WEBVTT - Pretty Woman with Andrea Werhun and Nicole Bazuin 0:00:00.960 --> 0:00:03.920 On The Bechdel Cast. The questions asked if movies have 0:00:04.080 --> 0:00:07.920 women and them, are all their discussions just boyfriends and husbands, 0:00:08.000 --> 0:00:11.879 or do they have individualism? It's the patriarchy, zeph and 0:00:12.080 --> 0:00:15.280 best start changing it with the Bechdel Cast. 0:00:16.200 --> 0:00:20.000 Hey, Jamie, Hey, Caitlyn, look at this necklace. I got you. 0:00:20.800 --> 0:00:24.800 Wow, And that's so nice. 0:00:24.120 --> 0:00:27.960 That part of the movie was giving me cal Hockley 0:00:28.320 --> 0:00:30.360 giving the Heart of the Ocean to Rose. 0:00:30.640 --> 0:00:34.519 It is a very low stakes Heart of the Ocean. Yeah, yeah, 0:00:34.640 --> 0:00:35.559 very low stakes. 0:00:35.760 --> 0:00:38.080 Yeah, because he's just borrowing it, right, he didn't even 0:00:38.080 --> 0:00:38.720 buy it for her. 0:00:38.960 --> 0:00:42.320 It's a loner. We're not worried about where it comes from. 0:00:42.360 --> 0:00:44.320 And I think that it gets returned, you know, without 0:00:44.320 --> 0:00:47.440 a problem. I feel like it's Deis X necklace, like, 0:00:47.440 --> 0:00:48.960 but you're just like, no, it just ends up being 0:00:48.960 --> 0:00:52.360 a nice necklace. And then it snaps closed and she goes, 0:00:52.640 --> 0:00:56.880 oh with all five thousand of her teeth, and we 0:00:57.040 --> 0:00:59.080 love and worship every single one of them. 0:00:59.120 --> 0:01:02.640 We sure do. Hello and welcome to the Bechdel Cast. 0:01:02.920 --> 0:01:04.520 My name is Caitlyn Deronte. 0:01:04.440 --> 0:01:06.480 My name is Jamie Loftus, and this is our podcast 0:01:06.520 --> 0:01:08.959 where we take a look at your favorite movies using 0:01:09.000 --> 0:01:13.360 an intersectional feminist lens and using the Bechdel Test as 0:01:13.400 --> 0:01:17.399 a jumping off point for discussion. Caitlin H. What is 0:01:17.440 --> 0:01:18.360 the Bechdel Test? 0:01:18.920 --> 0:01:22.839 I'll tell you it is a mediometric created by dear 0:01:22.880 --> 0:01:25.679 friend of the show, Alison Bechdel, first appearing in her 0:01:25.680 --> 0:01:29.680 comic dis To Watch Out for It requires that for 0:01:30.400 --> 0:01:33.240 our standards, because there are many different versions of it. 0:01:33.280 --> 0:01:37.119 But for us, do two characters of a marginalized gender 0:01:37.760 --> 0:01:40.080 have names? Do they speak to each other? And is 0:01:40.120 --> 0:01:43.880 there conversation about something other than a man? And we 0:01:44.400 --> 0:01:48.640 particularly like it when it's narratively meaningful and not just 0:01:48.720 --> 0:01:51.760 throw a dialogue that could be cut from the movie 0:01:51.840 --> 0:01:53.000 and it would make no difference. 0:01:53.760 --> 0:01:56.440 So today we are covering We're sort of like I 0:01:56.440 --> 0:01:58.760 think this is sort of the theme of the tenure 0:01:58.840 --> 0:02:02.160 of the podcasting. So many movies that you would think 0:02:02.200 --> 0:02:04.440 we would have covered in the last ten years, but 0:02:04.560 --> 0:02:07.919 somehow we didn't. One of the most I think influential 0:02:07.960 --> 0:02:11.200 movies of its generation, one of the most successful movies 0:02:11.560 --> 0:02:13.800 in all of movies at the time of its release. 0:02:14.600 --> 0:02:19.240 We are at long last covering Pretty Women nineteen ninety 0:02:20.040 --> 0:02:24.359 directed by Gary Marshall and written by a writer named J. F. 0:02:24.560 --> 0:02:24.960 Lawton. 0:02:26.200 --> 0:02:29.880 I don't know, and we have two incredible guests to 0:02:30.080 --> 0:02:33.400 cover it with you. Just a little peak behind the curtain. 0:02:33.440 --> 0:02:37.880 We're recording this in the future, and I wanted to say, like, 0:02:38.480 --> 0:02:43.280 we could have talked about this movie for five consecutive hours. Yes, 0:02:43.320 --> 0:02:46.320 this is a rich, rich, rich text that there's been 0:02:46.400 --> 0:02:49.919 a lot of different reactions to over the years. There 0:02:49.960 --> 0:02:51.840 is definitely stuff we didn't have time to get to 0:02:52.000 --> 0:02:55.800 because of time constraints for this episode. If there is 0:02:55.880 --> 0:02:58.640 a perspective or I thought you had about this movie 0:02:58.760 --> 0:03:01.359 that we didn't cover in the space this episode, we'd 0:03:01.400 --> 0:03:04.600 love to hear it, either you know, reach us out 0:03:04.600 --> 0:03:07.400 to us on social media or especially if you're a 0:03:07.440 --> 0:03:10.520 member of our patreon aka Patreon. It's a fun place 0:03:10.520 --> 0:03:15.079 to have community discussion as well. Yeah. Yeah, with that, 0:03:15.320 --> 0:03:17.520 let's let's get into it. Let's get our guests in 0:03:17.560 --> 0:03:18.040 the mix. 0:03:18.360 --> 0:03:23.040 They are the filmmakers behind Modern Whore, director Nicole Design 0:03:23.280 --> 0:03:30.040 and writer performer Andrea Warehan. Welcome, Hey, thanks so much 0:03:30.080 --> 0:03:30.960 for being here. 0:03:31.320 --> 0:03:33.640 Yeah, we're so excited to be talking to you about 0:03:33.639 --> 0:03:36.760 this movie and to be talking to you about your 0:03:36.920 --> 0:03:40.120 movie congratulations. 0:03:39.240 --> 0:03:42.480 Thank you so much. Thanks for having us. We're so excited. 0:03:42.720 --> 0:03:46.080 Of course, the pleasure is all ours. Let our listeners 0:03:46.160 --> 0:03:48.839 know a little bit more about the documentary and sort 0:03:48.840 --> 0:03:51.200 of how it came together over the years. 0:03:51.640 --> 0:03:56.560 Yeah, So, Modern Whore is a hybrid documentary directed by 0:03:56.560 --> 0:04:01.920 myself and co created with Andrea Ware, who is the subject. 0:04:02.120 --> 0:04:07.080 Slash star because this is a hybrid documentary where she 0:04:07.200 --> 0:04:10.600 not only talks to you know, the audience about her 0:04:10.640 --> 0:04:15.320 experiences as a es scort and stripper working in Toronto, 0:04:15.680 --> 0:04:19.880 she also acts out those experiences in a series of 0:04:20.279 --> 0:04:25.560 highly stylized reenactments that really run the gamut from humorous 0:04:25.680 --> 0:04:31.400 to uncomfortable to sad or scary, but ultimately that we 0:04:31.520 --> 0:04:36.440 want to be joyful and offer something new in terms 0:04:36.440 --> 0:04:37.720 of sex work representation. 0:04:38.279 --> 0:04:43.960 Yeah, it's really enjoyable and affecting to watch. We're curious 0:04:44.120 --> 0:04:47.600 because at the top of the documentary you say that 0:04:48.120 --> 0:04:52.080 in movies, books, media, in general, sex workers are usually 0:04:52.120 --> 0:04:55.760 depicted as either victims or villains. And because our show 0:04:55.800 --> 0:04:59.520 is all about representation and media, could you talk a 0:04:59.520 --> 0:05:03.280 little bit more about your impressions of the way sex 0:05:03.320 --> 0:05:08.560 workers are represented on screen. Traditionally, historically, et cetera. 0:05:09.360 --> 0:05:12.240 Yeah, it's not pretty. 0:05:13.680 --> 0:05:17.520 It's not pretty woman, it's woman, and. 0:05:17.520 --> 0:05:20.760 The hooker usually ends up dead or is the punchline 0:05:21.360 --> 0:05:24.599 or is you know, pretty woman. Obviously we've got the 0:05:24.600 --> 0:05:26.400 hooker with a heart gold story, but we've also got 0:05:26.400 --> 0:05:27.800 a hooker in a dumpster. 0:05:28.000 --> 0:05:28.600 At the beginning. 0:05:28.640 --> 0:05:30.760 Yeah, yeah, right at the beginning to set us up, 0:05:30.839 --> 0:05:33.240 like that's what we expect when we see sex workers 0:05:33.279 --> 0:05:35.839 on screen. So yeah, I think that that's like the 0:05:35.960 --> 0:05:41.360 general sort of range of depictions that we see from 0:05:41.880 --> 0:05:47.960 the brains of voyeuristic civilians with their nefarious intentions. When 0:05:48.000 --> 0:05:52.400 it comes to depicting us on screen, we're we're like 0:05:52.480 --> 0:05:55.640 manic pixie dream whorees. You know, we show up to 0:05:55.720 --> 0:05:58.120 further the plot, but we don't actually ever get our 0:05:58.120 --> 0:06:01.960 own stories. We don't have nuanced it's very like one 0:06:02.080 --> 0:06:04.159 note and yeah, we usually end up dead. 0:06:04.960 --> 0:06:09.240 Totally, so many tropes, so many you know, the object 0:06:09.240 --> 0:06:11.040 of the punchline kind of thing. 0:06:11.600 --> 0:06:15.279 And you use the documentary to sort of expand I 0:06:15.279 --> 0:06:17.800 mean bringing in your friends who are sex workers and 0:06:17.839 --> 0:06:23.279 also just a diverse group of perspectives in sex work specifically. Yeah, 0:06:23.320 --> 0:06:26.520 how did that come together? And I don't know, I 0:06:26.800 --> 0:06:30.599 really appreciated that there was, especially after watching Pretty Woman, 0:06:30.760 --> 0:06:35.560 a diverse group of sex workers and artists with Nuance 0:06:35.640 --> 0:06:39.360 and you know, like just all this and everyone's so funny. Anyways, 0:06:40.000 --> 0:06:42.200 what was it like sort of bringing this group together 0:06:42.320 --> 0:06:46.640 for the movie and kind of revisiting this period of 0:06:46.640 --> 0:06:47.160 your life. 0:06:47.560 --> 0:06:49.880 Well, I'm happy to say that, you know, all of 0:06:49.880 --> 0:06:51.839 those sex workers that are featured in the film are 0:06:52.279 --> 0:06:55.960 people have collaborated with artistically in the past, and they're friends. 0:06:56.000 --> 0:06:58.480 So like, there are people that I know. They're not 0:06:58.600 --> 0:07:02.400 just you know, figures of representation to be dropped into 0:07:02.440 --> 0:07:05.279 the film to check a box, you know, their real 0:07:05.320 --> 0:07:07.960 life people that I know that are making art or 0:07:08.279 --> 0:07:11.480 you know, living their lives and doing advocacy and also 0:07:11.520 --> 0:07:15.040 come to this work with you know, vastly different backgrounds 0:07:15.760 --> 0:07:18.880 and experiences. But at the end of the day, what 0:07:18.880 --> 0:07:21.720 we all have in common is that we believe that 0:07:21.920 --> 0:07:24.240 each and every sex worker deserves to be treated with 0:07:24.400 --> 0:07:29.640 dignity and respect, you know, regardless of that experience. So 0:07:30.520 --> 0:07:33.120 it was great to get them all on board to 0:07:33.240 --> 0:07:35.640 be in the film, you know, pretty early on in 0:07:35.680 --> 0:07:39.760 the process, and those interviews in the film arise out 0:07:39.760 --> 0:07:42.560 of you know, continuous conversations with them about what they 0:07:42.560 --> 0:07:46.040 feel comfortable talking about on screen. You know, what we 0:07:46.120 --> 0:07:50.280 wanted to bring to life in the movie. What were 0:07:50.320 --> 0:07:53.000 the topics related to sex work that we never get 0:07:53.000 --> 0:07:56.760 to see on screen? And you know, all of those 0:07:56.760 --> 0:08:01.119 sex workers brought something of themselves and what they feel 0:08:01.120 --> 0:08:03.360 like they never get to see to the movie, which 0:08:03.400 --> 0:08:06.120 is you know, enormously incredible. And I think it was 0:08:06.520 --> 0:08:09.800 really important since this was an adaptation of my memoir. 0:08:11.000 --> 0:08:15.240 You knows, it's a very prescient critique that I am 0:08:15.280 --> 0:08:19.640 a cis white femme who has written a sex work memoir. 0:08:19.800 --> 0:08:22.520 Like you stop me if you've heard this one. It's 0:08:22.720 --> 0:08:25.920 a common thing, and we need to be able to, 0:08:27.040 --> 0:08:31.040 you know, open the door to other sex worker experiences 0:08:31.440 --> 0:08:33.439 and other sex worker voices to be able to tell 0:08:33.480 --> 0:08:36.840 their own stories. It's extremely important and understanding that, like, 0:08:37.200 --> 0:08:39.160 I'm not going to be able to do that, and 0:08:39.240 --> 0:08:42.640 I shouldn't do that. That's not my role. I'm not 0:08:42.679 --> 0:08:46.160 here to speak for anybody. It's important for sex workers 0:08:46.200 --> 0:08:49.240 always to be able to speak for themselves totally. 0:08:49.320 --> 0:08:54.120 And it's really impressive the wide range of topics that 0:08:54.200 --> 0:09:00.920 you cover with your collaborators, colleagues, fellow sex workers. You're 0:09:01.320 --> 0:09:05.280 talking about the criminalization of sex work. You're talking about 0:09:05.600 --> 0:09:09.720 the importance of community. You're talking about not being given 0:09:09.760 --> 0:09:14.640 opportunities to meet your fellow co workers and experience solidarity 0:09:14.840 --> 0:09:18.240 in some cases. You talk about shame, you talk about 0:09:19.040 --> 0:09:22.960 romantic relationships, you talk about trauma, porn like it's there's 0:09:23.000 --> 0:09:25.880 so many and that's just the tip of the Iceberg 0:09:26.800 --> 0:09:28.440 parentheses Titanic reference. 0:09:30.240 --> 0:09:32.640 But I love it. 0:09:32.800 --> 0:09:35.240 You know what Rose was posing nude? I guess not 0:09:35.280 --> 0:09:37.000 for money, but like like one of the. 0:09:37.040 --> 0:09:40.160 French girls that she pays him exactly. 0:09:40.440 --> 0:09:45.280 Yes, yes, you're in going to bring her into the folds, right. 0:09:46.240 --> 0:09:50.680 And So, because you're such a huge advocate of the 0:09:50.720 --> 0:09:55.080 importance of sex workers telling their own stories, what are 0:09:55.240 --> 0:09:59.679 some ways you would like to see representations of sex 0:09:59.720 --> 0:10:05.079 work and sex workers in fiction, in movies and television. 0:10:05.240 --> 0:10:10.000 Yeah, And are there any specific productions movies, books, whatever 0:10:10.040 --> 0:10:12.680 it is that you're like more people should be talking 0:10:12.720 --> 0:10:13.280 about this. 0:10:13.840 --> 0:10:17.720 Yeah, definitely. I think like if we want to see 0:10:17.800 --> 0:10:21.600 representations of sex work change, we need to give decision 0:10:21.679 --> 0:10:26.200 making positions on TV and film sets. Two sex workers, 0:10:26.880 --> 0:10:30.680 you know, sex workers need to be writing their own depictions. 0:10:31.240 --> 0:10:33.360 We need to be directing these films, We need to 0:10:33.360 --> 0:10:36.640 be producing these films, editing these films. Opportunities need to 0:10:36.640 --> 0:10:39.720 be given to sex workers on any production that is 0:10:39.800 --> 0:10:42.800 about sex work. If you don't have a sex worker 0:10:42.880 --> 0:10:45.520 with decision making power on that side, I just don't 0:10:45.679 --> 0:10:49.280 think that representation is ever going to be accurate. So 0:10:49.320 --> 0:10:52.360 we need to pay sex workers to do that labor. 0:10:52.440 --> 0:10:55.520 And you know, I hope one of the sort of 0:10:56.040 --> 0:10:58.840 impacts of the film is that people understand just like 0:10:58.960 --> 0:11:01.880 how many sex workers are also artists. 0:11:01.760 --> 0:11:04.400 Totally, you know, we who can. 0:11:04.280 --> 0:11:08.400 Afford to be an artist in this economy, Like nobody's 0:11:08.480 --> 0:11:11.560 doing that? But yeah, no one, it's unless you're a 0:11:11.600 --> 0:11:14.200 NEPO baby like you come from generational wealth, like you 0:11:14.280 --> 0:11:18.000 have those connections. Good for you. Most of us have 0:11:18.120 --> 0:11:21.559 to work for a living, and sex work just presents 0:11:21.600 --> 0:11:25.160 this opportunity to make a solid amount of money in 0:11:25.200 --> 0:11:27.400 a short period of time with a flexible schedule that 0:11:27.520 --> 0:11:32.080 really works well as artists, and so there is no 0:11:32.280 --> 0:11:36.560 shortage of artistic talent. And I'm thinking about, like, you know, 0:11:36.600 --> 0:11:39.959 the labor of producing it's really not that different from 0:11:40.000 --> 0:11:43.120 being an independent sex worker, and you have to manage 0:11:43.160 --> 0:11:45.760 all of these different things at the same time you're 0:11:45.800 --> 0:11:48.480 doing all these jobs. Of course, you could be a 0:11:48.520 --> 0:11:52.080 producer on a film and one sex work shouldn't ever 0:11:52.360 --> 0:11:55.920 be a barrier to accessing these these jobs on a 0:11:55.960 --> 0:11:59.360 film set. And so I just, you know, I think 0:11:59.360 --> 0:12:02.080 that that's going to be really important for turning the 0:12:02.160 --> 0:12:06.080 page on you know, thousands of years of representation of 0:12:06.120 --> 0:12:11.120 sex work that don't involve us doing that labor. But 0:12:11.240 --> 0:12:16.120 of course, like I'm thinking about fuck Toys, like fucked Toys, amazing, 0:12:16.480 --> 0:12:22.319 amazing film Shadow to Annapurna, like truly that film is 0:12:22.520 --> 0:12:27.440 so it feels like the future of sex work cinema. 0:12:27.920 --> 0:12:29.600 And it's such a thrill to be kind of like 0:12:29.800 --> 0:12:32.439 out with our movies at the same time. And we've 0:12:32.720 --> 0:12:34.880 we've talked a lot together. We haven't been able to 0:12:34.960 --> 0:12:39.880 meet in person yet shout out to the US border forever, 0:12:40.640 --> 0:12:42.880 but you know, one day we will meet and will 0:12:42.920 --> 0:12:46.559 be so so, so so happy. But yeah, that film 0:12:46.640 --> 0:12:49.720 is like a really good example of sex workers being 0:12:49.760 --> 0:12:56.080 in charge of that representation and demonstrating just how fucking 0:12:56.120 --> 0:12:59.520 talented we are and that we have an eye that 0:12:59.520 --> 0:13:01.760 no one else has when it comes to our labor. 0:13:02.320 --> 0:13:05.200 Absolutely, we've got to cover fuck toys. 0:13:05.240 --> 0:13:08.320 It's so good good. 0:13:09.920 --> 0:13:11.920 Is there anything else you too wanted to say about 0:13:11.960 --> 0:13:14.600 your film before we chat about Pretty Woman? 0:13:15.160 --> 0:13:19.760 I will say one more thing. So our film starts 0:13:19.800 --> 0:13:23.720 with Andrea making the assertion that, you know, the typical 0:13:23.800 --> 0:13:29.120 depictions of sex work are typically victim or villain archetypes. 0:13:29.360 --> 0:13:34.560 And you know, she also offers something along the way 0:13:34.640 --> 0:13:38.480 that could be a new archetype called the fem vital 0:13:38.960 --> 0:13:43.200 as opposed to a fatal. So certainly, I think this 0:13:43.320 --> 0:13:45.560 is a film that just feels like a natural fit 0:13:45.840 --> 0:13:48.920 to have your lens on. And I'm just really excited 0:13:48.960 --> 0:13:53.840 to have had you highlight our project and think about, 0:13:54.080 --> 0:13:57.240 you know, furthering the representations of sex work and having 0:13:57.280 --> 0:14:00.199 that kind of thoughtfulness about. 0:14:00.440 --> 0:14:03.040 The way that these archetypes exist on screen. 0:14:03.480 --> 0:14:07.080 Totally. One of the closing sentiments of the documentary is 0:14:08.000 --> 0:14:12.040 wanting to move away from the representation of a sex 0:14:12.080 --> 0:14:16.040 worker needing a white knight to come and rescue them. 0:14:16.200 --> 0:14:18.319 And I don't know if that was a direct reference 0:14:18.360 --> 0:14:20.400 to pretty Women or if it was just a more 0:14:20.440 --> 0:14:24.960 of a reference to a general trope, But but it, really, 0:14:25.640 --> 0:14:26.000 I think. 0:14:25.960 --> 0:14:26.720 It can be both. 0:14:27.360 --> 0:14:30.920 Yeah, we're so we're so excited about the viv and like, 0:14:31.000 --> 0:14:32.640 truly in the first ten minutes, I was like, Oh, 0:14:32.680 --> 0:14:37.440 our listeners are going to flip for modern horror, so congratulations. 0:14:37.720 --> 0:14:38.920 I'm just like cystoked. 0:14:39.240 --> 0:14:39.640 Thank you. 0:14:40.040 --> 0:14:43.560 Yeah, let's take a quick break and then we'll come 0:14:43.640 --> 0:14:57.400 back to discuss Pretty Women and we're back. 0:14:57.760 --> 0:15:01.120 Before we get into the recap, what are your respective 0:15:01.240 --> 0:15:03.920 histories with the movie Pretty Woman. 0:15:04.800 --> 0:15:08.360 I have been reflecting on when I would have encountered 0:15:08.360 --> 0:15:10.880 this film for the first time, and I think I 0:15:10.880 --> 0:15:13.720 would have been a tween. I think I might have 0:15:13.760 --> 0:15:16.120 been twelve when I watched this for the first time, 0:15:16.320 --> 0:15:20.240 and you know, I was a kid who when I 0:15:20.320 --> 0:15:23.640 heard the Cinderella Story as a bedtime story, my immediate 0:15:23.680 --> 0:15:26.920 response was again, you know, I loved that kind of 0:15:26.960 --> 0:15:31.040 story of you know, the Cinderella story, and so I 0:15:31.080 --> 0:15:35.440 think I was certainly a prime target for that kind 0:15:35.440 --> 0:15:40.280 of film being charming, you know. And I also really 0:15:40.320 --> 0:15:44.280 loved and have always loved My Fair Lady with Audrey 0:15:44.280 --> 0:15:48.800 Hepburn from nineteen sixty four, So you know, both stories 0:15:48.840 --> 0:15:53.800 have that Cinderella element, and also both stories have that 0:15:53.880 --> 0:15:59.720 Pygmalion origin that's in there, definitely exactly. So, you know, 0:15:59.800 --> 0:16:03.000 I think that they kind of played into this core 0:16:04.520 --> 0:16:12.360 fairy tale, satisfying makeover comedy story that that I really, 0:16:13.160 --> 0:16:17.240 you know, felt into, felt engaged y. You know, you 0:16:17.360 --> 0:16:21.200 love the Roy Orbison song right off the bat. It's 0:16:21.240 --> 0:16:24.920 just so wonderful, and so to revisit that film again 0:16:25.080 --> 0:16:28.080 over the years, it becomes one of those films that's 0:16:28.120 --> 0:16:31.520 really interesting to revisit at different points in your life 0:16:31.600 --> 0:16:34.960 and see your perceptions of it evolve. 0:16:35.440 --> 0:16:38.520 Yeah, yeah, absolutely, Andrew, how about you. 0:16:39.080 --> 0:16:42.800 I don't have anything nearly as eloquent to say about 0:16:42.800 --> 0:16:47.160 my association with Pretty Woman. I don't recall ever having 0:16:47.280 --> 0:16:49.720 like a super strong reaction to it. But I also 0:16:49.960 --> 0:16:51.960 tend to have an aversion to anything I feel like 0:16:52.000 --> 0:16:55.520 I'm supposed to watch or I'm supposed to like, So 0:16:55.560 --> 0:17:00.000 there's like a bit of an avoidance there. But obviously, 0:17:00.160 --> 0:17:04.760 as a sex worker, it's the penultimate sex worker film, 0:17:05.119 --> 0:17:09.439 you know, so I feel like I felt kind of 0:17:09.480 --> 0:17:13.600 like neutral or maybe avoidant about it. Fair and rewatching 0:17:13.640 --> 0:17:16.359 it this weekend to talk about it was such a 0:17:17.080 --> 0:17:19.359 revealing experience for myself. 0:17:21.000 --> 0:17:23.000 Well, I can't wait to learn more about that. 0:17:23.560 --> 0:17:26.040 Caitlyn, what about you? What's your I actually I don't 0:17:26.080 --> 0:17:27.400 know your history with this movie. 0:17:28.160 --> 0:17:30.400 I saw it for the first time during the Great 0:17:30.480 --> 0:17:33.920 Caitlin Movie binge of two thousand and five, and then 0:17:33.960 --> 0:17:37.480 I think maybe once or twice since then, so I've 0:17:37.520 --> 0:17:40.240 seen it two or three times over the years, but 0:17:40.800 --> 0:17:43.520 it had been probably ten or fifteen years since I 0:17:43.600 --> 0:17:46.840 most recently saw it, so it was interesting to go back. 0:17:48.320 --> 0:17:50.960 You know, there are those iconic moments that everyone remembers 0:17:51.000 --> 0:17:54.240 from it, like the bubble bath scene and the like 0:17:54.359 --> 0:17:59.200 snapping the necklace case shut, all those like iconic moments, 0:17:59.240 --> 0:18:00.240 the red Dress. 0:18:00.200 --> 0:18:02.640 Big Mistake, Huge, the big Mistake Huge. 0:18:02.760 --> 0:18:04.879 I sort of forgot that that was where that came from, 0:18:04.920 --> 0:18:08.960 like I've said that, having no idea where it came from, so. 0:18:08.960 --> 0:18:13.760 I remember those. But yeah, it was definitely interesting rewatching, 0:18:14.160 --> 0:18:18.240 especially in the context of having just watched the documentary 0:18:18.320 --> 0:18:21.840 Modern Horre. So there's so much to talk about. Can't 0:18:21.840 --> 0:18:24.680 wait to do it, Jamie, what's your history with it? 0:18:25.240 --> 0:18:29.119 Andrea is similar to you, like I avoided this like 0:18:29.280 --> 0:18:32.399 this and like The Godfather, like all of these movies 0:18:32.400 --> 0:18:34.440 that I was just like, I don't need to watch this, 0:18:34.640 --> 0:18:38.600 and actually it's cool that I haven't, and I stand 0:18:38.600 --> 0:18:40.720 by that, but I did. I saw this movie for 0:18:40.760 --> 0:18:44.120 the first time last year because this is the movie 0:18:44.119 --> 0:18:46.560 that we've gotten requests for for years, because I mean 0:18:47.280 --> 0:18:51.280 it's I guess something I didn't realize when I finally 0:18:51.280 --> 0:18:55.000 did watch it was how like I knew it was 0:18:55.080 --> 0:18:57.240 obviously a very influential movie, but that this was like 0:18:57.280 --> 0:19:01.880 the highest grossing R rated movie until like last year. 0:19:01.960 --> 0:19:05.439 It made half a billion dollars in nineteen ninety, which 0:19:05.800 --> 0:19:07.080 is terrifying. 0:19:07.600 --> 0:19:10.320 It was the fifth highest grossing movie of the time, 0:19:11.040 --> 0:19:16.359 just behind Star Wars et an Indiana Jones movie, and Jaws. 0:19:16.400 --> 0:19:20.199 That's how much of a worldwide phenomenon this movie was. 0:19:20.359 --> 0:19:22.399 I knew it was a classic, but I like and 0:19:22.440 --> 0:19:25.159 people talk about it a lot, but yeah, I was 0:19:25.160 --> 0:19:28.320 not aware of like just how big a movie it 0:19:28.480 --> 0:19:32.760 was in its time. I love Julia Roberts, but as 0:19:32.760 --> 0:19:35.440 this movie goes on, it just gets more and more frustrating, 0:19:35.520 --> 0:19:37.600 and by the end, I'm like tearing the skin off 0:19:37.600 --> 0:19:41.960 my face and I have no attachment to it. So 0:19:42.040 --> 0:19:45.359 by the last scene, I'm like screaming at the television 0:19:46.000 --> 0:19:49.119 like it's a sports game. But yeah, I don't know. 0:19:49.160 --> 0:19:50.280 I'm excited to talk about it. 0:19:51.119 --> 0:19:56.560 Yeah, let's dive into the recap and we'll go from there. Okay, 0:19:56.680 --> 0:19:59.639 quick content warning at the very top, because there's a 0:19:59.680 --> 0:20:02.600 brief moment toward the end of the movie that involves 0:20:03.080 --> 0:20:08.560 physical and sexual assault. We meet Edward Lewis played by 0:20:08.680 --> 0:20:12.400 Richard gear. He is a businessman who's in LA for 0:20:12.480 --> 0:20:15.320 a work trip. He leaves at the party he's at, 0:20:15.680 --> 0:20:20.640 takes his lawyer, Phil Stuckey is his name, his car, 0:20:20.840 --> 0:20:22.640 and he's played by Jason Alexander. 0:20:23.160 --> 0:20:25.480 Yeah, the first shot of the movie is Jason Alexander 0:20:25.520 --> 0:20:28.520 doing close up magic, which okay, I was not on 0:20:28.560 --> 0:20:30.919 my bingo card for things that would happen in this movie. 0:20:30.960 --> 0:20:34.080 It's not him, it's not but he pops out right 0:20:34.119 --> 0:20:37.199 behind the magician almost like a magic trick, and so 0:20:37.240 --> 0:20:39.120 it looks like him, but it's a different guy. 0:20:39.920 --> 0:20:42.159 That's disappointing to hear. I know, I know. 0:20:43.200 --> 0:20:47.200 But anyway, Edward Lewis, he drives off in this car 0:20:47.240 --> 0:20:49.680 and he's trying to get to Beverly Hills, but he's 0:20:49.680 --> 0:20:54.040 getting lost along the way. Meanwhile, we meet Vivian Ward 0:20:54.240 --> 0:20:57.560 played by Julia Roberts. She is a sex worker who 0:20:57.680 --> 0:21:02.040 is getting ready for work that night. She's broke. She 0:21:02.080 --> 0:21:05.040 has to climb out of the window to avoid her landlord. 0:21:05.920 --> 0:21:09.920 She heads into a club and confronts her roommate Kit 0:21:10.160 --> 0:21:14.200 played by Laura san Giacomo, who used their rent money 0:21:14.240 --> 0:21:17.320 to buy drugs and so they need to make some 0:21:17.400 --> 0:21:22.560 money asap, and they start working their section of Hollywood Boulevard, 0:21:23.240 --> 0:21:26.560 and that's when Richard pulls up and asks Vivian for 0:21:26.840 --> 0:21:31.000 directions for Beverly Hills. She gets in his car to 0:21:31.200 --> 0:21:35.920 personally escort him to his fancy hotel, and when they arrive, 0:21:36.240 --> 0:21:39.320 he invites her to join him. They go up to 0:21:39.440 --> 0:21:44.800 Edward's penthouse room. She's getting looks from the stuffy rich 0:21:44.920 --> 0:21:49.600 people inside. She's mocking them, and then when they're settled 0:21:49.600 --> 0:21:53.160 in the room, she's expecting that Edward wants to have 0:21:53.240 --> 0:21:56.280 sex right away, but he doesn't want to rush things, 0:21:56.480 --> 0:22:00.520 and he pays her to stay the whole night, and eventually, 0:22:00.560 --> 0:22:06.000 after like chatting, lounging watching some I Love Lucy, she 0:22:06.200 --> 0:22:09.480 starts to undress. He asks what she's willing to do. 0:22:10.119 --> 0:22:15.440 She says everything except kiss on the mouth, so instead 0:22:15.880 --> 0:22:20.760 she kisses him on the penis. The next morning, he 0:22:21.440 --> 0:22:24.360 reveals what he does for a living, which is to. 0:22:24.880 --> 0:22:26.360 The worst answer ever. 0:22:26.240 --> 0:22:27.600 Oh my god. 0:22:28.000 --> 0:22:33.239 Every like romantic lead in nineties rom coms have like 0:22:33.680 --> 0:22:37.280 a truly horrific job, like it, and it gives worse. 0:22:37.680 --> 0:22:40.960 His job gets worse because he ends up building worship. 0:22:41.119 --> 0:22:45.840 He's like mister military industrial complex. And then at the 0:22:46.000 --> 0:22:48.760 end he's like, all right, you can continue to build 0:22:48.960 --> 0:22:52.480 naval destroyers. You're like, now, are we rooting for this? 0:22:53.359 --> 0:22:53.920 I don't week. 0:22:54.440 --> 0:22:57.119 Yeah, I know it was horrible, but currently his job 0:22:57.600 --> 0:23:01.159 is to buy and sell multimillion dollar companies. And so 0:23:01.200 --> 0:23:05.480 the contrast between these two people's lives is becoming more 0:23:05.480 --> 0:23:09.960 and more clear because he's rich, highly educated, very prim 0:23:10.000 --> 0:23:10.920 and proper. 0:23:11.240 --> 0:23:16.399 Ding evil shit. It seems like without naps, like no naps, 0:23:16.400 --> 0:23:18.639 no bathroom breaks, he's not eating. 0:23:19.680 --> 0:23:21.840 Yeah yeah, But as he points out in the film, 0:23:22.280 --> 0:23:25.800 they both do the same thing for a living. They 0:23:25.880 --> 0:23:27.679 both screw people for money. 0:23:29.560 --> 0:23:33.600 Yes, yep, that's like nice try movie. 0:23:34.920 --> 0:23:37.600 One is a noble profession and the other one is 0:23:37.600 --> 0:23:39.000 whatever the fuck he's doing. 0:23:39.840 --> 0:23:41.120 I don't know if my ghost of her is calling 0:23:41.160 --> 0:23:42.480 it a noble profession. 0:23:44.640 --> 0:23:47.240 But anyway, the contrast, so he's rich and all this stuff, 0:23:47.280 --> 0:23:52.359 she's broke, scrappy, a high school dropout. Despite their differences, 0:23:52.800 --> 0:23:56.000