1 00:00:05,240 --> 00:00:07,600 Speaker 1: Hey, this is Anny and Samantha. I'm ope this stuff 2 00:00:07,600 --> 00:00:20,040 Speaker 1: I've never told you. Production Byheartradio and welcome to a 3 00:00:20,040 --> 00:00:26,040 Speaker 1: special New Year's edition of Spoiled Saturdays. Content warning before 4 00:00:26,079 --> 00:00:31,360 Speaker 1: we begin, disordered eating, agism, sexism, general grossness. I guess, 5 00:00:31,920 --> 00:00:34,519 Speaker 1: but yeah, this is a New Year's movie, New Year, 6 00:00:34,600 --> 00:00:41,559 Speaker 1: New you. That's what I say. Spoilers, definitely spoilers. Thanks 7 00:00:41,920 --> 00:00:44,600 Speaker 1: to your listeners for suggesting this movie. Thanks to Christina 8 00:00:45,040 --> 00:00:49,040 Speaker 1: who kind of suggested it after our death becomes her episode. 9 00:00:49,720 --> 00:00:51,600 Speaker 1: I really really recommend that you go into this movie 10 00:00:51,640 --> 00:00:54,200 Speaker 1: knowing as little as possible at being said, I'm not 11 00:00:54,240 --> 00:00:56,640 Speaker 1: going to sugarcoat it is really gross. It does not 12 00:00:56,720 --> 00:01:01,840 Speaker 1: hold back, but it's it's a bonkers it's wild ride. 13 00:01:01,920 --> 00:01:05,560 Speaker 2: It's a wild ride traumatized honestly, Like I literally had 14 00:01:05,600 --> 00:01:08,560 Speaker 2: to sit back for a second and then turn off 15 00:01:09,080 --> 00:01:12,480 Speaker 2: a familiar show and sit there, even though I'm like 16 00:01:12,520 --> 00:01:14,720 Speaker 2: an hour past my typical bedtime, and I was like, 17 00:01:14,800 --> 00:01:16,240 Speaker 2: I have to watch something else before I go to bed. 18 00:01:16,280 --> 00:01:16,600 Speaker 2: I can't. 19 00:01:16,680 --> 00:01:17,360 Speaker 1: I can't do this. 20 00:01:19,800 --> 00:01:21,560 Speaker 3: So that took a good hour of detoxing. 21 00:01:22,160 --> 00:01:29,399 Speaker 1: Yes, detoxing. Yes, it's funny, because everybody was telling me 22 00:01:29,440 --> 00:01:31,760 Speaker 1: I needed to see it, and they were like, I 23 00:01:31,760 --> 00:01:33,920 Speaker 1: can't even explain to you. It's so wild, and I 24 00:01:34,120 --> 00:01:37,880 Speaker 1: kind of like, I've seen so much that's I'm sure 25 00:01:37,920 --> 00:01:43,320 Speaker 1: I've seen it. Nope, I couldn't predict that one. So 26 00:01:45,160 --> 00:01:48,720 Speaker 1: I love it. I'm so excited to talk about it. Okay, 27 00:01:48,880 --> 00:01:51,800 Speaker 1: So here's the plot. The Substance is a twenty twenty 28 00:01:51,840 --> 00:01:55,360 Speaker 1: four sci fi horror satire film, directed, written, and produced 29 00:01:55,360 --> 00:01:59,080 Speaker 1: by Coralie Farja and starring to me more Margaret quality 30 00:01:59,480 --> 00:02:02,720 Speaker 1: and in this quaid. It was a co production between 31 00:02:02,720 --> 00:02:06,160 Speaker 1: the US, the UK, and France. Since it debuted, it 32 00:02:06,240 --> 00:02:09,520 Speaker 1: has been a critical and commercial success and has generated 33 00:02:09,560 --> 00:02:13,079 Speaker 1: a lot of conversation. Also has a lot of really 34 00:02:13,120 --> 00:02:16,000 Speaker 1: cool practical effects, and I suggest looking up how they 35 00:02:16,040 --> 00:02:20,440 Speaker 1: did them if you're interested, because it's really cool. The 36 00:02:20,520 --> 00:02:25,040 Speaker 1: movie opens on celebrity Elizabeth Sparkles Demi Moore getting a 37 00:02:25,080 --> 00:02:28,040 Speaker 1: star on the Hollywood Walk of Fan Then we see 38 00:02:28,080 --> 00:02:30,639 Speaker 1: the progression of time as it goes from being as star, 39 00:02:30,720 --> 00:02:34,200 Speaker 1: people take pictures with that was kept clean to one 40 00:02:34,240 --> 00:02:37,240 Speaker 1: that no one recognizes, and people spill food on, and 41 00:02:37,320 --> 00:02:42,520 Speaker 1: eventually it corracts on her fiftieth birthday, Elizabeth is filming 42 00:02:42,520 --> 00:02:46,520 Speaker 1: for her long running aerobic show, when she accidentally overhears 43 00:02:46,560 --> 00:02:50,000 Speaker 1: that she is being fired because of her age and 44 00:02:50,160 --> 00:02:52,760 Speaker 1: is going to be replaced by someone younger and more beautiful. 45 00:02:53,760 --> 00:02:57,519 Speaker 1: After being formally let go, she crashes her car while 46 00:02:57,560 --> 00:02:59,760 Speaker 1: driving back to her apartment when she sees a billboard 47 00:02:59,760 --> 00:03:03,560 Speaker 1: of her self already being taken down at the hospital. 48 00:03:03,639 --> 00:03:06,480 Speaker 1: A young orderly slips her a flash drive that he 49 00:03:06,560 --> 00:03:10,400 Speaker 1: says changed his life on. It is an ad for 50 00:03:10,440 --> 00:03:14,639 Speaker 1: something called the Substance, a black market product that promises 51 00:03:14,680 --> 00:03:19,959 Speaker 1: a better, younger, prettier version of yourself. So Elizabeth is 52 00:03:20,040 --> 00:03:23,560 Speaker 1: kind of thinking about all this and sort of decides 53 00:03:23,600 --> 00:03:25,680 Speaker 1: not to do it. She runs into a man her 54 00:03:25,720 --> 00:03:29,240 Speaker 1: age from her class from homeroom, and he asked her 55 00:03:29,280 --> 00:03:33,040 Speaker 1: if they can go get drinks sometime. Elizabeth somewhat reluctantly 56 00:03:33,720 --> 00:03:36,800 Speaker 1: agrees to get his number, which he scribbles on a 57 00:03:36,800 --> 00:03:39,160 Speaker 1: piece of paper that he then promptly drops in the 58 00:03:39,240 --> 00:03:45,040 Speaker 1: mud and hands it to her. Anyway, she decides, after 59 00:03:45,400 --> 00:03:49,880 Speaker 1: a few drinks to order the Substance, which is a 60 00:03:49,920 --> 00:03:54,160 Speaker 1: real secretive process that involves her going by a number, 61 00:03:55,080 --> 00:03:58,240 Speaker 1: going to a secret location where no one is there. 62 00:03:58,760 --> 00:04:01,440 Speaker 1: It's like the door doesn't even open all the way. 63 00:04:02,040 --> 00:04:04,720 Speaker 1: There's a lot of block boxes, and that's how she 64 00:04:04,840 --> 00:04:08,760 Speaker 1: gets the kit. It's kind of a complicated process, but 65 00:04:08,880 --> 00:04:14,040 Speaker 1: essentially here it is. There's a single use activator, daily 66 00:04:14,080 --> 00:04:18,120 Speaker 1: syringes for stabilizer fluid from the spine, and an ivy 67 00:04:18,120 --> 00:04:21,760 Speaker 1: of nutrients for both the matrix, the original self and 68 00:04:21,920 --> 00:04:26,440 Speaker 1: the other self, which is necessary because once Elizabeth uses 69 00:04:26,440 --> 00:04:30,200 Speaker 1: the activator, she collapses on the floor and a younger 70 00:04:30,320 --> 00:04:33,520 Speaker 1: version of herself emerges from a slit in her back. 71 00:04:34,320 --> 00:04:37,360 Speaker 1: She then, the younger version, has to hook up the 72 00:04:37,480 --> 00:04:40,719 Speaker 1: nutrients to her older self the matrix, and inject some 73 00:04:40,839 --> 00:04:45,240 Speaker 1: stabilizer fluid drawn from Elizabeth to keep her from deteriorating herself. 74 00:04:46,160 --> 00:04:48,839 Speaker 1: She also has to sew up the back. The way 75 00:04:48,880 --> 00:04:50,920 Speaker 1: the system works is that they have to switch every 76 00:04:50,920 --> 00:04:53,800 Speaker 1: seven days, no exception. It's made very clear that they 77 00:04:53,839 --> 00:04:58,680 Speaker 1: are the same person. The balance must be respected. There 78 00:04:58,760 --> 00:05:02,840 Speaker 1: is no she and you. You are the same. The younger version, 79 00:05:03,040 --> 00:05:09,760 Speaker 1: Quali calls herself Sue. Sue goes to audition for Elizabeth's 80 00:05:09,760 --> 00:05:12,160 Speaker 1: old role on the Aerobic Show, which is now called 81 00:05:12,200 --> 00:05:15,560 Speaker 1: Pump It Up, and she gets it after a very 82 00:05:15,600 --> 00:05:19,680 Speaker 1: sexy audition. Harvey's played by Quaid, and yes, that name 83 00:05:19,800 --> 00:05:23,440 Speaker 1: was intentional. Harvey, the producer who let Elizabeth go, is 84 00:05:23,520 --> 00:05:26,440 Speaker 1: thrilled about her and even agrees to make her odd 85 00:05:26,480 --> 00:05:33,120 Speaker 1: scheduling situation work. Sue's image replaces Elizabeth on billboards, notably 86 00:05:33,160 --> 00:05:39,200 Speaker 1: one's visible from Elizabeth's apartment. Sue becomes a huge success. 87 00:05:40,480 --> 00:05:42,560 Speaker 1: While about to have sex with someone, Sue starts to 88 00:05:42,600 --> 00:05:45,760 Speaker 1: feel dizzy and realizes it is time to switch back, 89 00:05:46,279 --> 00:05:48,360 Speaker 1: but she doesn't want to, so she breaks the rules 90 00:05:48,400 --> 00:05:52,599 Speaker 1: and takes more stabilizer fluid from an unconscious Elizabeth. The 91 00:05:52,640 --> 00:05:55,240 Speaker 1: next day, when Elizabeth wakes up, one of her fingers 92 00:05:55,279 --> 00:06:00,160 Speaker 1: is completely dead like a corpse's. Angry, Elizabeth calls the 93 00:06:00,240 --> 00:06:02,680 Speaker 1: number she'd used to order the substance and tells them 94 00:06:02,839 --> 00:06:06,320 Speaker 1: what happened. They remind her there is no her and you, 95 00:06:07,080 --> 00:06:09,520 Speaker 1: that they are the same, and asks if she wants 96 00:06:09,560 --> 00:06:13,760 Speaker 1: to quit. She refuses, and in this conversation, Elizabeth keeps 97 00:06:13,800 --> 00:06:16,240 Speaker 1: saying like she needs to respect the balance. She has 98 00:06:16,279 --> 00:06:21,400 Speaker 1: to respect the balance. Sue constructs the sort of secret room, 99 00:06:21,520 --> 00:06:25,120 Speaker 1: and the bathroom tells Elizabeth's unconscious body so she can 100 00:06:25,120 --> 00:06:29,320 Speaker 1: have people over even though she is really successful. She 101 00:06:29,360 --> 00:06:32,600 Speaker 1: starts to have worries about her own body becoming with shapen, 102 00:06:33,240 --> 00:06:36,080 Speaker 1: even having a pretty nightmarish hallucination where chicken bone comes 103 00:06:36,080 --> 00:06:40,040 Speaker 1: out of her skin. But she is offered the network's 104 00:06:40,160 --> 00:06:43,719 Speaker 1: coveted New Year's Eve special, watch by millions of people. 105 00:06:44,800 --> 00:06:50,599 Speaker 1: She agrees. As Sue grows more successful and parties, Elizabeth 106 00:06:50,600 --> 00:06:55,440 Speaker 1: becomes a self hating hermit who bings. She hate watches 107 00:06:55,920 --> 00:06:59,880 Speaker 1: interviews with Sue where Sue insults her she cooks for 108 00:07:00,200 --> 00:07:04,599 Speaker 1: the cookbook, Harvey gave her like whole turkeys, just food 109 00:07:04,680 --> 00:07:08,760 Speaker 1: everywhere she doesn't clean up. This is very spiteful on 110 00:07:08,880 --> 00:07:11,040 Speaker 1: her part, where she's like, you gonna wake up and 111 00:07:11,080 --> 00:07:16,880 Speaker 1: see this mess. Sue is furious when they switch and 112 00:07:16,880 --> 00:07:19,680 Speaker 1: and she sees the mess, and she decides she will 113 00:07:19,760 --> 00:07:25,640 Speaker 1: not switch back. Takes a bunch of stabilizer fluid. A 114 00:07:25,680 --> 00:07:28,800 Speaker 1: few months later, right before the New Year's Eve show, 115 00:07:29,040 --> 00:07:32,520 Speaker 1: Sue runs out of her supply of this fluid and 116 00:07:32,720 --> 00:07:36,720 Speaker 1: can no longer extract anymore from Elizabeth. The supplier tells 117 00:07:36,760 --> 00:07:38,720 Speaker 1: her the only way to get more fluid is to 118 00:07:38,760 --> 00:07:43,600 Speaker 1: switch back, so that Elizabeth can replenish the supply. Furious 119 00:07:43,640 --> 00:07:48,680 Speaker 1: but very Desperate, Sue switches back. Elizabeth is now pretty 120 00:07:48,720 --> 00:07:53,560 Speaker 1: much a walking corpse. Her bones are breaking, she is 121 00:07:53,640 --> 00:07:58,559 Speaker 1: hunched over, she has lost her hair. Outraged, Elizabeth calls 122 00:07:58,680 --> 00:08:01,120 Speaker 1: up the supplier demand that they put an end to 123 00:08:01,200 --> 00:08:04,600 Speaker 1: the whole thing. She wants it to stop. The supplier 124 00:08:04,680 --> 00:08:07,560 Speaker 1: impresses upon her that there is no going back if 125 00:08:07,560 --> 00:08:10,120 Speaker 1: she decides to do this, but Elizabeth insists, ordering a 126 00:08:10,160 --> 00:08:14,840 Speaker 1: serum to terminate Sue. Elizabeth injects Sue with about half 127 00:08:14,960 --> 00:08:18,160 Speaker 1: the serum before she stops. Realizing she doesn't want to 128 00:08:18,240 --> 00:08:21,160 Speaker 1: let go of the admiration and attention that Sue is getting. 129 00:08:21,720 --> 00:08:24,400 Speaker 1: She doesn't know how to live without her. Sue wakes 130 00:08:24,480 --> 00:08:29,480 Speaker 1: up the termination fluid leaves them both conscious and realizes 131 00:08:29,640 --> 00:08:33,640 Speaker 1: that Elizabeth tried to kill her and attacks her. After 132 00:08:33,720 --> 00:08:37,400 Speaker 1: a vicious fight, Sue kills Elizabeth and goes to film 133 00:08:37,480 --> 00:08:42,040 Speaker 1: the New Year's Eve special. However, she doesn't have any 134 00:08:42,080 --> 00:08:45,520 Speaker 1: more stabilizer fluid and Elizabeth is dead, so her body 135 00:08:45,559 --> 00:08:50,040 Speaker 1: starts to deteriorate very quickly. Desperate, she tries to create 136 00:08:50,080 --> 00:08:54,360 Speaker 1: a newer, better version of herself by using the Activator, 137 00:08:54,480 --> 00:08:58,920 Speaker 1: the single use activator, despite the warning, this leads to 138 00:08:58,960 --> 00:09:04,480 Speaker 1: the creation of Montrosso Eliza Sue, a monstrous amalgamation of 139 00:09:04,520 --> 00:09:08,560 Speaker 1: Elizabeth Sue and the new version. She kind of looks 140 00:09:08,600 --> 00:09:10,440 Speaker 1: like the rat King from the Last of Us two. 141 00:09:10,559 --> 00:09:15,520 Speaker 1: To be honest and sorry about it anyway, she puts 142 00:09:15,559 --> 00:09:19,960 Speaker 1: on Eliza Zue Monstrosso. Eliza Sue puts on the very 143 00:09:20,080 --> 00:09:23,760 Speaker 1: Cinderella looking dress, puts on a cutout mask of Elizabeth's 144 00:09:23,800 --> 00:09:27,960 Speaker 1: face when she was younger, and takes the stage. The 145 00:09:28,120 --> 00:09:32,280 Speaker 1: mask soon falls to the audience's horror, and she sort 146 00:09:32,280 --> 00:09:36,679 Speaker 1: of gives birth to a breast on live broadcast. People 147 00:09:36,720 --> 00:09:39,360 Speaker 1: are freaking out. A man tries to cut her hand, 148 00:09:39,679 --> 00:09:43,280 Speaker 1: her head off, people are calling her monster, and another 149 00:09:43,320 --> 00:09:49,160 Speaker 1: even more grotesque head sprouts in that place. Her arm 150 00:09:49,200 --> 00:09:54,640 Speaker 1: falls off. Blood is spewing everywhere, covering everyone, including Harvey 151 00:09:54,640 --> 00:09:58,880 Speaker 1: and the execs. He introduced Sue to like twenty one 152 00:09:59,000 --> 00:10:03,360 Speaker 1: thousand liters blood. I think that's the number that they used. Yep, 153 00:10:04,240 --> 00:10:09,920 Speaker 1: everyone is screaming. Eliza Seu flees the studio, but eventually explodes, 154 00:10:10,600 --> 00:10:14,560 Speaker 1: leaving a face that inches along the pavement until it 155 00:10:14,679 --> 00:10:18,960 Speaker 1: reaches Elizabeth Star on the Walk of Fame. She imagines 156 00:10:19,040 --> 00:10:23,240 Speaker 1: being famous and hearing the cheers of the crowd as 157 00:10:23,280 --> 00:10:26,440 Speaker 1: she melts into a puddle of blood that is cleaned 158 00:10:26,559 --> 00:10:27,680 Speaker 1: up the next day. 159 00:10:29,760 --> 00:10:33,720 Speaker 2: Yeah, in that opening scene someone drops ketchup and burger 160 00:10:33,920 --> 00:10:37,640 Speaker 2: and so it's in the same pattern, so you know 161 00:10:37,720 --> 00:10:41,800 Speaker 2: that that's how they open and close it. Essentially, I'm traumatized. 162 00:10:44,360 --> 00:10:46,079 Speaker 2: So that's all I have to say about this. 163 00:10:47,520 --> 00:10:49,719 Speaker 3: I get it. It was very heavy handed. I get it. 164 00:10:49,920 --> 00:10:51,000 Speaker 3: I still traumatized. 165 00:10:51,040 --> 00:10:54,280 Speaker 2: I was like, damn because like the way they made 166 00:10:54,320 --> 00:10:58,280 Speaker 2: sure to make the pretty sexy pictures versus the horrific 167 00:10:58,440 --> 00:11:00,880 Speaker 2: end pictures, like they want you to know what they're doing, 168 00:11:01,440 --> 00:11:06,600 Speaker 2: the director and the writer, and yes, point made, but damn, 169 00:11:06,640 --> 00:11:07,080 Speaker 2: I'm trauma. 170 00:11:07,120 --> 00:11:16,280 Speaker 1: Does Yeah, I love it. I love how bonkers it was. 171 00:11:17,240 --> 00:11:21,000 Speaker 1: And every time I've shown it to somebody, they've been like, 172 00:11:21,080 --> 00:11:23,080 Speaker 1: oh wow, I did not know it was gonna go 173 00:11:23,160 --> 00:11:28,000 Speaker 1: this hard, And it really really went hard. 174 00:11:28,400 --> 00:11:31,760 Speaker 3: Yeah, like we're not being cute in the mirror. 175 00:11:31,800 --> 00:11:35,080 Speaker 2: We're gonna be disgusting and grotesque, like like what you 176 00:11:35,160 --> 00:11:35,680 Speaker 2: think of me? 177 00:11:35,880 --> 00:11:36,640 Speaker 3: So here we go. 178 00:11:37,040 --> 00:11:40,240 Speaker 1: Yes, and we're gonna talk about that too, because the 179 00:11:40,320 --> 00:11:42,120 Speaker 1: director has got a lot of good quotes about that, 180 00:11:42,160 --> 00:11:46,680 Speaker 1: including about how the ways some people are describing this 181 00:11:46,800 --> 00:11:50,480 Speaker 1: movie versus other body horror movies that men have done, 182 00:11:50,880 --> 00:11:53,360 Speaker 1: and the differences in that, which I think is really interesting. 183 00:11:53,400 --> 00:11:56,240 Speaker 1: And by the way, this director, we have talked about 184 00:11:56,280 --> 00:11:59,600 Speaker 1: her before. She also directed Revenge, which we talked about 185 00:11:59,600 --> 00:12:02,839 Speaker 1: in our Rape Revenge movies, and was inspired to write 186 00:12:02,880 --> 00:12:06,720 Speaker 1: this movie after dealing with internalized negative feelings about her 187 00:12:06,760 --> 00:12:10,800 Speaker 1: body aging and being forgotten as she grew older. The 188 00:12:10,920 --> 00:12:14,840 Speaker 1: character of Elizabeth is also in part inspired by Jane Fonda, who, 189 00:12:14,840 --> 00:12:18,240 Speaker 1: if you don't know, transitioned from being an actress to 190 00:12:18,280 --> 00:12:23,400 Speaker 1: an aerobic show and it's really interesting to read. I 191 00:12:23,480 --> 00:12:26,840 Speaker 1: believe her. The director and Demi Moore met six times 192 00:12:27,960 --> 00:12:30,840 Speaker 1: to discuss this role because Demi Moore was like, I 193 00:12:30,840 --> 00:12:34,000 Speaker 1: don't know, I don't know, but they eventually were like, 194 00:12:34,720 --> 00:12:39,760 Speaker 1: really came together and created this really working together. So 195 00:12:39,880 --> 00:12:51,840 Speaker 1: I think that's great. Obviously, when we talk about themes, 196 00:12:52,360 --> 00:12:56,560 Speaker 1: one of the big ones agism and sexism, how we 197 00:12:56,600 --> 00:13:02,920 Speaker 1: treat women, and in this movie, particularly women in Hollywood, disposable, expendable. 198 00:13:05,880 --> 00:13:10,280 Speaker 1: Literally at one point, when Elizabeth's getting fired, it's a 199 00:13:10,320 --> 00:13:14,439 Speaker 1: really grossene. Right, Dennis Quaid's character Harvey is eating all 200 00:13:14,480 --> 00:13:17,760 Speaker 1: of this shrimp, and he just says it just stops 201 00:13:17,800 --> 00:13:22,120 Speaker 1: at fifty. And Elizabeth asks what stucks and he's like, 202 00:13:23,880 --> 00:13:26,480 Speaker 1: and he doesn't have an answer, but he's firing her 203 00:13:26,480 --> 00:13:32,439 Speaker 1: because she's fifty and they always want this younger, better version. 204 00:13:32,640 --> 00:13:37,480 Speaker 1: In quotes something to someone to be washed away and 205 00:13:37,520 --> 00:13:40,920 Speaker 1: forgotten as you age, like you're wiped away from your 206 00:13:40,960 --> 00:13:44,360 Speaker 1: Hollywood star, no matter how much they've done, our sacrifice, 207 00:13:44,360 --> 00:13:48,400 Speaker 1: because she'd won awards, she'd been working for them forever, 208 00:13:49,280 --> 00:13:51,160 Speaker 1: and how much pain they might have put their bodies 209 00:13:51,160 --> 00:13:56,400 Speaker 1: through to meet these standards. And it's really upsetting because 210 00:13:56,400 --> 00:13:59,800 Speaker 1: she had given so much of herself. It was her birth. 211 00:14:00,080 --> 00:14:04,040 Speaker 1: They when they fired her, and they give her such 212 00:14:04,080 --> 00:14:07,160 Speaker 1: a bland gift that says you were great. 213 00:14:08,520 --> 00:14:11,319 Speaker 3: Right, actually barely talked to her box like mo. 214 00:14:11,679 --> 00:14:16,280 Speaker 1: Yeah, and it's the happy French cookbook that we'll talk 215 00:14:16,280 --> 00:14:16,840 Speaker 1: about later. 216 00:14:17,080 --> 00:14:19,000 Speaker 2: I love the same way he says I love my wife, 217 00:14:19,320 --> 00:14:21,960 Speaker 2: and that he does such a random statement. I'll like, 218 00:14:22,000 --> 00:14:23,440 Speaker 2: where did that come from? 219 00:14:23,440 --> 00:14:26,720 Speaker 1: Okay? He was gross. And I read a really cool 220 00:14:27,960 --> 00:14:30,280 Speaker 1: article before this talking about how this movie is kind 221 00:14:30,280 --> 00:14:33,720 Speaker 1: of a really dark fairy tale because you have your 222 00:14:34,200 --> 00:14:38,560 Speaker 1: quote chrone your young maid. But he would be the devil. 223 00:14:38,600 --> 00:14:40,960 Speaker 1: He's got like the snake skin boots. He's got that 224 00:14:41,120 --> 00:14:45,400 Speaker 1: like kind of really creepy smile in the way he's 225 00:14:45,400 --> 00:14:49,760 Speaker 1: always consuming something. Yeah. 226 00:14:49,920 --> 00:14:54,880 Speaker 2: Interestingly, the actor Dennis Quait himself like really went out 227 00:14:54,920 --> 00:14:58,680 Speaker 2: to bat and spoke for the very thing that he represented, 228 00:14:58,680 --> 00:15:01,200 Speaker 2: like he was painting for Donald Trump. 229 00:15:01,440 --> 00:15:02,560 Speaker 3: And I find that ironic. 230 00:15:02,640 --> 00:15:06,720 Speaker 2: I'm like, so you understand what this film is, right, 231 00:15:07,280 --> 00:15:12,360 Speaker 2: you know they're like implicating here what. 232 00:15:14,480 --> 00:15:18,280 Speaker 1: And that role was originally going to be played by 233 00:15:18,360 --> 00:15:19,600 Speaker 1: Rayleioda but he died. 234 00:15:21,960 --> 00:15:24,520 Speaker 4: Yeah, I'm kind of glad I didn't see him. 235 00:15:26,120 --> 00:15:27,080 Speaker 2: He would have been great. 236 00:15:27,480 --> 00:15:30,000 Speaker 3: But I'm really glad that's not the last memories of 237 00:15:30,080 --> 00:15:30,560 Speaker 3: him I have. 238 00:15:35,480 --> 00:15:41,160 Speaker 2: Yeah, yeah, that's fair. 239 00:15:41,480 --> 00:15:45,520 Speaker 1: That's fair. But then it's also very clear when we 240 00:15:45,560 --> 00:15:48,600 Speaker 1: look at the difference between how people at the studio 241 00:15:48,640 --> 00:15:52,960 Speaker 1: treat Elizabeth versus how they treat Sue, it is stark. 242 00:15:54,920 --> 00:15:59,040 Speaker 1: They can't wait to get rid of Elizabeth. They're angry 243 00:15:59,080 --> 00:16:02,280 Speaker 1: she's been here as long as she has. But Sue, 244 00:16:02,320 --> 00:16:04,560 Speaker 1: they're like, oh, yes, you need seven days off every 245 00:16:04,560 --> 00:16:07,600 Speaker 1: other week. We can do it, We will work around it. 246 00:16:07,720 --> 00:16:11,720 Speaker 1: You're the best, You're so amazing. Have our New Year's 247 00:16:11,720 --> 00:16:14,480 Speaker 1: Eve show, please, So it makes it very stark in 248 00:16:14,520 --> 00:16:17,360 Speaker 1: that way, and I do think it's interesting. We'll talk 249 00:16:17,400 --> 00:16:22,080 Speaker 1: about this more later too. But when Elizabeth's doing her 250 00:16:22,080 --> 00:16:25,720 Speaker 1: workout show, she's saying things like, you got to get 251 00:16:25,720 --> 00:16:27,680 Speaker 1: that beach bud, you don't want to be a jellyfish 252 00:16:27,760 --> 00:16:32,080 Speaker 1: on the beach, like all this stuff. So she's really 253 00:16:32,120 --> 00:16:35,280 Speaker 1: internalized all of this as well. And then when Sue 254 00:16:35,280 --> 00:16:39,120 Speaker 1: goes to the audition for the show, right before she 255 00:16:39,200 --> 00:16:43,920 Speaker 1: goes in someone else auditions, and the two men who 256 00:16:44,040 --> 00:16:47,920 Speaker 1: are casting kind of snidely are like, too bad, her 257 00:16:48,000 --> 00:16:49,760 Speaker 1: breast an in the right place. 258 00:16:49,880 --> 00:16:54,280 Speaker 2: They're implying that her nose, she would look better if 259 00:16:54,320 --> 00:16:56,280 Speaker 2: her breast was on her face instead of her nose. 260 00:16:56,360 --> 00:16:59,640 Speaker 1: Yeah, like criticizing her nose. Yeah, yes, which comes back 261 00:16:59,760 --> 00:17:05,520 Speaker 1: to the end for sure, for sure. And then there's 262 00:17:05,640 --> 00:17:10,159 Speaker 1: kind of a constant refrain about pretty girls should always smile, 263 00:17:11,160 --> 00:17:15,480 Speaker 1: which a lot of us have heard, but also towards 264 00:17:15,480 --> 00:17:18,560 Speaker 1: the end becomes very grotesque because Sue is losing her 265 00:17:18,600 --> 00:17:28,399 Speaker 1: teeth and cannot give a full smile. Yeah, yeah, trauma past, 266 00:17:30,160 --> 00:17:33,640 Speaker 1: It's gross. I'm not gonna deny it. I love it. 267 00:17:34,520 --> 00:17:37,679 Speaker 1: Here's a quote from av Club in a scene that 268 00:17:37,760 --> 00:17:40,679 Speaker 1: merely hints at the revulsion to come leering at network 269 00:17:40,720 --> 00:17:43,600 Speaker 1: executive Harvey. Dennis Quaid has a mouthful of shrimp when 270 00:17:43,600 --> 00:17:46,360 Speaker 1: he informs Elizabeth that she's being put out to pasture. 271 00:17:46,760 --> 00:17:49,760 Speaker 1: The themes in the Substance are mostly expressed visually, and 272 00:17:49,800 --> 00:17:52,200 Speaker 1: the casting of the film's male characters is a vicious 273 00:17:52,200 --> 00:17:55,919 Speaker 1: comment in itself. The movie is populated by mediocre looking 274 00:17:55,960 --> 00:17:59,560 Speaker 1: men passing judgment on women who are frankly way out 275 00:17:59,600 --> 00:18:02,199 Speaker 1: of their league. Yep. 276 00:18:02,880 --> 00:18:05,439 Speaker 2: Yeah. The neighbor was a stark reminder of like what 277 00:18:05,560 --> 00:18:08,600 Speaker 2: he really thought he was owed. He'd be like, yes, 278 00:18:08,680 --> 00:18:10,360 Speaker 2: I'm going to take that salads as a yes, we'll 279 00:18:10,359 --> 00:18:11,080 Speaker 2: see you tonight. 280 00:18:11,880 --> 00:18:16,160 Speaker 5: Yes, yes, Yeah. He's not cute in any least way. No, 281 00:18:16,480 --> 00:18:20,920 Speaker 5: And then with Elizabeth he was like, stop being annoying. 282 00:18:21,600 --> 00:18:24,399 Speaker 5: But with Sue, he's like, oh, you're never annoying. Please 283 00:18:24,400 --> 00:18:26,320 Speaker 5: come up a drink with me, I'll help you. 284 00:18:27,800 --> 00:18:27,879 Speaker 2: You. 285 00:18:28,040 --> 00:18:33,960 Speaker 1: I love your show, it's so good. Yep. And then 286 00:18:35,200 --> 00:18:41,479 Speaker 1: there there's also just the constant reminder of how Sue 287 00:18:42,160 --> 00:18:48,520 Speaker 1: being young is better in terms of the billboards that 288 00:18:48,600 --> 00:18:51,760 Speaker 1: you see the ripping down of Elizabeth and quickly replacing 289 00:18:51,760 --> 00:18:55,639 Speaker 1: it with Sue's mirrors. There's a lot of mirrors. This 290 00:18:55,680 --> 00:18:57,480 Speaker 1: maybe actually doesn't have a lot of dialogue, and that 291 00:18:57,600 --> 00:19:02,919 Speaker 1: was done purposely, but there's a lot of like looking 292 00:19:02,920 --> 00:19:07,159 Speaker 1: into mirrors and having when Elizabeth it's her turn, and 293 00:19:07,240 --> 00:19:09,960 Speaker 1: always having Sue kind of watching over her through her 294 00:19:10,000 --> 00:19:14,760 Speaker 1: like wide apartment windows, and not being able to forget 295 00:19:14,840 --> 00:19:18,080 Speaker 1: that she was fired and Sue was hired, and Sue 296 00:19:18,160 --> 00:19:22,320 Speaker 1: is the one that people appreciate. And a door now 297 00:19:23,160 --> 00:19:25,680 Speaker 1: and it used to be her, and in fact she breaks. 298 00:19:26,240 --> 00:19:29,800 Speaker 1: She has a poster, a framed poster of her when 299 00:19:29,840 --> 00:19:32,600 Speaker 1: she was younger, and she throws one of her awards 300 00:19:32,640 --> 00:19:38,240 Speaker 1: at it and cracks the eye of it. So even 301 00:19:38,280 --> 00:19:43,560 Speaker 1: her younger self is hanging over her. And then how 302 00:19:43,600 --> 00:19:47,080 Speaker 1: we view age and I think this is very over 303 00:19:47,119 --> 00:19:52,919 Speaker 1: the top done in a fun way with how the 304 00:19:52,960 --> 00:19:56,080 Speaker 1: makeup effects of what happens to do me more. They 305 00:19:56,080 --> 00:20:00,679 Speaker 1: even have stages. There's one that's like Crone Gollum and 306 00:20:00,680 --> 00:20:04,359 Speaker 1: then lots of Sue. That's what they called it. What 307 00:20:04,560 --> 00:20:06,480 Speaker 1: I was watching, I was like, this is like a corpse, 308 00:20:06,560 --> 00:20:09,200 Speaker 1: Like she looks like the way her finger in the beginning, 309 00:20:09,960 --> 00:20:14,520 Speaker 1: it's like bone and decayed skin, which I learned a 310 00:20:14,560 --> 00:20:18,720 Speaker 1: new term have exploitation, which is what it sounds like, 311 00:20:19,040 --> 00:20:24,480 Speaker 1: but using older women as the villain or something really 312 00:20:24,520 --> 00:20:29,040 Speaker 1: scary or something disgusting. And this movie really leaned into that, 313 00:20:30,440 --> 00:20:37,720 Speaker 1: really really leaned into it. And it's I really recommend 314 00:20:37,960 --> 00:20:40,440 Speaker 1: reading how they did the special effects of it, because 315 00:20:40,440 --> 00:20:44,480 Speaker 1: it's fascinating. But it took a lot. It took a 316 00:20:44,480 --> 00:20:46,840 Speaker 1: long time to apply, it took a lot to act 317 00:20:46,840 --> 00:20:50,439 Speaker 1: in it. And me more is apparently really determined, like 318 00:20:50,440 --> 00:20:52,359 Speaker 1: we're going to get this right. Even if I have 319 00:20:52,440 --> 00:20:54,879 Speaker 1: to deal with this. We don't want to disrespect the makeup, 320 00:20:54,920 --> 00:20:56,159 Speaker 1: So if we have to take it off and do 321 00:20:56,160 --> 00:21:00,240 Speaker 1: it again, we'll do it again. And then the saying 322 00:21:00,240 --> 00:21:06,160 Speaker 1: of Tony Moore was also very purposeful because she has 323 00:21:06,280 --> 00:21:08,600 Speaker 1: kind of gone through this and she's had a lot 324 00:21:08,640 --> 00:21:11,040 Speaker 1: of quote since then. I think she was very unsure 325 00:21:12,600 --> 00:21:15,040 Speaker 1: and I get it that this movie would be exercise 326 00:21:15,160 --> 00:21:18,159 Speaker 1: or not. But now that it is, she's had a 327 00:21:18,200 --> 00:21:21,600 Speaker 1: lot of comments about what she thinks about it. But 328 00:21:22,240 --> 00:21:25,480 Speaker 1: from av Club, here's another quote. The complexities of making 329 00:21:25,520 --> 00:21:28,040 Speaker 1: a living based on one's looks and the emptiness that 330 00:21:28,160 --> 00:21:30,960 Speaker 1: is left when that life is no longer possible provides 331 00:21:30,960 --> 00:21:33,680 Speaker 1: a rich text for More, whose it girl days in 332 00:21:33,720 --> 00:21:35,719 Speaker 1: the mid eighties also led to a long career as 333 00:21:35,760 --> 00:21:38,240 Speaker 1: a famous movie star. But More is sixty two and 334 00:21:38,320 --> 00:21:41,040 Speaker 1: is surely aware of her changing status within the industry. 335 00:21:42,400 --> 00:21:43,959 Speaker 1: Going back to their other quote, though, I do think 336 00:21:43,960 --> 00:21:46,800 Speaker 1: it's interesting that, I mean, she aged very well, but 337 00:21:46,880 --> 00:21:49,480 Speaker 1: still she's being kicked out because she's fifty. 338 00:21:49,960 --> 00:21:54,160 Speaker 2: Right. There's so much because agism has always played her, 339 00:21:55,080 --> 00:21:59,200 Speaker 2: whether it's the character she plays with so yeah, in 340 00:21:59,280 --> 00:22:02,879 Speaker 2: decent repose. That was absolutely the beginning part of the 341 00:22:02,920 --> 00:22:06,760 Speaker 2: beginning of her career, all those sexy movies ghosts, like 342 00:22:06,840 --> 00:22:10,160 Speaker 2: she was known as the it girl in the eighties 343 00:22:10,240 --> 00:22:13,160 Speaker 2: and nineties, and so her going into that and then 344 00:22:13,760 --> 00:22:17,760 Speaker 2: getting older, but like every age they would feature her 345 00:22:17,880 --> 00:22:20,840 Speaker 2: as like looking amazing at thirty, looking amazing at forty. 346 00:22:20,880 --> 00:22:23,440 Speaker 2: They really did that, And then Ashton Kutcher came along 347 00:22:24,359 --> 00:22:28,840 Speaker 2: after Bruce Willis. There's so much conversation about her aging 348 00:22:28,840 --> 00:22:32,880 Speaker 2: and whether or not she's aging gracefully or what she's doing, 349 00:22:32,920 --> 00:22:35,160 Speaker 2: and her stepping in and out of about like limelight, 350 00:22:35,359 --> 00:22:37,600 Speaker 2: whether she was dating someone who was or marrying someone's 351 00:22:37,600 --> 00:22:41,600 Speaker 2: significantly younger, playing these characters, not playing these characters, being 352 00:22:41,600 --> 00:22:45,440 Speaker 2: a mother, you know, like these she kind of represents 353 00:22:45,960 --> 00:22:50,280 Speaker 2: that conversation, like to me, more is an icon in 354 00:22:50,359 --> 00:22:53,560 Speaker 2: itself because of that, And now she's in this age 355 00:22:53,680 --> 00:22:57,440 Speaker 2: and time where things are being fixed, whether it's ozimbic, 356 00:22:57,520 --> 00:23:01,160 Speaker 2: whether it's plastic surgery, and so everybody's watching her because 357 00:23:01,160 --> 00:23:07,240 Speaker 2: she's always been kind of that representation. Oddly without being 358 00:23:07,320 --> 00:23:11,040 Speaker 2: said that she's that representation, So this perfectly made sense. 359 00:23:11,480 --> 00:23:15,880 Speaker 2: Like the only other person that may like even come 360 00:23:16,000 --> 00:23:18,760 Speaker 2: close to this, I don't know, baby, I don't even 361 00:23:18,760 --> 00:23:21,200 Speaker 2: think Nicole Kinman was that, but that was not something 362 00:23:21,200 --> 00:23:23,280 Speaker 2: that was a part of her conversation either. Even though 363 00:23:23,280 --> 00:23:26,800 Speaker 2: it is, it isn't like she was always in that 364 00:23:26,920 --> 00:23:29,320 Speaker 2: forefront in that conversation. 365 00:23:29,400 --> 00:23:32,760 Speaker 1: Oddly, Yeah, I hadn't thought about that part. But yeah, 366 00:23:32,800 --> 00:23:39,040 Speaker 1: she definitely definitely has been and this was an episode 367 00:23:39,040 --> 00:23:43,000 Speaker 1: where it could have been many, many parts. But she 368 00:23:43,080 --> 00:23:44,399 Speaker 1: does have a lot of good quotes if you want 369 00:23:44,440 --> 00:23:48,680 Speaker 1: to look them up, where she was talking about how 370 00:23:48,680 --> 00:23:50,240 Speaker 1: she feels now that this movie has come out and 371 00:23:50,240 --> 00:23:53,440 Speaker 1: resonated with people, and how it's made her think about 372 00:23:53,440 --> 00:23:56,080 Speaker 1: some of the way she's been treated or thinks she's 373 00:23:56,080 --> 00:23:59,840 Speaker 1: seen in her own life. And also interestingly, I love this. 374 00:24:00,119 --> 00:24:02,159 Speaker 1: Several women have written about how this movie made them 375 00:24:02,200 --> 00:24:03,159 Speaker 1: feel better about aging. 376 00:24:03,320 --> 00:24:05,159 Speaker 3: I mean, you definitely do hold on to a moment. 377 00:24:05,320 --> 00:24:07,720 Speaker 2: I say this as I've made episodes of like I'm 378 00:24:07,720 --> 00:24:11,120 Speaker 2: aging and I need help, like where I'm like, maybe 379 00:24:11,160 --> 00:24:16,480 Speaker 2: it's not so bad, I shouldn't do things. 380 00:24:17,000 --> 00:24:21,639 Speaker 4: Yeah, because in the end she wanted to go back 381 00:24:22,119 --> 00:24:23,800 Speaker 4: to that face, you know what I mean, Like it 382 00:24:23,920 --> 00:24:26,600 Speaker 4: kind of was that kind of conversation like I wasn't 383 00:24:26,640 --> 00:24:29,200 Speaker 4: so bad that I shouldn't have done this because this 384 00:24:29,440 --> 00:24:30,160 Speaker 4: wasn't worth it. 385 00:24:30,880 --> 00:24:32,639 Speaker 2: But yeah, it kind of has that crash out of 386 00:24:32,680 --> 00:24:35,879 Speaker 2: like maybe it's not worth it because the price you 387 00:24:35,880 --> 00:24:39,159 Speaker 2: have to pay, whether it's having to take out fillers 388 00:24:39,280 --> 00:24:41,359 Speaker 2: or like melting fillers out of your face because you 389 00:24:41,400 --> 00:24:44,200 Speaker 2: realize it's actually not doing you well, or having breast 390 00:24:44,280 --> 00:24:45,919 Speaker 2: and plants and not that there is anything wrong with 391 00:24:45,960 --> 00:24:49,159 Speaker 2: these things, but like the repercussions sometimes the health uh 392 00:24:50,600 --> 00:24:54,359 Speaker 2: like crisis that have to have happened with some people 393 00:24:54,440 --> 00:24:56,760 Speaker 2: afterwards because there's not enough information or they got they 394 00:24:56,760 --> 00:24:59,800 Speaker 2: went to the wrong place. Yeah, you know, that's definitely 395 00:24:59,840 --> 00:25:01,880 Speaker 2: a conversation, and I think that kind of comes back 396 00:25:01,920 --> 00:25:03,600 Speaker 2: to her trying to put her old face back on. 397 00:25:05,080 --> 00:25:08,480 Speaker 1: Yeah, And I think that to me, one of the 398 00:25:08,520 --> 00:25:10,480 Speaker 1: saddest parts of the movie, if not the saddest part, 399 00:25:10,520 --> 00:25:13,280 Speaker 1: is when she does agree to go on that get 400 00:25:13,320 --> 00:25:17,119 Speaker 1: the drinks with the guy yeah, who is perfectly nice, 401 00:25:18,040 --> 00:25:21,560 Speaker 1: perfectly average, but perfectly nice, And she puts on makeup. 402 00:25:21,640 --> 00:25:25,359 Speaker 1: She looks great, and then she keeps seeing her reflection 403 00:25:25,680 --> 00:25:28,719 Speaker 1: or she sees Sue, and she just keeps taking off 404 00:25:28,720 --> 00:25:31,080 Speaker 1: her lipstick and applying it and putting on more makeup 405 00:25:31,119 --> 00:25:33,960 Speaker 1: and then taking it off and like just viciously scrubbing 406 00:25:34,000 --> 00:25:36,840 Speaker 1: it off. And it's so sad. So you're like, just 407 00:25:36,920 --> 00:25:39,639 Speaker 1: go you look great, just you can do this. But 408 00:25:39,680 --> 00:25:41,560 Speaker 1: she can't make it out the door and she never goes, 409 00:25:42,240 --> 00:25:45,920 Speaker 1: and it's a very very sad part. And in the end, 410 00:25:48,000 --> 00:25:54,280 Speaker 1: Sue kills Elizabeth, who at that point does almost pretty 411 00:25:54,320 --> 00:26:00,800 Speaker 1: much personified death. So age comes for you all, does 412 00:26:00,840 --> 00:26:05,480 Speaker 1: it serious? Gonna goel too? But Yeah, going back to 413 00:26:05,520 --> 00:26:09,359 Speaker 1: what you were saying. Another theme in this is the 414 00:26:09,440 --> 00:26:12,199 Speaker 1: quote best self, which in this case is the younger, 415 00:26:13,640 --> 00:26:21,879 Speaker 1: better version. This kind of perfectionism. I read I'm not 416 00:26:21,920 --> 00:26:24,199 Speaker 1: sure if this is true, but I read that Margaret 417 00:26:24,280 --> 00:26:29,760 Speaker 1: Quality wore prosthetics to make everything like more symmetrical and perfect. 418 00:26:30,320 --> 00:26:34,639 Speaker 2: Well, I would assume this is without any research, that 419 00:26:34,680 --> 00:26:37,320 Speaker 2: they had to make our look absolutely perfect, and we 420 00:26:37,400 --> 00:26:39,960 Speaker 2: know that's not the case. So whether it's airbrush, whether 421 00:26:40,000 --> 00:26:44,000 Speaker 2: it's edited, like they had to make her even though 422 00:26:44,080 --> 00:26:48,480 Speaker 2: she's beautiful as is, there's something there's always cellul like, 423 00:26:48,520 --> 00:26:51,720 Speaker 2: there's always a little birthmark, there's always these things. So 424 00:26:52,359 --> 00:26:55,159 Speaker 2: I'm sure that she had to do extra. She had 425 00:26:55,200 --> 00:26:58,080 Speaker 2: to do extra, whether it was taping up of things. 426 00:26:58,840 --> 00:27:01,000 Speaker 2: Obviously she had to get like first thing I thought 427 00:27:01,119 --> 00:27:05,159 Speaker 2: was like, oh, she definitely went got wax like like 428 00:27:05,320 --> 00:27:09,040 Speaker 2: everything everything, And we know people are hairy, come on, 429 00:27:09,600 --> 00:27:12,440 Speaker 2: her mother was a hairy woman like Annie McDowell, who 430 00:27:12,480 --> 00:27:17,400 Speaker 2: was also a another nineties icon, was was not She's 431 00:27:17,640 --> 00:27:21,320 Speaker 2: naturally dark hair, so that that just happens, you know, 432 00:27:21,440 --> 00:27:23,480 Speaker 2: So for her not have any hair, I'm like, yeah, 433 00:27:23,720 --> 00:27:27,879 Speaker 2: she definitely, yes. 434 00:27:28,119 --> 00:27:30,840 Speaker 1: Yes, And that I mean that is the thing of 435 00:27:32,400 --> 00:27:35,480 Speaker 1: we've talked before about, you know, constantly beingmbarded with those 436 00:27:35,520 --> 00:27:37,560 Speaker 1: images of this is perfect, this is what I have 437 00:27:37,600 --> 00:27:42,080 Speaker 1: to do that's howkeed look. And if you don't fit that, 438 00:27:42,880 --> 00:27:44,760 Speaker 1: how do you fix it? How what can they sell 439 00:27:44,800 --> 00:27:49,280 Speaker 1: you to quote fix it? And this is when we 440 00:27:49,320 --> 00:27:52,000 Speaker 1: come to the conversation of quick fixes. This is literally 441 00:27:52,040 --> 00:27:55,399 Speaker 1: a black market drug that she has to go to 442 00:27:55,480 --> 00:27:59,600 Speaker 1: a strange location to pick up. There's no one there. 443 00:27:59,160 --> 00:28:01,640 Speaker 1: They I ever referred to her by her name, only 444 00:28:01,680 --> 00:28:07,160 Speaker 1: her number. You have to drain your spinal fluid, you 445 00:28:07,240 --> 00:28:11,080 Speaker 1: have to sew up your back, you have to be 446 00:28:11,240 --> 00:28:16,640 Speaker 1: unconscious for a week like that. That's kind of the 447 00:28:16,680 --> 00:28:20,000 Speaker 1: desperation she felt, especially as somebody who that was her career, 448 00:28:20,440 --> 00:28:23,560 Speaker 1: and that was how she had so long to find 449 00:28:23,640 --> 00:28:29,840 Speaker 1: herself and so long found meaning, that's how desperate she was. 450 00:28:29,920 --> 00:28:33,800 Speaker 1: She was like, Okay, I'll try this. And by the way, 451 00:28:34,880 --> 00:28:39,480 Speaker 1: this the substance video she watched, is very like tech bro. 452 00:28:40,120 --> 00:28:44,440 Speaker 1: It's a dude narrating it. Every time she talks to him, 453 00:28:44,480 --> 00:28:48,479 Speaker 1: he's like, I told you to respect the balance. Like 454 00:28:48,560 --> 00:28:51,800 Speaker 1: it's very it has that vibe of like a tech bro. 455 00:28:52,880 --> 00:28:56,440 Speaker 1: We can make money off of these women. However, there 456 00:28:56,480 --> 00:28:57,320 Speaker 1: are men that do it. 457 00:28:58,760 --> 00:29:02,280 Speaker 2: You run into I wonder now that I think about it, 458 00:29:02,320 --> 00:29:03,920 Speaker 2: is it the orderly dude. 459 00:29:04,080 --> 00:29:08,960 Speaker 1: Yeah, you had the same scar. Okay, okay, yes. You 460 00:29:09,040 --> 00:29:12,360 Speaker 1: run into his older version and he's like, has she 461 00:29:12,600 --> 00:29:17,520 Speaker 1: started trading you yet? Has she started stealing the time, 462 00:29:18,800 --> 00:29:23,480 Speaker 1: So even for him, the person who recommended it to her, 463 00:29:24,560 --> 00:29:27,600 Speaker 1: he was like, Oh, no, I shouldn't you shouldn't have 464 00:29:27,600 --> 00:29:30,760 Speaker 1: done this. I shouldn't have shouldn't have done this. Here 465 00:29:30,800 --> 00:29:34,560 Speaker 1: is another quote from av club. These combined with an 466 00:29:34,600 --> 00:29:38,360 Speaker 1: aesthetic of syringes and latex clubs best described as medspas chic, 467 00:29:38,640 --> 00:29:42,520 Speaker 1: evoking miracle cures like ozembic and botox that encourage people, 468 00:29:42,800 --> 00:29:45,440 Speaker 1: mostly women, let's be real to pump themselves full of 469 00:29:45,480 --> 00:29:49,120 Speaker 1: barely regulated substances whose side effects won't be clear for 470 00:29:49,160 --> 00:29:51,560 Speaker 1: a few more decades, so they can make themselves more 471 00:29:51,600 --> 00:29:56,120 Speaker 1: palatable to patriarchal beauty standards. None of this will prevent 472 00:29:56,240 --> 00:29:59,200 Speaker 1: the lumpy men who rule the world from throwing you 473 00:29:59,240 --> 00:30:01,880 Speaker 1: away when you don't give them a boner anymore. As 474 00:30:01,920 --> 00:30:05,960 Speaker 1: Elizabeth Sparkle rudely discovers early on in the film, Elizabeth 475 00:30:06,000 --> 00:30:09,720 Speaker 1: is extremely famous, Billboard famous, Walk of Fame famous, and 476 00:30:09,840 --> 00:30:12,280 Speaker 1: has been for decades. You'd think this would give her 477 00:30:12,280 --> 00:30:15,160 Speaker 1: the slightest bit of leverage when it comes to renegotiating 478 00:30:15,200 --> 00:30:17,920 Speaker 1: her contract as the host of the aerobics program that 479 00:30:18,040 --> 00:30:20,720 Speaker 1: broadcast her tight body and sparkling smile into millions of 480 00:30:20,760 --> 00:30:25,200 Speaker 1: American homes every week. You'd be wrong. And that's another 481 00:30:25,280 --> 00:30:30,280 Speaker 1: thing is she doesn't it's these men who decide she's done. 482 00:30:30,640 --> 00:30:34,360 Speaker 1: She doesn't decide that. They're just decide it. And it's 483 00:30:34,360 --> 00:30:39,160 Speaker 1: because of her age. And I do think you know 484 00:30:39,200 --> 00:30:40,920 Speaker 1: the title of the substance when you're talking about so 485 00:30:41,120 --> 00:30:44,440 Speaker 1: we don't even know what it is and we don't 486 00:30:44,480 --> 00:30:46,840 Speaker 1: know how it works, but she was willing to give 487 00:30:46,840 --> 00:30:49,720 Speaker 1: it a try. I didn't want to put in here 488 00:30:51,000 --> 00:30:55,600 Speaker 1: after things go terribly awry. The Eliza Sue prosthetic took 489 00:30:55,640 --> 00:30:59,960 Speaker 1: six hours to apply. Quality said it made her very claustrophobic. 490 00:31:01,240 --> 00:31:03,720 Speaker 1: But it's really cool. I just can't recommend enough to 491 00:31:03,720 --> 00:31:05,600 Speaker 1: look up how they made it and how they did 492 00:31:05,600 --> 00:31:10,200 Speaker 1: it and the blood and everything. Oh my gosh. But 493 00:31:10,680 --> 00:31:14,280 Speaker 1: Farjah said of that, the only gaze that matters is 494 00:31:14,320 --> 00:31:17,560 Speaker 1: her own. It's the reconciliation between all of the parts. 495 00:31:17,840 --> 00:31:20,240 Speaker 1: The moment she reveals what inside her guts, but we 496 00:31:20,280 --> 00:31:22,800 Speaker 1: are told to hide, be ashamed of everything is out. 497 00:31:23,000 --> 00:31:25,600 Speaker 1: The butt is on the head, and the boobs are everywhere, 498 00:31:25,800 --> 00:31:28,480 Speaker 1: and all those parts have been bedicized about are kind 499 00:31:28,480 --> 00:31:31,680 Speaker 1: of exploded. And she is finally and she finally has 500 00:31:31,720 --> 00:31:35,200 Speaker 1: some tenderness for herself. And that's true, and a lot 501 00:31:35,280 --> 00:31:37,840 Speaker 1: of sums looking in the mirror, but she's putting on 502 00:31:38,000 --> 00:31:42,560 Speaker 1: her earrings, at her dress and combing her hair. It's 503 00:31:42,600 --> 00:31:45,080 Speaker 1: like the nicest she's looked at herself in the mirror. 504 00:31:46,000 --> 00:31:50,400 Speaker 1: And I mean, of course it's really sad ultimately, but 505 00:31:50,880 --> 00:31:53,560 Speaker 1: when she presents herself to her audience, she's like, it's me. 506 00:31:53,720 --> 00:31:56,040 Speaker 1: I'm still the same person. I don't understand why you're 507 00:31:56,080 --> 00:31:59,200 Speaker 1: reacting this way as if I'm a monster. I hadn't really. 508 00:31:59,240 --> 00:32:00,760 Speaker 1: I'm glad I read that quote because I was just 509 00:32:00,840 --> 00:32:03,120 Speaker 1: kind of like, oh, she's putting on earrings. 510 00:32:04,080 --> 00:32:06,080 Speaker 3: Yeah, I was like, she's trying to be presentable. 511 00:32:06,360 --> 00:32:09,360 Speaker 2: She's going But it could also I do also wonder 512 00:32:09,400 --> 00:32:12,160 Speaker 2: like it's partially in a conversation of like, no matter 513 00:32:12,200 --> 00:32:14,720 Speaker 2: how much suffering you're going through, you still have to 514 00:32:14,800 --> 00:32:18,080 Speaker 2: dress up and present yourself like women constantly would do 515 00:32:18,160 --> 00:32:21,120 Speaker 2: so well. Women may like talking about women who have 516 00:32:21,280 --> 00:32:24,080 Speaker 2: babies and are pregnant. They get themselves nice. They do 517 00:32:24,160 --> 00:32:26,280 Speaker 2: their nails, they get their toes done, so when they're 518 00:32:26,320 --> 00:32:27,760 Speaker 2: looking at it, it looks nice. 519 00:32:28,000 --> 00:32:29,360 Speaker 3: Like these things that they. 520 00:32:29,280 --> 00:32:32,440 Speaker 2: Do, whether it's for others or themselves, it is literally 521 00:32:32,480 --> 00:32:33,960 Speaker 2: a thing like I have to be. 522 00:32:33,880 --> 00:32:38,600 Speaker 3: Presentable, no matter the disastrous situation I'm in, or if 523 00:32:38,640 --> 00:32:40,000 Speaker 3: I'm just bleeding. 524 00:32:39,560 --> 00:32:44,880 Speaker 2: Out of every orfice then non orphus things that shouldn't 525 00:32:44,880 --> 00:32:45,280 Speaker 2: be bleeding. 526 00:32:47,480 --> 00:32:50,680 Speaker 1: She did try to make herself resentable. She did, like 527 00:32:50,760 --> 00:32:53,160 Speaker 1: even the mask she put the smile on with the 528 00:32:53,200 --> 00:32:54,120 Speaker 1: lipstick YU. 529 00:32:55,480 --> 00:32:57,320 Speaker 2: So yeah, I'm not being an ode to the joker 530 00:32:57,360 --> 00:33:02,240 Speaker 2: to be honest that though she was literally crashing. 531 00:33:01,960 --> 00:33:10,280 Speaker 1: Out here we go. Yeah, well, I love how like 532 00:33:10,360 --> 00:33:12,680 Speaker 1: nobody noticed it too. I think that's really telling that 533 00:33:12,720 --> 00:33:16,680 Speaker 1: nobody noticed something was a miss until. 534 00:33:15,880 --> 00:33:18,239 Speaker 3: That was the part that I'm like, he let her in. 535 00:33:19,240 --> 00:33:22,400 Speaker 1: Yeah what uh huh, like they put her on the 536 00:33:22,520 --> 00:33:23,120 Speaker 1: on screen. 537 00:33:24,080 --> 00:33:25,760 Speaker 2: There were so many well, there's so many things I 538 00:33:25,760 --> 00:33:28,040 Speaker 2: had questions about because I'm like, this doesn't work this way. 539 00:33:28,760 --> 00:33:30,160 Speaker 1: I know that's. 540 00:33:30,000 --> 00:33:32,959 Speaker 2: Absurd, but my question on one of the parts was 541 00:33:33,000 --> 00:33:37,320 Speaker 2: like wait auh. At one point she was you know 542 00:33:37,440 --> 00:33:39,040 Speaker 2: the fluid that which is the food. 543 00:33:38,840 --> 00:33:40,720 Speaker 3: For yours for your part fluid. 544 00:33:40,720 --> 00:33:44,720 Speaker 2: This if you are where did she get that food? 545 00:33:45,040 --> 00:33:49,680 Speaker 2: Because she was almost suffocating. You get it from the 546 00:33:50,800 --> 00:33:51,920 Speaker 2: only has seven day supply. 547 00:33:52,240 --> 00:33:55,680 Speaker 1: You can get refilled without doing the The problem is 548 00:33:55,760 --> 00:33:58,160 Speaker 1: she ran out of stable stabilizer fluid. But it's like 549 00:33:58,200 --> 00:34:02,520 Speaker 1: a subscription. She just kept getting it. Okay, yeah, I'll 550 00:34:02,560 --> 00:34:02,760 Speaker 1: give you. 551 00:34:03,480 --> 00:34:05,320 Speaker 2: And I was like, she's just suffocating, but she doesn't 552 00:34:05,320 --> 00:34:07,520 Speaker 2: have food, like that's why she's a nosebleeding. 553 00:34:18,160 --> 00:34:21,239 Speaker 1: Well, that does bring us to my next point. Consumption. 554 00:34:21,600 --> 00:34:26,920 Speaker 1: That's a big theme in this a lot of food 555 00:34:27,440 --> 00:34:32,640 Speaker 1: and eating in this movie. I've already talked about Dennis 556 00:34:32,719 --> 00:34:36,879 Speaker 1: Quaid in the Shrimp, very gross, very visceral. You can 557 00:34:36,880 --> 00:34:41,200 Speaker 1: hear him eating him with the cigarette like it zooms in. 558 00:34:41,840 --> 00:34:45,960 Speaker 1: You can hear it very viscerally as well. This is 559 00:34:46,000 --> 00:34:50,520 Speaker 1: also how we see some female rage because I'm both 560 00:34:50,560 --> 00:34:55,000 Speaker 1: extremes of eating and not eating. Because previously Elizabeth had 561 00:34:55,040 --> 00:34:58,720 Speaker 1: been pretty shut off from being fired, like any anger 562 00:34:58,760 --> 00:35:06,919 Speaker 1: about it or anything visible. But when she starts to 563 00:35:07,000 --> 00:35:11,279 Speaker 1: see Sue is taking her time or again they are one, 564 00:35:11,320 --> 00:35:13,520 Speaker 1: but to her it feels like Sue is taking her time. 565 00:35:15,120 --> 00:35:18,880 Speaker 1: That's when she's watching the she's watching Sue being interviewed 566 00:35:18,880 --> 00:35:21,040 Speaker 1: and making fun of her and being like, oh, that 567 00:35:21,120 --> 00:35:23,440 Speaker 1: she's out of my generation. She's more like my mom's 568 00:35:23,440 --> 00:35:28,000 Speaker 1: age or whatever, my mom generation. And that's when Elizabeth 569 00:35:28,480 --> 00:35:32,720 Speaker 1: gets out the French cookbook and starts to make everything 570 00:35:32,760 --> 00:35:36,640 Speaker 1: in there, a lot of meats like blood sausage, and 571 00:35:36,680 --> 00:35:41,399 Speaker 1: it's very rage filled, it's very bitter, and she does 572 00:35:41,520 --> 00:35:46,120 Speaker 1: do it to get back at Sue, because when Sue 573 00:35:47,440 --> 00:35:52,520 Speaker 1: comes Toue it's just a mess. It's an absolute mess. 574 00:35:52,960 --> 00:35:56,719 Speaker 1: Food everywhere, dishes everywhere, it's really nasty. But she kind 575 00:35:56,719 --> 00:36:00,319 Speaker 1: of starts, she stops giving a She also like starts 576 00:36:00,400 --> 00:36:03,520 Speaker 1: yelling at the guy across the hall, like slams the 577 00:36:03,560 --> 00:36:08,360 Speaker 1: door open. She's just not not into it anymore. A 578 00:36:08,400 --> 00:36:10,920 Speaker 1: lot of people were relating to that to get related 579 00:36:10,960 --> 00:36:15,719 Speaker 1: to the pandemic, like this, what's resonating with me? But 580 00:36:15,760 --> 00:36:19,000 Speaker 1: also when we talk about consumption, I would say we've 581 00:36:19,000 --> 00:36:23,960 Speaker 1: discussed this before, but a lot of the way camera 582 00:36:24,000 --> 00:36:27,480 Speaker 1: shots have typically been used to film women, it's very 583 00:36:27,560 --> 00:36:34,120 Speaker 1: like objectifying of body parts, very pornographic, and so it's 584 00:36:34,120 --> 00:36:40,240 Speaker 1: like you're consuming just this part, are just this part, 585 00:36:41,360 --> 00:36:46,439 Speaker 1: and the director has talked about that and and that 586 00:36:46,560 --> 00:36:50,600 Speaker 1: kind of goes back to why she wanted to make 587 00:36:51,080 --> 00:36:57,520 Speaker 1: the objectified parts explode or become gross because she gives 588 00:36:57,600 --> 00:37:03,000 Speaker 1: birth to a boob from her forehead. So that was 589 00:37:03,080 --> 00:37:07,920 Speaker 1: a very interesting interviews she's done about this movie. But 590 00:37:08,000 --> 00:37:17,320 Speaker 1: also self loathing is a big theme because they both 591 00:37:17,440 --> 00:37:20,920 Speaker 1: they're the same person. It says again, all all throughout 592 00:37:20,960 --> 00:37:23,600 Speaker 1: the movie, respect the balance, you are one. But they 593 00:37:23,640 --> 00:37:28,040 Speaker 1: hate each other. And we've discussed before the self comparison 594 00:37:28,120 --> 00:37:32,640 Speaker 1: trap of always comparing yourself to your younger self or 595 00:37:32,680 --> 00:37:38,280 Speaker 1: even like future worries about your older self. Sue literally 596 00:37:38,360 --> 00:37:41,640 Speaker 1: dry heaves at the thought of switching back and calls 597 00:37:41,680 --> 00:37:47,040 Speaker 1: her Elizabeth, her sick mother. They do more than once 598 00:37:47,880 --> 00:37:51,480 Speaker 1: try to kill each other, but in the end it's Elizabeth. 599 00:37:52,040 --> 00:37:56,960 Speaker 1: Elizabeth can't do it, but Sue can, and Sue does. 600 00:37:57,200 --> 00:38:01,479 Speaker 1: Sue kills her, but Elizabeth can't give up Sue because 601 00:38:01,480 --> 00:38:03,280 Speaker 1: she loves her too much, or she loves the idea 602 00:38:03,320 --> 00:38:05,960 Speaker 1: of being young and worshiped and having an audience love 603 00:38:06,040 --> 00:38:11,040 Speaker 1: her too much and it's too powerful for her to 604 00:38:11,120 --> 00:38:18,160 Speaker 1: let go. And she does say things like when she's Eliza, 605 00:38:18,239 --> 00:38:21,480 Speaker 1: Sue like why you love me, it's me, is still me, 606 00:38:21,719 --> 00:38:26,920 Speaker 1: Like she just wants that love, that adoration, and is 607 00:38:26,960 --> 00:38:31,759 Speaker 1: willing to make all these sacrifices and go through all 608 00:38:31,800 --> 00:38:35,600 Speaker 1: this pain for those who are watching, who would throw 609 00:38:35,640 --> 00:38:40,319 Speaker 1: her away in a second to succeed. I also think 610 00:38:40,320 --> 00:38:44,480 Speaker 1: there's a theme of addiction in here, being kind of 611 00:38:44,480 --> 00:38:51,520 Speaker 1: addicted to that that feeling, and maybe even to the 612 00:38:51,560 --> 00:38:57,839 Speaker 1: idea of eventually like being younger when you could. And 613 00:38:57,880 --> 00:39:02,719 Speaker 1: then there are a lot of this. As I said, 614 00:39:02,719 --> 00:39:06,040 Speaker 1: there's not a lot a dialogue in this movie, So 615 00:39:06,200 --> 00:39:09,719 Speaker 1: a lot of this is how you're seeing yourself when 616 00:39:09,719 --> 00:39:13,560 Speaker 1: people are seeing you, and it's reflected through mirrors or images, 617 00:39:14,840 --> 00:39:19,400 Speaker 1: the never ending hallway at the company, the studio that 618 00:39:19,480 --> 00:39:23,200 Speaker 1: feels very much like the shining Alissa Wilcomson of The 619 00:39:23,200 --> 00:39:26,400 Speaker 1: New York Times wrote in the end, that's what the 620 00:39:26,400 --> 00:39:29,160 Speaker 1: Substance does best, not just remind us about the observed 621 00:39:29,200 --> 00:39:32,839 Speaker 1: standards for female beauty and the destructive power of celebrity, 622 00:39:33,040 --> 00:39:36,000 Speaker 1: but turn the mirror back on us. The sharpest critique 623 00:39:36,080 --> 00:39:38,560 Speaker 1: isn't about bodies, but about the way we've trained ourselves 624 00:39:38,560 --> 00:39:41,120 Speaker 1: to look at those bodies and the effect that has 625 00:39:41,200 --> 00:39:44,760 Speaker 1: on our own. The movie is appropriately enough a mirror, 626 00:39:45,000 --> 00:39:48,480 Speaker 1: and our discomfort reveals our own hidden biases and fears 627 00:39:48,520 --> 00:39:52,640 Speaker 1: about ourselves, being older, being famous, being seen, being loved, 628 00:39:52,719 --> 00:39:56,640 Speaker 1: being usurped by someone younger and hotter. It's all here. 629 00:39:57,120 --> 00:39:59,760 Speaker 1: Nothing like a mirror to remind you what lurks beneath. 630 00:40:00,520 --> 00:40:03,160 Speaker 1: A career spent in front of cameras, first as a 631 00:40:03,200 --> 00:40:06,080 Speaker 1: celebrated actress and then as a celebrity fitness instructor on 632 00:40:06,120 --> 00:40:09,120 Speaker 1: a show called Sparkle. Your life with Elizabeth abruptly ends 633 00:40:09,160 --> 00:40:11,680 Speaker 1: when an executive decides she's too old to be worthy 634 00:40:11,680 --> 00:40:14,319 Speaker 1: of being seen. He gets to decide if anyone wants 635 00:40:14,320 --> 00:40:16,760 Speaker 1: to look at her, and if he turns the cameras away, 636 00:40:17,160 --> 00:40:20,120 Speaker 1: does she even exist? Who? 637 00:40:22,000 --> 00:40:22,120 Speaker 2: So? 638 00:40:23,040 --> 00:40:25,600 Speaker 1: A lot a lot to be said about this movie. 639 00:40:25,800 --> 00:40:27,960 Speaker 1: These are just a few of my thoughts. But before 640 00:40:28,000 --> 00:40:30,920 Speaker 1: we close out this episode, I did want to touch 641 00:40:30,960 --> 00:40:35,320 Speaker 1: on some irl news stories because it has generated a 642 00:40:35,400 --> 00:40:39,120 Speaker 1: lot of conversation and a lot of headlines. One is 643 00:40:39,160 --> 00:40:40,919 Speaker 1: I'm only going to touch on this very briefly because 644 00:40:40,920 --> 00:40:45,400 Speaker 1: I thought it was funny, but Kim Kardashian criticized this movie, 645 00:40:45,800 --> 00:40:50,759 Speaker 1: Oh really very very funny because people are like interesting 646 00:40:51,360 --> 00:40:54,440 Speaker 1: and one of my favorite comebacks was it's like AI 647 00:40:54,560 --> 00:40:56,040 Speaker 1: criticizing Terminator. 648 00:40:56,920 --> 00:40:59,240 Speaker 3: I think she'll learned to appreciate this movie soon enough. 649 00:41:00,200 --> 00:41:02,399 Speaker 1: I feel bad, like I it was just funny because 650 00:41:02,400 --> 00:41:05,720 Speaker 1: it seems so out of touch. Like I'm not saying 651 00:41:06,320 --> 00:41:09,160 Speaker 1: they're not standards, I'm not saying anything like that. It 652 00:41:09,239 --> 00:41:10,560 Speaker 1: was just so out of touch. 653 00:41:11,080 --> 00:41:14,919 Speaker 2: I wonder though, what she baited, maybe because like, why 654 00:41:14,920 --> 00:41:18,040 Speaker 2: would Kimardi. I've not heard her talk about movies ever, 655 00:41:18,360 --> 00:41:21,640 Speaker 2: so this is interesting that that's a that's even a thing. 656 00:41:21,760 --> 00:41:24,160 Speaker 2: So what did they go after her? Being like, you're 657 00:41:24,360 --> 00:41:26,680 Speaker 2: the representation, You're who they're talking about. So she's all 658 00:41:26,680 --> 00:41:30,040 Speaker 2: in mac gonna be like what No, Like, I can't 659 00:41:30,080 --> 00:41:31,720 Speaker 2: imagine she even watched this movie. 660 00:41:32,560 --> 00:41:35,200 Speaker 1: I feel like she had her review and most of 661 00:41:35,200 --> 00:41:38,680 Speaker 1: the things I read were I don't know where it 662 00:41:38,719 --> 00:41:40,560 Speaker 1: came from, but most of the things I read it 663 00:41:40,560 --> 00:41:43,319 Speaker 1: didn't feel like she had been baited by them. They 664 00:41:43,360 --> 00:41:45,200 Speaker 1: were just kind of like, oh oh. 665 00:41:46,560 --> 00:41:47,600 Speaker 3: Yeah, interesting. 666 00:41:48,160 --> 00:41:48,719 Speaker 1: Interesting. 667 00:41:49,000 --> 00:41:52,000 Speaker 2: I saw a headline recently about a couple of months ago, 668 00:41:52,040 --> 00:41:53,960 Speaker 2: and I wanted to talk about it about how they 669 00:41:54,000 --> 00:41:57,399 Speaker 2: felt like getting older meant they were disappearing, like they 670 00:41:57,400 --> 00:42:00,680 Speaker 2: were no longer seen and what that meant, the freedom 671 00:42:00,880 --> 00:42:02,759 Speaker 2: and the costs. And I saw that. 672 00:42:02,800 --> 00:42:05,320 Speaker 3: I think it was before the movie. 673 00:42:05,719 --> 00:42:08,600 Speaker 2: So people are talking about how aging has seen that, 674 00:42:08,640 --> 00:42:12,160 Speaker 2: and I was like, huh, because again, part of my 675 00:42:12,200 --> 00:42:14,319 Speaker 2: conversation is like, I obviously we're all growing older, but 676 00:42:14,360 --> 00:42:15,960 Speaker 2: we were getting to a specific age where I'm like, 677 00:42:16,000 --> 00:42:19,440 Speaker 2: I'm technically at midlife. So what does that look like? 678 00:42:19,640 --> 00:42:22,719 Speaker 2: And have I disappeared and what does it disappearing mean? 679 00:42:23,719 --> 00:42:28,480 Speaker 1: Yeah? Yeah, Like I said, a lot of people wrote, 680 00:42:30,160 --> 00:42:33,080 Speaker 1: especially around the pandemic, and we've talked about this a lot, 681 00:42:33,160 --> 00:42:37,000 Speaker 1: how our body's changed during the pandemic in ways that 682 00:42:37,040 --> 00:42:41,480 Speaker 1: we might not like given standards that we we've are 683 00:42:41,520 --> 00:42:46,680 Speaker 1: surrounded by in society. And people are saying, you know, 684 00:42:46,760 --> 00:42:49,080 Speaker 1: I found this. I really related to this, whether they 685 00:42:49,080 --> 00:42:51,239 Speaker 1: are saying, oh, it made me feel better about aging, 686 00:42:51,280 --> 00:42:53,120 Speaker 1: and some people were just like it was nice to 687 00:42:53,160 --> 00:42:56,960 Speaker 1: see something about it. So yeah, I think that is 688 00:42:57,000 --> 00:43:00,799 Speaker 1: a conversation that's really happening right now. We should come 689 00:43:00,840 --> 00:43:05,840 Speaker 1: back and talk about that. Another thing that happened that 690 00:43:06,640 --> 00:43:10,080 Speaker 1: got a lot of headlines was Farjop pulled this film 691 00:43:10,120 --> 00:43:15,040 Speaker 1: from Poland's Camera Image Film Festival after quote highly misogynistic 692 00:43:15,520 --> 00:43:21,640 Speaker 1: comments from the festival's founder, Merricks Fuadovitz published He published 693 00:43:21,680 --> 00:43:26,480 Speaker 1: an essay titled Time for Solidarity in Cinematography World, and 694 00:43:26,680 --> 00:43:29,120 Speaker 1: this essay was his response to a petition issued by 695 00:43:29,120 --> 00:43:32,760 Speaker 1: the organization Women in Cinematography in which they were calling 696 00:43:32,760 --> 00:43:35,560 Speaker 1: for the event to do more around supporting women in 697 00:43:35,600 --> 00:43:39,760 Speaker 1: the industry. And the founder's response was not great because 698 00:43:39,800 --> 00:43:43,120 Speaker 1: he said, quote, it raises a question. Can the pursuit 699 00:43:43,160 --> 00:43:46,880 Speaker 1: of change exclude what is good? Can we sacrifice works 700 00:43:46,880 --> 00:43:50,120 Speaker 1: and artists with outstanding artistic achievements solely to make room 701 00:43:50,160 --> 00:43:58,400 Speaker 1: for mediocre film production? So he's basically saying women cinematographers 702 00:43:58,400 --> 00:44:03,200 Speaker 1: are mediocre, they shouldn't for them. So she pulled the 703 00:44:03,200 --> 00:44:06,200 Speaker 1: film and it was a whole thing. The backlash is 704 00:44:06,200 --> 00:44:10,400 Speaker 1: pretty intense and immediate, and the founder claims he was misinterpreted. 705 00:44:12,000 --> 00:44:16,840 Speaker 1: He said he'd been working with that organization WIC and 706 00:44:16,960 --> 00:44:20,640 Speaker 1: posted a diversity and inclusion proposal, though WIC claimed they 707 00:44:20,680 --> 00:44:23,719 Speaker 1: wrote it and he only posted it after everyone got 708 00:44:23,719 --> 00:44:27,839 Speaker 1: mad at him, which sounds about right too me right, But. 709 00:44:28,800 --> 00:44:29,319 Speaker 2: What I did? 710 00:44:29,520 --> 00:44:31,000 Speaker 3: Oh no, just kidding, I just claimed it. 711 00:44:31,480 --> 00:44:36,280 Speaker 1: Yeah, but this movie has gotten a lot of awards buzz, 712 00:44:36,520 --> 00:44:39,959 Speaker 1: so we'll see what happens. I did want to end 713 00:44:40,360 --> 00:44:44,759 Speaker 1: with this quote from Farjah. I needed the substance to 714 00:44:44,760 --> 00:44:47,160 Speaker 1: be bloody, to be excessive, to have a real strong 715 00:44:47,200 --> 00:44:50,120 Speaker 1: message that it's time for a change, for a real change, 716 00:44:50,200 --> 00:44:52,560 Speaker 1: and the change cannot be delicate. It cannot be gentle, 717 00:44:52,640 --> 00:44:55,239 Speaker 1: it cannot be small. It needs to be massive, it 718 00:44:55,280 --> 00:44:57,640 Speaker 1: needs to be everywhere, and it needs to be now. 719 00:44:59,200 --> 00:45:02,959 Speaker 1: So she really but when we're saying she didn't pull 720 00:45:03,080 --> 00:45:08,640 Speaker 1: hold back, she did not hold back. So yeah, I 721 00:45:09,640 --> 00:45:12,959 Speaker 1: highly recommend it. It is very gross, but traumatized. 722 00:45:15,040 --> 00:45:16,200 Speaker 3: I'm tryna leave it at that. 723 00:45:16,840 --> 00:45:20,120 Speaker 1: Yes, I mean when we say it's body are it's 724 00:45:20,880 --> 00:45:26,560 Speaker 1: mm hm traumatized. Well, thanks for going on this journey 725 00:45:27,880 --> 00:45:29,839 Speaker 1: and thanks to everybody who recommended it. 726 00:45:30,520 --> 00:45:30,719 Speaker 2: Uh. 727 00:45:30,760 --> 00:45:34,440 Speaker 1: If you have any recommendations, we would love to hear from. 728 00:45:34,520 --> 00:45:38,160 Speaker 1: You can emails a Stephanie momsteffant heeartmedia dot com. You 729 00:45:38,200 --> 00:45:39,920 Speaker 1: can find us on Twitter and blue Sky at mom 730 00:45:39,960 --> 00:45:42,520 Speaker 1: Stuff podcast or on Instagram and TikTok a stuff I 731 00:45:42,560 --> 00:45:44,640 Speaker 1: Never told you for us on YouTube. We have a 732 00:45:44,680 --> 00:45:46,279 Speaker 1: tea public store and we have a book you can 733 00:45:46,320 --> 00:45:48,440 Speaker 1: get wherever you get your books. Thanks, It's always too 734 00:45:48,480 --> 00:45:51,400 Speaker 1: our super producer Christina, executive producer, My and R. Contruder Joey, 735 00:45:51,640 --> 00:45:54,080 Speaker 1: thank you and thanks to you for listening. Steffan never 736 00:45:54,120 --> 00:45:55,800 Speaker 1: told you his direction by heart Radio. For more podcasts 737 00:45:55,800 --> 00:45:57,000 Speaker 1: from My Heart Radio, you can check out the heart 738 00:45:57,040 --> 00:45:59,160 Speaker 1: Radio app, Apple podcast or Regula send to your favorite 739 00:45:59,160 --> 00:46:03,480 Speaker 1: shows