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Wayne's World with Maureen Bharoocha · The Bechdel Cast

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Speaker 1: On the bell Cast, the questions asked if movies have wenuum,
0:05
Speaker 1: are all their discussions just boyfriends and husbands, or do
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Speaker 1: they have individualism? The patriarchy? Zef in best start changing
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Speaker 1: it with the Bedel Cast, Party on Jamie, Party on Caitlin.
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Speaker 1: It's Bechdel Cast, Becktel Cast. Movie time Samine is like
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Speaker 1: I wasn't ready and I am so happy. Well the
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Speaker 1: first time I felt good in like days. Oh yes,
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Speaker 1: So for the listeners at home, we are recording this
0:38
Speaker 1: on the date is Marchel coronavirus. It already sounds really
0:43
Speaker 1: dystopian when you say the date is the time capsule. Yeah,
0:48
Speaker 1: if you find this at the beginning of at the
0:51
Speaker 1: beginning of whatever the millionth Avengers movie is, where it's
0:54
Speaker 1: like Robert Downey Jr's in space, He's like day three,
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Speaker 1: it's a gloomy day. It's a gloomy day. But that
1:02
Speaker 1: put me in a great mood. Thank you, thank you,
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Speaker 1: You're welcome. We're talking about Wayne's world today, Yes, we are,
1:08
Speaker 1: so what we're doing on this here podcast. We talked
1:11
Speaker 1: about the representation of women in movies. We use the
1:14
Speaker 1: Bechtel test as a jumping off point to initiate a
1:17
Speaker 1: larger conversation. And do you know what that is? Um?
1:20
Speaker 1: Not a negative, Jamie told me, Actually, Caitlin. The Bechtel
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Speaker 1: test is a media metric invented by cartoonist Alson Bechdels
1:30
Speaker 1: some Nights, called the Bechtel Wallace test, that requires that
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Speaker 1: a piece of media have an interaction between two female
1:37
Speaker 1: identified characters with names who talk about something other than
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Speaker 1: a man for more than two lines of dialogue. Wow,
1:46
Speaker 1: you don't say, Jamie, Yeah, I do say. Okay, Well
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Speaker 1: that passed the Bechtel tests. Well that's true. That's nice. Yeah,
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Speaker 1: that's nice. Us talking about coronavirus passes. The virus is genderless. Um. Yeah.
2:02
Speaker 1: So yes, today's movie is Wayn's World. We have a
2:06
Speaker 1: guest with us. She is terrific. She was a segment
2:08
Speaker 1: director on Jimmy Kimmel Live. She's a filmmaker and the
2:12
Speaker 1: director of the upcoming movie Golden Arm, which is a
2:16
Speaker 1: female driven comedy that shows women in the competitive world
2:21
Speaker 1: of arm wrestling. So much fun. It's Maureen Baruca for
2:27
Speaker 1: having me. I'm excited for bringing us Wayne's World. Oh
2:29
Speaker 1: my god, it's one of my all time favorite So
2:32
Speaker 1: tell us your your relationship, your history with this movie. Um,
2:35
Speaker 1: I feel like this movie is a very seminal movie
2:38
Speaker 1: for me. Um. I I think I came out when
2:41
Speaker 1: I was in junior high school, so I think it
2:43
Speaker 1: was a time where he's just like being goofy and
2:45
Speaker 1: weird and um It's definitely one that I've probably seen
2:49
Speaker 1: the most, and it was interesting to rewatch it. We
2:52
Speaker 1: watched it last night. Just be like, Okay, in the
2:54
Speaker 1: in the lens of the Bechdel Test, we'll fight for it.
2:59
Speaker 1: But it's like, oh, it does, and it has some issues,
3:02
Speaker 1: but I think it holds pretty well. I was impressed.
3:07
Speaker 1: I thought, you know, there's definitely elements and in some
3:10
Speaker 1: cases entire characters where you're like but but like good.
3:15
Speaker 1: I don't know. I think it addresses like things that
3:18
Speaker 1: you're like. It kind of addresses those within the movie
3:20
Speaker 1: at some points. You know. It is very meta, Yes,
3:24
Speaker 1: and it taught me a lot about a lot of
3:25
Speaker 1: things about like who are cool girls who are not
3:29
Speaker 1: like about movies and making television. Lots of references and
3:34
Speaker 1: Wayne's world, who has even more I know I haven't seen.
3:38
Speaker 1: There's a Dreassic Park reference. There's a Thelman Louise Reference,
3:41
Speaker 1: the graduates, the graduate, It's got it all, Jamie. What's
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Speaker 1: your relationship in history? I don't have much of a
3:50
Speaker 1: history with it. I mean, this movie came out before
3:53
Speaker 1: I was born, so I and I didn't I don't
3:56
Speaker 1: know my my my dad is a big fan of
3:58
Speaker 1: this movie, and I thought everything my dad liked was stupid.
4:02
Speaker 1: So I later learned that that was not true and
4:06
Speaker 1: that this movie. I really liked this movie. I like
4:10
Speaker 1: Mike Myers and Dana Carvey individually quite a bit. I mean,
4:14
Speaker 1: my favorite bad, horrible, horrible movie. As The Master of
4:17
Speaker 1: Disguise started, Danna Carvey, Um, I love you know, I
4:21
Speaker 1: love Shrek. Here's my review of I love Shrek. No,
4:27
Speaker 1: but I this was my first time watching this movie,
4:30
Speaker 1: and I really enjoyed it. I laughed a lot. I
4:33
Speaker 1: like it. It makes me laugh every time. It's like,
4:35
Speaker 1: I feel like, it's so funny. It's it's such a
4:38
Speaker 1: great character movie. I feel like everything they do in
4:41
Speaker 1: characters with Garth. I love Garth so much. And I
4:46
Speaker 1: have to say, too, it's the original, that's what she said.
4:49
Speaker 1: I feel like, Yes, I mean, I feel like when
4:51
Speaker 1: everyone came out and saying that in the office. I'm like,
4:53
Speaker 1: but it's from Wayne's World, you don't And I'm not
4:55
Speaker 1: sure that whoever wrote that on the office was well
4:57
Speaker 1: aware and they're like, no, no, no, that was my world.
5:00
Speaker 1: I really liked it. I had so much fun watching it.
5:03
Speaker 1: I think that, like you know, on issues of gender,
5:06
Speaker 1: it doesn't do uh perfect, but on issues of class,
5:10
Speaker 1: I think it does really well. And I have a
5:14
Speaker 1: lot to say about the perfect class issues addressed in
5:20
Speaker 1: Wayne's or what's your history with I definitely grew up
5:24
Speaker 1: with this movie. I we had like the two VHS
5:28
Speaker 1: tapes of Wayne's World in Wayn's Word two. Um, I
5:31
Speaker 1: saw you can get it. You can get it as
5:34
Speaker 1: a set, and then I bought the set also on
5:36
Speaker 1: DVD later. Um uh yeah. These were a huge staple
5:42
Speaker 1: in the Durante household, I even as recently as two
5:46
Speaker 1: years ago. So I do this fun thing sometimes where
5:48
Speaker 1: I dress up as my own couple's costume because I
5:52
Speaker 1: never have a partner. Very cool, and so I will
5:56
Speaker 1: combine what would normally be two people wearing two different streams.
6:00
Speaker 1: It's always like a Wayne and Garth, and I will
6:03
Speaker 1: combine them into one. And the names that I wear
6:05
Speaker 1: the whole thing of So I've done that for Marty
6:07
Speaker 1: McFly and his girlfriend Jennifer. Um, you have to say
6:10
Speaker 1: his girlfriend otherwise she's not against Jennifer exactly, they're like
6:15
Speaker 1: who uh. And I also did it for Wayne and Garth,
6:18
Speaker 1: so I have a photo that I will share on
6:21
Speaker 1: the Instagram and stuff. Class if they're classic duo, I
6:24
Speaker 1: mean they're like the mode like iconic duo. Yes, And
6:27
Speaker 1: it's like I knew who Wayne and Garth were even
6:31
Speaker 1: though I've never seen the movie. Like it's just like
6:33
Speaker 1: in the DNA of the culture on the Zeitgeist Zyche,
6:40
Speaker 1: the Daily zite Geist. Maybe when I was in junior
6:43
Speaker 1: high school again, this movie was like me and my
6:46
Speaker 1: friend group like loved it and it was all girls,
6:48
Speaker 1: and I think it was like before I really knew
6:50
Speaker 1: what like schwing meant. So we went still don't really
6:53
Speaker 1: know what it means, poner. So in seventh grade I
6:58
Speaker 1: went to Cavol School and I just remember, like me
7:00
Speaker 1: my friends with we thought it was like something exciting,
7:02
Speaker 1: like you did a good job, so in class we
7:05
Speaker 1: would stand up you got an eight swing? Like the girls,
7:08
Speaker 1: I think all the boys knew what it was so
7:10
Speaker 1: they never did it. I think they thought it was embarrassing.
7:12
Speaker 1: But me and my friends are just like schwing schwing schwing,
7:15
Speaker 1: like in class standing up and it's like now, I'm
7:18
Speaker 1: like what, Just like all the girls in my class
7:21
Speaker 1: were like showing we did not realize that it was
7:24
Speaker 1: you're having a boner. And this movie is directed by
7:27
Speaker 1: a woman, which I feel like we'll talk about. But
7:30
Speaker 1: it also I think that like the Last of Years movie, Yeah,
7:34
Speaker 1: who's like an icon in her own right. Um, this
7:37
Speaker 1: is like the highest grossing SNL sketch originating movie of
7:42
Speaker 1: all time. Like, it's got a lot of it's got
7:45
Speaker 1: a lot goo and it helped propel Bohemian Rhapsody to
7:49
Speaker 1: the number two song of which is a wild because
7:53
Speaker 1: it came out in the seventies and everybody has done
7:55
Speaker 1: that with their friends. Like I mean, I like that
7:57
Speaker 1: song comes on and you do this scene in this piece. Yeah,
8:00
Speaker 1: I remember doing that in middle school and my cousin
8:02
Speaker 1: and not fully understanding why we were doing it, but
8:04
Speaker 1: she had just seen Wayne. Let's do the recap and
8:10
Speaker 1: we'll go from there. We meet Wayne Campbell. That's Mike
8:15
Speaker 1: Myers and his best friend Garth Algar. That's Dana Carvey.
8:20
Speaker 1: There are these two, you know, grungy rock and roll
8:23
Speaker 1: dudes who have a local cable access show called Wayne's
8:28
Speaker 1: World Heard of It, which they tape out of Wayne's
8:32
Speaker 1: basement in Aurora, Illinois. I always like think of Mike
8:36
Speaker 1: Myers is so deeply Canadian that I assumed that took
8:39
Speaker 1: lace in Canada. Oh yeah, no, Illinois. Baby makes you think. Um.
8:43
Speaker 1: This guy Benjamin rob Blows character is a TV producer
8:47
Speaker 1: who sees the show and he's like, hey, I think
8:50
Speaker 1: I can sell this because he's got I guess, like
8:52
Speaker 1: a client Noah vander Hoff, who owns a chain of
8:56
Speaker 1: arcades and is looking to sponsor a show. Then Wayne
9:00
Speaker 1: and Garth and their friends Slash Crew go to this
9:05
Speaker 1: rock club and this band is playing. Who's lead singer
9:09
Speaker 1: is Cassandra and Wayne sees her and he goes, let
9:13
Speaker 1: me see if I get this right. She's a babe
9:15
Speaker 1: swing would be so goofy um. And he chats with
9:23
Speaker 1: her for a minute and he's like, I'm in love
9:25
Speaker 1: with this woman, and then she invites him to another
9:28
Speaker 1: gig of hers. Meanwhile, Benjamin and this producer guy Russell,
9:34
Speaker 1: are trying to pitch Wayne's World to Noah vander Hoff,
9:37
Speaker 1: even though they don't own Wayne's World. So they go
9:40
Speaker 1: to Wayne and Garth and ben is like, here, signed
9:42
Speaker 1: these contracts and we'll give you a bunch of money,
9:44
Speaker 1: and like Garth thinks it's weird, but like, this is
9:47
Speaker 1: Wayne's dream, so he goes along with it. They signed
9:51
Speaker 1: the contracts. Then Wayne goes to Cassandra's gig uh and
9:56
Speaker 1: they chat afterwards and shinnicky. She likes him, he likes her.
10:01
Speaker 1: They are vibing. They start dating. Then Wayne and Garth
10:06
Speaker 1: start doing rehearsals for the like sponsored network version. This
10:10
Speaker 1: is like Wayne's World. It's such good satire too, of
10:14
Speaker 1: how because it's like you know that the set that
10:17
Speaker 1: they're in is probably what they were doing it as
10:19
Speaker 1: al and then they just like pull out and stupid
10:23
Speaker 1: and like this is the whole thing, but yeah, it's
10:25
Speaker 1: right right because there it's the set that looks like
10:28
Speaker 1: Wayne's basement, but that's not Wayne's basement. And Wayne and
10:33
Speaker 1: especially Garth feel uneasy about Benjamin because he's like this
10:37
Speaker 1: slimy money boy, Um, you're coming, slimy money boy. Is
10:44
Speaker 1: that a boy who gets bitten by radioactive Sney gets
10:50
Speaker 1: written by radioactive money. That's what moneyball is about, right
10:54
Speaker 1: YEA yeah, ball that gets bitten by radioactive money. Um. So,
10:58
Speaker 1: then Wayne and Garth go to an Alice Cooper concert
11:02
Speaker 1: in Milwaukee, and there they bump into a security guard
11:06
Speaker 1: played by Chris Farley, who, by the way, plays a
11:09
Speaker 1: different character in Wayne's World two. Really I think it's
11:12
Speaker 1: a different character. It's kind of funny, I believe, so
11:15
Speaker 1: um who tells them about Frank Sharp, this record producer
11:20
Speaker 1: who is looking for new acts to sign, and Chris
11:23
Speaker 1: Farley lays out his whole travel schedule and he's like, yeah,
11:26
Speaker 1: he's going to be coming through Chicago and this day.
11:29
Speaker 1: And then the joke, you know, the meta joke is
11:31
Speaker 1: made about how you know for security guard, he had
11:35
Speaker 1: an awful lot of information and we're like meta humor, woo,
11:39
Speaker 1: we love to see it. Then Wayne and Garth go
11:42
Speaker 1: back to Chicago for their first taped show, but Wayne
11:47
Speaker 1: humiliates Noah vander Hoff on air, so Benjamin fires him.
11:51
Speaker 1: It's very funny and punk rock Sphincter Boys, which is
11:56
Speaker 1: a boy bitten by a radioactive sphincter, and then Wayne
12:02
Speaker 1: is like, well, I'm taking my show with me, and
12:04
Speaker 1: Benjamin's like, why own the show? So Wayne storms out
12:08
Speaker 1: and he leaves Garth there all by himself, which upsets
12:12
Speaker 1: Garth and they get in this big fight. Cassandra then
12:16
Speaker 1: breaks up with Wayne because he thinks that she might
12:19
Speaker 1: be having sex with Benjamin. Talk about and this is
12:23
Speaker 1: what we call the low point of the movie. Waite
12:26
Speaker 1: what it's almost like she has two degrees in screenwriting. Well,
12:30
Speaker 1: I would never mention my master's in screenwriting from Boston University.
12:34
Speaker 1: I think that Alfred Milena would have been a great
12:36
Speaker 1: money boy in this movie. I like when he plays
12:40
Speaker 1: the money boy. I like it. Then Wayne decides to
12:45
Speaker 1: win Cassandra back, and he's going to do that by
12:48
Speaker 1: trying to get that Frank Sharp guy to listen to
12:52
Speaker 1: Cassandra play music in the hopes that he will want
12:54
Speaker 1: to sign her. And using the info that Chris Farley
12:58
Speaker 1: gave them, they staged this whole thing where Wayne goes
13:02
Speaker 1: to Chicago to get Cassandra, who's in the middle of
13:04
Speaker 1: shooting a music video with Benjamin. He brings her back
13:08
Speaker 1: to his house. They do the Wayne's World show from
13:11
Speaker 1: his basement just like old times and then like Garth
13:14
Speaker 1: uses his like tech skills to he's a hacker. He's
13:17
Speaker 1: a hacker. Yes, he like triangulates some satellites or something
13:25
Speaker 1: so that Cassandra playing on the show will be broadcast
13:28
Speaker 1: on the TV. In Frank Sharp's limo, Frank sees it,
13:34
Speaker 1: he goes to Wayne's house. There are various alternate endings,
13:39
Speaker 1: but the real ending is that he signs Cassandra and
13:43
Speaker 1: basically everyone lives happily ever after. Okay, so that's the story. Break.
13:51
Speaker 1: We'll come right back, party, young, We're back. Where should
14:01
Speaker 1: we start? Okay? I want to I guess maybe get
14:05
Speaker 1: the character I think with maybe the most built in misogyny, Yes,
14:11
Speaker 1: I mean the psychohot. Yeah yeah, the one that they
14:15
Speaker 1: cannot stop. I mean sucks on many levels. Let's talk
14:19
Speaker 1: about Stacy really, question, it's it's frustrating in a movie
14:23
Speaker 1: that does like way better than many movies of this
14:27
Speaker 1: you know, year and age have any right to do.
14:30
Speaker 1: And in a movie that's directed by a woman has
14:32
Speaker 1: at least one female writer you know in the mix. Um,
14:36
Speaker 1: the fact that Stacy is a character that exists sucks.
14:39
Speaker 1: So Stacy, of course, being the ex girlfriend of Wayne.
14:43
Speaker 1: All we know about her is that she's Wayne's ex
14:46
Speaker 1: girlfriend and that she wants him back and she'll do anything,
14:50
Speaker 1: and jokes are made about her mental state. Jokes are
14:54
Speaker 1: made at her physical expense a lot. She's like hit
14:57
Speaker 1: by a car. She's got like all. She rides her
14:59
Speaker 1: bike into to a parked car. It's even worse, and
15:02
Speaker 1: she already has a broken broken nuck from falling through
15:05
Speaker 1: like a glass ceiling. I have like mixed feelings about
15:09
Speaker 1: her because I mean, I still laugh at those moments,
15:12
Speaker 1: but it is like she's very much like pigeonholed into
15:17
Speaker 1: the like and I'm trying not to say the word
15:20
Speaker 1: crazy anymore, but she's like the crazy ex girlfriends stereotype.
15:24
Speaker 1: It's kind of hard because yeah, they they say it
15:27
Speaker 1: so much that it's impossible to avoid, Like that's what
15:30
Speaker 1: they keep saying. Well, he asks her, are you mental?
15:32
Speaker 1: I mean he asked a few people that, but it
15:34
Speaker 1: has a different connotation with her, right And it's like,
15:37
Speaker 1: I mean just that, I mean, and we try, we've
15:39
Speaker 1: been trying to. I mean, it's an ongoing process, but
15:42
Speaker 1: we're trying to be aware of it as well of
15:44
Speaker 1: just like the common slang that is ultimately slurs against
15:49
Speaker 1: people with mental illness. Um is. I mean, I don't
15:53
Speaker 1: necessarily hold that against this movie in particular because it
15:58
Speaker 1: was such a cultural thing and still is it is
16:00
Speaker 1: like something to be aware of that. Like one of
16:02
Speaker 1: his catchphrases is that like, yeah there are mental um
16:08
Speaker 1: for sure. Yes, so there's that to consider. Um. But yeah, overall,
16:13
Speaker 1: just her character is framed as like, I mean, to
16:16
Speaker 1: bring back one of our catchphrases, bitchy obstacle still to
16:21
Speaker 1: make that T shirt you know now that we're in quarantine.
16:23
Speaker 1: I mean she literally physically comes in his when he's
16:27
Speaker 1: like yeah, when he's like he's moving towards to a career,
16:29
Speaker 1: she like literally just like pops into fight and she's
16:31
Speaker 1: like Wayne, Wayne, and then like later, Um, there's like
16:35
Speaker 1: the fake ending or the alternate ending where like she's
16:37
Speaker 1: like and I'm pregnant, and then she's I'm pregnant, which
16:40
Speaker 1: is why I've been so moody. You're like, oh, there's
16:45
Speaker 1: also I mean, and I laugh at this scene too,
16:47
Speaker 1: but when she's like, here's a gun, rack, I got you, Like,
16:50
Speaker 1: here's a gift a gun. Many guns necessitate an entire rack. Okay,
16:56
Speaker 1: that's a great job. It's like me and my friends
16:59
Speaker 1: quoted that all the time. When when misogyny is well written,
17:03
Speaker 1: it's like what the fuck? Like I think again, this
17:07
Speaker 1: is like because I saw it like such an impressible age.
17:09
Speaker 1: I think it was like, oh, yeah, she's somebody that
17:12
Speaker 1: you don't want to be. You don't want to be
17:13
Speaker 1: that girl that's like so clingy, desperate, jealous, unstable. Right,
17:18
Speaker 1: stop over it, like we broke up two months ago,
17:22
Speaker 1: like I already lost you, like all that stuff where
17:24
Speaker 1: it's like, oh, she's just not listening, it's right, which
17:27
Speaker 1: is I mean? And then then there's the other side
17:29
Speaker 1: of it of like we see stalker behaviors in rom coms,
17:33
Speaker 1: especially all the time, and when a male character does it,
17:37
Speaker 1: it's almost glorified in many cases, and it's made to
17:39
Speaker 1: seem like, Wow, he's so committed, he's not going to
17:42
Speaker 1: take no for an answer because he loves her. But
17:44
Speaker 1: then when we see Stacy exhibiting the same behaviors, it's
17:48
Speaker 1: with like the soundtrack sting from the shower scene, like
17:53
Speaker 1: and really they I mean, the fact that they call
17:55
Speaker 1: her a psycho hose beast is like what does that
17:57
Speaker 1: even mean I don't know, like Hose like did like
18:01
Speaker 1: what is like just like a crazy monstery person, Like
18:06
Speaker 1: she is made out to be kind of this like
18:08
Speaker 1: monster who we're supposed to be laughing at. But I
18:10
Speaker 1: think that if you take away a lot of if
18:13
Speaker 1: you tone down the performance a little, because it seems
18:15
Speaker 1: like that actor was asked really play it up. Yeah,
18:20
Speaker 1: like and it's like she deserves better than yes. I mean,
18:24
Speaker 1: what's interesting about it because when I was watching it,
18:26
Speaker 1: you know, and the ones of this, I was like,
18:27
Speaker 1: but then there's a scene where like they address it, right,
18:31
Speaker 1: he like Wayne addresses it with and he's speaking in
18:35
Speaker 1: cantonese and there's subtitles, but he's right, there's a lot unpack.
18:40
Speaker 1: Forgot that part. But he's like, I'm probably partly at
18:42
Speaker 1: fault for her behavior. And it's like, okay, well you're
18:45
Speaker 1: acknowledging it, but you're still the movie still frames her
18:48
Speaker 1: as being this like unstable. I almost found that more
18:51
Speaker 1: friend Like it was an interesting choice to address it,
18:54
Speaker 1: but then to address it and then continue to treat
18:57
Speaker 1: the character the exact same way as like, it is
19:00
Speaker 1: interesting because he started to address it and then Tia
19:02
Speaker 1: Career's character was like no, she just like the woman
19:05
Speaker 1: was kind of like you should have been more firm.
19:08
Speaker 1: She was not an ally to other women. Again, I
19:12
Speaker 1: love the story so much, but I was just like, oh,
19:13
Speaker 1: I wish that this. Looking back on the ones, you're like, oh, this,
19:17
Speaker 1: they could have handled it even still be funny, but
19:20
Speaker 1: approach differently for sure. I mean it's like even if
19:23
Speaker 1: like like if Cassandra had agreed and been like, well,
19:26
Speaker 1: you know sometimes, like it wouldn't have even really changed
19:28
Speaker 1: the scene, right, And if she was like, don't do
19:30
Speaker 1: that to me, don't like mistreat me if we're going
19:33
Speaker 1: to start dating hoping something from this experience. I totally
19:38
Speaker 1: forgot that he even addressed that because it was in cantony.
19:41
Speaker 1: I mean it's but yeah, Stacy is treated very poorly
19:44
Speaker 1: by the story and editors and all the other guys too,
19:48
Speaker 1: Like when she sees Garth, Garths like, uh yeah, he's
19:51
Speaker 1: like creeped out by her, and that like she has
19:54
Speaker 1: no bearing on the story, so she doesn't even need
19:56
Speaker 1: to be there. You could easily remove her character and
19:58
Speaker 1: nothing would change narratively. I feel like almost my theory
20:03
Speaker 1: because I don't and also I like if Stacy's ever
20:05
Speaker 1: referenced in the sketches, I don't know. She was never.
20:09
Speaker 1: I think she's a construct of the movie because these
20:12
Speaker 1: this movie, these movies are based on SNL sketches, right,
20:16
Speaker 1: I've seen some of them, but I almost like maybe
20:18
Speaker 1: they referenced other people. I was guessing they didn't. But
20:21
Speaker 1: um the fact that, like, I feel like it's almost
20:24
Speaker 1: like she was written to make Wayne seem cooler or
20:28
Speaker 1: like more desirable. It's like a way of the movie
20:32
Speaker 1: has of telling you like, well, you know, they're kind
20:34
Speaker 1: of du phasis, but they're really desirable. Do physicists, because
20:37
Speaker 1: look at this girl who's throwing herself at Wayne repeatedly.
20:42
Speaker 1: I feel like it's almost like a way for the
20:44
Speaker 1: movie too, Yeah, just say that they're cool by like
20:48
Speaker 1: creating a character who is like not being treated all right,
20:52
Speaker 1: They're like, Oh, even though this guy is like, you know,
20:54
Speaker 1: a quote unquote loser who lives in his parents basement,
20:58
Speaker 1: like he feels like he has fucked, don't worry. Disneyland
21:03
Speaker 1: just closed. I literally went to Disneyland on the last
21:05
Speaker 1: day of Disneyland. I went, don't don't know that this
21:11
Speaker 1: is a scary day. I was wondering. I was like
21:13
Speaker 1: rasing the Resistance this is the last time anyways. Um, okay,
21:17
Speaker 1: So yeah, I want to talk about Cassandra and like
21:19
Speaker 1: kind of just the romantic storyline, um that is present
21:23
Speaker 1: in this film. So starting with kind of like the
21:25
Speaker 1: romantic pursuit, I felt as though that was handled fairly
21:31
Speaker 1: well to agree. I agree in the sense that like
21:34
Speaker 1: he goes he approaches her for the first time when
21:37
Speaker 1: they're at is that place called the gas works Gasworks,
21:40
Speaker 1: and he says, hey, can I call you sometime, And
21:43
Speaker 1: she's like, well, come to this party, and you know,
21:46
Speaker 1: implied that we'll talk there. So you know, she invites him.
21:49
Speaker 1: It's not as though he's just like showing up and
21:51
Speaker 1: invited somewhere. Um. And then he goes to this party
21:53
Speaker 1: and he approaches her and says, I want to go
21:55
Speaker 1: somewhere and talk. She says yes, they chat, they start
21:59
Speaker 1: to vibe. She thinks he's funny. Um, he thinks she's hot.
22:04
Speaker 1: That's the dynamic of their relationship. But I I actually
22:08
Speaker 1: like there's one little pivot that happens in the movie
22:10
Speaker 1: at the beginning when he meets her that I think
22:12
Speaker 1: it's little, but I think it does a lot. When
22:14
Speaker 1: he sees her at the gas works, she's pretty. Obviously
22:17
Speaker 1: everybody wanted to be her. I wanted to be you
22:19
Speaker 1: know what. It's like, you want to be her. She's talented,
22:22
Speaker 1: she's singing, and then she kicks ass. She beats up
22:26
Speaker 1: a guy and he's like, WHOA. So I like that
22:29
Speaker 1: when he sees her, it's not just that she's pretty,
22:32
Speaker 1: it's that she's pretty, she's a rock star, and then
22:34
Speaker 1: she kicks two guys. Act I'm gonna I'm like, yeah,
22:38
Speaker 1: I'm going to kind of advocate for this relationship a
22:40
Speaker 1: little bit. I don't love how it's treated in a
22:43
Speaker 1: third act where she I feel like they can't. I mean,
22:47
Speaker 1: she does stand up for herself at pretty much every
22:50
Speaker 1: opportunity where it makes sense for her too, and I don't.
22:53
Speaker 1: I mean, it's like the movie. The editing of the
22:56
Speaker 1: movie has this goofy way of introducing female characters, where
22:59
Speaker 1: it's with music, it's with the slow push in um
23:03
Speaker 1: to Garth's love interest whose name is keeps Me dream Woman,
23:10
Speaker 1: and then we have the slow push into Cassandra the
23:11
Speaker 1: first time we sere and it's like part of the
23:14
Speaker 1: way the movie is stylized. That does objectify them, right,
23:18
Speaker 1: But once we meet Cassandra, she is very talented. She
23:22
Speaker 1: advocates for herself with the with the club owner. Um,
23:27
Speaker 1: she literally kicks someone else's ass before being like, hey,
23:32
Speaker 1: and you have to pay me. Um. There's a point
23:34
Speaker 1: where when she and Wayne are in bed, she has
23:37
Speaker 1: to take a call for work and he's like goofing
23:39
Speaker 1: around and being like cute, and then she's like, hey,
23:42
Speaker 1: this is a work call, like funk off, and like
23:45
Speaker 1: there's and and then at the end when Wayne goes
23:48
Speaker 1: and does like you know the reason that so many
23:52
Speaker 1: women have imposter syndrome of like, well did you consider
23:55
Speaker 1: you're getting this opportunity because he probably wants to fuck you,
23:58
Speaker 1: She's like, hey, could you be more insulting about the
24:01
Speaker 1: way you're even hear he's like you're having sex with
24:04
Speaker 1: him right, probably, And she's like, no, that's not how
24:07
Speaker 1: I get a gig. Like so, yeah, definitely standing up
24:10
Speaker 1: for herself. I like that. But then but then the
24:12
Speaker 1: way how like the the third act becomes like I
24:15
Speaker 1: don't know, like the way she almost feels not as smart.
24:17
Speaker 1: It's like she's being like who wouldn't see rob blows right,
24:21
Speaker 1: you know, which I get. I get for the plot,
24:23
Speaker 1: but yeah, it's like, why is she now becoming this
24:25
Speaker 1: like he just wants to give me a job? And
24:28
Speaker 1: then like Wayne's approach to being like oh because I
24:31
Speaker 1: and I feel like the movie is kind of telling
24:32
Speaker 1: us a little bit that Wayne is right because we
24:34
Speaker 1: know that Rob Blow is trying to like get the girl,
24:38
Speaker 1: and so it doesn't really help on that end. And
24:40
Speaker 1: then Wayne's solution to Rob Blow offering Cassandra this like
24:46
Speaker 1: opportunity and bad faith is by getting her another opportunity.
24:50
Speaker 1: But both of them are just trying to get her
24:52
Speaker 1: opportunities so that she'll be their girlfriend. And it's not
24:55
Speaker 1: because it's like I believe in your talent blah blah blah,
24:57
Speaker 1: and so I just found it discouraging. But I think
24:59
Speaker 1: because Andre is not a fault and she's awesome. Yeah,
25:02
Speaker 1: she's super kick ass. Yeah I do agree with that.
25:07
Speaker 1: And just to kind of wrap up on the conversation
25:09
Speaker 1: of like the how the romantic pursuit is handled, like
25:13
Speaker 1: because so many movies, as we already kind of hinted
25:16
Speaker 1: at and have discussed on the podcast at length, you know,
25:19
Speaker 1: have a predatory romance or a man like wearing a
25:22
Speaker 1: woman down. Um, and what Wayne is doing is sort
25:26
Speaker 1: of just the bare minimum of decency of just like hey,
25:29
Speaker 1: can I call you? Like he learns cantonese, he learned,
25:32
Speaker 1: he does learn Cantonese for her. But um, you know,
25:35
Speaker 1: I guess it was refreshing to see, even though again
25:38
Speaker 1: it's just the bare minimum. Um, but it was nice.
25:40
Speaker 1: I mean he appeared just her with respect. Oh. The
25:42
Speaker 1: other thing I was gonna say is when they go
25:44
Speaker 1: on the date to like Guitar Center or wherever the
25:46
Speaker 1: funk they go, You're like there is more than a
25:50
Speaker 1: physical drive, Like you understand why they like each other,
25:53
Speaker 1: and like yeah, Wayne is like obviously not like the
25:57
Speaker 1: coolest and like not the most desirable, and like will
26:00
Speaker 1: they be together in real life? Exquease me hot? But like,
26:07
Speaker 1: but I like that the movie takes the effort to
26:10
Speaker 1: like write a scene with them where it's like that
26:12
Speaker 1: scene where they're both speaking Cantonese. You're like, oh, there's
26:15
Speaker 1: a connection between them, and then you see like and
26:17
Speaker 1: they have stuff in common, Like this is cool. Right,
26:21
Speaker 1: So back to the how the movie handles the male gaze.
26:26
Speaker 1: I feel like, yes, it does kind of objectify the
26:29
Speaker 1: women when they're shown like these are the women that
26:32
Speaker 1: the men are interested in. But I always she has
26:35
Speaker 1: a scene where someone's like she's like she's, oh, do
26:38
Speaker 1: I frighten? You know? Do you want me to? But like,
26:41
Speaker 1: I don't know. I just felt like that was handled
26:43
Speaker 1: a little bit better than we're used to seeing. Also,
26:46
Speaker 1: because like in a few episodes, we've talked about how
26:49
Speaker 1: certain movies will use like a really exploitative, like hyper
26:52
Speaker 1: sexualized shot of a woman that like lingers all over
26:56
Speaker 1: her body. We see like a shot up her ass
26:58
Speaker 1: and like a shot of her tips and stuff like that,
27:02
Speaker 1: specifically to communicate to the audience that, like, the male
27:05
Speaker 1: protagonist of this story is attracted to this woman. Um,
27:09
Speaker 1: I think we talked about this a lot in like
27:11
Speaker 1: the sand Lot episode. It happens in Transformers and stuff,
27:14
Speaker 1: But like and we're like, well, there's there's better ways
27:16
Speaker 1: to do this. There's better ways to indicate to the
27:19
Speaker 1: audience that the man is attracted to this woman that
27:23
Speaker 1: aren't so like objectifying in male Gazey, and I thought
27:27
Speaker 1: this movie actually did a pretty good job between showing
27:30
Speaker 1: that like Wayne is attracted to Cassandra because it cuts
27:33
Speaker 1: this like fantasy dreamy shot of Cassandra while she's playing
27:37
Speaker 1: the bass on stage. We only really see shot of
27:40
Speaker 1: her kind of like torso it's pretty stationary, it's not lingering.
27:44
Speaker 1: And then like dream Weaver starts playing and we're like, oh,
27:47
Speaker 1: that's how we know he's like into her, into her.
27:50
Speaker 1: And then same thing with Garth. Sure the woman is
27:54
Speaker 1: not named, that he's in love with um and he's
27:57
Speaker 1: never work at the Don, just work behind the counter
28:01
Speaker 1: the donup shot, and like the way that we the
28:03
Speaker 1: visual indication that we know that Garth likes her is
28:07
Speaker 1: that it's just like a slow most shot of like
28:09
Speaker 1: her hair blowing in the wind, just like her shoulders
28:13
Speaker 1: up like it doesn't. It didn't feel super you know,
28:16
Speaker 1: it didn't feel male gazy really or objectifying. So I
28:19
Speaker 1: was like, oh, that actually was like handled better than
28:23
Speaker 1: we've seen before. And I think to like, with these characters,
28:26
Speaker 1: what I like about it is that they're not kind
28:28
Speaker 1: of guys like yeah, I could get the girl, like
28:30
Speaker 1: they're like, oh man, I love her, like she'd never
28:33
Speaker 1: like me. Like I feel like there's something that feels
28:36
Speaker 1: innocent and sweet about that that's like still they're doing
28:38
Speaker 1: bone er jokes and like swing like there's something keep going.
28:49
Speaker 1: I think there's something so sweet about them as characters
28:51
Speaker 1: that when you do see them, you chectifying or looking
28:54
Speaker 1: at a woman is sweet. And they're like, I could
28:56
Speaker 1: never have a girl like that, right they aren't. Yeah,
28:58
Speaker 1: they do the whole like that's just look soft into
29:01
Speaker 1: the blow a little bit. Yeah, I do have complicated feelings.
29:05
Speaker 1: But and then also like Wayne declares that Cassandra will
29:10
Speaker 1: be mine. Oh yes, she will be mine the same
29:13
Speaker 1: way he declares that that good will be his. Could
29:18
Speaker 1: you be more object Yeah, yes, yes, I'm not perfect.
29:22
Speaker 1: It's not perfect. I liked. I also liked um when
29:26
Speaker 1: when he speaks Cantonese, it seemed like that was going
29:29
Speaker 1: to go in a racist, racist, racist direction, but then
29:32
Speaker 1: it is actually dealt with from what I mean, And
29:34
Speaker 1: and for our candidate speaking listeners, let us know how
29:38
Speaker 1: you felt about it, but I like it seems you're
29:42
Speaker 1: like I was like, oh no no, because it's and
29:46
Speaker 1: that is you know, not is not above that behavior. Uh,
29:51
Speaker 1: it's nestled right in there. Yeah, it's emblematic of this time.
29:55
Speaker 1: But but then it was like dealt with pretty well
29:58
Speaker 1: you you, and and it ends up being kind of
30:00
Speaker 1: a reason that Cassandra is like, oh, this guy like
30:03
Speaker 1: is kind of it might be worth time. You kind
30:05
Speaker 1: of understand, You're like, okay, okay, yeah, I I tend
30:10
Speaker 1: to agree, but yeah, I think I need we need
30:12
Speaker 1: an outside perspective. I mean, there are some other jokes
30:14
Speaker 1: that come in later, like but then Cassandra like it's
30:18
Speaker 1: like Wayne, like she calls him out on that stupid
30:21
Speaker 1: probably you know what I mean. It's like, hey, I
30:25
Speaker 1: don't say that. Well, I couldn't help but feel there
30:27
Speaker 1: was like a weird racial thing when we see her
30:30
Speaker 1: like kick that guy's ass, and then like well then
30:32
Speaker 1: and then everybody was kung fu fighting. And then it's
30:35
Speaker 1: also like, okay, is this movie implying that like all
30:38
Speaker 1: Asian people know like martial arts, because in the second
30:41
Speaker 1: movie we meet her dad, Cassandra's dad, and there's this
30:46
Speaker 1: whole like seeing Foo parody sequence there. Oh I didn't.
30:52
Speaker 1: I honestly didn't even. I was just like, oh, she's
30:55
Speaker 1: she's cool. She that does I mean also the fact
30:58
Speaker 1: that she's the only person of color in the whole movie. Yes, yes,
31:02
Speaker 1: in the entire nobody else Nope, And it's like unfortunate
31:08
Speaker 1: that It's like like having a lead who is a
31:12
Speaker 1: woman of color is like that wasn't happening in very much,
31:16
Speaker 1: but she's completely alone um in that regard, why yeah,
31:21
Speaker 1: I get out a couple other you know. There's also
31:24
Speaker 1: an aspect of the kind of romantic storyline where and
31:29
Speaker 1: I don't know how to feel about this right now
31:31
Speaker 1: necessarily so maybe I'm going to have to talk through this.
31:34
Speaker 1: But the story becomes about Wayne not trying to fix
31:38
Speaker 1: the situation with his show after he's lost it, but
31:41
Speaker 1: about trying to like get her back. So I would
31:46
Speaker 1: have thought that, like, and it was like a few
31:48
Speaker 1: years since I rewatched this, so I didn't remember exactly
31:50
Speaker 1: how things played out at the end, and it's kind
31:52
Speaker 1: of complicated at the end does and then there's all
31:54
Speaker 1: like the alternate endings don't really help, but like the
31:57
Speaker 1: same thing happens in Wind's world to where like the
32:00
Speaker 1: premise of that movie is Wayne is trying to put
32:02
Speaker 1: on this concert called Wayne stock Um, but part of
32:05
Speaker 1: the way through the movie, he and Cassandra break up,
32:09
Speaker 1: so he has to go like win her back and
32:11
Speaker 1: stop her from marrying Christopher Walkin Sure, um, but the yeah,
32:15
Speaker 1: the story in both of these movies becomes about like, well,
32:18
Speaker 1: who cares about that other thing I was doing that's
32:20
Speaker 1: going to get sort of sidelined. I have to like
32:22
Speaker 1: focus on getting this woman who I love like back
32:26
Speaker 1: in my life, which again I don't know how to
32:29
Speaker 1: feel about that. I necessarily I just think it's like
32:33
Speaker 1: weird and confused, like I think, because it focuses the
32:36
Speaker 1: attention like on the female character, but in a way
32:39
Speaker 1: that it's like, well, he deserves her, so he has
32:42
Speaker 1: to like and win his property. And it's kind of
32:45
Speaker 1: I feel like it does nothing to go back on
32:47
Speaker 1: like Rob Lowe's bad faith thing, because like you could
32:51
Speaker 1: qualify what Wayne is doing to also be in bad faith.
32:54
Speaker 1: We know that he knows she's talented, but like he
32:57
Speaker 1: wasn't jumping to give her this opportunity he first met
33:00
Speaker 1: this guy, he jumps to give it to her when
33:02
Speaker 1: he feels like he's losing her, and so you're like that.
33:06
Speaker 1: Plus like he shows up to her film shoot which
33:08
Speaker 1: he was not invited to, and he's like, and there's
33:10
Speaker 1: no film in this camera, and then he opens it
33:13
Speaker 1: up and we're like snake joke. Oh my god. I
33:19
Speaker 1: liked I liked that. It was kind of like a
33:21
Speaker 1: one offline. But it's like Tia care shouting to Reblo.
33:24
Speaker 1: She's like, I think the snake is asleep, and you're like,
33:27
Speaker 1: oh my god. So also towards the end, there's that
33:32
Speaker 1: moment where like Wayne is trying to figure out how
33:34
Speaker 1: to win her back and Garth is like, well, I
33:37
Speaker 1: think you should just go get her, and Wayne says,
33:40
Speaker 1: I don't think she wants me to, and then Garth says,
33:43
Speaker 1: let me tell you a little something about women. They
33:46
Speaker 1: want you to come get them. They love it, and
33:49
Speaker 1: we're like, no, Garth, No, well Garth. I feel like, okay,
33:54
Speaker 1: maybe I'm just like not as attached to Garth. It's
33:57
Speaker 1: so interesting to HAPs with me that has never seen
33:59
Speaker 1: like you know what, I mean, to have seen it
34:01
Speaker 1: for the first time. It's like, Okay, I'm very attached
34:04
Speaker 1: to Dana Carvey. I'm not I'm not as attached to Garth.
34:08
Speaker 1: I feel like there is like and then maybe this
34:10
Speaker 1: is coming down on it too hard. But with Garth
34:12
Speaker 1: there is kind of that like Revenge of the nerdsy
34:15
Speaker 1: kind of like vibe of like there's a lot of
34:19
Speaker 1: and I don't even think this is a bad thing,
34:20
Speaker 1: but like for young men who are nervous to talk to,
34:25
Speaker 1: like romantic interest and all this stuff. And then you
34:28
Speaker 1: see all these Catharsis scenes and some of them are
34:30
Speaker 1: fantasy and some of them are reel of like if
34:33
Speaker 1: you're a dorky guy, don't you just wish you could
34:35
Speaker 1: taste a bully? Or like don't you just wish you
34:38
Speaker 1: could like do you know? Like I think that there's
34:40
Speaker 1: a lot of like wish fulfillment offered on Garth's part,
34:44
Speaker 1: but it still looks silly, and so you're like, I
34:46
Speaker 1: don't know what, I don't know how to feel about it.
34:48
Speaker 1: I like him, I just like there is something that
34:51
Speaker 1: I'm just like, what's going on with Garth? What's going again?
34:55
Speaker 1: In the second one, he has a match that is
34:58
Speaker 1: is identical. Oh yeah, he just he gets with a
35:03
Speaker 1: woman who looks exactly like him, exactly exactly. It's really funny.
35:09
Speaker 1: But before that he's with is that Rebecca remains Damos.
35:12
Speaker 1: That's who that is in this one. No, no no,
35:14
Speaker 1: in this and it's Kim Basinger. That's Kim Basinger. I
35:16
Speaker 1: always Kim Basinger in the second I just do that
35:19
Speaker 1: off the top of my head. I was like, whoa, yeah, Nail.
35:22
Speaker 1: And then the Garth is, uh, the sister from the
35:25
Speaker 1: Wonder Years. Oh, the woman look like look like love interest. Cute. Um,
35:34
Speaker 1: we've got to take another quick break, but we will
35:35
Speaker 1: come right back and we're bad. That was my best
35:45
Speaker 1: way asked. Pincture says, what, Oh, that's actually a good
35:50
Speaker 1: transition into talking about class stuff. For this movie, I
35:54
Speaker 1: thought it does really well. I really I thought it
35:57
Speaker 1: was really cool. Right at the very beginning, the calling
36:00
Speaker 1: cops pigs. Love that that's funny. And then and the
36:03
Speaker 1: cop is like, oh, yeah, I am a pig. He's
36:06
Speaker 1: like what you're doing you? Yeah? I think that the
36:11
Speaker 1: way like because Gartha Wayne are so goofy, and I
36:15
Speaker 1: feel like a lesser movie would be like, you know,
36:18
Speaker 1: like either poor people or people who like are you know,
36:20
Speaker 1: working paycheck to paycheck are stupid and goofy. But I
36:24
Speaker 1: think that the movie gives them so much empathy and
36:28
Speaker 1: like you love them so much, and the rich like
36:32
Speaker 1: asshole characters are so awful that it is kind of
36:36
Speaker 1: like this cool cathartic thing where you're like rooting for
36:42
Speaker 1: like these people that you would you're more likely to
36:44
Speaker 1: relate with, like these goofuses. And then you have like
36:47
Speaker 1: Rob Blow, really Rob Blow and out slicking his hair
36:50
Speaker 1: all the way back so hot in this movie. He's
36:53
Speaker 1: so horrible and I think it's the first time to
36:58
Speaker 1: everybody knew that he could really do comment Oh is
37:01
Speaker 1: it yeah? I think so. I read about this because
37:03
Speaker 1: he was like apprehensive about being in this movie because
37:06
Speaker 1: he's like, I'm not a comedy actor. I don't know
37:08
Speaker 1: how to do this, and they just, like I guess, um,
37:11
Speaker 1: Mike Myers and Dana Carvey were like, oh, just pretend,
37:14
Speaker 1: just act like your Lord Michaels and he's like, okay,
37:18
Speaker 1: that's great. Um. And then also the guy Benjamin Caine
37:23
Speaker 1: or not Benjamincaine, sorry, uh no, no vander Hoff. He
37:30
Speaker 1: is so dumb and he's so clueless, and like I
37:35
Speaker 1: think that like Mrs vander Hoff, who does not get
37:37
Speaker 1: a first name, UM does Like I mean, she comes
37:41
Speaker 1: off much the same way and she's treated like bad
37:44
Speaker 1: on a gender basis, but I like the way she
37:46
Speaker 1: was treated on a rich person basis. Like this movie
37:50
Speaker 1: just has like kind of like this eat the rich mentality. Uh,
37:53
Speaker 1: that's very pro d I y and pro like I
37:56
Speaker 1: don't know I thought that that I agree stuff. It's
37:58
Speaker 1: even like Rob Blow's interaction with Mr Vanderhoff, Like that
38:02
Speaker 1: scene where he convinces him to buy the show is
38:04
Speaker 1: so brilliant. It's like he's such and it's really good
38:10
Speaker 1: satire of like how like big corporations by little things
38:13
Speaker 1: and then destroy and speak for commercial to some of
38:19
Speaker 1: my favorite jokes in this movie, which is one Garth
38:22
Speaker 1: reading Benjamin's like daily Planner and he's like, Thursday, purchase
38:26
Speaker 1: feeble public excess show and exploit it. And then he's like, wow,
38:29
Speaker 1: I feel sorry for whoever. That is so funny. And
38:32
Speaker 1: then the product place, Oh my god. Seen we used
38:36
Speaker 1: to do that all the time, Like we would just
38:37
Speaker 1: re in everything and we would eat anything that was
38:39
Speaker 1: like a product. We would just like do and Wayne,
38:42
Speaker 1: I will not down to any corporate sponsor. And then
38:45
Speaker 1: he's like a headache eating try little Yellow Different and
38:51
Speaker 1: it's the taste of a new I mean, every single
38:54
Speaker 1: moment in that is like perfect love it and it's
38:58
Speaker 1: the isn't it star It off with like Roblo coming
39:01
Speaker 1: down and talk to to Garth and he's just like
39:03
Speaker 1: has that weird helmet on and like starts hitting. Like
39:06
Speaker 1: there's so much randomness in this movie. That's so great. Yeah,
39:08
Speaker 1: I guess like Garth is like a tech genius, Like
39:12
Speaker 1: he's building a Frankenstein, like you see a disembodied hand.
39:16
Speaker 1: And he was like, Garth, we haven't talked that. And
39:19
Speaker 1: then he's just like and like one of my favorite
39:22
Speaker 1: scenes is when not he's like having him sign the
39:25
Speaker 1: contracts and he like puts the pen. He's like, does
39:28
Speaker 1: anybody else find it weird that he just shows up
39:30
Speaker 1: with contract this? Okay? The like commercial like satire scene
39:36
Speaker 1: and that scene that you're talking about Marine reminded me
39:39
Speaker 1: so much of Josie the Pussycats, which comes later. But
39:43
Speaker 1: there's that scene where the band Josie and her bandmates
39:46
Speaker 1: go into the bathroom and they're like, isn't it so
39:49
Speaker 1: weird that they're just like they haven't even heard us play,
39:51
Speaker 1: but they're like signing us to a record deal and
39:52
Speaker 1: they're like nah. And then that whole movie is just
39:56
Speaker 1: like one moment of product placement after the next. I
40:00
Speaker 1: was like, oh, this is I probably loved Josine the
40:02
Speaker 1: Pussycast so much because I was so attached to Wayne's world.
40:05
Speaker 1: It does have the same energy I've never seen Jose. Oh,
40:09
Speaker 1: it is it is. It's just perfect. Yeah, I don't
40:14
Speaker 1: know why it wasn't my Wayne's world is great and
40:16
Speaker 1: it's better than Wayne's world. Yeah what, Yeah, I don't
40:19
Speaker 1: know about that. That's funnier, it's better. Um. And also Wayne,
40:24
Speaker 1: where's his own merch? Which we do? We did? We
40:29
Speaker 1: get it? Yes? Um. I wanted to talk a little
40:33
Speaker 1: bit about the director, Um, Penelope Spheres. So this movie
40:40
Speaker 1: was directed by women, which is one thing I didn't
40:41
Speaker 1: know in seventh grade. But I kind of love that
40:44
Speaker 1: it became one of my favorite because it's like, there's
40:46
Speaker 1: not many movies directed by women, or there weren't many
40:49
Speaker 1: that I feel like I connected with and I did,
40:51
Speaker 1: and I didn't realize that it was directed by women,
40:53
Speaker 1: So I think it's such a great I had the
40:54
Speaker 1: same experience. Yeah. Um. She also directed such films as
40:59
Speaker 1: Black She, Little Rascals, and Beverly Hillbilly's Wow. I knew
41:05
Speaker 1: she did Little Rascal And the movie was also co
41:08
Speaker 1: written by a woman, Bonnie Turner, who returns and co
41:12
Speaker 1: writes the sequel, but Penelope's first was not asked back
41:16
Speaker 1: to direct to Yes, So basically she and Mike Myers
41:22
Speaker 1: had some issues. The main things seemed to be and
41:25
Speaker 1: it was all Shrek's fault. The main thing seemed to
41:29
Speaker 1: be that she was so insistent on shooting the Bohemian
41:34
Speaker 1: Rhapsody scene in the Marthmobile, which Mike Myers didn't think
41:38
Speaker 1: would be funny. Um, even though I became the iconic
41:42
Speaker 1: moment of the movie. He also complained about like the
41:49
Speaker 1: headbanging in that scene, like hurting his neck, and he's
41:52
Speaker 1: like he like had a fit one day and he's like,
41:55
Speaker 1: I can't move my neck like that. Why do we
41:57
Speaker 1: have to do this so many times? No one's gonna
41:59
Speaker 1: laugh at this. And then he also through a fit because, um,
42:03
Speaker 1: there was no margarine for his bagel on its craft
42:06
Speaker 1: services one day. But these are the these are the
42:09
Speaker 1: legends of the Waynes World set. I mean, there's this
42:12
Speaker 1: is just a small part of it, I think, but
42:14
Speaker 1: um so, yeah, there was some issues between the director
42:18
Speaker 1: and um Mike Myers because of that. And then the
42:20
Speaker 1: other big thing seems to be that they had issues
42:23
Speaker 1: over the final cut of the movie, where Mike Myers
42:26
Speaker 1: wanted it to be recut, Penelope Spiris did not, so
42:31
Speaker 1: she was not and that's it seems to be the
42:33
Speaker 1: main reason she was not asked back to direct the sequel.
42:36
Speaker 1: Do we know if the version is her version or
42:41
Speaker 1: was it a recut version? Do we know? I don't
42:43
Speaker 1: know for sure. Um, I can't tell. But Penelope Spis
42:47
Speaker 1: has been pretty like outspoken about this in the ensuing years,
42:51
Speaker 1: especially as it has become more quote unquote okay for
42:55
Speaker 1: women to talk about these things. Um, so we appreciate.
42:59
Speaker 1: I mean, that's like kudos to her because it's like
43:02
Speaker 1: you have to imagine there there are a million stories
43:06
Speaker 1: like this and women are so I mean, especially in comedy.
43:09
Speaker 1: At this time, no women were directing, and so for
43:12
Speaker 1: one of the I mean, it's just I feel like
43:14
Speaker 1: further proof to like, you can be working at the
43:17
Speaker 1: top of your craft. She like, no comedy was doing
43:20
Speaker 1: better than Wayne's World, and that still wasn't enough to
43:22
Speaker 1: keep wrote I could be mistaken. I think she wrote
43:25
Speaker 1: an article a couple of years ago about how like
43:28
Speaker 1: she had an interesting time in the industry where she
43:30
Speaker 1: did this and then she did Little Rascals and every
43:32
Speaker 1: Little Billies and then kind of went dry and she
43:35
Speaker 1: it's like she was making she was she was directing
43:37
Speaker 1: like huge movies that made money and that were like big,
43:40
Speaker 1: and then it's she did she made what ended up
43:43
Speaker 1: being a flop, which was but women only get one flop,
43:47
Speaker 1: and she she spoke, she speaks to this a lot um.
43:50
Speaker 1: The movie was I think senseless. Senseless didn't do very well,
43:54
Speaker 1: and she was like, yeah, I got put in like
43:56
Speaker 1: director's jail. So she's been quite outspoken about this because
43:59
Speaker 1: she's making studio films. My favorite headline that went with
44:02
Speaker 1: this was Wayne's World director Peneloples fairies on leaving Hollywood behind,
44:06
Speaker 1: they can blow me. And then she's like, that's a
44:09
Speaker 1: quote printed headline. Do wit um, And yeah, she's spoken
44:15
Speaker 1: out about how, you know, women are not often given
44:18
Speaker 1: second chances in Hollywood, especially if they make a mistake
44:22
Speaker 1: or they direct a movie that underperforms at the box
44:24
Speaker 1: off of this, like who knows what happened with that movie.
44:27
Speaker 1: It could have been like not her mistakes, um. And
44:30
Speaker 1: then she goes on to say, you know, uh, you know,
44:33
Speaker 1: male directors can get arrested for like having coke or
44:36
Speaker 1: drunk driving, or they direct flops and they're right and
44:40
Speaker 1: they're given tons more chances. Um. She's also talked about
44:45
Speaker 1: how like she had to take whatever jobs she was
44:48
Speaker 1: offered because as a woman, she didn't get offered that much,
44:51
Speaker 1: so she couldn't really be choosy about what she did.
44:54
Speaker 1: So she you know, just kind of took anything that
44:57
Speaker 1: came her way. Also, she was um forty five when
45:00
Speaker 1: she was hired to direct Wayne's World. And she's a
45:04
Speaker 1: real hero for real, she is. She she's advocating for people.
45:08
Speaker 1: That's so badass. She turned the So the movie had
45:13
Speaker 1: a twenty million dollar budget and ended up ended up
45:15
Speaker 1: grossing a hundred million dollars domestically. I think it was
45:19
Speaker 1: close to like a hundred eighty million worldwide. Um, And
45:22
Speaker 1: she has become one of only a handful of women
45:25
Speaker 1: who have directed a movie that grossed over a hundred
45:28
Speaker 1: million dollars. Wow, the elite club, I know. And really
45:32
Speaker 1: like a cult classic, I mean a cult classic about like,
45:35
Speaker 1: so for a woman to direct a movie about men
45:38
Speaker 1: who like love rock and roll, like it's a comedy. Yeah,
45:43
Speaker 1: this was like unheard of and still not really happening.
45:47
Speaker 1: Hasn't really happened again, and it was I think her
45:50
Speaker 1: background in directing documentary about like music and metal and
45:56
Speaker 1: rock and stuff that like she was approached for the
46:00
Speaker 1: US but um yeah, yeah, when this town should have
46:03
Speaker 1: been championed her, they were. They were trying to knock
46:07
Speaker 1: it down. Yeah. Not cool. The other thing that we
46:10
Speaker 1: haven't talked about the movie, I just wonder what you
46:12
Speaker 1: guys thought was the portrayal of like like a queer.
46:15
Speaker 1: If you're going to do like a queer reading on this, yes, okay,
46:18
Speaker 1: so I have a little bit about this. Thanks for
46:20
Speaker 1: bringing this up. So so many comedy movies throughout the
46:25
Speaker 1: years have relied on punching down right and just like
46:29
Speaker 1: making fun of different people, different groups of marginalized people
46:32
Speaker 1: as like the source of their humor. I feel like
46:35
Speaker 1: this movie mostly avoids that. Although it's not perfect, it
46:39
Speaker 1: does do better than you'd expect of a comedy from
46:42
Speaker 1: their early nineties, right, But there are the one thing
46:44
Speaker 1: that I noticed are one of the main things I
46:46
Speaker 1: noticed was there are a lot of like no homo moments.
46:50
Speaker 1: There's this one guy on their like crew, Terry, who
46:55
Speaker 1: keeps going around to the different men friends of his
46:58
Speaker 1: and says like I love you. He has met with
47:01
Speaker 1: varying responses. Wayne will be like, um, yeah, I love
47:06
Speaker 1: you too, like he's creeped out about it. He says
47:09
Speaker 1: it to Garth then and Garth is just like thank you. Um.
47:14
Speaker 1: He says it to Rustle later on in the movie
47:16
Speaker 1: and Russell is just like okay, whatever, and a car
47:19
Speaker 1: crash almost ensues from there, and then Rustles, I guess
47:23
Speaker 1: his arc at the end of the film, he's like,
47:25
Speaker 1: I've learned that platonic love can exist between two grown men. Um.
47:30
Speaker 1: And then there's also like the cop that they meet
47:32
Speaker 1: is always talking about like doing cavity searches and like,
47:36
Speaker 1: I guess, reaching into a man's asshole. And then you
47:39
Speaker 1: get that look from Rablow basically to camera where it's
47:43
Speaker 1: like he literally gives if you could communicate the phrase
47:45
Speaker 1: no homo with your eyes, he does, and when he
47:47
Speaker 1: gets to the house, he like has a weird he's
47:49
Speaker 1: walking yeah yeah, where it's like that's not that um yeah.
47:55
Speaker 1: So there's there's all these moments very of its time,
47:58
Speaker 1: but I agree it's like not as like not that
48:00
Speaker 1: it's not bad, but it's like it doesn't it's not
48:02
Speaker 1: as bad as you would expect, but it's still not
48:04
Speaker 1: okay that it was there at all. Yeah. On the
48:07
Speaker 1: other side of that, I do think that Garth and
48:10
Speaker 1: Wayne's friendship is pretty positive portrayal of male friendship. There
48:16
Speaker 1: are examples of like, I mean, Garth gives Wayne that
48:18
Speaker 1: horrible advice about like no do stock a woman? Um
48:22
Speaker 1: there there, I bet. But I did find it generally
48:25
Speaker 1: encouraging that when they had a conflict, Garth told Wayne
48:30
Speaker 1: how he was feeling right away, and they like, they've
48:33
Speaker 1: gotten an argument about it, but they they did talk
48:37
Speaker 1: about it, and it's like the fact that you know,
48:39
Speaker 1: a man communicating to another man his feelings on screen
48:43
Speaker 1: is like kind of a big deal. But it did
48:45
Speaker 1: feel like that, like they did that a lot. Yeah,
48:47
Speaker 1: where they're just like did you ever think about this? Yeah?
48:51
Speaker 1: Are you attracted to bugs body? When he puts on
48:53
Speaker 1: a dress, And then Wayne was like non, me neither.
49:00
Speaker 1: It's like, okay, we all know that money is hot
49:03
Speaker 1: and a chance to drag bugs bunny, which is like
49:07
Speaker 1: I think, a very common. It's very common. Aren't there
49:12
Speaker 1: with them? Are you asking if you thought maybe there
49:14
Speaker 1: was any sort of like homo romantic undertones. No, I
49:19
Speaker 1: think just like the portrayal of like I Love You like,
49:21
Speaker 1: I think that because it would have been interesting if
49:23
Speaker 1: it was just like the explanation at the end about
49:26
Speaker 1: like platonic love is okay, like we're just making sure
49:29
Speaker 1: that you know, no one was. It does even feel
49:34
Speaker 1: very of its era in that way where it's just like, okay, relax,
49:38
Speaker 1: like it's okay. But also they're not wrong. Platonic love
49:42
Speaker 1: is exist and it's okay, okay to like show your
49:45
Speaker 1: emotions with your male friends, okay, to say the way
49:48
Speaker 1: it's presented feels like yeah, And I do like that,
49:51
Speaker 1: like yeah, they like mental each other, they love each other,
49:55
Speaker 1: and that they and they mean it and maybe they
49:57
Speaker 1: shouldn't have called that much much attention to it of
49:59
Speaker 1: like will look at this, but like, I don't know
50:02
Speaker 1: for its time, it's it's steward. It's stewing, okay. In
50:05
Speaker 1: terms of I think the way that the masculinity has
50:08
Speaker 1: portrayed through their friendships, I thought, but I think it
50:10
Speaker 1: does hold up pretty well, and I think it would
50:12
Speaker 1: be interesting because I do. I think about Wayne's World
50:15
Speaker 1: two that's not directed by woman, and I don't think
50:17
Speaker 1: it probably would do as well. I think there are
50:19
Speaker 1: some changes made in Wayne's world to that kind of
50:23
Speaker 1: get things a little wrong that Wayne's world one gets
50:27
Speaker 1: more right. Yes, I agree. Here's something I never noticed
50:32
Speaker 1: until this rewatch. Garth orders a jelly donut at the diner.
50:36
Speaker 1: And then this is towards the beginning of the movie,
50:39
Speaker 1: and then we see him drinking the jelly out of
50:41
Speaker 1: the donut with a straw, and I was like, that
50:44
Speaker 1: is commonly gold. But the movie, get the movie, there's
50:50
Speaker 1: so many like subtle things that are just like a
50:53
Speaker 1: look or like that or um, what's his name, Bundy?
50:57
Speaker 1: You know he owns the donut shop Stanmkey does on
51:00
Speaker 1: the show. You know, he starts talking about in the
51:02
Speaker 1: in the heat. More Over, like the self reflective stuff
51:06
Speaker 1: in the movie is like I never even thought about
51:08
Speaker 1: it when I watched it, but it is like such
51:10
Speaker 1: an interesting device that not many movies can pull off,
51:13
Speaker 1: and it pulls it off so well. I was, yeah,
51:16
Speaker 1: that was impressive, O'Neil. I don't. I think it does
51:22
Speaker 1: kind of uh, but I mean, certainly in terms of
51:26
Speaker 1: like a nineties movie, it does better than you think
51:30
Speaker 1: it will, right, Well, I guess I'm curious because you
51:33
Speaker 1: do a birth fairy attached to it. Were you going
51:36
Speaker 1: into this like kind of like, oh, no, I hope
51:38
Speaker 1: that this movie isn't secretly horrible to everybody? Yes, And
51:42
Speaker 1: how did you feel going out? I was like, wow,
51:44
Speaker 1: I don't have to hate this movie. No, I was.
51:48
Speaker 1: I was if this movie is like just horrible, I'm
51:50
Speaker 1: going to be crushed because it is such. It did
51:53
Speaker 1: shape me so much and I feel like, again, me
51:55
Speaker 1: and my group of friends girlfriends were like, this is
51:58
Speaker 1: like one of our most quoted this and like Pee
52:00
Speaker 1: Wee's Big Adventure, I feel like the most quoted movies
52:04
Speaker 1: in our friend group. So I was like, no, I
52:06
Speaker 1: hope it's just didn't just like ruin us completely, and
52:09
Speaker 1: I don't think that it did. I think it does
52:11
Speaker 1: hold up. And just looking at the lens now, it's like, Okay, yeah,
52:15
Speaker 1: it's not perfect, but again by standards like none of
52:21
Speaker 1: the women talked to each other so well that to
52:27
Speaker 1: the backdel test um, yes, I would say this as
52:30
Speaker 1: a not pass I do not believe women are even
52:34
Speaker 1: really ever in the same room or seen together. The
52:38
Speaker 1: words there one with with Cassandra and Stacy's in the
52:42
Speaker 1: background making there in the same space and they're talking
52:45
Speaker 1: about and they're talking about her. They never speak to
52:48
Speaker 1: each other. There's a few moments where like women will
52:52
Speaker 1: drive up in a convertible and they're like, hey, Wayne,
52:55
Speaker 1: you're Wayne from Wayne's World, right? Who party on? Are
53:00
Speaker 1: talking about? Wayne? Also, those moments just served to again,
53:03
Speaker 1: do I think what the Stacy character functions as it's
53:06
Speaker 1: just being like, look how hot and cool everyone thinks. Also,
53:11
Speaker 1: that's weird. The movie starts. It is interesting. When I
53:14
Speaker 1: was watching, I was like, oh, it starts with Rob
53:16
Speaker 1: Low in bed with Ione Sky. Oh, I don't know
53:20
Speaker 1: who that is. She's from saying anything, and it's like
53:24
Speaker 1: her idea and he like takes her idea, he takes
53:27
Speaker 1: credit for it. Didn't even connect that, yeah, and like
53:31
Speaker 1: they're just like he's just in bed with her, never
53:33
Speaker 1: see her again. And she's like, you haven't been into
53:35
Speaker 1: Shaky's in a while, and he's like just producing television.
53:41
Speaker 1: She's like, these guys are great, and like gives him
53:43
Speaker 1: the idea. Yes, God, she should got a finder's fee,
53:47
Speaker 1: she should have a percentage of that. He basically stole
53:49
Speaker 1: this woman's idea. Typical and then at the end he
53:52
Speaker 1: just like kisses her to make her forget about Yeah,
53:54
Speaker 1: he's like, oh what if I you damn it boy.
54:00
Speaker 1: But I'm like, oh wow, it's like none of the women. Yeah,
54:03
Speaker 1: as far as it's representation of women, um, it's not great.
54:07
Speaker 1: And I would argue, I mean, even though even though
54:10
Speaker 1: I love Cassandra and I think she has a lot
54:12
Speaker 1: of strong traits, I don't think that she necessarily has
54:15
Speaker 1: a lot of agency in the story. We don't see
54:17
Speaker 1: her moving the story forward on her own in any
54:19
Speaker 1: meaningful way. And there's nothing she really does that disrupts
54:23
Speaker 1: other than falls for Rob blows trick. Basically, there's nothing
54:29
Speaker 1: she does that meaningfully impacts the plot. And I feel like,
54:33
Speaker 1: even though she is a very strong, cool romantic love interest,
54:36
Speaker 1: plot wise, she's she's not very often moving the plot forward,
54:40
Speaker 1: and she's more supporting whatever Wayne's doing. She also is
54:44
Speaker 1: I mean, that was one of the first interracial romantic
54:47
Speaker 1: relationships I had ever seen on screen in a movie,
54:50
Speaker 1: So that's not nothing. Yeah, I mean I feel like
54:53
Speaker 1: I think at the time, you're just like, she's so cool,
54:55
Speaker 1: she's like really talented, she's strong, So I think like
54:59
Speaker 1: in that maybe a that time period, it's like, well,
55:01
Speaker 1: there weren't really that many kind of cool kick ass
55:03
Speaker 1: love interest like that, and then she just became you know,
55:06
Speaker 1: like two careers like so cool. But yeah, looking back
55:09
Speaker 1: on it now, you're like she kind of also is
55:11
Speaker 1: like this like dream girl, like almost like fetishized a
55:15
Speaker 1: little bit about like you know, it's like, oh okay,
55:18
Speaker 1: now again through the lens of like in a way,
55:20
Speaker 1: she's a little bit of like a just a fantasy
55:23
Speaker 1: yeah bit, but again I wanted to be hurt. Yeah,
55:26
Speaker 1: I mean she's cool. Yeah, and Jamie, I think she
55:30
Speaker 1: loses even more agency in the sequel. Yeah, yeah, yeah.
55:35
Speaker 1: The second one is funny, but I feel like it.
55:38
Speaker 1: I think it's an interesting watch because I'm going to
55:40
Speaker 1: watch it tonight. It's it's troublesome because I just rewatched
55:43
Speaker 1: it the other day. But like, yeah, like I said,
55:44
Speaker 1: her her father comes in and he's like, I will
55:47
Speaker 1: decide who you marry, Cassandra, and like she like so
55:50
Speaker 1: any agency she had in terms of her like I
55:53
Speaker 1: guess romantic partner is like completely stripped of her, like
55:56
Speaker 1: for the sake of a joke. That is bad and
55:59
Speaker 1: race this, Yeah, I mean there's a lot. Actually, I
56:01
Speaker 1: would say, like the second one, they add another like
56:04
Speaker 1: a race. In the second one I think is probably
56:06
Speaker 1: an issue. They add another character that's like a Native American. Yeah,
56:10
Speaker 1: all right, he goes on like a walk about and
56:12
Speaker 1: like he's just like an imaginary. It's like not good. Yeah,
56:20
Speaker 1: It's like, how did you worse on some of these tomes.
56:23
Speaker 1: It's almost like they should have let Penelope like directed
56:30
Speaker 1: how about that? No, it does not even remotely pass
56:32
Speaker 1: the backtal testing. And I think that a lot of
56:34
Speaker 1: female characters we see on screen are never even given names.
56:37
Speaker 1: I think that Cassandra maybe the only woman with the
56:40
Speaker 1: first name Stacy Stacy Cassandra and Stacy, and those are
56:44
Speaker 1: kind of the only two women. And it's like and
56:46
Speaker 1: then you have a miss is a mrs and his
56:49
Speaker 1: wife Yes, and a dream and then the girl on
56:52
Speaker 1: the bed yes, and then girl who's million Dolla takes
56:57
Speaker 1: stone from her at the top of the movie. Is
56:59
Speaker 1: how she's credit it. I'm pretty sure, Well let's write
57:04
Speaker 1: it on her nipple scale zero to five nipples based
57:06
Speaker 1: on its representation of women. Um, yeah, it's not good.
57:10
Speaker 1: So it's maybe like because it handles like it's approach
57:16
Speaker 1: to comedies so much better than it's not. Like it's
57:20
Speaker 1: not contemptful or contemptuous of women, but it doesn't feel
57:25
Speaker 1: the need to include them in any meaningful way. Really,
57:28
Speaker 1: aside from Cassandra, who, like we discussed, isn't given much agency.
57:33
Speaker 1: We never really we understand why she likes Wayne, which
57:36
Speaker 1: is that he makes her laugh, which is like boring
57:39
Speaker 1: snooze Like yeah, it's like, can't she be funny? Also
57:44
Speaker 1: like give her some jokes like may like can't that
57:47
Speaker 1: be part of it? Um? I don't like that. I
57:49
Speaker 1: mean whatever I mean. I guess that narrative is true
57:51
Speaker 1: for some people. But my mom would always be like
57:52
Speaker 1: I married you because he made you laugh. I'm like, well,
57:54
Speaker 1: guess what, You're divorced. See how that worked out for you?
57:59
Speaker 1: My mom in my you know, mom and Dad's crumbling marriage. Um,
58:04
Speaker 1: my mom is the funny one and my dad has
58:06
Speaker 1: no personality whatsoever. So you know, I don't we see
58:11
Speaker 1: more of that this movie if you flipped all of
58:14
Speaker 1: the gender, Like, would anybody buy it? Like, let's remake it?
58:19
Speaker 1: I'm in funny. Women with boring partners need a better
58:23
Speaker 1: representation on screen. Yeah, Wanda's World. Where's the reboot? So
58:31
Speaker 1: just a new original. Yeah, it's like that deals with
58:35
Speaker 1: the same themes like your movie, which we'll get to
58:38
Speaker 1: in a moment. But okay, so nipple scale, I'm gonna
58:40
Speaker 1: give it, like, I guess, like a one and a half,
58:43
Speaker 1: maybe a two because that's too high. I'll give it
58:47
Speaker 1: a one and a half with like also with the
58:50
Speaker 1: caveat that it is not contemptuous of women. It's just
58:54
Speaker 1: a movie about like cool dudes who like swing all
58:59
Speaker 1: the time, you know so, But I still love it,
59:03
Speaker 1: So one and a half. I'll give one nipple to
59:07
Speaker 1: Garth's lookalike lady in the sequel, and I'll give my
59:11
Speaker 1: half nipple to Garth's lookalike dog from the first movie.
59:16
Speaker 1: I'll do one and a half as well. I like Cassandra.
59:20
Speaker 1: I think that it's like, really, there's a lot of
59:22
Speaker 1: good stuff there. I wish she had gotten to do
59:24
Speaker 1: more and motivate more and had a woman to talk to.
59:29
Speaker 1: Stacy character very badly represents women. Um, the other women
59:34
Speaker 1: are kind of just throwing themselves at Wayne or having
59:36
Speaker 1: their ideas stolen. Uh So that's not great. But the
59:40
Speaker 1: fact that Penelope Spheres is at the helm of this
59:43
Speaker 1: um doing what no one else was doing UM at
59:47
Speaker 1: this time and doing it very successfully, and that she's
59:49
Speaker 1: continued to speak out on behalf of other creators. And
59:53
Speaker 1: there's a female writer. There's a lot going on here
59:55
Speaker 1: that is, like I think, like really progressive in a
59:58
Speaker 1: way that is like interest and because it's not a
1:00:00
Speaker 1: way that in a way that is like the movie
1:00:03
Speaker 1: doesn't draw attention to that, it just is really fucking good,
1:00:07
Speaker 1: and especially in a movie that's so meta and draws
1:00:10
Speaker 1: attention to other aspects of just storytelling and moviemaking inside
1:00:16
Speaker 1: the movie. And I like and I really like that,
1:00:19
Speaker 1: Like there are there there's an iconic movie about a
1:00:23
Speaker 1: pair of men that's directed by a woman. Point Break
1:00:27
Speaker 1: is the only one other one I can think of,
1:00:30
Speaker 1: because you get a different like and men have been
1:00:32
Speaker 1: able to direct how women's stories go for so long
1:00:35
Speaker 1: that it is like cool to see what you know
1:00:38
Speaker 1: indirectly or not, but like what a female perspective on
1:00:40
Speaker 1: a male friendship is and it's usually healthier And for
1:00:44
Speaker 1: a movie that ends up being this influential, that's like important.
1:00:48
Speaker 1: So I think that there's a lot going I mean
1:00:50
Speaker 1: one and a half and I'm almost tempted to give
1:00:52
Speaker 1: it too, but I'll stick at one and a half
1:00:54
Speaker 1: and I'll give one to Cassandra and then half a
1:00:57
Speaker 1: nip ball to that. Yeah, that the woman whose idea
1:01:01
Speaker 1: was still on. Yeah, yeah, I you know, I think
1:01:04
Speaker 1: I'm going to go with it too, just because I
1:01:07
Speaker 1: agree with all the stuff you're saying. And I think
1:01:09
Speaker 1: Stacy's not great, you know, that's like probably the biggest
1:01:12
Speaker 1: like if they maybe had just made her different. But
1:01:14
Speaker 1: I think the fact that it was directed by a
1:01:15
Speaker 1: woman and that it isn't there's no like meanness. I
1:01:18
Speaker 1: mean there is, but not like it's not. It doesn't
1:01:20
Speaker 1: harp on it. Um. And so also that it's just
1:01:24
Speaker 1: one of my favorite movies. And I'm like, I can't,
1:01:28
Speaker 1: I can't not, but I wish that it had to
1:01:30
Speaker 1: have more women in it, or that they had maybe
1:01:32
Speaker 1: had some conversations or more crucial although um, the whole
1:01:36
Speaker 1: the end of this movie is Wayne like setting up
1:01:41
Speaker 1: his girlfriend for success. He's like, I want, I'm gonna
1:01:44
Speaker 1: have you play in front of Mr Sharp so that
1:01:47
Speaker 1: you can get a record deal. Like he's not really
1:01:49
Speaker 1: trying to he's not advocating for himself. He's like, here, Cassandra,
1:01:53
Speaker 1: you you get this record deal. It's not also problematic
1:01:57
Speaker 1: that he saves her. He got it for her. I mean,
1:02:00
Speaker 1: should I go back to when he got it? He
1:02:03
Speaker 1: got it for her. But like in a time where
1:02:06
Speaker 1: men had to advocate for women liked no one else
1:02:10
Speaker 1: was vouching for women, and they didn't have their own power.
1:02:13
Speaker 1: We don't have enough power to do it ourselves. No
1:02:16
Speaker 1: one was listening to us. I think I'll give it
1:02:18
Speaker 1: a too. Also because of when he sees her, and
1:02:21
Speaker 1: I like the fact that it's not just she's a
1:02:23
Speaker 1: vapid pretty girl, that she's talented, she's a rock star.
1:02:28
Speaker 1: She demands money, and she kicks us so all in
1:02:31
Speaker 1: the first scene, all in the first scene. That's why
1:02:34
Speaker 1: he likes her. Yeah, you know, God, I love this woman.
1:02:37
Speaker 1: He says, well, Maureen, thank you so much for being here.
1:02:42
Speaker 1: Tell us what you'd like to plug and where can
1:02:44
Speaker 1: people follow you online? How about your um so Golden
1:02:48
Speaker 1: Arm is my movie starring Mary holland Betsy Siddhara. They're
1:02:51
Speaker 1: so funny there, Actually that suppose it would be perfect
1:02:55
Speaker 1: to do Wayn's World because I feel like I hope
1:02:57
Speaker 1: and I know that once this movie comes out, it's
1:02:59
Speaker 1: going to be a cult classic because Mary and Betsy
1:03:02
Speaker 1: together as a duo is incredible, and um, I think
1:03:06
Speaker 1: it is like jumping off from like loving Wayne's World
1:03:09
Speaker 1: or Tommy Boy or at like Adam Sallem was like
1:03:12
Speaker 1: these great Lavern Sureley, like these great duos, and that's
1:03:14
Speaker 1: what this movie kind of celebrates. It's it's basically a
1:03:17
Speaker 1: movie about two friends that will find each other again. Um.
1:03:20
Speaker 1: Kind of. It's a calf road trip, half arm wrestling
1:03:23
Speaker 1: sports comedy. Um. And the cast is just like it's
1:03:27
Speaker 1: a ton of women like dom marae Jones, Kate Flannery,
1:03:30
Speaker 1: Don Luby, a part Naturla rounds it out with like
1:03:33
Speaker 1: Ron Funches, Eugene Cardero, my Barucha. It's just a really
1:03:38
Speaker 1: rich fabric of women and it definitely would pass the
1:03:41
Speaker 1: backdel test. Um did they do? The women talk about
1:03:45
Speaker 1: arm wrestling, They talk about arm wrestling, they talk about
1:03:47
Speaker 1: their dreams, their fears, it passes. They talk about a
1:03:50
Speaker 1: lot of stuff. Um. But yeah, it's just I think
1:03:54
Speaker 1: it's really I'm really proud of it and I think
1:03:56
Speaker 1: that um, once it comes out. I hope that Mary
1:03:58
Speaker 1: and Betsy getting into the lexicon of like those those
1:04:02
Speaker 1: classic yessh Crest comedy duos. That's amazing. Yeah, it was
1:04:07
Speaker 1: supposed to play at south By Southwest but we got canceled.
1:04:10
Speaker 1: But just follow me on Instagram at more in Baruccia.
1:04:13
Speaker 1: UM and Golden Arm the movie, and I'm sure it'll
1:04:17
Speaker 1: pop up somewhere else. We got some plump, we cut
1:04:19
Speaker 1: some stuff in the works. Good, good, glad to hear it. Um.
1:04:22
Speaker 1: You can follow us on social media at Bechtel Cast.
1:04:26
Speaker 1: We've got our Matreon, Patreon dot com slash becktel Cast.
1:04:29
Speaker 1: Five dollars a month gets you to bonus episodes. Um,
1:04:32
Speaker 1: we've got merchant t public dot com. Slash the Bechtel
1:04:35
Speaker 1: Cast right and review us on your podcast platforms. Give
1:04:39
Speaker 1: us five nips and party on Shaw Wing excellent Pandemic Wing.
1:04:48
Speaker 1: Bye