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The Princess Diaries with Marcia Belsky · The Bechdel Cast

• 0:00
  Speaker 1: On the Beck Doll Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in um? Are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands? Do they have individualism? The patriarchy? Z f
• 0:11
  Speaker 1: invest start changing it with the Beck del Cast. Hi, everyone,
• 0:16
  Speaker 1: Caitlin here. You are about to hear a live episode
• 0:19
  Speaker 1: that we recorded in New York. But we just wanted
• 0:22
  Speaker 1: to do a few quick plugs at the top of
• 0:24
  Speaker 1: the show. First of all, if you're listening to this
• 0:26
  Speaker 1: in early January, Happy New Year. If you're listening to
• 0:32
  Speaker 1: this in like, I don't know, seven, then there's probably
• 0:37
  Speaker 1: a terminator who's trying to kill you right now, and
• 0:39
  Speaker 1: I'm sorry. Also, where's our episode on terminator or terminator too?
• 0:45
  Speaker 1: Because Sarah Connor feminist icon. Anyway, don't forget that we
• 0:51
  Speaker 1: have a live show coming up in l A on
• 0:53
  Speaker 1: January twelve at nine pm at the Ruby. We are
• 0:57
  Speaker 1: covering romy and Michelle's high school reunion with past guests
• 1:00
  Speaker 1: of the show Danielle Perez. So grab your tickets to
• 1:03
  Speaker 1: that on bachtelcast dot com and click on the live
• 1:06
  Speaker 1: appearances tab um. Also, at the time of this recording,
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  Speaker 1: we still have a few tickets left to our San
• 1:13
  Speaker 1: Francisco show on January and our Portland's show on January,
• 1:18
  Speaker 1: and those tickets are also at bachtelcast dot com. But
• 1:21
  Speaker 1: they are going fast, so grab yours as soon as possible.
• 1:26
  Speaker 1: I another reminder that I personally am running a couple
• 1:30
  Speaker 1: of intro to screenwriting workshops, one in Portland, Oregon, on
• 1:35
  Speaker 1: January and one in Seattle on January. So if you
• 1:41
  Speaker 1: want to be like me, someone who does have a
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  Speaker 1: master's degree in screenwriting from Boston University, but I hate
• 1:47
  Speaker 1: to bring it up, and you want to learn a
• 1:49
  Speaker 1: bunch about screenwriting, then register for my workshop, which you
• 1:54
  Speaker 1: can do if you go to Caitlin Dronte dot com
• 1:56
  Speaker 1: and click on the show's tab. Oh okay, that should
• 2:01
  Speaker 1: do it for now, so enjoy the show cast. Hi everyone, Hi,
• 2:08
  Speaker 1: Welcome to the Bechtel Cast. Yeah, there's so many feet.
• 2:13
  Speaker 1: This is exciting. We're in New York City. I ever
• 2:15
  Speaker 1: heard of it? Oh my god, very overwhelming. I was
• 2:19
  Speaker 1: wondering who was going to say the name of the
• 2:21
  Speaker 1: city first, because I felt insecure being like, Hi, New York,
• 2:26
  Speaker 1: I don't know. I used to live here, brag, so
• 2:30
  Speaker 1: it feels like home. Wow, I lived in Boston for
• 2:34
  Speaker 1: nine years and then I yeah, all right, well, welcome
• 2:39
  Speaker 1: to the Bechtel Cast. Thanks for being here, Yeah, for ourselves,
• 2:45
  Speaker 1: so many vertical people. My name is Jamie Loftus, my
• 2:48
  Speaker 1: name is Caitlin Drante. And we talked about the portrayal
• 2:52
  Speaker 1: of women in movies and how it's generally pretty bad.
• 2:57
  Speaker 1: This is our last date in our East Coast tour. Yes,
• 3:00
  Speaker 1: and we're here with the New York Comedy Festival. So
• 3:03
  Speaker 1: shouts out to them, thanks for having us. Yeah, give
• 3:06
  Speaker 1: it up for the New York Comedy Festival. Uh so,
• 3:10
  Speaker 1: just a quick clap it if you listen to the
• 3:13
  Speaker 1: Bechtel Cast before and like, no judgment, but clap if
• 3:21
  Speaker 1: you haven't, Hey, honestly brave. Thanks for coming with your friends. Brave. Yeah,
• 3:29
  Speaker 1: imagine not listening to a podcast. Unbelievable. No, that's fine.
• 3:35
  Speaker 1: So we will uh sort of break down how how
• 3:38
  Speaker 1: we run the show before we start. So we are
• 3:41
  Speaker 1: a podcast about how women are portrayed in famous movies,
• 3:45
  Speaker 1: and we use the Bechdel Test as a jumping off
• 3:49
  Speaker 1: point for that discussion. So Bechdel test is a test
• 3:53
  Speaker 1: invented by illustrator, writer, general amazing person Alison Bechdel and
• 3:59
  Speaker 1: Kay and break it down for us. It requires that
• 4:02
  Speaker 1: a movie, let's say, has two female at least two
• 4:06
  Speaker 1: female identifying characters. They must speak to each other for
• 4:10
  Speaker 1: at least two lines of dialogue, very low bar, and
• 4:14
  Speaker 1: their conversation cannot be about men. But guess what. Most
• 4:18
  Speaker 1: movies don't pass. But today's movie. You're not supposed to
• 4:21
  Speaker 1: tell that. Now there, I didn't say anything, but today's
• 4:26
  Speaker 1: it's not. This movie remains to be seen. But I
• 4:31
  Speaker 1: don't know. I have a good feeling about it, do you. Okay,
• 4:34
  Speaker 1: let's test it out because I do. Oh no, wait,
• 4:36
  Speaker 1: this isn't going to pass the vital test. Let's just
• 4:38
  Speaker 1: have dialogue for a moment. Okay? There Sometimes when it's
• 4:42
  Speaker 1: usually a man not to put anyone in a box.
• 4:45
  Speaker 1: But if someone asked me about the podcast and it's
• 4:48
  Speaker 1: like a guy, he's like, so, yeah, it's what it's
• 4:50
  Speaker 1: like a show and you you talk about whether the
• 4:52
  Speaker 1: pass is the Betel test or not. I was like,
• 4:54
  Speaker 1: that would be a very short show. They would just
• 4:57
  Speaker 1: be a word yes or no yes uh. And they're
• 5:01
  Speaker 1: like so yeah, that's uh, that's pretty cool. What are
• 5:03
  Speaker 1: you doing? Yeah, listening to Tenna. Yeah, it's just so
• 5:07
  Speaker 1: you guys talk about for like what three hours about
• 5:09
  Speaker 1: if it passes the Pecktel tests or not pretty cool. Yeah,
• 5:13
  Speaker 1: it's a little bit of that, but it's a lot more,
• 5:16
  Speaker 1: you know, you guys know, Yeah, if you've heard of
• 5:19
  Speaker 1: the Becktel says, you know, it's a flawed metric. What
• 5:21
  Speaker 1: was the one? Oh we did miss congeniality? And there's
• 5:26
  Speaker 1: something that passes the Backtel test, which is literally Candice
• 5:29
  Speaker 1: Bergen threatening to murder Sandra Bullock. But it passes because
• 5:35
  Speaker 1: woman on woman murder. It passes the Bechtel test and
• 5:39
  Speaker 1: we're okay with it. But that's not the movie we're
• 5:42
  Speaker 1: talking about today. No, I'm so excited for the movie
• 5:45
  Speaker 1: we're talking about today. It's a modern classic, call a
• 5:53
  Speaker 1: little movie called The Princess Diary. Yeah, a minority here,
• 6:01
  Speaker 1: I see how it is. Anyone else thinks it's kind
• 6:03
  Speaker 1: of stupid. No, just don't make no noise. Stay very cool,
• 6:11
  Speaker 1: but do clip if you haven't seen that movie before, yikes,
• 6:19
  Speaker 1: a trap door just opened the fo Okay, so it is.
• 6:24
  Speaker 1: I mean, it's a good job everyone. It's a classic.
• 6:27
  Speaker 1: We all should have been seeing it, you know at
• 6:28
  Speaker 1: least once a year for the past twenty years. Um,
• 6:31
  Speaker 1: but yeah, I'm so excited. We're doing the Princess Diaries
• 6:33
  Speaker 1: and we have an incredible guess. Yes, she is the
• 6:38
  Speaker 1: creator of Headless Women of Hollywood. She is a co
• 6:41
  Speaker 1: host of the Miss Andry podcast, and she is the
• 6:44
  Speaker 1: creator and star of the Handmaids Tale musical. Please welcome,
• 6:49
  Speaker 1: Marcia Belski. Shut you're the way from the movie. I
• 6:57
  Speaker 1: was going to try and do that coming. Thank you
• 6:59
  Speaker 1: for being here. Famously with the drink in her hand.
• 7:07
  Speaker 1: Why doesn't Julians get drunk in this movie? She is,
• 7:10
  Speaker 1: It's implied. She's talking the driver, she's getting drunk, she's
• 7:15
  Speaker 1: having fatter. Okay, that is one of the things I
• 7:19
  Speaker 1: noticed in this movie more so than ever. She's sucking
• 7:23
  Speaker 1: the driver. Oh yeah, and they're not just fucking like
• 7:31
  Speaker 1: they're fucking like because because he's the driver, but like
• 7:35
  Speaker 1: he feels like comfortable enough to go up to her like,
• 7:38
  Speaker 1: excuse me, madame, you're a bad grandmother. It's like he
• 7:44
  Speaker 1: goes yeah, it's like the implication, he's like, I just
• 7:47
  Speaker 1: purchased a new chair for fucking and would you like
• 7:51
  Speaker 1: to give it a spin? Then Julie Andrews is like,
• 7:57
  Speaker 1: this is what older women in Hollywood. Although I love
• 7:59
  Speaker 1: that guy, the guy who plays Joe Hector. Yes, yes,
• 8:09
  Speaker 1: Alfred Molina could have played that part. So Marcia, what's
• 8:13
  Speaker 1: your history that your relationship with the Princess Diaries. Thank
• 8:16
  Speaker 1: you so much for asking that my really honestly, because
• 8:21
  Speaker 1: we were talking about it before a little bit, because
• 8:22
  Speaker 1: you didn't watch it, like when it came out, because
• 8:25
  Speaker 1: I think that's the classics. I'm sure if I watched
• 8:28
  Speaker 1: it now for the first time, I would be like
• 8:31
  Speaker 1: and even rewatching and I was like, oh my god,
• 8:33
  Speaker 1: you know, but I remember so distinctly when it came
• 8:38
  Speaker 1: out and I was like twelve or something like that,
• 8:40
  Speaker 1: not to age myself, but I am thirteen, and um
• 8:46
  Speaker 1: now like rewatching, it's like I'm just immediately transported back
• 8:49
  Speaker 1: to like hanging with my friend Molly, like you know,
• 8:52
  Speaker 1: just like im alone, and then watched The Princess Sarius,
• 8:58
  Speaker 1: which is not what you're supposed to do. But I
• 9:02
  Speaker 1: learned a lot and I grew. Yeah, I just remember
• 9:04
  Speaker 1: because it was like, she has hair like me, and
• 9:07
  Speaker 1: it was the first time I had seen someone with
• 9:09
  Speaker 1: hair like me. And then we soon find out it's
• 9:12
  Speaker 1: what's keeping her from being a lady. So then they
• 9:17
  Speaker 1: strained her hair and plug her eyebrows, and I was like,
• 9:20
  Speaker 1: is that how I would look? And then I was like, no,
• 9:22
  Speaker 1: I'm still fat. So I was okay, come on, I was.
• 9:26
  Speaker 1: I was a fat kid, and I think that that's
• 9:29
  Speaker 1: why I'm like interesting as a person. So if you
• 9:31
  Speaker 1: were a skinny kid who's still skinny, you're not relatable. Um,
• 9:36
  Speaker 1: if you've been hot your whole life, then you're just
• 9:38
  Speaker 1: you're probably not here on it. So you're probably not here,
• 9:41
  Speaker 1: you're not watching movies, you're listener base. Yeah, out on
• 9:45
  Speaker 1: a boat somewhere. And I hope it's not offensive, but
• 9:49
  Speaker 1: I would wager to say that lifelong hotties are not
• 9:52
  Speaker 1: spectel cast target. There's you're going to get an email
• 9:57
  Speaker 1: from like Giselle and she's like, I actually love your podcast. Wow.
• 10:02
  Speaker 1: Please anyone who's always been devastatingly hot hit us. Let
• 10:08
  Speaker 1: us know, does it pass the Bechtel if the two
• 10:11
  Speaker 1: women are extremely hot, because then there's zero movies there's well,
• 10:16
  Speaker 1: because this movie does pass the Bechdel. Oh wait, we
• 10:19
  Speaker 1: haven't gotten there yet, I guess. But this movie possibly
• 10:24
  Speaker 1: passes the Bechtel, but I was thinking, I was like,
• 10:27
  Speaker 1: in the two women scenes, there's a lot of talk
• 10:29
  Speaker 1: of like country and duty, which is like not like
• 10:32
  Speaker 1: a man, but there's also just mostly talk about the
• 10:36
  Speaker 1: dead dad. Then the rest of it is just like
• 10:38
  Speaker 1: women critiquing other women's look. So does that pass the
• 10:41
  Speaker 1: back door because technically you're not talking about men, but
• 10:43
  Speaker 1: like half the movie is just them being like all right,
• 10:46
  Speaker 1: spin No, there's like three different characters who make a
• 10:53
  Speaker 1: wretching noise and looking at Anne. Half of it, Oh
• 10:56
  Speaker 1: my god, like true, yeah, and the only like gay
• 11:01
  Speaker 1: representation is like the hair salon and then he turns
• 11:06
  Speaker 1: out to be evil, Like it's true a Disney queer
• 11:11
  Speaker 1: codd villain. Yea classic he should have like Merche he
• 11:16
  Speaker 1: should be like canonically a Disney villain. Yeah, my god,
• 11:24
  Speaker 1: I just realized such a good Halloween costume that I
• 11:26
  Speaker 1: missed as I should have been the where they take
• 11:29
  Speaker 1: away the two photos of her with curly hair. A
• 11:34
  Speaker 1: past guest of the show was the before Rebecca Bullness. Yes,
• 11:42
  Speaker 1: so smart. I mean I just lived my life as
• 11:45
  Speaker 1: the before picture. So Jamie, what's your history with the movie.
• 11:49
  Speaker 1: I love it. I I saw it when it came
• 11:52
  Speaker 1: out with all my cousins and my mom. Before I
• 11:57
  Speaker 1: saw it, I had only seen the poster had hot
• 12:00
  Speaker 1: Anne Hathaways on the poster and there was a boy
• 12:02
  Speaker 1: at school because I was like eight or nine when
• 12:04
  Speaker 1: it came out and there was a boy's school. Was like, Jamie,
• 12:06
  Speaker 1: I saw someone in a movie who looks just like you.
• 12:09
  Speaker 1: I was like, and he's I guess the Princess Diaries.
• 12:12
  Speaker 1: I was like, oh my god, because I didn't know
• 12:15
  Speaker 1: about the makeover. And he was like, yeah, at the
• 12:18
  Speaker 1: beginning of the movie, she looks just like you. I
• 12:20
  Speaker 1: was like, oh my god, have to see it. And
• 12:23
  Speaker 1: James McAboy, I'll just call him out. There's James McAvoy there,
• 12:29
  Speaker 1: socialized like bully girls on their looks so young. Yeah,
• 12:32
  Speaker 1: he meant I looked like the before, which, to be fair,
• 12:36
  Speaker 1: I did. What did he look like? I remember, like
• 12:38
  Speaker 1: a dude? It was like not cute, being like yeah,
• 12:41
  Speaker 1: Hillary Duff like no, thank you, And I was like,
• 12:43
  Speaker 1: what are you talking about? What are you even saying?
• 12:47
  Speaker 1: James McAvoy what had flesh colored hair like he was?
• 12:53
  Speaker 1: James shouldn't have been telling me It's so funny because
• 12:56
  Speaker 1: you're gonna, like a minute after this episode Jobs, You're
• 13:00
  Speaker 1: going to get a Facebook message from James back boy.
• 13:02
  Speaker 1: That's going to be like, I'm really sorry if I
• 13:04
  Speaker 1: heard you back then. My favorite kind of face as hey, like,
• 13:09
  Speaker 1: apparently I traumatize you. So sorry, I'm super sorry. Please
• 13:16
  Speaker 1: do not say anything about me publicly probably ever again
• 13:19
  Speaker 1: that I'm married. I have nineteen daughters. Their hair is
• 13:24
  Speaker 1: the color of their flesh. Six six sick Caitlyn, what's
• 13:29
  Speaker 1: your history with this movie? You love it so much? Well,
• 13:33
  Speaker 1: I didn't see it for the first time until I
• 13:36
  Speaker 1: think like two years ago. So when you see this
• 13:40
  Speaker 1: movie for the first time when you are thirty years old,
• 13:44
  Speaker 1: I feel like it doesn't have a lot of the
• 13:46
  Speaker 1: charm that people think that it has really connectedly told
• 13:51
  Speaker 1: your story? Right? Did the soundtrack still hit for you?
• 13:57
  Speaker 1: In my notes that says worst soundtrack of any movie? Wrong? Yeah,
• 14:03
  Speaker 1: I think the movie is kind of dumb. I realized
• 14:06
  Speaker 1: that no one agrees with me. I guess you all
• 14:09
  Speaker 1: saw in two thousand one Bragg for you, But I
• 14:13
  Speaker 1: have no emotional attachment to this movie. And the soundtrack
• 14:16
  Speaker 1: is bad. There is a song where it's just like
• 14:19
  Speaker 1: running away with my emotions or something like stupid. How
• 14:25
  Speaker 1: are you supposed to know how to feel? How are
• 14:27
  Speaker 1: you SUPs to know how to feel unless they tell
• 14:29
  Speaker 1: you how to feel through a music. I know that
• 14:32
  Speaker 1: song plays with like a slow shot on Michael and
• 14:34
  Speaker 1: all of his various levels of hair. Yeah, it's very
• 14:38
  Speaker 1: like some forty one San Francisco, like like an elevator
• 14:43
  Speaker 1: like levels one too. Oh my god, his hair. I
• 14:46
  Speaker 1: was so obsessed that boy. And also I have a theory.
• 14:49
  Speaker 1: So with the love interest Michael, can we talk about
• 14:51
  Speaker 1: a little bit. First of all, the brother and sisters
• 14:54
  Speaker 1: names are Michael and Lillian Moscow would so we do
• 14:57
  Speaker 1: have Jewish representation. Um, I'm Jewish and case and got
• 15:02
  Speaker 1: tight there, Um, just chill out. But um so I
• 15:09
  Speaker 1: was like so obsessed with the brother character. And then
• 15:11
  Speaker 1: I realized because someone I forget who, and I'm so sorry.
• 15:13
  Speaker 1: But somebody said about bringing on the movie as well,
• 15:17
  Speaker 1: that there's a bunch of movies that came out around
• 15:19
  Speaker 1: this time where like basically she should really just be
• 15:22
  Speaker 1: a lesbian with her friend Lillian. They can't allow that
• 15:26
  Speaker 1: to mainstream Hollywood, so they write this whole brother character
• 15:29
  Speaker 1: that like looks like her, hangs around all the time
• 15:32
  Speaker 1: and it's like acceptable to hook up with basically, but
• 15:37
  Speaker 1: the whole movie is like Lillian and her should just
• 15:40
  Speaker 1: like end up together, but instead she's like, I love
• 15:43
  Speaker 1: your brother, like you know, and then the brothers like
• 15:46
  Speaker 1: obsessed with her too. He's like conveniently like they always
• 15:48
  Speaker 1: have a brother that's the same age and looks like
• 15:50
  Speaker 1: them to like fill in for like what should they do?
• 15:55
  Speaker 1: And then they really cheat Lily by making her hook
• 15:58
  Speaker 1: up with the magician. I mean, they really over I
• 16:03
  Speaker 1: mean I'm like, are you serious. She's the best character
• 16:06
  Speaker 1: in the movie. It's just like, you know, she's fifteen,
• 16:09
  Speaker 1: she's gonna get favored. She is like she's that girl,
• 16:13
  Speaker 1: like she is like annoyingly like anti because right when
• 16:16
  Speaker 1: she gets her princess makeover, she's like, you have a
• 16:18
  Speaker 1: fucking Gucci bag. You're fucking yuppie scum. I hate you.
• 16:22
  Speaker 1: And she's like and she's like the super like anti capitalist,
• 16:25
  Speaker 1: like in an annoying way, but also like she's not wrong.
• 16:28
  Speaker 1: You know. Time you're all going to a private school, though,
• 16:32
  Speaker 1: I'm like, I feel like you're set for life. She's
• 16:35
  Speaker 1: the rich like person who's just like I'm okay and
• 16:39
  Speaker 1: okay in the UK, you're like you are a billionaire.
• 16:42
  Speaker 1: Speaking of them going to a private school though, so
• 16:45
  Speaker 1: it's like a teen girl who goes to a private
• 16:47
  Speaker 1: school that her rich grandma pays for and whose mom
• 16:50
  Speaker 1: wants to date her teacher. What is this season one
• 16:52
  Speaker 1: of Gilmore Girl? When you should we keep going? We should?
• 17:03
  Speaker 1: We should do the recap of the movie. Okay, here
• 17:08
  Speaker 1: we go. So we meet Mia Thermaplis. She kind of
• 17:21
  Speaker 1: like a Greek French fusion food. So she lives with
• 17:28
  Speaker 1: her mom and her cat, Fat Louis. Fat Louie does
• 17:33
  Speaker 1: have eight nipples. Okay, we've got some nipples. Stairs has
• 17:40
  Speaker 1: been fat Cat facts with Caitlin. Okay. So they're in
• 17:45
  Speaker 1: the Bay Area. She's got her best friend Lily. She
• 17:49
  Speaker 1: lives in a refurbished fire that place, which is like, yeah,
• 17:54
  Speaker 1: her mom's an artist. It has as many stories as Michael's.
• 17:58
  Speaker 1: I remember so much, Like remember she has that fire pole.
• 18:01
  Speaker 1: She slides down there in this huge loft and her
• 18:03
  Speaker 1: mom's like an artist, and like I remember so much.
• 18:06
  Speaker 1: Just's being like, mom, why aren't you divorced? Like can't
• 18:09
  Speaker 1: we just like be single and you be unhappy and
• 18:12
  Speaker 1: like I have a cooler life. You know. Okay, we
• 18:17
  Speaker 1: live in Oklahoma. You're a lawyer, but can you just
• 18:20
  Speaker 1: divorce dad? And we moved to San Francisco? Thank you?
• 18:25
  Speaker 1: So Nia, she's awkward, she's got bushy hair, she's got
• 18:30
  Speaker 1: she's got a middle part part. She's bad at public speaking.
• 18:38
  Speaker 1: The whole she almost throws up. It's like disgusting. And
• 18:42
  Speaker 1: in front of Brink. They're in front of Brink. Dude,
• 18:46
  Speaker 1: that guy from Frank I forgot he had like a
• 18:52
  Speaker 1: real name. How is that not the same man? That's crazy.
• 18:55
  Speaker 1: That's a different guy. We'll tell you a dacons. Also
• 19:00
  Speaker 1: he's from brink. Brink. If there's anyone here like industry
• 19:05
  Speaker 1: or whatever, like you're welcome for free, for free. I
• 19:12
  Speaker 1: know everyone here is industries. So yeah, so me, that's
• 19:16
  Speaker 1: whole thing is that she's invisible basically, and she's fine
• 19:19
  Speaker 1: with that, except that Michael does have a crush on her.
• 19:22
  Speaker 1: He's like the male Zoe Desanelle of this movie because
• 19:25
  Speaker 1: like because she's the star. So then he's like the quirky,
• 19:29
  Speaker 1: like you know, manic pixie whatever. And he's like on
• 19:33
  Speaker 1: my piano. The boy who plays Michael Moscovitz is in
• 19:37
  Speaker 1: Phantom Planet to the band Rooney, Oh my god, someone
• 19:42
  Speaker 1: con scarting me and they're always wait, this is a
• 19:45
  Speaker 1: big era for like this like actor like pop band
• 19:49
  Speaker 1: crossover because you also have Mandy Moore in the movie.
• 19:52
  Speaker 1: But like there's two parts in the movie where there's
• 19:55
  Speaker 1: no reason singing should be happening besides the fact that
• 19:58
  Speaker 1: they're like, Mandy Moore should six. If we have Mandy,
• 20:02
  Speaker 1: she should cubic. Yeah, she's like every movie, you must
• 20:06
  Speaker 1: write two original songs for me to sing in the soundtrack. Okay.
• 20:11
  Speaker 1: So then MIA's grandmother, who lives in Genovia shows up
• 20:15
  Speaker 1: and me and it was like, hey, who are you again?
• 20:20
  Speaker 1: Her grandma's like dad was the prince of Genovia, which
• 20:26
  Speaker 1: makes you the princess of Genovia. I mean, I was like, bye,
• 20:32
  Speaker 1: she's not happy that she works at a rock climbing gym,
• 20:36
  Speaker 1: which I found fascinating. I remember being like, what are those?
• 20:43
  Speaker 1: There's like so many things that you think will be
• 20:45
  Speaker 1: subplots or actual subplots that go nowhere. Many things are
• 20:50
  Speaker 1: dropped in this Yeah, we go, we see me and
• 20:53
  Speaker 1: has a job for four seconds. It was never relevant. Again,
• 20:56
  Speaker 1: there's a whole gym class subplot for no reason. Oh
• 20:59
  Speaker 1: my god. Yeah, there's really aggressive Jim teacher who's like,
• 21:02
  Speaker 1: now you passed whatever, And then we're like, oh, she's gross.
• 21:06
  Speaker 1: She is growing as a person because she hit that
• 21:09
  Speaker 1: guy in the nuts with a baseball. That's neither here
• 21:12
  Speaker 1: nor that she does. She does the most cripple brain
• 21:15
  Speaker 1: I love that hit him in the Dickland cares so.
• 21:20
  Speaker 1: Then so she's mad at her mom and her grandma
• 21:22
  Speaker 1: for not telling her who she was. But here's the thing.
• 21:26
  Speaker 1: The country of Genovia will cease to exist if she
• 21:30
  Speaker 1: does not accept her role as princess. Yes that they
• 21:36
  Speaker 1: say it's so because I paused at that point, because
• 21:39
  Speaker 1: I then I stared at the screen for like five seconds.
• 21:41
  Speaker 1: Because the way that it's delivered is Julie Andrews is
• 21:44
  Speaker 1: talking to the mom character and she's like, and the
• 21:46
  Speaker 1: drama is like, if she doesn't do this, Genovia ceases
• 21:51
  Speaker 1: to exist, and the mom's like, your country ceases to
• 21:56
  Speaker 1: exist if my fifteen year old doesn't become a princess,
• 21:58
  Speaker 1: and Julianne just like, yeah, pretty much, yeah, so like
• 22:06
  Speaker 1: no pressure anything because like my love is unconditional, but
• 22:09
  Speaker 1: like it's a pretty big deal and where is the
• 22:12
  Speaker 1: clause and I don't know any royal line that where
• 22:15
  Speaker 1: that works. Where just all of a sudden, they're like,
• 22:17
  Speaker 1: I feel like they would just have to like have
• 22:20
  Speaker 1: an election, which would probably better Prime minister colonialism, yes,
• 22:28
  Speaker 1: Prime minister, and the prime Minister sucks the teet of
• 22:31
  Speaker 1: the regal power. Yeah, they know there's a lot of
• 22:35
  Speaker 1: colonial is. Like obviously, whenever the fifties referendum happened in Europe,
• 22:39
  Speaker 1: Genovia was like, we're good. I don't even know the
• 22:42
  Speaker 1: like they're part of it. Way before Yeah, I don't
• 22:45
  Speaker 1: even think they're part of the EU, Like I don't
• 22:47
  Speaker 1: know what's going on with Genovia, but they're in isolation
• 22:50
  Speaker 1: as nation. Um Okay. So then there's an annual Independence
• 22:53
  Speaker 1: Day ball it's coming up, and that's when Mia has
• 22:55
  Speaker 1: to decide whether or not she's going to be the
• 22:57
  Speaker 1: Princess of Genovia. And until like every teen movie needs
• 23:01
  Speaker 1: to end in a prom a formal that's like summer camp, bab,
• 23:07
  Speaker 1: it's got to end in a banquet, And until then
• 23:10
  Speaker 1: she's going to do princess lessons basically, but her potentially
• 23:14
  Speaker 1: being a princess has to be kept a secret until then.
• 23:18
  Speaker 1: So then me and meets Joe, Joe takes Mia and
• 23:21
  Speaker 1: Lily to school, and then like Michael's doing the whole
• 23:24
  Speaker 1: car repair things, she keeps referring to a Mustang as
• 23:28
  Speaker 1: her baby and it's creepy, meet my baby. And then
• 23:33
  Speaker 1: there's this guy, Josh who she has a crush on,
• 23:36
  Speaker 1: but he's dating Lana. They both suck. This is actually
• 23:41
  Speaker 1: the prequel to Saved. It's what people don't know. Yeah,
• 23:45
  Speaker 1: because I remember I saw Saves and I was like, oh,
• 23:47
  Speaker 1: says Princess Harris Um. So she's making progress on her
• 23:50
  Speaker 1: princess lesson. She's like, oh, this is how you sit
• 23:53
  Speaker 1: after all. Okay, okay, a lot of great Anne Hathaway
• 23:57
  Speaker 1: prat falls and this let's not Yeah, okay, she's like
• 24:01
  Speaker 1: a princess crosses your ankles. Underneath that, She's like, actually
• 24:08
  Speaker 1: cross like I'm a princess and I can sit and
• 24:13
  Speaker 1: struggles and we're there with her. Oh it's great. We
• 24:17
  Speaker 1: get the makeover which will unpack, no time for it now,
• 24:23
  Speaker 1: and the dad from Ten Things I Hate About you yes, Halo,
• 24:26
  Speaker 1: putinesscas the characters, the range on that man, it can
• 24:34
  Speaker 1: be a bad daddy or a main star of man.
• 24:38
  Speaker 1: So then like, meanwhile, she's like neglecting her friendship with Lily.
• 24:42
  Speaker 1: So then Lily's all like, why are you such a
• 24:44
  Speaker 1: bad friend? And then she's like, it's because I'm a princess,
• 24:46
  Speaker 1: but don't tell anyone, and she's like, Okay, you're that's great.
• 24:50
  Speaker 1: Lily was so mean to her before that though, in
• 24:52
  Speaker 1: the scene because it's like, okay, yes, like, like I said,
• 24:57
  Speaker 1: she's technically not wrong, but also it's just a blowout,
• 25:01
  Speaker 1: bitch like chill out. She flips the funk out over
• 25:05
  Speaker 1: a blowout. What if you're fifteen and your only friend
• 25:09
  Speaker 1: got violently hot overnight, I can relax really upset and
• 25:14
  Speaker 1: I guess I really that's true, and that's where she's
• 25:16
  Speaker 1: And then Anne Hathay, instead of being like sympathetic, like yes,
• 25:19
  Speaker 1: I am insanely hot and that's hard for you to
• 25:22
  Speaker 1: deal with, she's just like, well, just because your hair
• 25:24
  Speaker 1: looks like ship, don't give don't be mad at me,
• 25:28
  Speaker 1: and it's like wow, and then her brother just like
• 25:32
  Speaker 1: came in his pants a second the second, he saw
• 25:36
  Speaker 1: her fucking bad blowout too. That's the thing. I was
• 25:39
  Speaker 1: rewatching it, and it's like, I remember, it's like she
• 25:42
  Speaker 1: had silky, smooth, straight hair, but it is not like
• 25:46
  Speaker 1: it is like all of a sudden they would take
• 25:48
  Speaker 1: the like photos away. It's a bad blowout. But I
• 25:51
  Speaker 1: don't think we should be judging women for how they look.
• 25:54
  Speaker 1: I don't know. I'm not judging her for how she looks.
• 25:56
  Speaker 1: I'm judging the stylists, yea. And no, I'm judging the
• 26:01
  Speaker 1: Hollywood stylist because they were like, here's four million dollars
• 26:05
  Speaker 1: make this incredibly hot girl have straight hair, and they're like,
• 26:08
  Speaker 1: I can't do it. Sorry, I can't do it. And
• 26:12
  Speaker 1: then there's a scene where whenever she's like, hey Lily,
• 26:16
  Speaker 1: I'm a princess, and then as she's telling her the secret,
• 26:19
  Speaker 1: they're behind a tree and then for no reason, it
• 26:21
  Speaker 1: cuts away to a guy with a leafblower. Whoever that
• 26:25
  Speaker 1: happened so much in this movie. It's like a cutaway
• 26:27
  Speaker 1: to something that's like makes no sense. Whoever edited this
• 26:31
  Speaker 1: movie was that they didn't want to do that. So
• 26:34
  Speaker 1: many loose sense because they're like, oh, I guess we
• 26:36
  Speaker 1: never wrote that scene where she tells her she's a princess.
• 26:39
  Speaker 1: They're like, just like, just also, wait, so there's the
• 26:46
  Speaker 1: neighbor character who's the Mr. This I passed it every
• 26:53
  Speaker 1: wound twice because she couldn't have just said thank you,
• 26:57
  Speaker 1: Mr robot Us. Absolutely no way on earth that they
• 27:02
  Speaker 1: named this character Mr. Robots And yet here and every
• 27:09
  Speaker 1: line out of his mouth is the funniest thing I've
• 27:12
  Speaker 1: ever He's great, he's funny. But he also sits outside
• 27:15
  Speaker 1: in a robe talking to teenagers. So that's funny. Because
• 27:19
  Speaker 1: we were watching her last night, Caleb was like, so me, like,
• 27:27
  Speaker 1: that's who I really related to him. Um, all right,
• 27:32
  Speaker 1: we have to get through the rest of this recap
• 27:34
  Speaker 1: really fast. Okay. So so then the word gets out
• 27:37
  Speaker 1: that she's a princess because Paulo Putinesca leaked it, and
• 27:41
  Speaker 1: now she has all the attentions, and now the Josh
• 27:44
  Speaker 1: boy who she likes, asks her out to the beach party,
• 27:47
  Speaker 1: and then she's like, yeah, I'll go, even though she's
• 27:49
  Speaker 1: already committed to going to Michael's watch Michael's band practice. Yeah,
• 27:55
  Speaker 1: and like Lily pre web series web series, yeah, a
• 28:01
  Speaker 1: web series. Yeah, So she ditches both of them, and
• 28:04
  Speaker 1: then she realizes that Josh is a bad guy after all,
• 28:07
  Speaker 1: and then Lana and all after a very wicky feet
• 28:10
  Speaker 1: scene with the two of them where he's like, yeah,
• 28:14
  Speaker 1: he's like you want to rub my foot? She's like
• 28:15
  Speaker 1: you want to rub my foot? He's like, no, rub
• 28:17
  Speaker 1: my selfish love. That's the whole scene is sucked up
• 28:22
  Speaker 1: where she gets naked and then like Lana manny Moore's
• 28:25
  Speaker 1: character like pulls the tent out for the tabloids to
• 28:27
  Speaker 1: see her. I'm like, that is a soft it's sucked up.
• 28:30
  Speaker 1: And then afterwards, like she goes to like her grandma,
• 28:32
  Speaker 1: and her grandma's like, well, why are you such a slut?
• 28:34
  Speaker 1: And like she's like yeah, grandma. And that's when you
• 28:38
  Speaker 1: find out how like tight her and Joe are because
• 28:41
  Speaker 1: then Joe is like, I really don't think you should
• 28:44
  Speaker 1: have called your granddaughter a slut, and she's like, I'm
• 28:47
  Speaker 1: the queen, but luckily we are fucking so I like
• 28:52
  Speaker 1: she doesn't do him. Yeah. Meanwhile, like she's getting better
• 28:56
  Speaker 1: at being a princess. She and her grandma are like
• 28:58
  Speaker 1: bonding and then and it's like down to the wire
• 29:01
  Speaker 1: where she has to decide am I going to be
• 29:03
  Speaker 1: a princess? And then after like all the bad press
• 29:06
  Speaker 1: from Beach Night, she's like, I can't can't do it,
• 29:09
  Speaker 1: Mandy Moore. She's just been shown naked on you know
• 29:14
  Speaker 1: what was the TMC at the time, Tiger beat on something.
• 29:18
  Speaker 1: But yeah, I gets her. She's like, I can't do
• 29:20
  Speaker 1: all this. But then she reads a letter from daddy
• 29:24
  Speaker 1: which is likesy. She's like, oh, I guess I should
• 29:28
  Speaker 1: be a princess exactly, and her like not doing it
• 29:34
  Speaker 1: like her like that's the normal, right thing, like where
• 29:36
  Speaker 1: she's like, I don't know. I feel like now that
• 29:38
  Speaker 1: I'm fifteen and people are like sort of like sexually
• 29:41
  Speaker 1: chasing me in the public eye, I should like not
• 29:43
  Speaker 1: do this. And then everybody's like have you no morals?
• 29:48
  Speaker 1: And then she talks to her grandma right after the
• 29:50
  Speaker 1: letter from the dad, and her grandma's like, your father
• 29:53
  Speaker 1: abandoning you was the hardest decision he ever made, selfish cunt,
• 29:58
  Speaker 1: And she's like, she's like, do you want to know
• 30:01
  Speaker 1: why your dad did it? For his country and because
• 30:05
  Speaker 1: of his duty to his country. And then it's like, um,
• 30:09
  Speaker 1: it was the money. It was the money. And then
• 30:11
  Speaker 1: Anne Hathaway responds not by saying that doesn't sound right.
• 30:16
  Speaker 1: She says to Julie Andrews, do you want a corn dog? Yes?
• 30:21
  Speaker 1: Julie Andrews says yes, I sure, because people in Genova
• 30:29
  Speaker 1: are just British. Where's the footage of Julie Andrews deep
• 30:33
  Speaker 1: threading that corn dog? Where is it at? Okay, So
• 30:38
  Speaker 1: now we're at the ball at the end and hath
• 30:42
  Speaker 1: Away shows up and she's like, I will be princess
• 30:45
  Speaker 1: after all, and everyone's like cool, very last man because
• 30:48
  Speaker 1: she gets caught in the rain because her car sucks
• 30:53
  Speaker 1: super pays off. She's like, I mean that was I
• 30:55
  Speaker 1: guess the whole point of the car plot you're read.
• 30:58
  Speaker 1: I just kind of put that together where they're okay,
• 31:00
  Speaker 1: so we're gonna do this whole thing where she's like
• 31:02
  Speaker 1: obsessed with this car that keeps breaking down. Then at
• 31:04
  Speaker 1: the end it will break down and someone's like perfect.
• 31:09
  Speaker 1: But there's also a super expensive looking trolley accident that
• 31:13
  Speaker 1: scared me from getting a driver. Literally right now, I
• 31:16
  Speaker 1: still don't have one. It's so scary. Movies have effect
• 31:21
  Speaker 1: movies there. Yeah, and she's like fifteen. Remember they even
• 31:25
  Speaker 1: have her break the law. She drives on her own
• 31:28
  Speaker 1: and she's like, is this guys, I'm not driving with
• 31:30
  Speaker 1: a license driver. And at the time, I was like
• 31:33
  Speaker 1: twelve being like, yeah, bad morals this movie. They're like
• 31:38
  Speaker 1: give up your life because the mom is like, I
• 31:41
  Speaker 1: didn't want to tell you were a princess because like
• 31:43
  Speaker 1: these institutions are patriarch like. She doesn't say that, but
• 31:46
  Speaker 1: she's basically like, I would be totally controlled by your
• 31:48
  Speaker 1: father and I didn't want that. And like I remember
• 31:51
  Speaker 1: when I was twelve being like, what a selfish bit. Yeah, okay,
• 31:57
  Speaker 1: so that's pretty much the story. She's like, yeah, I'm
• 31:59
  Speaker 1: a princess. No, and she speech she drops on a
• 32:04
  Speaker 1: high school for real, I know that's what happens. At
• 32:09
  Speaker 1: the end, she's like because that's the whole deal, the
• 32:11
  Speaker 1: whole time. And she's like because remember when she first
• 32:13
  Speaker 1: meets Julie Andrew's character, she's like, okay, so like blah
• 32:16
  Speaker 1: blah blah, A long story short, you're a princess. You
• 32:18
  Speaker 1: have to move to Genovia And she's like, I also
• 32:22
  Speaker 1: like should they say? She says like, I have tutors,
• 32:24
  Speaker 1: but it's like you're gonna have a g e d
• 32:26
  Speaker 1: like you're gonna like not a real gonna be Lindsay
• 32:31
  Speaker 1: Lohan and Micano. It's like you are not off for
• 32:35
  Speaker 1: a good path. Yeah, just tell a fifteen year old like,
• 32:38
  Speaker 1: your life is set. We are obviously rich. I will
• 32:41
  Speaker 1: drive you to school in a limo. You can bring
• 32:44
  Speaker 1: your cat, but not your mother. Yeah, you can bring
• 32:47
  Speaker 1: your cat, absolutely, but your mom is like kind of
• 32:50
  Speaker 1: a hippie freak. So the answer is no. No sleds
• 32:53
  Speaker 1: in Genovia. I just remember too, like their place, like
• 32:58
  Speaker 1: they're loft. You're like, does the mom pay that on
• 33:01
  Speaker 1: her artists, on her balloon art? I don't know. Although
• 33:06
  Speaker 1: the balloon scene another scene that Caitlin correctly argues does
• 33:11
  Speaker 1: not need to be there. However, I another great scene
• 33:16
  Speaker 1: and where I wanted to do that with I want.
• 33:19
  Speaker 1: I was like, man, having a fun mom seems great,
• 33:23
  Speaker 1: but it's also implying that fun moms are rich and
• 33:26
  Speaker 1: that bad artists are rich, and which is neither is true.
• 33:30
  Speaker 1: I can afford San Francisco. Like, that's like a billion
• 33:34
  Speaker 1: square foot apart I mean that is a million dollar apartment.
• 33:37
  Speaker 1: Like that's crazy with a fire poll your BEDROOMA keeps
• 33:43
  Speaker 1: hiding in her various rooms from her privilege, which is wild.
• 33:51
  Speaker 1: And on that note, I think we should maybe take
• 33:53
  Speaker 1: a bit of a break. I tend to agree, all right,
• 34:01
  Speaker 1: So what do we want to jump in with the discussion.
• 34:05
  Speaker 1: I mean, I don't know. Well, okay, so this movie
• 34:07
  Speaker 1: has a ton of women in it. Sandra, Oh is
• 34:10
  Speaker 1: in this movie? This as the principal Sandra, yeah, very yeah,
• 34:15
  Speaker 1: Oh my god. Put some cone on Manny Moore's like
• 34:19
  Speaker 1: cheerleader uniforms. I'm sorry. I'd like to make note that
• 34:24
  Speaker 1: someone noticed I was running low. Thank you. Jamie got
• 34:29
  Speaker 1: a fresh drink for the listeners at home. Because in
• 34:32
  Speaker 1: New York you don't have to drive, so and I
• 34:35
  Speaker 1: don't drive even in l A. Yeah, it's good for
• 34:38
  Speaker 1: you because of this movie that traumatizes you with that accident.
• 34:41
  Speaker 1: Yeah yeah. They kind of make it seem like being
• 34:43
  Speaker 1: hit by a trolley is like nb D Like she
• 34:45
  Speaker 1: like she talks to the cop and she's like, it's
• 34:49
  Speaker 1: totally no problem if you give me a ticket. But
• 34:51
  Speaker 1: I'm about to night you. And he's like, I guess
• 34:53
  Speaker 1: I won't give you a ticket. A cool hack for
• 34:56
  Speaker 1: all of us, really, I should do. Yeah, one's ever
• 35:00
  Speaker 1: heard of Genovia in San Francisco. But so you can
• 35:03
  Speaker 1: just be like, hey, I'm actually a queen and you're
• 35:07
  Speaker 1: you're awesome, and then you can just get out of
• 35:11
  Speaker 1: And if the cop is like, I know that's from
• 35:12
  Speaker 1: the movie Princess Diaries, I'd be like, oh my god,
• 35:15
  Speaker 1: that's for you. Also, do you want to date me?
• 35:23
  Speaker 1: There are a lot of women. There's some ton of women.
• 35:25
  Speaker 1: No father figures really well, not a strong dead father figure,
• 35:29
  Speaker 1: which they talk about all the time. They're obsessed with Philip.
• 35:32
  Speaker 1: When I wrote down his full name, Philippe Lenaldies, and
• 35:35
  Speaker 1: they do like a French accent and some a Greek
• 35:37
  Speaker 1: accent and part of the name like it's worth it's
• 35:40
  Speaker 1: worth mentioning in the books he is alive, her father
• 35:46
  Speaker 1: is alive, and the grandma is way meaner. But yeah,
• 35:50
  Speaker 1: they make kind of a reverse Disney move in the
• 35:53
  Speaker 1: case of this movie and kill the dad because that's
• 35:56
  Speaker 1: not what happens in the book and the grandfather and
• 35:58
  Speaker 1: they killed it. Okay, So this is something that hit
• 36:01
  Speaker 1: for me. I've seen this movie honestly, probably a hundred times,
• 36:04
  Speaker 1: and the first time I noticed they mentioned how recently
• 36:08
  Speaker 1: both the father and the grandfather have passed away and
• 36:12
  Speaker 1: kind of her like, but it's not a big piece,
• 36:14
  Speaker 1: Oh my god. And they don't really say how he died.
• 36:17
  Speaker 1: But there's one part in the movie where they grandma
• 36:19
  Speaker 1: just goes and that terrible accidents, but she just she's like,
• 36:26
  Speaker 1: she's my closest family members recently die, my son, I know,
• 36:32
  Speaker 1: my son and my husband. Like they say that her
• 36:35
  Speaker 1: husband died less than a year ago. We really and
• 36:38
  Speaker 1: she's already with the driver like they were. That's a
• 36:40
  Speaker 1: Joe chill out there when he imagined, like your husband
• 36:44
  Speaker 1: of a thousand years died like six months ago, and
• 36:47
  Speaker 1: then all of a sudden, your bodyguard is like corners
• 36:50
  Speaker 1: and was like you've been wearing black for too long.
• 36:53
  Speaker 1: I know, Oh my god, I forgot about That Actually
• 36:57
  Speaker 1: makes sense to me, because like if you've been married
• 36:59
  Speaker 1: for a long time and like you're like royalty, like
• 37:01
  Speaker 1: you're not fucking, and like, you know, like he was
• 37:04
  Speaker 1: always I feel like they were already fucking. But if
• 37:07
  Speaker 1: they weren't true, we don't know. If they weren't, then
• 37:10
  Speaker 1: he was just like finally, like your husband, who you're
• 37:15
  Speaker 1: not sucking, is dead, So can we just get on
• 37:17
  Speaker 1: with this, and then her son dies and he's like, well,
• 37:20
  Speaker 1: this is a road bump, you know. I mean, like
• 37:23
  Speaker 1: everyone deals with grief differently, but Julie Andrews deals with
• 37:27
  Speaker 1: losing arguably probably the two biggest people in her life
• 37:31
  Speaker 1: by calling her granddaughter ugly. Yes, that's talking her granddaughter ugly, sledge,
• 37:37
  Speaker 1: shaming her for going to the beach almost giving brink
• 37:42
  Speaker 1: of foot, Yes, can we talk about them? The makeover scene. Yes,
• 37:49
  Speaker 1: So this, like many movies, there's a woman who's not
• 37:53
  Speaker 1: conventionally attractive enough, even though she's played by an actress
• 37:56
  Speaker 1: who was conventionally attractive, and they're like, we gotta make
• 37:59
  Speaker 1: you hot for reasons, and then and then the makeover happens.
• 38:06
  Speaker 1: And in this movie, I feel like there's a slight
• 38:09
  Speaker 1: subversion because then her friend Lily is like, you're destroying
• 38:15
  Speaker 1: someone is supposed to be the bad guy in that scene.
• 38:20
  Speaker 1: She's supposed to be, because then like the brother is like, no,
• 38:23
  Speaker 1: you're hot, because like Lily's like, you're only here because
• 38:27
  Speaker 1: we can't fuck. Yeah, she should have said that to
• 38:32
  Speaker 1: him in that scene. And then we're supposed to be
• 38:34
  Speaker 1: mad at Lily because then Mia wears a hideous felt
• 38:38
  Speaker 1: hat to school horrible. The one thing that actually made
• 38:41
  Speaker 1: Anne Hathway look kind of ugly in the whole movie
• 38:44
  Speaker 1: was that they felt hat, but she continues to wear
• 38:47
  Speaker 1: it's just a hat. But then like the guy her
• 38:50
  Speaker 1: speech teacher who her mom is fucking, which is also
• 38:53
  Speaker 1: from the book but has no bearing on the movie,
• 38:56
  Speaker 1: they throw it in just to be like, by the way,
• 38:57
  Speaker 1: we're sucking, but we didn't write it any sex positive movie.
• 39:01
  Speaker 1: I think, well, but I also think this movie goes
• 39:04
  Speaker 1: out of its way to make sure you know any
• 39:07
  Speaker 1: woman who single at any point in this movie is
• 39:09
  Speaker 1: a heterosexual woman. Like it goes out of its way
• 39:12
  Speaker 1: to tell you, because otherwise, why say that the mom's
• 39:15
  Speaker 1: having sex with anyone? Every scene the mom is talking
• 39:17
  Speaker 1: about who she's fucking, who she sucked in the seventies,
• 39:22
  Speaker 1: her dad, because I was looking for, like just the
• 39:24
  Speaker 1: Bechtel aspect. And then it's like every time the mom
• 39:28
  Speaker 1: walks in, she's like, your mom is getting in it.
• 39:36
  Speaker 1: She's like, mom, my teacher, mom my dad in the seventies,
• 39:40
  Speaker 1: mom a different man in the seventies, and her mom's like,
• 39:44
  Speaker 1: let's dark, yeah, what are you fifteen? So in that scene.
• 39:53
  Speaker 1: So Lily's all like, oh, you used to care more
• 39:56
  Speaker 1: about like what was in your head than what was
• 39:59
  Speaker 1: on it, And you can kind of get behind what
• 40:01
  Speaker 1: she's saying, but also she is judging a woman for
• 40:04
  Speaker 1: how she looks, and it's just a blowout. I mean
• 40:07
  Speaker 1: seriously used to care of. I mean like, I've gotten
• 40:10
  Speaker 1: my hair straightened four times in my life. It took
• 40:12
  Speaker 1: seven hours, and every time I do it, like some
• 40:16
  Speaker 1: of my closest friends would just walk right past and
• 40:17
  Speaker 1: they don't even recognize me as a curly haired person
• 40:21
  Speaker 1: who's not trying to straighten their hair every day. It's like,
• 40:23
  Speaker 1: just let her have a day of silky smoothness. You know,
• 40:28
  Speaker 1: I did it in high school. I did it for
• 40:30
  Speaker 1: two hours every morning in high school and straightened my hair.
• 40:33
  Speaker 1: And still people from high school are like, oh, you used,
• 40:37
  Speaker 1: Why did you do that anymore? Like James James, mgboy,
• 40:42
  Speaker 1: you villain dude, what are you doing? Yeah. Also, it's
• 40:46
  Speaker 1: like that's the untouched colonial aspect. It's like Genovia obviously
• 40:50
  Speaker 1: has some race issues they need to deal with. There
• 40:52
  Speaker 1: is like in there, like little gathering they have, like
• 40:56
  Speaker 1: the dinner that she like accellently, like knocked over the table.
• 40:59
  Speaker 1: They have like this like Asian woman playing the loo,
• 41:02
  Speaker 1: and there's like all this stuff where you're like, okay,
• 41:04
  Speaker 1: you're clearly like very into this eighteen hundreds like British
• 41:08
  Speaker 1: colonial look. And then they straightened her hair. That's sucked
• 41:12
  Speaker 1: up because I remember being like, I'll only be beautiful
• 41:14
  Speaker 1: until I have straight hair. And then I got older
• 41:16
  Speaker 1: and people were like, I want curly hair, and I'm like, well,
• 41:19
  Speaker 1: which is it? People. Yeah, there's also some weird like
• 41:24
  Speaker 1: queer phobia moment. Whenever Joe was like, here are your
• 41:28
  Speaker 1: pumps that I bought, and whenever I bought them, the
• 41:31
  Speaker 1: guy was like do you want these wrapped? Or do
• 41:33
  Speaker 1: you want to wear them? And he's like, San Francisco
• 41:35
  Speaker 1: such a weird place. Yeah, there's a lot of negging
• 41:39
  Speaker 1: of San Francisco as like a gay place right right,
• 41:42
  Speaker 1: which is so dumb because I'm like, this movie clearly
• 41:45
  Speaker 1: went way out of its way to take place in
• 41:47
  Speaker 1: San Francisco. I would have been way easier to have
• 41:50
  Speaker 1: it literally anywhere else. It's so Hollywood at that time.
• 41:53
  Speaker 1: It shows you how like nothing's changed about like the
• 41:55
  Speaker 1: bros who are in charge because you know, there's just
• 41:57
  Speaker 1: like twenty like all like dudes like in charge, like
• 42:04
  Speaker 1: and they're like, yeah, let's make a movie in San Francisco.
• 42:06
  Speaker 1: But let's like acknowledge like how like gay it is.
• 42:10
  Speaker 1: It's like good for you, dude. Yeah, I feel like
• 42:13
  Speaker 1: it's because that like driving scene, the various driving scenes
• 42:17
  Speaker 1: and accidents needed to happen, and I wanted to talk
• 42:19
  Speaker 1: about them. Okay, so she's d scene. She's not good
• 42:25
  Speaker 1: at driving. Maybe it's because she doesn't have a license yet,
• 42:28
  Speaker 1: but it's you know, there's a bunch of movies where
• 42:31
  Speaker 1: we see women being bad at driving. It's a trope.
• 42:34
  Speaker 1: It's also just a stereotype in the world. The moment
• 42:38
  Speaker 1: where like a woman like panics and she's like I
• 42:41
  Speaker 1: don't know how to hold a steering wheel and then
• 42:43
  Speaker 1: she like crashes or like something happens like that. I've
• 42:45
  Speaker 1: seen that all the time, remember, right exactly. So, and
• 42:50
  Speaker 1: then there's like obviously way fewer movies where men are
• 42:53
  Speaker 1: bad at driving. In fact, there's many movies where the
• 42:56
  Speaker 1: whole place good Fasten, the Furious Baby Driver Drive. There's
• 43:05
  Speaker 1: a lot of them. But anyway, seems like this just
• 43:08
  Speaker 1: perpetuate the idea that women are bad at driving. Yeah,
• 43:11
  Speaker 1: all the male movies about driving, Like it's like that's
• 43:13
  Speaker 1: supposed to be seen as like a positive thing, and
• 43:15
  Speaker 1: it's like my high school experience was like getting in
• 43:18
  Speaker 1: a car with some psycho who's like, I don't know
• 43:20
  Speaker 1: how to drive, but I'm gonna go a hundred, like
• 43:23
  Speaker 1: you know why at least I'm sucking going twenty five
• 43:25
  Speaker 1: as I hit the curve like whatever. My whole high
• 43:28
  Speaker 1: school driving experience was boys turning onto High Street and
• 43:32
  Speaker 1: being like high Street get it. I feel like that's
• 43:41
  Speaker 1: an extension of like cars are a masculine thing and
• 43:46
  Speaker 1: but they want to fund cars, but cars are seen
• 43:48
  Speaker 1: as objects equivalent to women because like they're like every
• 43:52
  Speaker 1: car commercial is just like stick your dick in the
• 43:58
  Speaker 1: that's like your dick in the gust. Take then other
• 44:00
  Speaker 1: woman will know that you're fucking Like that's just like
• 44:03
  Speaker 1: every car commercial. And then movies that like have a
• 44:06
  Speaker 1: woman who's like good at fixing cars is a way
• 44:09
  Speaker 1: to show she's not like the other girls. But they
• 44:13
  Speaker 1: show a girl like in a tank top with her
• 44:15
  Speaker 1: book and the other jacket fixing a car, and then
• 44:18
  Speaker 1: they have to show her with a man immediately to
• 44:21
  Speaker 1: be like she's not gay, Like she's not gay, don't worry.
• 44:25
  Speaker 1: People are not gay. People are not gay, and especially
• 44:29
  Speaker 1: not the hot woman that you want. And I feel
• 44:33
  Speaker 1: like the man is there also to like affirm she's
• 44:36
  Speaker 1: doing it correctly, like he's also going to be like
• 44:38
  Speaker 1: what she did do the thing to the thing. I'm
• 44:42
  Speaker 1: a bad example of I don't know anything about cars.
• 44:45
  Speaker 1: And the only speaking person of color role in this
• 44:47
  Speaker 1: whole movie for Princess Diaries is the mechanic. There's a
• 44:51
  Speaker 1: cheerleader who there's a cheerleader, but he only role is
• 44:56
  Speaker 1: speaking in sync with Mandy Moore and the other thing.
• 44:58
  Speaker 1: And they're like that that that like bring it where
• 45:00
  Speaker 1: they have I'm missing you. Yeah, And then they have
• 45:06
  Speaker 1: the mechanic guy whose only line is he's like you
• 45:09
  Speaker 1: sweet on her, the only line they give him, and
• 45:13
  Speaker 1: you're like, yeah, there's also and as a person of color,
• 45:16
  Speaker 1: but he all right night and he's like why don't
• 45:21
  Speaker 1: have to give him a ticket? And it's like unbelievable.
• 45:25
  Speaker 1: This the whole movie is about, like where it's just
• 45:28
  Speaker 1: the grandma being like, if you are the right kind
• 45:32
  Speaker 1: of a woman, you may achieve your power. I don't
• 45:36
  Speaker 1: know if she's really a child. She's like she's like,
• 45:41
  Speaker 1: you'll come into your power if you can wave and
• 45:44
  Speaker 1: be female and night male offices when they feel threatened. Well,
• 45:48
  Speaker 1: also with the mechanic character, his whole thing, like he's
• 45:53
  Speaker 1: one of three I think people of color who speak
• 45:56
  Speaker 1: at all in the movie. And also his character is
• 45:58
  Speaker 1: so weird where he's like, yeah, let these teenage boys
• 46:01
  Speaker 1: rehearse and work for me for no money. Yeah. Yeah,
• 46:04
  Speaker 1: his whole thing. I was like, that is what who
• 46:07
  Speaker 1: He's like very invested in that. There's always like these
• 46:09
  Speaker 1: high school movies when you look back, there's like these
• 46:11
  Speaker 1: older people who are like very invested in the sexual
• 46:14
  Speaker 1: lives of teens and it's just like arrest them. That's crazy.
• 46:20
  Speaker 1: Like Mr robotozn't like that's insane. Mr robotun't. Was for
• 46:25
  Speaker 1: sure nude under his yes every time and he's just
• 46:29
  Speaker 1: muttering under his breath, just being like the clean wax
• 46:32
  Speaker 1: to the car he wanted em Yeah. Yeah. First he's like,
• 46:37
  Speaker 1: I can't believe I won an Emmy. It's like, who
• 46:39
  Speaker 1: are you talking? That's yeah, what did you win an
• 46:42
  Speaker 1: Emmy for? That's so sad speaking, that was a horrible transition. Good.
• 46:51
  Speaker 1: But there is a surprise kiss in this movie. Whenever
• 46:54
  Speaker 1: Josh he's like, oh, there's cameras, there's how the exploit
• 46:58
  Speaker 1: this moment. It is unlike most movies as being wrong. Yes,
• 47:02
  Speaker 1: and she reacts appropriately by being like you, I didn't
• 47:05
  Speaker 1: want you to kiss me. I think she smacks him
• 47:07
  Speaker 1: with her sandal or something. Yeah, so if and then
• 47:12
  Speaker 1: later he gets hit in the dick with a softball.
• 47:15
  Speaker 1: So let that be a lesson to you all you
• 47:18
  Speaker 1: break men out there. Any man who's like the movie
• 47:23
  Speaker 1: Brink is problematic. Any woman who likes the movie Brink right,
• 47:29
  Speaker 1: So if that Basically, if there is a surprise kiss
• 47:31
  Speaker 1: in a movie, there's a right way to handle it
• 47:33
  Speaker 1: in a wrong way. But this movie I think did
• 47:35
  Speaker 1: it the right way. Yeah, we've seen progress since the eighties.
• 47:40
  Speaker 1: Something I liked about this movie and would like to
• 47:44
  Speaker 1: tip my hideous felt hat too, is, uh the tip
• 47:50
  Speaker 1: of the ugly great felt that your teacher makes you
• 47:54
  Speaker 1: take off to reveal you're the hottest school. Uh. What
• 48:00
  Speaker 1: I'd like to tip that thing too is that it
• 48:03
  Speaker 1: is rare to see multiple generations of women in a movie.
• 48:08
  Speaker 1: At all, and especially three generations of women interacting with
• 48:12
  Speaker 1: each other. I mean, and it's like a lot of
• 48:14
  Speaker 1: the time they're calling Anne Hathaway ugly, a lot of
• 48:18
  Speaker 1: the times they're not disclosing the details of this accident. Uh,
• 48:23
  Speaker 1: maybe does pass the loftist test because bondist woman in
• 48:27
  Speaker 1: charge Julie Andrews and she's yeah, she's in charge. And
• 48:31
  Speaker 1: and just like seeing a woman over sixty normally, the
• 48:37
  Speaker 1: normally they'll be like, grandma's their mom's dead, right, but
• 48:41
  Speaker 1: Grandma's gonna bond with the daughter. And all three of
• 48:44
  Speaker 1: them have very different views of what the choice should be.
• 48:47
  Speaker 1: And it's to this movie's credit we do see these
• 48:51
  Speaker 1: women interacting a lot, and we see that they have
• 48:54
  Speaker 1: different opinions, and sometimes their opinions are weird and stupid,
• 48:59
  Speaker 1: but know that's what people are like. So I thought
• 49:04
  Speaker 1: that that was a generally positive thing because you don't
• 49:06
  Speaker 1: usually see three female characters at all, much less ones
• 49:10
  Speaker 1: that are related to each other. A better version of
• 49:12
  Speaker 1: this women at all. I can't believe we're on this
• 49:14
  Speaker 1: stage right now. It's crazy. I've never seen more than
• 49:17
  Speaker 1: two women at one time ever. Know, Jamie, you're totally right.
• 49:24
  Speaker 1: And then there's many other female characters. Most of the
• 49:27
  Speaker 1: people that Mia interacts with our women. Um there's like
• 49:31
  Speaker 1: the Joe exception, there's the Michael who's basically, I agree
• 49:37
  Speaker 1: with Marcia, an extension of Lily. Yeah, Lily, but you
• 49:43
  Speaker 1: can't have that in mainstream Hollywood. There were echoes of
• 49:46
  Speaker 1: Daria in this movie for me, where Daria and Jane
• 49:50
  Speaker 1: are a very similar friendship for any Daria heads out there,
• 49:53
  Speaker 1: where we're just like kiss but she doesn't. And that's
• 50:00
  Speaker 1: as brother. Same thing. They create Jane's brother because Daran
• 50:03
  Speaker 1: Jane can't hook up and they have six Sad World,
• 50:06
  Speaker 1: which is basically shut up and listened. So it's like, yeah,
• 50:10
  Speaker 1: you're incredible. So this is effectively a Disney princess movie.
• 50:20
  Speaker 1: It's live action, but it's a Disney movie. Realized that
• 50:24
  Speaker 1: it's really called The Princess Diary. I know, I'm so
• 50:29
  Speaker 1: late in life from like, I can't believe I ever
• 50:32
  Speaker 1: thought it was smart for one second, what the princess narrative.
• 50:38
  Speaker 1: But there's a line towards the end that the grandmother says,
• 50:42
  Speaker 1: people think princesses are supposed to wear. Tiara's Mary the
• 50:44
  Speaker 1: prince always look pretty and live happily ever after. But
• 50:47
  Speaker 1: it's so much more than that. It's a real job.
• 50:50
  Speaker 1: And it's like, well, maybe people think that about princess
• 50:53
  Speaker 1: is because your company, Disney perpetuated that very idea and
• 51:00
  Speaker 1: also of cinema and also in the movie, her princess
• 51:05
  Speaker 1: training is only based on Yes, she's not taught like
• 51:10
  Speaker 1: how to run a country. She's not taking Civics lessons.
• 51:15
  Speaker 1: She's not like taking No, this isn't the crown. There's
• 51:19
  Speaker 1: no pressure on her to know how to speak in public. None. Yeah,
• 51:23
  Speaker 1: that's the whole thing. At the beginning, She's like, I
• 51:25
  Speaker 1: can't talk in public. They're like, we'll just make you hot.
• 51:28
  Speaker 1: It doesn't. Yeah, she's she mentioned you like you'll learn
• 51:31
  Speaker 1: languages and like study policy, but we don't see that.
• 51:34
  Speaker 1: We only see her getting hot and then maintaining her hotness. Also,
• 51:37
  Speaker 1: am I supposed to believe she's at the end, like
• 51:39
  Speaker 1: going on a plane to Genovia with that Louis the
• 51:42
  Speaker 1: cat just being like super happy, like I made my decision,
• 51:46
  Speaker 1: Like I had to leave my boyfriend when I was
• 51:49
  Speaker 1: fifteen for like three weeks and I was baling. I
• 51:53
  Speaker 1: was like I mean, am I supposed to believe that?
• 51:58
  Speaker 1: She's just like, yeah, like, whatever happened happens, there's no way.
• 52:03
  Speaker 1: And also the thing that kind of swings the final
• 52:06
  Speaker 1: thing that swings her decision is a letter from her dad,
• 52:09
  Speaker 1: who abandoned her at birth, and that's the thing that
• 52:12
  Speaker 1: changes her mind. It's like, you have at least three
• 52:16
  Speaker 1: women in your life who you see right now every day,
• 52:20
  Speaker 1: who have more perspective into who you are. And then
• 52:24
  Speaker 1: it's like a handwritten letter from her flashback dad who's
• 52:27
  Speaker 1: lounging in a field of daisies for no fucking reason,
• 52:31
  Speaker 1: being like, dear woman, I abandoned. Hope you're hot. Like
• 52:37
  Speaker 1: that's the weird thing about Lily though, too, because there's
• 52:39
  Speaker 1: this one scene where the writers clearly gave up because
• 52:43
  Speaker 1: like she's just like, yeah, so like you know and
• 52:47
  Speaker 1: my dad who just died like a year ago or whatever,
• 52:50
  Speaker 1: and Lily literally goes, I thought you were over that.
• 52:54
  Speaker 1: It was two months, she goes. She goes, and then
• 52:57
  Speaker 1: two months I kind of thought you were getting over that.
• 52:59
  Speaker 1: And she's like, well, yeah, but I'm still like pretty
• 53:02
  Speaker 1: sad about it. And she's like, but like he wasn't
• 53:05
  Speaker 1: even there for you and like, also, you're hot now,
• 53:09
  Speaker 1: so she shut the funk up? Is she hot by then?
• 53:12
  Speaker 1: Wasn't that right after? Was before? So even before she's
• 53:16
  Speaker 1: just like over yourself, Like Lily is not a good friend.
• 53:19
  Speaker 1: I'm sorry. There is a moment that I enjoyed later
• 53:22
  Speaker 1: on where Lily's like, hey, actually, you being a princess
• 53:24
  Speaker 1: is cool because you can like affect chain took me
• 53:27
  Speaker 1: up with ship. Yeah, but again, yeah, she has a
• 53:32
  Speaker 1: Faberge egg already, Like and she didn't know her dad
• 53:36
  Speaker 1: was a prince. Okay, I forgot. That's the end. She's like,
• 53:39
  Speaker 1: I've decided to do this because I'll be able to
• 53:41
  Speaker 1: do good in the world. It's like, yeah, fucking right,
• 53:44
  Speaker 1: Like the movie should have been about then, Like I
• 53:46
  Speaker 1: feel like it should have been feeling strongly about a
• 53:49
  Speaker 1: cause and having When she's a princess, she's like, yes,
• 53:54
  Speaker 1: I can use this platform to like her cause was
• 53:56
  Speaker 1: my hair is curly? Right? Well, I get yours right now,
• 54:01
  Speaker 1: And she's like, my causes gone. The Meg Cabot books,
• 54:05
  Speaker 1: I have not read them in many years. I will
• 54:07
  Speaker 1: never read them again. Sorry, but they're very different in that,
• 54:11
  Speaker 1: like there is a sequel to this movie that still
• 54:13
  Speaker 1: has and Hathaway and Julie Andrews. I haven't seen it
• 54:16
  Speaker 1: in many years. I know the promise of it is
• 54:17
  Speaker 1: and Hathaway has to get married in forty eight hours
• 54:20
  Speaker 1: or Genovia seeses to exist. Oh my gods. Constitution did
• 54:25
  Speaker 1: not think ahead at all. The serious very different where
• 54:32
  Speaker 1: I wouldn't. I would argue that there's a lot of
• 54:34
  Speaker 1: the same core problems, but the rest of the book
• 54:37
  Speaker 1: series sort of goes on, like Mia has to go
• 54:40
  Speaker 1: to Genovia during school vacations, but she continues to go
• 54:45
  Speaker 1: to school, and so it's more like she's more of
• 54:48
  Speaker 1: a normal person like Juggling. It's more Hannamiz every weekend. Yeah,
• 54:53
  Speaker 1: I'm sure that makes her relatable to her team here. Yeah,
• 54:56
  Speaker 1: that girl I would want to be friends with. She's like,
• 54:58
  Speaker 1: I gotta gr up every week and you can't come by.
• 55:03
  Speaker 1: But they totally like there's at least some of the
• 55:06
  Speaker 1: basics of this first movie are based in the source material,
• 55:10
  Speaker 1: and then they just totally jump the shark and they're like, well,
• 55:12
  Speaker 1: if Andam hath the Way doesn't get married, there's going
• 55:14
  Speaker 1: to be a genocide. It's like it's just crazy. Everybody Genoia.
• 55:19
  Speaker 1: It's horrid. Genovia becomes Greece, France or whatever it's supposed
• 55:27
  Speaker 1: to be. We musty flower Virgin and or the drops.
• 55:31
  Speaker 1: It's just, oh my god, it's so true. Yeah, she's
• 55:35
  Speaker 1: like fifteen, and they're like, are you ready to be
• 55:37
  Speaker 1: a princess? Do you even want to fuck? She's like,
• 55:41
  Speaker 1: I don't know, I'm just a nerd. One last thing
• 55:46
  Speaker 1: I wanted to talk about is the part where the
• 55:49
  Speaker 1: paparazzi takes all the photos of her getting surprised kissed
• 55:52
  Speaker 1: by Josh and then changing out of her swimsuit, and
• 55:56
  Speaker 1: then everyone the press is like, wow, what a party
• 55:59
  Speaker 1: animal this new princesses. And wait, my favorite line, it's
• 56:03
  Speaker 1: a really lazy line by like one of the newscasters
• 56:07
  Speaker 1: in this world, where she's like, we're a night of
• 56:10
  Speaker 1: fun turned into too much fun. It's like great, yeah,
• 56:18
  Speaker 1: great job. But I feel like it's a commentary on
• 56:22
  Speaker 1: how like the press often villainizes young women. The grandma,
• 56:28
  Speaker 1: even the grand she bought it, she basically shame. I
• 56:34
  Speaker 1: feel like that scene traumatized me because like there's all
• 56:36
  Speaker 1: these like pseudo sexual assaults that happened in these like
• 56:39
  Speaker 1: PG movies where it's like, hey, like, go ahead and
• 56:42
  Speaker 1: get naked in a place that you think is private,
• 56:44
  Speaker 1: but like, like, I guess I should prepare for that,
• 56:48
  Speaker 1: but maybe maybe you should, like fuck. And so now
• 56:52
  Speaker 1: I live my life as a never nude because you
• 56:57
  Speaker 1: got cut offs under there positive, someone is telling me
• 57:02
  Speaker 1: at all times. Um. So I think that's a healthy balance.
• 57:06
  Speaker 1: On the other hand, I would argue that her mom
• 57:09
  Speaker 1: is very sex positive because whenever she's like I think
• 57:12
  Speaker 1: I'm gonna have my first kiss tonight, She's like, you go, girl,
• 57:16
  Speaker 1: go kiss even though that boy sucks and I know
• 57:18
  Speaker 1: he sucks. Like I mean, her mom's like like I
• 57:23
  Speaker 1: want to romantic kiss her. My leg goes up and
• 57:25
  Speaker 1: her mom's like loser, And I was like, oh, like
• 57:32
  Speaker 1: your kiss. Like every scene as her mom just being
• 57:36
  Speaker 1: like I get sucked a lot, So good luck to you. Um.
• 57:43
  Speaker 1: Does anyone have any other final thoughts about the movie? Um? Okay,
• 57:49
  Speaker 1: So I will never not love this movie. However, this
• 57:53
  Speaker 1: is like one of those movies, like many princess movies,
• 57:56
  Speaker 1: but I think this one more so than any other
• 57:59
  Speaker 1: movie I grew up with, is it is a movie
• 58:02
  Speaker 1: that gives you like an avatar character to plug yourself
• 58:05
  Speaker 1: into when you're a young girl. And so that makes
• 58:08
  Speaker 1: like what happens in the movie ten Times is important
• 58:11
  Speaker 1: because most any girl who is young thinks they look
• 58:15
  Speaker 1: like shit. And that is how like, I feel like
• 58:18
  Speaker 1: there's no like young women here who didn't see Anne
• 58:22
  Speaker 1: Happy Way at the beginning of that movie and be
• 58:23
  Speaker 1: like yep, and and again. If you didn't and you're
• 58:27
  Speaker 1: still hot, you're not relatable or as a person, congrats
• 58:31
  Speaker 1: to email us with your experience as a hot person.
• 58:36
  Speaker 1: But but like when there are movies where there's clear
• 58:39
  Speaker 1: characters that are written and designed for young people to
• 58:42
  Speaker 1: like plug themselves into, you have to be so careful
• 58:44
  Speaker 1: how you manage that character. Often the issue with these
• 58:47
  Speaker 1: characters as they are boring. Example, Harry Potter, uh, where
• 58:51
  Speaker 1: you're like, everyone's gonna be like, I'm Harry Potter, but
• 58:53
  Speaker 1: Harry Potter is like, I don't do anything and I
• 58:55
  Speaker 1: have money. I'm my money can under Harry Potter. Anyways, there,
• 59:02
  Speaker 1: I just listen to you guys. It Harry Potter episodes.
• 59:05
  Speaker 1: So funny that you brought that up. It's it's I
• 59:07
  Speaker 1: hate polarious I love Harry Potter because Jamie was like,
• 59:11
  Speaker 1: I hate Harry Potter. Yeah, Jamie starts off the podcast.
• 59:17
  Speaker 1: I've been like I hate Harry Potter, and then um,
• 59:19
  Speaker 1: your guests, Maggie May I think was like I remember
• 59:22
  Speaker 1: waiting in line at midnight to get the new Harry
• 59:24
  Speaker 1: Potter bucks and Jamie's like, yes, yes, yeah. I was
• 59:27
  Speaker 1: like I was there too, but I also hated it.
• 59:32
  Speaker 1: I'll like to say clear avatar characters who go from
• 59:35
  Speaker 1: non hot too hot, who go right exactly And and
• 59:40
  Speaker 1: in the movie Too they straightened her Minie's hair and
• 59:42
  Speaker 1: all of a sudden, she's hot. That was always like
• 59:44
  Speaker 1: you have curly hair, but you're thin. And then they
• 59:47
  Speaker 1: strain your hair to take off the glasses and they're
• 59:49
  Speaker 1: like boom down, and and so that's like a downside
• 59:53
  Speaker 1: of this movie, is it? It Like the takeaway is,
• 59:57
  Speaker 1: like many movies, being hot will solve most of your problem.
• 1:00:00
  Speaker 1: And once you get hot, you're probably actually rich, which
• 1:00:04
  Speaker 1: is amazing. You never see makeover where they're still poor afterwards.
• 1:00:08
  Speaker 1: That's that would be an important again industry free idea.
• 1:00:14
  Speaker 1: You're welcome. I'm gonna make that and they're gonna be
• 1:00:17
  Speaker 1: like we've done it well. It's like when I stridened
• 1:00:20
  Speaker 1: my hair for the first time, I was like, yeah,
• 1:00:21
  Speaker 1: you still uh I know. I did movie to teach
• 1:00:26
  Speaker 1: me that, Like once I got my hair straighted professionally
• 1:00:28
  Speaker 1: from my bomb mitzvah, and I was like, my life
• 1:00:31
  Speaker 1: is about to change. And then like everybody was like, no,
• 1:00:37
  Speaker 1: we still think Heather, there's the hot one. I'm like,
• 1:00:43
  Speaker 1: there's always there's television shows. But yeah, you're right. Movies
• 1:00:48
  Speaker 1: like that have to be very careful with how they
• 1:00:50
  Speaker 1: handle it, and I would want this movie does not
• 1:00:52
  Speaker 1: handle it very well. But they say bush Man eyebrows.
• 1:00:56
  Speaker 1: They're like hello, Freda calla like no sense of of
• 1:01:00
  Speaker 1: anyone Rita a movie that is in thank you. Wow. Also,
• 1:01:08
  Speaker 1: we have a listener in the front row with a
• 1:01:09
  Speaker 1: feminine icon Albert Molina. What's your name? Shout out to Zoe? Yes,
• 1:01:19
  Speaker 1: show a shot. Also speaking of bodyguards, who fuck uh?
• 1:01:26
  Speaker 1: Whitney Houston produced this movie? Wait? Yes, yeah she did.
• 1:01:31
  Speaker 1: And literally I was like, it's not that Whitney Houston
• 1:01:33
  Speaker 1: and it is always that Whitney Houston. We're so worth noting.
• 1:01:40
  Speaker 1: This movie has many female producers. Directed by Gary Marshall,
• 1:01:45
  Speaker 1: but always written by a woman and based on a
• 1:01:48
  Speaker 1: novel written by Yeah, so a lot of women read
• 1:01:54
  Speaker 1: here are adult novels as well. I haven't read them
• 1:01:56
  Speaker 1: since I was novels. Could she did? Is she? Like?
• 1:02:00
  Speaker 1: Genuinely clap if you've read My Cabin? I've heard of
• 1:02:05
  Speaker 1: does she? Does she hold up? Okay, I've heard. I
• 1:02:08
  Speaker 1: mean I really enjoyed her, but I read I read
• 1:02:11
  Speaker 1: her through high school and I haven't read her since.
• 1:02:13
  Speaker 1: But I would argue the source material for this series
• 1:02:16
  Speaker 1: is much better than any of the movie out of like,
• 1:02:20
  Speaker 1: let's dumb it down because and then the book it's
• 1:02:23
  Speaker 1: literally it's called the Princess Diaries because it's written first
• 1:02:26
  Speaker 1: person from Mia. It's her. That's what I wondered too,
• 1:02:29
  Speaker 1: because when I was rewatching, I was like, why is
• 1:02:31
  Speaker 1: this the Diaries? And at least they bridget Jones's diary.
• 1:02:35
  Speaker 1: They make a loose attempt to be like September. Well
• 1:02:40
  Speaker 1: in the movie, they changed the diary to be a
• 1:02:43
  Speaker 1: diary she's given that her father wrote in and that's
• 1:02:46
  Speaker 1: that it is at the end. Okay, but he's not
• 1:02:49
  Speaker 1: as close as the Prince's diary diary about his daughter,
• 1:02:55
  Speaker 1: he said to the princess diary that bequeathed upon his death.
• 1:03:01
  Speaker 1: That's a good game. That's a good title for a movie. Objectively,
• 1:03:04
  Speaker 1: Hey do test? Okay, Yes, it does pass the Backtel
• 1:03:12
  Speaker 1: test because there's a lot of conversations with two women
• 1:03:15
  Speaker 1: that are like over one line that are about country,
• 1:03:19
  Speaker 1: but mostly about the dead dad who is a man,
• 1:03:24
  Speaker 1: and also about looks, which is like, that's an interesting
• 1:03:27
  Speaker 1: thing because there's so many like chick flick movies where
• 1:03:30
  Speaker 1: it's like, I guess technically they're like speaking not about
• 1:03:32
  Speaker 1: a man, but they're speaking about making yourself appeal to
• 1:03:36
  Speaker 1: the male gays who had it on there, who had
• 1:03:43
  Speaker 1: it on their bingo card, margot down male gay has
• 1:03:47
  Speaker 1: got one in. That's something we come up against a
• 1:03:50
  Speaker 1: lot where and there's versions of media tests they say
• 1:03:54
  Speaker 1: that women can't be talking about domestic stuffs. But based
• 1:03:58
  Speaker 1: on this movie and based on two years of doing
• 1:04:01
  Speaker 1: this podcast, now, like I think the thing that I
• 1:04:04
  Speaker 1: would jump to first is making a media test like
• 1:04:07
  Speaker 1: it can't pass the Bechtel test if women are insulting
• 1:04:10
  Speaker 1: each other based on their looks, Because it passes the
• 1:04:13
  Speaker 1: Bechtels test in this movie, our version of it, and
• 1:04:16
  Speaker 1: technically whatever the canonical version of it. So many times
• 1:04:20
  Speaker 1: when women are telling each other, they look like absolute ship. Yeah,
• 1:04:24
  Speaker 1: and it's like frustrated, and it's not even in like
• 1:04:27
  Speaker 1: the way that it is with like me and my friends.
• 1:04:28
  Speaker 1: So it's like you look like shit girl, you know,
• 1:04:31
  Speaker 1: like where it's like a compliment. It's because you're working
• 1:04:36
  Speaker 1: so hard. Well, so many of the passes that we've had,
• 1:04:39
  Speaker 1: or either they're talking about food or making food, they're
• 1:04:42
  Speaker 1: talking about clothes, they're talking about some other like hair,
• 1:04:45
  Speaker 1: makeup things, or it's like you should kill yourself. She's
• 1:04:48
  Speaker 1: all that. I'm gonna kill you, Miss congeniality. A star
• 1:04:53
  Speaker 1: is born to high I'm gail. This is the way
• 1:04:57
  Speaker 1: to the stage. I'm goin to icon more. Well, let's
• 1:05:13
  Speaker 1: write the Princess Diaries on our nipple scale if you're familiar,
• 1:05:19
  Speaker 1: nipple scale if you're not familiar. We rate the movie
• 1:05:22
  Speaker 1: based on his portrayal and representation of women based on
• 1:05:25
  Speaker 1: a scale of zero to five nipples. I'm gonna give this.
• 1:05:29
  Speaker 1: I'm sorry. What was it nipple? What isn't nipple? Does
• 1:05:32
  Speaker 1: anyone in the audience, anyone do you want to show
• 1:05:40
  Speaker 1: are you doing like a show us your tips to
• 1:05:42
  Speaker 1: the audience right now, show us your tips high brows
• 1:05:49
  Speaker 1: the show first, I'm sorry, does quite familiar? Does anyone
• 1:05:53
  Speaker 1: have a nipple on head? On hand? I think I'm
• 1:05:59
  Speaker 1: gonna oh, thank you so much. That could go on Instagram. Yeah,
• 1:06:06
  Speaker 1: I think I'm going to give this a too. Two nipples.
• 1:06:11
  Speaker 1: Like look, no, everyone everyone in there, everyone in their head,
• 1:06:17
  Speaker 1: have their nipp because we don't listen to us. You know,
• 1:06:20
  Speaker 1: we're stupid. We don't know over on your head. But
• 1:06:25
  Speaker 1: I'm going to give it a too because even though
• 1:06:26
  Speaker 1: in the movie there's female relationships and female friendships, which
• 1:06:29
  Speaker 1: is great, I do like a lot of the characters,
• 1:06:32
  Speaker 1: especially Lily and Fat Louis and Mr robotutions two of
• 1:06:37
  Speaker 1: those are but Lily is cool, So I do appreciate
• 1:06:42
  Speaker 1: like the female relationship aspect of the movie. But because
• 1:06:45
  Speaker 1: almost the entire movie is framed around she's got to
• 1:06:48
  Speaker 1: be a very specific standard of beauty to even be
• 1:06:52
  Speaker 1: considered to be able to do this whole princess role.
• 1:06:54
  Speaker 1: The movie spends no time being like, hey, you should
• 1:06:57
  Speaker 1: maybe learn about you know, policy, or like anything like that.
• 1:07:01
  Speaker 1: Right about the country. It's about the country itself. It's
• 1:07:06
  Speaker 1: all about and a lot. I feel just like a
• 1:07:08
  Speaker 1: lot of things kind of happened to her, and they
• 1:07:10
  Speaker 1: don't even show it on a map. They don't want
• 1:07:12
  Speaker 1: to even give us like a loose like it's here.
• 1:07:16
  Speaker 1: So yeah, I think like there are opportunities for this
• 1:07:19
  Speaker 1: movie to be about something more important and it simply
• 1:07:23
  Speaker 1: was not. So I'm gonna do two nipples and they
• 1:07:28
  Speaker 1: both go to Fat Louis. Obviously, I'm going to give this.
• 1:07:36
  Speaker 1: I guess I'm gonna go two and a half. I
• 1:07:38
  Speaker 1: love this movie, dear, Oh my god, I was gonna
• 1:07:40
  Speaker 1: go three. Can everyone relax? But someone like seed, I'll
• 1:07:45
  Speaker 1: go three. I I remember when I was like, I
• 1:07:50
  Speaker 1: don't so come to peer pressure. I want everyone to
• 1:07:53
  Speaker 1: think I'm cool. I am going to give this. I'm
• 1:07:58
  Speaker 1: gonna give it three nipples. And there are there are
• 1:08:02
  Speaker 1: a lot of issues with this movie, which we spent
• 1:08:05
  Speaker 1: time discussing. There's obviously a lack of diversity. We only
• 1:08:10
  Speaker 1: see one woman of color in the entire movie, and
• 1:08:13
  Speaker 1: she's basically one character combined with another like white Girl,
• 1:08:17
  Speaker 1: because they only speak. She has she is, and she
• 1:08:29
  Speaker 1: has multiple exchanges in the movie. The past the Bechtel
• 1:08:32
  Speaker 1: test because she is a woman in charge. She's the
• 1:08:34
  Speaker 1: principle of the school, and she's either listening to or
• 1:08:38
  Speaker 1: dismissing her students, depending on who another thing is. She's
• 1:08:42
  Speaker 1: kind of like, you know, kind of like a bitch.
• 1:08:44
  Speaker 1: And then like whenever she finds out that like me
• 1:08:46
  Speaker 1: as a princess, she's like, oh yeah, I'll do anything
• 1:08:50
  Speaker 1: for you, which kind of speaks to like, what I
• 1:08:53
  Speaker 1: do like about this movie is not just you see
• 1:08:56
  Speaker 1: many generations of women in prominent roles. You see a
• 1:09:00
  Speaker 1: lot of different personality types from women, and I think
• 1:09:03
  Speaker 1: that that is a rarity in movies, especially movies marketed
• 1:09:08
  Speaker 1: to young girls specifically. Is I think like a common
• 1:09:12
  Speaker 1: like Fumble is like all women have to like each other.
• 1:09:16
  Speaker 1: If you don't like every single woman, you are bad.
• 1:09:19
  Speaker 1: And you see and there's there's so many different kinds
• 1:09:22
  Speaker 1: of women. You know. You you see Mia, you see
• 1:09:25
  Speaker 1: Julie Andrews who has been raised by the patriarchy and
• 1:09:29
  Speaker 1: is has issues. You see Helen who, you see Mandy
• 1:09:35
  Speaker 1: Moore who genuinely is a despicable person and deserve to
• 1:09:38
  Speaker 1: get coned. Uhha, god loha, God. Count You see Lily,
• 1:09:48
  Speaker 1: who is like a very socially active kind of women.
• 1:09:51
  Speaker 1: You see like a lot of different kinds of women
• 1:09:53
  Speaker 1: with specific cause she's at someone she's like seals to.
• 1:10:00
  Speaker 1: There's a lot of difference. She wears buttons on her jeans.
• 1:10:05
  Speaker 1: I think that's an accurate representation of the high school activists.
• 1:10:09
  Speaker 1: They're like all in justice space. She's like eating French
• 1:10:11
  Speaker 1: fries like I'm a vegetarian. Yeah, it's like you see,
• 1:10:16
  Speaker 1: you see a lot of different types of women, and
• 1:10:18
  Speaker 1: you see them interacting with each other and having differences
• 1:10:21
  Speaker 1: of opinion and seeing them resolving issues, and that's not
• 1:10:25
  Speaker 1: something in spite of all the issues we have talked about.
• 1:10:28
  Speaker 1: I think that that was definitely something that resonated with
• 1:10:31
  Speaker 1: me and people love this movie, and I still really
• 1:10:35
  Speaker 1: like this movie. So three nips from me giving one
• 1:10:38
  Speaker 1: to me up and giving one to Lily, and I'm
• 1:10:43
  Speaker 1: giving one to Sandra. Oh yeah, yeah, Marcia, what do
• 1:10:48
  Speaker 1: you say? You know what? Honestly, I'm gonna give it
• 1:10:52
  Speaker 1: three nipples just like Marky Mark, three nips just like
• 1:10:55
  Speaker 1: Mark Wahlberg. Um, because yeah, this is a ing upon
• 1:11:00
  Speaker 1: rewatch because at the time, all these movies that I watched.
• 1:11:03
  Speaker 1: I was just like a great message. Love it. I
• 1:11:06
  Speaker 1: hate myself, but I love the movie, like rewatching all
• 1:11:11
  Speaker 1: these like there's this one movie I think it was
• 1:11:14
  Speaker 1: called No, it's not Head over Heels because that's Samel
• 1:11:16
  Speaker 1: gives someone. But there's some movie where it's like Freddie
• 1:11:18
  Speaker 1: Prince Jr. And he's dating a girl who lives with
• 1:11:21
  Speaker 1: all models, and she's like, she's like the regular looking one.
• 1:11:26
  Speaker 1: And I remember being like, if that's regular looking, kill me.
• 1:11:30
  Speaker 1: And that's what this movie is because I remember at
• 1:11:33
  Speaker 1: the time being like, okay, Anne Hathaway before like all right,
• 1:11:38
  Speaker 1: what are the more convincing and we condemned movie makeovers. However,
• 1:11:44
  Speaker 1: this is the only effective movie makeover where you genuine
• 1:11:47
  Speaker 1: lucy a marked difference between one and two, where like
• 1:11:51
  Speaker 1: when we did Miss Congeniality, it's like it was Sandra
• 1:11:54
  Speaker 1: bullok the whole time, it was Sandra Bull, like the
• 1:11:56
  Speaker 1: whole That's the thing with all these movies. It's always
• 1:11:59
  Speaker 1: like she's all at your lab. It was her, she
• 1:12:03
  Speaker 1: was Josie. But okay, so three nipples. One to Miadi
• 1:12:13
  Speaker 1: General whatever her name is, and I want to give
• 1:12:15
  Speaker 1: one to the mom who just like refuses to be
• 1:12:18
  Speaker 1: sledg shamed, and I respect that's so much about her
• 1:12:21
  Speaker 1: because every scene is her being like I sucked your
• 1:12:23
  Speaker 1: teacher and me a being like what and her being
• 1:12:30
  Speaker 1: like in the seventies, I foxed someone that looked like
• 1:12:33
  Speaker 1: your teacher. So one for the mom, one for Mia,
• 1:12:39
  Speaker 1: and one is sort of a conglomerate of what should
• 1:12:41
  Speaker 1: have been one character with the Lily brother and that's Oh,
• 1:12:45
  Speaker 1: and I feel bad missing Julie Andrews, so I'm gonna
• 1:12:47
  Speaker 1: change mind to three point five nipples to give sort
• 1:12:49
  Speaker 1: of a higher score than you guys. We can get
• 1:12:51
  Speaker 1: like the Olympic judging like comedian grade out of three.
• 1:12:55
  Speaker 1: Yeah for Julie Andrews, because God bless her. She deserves
• 1:12:59
  Speaker 1: an Oscar for the roll. Don't argue with me, he does.
• 1:13:03
  Speaker 1: She at least has starved a golden globe. I don't
• 1:13:05
  Speaker 1: know if she got one, but he says no. I mean,
• 1:13:08
  Speaker 1: because I think that Oscar should be decided not based
• 1:13:11
  Speaker 1: on if the movie is good, but based on what
• 1:13:14
  Speaker 1: people did with the source material, because there was not
• 1:13:18
  Speaker 1: a lot you could do with this movie, and she
• 1:13:20
  Speaker 1: stayed committed the entire time. She was like, no, I
• 1:13:23
  Speaker 1: am a Genovian queen and not like twelve years old,
• 1:13:26
  Speaker 1: I remember being like Genovia is real, she's the queen.
• 1:13:29
  Speaker 1: I would like to revoke one of my nipples from
• 1:13:32
  Speaker 1: Mia and give it to Meg Cabin because story to
• 1:13:37
  Speaker 1: our source material that got bought. I mean, these authors
• 1:13:39
  Speaker 1: are so brave, like where they're like I read they
• 1:13:41
  Speaker 1: call me by your name author where he was like honest,
• 1:13:44
  Speaker 1: and I read the book after I saw the movie.
• 1:13:46
  Speaker 1: The ending is completely different. I think they should have
• 1:13:48
  Speaker 1: done the ending like the book. And the author was like,
• 1:13:51
  Speaker 1: they changed my whole story, but I really respect it.
• 1:13:54
  Speaker 1: And I'm like, I don't know how you do that,
• 1:13:56
  Speaker 1: because if I wrote a book and someone changed like
• 1:13:59
  Speaker 1: one thing, I'd be like, na, but what about a
• 1:14:04
  Speaker 1: million dollars? Actually that I could have so much integrity
• 1:14:10
  Speaker 1: before I actually write anything. And then I write a
• 1:14:14
  Speaker 1: book and they're like, we'll give you four billion dollars.
• 1:14:16
  Speaker 1: All the characters are different. I'm like, you gotta baby
• 1:14:20
  Speaker 1: all women. Well, Harsha, thank you so much for being
• 1:14:27
  Speaker 1: thank you for having them. Thank you. What would you
• 1:14:31
  Speaker 1: like to plug? Where can people follow you online? Um?
• 1:14:33
  Speaker 1: You can follow me online? Marsha Bellski just my name
• 1:14:37
  Speaker 1: on all places. Yeah, I'm kind of like a guy scale,
• 1:14:41
  Speaker 1: so like unless you're into like men's rights, like, don't
• 1:14:43
  Speaker 1: follow me. Great, big thanks to the New York Comedy
• 1:14:48
  Speaker 1: Fostival for having us, Baby's all Right for having us here.
• 1:14:54
  Speaker 1: You can follow us to at backtel Cast all the stuff.
• 1:14:57
  Speaker 1: Thank you so much for being here. Get a fa
• 1:15:02
  Speaker 1: Hey everyone, it's Caitlin again. I just wanted to say
• 1:15:05
  Speaker 1: from Jamie and I, thank you again to the New
• 1:15:08
  Speaker 1: York Comedy Festival for having us, Thanks to the venue
• 1:15:11
  Speaker 1: Baby's all Right in Brooklyn for hosting us, and thanks
• 1:15:16
  Speaker 1: to our guest, Mark Schabelski. She was great, and make
• 1:15:19
  Speaker 1: sure to follow her and to follow Headless Women of Hollywood.
• 1:15:23
  Speaker 1: Speaking of following things on social media, you can do
• 1:15:27
  Speaker 1: that for us on Twitter, Instagram, Facebook, at bachtel Cast,
• 1:15:33
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• 1:15:36
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• 1:15:40
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• 1:15:44
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• 1:15:48
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• 1:15:51
  Speaker 1: the Matron bonus episodes. So become a Matron today and
• 1:15:56
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• 1:16:00
  Speaker 1: Please rate and review us on iTunes. That helps us
• 1:16:03
  Speaker 1: out a lot. And finally from us here at the
• 1:16:08
  Speaker 1: Bechtel Cast, have a great twenty nineteen. All right by