Latest / The Bechdel Cast / Cruel Intentions with Jackie Johnson

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Cruel Intentions with Jackie Johnson · The Bechdel Cast

• 0:00
  Speaker 1: On the Beck dol Cast, the questions asked if movies
• 0:03
  Speaker 1: have women and um are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands or do they have individualism the patriarchy? Zef
• 0:11
  Speaker 1: and best start changing it with the beck del Cast. Hello,
• 0:16
  Speaker 1: and welcome to the Bechtel Cast. My name is Jamie
• 0:18
  Speaker 1: Loftus and my name is Caitlin Dronte, and this is
• 0:21
  Speaker 1: our podcast about the portrayal of women in movies. You
• 0:24
  Speaker 1: bet you, We talk you, Yeah, you bet you. Hey
• 0:30
  Speaker 1: quick plug at the top of the show. What I
• 0:33
  Speaker 1: know So not like crazy, but we have an important
• 0:37
  Speaker 1: announcement that you may or may not already know about.
• 0:39
  Speaker 1: But we're doing a bunch of live shows coming up. Yeah,
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  Speaker 1: get used to it. We're and and and and here's
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  Speaker 1: the twist. It's on both coasts, both coasts. Yes, we've
• 0:49
  Speaker 1: got our East Coast. Are three days super tour coming
• 0:52
  Speaker 1: up on the East Coast starting Saturday, November three in
• 0:55
  Speaker 1: Philadelphia at Good Good Comedy Theater, which by the way,
• 0:58
  Speaker 1: is run by past guest of the show, Kate Bamford.
• 1:01
  Speaker 1: Yes it is. We're covering Waiting to Exhale with guest
• 1:04
  Speaker 1: Aaron Whack at that show and then on Sunday, November four,
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• 1:11
  Speaker 1: doing two shows, but one of them already sold out,
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  Speaker 1: so what's the point of even plugging that one? But
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  Speaker 1: there are still tickets left for the show that's on
• 1:21
  Speaker 1: Sunday November four at three thirty pm and afternoon show
• 1:25
  Speaker 1: after Bring Me a Mike's Baby. That one's at the
• 1:29
  Speaker 1: Drafthouse Comedy Theater in Washington, d C. Uh And we're
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  Speaker 1: going to be covering The Nightmare Before Christmas with guest
• 1:37
  Speaker 1: Natalie McGill. And finally, Monday, November five, in New York City,
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  Speaker 1: as part of the New York Comedy Festival, we are
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  Speaker 1: covering The Princess Diaries with Marshall bell Ski at Baby's
• 1:46
  Speaker 1: all right, so we're stoked for that too. Yes. So
• 1:50
  Speaker 1: for for tickets and more details, you can go to
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  Speaker 1: our website becktel Cats dot com, click on the live
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  Speaker 1: appearances tab and everything you need to know. We'll be
• 1:57
  Speaker 1: there see there. Oh and then also the other coast,
• 2:02
  Speaker 1: the West coast. Oh yeah, okay, So we also have
• 2:05
  Speaker 1: a show on Saturday, November ten in Los Angeles at
• 2:08
  Speaker 1: the Ruby, where we'll be covering the fifth Elements. I've
• 2:14
  Speaker 1: never seen it with our guest and friend, Danielle Radford.
• 2:19
  Speaker 1: She's the best, So for tickets to that show. Also
• 2:21
  Speaker 1: got to bechtel cast dot com and click on live
• 2:23
  Speaker 1: appearances and if you live in the middle of the country,
• 2:27
  Speaker 1: let us know where we should be performing and we'd
• 2:29
  Speaker 1: love to see you. Yeah, all right, kisses, bring me
• 2:32
  Speaker 1: my hard lamon name. So we talk about the portrayal
• 2:37
  Speaker 1: of women in movies, we use the Bechtel test to
• 2:43
  Speaker 1: just give us a jumping off point. The Bechtel Test
• 2:47
  Speaker 1: for us is a test that you apply to movies.
• 2:51
  Speaker 1: It requires that there are two female identifying characters with names.
• 2:56
  Speaker 1: They have to speak to each other, and their conversation
• 2:58
  Speaker 1: cannot be about men. Sounds like a real boring movie.
• 3:05
  Speaker 1: I know women should not talk, and if they do talk,
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  Speaker 1: they better. Men should be demo it really quick. Let's
• 3:13
  Speaker 1: demo it, Okay, Kaitlin, Hey Jamie, how's your soccer game? Yesterday?
• 3:17
  Speaker 1: My soccer game went well? We won. I know you
• 3:21
  Speaker 1: want to go again. I'm a fan. Thank you so much.
• 3:24
  Speaker 1: The one and also the one time I went, someone
• 3:26
  Speaker 1: got really very badly injured. So really a lot of
• 3:29
  Speaker 1: a lot of juicy stuff at the soccer game, speaking
• 3:32
  Speaker 1: of injuries that happened towards the end of something today's movie.
• 3:39
  Speaker 1: So we're talking about cruel intentions. And here to join
• 3:44
  Speaker 1: us in the conversation, we have a host of the
• 3:49
  Speaker 1: Makeup and Beauty podcast, Match Beaute, Jackie Johnson Hippy. I'm
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  Speaker 1: so excited to discuss a movie that I'm embarrassed to
• 3:59
  Speaker 1: say used to be a really important movie to me
• 4:02
  Speaker 1: as a kid. I thought it was so good and funny.
• 4:04
  Speaker 1: Don't be embarrassed. This is truly the story of this podcast.
• 4:08
  Speaker 1: I mean, I'm ashamed rewatching this. I was just shaking
• 4:12
  Speaker 1: my what did the kids say, shake my damn head?
• 4:15
  Speaker 1: I was shaking my damn head. I couldn't believe this movie.
• 4:19
  Speaker 1: I cannot wait to discuss it. So, Jackie, what's your
• 4:21
  Speaker 1: history with this movie? I saw this movie in theaters.
• 4:25
  Speaker 1: I do believe my mom bought tickets for me, and
• 4:28
  Speaker 1: I want to say my best friend Lauren Marty, because
• 4:30
  Speaker 1: my mom's like cool like that kind of like the
• 4:33
  Speaker 1: cool mom. Yeah, so, you know, very open parenting style.
• 4:37
  Speaker 1: Because I wanted to see pacy ak Joshua Jackson. I
• 4:40
  Speaker 1: saw him on like MTV news, like Kurt Loder was like, Hey,
• 4:44
  Speaker 1: what's up. There's a new movie out. You know, Joshua
• 4:46
  Speaker 1: Jackson Star on the Rise, got this little part, and
• 4:48
  Speaker 1: I said, I'm seeing that one please. So I went
• 4:53
  Speaker 1: and saw it. I loved it. I thought it was hysterical.
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  Speaker 1: I love the music. I loved all the hot actors
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  Speaker 1: in it. I mean, I this movie up with a spoon.
• 5:01
  Speaker 1: I quoted it all throughout my youth. I still, unfortunately
• 5:04
  Speaker 1: have it memorized because long term memory it sticks. It
• 5:09
  Speaker 1: sticks with Jaggie Ja so m I but I hadn't
• 5:12
  Speaker 1: rewatched it in a while. And can I just say
• 5:16
  Speaker 1: that this movie is very problematic now in any ways,
• 5:20
  Speaker 1: and we're going to get into it, but damn, I'm
• 5:22
  Speaker 1: just I'm telling you this is what women are shown.
• 5:25
  Speaker 1: Of Course, we all have issues. Of course, we all
• 5:28
  Speaker 1: have problems in the pagriarchy taking us down. I mean,
• 5:31
  Speaker 1: this movie is complete garbage in terms of women and
• 5:35
  Speaker 1: treatment and the me too movement and just god, I'm
• 5:38
  Speaker 1: ashamed of everyone involved me I think, although I will
• 5:43
  Speaker 1: say soundtrack on fleek. Soundtrack, I mean, like the Placebo
• 5:51
  Speaker 1: song opening it up, color Blind, you know, coffee and
• 5:55
  Speaker 1: TV by Blur Love Me by the Card Against. I mean, damn,
• 6:00
  Speaker 1: the music is on point, but everything else it's upset down.
• 6:05
  Speaker 1: That's going to be my new favorite thing. Whenever something
• 6:08
  Speaker 1: completely baffling happens plot wise out of nowhere in a movie,
• 6:12
  Speaker 1: I'm just gonna be like, do do do do? Do? Do Do? Do? Do? Do?
• 6:18
  Speaker 1: The way it ends is so psycho. My My history
• 6:22
  Speaker 1: with this movie is um just for for all you
• 6:24
  Speaker 1: beg to land out there. Caitlin and Sammy and I
• 6:28
  Speaker 1: hung out after the live show the other night, the
• 6:31
  Speaker 1: Edward Scissorhands Show, and watched Cruel Intentions and Eight Chicken
• 6:35
  Speaker 1: Wings and boy, that was my first time seeing I
• 6:39
  Speaker 1: can't believe you wouldn't see it. Yeah, I don't know.
• 6:42
  Speaker 1: How did you not say that I hadn't seen it? Yeah?
• 6:45
  Speaker 1: And I saw it like away two days before our screening.
• 6:49
  Speaker 1: It's so weird. So it was a huge I mean
• 6:52
  Speaker 1: among my circle of friends and my culture, like growing
• 6:55
  Speaker 1: up in like the late nineties, early two thousands in Dallas,
• 6:57
  Speaker 1: suburb real Dallas, this movie was huge. We all quoted it,
• 7:01
  Speaker 1: we watched it. I mean, I remember, like, let's all
• 7:04
  Speaker 1: watch David Days and like we popp and Coral Intentions
• 7:07
  Speaker 1: and have a laugh. So the fact y'all hadn't seen this,
• 7:10
  Speaker 1: I'm sure I think we're the weird ones, though I
• 7:12
  Speaker 1: think for sure. Yeah, I don't know how I missed
• 7:16
  Speaker 1: it either, because in ninety nine I was thirteen, like
• 7:20
  Speaker 1: I was the age prime demo, because I think I
• 7:24
  Speaker 1: was like fourteen. Yeah, yeah, ninety nine is the year
• 7:27
  Speaker 1: of teens lying to each other and making bets to
• 7:31
  Speaker 1: have sex with other teens, because this is the year
• 7:34
  Speaker 1: that cool Intentions comes out, that ten Things I Hate
• 7:37
  Speaker 1: about You comes out, that She's All that comes out.
• 7:39
  Speaker 1: So it's just like, what a time to be a lot,
• 7:42
  Speaker 1: I know, and honestly a beautiful time. What a beautiful
• 7:45
  Speaker 1: I mean, looking back, there were some damn issues, but
• 7:49
  Speaker 1: I love that era. Being a kid of that era
• 7:51
  Speaker 1: was such a perfect time to me. It was fun
• 7:54
  Speaker 1: music day on the fashion, there was so so much
• 7:59
  Speaker 1: of a blank when Andy two was thriving. It was
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  Speaker 1: SI to the movies. Though we're instanley problematic and influenced
• 8:08
  Speaker 1: our young brain hundred percent. But yeah, somehow I missed
• 8:13
  Speaker 1: Cruel Intentions. Didn't see it until last week, And this
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  Speaker 1: is I think the most insane movie we've covered on
• 8:21
  Speaker 1: the podcast where it's like it's gets so problematic that
• 8:24
  Speaker 1: I just grew numb and was just enjoying the ride
• 8:26
  Speaker 1: because I was just like, this movie is a string
• 8:29
  Speaker 1: of like really pithy sexual assaults. The whole movie is
• 8:34
  Speaker 1: like quip quip, and now I'm coercing someone into sex
• 8:37
  Speaker 1: who doesn't actually mean Sebastian is a fuck boy to
• 8:40
  Speaker 1: a T. If you google funck boy, he'll come up,
• 8:44
  Speaker 1: you know with that rama noodle j T Hair, I
• 8:47
  Speaker 1: mean he This movie triggered me in so many ways,
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  Speaker 1: and let's talk about it, because damn it, I'm fired
• 8:56
  Speaker 1: up Monday morning. I'm fired up for The one moment
• 8:59
  Speaker 1: in the movie that really absolutely destroyed me is because
• 9:03
  Speaker 1: a lot of the scenes that are supposed to be
• 9:05
  Speaker 1: sexy in this movie are not sexy at all. They're
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  Speaker 1: completely like or for me. Anyways, There's that one scene
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  Speaker 1: where Sarah Michelle Geller is supposed to be like teasing
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  Speaker 1: Ryan Filippy, which is I love that. I'm just gonna
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  Speaker 1: say his name like that. Yeah, my mom thinks Ryan
• 9:22
  Speaker 1: Phillippi's name was pronounced flippy like f l I P
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  Speaker 1: p y so so Sarah Michelle Geller is teasing quote
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  Speaker 1: unquote Ryan Philippe, and she's like laying on him sunny
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  Speaker 1: side up and just sort of like moving her body
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  Speaker 1: around on him like a limp noodle. And then he's
• 9:41
  Speaker 1: like looking almost to camera with this like very disturbing
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  Speaker 1: erection phase. And it was the least sexy thing I've
• 9:49
  Speaker 1: ever seen, is like this sunny side up gyration, and
• 9:52
  Speaker 1: his hands on the body were like so like you
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  Speaker 1: could see the pressure he was putting on her, like
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  Speaker 1: palming her, like he wasn't groping her or even like
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  Speaker 1: softly caressing her. It was like a wet fish, just
• 10:04
  Speaker 1: like slapping against her arm. It felt bad for both
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  Speaker 1: of them in that scene because like that was the
• 10:09
  Speaker 1: kind of like supposed to be sexy scene where you're like, oh,
• 10:11
  Speaker 1: there are thirty people in the room with them, and
• 10:14
  Speaker 1: it shows she was America sweetheart at this moment. She
• 10:18
  Speaker 1: was buff, being homophobic, being sociopath narcissists. Dare I say cruel?
• 10:28
  Speaker 1: I mean this movie, let's tell Yeah, So let me
• 10:33
  Speaker 1: do the recap of the story, which, oh god, okay,
• 10:38
  Speaker 1: I'll do my best. So the story focuses on Catherine,
• 10:44
  Speaker 1: which is Sarah Michelle Geller's character and Sebastian, which is
• 10:47
  Speaker 1: Ryan Philippe. They are step siblings who lived together in
• 10:51
  Speaker 1: New York City and they are like rich kid private
• 10:55
  Speaker 1: school elites, and they are also the worst people in
• 10:59
  Speaker 1: the world old Throughout the movie we see them like
• 11:02
  Speaker 1: using people, they're manipulating people, and generally they have cruel intentions.
• 11:07
  Speaker 1: Stop it, I believe it or not, it's not an
• 11:11
  Speaker 1: ironic title. So Catherine meets uh cetile Selma Blair's character,
• 11:19
  Speaker 1: who's Cell Blair by the way, in this movie playing
• 11:23
  Speaker 1: a fifteen year old huh okay, had to get that
• 11:25
  Speaker 1: out there. Yeah, that's Hollywood baby, Yeah, I mean that's egregious,
• 11:29
  Speaker 1: that's wild yea. And in order to like compensate for
• 11:33
  Speaker 1: the fact that she's playing a character over ten years
• 11:35
  Speaker 1: and she actually is, but she's acting so obscenely childlike
• 11:40
  Speaker 1: that it's she like overdid it, and it's just very distracting.
• 11:44
  Speaker 1: Not to put some on blast, but really bad jobs.
• 11:48
  Speaker 1: I really liked her performance as a when I saw
• 11:51
  Speaker 1: it as a kid, I thought she was hyah paride.
• 11:56
  Speaker 1: I mean they directed her to act like that, so
• 11:58
  Speaker 1: it's really not on her. So Cecile is starting school
• 12:03
  Speaker 1: with Katherine in the Fall, and Katherine does not like
• 12:06
  Speaker 1: Cecil because she stole Katherine's boyfriend Court. So Katherine wants
• 12:11
  Speaker 1: to ruin Cecil's reputation so that Court won't like her anymore. Right,
• 12:15
  Speaker 1: boyfriend named after a place to play a sport. It's
• 12:19
  Speaker 1: a super like old money name Court. Yes, I'm so
• 12:24
  Speaker 1: lower middle class, but I had no idea. Never already
• 12:29
  Speaker 1: my fair share of courts. They were all Fiji's, okay,
• 12:33
  Speaker 1: all my Greeks out there. Oh boy. So now Katherine
• 12:37
  Speaker 1: asks her stepbrothers Sebastian to seduce Cecile so that it
• 12:41
  Speaker 1: ruins her goody goody reputation. Meanwhile, Sebastian is like, I'm
• 12:47
  Speaker 1: tired of having sex with all these debutantes. They're so boring,
• 12:51
  Speaker 1: So he wants more of a conquest and he learns
• 12:54
  Speaker 1: about a net, which is Reese Witherspoon's character, who is
• 12:57
  Speaker 1: also going to be starting at their school in the Fall.
• 13:00
  Speaker 1: Reese is still great in this movie, is even though
• 13:06
  Speaker 1: the dialogue is so cheesy and horrific at times, they
• 13:11
  Speaker 1: all sell it. They do. They're committing to sure. That's
• 13:17
  Speaker 1: why looking back at this movie, you're like, oh my gosh,
• 13:21
  Speaker 1: what happened. So a nets whole thing is that she's
• 13:24
  Speaker 1: a virgin and that she's waiting to have sex, presumably
• 13:27
  Speaker 1: till marriage, or like at least till she finds someone
• 13:31
  Speaker 1: who she's in love with. So Sebastian decides that he's
• 13:34
  Speaker 1: going to make a net his conquest and take her virginity.
• 13:37
  Speaker 1: And Katherine's all like, you can't do that. That's out
• 13:40
  Speaker 1: of your league, even for you. So she's like, let's
• 13:44
  Speaker 1: make a wager. If Katherine wins, she gets Sebastian's cool
• 13:49
  Speaker 1: convertible car. If he wins, he can fuck her in
• 13:53
  Speaker 1: any hole he wants. We need to, like every nineties
• 13:58
  Speaker 1: teen movie is made of an a very sinister assaulted
• 14:02
  Speaker 1: bet yes where it's she and then sings Sarah Michelle
• 14:06
  Speaker 1: Geller in that sinister shot where she's like, what is
• 14:10
  Speaker 1: what's the last? You like? Any She's like anyway, and
• 14:13
  Speaker 1: then you're just like, I hate this. I like that
• 14:16
  Speaker 1: she sex positive and confident in herself. Yes, and we'll
• 14:19
  Speaker 1: talk about she gives like a monologue that's it's worth
• 14:23
  Speaker 1: unpacking everywhere. Yes, yes for sure. Yeah, And then side note,
• 14:29
  Speaker 1: Sebastian has a journal that he's keeping where he details
• 14:32
  Speaker 1: all of his you know, like bets and lies and
• 14:36
  Speaker 1: conquests and stuff with all these women. So you were
• 14:39
  Speaker 1: saying it's an early incarnation of the mean Girls Burned,
• 14:42
  Speaker 1: but I also feel it's sort of like his zanga
• 14:46
  Speaker 1: or his tumbler. Yeah, analog or perhaps like journals, you know,
• 14:51
  Speaker 1: like what what would be our equivalent? Right? Yeah, So
• 14:55
  Speaker 1: now Sebastian, he's going, he's trying to seduce a net
• 14:59
  Speaker 1: and she it is not having it at first, and
• 15:01
  Speaker 1: then meanwhile, but wear her dad, don't worry, don't you
• 15:05
  Speaker 1: don't you worry? One group at a time, right, Meanwhile,
• 15:11
  Speaker 1: one nagging at a time, god, one monster. One just
• 15:16
  Speaker 1: being in a pool exposing himself. Yeah, he's like, me,
• 15:21
  Speaker 1: show you what we're implying is a horse's dick, but
• 15:25
  Speaker 1: we don't actually see it. So there's no receipts on
• 15:28
  Speaker 1: the size of Ryan Philippe's penis, but the butt is good. However,
• 15:33
  Speaker 1: he is fully exposing himself without her consent, and she's like,
• 15:37
  Speaker 1: oh this is and then he yells at her for
• 15:39
  Speaker 1: her to turn around because the owners this movie fucking
• 15:43
  Speaker 1: upset me. I no wonder I like had such an
• 15:47
  Speaker 1: issue with you know, like when you're at a party
• 15:50
  Speaker 1: and a guy like touches your lower back and you
• 15:52
  Speaker 1: just kind of go along with it because you're like, well,
• 15:54
  Speaker 1: I don't want to be rude. It's like, no wonder
• 15:56
  Speaker 1: that should happened to me in my twenties because of
• 15:58
  Speaker 1: this fucking movie. Right nowadays, if somebody did that, I go, hey,
• 16:01
  Speaker 1: get your fucking hand off me. Anyway, keep going clearly
• 16:04
  Speaker 1: sucking upset. This movie up set me. He's just going
• 16:07
  Speaker 1: to be a therapy sessions, just like the movie is
• 16:11
  Speaker 1: condescending to where did you know? It's in this scene
• 16:14
  Speaker 1: like right after where Sebastian takes Cecil's virginity, there's a
• 16:19
  Speaker 1: bowl of cherries next to the bed, and it's just like,
• 16:22
  Speaker 1: come on right, sorry, I wonder what they're trying to say.
• 16:25
  Speaker 1: They're okay. So meanwhile, Cecile, she's into her cellow teacher Ronald.
• 16:32
  Speaker 1: Catherine's teaching sectial how to kiss so she can be
• 16:35
  Speaker 1: good at kissing Ronald because we've got to please men, right,
• 16:39
  Speaker 1: got to get that kiss. I'm a great kiss also,
• 16:42
  Speaker 1: all of that a great kiss boy. Then Sebastian assaults Cecile,
• 16:47
  Speaker 1: but that is not what the movie would have you
• 16:49
  Speaker 1: believe happened. They think it's funny. Man, there's some goofy
• 16:56
  Speaker 1: music playing in the background. There's some we should make
• 16:57
  Speaker 1: a super good of, like assaults happening in movies with
• 17:01
  Speaker 1: a goofy soundtrack. Benny Hill like, no, no, he's so
• 17:08
  Speaker 1: this character that we are already supposed to be suspending
• 17:10
  Speaker 1: or disbelieved to be, like, oh, she's fifty. The way
• 17:13
  Speaker 1: that scene goes is he basically is like, you have
• 17:17
  Speaker 1: to kiss me. He's like he says like yeah. He's
• 17:21
  Speaker 1: like all I want is a kiss, and she's like, oh,
• 17:24
  Speaker 1: that's all. She essentially wants to leave. She's like, I'm uncomfortable.
• 17:28
  Speaker 1: I'm leaving because he's basically says, get naked. I want
• 17:31
  Speaker 1: to take your picture. She says, I want to leave.
• 17:33
  Speaker 1: He goes, you can't leave, traps her and blackmails her,
• 17:36
  Speaker 1: I'm going to call your mom and tell her. So
• 17:38
  Speaker 1: she's I'll do anything, Please don't tell my mom. Okay, well,
• 17:40
  Speaker 1: let me kiss you. She goes, okay, I guess, and
• 17:43
  Speaker 1: then he grabs the draw strong of her pants, pulls
• 17:45
  Speaker 1: her pants down, and she's like, what are you doing,
• 17:47
  Speaker 1: what are you doing? Clearly upset and he goes, you
• 17:49
  Speaker 1: said I could kiss you and just starts going down
• 17:51
  Speaker 1: and then a promise is a promise? Gilts her into
• 17:54
  Speaker 1: it will unpack this whole scene in a moment, but
• 17:58
  Speaker 1: it's upsetting up. Meanwhile, Annette and Sebastian are falling in love,
• 18:04
  Speaker 1: like what, And then Katherine has sex with Ronald the
• 18:08
  Speaker 1: cello teacher, and then Sebastian and finally have sex, which
• 18:13
  Speaker 1: makes Katherine jealous because she's like, I thought I was
• 18:15
  Speaker 1: going to have sex with my stepbrother, which she apparently
• 18:19
  Speaker 1: wanted to do anywhere. So Katherine's like, oh, your reputation
• 18:24
  Speaker 1: is going to be ruined Sebastian if you you know,
• 18:27
  Speaker 1: blah blah blah. So he's like, you're right, I am
• 18:31
  Speaker 1: going to tell Annette that I don't love her, and
• 18:34
  Speaker 1: then she's like, you eightyot, you ran away from love
• 18:38
  Speaker 1: the first chance you've got, just because you thought I
• 18:40
  Speaker 1: was going to ruin your reputation. And then he's like,
• 18:43
  Speaker 1: you're right, I'm an idiot. So he goes and tries
• 18:45
  Speaker 1: to make amends with Annette, and then there's a crazy
• 18:50
  Speaker 1: scene where he and Ronald get in a fist fight,
• 18:54
  Speaker 1: he's thrown into traffic. He gets hit by a cab
• 18:58
  Speaker 1: and not hard, and then in an accident that would
• 19:01
  Speaker 1: maybe break a couple of ribs but not kill him,
• 19:04
  Speaker 1: but he dies. The end of the movie is Catherine
• 19:10
  Speaker 1: at like the funeral service, and she's like, oh my god,
• 19:17
  Speaker 1: Oh how sad. And then there's something like bustling around
• 19:20
  Speaker 1: in the crowd. She's like, what's going on? And then
• 19:23
  Speaker 1: she goes outside and everyone has a copy of Sebastian's journal,
• 19:29
  Speaker 1: which outs her as this horrible, manipulative kid, cruel intentioned woman.
• 19:36
  Speaker 1: It also outs Sebastian as a horrible person, which no
• 19:41
  Speaker 1: one seems to care about. And then it ends with
• 19:45
  Speaker 1: Reese Witherspoon driving Ryan Phillippies creepy journal into the sunset
• 19:52
  Speaker 1: because they're still in love. Even in Ryan Phillippes death,
• 19:57
  Speaker 1: she still loves him. And somehow she got the pink
• 20:01
  Speaker 1: slip for the car, which y'all never understand. How did
• 20:04
  Speaker 1: he put that in his will knowing that he was
• 20:07
  Speaker 1: going to get it by a m after meeting her
• 20:10
  Speaker 1: a week ago, But somehow the bitch got the jag.
• 20:13
  Speaker 1: She drives away with it and that's the end. So
• 20:15
  Speaker 1: she won the bet. She actually I the fact that
• 20:22
  Speaker 1: it's they're supposed to be. She's insulted in the journal
• 20:25
  Speaker 1: we see it's like, stupid, bit, you won't fuck and
• 20:29
  Speaker 1: then she's like, I love him forever and then drives
• 20:32
  Speaker 1: away in his car. I was like, what the funk
• 20:34
  Speaker 1: is this movie? Like, usually, when I'm seeing one of
• 20:39
  Speaker 1: these movies for the first time, you can at least understand, like, oh,
• 20:43
  Speaker 1: I understand, even though I find it to be problematic
• 20:46
  Speaker 1: and fucked up, I can understand what this was supposed
• 20:49
  Speaker 1: to have been viewed when it came out that I
• 20:52
  Speaker 1: can't get there. I can't get to they're still in love.
• 20:55
  Speaker 1: I think you know too far away, because I'm telling
• 21:00
  Speaker 1: you I love this movie and I didn't see anything
• 21:03
  Speaker 1: wrong with it. I'm ashamed to say that, but that's
• 21:06
  Speaker 1: truly teenager truth. I mean, it's unfortunate that that's the
• 21:09
  Speaker 1: culture that I grew up in, but that's what we
• 21:12
  Speaker 1: were given to consume as media. And I thought this
• 21:16
  Speaker 1: movie was hilarious, funny, I thought I was great, and
• 21:19
  Speaker 1: I'm this movie sucks. It sucking, sucks, it sucks. And
• 21:24
  Speaker 1: with with that, let's take a quick break and then
• 21:27
  Speaker 1: we will be back to unpacked the intentions that are
• 21:32
  Speaker 1: cruel and we're back, all right. So yeah, I mean
• 21:43
  Speaker 1: where to jump in? How about within the first five
• 21:47
  Speaker 1: minutes of the movie, Sebastian has revenge porn an innocent person. Yes,
• 21:51
  Speaker 1: how about that, that's a good place to start. He assaults,
• 21:55
  Speaker 1: I would argue his therapist verbally, sexually, and then he
• 22:00
  Speaker 1: revenge points her daughter. Huh just because for no reason,
• 22:05
  Speaker 1: just her fun. He says later that she did that
• 22:09
  Speaker 1: because she was overcharging him for therapy, and so you know,
• 22:12
  Speaker 1: how do you compensate for that? Is with human body?
• 22:16
  Speaker 1: And it's oh, it's just horrible. So yeah, right away
• 22:19
  Speaker 1: we learn about what a cruel intentioned man Sebastian is.
• 22:23
  Speaker 1: And then the conversation that his therapist has with her daughter,
• 22:28
  Speaker 1: who is played by Terror Reid, Terry's are like, he
• 22:31
  Speaker 1: put nude pictures of me on the internet, And then
• 22:35
  Speaker 1: her mom says, how could you be so stupid? So
• 22:38
  Speaker 1: she's a victim blaming her own daughter. The Bechtel test
• 22:43
  Speaker 1: passing exchange what they like, you dumb slut, your dumb slut,
• 22:48
  Speaker 1: you dumb slut. And then Terry's like, Mom, are you there?
• 22:53
  Speaker 1: She like that does pass its test, So yeah, that's
• 23:00
  Speaker 1: gets up Sebastian's character pretty well. And then he continues
• 23:05
  Speaker 1: throughout the rest of the movie to keep doing heinous
• 23:07
  Speaker 1: things like this, except that he's the kind were rooting for.
• 23:12
  Speaker 1: He does nothing to redeem himself at all. I would
• 23:14
  Speaker 1: argue he gets hit by a car. That's the best
• 23:17
  Speaker 1: thing he does in the whole movie is die. And
• 23:19
  Speaker 1: this is one again one of those movies that it
• 23:22
  Speaker 1: seems very prevalent in the eighties and nineties and and
• 23:25
  Speaker 1: probably the two thousands as well, where it's like rich
• 23:28
  Speaker 1: kids saying, like, my parents who love me and give
• 23:32
  Speaker 1: me everything I want fuck them, like and and we're
• 23:36
  Speaker 1: supposed to be like my hero just so bizarre. Well,
• 23:40
  Speaker 1: we never meet their parents in this movie, so it's
• 23:43
  Speaker 1: kind of hard to tell what their relationship is like.
• 23:45
  Speaker 1: But it's still like we have to assume perhaps not great,
• 23:49
  Speaker 1: perhaps not great. I think they're both seeking attention from
• 23:53
  Speaker 1: a really sad place due to the fact that your
• 23:56
  Speaker 1: parents can be rich and give you, you know, physically
• 23:59
  Speaker 1: anything you want aunt but if they're not giving you
• 24:01
  Speaker 1: attention and love, then you know, none of that matters,
• 24:05
  Speaker 1: and I think that's clearly what's happening. The parents are
• 24:07
  Speaker 1: off dealing with their own ship all the time, and
• 24:09
  Speaker 1: the kids are desperately seeking attention, right literally fucking each
• 24:14
  Speaker 1: other their sunny side up in each other. Like keep
• 24:19
  Speaker 1: an eye on these kids. So I want to talk
• 24:22
  Speaker 1: about the romantic pursuit, specifically of Sebastian pursuing a Net
• 24:27
  Speaker 1: because she's heard that he has a bad reputation and
• 24:30
  Speaker 1: she immediately doesn't like him. She says the line, it
• 24:34
  Speaker 1: amazes me that someone is charming as you could be
• 24:36
  Speaker 1: so manipulative, which they kind of go hand right, right.
• 24:41
  Speaker 1: It's like Reads is supposed to be a smart character, right.
• 24:45
  Speaker 1: And then in the first few scenes that we see
• 24:48
  Speaker 1: her in talking to Sebastian, she is like, she seems smart,
• 24:52
  Speaker 1: She is headstrong, She has like a value system that
• 24:56
  Speaker 1: she is not wavering from. She calls him out on
• 24:59
  Speaker 1: his book ship. You know. The first thing he does
• 25:03
  Speaker 1: is when he they meet, she's on a horse, he
• 25:06
  Speaker 1: literally grabs her body to get her off the horse
• 25:09
  Speaker 1: for no reason. And she doesn't call him out. She
• 25:13
  Speaker 1: kind of looks at him and goes thank you, which
• 25:15
  Speaker 1: again that's what I would have done in this situation
• 25:17
  Speaker 1: at her age, and I probably did, but pass me off.
• 25:21
  Speaker 1: I wish you would have gone, hey, why don't you
• 25:24
  Speaker 1: grab me? I can get off the horse on my own, right,
• 25:26
  Speaker 1: you take my hand. He literally grow us her body. Yeah,
• 25:30
  Speaker 1: oh do you need help. It's like he won't let
• 25:33
  Speaker 1: one thing go by without being a fucking creeper in
• 25:36
  Speaker 1: every way. It's awful. And then and characters like Reese's
• 25:40
  Speaker 1: almost sucked me even more because it sells that like
• 25:43
  Speaker 1: false idea of like, oh, this girl is smart, this
• 25:47
  Speaker 1: girl is capable, which which is true. But then the
• 25:50
  Speaker 1: second she can fall for a fucking psycho creep, she
• 25:53
  Speaker 1: does immediately, which just sells the idea to like young
• 25:56
  Speaker 1: smart girls of like, no, you should do this anyway.
• 25:58
  Speaker 1: It's like you, you know, you can be sure, yet
• 26:01
  Speaker 1: like girl power, you can be smart, but you still
• 26:03
  Speaker 1: have to funk every creep who hits on you. Like
• 26:06
  Speaker 1: it's just horrible. And part of the reason that she
• 26:08
  Speaker 1: falls for him is because he's lying to her and
• 26:10
  Speaker 1: he's having other people lie on his behalf about Oh,
• 26:14
  Speaker 1: his reputation, it's bullshit. You know, he's actually a pretty
• 26:17
  Speaker 1: nice guy. What do you think about his homophobic blackmail
• 26:20
  Speaker 1: who could forget we'll unpack that. But then he's you know,
• 26:26
  Speaker 1: pursuing her as a bet for most of the time,
• 26:28
  Speaker 1: but then he actually does start to develop feelings for her.
• 26:31
  Speaker 1: And then that's the movie asking us to be sympathetic
• 26:34
  Speaker 1: to him and root for him because he's sofening up.
• 26:37
  Speaker 1: He was a bad he was a cruel intentioned guy,
• 26:40
  Speaker 1: but now makes one goofy face and he's like, you
• 26:44
  Speaker 1: know what, I'm a changed man. But also he isn't. No,
• 26:47
  Speaker 1: he's not, and to the very end of the movie,
• 26:50
  Speaker 1: he's still being horrible to everyone around him. But again,
• 26:54
  Speaker 1: this is the movie, like we are, the movie is
• 26:56
  Speaker 1: asking us to root for him. He's our protagonists who
• 26:59
  Speaker 1: were like, oh, I hope he succeeds, and even though
• 27:01
  Speaker 1: he dies, we're supposed to feel something about it, or
• 27:04
  Speaker 1: that's what the movie wants us to feel. And I'm
• 27:07
  Speaker 1: sure you know, as a young teen who saw this movie,
• 27:11
  Speaker 1: uh yeah, everyone was like, oh no, he died, that's
• 27:16
  Speaker 1: so sad. Oh now the death is so weird. That
• 27:23
  Speaker 1: death is so it's like lazy writing. It's a d
• 27:26
  Speaker 1: sex market. Yeah, like, let's just kill him. And ever
• 27:30
  Speaker 1: they were like, Okay, here we are. We're backed into
• 27:32
  Speaker 1: a corner here, so we're gonna have him, you know,
• 27:35
  Speaker 1: give her the journal. She's gonna read it, change your mind.
• 27:38
  Speaker 1: She's on the street, she's looking for him. Uh what
• 27:42
  Speaker 1: do we do, guys? I don't know. We can't buy
• 27:44
  Speaker 1: a taxi cut in print. I mean, it's very lazy.
• 27:49
  Speaker 1: I also don't understand how her receiving his journal makes
• 27:54
  Speaker 1: her realize, oh, he does love me after all, because
• 27:57
  Speaker 1: in the journal he explains his plan to manipulate her
• 28:01
  Speaker 1: and steal her virginity. Yeah, and then she's like, cool, dude, dude,
• 28:07
  Speaker 1: you know, you know, she's obviously very easily manipulated. I
• 28:12
  Speaker 1: think he definitely added an addendum at the end that
• 28:16
  Speaker 1: was like, but throughout this process, I actually felt for her,
• 28:20
  Speaker 1: and I've changed and I feel terrible. And she accepted
• 28:22
  Speaker 1: the apology, you know, so that's why that happened. But
• 28:26
  Speaker 1: can I just say they showed a page of the
• 28:28
  Speaker 1: book of his journal at the end, the photo copies.
• 28:32
  Speaker 1: I paused TV. I couldn't read that ship. That was
• 28:36
  Speaker 1: the worst handwriting I ever. It was like a doctor prescription,
• 28:41
  Speaker 1: like scribble, and I was like, who fucking read this?
• 28:44
  Speaker 1: Can any of these kids read this ship? I couldn't
• 28:47
  Speaker 1: read a damn word of it, so who knows what
• 28:50
  Speaker 1: he even said. But the takeaway of that journal is
• 28:52
  Speaker 1: supposed to be Yah, Sarah Michelle Geller's a real bit
• 28:58
  Speaker 1: like he gets let off the hook essentially why yeah?
• 29:02
  Speaker 1: And then and then also there's like the teacher who
• 29:05
  Speaker 1: comes up behind her and like takes away her coke necklace, which, narratively,
• 29:09
  Speaker 1: how could he have seen that already? He hasn't come outside,
• 29:13
  Speaker 1: But sure, fine, they're good. Plan didn't think about that.
• 29:16
  Speaker 1: I mean when that happened in the theater, I remember
• 29:18
  Speaker 1: just being like, yaw, queen, Like I was like, damn,
• 29:21
  Speaker 1: revenge is a bitter fucking you know fish. I thought
• 29:26
  Speaker 1: that was like the coolest I'm telling you, I ate
• 29:30
  Speaker 1: that ship up. When he pulls out the scoop and
• 29:32
  Speaker 1: it flies in the air and the look on her face,
• 29:35
  Speaker 1: I was just like, yeah, drugs, look at you nowhere, man,
• 29:38
  Speaker 1: Like I love them. The one good message of the movie. Yeah,
• 29:44
  Speaker 1: although I did google, well, I didn't google, but I
• 29:47
  Speaker 1: was like I want one of those. Not that I
• 29:49
  Speaker 1: do coke, but I was like, I want like a
• 29:51
  Speaker 1: drug necklace. That to me was a really exciting idea.
• 29:56
  Speaker 1: Maybe I'll put my like my emergency powder in it. Yeah,
• 30:01
  Speaker 1: your vitamin B twelve supplements to give you energy. Well,
• 30:04
  Speaker 1: like Jamie, like you were saying, Sebastian has completely let
• 30:08
  Speaker 1: off the hook, like he he is just as complicit
• 30:11
  Speaker 1: and just as much of a villain. More. Yeah, I
• 30:15
  Speaker 1: didn't see Sarah Michelle Geller rape anybody, because he assaulted Ceceeal.
• 30:20
  Speaker 1: He is assaulted type yes, like and and and that's
• 30:24
  Speaker 1: just the movie what we saw, Like imagine the back
• 30:27
  Speaker 1: pages that book. A bunch of women at that school.
• 30:31
  Speaker 1: How do you think they're feeling right now, because you
• 30:33
  Speaker 1: know what I mean, like how horrible. Their whole lives
• 30:36
  Speaker 1: were just blasted on front of everybody, and he out everyone,
• 30:41
  Speaker 1: including himself. And this movie takes place over the course
• 30:44
  Speaker 1: of three or four days, and so it's like he's
• 30:46
  Speaker 1: been doing this for a little longer than that. But
• 30:49
  Speaker 1: even so, maybe a week or two crazy because because
• 30:52
  Speaker 1: he and rees haven't known each other for more than
• 30:55
  Speaker 1: a little more than a week, maybe it's hard. Well
• 30:58
  Speaker 1: that's I think this is other four School gets back.
• 31:01
  Speaker 1: But at the beginning of the movie that Cecil was like, oh,
• 31:04
  Speaker 1: Ronald's teaching me Cello over the summer, as if the
• 31:07
  Speaker 1: movie takes place over the course of a whole summer.
• 31:09
  Speaker 1: It's really it's unclear. It makes it seem like it's
• 31:12
  Speaker 1: a few days. It could be as much as a month,
• 31:15
  Speaker 1: or a couple of months, or right like a week.
• 31:18
  Speaker 1: It's it's hard to tell. Probably not thinking about it
• 31:21
  Speaker 1: that hard. In the people writing this movie, you're not
• 31:24
  Speaker 1: concerned about consistency, the value of a human life. There's
• 31:29
  Speaker 1: a lot of things they're not worried about. It's just
• 31:32
  Speaker 1: insane to me. The movie poises Sebastian is like, oh,
• 31:37
  Speaker 1: he redeemed himself, And I wonder if they made him
• 31:42
  Speaker 1: die just to make him seem more sympathetic, because otherwise
• 31:47
  Speaker 1: the story is Sebastian and a net ending up together.
• 31:50
  Speaker 1: And then it's like, well, what does that relationship look
• 31:52
  Speaker 1: like then, because like now she knows the truth, and
• 31:56
  Speaker 1: like where do you go from? How do you build?
• 31:59
  Speaker 1: I don't know the origin, I haven't read the source material,
• 32:02
  Speaker 1: but does that character get hit by a taxi and
• 32:06
  Speaker 1: they give their journal out or how? I don't know.
• 32:08
  Speaker 1: Cruel Intentions is adapted from a novel by a man
• 32:13
  Speaker 1: whose name is so French that I cannot beare something
• 32:18
  Speaker 1: it was written in seventeen eighty two or published then,
• 32:22
  Speaker 1: which absolutely tracks and and keeps with this at another
• 32:25
  Speaker 1: late nineties trend of like trying to adapt like old
• 32:29
  Speaker 1: ask books into movies for teenagers. Um, right, because she's
• 32:34
  Speaker 1: all that was an adaptation of Pygmalion, right, yes, and
• 32:39
  Speaker 1: Ten Things I Hate About You was a Shakespeare So yeah.
• 32:42
  Speaker 1: It's another another sinister media trend where everything is derivative.
• 32:45
  Speaker 1: You know. It's like, oh, the sexes ins in the
• 32:49
  Speaker 1: late seventeen hundred is still applicable today and apparently, I
• 32:52
  Speaker 1: mean no one proved them wrong. Um, and the book,
• 32:56
  Speaker 1: it looks like the Ryan Phillippe character dies in a duel,
• 33:00
  Speaker 1: like in the fight with Ronald, so I guess they're like, well,
• 33:04
  Speaker 1: we can't have Ronald kill him because that would be
• 33:08
  Speaker 1: out of nowhere, and they can't duel, so let's just
• 33:11
  Speaker 1: do the yark. He also died saving saving Annette. He
• 33:16
  Speaker 1: died a hero. Annette was trying to break up the
• 33:19
  Speaker 1: fight and she got flung into traffic and got up
• 33:23
  Speaker 1: very slowly, let's be honest, very very slowly, and She's like, oh,
• 33:29
  Speaker 1: I'm in the middle of the street. Oh a car
• 33:31
  Speaker 1: is coming what? And Sebastian pushes her out of the
• 33:35
  Speaker 1: way to save her and in turn gets hit. So
• 33:38
  Speaker 1: maybe that's another element to why everyone's forgiven him. Yeah,
• 33:42
  Speaker 1: I don't know the movie jumping in front of a
• 33:45
  Speaker 1: cab for somebody, that's very I don't people, I can
• 33:51
  Speaker 1: think of it like that. Would I guess I would
• 33:52
  Speaker 1: probably do it no matter what. Instinctively, sure, because I'm
• 33:55
  Speaker 1: such a people pleaser. But I hope I don't find
• 33:57
  Speaker 1: out if I'm being honest. But if we do die
• 34:00
  Speaker 1: is people pass just die in the pursuit of trying
• 34:03
  Speaker 1: not to give a perceiving Yeah, I mean the cab
• 34:07
  Speaker 1: was going what also like screeched on his brakes, like
• 34:11
  Speaker 1: you heard him screeched his break so by the decelerating
• 34:14
  Speaker 1: is slowed down where I know, right, we're not doctors.
• 34:19
  Speaker 1: Sebastian has some kind of like um autoimmune disease where
• 34:22
  Speaker 1: he was we you know, he bruises easily, and the
• 34:25
  Speaker 1: blood somewhere he would have been carrying bruises from the
• 34:28
  Speaker 1: sunny side up. Then then when it cuts to him
• 34:32
  Speaker 1: and his injuries, he has a few scratches on his
• 34:34
  Speaker 1: forehead and he has some bloody knuckles and that's it, like,
• 34:37
  Speaker 1: you know, unless he's got some like severe hemorrhagame or
• 34:42
  Speaker 1: like a traumatic brain injury. Like right when we're not
• 34:46
  Speaker 1: on the adaptation, this is not the only adaptation of
• 34:50
  Speaker 1: this French novel that came out, Dangerous Liaisons based on
• 34:54
  Speaker 1: the same fucking book. Yes, I can't remember it or not,
• 35:01
  Speaker 1: but I have not seen it. But I will watch
• 35:03
  Speaker 1: anything with Glenn Close in it, so I will wash
• 35:05
  Speaker 1: it or wait, dangerously that's not the one where she
• 35:09
  Speaker 1: cooks his bunny, right, That's what I was just thinking
• 35:11
  Speaker 1: that say attraction, Yes, I got it. I also, when
• 35:16
  Speaker 1: we were watching this movie, thought we were watching I
• 35:18
  Speaker 1: thought cruel Intentions. I was like, oh, that's the one
• 35:20
  Speaker 1: where Kathy Bates locks a guy in a house. That's misery.
• 35:24
  Speaker 1: So I was in for a full well, I thought
• 35:28
  Speaker 1: we were watching misery. We were not. We're watching something
• 35:31
  Speaker 1: way worse pretty much, but just as violent. And and
• 35:37
  Speaker 1: say which I mean really quick, say what you will
• 35:39
  Speaker 1: about this movie. But Christine Branski does play a character
• 35:41
  Speaker 1: named Bunny, so not all bad. Well, she's incredible in
• 35:45
  Speaker 1: the movie, although problematic in many ways. She slays Arsky,
• 35:51
  Speaker 1: I have no notes. Let's talk about that for a moment.
• 35:55
  Speaker 1: So there is an interracial romance between Cecile and Ronald.
• 36:00
  Speaker 1: Ronald is fooling. And also, if my daughter brought home
• 36:04
  Speaker 1: a Juilliard composer Chells, I'd be like, honey, thank you,
• 36:10
  Speaker 1: you did a good job. But he's not good enough.
• 36:13
  Speaker 1: So mainstream movies generally do not like to feature interracial
• 36:18
  Speaker 1: romances on screen. When they do, it's often a big
• 36:23
  Speaker 1: plot point of the movie, rather than just treating that
• 36:26
  Speaker 1: relationship like it's a normal thing that doesn't need to
• 36:29
  Speaker 1: be heavily commented on. So movies like Get Out, Guess
• 36:32
  Speaker 1: Who's Coming to Dinner, Save the Last Dance, Jungle Fever, Holes,
• 36:36
  Speaker 1: Our Favorite Loving Um, just to name a few, they
• 36:41
  Speaker 1: all have major plot points that derive like like that
• 36:46
  Speaker 1: that sounds like I never was anywhere. I mean this,
• 36:50
  Speaker 1: I can't believe I haven't seen it, being a huge fan,
• 36:53
  Speaker 1: I've read the book. Oh the movie is pretty good, Okay,
• 36:55
  Speaker 1: so um, these movies all have major plot points that
• 36:59
  Speaker 1: derive from two people of different races being together. I
• 37:03
  Speaker 1: would say a recent recent exception to this is to
• 37:06
  Speaker 1: all the boys I've loved before. Um, I still gotta
• 37:08
  Speaker 1: watch it. Oh it's good. Have you seen Greatest Showman? Yes,
• 37:11
  Speaker 1: that one has one too. Oh right, but oh god,
• 37:14
  Speaker 1: that movie was terrible. Um I cried twice. But that's fine.
• 37:17
  Speaker 1: Oh sure, sure I would probably cry. I would probably
• 37:20
  Speaker 1: hate it and cry. That's a really good Basically, I
• 37:25
  Speaker 1: just think that there should be more stories that normalize
• 37:28
  Speaker 1: an interracial relationship, rather than saying, like, oh my fucking god,
• 37:32
  Speaker 1: look how big of a freaking deal it is for
• 37:35
  Speaker 1: a white person to date a non white person, but
• 37:38
  Speaker 1: they really talk about it. So Cruel Intentions makes a
• 37:43
  Speaker 1: fairly big deal of an interracial relationship where uh Cecile
• 37:47
  Speaker 1: as a white woman and her cello teacher Ronald is
• 37:50
  Speaker 1: a black man, and they are in love, and Catherine
• 37:55
  Speaker 1: uses their interracial relationship as fuel to seek revenge on
• 38:00
  Speaker 1: Cecil by telling Cecil's disapproving racist mother. Well, it also
• 38:04
  Speaker 1: doesn't help that the only black man in this movie
• 38:09
  Speaker 1: is praying on a child. Right. We we don't know
• 38:12
  Speaker 1: how old he is, right, but he's attending pre Juilliard,
• 38:17
  Speaker 1: which I don't know what that means or what age
• 38:19
  Speaker 1: that would make it's possible he's also a child. I mean,
• 38:22
  Speaker 1: I guess because you know, I agree with all all that.
• 38:25
  Speaker 1: I will say, like when you are somebody's teacher, there's
• 38:29
  Speaker 1: a power dynamic and I'm not a fan of that.
• 38:33
  Speaker 1: I mean, have you y'all have taken improv classes in
• 38:35
  Speaker 1: this town? You know how it goes men teachers, you know,
• 38:39
  Speaker 1: So it's not cute. Sometimes totally agree. So like the
• 38:43
  Speaker 1: fact that the only man of color is abusing the
• 38:46
  Speaker 1: power dynamic, whether he's a child or not. Although I
• 38:48
  Speaker 1: will say he didn't touch her, but those letters are
• 38:51
  Speaker 1: a little creepy, the letters. He does get behind her
• 38:55
  Speaker 1: and like, yeah, that's the first thing you see him.
• 38:59
  Speaker 1: And where he's like he's behind her is his arms
• 39:01
  Speaker 1: are around her under the guys with like let me
• 39:03
  Speaker 1: teach you how to play cello, but it's really like,
• 39:06
  Speaker 1: let me put my crotch right up against your ass.
• 39:09
  Speaker 1: Ghost scene. Yeah, pottery getting made in this scene. No,
• 39:16
  Speaker 1: it's jest a guy hitting on a kid. But the
• 39:20
  Speaker 1: twist is the kids twenty seven. It's very confused. Anyone
• 39:24
  Speaker 1: could be any age in this movie. So I think
• 39:27
  Speaker 1: Zembe Blair gave birth to half the cast's it's hard
• 39:30
  Speaker 1: to know what's going on. And then we see that
• 39:33
  Speaker 1: same play out where like Mrs Caldwell is like Ronald,
• 39:36
  Speaker 1: how could you I got you off the streets and
• 39:38
  Speaker 1: he's like, I live at park what are you talking about?
• 39:42
  Speaker 1: And then he's saying like, I never touched your daughter,
• 39:45
  Speaker 1: and I thought someone of your stature would look beyond
• 39:48
  Speaker 1: racial lines. And she's like, oh, don't give me that
• 39:50
  Speaker 1: racist crap. I gave money to Colin Powell, which but there,
• 39:56
  Speaker 1: I mean, the bare minimum done here is that the
• 39:59
  Speaker 1: racist character is clearly wrong and silly, right, but the
• 40:03
  Speaker 1: subtext of everything is still extremely bad, right, because he's
• 40:07
  Speaker 1: still praying on the kid. And then again Catherine, who
• 40:12
  Speaker 1: is the villain of the movie, even though Sebastian is
• 40:15
  Speaker 1: actually the villain of the movie, but the movie wants
• 40:18
  Speaker 1: you to love him. But Catherine is like exploiting the
• 40:22
  Speaker 1: fact that two people love each other and because they
• 40:24
  Speaker 1: happen to be of a different race, She's like, oh,
• 40:27
  Speaker 1: I can like use this as fuel to get back
• 40:30
  Speaker 1: at Cecile, which, like Cecile literally did nothing to her, right, nothing, nothing, nothing.
• 40:36
  Speaker 1: She doesn't have enough brain power to do much. It's
• 40:39
  Speaker 1: like she you know, basically this is an ego thing.
• 40:42
  Speaker 1: Katherine dated a guy court and something happened. We don't
• 40:45
  Speaker 1: really know. There's a quick little scene of her like
• 40:48
  Speaker 1: going down on him while he's passed out, but it's
• 40:50
  Speaker 1: basically he started seeing Cecile and she her ego said,
• 40:54
  Speaker 1: you don't me for her? Oh buck her, which is
• 40:57
  Speaker 1: such an issue among women, like if listen, it's never
• 41:02
  Speaker 1: the other woman, it's the guy. It's never the other woman,
• 41:06
  Speaker 1: it's the guy. Do not hate on the other woman,
• 41:08
  Speaker 1: it's the guy. I'm telling you from experience. Yeah, And
• 41:12
  Speaker 1: we talked about this a lot on the podcast because
• 41:14
  Speaker 1: we come up upon many relationships between and it's often
• 41:18
  Speaker 1: teen girls, but in movies it shows two women just
• 41:23
  Speaker 1: like being in conflict with each other for reasons that
• 41:26
  Speaker 1: aren't fully explored, just because you know, the older white
• 41:31
  Speaker 1: men who are writing these movies are like, teen girls
• 41:34
  Speaker 1: can't get along, so let's just make sure that's in
• 41:36
  Speaker 1: the movie. So but that's why we all learn from it,
• 41:41
  Speaker 1: you know. I mean I've been in many, not many.
• 41:44
  Speaker 1: I've been in a few squabbles with girls that are
• 41:47
  Speaker 1: currently with my ex or there I'm with their ex,
• 41:50
  Speaker 1: and all of them. Eventually I go, yeah, that was dumb.
• 41:54
  Speaker 1: This is silly. But movies like this reinforced the idea that, yeah,
• 41:57
  Speaker 1: I'm saying, gotta women against each other, go against all
• 42:00
  Speaker 1: this upbringing. I'm a fucking miracle sitting in front of
• 42:03
  Speaker 1: you right now. Evolved is a fucking miracle. Personally, I
• 42:08
  Speaker 1: recommend forming a league of exes. I have. I'm a
• 42:12
  Speaker 1: part of several leagues of exes where Scott Pilgrim there
• 42:16
  Speaker 1: to know because that movie Problemax but there. But you know,
• 42:19
  Speaker 1: sometimes I've dated a lot of losers, and uh, sometimes
• 42:23
  Speaker 1: losers get to have sex with a bunch of cool
• 42:25
  Speaker 1: ladies and then the cool has become friends, and then
• 42:27
  Speaker 1: the loser has to stop performing stand up comedy. It's great.
• 42:30
  Speaker 1: It's it's great. Did we I'm literally on a text
• 42:34
  Speaker 1: change of my X. It's great. It's real trauma bonding.
• 42:42
  Speaker 1: Uh guess it's the guy. Everybody break, That's all I
• 42:47
  Speaker 1: gotta say. Let's take a quick break and we will
• 42:49
  Speaker 1: be back for more cruel intentions. And we're back not
• 43:01
  Speaker 1: to keep. I know. The adaptation head in the room
• 43:04
  Speaker 1: love talking about adapting source material, but in the original book,
• 43:10
  Speaker 1: the way it ends is Sarah Michelle Gellar's character has
• 43:13
  Speaker 1: to move to the countryside, and then she contracts smallpox
• 43:17
  Speaker 1: and lives, but has scars on her face forever, so
• 43:21
  Speaker 1: she looks like sh and her punishment, her beauty is
• 43:24
  Speaker 1: taken away from her. And then also Cecil is disgraced
• 43:28
  Speaker 1: and can never be married. So you know, Sebastian dies
• 43:31
  Speaker 1: and you know, goes down the hero and then all
• 43:34
  Speaker 1: the women he affected suffer and are disgraced for life.
• 43:37
  Speaker 1: Very cool. I love history, but that is like what
• 43:45
  Speaker 1: writers of then and now's idea would be. Oh, how
• 43:48
  Speaker 1: do we punish a woman take away her beauty? Because
• 43:52
  Speaker 1: women's beauty is all that matter? My guy, Pierre not
• 43:56
  Speaker 1: very well, guy, No, do better. Pierre Decay's very h
• 44:02
  Speaker 1: Let's talk about how queerness is represented in this film.
• 44:05
  Speaker 1: Shall we have to? We have to? So there's a
• 44:09
  Speaker 1: subplot where Blaine, which is Joshua Jackson's character. Oh yeah,
• 44:13
  Speaker 1: Joshua Jackson's in this movie. He's fully bleached, frosty, tippy.
• 44:19
  Speaker 1: He's wearing a sweater vest for a large portion of it. Um,
• 44:22
  Speaker 1: I mean he's rocking the look. If I'm being on
• 44:26
  Speaker 1: I did like the sweater vest he is hooking up
• 44:31
  Speaker 1: with this football player dude, Greg Greg. I did I
• 44:38
  Speaker 1: stand a Gregster? Okay? And Greg is who Sebastian thinks
• 44:43
  Speaker 1: is bad mouthing him to a net because there's someone
• 44:45
  Speaker 1: who's like, Sebastian is bad, don't date him in it,
• 44:49
  Speaker 1: and Sebastian thinks it's Greg. So Sebastian uses Greg's queerness
• 44:53
  Speaker 1: to blackmail him. He basically threatens to out Greg unless
• 44:59
  Speaker 1: he admits to bad mouthing him. And we understand at
• 45:03
  Speaker 1: this point in the story that Sebastian is still a
• 45:05
  Speaker 1: bad guy and we've seen him do a bunch of really,
• 45:07
  Speaker 1: you know, morally reprehensible things to people already. But what
• 45:12
  Speaker 1: is really troubling to me about this scene is that
• 45:16
  Speaker 1: all of this is happening right in front of Blaine,
• 45:19
  Speaker 1: who is the other identifiably queer character in the movie,
• 45:24
  Speaker 1: and he is completely complicit and everything that Sebastian is doing,
• 45:28
  Speaker 1: he was participating in it like he was like, that's
• 45:31
  Speaker 1: an awesome idea where it's just like in the same
• 45:35
  Speaker 1: way that like Rehese's character is presented to us as
• 45:39
  Speaker 1: a smart, capable woman who will go along with whatever
• 45:42
  Speaker 1: Joshua Jackson's character is like a smart, funny, cool queer
• 45:48
  Speaker 1: man who is down for whatever sinister gay bashing plot.
• 45:53
  Speaker 1: Ryan Philippe's noodle Head can come up with. It's horrible. Well,
• 45:56
  Speaker 1: I think, you know, I look back on my my
• 45:59
  Speaker 1: high school experience and my queer friends, and I think
• 46:03
  Speaker 1: they were just trying to get by. Yeah. I think
• 46:05
  Speaker 1: this was a defense mechanism. It's like, yeah, that's right. Yeah,
• 46:09
  Speaker 1: call me a homophobic splore. I'm fine with it. He's
• 46:12
  Speaker 1: just trying to get through his damn day. He's just
• 46:14
  Speaker 1: waiting to graduate, to get the funk out of there
• 46:16
  Speaker 1: so we can find his tribe. But that just doesn't
• 46:19
  Speaker 1: come off in the movie at all, Like it just
• 46:21
  Speaker 1: comes off as like, oh, yeah, this is fine. And
• 46:24
  Speaker 1: I feel for the Gregster. This is to this movie,
• 46:28
  Speaker 1: like many of its era, did not acknowledge any gray area.
• 46:32
  Speaker 1: It's like you're gay or you're straight, and like that's it. Poor.
• 46:38
  Speaker 1: I feel for the Gregster. I really hope the Gregster
• 46:40
  Speaker 1: comes into his own later and that his dad accepts
• 46:44
  Speaker 1: him and then he goes on behind a powerful queer
• 46:48
  Speaker 1: football career. But then, but then poor Greg has to
• 46:52
  Speaker 1: do Sebastian's creepy. Errand yeah. And I would say of
• 46:55
  Speaker 1: the hundred or more movies we've covered on the podcast
• 46:59
  Speaker 1: so far, only a small handful of them, probably like
• 47:02
  Speaker 1: five or less even have had an identifiably queer character. Um,
• 47:08
  Speaker 1: a lot more have been queer coded, but that is
• 47:11
  Speaker 1: not the same. So there's such a lack of queer
• 47:15
  Speaker 1: visibility in mainstream Hollywood cinema and it's a huge problem.
• 47:20
  Speaker 1: So for one of like the few examples of a
• 47:23
  Speaker 1: queer character that we have to choose from to be
• 47:26
  Speaker 1: able to see on screen, he's really evil and cruel
• 47:30
  Speaker 1: and like willing to sell out his own people for
• 47:34
  Speaker 1: reasons that are not really established in the movie. And
• 47:38
  Speaker 1: it's so it's like even characters who are not coded queer,
• 47:43
  Speaker 1: who are identifiably queer, they're still villainous. Not that this
• 47:48
  Speaker 1: movie is was ever going to do any better, but
• 47:51
  Speaker 1: that was just like a punch in the mouth as well.
• 47:53
  Speaker 1: Um yeah, I mean he was. He was like a
• 47:56
  Speaker 1: comic relief for you know, yeah, yeah. And another I mean,
• 48:00
  Speaker 1: I don't even know if this trope applies as much
• 48:02
  Speaker 1: in this movie, because literally everyone is a horrendous villain.
• 48:05
  Speaker 1: But adding another queer villain to the roster certainly is
• 48:09
  Speaker 1: not hell not helping, not helpful. Well, and then the
• 48:12
  Speaker 1: other queer moment in this movie is between Selma Blair
• 48:15
  Speaker 1: and Sarah Michelle Geller, which is I mean, you can
• 48:19
  Speaker 1: come with this in a lot of different ways. I'm
• 48:21
  Speaker 1: interested in, like what our listeners think of this moment
• 48:25
  Speaker 1: because it is so like I feel like this. This
• 48:28
  Speaker 1: is used in movies a lot just to like get
• 48:31
  Speaker 1: butts and seeds. It's like, these two actresses are having
• 48:35
  Speaker 1: a kiss, but it sells the idea that it's like
• 48:38
  Speaker 1: it's just an experiment. It's just for fun, it's not serious,
• 48:41
  Speaker 1: and that's part of what makes it appealing or what's
• 48:44
  Speaker 1: supposed to make it appealing. Um is it's I think
• 48:48
  Speaker 1: the most effective kiss of the movie. It was like coonic.
• 48:54
  Speaker 1: It was I hadn't seen this movie, but I knew
• 48:57
  Speaker 1: that right. It got parody in many of film I think,
• 49:01
  Speaker 1: like not another team movie franchise. It one best kiss
• 49:05
  Speaker 1: at the MTV Movie Awards that year, which at the
• 49:08
  Speaker 1: time was fucking iconic, big and um you know the
• 49:12
  Speaker 1: little spit trail that was famous. I did like this,
• 49:17
  Speaker 1: I don't know. To me, it was the whole scene
• 49:20
  Speaker 1: was you have to learn how to be sexy for men,
• 49:23
  Speaker 1: you have to learn how to please your man. And
• 49:27
  Speaker 1: it was a very like male gaze moment. And you know,
• 49:31
  Speaker 1: I don't know. I grew up in a completely different place.
• 49:34
  Speaker 1: I was in you know, suburbial Texas, not like you know,
• 49:38
  Speaker 1: upper New York echelon. But I never made out my
• 49:41
  Speaker 1: fucking friends. I don't know, neither did I not until
• 49:45
  Speaker 1: college when I was like, oh, let's see what this
• 49:49
  Speaker 1: is like. But not and I don't even mean that
• 49:52
  Speaker 1: in a way of like you shouldn't experiment sexually with
• 49:55
  Speaker 1: your friends. I'm just saying it was. It was such
• 49:57
  Speaker 1: a like, well don't you want to be better for
• 49:59
  Speaker 1: men to like you? And that made me sad. I
• 50:02
  Speaker 1: think it would be really beautiful if they kissed, because
• 50:05
  Speaker 1: very experimenting, you know, figuring things out. But it was
• 50:07
  Speaker 1: very much like if you want to be sexy to
• 50:10
  Speaker 1: other men, if you want to know how to please
• 50:12
  Speaker 1: a man, because fuck him pleasing you, you know what
• 50:15
  Speaker 1: I mean, He's not making out with his friends, so
• 50:17
  Speaker 1: he knows how to please you better. So it's our job.
• 50:21
  Speaker 1: I mean it with your friends. My neighbor and I
• 50:26
  Speaker 1: used to practice kissing in each other to Madonna's two
• 50:29
  Speaker 1: thousand album music. There were some good songs on that CD. Yeah,
• 50:36
  Speaker 1: we were practice frenching. I think this scene is largely
• 50:41
  Speaker 1: there to satisfy a male gaze. I think it could
• 50:45
  Speaker 1: you argue that it's positive that it exists in this
• 50:49
  Speaker 1: film for you know, young queer girls to be able
• 50:53
  Speaker 1: to see themselves and say, oh, this is like yes,
• 50:57
  Speaker 1: but I think the movie was thinking about this at all.
• 51:01
  Speaker 1: I think the movie was like, wouldn't it be hot
• 51:04
  Speaker 1: if we had two hot women kissing each other? And
• 51:08
  Speaker 1: it was a very sensual moment. It was, I mean,
• 51:11
  Speaker 1: it was like it was well done and it's Yeah.
• 51:14
  Speaker 1: The reason I didn't want to come down too harder
• 51:16
  Speaker 1: because it's like, because there are so few moments for
• 51:20
  Speaker 1: like young queer people to attach themselves too, and so
• 51:23
  Speaker 1: I'm sure for many people this is like a scene
• 51:25
  Speaker 1: that's like, oh, this is like that was like some
• 51:27
  Speaker 1: sort of awakening or something like that and good to see.
• 51:30
  Speaker 1: But there's no, there's only cruel intentions behind what cruel intentions?
• 51:36
  Speaker 1: Whatever do you mean? But yeah, and then this happens
• 51:40
  Speaker 1: in movies all the time. Two examples, right, off the
• 51:42
  Speaker 1: top of my head are Jennifer's body at the Apple
• 51:44
  Speaker 1: Cody Joint, And there's just very like this didn't need
• 51:49
  Speaker 1: to happen, but you added it in because you wanted to,
• 51:52
  Speaker 1: because you're a guy, right, yeah, yeah, yeah. Another moment
• 51:56
  Speaker 1: happens where this is when Sebastian and a net are
• 51:59
  Speaker 1: for meeting on screen and Sebastians all like, oh, I
• 52:03
  Speaker 1: didn't like your manifesto. It's gross that you want to
• 52:05
  Speaker 1: be a virgin, and she's like, she's saying, you know,
• 52:09
  Speaker 1: I think that sex should be for people who are
• 52:11
  Speaker 1: in love, and that you should the act of love
• 52:13
  Speaker 1: shouldn't be done unless you love the person, which is
• 52:17
  Speaker 1: feist Trevor, which was Trevor. We don't meet him, but
• 52:23
  Speaker 1: her boyfriend respects for damn wishes. They use a homopholbic
• 52:27
  Speaker 1: slur him. Yeah, and she's like, I'm actually he's a
• 52:32
  Speaker 1: he's a feminist dot com right and and the Greg
• 52:35
  Speaker 1: Stir queer icon. Yeah, so and that's all like we like,
• 52:39
  Speaker 1: people are age are mature enough to experience those emotions,
• 52:42
  Speaker 1: So that's why I'm not having sex yet. And the
• 52:44
  Speaker 1: Sebastian immediately asks, are you a lesbian. And this is
• 52:48
  Speaker 1: this I think third movie that we've covered recently where
• 52:51
  Speaker 1: a woman either doesn't want a boyfriend or doesn't want
• 52:54
  Speaker 1: to have sex with a man, or is simply identifies
• 52:57
  Speaker 1: as a feminist. And then other aaracters, usually men, assume
• 53:01
  Speaker 1: that she's a lesbian because this happens in five days
• 53:04
  Speaker 1: of summer. How dare she not be attracted to me
• 53:07
  Speaker 1: instantly and want to fuck me? And then and then
• 53:10
  Speaker 1: backpad a little bit back to the virginity article, is like,
• 53:13
  Speaker 1: this is something that happens in movies all the time too,
• 53:15
  Speaker 1: Like implying that someone is like just waiting for a
• 53:20
  Speaker 1: manipulative dick to come along to lose a virginity too,
• 53:25
  Speaker 1: as opposed to like it's clearly stated in the Weird
• 53:28
  Speaker 1: teen magazine she somehow wrote editorial for for no reason
• 53:31
  Speaker 1: that this is what this is what she wants and
• 53:34
  Speaker 1: this is like and and she explains it clearly, and
• 53:37
  Speaker 1: the movie is like, yeah, but she doesn't actually mean
• 53:40
  Speaker 1: that she's just into submission. So, and I want to
• 53:48
  Speaker 1: talk about that scene where Catherine gives us like sort
• 53:52
  Speaker 1: of monologue where she's calling out a double standard that
• 53:56
  Speaker 1: we see in so soety where heard of it. She says,
• 54:02
  Speaker 1: it's all right for guys like you and Court. She's
• 54:04
  Speaker 1: talking to Sebastian, for guys like you in court to
• 54:06
  Speaker 1: funk everyone. But when I do it, I get dumped
• 54:09
  Speaker 1: for innocent little twits like Cecil. God forbid. I exude
• 54:12
  Speaker 1: confidence and enjoy sex. Do you think that I relish
• 54:15
  Speaker 1: the fact that I have to act like Mary Sunshine
• 54:18
  Speaker 1: seven so I can be considered a lady. So she's
• 54:21
  Speaker 1: basically saying, like, it's not fair that men can have
• 54:23
  Speaker 1: sex with a bunch of people, you know, their reputation
• 54:26
  Speaker 1: remains untarnished. They're cool, they're you know, awesome dudes. And
• 54:31
  Speaker 1: then whenever women have sex with more than one person,
• 54:35
  Speaker 1: they are labeled a slut. So she's calling this out.
• 54:38
  Speaker 1: She makes a good point, but she's also insulting another
• 54:41
  Speaker 1: woman while doing it. She's mad at people judging her,
• 54:45
  Speaker 1: but she's judging some another woman's sexual choices. Right. This
• 54:48
  Speaker 1: rang completely empty to me? Yes, Like I just if
• 54:53
  Speaker 1: she would have cut the first sentence, you know, or
• 54:56
  Speaker 1: the part the innocent twit like ceceal part, it would
• 54:58
  Speaker 1: have been fine. But clear Really she's just dealing through
• 55:01
  Speaker 1: her own ship. Yeah, and it's like the the whole
• 55:04
  Speaker 1: like Gillian Flynn argument, they're Jillian Flynn, don't know, we
• 55:08
  Speaker 1: never know, don't caret tired. But but the whole argument
• 55:12
  Speaker 1: there is like that like women should be allowed to
• 55:14
  Speaker 1: be villains and isn't that parody? And like I agree
• 55:17
  Speaker 1: with that to an extent, but this is this just
• 55:19
  Speaker 1: like falls squarely into a thing I fucking hate, which
• 55:22
  Speaker 1: is like the adding a few like this is a
• 55:26
  Speaker 1: moment for feminists that is totally empty because the character
• 55:30
  Speaker 1: is complicit and all these horrible things and they're means
• 55:32
  Speaker 1: women themselves, and it's just like it's it's it's empty,
• 55:36
  Speaker 1: like girl power, especially because like I think this monologue
• 55:41
  Speaker 1: could be way more meaningful and progressive if it was
• 55:44
  Speaker 1: coming from a character who wasn't completely evil, like because
• 55:49
  Speaker 1: this movie does what a lot of movies do, which
• 55:51
  Speaker 1: is to take a woman who is interested in sex
• 55:54
  Speaker 1: and who is open with her sexuality, but who's also
• 55:56
  Speaker 1: like really mean or has just some other neg of
• 56:00
  Speaker 1: characteristic like ascribed to her character, so it's almost villainizing
• 56:05
  Speaker 1: her sexuality where it's like, oh, yeah, she wants to
• 56:08
  Speaker 1: be open, she wants to be free to have sex,
• 56:10
  Speaker 1: with a number of different people. But also she's cruel,
• 56:14
  Speaker 1: she has cruel intentions, especially because this isn't the direct
• 56:17
  Speaker 1: lead up to her being squarely made the sole villain
• 56:21
  Speaker 1: of the movie by the end. Yeah, I just want
• 56:25
  Speaker 1: to say also, like, I was prude shamed, and that's
• 56:28
  Speaker 1: just a word I made up. It might be a term,
• 56:30
  Speaker 1: but that's an I was prude shamed in high school.
• 56:34
  Speaker 1: I graduated High School of virgin and uh, and I
• 56:37
  Speaker 1: was extremely prude shamed by a guy I was dating,
• 56:42
  Speaker 1: by all his friends, by literally everyone, and it's a
• 56:47
  Speaker 1: whole other coin. Yeah, And I struggled with a lot
• 56:50
  Speaker 1: of that myself because I saw, you know, friends of
• 56:52
  Speaker 1: mine having sex and and then I almost shamed them
• 56:56
  Speaker 1: out of insecurity and like, you know what I mean.
• 56:58
  Speaker 1: So I hate it, but I think it's important to
• 57:01
  Speaker 1: call out again. This is the ship that we were shown,
• 57:05
  Speaker 1: and this movie affected me and my sexuality subconsciously, how
• 57:11
  Speaker 1: I saw other women. And that's all I gotta say
• 57:13
  Speaker 1: about that shot. It's all the pruds, you know. I
• 57:16
  Speaker 1: was trying to get through the damn day. I was
• 57:19
  Speaker 1: trying to graduate and go to school. Prudes are productive people,
• 57:24
  Speaker 1: I mean, that's the point it's like, you want and
• 57:27
  Speaker 1: how about no women comment on other women's sexual preferences.
• 57:31
  Speaker 1: There's say, you know what, if you want to sex,
• 57:34
  Speaker 1: that's awesome. If you don't, that's awesome. We can all
• 57:38
  Speaker 1: co exist without judging each other, your body, your children
• 57:41
  Speaker 1: exactly because and that's another thing that bothers me about
• 57:44
  Speaker 1: the Reese character is like at the beginning, it's like
• 57:46
  Speaker 1: if I saw this movie when I was teen, prude,
• 57:50
  Speaker 1: same same thing, I would have been like, oh, this
• 57:51
  Speaker 1: is the character I attached myself too. And then immediately
• 57:54
  Speaker 1: it's like no, but she just has to funk Bryan
• 57:56
  Speaker 1: Philippie and then her life will be great, and it's like,
• 57:59
  Speaker 1: well he manipulated her. I mean, I would like to
• 58:03
  Speaker 1: think when she's thirty three, you know, doing a podcast,
• 58:08
  Speaker 1: that she would be like, fuck, I should not, you know,
• 58:11
  Speaker 1: I don't know. Maybe I do that a little differently
• 58:13
  Speaker 1: if I thought about it and a little more, I
• 58:16
  Speaker 1: had intentions not so nice where they cruel? Would you say,
• 58:20
  Speaker 1: I don't want to like throw anyone under the bus here.
• 58:23
  Speaker 1: But also his handwriting is really bad, but I got
• 58:26
  Speaker 1: a Jaguar out of it. I don't wish to speak
• 58:28
  Speaker 1: ill of the dead, but like perhaps his intentions were cruel. Well,
• 58:32
  Speaker 1: let's talk about another scene or series of scenes that
• 58:36
  Speaker 1: probably also negatively influenced you as a teen watching this movie,
• 58:41
  Speaker 1: which is the rape scene and the after So, so,
• 58:49
  Speaker 1: what happens here is that Sebastian invites over Cecil under
• 58:53
  Speaker 1: the pretense that he's going to help her with Ronald
• 58:56
  Speaker 1: to write, which he has no intention of doing. Actually,
• 59:00
  Speaker 1: Then he feeds her an alcoholic drink that she does
• 59:02
  Speaker 1: not know contains alcohol. He takes pictures of her without
• 59:06
  Speaker 1: her knowledge or permission. Then he negs her and says,
• 59:09
  Speaker 1: too bad, you're not sexy. Then he unzips her sweatshirt
• 59:13
  Speaker 1: and exposes her bra without her permission. Then he threatens
• 59:17
  Speaker 1: to call her mom and blackmails when she wants to leave.
• 59:20
  Speaker 1: When she wants to leave, explicitly says I'm uncomfortable. I
• 59:24
  Speaker 1: want to leave, and to which he says, you can't leave.
• 59:28
  Speaker 1: I will rat you out and ruin your life, so
• 59:30
  Speaker 1: he traps her. Then he says, all I want to
• 59:34
  Speaker 1: do is give you a kiss, which she the consent.
• 59:38
  Speaker 1: Here in this in this isolated moment is still murky
• 59:42
  Speaker 1: because she's really only agreeing to it to sort of
• 59:45
  Speaker 1: placate him because he's been blackmailing I'll do anything, just
• 59:49
  Speaker 1: don't call my mom, right, which is so gross as
• 59:54
  Speaker 1: you know, she's a child. And then he's like, well,
• 59:59
  Speaker 1: I want to kiss you down there, and then she's like, no,
• 1:00:04
  Speaker 1: I don't want that. And then he's like, what promise
• 1:00:07
  Speaker 1: is a promise? I mean, I can't imagine, like I
• 1:00:10
  Speaker 1: put myself in that situation. And again, when I was
• 1:00:12
  Speaker 1: like a fifteen year old virgin, I mean, that would
• 1:00:15
  Speaker 1: have completely ruined my life. That would have completely changed
• 1:00:18
  Speaker 1: the course of my life, my sexuality, everything. Absolutely, It's
• 1:00:22
  Speaker 1: a very fucked up moment. Yeah. And the aftermath of this,
• 1:00:25
  Speaker 1: so then he takes advantage of her naivete pressures her
• 1:00:29
  Speaker 1: into oral sex, which she does not give consent to.
• 1:00:32
  Speaker 1: He rapes her. So the next day she is visibly traumatized.
• 1:00:38
  Speaker 1: And then I think maybe later that day or the
• 1:00:42
  Speaker 1: next day or something like that, Cecile and Catherine talk
• 1:00:45
  Speaker 1: about it. Cecile says, you know, something awful happened to
• 1:00:47
  Speaker 1: me last night and involves your brother. He took advantage
• 1:00:50
  Speaker 1: of me, and then straight up says, your brother fucking
• 1:00:52
  Speaker 1: rape me. Your brother fucking raped me. And what does
• 1:00:56
  Speaker 1: Catherine says? Well, first she says why didn't you do something, which,
• 1:01:00
  Speaker 1: again is victim horrible this. I literally felt throw up
• 1:01:06
  Speaker 1: rising my throat watching this. It made me so uncomfortable.
• 1:01:09
  Speaker 1: It's just like, gut, I loved it when I asking you, Yeah,
• 1:01:12
  Speaker 1: I thought this was funny. And we're so gas lady insane,
• 1:01:18
  Speaker 1: bad sending the message that like women cannot talk to
• 1:01:21
  Speaker 1: other women about this stuff, and it's just oh, it's
• 1:01:23
  Speaker 1: bad because it confiding in her. Yeah, she was terrified,
• 1:01:27
  Speaker 1: and she's like, oh, he forced in her course on
• 1:01:29
  Speaker 1: you know, oh he made you give him a blow up? No,
• 1:01:31
  Speaker 1: well then what and then she described what happens and
• 1:01:34
  Speaker 1: then she's like, oh, he went down on you, if
• 1:01:37
  Speaker 1: that's what you call it. And then she's asking did
• 1:01:39
  Speaker 1: you like it? No, and she's like no, and she's like, well,
• 1:01:42
  Speaker 1: I don't know. It was weird. And then Catherine's like, oh,
• 1:01:44
  Speaker 1: well you had an orgasm. You're becoming a lady. You
• 1:01:47
  Speaker 1: had your awakening right unless she's like, I'm so proud
• 1:01:52
  Speaker 1: of you. And then Cecile, who again is a victim
• 1:01:57
  Speaker 1: and is experiencing trauma, the movie has her say I am,
• 1:02:01
  Speaker 1: and then she's squealing with delight. She hugs Katherine and
• 1:02:05
  Speaker 1: then Katherine's like, it would be stupid of you to stop.
• 1:02:07
  Speaker 1: You should keep going, have Sebastian teach you all the
• 1:02:10
  Speaker 1: sex stuff, sleep with as many people as possible, and
• 1:02:13
  Speaker 1: she's like, well, wouldn't that make me a slut? And
• 1:02:15
  Speaker 1: Katherine's like, everybody does it, it's just that no one
• 1:02:17
  Speaker 1: talks about it. So, like, God, I hate this so much.
• 1:02:21
  Speaker 1: It's the worst possible way this could have unfolded. Where
• 1:02:25
  Speaker 1: she's a victim of rape, she is confiding in another woman.
• 1:02:30
  Speaker 1: That other woman gaslights her, victim blames her and then says, oh,
• 1:02:34
  Speaker 1: what happened to you wasn't bad. It was actually good
• 1:02:37
  Speaker 1: because you had an orgasm and you should keep doing it.
• 1:02:39
  Speaker 1: And then the scene after that is Cetile back at
• 1:02:44
  Speaker 1: Sebastian's place. She has now had sex with him, she
• 1:02:48
  Speaker 1: wants to keep having She's she's verywhere he throws her
• 1:02:56
  Speaker 1: off the bed because she's talking. I mean, he's really
• 1:03:00
  Speaker 1: setting her up for a healthy sexual identity, and you
• 1:03:04
  Speaker 1: know what I mean, Like, it's just my heart broke
• 1:03:06
  Speaker 1: in this scene, just imagining her again growing up in
• 1:03:09
  Speaker 1: her twenties. This is setting her up for just really
• 1:03:13
  Speaker 1: shitty emotions involving her sexuality. It bummed me out so hard.
• 1:03:18
  Speaker 1: I guess I'm like too old to enjoy movies anymore
• 1:03:21
  Speaker 1: because all I see are the sad things. I'm so
• 1:03:25
  Speaker 1: glad I didn't see this movie as a teenager, because
• 1:03:27
  Speaker 1: I really think I would have been so full of
• 1:03:29
  Speaker 1: this over all of this, and that says a lot
• 1:03:32
  Speaker 1: again about you know, my environment, the media I was consuming,
• 1:03:37
  Speaker 1: the lack of positive, helpful conversations. I was big given
• 1:03:40
  Speaker 1: So again, it's a miracle. And who I am today
• 1:03:43
  Speaker 1: and it's all I gotta say. Well, we've had to
• 1:03:45
  Speaker 1: reach we've all had to retrain our and it comes
• 1:03:49
  Speaker 1: with age. That's one, you know. I'll take that. Yeah,
• 1:03:52
  Speaker 1: And I'm happy with who I am today. And fortunately
• 1:03:55
  Speaker 1: this is not the sort of movie. It would be
• 1:03:57
  Speaker 1: very hard to make this movie in the same way
• 1:03:59
  Speaker 1: today because society, because we have a vault, we have
• 1:04:06
  Speaker 1: ad enough. Certainly not, that's why we do this. Every
• 1:04:11
  Speaker 1: movie from like, have you to talk about the wedding singer? No,
• 1:04:14
  Speaker 1: not yet, I'll leave it for that. It used to
• 1:04:16
  Speaker 1: be on favorite movie and I watched it and I
• 1:04:18
  Speaker 1: was just like, damn, there's so many things in this
• 1:04:20
  Speaker 1: movie that really are not okay anymore. I had to
• 1:04:22
  Speaker 1: give my favorite movie Back to the Future. On a
• 1:04:25
  Speaker 1: bonus episode. We did Zero Nipples because everything about it
• 1:04:29
  Speaker 1: is horribly problematic. There's some assault in that movie too
• 1:04:32
  Speaker 1: that everyone just hurt her. That was funny. Yeah, this
• 1:04:38
  Speaker 1: movie is horrible, but great soundtrack. Also, I love the
• 1:04:44
  Speaker 1: frost the tips. They're frosty and I'm here for him.
• 1:04:47
  Speaker 1: But like everything else is horrible. Ryan Phillippi says emails
• 1:04:50
  Speaker 1: for geeks and pedophiles, which is so great. I mean,
• 1:04:53
  Speaker 1: it's like, which you know, relatable. They didn't get everything wrong.
• 1:04:59
  Speaker 1: That's a l O L line. It is still email
• 1:05:02
  Speaker 1: is still chaotic, evil, and god. An email causes me
• 1:05:07
  Speaker 1: so much anxiety. It's not like a phone call where
• 1:05:10
  Speaker 1: you can talk to somebody and then it goes away
• 1:05:12
  Speaker 1: and you'll never really remember exactly what somebody says. It's
• 1:05:14
  Speaker 1: literally like, I remember, I broke up with this guy
• 1:05:16
  Speaker 1: and I sent him the worst, like embarrassing overshare email,
• 1:05:20
  Speaker 1: and I'm like, I'm married now he's married. Now that
• 1:05:24
  Speaker 1: email exists, It's like this, some day he could fucking
• 1:05:28
  Speaker 1: there's a paper trail, and I hate that makes me
• 1:05:31
  Speaker 1: so upset that that exists. Man, Sometimes when I'm feeling
• 1:05:35
  Speaker 1: like emotionally cutting, I'm like, let me just see see
• 1:05:38
  Speaker 1: an email. Is isn't at any point terrific psycho. Does
• 1:05:44
  Speaker 1: anyone have any other thoughts about cruel intentions? It's just
• 1:05:47
  Speaker 1: like if if you want, if you are an evolved
• 1:05:50
  Speaker 1: person who wants to get drunk with their friends and
• 1:05:53
  Speaker 1: really ugle a horrifying piece of media, this was a
• 1:05:57
  Speaker 1: fun party watch. Other than that, I mean, if you
• 1:06:00
  Speaker 1: haven't seen this movie and expect to get anything out
• 1:06:04
  Speaker 1: of it in terms of your life, you won't write
• 1:06:07
  Speaker 1: it's it's it's really a cursed piece of media. It's sure,
• 1:06:10
  Speaker 1: it's a little over an hour and a half long,
• 1:06:12
  Speaker 1: but it took me, I would say, four hours to
• 1:06:14
  Speaker 1: watch because I kept either having deposit to take a
• 1:06:17
  Speaker 1: string of notes, or I was just so emotionally exhausted
• 1:06:21
  Speaker 1: watching it that I just had to keep taking breaks.
• 1:06:24
  Speaker 1: I mean, one point we didn't even touch upon is
• 1:06:26
  Speaker 1: Catherine's wardrobe, which is literally like Grandmama. It was like,
• 1:06:31
  Speaker 1: so as they say on Project going Away, matronly, she
• 1:06:34
  Speaker 1: dressed like a you know, sixty seven year old like
• 1:06:38
  Speaker 1: rich lady in the clothing is crazy. And then a
• 1:06:42
  Speaker 1: Nette is dressed in like white, sells the whole movie
• 1:06:45
  Speaker 1: because she's like the virginal, she's paste. And then she
• 1:06:48
  Speaker 1: dres just pretty like that's what a mid two thousands
• 1:06:51
  Speaker 1: or late nineties, you know teen girl would wear. Sure,
• 1:06:53
  Speaker 1: but I think the color palette was very intention it was.
• 1:06:56
  Speaker 1: And then the and then Cecile is dressing in like cartoonish.
• 1:07:02
  Speaker 1: She's wearing a bit. Why didn't see the diaper the
• 1:07:06
  Speaker 1: fucking eyes saw dress. It's cost dot diaper with her
• 1:07:14
  Speaker 1: fucking barette. You know. She look Well, that's why I
• 1:07:18
  Speaker 1: carry backpack. I always say we're a backpack. It takes
• 1:07:20
  Speaker 1: ten years off of you instantly. Oh I'm late for
• 1:07:23
  Speaker 1: sucking stunny hallo. Tip for all the people out there,
• 1:07:28
  Speaker 1: that's actually a great tip. Thank you adition. They're gonna go, wow,
• 1:07:32
  Speaker 1: look at that ten best boss. Oh well, shall we
• 1:07:38
  Speaker 1: determine whether or not the movie passes the back to tests?
• 1:07:41
  Speaker 1: Somehow it does. There are quite a few scenes where
• 1:07:45
  Speaker 1: women interact in the movie. This passes it. Yeah, yeah,
• 1:07:49
  Speaker 1: a bunch of times. Unfortunately, like oh my god, by
• 1:07:51
  Speaker 1: our standard it only has to be a two line
• 1:07:54
  Speaker 1: exchange that passes. So there are quite a few conversations
• 1:07:57
  Speaker 1: that women will be talking. They will start off the
• 1:08:00
  Speaker 1: conversation about not men, and then they will start to
• 1:08:03
  Speaker 1: talk about men, but the first few lines of those
• 1:08:06
  Speaker 1: conversations will pass. For example, like even in the very
• 1:08:09
  Speaker 1: beginning with the therapist whose name we learn based on
• 1:08:13
  Speaker 1: the book Covers, Dr Regina Greenbaum, she's on the phone
• 1:08:17
  Speaker 1: with terror read. She's like, hi, honey, and then Marcy's like,
• 1:08:20
  Speaker 1: you kept me on hold, and the doctor is like,
• 1:08:23
  Speaker 1: I'm sorry, it's something wrong, and then they start talking
• 1:08:25
  Speaker 1: about that. But that count, I mean to us, which
• 1:08:29
  Speaker 1: the bar is so low. We talked about that all
• 1:08:32
  Speaker 1: the time. We talk about the fact that this test
• 1:08:33
  Speaker 1: is flawed. That is what we named the show, so
• 1:08:38
  Speaker 1: we have to I mean, I only found one conversation
• 1:08:41
  Speaker 1: where they didn't talk about men, and that was when
• 1:08:43
  Speaker 1: Aunt Helen and net are discussing her house while they're
• 1:08:46
  Speaker 1: riding the horses. It's like, oh, what a beautiful home.
• 1:08:48
  Speaker 1: Oh it's been my family for generations. Oh thank you
• 1:08:50
  Speaker 1: for letting me stay here. The only conversation between not
• 1:08:54
  Speaker 1: pass the back to time. But then Annette says, oh,
• 1:08:57
  Speaker 1: my grandpa used to read horses, so then she mentions
• 1:08:59
  Speaker 1: a man. There's a scene towards the beginning where Katherine,
• 1:09:08
  Speaker 1: Cecile and Bunny called well Christine brains scar. They're talking
• 1:09:13
  Speaker 1: about how Cecile is going to start school, and there's
• 1:09:16
  Speaker 1: there's quite a few lines that do pass. But then
• 1:09:19
  Speaker 1: but then Cecile says, what are the boys like? So
• 1:09:22
  Speaker 1: then that stopped. Soasian sexually harasses her and that looks
• 1:09:26
  Speaker 1: up her skirt, yeah, and nobody says anything, and then
• 1:09:31
  Speaker 1: mother shames her. Yeah, She's like, together, close your legs.
• 1:09:37
  Speaker 1: This isn't Jamaica. What the does that mean? First of all,
• 1:09:40
  Speaker 1: I don't know, but I don't like it. Whatever that
• 1:09:43
  Speaker 1: implication is. I hate it sound they're not saying, how
• 1:09:47
  Speaker 1: fucking dare you my fifteen year old daughter? You're disgusting.
• 1:09:52
  Speaker 1: I'm telling you. It's so much victim blaming and victim shaming.
• 1:09:56
  Speaker 1: So enraged. How dare they do this to Christine? Honestly,
• 1:10:01
  Speaker 1: Christine didn't God? Okay. So there's a few other scenes that,
• 1:10:06
  Speaker 1: like towards the end, whenever Katherine and a Nette are
• 1:10:10
  Speaker 1: in the bathroom, as Katherine snorting cocaine out of her
• 1:10:13
  Speaker 1: uh necklace and that comes out of the stall. Katherine's like,
• 1:10:16
  Speaker 1: I didn't know anyone else is in here. And then
• 1:10:18
  Speaker 1: it's like, I'm sorry, I'm Anette heargrove, and she's like,
• 1:10:21
  Speaker 1: I'm Katherine. Have we met? I don't think so. And
• 1:10:23
  Speaker 1: then they talk about they both act like they don't
• 1:10:25
  Speaker 1: know who each other is. Right, We're right they talk
• 1:10:27
  Speaker 1: about Sebastian. But yeah, those few first lines passed the test.
• 1:10:31
  Speaker 1: So this movie unfortunately does pass, even though most conversations
• 1:10:35
  Speaker 1: between women end up being about men. So yes, so
• 1:10:40
  Speaker 1: good job movie. Shall we rate the film on our
• 1:10:45
  Speaker 1: nipple scale? Can can do it? All? Right? Zero to
• 1:10:49
  Speaker 1: five nipples? Based on its portrayal and representation of women,
• 1:10:54
  Speaker 1: It's zero. I'm getting this is getting zero nipples. Every
• 1:11:00
  Speaker 1: Thing between the victim blaming, the assault that is not
• 1:11:06
  Speaker 1: considered assault by most of the characters in the movie
• 1:11:09
  Speaker 1: and the movie itself, the homophobia, the slurs that get
• 1:11:13
  Speaker 1: thrown around very freely, the fact that women hate each other.
• 1:11:20
  Speaker 1: There there isn't a woman that gets along with another
• 1:11:23
  Speaker 1: woman in the whole movie. Yeah, the fact that Catherine
• 1:11:27
  Speaker 1: is villainized at the very end, and she's the one
• 1:11:31
  Speaker 1: who gets her come up, and even though Sebastian is
• 1:11:35
  Speaker 1: the way more active villain and does way more horrible
• 1:11:39
  Speaker 1: things throughout the film, including assault, It's just I feel
• 1:11:45
  Speaker 1: really sorry for anyone who watched this as a young
• 1:11:48
  Speaker 1: and impressional person, because this movie almost certainly screwed you
• 1:11:52
  Speaker 1: up to some degree, and it's horrible that this movie
• 1:11:56
  Speaker 1: exists in the world. Soundtrack though there so yeah, zero nipples,
• 1:12:10
  Speaker 1: so I have no nipples to give to anybody. I'm
• 1:12:12
  Speaker 1: also going to give it zero nipples. I want to
• 1:12:14
  Speaker 1: give it negative nipples because this is a successful movie
• 1:12:17
  Speaker 1: to add a net negative impact on the culture. It
• 1:12:20
  Speaker 1: did harm to people. I'm giving it negative one nipples.
• 1:12:24
  Speaker 1: I'm giving in an inverted, cursed nipple because it did.
• 1:12:29
  Speaker 1: I mean, movies like this are so frustrating because there
• 1:12:32
  Speaker 1: I mean, this is a special case, because there's truly
• 1:12:34
  Speaker 1: nothing good to be taken away from it. Yeah, you're
• 1:12:37
  Speaker 1: totally right. There's not one positive not loaded with like malice.
• 1:12:42
  Speaker 1: Female interaction where at least there are male male relationships
• 1:12:47
  Speaker 1: in this movie that are friendships, but of course it's
• 1:12:50
  Speaker 1: because they do evil shipped together. They rape in packs.
• 1:12:55
  Speaker 1: But like no woman talking to another woman in this
• 1:12:58
  Speaker 1: movie is done without them lie to each other, manipulating.
• 1:13:01
  Speaker 1: It's just women and women when you say their intentions
• 1:13:04
  Speaker 1: are perhaps okay as they mean yeah, as they mean intentions, okay, okay,
• 1:13:12
  Speaker 1: I'm it gets an inverted nipple for violence against Christine Baranski.
• 1:13:16
  Speaker 1: It it just I don't like when my galasm is
• 1:13:19
  Speaker 1: saying things about Jamaica that make no sense. This movie
• 1:13:22
  Speaker 1: is like, sucks so hard that it is watching a
• 1:13:27
  Speaker 1: slow taxi crash that makes no sense. Yeah, it's bad,
• 1:13:32
  Speaker 1: it's bad. I don't I can't think of something I
• 1:13:34
  Speaker 1: could have done to make it worse. Right, they made
• 1:13:36
  Speaker 1: every bad choice, and that is an accomplishment in itself.
• 1:13:39
  Speaker 1: They made every single bad choice. They didn't let Sebashian
• 1:13:42
  Speaker 1: have one. I mean he even verbally assaults the old
• 1:13:46
  Speaker 1: woman in the retirement home. Yeah, he fucking verbally assaulted
• 1:13:51
  Speaker 1: the old lady in the retirement home. Character gets past him,
• 1:13:56
  Speaker 1: he gaslights hers like yeah we played backgammon, don fuck
• 1:14:01
  Speaker 1: your daughter? Like, who the fuck? But sick fuck I
• 1:14:07
  Speaker 1: also the fun runner of every time Sebastian walks into
• 1:14:11
  Speaker 1: a building, he abuses the working class doorman, class shaming people.
• 1:14:17
  Speaker 1: Oh he's just a night but he's the guy that
• 1:14:20
  Speaker 1: we're supposed to root for at the end because he
• 1:14:22
  Speaker 1: gets because not even any less evil because of this.
• 1:14:26
  Speaker 1: He does nothing because he had a sinister scrap book
• 1:14:30
  Speaker 1: that was published. Yeah, he went into a lot like
• 1:14:33
  Speaker 1: he like cut things out, amazing deca, getting crafty. Yeah,
• 1:14:39
  Speaker 1: I mean, you know whatever, fuck it negative one nipple, Yeah,
• 1:14:44
  Speaker 1: well what would you give it? I would give the
• 1:14:46
  Speaker 1: soundtrack five nipples with the movie zero. Yes, fuck this movie. Honestly,
• 1:14:51
  Speaker 1: shame on all these actors too, But again at the time,
• 1:14:55
  Speaker 1: we didn't know any it was. That's really depressing. But
• 1:14:58
  Speaker 1: that's true. And I to pull the ignorance card, but honestly,
• 1:15:02
  Speaker 1: but it's true. It is. It just makes me. I
• 1:15:05
  Speaker 1: wonder what they think now, you know, like Molly Ringwalld
• 1:15:08
  Speaker 1: talked about The Breakfast Club and like, looking back on it,
• 1:15:10
  Speaker 1: I would love to hear what SAA Michelle Gellar thinks
• 1:15:12
  Speaker 1: of this movie now. And Ryan Philippi. This movie almost
• 1:15:16
  Speaker 1: became a TV show two years ago and then it
• 1:15:18
  Speaker 1: was mindfully canceled. Um, I don't know, has like done
• 1:15:24
  Speaker 1: a lot of good things, it seems since she you know,
• 1:15:26
  Speaker 1: she has a production company where she's championing female led projects,
• 1:15:31
  Speaker 1: championing women of color, its rules, no doubt about it.
• 1:15:35
  Speaker 1: So at least she was funked up with that cop
• 1:15:37
  Speaker 1: at one time. But we all pretended, oh wait, what happened?
• 1:15:40
  Speaker 1: What she was driving drunk, got pulled over? It was like,
• 1:15:44
  Speaker 1: don't you know who I am? I mean the the
• 1:15:48
  Speaker 1: PR team skirted pass out. Everybody gets one shitty pass
• 1:15:52
  Speaker 1: you learn from it, you know, Okay, Hollywood forgives. I
• 1:15:56
  Speaker 1: think we all know that by now. Okay, unless you're
• 1:15:59
  Speaker 1: a woman older than four. But racist America's sweetheart. When
• 1:16:03
  Speaker 1: she won her oscar, I sobbed, I wept with joy. Yeah,
• 1:16:07
  Speaker 1: so call me Reest, love you and and l Woods.
• 1:16:11
  Speaker 1: I will defend her till my night. Yeah, like Reese
• 1:16:13
  Speaker 1: Weatherspoon is like white feminism, the person the better for works. Sure. Yeah, well, Jackie,
• 1:16:19
  Speaker 1: thank you so much for coming on the podcast and
• 1:16:21
  Speaker 1: discussing this life with us. Where can people find you online?
• 1:16:26
  Speaker 1: Do you have anything you'd like to plug? Well? I
• 1:16:28
  Speaker 1: host a show called Natch Beaute. It's a beauty show.
• 1:16:31
  Speaker 1: But what does beauty mean to you? You know, that's
• 1:16:34
  Speaker 1: really what we talk about. We we really love cruelty
• 1:16:36
  Speaker 1: free products, so we get into the kind of the
• 1:16:39
  Speaker 1: stuff nobody tells you about the beauty industry, makeup and skincare,
• 1:16:42
  Speaker 1: and we have fun on there. So maybe you two
• 1:16:44
  Speaker 1: can come on and we can talk about stuff like that.
• 1:16:47
  Speaker 1: It would be fun. I like cruelty free intentions wait
• 1:16:53
  Speaker 1: and direct DVD sequel, So yeah, check out natural You
• 1:17:00
  Speaker 1: and you can follow me on Instagram at an attribute
• 1:17:04
  Speaker 1: and then my I always plug my dog's account hello,
• 1:17:08
  Speaker 1: because my dog is the biggest star in my house.
• 1:17:10
  Speaker 1: So you like dog accounts? Follow Chucci love it Yeah awesome.
• 1:17:15
  Speaker 1: You can find us in all the usual places. We
• 1:17:18
  Speaker 1: are on Twitter and Facebook at battle cast. Please like,
• 1:17:23
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• 1:17:26
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• 1:17:29
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• 1:17:33
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• 1:17:36
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• 1:17:42
  Speaker 1: moving forward in your day, try to keep your intentions good.
• 1:17:48
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