WEBVTT - Flatliners with Matt McCarthy

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<v Speaker 1>On the Bechdel Cast, the questions asked if movies have

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<v Speaker 1>women in them, are all their discussions just boyfriends and husbands?

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<v Speaker 1>Do they have individualism? The patriarchy? Zef invest start changing

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<v Speaker 1>it with the Bechdel Cast. Hi, and welcome to the

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<v Speaker 1>Bechdel Cast. My name is Caitlin, and we're having a

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<v Speaker 1>podcast today and every day. Yeah, I'm well, I'll tell

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<v Speaker 1>you what it is and then I'll go into I'm

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<v Speaker 1>having a day. Um. The Bechtel Cast is a podcast

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<v Speaker 1>where we talk about the portrayal of women in movies.

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<v Speaker 1>Why do we do this, Well, it's just because a

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<v Speaker 1>lot of movies because don't portray women well. But really

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<v Speaker 1>it's just because just because we felt like it. The

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<v Speaker 1>Bechtel Cast is inspired by the Bechdel Test, which requires

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<v Speaker 1>that two women in a movie have names, they talked

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<v Speaker 1>to each other about something other than a man. And

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<v Speaker 1>we'll figure out whether this movie passes later on. But first,

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<v Speaker 1>but first, you're having a day. My car got towed

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<v Speaker 1>because I'm a fucking idiot and I parked in front

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<v Speaker 1>of a driveway that I didn't realize was a driveway

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<v Speaker 1>because it had like a big gate over in it,

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<v Speaker 1>and it just looked like a fence, and I didn't

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<v Speaker 1>see that it was a driveway. Uh so I got

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<v Speaker 1>my car towed. I still don't know where it is.

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<v Speaker 1>I don't even know how to locate it. So I

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<v Speaker 1>think I just don't have a car anymore. I'm having

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<v Speaker 1>a day and it feels like a good day to die. WHOA,

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<v Speaker 1>WHOA into the movie we're talking about, which is Flatliners.

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<v Speaker 1>But before we get into it, let's introduce our guests.

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<v Speaker 1>You've seen him on Conan, You've seen him on Adam

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<v Speaker 1>Ruins Everything. He hosts a podcast called We Watch Wrestling.

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<v Speaker 1>Matt McCarthy, Hello, Hello, thank you for joining us on

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<v Speaker 1>this wonderful day that I'm having. Hey man, that ain't

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<v Speaker 1>your fault, Yeah, and it's kind of it was my fault.

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<v Speaker 1>What's gonna talk? Because like, I'm gonna have to pay

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<v Speaker 1>several hundred dollars to get it untowed. You know? Is

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<v Speaker 1>my mistake worth several hundred dollars? I don't think so,

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<v Speaker 1>but that's how much it'll probably cost. I think it's

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<v Speaker 1>worth it, because, after all, you just paid off your car, right.

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<v Speaker 1>Think of how many people just think of it as

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<v Speaker 1>this month's car payment. Well, Is it worth it to

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<v Speaker 1>get my car? Yes, of course, I'm saying, is the

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<v Speaker 1>mistake I made? Should my punish maybe several hundred dollars

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<v Speaker 1>that I have to pay. We think of all the

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<v Speaker 1>people that benefit from that money, either the county and

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<v Speaker 1>the tow truck people. They have kids too. You just

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<v Speaker 1>bought the tow truck person's family, you know, groceries. My

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<v Speaker 1>money was going to like the Southern Poverty Law Center

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<v Speaker 1>or to like help alleviate homelessness in Los Angeles. Fine,

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<v Speaker 1>but it's not going to go to those things. Oh,

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<v Speaker 1>I guess tow truck drivers should just eat out of

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<v Speaker 1>the garbage can and live on the street. I understand

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<v Speaker 1>they can tow away dumpsters for dinner that night. Is

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<v Speaker 1>that what you're saying. That's not what I'm saying. Their

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<v Speaker 1>daughters don't deserve to go to dance classes. Caitlinda nor

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<v Speaker 1>all right, well, I don't like where this is gone. Sorry,

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<v Speaker 1>you're having a bad day and everyone's getting up on you.

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<v Speaker 1>You did a good thing today. You're you're participating in

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<v Speaker 1>the economy. You're giving back. Yeah, you're literally giving back. Yeah,

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<v Speaker 1>you get to go to an impound Now, I don't

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<v Speaker 1>get would you when? Would you ever ever get to

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<v Speaker 1>do that? That's right. Maybe they'll be an experience. Maybe

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<v Speaker 1>maybe you'll meet my future domestic partner there, because I'm

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<v Speaker 1>not getting married ever. A lot of a lot of

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<v Speaker 1>sexy singles hang out at the impound lone, that's true. Yeah,

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<v Speaker 1>all right, let's talk about Flatliners. Matt When did you

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<v Speaker 1>see this movie for the first time? And what's your

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<v Speaker 1>relationship to this movie. Well, it's interesting because this is

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<v Speaker 1>I was terrified of scary movies and TV shows when

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<v Speaker 1>I was a kid, well into you know. Well, it's

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<v Speaker 1>like when here's like a good example and excuse my language,

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<v Speaker 1>but I want to get the quote right. When Michael

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<v Speaker 1>Jackson died, my cousin called my brother and said, hey, Michael,

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<v Speaker 1>asked your brother if he still cries like a bitch

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<v Speaker 1>when Thriller comes on the TV. So the Thriller music

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<v Speaker 1>video was scared? Oh my god. Yeah, yeah, I was scary. Yeah,

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<v Speaker 1>I had booky. I was so scared of well, I

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<v Speaker 1>was five when it came out, Like the Hogan Family

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<v Speaker 1>Halloween episode where all three brothers have nightmares. Scared me

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<v Speaker 1>so much I unplugged the TV. Yeah, so you saw

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<v Speaker 1>this movie made you very scared. Well, no, because this

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<v Speaker 1>was I saw this growing up. I watched Flatliners alone

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<v Speaker 1>and it scared the hell out of me. But it

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<v Speaker 1>has like a happy ending, like everything gets resolved. It

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<v Speaker 1>was the first scary movie I watched that. I was like,

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<v Speaker 1>I'm not scared afterwards or tonight going to bed, because

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<v Speaker 1>it was like there was a resolution and everybody was

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<v Speaker 1>one technically everyone but Oliver Plat die. I know, what

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<v Speaker 1>a whimp. God, I have a lot of He was

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<v Speaker 1>also part that could have been. Yeah, Oliver Platt was

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<v Speaker 1>born forty six years old. I don't know if so

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<v Speaker 1>if this came out ninety, I must have seen it.

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<v Speaker 1>In so I was like eleven, Jamie, what about you?

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<v Speaker 1>When did you see it? Last night? When I am

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<v Speaker 1>and I enjoyed it. I liked it. It was fun.

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<v Speaker 1>I think a lot of it was fun for me,

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<v Speaker 1>just because I love watching the Schumacher tropes. Just roll

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<v Speaker 1>on in. Do you mean? Like, well, I don't know

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<v Speaker 1>if this is a Schumacher trope, but the production design

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<v Speaker 1>in this movie, specifically the lighting, Yes, I think it's

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<v Speaker 1>so fucking corny. I think it like, yeah, it all

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<v Speaker 1>is sort of wit like a high school die trying

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<v Speaker 1>to be David Lynch. Yes, it looked like I was.

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<v Speaker 1>I watched it before where I came here, and it

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<v Speaker 1>was one of the scenes where Keifer Sutherland is in

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<v Speaker 1>his outrageous apartment with no furniture, and I go, it's

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<v Speaker 1>just it's a fucking music video. It's so music video

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<v Speaker 1>the whole movie. Well, they go to med school in

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<v Speaker 1>an art museum, in a museum that's under renovation, which

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<v Speaker 1>he thinks that they would address at any point, but

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<v Speaker 1>they never. Everywhere they go is either closed for the night,

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<v Speaker 1>like the diner, all the chairs are up, but they're

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<v Speaker 1>they're in there with one matress ripping cigarettes. Well, I

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<v Speaker 1>assumed that this movie took place in some alternative timeline,

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<v Speaker 1>but then they make all these very of the moment

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<v Speaker 1>references that it's like, oh no, they're just supposed to

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<v Speaker 1>be in Chicago. What's the used to because someone says

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<v Speaker 1>kind of Bacon says that he was on the l

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<v Speaker 1>or something right right and now, and then I was

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<v Speaker 1>just like, Okay, now I know, but it could out

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<v Speaker 1>to our Chicago fans and starting in the movie, Chicago,

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<v Speaker 1>not anyone who lives in Chicago. Yeah, yeah, people who

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<v Speaker 1>really love Richard your singing voice. This episodes dedicated to you. Yeah,

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<v Speaker 1>and the way that Joel Shoemaker styles it just looks

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<v Speaker 1>like like there's literally steam everywhere outside just the city

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<v Speaker 1>is just taking a long fart for the entire but

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<v Speaker 1>no one is there, like it's totally a band. Like

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<v Speaker 1>I thought that they were going to address like, oh

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<v Speaker 1>this is Chicago. If if everyone left, it was very strange. Well,

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<v Speaker 1>there's also the scene where Julie Robert's character is tending

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<v Speaker 1>to that very elderly woman who's on her deathbed and

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<v Speaker 1>they're the hospital that they're in, like it looks like

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<v Speaker 1>a World War two era Like, yes, it archaic looking,

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<v Speaker 1>you know the hospital scene and Gone with the Wind

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<v Speaker 1>reminded me of that, like just like a right, like

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<v Speaker 1>it's a makeshift hospital that got set up in the

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<v Speaker 1>hallway of someone's mansion. Yeah, it looks dirty. It doesn't

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<v Speaker 1>look like the production design is bonkers in this movie.

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<v Speaker 1>But yeah, I had not seen this movie. Either I

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<v Speaker 1>thought I did, or maybe it's just because I it

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<v Speaker 1>had been recommended to me so often and explained to

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<v Speaker 1>me like what the premise was that I was like, yeah,

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<v Speaker 1>I know this movie I must have. Then I watched

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<v Speaker 1>I was like, whoops, I've never seen it, but I

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<v Speaker 1>watched it twice. Generally I liked it, except I hate

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<v Speaker 1>the third act. I hate how it ends. The resolution

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<v Speaker 1>is so stupid, and I'll get into it later, but

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<v Speaker 1>it kind of ruined the whole movie for me. The

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<v Speaker 1>way the third act unfolds. I think the whole movie

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<v Speaker 1>is like I don't know, It's like I enjoyed watching it,

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<v Speaker 1>but it is very boring, where it's like, like, what

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<v Speaker 1>could you learn by watching this whole movie that you

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<v Speaker 1>couldn't take away by just watching the trailer, you know,

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<v Speaker 1>like they die over and over. I remember the bits

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<v Speaker 1>that were in the commercials of so many movies. So

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<v Speaker 1>as soon as Oliver plaqueas I didn't go to medical

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<v Speaker 1>school to help my classmates die or something like that,

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<v Speaker 1>that was I was like, Oh, that wasn't the commercial.

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<v Speaker 1>That was big time And today is a good day

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<v Speaker 1>to die. Of course, it's the best line in the movie,

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<v Speaker 1>and it's the first line of dialogue and it's all

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<v Speaker 1>downhill from there. The last line in the movies by

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<v Speaker 1>far the worst. It's not it's it's not such a

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<v Speaker 1>good day to turns out I was yeah, and then

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<v Speaker 1>just tuba music plays out there. I like the idea,

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<v Speaker 1>I like the story, but I mean the execution. I

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<v Speaker 1>don't like Joel Schuemaker movies. Shout out to my Phantom heads. I, well,

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<v Speaker 1>I don't know how to First of all, I like

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<v Speaker 1>the incredible shrinking woman. I haven't seen that I've seen ole.

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<v Speaker 1>I I just met met downstairs, and I did what

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<v Speaker 1>I do when I don't know how to start a conversation,

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<v Speaker 1>which is a bring up. Joel Schuewalker is the Fantom

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<v Speaker 1>of the Opera. Yeah, no, the number twenty three is

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<v Speaker 1>probably the worst movie I've ever seen. So that one's

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<v Speaker 1>very bad. That one's very I forgot that was a

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<v Speaker 1>Joel Schumaker joint Family of the Opera. Two guys for

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<v Speaker 1>cannot wait to cover it in a future episode. Shout

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<v Speaker 1>out to Jerry Butler, should have been your breakout roll.

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<v Speaker 1>Too bad you cannot sing? That was really the only

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<v Speaker 1>thing that in everything about the movie. Anyways. Shout out

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<v Speaker 1>to my Shoewalker heads. Joel shoe Walker is mediocre in

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<v Speaker 1>a very special way because he's trying, like he's going

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<v Speaker 1>for so much and none of it is like clearly,

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<v Speaker 1>I totally agree, Like he doesn't pay off Batman. He

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<v Speaker 1>put nipples on Batman, which is maybe the most famous

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<v Speaker 1>thing he's ever definite, and you can tell he's like

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<v Speaker 1>trying to go for David Lynch kind of it just

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<v Speaker 1>totally fails, but it fails spectacularly. Like the first I

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<v Speaker 1>can't remember exactly how many times it like six times

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<v Speaker 1>total that people die in this movie either way, the

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<v Speaker 1>first three just look like he took a clip from

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<v Speaker 1>like a discarded David Lynch short. And then eventually you

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<v Speaker 1>go to Kevin Bacon's and then it looks like, oh,

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<v Speaker 1>his version of death is a screensaver, you know, like

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<v Speaker 1>everyone's version of death is just like it's, oh God,

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<v Speaker 1>it's it's bad. Well, why not use this opportunity to

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<v Speaker 1>do the recap? Okay, here I go FLATLINERDS. It's got

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<v Speaker 1>a bit of an ensemble cast, but our main character

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<v Speaker 1>is Nelson played by Keefer Sutherland, and he is a

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<v Speaker 1>med student along with four fellow at school students who

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<v Speaker 1>go to again school in an art museum in an

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<v Speaker 1>empty building, and he's interested in seeing what might be

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<v Speaker 1>out there after death, like if they're sort of a

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<v Speaker 1>life after death or what happens where you go, and

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<v Speaker 1>he's interested in exploring this, so he and all his

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<v Speaker 1>med school friends basically they medically kill themselves for like first,

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<v Speaker 1>it's like a minute or a minute a half or

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<v Speaker 1>something like that, and then they keep going for longer

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<v Speaker 1>and longer, but they're betting too, yeah, longer, So after

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<v Speaker 1>they've been dead for a minute or so, then they

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<v Speaker 1>revived them and they have to give him a shot

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<v Speaker 1>of morphine and do their defibrillators and all that stuff,

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<v Speaker 1>and they she's back mouth to mouth like this, only

0:11:56.600 --> 0:11:59.080
<v Speaker 1>the sexy characters get to give mouth to mouth. I

0:11:59.160 --> 0:12:02.760
<v Speaker 1>turned it turned that day is a Schumacher rule. If

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<v Speaker 1>you're not in the top three most fuckable characters per

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<v Speaker 1>the story, you're not going to be given mouth to mouth.

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<v Speaker 1>You're not going to have mouth to mouth administered to you.

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<v Speaker 1>Oliver Platt, no way. Everyone else, literally everyone else in

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<v Speaker 1>the cast takes their shirt off at some point, except,

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<v Speaker 1>of course, it goes without saying that. It turns out,

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<v Speaker 1>I've seen a lot of movies that Oliver Plats, and

0:12:25.800 --> 0:12:27.480
<v Speaker 1>he's a character actor. He's in a lot of stuff,

0:12:27.880 --> 0:12:29.880
<v Speaker 1>and you just don't realize that till later. I have

0:12:29.880 --> 0:12:32.920
<v Speaker 1>a huge crush on him now, he's my favorite person.

0:12:33.360 --> 0:12:36.120
<v Speaker 1>He's in a time to kill another Schulmacher or ship show.

0:12:36.559 --> 0:12:39.160
<v Speaker 1>I don't know that I've actually seen any Joel Schumacher

0:12:39.280 --> 0:12:43.680
<v Speaker 1>movies besides this the number twenty three Batman boys. I

0:12:43.679 --> 0:12:46.240
<v Speaker 1>haven't seen last one. Wow, did you see saying almost fire? No?

0:12:46.400 --> 0:12:50.560
<v Speaker 1>I've seen almost no movies for someone falling down? Yes? Yeah?

0:12:50.600 --> 0:12:53.520
<v Speaker 1>Do you ever see falling Down? No? Wow? What's it

0:12:53.559 --> 0:12:57.000
<v Speaker 1>about it about falling out? Like? Kind of a cool premise,

0:12:57.080 --> 0:13:00.559
<v Speaker 1>but like again, poorly execute. Everything is wasted until Schumacher

0:13:00.720 --> 0:13:05.959
<v Speaker 1>goes without saying, well back to all I had to say,

0:13:06.000 --> 0:13:09.320
<v Speaker 1>I'll replet all for Billina easily could have played this part,

0:13:09.720 --> 0:13:12.760
<v Speaker 1>but I'll reply, did a great job. Go ahead and

0:13:12.800 --> 0:13:15.080
<v Speaker 1>agree with that. I've gound to make some charts with

0:13:15.200 --> 0:13:17.880
<v Speaker 1>the Platt Molina dichotomy. This is like opened up sort

0:13:17.880 --> 0:13:21.000
<v Speaker 1>of a new All the performances in the movie are good. Yeah,

0:13:21.040 --> 0:13:24.319
<v Speaker 1>everyone's good. Keif for Sutherland plays the best key for

0:13:24.440 --> 0:13:28.200
<v Speaker 1>Southerlan and I've ever seen keeper? How does he have

0:13:28.320 --> 0:13:31.360
<v Speaker 1>time to be a full time medical student, constantly dying

0:13:31.559 --> 0:13:36.480
<v Speaker 1>and maintain his bleached roots? I love his hair in

0:13:36.520 --> 0:13:40.000
<v Speaker 1>this movie, it's bananas and not even Frosty Tips, just

0:13:40.679 --> 0:13:45.600
<v Speaker 1>Frosty Jack frost Key for frost Baby. Bacon's great. Yeah,

0:13:45.760 --> 0:13:51.080
<v Speaker 1>Bacon shines even uh Billy Baldwin. Even I was like, Okay,

0:13:51.240 --> 0:13:52.960
<v Speaker 1>it's weird. It's like like how he's supposed to be

0:13:52.960 --> 0:13:56.640
<v Speaker 1>like the hot man, Like how hot he is. There's

0:13:56.679 --> 0:13:58.720
<v Speaker 1>a lot of Yeah, there's a lot of like hot

0:13:58.800 --> 0:14:01.679
<v Speaker 1>lady men with very different phases, which I feel like

0:14:01.720 --> 0:14:04.120
<v Speaker 1>doesn't happen anymore, Like everyone has the same face. Billy

0:14:04.120 --> 0:14:09.400
<v Speaker 1>Baldwin's big movie after this Sliver with Sharon Stone, I

0:14:09.440 --> 0:14:12.720
<v Speaker 1>still have never seen it again. It's like the voyeuristic

0:14:12.800 --> 0:14:16.400
<v Speaker 1>thing of like videotaping sex and people in hotels who

0:14:16.440 --> 0:14:18.600
<v Speaker 1>don't know that being videotaped in that whole thing. That's

0:14:18.640 --> 0:14:21.440
<v Speaker 1>just the vibe gives off. He seems like he'd be

0:14:21.520 --> 0:14:24.480
<v Speaker 1>taping like don't get into bed with this man. I love.

0:14:25.480 --> 0:14:28.800
<v Speaker 1>Love is not the word, but the look Billy Baldwin

0:14:28.920 --> 0:14:32.600
<v Speaker 1>gives his own camera while fucking for him to watch

0:14:32.720 --> 0:14:37.080
<v Speaker 1>later of him smirking at you're just like smirking at himself.

0:14:37.480 --> 0:14:41.520
<v Speaker 1>Here's no doubt mast He's like, yeah, what's up, future me?

0:14:41.920 --> 0:14:45.040
<v Speaker 1>And also if he is. Okay, just from a logistical obviously,

0:14:45.400 --> 0:14:48.560
<v Speaker 1>almost everything Billy Baldwin does is illegal in this movie,

0:14:48.600 --> 0:14:51.800
<v Speaker 1>and it's sort of sometimes played for humor, which like

0:14:52.600 --> 0:14:56.960
<v Speaker 1>perfect it's like Oliver Platt, but he also says, what

0:14:57.040 --> 0:15:02.440
<v Speaker 1>pussy marauder? Right, that's great. But Billy Baldwin logistically, he

0:15:02.480 --> 0:15:05.000
<v Speaker 1>knows he's filming this, he knows the angle. Presumably he

0:15:05.040 --> 0:15:07.480
<v Speaker 1>set it up that, but it's still it's always angle

0:15:07.600 --> 0:15:11.360
<v Speaker 1>that his it's missionary. He's like he's looking at his

0:15:11.360 --> 0:15:15.800
<v Speaker 1>own ascid face. Who rights not. Yeah, we didn't really

0:15:15.840 --> 0:15:17.400
<v Speaker 1>think that through. I don't think no, I think he

0:15:17.400 --> 0:15:19.680
<v Speaker 1>did the gime and he just wants to watch it himself.

0:15:19.760 --> 0:15:24.120
<v Speaker 1>Fuck I think. And also you know, it's like Kevin

0:15:24.120 --> 0:15:27.280
<v Speaker 1>Bacon and Kiefer they like make amends in it. He doesn't.

0:15:27.320 --> 0:15:30.200
<v Speaker 1>He just kind of gets busted. Well that's done. That

0:15:30.280 --> 0:15:33.920
<v Speaker 1>was the point I during the discussion. So just holding,

0:15:33.920 --> 0:15:39.640
<v Speaker 1>are we still recapping the Sorry? Sorry I screwed up

0:15:39.640 --> 0:15:42.320
<v Speaker 1>the recap by explaining something that happened in the movie.

0:15:42.720 --> 0:15:50.720
<v Speaker 1>And also cute So first Nelson he'd kill himself. Okay,

0:15:50.760 --> 0:15:56.640
<v Speaker 1>good Simpsons reference. Thank you. I love the recap I'm

0:15:56.680 --> 0:15:58.520
<v Speaker 1>telling you it's the best part of the episode. It

0:15:58.560 --> 0:16:02.200
<v Speaker 1>always takes four uh and I'm not sorry. So anyway,

0:16:02.360 --> 0:16:05.760
<v Speaker 1>Nelson is the first one to die see what happens

0:16:05.800 --> 0:16:09.280
<v Speaker 1>after death, and then Billy Baldwin and his vision he

0:16:09.400 --> 0:16:15.400
<v Speaker 1>likes he's like a lot of video, Robert Palmer music video.

0:16:16.040 --> 0:16:19.360
<v Speaker 1>And then Julie Roberts character Dr. Mannus is like, I

0:16:19.400 --> 0:16:21.400
<v Speaker 1>want to go next, and Kevin Bacon is like, no, me,

0:16:21.440 --> 0:16:23.040
<v Speaker 1>and they sort of get into this bidding more and

0:16:23.120 --> 0:16:26.840
<v Speaker 1>then then we have a crash in each other rights.

0:16:28.280 --> 0:16:32.400
<v Speaker 1>And then Kevin Bacon's character goes next. His name is

0:16:33.120 --> 0:16:36.880
<v Speaker 1>David Labrashio, which when you read it out it sort

0:16:36.920 --> 0:16:40.280
<v Speaker 1>of looks like lab rat almost but with like sees

0:16:40.360 --> 0:16:46.840
<v Speaker 1>and I'm like, what a fun, purposeful and whoever. Like,

0:16:46.920 --> 0:16:48.800
<v Speaker 1>that's like one of those moms where you see something

0:16:48.880 --> 0:16:51.440
<v Speaker 1>so cute either you're just like, oh, the screenwriter is

0:16:51.680 --> 0:16:56.080
<v Speaker 1>jerking himself off right now. He's so fucking proud of himself, right,

0:16:56.120 --> 0:16:58.000
<v Speaker 1>He's like, people thirty years from now we're going to

0:16:58.040 --> 0:17:00.440
<v Speaker 1>see that and be like, oh, my fucking god, what

0:17:00.520 --> 0:17:03.080
<v Speaker 1>a smart guy. Yeah, I sure did. Oh yeah. And

0:17:03.120 --> 0:17:06.000
<v Speaker 1>Billy Baldwin's character is Dr Joe Hurley, and he makes

0:17:06.000 --> 0:17:09.840
<v Speaker 1>you hurl the land. He has no first name or

0:17:09.920 --> 0:17:12.800
<v Speaker 1>last name. It's just some of the other characters are

0:17:12.840 --> 0:17:15.719
<v Speaker 1>like on IMDb are listed as like doctor rachel Man

0:17:15.840 --> 0:17:20.000
<v Speaker 1>as doctor Joe Hurley, but he's just Nelson. Are we

0:17:20.040 --> 0:17:22.280
<v Speaker 1>to believe he's not a doctor? Well, they're all in

0:17:22.320 --> 0:17:25.960
<v Speaker 1>medical school, alright, they're not doctors. I don't know what

0:17:26.280 --> 0:17:29.000
<v Speaker 1>I think about this movie. Also, the first scene, Kevin

0:17:29.040 --> 0:17:33.600
<v Speaker 1>Bacon isn't in this movie. He's scaling a building because

0:17:33.640 --> 0:17:36.040
<v Speaker 1>he gets kicked out of school and he's not allowed

0:17:36.080 --> 0:17:38.800
<v Speaker 1>to use the doors. He's suspended for four months. So

0:17:38.880 --> 0:17:41.080
<v Speaker 1>he decides to rick like he had to go on

0:17:41.119 --> 0:17:43.520
<v Speaker 1>to the roof of the building first to ring up

0:17:43.520 --> 0:17:47.320
<v Speaker 1>the ropes to then like scale the building, climbs out

0:17:47.320 --> 0:17:50.680
<v Speaker 1>of a second story. When they're make a casual conversation,

0:17:51.160 --> 0:17:53.480
<v Speaker 1>who are you a back you next semester? And Kevin

0:17:53.480 --> 0:17:56.040
<v Speaker 1>Bacon scaling, but he's like, it doesn't matter, I'd do

0:17:56.080 --> 0:17:59.280
<v Speaker 1>the same thing again, which is which is what you understand?

0:17:59.359 --> 0:18:01.840
<v Speaker 1>What why? He sort of intervened with like a patient

0:18:01.920 --> 0:18:03.680
<v Speaker 1>came in who was dying and they needed to save

0:18:03.680 --> 0:18:05.560
<v Speaker 1>her life, and he sort of intervened, was like, I'm

0:18:05.560 --> 0:18:07.160
<v Speaker 1>going to do this, and I think he saved her,

0:18:07.520 --> 0:18:09.840
<v Speaker 1>but he was like out a line, or he shouldn't

0:18:09.840 --> 0:18:14.920
<v Speaker 1>have done it, or he didn't follow procedures done it. Yeah,

0:18:14.960 --> 0:18:18.000
<v Speaker 1>so he gets suspended from school. Couldn't be further apart.

0:18:18.359 --> 0:18:21.320
<v Speaker 1>Keith's on the ground and and Kevin's on the building,

0:18:21.440 --> 0:18:23.440
<v Speaker 1>and then as soon as he lands, it's like extreme

0:18:23.440 --> 0:18:26.720
<v Speaker 1>close up, extreme close up. There's a lot of weird

0:18:26.760 --> 0:18:29.639
<v Speaker 1>tight shots in this movie, one of my favorites. Well,

0:18:30.600 --> 0:18:33.600
<v Speaker 1>let recap, get through this recap, and then we can Sorry,

0:18:34.000 --> 0:18:38.159
<v Speaker 1>Kevin began just entered. We've we've gone back about a

0:18:38.160 --> 0:18:41.359
<v Speaker 1>half that we've rewinded. I'm going to fast forward again. Finally,

0:18:41.640 --> 0:18:46.760
<v Speaker 1>it's Julia Roberts character's turn and he goes, which sounds

0:18:46.760 --> 0:18:53.120
<v Speaker 1>like again there's that screenwriter drinking himself off. And then

0:18:53.320 --> 0:18:56.640
<v Speaker 1>the visions that they have as they have been dead

0:18:56.680 --> 0:18:58.840
<v Speaker 1>for these few minutes, they're trying to make sense of

0:18:58.880 --> 0:19:00.399
<v Speaker 1>them and they're like, well, I did see something I

0:19:00.400 --> 0:19:03.159
<v Speaker 1>don't know what. And then like meanwhile, Kevin Bacon's He's like,

0:19:03.240 --> 0:19:07.480
<v Speaker 1>I'm an atheist, but I saw something I don't know

0:19:07.840 --> 0:19:10.920
<v Speaker 1>And then these sort of visions start to come back

0:19:10.960 --> 0:19:13.800
<v Speaker 1>and like kind of haunt them and torment them, and

0:19:13.840 --> 0:19:16.840
<v Speaker 1>you realize they're all things from these people's past, sins

0:19:16.880 --> 0:19:19.080
<v Speaker 1>that they've committed, or something that they feel guilty or

0:19:19.080 --> 0:19:21.880
<v Speaker 1>responsible for, and they start to come back and torment them.

0:19:21.920 --> 0:19:25.560
<v Speaker 1>And especially bad for Nelson because you find out that

0:19:25.600 --> 0:19:28.840
<v Speaker 1>he bullied a kid to death, and he's like, oh no,

0:19:29.000 --> 0:19:33.119
<v Speaker 1>and this this kid by mahoney, I didn't even have

0:19:33.200 --> 0:19:37.040
<v Speaker 1>to rewatch the movie today. Remember, Remember, sometimes I'll see

0:19:37.040 --> 0:19:39.080
<v Speaker 1>a kid in like a red hooded sweatshirt with the

0:19:39.119 --> 0:19:41.800
<v Speaker 1>hood up and I go, Billy, mahoney, Well, here's the

0:19:41.840 --> 0:19:45.359
<v Speaker 1>thing I wanted to mention. So remember when Nelson's in

0:19:45.520 --> 0:19:48.560
<v Speaker 1>Kevin Bacon's truck. They're out in the woods and he's

0:19:48.600 --> 0:19:51.120
<v Speaker 1>just sitting there and you see a little like kid

0:19:51.160 --> 0:19:53.640
<v Speaker 1>with the red hood up scurry by. Do you think

0:19:53.680 --> 0:19:57.720
<v Speaker 1>that's a nod to the Donald Sutherland movie Don't look

0:19:57.760 --> 0:20:03.440
<v Speaker 1>now saying they that little person? Well, consider he's buying

0:20:03.480 --> 0:20:06.439
<v Speaker 1>the red considering it's Joel Schumacher and he's made a

0:20:06.480 --> 0:20:14.359
<v Speaker 1>career of ripping off other movies. Yes, I wonder you know,

0:20:14.760 --> 0:20:17.480
<v Speaker 1>He's like, how funny would it be if Key for

0:20:17.640 --> 0:20:20.720
<v Speaker 1>Sutherland and we did this like visual nod to a

0:20:20.920 --> 0:20:24.959
<v Speaker 1>Donald Sutherland movie. That's the god how annoying for key

0:20:25.080 --> 0:20:29.320
<v Speaker 1>for something. So I can't make one fucking movie. So

0:20:29.480 --> 0:20:31.439
<v Speaker 1>I had I had a note in in in my

0:20:31.480 --> 0:20:33.560
<v Speaker 1>movie notes to make a point to look up later.

0:20:33.640 --> 0:20:37.040
<v Speaker 1>I just remembered, Uh, it says Billy Mahoney today hot

0:20:37.160 --> 0:20:41.480
<v Speaker 1>or not? And I just did the appropriate Google searches

0:20:41.560 --> 0:20:47.000
<v Speaker 1>answer not. But he's doing very well. He is a

0:20:47.040 --> 0:20:51.680
<v Speaker 1>principal and portfolio manager at Argyle Capital Partners. Good for him,

0:20:52.359 --> 0:20:55.960
<v Speaker 1>and he still uses hair gel and he's in l A.

0:20:56.280 --> 0:20:58.800
<v Speaker 1>Let's call him up. Let's call let's call this guy up,

0:20:59.040 --> 0:21:02.920
<v Speaker 1>Billy Mahoney. It's his real name, Joshua Rudoy. Boy. Can

0:21:02.920 --> 0:21:05.880
<v Speaker 1>that kid wheeled a hockey stick? Yeah? That's fun. Yeah.

0:21:05.880 --> 0:21:08.160
<v Speaker 1>So this kid beats the ship out of Keeper Sutherland

0:21:08.160 --> 0:21:11.560
<v Speaker 1>a few times and in the most evil dead too

0:21:11.720 --> 0:21:14.080
<v Speaker 1>way where it's just he finally gets him and then

0:21:14.119 --> 0:21:21.440
<v Speaker 1>it's just slapstick fighting and likes the loogie in his mouth. Yeah,

0:21:21.600 --> 0:21:22.840
<v Speaker 1>that was the only point in the movie where I

0:21:23.119 --> 0:21:26.360
<v Speaker 1>had to look away. That was an extended loogie. Yeah,

0:21:26.400 --> 0:21:29.400
<v Speaker 1>it was. It was gross. So then this kid's tormenting

0:21:29.480 --> 0:21:31.840
<v Speaker 1>him and you find out it's because he bullied him

0:21:31.960 --> 0:21:33.959
<v Speaker 1>and he fell out of a tree and died hit

0:21:34.000 --> 0:21:36.240
<v Speaker 1>him in the head with a rock, and everyone else

0:21:36.560 --> 0:21:41.520
<v Speaker 1>like trying to everyone else is like sort of taking

0:21:41.720 --> 0:21:45.240
<v Speaker 1>measures to correct the wrongs that they did in their past.

0:21:45.280 --> 0:21:47.960
<v Speaker 1>That are what's great is when the when Billy Mahoney dies,

0:21:48.119 --> 0:21:51.119
<v Speaker 1>Like the two kids that are with Keefer are like, oh, dude,

0:21:51.280 --> 0:21:55.480
<v Speaker 1>what the fuck the last rock? They also like, you

0:21:55.640 --> 0:21:59.680
<v Speaker 1>did that, dude, and it paralyzes that dog and the

0:22:01.119 --> 0:22:04.600
<v Speaker 1>ham hamp It's like fun, how like half that out.

0:22:04.640 --> 0:22:06.400
<v Speaker 1>A lot of these plot points are because the only

0:22:06.440 --> 0:22:09.679
<v Speaker 1>reason Julia Roberts thinks that it's her fault that her

0:22:09.720 --> 0:22:12.119
<v Speaker 1>dad died is because her mom turns to her and

0:22:12.119 --> 0:22:17.359
<v Speaker 1>it's very dramatically like it's your right, Like her whole life,

0:22:17.400 --> 0:22:19.879
<v Speaker 1>she thought she killed her dad by walking in on

0:22:20.000 --> 0:22:22.320
<v Speaker 1>him in the bathroom. But yeah, but it's like that

0:22:22.359 --> 0:22:26.560
<v Speaker 1>doesn't make it, doesn't He runs out of the bathroom

0:22:26.680 --> 0:22:28.359
<v Speaker 1>and I mean, I get from a five year olds

0:22:28.400 --> 0:22:31.920
<v Speaker 1>perspective how that would feel like it was. Well, Also,

0:22:32.040 --> 0:22:36.639
<v Speaker 1>mom flat out set up, so he's like, well, I

0:22:36.720 --> 0:22:38.920
<v Speaker 1>have to make amends, and he thinks that the only

0:22:38.920 --> 0:22:43.920
<v Speaker 1>way to do that is to go back under Nelson's like, yeah,

0:22:43.960 --> 0:22:47.280
<v Speaker 1>I gotta go kill myself again because Billy's also dead,

0:22:47.600 --> 0:22:49.560
<v Speaker 1>So how else is he going to make amends? I

0:22:49.600 --> 0:22:51.359
<v Speaker 1>think he does this with the intention that he'll just

0:22:51.400 --> 0:22:53.520
<v Speaker 1>remain dead. But then all his friends are like, oh no,

0:22:53.560 --> 0:22:56.359
<v Speaker 1>he's killing himself again. We gotta save him. But in

0:22:56.480 --> 0:23:00.240
<v Speaker 1>his afterlife, because he's dead for like twelve minutes, and

0:23:00.359 --> 0:23:03.479
<v Speaker 1>in that time he manages to like the roles are reversed,

0:23:03.480 --> 0:23:05.880
<v Speaker 1>and now he's up in the tree and he falls,

0:23:06.000 --> 0:23:08.840
<v Speaker 1>and that somehow makes everything better, Which is why I

0:23:08.920 --> 0:23:11.440
<v Speaker 1>hate the ending of this movie. It doesn't make any

0:23:11.480 --> 0:23:15.680
<v Speaker 1>sense to me anyway. I just don't like it. I mean,

0:23:15.800 --> 0:23:19.120
<v Speaker 1>you know how it feels. But then, like, how does

0:23:19.119 --> 0:23:21.880
<v Speaker 1>that somehow absolve him of any guilt? Like it just

0:23:22.080 --> 0:23:25.359
<v Speaker 1>I feel like, well, I feel like the only absolving

0:23:25.359 --> 0:23:28.520
<v Speaker 1>of guilt that makes sense of all four of them

0:23:28.720 --> 0:23:31.720
<v Speaker 1>is Kevin Bacon like that because he act, he's the

0:23:31.760 --> 0:23:34.280
<v Speaker 1>only one who actually goes and makes an amends. Right.

0:23:34.320 --> 0:23:37.080
<v Speaker 1>But and but in this it's like almost sort of

0:23:37.280 --> 0:23:40.600
<v Speaker 1>to Julia Roberts, We'll get to this, but like her

0:23:41.280 --> 0:23:44.600
<v Speaker 1>resolution has like a weird magical element about it where

0:23:44.640 --> 0:23:48.399
<v Speaker 1>she finds out new information that doesn't I don't know,

0:23:48.440 --> 0:23:50.080
<v Speaker 1>like none of them really line up with each other.

0:23:50.119 --> 0:23:53.600
<v Speaker 1>I guess that Billy Balin's abandoned and that's good, right, Well,

0:23:53.640 --> 0:23:57.119
<v Speaker 1>he's still like kind of fucked up even in the climax,

0:23:57.160 --> 0:24:00.280
<v Speaker 1>and it's like nothing's been resolved with this guy. He's

0:24:01.440 --> 0:24:04.960
<v Speaker 1>I don't think he deserves any sort of atonement like, well,

0:24:05.000 --> 0:24:07.879
<v Speaker 1>because he doesn't, because he doesn't continue to do it.

0:24:07.920 --> 0:24:12.040
<v Speaker 1>I think probably whether or not he had participated in

0:24:12.040 --> 0:24:15.560
<v Speaker 1>this at all. Well, she comes to visit him, the

0:24:15.600 --> 0:24:18.560
<v Speaker 1>fiance because of how disturbed he was on the phone,

0:24:18.760 --> 0:24:23.320
<v Speaker 1>so that that does instigate it. But he just gets busted, right,

0:24:23.359 --> 0:24:25.359
<v Speaker 1>and she brings up with him, which is punishment, But

0:24:25.680 --> 0:24:29.000
<v Speaker 1>he doesn't do anything to make it right. He doesn't know,

0:24:29.080 --> 0:24:32.119
<v Speaker 1>he doesn't. But do we even see him like delete

0:24:32.119 --> 0:24:36.760
<v Speaker 1>the tapes or anything. No, In fact, it's not clear

0:24:36.800 --> 0:24:40.119
<v Speaker 1>that he actually feels guilty for anything he's done, or

0:24:40.119 --> 0:24:44.000
<v Speaker 1>if he's just mad he gets caught, Yeah, because it's

0:24:44.040 --> 0:24:46.240
<v Speaker 1>not what you think. It's like she thinks you're fucking

0:24:46.240 --> 0:24:48.960
<v Speaker 1>other women in videotaping it without their knowledge, right, And

0:24:49.000 --> 0:24:53.800
<v Speaker 1>then she's like, yes, it is slam, but it's not so.

0:24:54.359 --> 0:24:58.600
<v Speaker 1>Videotaping women during sex without their permission or knowledge is

0:24:58.680 --> 0:25:03.080
<v Speaker 1>horrible and I'm guessing it's probably a crime. So it's

0:25:03.080 --> 0:25:05.960
<v Speaker 1>a crime, and it's also just morally repugnant. But also

0:25:06.600 --> 0:25:10.280
<v Speaker 1>the scene where the different women are repeating back things

0:25:10.359 --> 0:25:12.960
<v Speaker 1>that he has said to them, there's one that you're like,

0:25:12.960 --> 0:25:15.960
<v Speaker 1>there's a few. Well, there's one where she's like, you said,

0:25:16.000 --> 0:25:18.680
<v Speaker 1>we didn't have to do anything, we just want here underwear,

0:25:18.760 --> 0:25:21.480
<v Speaker 1>we can stop. When I was like, oh, so he's

0:25:21.520 --> 0:25:25.400
<v Speaker 1>also a rapist. He's gone above and beyond this videotaping

0:25:25.400 --> 0:25:27.720
<v Speaker 1>when also where the fund does he live? Like do

0:25:27.720 --> 0:25:29.520
<v Speaker 1>you remember that scene where it's like in the hospital

0:25:29.520 --> 0:25:33.400
<v Speaker 1>and then they pan up and Billy Baldwin's fucking none

0:25:33.400 --> 0:25:36.360
<v Speaker 1>of the locations make any sense. That's never called back

0:25:36.359 --> 0:25:38.439
<v Speaker 1>to it because like later on it looks like he

0:25:38.560 --> 0:25:41.480
<v Speaker 1>just has a two floor apartment. But there is one

0:25:41.520 --> 0:25:45.040
<v Speaker 1>shot where you're like watching something happen on the lower

0:25:45.080 --> 0:25:47.119
<v Speaker 1>floor and then it pans up and he's fucking a

0:25:47.200 --> 0:25:50.119
<v Speaker 1>lady and filming it very confused. Yeah, it's like is

0:25:50.160 --> 0:25:53.080
<v Speaker 1>this but then you see like his dorm a later

0:25:53.200 --> 0:25:56.320
<v Speaker 1>scene where he's going he's entering into an apartment building

0:25:56.359 --> 0:25:59.440
<v Speaker 1>from outside and that lady is sort of like harassing

0:26:00.000 --> 0:26:03.320
<v Speaker 1>at all. Yeah, because he's so you should have been

0:26:03.320 --> 0:26:05.879
<v Speaker 1>like Kevin Bacon, he forgot to bring his grappling hook.

0:26:06.320 --> 0:26:09.639
<v Speaker 1>He just scaled the building up to his room. It

0:26:09.800 --> 0:26:11.879
<v Speaker 1>is funny I never thought of until right now, but

0:26:12.000 --> 0:26:17.399
<v Speaker 1>there's almost foreshadowing that Schumacher will direct a Batman movie. Yeah,

0:26:17.440 --> 0:26:21.920
<v Speaker 1>in that scene of Kevin Bacon just casscading down the building. Well,

0:26:22.040 --> 0:26:23.680
<v Speaker 1>not to not to bring it back to Fantom with

0:26:23.720 --> 0:26:27.280
<v Speaker 1>the opera. However, it is in the early nineties when

0:26:27.400 --> 0:26:30.600
<v Speaker 1>Sir Angrew Lord Webber decides that he wants Joel Schumacher

0:26:30.680 --> 0:26:32.800
<v Speaker 1>to direct his Phantom movie, even though it doesn't come

0:26:32.800 --> 0:26:35.760
<v Speaker 1>out for fifteen years. So I enjoyed taking a step

0:26:35.760 --> 0:26:41.560
<v Speaker 1>back and watching all these fog machine scenes like everywhere,

0:26:41.600 --> 0:26:46.320
<v Speaker 1>like the drug store is foggy, the bars foggy, the

0:26:46.359 --> 0:26:49.359
<v Speaker 1>streets foggy, the hospital's foggy. And then see like Andrew

0:26:49.400 --> 0:26:53.120
<v Speaker 1>Lord Webber, like this is an excellent fit. This guy

0:26:53.200 --> 0:26:57.280
<v Speaker 1>gets me well mediocre, no subtlety match made in Heaven.

0:26:58.320 --> 0:27:01.400
<v Speaker 1>Do you remember that scene? It's right after Nelson has

0:27:01.440 --> 0:27:04.720
<v Speaker 1>been revived there in this sort of alley way constantly

0:27:04.840 --> 0:27:07.520
<v Speaker 1>in alleys, so many alleys. There no one lives in

0:27:07.520 --> 0:27:12.600
<v Speaker 1>this city Chicago. Do they go to Northwestern? I don't

0:27:12.600 --> 0:27:16.040
<v Speaker 1>know where they go to school anyway, not the still

0:27:16.240 --> 0:27:18.360
<v Speaker 1>don't matter in this bag. At one point they were

0:27:18.400 --> 0:27:21.400
<v Speaker 1>in a capital looking like in front of the Halloween

0:27:21.400 --> 0:27:23.399
<v Speaker 1>parties in front of the Capital looking building. So for

0:27:23.440 --> 0:27:24.919
<v Speaker 1>a while I thought they might be in d C.

0:27:25.480 --> 0:27:28.359
<v Speaker 1>But then about an hour and ten minutes and you're like, oh,

0:27:28.480 --> 0:27:33.000
<v Speaker 1>I guess this is Chicago, right, But so he's in

0:27:33.040 --> 0:27:35.440
<v Speaker 1>an alley and he sees Champ for the first time,

0:27:35.640 --> 0:27:39.159
<v Speaker 1>like dragging his legs around, and they're in this alley

0:27:39.200 --> 0:27:42.879
<v Speaker 1>with like these like neon green faces like painted on

0:27:42.960 --> 0:27:46.240
<v Speaker 1>the wall, like these murals almost, and it's like these

0:27:46.280 --> 0:27:50.040
<v Speaker 1>like spooky faces. And there's no other imagery like that

0:27:50.119 --> 0:27:52.360
<v Speaker 1>at any other point in the movie. So it seems

0:27:52.400 --> 0:27:55.040
<v Speaker 1>like really random and out of place that those are there,

0:27:55.080 --> 0:27:57.240
<v Speaker 1>because like that imagery just doesn't match up with anything

0:27:57.280 --> 0:27:59.840
<v Speaker 1>else that's in the movie. There's always a red light

0:28:00.000 --> 0:28:03.080
<v Speaker 1>somewhere in the background in every scene, and just like

0:28:03.119 --> 0:28:08.359
<v Speaker 1>who who is your production designed what we're probably Joel Schumacher. Yeah,

0:28:08.480 --> 0:28:11.840
<v Speaker 1>he's just like, hey, do we have about a bunch

0:28:11.840 --> 0:28:15.000
<v Speaker 1>of spotlights and a fog machine. Don't worry, I've got this.

0:28:16.040 --> 0:28:18.200
<v Speaker 1>Getting into the discussion of the things that we talked

0:28:18.200 --> 0:28:21.840
<v Speaker 1>about on this podcast, obviously have to mention that Julia

0:28:21.880 --> 0:28:25.240
<v Speaker 1>Roberts character Dr. Rachel manis a woman in stem but

0:28:25.320 --> 0:28:28.040
<v Speaker 1>also she's she's not No. One in this movie as

0:28:28.040 --> 0:28:32.640
<v Speaker 1>a doctor, not officially, but you do see here. So um.

0:28:32.840 --> 0:28:35.199
<v Speaker 1>The first actual point I wanted to make is that

0:28:35.240 --> 0:28:38.560
<v Speaker 1>I would argue that her character plays just as active

0:28:38.640 --> 0:28:42.440
<v Speaker 1>as a role as each of her male counterparts. So

0:28:42.480 --> 0:28:45.760
<v Speaker 1>she's doing every time they're killing the person and then

0:28:45.760 --> 0:28:48.520
<v Speaker 1>bringing them back to life, she's playing an active role

0:28:48.600 --> 0:28:52.440
<v Speaker 1>in doing different things, administering different shots of adrenaline, or

0:28:52.640 --> 0:28:57.680
<v Speaker 1>I would argue it's morphine, um, you know, resuscitating them

0:28:57.720 --> 0:29:01.720
<v Speaker 1>and using the defibrillators which I thought it was defibrillator.

0:29:02.000 --> 0:29:07.920
<v Speaker 1>It is a defibrillator, which sounds stupid to me, but

0:29:08.200 --> 0:29:12.240
<v Speaker 1>it's well, it does seem like her character, and Kevin

0:29:12.240 --> 0:29:15.680
<v Speaker 1>Bacon calls us out in a in a vaguely sexist

0:29:15.920 --> 0:29:18.920
<v Speaker 1>but somewhat clear way in one of their scenes. It

0:29:18.960 --> 0:29:23.360
<v Speaker 1>does seem like she's like the most respected of the group,

0:29:23.440 --> 0:29:25.880
<v Speaker 1>Like she and Kevin Bacon seemed to be the alpha

0:29:25.960 --> 0:29:30.920
<v Speaker 1>doctors in the group. Yeah, whereas clear that she's essential

0:29:30.960 --> 0:29:34.200
<v Speaker 1>to the operation from moment one because he's like, I

0:29:34.240 --> 0:29:36.600
<v Speaker 1>need you to handle the injections in the ivy. So

0:29:36.640 --> 0:29:38.840
<v Speaker 1>she plays a crucial role in the story. The problem

0:29:38.920 --> 0:29:42.520
<v Speaker 1>is when you add up all of those main five characters,

0:29:42.760 --> 0:29:46.240
<v Speaker 1>her role means that only of it is something a

0:29:46.240 --> 0:29:49.240
<v Speaker 1>woman is doing, and then eight percent of it is dudes.

0:29:49.440 --> 0:29:54.080
<v Speaker 1>It's major tokenism. Yeah, and interestingly, because the reason we're

0:29:54.080 --> 0:29:56.560
<v Speaker 1>doing this movie now is because there is a it's

0:29:56.600 --> 0:30:00.680
<v Speaker 1>not a remake apparently the people because Nelson's because right,

0:30:00.720 --> 0:30:04.240
<v Speaker 1>because Keeper's back, baby, I hope he's got the same hair. Uh.

0:30:04.280 --> 0:30:06.240
<v Speaker 1>And there are two female leads in the new one.

0:30:06.240 --> 0:30:09.640
<v Speaker 1>It's Ellen Page and Nino Dobrev a k A Vampire

0:30:09.720 --> 0:30:14.760
<v Speaker 1>Diaries Lady Lady for you, Big Degrassi. I thought there

0:30:14.840 --> 0:30:18.720
<v Speaker 1>might have even been three. There's also Kirscy Clemens. Oh

0:30:18.760 --> 0:30:21.360
<v Speaker 1>I didn't know. Okay, So as far as I can

0:30:21.440 --> 0:30:26.520
<v Speaker 1>also die from Dirty Dancing Havana Nights, Luna, I know

0:30:26.720 --> 0:30:30.239
<v Speaker 1>him as the guy from the Star Wars movie, and

0:30:30.280 --> 0:30:34.760
<v Speaker 1>also I think he's better for dirty dancing and yes,

0:30:35.000 --> 0:30:38.400
<v Speaker 1>I'm so sorry, and he's also in ech Mama Dumbien.

0:30:38.840 --> 0:30:44.280
<v Speaker 1>But he's pretty sure you can see you do see. So,

0:30:44.440 --> 0:30:46.880
<v Speaker 1>as far as I can tell, the five main men's

0:30:46.880 --> 0:30:49.640
<v Speaker 1>students in the sequel, two of them I think are

0:30:49.640 --> 0:30:51.920
<v Speaker 1>men and three of them are women. Hard to say, though,

0:30:51.920 --> 0:30:54.600
<v Speaker 1>I couldn't figure out which character is doing which things,

0:30:54.680 --> 0:30:57.040
<v Speaker 1>so I might be wrong about that. Either way, it

0:30:57.200 --> 0:30:58.960
<v Speaker 1>seems like there will be a little bit more of

0:30:59.000 --> 0:31:03.320
<v Speaker 1>a gender balance in this sequel. So hey, but Julia

0:31:03.400 --> 0:31:08.240
<v Speaker 1>Roberts character is major league tokenism in in the main ensemble,

0:31:09.000 --> 0:31:12.200
<v Speaker 1>it does seem like there are proportional amount of women

0:31:12.320 --> 0:31:16.320
<v Speaker 1>at the medical school because we see Julia Roberts talking

0:31:16.480 --> 0:31:19.680
<v Speaker 1>with there's another doctor who I think has a name,

0:31:19.880 --> 0:31:22.760
<v Speaker 1>which I think is Edna. We see her talking to

0:31:23.000 --> 0:31:26.000
<v Speaker 1>Na a couple of times, and then the professor that

0:31:26.120 --> 0:31:28.800
<v Speaker 1>keeps busting in and saying, you're all gonna get f

0:31:29.200 --> 0:31:33.680
<v Speaker 1>everything's writing on this I haven't to You're in competition

0:31:33.760 --> 0:31:37.800
<v Speaker 1>with each other. Rip open your could ever to not

0:31:37.880 --> 0:31:42.880
<v Speaker 1>be distracted by the artwork on the wall, don't put

0:31:42.920 --> 0:31:47.200
<v Speaker 1>on clubs. No one cuts, but she's you know, she's

0:31:47.280 --> 0:31:50.200
<v Speaker 1>she's intracted, doesn't seem like she's doing a particularly good job,

0:31:50.280 --> 0:31:53.880
<v Speaker 1>but she's in charge. So there are female figures, but

0:31:54.080 --> 0:31:57.920
<v Speaker 1>it's just not accurately reflected. I'm on the IMDb page

0:31:58.000 --> 0:32:01.080
<v Speaker 1>right now because I was trying to figure out I

0:32:01.160 --> 0:32:02.600
<v Speaker 1>was listening for in the movie, and I wasn't sure

0:32:02.640 --> 0:32:05.640
<v Speaker 1>if I missed it. If the old woman that Julia

0:32:05.760 --> 0:32:08.320
<v Speaker 1>Roberts talks to a number of times has a name,

0:32:08.840 --> 0:32:14.600
<v Speaker 1>she does not. She is credited as terminal woman. Also

0:32:15.080 --> 0:32:19.640
<v Speaker 1>feels worth mentioning that eleven different actresses are credited as

0:32:19.840 --> 0:32:24.640
<v Speaker 1>Joe's woman from that from that scene up the staircase.

0:32:24.760 --> 0:32:27.200
<v Speaker 1>What a horrible way to frame that horrible. Yeah. Well,

0:32:27.240 --> 0:32:30.400
<v Speaker 1>the woman in the one of the very early scenes

0:32:30.640 --> 0:32:33.080
<v Speaker 1>that Julia Roberts is talking to asking her what her

0:32:33.160 --> 0:32:35.200
<v Speaker 1>like near death experience was like, she does not have

0:32:35.240 --> 0:32:37.640
<v Speaker 1>a name. But the elderly woman that she talks to

0:32:37.840 --> 0:32:40.880
<v Speaker 1>does have a name, and she names her. It's Mrs Amsler.

0:32:41.320 --> 0:32:43.920
<v Speaker 1>Is this the woman who dies? Yeah? Oh, she's credited

0:32:43.920 --> 0:32:47.280
<v Speaker 1>as terminal weird. Well, she does have calls her. She's like,

0:32:47.520 --> 0:32:52.120
<v Speaker 1>you're doing better today, Mrs Amsler something. Yeah, because I

0:32:52.160 --> 0:32:54.720
<v Speaker 1>assumed that she must have at some point. Okay, she does, well,

0:32:54.760 --> 0:32:57.160
<v Speaker 1>that changes things. The doctor she talks to does have

0:32:57.160 --> 0:32:59.840
<v Speaker 1>a name, yes, and she calls her by name as well.

0:33:00.280 --> 0:33:04.560
<v Speaker 1>Another thing about rachel Man is that everyone's trying to

0:33:04.560 --> 0:33:09.680
<v Speaker 1>suck her. Yeah, maybe not Oliver Platt, but but like

0:33:09.760 --> 0:33:12.080
<v Speaker 1>what he turned down the opportunity. No, it would prob

0:33:12.200 --> 0:33:15.480
<v Speaker 1>be an honor for him, but earlier it's almost not.

0:33:15.520 --> 0:33:17.760
<v Speaker 1>In the movie, he's the only one of the five

0:33:17.880 --> 0:33:22.160
<v Speaker 1>who does not. Ever, he does not participate in the

0:33:22.200 --> 0:33:26.000
<v Speaker 1>moment love. He's dressed like Harry Potter for the whole movie,

0:33:26.080 --> 0:33:29.480
<v Speaker 1>is wearing the same dumbass scarf he says, pussy marauder.

0:33:29.960 --> 0:33:32.440
<v Speaker 1>He does a lot of exposition, like he's there for

0:33:32.560 --> 0:33:35.840
<v Speaker 1>exposition because he's literally recording major plot points into a

0:33:35.840 --> 0:33:39.600
<v Speaker 1>tape recorder for right portion of the movie. Billy Baldwin

0:33:39.920 --> 0:33:42.160
<v Speaker 1>tries to pick her up in like the first series. Really,

0:33:42.240 --> 0:33:44.719
<v Speaker 1>He's like, are you dating anyone? Just open up and

0:33:44.800 --> 0:33:47.120
<v Speaker 1>maybe we can get together for some serious thinking. And

0:33:47.200 --> 0:33:51.160
<v Speaker 1>later you're like, oh, she probably knows he's engaged, right, Yeah,

0:33:51.400 --> 0:33:54.480
<v Speaker 1>he's engaged. Yeah right, So no wonder she is the

0:33:54.480 --> 0:33:56.680
<v Speaker 1>woman that we see him having sex with in the

0:33:56.680 --> 0:33:59.880
<v Speaker 1>beginning that he's videotaping. Is that his fiance or not

0:34:00.000 --> 0:34:02.640
<v Speaker 1>it's a different woman because he's videotaping it, right, And

0:34:02.680 --> 0:34:05.480
<v Speaker 1>then it always says something like I gotta get one

0:34:05.720 --> 0:34:09.200
<v Speaker 1>last thing in before I get married, and then flat

0:34:09.200 --> 0:34:14.240
<v Speaker 1>whips out pussy Marada. If that's not a scream out band,

0:34:14.400 --> 0:34:20.439
<v Speaker 1>I'll be So that happens. And then whenever Nelson's about

0:34:20.480 --> 0:34:23.560
<v Speaker 1>to go under for the first time, he asks Julia

0:34:23.800 --> 0:34:27.720
<v Speaker 1>Roberts for one last kiss. And then the next morning,

0:34:27.719 --> 0:34:31.000
<v Speaker 1>after he wakes up after having flatlined, he's in his bed,

0:34:31.160 --> 0:34:34.560
<v Speaker 1>she's taking his pulse and then he says something like, um, god,

0:34:34.600 --> 0:34:37.560
<v Speaker 1>you're beautiful, and she sort of like moves away from him,

0:34:37.600 --> 0:34:39.400
<v Speaker 1>and she like grabs her and pulls her back, and

0:34:39.440 --> 0:34:41.359
<v Speaker 1>he's like, about twenty four hours ago, you didn't think

0:34:41.360 --> 0:34:44.440
<v Speaker 1>you'd spend the night here, and she's just like she

0:34:44.480 --> 0:34:47.320
<v Speaker 1>said something like you were lucky last night, Nelson, don't

0:34:47.360 --> 0:34:49.319
<v Speaker 1>push it, and then walks away. But it's like, what

0:34:49.360 --> 0:34:54.000
<v Speaker 1>a weird able to interact with. It seemed like they

0:34:54.040 --> 0:34:58.160
<v Speaker 1>had slept together. Yeah, it seems like there was also

0:34:58.239 --> 0:35:00.719
<v Speaker 1>a moment after he flatlined when they're like driving to

0:35:00.760 --> 0:35:03.840
<v Speaker 1>the bar where she like touches his shoulder. There's I

0:35:03.840 --> 0:35:06.080
<v Speaker 1>feel like it's at least implied that there's some sort

0:35:06.080 --> 0:35:10.240
<v Speaker 1>of history, but maybe that she doesn't want it to continue,

0:35:10.360 --> 0:35:14.600
<v Speaker 1>because then later she sleeps with Kevin Bacon's character, right,

0:35:14.760 --> 0:35:19.920
<v Speaker 1>she fries up some Bacon. I think I sanctioned that relationship.

0:35:20.000 --> 0:35:22.000
<v Speaker 1>I think that if she's gonna they both have the

0:35:22.040 --> 0:35:24.880
<v Speaker 1>best hair, exactly good hair, and they're both like the

0:35:24.880 --> 0:35:29.120
<v Speaker 1>most competent of the group, So it makes doctors best hair. Yeah,

0:35:29.239 --> 0:35:32.080
<v Speaker 1>it makes sense. She's a bunch of senior superlatives and

0:35:32.080 --> 0:35:37.040
<v Speaker 1>they've got all of them. Yeah, med school superlatives. Baby,

0:35:37.520 --> 0:35:41.400
<v Speaker 1>do we feel like we understand why the group is

0:35:41.440 --> 0:35:45.440
<v Speaker 1>pretty adamant about Julia Robbers not doing it? That's a

0:35:45.480 --> 0:35:48.680
<v Speaker 1>good question. Is it because she's a woman and they

0:35:48.719 --> 0:35:54.160
<v Speaker 1>feel protective of her? Or that was the implication that

0:35:54.320 --> 0:35:57.520
<v Speaker 1>I got. I mean, but again with the exception of

0:35:57.560 --> 0:36:00.000
<v Speaker 1>all of her Platt who doesn't want anyone to die

0:36:00.120 --> 0:36:03.160
<v Speaker 1>at any point, but it is also very willing to

0:36:03.200 --> 0:36:06.200
<v Speaker 1>be around because you know, we need expositions. Sometimes we

0:36:06.280 --> 0:36:08.640
<v Speaker 1>gotta shave off minutes on this movie, even though that's

0:36:08.640 --> 0:36:11.960
<v Speaker 1>still an hour and fifty five minutes long, but it

0:36:12.040 --> 0:36:14.759
<v Speaker 1>feels like they don't want her to go under because

0:36:14.800 --> 0:36:16.080
<v Speaker 1>they have a crush on her, and I feel like

0:36:16.120 --> 0:36:19.800
<v Speaker 1>Kevin Bacon almost implies that at one point. Yeah, see

0:36:19.800 --> 0:36:21.520
<v Speaker 1>with Bacon, I can say I can't even see it

0:36:21.520 --> 0:36:24.000
<v Speaker 1>with Key for two because it's like he's still in

0:36:24.040 --> 0:36:27.520
<v Speaker 1>love with her. Kevin Bacon is currently in love with her,

0:36:27.840 --> 0:36:30.400
<v Speaker 1>and Billy Baldwin's just a fucking I'll just try to

0:36:30.400 --> 0:36:35.960
<v Speaker 1>do anything that moves. But also I love that he's like, oh,

0:36:35.320 --> 0:36:38.040
<v Speaker 1>I I got I'm a filmmaker. I have a camera,

0:36:38.680 --> 0:36:41.560
<v Speaker 1>and it's like, oh yeah, camera, you use to commit crimes.

0:36:41.640 --> 0:36:45.440
<v Speaker 1>And he's not even good at that job. Like there's

0:36:45.440 --> 0:36:47.759
<v Speaker 1>a million times in the movie where they're like Joe

0:36:48.080 --> 0:36:51.000
<v Speaker 1>film and he's like, oh yeah, I was like, why

0:36:51.080 --> 0:36:53.160
<v Speaker 1>else are you here? He should take some And his

0:36:53.239 --> 0:36:56.239
<v Speaker 1>angles are stupid. We already pointed out, like the way

0:36:56.280 --> 0:36:59.359
<v Speaker 1>he captures himself from like bird's eye view, It's like,

0:36:59.400 --> 0:37:03.440
<v Speaker 1>that's not who wants to recapture that sex scene. And

0:37:03.480 --> 0:37:06.160
<v Speaker 1>he's only filming for like four seconds at a time,

0:37:06.160 --> 0:37:08.640
<v Speaker 1>and it's always a slow zoom so they can fade

0:37:08.680 --> 0:37:13.360
<v Speaker 1>into a screensaver. But back to what you were talking about.

0:37:13.600 --> 0:37:17.360
<v Speaker 1>There's a conversation between a doctor Rachel Mannis and a

0:37:17.440 --> 0:37:23.200
<v Speaker 1>doctor A David lab Ratty are not med school student

0:37:23.360 --> 0:37:27.480
<v Speaker 1>David Labrashio. Yeah. This is after Billy Baldwin has flatlined.

0:37:27.880 --> 0:37:30.040
<v Speaker 1>Julie's like, I want to go next, keep getting pushed

0:37:30.040 --> 0:37:32.360
<v Speaker 1>I want to go, and then, like Kevin Bacon, outbids

0:37:32.360 --> 0:37:34.600
<v Speaker 1>are basically he's like, I'll go for longer, and she's

0:37:34.640 --> 0:37:36.520
<v Speaker 1>kind of match storms out and he catches up with

0:37:36.520 --> 0:37:38.200
<v Speaker 1>her and she's like, no one seems to want me

0:37:38.239 --> 0:37:41.960
<v Speaker 1>to go under. I don't need your protection. He's like, well,

0:37:42.000 --> 0:37:45.040
<v Speaker 1>I just decided that if someone is smart and driven

0:37:45.080 --> 0:37:49.600
<v Speaker 1>as you are and incredibly beautiful, that part was just

0:37:49.680 --> 0:37:52.600
<v Speaker 1>like oh he was so close. Yeah, and then he

0:37:52.719 --> 0:37:55.120
<v Speaker 1>was like He's like it makes the rest of us nervous,

0:37:55.160 --> 0:37:57.320
<v Speaker 1>which I think, I don't even know if it's an implication.

0:37:57.360 --> 0:37:59.600
<v Speaker 1>It's like pretty straight up being like, we don't want

0:37:59.640 --> 0:38:01.640
<v Speaker 1>you to go under. We got to protect you. You're

0:38:01.680 --> 0:38:05.080
<v Speaker 1>the woman, you're smartest. Even though she's the one who

0:38:05.160 --> 0:38:07.640
<v Speaker 1>keeps being like I want to go because this is

0:38:07.680 --> 0:38:11.120
<v Speaker 1>her passion, she's interviewing people to figure out what's happening

0:38:11.600 --> 0:38:13.799
<v Speaker 1>after if they have a near death experience. She wants

0:38:13.840 --> 0:38:16.320
<v Speaker 1>to know and she wants to get that firsthand experience,

0:38:16.400 --> 0:38:18.719
<v Speaker 1>and they're all just like no. And Kevin Bacon even

0:38:18.800 --> 0:38:21.520
<v Speaker 1>says she gives the best reason for wanting to do it,

0:38:21.800 --> 0:38:24.000
<v Speaker 1>and she totally does, because, like Keifer says a couple

0:38:24.040 --> 0:38:26.920
<v Speaker 1>different times, like we're going to be famous, right, I'm

0:38:26.960 --> 0:38:30.359
<v Speaker 1>gonna be on sixty minutes. Yeah, yeah, And then she's

0:38:31.480 --> 0:38:34.319
<v Speaker 1>I wanna a lot of people close to me have died.

0:38:34.360 --> 0:38:36.440
<v Speaker 1>I want to see if they've gone to a better place.

0:38:36.760 --> 0:38:39.200
<v Speaker 1>And if you believe in that sort of thing. Sure,

0:38:39.280 --> 0:38:42.520
<v Speaker 1>that's a good reason to flatline yesh. I think she

0:38:42.600 --> 0:38:45.279
<v Speaker 1>does have the best reason. Yeah, because Keifer. I don't

0:38:45.280 --> 0:38:50.680
<v Speaker 1>know that anyone besides Keifer offers a reason. Like Bacon says, well,

0:38:50.719 --> 0:38:53.799
<v Speaker 1>I'm the control subject, so I'll go under because I'm

0:38:53.840 --> 0:38:56.640
<v Speaker 1>the kind of bully him for being an atheist. He's like, oh, yeah,

0:38:56.760 --> 0:38:59.640
<v Speaker 1>does the atheist suddenly believe in God? Well, I think

0:39:00.040 --> 0:39:02.960
<v Speaker 1>this is like it's not an Atheast joint, it's a

0:39:03.000 --> 0:39:08.120
<v Speaker 1>shoemak or joint. There's a lot of heavenly imagery. Sure,

0:39:08.719 --> 0:39:12.840
<v Speaker 1>I guess, or what he would perceives. But anyway, so

0:39:12.920 --> 0:39:15.200
<v Speaker 1>that conversation when he's like, oh, you're just so smart

0:39:15.239 --> 0:39:20.600
<v Speaker 1>and driven and incredibly beautiful, she gives this look that's like, okay,

0:39:20.600 --> 0:39:23.600
<v Speaker 1>I'll take that compliment, and then she changes the subject.

0:39:23.680 --> 0:39:32.359
<v Speaker 1>It's just like, no, just off camera, who made more

0:39:32.360 --> 0:39:35.040
<v Speaker 1>money and like it was more money spent on paying

0:39:35.040 --> 0:39:38.319
<v Speaker 1>Oliver Platt or buying fog machines. I feel like it

0:39:38.400 --> 0:39:42.479
<v Speaker 1>was probably very close for this movie. The other main

0:39:42.520 --> 0:39:45.080
<v Speaker 1>point I wanted to make about this movie is that

0:39:45.360 --> 0:39:49.200
<v Speaker 1>Julia Roberts character is the only one who's like sin

0:39:49.360 --> 0:39:52.040
<v Speaker 1>from her past the comes back to haunt her is

0:39:52.080 --> 0:39:56.440
<v Speaker 1>something that happened to her rather than something that she

0:39:56.600 --> 0:39:59.920
<v Speaker 1>did like the other ones. With Nelson, it's Billy Mahoney.

0:40:00.080 --> 0:40:03.799
<v Speaker 1>He killed him accidentally or not probably not accident because

0:40:03.800 --> 0:40:08.920
<v Speaker 1>he was bullying him and throwing rocks at him right. Uh.

0:40:08.960 --> 0:40:12.360
<v Speaker 1>And then with Kevin Bacon's character, he also bullied a

0:40:12.440 --> 0:40:17.160
<v Speaker 1>child Winnie Hicks. Winnie Hicks, who is thriving. Yeah, she's

0:40:17.160 --> 0:40:20.240
<v Speaker 1>got a huge house in a big greenhouse. We should

0:40:20.239 --> 0:40:22.840
<v Speaker 1>talk about her really. Yeah, that was an interesting scene.

0:40:22.920 --> 0:40:24.799
<v Speaker 1>That was the scene that I was a little bit

0:40:25.000 --> 0:40:26.560
<v Speaker 1>It was like one of those scenes that I feel

0:40:26.560 --> 0:40:28.839
<v Speaker 1>like we'd come across very frequently. I was like, Oh,

0:40:28.960 --> 0:40:31.720
<v Speaker 1>this scene could have passed the back Toles has so easily,

0:40:31.760 --> 0:40:34.680
<v Speaker 1>but it doesn't. Where her daughters are the whole time

0:40:34.719 --> 0:40:38.360
<v Speaker 1>and has a name but never has a line. Maybe

0:40:38.600 --> 0:40:41.400
<v Speaker 1>was the daughter's name Sheila? Oh? She She says a

0:40:41.400 --> 0:40:44.960
<v Speaker 1>couple different times, Sheilla go away, go away, and trying

0:40:45.000 --> 0:40:47.279
<v Speaker 1>to talk to Kevin Bacon, and she'lla never responds, but

0:40:47.360 --> 0:40:50.120
<v Speaker 1>she keeps like entering and exiting this scene. But that

0:40:50.320 --> 0:40:53.239
<v Speaker 1>I don't know, Like I like that character of of

0:40:53.320 --> 0:40:55.640
<v Speaker 1>Winnie Hicks. And but I think that has a lot

0:40:55.680 --> 0:40:58.560
<v Speaker 1>to do with the fact that Kevin Bacon's resolution is

0:40:58.600 --> 0:41:01.760
<v Speaker 1>really the only one that's actually satisfying of the whole

0:41:01.840 --> 0:41:04.719
<v Speaker 1>cat right, because he's the only one. So going back

0:41:04.719 --> 0:41:06.360
<v Speaker 1>to what I was saying earlier is that hers is

0:41:06.400 --> 0:41:08.560
<v Speaker 1>the only passive one where something happened to her. She

0:41:09.200 --> 0:41:12.160
<v Speaker 1>sees her father and we later find out that he

0:41:12.239 --> 0:41:16.000
<v Speaker 1>was I guess shooting up Heroin. And then because she's

0:41:16.760 --> 0:41:18.719
<v Speaker 1>a lot of the Vietnam that's coming back, man, they

0:41:18.719 --> 0:41:21.439
<v Speaker 1>couldn't deal with what happened in that goddamn hell hoole.

0:41:21.760 --> 0:41:24.120
<v Speaker 1>It's all your fault and they got to do heroin

0:41:24.360 --> 0:41:28.880
<v Speaker 1>or maybe hey, maybe it was morphine, my favorite drug,

0:41:29.120 --> 0:41:32.920
<v Speaker 1>all purpose drug, intravenous. You can use morphine for anything.

0:41:33.040 --> 0:41:35.080
<v Speaker 1>You can use it to bring you back to the life.

0:41:35.400 --> 0:41:39.120
<v Speaker 1>You can shoot up and have a great dish. Anyway,

0:41:39.280 --> 0:41:42.120
<v Speaker 1>So he's shooting up heroin, she sees it. I guess

0:41:42.200 --> 0:41:45.319
<v Speaker 1>he feels guilty that his daughter witnessed. So he goes

0:41:45.360 --> 0:41:48.160
<v Speaker 1>outside and kills himself, Which that doesn't make a whole

0:41:48.160 --> 0:41:51.320
<v Speaker 1>lot of sense to me, but maybe clearly the gentleman

0:41:51.360 --> 0:41:55.200
<v Speaker 1>had problems. Sure, who knows what happened when he was

0:41:55.239 --> 0:41:58.879
<v Speaker 1>in that denang pit of hell. But it's weird that

0:41:58.880 --> 0:42:01.080
<v Speaker 1>that that, like the whole sequence I mean, and I

0:42:01.120 --> 0:42:03.960
<v Speaker 1>guess you can sort of narratively write it off of like, well,

0:42:03.960 --> 0:42:07.279
<v Speaker 1>it's a child's recollection. It's probably not right. And it's

0:42:07.320 --> 0:42:10.800
<v Speaker 1>also we only see like Mom in the moment say

0:42:10.920 --> 0:42:15.080
<v Speaker 1>it's your fault. That was probably her whole life after that,

0:42:15.800 --> 0:42:18.719
<v Speaker 1>being driven in her head by her freaking allan on Mom,

0:42:18.760 --> 0:42:22.319
<v Speaker 1>who's just like you did this. Well, the thing with

0:42:22.360 --> 0:42:26.480
<v Speaker 1>that is that it means her redemption was passive also,

0:42:26.960 --> 0:42:29.600
<v Speaker 1>like she just has to go and watch the scene

0:42:29.760 --> 0:42:33.359
<v Speaker 1>unfold a little more and then she just hugs her

0:42:33.440 --> 0:42:37.240
<v Speaker 1>dad and then everything's fine. But she gets he because

0:42:37.280 --> 0:42:39.640
<v Speaker 1>she's weighed down by this guilt. So he gets to

0:42:40.080 --> 0:42:43.359
<v Speaker 1>relieve her of the guilt. She gets to forgive herself

0:42:43.400 --> 0:42:46.800
<v Speaker 1>he and and she gets to forgive him, and that's fine.

0:42:47.160 --> 0:42:49.960
<v Speaker 1>My point is that the choice was made. She was

0:42:50.000 --> 0:42:52.239
<v Speaker 1>the only one who had something happened to her passively.

0:42:52.640 --> 0:42:54.960
<v Speaker 1>Is it because she was a woman? Is it a coincidence?

0:42:55.000 --> 0:42:56.760
<v Speaker 1>Hard to say, but either way, the choice was made

0:42:57.200 --> 0:42:59.600
<v Speaker 1>so that the only female character of the main bunch

0:43:00.000 --> 0:43:02.680
<v Speaker 1>had a very passive sin and then redemption. So it's

0:43:02.719 --> 0:43:05.759
<v Speaker 1>just sort of perpetuating this idea that like a woman

0:43:06.200 --> 0:43:09.759
<v Speaker 1>was feeling guilty well and also like to reduce it

0:43:09.800 --> 0:43:13.560
<v Speaker 1>even for the main female character has serious daddy issues

0:43:13.640 --> 0:43:16.520
<v Speaker 1>like that is something we've seen a hundred thousand times,

0:43:16.560 --> 0:43:18.799
<v Speaker 1>and we don't see anyone else's parents reference out of

0:43:18.800 --> 0:43:21.840
<v Speaker 1>the main cast. Thank you for like verbalizing it. I

0:43:21.840 --> 0:43:24.000
<v Speaker 1>guess in that way because I was sort of at

0:43:24.040 --> 0:43:26.000
<v Speaker 1>the end of the movie, I was like, Julia roberts

0:43:26.160 --> 0:43:28.799
<v Speaker 1>storyline is the only one that has a sort of

0:43:29.280 --> 0:43:36.320
<v Speaker 1>magical resolution, where key for Billy and Bacon yep did it,

0:43:37.560 --> 0:43:41.520
<v Speaker 1>and Billy and Bacon the amazing spinoff series that ran

0:43:41.600 --> 0:43:45.840
<v Speaker 1>for eleven seasons afterwards. None of their resolutions, however, satisfying

0:43:45.920 --> 0:43:50.160
<v Speaker 1>or unsatisfying, resulted in them receiving any new information. It

0:43:50.239 --> 0:43:54.880
<v Speaker 1>was them somehow dealing with information that they already had.

0:43:55.320 --> 0:43:58.920
<v Speaker 1>And then where Julie. It's a reveal like it's a

0:43:59.000 --> 0:44:01.560
<v Speaker 1>reveal that herd I was a drug definitely which and

0:44:01.760 --> 0:44:04.719
<v Speaker 1>again passive. So it's just like I like and it

0:44:04.760 --> 0:44:07.800
<v Speaker 1>throws a wrench into the logic of the movie of

0:44:08.280 --> 0:44:11.279
<v Speaker 1>you know, like sort of the lesson is like, well,

0:44:11.320 --> 0:44:13.759
<v Speaker 1>you've got a tone for the bad things you do

0:44:13.960 --> 0:44:18.319
<v Speaker 1>in life. But Julia Rours didn't do anything bad, but

0:44:18.400 --> 0:44:22.239
<v Speaker 1>she somehow receives a message from the beyond that you know,

0:44:22.400 --> 0:44:25.240
<v Speaker 1>your dad was addicted to heroin, which is what she wanted.

0:44:25.320 --> 0:44:27.319
<v Speaker 1>She wanted to make sure her dad was okay, and

0:44:27.360 --> 0:44:31.680
<v Speaker 1>that she didn't. She was way down by this guilt

0:44:32.360 --> 0:44:34.799
<v Speaker 1>and then she was able to contact him and him

0:44:34.840 --> 0:44:37.879
<v Speaker 1>be like, you didn't do anything. It was me who

0:44:37.920 --> 0:44:40.880
<v Speaker 1>did it, right? I don't know. Like the spiritual elements

0:44:40.880 --> 0:44:43.000
<v Speaker 1>of this movie are kind of all over the place.

0:44:43.000 --> 0:44:47.000
<v Speaker 1>In Confused definitely like there's no there's no rhyme or

0:44:47.000 --> 0:44:49.520
<v Speaker 1>reason to like. And it's weird because I feel like

0:44:49.640 --> 0:44:52.960
<v Speaker 1>Rachel's storyline is the one that really introduces the weird,

0:44:53.120 --> 0:44:56.160
<v Speaker 1>like wait, wondering what are their rules here? And it

0:44:56.280 --> 0:44:58.680
<v Speaker 1>is also like three of them it's just ship that

0:44:58.719 --> 0:45:01.759
<v Speaker 1>happened when they were kids, and so they just they're

0:45:01.760 --> 0:45:04.840
<v Speaker 1>still kind of adult children. They can't process what happened.

0:45:04.880 --> 0:45:08.160
<v Speaker 1>Where's Billy Baldwin is currently a piece of ship and

0:45:08.200 --> 0:45:11.320
<v Speaker 1>he's the only one who's not making it right. Yeah,

0:45:11.400 --> 0:45:14.520
<v Speaker 1>he doesn't do anything. He's a rapist and a sex criminal.

0:45:14.680 --> 0:45:16.640
<v Speaker 1>And there's that scene where like they all start to

0:45:16.640 --> 0:45:20.359
<v Speaker 1>realize that each of them is like being tormented by

0:45:20.360 --> 0:45:23.480
<v Speaker 1>the ghosts of their past, and uh, they're turning to

0:45:23.480 --> 0:45:28.680
<v Speaker 1>buy the ghost of Christmas present. But Billy Baldwin reveals

0:45:28.760 --> 0:45:32.120
<v Speaker 1>he's like, yeah, these women I videotaped them and they

0:45:32.120 --> 0:45:35.000
<v Speaker 1>didn't know about it. Women complaining and then all my

0:45:35.120 --> 0:45:40.440
<v Speaker 1>sex crimes and Oliver Platt's characters like, oh, you you pervert,

0:45:40.719 --> 0:45:43.880
<v Speaker 1>And then Kevin Bacon doesn't even address it. He moves on.

0:45:43.960 --> 0:45:46.840
<v Speaker 1>He was like, how about you, Nelson, who are you seeing?

0:45:46.920 --> 0:45:49.120
<v Speaker 1>And he's like oh this kid Billy mahoney, but like

0:45:49.160 --> 0:45:53.040
<v Speaker 1>he just changes the subject after Billy Baldwin has revealed

0:45:53.239 --> 0:45:56.279
<v Speaker 1>that he's a fucking sex criminal and everyone's just like, oh, well,

0:45:56.360 --> 0:45:59.480
<v Speaker 1>let's move on. Well that's part of Billy Baldwin thing

0:45:59.480 --> 0:46:02.839
<v Speaker 1>where it's like again like a weird dissonance. Like sometimes

0:46:03.000 --> 0:46:06.720
<v Speaker 1>it's played as well, yeah, this is his major wrong

0:46:06.760 --> 0:46:09.640
<v Speaker 1>as he's wronged all these women then womanizers kind of

0:46:09.680 --> 0:46:13.280
<v Speaker 1>what the right. It's never it's never stated or even

0:46:13.320 --> 0:46:16.200
<v Speaker 1>implied that what he's doing is a crime, but then

0:46:16.320 --> 0:46:19.920
<v Speaker 1>other moments it's like played for humor of like calling

0:46:20.080 --> 0:46:22.759
<v Speaker 1>a sex criminal pervert and then moving on to the

0:46:22.800 --> 0:46:27.600
<v Speaker 1>next plat point is obviously very irresponsible, and he's he's

0:46:27.640 --> 0:46:30.360
<v Speaker 1>sort of I feel like, presented along with Oliver flat

0:46:30.400 --> 0:46:34.040
<v Speaker 1>as like the goofear of the character. I mean, you

0:46:34.080 --> 0:46:36.680
<v Speaker 1>could argue that the fact that this is what's tormenting

0:46:36.760 --> 0:46:39.400
<v Speaker 1>him is the movie's way of saying, like this, he

0:46:39.440 --> 0:46:42.279
<v Speaker 1>did a bad thing, but he's hardly punished for it,

0:46:42.280 --> 0:46:44.520
<v Speaker 1>and he doesn't do anything to redeem himself or try

0:46:44.560 --> 0:46:47.040
<v Speaker 1>to make any amends. He does get broken up with

0:46:47.160 --> 0:46:49.560
<v Speaker 1>by his fiance, but he doesn't even seem that upset

0:46:49.560 --> 0:46:53.360
<v Speaker 1>about it, like eventually and does Basically, I want his

0:46:53.640 --> 0:46:57.319
<v Speaker 1>dick to stop working. That's the only way I think.

0:46:57.640 --> 0:47:00.800
<v Speaker 1>So does that make his and the actor stopped working?

0:47:08.560 --> 0:47:12.759
<v Speaker 1>That's stroking a cat right now. Yeah, well what does

0:47:12.800 --> 0:47:16.120
<v Speaker 1>that mean that there are two resolutions that are passive?

0:47:16.480 --> 0:47:19.480
<v Speaker 1>If Billy Baldwin doesn't do anything, he doesn't even really

0:47:19.480 --> 0:47:22.400
<v Speaker 1>get a resolution because the other three. Not that he

0:47:22.480 --> 0:47:27.719
<v Speaker 1>deserves one, but I'm thinking, but something does happen to him.

0:47:27.760 --> 0:47:29.839
<v Speaker 1>He does get dumped, and I'm not saying that that's

0:47:29.840 --> 0:47:33.000
<v Speaker 1>a fair punishment. It certainly is not. Um that should

0:47:33.000 --> 0:47:35.640
<v Speaker 1>be step one of a series of punishments that end

0:47:35.719 --> 0:47:38.399
<v Speaker 1>with him serving jail time. Maybe she went and called

0:47:38.400 --> 0:47:42.440
<v Speaker 1>the cops afterwards, Let's hope that port that girl and

0:47:42.760 --> 0:47:44.960
<v Speaker 1>they go. The narrative goes out of the way to

0:47:45.040 --> 0:47:47.120
<v Speaker 1>be like, she's a student, she's working hard, she's she

0:47:47.320 --> 0:47:50.120
<v Speaker 1>you know, she lives far away, and you're like, okay, cool,

0:47:50.320 --> 0:47:52.279
<v Speaker 1>she's she seems like a cool lady. And then she

0:47:52.360 --> 0:47:54.800
<v Speaker 1>did you know, they do a little bit. I'm pretty

0:47:54.800 --> 0:47:59.919
<v Speaker 1>sure she has a name. Yeah that's the bar. Yeah,

0:48:00.120 --> 0:48:02.120
<v Speaker 1>it's like, oh, she has a name, and they said

0:48:02.160 --> 0:48:06.000
<v Speaker 1>she went to school so good for them. They did

0:48:06.080 --> 0:48:10.600
<v Speaker 1>it feminism right. I like Billy Baldwin's character's line when

0:48:10.640 --> 0:48:13.080
<v Speaker 1>he's like trying to pick up Rachel because he says

0:48:13.120 --> 0:48:16.239
<v Speaker 1>something like, these rumors I've been hearing about you, they're

0:48:16.239 --> 0:48:19.560
<v Speaker 1>not true. You're not some cold, frigid woman. I bet

0:48:19.560 --> 0:48:24.640
<v Speaker 1>you're very warm and well. And and that's another amazing

0:48:25.200 --> 0:48:29.560
<v Speaker 1>blockbuster recurrence of like, oh she's she's got goals and

0:48:29.640 --> 0:48:34.120
<v Speaker 1>she's good at something. She must be a fid Oh.

0:48:34.200 --> 0:48:36.440
<v Speaker 1>You know what I was gonna say. You know what

0:48:36.719 --> 0:48:40.120
<v Speaker 1>dawned on me is the fact that her sin more

0:48:40.200 --> 0:48:43.560
<v Speaker 1>or less is um totally passive. She didn't do anything.

0:48:43.920 --> 0:48:48.720
<v Speaker 1>Because I feel like the Hollywood logic is you can't

0:48:48.840 --> 0:48:53.439
<v Speaker 1>have the female character have done anything wrong because then

0:48:53.440 --> 0:48:56.120
<v Speaker 1>the audience would not forgive her and just see her

0:48:56.120 --> 0:48:59.520
<v Speaker 1>as a bitch the whole time, you know what I mean. Yeah,

0:48:59.640 --> 0:49:02.120
<v Speaker 1>Whereas like the men can't have the redemption, but the

0:49:02.120 --> 0:49:04.960
<v Speaker 1>woman it's like, oh, no, fuck her, she fucking did

0:49:05.000 --> 0:49:07.120
<v Speaker 1>that to so and so. Because where I feel like

0:49:07.160 --> 0:49:10.520
<v Speaker 1>we're socialized to I think that like women have to

0:49:10.560 --> 0:49:13.200
<v Speaker 1>be perfect little angels all the time. They can't make mistakes.

0:49:13.280 --> 0:49:15.560
<v Speaker 1>And because I remember I did a commercial once and

0:49:15.640 --> 0:49:18.320
<v Speaker 1>the actress was playing my wife, and like the director

0:49:18.400 --> 0:49:22.160
<v Speaker 1>was like, you, you have to smile throughout the entire scene. Otherwise,

0:49:22.200 --> 0:49:26.120
<v Speaker 1>like the clients are like, she's being mean to him, right,

0:49:26.200 --> 0:49:30.560
<v Speaker 1>that type of and and it sort of plays to

0:49:30.680 --> 0:49:34.720
<v Speaker 1>like a virginal kind of or like whatever, spirtually virginal,

0:49:34.840 --> 0:49:38.000
<v Speaker 1>like she's untainted. And it turns out that that's an

0:49:38.040 --> 0:49:43.400
<v Speaker 1>amazing point. Yeah, oh god, right, because if anything, it

0:49:43.440 --> 0:49:45.839
<v Speaker 1>would have I mean, I'm not saying this in any

0:49:45.880 --> 0:49:49.080
<v Speaker 1>other way of like it would have made sense if

0:49:49.120 --> 0:49:51.560
<v Speaker 1>she had also bullied like a girl when she was

0:49:51.600 --> 0:49:55.319
<v Speaker 1>growing up. There's almost no coming back from that from

0:49:55.320 --> 0:49:59.000
<v Speaker 1>a character standpoint of looking at like, oh god, even

0:49:59.080 --> 0:50:01.120
<v Speaker 1>with the scene, if it was and Whinnie Hicks, I

0:50:01.160 --> 0:50:03.640
<v Speaker 1>bet the Hollywood view would be, like, people still won't

0:50:03.680 --> 0:50:07.560
<v Speaker 1>get on her side, even the lovable Julia Roberts, because yeah,

0:50:07.600 --> 0:50:11.799
<v Speaker 1>with like with Keeford bullying for killed a kid and

0:50:11.840 --> 0:50:15.600
<v Speaker 1>he's it was hard for me to by the end

0:50:15.640 --> 0:50:17.799
<v Speaker 1>of this movie, I was not on Keefer's side, but

0:50:17.840 --> 0:50:20.719
<v Speaker 1>I feel like you are supposed to be still definitely,

0:50:21.080 --> 0:50:24.120
<v Speaker 1>but ultimately it's like he's doing it to himself. He's

0:50:24.160 --> 0:50:27.960
<v Speaker 1>literally beating himself up over it, you know. But it's

0:50:27.960 --> 0:50:30.680
<v Speaker 1>a delicate thing because if if Winnie Hicks hadn't been

0:50:30.760 --> 0:50:33.760
<v Speaker 1>so well off, would we be so quick to forgive

0:50:33.840 --> 0:50:38.120
<v Speaker 1>Kevin Bacon, Like if her life had been yeah, you'd

0:50:38.120 --> 0:50:40.520
<v Speaker 1>be like, look what you did to her as opposed

0:50:40.560 --> 0:50:42.800
<v Speaker 1>to you could even make the argument, well, you instilled

0:50:42.800 --> 0:50:45.920
<v Speaker 1>her with character, and you know that she overcame, and

0:50:46.000 --> 0:50:50.480
<v Speaker 1>blah blah blah. Everyone in this movie, besides Julia Roberts,

0:50:50.520 --> 0:50:53.080
<v Speaker 1>like all the male characters get off too easy, because

0:50:53.120 --> 0:50:56.920
<v Speaker 1>even like the the end scene with Billy Mahoney, after

0:50:57.239 --> 0:51:00.000
<v Speaker 1>Keefer Sutherland as an adult gets crushed by a tree

0:51:00.320 --> 0:51:03.359
<v Speaker 1>comes up and he like smiles, yeah, and he's like, oh,

0:51:03.440 --> 0:51:09.440
<v Speaker 1>he forgives I think that why, that's because they were kids.

0:51:09.840 --> 0:51:14.440
<v Speaker 1>They were kids. I'm not defending saying it's dumb. I

0:51:14.440 --> 0:51:17.160
<v Speaker 1>think that it has to do like where current climate

0:51:17.239 --> 0:51:21.080
<v Speaker 1>considered it. It is harder to get on board with

0:51:21.880 --> 0:51:25.680
<v Speaker 1>someone who did a horrible thing being forgiven. But the

0:51:25.680 --> 0:51:27.440
<v Speaker 1>point I wanted to make about that is that like

0:51:28.000 --> 0:51:32.400
<v Speaker 1>keep for bullying Billy Mahoney, Kevin Bacon's character bullying Winnie,

0:51:32.600 --> 0:51:35.560
<v Speaker 1>those are like we're socialized. There's Wow, boys will be boys.

0:51:35.600 --> 0:51:38.520
<v Speaker 1>Boys are just mean little bullies, okay, and then and

0:51:38.560 --> 0:51:41.520
<v Speaker 1>then when they grow up, that's their chance to be like, Okay,

0:51:41.560 --> 0:51:44.080
<v Speaker 1>they've they've grown up, they've matured, and now they can

0:51:44.360 --> 0:51:47.399
<v Speaker 1>apologize and everything they find. But where it's like, like

0:51:47.440 --> 0:51:50.600
<v Speaker 1>you were saying, women, you know, we're socialized to view

0:51:50.600 --> 0:51:53.120
<v Speaker 1>women differently, so like there's we just don't we're not

0:51:53.160 --> 0:51:56.200
<v Speaker 1>going to be like, oh, girls will be girls. You know,

0:51:56.320 --> 0:52:00.520
<v Speaker 1>girls always being schoolyard bullies and oh, it's okay, they'll learn,

0:52:00.680 --> 0:52:03.360
<v Speaker 1>they'll they'll be nicer when they're older. Like that's not

0:52:03.440 --> 0:52:09.560
<v Speaker 1>how or will they women? It seems like flawed but

0:52:09.840 --> 0:52:15.520
<v Speaker 1>still sympathetic female protagonist is a relatively new thing to

0:52:15.640 --> 0:52:19.759
<v Speaker 1>be excepted. Like usually the woman with the flaw is

0:52:19.960 --> 0:52:24.000
<v Speaker 1>the villain, right as opposed to like where I think,

0:52:24.040 --> 0:52:26.560
<v Speaker 1>you know, you could earn past past, which a couple

0:52:26.560 --> 0:52:28.839
<v Speaker 1>of years, like there's even like even a few years

0:52:28.840 --> 0:52:32.200
<v Speaker 1>after this was my best friend's wedding, and I remember

0:52:32.239 --> 0:52:34.279
<v Speaker 1>a lot of people coming away from that movie being

0:52:34.360 --> 0:52:37.040
<v Speaker 1>like I don't like Julia Roberts, like she was a

0:52:37.520 --> 0:52:39.759
<v Speaker 1>she's the hero quote unquote of the movie. But it's

0:52:39.760 --> 0:52:42.880
<v Speaker 1>like a woman doing it leaves a bad taste in

0:52:42.880 --> 0:52:46.080
<v Speaker 1>the audience's mouth, especially in this country. You know, watching

0:52:46.080 --> 0:52:48.560
<v Speaker 1>movies where they're like, oh, what a bit she was

0:52:48.600 --> 0:52:51.920
<v Speaker 1>and poured Cameron Diaz and blah blah blah blah blah,

0:52:51.960 --> 0:52:55.200
<v Speaker 1>which is like ridiculous, because for a character to be

0:52:55.520 --> 0:52:59.160
<v Speaker 1>interesting and dynamic and multidimensional, they have to have flaws

0:52:59.520 --> 0:53:02.680
<v Speaker 1>like which is probably part of why so many female

0:53:02.719 --> 0:53:06.040
<v Speaker 1>characters are underwritten and underdeveloped, because they're like, well, I

0:53:06.400 --> 0:53:10.000
<v Speaker 1>have a very vague and limited understanding of women as

0:53:10.040 --> 0:53:14.560
<v Speaker 1>a male screenwriter. So she's this person who's nice, and

0:53:14.640 --> 0:53:18.920
<v Speaker 1>she's nice, and that's all she is. She's but also

0:53:19.040 --> 0:53:23.160
<v Speaker 1>she's hot, and if she's not nice, then she's right right,

0:53:23.200 --> 0:53:26.239
<v Speaker 1>not hot enough that because then she's because then she's unrelatable.

0:53:28.800 --> 0:53:31.200
<v Speaker 1>But if she is, then she's the villain, and then

0:53:31.360 --> 0:53:34.399
<v Speaker 1>that's her only quality. Also is that she's mean. That's

0:53:34.400 --> 0:53:36.400
<v Speaker 1>not how people are. They don't have just one quality.

0:53:37.400 --> 0:53:42.680
<v Speaker 1>I have to and they're under my shirt. We're back

0:53:42.719 --> 0:53:45.080
<v Speaker 1>to that again. Oh that. The first thing I wanted

0:53:45.080 --> 0:53:47.520
<v Speaker 1>to say was like, it'd be great if they really

0:53:47.880 --> 0:53:50.000
<v Speaker 1>made it. Well, who knows what they'll do with the sequel,

0:53:50.160 --> 0:53:52.920
<v Speaker 1>But it's like for it to be a true redemption

0:53:53.040 --> 0:53:55.960
<v Speaker 1>story because it's like making an amend's isn't just saying

0:53:56.000 --> 0:53:58.799
<v Speaker 1>I'm sorry. To make an amend's means to make something right,

0:53:59.280 --> 0:54:01.200
<v Speaker 1>like how can I fix this? How can I make

0:54:01.239 --> 0:54:04.879
<v Speaker 1>this right? And that's very compelling, I think, And with

0:54:05.040 --> 0:54:06.920
<v Speaker 1>you know, the majority of the leads in the New

0:54:06.960 --> 0:54:09.960
<v Speaker 1>One being female, that should be quite interesting if they

0:54:09.960 --> 0:54:12.400
<v Speaker 1>take that approach of like you know, writing or wrong.

0:54:12.800 --> 0:54:15.440
<v Speaker 1>The other thing I was going to say was maybe

0:54:15.560 --> 0:54:18.359
<v Speaker 1>for me, the most sexist part of the movie was

0:54:18.440 --> 0:54:21.600
<v Speaker 1>the fact that the other three take their shirts off,

0:54:21.880 --> 0:54:25.520
<v Speaker 1>but Julie Roberts has to keep her bra on because

0:54:25.560 --> 0:54:28.920
<v Speaker 1>she's a lady, and not for sexual reason but for

0:54:28.920 --> 0:54:33.359
<v Speaker 1>sure scientific purposes, Like they have to shock her. They

0:54:33.360 --> 0:54:37.600
<v Speaker 1>put those pads on her bra it would burst into flames.

0:54:38.760 --> 0:54:42.040
<v Speaker 1>Who didn't think of that? Yeah, And it's like there's

0:54:42.040 --> 0:54:43.759
<v Speaker 1>like a metal coil in it, Like it would have

0:54:43.800 --> 0:54:49.560
<v Speaker 1>been a disaster. They would have blown up the art.

0:54:49.640 --> 0:54:53.400
<v Speaker 1>She was not to them in that respect, she couldn't

0:54:53.440 --> 0:54:57.400
<v Speaker 1>be bare chest. Um, I mean that might be because

0:54:57.440 --> 0:55:02.319
<v Speaker 1>of like probably no contract and like they could have

0:55:02.360 --> 0:55:05.960
<v Speaker 1>implied right, oh sure, sure, And I think just like

0:55:06.000 --> 0:55:09.880
<v Speaker 1>the legistical blockbuster rating system. I think, well, this wasn't R,

0:55:10.040 --> 0:55:12.759
<v Speaker 1>wasn't it. It must have been. It must have been

0:55:13.000 --> 0:55:20.960
<v Speaker 1>said fucking little boys murdered, scary forgiving, But you're right

0:55:21.360 --> 0:55:23.759
<v Speaker 1>with um. Even Kevin Bacon, who was the only one

0:55:23.800 --> 0:55:28.000
<v Speaker 1>who's sort of actively pursues trying to redeem himself. All

0:55:28.040 --> 0:55:30.239
<v Speaker 1>he does is to same, sorry, sorry, right, And then

0:55:30.239 --> 0:55:32.440
<v Speaker 1>she says like, I forgive you because I'm nice. I'm

0:55:32.440 --> 0:55:35.279
<v Speaker 1>a woman and I'm nice. Right. Yeah. Also, and then

0:55:35.280 --> 0:55:38.040
<v Speaker 1>we just see like she has a greenhouse. She's fine,

0:55:39.239 --> 0:55:42.719
<v Speaker 1>she's killing it. And then she even I'm not in

0:55:42.840 --> 0:55:45.799
<v Speaker 1>med school, but I have a greenhouse, and he's like

0:55:46.239 --> 0:55:48.960
<v Speaker 1>she likes running in with like stacks of twins. She's like, mom,

0:55:49.000 --> 0:55:52.319
<v Speaker 1>where should I put all this money? It will need it,

0:55:52.360 --> 0:55:55.920
<v Speaker 1>we don't need it. It was rated R. There you

0:55:56.040 --> 0:56:00.239
<v Speaker 1>go restricted. Okay, Well then they couldn't. Then then my

0:56:00.239 --> 0:56:04.680
<v Speaker 1>my breast argument falls apart. Let's discuss whether or not

0:56:04.760 --> 0:56:08.320
<v Speaker 1>the movie passes the Bechtel test based on the assumption

0:56:08.360 --> 0:56:12.080
<v Speaker 1>that the old lady has Mrs Malcolm Powder what's her name?

0:56:13.760 --> 0:56:17.680
<v Speaker 1>Mrs Antler is Antler, So then in that case it passes.

0:56:17.719 --> 0:56:20.560
<v Speaker 1>In the first scene with two women. The woman she

0:56:20.640 --> 0:56:23.120
<v Speaker 1>talks to in that first scene when she's interviewing those people,

0:56:23.280 --> 0:56:26.160
<v Speaker 1>that first lady is not named. Oh sorry, I was

0:56:26.200 --> 0:56:29.719
<v Speaker 1>referring to the old woman. Is the first scene that

0:56:29.760 --> 0:56:33.120
<v Speaker 1>passed for me? Got it even before that, when she's

0:56:33.200 --> 0:56:35.560
<v Speaker 1>interviewing the two women, we don't there are two women

0:56:35.600 --> 0:56:38.879
<v Speaker 1>there in addition to them. Do we get the younger

0:56:38.920 --> 0:56:42.920
<v Speaker 1>one of them is Terry name. Terry's like, I saw

0:56:42.920 --> 0:56:44.279
<v Speaker 1>a light in a tunnel in a chariot and it

0:56:44.920 --> 0:56:47.920
<v Speaker 1>was beautiful. And she's like, Terry, Terry, you need to

0:56:47.920 --> 0:56:51.080
<v Speaker 1>get off your medication. But maybe that one doesn't count

0:56:51.080 --> 0:56:53.560
<v Speaker 1>because they were kind of talking about God and as

0:56:53.560 --> 0:56:57.319
<v Speaker 1>everyone knows God as a man, let's get into it.

0:56:58.239 --> 0:57:01.640
<v Speaker 1>I want this episode to be four hours. Uh. And

0:57:01.680 --> 0:57:04.000
<v Speaker 1>then in the scene after that, it passes again because

0:57:04.520 --> 0:57:07.360
<v Speaker 1>Julia and Edna and there's like, there's trouble in the

0:57:07.360 --> 0:57:09.080
<v Speaker 1>e er and she's like, why are you always asking

0:57:09.080 --> 0:57:11.239
<v Speaker 1>her patients about death? And Julie's like, I'm going to

0:57:11.280 --> 0:57:15.120
<v Speaker 1>be late for class, thanks edenough. But she's always asking

0:57:15.160 --> 0:57:17.240
<v Speaker 1>people about death because of her dad. And her dad's

0:57:17.240 --> 0:57:19.160
<v Speaker 1>a man, right, So it all comes back to it

0:57:19.480 --> 0:57:21.440
<v Speaker 1>comes back to men and there's men in there, and

0:57:21.480 --> 0:57:23.760
<v Speaker 1>there's trouble in the r and men cause all the trouble.

0:57:25.560 --> 0:57:27.800
<v Speaker 1>You raise some excellent points. I think all of her

0:57:27.840 --> 0:57:33.280
<v Speaker 1>scenes with Mrs Death pass Mrs Death yes, because she's like,

0:57:33.360 --> 0:57:35.000
<v Speaker 1>I don't want to be buried on a Saturday. It

0:57:35.000 --> 0:57:37.760
<v Speaker 1>caused a hundred and fifty dollars more. Is it bad

0:57:37.800 --> 0:57:39.920
<v Speaker 1>that by the end of was like, die already, and

0:57:39.920 --> 0:57:41.800
<v Speaker 1>then like when she's dad, I was like good. It

0:57:41.840 --> 0:57:44.080
<v Speaker 1>seems like she wanted to be dead for them. When

0:57:44.160 --> 0:57:46.160
<v Speaker 1>Julia Robert sister, are you doing much better today? The

0:57:46.200 --> 0:57:51.840
<v Speaker 1>woman looks at it like, fuck you, I have wanted

0:57:51.960 --> 0:57:55.040
<v Speaker 1>to die. It is incredible though thinking about it, that

0:57:55.120 --> 0:57:58.680
<v Speaker 1>she doesn't even like the go to cliche would be

0:57:58.720 --> 0:58:01.600
<v Speaker 1>her talking about like her husband. Yeah. I think that

0:58:01.600 --> 0:58:04.000
<v Speaker 1>that does end up being a weird character because it

0:58:04.080 --> 0:58:06.880
<v Speaker 1>seems like she would be like the classic like old

0:58:06.960 --> 0:58:11.760
<v Speaker 1>person character to teach someone right. But it is also

0:58:11.920 --> 0:58:14.640
<v Speaker 1>it probably wouldn't work if she was talking about seeing

0:58:14.880 --> 0:58:19.160
<v Speaker 1>Edgar again or whatever, because then she is in the

0:58:19.160 --> 0:58:22.280
<v Speaker 1>way the character exists in the movie. She is not

0:58:22.400 --> 0:58:25.600
<v Speaker 1>looking forward to die, but she's also like I just

0:58:25.640 --> 0:58:28.120
<v Speaker 1>want to get it fucking over with well. She even

0:58:28.160 --> 0:58:30.440
<v Speaker 1>said she's like I told everyone I loved them, Like

0:58:30.520 --> 0:58:32.680
<v Speaker 1>she makes it sound like I did all the stuff

0:58:33.320 --> 0:58:36.520
<v Speaker 1>I'm thinking about my burial, like right, and then she

0:58:36.560 --> 0:58:41.400
<v Speaker 1>mentions like voices telling her different. And then after she

0:58:41.440 --> 0:58:44.640
<v Speaker 1>dies and Julia comes back to discover that, she talks

0:58:44.720 --> 0:58:47.200
<v Speaker 1>to Edna again and says, I wanted to tell her

0:58:47.240 --> 0:58:49.360
<v Speaker 1>the voices we're wrong. There's nothing beautiful out there, because

0:58:49.360 --> 0:58:56.480
<v Speaker 1>this is after rachel name flatlined and like, you can go,

0:58:56.640 --> 0:58:59.840
<v Speaker 1>daddy if that was their last conversation. She's like, actually

0:59:00.080 --> 0:59:05.520
<v Speaker 1>should be very afraid. What if when Julie Roberts dies

0:59:05.640 --> 0:59:10.280
<v Speaker 1>she actually sees the movie Ghost Dad, that's a punishment

0:59:10.960 --> 0:59:14.680
<v Speaker 1>in the theater. Why my mom and I were going

0:59:14.720 --> 0:59:18.880
<v Speaker 1>to the movies? It was impossible to know. Yeah, the

0:59:18.960 --> 0:59:25.920
<v Speaker 1>point though about Flatliners is and then so Kevin Magant

0:59:26.120 --> 0:59:30.040
<v Speaker 1>on the Flatliners passes the Bechtel tests, like in four

0:59:30.080 --> 0:59:32.440
<v Speaker 1>different scenes, it does. I feel like this is just

0:59:32.480 --> 0:59:36.600
<v Speaker 1>another It's not outwardly hateful of women for them, even

0:59:36.600 --> 0:59:41.120
<v Speaker 1>though it's often very very misguided. But the problem, or

0:59:41.160 --> 0:59:44.800
<v Speaker 1>most of the Bechtel test problem stems from there's only

0:59:44.840 --> 0:59:49.280
<v Speaker 1>one female with any significant screen Time, which is every

0:59:49.320 --> 0:59:54.240
<v Speaker 1>blockbuster from the beginning of Time. There's a few exceptions,

0:59:54.240 --> 0:59:56.480
<v Speaker 1>but well, I mean there are exceptions, but like that's

0:59:56.560 --> 0:59:59.000
<v Speaker 1>I wonder if if if you broke it down like

0:59:59.440 --> 1:00:04.280
<v Speaker 1>per per person, there's probably more women have lines in

1:00:04.320 --> 1:00:12.040
<v Speaker 1>the movie overall than men. It's the tertiary definitely. Like

1:00:12.160 --> 1:00:15.600
<v Speaker 1>I'll go one further, they all fucked Billy Baldwin, and

1:00:15.640 --> 1:00:18.680
<v Speaker 1>there's and there's also like very long scenes in this

1:00:18.800 --> 1:00:21.120
<v Speaker 1>movie that are all men, where I feel like the

1:00:21.240 --> 1:00:24.960
<v Speaker 1>exchanges we're referencing are generally excited, with the exception of

1:00:25.040 --> 1:00:29.360
<v Speaker 1>Julia Roberts and Mrs Death are generally pretty quick scenes. Totally.

1:00:29.680 --> 1:00:31.720
<v Speaker 1>I mean, it's not a women's movie. No, it's a

1:00:31.800 --> 1:00:36.640
<v Speaker 1>Joel Schumacher movie. It's a dumb movie. With that, let's

1:00:36.720 --> 1:00:38.680
<v Speaker 1>rate it on our nipple scale, where we rate the

1:00:38.720 --> 1:00:41.000
<v Speaker 1>movie based on its portrayal of women on a scale

1:00:41.040 --> 1:00:44.040
<v Speaker 1>of zero to five nipples. I'm going to give it

1:00:44.600 --> 1:00:48.880
<v Speaker 1>to I think because Rachel Menaces character if you just

1:00:48.920 --> 1:00:52.080
<v Speaker 1>isolate her and her only thinking about her and her

1:00:52.120 --> 1:00:55.320
<v Speaker 1>portrayal is pretty good, especially just because in the scenes

1:00:55.320 --> 1:00:58.280
<v Speaker 1>where they're flatlining each other and then reviving each other,

1:00:58.520 --> 1:01:02.720
<v Speaker 1>she's doing important things. She's pretty crucial to those scenes

1:01:02.920 --> 1:01:06.160
<v Speaker 1>in that process. However, it did really bother me that

1:01:06.240 --> 1:01:09.960
<v Speaker 1>hers was the only sin that was completely passive and

1:01:10.000 --> 1:01:11.880
<v Speaker 1>she didn't have to actively do anything to try to

1:01:11.880 --> 1:01:14.800
<v Speaker 1>redeem herself. I don't know if that choice was deliberate,

1:01:14.880 --> 1:01:18.040
<v Speaker 1>but based on our conversation of like, people don't like

1:01:18.200 --> 1:01:21.880
<v Speaker 1>female characters when they do bad things because we hate

1:01:21.880 --> 1:01:27.040
<v Speaker 1>women as a society. Yeah, that was a great point there.

1:01:27.680 --> 1:01:30.479
<v Speaker 1>It's very hard to redeem a woman, it is, and

1:01:30.480 --> 1:01:32.120
<v Speaker 1>and that and then the fact that it goes into

1:01:32.160 --> 1:01:36.320
<v Speaker 1>your own personal experience is significant as well. I think that. Yeah. Yeah,

1:01:36.560 --> 1:01:40.840
<v Speaker 1>and then also the fact that they completely the most

1:01:41.200 --> 1:01:45.200
<v Speaker 1>le we love letting we love McCarthy ism is what

1:01:45.240 --> 1:01:50.600
<v Speaker 1>I would do. I'm sorry finishing I forgot I had

1:01:50.600 --> 1:01:54.320
<v Speaker 1>one new rule I wanted. Great, great um, but I

1:01:54.400 --> 1:01:58.160
<v Speaker 1>also not great that the movie mostly glasses over the

1:01:58.160 --> 1:02:01.600
<v Speaker 1>fact that Billy Baldwin's character is a sex criminal, and

1:02:01.640 --> 1:02:06.280
<v Speaker 1>they's not addressed when you're a rabist, but it's cute,

1:02:07.040 --> 1:02:13.200
<v Speaker 1>you're just a little pervert videotaping a partner and not

1:02:13.320 --> 1:02:16.280
<v Speaker 1>letting them know. Like that's well, whether whether they know

1:02:16.400 --> 1:02:19.400
<v Speaker 1>or extremely illegal. But like what a problem that is

1:02:19.800 --> 1:02:23.440
<v Speaker 1>now with the internet, like the you know, shaming ex

1:02:23.520 --> 1:02:28.880
<v Speaker 1>girlfriends and all that bullshit. Yeah yeah, an early pioneer

1:02:29.320 --> 1:02:32.920
<v Speaker 1>revenge that in itself would have been an interesting movie

1:02:33.080 --> 1:02:37.840
<v Speaker 1>just exploring him, like videotaping sex without the partner's consent,

1:02:38.000 --> 1:02:42.160
<v Speaker 1>and then him and then all the women him because

1:02:42.200 --> 1:02:46.400
<v Speaker 1>of it. While we're on. Okay, so this does interesting.

1:02:47.720 --> 1:02:51.080
<v Speaker 1>This does to tell into my my rule, which which

1:02:51.080 --> 1:02:53.120
<v Speaker 1>I've I have thought about before, I don't think I've

1:02:53.120 --> 1:02:55.960
<v Speaker 1>ever brought it up before, is the rule of if

1:02:56.000 --> 1:03:00.520
<v Speaker 1>you take an attractive actor who is perhaps committing sex

1:03:00.640 --> 1:03:04.959
<v Speaker 1>crimes or being a very you know, like using toxic masculinity,

1:03:05.200 --> 1:03:07.920
<v Speaker 1>swap him out with Steve Bushemmy, how does the movie change.

1:03:08.240 --> 1:03:12.440
<v Speaker 1>It's the new rule. I thought of it after rewatching

1:03:12.560 --> 1:03:16.880
<v Speaker 1>Drive replays Gosling with bushem and it is a completely

1:03:16.920 --> 1:03:20.840
<v Speaker 1>different movie about an unhanded, fucking MANI like, if you

1:03:20.880 --> 1:03:23.200
<v Speaker 1>take out a sexy person and put Steve bush Emmy

1:03:23.360 --> 1:03:27.320
<v Speaker 1>in the role, in a toxic like male role, the

1:03:27.400 --> 1:03:31.200
<v Speaker 1>movie changes a thousand percent. All Billy Baldwin is the character.

1:03:32.160 --> 1:03:34.680
<v Speaker 1>All I can picture is like Steve bushemy not having

1:03:34.760 --> 1:03:38.919
<v Speaker 1>sex and then turning and smiling at the camera. It's

1:03:39.000 --> 1:03:41.720
<v Speaker 1>totally different. But I feel like that has to be

1:03:42.200 --> 1:03:44.840
<v Speaker 1>that should be applied because it's like, just because Billy

1:03:44.920 --> 1:03:47.280
<v Speaker 1>Baldwin has I mean, I think he has a very

1:03:47.320 --> 1:03:51.360
<v Speaker 1>weird face, but like because he is attractive, the rules

1:03:51.480 --> 1:03:54.760
<v Speaker 1>changed for him in something, or it's cute. I don't know.

1:03:55.080 --> 1:03:57.000
<v Speaker 1>Maybe it's just me, but it's like he's too good

1:03:57.040 --> 1:04:00.760
<v Speaker 1>looking for me to root for, right, Like I get

1:04:00.880 --> 1:04:03.960
<v Speaker 1>that mindset. But it's also he's just he's the least

1:04:04.000 --> 1:04:07.160
<v Speaker 1>likable character in the movie for me, because I just

1:04:07.200 --> 1:04:10.200
<v Speaker 1>think what he's like white Key for the least. But

1:04:10.200 --> 1:04:13.040
<v Speaker 1>but I think that, but I feel like he doesn't

1:04:13.040 --> 1:04:15.520
<v Speaker 1>even smile the whole movie with Keyfer, You're just like,

1:04:15.560 --> 1:04:18.040
<v Speaker 1>what the fucking And he's like, you know, he's the

1:04:18.080 --> 1:04:21.640
<v Speaker 1>tortured artist, brilliant genius going to explore the blah blah blah,

1:04:21.680 --> 1:04:23.480
<v Speaker 1>and then he turns out he killed a kid and

1:04:23.480 --> 1:04:25.600
<v Speaker 1>he's a bully. But it's also how does he not

1:04:25.720 --> 1:04:28.640
<v Speaker 1>end up completely brain dead after being dead for twelve minutes,

1:04:28.760 --> 1:04:31.680
<v Speaker 1>No doubt, I wish he had died. He should, he should,

1:04:32.480 --> 1:04:34.280
<v Speaker 1>and then in the sequel he would just be like

1:04:34.320 --> 1:04:37.840
<v Speaker 1>a like a vegetable, just like kind of types with

1:04:37.880 --> 1:04:40.600
<v Speaker 1>a few fingers. And that's how the the new med

1:04:40.640 --> 1:04:43.040
<v Speaker 1>school students have to communicate with them. And he's trying

1:04:43.040 --> 1:04:45.680
<v Speaker 1>to tell them, don't do this, look at what happened

1:04:45.720 --> 1:04:48.200
<v Speaker 1>to me, and they're just like, but we gotta be on.

1:04:48.680 --> 1:04:51.360
<v Speaker 1>I think he's telling someone to touch up his blonde roots.

1:04:52.240 --> 1:04:55.280
<v Speaker 1>Someone dye this man's hair. But that's a new rule

1:04:55.320 --> 1:04:58.720
<v Speaker 1>we can use at our discretion that the Boushemi substitution.

1:04:59.440 --> 1:05:01.640
<v Speaker 1>I like it. I like it a lot. By the way,

1:05:01.760 --> 1:05:04.800
<v Speaker 1>um my two nipples that I've awarded oh yes to

1:05:04.880 --> 1:05:08.480
<v Speaker 1>the movie belonged to Oliver Platt, because he does not

1:05:10.240 --> 1:05:12.160
<v Speaker 1>Those were yours. Now I'm going to give my a

1:05:14.720 --> 1:05:17.440
<v Speaker 1>someone else should rate the movie. I was thinking two

1:05:17.520 --> 1:05:21.640
<v Speaker 1>and a half nipples. Julie Roberts character is the smartest

1:05:21.680 --> 1:05:24.360
<v Speaker 1>of the crew. They keep saying at every point they

1:05:24.360 --> 1:05:26.919
<v Speaker 1>can't do it without her. I give my I give

1:05:26.960 --> 1:05:28.880
<v Speaker 1>two of them to Julia, and then half one to

1:05:29.680 --> 1:05:32.880
<v Speaker 1>the dead Lady big Up, Mrs Death, Mrs Deaf, and

1:05:33.000 --> 1:05:39.600
<v Speaker 1>Mrs Death Fire half a withered nipple. I'm going to

1:05:39.680 --> 1:05:42.200
<v Speaker 1>give it to as well, for pretty much all the

1:05:42.200 --> 1:05:46.400
<v Speaker 1>reasons stated I think Matt's point really about about the

1:05:46.480 --> 1:05:50.240
<v Speaker 1>female character and needing to be likable. Put Julia roberts

1:05:50.280 --> 1:05:53.160
<v Speaker 1>Ark in perspective for me a lot and Robert the

1:05:53.200 --> 1:05:55.360
<v Speaker 1>movie of Half of a Nipple, because she is the

1:05:55.400 --> 1:05:59.320
<v Speaker 1>most capable, but she's also sort of given the least

1:05:59.440 --> 1:06:05.200
<v Speaker 1>dimension because she cannot be seen as unlikable or two flawed. Um,

1:06:05.680 --> 1:06:08.240
<v Speaker 1>her arc is the least archie. It's like a more

1:06:08.280 --> 1:06:17.000
<v Speaker 1>of just a flat line. Hey, uh so I'm going

1:06:17.080 --> 1:06:19.440
<v Speaker 1>to give my two amples today Alfred Molina and let

1:06:19.440 --> 1:06:21.800
<v Speaker 1>me let me just really quick look up. I have

1:06:21.920 --> 1:06:27.360
<v Speaker 1>to assume he was Oliver platfor Let's let me speculate

1:06:27.480 --> 1:06:29.680
<v Speaker 1>on perhaps what he was doing instead. This is my

1:06:29.720 --> 1:06:34.600
<v Speaker 1>favorite part. What was too old to be in med school? No?

1:06:34.880 --> 1:06:38.480
<v Speaker 1>He no, because he was so well, I don't know.

1:06:38.600 --> 1:06:41.480
<v Speaker 1>Plant was born nineteen sixty, Wily was born fifty three.

1:06:41.480 --> 1:06:44.240
<v Speaker 1>But he's a character actor doesn't really matter. Okay, here's

1:06:44.280 --> 1:06:47.560
<v Speaker 1>something he might have been doing instead. This is maybe

1:06:47.760 --> 1:06:52.280
<v Speaker 1>he was shooting Not Without my Daughter, or maybe he

1:06:52.320 --> 1:06:55.360
<v Speaker 1>was shooting the movie American Friends, or maybe he was

1:06:55.400 --> 1:06:58.320
<v Speaker 1>on the press tour for Rescuers Speaking, in which he

1:06:58.360 --> 1:07:01.560
<v Speaker 1>played Italian priest. Or maybe he was just playing one

1:07:01.600 --> 1:07:06.360
<v Speaker 1>of his many famous Shakespearean stage roles. Either way, he

1:07:06.440 --> 1:07:10.680
<v Speaker 1>was too fucking busy, so they threw platy bone. I

1:07:10.760 --> 1:07:13.120
<v Speaker 1>forget where I was, but I don't even know if

1:07:13.120 --> 1:07:14.760
<v Speaker 1>I met him, but he was just there and we

1:07:14.760 --> 1:07:17.680
<v Speaker 1>were like, oh my god, that's so Excitedly, where do

1:07:17.680 --> 1:07:21.200
<v Speaker 1>you You don't know, you don't remember where. I really can't.

1:07:21.240 --> 1:07:23.480
<v Speaker 1>We might have even had an exchange, but I honestly

1:07:23.560 --> 1:07:27.480
<v Speaker 1>can't remember. Well if you, if you remember, let us

1:07:27.480 --> 1:07:30.960
<v Speaker 1>know because we're always looking for him. Hey, Matt, thank

1:07:31.000 --> 1:07:33.320
<v Speaker 1>you so much for being our guests. Yeah, thank you,

1:07:33.480 --> 1:07:36.000
<v Speaker 1>thanks for having me. Of course, where can people find

1:07:36.000 --> 1:07:38.640
<v Speaker 1>you online? They can go to This is Matt McCarthy

1:07:38.680 --> 1:07:40.680
<v Speaker 1>dot com for all your Matt McCarthy needs, or you

1:07:40.680 --> 1:07:43.160
<v Speaker 1>can follow me on all forms of social media at

1:07:43.240 --> 1:07:47.040
<v Speaker 1>McCarthy redhead, Twitter, Instagram, Snapchat, and uh go to We

1:07:47.120 --> 1:07:50.800
<v Speaker 1>watch Wrestling Podcast dot com new episodes every Wednesday at

1:07:50.840 --> 1:07:55.320
<v Speaker 1>three am. Excellent. We just got back from New York

1:07:55.320 --> 1:08:03.880
<v Speaker 1>City celebrating our fourth anniversary. Congratulations, Thank you so much. You.

1:08:04.040 --> 1:08:08.479
<v Speaker 1>Oh you should go girls, You should go to women Ladies, Yeah,

1:08:08.840 --> 1:08:11.400
<v Speaker 1>you should go to It's so fuzzy marauders. There's just

1:08:11.480 --> 1:08:16.639
<v Speaker 1>no there's just no good equivalent to guys. I like gals.

1:08:18.439 --> 1:08:20.320
<v Speaker 1>It's a little it's a little bit kind of saying,

1:08:20.360 --> 1:08:27.640
<v Speaker 1>but I'm into it. Ladies works, but there is something formal. Gentlewoman, gentlewoman,

1:08:28.160 --> 1:08:31.880
<v Speaker 1>I prefer what's up, bitch? So you bet you should

1:08:31.960 --> 1:08:37.759
<v Speaker 1>check out I just noticed um on the Professional Wrestling

1:08:37.800 --> 1:08:44.439
<v Speaker 1>to September seven in Baldwin Park is Bar Wrestling is

1:08:44.479 --> 1:08:46.960
<v Speaker 1>having their fourth show and I was looking at the

1:08:47.000 --> 1:08:51.040
<v Speaker 1>announced lineup. So so far there are more female wrestlers

1:08:51.080 --> 1:08:55.040
<v Speaker 1>booked on the show than male wrestlers. Here you go,

1:08:55.200 --> 1:08:57.799
<v Speaker 1>and the and the the Queen of inter gender wrestling,

1:08:57.840 --> 1:09:00.360
<v Speaker 1>Candace Larey, will be in the house. Excellent. There you

1:09:00.400 --> 1:09:02.320
<v Speaker 1>go for all your wrestling fans out there that that

1:09:02.400 --> 1:09:04.320
<v Speaker 1>might mean something to you. And I haven't watched wrestling

1:09:04.360 --> 1:09:08.920
<v Speaker 1>in this year. I've never seen it. I don't know.

1:09:08.960 --> 1:09:12.200
<v Speaker 1>I think about wrestling. Are you watching Glow? No? I

1:09:12.280 --> 1:09:16.240
<v Speaker 1>intend to, but I have not started yet. Aristotle Loo single.

1:09:16.720 --> 1:09:19.160
<v Speaker 1>That's right. Go to check out my my comedy single.

1:09:19.160 --> 1:09:22.920
<v Speaker 1>Pro wrestling fan Matt McCarthy on Spotify and iTunes and

1:09:23.439 --> 1:09:30.760
<v Speaker 1>all such platforms. Very cool. You can follow us on Twitter, Instagram,

1:09:30.800 --> 1:09:33.080
<v Speaker 1>at bactol Cast. You can go to our brand spanking

1:09:33.120 --> 1:09:37.679
<v Speaker 1>new website dot com. You can also there's a spot

1:09:37.720 --> 1:09:40.160
<v Speaker 1>on our website where you can donate money to us

1:09:40.200 --> 1:09:44.040
<v Speaker 1>to help us with some of our production costs. Thank you,

1:09:44.320 --> 1:09:48.600
<v Speaker 1>please and thank you. And you can also have a

1:09:48.640 --> 1:09:51.680
<v Speaker 1>great day today. You know what, maybe not such a

1:09:51.680 --> 1:09:56.599
<v Speaker 1>good day to die after all. Perfect by