, who knows what they'll do with the sequel,

953
00:53:50,160 --> 00:53:52,920
Speaker 1: But it's like for it to be a true redemption

954
00:53:53,040 --> 00:53:55,960
Speaker 1: story because it's like making an amend's isn't just saying

955
00:53:56,000 --> 00:53:58,799
Speaker 1: I'm sorry. To make an amend's means to make something right,

956
00:53:59,280 --> 00:54:01,200
Speaker 1: like how can I fix this? How can I make

957
00:54:01,239 --> 00:54:04,879
Speaker 1: this right? And that's very compelling, I think, And with

958
00:54:05,040 --> 00:54:06,920
Speaker 1: you know, the majority of the leads in the New

959
00:54:06,960 --> 00:54:09,960
Speaker 1: One being female, that should be quite interesting if they

960
00:54:09,960 --> 00:54:12,400
Speaker 1: take that approach of like you know, writing or wrong.

961
00:54:12,800 --> 00:54:15,440
Speaker 1: The other thing I was going to say was maybe

962
00:54:15,560 --> 00:54:18,359
Speaker 1: for me, the most sexist part of the movie was

963
00:54:18,440 --> 00:54:21,600
Speaker 1: the fact that the other three take their shirts off,

964
00:54:21,880 --> 00:54:25,520
Speaker 1: but Julie Roberts has to keep her bra on because

965
00:54:25,560 --> 00:54:28,920
Speaker 1: she's a lady, and not for sexual reason but for

966
00:54:28,920 --> 00:54:33,359
Speaker 1: sure scientific purposes, Like they have to shock her. They

967
00:54:33,360 --> 00:54:37,600
Speaker 1: put those pads on her bra it would burst into flames.

968
00:54:38,760 --> 00:54:42,040
Speaker 1: Who didn't think of that? Yeah, And it's like there's

969
00:54:42,040 --> 00:54:43,759
Speaker 1: like a metal coil in it, Like it would have

970
00:54:43,800 --> 00:54:49,560
Speaker 1: been a disaster. They would have blown up the art.

971
00:54:49,640 --> 00:54:53,400
Speaker 1: She was not to them in that respect, she couldn't

972
00:54:53,440 --> 00:54:57,400
Speaker 1: be bare chest. Um, I mean that might be because

973
00:54:57,440 --> 00:55:02,319
Speaker 1: of like probably no contract and like they could have

974
00:55:02,360 --> 00:55:05,960
Speaker 1: implied right, oh sure, sure, And I think just like

975
00:55:06,000 --> 00:55:09,880
Speaker 1: the legistical blockbuster rating system. I think, well, this wasn't R,

976
00:55:10,040 --> 00:55:12,759
Speaker 1: wasn't it. It must have been. It must have been

977
00:55:13,000 --> 00:55:20,960
Speaker 1: said fucking little boys murdered, scary forgiving, But you're right

978
00:55:21,360 --> 00:55:23,759
Speaker 1: with um. Even Kevin Bacon, who was the only one

979
00:55:23,800 --> 00:55:28,000
Speaker 1: who's sort of actively pursues trying to redeem himself. All

980
00:55:28,040 --> 00:55:30,239
Speaker 1: he does is to same, sorry, sorry, right, And then

981
00:55:30,239 --> 00:55:32,440
Speaker 1: she says like, I forgive you because I'm nice. I'm

982
00:55:32,440 --> 00:55:35,279
Speaker 1: a woman and I'm nice. Right. Yeah. Also, and then

983
00:55:35,280 --> 00:55:38,040
Speaker 1: we just see like she has a greenhouse. She's fine,

984
00:55:39,239 --> 00:55:42,719
Speaker 1: she's killing it. And then she even I'm not in

985
00:55:42,840 --> 00:55:45,799
Speaker 1: med school, but I have a greenhouse, and he's like

986
00:55:46,239 --> 00:55:48,960
Speaker 1: she likes running in with like stacks of twins. She's like, mom,

987
00:55:49,000 --> 00:55:52,319
Speaker 1: where should I put all this money? It will need it,

988
00:55:52,360 --> 00:55:55,920
Speaker 1: we don't need it. It was rated R. There you

989
00:55:56,040 --> 00:56:00,239
Speaker 1: go restricted. Okay, Well then they couldn't. Then then my

990
00:56:00,239 --> 00:56:04,680
Speaker 1: my breast argument falls apart. Let's discuss whether or not

991
00:56:04,760 --> 00:56:08,320
Speaker 1: the movie passes the Bechtel test based on the assumption

992
00:56:08,360 --> 00:56:12,080
Speaker 1: that the old lady has Mrs Malcolm Powder what's her name?

993
00:56:13,760 --> 00:56:17,680
Speaker 1: Mrs Antler is Antler, So then in that case it passes.

994
00:56:17,719 --> 00:56:20,560
Speaker 1: In the first scene with two women. The woman she

995
00:56:20,640 --> 00:56:23,120
Speaker 1: talks to in that first scene when she's interviewing those people,

996
00:56:23,280 --> 00:56:26,160
Speaker 1: that first lady is not named. Oh sorry, I was

997
00:56:26,200 --> 00:56:29,719
Speaker 1: referring to the old woman. Is the first scene that

998
00:56:29,760 --> 00:56:33,120
Speaker 1: passed for me? Got it even before that, when she's

999
00:56:33,200 --> 00:56:35,560
Speaker 1: interviewing the two women, we don't there are two women

1000
00:56:35,600 --> 00:56:38,879
Speaker 1: there in addition to them. Do we get the younger

1001
00:56:38,920 --> 00:56:42,920
Speaker 1: one of them is Terry name. Terry's like, I saw

1002
00:56:42,920 --> 00:56:44,279
Speaker 1: a light in a tunnel in a chariot and it

1003
00:56:44,920 --> 00:56:47,920
Speaker 1: was beautiful. And she's like, Terry, Terry, you need to

1004
00:56:47,920 --> 00:56:51,080
Speaker 1: get off your medication. But maybe that one doesn't count

1005
00:56:51,080 --> 00:56:53,560
Speaker 1: because they were kind of talking about God and as

1006
00:56:53,560 --> 00:56:57,319
Speaker 1: everyone knows God as a man, let's get into it.

1007
00:56:58,239 --> 00:57:01,640
Speaker 1: I want this episode to be four hours. Uh. And

1008
00:57:01,680 --> 00:57:04,000
Speaker 1: then in the scene after that, it passes again because

1009
00:57:04,520 --> 00:57:07,360
Speaker 1: Julia and Edna and there's like, there's trouble in the

1010
00:57:07,360 --> 00:57:09,080
Speaker 1: e er and she's like, why are you always asking

1011
00:57:09,080 --> 00:57:11,239
Speaker 1: her patients about death? And Julie's like, I'm going to

1012
00:57:11,280 --> 00:57:15,120
Speaker 1: be late for class, thanks edenough. But she's always asking

1013
00:57:15,160 --> 00:57:17,240
Speaker 1: people about death because of her dad. And her dad's

1014
00:57:17,240 --> 00:57:19,160
Speaker 1: a man, right, So it all comes back to it

1015
00:57:19,480 --> 00:57:21,440
Speaker 1: comes back to men and there's men in there, and

1016
00:57:21,480 --> 00:57:23,760
Speaker 1: there's trouble in the r and men cause all the trouble.

1017
00:57:25,560 --> 00:57:27,800
Speaker 1: You raise some excellent points. I think all of her

1018
00:57:27,840 --> 00:57:33,280
Speaker 1: scenes with Mrs Death pass Mrs Death yes, because she's like,

1019
00:57:33,360 --> 00:57:35,000
Speaker 1: I don't want to be buried on a Saturday. It

1020
00:57:35,000 --> 00:57:37,760
Speaker 1: caused a hundred and fifty dollars more. Is it bad

1021
00:57:37,800 --> 00:57:39,920
Speaker 1: that by the end of was like, die already, and

1022
00:57:39,920 --> 00:57:41,800
Speaker 1: then like when she's dad, I was like good. It

1023
00:57:41,840 --> 00:57:44,080
Speaker 1: seems like she wanted to be dead for them. When

1024
00:57:44,160 --> 00:57:46,160
Speaker 1: Julia Robert sister, are you doing much better today? The

1025
00:57:46,200 --> 00:57:51,840
Speaker 1: woman looks at it like, fuck you, I have wanted

1026
00:57:51,960 --> 00:57:55,040
Speaker 1: to die. It is incredible though thinking about it, that

1027
00:57:55,120 --> 00:57:58,680
Speaker 1: she doesn't even like the go to cliche would be

1028
00:57:58,720 --> 00:58:01,600
Speaker 1: her talking about like her husband. Yeah. I think that

1029
00:58:01,600 --> 00:58:04,000
Speaker 1: that does end up being a weird character because it

1030
00:58:04,080 --> 00:58:06,880
Speaker 1: seems like she would be like the classic like old

1031
00:58:06,960 --> 00:58:11,760
Speaker 1: person character to teach someone right. But it is also

1032
00:58:11,920 --> 00:58:14,640
Speaker 1: it probably wouldn't work if she was talking about seeing

1033
00:58:14,880 --> 00:58:19,160
Speaker 1: Edgar again or whatever, because then she is in the

1034
00:58:19,160 --> 00:58:22,280
Speaker 1: way the character exists in the movie. She is not

1035
00:58:22,400 --> 00:58:25,600
Speaker 1: looking forward to die, but she's also like I just

1036
00:58:25,640 --> 00:58:28,120
Speaker 1: want to get it fucking over with well. She even

1037
00:58:28,160 --> 00:58:30,440
Speaker 1: said she's like I told everyone I loved them, Like

1038
00:58:30,520 --> 00:58:32,680
Speaker 1: she makes it sound like I did all the stuff

1039
00:58:33,320 --> 00:58:36,520
Speaker 1: I'm thinking about my burial, like right, and then she

1040
00:58:36,560 --> 00:58:41,400
Speaker 1: mentions like voices telling her different. And then after she

1041
00:58:41,440 --> 00:58:44,640
Speaker 1: dies and Julia comes back to discover that, she talks

1042
00:58:44,720 --> 00:58:47,200
Speaker 1: to Edna again and says, I wanted to tell her

1043
00:58:47,240 --> 00:58:49,360
Speaker 1: the voices we're wrong. There's nothing beautiful out there, because

1044
00:58:49,360 --> 00:58:56,480
Speaker 1: this is after rachel name flatlined and like, you can go,

1045
00:58:56,640 --> 00:58:59,840
Speaker 1: daddy if that was their last conversation. She's like, actually

1046
00:59:00,080 --> 00:59:05,520
Speaker 1: should be very afraid. What if when Julie Roberts dies

1047
00:59:05,640 --> 00:59:10,280
Speaker 1: she actually sees the movie Ghost Dad, that's a punishment

1048
00:59:10,960 --> 00:59:14,680
Speaker 1: in the theater. Why my mom and I were going

1049
00:59:14,720 --> 00:59:18,880
Speaker 1: to the movies? It was impossible to know. Yeah, the

1050
00:59:18,960 --> 00:59:25,920
Speaker 1: point though about Flatliners is and then so Kevin Magant

1051
00:59:26,120 --> 00:59:30,040
Speaker 1: on the Flatliners passes the Bechtel tests, like in four

1052
00:59:30,080 --> 00:59:32,440
Speaker 1: different scenes, it does. I feel like this is just

1053
00:59:32,480 --> 00:59:36,600
Speaker 1: another It's not outwardly hateful of women for them, even

1054
00:59:36,600 --> 00:59:41,120
Speaker 1: though it's often very very misguided. But the problem, or

1055
00:59:41,160 --> 00:59:44,800
Speaker 1: most of the Bechtel test problem stems from there's only

1056
00:59:44,840 --> 00:59:49,280
Speaker 1: one female with any significant screen Time, which is every

1057
00:59:49,320 --> 00:59:54,240
Speaker 1: blockbuster from the beginning of Time. There's a few exceptions,

1058
00:59:54,240 --> 00:59:56,480
Speaker 1: but well, I mean there are exceptions, but like that's

1059
00:59:56,560 --> 00:59:59,000
Speaker 1: I wonder if if if you broke it down like

1060
00:59:59,440 --> 01:00:04,280
Speaker 1: per per person, there's probably more women have lines in

1061
01:00:04,320 --> 01:00:12,040
Speaker 1: the movie overall than men. It's the tertiary definitely. Like

1062
01:00:12,160 --> 01:00:15,600
Speaker 1: I'll go one further, they all fucked Billy Baldwin, and

1063
01:00:15,640 --> 01:00:18,680
Speaker 1: there's and there's also like very long scenes in this

1064
01:00:18,800 --> 01:00:21,120
Speaker 1: movie that are all men, where I feel like the

1065
01:00:21,240 --> 01:00:24,960
Speaker 1: exchanges we're referencing are generally excited, with the exception of

1066
01:00:25,040 --> 01:00:29,360
Speaker 1: Julia Roberts and Mrs Death are generally pretty quick scenes. Totally.

1067
01:00:29,680 --> 01:00:31,720
Speaker 1: I mean, it's not a women's movie. No, it's a

1068
01:00:31,800 --> 01:00:36,640
Speaker 1: Joel Schumacher movie. It's a dumb movie. With that, let's

1069
01:00:36,720 --> 01:00:38,680
Speaker 1: rate it on our nipple scale, where we rate the

1070
01:00:38,720 --> 01:00:41,000
Speaker 1: movie based on its portrayal of women on a scale

1071
01:00:41,040 --> 01:00:44,040
Speaker 1: of zero to five nipples. I'm going to give it

1072
01:00:44,600 --> 01:00:48,880
Speaker 1: to I think because Rachel Menaces character if you just

1073
01:00:48,920 --> 01:00:52,080
Speaker 1: isolate her and her only thinking about her and her

1074
01:00:52,120 --> 01:00:55,320
Speaker 1: portrayal is pretty good, especially just because in the scenes

1075
01:00:55,320 --> 01:00:58,280
Speaker 1: where they're flatlining each other and then reviving each other,

1076
01:00:58,520 --> 01:01:02,720
Speaker 1: she's doing important things. She's pretty crucial to those scenes

1077
01:01:02,920 --> 01:01:06,160
Speaker 1: in that process. However, it did really bother me that

1078
01:01:06,240 --> 01:01:09,960
Speaker 1: hers was the only sin that was completely passive and

1079
01:01:10,000 --> 01:01:11,880
Speaker 1: she didn't have to actively do anything to try to

1080
01:01:11,880 --> 01:01:14,800
Speaker 1: redeem herself. I don't know if that choice was deliberate,

1081
01:01:14,880 --> 01:01:18,040
Speaker 1: but based on our conversation of like, people don't like

1082
01:01:18,200 --> 01:01:21,880
Speaker 1: female characters when they do bad things because we hate

1083
01:01:21,880 --> 01:01:27,040
Speaker 1: women as a society. Yeah, that was a great point there.

1084
01:01:27,680 --> 01:01:30,479
Speaker 1: It's very hard to redeem a woman, it is, and

1085
01:01:30,480 --> 01:01:32,120
Speaker 1: and that and then the fact that it goes into

1086
01:01:32,160 --> 01:01:36,320
Speaker 1: your own personal experience is significant as well. I think that. Yeah. Yeah,

1087
01:01:36,560 --> 01:01:40,840
Speaker 1: and then also the fact that they completely the most

1088
01:01:41,200 --> 01:01:45,200
Speaker 1: le we love letting we love McCarthy ism is what

1089
01:01:45,240 --> 01:01:50,600
Speaker 1: I would do. I'm sorry finishing I forgot I had

1090
01:01:50,600 --> 01:01:54,320
Speaker 1: one new rule I wanted. Great, great um, but I

1091
01:01:54,400 --> 01:01:58,160
Speaker 1: also not great that the movie mostly glasses over the

1092
01:01:58,160 --> 01:02:01,600
Speaker 1: fact that Billy Baldwin's character is a sex criminal, and

1093
01:02:01,640 --> 01:02:06,280
Speaker 1: they's not addressed when you're a rabist, but it's cute,

1094
01:02:07,040 --> 01:02:13,200
Speaker 1: you're just a little pervert videotaping a partner and not

1095
01:02:13,320 --> 01:02:16,280
Speaker 1: letting them know. Like that's well, whether whether they know

1096
01:02:16,400 --> 01:02:19,400
Speaker 1: or extremely illegal. But like what a problem that is

1097
01:02:19,800 --> 01:02:23,440
Speaker 1: now with the internet, like the you know, shaming ex

1098
01:02:23,520 --> 01:02:28,880
Speaker 1: girlfriends and all that bullshit. Yeah yeah, an early pioneer

1099
01:02:29,320 --> 01:02:32,920
Speaker 1: revenge that in itself would have been an interesting movie

1100
01:02:33,080 --> 01:02:37,840
Speaker 1: just exploring him, like videotaping sex without the partner's consent,

1101
01:02:38,000 --> 01:02:42,160
Speaker 1: and then him and then all the women him because

1102
01:02:42,200 --> 01:02:46,400
Speaker 1: of it. While we're on. Okay, so this does interesting.

1103
01:02:47,720 --> 01:02:51,080
Speaker 1: This does to tell into my my rule, which which

1104
01:02:51,080 --> 01:02:53,120
Speaker 1: I've I have thought about before, I don't think I've

1105
01:02:53,120 --> 01:02:55,960
Speaker 1: ever brought it up before, is the rule of if

1106
01:02:56,000 --> 01:03:00,520
Speaker 1: you take an attractive actor who is perhaps committing sex

1107
01:03:00,640 --> 01:03:04,959
Speaker 1: crimes or being a very you know, like using toxic masculinity,

1108
01:03:05,200 --> 01:03:07,920
Speaker 1: swap him out with Steve Bushemmy, how does the movie change.

1109
01:03:08,240 --> 01:03:12,440
Speaker 1: It's the new rule. I thought of it after rewatching

1110
01:03:12,560 --> 01:03:16,880
Speaker 1: Drive replays Gosling with bushem and it is a completely

1111
01:03:16,920 --> 01:03:20,840
Speaker 1: different movie about an unhanded, fucking MANI like, if you

1112
01:03:20,880 --> 01:03:23,200
Speaker 1: take out a sexy person and put Steve bush Emmy

1113
01:03:23,360 --> 01:03:27,320
Speaker 1: in the role, in a toxic like male role, the

1114
01:03:27,400 --> 01:03:31,200
Speaker 1: movie changes a thousand percent. All Billy Baldwin is the character.

1115
01:03:32,160 --> 01:03:34,680
Speaker 1: All I can picture is like Steve bushemy not having

1116
01:03:34,760 --> 01:03:38,919
Speaker 1: sex and then turning and smiling at the camera. It's

1117
01:03:39,000 --> 01:03:41,720
Speaker 1: totally different. But I feel like that has to be

1118
01:03:42,200 --> 01:03:44,840
Speaker 1: that should be applied because it's like, just because Billy

1119
01:03:44,920 --> 01:03:47,280
Speaker 1: Baldwin has I mean, I think he has a very

1120
01:03:47,320 --> 01:03:51,360
Speaker 1: weird face, but like because he is attractive, the rules

1121
01:03:51,480 --> 01:03:54,760
Speaker 1: changed for him in something, or it's cute. I don't know.

1122
01:03:55,080 --> 01:03:57,000
Speaker 1: Maybe it's just me, but it's like he's too good

1123
01:03:57,040 --> 01:04:00,760
Speaker 1: looking for me to root for, right, Like I get

1124
01:04:00,880 --> 01:04:03,960
Speaker 1: that mindset. But it's also he's just he's the least

1125
01:04:04,000 --> 01:04:07,160
Speaker 1: likable character in the movie for me, because I just

1126
01:04:07,200 --> 01:04:10,200
Speaker 1: think what he's like white Key for the least. But

1127
01:04:10,200 --> 01:04:13,040
Speaker 1: but I think that, but I feel like he doesn't

1128
01:04:13,040 --> 01:04:15,520
Speaker 1: even smile the whole movie with Keyfer, You're just like,

1129
01:04:15,560 --> 01:04:18,040
Speaker 1: what the fucking And he's like, you know, he's the

1130
01:04:18,080 --> 01:04:21,640
Speaker 1: tortured artist, brilliant genius going to explore the blah blah blah,

1131
01:04:21,680 --> 01:04:23,480
Speaker 1: and then he turns out he killed a kid and

1132
01:04:23,480 --> 01:04:25,600
Speaker 1: he's a bully. But it's also how does he not

1133
01:04:25,720 --> 01:04:28,640
Speaker 1: end up completely brain dead after being dead for twelve minutes,

1134
01:04:28,760 --> 01:04:31,680
Speaker 1: No doubt, I wish he had died. He should, he should,

1135
01:04:32,480 --> 01:04:34,280
Speaker 1: and then in the sequel he would just be like

1136
01:04:34,320 --> 01:04:37,840
Speaker 1: a like a vegetable, just like kind of types with

1137
01:04:37,880 --> 01:04:40,600
Speaker 1: a few fingers. And that's how the the new med

1138
01:04:40,640 --> 01:04:43,040
Speaker 1: school students have to communicate with them. And he's trying

1139
01:04:43,040 --> 01:04:45,680
Speaker 1: to tell them, don't do this, look at what happened

1140
01:04:45,720 --> 01:04:48,200
Speaker 1: to me, and they're just like, but we gotta be on.

1141
01:04:48,680 --> 01:04:51,360
Speaker 1: I think he's telling someone to touch up his blonde roots.

1142
01:04:52,240 --> 01:04:55,280
Speaker 1: Someone dye this man's hair. But that's a new rule

1143
01:04:55,320 --> 01:04:58,720
Speaker 1: we can use at our discretion that the Boushemi substitution.

1144
01:04:59,440 --> 01:05:01,640
Speaker 1: I like it. I like it a lot. By the way,

1145
01:05:01,760 --> 01:05:04,800
Speaker 1: um my two nipples that I've awarded oh yes to

1146
01:05:04,880 --> 01:05:08,480
Speaker 1: the movie belonged to Oliver Platt, because he does not

1147
01:05:10,240 --> 01:05:12,160
Speaker 1: Those were yours. Now I'm going to give my a

1148
01:05:14,720 --> 01:05:17,440
Speaker 1: someone else should rate the movie. I was thinking two

1149
01:05:17,520 --> 01:05:21,640
Speaker 1: and a half nipples. Julie Roberts character is the smartest

1150
01:05:21,680 --> 01:05:24,360
Speaker 1: of the crew. They keep saying at every point they

1151
01:05:24,360 --> 01:05:26,919
Speaker 1: can't do it without her. I give my I give

1152
01:05:26,960 --> 01:05:28,880
Speaker 1: two of them to Julia, and then half one to

1153
01:05:29,680 --> 01:05:32,880
Speaker 1: the dead Lady big Up, Mrs Death, Mrs Deaf, and

1154
01:05:33,000 --> 01:05:39,600
Speaker 1: Mrs Death Fire half a withered nipple. I'm going to

1155
01:05:39,680 --> 01:05:42,200
Speaker 1: give it to as well, for pretty much all the

1156
01:05:42,200 --> 01:05:46,400
Speaker 1: reasons stated I think Matt's point really about about the

1157
01:05:46,480 --> 01:05:50,240
Speaker 1: female character and needing to be likable. Put Julia roberts

1158
01:05:50,280 --> 01:05:53,160
Speaker 1: Ark in perspective for me a lot and Robert the

1159
01:05:53,200 --> 01:05:55,360
Speaker 1: movie of Half of a Nipple, because she is the

1160
01:05:55,400 --> 01:05:59,320
Speaker 1: most capable, but she's also sort of given the least

1161
01:05:59,440 --> 01:06:05,200
Speaker 1: dimension because she cannot be seen as unlikable or two flawed. Um,

1162
01:06:05,680 --> 01:06:08,240
Speaker 1: her arc is the least archie. It's like a more

1163
01:06:08,280 --> 01:06:17,000
Speaker 1: of just a flat line. Hey, uh so I'm going

1164
01:06:17,080 --> 01:06:19,440
Speaker 1: to give my two amples today Alfred Molina and let

1165
01:06:19,440 --> 01:06:21,800
Speaker 1: me let me just really quick look up. I have

1166
01:06:21,920 --> 01:06:27,360
Speaker 1: to assume he was Oliver platfor Let's let me speculate

1167
01:06:27,480 --> 01:06:29,680
Speaker 1: on perhaps what he was doing instead. This is my

1168
01:06:29,720 --> 01:06:34,600
Speaker 1: favorite part. What was too old to be in med school? No?

1169
01:06:34,880 --> 01:06:38,480
Speaker 1: He no, because he was so well, I don't know.

1170
01:06:38,600 --> 01:06:41,480
Speaker 1: Plant was born nineteen sixty, Wily was born fifty three.

1171
01:06:41,480 --> 01:06:44,240
Speaker 1: But he's a character actor doesn't really matter. Okay, here's

1172
01:06:44,280 --> 01:06:47,560
Speaker 1: something he might have been doing instead. This is maybe

1173
01:06:47,760 --> 01:06:52,280
Speaker 1: he was shooting Not Without my Daughter, or maybe he

1174
01:06:52,320 --> 01:06:55,360
Speaker 1: was shooting the movie American Friends, or maybe he was

1175
01:06:55,400 --> 01:06:58,320
Speaker 1: on the press tour for Rescuers Speaking, in which he

1176
01:06:58,360 --> 01:07:01,560
Speaker 1: played Italian priest. Or maybe he was just playing one

1177
01:07:01,600 --> 01:07:06,360
Speaker 1: of his many famous Shakespearean stage roles. Either way, he

1178
01:07:06,440 --> 01:07:10,680
Speaker 1: was too fucking busy, so they threw platy bone. I

1179
01:07:10,760 --> 01:07:13,120
Speaker 1: forget where I was, but I don't even know if

1180
01:07:13,120 --> 01:07:14,760
Speaker 1: I met him, but he was just there and we

1181
01:07:14,760 --> 01:07:17,680
Speaker 1: were like, oh my god, that's so Excitedly, where do

1182
01:07:17,680 --> 01:07:21,200
Speaker 1: you You don't know, you don't remember where. I really can't.

1183
01:07:21,240 --> 01:07:23,480
Speaker 1: We might have even had an exchange, but I honestly

1184
01:07:23,560 --> 01:07:27,480
Speaker 1: can't remember. Well if you, if you remember, let us

1185
01:07:27,480 --> 01:07:30,960
Speaker 1: know because we're always looking for him. Hey, Matt, thank

1186
01:07:31,000 --> 01:07:33,320
Speaker 1: you so much for being our guests. Yeah, thank you,

1187
01:07:33,480 --> 01:07:36,000
Speaker 1: thanks for having me. Of course, where can people find

1188
01:07:36,000 --> 01:07:38,640
Speaker 1: you online? They can go to This is Matt McCarthy

1189
01:07:38,680 --> 01:07:40,680
Speaker 1: dot com for all your Matt McCarthy needs, or you

1190
01:07:40,680 --> 01:07:43,160
Speaker 1: can follow me on all forms of social media at

1191
01:07:43,240 --> 01:07:47,040
Speaker 1: McCarthy redhead, Twitter, Instagram, Snapchat, and uh go to We

1192
01:07:47,120 --> 01:07:50,800
Speaker 1: watch Wrestling Podcast dot com new episodes every Wednesday at

1193
01:07:50,840 --> 01:07:55,320
Speaker 1: three am. Excellent. We just got back from New York

1194
01:07:55,320 --> 01:08:03,880
Speaker 1: City celebrating our fourth anniversary. Congratulations, Thank you so much. You.

1195
01:08:04,040 --> 01:08:08,479
Speaker 1: Oh you should go girls, You should go to women Ladies, Yeah,

1196
01:08:08,840 --> 01:08:11,400
Speaker 1: you should go to It's so fuzzy marauders. There's just

1197
01:08:11,480 --> 01:08:16,639
Speaker 1: no there's just no good equivalent to guys. I like gals.

1198
01:08:18,439 --> 01:08:20,320
Speaker 1: It's a little it's a little bit kind of saying,

1199
01:08:20,360 --> 01:08:27,640
Speaker 1: but I'm into it. Ladies works, but there is something formal. Gentlewoman, gentlewoman,

1200
01:08:28,160 --> 01:08:31,880
Speaker 1: I prefer what's up, bitch? So you bet you should

1201
01:08:31,960 --> 01:08:37,759
Speaker 1: check out I just noticed um on the Professional Wrestling

1202
01:08:37,800 --> 01:08:44,439
Speaker 1: to September seven in Baldwin Park is Bar Wrestling is

1203
01:08:44,479 --> 01:08:46,960
Speaker 1: having their fourth show and I was looking at the

1204
01:08:47,000 --> 01:08:51,040
Speaker 1: announced lineup. So so far there are more female wrestlers

1205
01:08:51,080 --> 01:08:55,040
Speaker 1: booked on the show than male wrestlers. Here you go,

1206
01:08:55,200 --> 01:08:57,799
Speaker 1: and the and the the Queen of inter gender wrestling,

1207
01:08:57,840 --> 01:09:00,360
Speaker 1: Candace Larey, will be in the house. Excellent. There you

1208
01:09:00,400 --> 01:09:02,320
Speaker 1: go for all your wrestling fans out there that that

1209
01:09:02,400 --> 01:09:04,320
Speaker 1: might mean something to you. And I haven't watched wrestling

1210
01:09:04,360 --> 01:09:08,920
Speaker 1: in this year. I've never seen it. I don't know.

1211
01:09:08,960 --> 01:09:12,200
Speaker 1: I think about wrestling. Are you watching Glow? No? I

1212
01:09:12,280 --> 01:09:16,240
Speaker 1: intend to, but I have not started yet. Aristotle Loo single.

1213
01:09:16,720 --> 01:09:19,160
Speaker 1: That's right. Go to check out my my comedy single.

1214
01:09:19,160 --> 01:09:22,920
Speaker 1: Pro wrestling fan Matt McCarthy on Spotify and iTunes and

1215
01:09:23,439 --> 01:09:30,760
Speaker 1: all such platforms. Very cool. You can follow us on Twitter, Instagram,

1216
01:09:30,800 --> 01:09:33,080
Speaker 1: at bactol Cast. You can go to our brand spanking

1217
01:09:33,120 --> 01:09:37,679
Speaker 1: new website dot com. You can also there's a spot

1218
01:09:37,720 --> 01:09:40,160
Speaker 1: on our website where you can donate money to us

1219
01:09:40,200 --> 01:09:44,040
Speaker 1: to help us with some of our production costs. Thank you,

1220
01:09:44,320 --> 01:09:48,600
Speaker 1: please and thank you. And you can also have a

1221
01:09:48,640 --> 01:09:51,680
Speaker 1: great day today. You know what, maybe not such a

1222
01:09:51,680 --> 01:09:56,599
Speaker 1: good day to die after all. Perfect by