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

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Daniel Henderson.

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Speaker 1: And we're not here talking about film. We came to

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Speaker 1: record this episode. I want to put this in the

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Speaker 1: record of our show, in the minutes, the meeting minutes

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Speaker 1: of every time we meet to record this show that

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Speaker 1: we actually relate to the record.

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Speaker 3: Because somebody had to take a number two.

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Speaker 2: Listen time waits for no man, and I had to

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Speaker 2: take a shit. I can't sit here and talk about

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Speaker 2: movies for two hours while I'm holding one in the chamber.

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Speaker 1: The chamber. Yeah, and she and she texted Casey and

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Speaker 1: I that was like, listen, can I have about five

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Speaker 1: minutes because I gotta take a.

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Speaker 2: Time professional quest.

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Speaker 3: Absolutely and then listen.

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Speaker 1: As as your co host, I wouldn't want you to

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Speaker 1: be sitting there holding in a dump for the next

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Speaker 1: hour and a half.

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Speaker 3: That would have been awful.

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Speaker 2: So I tried to listen. I try to plan it.

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Speaker 2: I'm pretty regular, and I'm sure you're all worried and

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Speaker 2: wondering now, but I'm pretty.

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Speaker 3: News for middle aged people.

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Speaker 2: If you're regularly, trust me, Yes, I'm pretty regular. But

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Speaker 2: what I don't realize, and it happens every time we record. Normally,

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Speaker 2: my regular dump times don't coincide with anything because I'm

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Speaker 2: just hanging out at home, so I just go when

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Speaker 2: I gotta go, and then I after the coffee kicks in,

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Speaker 2: after breakfast is digested. It just so happens that on

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Speaker 2: the one day week that we record, it's at the

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Speaker 2: same time. So usually it's like, you know, I'll shit.

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Speaker 2: I all put it this way. I always shit before recording.

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Speaker 1: Can I ask you a question about your process real quick,

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Speaker 1: because I have been thinking about this. Do you does

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Speaker 1: your pet come into the bathroom with you when.

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Speaker 2: You're in there? So does mine?

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Speaker 1: And I have tried to lock them out, like I

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Speaker 1: try to get Sophie out of here, but you know,

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Speaker 1: sometimes you're just like I'm running in for a quick

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Speaker 1: p I don't have time to close the door. My

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Speaker 1: dog wants to lock eyes with me. Every time I'm

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Speaker 1: on the toilet.

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Speaker 2: Carrot sits in front of me like a fucking necromancer,

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Speaker 2: and I'm like, you have no part in this, Like

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Speaker 2: I know you want to be in here, but I

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Speaker 2: cannot figure out why because there's nothing for you to do.

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Speaker 2: There's nothing for you to see. It's not like I'm

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Speaker 2: hovering above my fucking toilet with my feet on the

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Speaker 2: bowl so you can see it dropping it Like there's

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Speaker 2: nothing for you to do here, I know.

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Speaker 1: And I'm like, I'm fascinated by I mean, I'm generally

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Speaker 1: fascinated by pet psychology because it's like, don't we all

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Speaker 1: want to know what our pets are thinking of us?

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Speaker 2: Always?

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Speaker 1: Like anytime I see an article online where it's like

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Speaker 1: scientists have discovered that pets, you know, have you know,

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Speaker 1: mental breakdowns when you're not with them for five seconds

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Speaker 1: or whatever, I get like so obsessed, Like, yes, my

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Speaker 1: pet loves me so much, and now we have the

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Speaker 1: science to prove it. But I'm like curious about what

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Speaker 1: this obsession is with them, like just wanting to hang

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Speaker 1: out with us while we're on the toilet. And the

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Speaker 1: whole like locking eyes thing is so strange because Sophie

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Speaker 1: like wants to lock eyes with me when she's taken

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Speaker 1: a dump too.

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Speaker 2: Oh he Karen does not want that. He's got a

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Speaker 2: litter robot is the name of the box that he

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Speaker 2: has now, and he kind of goes into this chamber

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Speaker 2: that's round. Yeah, and if he's looking out at me,

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Speaker 2: he'll genuinely turn his head away, like I don't I

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Speaker 2: don't want you to see this.

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Speaker 3: Yeah, it's I don't know.

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Speaker 1: Oh maybe that's a I don't know if cats and

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Speaker 1: dogs do that differently, but I swear I don't know

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Speaker 1: what to do because I'm like, is she looking into

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Speaker 1: my soul? Is it like a moment where she's like, listen,

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Speaker 1: I'm in a vulnerable place. You're in a vulnerable place.

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Speaker 1: Let's look at each other and just realize that we're

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Speaker 1: family and we're here for each other, you know, like

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Speaker 1: dumb service, you powerful.

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Speaker 3: I don't know.

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Speaker 2: You've taken this to a naturally milly deep place, which

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Speaker 2: is very on brand where you're thinking about vulnerability and psychology.

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Speaker 2: Your dog just wants to fucking treat and my cat

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Speaker 2: just wants me to get ata to do something normal

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Speaker 2: in my day. He's like, you're never in here. Why

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Speaker 2: are you in here?

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Speaker 4: Oh?

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Speaker 2: For this? All right? Bye, because the rest of the

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Speaker 2: day he doesn't want to hang out with me. He

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Speaker 2: does his own thing. Yeah, it's not like he's waiting

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Speaker 2: for me to come out. Like dogs and cats are

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Speaker 2: different in that way. Like he's not like waiting for

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Speaker 2: me to come out and play with him or give

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Speaker 2: him anything. He's just like, you know, he sleeps eighteen

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Speaker 2: hours a day. So I think the psychology of Carrot

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Speaker 2: is that he's just like, this is abnormal. Why are

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Speaker 2: you in this little room a couple times a day.

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Speaker 1: On that note, I'm glad we spent some time discussing

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Speaker 1: all of those things.

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Speaker 2: Probably more than people wanted us to. But that's why

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Speaker 2: you got the pass forward button.

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Speaker 1: Absolutely, you're under no obligation to listen to this shit talk.

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Speaker 2: So and I think it also was ill timed today

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Speaker 2: because I had a lot going on this morning. So

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Speaker 2: I like, I've had I had a visitor last week

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Speaker 2: from Montreal.

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Speaker 3: I'm scratching my invisible beard.

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Speaker 2: Oh my god, Yes, I had a visitor for Montreal.

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Speaker 2: And so what that made me do was going to

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Speaker 2: hyper drive because I looked around my house and I

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Speaker 2: was like, oh, I have been living like a fucking

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Speaker 2: serial killer for the last year. So I'm looking at

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Speaker 2: it like, oh, I need to replace that shelf, I

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Speaker 2: need this sighting like this fucking trim was never replaced.

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Speaker 2: I need to make this place look like a normal

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Speaker 2: person it was here. And then not, so I was

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Speaker 2: doing all that, and then I had the pest control

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Speaker 2: guy was supposed to come. While he was here, I

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Speaker 2: had to reschedule because I pulled up to my house

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Speaker 2: one day and I was just looking. I kind of

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Speaker 2: pulled off to the side where I don't normally park

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Speaker 2: in my driveway, and I was looking at my butterfly

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Speaker 2: bush and I was like, oh my god, this butterfly

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Speaker 2: bush has grown so much. It's had such a good season.

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Speaker 2: There's actual butterflies around. There were also bees all over

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Speaker 2: the place. So I looked a little closely and there

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Speaker 2: were bees just like crawling into this little spot in

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Speaker 2: the siding in front of the garage. And I'm like,

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Speaker 2: I'm gonna be one of those fucking houses where they're

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Speaker 2: gonna rip the wall off and be like, you have

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Speaker 2: seven hundred pounds of bees in here.

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Speaker 1: So I called me like candy man.

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Speaker 2: Yeah, I opened my mouth to eat and just bees

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Speaker 2: just fly out. Scary. I go and get the mail

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Speaker 2: and I'm just like covered in bees, walking like one

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Speaker 2: of those stunt men from the eighties.

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Speaker 1: They started out going into a tidy hole and look

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Speaker 1: what happened.

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Speaker 2: Now, now they took over her fucking life.

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Speaker 1: So I had.

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Speaker 2: So the pest control guy was rescheduled to come today

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Speaker 2: and he showed up a little early, showed up a

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Speaker 2: couple hours early, which I'm grateful for but was also

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Speaker 2: not prepared for. So I went out and showed him

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Speaker 2: and I was like, oh, do you need me to

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Speaker 2: show you where the bees are? And he's like, oh no,

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Speaker 2: I can see him from here, and I'm like great,

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Speaker 2: that's a good sign. And then when he left, he

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Speaker 2: sent me a text and he was like, all right,

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Speaker 2: you should be all set. You might see some activity

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Speaker 2: for the next couple of weeks and then you can

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Speaker 2: plug the hole up. But there were three hundred yellow

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Speaker 2: jackets in there, and I was like, sir, what He's like, Yeah,

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Speaker 2: there were three hundred about three hundred yellow jackets in there.

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Speaker 1: So they weren't actual bees. They were actually yellow jackets.

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Speaker 2: Yeah.

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Speaker 1: Wow, that's scary.

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Speaker 2: Yeah, wasp factory yellowjackets are wasps, right, I think? So, see,

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Speaker 2: this is why I can't be doing this kind of

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Speaker 2: work because I'm like, they're bees. He's like they are not.

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Speaker 1: Well yeah, I mean I always I knew there was

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Speaker 1: a distinction between like the nice bumble bees or the

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Speaker 1: honey bees that you know, we need to actually save

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Speaker 1: or something, because they're important they help the food supply.

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Speaker 1: But then there's like the actual ones that will sting

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Speaker 1: and kill you.

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Speaker 2: Oh, useless wasps are And look, if you're a scientist

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Speaker 2: or you're someone who like works at a pet sanctuary

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Speaker 2: and you know a lot about wasps or something, feel

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Speaker 2: free to tell me. But I feel like they are

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Speaker 2: useless in the food chain.

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Speaker 1: A wasp and a and according to Casey, a wasp

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Speaker 1: and a yellow jacket are the same thing.

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Speaker 2: Oh well, then I had three hundred wasps in my

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Speaker 2: goddamn wall of my garage.

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Speaker 3: So did he did the pescatrol? Dude?

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Speaker 2: Tell you?

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Speaker 1: Like, what was in there?

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Speaker 3: Why were they what were they drawn to?

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Speaker 2: He's like, oh, they might have built a little hive

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Speaker 2: in there, like they might have because he's been I mean,

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Speaker 2: he treats the house every month, so he's like, they

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Speaker 2: it's just recent, like it's just within the last couple

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Speaker 2: of weeks that this has happened. And because he treats

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Speaker 2: the house all the time, and they actually I have

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Speaker 2: had a lot of wasp activity around the house. And

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Speaker 2: last year I went out of my front door one

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Speaker 2: day and my sister in law came over and I

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Speaker 2: kind of went out to greet her, and she kind

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Speaker 2: of stopped in her tracks and she was like, is

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Speaker 2: there another way into your house? I was like why,

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Speaker 2: And she pointed up to this tree right near the

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Speaker 2: front door, and I swear to god there was a wasp,

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Speaker 2: a gray withered wasp nest, wasp's nest that looked like

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Speaker 2: a fucking witch's hat. It was huge, and it was

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Speaker 2: not there two days ago, like when I went outside, Like,

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Speaker 2: they build these things so quickly. So he's like, oh this,

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Speaker 2: You know, they're pretty active. But again I think useless

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Speaker 2: unless they kill I don't know, like a certain type

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Speaker 2: of fucking lantern fly or something. I don't know. Let's

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Speaker 2: get the wasps on the lantern fly situation. They had

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Speaker 2: nothing else to do. Why are we killing them? Get

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Speaker 2: some other fucking animal out there we need.

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Speaker 3: I've been training these wasps to do things.

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Speaker 2: Hell, yeah, you give it a fucking natural, fucking enemy.

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Speaker 3: Yeah, prove they're worth type of thing.

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Speaker 1: I let me tell you when I was a kid,

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Speaker 1: like so, you know, I kind of I grew up

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Speaker 1: in the South obviously, like either between suburban Atlanta and

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Speaker 1: rural South Carolina.

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Speaker 3: And when I was a little kid in the.

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Speaker 1: Eighties, you know, this was before I'll say this, before

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Speaker 1: I say this now, you're not allowed to go on

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Speaker 1: the side of the road and pick wildflowers.

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Speaker 3: It's kind of like not the thing.

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Speaker 1: But there's always signs now that says, don't pick these wildflowers.

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Speaker 1: This is you know, a present a habitat for you know,

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Speaker 1: blah blah blah. But in the eighties, nobody gave a

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Speaker 1: shit about fuck. I mean, people were still littering, so

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Speaker 1: it doesn't even really matter.

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Speaker 2: So my mom, any influencers in the eighties, the influencers

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Speaker 2: like take a picture of me in this beautiful side

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Speaker 2: of the road field, and then State of George is like,

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Speaker 2: you just ruined the fucking habitat of seven hundred INSECX.

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Speaker 1: Yeah, there was no scolding about any of this stuff

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Speaker 1: the way there is now. But so my mom and

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Speaker 1: my sister and I went I I mean I must

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Speaker 1: have been probably like eight or nine years old, so

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Speaker 1: my sister was really little. We used to go on

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Speaker 1: the side of the road and pick wild flowers. Like

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Speaker 1: we used to just you know, pull over and you know,

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Speaker 1: clip little things and put them in jars and shit.

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Speaker 3: So I remember we were doing that and I.

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Speaker 1: For some reason was like in the tall grasses and

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Speaker 1: I was feeling these like pains in my legs. Oh no,

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Speaker 1: underneath my sock uh uh. And I was probably wearing

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Speaker 1: one of those scrunchy white socks like Owin McGregor wears

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Speaker 1: in Shallow Grave, so you know, somehow this occurred. But anyway,

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Speaker 1: I was feeling these like pinches in my sock and

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Speaker 1: I was like.

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Speaker 3: Fuck, that hurts, and I opened up.

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Speaker 1: You know, I basically pulled the sock away from my skin,

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Speaker 1: and a bunch of wasps and yellow jackets whatever you

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Speaker 1: call them, came out.

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Speaker 2: They were going to fucking town on your ankles.

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Speaker 3: Oh yeah.

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Speaker 1: And then when I was like so of course I

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Speaker 1: flipped out. My mom was like, oh my god. It

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Speaker 1: was I can't walk.

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Speaker 3: I can't walk.

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Speaker 1: So my mom, you know, carried me to the car.

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Speaker 1: We went home and then took my socks off and

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Speaker 1: there was just bites all around my ankles. Oh my god, dude,

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Speaker 1: and it was like it was so painful. It was

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Speaker 1: so painful, and I will so ever since then I

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Speaker 1: was like, I don't fuck with those things. No, I

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Speaker 1: don't care if they're the greatest animals on the planet.

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Speaker 2: They really.

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Speaker 1: Fucked me up when I was eight or nine, and

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Speaker 1: I don't so so the idea that you have had

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Speaker 1: three hundred of them in your wall scares the shit

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Speaker 1: out of me, I know.

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Speaker 2: And it's like, I'm gonna have to I have to

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Speaker 2: have the house recited, like yeah, yeah, and it's gonna

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Speaker 2: be It's just gonna be a tremendous amount of money

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Speaker 2: because between the squirrels and the fucking wasps and like

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Speaker 2: everything's trying to get into this house. Everything is like, oh,

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Speaker 2: they still see a barn, and I'm like, this is

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Speaker 2: not no longer a barn. It's a home. It has

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Speaker 2: been a home for like a century. Yeah, but animals

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Speaker 2: are still trying to get in here. So the way

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Speaker 2: that they can kind of burrow and burrow into wood

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Speaker 2: and like dig holes like this will probably happen again.

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Speaker 2: I gotta be able to look out for wasps now.

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Speaker 1: I'm telling you, like, that's probably why when when you're

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Speaker 1: in the country you see houses that look like the

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Speaker 1: house is from Not of the Living Dead, when they've

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Speaker 1: just got boards mails to every open hole.

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Speaker 2: Dude, it's no joke. I have a couple of those

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Speaker 2: boards up. Yeah, I have a couple of house boards

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Speaker 2: up high under the soffits, under the eaves, because I'm like,

285
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Speaker 2: any hole that you see, I told again pest Control Company,

286
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Speaker 2: like any fucking hole that you see, you gotta plug

287
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Speaker 2: it up because I got squirrels coming in here and

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Speaker 2: fucking parkouring into my house through a broken ceiling tile.

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Speaker 1: Oh yeah, you should see like below the deck in

290
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Speaker 1: the backyard at this house, Like it's basically open because

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Speaker 1: it goes to the crawl space or whatever. And so

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Speaker 1: I guess over the years, people were like, fuck it,

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Speaker 1: We're putting like wood lattice, you know, around the bottom

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Speaker 1: so that there's no animals that like get under there.

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Speaker 1: And there's like decades upon decades of like nails of

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Speaker 1: like screws just like people like slamming metal things into

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Speaker 1: the so that the lattice stays up because there's fucking

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Speaker 1: like the cats in this neighborhood are crazy. There's so

299
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Speaker 1: many feral cats. There's tons of like squirrels, possums, raccoons.

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Speaker 1: So I mean, I'm like, and they've got to do something.

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Speaker 2: They lay in wait and they sit there and they're like,

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Speaker 2: one day that fucking shit's gonna fall down and we're

303
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Speaker 2: gonna go in there and make a colony. And we

304
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Speaker 2: can't wait. It's like the tail they passed down as

305
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Speaker 2: lore from their to their own kittens, Like we used

306
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Speaker 2: to be able to go under there and fuck, and

307
00:14:58,520 --> 00:15:01,160
Speaker 2: one day you keep w you'll be able to go

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Speaker 2: under there and fuck and invite your little fucking squirrel

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Speaker 2: friends for a goddamn party. They always bring food, They

310
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Speaker 2: always got nuts hiding somewhere. Bring your fucking pass and

311
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Speaker 2: friends to do that one trick where they pretend they're dead.

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Speaker 2: You can all crack up.

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Speaker 1: One of the grandpa's writes a book that's like the

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Speaker 1: day the sighting was changed by Rosco tea squirrel.

315
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Speaker 2: Like what you should do is no matter how, I

316
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Speaker 2: don't know how, you're gonna do it. Anyway, you find

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Speaker 2: find a friend who knows how to burrow, because they

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Speaker 2: will dig down beneath that fucking lattice. All you need

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Speaker 2: is like three or four feet and then it's like

320
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Speaker 2: a heist movie. We burrow deep enough to get under

321
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Speaker 2: the fucking lattice, and the Granddad's like, there's gold under

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Speaker 2: there like some old like there's there there was a

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Speaker 2: curse put on us by these humans. But yeah, my

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Speaker 2: great great grandpappy left a bucket full of gold under there.

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Speaker 1: Whoever. The Jim Belushi guy in the squirrel tunneling outfit

326
00:16:20,600 --> 00:16:23,400
Speaker 1: is like got his. He's got his like Chicago Cubs

327
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Speaker 1: fucking starters, tracking all with a pen in his mouth.

328
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Speaker 1: He's like, we're not gonna be able to burrow down this.

329
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Speaker 1: You're gonna need at least fifty more pounds of dynamite.

330
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Speaker 1: We're never gonna get beyond the lattice. And James Kahn

331
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Speaker 1: squirrels like make it happen anyway.

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Speaker 2: And then there's a there's the Emmett Otter. Emmet Hotter

333
00:16:42,400 --> 00:16:44,520
Speaker 2: shows up and he's like, I don't know if if

334
00:16:44,560 --> 00:16:45,920
Speaker 2: you can dig down and make the hole, but I

335
00:16:45,960 --> 00:16:48,200
Speaker 2: can cover it up. I'm an otter. I can fucking

336
00:16:48,200 --> 00:16:50,280
Speaker 2: slap those sticks into plays and cover the shit up

337
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Speaker 2: and cover your trail. I sing you a song while

338
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Speaker 2: I'm doing it.

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Speaker 3: Oh dad?

340
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Speaker 1: But okay, so let me can I ask you now, well, yeah,

341
00:17:01,680 --> 00:17:04,840
Speaker 1: did your guests from Montreal get stung by any of

342
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Speaker 1: these wasps?

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Speaker 2: No? Okay, because we didn't go out through the garage ever, ooh,

344
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Speaker 2: and they didn't sound salacious.

345
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Speaker 3: We didn't even go outside.

346
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Speaker 2: No, we moon outside, we didn't go out through the garage.

347
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Speaker 2: I was like, Oh, we have to go out through

348
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Speaker 2: this other door because there's things over there that might

349
00:17:24,160 --> 00:17:25,720
Speaker 2: might sting you. And I don't know what to do

350
00:17:25,760 --> 00:17:29,960
Speaker 2: with a Canadian that get stung by a wasp, like, oh,

351
00:17:30,000 --> 00:17:33,440
Speaker 2: the healthcare system here is so much different. Yeah, I

352
00:17:33,480 --> 00:17:34,719
Speaker 2: don't know what to do with you. If you get

353
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Speaker 2: stung by a wasp and you're from Canada.

354
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Speaker 3: We're just gonna help take you to an urgent careen.

355
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Speaker 3: You're gonna have to pay five hundred dollars.

356
00:17:40,840 --> 00:17:45,639
Speaker 2: Exactly, five hundred dollars to your your non existent travel

357
00:17:45,640 --> 00:17:48,119
Speaker 2: insurance because you need it in America. You need it

358
00:17:48,119 --> 00:17:51,040
Speaker 2: in America. So yeah, we didn't have any, thankfully, no

359
00:17:51,119 --> 00:17:53,520
Speaker 2: ins And they hadn't gotten into the house at all,

360
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Speaker 2: which is also wild because I thought for sure if

361
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Speaker 2: they breached the first perimeter they were going to get

362
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Speaker 2: into the house. But they weren't even hanging out in

363
00:18:02,840 --> 00:18:04,879
Speaker 2: the garage. I was like, all right, you're strictly in

364
00:18:04,920 --> 00:18:09,560
Speaker 2: the walls. You're strictly wall wasps yeah, but I just

365
00:18:09,640 --> 00:18:11,439
Speaker 2: knew it. I'm like, there's gonna be I saw a

366
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Speaker 2: few of them, and I'm like, there's going to be

367
00:18:13,960 --> 00:18:17,480
Speaker 2: like a seven hundred pound framework in here. And the

368
00:18:17,520 --> 00:18:19,440
Speaker 2: next thing you know, it's like, oh, that's what was

369
00:18:19,480 --> 00:18:21,480
Speaker 2: holding up your house the whole time. Is these fucking

370
00:18:22,320 --> 00:18:24,280
Speaker 2: family of fucking yellow jackets.

371
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Speaker 1: Yeah, it's like that. That one article that went back

372
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Speaker 1: and forth between multiple family members of mine for weeks,

373
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Speaker 1: which was that was it those birds that put those

374
00:18:36,520 --> 00:18:41,040
Speaker 1: acorns and those that people's wall? Yeah, and then they

375
00:18:41,119 --> 00:18:43,440
Speaker 1: just cut the wall open and just like fucking nine

376
00:18:43,560 --> 00:18:46,000
Speaker 1: thousand pounds of acorns come out, and you're just like,

377
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Speaker 1: holy shit, oh God.

378
00:18:49,480 --> 00:18:51,320
Speaker 2: And I saw there was another article where there was

379
00:18:51,359 --> 00:18:54,480
Speaker 2: like a woodpecker who brought a bunch of nuts and

380
00:18:54,520 --> 00:18:59,639
Speaker 2: acorns and shit to a like a signaling device like

381
00:18:59,680 --> 00:19:02,160
Speaker 2: a or something, and they're like, the dish isn't working.

382
00:19:02,200 --> 00:19:03,919
Speaker 2: We don't know why the signal isn't working. And they

383
00:19:03,920 --> 00:19:06,959
Speaker 2: opened it up in like hundreds of pounds, so nuts

384
00:19:07,000 --> 00:19:10,560
Speaker 2: just fell out of the fucking it was like raining acorns.

385
00:19:10,600 --> 00:19:13,560
Speaker 2: It was hilarious. I'm like, yeah, animals are fucking smart.

386
00:19:13,560 --> 00:19:15,560
Speaker 2: They're like we don't like all this Wi Fi signals

387
00:19:15,560 --> 00:19:16,960
Speaker 2: buzzing around our ears hurt.

388
00:19:17,600 --> 00:19:19,760
Speaker 3: Yeah, yeah, no, I see.

389
00:19:19,800 --> 00:19:22,719
Speaker 1: There's something about, you know, the idea of buying an

390
00:19:22,760 --> 00:19:26,399
Speaker 1: older house, and especially in the country and like a

391
00:19:26,440 --> 00:19:28,240
Speaker 1: place that has a lot of woods and stuff.

392
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Speaker 3: I mean, I think about that.

393
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Speaker 1: I'm like, oh, yeah, you know, I'm renting one of

394
00:19:31,760 --> 00:19:34,280
Speaker 1: those houses right now, and I feel like maybe at

395
00:19:34,280 --> 00:19:36,639
Speaker 1: some point i'll I'll buy one of my own. But

396
00:19:36,640 --> 00:19:39,320
Speaker 1: then you're just like, oh, yeah, you don't know what

397
00:19:39,359 --> 00:19:41,040
Speaker 1: the fuck is going on in those guts.

398
00:19:41,880 --> 00:19:46,000
Speaker 2: Absolutely absolutely, let me tell you this. I will never

399
00:19:46,080 --> 00:19:49,520
Speaker 2: do this again. I will never do this again. It'll

400
00:19:49,520 --> 00:19:53,560
Speaker 2: be turn key only from now on. But you also,

401
00:19:53,640 --> 00:19:55,840
Speaker 2: if you are going to do this, you should be

402
00:19:55,880 --> 00:20:00,080
Speaker 2: a millionaire because the problems that arise are frequent and

403
00:20:00,359 --> 00:20:04,440
Speaker 2: incredibly expensive. It's never just been like, oh, a squirrels

404
00:20:04,480 --> 00:20:06,480
Speaker 2: took a nibble out of a piece of siding, but

405
00:20:06,520 --> 00:20:08,480
Speaker 2: you can replace it, Like, let's go to Michael's and

406
00:20:08,520 --> 00:20:11,520
Speaker 2: get some wood glue and you'll be fine. It's always like, oh,

407
00:20:11,600 --> 00:20:14,720
Speaker 2: a squirrel set up a fucking disco in your attic

408
00:20:14,800 --> 00:20:17,600
Speaker 2: with seventeen other squirrels, so you've got food rotting up there,

409
00:20:17,640 --> 00:20:20,119
Speaker 2: and like things are dying up there, and they're fucking

410
00:20:20,560 --> 00:20:22,960
Speaker 2: bare knuckle boxing each other up there. It's never just

411
00:20:23,000 --> 00:20:25,760
Speaker 2: a simple fix. I've never had anything in this house

412
00:20:25,800 --> 00:20:27,800
Speaker 2: happen and it's just like, oh, yeah, that'll be like

413
00:20:27,840 --> 00:20:31,760
Speaker 2: ten bucks. Yeah, I know, I know. I feel like

414
00:20:31,760 --> 00:20:33,160
Speaker 2: this podcast is like.

415
00:20:34,600 --> 00:20:41,200
Speaker 1: A historical document of just how crazy your how your

416
00:20:41,240 --> 00:20:46,960
Speaker 1: home buying experience has been, truly from top to fucking bottom.

417
00:20:47,520 --> 00:20:50,280
Speaker 2: But I now only live on one level of the

418
00:20:50,280 --> 00:20:52,000
Speaker 2: house because I'm going to try to save some money

419
00:20:52,040 --> 00:20:57,359
Speaker 2: this winter on my heating expenses, and also downstairs is renovated,

420
00:20:57,400 --> 00:21:00,160
Speaker 2: but upstairs is not. So it's like, oh, downstairs it's

421
00:21:00,160 --> 00:21:05,520
Speaker 2: like a normal home. Upstairs looks like a fucking asylum.

422
00:21:06,080 --> 00:21:08,960
Speaker 2: And I'm not buying any furniture until I get it renovated.

423
00:21:09,000 --> 00:21:10,920
Speaker 2: I'm like, I'm not putting couches and chairs and shit

424
00:21:11,000 --> 00:21:12,760
Speaker 2: in here just to have to move them in a

425
00:21:12,800 --> 00:21:15,399
Speaker 2: few months or a couple of years or whatever. So

426
00:21:16,160 --> 00:21:21,560
Speaker 2: it's just sparse and rickety upstairs, and I ain't doing

427
00:21:21,560 --> 00:21:23,480
Speaker 2: it anymore. I can't live in this house in a sparse,

428
00:21:23,560 --> 00:21:24,920
Speaker 2: rickety way.

429
00:21:25,040 --> 00:21:28,399
Speaker 1: So well, I mean that's I think it's pretty common.

430
00:21:28,440 --> 00:21:30,280
Speaker 1: I have some friends that also are like that. They

431
00:21:30,320 --> 00:21:33,520
Speaker 1: bought an older house and they pretty much tricked out

432
00:21:33,520 --> 00:21:36,480
Speaker 1: the bottom floor, and then the upstairs is like, I

433
00:21:36,480 --> 00:21:37,320
Speaker 1: don't know what's up there.

434
00:21:37,320 --> 00:21:38,360
Speaker 3: It's probably like haunted.

435
00:21:39,480 --> 00:21:41,320
Speaker 1: We'll get to it someday, but right now, as long

436
00:21:41,359 --> 00:21:43,400
Speaker 1: as we can live and function in the bottom.

437
00:21:43,160 --> 00:21:47,080
Speaker 2: Part, we're cool completely. I'll get to the bones and

438
00:21:47,119 --> 00:21:50,600
Speaker 2: the ghosts that are clearly here another time.

439
00:21:51,200 --> 00:21:53,719
Speaker 1: I know. I mean there's probably like Victorian children up

440
00:21:53,720 --> 00:21:55,359
Speaker 1: there who were.

441
00:21:55,200 --> 00:21:56,440
Speaker 3: Put there by their mother.

442
00:21:58,440 --> 00:22:01,560
Speaker 1: Because the mother didn't want anybody to know they existed

443
00:22:01,600 --> 00:22:03,320
Speaker 1: so she could get an inheritance. I mean, it's like

444
00:22:03,359 --> 00:22:05,160
Speaker 1: fucking whatever, right.

445
00:22:06,400 --> 00:22:08,399
Speaker 2: Also, I would be excited if some of the ghosts

446
00:22:08,400 --> 00:22:12,119
Speaker 2: were black people, because I guarantee they had black people

447
00:22:12,119 --> 00:22:16,200
Speaker 2: work in this goddamn farm. Yeah, they probably imported them

448
00:22:16,240 --> 00:22:16,960
Speaker 2: for that reason.

449
00:22:17,480 --> 00:22:18,200
Speaker 3: So I'm psyched.

450
00:22:18,240 --> 00:22:19,520
Speaker 2: If it was just like, girl, what do you doing,

451
00:22:19,520 --> 00:22:21,439
Speaker 2: I'd be like, oh my god, you're a ghost, but

452
00:22:21,480 --> 00:22:25,760
Speaker 2: you're so fucking chill. Yeah, it'd be great, like visiting

453
00:22:25,800 --> 00:22:28,280
Speaker 2: my great grandpa or something. Also, I can't fuck with

454
00:22:28,320 --> 00:22:31,080
Speaker 2: a little kid ghost that creeps me out.

455
00:22:31,400 --> 00:22:31,840
Speaker 1: Damn.

456
00:22:32,040 --> 00:22:33,800
Speaker 2: I don't care if they're floating. I don't care if

457
00:22:33,800 --> 00:22:36,640
Speaker 2: they're intact. I don't. I cannot deal with the little

458
00:22:36,680 --> 00:22:38,760
Speaker 2: kid ghost because there's always a tragic story behind it,

459
00:22:38,920 --> 00:22:42,439
Speaker 2: like tuberculosis or fucking a weak thresher or something.

460
00:22:43,320 --> 00:22:46,760
Speaker 1: Yeah, I don't think I would be afraid. I've never

461
00:22:46,800 --> 00:22:48,879
Speaker 1: seen a little kid ghost. I don't think I would

462
00:22:48,880 --> 00:22:51,840
Speaker 1: be afraid. I say that now, but things could change.

463
00:22:52,440 --> 00:22:55,400
Speaker 2: So I'm gonna knock wood and light candles and pray

464
00:22:55,440 --> 00:22:57,640
Speaker 2: that you don't see a little kid ghost anytime soon.

465
00:22:58,440 --> 00:23:00,880
Speaker 2: But if you do, I hope it's a little kid

466
00:23:00,920 --> 00:23:04,359
Speaker 2: ghost from like seventies Atlanta who's like popping and locking,

467
00:23:08,119 --> 00:23:12,639
Speaker 2: or like a hippie ghost, like a little hippie seventies ghost.

468
00:23:13,240 --> 00:23:15,920
Speaker 2: If it's gonna be a little kid that's my hope

469
00:23:15,960 --> 00:23:16,280
Speaker 2: is for you.

470
00:23:17,000 --> 00:23:21,720
Speaker 1: Well, listen, I love hearing house updates. I hate that

471
00:23:21,800 --> 00:23:29,080
Speaker 1: they're always negative theoretically, but I'm gladually, you know, I'm

472
00:23:29,080 --> 00:23:31,000
Speaker 1: gladually just kind of figured out the problem.

473
00:23:31,160 --> 00:23:34,320
Speaker 2: I'm glad you had a house guest, just saying, ye

474
00:23:34,440 --> 00:23:37,760
Speaker 2: is my first ever house guest. It was kind of fun.

475
00:23:38,520 --> 00:23:39,240
Speaker 2: That's very fun.

476
00:23:40,080 --> 00:23:42,560
Speaker 3: Well cool, I'm happy to hear it.

477
00:23:42,920 --> 00:23:44,760
Speaker 2: But it was it was definitely a lot of prep

478
00:23:44,840 --> 00:23:46,760
Speaker 2: because I looked around and I'm like, oh, I can

479
00:23:46,800 --> 00:23:48,720
Speaker 2: live with wires hanging out of the ceiling. I don't

480
00:23:48,720 --> 00:23:50,520
Speaker 2: think that anyone wants to walk into a house that

481
00:23:50,560 --> 00:23:54,639
Speaker 2: looks like that and it's weird too. Is like, I

482
00:23:54,640 --> 00:23:56,600
Speaker 2: don't think anyone would judge me. Like all my friends,

483
00:23:56,640 --> 00:23:59,439
Speaker 2: everyone close to me knows this nightmare I live in.

484
00:24:00,040 --> 00:24:03,679
Speaker 2: But I don't know. I just I like being a

485
00:24:03,720 --> 00:24:06,159
Speaker 2: good host. I like people to come in and just

486
00:24:06,200 --> 00:24:10,000
Speaker 2: feel comfortable. And I know you know that because you're

487
00:24:10,720 --> 00:24:12,040
Speaker 2: the best host of all time.

488
00:24:12,400 --> 00:24:13,560
Speaker 3: Oh thanks very much.

489
00:24:13,760 --> 00:24:15,960
Speaker 2: You're like, here's nine pillows. You might only need one,

490
00:24:16,000 --> 00:24:18,679
Speaker 2: but you got nine. Here's fourteen blankets. You have your

491
00:24:18,680 --> 00:24:21,480
Speaker 2: own bathroom. And here's the thing. You have your own

492
00:24:21,480 --> 00:24:23,760
Speaker 2: bathroom and it's cleared out so you could put your

493
00:24:23,760 --> 00:24:26,000
Speaker 2: shit somewhere. I've seen it with lots of people who

494
00:24:26,000 --> 00:24:27,840
Speaker 2: are like, you'll have your own bathroom. And then I

495
00:24:27,880 --> 00:24:29,679
Speaker 2: walk in and I'm like, why are there mops in

496
00:24:29,720 --> 00:24:33,560
Speaker 2: the fucking shower? You didn't clean any of this out

497
00:24:33,600 --> 00:24:35,560
Speaker 2: for me? Is this really a bathroom I can use?

498
00:24:36,200 --> 00:24:38,320
Speaker 3: Oh yeah, no, there's nothing on the counters and shit

499
00:24:38,480 --> 00:24:39,359
Speaker 3: like this. It's for you.

500
00:24:39,480 --> 00:24:41,960
Speaker 1: It's for you to put your little lotions and potions

501
00:24:42,000 --> 00:24:46,080
Speaker 1: and plus you know like, I don't go into that bathroom.

502
00:24:46,200 --> 00:24:48,560
Speaker 1: I have my own bathroom that my dog stares at

503
00:24:48,560 --> 00:24:50,720
Speaker 1: me in, So I'm like, I don't need this one,

504
00:24:51,359 --> 00:24:53,520
Speaker 1: So why am I putting anything in there?

505
00:24:54,680 --> 00:24:58,200
Speaker 2: Full circle conversation. We are pros.

506
00:25:03,920 --> 00:25:05,120
Speaker 3: Look, this is.

507
00:25:07,160 --> 00:25:15,160
Speaker 1: A recurring theme, a pod favorite, something that was created

508
00:25:16,560 --> 00:25:24,359
Speaker 1: named conceived by Daniel Henderson. Tell the folks what the

509
00:25:24,359 --> 00:25:25,280
Speaker 1: theme is this week.

510
00:25:26,520 --> 00:25:30,160
Speaker 2: Our theme this week is baby girl? What is you doing?

511
00:25:32,760 --> 00:25:36,919
Speaker 1: And what would you say? Is the gist of the theme, Daniel.

512
00:25:37,200 --> 00:25:40,760
Speaker 2: The gist of the theme is just watching women in

513
00:25:40,800 --> 00:25:46,600
Speaker 2: particular either modifying their life to accommodate a man or

514
00:25:46,880 --> 00:25:51,760
Speaker 2: just making decisions that will negatively impact them, but they

515
00:25:51,800 --> 00:25:55,920
Speaker 2: just keep going for the sake of the story.

516
00:25:56,200 --> 00:25:58,639
Speaker 3: That is an absolute perfect way to put it.

517
00:25:59,320 --> 00:26:03,520
Speaker 1: These moves is this week. I remember when we were

518
00:26:03,680 --> 00:26:08,840
Speaker 1: talking this out and we were like, in what world

519
00:26:09,040 --> 00:26:10,639
Speaker 1: are we putting these two movies together?

520
00:26:11,119 --> 00:26:15,960
Speaker 2: Truly a psychotic mix this week, it had.

521
00:26:15,920 --> 00:26:18,280
Speaker 3: Been a minute since I saw your film.

522
00:26:18,320 --> 00:26:20,879
Speaker 1: By the way, I did log in a letterbox the

523
00:26:20,960 --> 00:26:22,760
Speaker 1: last time that I saw it and gave it a

524
00:26:22,880 --> 00:26:26,600
Speaker 1: very high rating. This movie still hits. Oh, it holds up,

525
00:26:27,960 --> 00:26:32,120
Speaker 1: definitely holds up. And then my movie is way different.

526
00:26:33,119 --> 00:26:37,280
Speaker 2: Oh lord, you're a movie I have not seen in ages,

527
00:26:37,800 --> 00:26:43,480
Speaker 2: like decades. From start to finish, the whole movie is

528
00:26:44,240 --> 00:26:46,680
Speaker 2: the pantheon of baby Girl, What is You Doing? It's

529
00:26:46,720 --> 00:26:49,240
Speaker 2: like the number one with a bullet like it's just

530
00:26:49,359 --> 00:26:51,280
Speaker 2: it could not be more baby girl, what is You do?

531
00:26:51,320 --> 00:26:54,800
Speaker 2: In for every character in the fucking movie, and just.

532
00:26:55,400 --> 00:26:58,040
Speaker 1: So for people who have not seen it yet and

533
00:26:58,080 --> 00:27:02,199
Speaker 1: want to. So my movie was is nowhere on the

534
00:27:02,200 --> 00:27:05,760
Speaker 1: Internet pretty much except for the Internet Archive, which if

535
00:27:05,760 --> 00:27:07,399
Speaker 1: you want to go there, that's where it is to

536
00:27:07,440 --> 00:27:09,720
Speaker 1: see it. People who have already seen it probably figure

537
00:27:09,760 --> 00:27:14,800
Speaker 1: that out. I'm actually so puzzled as to why it's unavailable.

538
00:27:14,880 --> 00:27:18,560
Speaker 1: I mean, yeah, to me, it's such a banger that

539
00:27:18,600 --> 00:27:21,040
Speaker 1: I'm like, I can't believe that the world is not

540
00:27:21,160 --> 00:27:23,919
Speaker 1: experiencing this movie in the way that they want to

541
00:27:24,200 --> 00:27:26,480
Speaker 1: at any hour of the day, Like it should be online,

542
00:27:26,520 --> 00:27:30,280
Speaker 1: it should be absolutely easier to see. And it was

543
00:27:30,359 --> 00:27:30,920
Speaker 1: for a minute.

544
00:27:30,920 --> 00:27:33,120
Speaker 2: They brought it back for the Criterion collection, and I'm

545
00:27:33,119 --> 00:27:34,800
Speaker 2: not sure. I think it was during that month they

546
00:27:34,800 --> 00:27:37,480
Speaker 2: did the Jennifer Jason Lee Pictures and they were looking

547
00:27:37,480 --> 00:27:39,960
Speaker 2: at like fem Fatales or something like that.

548
00:27:40,600 --> 00:27:42,400
Speaker 1: Yeah, but it was on Criteria.

549
00:27:42,760 --> 00:27:45,240
Speaker 2: Yeah, yeah, ironic thrillers. But it was only on Criterion

550
00:27:45,240 --> 00:27:45,760
Speaker 2: for a month.

551
00:27:46,200 --> 00:27:49,120
Speaker 1: I know, yeah, I just I just wrote about this

552
00:27:49,160 --> 00:27:51,919
Speaker 1: in one of my old substacks about the idea of

553
00:27:51,960 --> 00:27:58,680
Speaker 1: like digital licensing, because that's the thing about a movie

554
00:27:58,720 --> 00:28:02,080
Speaker 1: like Poison IVY is that it was only on Criterion

555
00:28:02,200 --> 00:28:06,080
Speaker 1: for like a month. And Criterion i think actually does

556
00:28:06,080 --> 00:28:09,280
Speaker 1: a pretty good job of telling people in the app

557
00:28:09,400 --> 00:28:11,040
Speaker 1: when things are about to expire.

558
00:28:11,520 --> 00:28:13,200
Speaker 3: But like, there is.

559
00:28:13,000 --> 00:28:16,439
Speaker 1: No watch you can set any of this too, so

560
00:28:17,200 --> 00:28:20,480
Speaker 1: you know, you realize, oh, this movie is only up

561
00:28:20,520 --> 00:28:24,280
Speaker 1: for a month. If you don't have your calendar set

562
00:28:24,480 --> 00:28:26,639
Speaker 1: to watch it, then you're gonna miss it.

563
00:28:26,680 --> 00:28:27,439
Speaker 3: And then that's it.

564
00:28:27,480 --> 00:28:29,080
Speaker 1: There's no way to get it unless you buy it

565
00:28:29,119 --> 00:28:31,520
Speaker 1: on DVD or go to a video store, which there

566
00:28:31,520 --> 00:28:35,640
Speaker 1: are no video store. So it's very it's like it's

567
00:28:35,680 --> 00:28:38,080
Speaker 1: like Near Dark, same thing that happened with Near Dark

568
00:28:38,080 --> 00:28:41,200
Speaker 1: when we try to play that or when we try

569
00:28:41,200 --> 00:28:43,280
Speaker 1: to talk about that on the podcast. So it's a bummer,

570
00:28:43,920 --> 00:28:48,240
Speaker 1: but I'm glad it's up in some form same because

571
00:28:48,240 --> 00:28:51,960
Speaker 1: it's wild. I think I'm going first right, yeah, Oh

572
00:28:51,960 --> 00:28:53,200
Speaker 1: my god, we're going to talk about.

573
00:28:53,000 --> 00:28:53,800
Speaker 3: This right now.

574
00:28:54,640 --> 00:28:57,080
Speaker 1: So my movie for the theme, baby girl, what is

575
00:28:57,120 --> 00:29:00,680
Speaker 1: You Doing? Is from nineteen ninety two, was written by

576
00:29:00,680 --> 00:29:05,200
Speaker 1: Melissa Goddard, Andy Rubin, Cat Shay, directed by cat Sha,

577
00:29:06,160 --> 00:29:09,000
Speaker 1: and it's called Poison Ivy.

578
00:29:08,920 --> 00:29:13,880
Speaker 2: You can all be together now, we can all be

579
00:29:13,960 --> 00:29:16,800
Speaker 2: a family. Poison Ivy.

580
00:29:19,880 --> 00:29:24,840
Speaker 1: Oh my god, I was gonna sing that too. Ah,

581
00:29:25,320 --> 00:29:26,640
Speaker 1: that is such a good song.

582
00:29:27,080 --> 00:29:29,280
Speaker 2: Oh how could you not sing it? What a great song?

583
00:29:29,840 --> 00:29:31,160
Speaker 2: First thing that comes to mind for me.

584
00:29:31,200 --> 00:29:34,800
Speaker 1: But me too. And also Poison Ivy from the Cramps,

585
00:29:34,840 --> 00:29:37,400
Speaker 1: I have to that's the Poison Ivy is such a

586
00:29:37,440 --> 00:29:43,160
Speaker 1: great name for for a lady of a villain lady right,

587
00:29:43,920 --> 00:29:46,400
Speaker 1: because isn't there a Batman? Yeah?

588
00:29:46,400 --> 00:29:49,360
Speaker 2: I think Uma Thurman was right? Yeah?

589
00:29:50,080 --> 00:29:55,800
Speaker 3: Okay. So cat Sha the director of this film.

590
00:29:55,600 --> 00:29:58,120
Speaker 2: She is a legend.

591
00:29:58,680 --> 00:30:03,600
Speaker 1: She got her star, she got her started acting, but

592
00:30:03,640 --> 00:30:06,120
Speaker 1: then moved to writing and directing films for.

593
00:30:07,560 --> 00:30:12,000
Speaker 2: Guess who, Roger fucking Corman.

594
00:30:13,120 --> 00:30:19,440
Speaker 1: Duh, Yes, all exploitation roads lead to Roger Corman.

595
00:30:20,280 --> 00:30:22,760
Speaker 2: I truly did not even know that. I didn't even

596
00:30:22,760 --> 00:30:23,840
Speaker 2: look it up. I just guess.

597
00:30:23,800 --> 00:30:26,480
Speaker 1: Oh, oh, I knew you would get it right. We

598
00:30:26,560 --> 00:30:33,560
Speaker 1: have we this is a familiar scene. It's like he

599
00:30:33,640 --> 00:30:39,600
Speaker 1: is literally responsible for so many people's careers. So Kat

600
00:30:39,600 --> 00:30:42,640
Speaker 1: Shae and her husband at the time, Andy Rubin, you know,

601
00:30:43,040 --> 00:30:47,200
Speaker 1: they started writing scripts for Roger. Then eventually Kat was

602
00:30:47,240 --> 00:30:50,120
Speaker 1: able to make her feature length debut, which was called

603
00:30:50,560 --> 00:30:55,640
Speaker 1: Stripped to Kill from nineteen eighty seven. It stars Greg

604
00:30:55,800 --> 00:31:00,960
Speaker 1: Evigan from My Two Dads, the show My two that's yes, ma'am.

605
00:31:01,160 --> 00:31:03,800
Speaker 2: Oh, you don't have to tell me who Greg enough

606
00:31:05,400 --> 00:31:08,000
Speaker 2: a little beard, Pompadoor.

607
00:31:08,080 --> 00:31:13,360
Speaker 1: The not Paul Riser dad, the hot dad, let's just

608
00:31:13,360 --> 00:31:15,400
Speaker 1: say the hot day. Let's just say the hot the

609
00:31:15,440 --> 00:31:20,000
Speaker 1: hot dad that looks like he was in Playgirl magazine.

610
00:31:20,400 --> 00:31:22,800
Speaker 1: Strip to Kill is unreal, by the way, I don't

611
00:31:22,800 --> 00:31:26,080
Speaker 1: know if anybody has seen it. Essentially Kay Lens, the

612
00:31:26,080 --> 00:31:29,560
Speaker 1: actress Kay Lens goes undercover as a stripper, so hello,

613
00:31:30,360 --> 00:31:34,560
Speaker 1: it's it's very sexy. But Kat also directed the rage

614
00:31:35,120 --> 00:31:40,520
Speaker 1: Carry two Oh nineteen ninety nine, which was the sequel

615
00:31:40,560 --> 00:31:43,440
Speaker 1: to Carry Obviously the to Pauma movie Carring.

616
00:31:44,120 --> 00:31:45,960
Speaker 3: I've never seen it, but I heard it's.

617
00:31:45,840 --> 00:31:52,479
Speaker 1: Actually pretty good, so I'm actually I'm actually considering watching it,

618
00:31:52,520 --> 00:31:56,360
Speaker 1: so we'll see. But all right, let me do a

619
00:31:56,440 --> 00:32:02,920
Speaker 1: one sentenced synopsis of an Ivy, a high school misfit

620
00:32:03,160 --> 00:32:07,800
Speaker 1: befriend's a mysterious and sexy classmate who basically ends up

621
00:32:07,840 --> 00:32:14,480
Speaker 1: fatal attractioning her entire family. Solid Yes, the beats of

622
00:32:14,520 --> 00:32:16,520
Speaker 1: this movie kind of go like this. There's a high

623
00:32:16,520 --> 00:32:18,680
Speaker 1: school misfit, the one I just spoke about. Her name

624
00:32:18,720 --> 00:32:24,640
Speaker 1: is Sylvie Cooper. She is played by the sardonic queer

625
00:32:25,280 --> 00:32:30,440
Speaker 1: nineties alternative Queen of All of Our Hearts, Sarah Gilbert.

626
00:32:31,080 --> 00:32:34,000
Speaker 1: So very early in this movie, she's watching this blonde,

627
00:32:34,040 --> 00:32:37,080
Speaker 1: sort of rock and roll bombshell on a swing outside

628
00:32:37,120 --> 00:32:39,560
Speaker 1: of their school and is like, who is she?

629
00:32:39,720 --> 00:32:40,760
Speaker 3: Who is she?

630
00:32:40,760 --> 00:32:44,280
Speaker 1: She wants to befriend her. She doesn't actually know her name,

631
00:32:44,960 --> 00:32:48,520
Speaker 1: but then just starts calling her Ivy based on this

632
00:32:48,640 --> 00:32:52,719
Speaker 1: sort of trashy leg tattoo that she has on, you know,

633
00:32:52,880 --> 00:32:55,920
Speaker 1: like it's like I think at some point she reveals

634
00:32:55,920 --> 00:32:58,440
Speaker 1: that it's a stick on tattoo, but then she actually

635
00:32:58,440 --> 00:33:02,560
Speaker 1: gets it at some point. But Ivy is played by

636
00:33:03,360 --> 00:33:06,400
Speaker 1: Drew Barrymore. I know she's been in the news lately.

637
00:33:07,040 --> 00:33:11,120
Speaker 1: I know that at some point she was going to

638
00:33:11,160 --> 00:33:16,120
Speaker 1: be a scab during the writer strike. She may have

639
00:33:16,320 --> 00:33:19,360
Speaker 1: changed her mind about that. I don't know what state

640
00:33:19,400 --> 00:33:23,120
Speaker 1: it's in right now, but I am aware of the

641
00:33:23,160 --> 00:33:26,080
Speaker 1: fact that she is causing a stink.

642
00:33:26,640 --> 00:33:29,880
Speaker 3: You don't have to tell either of us or Danielle's

643
00:33:29,880 --> 00:33:36,720
Speaker 3: grandmother for that matter. But Drew Barrymore, whom at the

644
00:33:36,800 --> 00:33:39,080
Speaker 3: time of this movie was.

645
00:33:39,800 --> 00:33:43,520
Speaker 1: In her you know, bad girl phase according to the press,

646
00:33:43,680 --> 00:33:48,520
Speaker 1: where she basically ditched her whole child star thing and

647
00:33:48,560 --> 00:33:51,640
Speaker 1: she was going out a lot. She was engaged. I

648
00:33:51,760 --> 00:33:55,560
Speaker 1: completely forgot about this. At the time of this movie.

649
00:33:55,600 --> 00:33:59,640
Speaker 1: She was engaged to Jamie Walters from.

650
00:33:59,520 --> 00:34:04,880
Speaker 2: The High that show The Heights, Ah, and that sentence

651
00:34:04,880 --> 00:34:07,080
Speaker 2: could have gone anywhere because she was engaged to Eric

652
00:34:07,160 --> 00:34:10,200
Speaker 2: from Hole. She was engaged to Tom Green. She married

653
00:34:10,200 --> 00:34:11,200
Speaker 2: Tom Green like.

654
00:34:12,360 --> 00:34:14,480
Speaker 3: She was with Fab from The Strokes. I mean, she's

655
00:34:14,800 --> 00:34:16,400
Speaker 3: a lot of like famous boyfriends.

656
00:34:16,840 --> 00:34:20,759
Speaker 1: But The Heights was this wasn't it like a nine

657
00:34:20,760 --> 00:34:22,600
Speaker 1: o two one Oho spin off show?

658
00:34:23,840 --> 00:34:27,359
Speaker 2: Oh god, Jamie Walters had that terrible fucking song how

659
00:34:27,440 --> 00:34:30,279
Speaker 2: did you talk to you? Inaneil?

660
00:34:30,840 --> 00:34:36,279
Speaker 3: Yes, Oh my god, there's this amazing you know.

661
00:34:36,320 --> 00:34:39,200
Speaker 1: Ben Stiller had the Ben Steller Show for very very

662
00:34:39,280 --> 00:34:40,200
Speaker 1: brief period of time.

663
00:34:40,239 --> 00:34:41,560
Speaker 3: It was like a sketch comedy show.

664
00:34:42,160 --> 00:34:47,080
Speaker 1: There's this incredible fucking parody of the Heights and that

665
00:34:47,280 --> 00:34:49,600
Speaker 1: song in the Ben Stiller Show skit. God, it's so

666
00:34:49,760 --> 00:34:55,240
Speaker 1: fucking funny. But it was wild because I completely forgot

667
00:34:55,400 --> 00:34:57,640
Speaker 1: they worked together. And then I went and looked up

668
00:34:57,640 --> 00:35:00,400
Speaker 1: a bunch of stuff about them because I was like, wow,

669
00:35:00,480 --> 00:35:02,759
Speaker 1: and it was like when they were together, it was

670
00:35:02,840 --> 00:35:07,719
Speaker 1: like this huge scandal because she she and Jamie basically

671
00:35:08,040 --> 00:35:10,960
Speaker 1: were in Interview magazine together and like Bruce Weber took

672
00:35:10,960 --> 00:35:13,640
Speaker 1: all these photos of them, and she was completely naked,

673
00:35:13,680 --> 00:35:17,359
Speaker 1: even though you couldn't see her bits like her She

674
00:35:17,440 --> 00:35:20,080
Speaker 1: wasn't showing like full bush or anything, but she was

675
00:35:20,160 --> 00:35:24,040
Speaker 1: just like, you know, her naked body was in the magazine.

676
00:35:24,040 --> 00:35:26,360
Speaker 1: And apparently that was such a huge scandal.

677
00:35:27,280 --> 00:35:29,480
Speaker 2: Oh yeah, because she was like a child star and

678
00:35:29,480 --> 00:35:33,480
Speaker 2: people wanted to keep her in that little child star role. Yeah,

679
00:35:34,080 --> 00:35:36,160
Speaker 2: and she's already been to rehab as she'd had this

680
00:35:36,200 --> 00:35:40,359
Speaker 2: horrible life and you know, yeah, people were ruthless to her.

681
00:35:40,880 --> 00:35:43,359
Speaker 1: Yeah, And like I looked back on the photos now

682
00:35:43,400 --> 00:35:46,399
Speaker 1: and I was just like, they're very kind of tastefully done.

683
00:35:46,440 --> 00:35:48,040
Speaker 1: I don't understand why everybody was so shocked.

684
00:35:48,080 --> 00:35:50,600
Speaker 2: But then again, yeah, that's just.

685
00:35:50,840 --> 00:35:53,759
Speaker 1: My brain in the modern era looking back at this

686
00:35:54,000 --> 00:35:56,040
Speaker 1: taste whole photo shoot, being like, what's the big deal.

687
00:35:56,600 --> 00:35:59,439
Speaker 3: But so, the thing was is that.

688
00:35:59,360 --> 00:36:01,520
Speaker 1: When this movie came out, when Poison Ivy came out,

689
00:36:01,560 --> 00:36:04,040
Speaker 1: she all of a sudden, it was like, she's a

690
00:36:04,080 --> 00:36:07,800
Speaker 1: sexy Lolita. Let's put her in every sexy Lolita movie

691
00:36:08,440 --> 00:36:09,759
Speaker 1: we're writing in Hollywood.

692
00:36:10,600 --> 00:36:12,840
Speaker 3: I have to say, you know, like.

693
00:36:12,560 --> 00:36:14,000
Speaker 1: Like you said, it's been a long time since I've

694
00:36:14,040 --> 00:36:20,200
Speaker 1: seen this movie. Drew fucking nails this character. She nails Ivy.

695
00:36:20,440 --> 00:36:27,400
Speaker 1: She's just like this quintessential early nineties sunset strip adjacent

696
00:36:27,719 --> 00:36:30,480
Speaker 1: kind of bad girl, you know, with like the bleached

697
00:36:30,480 --> 00:36:32,360
Speaker 1: blonde hair and the dark lipstick.

698
00:36:32,400 --> 00:36:35,839
Speaker 3: I mean, I was like, yes, this is her, this

699
00:36:35,880 --> 00:36:36,200
Speaker 3: is like.

700
00:36:36,160 --> 00:36:38,200
Speaker 1: This whole character totally.

701
00:36:39,000 --> 00:36:40,000
Speaker 2: Yes, she did a good job.

702
00:36:40,719 --> 00:36:42,759
Speaker 3: Yes, she did an amazing job, by the way.

703
00:36:43,320 --> 00:36:46,200
Speaker 1: So, so the thing is is that Sylvie, right, the

704
00:36:46,360 --> 00:36:49,400
Speaker 1: Sarah Gilbert character, we find out she comes from a

705
00:36:49,520 --> 00:36:55,279
Speaker 1: very wealthy family. Her dad is the general manager of

706
00:36:55,360 --> 00:36:57,919
Speaker 1: this local LA TV station, and.

707
00:36:57,840 --> 00:37:00,879
Speaker 3: He's kind of he kind of serves as this.

708
00:37:00,960 --> 00:37:05,319
Speaker 1: Like end of broadcast, like Andy Rooney, the you know

709
00:37:05,320 --> 00:37:07,920
Speaker 1: they like I got opinions guy that comes on at

710
00:37:07,920 --> 00:37:13,680
Speaker 1: the end, which is so weird. The general manager of

711
00:37:13,719 --> 00:37:17,840
Speaker 1: the station comes on, is like kids suck everybody or whatever.

712
00:37:18,920 --> 00:37:21,120
Speaker 2: It's ten pm. Do you care where your children are?

713
00:37:21,200 --> 00:37:22,160
Speaker 1: They're the fucking worst.

714
00:37:23,080 --> 00:37:26,319
Speaker 3: That's some fucking boomer old man shit.

715
00:37:26,520 --> 00:37:31,000
Speaker 1: I'm sorry, but so the father in the movie is

716
00:37:31,040 --> 00:37:35,520
Speaker 1: played by Tom Skerrett, and I just have to say,

717
00:37:36,360 --> 00:37:39,880
Speaker 1: watching this again, I actually think he is a perfect

718
00:37:40,000 --> 00:37:43,920
Speaker 1: choice for this role because this is no slight to you,

719
00:37:44,040 --> 00:37:44,760
Speaker 1: mister Skerrett.

720
00:37:44,880 --> 00:37:47,040
Speaker 3: But he's not like too hot.

721
00:37:47,800 --> 00:37:51,160
Speaker 2: Yes, right, he's very dead. He's very dead.

722
00:37:51,320 --> 00:37:53,640
Speaker 1: Yes, that is exactly what I was about to say.

723
00:37:53,640 --> 00:37:57,439
Speaker 1: He looks like someone's dad. He looks like someone's dad,

724
00:37:57,840 --> 00:38:03,759
Speaker 1: which what is what makes everything that happens after that even.

725
00:38:03,520 --> 00:38:08,800
Speaker 2: More fucked up to completely, oh, completely get now this role.

726
00:38:09,480 --> 00:38:12,279
Speaker 2: Tom Scarett is the most baby girl as you do

727
00:38:12,320 --> 00:38:17,040
Speaker 2: in part of this movie. To me, every goddamn thing

728
00:38:17,080 --> 00:38:19,440
Speaker 2: he says, everything that comes out of his mouth, I'm like,

729
00:38:19,719 --> 00:38:21,600
Speaker 2: what are you doing, sir?

730
00:38:22,480 --> 00:38:26,959
Speaker 1: Yes, And he the way that he spins out over

731
00:38:27,000 --> 00:38:30,080
Speaker 1: the course of this film is so disturbing. You're like,

732
00:38:30,520 --> 00:38:35,080
Speaker 1: this dad is losing his shit by the minute, and

733
00:38:35,120 --> 00:38:40,840
Speaker 1: it's all because of this hot teenage girl that's in

734
00:38:40,920 --> 00:38:41,360
Speaker 1: his house.

735
00:38:41,440 --> 00:38:44,160
Speaker 3: It's just is so disturbing. True.

736
00:38:44,800 --> 00:38:49,520
Speaker 1: Meanwhile, Sylvie's mother, who was played by Cheryl Ladd, she

737
00:38:49,680 --> 00:38:52,479
Speaker 1: is apparently dying of emphaesima at thirty eight.

738
00:38:54,920 --> 00:38:58,080
Speaker 2: There's a part where they show her old car, which

739
00:38:58,120 --> 00:39:01,120
Speaker 2: is like this old Corvette and Sarah Gilbert is, you know,

740
00:39:01,160 --> 00:39:04,360
Speaker 2: Sylvie's cleaning up her mom's old car and she vacuums

741
00:39:04,400 --> 00:39:07,839
Speaker 2: out so many goddamn butts and I'm like, how much

742
00:39:07,880 --> 00:39:10,359
Speaker 2: did this woman smoke to have emphysema? At thirty eight?

743
00:39:11,360 --> 00:39:14,080
Speaker 1: Yeah? She she was smoking at certain parts of the movie.

744
00:39:14,120 --> 00:39:15,680
Speaker 1: And you're like, baby girl, what does you do when

745
00:39:15,760 --> 00:39:16,800
Speaker 1: there you're doing?

746
00:39:17,800 --> 00:39:19,880
Speaker 3: But it's it's a it's a real.

747
00:39:19,800 --> 00:39:24,200
Speaker 1: Tough break for this character, but is also an amazing

748
00:39:24,280 --> 00:39:26,960
Speaker 1: setup for all kinds of shit, if you know what

749
00:39:26,960 --> 00:39:31,520
Speaker 1: I mean. Right, It's just like, is there anything more

750
00:39:31,600 --> 00:39:35,160
Speaker 1: dramatic than like, Cheryl beautiful Cheryl lad like holding up

751
00:39:35,160 --> 00:39:37,640
Speaker 1: a fucking face mask to be like I can't breathe,

752
00:39:38,080 --> 00:39:42,040
Speaker 1: you know. It's like so in the context of like

753
00:39:42,120 --> 00:39:46,560
Speaker 1: a thriller that is such an amazing fucking thing.

754
00:39:46,719 --> 00:39:49,560
Speaker 3: It's just so so high drama, right.

755
00:39:49,560 --> 00:39:54,719
Speaker 2: Her just walking around in those like floaty nightgown. I'm like,

756
00:39:54,800 --> 00:39:56,480
Speaker 2: baby girl, what is you doing? Get in bed?

757
00:39:56,520 --> 00:40:00,600
Speaker 1: You got emphizema and the fucking curtains are in like

758
00:40:00,680 --> 00:40:02,799
Speaker 1: the sex scene from Top Gun and shit, and you're

759
00:40:02,880 --> 00:40:07,280
Speaker 1: just like, wow, there's like a grand piano in there.

760
00:40:07,400 --> 00:40:07,799
Speaker 1: It is.

761
00:40:08,640 --> 00:40:11,120
Speaker 2: She's mad, she's begging for pills.

762
00:40:11,280 --> 00:40:15,040
Speaker 1: It's like, what more can we give this woman? God? God,

763
00:40:16,880 --> 00:40:20,920
Speaker 1: So Sylvie is essentially the narrator of this film, right,

764
00:40:20,960 --> 00:40:24,400
Speaker 1: and she's always kind of describing Ivy, you know, and

765
00:40:24,480 --> 00:40:26,960
Speaker 1: just kind of who she is because at the core

766
00:40:27,000 --> 00:40:29,920
Speaker 1: of this, like Sylvie is a high school girl. She

767
00:40:30,080 --> 00:40:33,200
Speaker 1: is lonely, she's probably sheltered a bit because of her

768
00:40:33,280 --> 00:40:37,759
Speaker 1: rich family. She's probably a lesbian. That's kind of what

769
00:40:37,880 --> 00:40:39,680
Speaker 1: she's going through in the film. She kind of thinks

770
00:40:39,719 --> 00:40:42,160
Speaker 1: about that kind of stuff from time to time, and

771
00:40:42,440 --> 00:40:46,400
Speaker 1: she's drawn to Ivy because Ivy is obviously the complete

772
00:40:46,440 --> 00:40:50,520
Speaker 1: opposite of what she knows. She's free wheeling and beautiful

773
00:40:50,640 --> 00:40:53,920
Speaker 1: and confident, and she seems like she's from you know,

774
00:40:54,000 --> 00:40:57,719
Speaker 1: this mysterious place you know that is like this kind

775
00:40:57,760 --> 00:41:00,680
Speaker 1: of other side of the tracks type of place.

776
00:41:01,080 --> 00:41:03,080
Speaker 2: That was also interesting to me because she goes into

777
00:41:03,080 --> 00:41:05,680
Speaker 2: her story like she doesn't know much about Ivy, but

778
00:41:05,719 --> 00:41:08,440
Speaker 2: she's like finds out that, oh, she's a scholarship kid

779
00:41:08,480 --> 00:41:11,319
Speaker 2: and she lives with her aunt because her parents are

780
00:41:11,800 --> 00:41:15,040
Speaker 2: dead or in jail or something. Yeah, and so she

781
00:41:15,080 --> 00:41:16,799
Speaker 2: doesn't know much about her, but she has this kind

782
00:41:16,800 --> 00:41:21,560
Speaker 2: of this backstory that could be completely made up. Yeah,

783
00:41:21,640 --> 00:41:24,080
Speaker 2: like we don't know, we don't know, but she they

784
00:41:24,080 --> 00:41:25,759
Speaker 2: don't challenge it at all in the film, so we

785
00:41:25,840 --> 00:41:27,920
Speaker 2: kind of feel like, oh, this is her lot in life.

786
00:41:28,440 --> 00:41:31,279
Speaker 2: And meanwhile, Sylvie's like, I'm gonna shave the eye of

787
00:41:31,360 --> 00:41:33,560
Speaker 2: Horace into my fucking head and tell my parents that

788
00:41:33,560 --> 00:41:34,400
Speaker 2: I'm going bald.

789
00:41:35,560 --> 00:41:39,839
Speaker 1: Yeah, I mean Sylvia's at one point tells Ivy that

790
00:41:40,040 --> 00:41:41,200
Speaker 1: she's half black.

791
00:41:41,840 --> 00:41:44,919
Speaker 2: Oh my god, Okay, I am so glad you fucking

792
00:41:44,960 --> 00:41:48,400
Speaker 2: bought that up because that line, they're just walking as

793
00:41:48,440 --> 00:41:50,799
Speaker 2: she goes, yeah, my real dad's black. You could tell

794
00:41:50,840 --> 00:41:54,400
Speaker 2: by my hair. And I'm like, ma'am what, And then

795
00:41:54,480 --> 00:41:57,759
Speaker 2: later on it comes turns out that's absolutely a lie.

796
00:41:57,960 --> 00:42:01,239
Speaker 2: She's just trying to make herself seem cool. And also

797
00:42:01,239 --> 00:42:02,799
Speaker 2: I'm looking at Sarah Gilbert and I'm like, there's no

798
00:42:02,800 --> 00:42:04,600
Speaker 2: part of you the scenes black Ward you talk about

799
00:42:05,360 --> 00:42:09,040
Speaker 2: could you're like no biracial person I've ever seen, because

800
00:42:09,040 --> 00:42:13,040
Speaker 2: you are that white. You are so white, and you

801
00:42:13,120 --> 00:42:15,040
Speaker 2: weirdly look a lot like Tom Scarett.

802
00:42:16,320 --> 00:42:23,000
Speaker 1: Totally totally, But I also think that moment illustrates sort

803
00:42:23,000 --> 00:42:28,920
Speaker 1: of like what nineties teenagers wanted. They wanted to be

804
00:42:30,960 --> 00:42:37,160
Speaker 1: interracial and like, you know, cool and you know, non establishment,

805
00:42:37,840 --> 00:42:41,240
Speaker 1: and they're just they wanted to be other people.

806
00:42:41,480 --> 00:42:44,600
Speaker 3: But the richer they were, they wanted to be something else.

807
00:42:44,440 --> 00:42:47,000
Speaker 1: A lot of times. And so there were some moments

808
00:42:47,040 --> 00:42:48,160
Speaker 1: like that in the movie that I was like, that

809
00:42:48,280 --> 00:42:50,239
Speaker 1: is so weird. But then I started thinking about I'm like,

810
00:42:50,800 --> 00:42:55,640
Speaker 1: for that character, for that character, her trying to pull

811
00:42:55,680 --> 00:42:58,960
Speaker 1: a liye, like that would have probably happened if that

812
00:42:59,040 --> 00:43:01,120
Speaker 1: was a real, real time tature at that time.

813
00:43:01,280 --> 00:43:03,600
Speaker 2: Right now, that totally tracks totally true well.

814
00:43:04,239 --> 00:43:07,640
Speaker 1: And so what ends up happening is they become BFFs

815
00:43:07,760 --> 00:43:11,120
Speaker 1: because they're pretty much unliked by everybody in school. It's

816
00:43:11,320 --> 00:43:14,200
Speaker 1: very foot cigarettes this friendship.

817
00:43:15,000 --> 00:43:17,480
Speaker 2: Another deep cut from one of our old episodes.

818
00:43:17,600 --> 00:43:20,000
Speaker 1: Oh, it's probably the second or third episode is that

819
00:43:20,040 --> 00:43:24,680
Speaker 1: they're probably smoking cigarettes out of each other's feet.

820
00:43:25,000 --> 00:43:28,520
Speaker 3: They got that kind of friendship, and they.

821
00:43:28,400 --> 00:43:30,400
Speaker 2: Sleep next to each other, like, oh yeah.

822
00:43:30,520 --> 00:43:32,399
Speaker 1: In the same they sleep next to each other, hole

823
00:43:32,480 --> 00:43:36,400
Speaker 1: to each other. You know, they're very, very physically close.

824
00:43:37,320 --> 00:43:40,840
Speaker 1: Which is interesting because Sylvie is kind of questioning her sexuality.

825
00:43:41,200 --> 00:43:45,239
Speaker 1: At what point Sylvia says this line, She says, I

826
00:43:45,360 --> 00:43:51,320
Speaker 1: never knew anybody who looked that much like a slut,

827
00:43:52,440 --> 00:43:55,960
Speaker 1: which and she says it as a compliment, right, And

828
00:43:56,000 --> 00:43:57,800
Speaker 1: I was thinking, oh, that's bad.

829
00:43:57,880 --> 00:44:02,960
Speaker 3: But then I was like, honestly, honestly, as a nerd.

830
00:44:04,800 --> 00:44:07,880
Speaker 1: Is likely in the nineties, probably something I would have

831
00:44:07,960 --> 00:44:11,520
Speaker 1: admired in a girl at that age, as like a

832
00:44:11,600 --> 00:44:16,920
Speaker 1: fucking nerd wearing umbros and like triple XL sound Garden schuts.

833
00:44:16,920 --> 00:44:19,400
Speaker 1: I would have looked at somebody who was that hot

834
00:44:19,480 --> 00:44:22,439
Speaker 1: and that kind of put together in a very adult way, and.

835
00:44:22,360 --> 00:44:26,040
Speaker 3: Thought, damn, I wish I was her completely. She looks

836
00:44:26,040 --> 00:44:28,200
Speaker 3: like a slut. I wish I could look like a slut.

837
00:44:28,719 --> 00:44:28,960
Speaker 4: You know.

838
00:44:29,080 --> 00:44:31,280
Speaker 2: That was an incredible line in this movie.

839
00:44:31,680 --> 00:44:36,479
Speaker 1: Yeah, so all right, very quickly, Ivy is winning over

840
00:44:36,680 --> 00:44:40,400
Speaker 1: everyone in this family, even the dog, the dog that

841
00:44:40,480 --> 00:44:46,680
Speaker 1: hates everyone, this fucking rich La family decides to take

842
00:44:46,760 --> 00:44:50,600
Speaker 1: her in to their home. She's sleeping in Sylvie's room.

843
00:44:51,120 --> 00:44:55,759
Speaker 1: Sylvia is buying her shoes and clothes. The mom, who

844
00:44:55,880 --> 00:44:58,880
Speaker 1: is walking around with an oxygen tank at all times,

845
00:44:58,960 --> 00:45:02,920
Speaker 1: is giving clothes to Ivy, giving her her old wardrobe.

846
00:45:03,840 --> 00:45:07,239
Speaker 1: It's wild, and I don't really have to tell you

847
00:45:07,480 --> 00:45:09,920
Speaker 1: much about what happens next. I mean, I'm not gonna

848
00:45:09,920 --> 00:45:13,480
Speaker 1: give away endings obviously, but like the bottom line is

849
00:45:13,680 --> 00:45:17,120
Speaker 1: Tom Scarett is definitely having a midlife crisis. He is

850
00:45:17,239 --> 00:45:22,040
Speaker 1: so sexually frustrated because, like I said, he's got this beautiful,

851
00:45:22,840 --> 00:45:24,800
Speaker 1: gorgeous wife who.

852
00:45:24,800 --> 00:45:28,239
Speaker 3: Is now bedridden, right he's middle aged.

853
00:45:28,920 --> 00:45:34,000
Speaker 1: He also has this aerosmith video vixen girl living in

854
00:45:34,040 --> 00:45:38,120
Speaker 1: his house openly flirting with him, by the way, and

855
00:45:38,320 --> 00:45:41,560
Speaker 1: he's so frustrated that he's like punching the elevator buttons

856
00:45:41,680 --> 00:45:49,960
Speaker 1: in the elevator at work until his fist bleeds. And

857
00:45:50,040 --> 00:45:52,759
Speaker 1: I mean it is like, and Tom Scarett, being the

858
00:45:52,960 --> 00:45:55,839
Speaker 1: dad looking dude that he is, this hit so hard

859
00:45:55,840 --> 00:45:56,080
Speaker 1: for me.

860
00:45:56,120 --> 00:45:58,800
Speaker 3: I was like, holy fucking shit, this guy's gonna explode.

861
00:46:00,000 --> 00:46:02,279
Speaker 1: You'll say, I want to talk about like one thing,

862
00:46:02,560 --> 00:46:05,200
Speaker 1: and I hope this doesn't give it away. It won't,

863
00:46:05,360 --> 00:46:08,960
Speaker 1: but I'm just saying. So, her dad is hosting a

864
00:46:08,960 --> 00:46:13,000
Speaker 1: party one evening, and Ivy figures out a way to

865
00:46:13,080 --> 00:46:15,600
Speaker 1: get Sylvie out of the house under the guise of

866
00:46:15,640 --> 00:46:21,160
Speaker 1: her like volunteering with some youth, some kids. So Ivy's

867
00:46:21,360 --> 00:46:24,239
Speaker 1: at the party alone without her friend. She puts on

868
00:46:24,280 --> 00:46:28,279
Speaker 1: the mom's like sexy party dress, and she's playing waitress

869
00:46:28,440 --> 00:46:31,560
Speaker 1: at this party. And then after the party is over,

870
00:46:33,360 --> 00:46:38,200
Speaker 1: this is when shit goes absolutely wild for the rest

871
00:46:38,200 --> 00:46:41,200
Speaker 1: of this film. So here's what happens after this party.

872
00:46:42,520 --> 00:46:46,760
Speaker 1: The mom walks in on the dad and Ivy.

873
00:46:46,440 --> 00:46:50,960
Speaker 3: They're sexily dancing to stock erotic thriller music.

874
00:46:51,680 --> 00:46:56,799
Speaker 1: Okay, she freaks the fuck out of course, runs back

875
00:46:56,840 --> 00:47:01,799
Speaker 1: to bed. Then Ivy in the dad go in and like,

876
00:47:01,880 --> 00:47:04,759
Speaker 1: Ivy is sitting on the edge of her bed, this

877
00:47:04,880 --> 00:47:08,600
Speaker 1: woman's bed, this sick woman's bed, and then she starts

878
00:47:08,600 --> 00:47:11,240
Speaker 1: stroking the dad's hair when he's like on the floor,

879
00:47:12,200 --> 00:47:17,000
Speaker 1: and then they essentially start having sex on the foot

880
00:47:17,120 --> 00:47:20,480
Speaker 1: of the bed of the mother who has.

881
00:47:20,360 --> 00:47:24,239
Speaker 3: Passed out because she's taken some pills. I'm like, is

882
00:47:24,320 --> 00:47:27,160
Speaker 3: this the most baby girl? What is you're doing? Moment?

883
00:47:27,400 --> 00:47:29,120
Speaker 2: Oh, the whole lead up to that scene because I

884
00:47:30,000 --> 00:47:33,840
Speaker 2: that translated to me as Ivy drugged her, because she

885
00:47:33,880 --> 00:47:37,000
Speaker 2: gives her a glass of champagne and the dad is sober,

886
00:47:37,080 --> 00:47:39,799
Speaker 2: so she brings in these two glasses and she's like, oh,

887
00:47:39,880 --> 00:47:43,040
Speaker 2: you can't drink, Tom Scarett, but you can have one,

888
00:47:43,600 --> 00:47:48,680
Speaker 2: and mom takes the drink and then within seconds passes

889
00:47:48,719 --> 00:47:52,080
Speaker 2: the fuck out. Yeah, within and I'm like, oh, she

890
00:47:52,200 --> 00:47:55,040
Speaker 2: drugged her, baby girl? What is she doing? Why? Yeah,

891
00:47:55,080 --> 00:47:56,560
Speaker 2: you're this woman who's already sick.

892
00:47:57,000 --> 00:47:59,560
Speaker 1: You're right about that, because I just assumed that she

893
00:47:59,719 --> 00:48:02,239
Speaker 1: was on so many pain pills that she just was

894
00:48:02,280 --> 00:48:05,160
Speaker 1: like I'm passed out. I'm pissed, but I'm passing out.

895
00:48:06,520 --> 00:48:08,759
Speaker 1: It totally tracks that she drugged her, by the way,

896
00:48:08,800 --> 00:48:12,000
Speaker 1: because you're right. It was literally like she the mom's.

897
00:48:11,719 --> 00:48:13,759
Speaker 3: Like, I can'not believe this happened, and then she laid

898
00:48:13,760 --> 00:48:17,560
Speaker 3: down the bed, was like, uh, haunt you, haunt you.

899
00:48:18,200 --> 00:48:22,440
Speaker 2: Meanwhile, Tom scar it's like peract opportunity for me to

900
00:48:22,520 --> 00:48:25,759
Speaker 2: form statutory rape in the form of kind of lingis.

901
00:48:26,400 --> 00:48:28,160
Speaker 3: Oh my god, it is.

902
00:48:28,239 --> 00:48:30,440
Speaker 1: He's like, let me go down on this teenage girl,

903
00:48:31,160 --> 00:48:34,239
Speaker 1: and like, I don't want to like press this too

904
00:48:34,280 --> 00:48:36,960
Speaker 1: hard because it really truly creeps me the fuck out.

905
00:48:36,960 --> 00:48:42,799
Speaker 1: But his his faces during the scene is like the

906
00:48:42,840 --> 00:48:47,680
Speaker 1: face of a middle aged man that hasn't seen a

907
00:48:47,760 --> 00:48:53,320
Speaker 1: vagina in twenty years, and he's like in his own moment,

908
00:48:54,360 --> 00:48:58,960
Speaker 1: he's fucking like totally lose, like his eyes pretty much

909
00:48:59,000 --> 00:49:02,480
Speaker 1: pop out of his skull, and I'm just like, this

910
00:49:02,640 --> 00:49:06,759
Speaker 1: is so uncomfortable. Like, the entire scene is so uncomfortable.

911
00:49:07,440 --> 00:49:10,680
Speaker 2: Oh, it doesn't top the scene that comes later where

912
00:49:10,719 --> 00:49:13,440
Speaker 2: they're like fucking standing up and he's fully naked.

913
00:49:13,800 --> 00:49:14,360
Speaker 3: I can't.

914
00:49:14,560 --> 00:49:16,440
Speaker 1: I cannot with it.

915
00:49:17,520 --> 00:49:23,879
Speaker 3: I this shit was so so uncomfortable.

916
00:49:24,000 --> 00:49:25,880
Speaker 2: I mean, it was so disturbing.

917
00:49:27,400 --> 00:49:33,359
Speaker 1: The thing that is very very bizarre about about all

918
00:49:33,400 --> 00:49:37,040
Speaker 1: this is that so you're under the impression that Ivy

919
00:49:37,120 --> 00:49:39,480
Speaker 1: is a teenager, right, that she's in high school. But

920
00:49:39,680 --> 00:49:44,160
Speaker 1: also you don't know anything about her, right, you don't

921
00:49:44,160 --> 00:49:46,440
Speaker 1: know how old she is, you don't know where she

922
00:49:46,560 --> 00:49:50,759
Speaker 1: comes from. So it's this very like weird feeling of

923
00:49:50,840 --> 00:49:54,240
Speaker 1: like she looks like she's thirty five because she's trapesing

924
00:49:54,239 --> 00:49:58,920
Speaker 1: around this cocktail party in you know, a floor length gown.

925
00:49:59,320 --> 00:50:03,160
Speaker 1: But then know you realize that she's at this high

926
00:50:03,200 --> 00:50:07,359
Speaker 1: school with Sarah Gilbert, and they were just like, holy shit,

927
00:50:07,840 --> 00:50:11,319
Speaker 1: like this is so wild, Like the whole thing is

928
00:50:11,400 --> 00:50:14,280
Speaker 1: wild to me, and it makes me very uncomfortable.

929
00:50:14,719 --> 00:50:17,280
Speaker 2: Look, I've never even met my dad, and I watched

930
00:50:17,320 --> 00:50:21,320
Speaker 2: this scene, this stand up fucking scene, and I was like, Dad,

931
00:50:21,960 --> 00:50:24,840
Speaker 2: what are you doing? Like it hit me in my

932
00:50:24,960 --> 00:50:26,600
Speaker 2: heart so much that I'm like, I felt like I

933
00:50:26,640 --> 00:50:29,600
Speaker 2: was watching my own dad doing it, and I'm like,

934
00:50:29,640 --> 00:50:32,000
Speaker 2: this is not cool, this is not okay.

935
00:50:32,520 --> 00:50:37,359
Speaker 1: Yeah, it really makes you hate your parents or something.

936
00:50:37,400 --> 00:50:40,759
Speaker 1: I just want to want to be nowhere near your

937
00:50:40,800 --> 00:50:44,399
Speaker 1: parents while watching this movie. I mean, it's it's so uncomfortable.

938
00:50:44,719 --> 00:50:50,040
Speaker 1: But so here's the thing. Obviously, you know what the

939
00:50:50,040 --> 00:50:52,239
Speaker 1: rest of this movie might be. If you've seen it,

940
00:50:52,320 --> 00:50:55,399
Speaker 1: you definitely know what happens. All I'm saying is that

941
00:50:56,560 --> 00:50:58,760
Speaker 1: this is the second time that I've seen this film,

942
00:50:59,080 --> 00:51:01,400
Speaker 1: and I feel like a get a lot of things

943
00:51:01,480 --> 00:51:04,360
Speaker 1: resonated with me more now than the last time I

944
00:51:04,360 --> 00:51:08,840
Speaker 1: saw it. Obviously, just from the adult's perspective, I was like,

945
00:51:08,920 --> 00:51:12,480
Speaker 1: oh my god, this is so insane because I remember

946
00:51:12,560 --> 00:51:14,160
Speaker 1: when this movie actually came out.

947
00:51:14,280 --> 00:51:17,239
Speaker 3: I mean I was about to start high school, I think,

948
00:51:17,280 --> 00:51:17,759
Speaker 3: and thought.

949
00:51:17,800 --> 00:51:19,560
Speaker 1: I actually thought it was a straight up poor no,

950
00:51:19,800 --> 00:51:23,960
Speaker 1: like I didn't know, I had no idea. And then

951
00:51:24,080 --> 00:51:29,480
Speaker 1: also in the nineties, I was kind of generally wary

952
00:51:29,600 --> 00:51:35,120
Speaker 1: of any movie that showed kids my age were alternative

953
00:51:35,280 --> 00:51:38,120
Speaker 1: because I was just always like, Hollywood is so corny

954
00:51:38,160 --> 00:51:38,560
Speaker 1: about that.

955
00:51:38,600 --> 00:51:39,560
Speaker 3: They never get it right.

956
00:51:40,840 --> 00:51:43,040
Speaker 1: I'm telling you right now, I look back on this

957
00:51:43,080 --> 00:51:46,320
Speaker 1: film when I just did this rewatch, and they fucking

958
00:51:46,520 --> 00:51:51,360
Speaker 1: nailed that shit. Like I was like down to the clove,

959
00:51:51,800 --> 00:51:56,360
Speaker 1: smoking the side of the head, shaving, you know, everyone's

960
00:51:56,360 --> 00:51:59,759
Speaker 1: wearing big coats with boots. And then the thing that

961
00:51:59,800 --> 00:52:03,440
Speaker 1: really hit me is this kind of like flippant way

962
00:52:03,560 --> 00:52:11,600
Speaker 1: of discussing suicide. Yes, seemed like a very teenager nineties thing, absolutely,

963
00:52:12,840 --> 00:52:16,280
Speaker 1: and just like everything the bad tattoos, the Yin Yang

964
00:52:16,400 --> 00:52:19,360
Speaker 1: t shirts and shit, I mean, it just really felt

965
00:52:20,080 --> 00:52:23,080
Speaker 1: authentically nineties to me now that I watched it as

966
00:52:23,080 --> 00:52:24,440
Speaker 1: an adult completely.

967
00:52:24,520 --> 00:52:26,279
Speaker 2: Yeah, when I first watched it, I had the same

968
00:52:26,320 --> 00:52:28,960
Speaker 2: feelings of like, they never get it right, they never

969
00:52:29,040 --> 00:52:30,879
Speaker 2: get it right. But then I looked at it this

970
00:52:30,960 --> 00:52:33,279
Speaker 2: time and I'm like, mmmm, yeah, I knew that girl.

971
00:52:33,840 --> 00:52:36,040
Speaker 2: Oh yeah, they are parts of me that was that girl.

972
00:52:36,719 --> 00:52:37,080
Speaker 1: Yeah.

973
00:52:37,200 --> 00:52:37,239
Speaker 2: No.

974
00:52:37,400 --> 00:52:41,040
Speaker 1: I had a friend who in high school who essentially

975
00:52:41,200 --> 00:52:46,200
Speaker 1: was the Sarah Gilbert character through and through, same kind

976
00:52:46,200 --> 00:52:49,920
Speaker 1: of vibe, the way they talked, the look, everything, and

977
00:52:49,960 --> 00:52:51,919
Speaker 1: I was like, damn, they really fucking nailed this shit.

978
00:52:52,400 --> 00:52:57,280
Speaker 3: And I have to say, it just was like, it's such.

979
00:52:57,080 --> 00:53:02,560
Speaker 1: An enjoyable film. It's like it is like again kind

980
00:53:02,600 --> 00:53:09,160
Speaker 1: of a fatal Attraction level erotic thriller, but featuring like

981
00:53:09,320 --> 00:53:11,000
Speaker 1: kids that were my age.

982
00:53:11,080 --> 00:53:12,080
Speaker 3: I mean, it's so.

983
00:53:13,600 --> 00:53:14,560
Speaker 1: Enjoyable to watch.

984
00:53:15,480 --> 00:53:18,200
Speaker 2: Also, was I looked at it. I know that it's

985
00:53:18,239 --> 00:53:20,279
Speaker 2: listed in the credits, but I didn't see it. I

986
00:53:20,280 --> 00:53:23,520
Speaker 2: didn't catch it on the screen. Is Leonardo DiCaprio actually

987
00:53:23,520 --> 00:53:24,360
Speaker 2: in this movie?

988
00:53:24,800 --> 00:53:27,960
Speaker 1: That's what I was gonna say. So I saw that

989
00:53:28,000 --> 00:53:31,080
Speaker 1: too and was like what. So I went on Reddit

990
00:53:31,200 --> 00:53:34,719
Speaker 1: actually and someone posted a clip of heat of him

991
00:53:34,719 --> 00:53:37,279
Speaker 1: being in this movie, and it's literally just a two

992
00:53:37,320 --> 00:53:40,960
Speaker 1: second clip of some kid running by in a rugby shirt,

993
00:53:42,200 --> 00:53:44,960
Speaker 1: a like during one of the school scenes, Like there's

994
00:53:45,000 --> 00:53:47,279
Speaker 1: some like and then you watched the be like, oh yeah,

995
00:53:47,320 --> 00:53:49,800
Speaker 1: I think that's that might be Leonardo DiCaprio.

996
00:53:49,880 --> 00:53:50,800
Speaker 3: But he has no lines.

997
00:53:51,280 --> 00:53:53,520
Speaker 1: Oh he doesn't even look forward in the cabriog, just

998
00:53:53,600 --> 00:53:56,000
Speaker 1: running by on a rugby Shirt's amazing.

999
00:53:56,320 --> 00:53:57,840
Speaker 2: That explains it, because I'm like, I don't think I

1000
00:53:58,080 --> 00:54:00,279
Speaker 2: think I would have noticed him in this movie.

1001
00:54:00,560 --> 00:54:03,960
Speaker 1: Yeah, exactly. And you know, after watching this, you know,

1002
00:54:04,040 --> 00:54:07,719
Speaker 1: they came out with three sequels to this. They were

1003
00:54:07,840 --> 00:54:08,719
Speaker 1: all direct to.

1004
00:54:08,760 --> 00:54:12,600
Speaker 2: Video unnecessary sequels. I love it. I love it. Unnecessary

1005
00:54:12,600 --> 00:54:13,879
Speaker 2: sequel well, and.

1006
00:54:13,840 --> 00:54:16,359
Speaker 3: Like, I have to now I have to watch them.

1007
00:54:16,480 --> 00:54:17,080
Speaker 3: They're called.

1008
00:54:17,600 --> 00:54:21,080
Speaker 1: One of them from nineteen ninety six is called Poison

1009
00:54:21,160 --> 00:54:21,839
Speaker 1: IVY two.

1010
00:54:22,960 --> 00:54:25,719
Speaker 2: Lily, No, you don't have to watch this. What are

1011
00:54:25,760 --> 00:54:26,440
Speaker 2: you talking about?

1012
00:54:26,920 --> 00:54:31,120
Speaker 3: Then there's Poison IVY the New Seduction from nineteen ninety

1013
00:54:31,120 --> 00:54:35,200
Speaker 3: seven and Poison IVY The Secret Society from two thousand

1014
00:54:35,239 --> 00:54:35,600
Speaker 3: and eight.

1015
00:54:36,080 --> 00:54:39,360
Speaker 2: Oh, Sam, I know they carried this shit on for

1016
00:54:39,440 --> 00:54:40,160
Speaker 2: sixteen years.

1017
00:54:40,760 --> 00:54:42,759
Speaker 3: Yeah, it's it.

1018
00:54:42,760 --> 00:54:47,400
Speaker 1: It is like a tale that transcends the generations apparently.

1019
00:54:47,480 --> 00:54:50,959
Speaker 1: But I in terms of it being for our theme,

1020
00:54:51,000 --> 00:54:53,080
Speaker 1: I felt like we had to we had to bring

1021
00:54:53,160 --> 00:54:55,400
Speaker 1: this one. We just had to. It was.

1022
00:54:55,600 --> 00:54:58,160
Speaker 2: It was a stunning rewatch. I haven't seen it in

1023
00:54:58,400 --> 00:55:07,040
Speaker 2: so long. The night were absolutely obsessed with seduction. You

1024
00:55:07,200 --> 00:55:09,279
Speaker 2: could not pick up a movie in the nineties that

1025
00:55:09,360 --> 00:55:13,960
Speaker 2: what somebody wasn't getting seduced. It was a very horny time,

1026
00:55:14,680 --> 00:55:15,560
Speaker 2: very horny time.

1027
00:55:15,800 --> 00:55:20,520
Speaker 1: Well, Danielle, we're gonna make a transition of your film

1028
00:55:20,600 --> 00:55:21,200
Speaker 1: right now.

1029
00:55:21,880 --> 00:55:25,160
Speaker 2: Oh there is no way to easily switch the tide here,

1030
00:55:27,040 --> 00:55:29,480
Speaker 2: so we're just gonna do it. By movie was released

1031
00:55:29,480 --> 00:55:32,520
Speaker 2: in two thousand and two. It was based on the

1032
00:55:32,560 --> 00:55:36,640
Speaker 2: book by the same name, written by Michael Cunningham, written

1033
00:55:36,680 --> 00:55:40,480
Speaker 2: by David Hare, and directed by Stephen Daldry. My movie

1034
00:55:40,640 --> 00:55:42,080
Speaker 2: is the hours.

1035
00:55:42,840 --> 00:55:46,719
Speaker 1: He gives me that look to say, your life is

1036
00:55:46,920 --> 00:55:50,000
Speaker 1: so trivial. It only matters if you think it's true.

1037
00:55:50,280 --> 00:55:54,640
Speaker 2: This movie, as I have said in a recent bonus,

1038
00:55:55,400 --> 00:55:57,799
Speaker 2: it's kind of a comfort watch for me. I have

1039
00:55:57,840 --> 00:56:02,800
Speaker 2: no problem watching it at any point. I don't know why.

1040
00:56:03,400 --> 00:56:05,960
Speaker 1: I don't know why.

1041
00:56:05,160 --> 00:56:12,280
Speaker 2: Because this movie is bleak as fuck. To put it, lightly,

1042
00:56:13,719 --> 00:56:17,880
Speaker 2: unbelievably bleak, so real quick though some background, the director,

1043
00:56:17,920 --> 00:56:22,960
Speaker 2: Stephen Daldry is well known. He directed Billy Elliott and

1044
00:56:23,160 --> 00:56:26,480
Speaker 2: Extremely Loud and Incredibly Closed like He's adapted. He directed

1045
00:56:26,480 --> 00:56:28,920
Speaker 2: a bunch of episodes of The Crown. He's just a

1046
00:56:29,000 --> 00:56:34,560
Speaker 2: very well known British director, and the book itself is

1047
00:56:34,680 --> 00:56:38,360
Speaker 2: kind of fascinating, primarily for the subject matter but also

1048
00:56:38,400 --> 00:56:41,160
Speaker 2: the structure. So I'll give a one sentsened synopsis that

1049
00:56:41,200 --> 00:56:44,840
Speaker 2: kind of helps also explain the book. The lives of

1050
00:56:44,920 --> 00:56:49,239
Speaker 2: three women spanning three different eras are brought to their

1051
00:56:49,360 --> 00:56:57,320
Speaker 2: breaking point due to men and the oppression of patriarchal culture. Yes,

1052
00:56:58,520 --> 00:57:01,120
Speaker 2: so the three time for that we're working with in

1053
00:57:01,160 --> 00:57:06,759
Speaker 2: this film are the nineteen twenties, nineteen fifty one, and

1054
00:57:06,920 --> 00:57:12,440
Speaker 2: two thousand and one. And there's a connective thread in

1055
00:57:12,480 --> 00:57:15,440
Speaker 2: this film that is obvious, and then there's a connective

1056
00:57:15,480 --> 00:57:17,800
Speaker 2: thread in this film that I think you kind of

1057
00:57:17,800 --> 00:57:22,160
Speaker 2: don't realize until the end. But essentially, in each of

1058
00:57:22,200 --> 00:57:26,320
Speaker 2: these eras, we're focusing on women who are somehow tied

1059
00:57:26,480 --> 00:57:30,840
Speaker 2: to Virginia Wolf. So in nineteen twenty three, it is

1060
00:57:30,920 --> 00:57:35,760
Speaker 2: Virginia Wolf and she's writing the book Missus Gallaway. Missus

1061
00:57:35,800 --> 00:57:39,760
Speaker 2: Doallaway is a connective thread for all three women. In

1062
00:57:39,840 --> 00:57:43,080
Speaker 2: nineteen fifty one we're with Laura Brown and she's reading

1063
00:57:43,080 --> 00:57:46,880
Speaker 2: Missus Dallaway. And in two thousand and one we're with

1064
00:57:46,960 --> 00:57:50,920
Speaker 2: Clarissa Vaughan, who's kind of living the book Missus Dollaway.

1065
00:57:51,360 --> 00:57:55,320
Speaker 2: So I think that is a really fascinating narrative device

1066
00:57:55,520 --> 00:57:59,880
Speaker 2: to me. And one thing that I will say too,

1067
00:58:00,160 --> 00:58:03,040
Speaker 2: I went back and read a bunch of reviews after

1068
00:58:03,120 --> 00:58:07,680
Speaker 2: I rewatched this movie. Most of the critics that I

1069
00:58:07,720 --> 00:58:12,320
Speaker 2: read were men, and they all found something really snide

1070
00:58:12,400 --> 00:58:15,320
Speaker 2: and shitty to say about this movie, like it was

1071
00:58:15,360 --> 00:58:17,360
Speaker 2: boring and it's over raw and blah blah blah. And

1072
00:58:17,400 --> 00:58:20,560
Speaker 2: I'm like, yeah, huh, how shocking that a movie that

1073
00:58:20,640 --> 00:58:26,840
Speaker 2: focuses on the lives of three different women makes men uncomfortable? Yeah,

1074
00:58:26,880 --> 00:58:30,960
Speaker 2: in two thousand and one, So that was not surprising

1075
00:58:31,000 --> 00:58:34,520
Speaker 2: to me because everyone I know, God damn loves this movie.

1076
00:58:34,680 --> 00:58:42,360
Speaker 1: Oh my god, Danielle. I'm not I hope I'm not

1077
00:58:42,600 --> 00:58:44,960
Speaker 1: being too much of a generalist when I say this,

1078
00:58:45,040 --> 00:58:48,200
Speaker 1: but I swear to God, every gay man in my

1079
00:58:48,360 --> 00:58:50,800
Speaker 1: life loves this movie.

1080
00:58:50,840 --> 00:58:52,560
Speaker 3: It's like their favorite movie.

1081
00:58:53,480 --> 00:58:57,840
Speaker 2: Absolutely well. And it makes sense because queerness is absolutely

1082
00:58:57,840 --> 00:59:01,080
Speaker 2: a theme in the film. Definitely, And even though it's

1083
00:59:01,120 --> 00:59:03,680
Speaker 2: not shown directly in Virginia Wolf's timeline, I'm going to

1084
00:59:03,720 --> 00:59:06,200
Speaker 2: talk a little bit about her. In her real life,

1085
00:59:06,240 --> 00:59:09,760
Speaker 2: she did have relationships with lots of women. Clarissa is

1086
00:59:10,440 --> 00:59:14,240
Speaker 2: queer and lives with a woman named Sally. She's had

1087
00:59:14,280 --> 00:59:17,880
Speaker 2: this partner for ten years, played by the incredible Alice

1088
00:59:17,880 --> 00:59:21,760
Speaker 2: and Janny. And then we also have Laura Brown who

1089
00:59:21,800 --> 00:59:26,400
Speaker 2: has this scene where she kisses a woman, which again

1090
00:59:26,440 --> 00:59:29,760
Speaker 2: we'll totally get into, but there's this underlying current of

1091
00:59:29,840 --> 00:59:32,440
Speaker 2: queerness in how it kind of propels these women's lives.

1092
00:59:32,480 --> 00:59:35,720
Speaker 2: So it makes total sense to me that anyone who's

1093
00:59:35,760 --> 00:59:39,920
Speaker 2: interested in seeing queerness represented on screen also likes this movie.

1094
00:59:40,040 --> 00:59:42,600
Speaker 3: Yeah, Ed, the Ed Harris character is gay.

1095
00:59:43,120 --> 00:59:46,000
Speaker 1: At some point, you know, his old lover comes back,

1096
00:59:46,040 --> 00:59:48,640
Speaker 1: the Jeff Daniels character, So yeah, this is a very

1097
00:59:48,680 --> 00:59:49,360
Speaker 1: gay movie.

1098
00:59:49,800 --> 00:59:51,400
Speaker 3: So yeah, it makes a lot of sense.

1099
00:59:52,280 --> 00:59:55,080
Speaker 2: And it's also it's really complicated, but in a beautiful way.

1100
00:59:55,200 --> 00:59:57,800
Speaker 2: So again, we have Virginia Wolf in nineteen twenty three

1101
00:59:57,840 --> 01:00:00,200
Speaker 2: and she's with her husband Leonard, who's caring for her

1102
01:00:00,280 --> 01:00:03,160
Speaker 2: and trying to give her space, and she's under the

1103
01:00:03,200 --> 01:00:07,880
Speaker 2: care of several doctors. Laura is five months pregnant and

1104
01:00:07,960 --> 01:00:11,400
Speaker 2: she also has a son, and she's really unhappy in

1105
01:00:11,440 --> 01:00:14,760
Speaker 2: her marriage and in her life, and she's kind of

1106
01:00:14,760 --> 01:00:17,640
Speaker 2: bad at housekeeping and bad at baking. Like she's kind

1107
01:00:17,640 --> 01:00:22,240
Speaker 2: of doesn't have an idea for how to live as

1108
01:00:22,320 --> 01:00:26,200
Speaker 2: a as a competent wife and mother. And then Clarissa

1109
01:00:26,440 --> 01:00:30,320
Speaker 2: is caring for her age tricken friend Richard, and she's

1110
01:00:30,360 --> 01:00:32,720
Speaker 2: kind of unattentive to her partner and her daughter, and

1111
01:00:32,720 --> 01:00:35,640
Speaker 2: she's this book editor in New York, and we find

1112
01:00:35,640 --> 01:00:38,240
Speaker 2: out that she's kind of the subject of Richard's very

1113
01:00:38,280 --> 01:00:41,600
Speaker 2: complicated and not well received novel because they met when

1114
01:00:41,600 --> 01:00:44,800
Speaker 2: they were students and he started actually calling her Missus Dollaway.

1115
01:00:45,080 --> 01:00:47,280
Speaker 2: Clarissa Dollaway is one of the is the title character

1116
01:00:47,320 --> 01:00:49,920
Speaker 2: in that book, and there's this beautiful story about how

1117
01:00:49,920 --> 01:00:51,919
Speaker 2: they used to be lovers and he kind of called

1118
01:00:51,960 --> 01:00:55,480
Speaker 2: her Missus Dollaway in this one moment on the beach,

1119
01:00:55,560 --> 01:01:00,600
Speaker 2: and it's just beautiful and complicated and cool. And one

1120
01:01:00,600 --> 01:01:02,920
Speaker 2: of the things that also ties this movie together is

1121
01:01:03,320 --> 01:01:06,480
Speaker 2: this idea of celebrations and parties. So in the book

1122
01:01:06,560 --> 01:01:11,200
Speaker 2: Missus Doallaway, Clarissa Dallaway is throwing a party. The scope

1123
01:01:11,240 --> 01:01:14,240
Speaker 2: of the book is that we're seeing her whole life

1124
01:01:14,320 --> 01:01:16,760
Speaker 2: play out in one day, so it just focuses on

1125
01:01:16,800 --> 01:01:19,480
Speaker 2: a single day, which again was revolutionary at the time,

1126
01:01:20,160 --> 01:01:22,360
Speaker 2: and the same thing is happening with Clarissa and Laura.

1127
01:01:22,440 --> 01:01:25,680
Speaker 2: So we see Laura's life in one day, we see

1128
01:01:25,720 --> 01:01:27,960
Speaker 2: Clarissa's life in one day, and they're both trying to

1129
01:01:27,960 --> 01:01:31,000
Speaker 2: throw parties. Laura's throwing a birthday party for her husband Dan,

1130
01:01:31,040 --> 01:01:34,160
Speaker 2: who's played by John c Riley. Laura's played by Julianne Moore.

1131
01:01:34,520 --> 01:01:36,800
Speaker 2: And Clarissa's throwing a party for Richard because he is

1132
01:01:36,840 --> 01:01:40,080
Speaker 2: a poet who has won this very prestigious award, the Corruthers,

1133
01:01:40,600 --> 01:01:42,600
Speaker 2: and he doesn't want to go, like he's kind of

1134
01:01:43,000 --> 01:01:45,240
Speaker 2: doesn't believe that he's earned it. He doesn't want to go,

1135
01:01:45,720 --> 01:01:47,920
Speaker 2: and she's so stressed out by this party that it's

1136
01:01:48,000 --> 01:01:51,720
Speaker 2: kind of ruining her life. So just a little bit

1137
01:01:51,720 --> 01:01:55,760
Speaker 2: of backstory about Virginia Wolf. And if there are any

1138
01:01:55,840 --> 01:01:59,360
Speaker 2: Virginia Wolf academics out there, I am lightly grazing over

1139
01:01:59,400 --> 01:02:01,080
Speaker 2: this woman's life. There was so much to be read

1140
01:02:01,080 --> 01:02:03,720
Speaker 2: about her, so please do it. Write in and say

1141
01:02:03,760 --> 01:02:05,880
Speaker 2: you forgot this. I know I probably forgot a lot

1142
01:02:05,880 --> 01:02:07,920
Speaker 2: of stuff because I'm just going to give a synopsis

1143
01:02:08,160 --> 01:02:12,160
Speaker 2: of her life. Virginia Wolf was born in Kensington in

1144
01:02:12,160 --> 01:02:15,440
Speaker 2: eighteen eighty two. Again, she was married to Leonard Wolfe,

1145
01:02:15,440 --> 01:02:18,880
Speaker 2: who started Hogarth Press, which published most of her books,

1146
01:02:18,920 --> 01:02:21,240
Speaker 2: and he kind of started that press in order to

1147
01:02:21,360 --> 01:02:26,120
Speaker 2: keep her satisfied in their country life because she really

1148
01:02:26,160 --> 01:02:29,240
Speaker 2: struggled with her mental health. She was institutionalized several times.

1149
01:02:29,280 --> 01:02:32,320
Speaker 2: She tried to commit suicide twice. She again was always

1150
01:02:32,360 --> 01:02:35,440
Speaker 2: under the care of doctors. I think that in modern

1151
01:02:35,520 --> 01:02:38,800
Speaker 2: day like modern day academics have posited that she either

1152
01:02:38,880 --> 01:02:42,760
Speaker 2: had bipolar disorder or schizophrenia, but it was just largely

1153
01:02:42,880 --> 01:02:45,200
Speaker 2: undiagnosed at the time that she was alive, so she

1154
01:02:45,280 --> 01:02:48,120
Speaker 2: never got a full she never got treatment in a

1155
01:02:48,120 --> 01:02:51,720
Speaker 2: way that actually helped her. She belonged to the Bloomsbury Group,

1156
01:02:51,760 --> 01:02:55,480
Speaker 2: which was this intellectual gathering of people in London. She

1157
01:02:56,200 --> 01:02:59,880
Speaker 2: had again definitely had a lot of affairs with so

1158
01:03:00,040 --> 01:03:03,320
Speaker 2: for women, including the author Via Sackville West, who is

1159
01:03:03,440 --> 01:03:06,360
Speaker 2: also published by Hogarth Press. And she was just kind

1160
01:03:06,400 --> 01:03:09,919
Speaker 2: of a stunning author. A lot of people didn't really

1161
01:03:10,000 --> 01:03:12,960
Speaker 2: like her stream of consciousness narrative style, but it really

1162
01:03:13,040 --> 01:03:15,920
Speaker 2: cemented her as like a literary titan after her death.

1163
01:03:16,480 --> 01:03:19,920
Speaker 2: And she also contributed greatly to the feminist movement. She

1164
01:03:20,040 --> 01:03:23,760
Speaker 2: published things like A Room of one's own and was

1165
01:03:23,840 --> 01:03:27,600
Speaker 2: very outspoken about needing her space and needing her own life.

1166
01:03:28,280 --> 01:03:30,000
Speaker 2: And there's even a scene in the film where she

1167
01:03:30,040 --> 01:03:32,800
Speaker 2: and Leonard are having an argument, and that's the crux

1168
01:03:32,840 --> 01:03:34,560
Speaker 2: of the argument is her saying, like, I get to

1169
01:03:34,560 --> 01:03:36,640
Speaker 2: make my own choices, even if I'm a crazy person.

1170
01:03:37,000 --> 01:03:40,280
Speaker 2: Like she just is really emphatic about the fact that

1171
01:03:40,320 --> 01:03:43,440
Speaker 2: she deserves to have a life that she has a

1172
01:03:43,480 --> 01:03:47,360
Speaker 2: big part in producing. And there's a recent biography that

1173
01:03:47,400 --> 01:03:50,320
Speaker 2: was published in twenty nineteen that I haven't read yet,

1174
01:03:50,360 --> 01:03:53,120
Speaker 2: but I know that it spends a lot of time

1175
01:03:53,160 --> 01:03:57,720
Speaker 2: looking at the childhood abuse that Virginia Wolf suffered at

1176
01:03:57,720 --> 01:04:00,439
Speaker 2: the hands of her half brothers, And I think, again,

1177
01:04:00,480 --> 01:04:03,560
Speaker 2: now we know so much more about childhood abuse, the

1178
01:04:03,560 --> 01:04:07,240
Speaker 2: effects on the developing brain, and how that might have

1179
01:04:07,280 --> 01:04:09,880
Speaker 2: contributed to her mental health issues, but it was kind

1180
01:04:09,880 --> 01:04:12,080
Speaker 2: of glossed over in her time. It was like, oh, well,

1181
01:04:13,000 --> 01:04:14,880
Speaker 2: their half brothers touched you, and it's like no, when

1182
01:04:14,920 --> 01:04:18,920
Speaker 2: you read about the incidences and how it really ruined

1183
01:04:18,920 --> 01:04:22,200
Speaker 2: her self esteem and her sense of self image, it's

1184
01:04:22,200 --> 01:04:27,640
Speaker 2: pretty devastating. So this is also again fully displayed in

1185
01:04:27,680 --> 01:04:30,919
Speaker 2: the film. But she died in nineteen forty one when

1186
01:04:30,920 --> 01:04:34,200
Speaker 2: she was fifty nine years old and she drowned herself

1187
01:04:34,240 --> 01:04:39,280
Speaker 2: in the river Oose, which is so fucking tragic in hardcore. Yeah,

1188
01:04:39,840 --> 01:04:43,439
Speaker 2: so yeah, So she is the connective thread, and again,

1189
01:04:43,480 --> 01:04:46,120
Speaker 2: the connective threads in this film, it's like throwing a party,

1190
01:04:46,800 --> 01:04:50,760
Speaker 2: definitely being a woman who's trying to create space in

1191
01:04:50,800 --> 01:04:54,360
Speaker 2: the patriarchal culture. But there's also this underlying thread of

1192
01:04:55,040 --> 01:04:57,960
Speaker 2: suicide and people who die by suicide, and I just

1193
01:04:58,000 --> 01:05:02,000
Speaker 2: think it's treated in such a beautiful and true way

1194
01:05:02,160 --> 01:05:06,600
Speaker 2: because suicide is always something that is inexplicable to the

1195
01:05:06,600 --> 01:05:09,560
Speaker 2: people who survive it, and so I think they do

1196
01:05:09,600 --> 01:05:12,120
Speaker 2: a good job of kind of showing us a glimpse

1197
01:05:12,520 --> 01:05:15,080
Speaker 2: of what it means for each of these characters. So

1198
01:05:15,160 --> 01:05:18,000
Speaker 2: we're definitely I kind of like, I love Clarissa's story.

1199
01:05:18,040 --> 01:05:20,960
Speaker 2: I think that again, these are powerhouse actresses in this film.

1200
01:05:20,960 --> 01:05:25,360
Speaker 2: You've got Nicole Kidman playing Virginia Wolf, Meryl Streep is Clarissa,

1201
01:05:25,360 --> 01:05:29,600
Speaker 2: and Julianne Moore is Laura, and Meryl Streep wears these

1202
01:05:29,600 --> 01:05:32,680
Speaker 2: blue tinted sunglasses that I truly cannot believe made it

1203
01:05:32,680 --> 01:05:38,040
Speaker 2: into the film. Poster poster let alone on her face,

1204
01:05:42,120 --> 01:05:46,760
Speaker 2: but Clarissa is like a bucking, busy be and most

1205
01:05:46,880 --> 01:05:49,880
Speaker 2: of my baby girl, what is you doing about her?

1206
01:05:50,600 --> 01:05:54,480
Speaker 2: Is this party is clearly making her unravel. So there's

1207
01:05:54,480 --> 01:05:58,240
Speaker 2: this one part of like we see Virginia Wolf developing

1208
01:05:58,280 --> 01:06:02,160
Speaker 2: the idea and writing Missus Dalla, and she says she

1209
01:06:02,200 --> 01:06:05,240
Speaker 2: wants to write about the whole a woman's whole life

1210
01:06:05,240 --> 01:06:07,160
Speaker 2: in a single day, and in a single day, her

1211
01:06:07,200 --> 01:06:09,880
Speaker 2: whole life. I think what's again amazing about the book,

1212
01:06:09,920 --> 01:06:12,760
Speaker 2: amazing about the film is we really do get that

1213
01:06:13,040 --> 01:06:15,160
Speaker 2: from start to finish with each of the characters. We're

1214
01:06:15,200 --> 01:06:17,560
Speaker 2: just looking at one day of their lives, but we

1215
01:06:17,600 --> 01:06:19,480
Speaker 2: get such a full scope of who they are. So

1216
01:06:19,520 --> 01:06:22,840
Speaker 2: Clarissa's freaking out about this party, and we see her

1217
01:06:22,880 --> 01:06:26,320
Speaker 2: go to Richard's house and she's caring for him, and

1218
01:06:26,360 --> 01:06:29,760
Speaker 2: again he's kind of he's actively dying of AIDS, and

1219
01:06:30,240 --> 01:06:33,040
Speaker 2: he's kind of mean, he's kind of cruel to her,

1220
01:06:33,280 --> 01:06:36,200
Speaker 2: like he loves her, but he's really pointed about the

1221
01:06:36,200 --> 01:06:38,880
Speaker 2: fact that you know, he is dying. And he points

1222
01:06:38,920 --> 01:06:42,520
Speaker 2: out to her that she is always giving parties to

1223
01:06:42,560 --> 01:06:45,520
Speaker 2: cover the silence in her own life, and he kind

1224
01:06:45,520 --> 01:06:48,560
Speaker 2: of intimates that well he flat out says that he's

1225
01:06:48,560 --> 01:06:51,480
Speaker 2: staying alive for her because he kind of doesn't know

1226
01:06:52,280 --> 01:06:54,680
Speaker 2: what she will do without having him to care for.

1227
01:06:56,040 --> 01:06:58,760
Speaker 2: And again, they've been friends for so many years that

1228
01:06:59,480 --> 01:07:02,280
Speaker 2: there's just some really beautiful about how they interact because

1229
01:07:02,320 --> 01:07:04,720
Speaker 2: again there's a lot of love there, but he knows

1230
01:07:04,720 --> 01:07:08,200
Speaker 2: she can't confront her own life. And I just that

1231
01:07:08,240 --> 01:07:11,880
Speaker 2: first scene where they're together is so incredible to me,

1232
01:07:12,000 --> 01:07:15,080
Speaker 2: Like he's walking around and he gives this incredible monologue

1233
01:07:15,080 --> 01:07:18,439
Speaker 2: about how he wanted to write about it all and

1234
01:07:18,680 --> 01:07:21,040
Speaker 2: he it's just to know he's dying and how he's

1235
01:07:21,120 --> 01:07:26,040
Speaker 2: dying and see his regret, and Clarissa kind of knows

1236
01:07:26,080 --> 01:07:28,960
Speaker 2: she can't do anything about it, but listen. But Ed

1237
01:07:29,000 --> 01:07:31,760
Speaker 2: Harris plays Richard, and he's just so fucking beautiful in

1238
01:07:31,760 --> 01:07:34,680
Speaker 2: this scene. And I think their relationship really makes me

1239
01:07:34,760 --> 01:07:38,120
Speaker 2: think more than anything, like what does it mean to

1240
01:07:38,200 --> 01:07:40,760
Speaker 2: love someone forever? Even if it's not a romantic love,

1241
01:07:40,800 --> 01:07:43,120
Speaker 2: even if it's not you know, a physical Like what

1242
01:07:43,120 --> 01:07:46,440
Speaker 2: does it mean to love someone for pretty much your

1243
01:07:46,480 --> 01:07:50,120
Speaker 2: whole life? Because that's what they're exhibiting in this complicated

1244
01:07:50,120 --> 01:07:53,320
Speaker 2: friendship of theirs. But she's like, look, I'll come back

1245
01:07:53,800 --> 01:07:55,440
Speaker 2: to get you for the party. At three point thirty,

1246
01:07:55,760 --> 01:07:58,440
Speaker 2: she's kind of overwhelmed. She's picking up Garber. She's just

1247
01:07:58,480 --> 01:08:03,880
Speaker 2: like always busy. So his comment about her ignoring her

1248
01:08:03,880 --> 01:08:06,080
Speaker 2: own life or kind of staying busy to ignore her

1249
01:08:06,080 --> 01:08:09,440
Speaker 2: own feelings feels very real to me. In the movie

1250
01:08:09,800 --> 01:08:14,360
Speaker 2: and his exes coming to the party and her her

1251
01:08:14,360 --> 01:08:17,120
Speaker 2: partner Sally, at one point looks at the seating chart

1252
01:08:17,160 --> 01:08:18,400
Speaker 2: and she's like, why do you always sit me with

1253
01:08:18,400 --> 01:08:22,559
Speaker 2: the exes? Are you trying to tell me something? But

1254
01:08:22,720 --> 01:08:26,719
Speaker 2: that's also very frap. Jeff Daniels plays this incredible boyfriend character,

1255
01:08:26,840 --> 01:08:30,840
Speaker 2: this ex boyfriend character, and they have a tough, tough

1256
01:08:30,880 --> 01:08:33,960
Speaker 2: relationship too. And so there's one point where she's making

1257
01:08:34,040 --> 01:08:38,120
Speaker 2: this clam dish and you know, she's just bustling around

1258
01:08:38,160 --> 01:08:41,760
Speaker 2: and he comes early and he interrupts her, but she

1259
01:08:42,040 --> 01:08:44,759
Speaker 2: kind of receives him, and then as they start talking,

1260
01:08:44,920 --> 01:08:48,200
Speaker 2: she really starts to like cry and sob and like

1261
01:08:48,920 --> 01:08:52,000
Speaker 2: have a breakdown in front of this man, who you

1262
01:08:52,040 --> 01:08:54,080
Speaker 2: can because of the way she's talking to him, you

1263
01:08:54,080 --> 01:08:58,400
Speaker 2: can tell that she's not ultimately very close to anymore.

1264
01:08:59,000 --> 01:09:02,000
Speaker 2: But he's kind of her a release. The release that

1265
01:09:02,040 --> 01:09:05,400
Speaker 2: she needs, which I just I don't know, I don't

1266
01:09:05,439 --> 01:09:08,639
Speaker 2: know how we've thought about that scene or Clarissa's life,

1267
01:09:08,680 --> 01:09:11,599
Speaker 2: but I just really love what Meryl Streep was bringing

1268
01:09:11,640 --> 01:09:15,759
Speaker 2: to the table to kind of showcase how people push

1269
01:09:15,880 --> 01:09:19,000
Speaker 2: through even when things are dire, even when things are hard,

1270
01:09:19,040 --> 01:09:21,400
Speaker 2: even when you don't want to do them. She just

1271
01:09:21,400 --> 01:09:25,280
Speaker 2: has this really introspective look at someone just trying to

1272
01:09:25,320 --> 01:09:28,559
Speaker 2: keep it together for the sake of their friend. Yeah.

1273
01:09:28,560 --> 01:09:33,000
Speaker 1: I mean, I think that that's obviously the larger message

1274
01:09:33,040 --> 01:09:41,479
Speaker 1: of the film is watching women having to live for

1275
01:09:42,280 --> 01:09:46,519
Speaker 1: the people in their life and maybe in lieu of

1276
01:09:46,560 --> 01:09:49,240
Speaker 1: what they actually want, right because in the same way

1277
01:09:49,880 --> 01:09:52,680
Speaker 1: the Julian Moore character is doing it at too, She's

1278
01:09:53,479 --> 01:09:54,719
Speaker 1: baking this cake.

1279
01:09:54,640 --> 01:09:57,200
Speaker 3: For her husband's birthday, And so it's.

1280
01:09:59,240 --> 01:10:02,840
Speaker 1: Women who are sort of like grin and bearing it

1281
01:10:03,000 --> 01:10:07,000
Speaker 1: through these things that they don't necessarily are wanting to

1282
01:10:07,040 --> 01:10:10,320
Speaker 1: do or connected to. You know, I think even in

1283
01:10:10,360 --> 01:10:13,599
Speaker 1: that case of the Virginia Wolf story, you know you've

1284
01:10:13,600 --> 01:10:17,040
Speaker 1: got sort of that back and forth conversation happening between

1285
01:10:17,040 --> 01:10:20,320
Speaker 1: her and her husband that's basically like, you put me

1286
01:10:20,360 --> 01:10:22,679
Speaker 1: in this place to take care of me, and you

1287
01:10:22,760 --> 01:10:24,880
Speaker 1: set things up to where you think that this is

1288
01:10:24,920 --> 01:10:26,880
Speaker 1: what I would want or this is how I would thrive,

1289
01:10:27,160 --> 01:10:28,960
Speaker 1: and that's actually not the case.

1290
01:10:29,080 --> 01:10:29,680
Speaker 3: So I don't know.

1291
01:10:30,080 --> 01:10:32,800
Speaker 1: That obviously hits me pretty hard as just sort of

1292
01:10:32,840 --> 01:10:37,240
Speaker 1: a woman and that kind of whole message of what

1293
01:10:37,320 --> 01:10:41,360
Speaker 1: the expectations are. But I think that that that gets

1294
01:10:41,400 --> 01:10:46,559
Speaker 1: perfected the most in the Meryl Street story because she's

1295
01:10:47,280 --> 01:10:49,960
Speaker 1: kind of barely keeping it together at all times, and

1296
01:10:50,000 --> 01:10:52,960
Speaker 1: she has that whole breakdown in the kitchen with Louis

1297
01:10:53,520 --> 01:10:56,360
Speaker 1: when he when he shows up, that is just like,

1298
01:10:56,400 --> 01:11:00,120
Speaker 1: oh that is it, Like she's not in a good spot.

1299
01:11:00,400 --> 01:11:04,360
Speaker 2: But she has more space culturally in that moment to

1300
01:11:04,400 --> 01:11:05,919
Speaker 2: be able to express that breakdown.

1301
01:11:06,600 --> 01:11:12,360
Speaker 1: Yes, that is ultimately what is so cool of having

1302
01:11:12,439 --> 01:11:15,120
Speaker 1: that be a device in the film, that kind of

1303
01:11:15,160 --> 01:11:19,000
Speaker 1: spanning time and just seeing like how hard it was

1304
01:11:19,040 --> 01:11:21,800
Speaker 1: for somebody in the Virginia Wolf era to really express that,

1305
01:11:22,400 --> 01:11:24,640
Speaker 1: and then you fast forward it to sort of a

1306
01:11:24,680 --> 01:11:28,720
Speaker 1: more modern era where Maylstrip is allowed to crumble on

1307
01:11:28,800 --> 01:11:32,360
Speaker 1: the floor and freak out right, you know.

1308
01:11:33,120 --> 01:11:36,040
Speaker 2: And that scene with Virginia Wolf and Leonard having the

1309
01:11:36,200 --> 01:11:38,280
Speaker 2: fight at the train station. The other thing that I

1310
01:11:38,320 --> 01:11:41,960
Speaker 2: love about it is she's basically making a case for

1311
01:11:42,000 --> 01:11:45,200
Speaker 2: them moving back to London, and she says, you know,

1312
01:11:45,240 --> 01:11:47,920
Speaker 2: if the choice is to stay here and live or

1313
01:11:47,920 --> 01:11:51,840
Speaker 2: go to London and die, I choose death, and that

1314
01:11:51,920 --> 01:11:54,879
Speaker 2: itself is poignant. But then later in the film, another

1315
01:11:55,000 --> 01:11:58,439
Speaker 2: character which I will not spoil, but another character says

1316
01:11:59,200 --> 01:12:02,439
Speaker 2: it was death, I chose life. So there's just these

1317
01:12:02,520 --> 01:12:05,760
Speaker 2: parallels going on in both of these stories about you know,

1318
01:12:05,840 --> 01:12:08,760
Speaker 2: she's choosing death to go back to London and be

1319
01:12:08,800 --> 01:12:10,360
Speaker 2: where she wants to be because she knows it won't

1320
01:12:10,400 --> 01:12:12,000
Speaker 2: be good for her mental health. And then there's other

1321
01:12:12,080 --> 01:12:15,040
Speaker 2: characters like, well, I know what I was supposed to do,

1322
01:12:15,280 --> 01:12:17,759
Speaker 2: but it was death and I chose to live instead.

1323
01:12:18,600 --> 01:12:21,679
Speaker 2: It's just it's again beautiful little moments in this movie

1324
01:12:21,680 --> 01:12:24,640
Speaker 2: that tie these stories together. And Laura, I think is

1325
01:12:24,680 --> 01:12:28,920
Speaker 2: a good bridge between Clarissa and Virginia Wolf because Laura, again,

1326
01:12:28,960 --> 01:12:31,160
Speaker 2: she's kind of struggling all day and she kind of

1327
01:12:31,600 --> 01:12:34,759
Speaker 2: you know, she's sleeps in and she's taking a nap,

1328
01:12:34,880 --> 01:12:37,360
Speaker 2: and she's kind of looking off into the distance like

1329
01:12:37,400 --> 01:12:40,320
Speaker 2: she's kind of not present in her own life, and

1330
01:12:40,360 --> 01:12:42,840
Speaker 2: when she tries to be, you can see her making

1331
01:12:42,920 --> 01:12:44,559
Speaker 2: such a great effort, and part of that is such

1332
01:12:44,880 --> 01:12:47,960
Speaker 2: just Julianne Moore is just an absolutely incredible actor that

1333
01:12:48,040 --> 01:12:50,400
Speaker 2: she can translate all of that with just the facial expressions.

1334
01:12:50,439 --> 01:12:54,320
Speaker 2: But she really is like trying so hard to be

1335
01:12:54,960 --> 01:12:58,240
Speaker 2: good at this task that she feels like she's been given,

1336
01:12:58,240 --> 01:13:00,639
Speaker 2: which is being a wife and mother. And at one

1337
01:13:00,680 --> 01:13:04,519
Speaker 2: point her neighbor comes over, Kitty, Kitty Barlow, who was

1338
01:13:04,560 --> 01:13:07,719
Speaker 2: played by Toni Collette in a small but powerful role.

1339
01:13:08,400 --> 01:13:12,400
Speaker 2: And Kitty is the opposite of Laura, like she's very

1340
01:13:12,439 --> 01:13:15,800
Speaker 2: social and she's good at everything. And they're having this

1341
01:13:15,840 --> 01:13:18,880
Speaker 2: conversation about how their husbands came back from World War Two,

1342
01:13:19,840 --> 01:13:23,040
Speaker 2: and Laura says, oh, well, I think, you know, they

1343
01:13:23,080 --> 01:13:25,320
Speaker 2: kind of deserve this, and Kitty's like, what are you

1344
01:13:25,360 --> 01:13:27,559
Speaker 2: talking about. She's like, well, us, like they deserved us,

1345
01:13:27,600 --> 01:13:31,120
Speaker 2: I guess, you know, and this life and these tracked

1346
01:13:31,160 --> 01:13:34,000
Speaker 2: houses in la and you know, this life that we have.

1347
01:13:34,560 --> 01:13:36,840
Speaker 2: And Kitty kind of has this conversation with her because

1348
01:13:36,880 --> 01:13:39,080
Speaker 2: she as it's revealed in the conversation that she can't

1349
01:13:39,120 --> 01:13:42,800
Speaker 2: have kids, and she has this upcoming hospitalization because she

1350
01:13:42,920 --> 01:13:44,800
Speaker 2: has a growth in her uterus.

1351
01:13:45,000 --> 01:13:45,320
Speaker 4: And.

1352
01:13:46,800 --> 01:13:49,320
Speaker 2: She says this line where she's She says you, I

1353
01:13:49,320 --> 01:13:51,720
Speaker 2: don't think you can call yourself a woman until you're

1354
01:13:51,760 --> 01:13:54,639
Speaker 2: a mother. And you can see how this lands in Laura,

1355
01:13:54,960 --> 01:13:57,200
Speaker 2: because Laura is like, well, I am a mother, and

1356
01:13:57,400 --> 01:13:59,599
Speaker 2: I don't feel like a woman, Like I don't feel

1357
01:13:59,680 --> 01:14:03,519
Speaker 2: like my full self. So she is really stuck in

1358
01:14:03,560 --> 01:14:07,400
Speaker 2: this again, this social expectation of her, these women that

1359
01:14:07,439 --> 01:14:10,200
Speaker 2: she's surrounded by who can do everything perfectly, and she

1360
01:14:10,320 --> 01:14:12,240
Speaker 2: feels like this is this is not my life, Like

1361
01:14:12,280 --> 01:14:15,000
Speaker 2: I don't want this life, and you know, Kitty kind

1362
01:14:15,000 --> 01:14:18,120
Speaker 2: of actively wants what Laura has. Laura's pregnant and she

1363
01:14:18,160 --> 01:14:21,280
Speaker 2: already has a kid, and there's this scene at the

1364
01:14:21,360 --> 01:14:23,200
Speaker 2: end of that scene, like, you know, Laura's kind of

1365
01:14:23,320 --> 01:14:28,080
Speaker 2: challenging this notion of just by living, she's challenging this

1366
01:14:28,200 --> 01:14:31,639
Speaker 2: notion of being a mother makes you a full person.

1367
01:14:32,200 --> 01:14:33,760
Speaker 2: And at the end of that scene, she's kind of

1368
01:14:33,880 --> 01:14:36,479
Speaker 2: Kitty's trying to keep it together, and Laura gets up

1369
01:14:36,520 --> 01:14:38,479
Speaker 2: and kind of holds her and caresses her and it

1370
01:14:38,520 --> 01:14:42,160
Speaker 2: turns into a kiss, and it's a kiss that Kitty

1371
01:14:42,600 --> 01:14:45,880
Speaker 2: very quickly dismisses, but it sends Laura into a bit

1372
01:14:45,920 --> 01:14:50,920
Speaker 2: of a spiral, and it's again, it's just such an

1373
01:14:50,960 --> 01:14:54,519
Speaker 2: elegant approach to looking at women in that timeframe who

1374
01:14:54,560 --> 01:15:00,280
Speaker 2: might have had any kind of repressed feelings. And to

1375
01:15:00,320 --> 01:15:04,000
Speaker 2: watch Kitty repressing her feelings about her life or hospitalization,

1376
01:15:04,479 --> 01:15:07,519
Speaker 2: her possible queerness and then brushing it off, and then

1377
01:15:07,560 --> 01:15:11,240
Speaker 2: watching Laura confront her repressed feelings and then not being

1378
01:15:11,280 --> 01:15:13,920
Speaker 2: able to brush them off was a really interesting move,

1379
01:15:14,280 --> 01:15:17,360
Speaker 2: and I think again it plays out beautifully. But Laura,

1380
01:15:18,080 --> 01:15:23,200
Speaker 2: in touching upon this connective threat of suicide, she decides

1381
01:15:23,360 --> 01:15:26,080
Speaker 2: to throw out the cake that didn't come out so great.

1382
01:15:26,400 --> 01:15:28,920
Speaker 2: She's going to remake the cake with her son, and

1383
01:15:29,800 --> 01:15:32,280
Speaker 2: she goes into the bathroom with her purse and loads

1384
01:15:32,280 --> 01:15:35,519
Speaker 2: it up with pills from the medicine cabinet. Later that day,

1385
01:15:35,560 --> 01:15:39,600
Speaker 2: she drops her son off at a babysitter and goes

1386
01:15:39,640 --> 01:15:44,720
Speaker 2: to a hotel where her plan is to die by suicide.

1387
01:15:45,720 --> 01:15:49,560
Speaker 2: And again there's a really beautiful scene where there's a

1388
01:15:49,640 --> 01:15:52,040
Speaker 2: visual representation of how she feels like she's drowning in

1389
01:15:52,080 --> 01:15:53,640
Speaker 2: her own life, where she's laying on the bed and

1390
01:15:53,760 --> 01:15:56,600
Speaker 2: kind of caressing her pregnant stomach and the room just

1391
01:15:56,640 --> 01:16:00,280
Speaker 2: fills up with water around her on the bed. Thing

1392
01:16:00,320 --> 01:16:03,080
Speaker 2: to note, and I guess this is a spoiler, but

1393
01:16:03,120 --> 01:16:06,160
Speaker 2: it's not an ultimate spoiler of the end of the film.

1394
01:16:06,680 --> 01:16:12,960
Speaker 2: But Ritchie her Son is actually Richard the poet. And

1395
01:16:13,240 --> 01:16:15,960
Speaker 2: from the first time I saw this movie, that was

1396
01:16:16,040 --> 01:16:18,840
Speaker 2: not a surprise to me, because the eagle eyed viewer

1397
01:16:18,880 --> 01:16:22,680
Speaker 2: will notice the bathroom that Richard is wearing in his

1398
01:16:22,720 --> 01:16:27,640
Speaker 2: apartment matches the bedroom set from the nineteen fifties that

1399
01:16:27,720 --> 01:16:32,960
Speaker 2: Richie has. It's like rockets and moons and stuff, and

1400
01:16:33,000 --> 01:16:35,360
Speaker 2: it's his bedspread, his curtains, and then he's wearing the

1401
01:16:35,360 --> 01:16:37,280
Speaker 2: bathroom and I was like, oh, And I remember saying

1402
01:16:37,280 --> 01:16:39,400
Speaker 2: that to a friend of mine when I saw the film, like, oh, well,

1403
01:16:39,400 --> 01:16:41,320
Speaker 2: I knew that was him because she's like, how did

1404
01:16:41,360 --> 01:16:45,320
Speaker 2: you notice that? Like I can't help it, like, look

1405
01:16:45,360 --> 01:16:47,160
Speaker 2: at everything. It's such a lush movie.

1406
01:16:47,920 --> 01:16:51,320
Speaker 1: Yeah, that is actually an incredible thing to notice.

1407
01:16:51,400 --> 01:16:52,320
Speaker 3: I did not notice that.

1408
01:16:52,600 --> 01:16:54,920
Speaker 1: The only thing that really when I was watching it

1409
01:16:54,960 --> 01:16:57,439
Speaker 1: again and the actually the couple times i've seen it,

1410
01:16:57,840 --> 01:17:01,679
Speaker 1: I'm always stunned by how they they did great casting

1411
01:17:01,720 --> 01:17:07,120
Speaker 1: because that kid kind of looks like yeah, and Harris essentially.

1412
01:17:06,960 --> 01:17:11,240
Speaker 2: He's got those eyes I know. And again, this film

1413
01:17:11,360 --> 01:17:14,880
Speaker 2: was a massive success, like Huge Earner came out around

1414
01:17:14,920 --> 01:17:17,880
Speaker 2: Christmas time in two thousand and one, sorry, two thousand

1415
01:17:17,920 --> 01:17:22,880
Speaker 2: and two, and it was just Nicole Kidman won her

1416
01:17:22,920 --> 01:17:26,920
Speaker 2: first Academy Award from this film, and I will say

1417
01:17:27,080 --> 01:17:29,639
Speaker 2: it has been addressed a lot. She wears a prosthetic

1418
01:17:29,720 --> 01:17:33,240
Speaker 2: nose in this film and still does not look anything

1419
01:17:33,280 --> 01:17:35,920
Speaker 2: like Virginia Wolf. But it's fine to me. It's fine.

1420
01:17:35,960 --> 01:17:39,160
Speaker 2: It's like, Okay, she plays the character so well that

1421
01:17:39,720 --> 01:17:42,560
Speaker 2: I was fine with it. It's not an offensive prosthetic.

1422
01:17:42,600 --> 01:17:45,200
Speaker 2: It just doesn't make her look like Virginia Wolf at all.

1423
01:17:46,080 --> 01:17:47,520
Speaker 3: And am I wrong.

1424
01:17:48,840 --> 01:17:52,360
Speaker 1: In that they just the makeup job on the nose

1425
01:17:52,439 --> 01:17:53,000
Speaker 1: isn't great.

1426
01:17:53,680 --> 01:17:56,680
Speaker 2: Yeah, there's not a lot of contouring, not a lot

1427
01:17:56,680 --> 01:17:57,200
Speaker 2: of blending.

1428
01:17:57,720 --> 01:18:01,880
Speaker 1: Yeah, it feels like I mean, and maybe it's because

1429
01:18:01,920 --> 01:18:04,360
Speaker 1: we watch everything in such great quality now, like in

1430
01:18:04,400 --> 01:18:07,360
Speaker 1: this hyper HD quality, and I'm like, yo, they could

1431
01:18:07,360 --> 01:18:11,080
Speaker 1: have like powdered that a bit better, Like like they could.

1432
01:18:10,840 --> 01:18:12,000
Speaker 3: Have matched her skin tone.

1433
01:18:12,080 --> 01:18:13,880
Speaker 1: Just go to Sephour and get like one of those

1434
01:18:15,040 --> 01:18:19,000
Speaker 1: skin match things, you know, to go to go to

1435
01:18:19,160 --> 01:18:22,120
Speaker 1: fency where there's lots and lots of different shades for

1436
01:18:22,360 --> 01:18:25,040
Speaker 1: different skin tones. I'm like, because that nose looks a

1437
01:18:25,080 --> 01:18:29,599
Speaker 1: lot grayer than the rest of the skin on her face.

1438
01:18:29,840 --> 01:18:32,000
Speaker 2: Oh completely. And you know me, I don't know shit

1439
01:18:32,040 --> 01:18:34,200
Speaker 2: about funk when it comes to makeup. And even I knew,

1440
01:18:34,240 --> 01:18:36,920
Speaker 2: I'm like, oh, you need a blending brush. Yeah, you

1441
01:18:36,960 --> 01:18:40,719
Speaker 2: need one of those those wedges. You need to fucking

1442
01:18:41,640 --> 01:18:42,800
Speaker 2: contour that ship up.

1443
01:18:42,920 --> 01:18:43,280
Speaker 1: I don't know.

1444
01:18:43,320 --> 01:18:45,560
Speaker 2: All I know about makeup is from watching Real housewives

1445
01:18:46,120 --> 01:18:48,840
Speaker 2: and watching them contour their fucking shit. Die Heaven.

1446
01:18:49,600 --> 01:18:54,600
Speaker 1: It's it wasn't distracting enough to where I didn't like

1447
01:18:54,720 --> 01:18:58,759
Speaker 1: the movie obviously, but there was moments of the film

1448
01:18:58,760 --> 01:19:02,400
Speaker 1: where I was like, Yo, that knows needs a little bit,

1449
01:19:03,360 --> 01:19:10,680
Speaker 1: a little bit of powder, a little bit more something.

1450
01:19:12,400 --> 01:19:15,320
Speaker 2: Keep doing it, keep going, and you think you need

1451
01:19:15,400 --> 01:19:19,040
Speaker 2: less keep going, just try another couple of couple of layers.

1452
01:19:19,560 --> 01:19:21,720
Speaker 2: But it's like, but yeah, that detail of the of

1453
01:19:21,760 --> 01:19:24,040
Speaker 2: the bathroom, and then you're kind of once you know

1454
01:19:24,120 --> 01:19:27,439
Speaker 2: that Richie is the little kid, you're understanding that his

1455
01:19:27,880 --> 01:19:33,360
Speaker 2: artistic life is fueled by such trauma of this suicidal mother,

1456
01:19:33,920 --> 01:19:37,840
Speaker 2: and you know the story does You do learn eventually

1457
01:19:37,920 --> 01:19:42,960
Speaker 2: the full story of Laura and Ritchie, but there's just

1458
01:19:43,000 --> 01:19:47,880
Speaker 2: such a delicate balance of how again, I think the

1459
01:19:47,920 --> 01:19:50,920
Speaker 2: movie does a great job of showing the delicate balance

1460
01:19:51,640 --> 01:19:57,840
Speaker 2: of legacy and inheritance, but like emotional inheritance, like what

1461
01:19:57,960 --> 01:20:01,559
Speaker 2: Richie inherited from his mother, and what Clarissa inherited from

1462
01:20:01,600 --> 01:20:06,200
Speaker 2: this brief but clearly effective relationship that she had with Richard,

1463
01:20:06,240 --> 01:20:09,400
Speaker 2: and what Virginia Wolf inherits from, you know, living in

1464
01:20:09,400 --> 01:20:12,639
Speaker 2: a society with her sister Vanessa, who was a great

1465
01:20:12,680 --> 01:20:15,920
Speaker 2: painter in her own right, where she's not able to

1466
01:20:16,000 --> 01:20:18,160
Speaker 2: kind of even talk to the people who are working

1467
01:20:18,160 --> 01:20:21,600
Speaker 2: in her house, and just there's just a real emotional

1468
01:20:21,680 --> 01:20:25,840
Speaker 2: tie along with the more obvious ties of how these

1469
01:20:25,840 --> 01:20:28,120
Speaker 2: stories fit together. There's a real emotional thread in this

1470
01:20:28,240 --> 01:20:32,599
Speaker 2: film that I just find to be very effective and

1471
01:20:32,680 --> 01:20:35,679
Speaker 2: it's a beautiful piece of storytelling. The soundtrack by Philip

1472
01:20:35,720 --> 01:20:38,320
Speaker 2: Glass is also something that a lot of critics were like,

1473
01:20:38,520 --> 01:20:41,519
Speaker 2: we fucking hate this. I fucking love it. I think

1474
01:20:41,560 --> 01:20:44,680
Speaker 2: it's eerie and it's creepy, and it's emotional, and it

1475
01:20:44,720 --> 01:20:46,760
Speaker 2: doesn't take away from it and enhances some of the

1476
01:20:46,800 --> 01:20:49,200
Speaker 2: scenes it doesn't take away, but it also ties it together.

1477
01:20:49,840 --> 01:20:51,919
Speaker 2: So I just I love the fucking soundtrack.

1478
01:20:51,960 --> 01:20:54,760
Speaker 1: But yeah, fuck them dudes. By the way, can I

1479
01:20:54,840 --> 01:20:58,759
Speaker 1: just say that, fuck all these these dudes.

1480
01:20:59,280 --> 01:21:02,360
Speaker 2: The reviews were so snarky for a film that again

1481
01:21:02,400 --> 01:21:06,240
Speaker 2: went on to be wildly entertaining and wildly popular.

1482
01:21:06,880 --> 01:21:11,120
Speaker 3: Dude, let me just tell you they hate our secret knowledge.

1483
01:21:11,160 --> 01:21:15,519
Speaker 1: Okay, this movie is like the VH one Divas Live

1484
01:21:16,800 --> 01:21:20,559
Speaker 1: of movies there is. It is literally like walla wall

1485
01:21:20,720 --> 01:21:24,799
Speaker 1: fucking awesome women. I mean, you didn't even talk about

1486
01:21:24,840 --> 01:21:27,960
Speaker 1: fucking Margot Martindale, who's in the movie for like five minutes.

1487
01:21:28,280 --> 01:21:32,080
Speaker 1: I love Alison Janny so much. Her like power lesbian

1488
01:21:33,360 --> 01:21:38,120
Speaker 1: character so good. I read Richardson, Miranda Richardson. I mean,

1489
01:21:38,160 --> 01:21:45,120
Speaker 1: even Claire Data Needs she's playing like a college daughter

1490
01:21:45,320 --> 01:21:48,120
Speaker 1: type character. She's not even in it a lot, but

1491
01:21:48,439 --> 01:21:51,800
Speaker 1: she Every woman in this movie is a fucking g Yeah.

1492
01:21:51,800 --> 01:21:54,960
Speaker 1: And any guy that has a problem with this movie

1493
01:21:55,040 --> 01:22:01,120
Speaker 1: and needs to review it negatively in that way doesn't

1494
01:22:01,160 --> 01:22:02,599
Speaker 1: get it, and they won't get it.

1495
01:22:03,120 --> 01:22:07,320
Speaker 2: No, this movie is to Lilith Fair what the critics

1496
01:22:07,360 --> 01:22:14,760
Speaker 2: are to Woodstock ninety nine. Oh shit, you've got Woodstock

1497
01:22:14,880 --> 01:22:17,920
Speaker 2: ninety nine trying to weigh in on goddamn Lila Fair.

1498
01:22:18,920 --> 01:22:22,040
Speaker 2: It ain't happening, and I think it's beautiful that this

1499
01:22:22,080 --> 01:22:27,800
Speaker 2: movie is able to look so specifically at the lives

1500
01:22:27,880 --> 01:22:31,599
Speaker 2: of women across the decades to see how far we've come,

1501
01:22:31,640 --> 01:22:35,000
Speaker 2: but also how much of the same shit still affects us,

1502
01:22:35,400 --> 01:22:39,160
Speaker 2: and especially in a caretaker role, which hit me harder

1503
01:22:39,200 --> 01:22:41,200
Speaker 2: this time than the other nine hundred times I've watched

1504
01:22:41,240 --> 01:22:45,720
Speaker 2: the movie, sure, because it's just the caretaking aspect of

1505
01:22:45,760 --> 01:22:49,880
Speaker 2: it and what it means, like, especially with Clarissa and Laura,

1506
01:22:50,560 --> 01:22:52,799
Speaker 2: like kind of breaking down under the weight of having

1507
01:22:52,840 --> 01:22:56,360
Speaker 2: to be so present for somebody else. I love it.

1508
01:22:56,400 --> 01:22:59,880
Speaker 2: The ending, Oh God, the ending kills me. They use

1509
01:23:00,120 --> 01:23:03,840
Speaker 2: Virginia Wolfe's actual letter, her last letter to Leonard in

1510
01:23:03,880 --> 01:23:08,719
Speaker 2: the film, but then Michael Cunningham has this beautiful beat

1511
01:23:08,760 --> 01:23:11,680
Speaker 2: at the end that wasn't president her real letter, but

1512
01:23:11,720 --> 01:23:15,479
Speaker 2: it's just so fucking it makes me cry. It's beautiful. Yeah,

1513
01:23:15,520 --> 01:23:19,000
Speaker 2: this movie is weirdly life affirming, very emotional, makes me cry,

1514
01:23:19,240 --> 01:23:21,519
Speaker 2: makes me want to live and write it all.

1515
01:23:21,560 --> 01:23:25,479
Speaker 1: Just like Richard says, well, thank you for making me

1516
01:23:25,800 --> 01:23:26,519
Speaker 1: watch it again.

1517
01:23:26,600 --> 01:23:28,320
Speaker 3: It's it's such a good movie.

1518
01:23:29,360 --> 01:23:33,640
Speaker 4: Things and you looked it up and you posted the

1519
01:23:33,760 --> 01:23:39,760
Speaker 4: funniest fucking description of this movie from Wikipedia.

1520
01:23:41,280 --> 01:23:44,800
Speaker 1: Yeah, I pose it's so funny because you know, it

1521
01:23:44,920 --> 01:23:47,839
Speaker 1: just was like Google and stuff when I was watching

1522
01:23:47,840 --> 01:23:52,280
Speaker 1: the film, and the way that it's just this movie

1523
01:23:52,360 --> 01:23:57,559
Speaker 1: is described on Wikipedia is so fucking funny. It says

1524
01:23:57,680 --> 01:24:00,280
Speaker 1: this is the opening sentence.

1525
01:24:00,640 --> 01:24:01,960
Speaker 3: For The Hours.

1526
01:24:02,000 --> 01:24:06,240
Speaker 1: On Wikipedia, it says The Hours is a two thousand

1527
01:24:06,280 --> 01:24:15,879
Speaker 1: and two British American period semi fictionalized biographical psychological drama

1528
01:24:16,120 --> 01:24:19,679
Speaker 1: anthology filmhead.

1529
01:24:22,400 --> 01:24:26,000
Speaker 3: I was like, that shit is doing the most.

1530
01:24:26,800 --> 01:24:29,960
Speaker 2: And it's inviting. It's saying a lot, but it is

1531
01:24:30,000 --> 01:24:34,479
Speaker 2: inviting no one into the party. I do not know

1532
01:24:34,520 --> 01:24:37,040
Speaker 2: how to watch this movie. If that's the description I'm reading.

1533
01:24:38,200 --> 01:24:40,320
Speaker 3: I was like, wait, describe it.

1534
01:24:40,400 --> 01:24:41,400
Speaker 2: That's what it is.

1535
01:24:41,400 --> 01:24:43,559
Speaker 1: That it is exactly what that is.

1536
01:24:43,880 --> 01:24:46,080
Speaker 2: Look, you're not wrong, but also what are you saying?

1537
01:24:50,360 --> 01:24:53,679
Speaker 2: Can't we break this down into a more simplistic version.

1538
01:24:54,439 --> 01:24:57,080
Speaker 2: But I'm glad that you watched it again, and I

1539
01:24:57,120 --> 01:24:59,599
Speaker 2: would recommend it for a comfort rewatch, maybe for some

1540
01:24:59,640 --> 01:25:03,280
Speaker 2: of y'all. If you are as bleak minded as me.

1541
01:25:04,280 --> 01:25:08,479
Speaker 1: Oh my god, I expect nothing else from you for

1542
01:25:08,520 --> 01:25:13,439
Speaker 1: this to be a comfort movie. Come on, it's long.

1543
01:25:13,640 --> 01:25:16,240
Speaker 2: It's a long bleak movie.

1544
01:25:16,640 --> 01:25:19,040
Speaker 3: Yeah, I love it. I love it.

1545
01:25:20,240 --> 01:25:22,799
Speaker 2: Well, next week we're back with another theme.

1546
01:25:23,600 --> 01:25:24,320
Speaker 1: Oh my god.

1547
01:25:25,160 --> 01:25:28,000
Speaker 2: Next week's theme is all you. You gotta tell them

1548
01:25:29,080 --> 01:25:29,840
Speaker 2: what the movies are.

1549
01:25:30,320 --> 01:25:34,320
Speaker 1: Yeah. Well, before I do that, I just want to

1550
01:25:34,439 --> 01:25:37,840
Speaker 1: let everybody know if you want to email us, we

1551
01:25:37,880 --> 01:25:41,240
Speaker 1: are at esaug pot at gmail dot com. Send us

1552
01:25:41,320 --> 01:25:44,800
Speaker 1: question for bonus episodes, but we also have the peel box.

1553
01:25:44,840 --> 01:25:47,000
Speaker 1: If you want to send us hand with letters, you

1554
01:25:47,000 --> 01:25:51,600
Speaker 1: can find the address on our link tree on Instagram.

1555
01:25:52,600 --> 01:25:55,120
Speaker 2: Yes, and don't forget. You can now leave us a

1556
01:25:55,240 --> 01:25:58,080
Speaker 2: voicemail to play on the show. If you don't want

1557
01:25:58,120 --> 01:26:01,120
Speaker 2: to send us an email or a letter, all you

1558
01:26:01,160 --> 01:26:02,760
Speaker 2: have to do is record a voice memo on your

1559
01:26:02,800 --> 01:26:05,559
Speaker 2: phone and email it to I Saw what you Did

1560
01:26:05,920 --> 01:26:10,000
Speaker 2: pod at Gmail. Please make it sixty seconds or less

1561
01:26:10,040 --> 01:26:12,360
Speaker 2: and please record it in a quiet space.

1562
01:26:12,760 --> 01:26:17,200
Speaker 1: One hundred percent. Also find us on socials like I

1563
01:26:17,200 --> 01:26:20,559
Speaker 1: said I Saw a pod on Instagram and Twitter. We

1564
01:26:20,600 --> 01:26:23,200
Speaker 1: also have merch Go to the I Saw what You

1565
01:26:23,200 --> 01:26:25,160
Speaker 1: Did section of the Exactly Right Shop to find it.

1566
01:26:26,479 --> 01:26:28,439
Speaker 2: And don't forget. Our bonus episodes are coming out all

1567
01:26:28,479 --> 01:26:30,880
Speaker 2: the time. We've got new bonus episodes on the third

1568
01:26:30,960 --> 01:26:34,400
Speaker 2: Thursday of every month, and our old bonus episodes are

1569
01:26:34,400 --> 01:26:37,559
Speaker 2: trickling out onto the main feed every couple of weeks

1570
01:26:37,600 --> 01:26:43,120
Speaker 2: on Wednesdays. That is right, all right, hit them with it.

1571
01:26:43,200 --> 01:26:45,040
Speaker 2: Hit them with these films for next week.

1572
01:26:46,120 --> 01:26:49,639
Speaker 1: Okay. The films you need to watch for next week's

1573
01:26:49,680 --> 01:26:54,280
Speaker 1: episode are Wild at Heart from nineteen ninety and To

1574
01:26:54,560 --> 01:26:58,240
Speaker 1: Live and Die in La from nineteen eighty six.

1575
01:27:00,080 --> 01:27:04,280
Speaker 2: Ah, dude, I'm so psyched to watch these.

1576
01:27:04,960 --> 01:27:08,160
Speaker 1: Probably the polar opposite of The Hours in terms of

1577
01:27:11,000 --> 01:27:15,160
Speaker 1: just for all those men that hate The Hours, you're

1578
01:27:15,240 --> 01:27:17,040
Speaker 1: really gonna love next week.

1579
01:27:17,320 --> 01:27:20,120
Speaker 2: We got one for you next week. Critics of The Hours,

1580
01:27:22,439 --> 01:27:24,240
Speaker 2: oh show well, Daniel, how much fun.

1581
01:27:24,920 --> 01:27:27,160
Speaker 3: That's always a fucking pleasure to join this podcast with you.

1582
01:27:27,880 --> 01:27:30,160
Speaker 2: Thanks for giving me, Thanks for giving me space. You

1583
01:27:30,160 --> 01:27:32,519
Speaker 2: ought to take a shit to talk about The Hours.

1584
01:27:34,400 --> 01:27:36,920
Speaker 2: Just a consummate professional in that way and a dear friend.

1585
01:27:37,560 --> 01:27:40,559
Speaker 1: Dude, I love you, of course I love you too.

1586
01:27:40,920 --> 01:27:41,639
Speaker 3: See you next time.

1587
01:27:48,760 --> 01:27:51,839
Speaker 2: This has been an exactly right production produced by Casey O'Brien,

1588
01:27:52,120 --> 01:27:55,680
Speaker 2: Episode mixing and theme music by Tom Bryfogel, artwork by

1589
01:27:55,720 --> 01:27:59,200
Speaker 2: Garrett Ross. Our executive producers are Georgia Hart Start caring,

1590
01:27:59,240 --> 01:28:01,720
Speaker 2: til Gareff, and Danny Kramer. You can follow us on

1591
01:28:01,800 --> 01:28:04,760
Speaker 2: Instagram and Twitter at I Saw Pod, and you can

1592
01:28:04,800 --> 01:28:07,080
Speaker 2: email us at I Saw what you did Pod at

1593
01:28:07,120 --> 01:28:07,519
Speaker 2: gmail