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From Dusk Till Dawn with Vanessa Guerrero · The Bechdel Cast

• 0:01
  Speaker 1: On the Bechde cast, the questions asked if movies have
• 0:04
  Speaker 1: women and them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? The patriarchy zeph and Beast
• 0:12
  Speaker 1: start changing with the Bechdel cast.
• 0:16
  Speaker 2: Hey, Jamie, Hey Caitlyn, want to go to the Titty
• 0:21
  Speaker 2: Twister with me and have a couple drinks?
• 0:24
  Speaker 3: Conceptually, yes, in reality I'm not so sure.
• 0:32
  Speaker 4: I don't know.
• 0:33
  Speaker 3: I mean, getting past the door guy alone seems pretty
• 0:35
  Speaker 3: existentially stressful.
• 0:38
  Speaker 2: I mean, weren't you just so drawn in by cheech
• 0:41
  Speaker 2: Maren's speech about pussy?
• 0:44
  Speaker 3: Yeah, I can't get in until cheech Maren breaks the
• 0:47
  Speaker 3: fourth wall about pussy. I like, as as kind of
• 0:51
  Speaker 3: like yucky as that speech is. I do wish that
• 0:55
  Speaker 3: more movies included cheech marin breaking the fourth wall, a
• 1:00
  Speaker 3: long protracted speech about pussy.
• 1:02
  Speaker 4: I would not hate that.
• 1:04
  Speaker 3: I would maybe have some notes on like the dial,
• 1:08
  Speaker 3: maybe not let Quentin Tarantino write about pussy.
• 1:12
  Speaker 4: Anymore, even I would say.
• 1:15
  Speaker 3: But but yes, I do support in general that happening.
• 1:19
  Speaker 3: What if that happen at the entrance to the Chamber
• 1:21
  Speaker 3: of Secrets, you know, like anytime you're entering the big
• 1:23
  Speaker 3: mysterious location. Cheech Baron was just there with his like
• 1:28
  Speaker 3: pussy speech. What's another big like any haunted house movie?
• 1:34
  Speaker 3: The Haunted Mansion. Eddie Murphy can't.
• 1:36
  Speaker 4: Enter until he gets.
• 1:39
  Speaker 2: And then Eddie Murphy punches the shit out of Cheech
• 1:42
  Speaker 2: Marin before he goes inside.
• 1:44
  Speaker 5: I mean, I'm not never happy to see Cheese take
• 1:48
  Speaker 5: a punch, but something to consider for future. He's still alive, right, yeah, Okay,
• 1:54
  Speaker 5: he's old but kicking and in the Cars franchise, which
• 1:59
  Speaker 5: I always forget and warranted peating.
• 2:02
  Speaker 2: Yes, we just haven't covered a Cars movie yet, have we?
• 2:07
  Speaker 4: I think? Yeah.
• 2:08
  Speaker 3: The fact that we got eight whole years into our
• 2:11
  Speaker 3: feminist podcast without discussing cars, I just don't know how
• 2:14
  Speaker 3: it happened.
• 2:16
  Speaker 4: The time just slips away.
• 2:18
  Speaker 2: Well, just you wait, listeners for Cars or February.
• 2:24
  Speaker 4: Welcome to the Bechdel Cast. My name is Jamie Loftis.
• 2:27
  Speaker 2: My name is Caitlin Dorante. This is our show where
• 2:29
  Speaker 2: we examine movies through an intersectional feminist lens, using the
• 2:33
  Speaker 2: Bechdel test simply as a jumping off point. We've talked
• 2:36
  Speaker 2: about it so many times at this point, so you know,
• 2:39
  Speaker 2: look it up. Go back to a previous episode. I
• 2:42
  Speaker 2: feel like we just got to get into it today.
• 2:45
  Speaker 3: I like that we've like gotten to the era where
• 2:47
  Speaker 3: we're like, we're not going to explain what it is anymore.
• 2:50
  Speaker 3: It will come up once in like ninety minutes and
• 2:52
  Speaker 3: that's it, right.
• 2:54
  Speaker 2: I mean again, we've been on for eight years. In
• 2:58
  Speaker 2: that time, we have not talked about cars, but we
• 3:01
  Speaker 2: have explained our version of the Bechdel Test easily five
• 3:04
  Speaker 2: five hundred times literally. So we're just gonna move past
• 3:08
  Speaker 2: it today and just bring in our guest for this
• 3:12
  Speaker 2: episode on From Dusk Till Dawn nineteen ninety six, Robert
• 3:16
  Speaker 2: Rodriguez film. Our guest is a producer and writer at
• 3:19
  Speaker 2: Game Grumps. You know her from our episodes on John
• 3:22
  Speaker 2: Wick Raw Found Atomic Blonde. This is the fifth appearance
• 3:28
  Speaker 2: five Timers Club. It's Vanessa Gerrera, Yo, welcome back.
• 3:34
  Speaker 6: The first time I heard the cheech Maren pussy speech,
• 3:39
  Speaker 6: I had watched this movie on cable with my mom
• 3:41
  Speaker 6: and they dubbed over it by calling it kitty, and
• 3:44
  Speaker 6: my mom didn't love that. I kept repeating apple Pie
• 3:46
  Speaker 6: Kitty around the house.
• 3:50
  Speaker 3: Stopping wet kitty, chicken, kitty horse, Kitty Wait. That is
• 3:58
  Speaker 3: so I love a TV Yes, edit anecdote, that's the greatest.
• 4:03
  Speaker 2: There's a lot of them for movies written by Tarantino,
• 4:07
  Speaker 2: specifically because there's the my name's Buck and I like
• 4:10
  Speaker 2: to party.
• 4:11
  Speaker 3: Yeah, yep, classic, Yeah, I mean he does if nothing
• 4:15
  Speaker 3: else right, movies designed that are very difficult to broadcast.
• 4:20
  Speaker 2: So, Vanessa, what is your relationship with From Dusk Till Dawn?
• 4:26
  Speaker 6: So the first time I saw this movie, it was
• 4:29
  Speaker 6: at a very long hair rushing session with my mother,
• 4:33
  Speaker 6: as I have long and ridiculous curly hair, and this
• 4:38
  Speaker 6: movie was on cable and my mom is it one
• 4:42
  Speaker 6: for gore and violence, but she does love Cheech Marin
• 4:45
  Speaker 6: and George Clooney. So we just sat and watched this
• 4:49
  Speaker 6: entire movie in a day, and I ended up falling
• 4:51
  Speaker 6: in love with it. And I looked up Robert Rodriguez
• 4:54
  Speaker 6: and watched everything he had ever done and told my
• 4:57
  Speaker 6: parents I wanted to get into entertainment and they said
• 4:59
  Speaker 6: over my day body, But jokes on them. I ended
• 5:02
  Speaker 6: up working for Robert Rodriguez anyway. So this was a
• 5:06
  Speaker 6: big gateway film for me for both a lot of
• 5:11
  Speaker 6: genre film and then the idea that just anybody could
• 5:16
  Speaker 6: make something. So that was like instrumental to me. And yeah,
• 5:21
  Speaker 6: this is a very fundamental film for me. And every
• 5:25
  Speaker 6: time I watch it, I find more and more reasons
• 5:29
  Speaker 6: to be grossed up by contin Tarantino.
• 5:31
  Speaker 4: Yes, yes, gosh, I mean, and I do like that.
• 5:35
  Speaker 3: I mean, on a longer timeline, Robert Ariguez sort of
• 5:38
  Speaker 3: took the authorial role in this franchise instead of Tarantino
• 5:42
  Speaker 3: continuing to write it.
• 5:43
  Speaker 4: Because as you're watching this, you're like, they.
• 5:45
  Speaker 3: Should have just let him rewrite the movie if he
• 5:48
  Speaker 3: was going to direct it, Like it's unfair to make
• 5:50
  Speaker 3: him direct some of this dialogue. I know that they're
• 5:53
  Speaker 3: they're bros, but come.
• 5:54
  Speaker 2: On, yeah, come on.
• 5:57
  Speaker 6: Wow.
• 5:58
  Speaker 2: I didn't realize this was such an important movie to you, Vanessa.
• 6:02
  Speaker 6: It was. And it's really funny because it was like
• 6:05
  Speaker 6: the first time I saw my mom indulge anything that
• 6:09
  Speaker 6: was like willfully gross. So I learned a little bit
• 6:14
  Speaker 6: about my mom that day where I was like, oh,
• 6:16
  Speaker 6: you're kind of a weirdo too.
• 6:19
  Speaker 2: I love those moments. I went to see Team America
• 6:23
  Speaker 2: World Police in theaters with my mom. No way that
• 6:28
  Speaker 2: has an extended like puppet sex scene. There's a scene
• 6:34
  Speaker 2: where a puppet's puking for several minutes, and I was
• 6:38
  Speaker 2: like sitting next to my mom and she wasn't like
• 6:40
  Speaker 2: scandalized by it really, so I was like, Okay, my
• 6:44
  Speaker 2: mom sent to some freak shit. Cool Jamie, what's your
• 6:49
  Speaker 2: relationship with the movie.
• 6:52
  Speaker 4: I had not seen this movie before. I was I
• 6:55
  Speaker 4: don't know.
• 6:55
  Speaker 7: Why, just the cards and of her, the stars, whatever
• 6:58
  Speaker 7: metaphor I was reaching for there, it didn't happen. Although
• 7:03
  Speaker 7: I would consider myself a Robert Reveguez fan, which probably
• 7:05
  Speaker 7: sounds like fake fan because I have not seen this movie,
• 7:08
  Speaker 7: but I've seen many of his movies.
• 7:10
  Speaker 4: I read his book.
• 7:11
  Speaker 3: I really love his book, in particular Revel Without a Crew.
• 7:14
  Speaker 4: Have you read it? It's so good, It's the classic.
• 7:17
  Speaker 4: It's very inspiring.
• 7:19
  Speaker 3: I've seen his.
• 7:21
  Speaker 4: His first feature. I don't know.
• 7:23
  Speaker 3: I've seen a lot of Roveguez movies this last year,
• 7:26
  Speaker 3: so I'm filling in the blanks in my knowledge. I think,
• 7:30
  Speaker 3: like a lot of people, I came in to Robert
• 7:33
  Speaker 3: Rodriguez and his family era. I was there for the
• 7:37
  Speaker 3: Spy Kids, SPI Kids two, Island of Lost Dreams, Spike
• 7:40
  Speaker 3: Kids three D Game Over, and of course Shark Boy
• 7:43
  Speaker 3: and lave A Girl, which we should cover someday but
• 7:47
  Speaker 3: have gone on to, you know, like a launch his
• 7:50
  Speaker 3: not that spi Kids is not an actual movie, it's
• 7:52
  Speaker 3: in fact a classic, but his adult movies. But this
• 7:55
  Speaker 3: was my first time with this movie. I know we've
• 7:59
  Speaker 3: covered Sin City in the past. I mean we've covered
• 8:02
  Speaker 3: his work. I was, this is like sidebar, but I
• 8:06
  Speaker 3: did not realize his like fealty to the Spy Kids universe.
• 8:10
  Speaker 4: He still directs every Spy Kids movie.
• 8:13
  Speaker 3: Yes he does, including the ones that like don't feature
• 8:17
  Speaker 3: any of the original cast, the ones where they like
• 8:19
  Speaker 3: recast Antonio Banderaz with Joel McHale.
• 8:22
  Speaker 2: Like what I didn't Okay, I didn't even know there
• 8:25
  Speaker 2: were Spy Kids movies past the third one.
• 8:28
  Speaker 3: There was one last year Caitlin Get Ready for Your
• 8:31
  Speaker 3: and Robert Rodriguez. I mean they're part of his expanded universe.
• 8:36
  Speaker 3: But I just think it's very cool. But he still
• 8:38
  Speaker 3: is like, no, I'm another director. Yes, he is the
• 8:43
  Speaker 3: ultimate spy Kid. Anyways, this movie, I really like the
• 8:49
  Speaker 3: second half and the first half I was like, when
• 8:54
  Speaker 3: is it gonna When is something gonna get gross?
• 8:56
  Speaker 4: When it's something I get scary. What am I watching?
• 8:58
  Speaker 3: I do I like this?
• 9:01
  Speaker 4: No?
• 9:01
  Speaker 3: And then all of a sudden, almost at the exact
• 9:04
  Speaker 3: halfway mark, I really liked it until the end.
• 9:07
  Speaker 4: So it was a journey. It's a very weird movie.
• 9:10
  Speaker 6: It is.
• 9:11
  Speaker 4: Yeah, I don't think I've.
• 9:12
  Speaker 3: Ever quite seen a movie take this heart of a
• 9:15
  Speaker 3: turn that deep into the movie.
• 9:17
  Speaker 4: But I'm excited to talk about it. Yeah, Caitlin, what
• 9:20
  Speaker 4: is your history with this movie?
• 9:22
  Speaker 2: I had seen it once before and it was something
• 9:25
  Speaker 2: I always wanted to rewatch because I remember enjoying it
• 9:28
  Speaker 2: at the time. This was probably twenty ish years ago
• 9:32
  Speaker 2: that I saw it for the first time, and the
• 9:35
  Speaker 2: things I remember the most of the things that were
• 9:38
  Speaker 2: like seared into my brain for all time were Selma
• 9:42
  Speaker 2: Hayak being the hottest person in the world.
• 9:46
  Speaker 4: This movie hasn't been done before since.
• 9:48
  Speaker 2: I remember the big midpoint reveal because it sort of
• 9:52
  Speaker 2: comes out of nowhere. For something like, for example, Jurassic Park,
• 9:57
  Speaker 2: where suddenly you know, big scary things are attacking everyone.
• 10:01
  Speaker 2: That's heavily foreshadowed earlier on, so it doesn't come out
• 10:05
  Speaker 2: of nowhere this movie, truly, You're just like, oh, it's
• 10:07
  Speaker 2: vampires now, oh okay, and it is it's that shot.
• 10:10
  Speaker 3: Where Samahayak turns into a snake vampire right yeah again, Like,
• 10:16
  Speaker 3: while there are criticisms to be made of this movie,
• 10:19
  Speaker 3: like the cheech Marin thing, I would like a lot
• 10:21
  Speaker 3: of movies to make that same choice.
• 10:25
  Speaker 2: And then of course I remembered the dick gun. Yes, ah,
• 10:28
  Speaker 2: couldn't forget that. The dick guns, sex machines, sex machines.
• 10:33
  Speaker 2: Dick gun seared into my memory for all times.
• 10:36
  Speaker 6: Played by the incredible Tomas Savini.
• 10:38
  Speaker 4: Yeah, yeah, I really appreciated him. So I love the band.
• 10:43
  Speaker 3: When the band, I think the image that will be
• 10:45
  Speaker 3: seared into my brain forever is when the band's instruments
• 10:48
  Speaker 3: turned into.
• 10:49
  Speaker 4: Just like guy's body parts little there's a.
• 10:51
  Speaker 3: Little skeleton moroccos I really like pause that scene to
• 10:55
  Speaker 3: be like, ooh, what's going on back here? Because like, yeah,
• 10:58
  Speaker 3: they were not doing it halfway. I had a little
• 11:01
  Speaker 3: freaky body horror instrument.
• 11:03
  Speaker 4: It was awesome.
• 11:03
  Speaker 2: See I only noticed the guitar, the torso guitars.
• 11:08
  Speaker 4: You gotta slid down. Yeah, they they got They got
• 11:11
  Speaker 4: really silly with it. It was really fun.
• 11:13
  Speaker 2: Nice. So anyway, I wanted to rewatch this movie, not
• 11:17
  Speaker 2: remembering much about it aside from those specific things, and
• 11:21
  Speaker 2: upon rewatching it, I had a very similar experience to you,
• 11:24
  Speaker 2: Jamie as far as hated the first half. It's a
• 11:28
  Speaker 2: slog It's just full of all these problematic, nasty things.
• 11:33
  Speaker 4: It like feels like a Tarantino movie for the first half.
• 11:36
  Speaker 2: Yeah, and then it gets really fun. Yeah, so I'm
• 11:40
  Speaker 2: excited to talk about it. Let's take a quick break
• 11:45
  Speaker 2: and then get into the recap, shall we. And we're
• 11:58
  Speaker 2: back and were throwing back drinks at the Titty Twister,
• 12:03
  Speaker 2: ready to recap from dusk till dawn. I'll place a
• 12:09
  Speaker 2: content warning at the top here for rape and violence
• 12:14
  Speaker 2: against swimming, because that is those are the identifying characteristics
• 12:20
  Speaker 2: of Quentin Tarantino's character. We'll get into it, but.
• 12:24
  Speaker 3: Wait before we has anyone ever seen the clip? When
• 12:27
  Speaker 3: I told my boyfriend I was watching this, he was like,
• 12:30
  Speaker 3: have you seen.
• 12:30
  Speaker 4: The George Gluney interview for this movie? And then he
• 12:33
  Speaker 4: showed me and it really made me laugh and re
• 12:36
  Speaker 4: endeared me to George Flutey.
• 12:37
  Speaker 2: Wait, what does he say?
• 12:38
  Speaker 4: It's very funny? I guess that he is. It's for
• 12:42
  Speaker 4: the press junket for this movie, and he's talking about
• 12:45
  Speaker 4: how he got the role.
• 12:46
  Speaker 3: And he's like, I guess Quentin Tarantino was watching Er
• 12:49
  Speaker 3: and saw me and was like, whoa, I look so
• 12:54
  Speaker 3: much like that guy.
• 12:55
  Speaker 4: We could be brothers.
• 12:56
  Speaker 6: Oh my god.
• 12:57
  Speaker 4: And then George Clee keeps.
• 12:58
  Speaker 3: Going He's like and I just was like, I don't
• 13:01
  Speaker 3: really think so, but I'm interested in the.
• 13:04
  Speaker 4: Movie, Like that's how we got the part.
• 13:07
  Speaker 3: It's like like Tarantino thought he and Cludey looked so
• 13:10
  Speaker 3: much alike they could be brothers, and that's why that happened. Delusional,
• 13:17
  Speaker 3: so embarrassing, that's humiliating.
• 13:20
  Speaker 2: I mean, Tarantino is such an embarrassing shitty person, Zionist freak.
• 13:27
  Speaker 4: So you know, for the most embarrassing living people.
• 13:30
  Speaker 3: But that was just really like, I it's a very
• 13:33
  Speaker 3: funny interview clip because George Clotney is not pretending to
• 13:36
  Speaker 3: respect the thought of looking like Tarantina remote.
• 13:40
  Speaker 2: So there's that anyways, So I'm glad I know that
• 13:43
  Speaker 2: that's very funny. The movie opens on a Texas ranger
• 13:48
  Speaker 2: going into a liquor store to buy a couple of
• 13:51
  Speaker 2: things from the clerk, and when he goes to use
• 13:53
  Speaker 2: the restroom. We find out that the store is in
• 13:55
  Speaker 2: the middle of being robbed and hijacked by two brothers,
• 14:01
  Speaker 2: Seth and Richard slash Richie Gecko played by George Clooney
• 14:06
  Speaker 2: and his identical twin brother gwentin Tarantino, respectively.
• 14:10
  Speaker 3: Casting directors everywhere, We're like, we've got to get these
• 14:13
  Speaker 3: two guys next to each other.
• 14:14
  Speaker 4: They're twins.
• 14:17
  Speaker 2: They had just robbed a bank and they're on their
• 14:20
  Speaker 2: way to Mexico, and the whole thing turns into this
• 14:24
  Speaker 2: violent shootout after Ritchie, who is a loose cannon, shoots
• 14:31
  Speaker 2: the Texas Ranger. After this, Seth and Richie leave mostly unscathed.
• 14:36
  Speaker 2: They get in their car and drive off. We also
• 14:39
  Speaker 2: learn that they have a hostage who they took from
• 14:42
  Speaker 2: the bank robbery, who they've trapped in the trunk of
• 14:45
  Speaker 2: their car. The brothers stop at a motel and get
• 14:50
  Speaker 2: a room. They bring the hostage inside. This is a
• 14:54
  Speaker 2: woman named Gloria. Seth steps out for a moment and
• 14:58
  Speaker 2: when he comes back, he disc covers that his brother,
• 15:01
  Speaker 2: Richie had raped and murdered Gloria, and he's very pissed
• 15:07
  Speaker 2: at Richard, but not enough to not keep hanging out
• 15:10
  Speaker 2: with him. Meanwhile, we meet a family who is on
• 15:16
  Speaker 2: a road trip in their motor home. The dad is
• 15:19
  Speaker 2: Jacob Fuller, played by Harvey Keitel of National Treasure Fame,
• 15:26
  Speaker 2: his most famous role.
• 15:27
  Speaker 4: Yes, I think he would want that to be what
• 15:29
  Speaker 4: you went with.
• 15:30
  Speaker 2: Yes, I think so, yeah, as well as his two kids,
• 15:33
  Speaker 2: who are teens maybe early twenties. Kate seems to be
• 15:39
  Speaker 2: like nineteen twenty perhaps she's played by Juliette Lewis, and
• 15:44
  Speaker 2: her brother Scott, who I think is maybe like sixteen seventeen,
• 15:48
  Speaker 2: played by Ernest Low. Their mother has recently passed away
• 15:53
  Speaker 2: and it has made Jacob, who is a pastor, question
• 15:58
  Speaker 2: his faith in God, so that's some backstory for them.
• 16:02
  Speaker 2: They end up stopping at the same motel that Seth
• 16:06
  Speaker 2: and Richie are at, who barge into the family's room,
• 16:10
  Speaker 2: hold them at gunpoint, and force them to drive the
• 16:14
  Speaker 2: brothers across the border into Mexico in their motor home.
• 16:19
  Speaker 2: The plan for the brothers is to cross into Mexico,
• 16:23
  Speaker 2: meet up at a specific rendezvous point with this guy
• 16:26
  Speaker 2: named Carlos, who is going to give them sanctuary in
• 16:29
  Speaker 2: a place called El Ray in exchange for some percentage
• 16:33
  Speaker 2: of the money they robbed from the bank. There's a
• 16:37
  Speaker 2: tense moment at border patrol with an officer played by
• 16:42
  Speaker 2: Cheech marin his first of three characters who he plays
• 16:46
  Speaker 2: in the movie.
• 16:47
  Speaker 4: He's really going full Norbit in this movie.
• 16:50
  Speaker 6: Yes, yes, which we can all hope to in our
• 16:53
  Speaker 6: acting careers, go full Norbit.
• 16:55
  Speaker 4: We all deserve a orbit moment, that's right.
• 17:00
  Speaker 2: So there's this tense moment where they almost get found
• 17:02
  Speaker 2: out because Ritchie is being impulsive and insecure again. But
• 17:07
  Speaker 2: they make it across into Mexico and they head to
• 17:10
  Speaker 2: the rendezvous point, which is a bar called the Titty Twister,
• 17:15
  Speaker 2: which is open from dusk till dawn. Hey, that's the
• 17:19
  Speaker 2: name of the movie.
• 17:20
  Speaker 3: I will say the neon Titty Twister sign pretty iconic.
• 17:26
  Speaker 6: Pretty great, Yes, very cool.
• 17:28
  Speaker 2: Yes. So the plan is for Seth, Richie and the
• 17:34
  Speaker 2: family of three to go inside and just like drink
• 17:38
  Speaker 2: and hang out until Carlos arrives and takes the brothers
• 17:42
  Speaker 2: to Lray, at which point they plan to let the
• 17:45
  Speaker 2: family go free. They arrive at the Titty Twister. It's
• 17:49
  Speaker 2: this like titty bar slash dive for bikers and truckers,
• 17:56
  Speaker 2: cheech Marin is out front playing his setecond character named
• 18:01
  Speaker 2: Chet Pussy. Oh, given a speech.
• 18:06
  Speaker 4: I did not know that was that character's name.
• 18:09
  Speaker 6: His god given names.
• 18:11
  Speaker 2: Yep, and right, you know, he's giving his famous pussy monologue.
• 18:16
  Speaker 2: And for some reason I couldn't quite tell why, but
• 18:21
  Speaker 2: Seth punches the shit out of Chet Pussy and then
• 18:25
  Speaker 2: Ritchie like kicks him while he's down, and this will
• 18:27
  Speaker 2: pay off later. But they go inside. It's rowdy, there's
• 18:32
  Speaker 2: lots of testosterone. There are nude women dancing. The place
• 18:37
  Speaker 2: is full of characters. We've got Danny Trejo as the bartender.
• 18:41
  Speaker 2: We've got a guy named sex Machine who has the
• 18:44
  Speaker 2: dick gun. There's this like big dude who Seth almost
• 18:48
  Speaker 2: gets into a bar fight with.
• 18:50
  Speaker 4: And if you're wondering, hmm, we're in a stripper bar.
• 18:56
  Speaker 3: How long is it going to take for a woman
• 18:58
  Speaker 3: to speak in this space where gender parody is fairly prominent?
• 19:03
  Speaker 3: And it will take outside, Juliette lewis.
• 19:06
  Speaker 4: A really long time, like a freakishly long time.
• 19:09
  Speaker 3: Yes, correct, women will not speak or really even make
• 19:12
  Speaker 3: eye contact or act as if there are anything but
• 19:14
  Speaker 3: said dressing for a good twenty.
• 19:16
  Speaker 6: Minutes, they'll hiss and gral before they speak.
• 19:19
  Speaker 3: Even Selma Hyak, there is like a long stretch where
• 19:23
  Speaker 3: I mean like she is certainly present, she's like performing,
• 19:26
  Speaker 3: it's incredible, But for a while she just sort of
• 19:29
  Speaker 3: stands there and does not seem to be listening or
• 19:32
  Speaker 3: reacting to the dialogue.
• 19:34
  Speaker 4: This hat and you're just like garantina whatever whatever.
• 19:38
  Speaker 2: Right, Okay, So the two brothers and the family of
• 19:42
  Speaker 2: three sit down and start drinking, though the family is
• 19:46
  Speaker 2: reluctant at first. They are still the hostages of these
• 19:50
  Speaker 2: two you know, maniacal brothers. Then Selma Hayak comes out.
• 19:56
  Speaker 2: She's a dancer named Santanico Pandemonium. Great name, a reference
• 20:02
  Speaker 2: to a horror movie from the seventies.
• 20:05
  Speaker 6: I think, yeah, nunsploitation movie.
• 20:07
  Speaker 4: Right, We've got to cover some nunsploitation on the show.
• 20:10
  Speaker 4: That would be such a blast.
• 20:11
  Speaker 2: Yeah, we'll get there. But she's doing a very sexy
• 20:15
  Speaker 2: dance with this big snake wrapped around her, and all
• 20:19
  Speaker 2: the men are like a wooa, And she finishes her
• 20:24
  Speaker 2: show and just then Chet Pussy comes back in along
• 20:30
  Speaker 2: with bartender Danny Trejo and the big dude from earlier,
• 20:35
  Speaker 2: and they all gang up on Seth and Richie, who
• 20:38
  Speaker 2: fight back and kill these three guys, except they don't
• 20:42
  Speaker 2: kill them because they're already dead. Because twist, they're all vampires, and.
• 20:49
  Speaker 4: All of a sudden, the movie is so awesome and
• 20:52
  Speaker 4: great and we love it.
• 20:54
  Speaker 2: Yes, yes, exactly. It's at this point where things get fun,
• 20:58
  Speaker 2: and it turns out everyone who works at this bar
• 21:02
  Speaker 2: is a vampire. All the dancers, including Santanico Pandemonium, who
• 21:06
  Speaker 2: transforms into reptile vampire and bites Richard, killing him, Danny, Trejoe,
• 21:13
  Speaker 2: and Cheech Marin all the others reveal their true vampire
• 21:17
  Speaker 2: forms and start attacking and feeding on the non vampire patrons.
• 21:25
  Speaker 2: Some of the patrons fight back, such as Seth, Jacob
• 21:28
  Speaker 2: and his family, sex Machine, and this guy named Frost
• 21:32
  Speaker 2: played by Fred Williamson. This group is basically like the
• 21:36
  Speaker 2: last ones standing after this whole initial vampire frenzy.
• 21:41
  Speaker 3: I really love that exchange between Juliette Lewis and sex Machine.
• 21:46
  Speaker 2: Oh my god, it's so funny. He's like, what's your name?
• 21:49
  Speaker 2: She's like, Kate, what's yours? Sex Machine? Nice to meet you, right,
• 21:52
  Speaker 2: you too?
• 21:53
  Speaker 3: And there's always like it's just unspoken allyship, we will
• 21:56
  Speaker 3: not be asking follow up questions at this time.
• 21:59
  Speaker 4: I love it.
• 22:00
  Speaker 2: Yeah, that's great.
• 22:01
  Speaker 6: We are a band of brothers.
• 22:02
  Speaker 2: Yes, then Richard Richie comes back as a vampire and
• 22:10
  Speaker 2: Seth has to kill his own brother and he's sad
• 22:13
  Speaker 2: about it. But I'm like, yes, please end this character
• 22:17
  Speaker 2: once and for all, get him out of the movie.
• 22:20
  Speaker 4: I have a genuine question for the zoom call.
• 22:24
  Speaker 3: Yeah, putting our nineteen ninety six goggles on, are we
• 22:28
  Speaker 3: supposed to be sad to see him go? I felt
• 22:30
  Speaker 3: like we maybe are supposed to feel ambivalent about it.
• 22:33
  Speaker 3: Even at the time of release.
• 22:34
  Speaker 6: I don't know.
• 22:35
  Speaker 4: I wasn't clear of this.
• 22:37
  Speaker 6: He's kind of designed to be cannon fodder. Like he's
• 22:40
  Speaker 6: so revolting and just like such a constant problem and
• 22:46
  Speaker 6: has no redeeming qualities that it's kind of easy to
• 22:51
  Speaker 6: throw him out first because you're like, Okay, well now
• 22:55
  Speaker 6: the stakes are high, and I know what it means,
• 22:57
  Speaker 6: but I'm not like that bummed.
• 23:00
  Speaker 4: It does like serve to advance. George Pluony's character is
• 23:04
  Speaker 4: like advancing towards God or whatever they're doing in the.
• 23:09
  Speaker 3: Back half, Like right, okay, because I just was I
• 23:13
  Speaker 3: was doubting myself for a second where I was like,
• 23:15
  Speaker 3: in the present day, you're like, yeah, bye, but like
• 23:18
  Speaker 3: I didn't know.
• 23:19
  Speaker 4: It seemed like we were supposed to go fairly ambivalent
• 23:21
  Speaker 4: towards it even at the.
• 23:22
  Speaker 2: Time, right, But at the same time, I was like, well,
• 23:25
  Speaker 2: wouldn't it carry more emotional weight if the first character
• 23:29
  Speaker 2: to die was someone who we did care about and
• 23:32
  Speaker 2: we're sad to see go? And I was like, wow,
• 23:35
  Speaker 2: Tarantino is such a bad screenwriter for not like ensuring
• 23:38
  Speaker 2: that that's the case. But I can also see, like, oh,
• 23:41
  Speaker 2: to establish how high the stakes are, we off a
• 23:44
  Speaker 2: character that we weren't meant to care about, But yeah,
• 23:48
  Speaker 2: I don't really. It's kind of I was struggling with
• 23:51
  Speaker 2: that as well.
• 23:51
  Speaker 3: It's really hard to put yourself in the creative mind
• 23:55
  Speaker 3: of someone who thinks they look like George Plooney.
• 23:58
  Speaker 4: Yes, So I just kind of was a little puzzled
• 24:02
  Speaker 4: on that.
• 24:02
  Speaker 2: And who wrote himself a character that Salma Hayek would
• 24:06
  Speaker 2: put her foot in his mouth and like drizzled whiskey
• 24:11
  Speaker 2: down it and he's like gobbling that all up, and
• 24:14
  Speaker 2: I'm just like, sir, you self indulgent motherfucker. Anyway. Okay,
• 24:20
  Speaker 2: so we've got this group. They've just killed Richie, who
• 24:25
  Speaker 2: turned into a vampire. Then they hear a bunch of
• 24:28
  Speaker 2: flapping wings outside. These are vampires in bat form trying
• 24:33
  Speaker 2: to break into the bar. Then a few of the
• 24:36
  Speaker 2: other patrons who had been bitten moments earlier come back
• 24:40
  Speaker 2: as vampires. So there's another round of killing the vampires.
• 24:45
  Speaker 2: But then sex Machine gets bitten, so we know that
• 24:48
  Speaker 2: he will soon turn, but.
• 24:51
  Speaker 4: He keeps it quiet. He's not trying to go.
• 24:53
  Speaker 2: I love that scene too, and he's like try he
• 24:56
  Speaker 2: realizes like his hands are transforming and his fangs are
• 24:59
  Speaker 2: coming out. He's like trying to hide it and like
• 25:01
  Speaker 2: be coy in a really goofy way. I thought that
• 25:04
  Speaker 2: was really funny.
• 25:05
  Speaker 4: This is a great performance.
• 25:09
  Speaker 2: So then the group kind of chats the pit and
• 25:12
  Speaker 2: figures out what do we know about these vampires? How
• 25:15
  Speaker 2: do we kill them? What weapons do we have at
• 25:18
  Speaker 2: our disposal? And they realize their best weapon is Jacob,
• 25:22
  Speaker 2: since he's a pastor, a mean, motherfucking servant of God
• 25:29
  Speaker 2: to be exact to fight these demons from hell. Then
• 25:33
  Speaker 2: we get the scene where sex Machine turns into a
• 25:36
  Speaker 2: vampire and bites Frost and Jacob Before he turns, Frost
• 25:42
  Speaker 2: flings sex machine into the door, busting it open, so
• 25:46
  Speaker 2: all the bats fly in as Seth, Kate, and Scott
• 25:50
  Speaker 2: take refuge in a storage cellar. Jacob is still in
• 25:55
  Speaker 2: the bar area for a moment, but he's able to
• 25:58
  Speaker 2: fend off this horde of vampires and join up with
• 26:01
  Speaker 2: Seth and his kids, And then he makes Kate and
• 26:06
  Speaker 2: Scott promise that when he inevitably turns, they will kill him,
• 26:11
  Speaker 2: and they reluctantly agree. Then they arm themselves with whatever
• 26:17
  Speaker 2: they can find in the storage area. They figure out
• 26:19
  Speaker 2: that these vampires kill like it's a bar for bikers
• 26:24
  Speaker 2: and truckers specifically, because like it's just like people passing
• 26:28
  Speaker 2: through and they can kill and steal whatever they were hauling.
• 26:33
  Speaker 2: So there's crates of like crossbows and super soakers that
• 26:38
  Speaker 2: they fill up with holy water that Jacob has blessed.
• 26:42
  Speaker 2: Stuff like that.
• 26:43
  Speaker 6: I love the implication with the crossbow, because the crossbow
• 26:46
  Speaker 6: comes in a box that shaped like a coffin at
• 26:48
  Speaker 6: the crossmit, the implication that a vampire hunter came through,
• 26:53
  Speaker 6: was killed and they robbed his shit.
• 26:55
  Speaker 2: Oh, yeah, I didn't even make that connection.
• 26:58
  Speaker 3: But yeah, I also felt for for poor Scott who
• 27:01
  Speaker 3: I mean, I know that he does have like a
• 27:05
  Speaker 3: powerful weapon, but the fact that he's somehow like saddled
• 27:08
  Speaker 3: with a super soaker, it.
• 27:09
  Speaker 4: Just was humiliating. Yeah, just like and it wasn't even
• 27:12
  Speaker 4: a powerful super soaker.
• 27:14
  Speaker 2: It was like a I, of all those weapons, I
• 27:16
  Speaker 2: would have wanted the super soaker the most because I
• 27:19
  Speaker 2: know how to handle a super I don't know how
• 27:21
  Speaker 2: to shoot a crossbow.
• 27:23
  Speaker 3: You have a license, you have a license to kill
• 27:26
  Speaker 3: with a super soaker full of holy water, like a
• 27:29
  Speaker 3: supercacer full of holy water.
• 27:31
  Speaker 4: Is very funny.
• 27:32
  Speaker 3: I'm it's funny, but it just was funny when anytime
• 27:35
  Speaker 3: they were cutting to him, You're like, damn, he really
• 27:37
  Speaker 3: got the short end of the weapon. Stick Kate looks
• 27:39
  Speaker 3: so cool and he has a super soaker.
• 27:42
  Speaker 4: Anyways, I like it.
• 27:45
  Speaker 2: Okay, So they arm themselves and they go back into
• 27:49
  Speaker 2: the bar, killing vampires along the way. They rip off
• 27:52
  Speaker 2: sex Machin's head. He comes back as like a dog
• 27:56
  Speaker 2: vampire or something, so there's like a showdown with him.
• 28:01
  Speaker 2: There's a showdown with vampire Frost. Then Jacob finally turns
• 28:06
  Speaker 2: and bites his son, Scott, who retaliates and kills Jacob
• 28:10
  Speaker 2: just like he promised he would. Then vampires start tearing
• 28:14
  Speaker 2: Scott apart, so Kate kills her brother to save him
• 28:18
  Speaker 2: from you know, becoming a demon. So now it's just
• 28:22
  Speaker 2: Seth and Kate and dozens of vampires are descending on them.
• 28:27
  Speaker 2: But then they realize the sun is coming up. It's
• 28:30
  Speaker 2: a dawn ever heard of it? So they shoot a
• 28:35
  Speaker 2: bunch of holes in the walls, so the beams of
• 28:38
  Speaker 2: sunlight come in and burn and explode the vampires, so
• 28:43
  Speaker 2: they're saved. And then Carlos finally shows up, also played
• 28:48
  Speaker 2: by Cheech Maren. Yes, yeah, and so Seth and Kate
• 28:56
  Speaker 2: say goodbye. Seth heads off with Carlos, Kate drives off
• 29:01
  Speaker 2: in the motor home, and then we get this final
• 29:03
  Speaker 2: reveal that the Titty Twister was built on the remains
• 29:07
  Speaker 2: of a presumably as tech pyramid, surrounded by dozens of
• 29:12
  Speaker 2: like discarded semi trucks from all the truckers the vampires killed.
• 29:17
  Speaker 2: So that's the movie. Yes, let's take a quick break
• 29:20
  Speaker 2: and we'll come back to discuss where shall we start?
• 29:33
  Speaker 6: Oh boy, I do want to say that at the end,
• 29:36
  Speaker 6: not only were they killed by holes in the wall,
• 29:39
  Speaker 6: but a disco ball, Yes, which is the funniest way
• 29:42
  Speaker 6: to kill a vampire.
• 29:44
  Speaker 3: So good, such a good last minute edition. And it
• 29:47
  Speaker 3: was like plant it was there the whole time and
• 29:49
  Speaker 3: it never even gotcurd to me.
• 29:51
  Speaker 6: Chekhov's discoll ball exactly really good.
• 29:55
  Speaker 3: All of the like practical effects and like the turn
• 29:59
  Speaker 3: that the movie he takes is so fucking good. Like
• 30:03
  Speaker 3: and the fact that Robert Rodriguez was I think like
• 30:06
  Speaker 3: twenty seven to twenty eight when he made this is
• 30:10
  Speaker 3: anytime I read about Robert Rodriguez's career, you're.
• 30:13
  Speaker 4: Just like, how dare you be so awesome?
• 30:17
  Speaker 3: So or like it's just really incredible that just how
• 30:21
  Speaker 3: creative and innovative he was so young.
• 30:25
  Speaker 4: Yeah, the practical effects are nuts, it's so good.
• 30:30
  Speaker 6: Yeah.
• 30:31
  Speaker 2: So a little bit of development context for this movie.
• 30:35
  Speaker 2: The story was conceived by a guy named Robert Kurtzman,
• 30:39
  Speaker 2: who wrote the treatment for the film in the late eighties. Basically,
• 30:44
  Speaker 2: he wrote it because he wanted to create a story
• 30:47
  Speaker 2: that his special effects studio could make. So he's like,
• 30:53
  Speaker 2: I want to make like a special effects heavy movie
• 30:57
  Speaker 2: and he hired Tarantino to write the script. This was
• 31:01
  Speaker 2: Tarantino's first paid writing assignment. This was nineteen ninety at
• 31:05
  Speaker 2: this point, and he's like, yeah, I'll do it if
• 31:08
  Speaker 2: you provide the makeup for my movie Reservoir Dogs. So
• 31:13
  Speaker 2: they had this little reciprocity kind of thing. Kurtzman originally
• 31:18
  Speaker 2: wanted to direct the movie, but he hadn't directed a
• 31:22
  Speaker 2: future before, so they were like, let's get someone who has,
• 31:27
  Speaker 2: you know, made a movie before. So then Tarantino basically
• 31:32
  Speaker 2: was like, how about this Robert Rodriguez, guy, I think
• 31:35
  Speaker 2: he'd be perfect. At this point, Merri Max was involved.
• 31:39
  Speaker 2: So unfortunately Harvey Weinstein is part of this. But it
• 31:44
  Speaker 2: started shooting in ninety four, so that's kind of the
• 31:48
  Speaker 2: context for the conception and development of this movie. So
• 31:51
  Speaker 2: it's a lot of men and you can tell.
• 31:56
  Speaker 6: Oh, it's entirely non union too.
• 31:59
  Speaker 4: Yes, yes, we've.
• 32:00
  Speaker 3: Really threw me for a loop with a nineteen million
• 32:06
  Speaker 3: dollar budget. You're just like the maths where show show
• 32:11
  Speaker 3: me how this makes.
• 32:13
  Speaker 4: Any possible feasible sense. I don't know. I mean, yeah,
• 32:17
  Speaker 4: I it this feels like the like we were saying earlier,
• 32:21
  Speaker 4: like the.
• 32:22
  Speaker 3: Front half of this movie feels so Tarantino, who we've
• 32:29
  Speaker 3: talked about, like unfortunately extensively on this show since we covered.
• 32:35
  Speaker 4: Him last last year. We're saying he's a.
• 32:38
  Speaker 3: Huge fucking Zionist. He sucks in this way that we
• 32:42
  Speaker 3: haven't mentioned recently, I don't think. But even outside of that,
• 32:46
  Speaker 3: it's he's so frustrating as a writer because I don't know.
• 32:50
  Speaker 4: There's certain male writers. It's not like I want to
• 32:52
  Speaker 4: give them benefit of the doubt, but like, I know.
• 32:56
  Speaker 3: There are certain writers who are men who I'm like,
• 32:57
  Speaker 3: I truly don't believe you can write a care competently.
• 33:01
  Speaker 4: Who is not a man.
• 33:02
  Speaker 3: But Tarantino, we know that's not true. Like Jackie Brown
• 33:06
  Speaker 3: comes out the year after this, Yes, like we know
• 33:09
  Speaker 3: he can write women intelligently and thoughtfully if he wants to.
• 33:14
  Speaker 3: So for this script, you're just like, oh, he just
• 33:16
  Speaker 3: like didn't want to, Like you have Kate, but that
• 33:20
  Speaker 3: is it and.
• 33:21
  Speaker 4: Even she's like pretty undercooked.
• 33:23
  Speaker 3: It's on the writing end, and like it, and he
• 33:25
  Speaker 3: like has way more interest in and I know he's
• 33:27
  Speaker 3: pulling from grindhouse stuff, but it's like do something with it, man,
• 33:31
  Speaker 3: like you know, because again we know he can do that,
• 33:34
  Speaker 3: but he's just like choosing not to hear so, I mean,
• 33:37
  Speaker 3: his writing, especially pre midpoint, I just found like unbelievably
• 33:43
  Speaker 3: frustrating because you know he can do better and he's
• 33:45
  Speaker 3: just not.
• 33:46
  Speaker 6: Oh yeah, Like we remember Kate as this like really interesting,
• 33:50
  Speaker 6: strong character, but that's more at testament to Juliet Lewis's
• 33:53
  Speaker 6: performance and it is her actual character. The way it's written,
• 33:57
  Speaker 6: I mean.
• 33:58
  Speaker 3: It's so frustrating. Yeah, I And Juliet Lewis does a
• 34:01
  Speaker 3: great job, Like I feel like she like makes a
• 34:03
  Speaker 3: meal of the part with more than is even on
• 34:07
  Speaker 3: the page. But also you're like you have Selma Hayek
• 34:11
  Speaker 3: and you didn't give her anything to do outside of
• 34:15
  Speaker 3: this like less than ten minute stretch.
• 34:18
  Speaker 4: I kept waiting for her to come back, okay, waiting
• 34:20
  Speaker 4: for her to like reappear out of the goo. She
• 34:23
  Speaker 4: never ungoos.
• 34:25
  Speaker 2: No, she never ungoos. But yeah, just to speak a
• 34:28
  Speaker 2: little bit more to that the first half, which again
• 34:32
  Speaker 2: and Tarantino is very all over the place, as we've
• 34:37
  Speaker 2: been suggesting as far as like sometimes he'll put in
• 34:41
  Speaker 2: a lot of effort and he'll write something like kill Bill,
• 34:44
  Speaker 2: or he'll write Jackie Brown and then other times he'll
• 34:48
  Speaker 2: write himself into the movie where he's saying the N
• 34:51
  Speaker 2: word dozens of times a lah pulp fiction, or he
• 34:55
  Speaker 2: writes this movie that's like full The opening scene is
• 34:58
  Speaker 2: just like an Ablest diatribe for five minutes, and then
• 35:03
  Speaker 2: you have a bunch of characters dropping all these racist
• 35:07
  Speaker 2: slurs and homophobic slurs, and the fact that his own
• 35:12
  Speaker 2: character that he wrote for himself is a rapist creep
• 35:17
  Speaker 2: who like hallucinates a scene where Kate asks him to
• 35:21
  Speaker 2: perform oral sex on her, and then that's brought back
• 35:24
  Speaker 2: and it's just like to what end? I don't understand
• 35:28
  Speaker 2: a lot of these choices, And like part of me
• 35:32
  Speaker 2: is like, okay, well, the characters who go on this
• 35:35
  Speaker 2: like Ablest rant at the beginning, is that to justify
• 35:39
  Speaker 2: them being murdered shortly after? Because those two characters are
• 35:42
  Speaker 2: shot and killed, And it's like, okay, well, were they
• 35:46
  Speaker 2: written that way so that we won't feel bad when
• 35:49
  Speaker 2: they die? But it just I don't really understand a
• 35:54
  Speaker 2: lot of the choices. And I think that Tarantino just
• 35:56
  Speaker 2: like has a tendency to revel in Lord Ablest, racist
• 36:02
  Speaker 2: homophobic diatribes because we see him do it in several
• 36:06
  Speaker 2: of his movies, so I don't know.
• 36:07
  Speaker 6: He has a very nihilistic view of like what the
• 36:09
  Speaker 6: general public thinks.
• 36:11
  Speaker 2: Yeah, yeah, I don't know.
• 36:13
  Speaker 4: Vanessa, How did this story age for you? Because you
• 36:16
  Speaker 4: have connection to it?
• 36:18
  Speaker 3: Uh?
• 36:18
  Speaker 6: The first half age like milk Uh, both like the
• 36:24
  Speaker 6: Tarantinois of it all. And I'm not saying that like
• 36:29
  Speaker 6: a bad person has to be a likable character, but
• 36:33
  Speaker 6: sometimes things feel like at least from Tarantinos and self indulgent,
• 36:37
  Speaker 6: where it's like, oh, I can do this because I can.
• 36:40
  Speaker 6: No one's really stopping me. And it's gross. And here's
• 36:44
  Speaker 6: the thing. Both halves of these this movie are gross.
• 36:47
  Speaker 6: The first half is gross and the second half is gross.
• 36:50
  Speaker 6: But the first half is gross in a way that
• 36:51
  Speaker 6: makes you feel weird in your skin, and the second
• 36:54
  Speaker 6: half is gross in the way that's like grimy, gritty,
• 36:58
  Speaker 6: like just the kind of thing that you actually like
• 37:00
  Speaker 6: out of an exploitation film. And it's so interesting to
• 37:04
  Speaker 6: me how these two halves conflict against each other, cause again,
• 37:10
  Speaker 6: the second half takes everything that you like out of
• 37:12
  Speaker 6: like Grindhouse into it, and in the first half it's
• 37:16
  Speaker 6: just like, oh, it's everything that was like embarrassing and
• 37:18
  Speaker 6: shameful about the genre in the first place.
• 37:20
  Speaker 4: Right, Yeah, I it it's weird because it's, like you're saying, Vanessa.
• 37:27
  Speaker 3: Both halves of this movie are very heavily referential to
• 37:30
  Speaker 3: stuff that came before it, but like couldn't feel more
• 37:34
  Speaker 3: different in how it ages.
• 37:37
  Speaker 4: I don't know. I mean, the Ritchie character feels like.
• 37:41
  Speaker 3: Sort of the most logical place to start, where like
• 37:45
  Speaker 3: we've all established no one's really sad to see him
• 37:48
  Speaker 3: go then and now I think in like a modern
• 37:50
  Speaker 3: audience this would get a like full on cheer yea.
• 37:54
  Speaker 4: From the crowd when he's off.
• 37:56
  Speaker 3: But even so, I mean just a really knowingly to
• 37:59
  Speaker 3: spit a character who it makes sense that the George.
• 38:04
  Speaker 4: Clooney has a connection to. But it's just like it
• 38:06
  Speaker 4: just I don't know, I felt like nothing was.
• 38:10
  Speaker 3: Subverted by this character existing. And if Tarantino's whole thing
• 38:15
  Speaker 3: is that he's referencing these old niche genres and subverting
• 38:20
  Speaker 3: things or adding things or modernizing them, this like didn't
• 38:23
  Speaker 3: do that, I don't think, And in a way where
• 38:27
  Speaker 3: I think, like again, with the exception of Kate, every
• 38:31
  Speaker 3: woman we meet in this movie dies or is constantly
• 38:35
  Speaker 3: I mean, in Kid's case, constantly under the threat of violence,
• 38:39
  Speaker 3: even if they don't even if.
• 38:41
  Speaker 4: They aren't killed by it.
• 38:42
  Speaker 3: The way that characters like Gloria are the way I mean,
• 38:45
  Speaker 3: and it's it's more fun when the way you die
• 38:48
  Speaker 3: is that you are a vampire who turns into goo.
• 38:52
  Speaker 3: Far easier to get on board with. But even so, yeah,
• 38:56
  Speaker 3: I don't, I don't know. I just it felt like,
• 38:58
  Speaker 3: you know, women were largely set dressing in this world
• 39:03
  Speaker 3: and with in the case of Rodriguez.
• 39:06
  Speaker 4: And Tarantino, they know how to not do that, so
• 39:09
  Speaker 4: it feels more deliberate that they're choosing to.
• 39:12
  Speaker 2: Yeah, the Richie character being this like predator, this rapist,
• 39:19
  Speaker 2: which his brother Seth challenges and says, what's wrong with you?
• 39:24
  Speaker 2: This is not okay, I don't go around doing this.
• 39:27
  Speaker 2: Why are you doing this? But again he's like, but
• 39:31
  Speaker 2: let's go to Mexico and hang out forever, so not
• 39:35
  Speaker 2: challenging him enough. And now we have this looming threat
• 39:39
  Speaker 2: for Kate, the only like major character in the movie
• 39:43
  Speaker 2: who is a woman, this threat that she might be
• 39:48
  Speaker 2: sexually assaulted by this guy, and for what, Like there's
• 39:53
  Speaker 2: already enough tension with the brothers abducting this family and
• 39:57
  Speaker 2: holding them hostage, there's tenshion and in this imminent vampire
• 40:03
  Speaker 2: attack kind of thing. So like I just don't know,
• 40:06
  Speaker 2: like why make it a point to make the only
• 40:10
  Speaker 2: major character who's a woman feel unsafe in that context
• 40:14
  Speaker 2: when like the movie's about something else, it's about vampire.
• 40:18
  Speaker 6: I just it's played for a bit too. Yeah, Like
• 40:20
  Speaker 6: it's played for laughs, like ha ha ha. This creep
• 40:24
  Speaker 6: won't stop looking at this young girl and imagining weird
• 40:26
  Speaker 6: shit about her. And like they even have that like
• 40:29
  Speaker 6: conversation where he's like, oh, did you want me to
• 40:31
  Speaker 6: actually do that? And she's just like okay, dude, whatever,
• 40:35
  Speaker 6: and she's so scared. It's played for laughs.
• 40:38
  Speaker 3: Right, and that never I kept waiting for that to
• 40:41
  Speaker 3: like come back or have the fact that he was
• 40:43
  Speaker 3: like hallucinating these interactions have a narrative impact.
• 40:49
  Speaker 4: But you're right, it was just a joke, Like it
• 40:51
  Speaker 4: was isn't this hilarious that this guy.
• 40:53
  Speaker 3: Is so delusionally abusive that he assumes that women are
• 40:59
  Speaker 3: giving can sent for him to do something that they
• 41:02
  Speaker 3: haven't set Like, it's just so many levels of fucked
• 41:06
  Speaker 3: and irritating and I don't know. Yeah, I feel like
• 41:10
  Speaker 3: the threat of sexual violence did not need to be
• 41:13
  Speaker 3: hanging over Kate the way it did for the stakes
• 41:15
  Speaker 3: to stay high, like you're saying Klan right.
• 41:18
  Speaker 2: And then as far as the other women who we
• 41:21
  Speaker 2: do see again, most of them are nameless set dressing
• 41:27
  Speaker 2: nude dancers, so there's all kinds of heavy objectification and sexualization.
• 41:33
  Speaker 2: And then these women are brutalized in a way that
• 41:37
  Speaker 2: feels different when the like man vampires are killed. It
• 41:41
  Speaker 2: feels like the movie is again like reveling in men
• 41:45
  Speaker 2: inflicting violence on these women vampires, and it feels like
• 41:51
  Speaker 2: the movie finds them to be, you know, disposable beings
• 41:56
  Speaker 2: to be killed, not just because they're vampires, but also
• 41:59
  Speaker 2: because they are sex workers. And it's like, oh, yeah,
• 42:01
  Speaker 2: we can easily cast them off and kill them in
• 42:04
  Speaker 2: a very exploitative way because they are sex workers. And
• 42:10
  Speaker 2: the problematic stuff carries on into the like fun second half.
• 42:14
  Speaker 2: The second half isn't immune to a lot of the
• 42:18
  Speaker 2: problematic stuff we see earlier on.
• 42:20
  Speaker 4: But I guess the only thing, because I agree that
• 42:22
  Speaker 4: they do dye in very exploited ways, the only thing
• 42:25
  Speaker 4: that made me feel better is that everyone dies.
• 42:28
  Speaker 3: Yes, So it wasn't like they were uniquely God, this
• 42:33
  Speaker 3: is like so depressive, but like they weren't uniquely dead.
• 42:36
  Speaker 3: But I do agree that the way that they were,
• 42:38
  Speaker 3: you know, framed and killed like drew emphasis to their
• 42:43
  Speaker 3: bodies and all this stuff. But I was glad that
• 42:44
  Speaker 3: at least I was like, if they're dying, we're taking
• 42:47
  Speaker 3: everyone out, and that at least the movie does subscribe
• 42:51
  Speaker 3: to that. But again, it's like, the only women in
• 42:55
  Speaker 3: the story with any narrative agency is Selma in theory
• 43:01
  Speaker 3: very briefly, although she is.
• 43:04
  Speaker 4: I was shocked that.
• 43:05
  Speaker 3: I was like, we gave her this unbelievable setup where
• 43:08
  Speaker 3: she's like hotter than anyone's ever been in a movie
• 43:10
  Speaker 3: before her since, and then she just turns to goo
• 43:15
  Speaker 3: in like a second. It just felt like she was
• 43:18
  Speaker 3: set up to be so powerful, and it just feels
• 43:21
  Speaker 3: like that's well, that shows how the movie feels about her,
• 43:25
  Speaker 3: and we people of the future know she is like
• 43:28
  Speaker 3: an unbelievable actress and should have. But even the way
• 43:31
  Speaker 3: her character is set up, you expect her to be
• 43:33
  Speaker 3: She's like the queen, She's powerful really, then she's like
• 43:37
  Speaker 3: one like Bop on the head from The Phantom of
• 43:40
  Speaker 3: the Opera chandelier, Like.
• 43:42
  Speaker 2: It was just so, how does that even kill her?
• 43:44
  Speaker 2: Like it's not even clear why she dies from a
• 43:46
  Speaker 2: chandelier falling on her.
• 43:49
  Speaker 6: No, she just melts into goether. And it's crazy because,
• 43:51
  Speaker 6: like Robert Rodriguez is capable of giving her more to do.
• 43:54
  Speaker 6: Desperado was a feast of Selma Hayek, Like we got
• 43:58
  Speaker 6: to see all of her acting chops in that movie
• 44:02
  Speaker 6: and like different nuances to her because she's like, you know,
• 44:05
  Speaker 6: kind of on the side of the villain but not
• 44:07
  Speaker 6: really whatever. But like we get to see more of
• 44:09
  Speaker 6: Selma Hayek in another Robert Rodriguez movie. So the fact
• 44:13
  Speaker 6: that she's so severely underutilized in something where her introduction
• 44:18
  Speaker 6: is so interesting is ridiculous to me.
• 44:21
  Speaker 2: Yeah, right, it seems like she's being set up to
• 44:24
  Speaker 2: be like the big bad Yes, And there's a part
• 44:27
  Speaker 2: where she has like cornered Seth and she's like, I'm
• 44:33
  Speaker 2: gonna make you my little servant, my little lap dog,
• 44:37
  Speaker 2: blah blah blah. And I thought that that was like
• 44:40
  Speaker 2: that would have been such a cool thing where if
• 44:42
  Speaker 2: for if not Seth, some character she had like taken prisoner,
• 44:49
  Speaker 2: and I don't know, maybe if it happens to sex
• 44:52
  Speaker 2: machine or something, but like that would let her be
• 44:55
  Speaker 2: a character for longer, that would also heighten the stakes
• 44:59
  Speaker 2: of the whole situation. But instead, it's like, you're gonna
• 45:03
  Speaker 2: be my slave. Welcome to slavery, she says to Seth,
• 45:07
  Speaker 2: and then he says, no, thanks, I already had a wife.
• 45:11
  Speaker 3: And it's like, wow, I fact that that's how she's
• 45:14
  Speaker 3: vaporized in to Goo.
• 45:16
  Speaker 2: You're just like, ah, wow, it's And then I want
• 45:20
  Speaker 2: to speak to how this role affected her career in
• 45:27
  Speaker 2: the years after this. She speaks to being very heavily
• 45:32
  Speaker 2: type cast in movies. Upon the release of this movie,
• 45:36
  Speaker 2: she was sent like countless roles for stripper characters, and
• 45:41
  Speaker 2: of course, not that there's anything inherently wrong with a
• 45:44
  Speaker 2: stripper role, but to be typecast as that and not
• 45:49
  Speaker 2: seen for anything else or not considered for any other
• 45:53
  Speaker 2: type of role, that's a different story. She also speaks
• 45:56
  Speaker 2: to just more about, you know, being limited in the
• 46:00
  Speaker 2: roles that she was offered. I'm pulling from an interview
• 46:05
  Speaker 2: with GQ that she did, I think last year or
• 46:08
  Speaker 2: pretty recently. She says, quote I was typecast for a
• 46:12
  Speaker 2: long time, my entire life. I wanted to do comedy,
• 46:15
  Speaker 2: and people wouldn't give me comedies. I couldn't land a
• 46:18
  Speaker 2: role until I met Adam Sandler, who put me in
• 46:21
  Speaker 2: a comedy Parentheses twenty tens grown ups, okay, feminist masterpiece,
• 46:27
  Speaker 2: but I was in my forties. They said you're sexy,
• 46:30
  Speaker 2: so you're not allowed to have a sense of humor.
• 46:33
  Speaker 2: Not only are you not allowed to be smart, but
• 46:35
  Speaker 2: you were not allowed to be funny in the nineties unquote.
• 46:38
  Speaker 2: And she's speaking like specifically about the role she played
• 46:42
  Speaker 2: in From Dusk Till Dawn, leading to being typecast for
• 46:46
  Speaker 2: many many years after this, and then apparently she wanted
• 46:50
  Speaker 2: to do comedies this whole time, and then Adam Sandler
• 46:54
  Speaker 2: saw the comedic potential in her thing.
• 46:58
  Speaker 4: I mean, and she has I mean, thankfully.
• 47:00
  Speaker 3: I mean, I hate that it took so long if
• 47:03
  Speaker 3: that's what she wanted to do, because she has been
• 47:05
  Speaker 3: in a lot of comedies in the last ten years.
• 47:07
  Speaker 3: It seems like if that's what she wanted to do,
• 47:08
  Speaker 3: she's finally has this sort of freedom to do so.
• 47:12
  Speaker 3: But like, ugh, that's so sad because she doesn't she
• 47:17
  Speaker 3: gives an amazing performance in this movie, and it feels
• 47:19
  Speaker 3: like she's punished for it.
• 47:20
  Speaker 2: Yeah.
• 47:21
  Speaker 3: I also I was curious about the Vanessa your thoughts
• 47:25
  Speaker 3: on like the lore behind this movie because we about
• 47:28
  Speaker 3: I think almost ten years ago now Robert Rodriguez did
• 47:32
  Speaker 3: I think two seasons of a serialized TV show based
• 47:37
  Speaker 3: on the World from Dusk Till Dawn that I think
• 47:41
  Speaker 3: more intentionally builds out the lore of the vampires and
• 47:45
  Speaker 3: really roots it in Mexican and Aztec mythology, which this
• 47:50
  Speaker 3: movie does not really seem to be doing. It kind
• 47:52
  Speaker 3: of seems like Tarantino guaranteininging his way around it as
• 48:00
  Speaker 3: it's a horror expert.
• 48:01
  Speaker 4: How does the like vampire lure feel to you?
• 48:04
  Speaker 6: Well, on one end, I like that when they went
• 48:07
  Speaker 6: with vampires, even though they didn't like look like your
• 48:10
  Speaker 6: typical vampires, they had like the vampire rules to follow,
• 48:13
  Speaker 6: because as an audience, it's like such an easy shorthand
• 48:16
  Speaker 6: for us to be like, oh, we know exactly what
• 48:18
  Speaker 6: they have to do, we know exactly what vampire rules are,
• 48:21
  Speaker 6: steak are like all that good shit. It's a really
• 48:24
  Speaker 6: easy way for the audience to be like, I know
• 48:26
  Speaker 6: what's happening. I enjoy the mixing it into like as
• 48:32
  Speaker 6: tech culture because I think when it comes to like
• 48:37
  Speaker 6: things like as tech or mayand culture, there's so little
• 48:41
  Speaker 6: that like the main public knows about that you can
• 48:44
  Speaker 6: like weave something like that into it. And also like
• 48:46
  Speaker 6: both of them have pretty bloody pass with like human
• 48:48
  Speaker 6: sacrifice and things like that, so it's like not that
• 48:51
  Speaker 6: far of a stretch for an audience to be like, okay,
• 48:53
  Speaker 6: maybe vampirism. Although when it's Robert Rodriguez handling it, I
• 48:58
  Speaker 6: like it more than the idea of like Tarantino using
• 49:01
  Speaker 6: in a shorthand because Robert Rodriguez handling it, that's just
• 49:05
  Speaker 6: a guy who like already likes Mexican culture and like
• 49:11
  Speaker 6: enjoys extrapolating on that kind of lore. When it's Tarantino
• 49:15
  Speaker 6: handling it, he's just a dipshit and right, so it
• 49:20
  Speaker 6: feels very different, Right, Yeah.
• 49:23
  Speaker 3: I was sort of curious about that because I feel
• 49:24
  Speaker 3: like there are tropes present in the movie that seems
• 49:28
  Speaker 3: like is sort of course corrected in the series, which
• 49:33
  Speaker 3: I don't think any of us have seen, but just
• 49:35
  Speaker 3: based on like interviews Rodriguez did around like how did
• 49:38
  Speaker 3: you want to reimagine the lore to work for the
• 49:40
  Speaker 3: TV show. But like you're saying, Vanessa, it's not like
• 49:43
  Speaker 3: you would necessarily trust Tarantino to handle lore that exists
• 49:49
  Speaker 3: out of Hollywood. That seems to be like sort of
• 49:52
  Speaker 3: where he can deal with lore. I don't know. It's
• 49:56
  Speaker 3: interesting because you do have the trope of the like
• 50:00
  Speaker 3: kind of ancient burial ground trope that we've talked about
• 50:03
  Speaker 3: in other horror movies. That is, we've most often seen
• 50:07
  Speaker 3: applied to indigenous American tribes. And I mean how it is,
• 50:13
  Speaker 3: usually a house is built on a native burial ground
• 50:18
  Speaker 3: and then things happen to white people that are scary,
• 50:21
  Speaker 3: and that's like kind of what happens in this movie also,
• 50:25
  Speaker 3: But there's more going on than there is in your
• 50:27
  Speaker 3: average horror movie. There's more thoughtfulness.
• 50:29
  Speaker 4: I don't know.
• 50:30
  Speaker 2: It almost feels like Tarantino was like, what's an interesting
• 50:34
  Speaker 2: little button I can put on the end of this
• 50:37
  Speaker 2: without giving it any kind of thought about the implications
• 50:40
  Speaker 2: or yeah, anything like that.
• 50:43
  Speaker 4: Didn't need it, No, no, you don't.
• 50:46
  Speaker 2: Robert Rodriguez has spoken about the lack of positive representation
• 50:52
  Speaker 2: of LATINX characters in Hollywood. How he has made a
• 50:56
  Speaker 2: concerted effort to change that. But it also feels to
• 51:01
  Speaker 2: me like there are stereotypes present of LATINX people perpetuated
• 51:06
  Speaker 2: in this movie. The various cheech marin characters, for example,
• 51:11
  Speaker 2: the way that Selma Hayek is heavily sexualized, the way
• 51:16
  Speaker 2: that Latina actresses often are in movies like It struck
• 51:20
  Speaker 2: me that there are stereotypes present, and you can, I'm
• 51:25
  Speaker 2: sure chalk those up to Tarantino's writing, but I was
• 51:28
  Speaker 2: just curious about, like, is it just like the nineteen
• 51:31
  Speaker 2: ninety six of it all? Was Robert Rodriguez not in
• 51:35
  Speaker 2: a position to be able to make changes or you know.
• 51:39
  Speaker 6: So when I say this, I want to clarify that
• 51:43
  Speaker 6: I am not a monolith for an entire people. I
• 51:46
  Speaker 6: have my own personal opinion on this, and this is
• 51:49
  Speaker 6: not like the opinion of every Latin American person, But
• 51:52
  Speaker 6: this is just an observation that I've made a lot
• 51:54
  Speaker 6: of the times when representation doesn't exist, you take the
• 51:57
  Speaker 6: little scraps of it that does, and you, I don't
• 52:02
  Speaker 6: want to say explain away, but you kind of like
• 52:04
  Speaker 6: deal with the stereotypes that go along with it because
• 52:09
  Speaker 6: you're like, well, at least it exists, because like, growing
• 52:11
  Speaker 6: up in a Latin American family, we like things like
• 52:14
  Speaker 6: speedy Gonzales and Nacho libre and things that were like
• 52:17
  Speaker 6: quote unquote maybe like not necessarily the most peacey thing,
• 52:21
  Speaker 6: but it was like, but nothing else exists, nothing else
• 52:24
  Speaker 6: exists where we were there in the first place. And
• 52:28
  Speaker 6: it's a lot like almost like queer representation too, where
• 52:31
  Speaker 6: like the only early representations we had were like the
• 52:34
  Speaker 6: very like fruity, highly effeminate, like over the top characters.
• 52:38
  Speaker 2: But it's like, but that's all we had, right, the
• 52:40
  Speaker 2: queer coded villains, and yes, such.
• 52:43
  Speaker 6: And I think with a lot of like early Latin characters,
• 52:48
  Speaker 6: we would take what we can get, and a lot
• 52:51
  Speaker 6: of those were characters that now are deemed more politically uncorrect.
• 52:57
  Speaker 2: Yeah, we were just talking about that on a recent
• 53:03
  Speaker 2: Matreon episode on sixteen Candles, regarding the long duck Down
• 53:07
  Speaker 2: character and how there were certain viewers of the movie
• 53:13
  Speaker 2: who were, like, including the actor who played that character,
• 53:17
  Speaker 2: admitting to not really realizing how racist of our portrayal
• 53:21
  Speaker 2: that character was because there was so little other representation
• 53:25
  Speaker 2: of Asian characters in mainstream Hollywood cinema. I mean, like
• 53:29
  Speaker 2: tropes beget tropes, beget tropes, right, So it's like a
• 53:34
  Speaker 2: cyclical thing that exists until the cycle is broken, which
• 53:40
  Speaker 2: it only recently started to be broken well in Hollywood.
• 53:47
  Speaker 3: And I think that, I mean, I guess because I
• 53:50
  Speaker 3: noticed the tropes you're talking about as well, Kitlan, I
• 53:52
  Speaker 3: feel like, I mean, even if we're talking about this
• 53:55
  Speaker 3: moment in movies and general power dynamics, Tino definitely has
• 54:02
  Speaker 3: the power over Rodriguez as a filmmaker at the point
• 54:06
  Speaker 3: where pulp fiction was so huge, this is like his
• 54:10
  Speaker 3: I would be really curious how their collaborations operated at
• 54:15
  Speaker 3: this time, and like, did Rodriguez give a lot of
• 54:20
  Speaker 3: like creative input was he Like, it seems like there
• 54:24
  Speaker 3: is collaboration going on, but I'm kind of unclear on
• 54:26
  Speaker 3: what it is.
• 54:28
  Speaker 4: Yeah, I don't know.
• 54:28
  Speaker 3: I mean, like I trust Rodriguez, and like you're saying, Vanessa,
• 54:32
  Speaker 3: we know that like as time goes on, he prioritizes
• 54:36
  Speaker 3: this more and more in his work as he becomes
• 54:38
  Speaker 3: more powerful. But I just wonder if, yeah, like if
• 54:41
  Speaker 3: there was to some extent like negotiations or like compromises
• 54:46
  Speaker 3: that had to be made to even have the movie made.
• 54:49
  Speaker 3: The way it was.
• 54:51
  Speaker 4: I don't know.
• 54:52
  Speaker 3: I mean, I think that the thing that really stood
• 54:54
  Speaker 3: out to me in particular, I mean, just because of
• 54:58
  Speaker 3: what we looked for on our show, is how Latin
• 55:01
  Speaker 3: women are treated, in particular in this movie, where I mean,
• 55:05
  Speaker 3: the only two women we get to even know with
• 55:08
  Speaker 3: names are Sama Hyk's character, who is heavily objectified and
• 55:13
  Speaker 3: then immediately turns to go after I mean, and I
• 55:16
  Speaker 3: do love a bonk on the head kill. It always
• 55:19
  Speaker 3: makes me laugh, but be serious, and then Gloria, whose
• 55:23
  Speaker 3: death is.
• 55:24
  Speaker 4: Far more brutal.
• 55:25
  Speaker 3: And I don't know, I mean, the only thing that
• 55:28
  Speaker 3: I can say for it is I'm glad that it
• 55:30
  Speaker 3: happened off screen, because I think that there are.
• 55:33
  Speaker 6: Some movies that would not do that, but no, they'd
• 55:37
  Speaker 6: indulge in it.
• 55:38
  Speaker 3: Yeah, And so it's like outside of that, though, like
• 55:42
  Speaker 3: what can we even say? Because she you know, and
• 55:45
  Speaker 3: all the women in the story sort of serve for
• 55:49
  Speaker 3: a good period of time to characterize how Richie and
• 55:54
  Speaker 3: sets values are different, because Seth theoretically would not assault
• 55:59
  Speaker 3: and kill a woman unless he absolutely had to, and
• 56:03
  Speaker 3: Richie thinks it's fun. And so it's like, I don't know,
• 56:06
  Speaker 3: like obviously, you know, they're set dressing their objects even
• 56:09
  Speaker 3: when they are characters.
• 56:11
  Speaker 4: And I would even apply.
• 56:12
  Speaker 3: That to Kate to some extent for a good portion
• 56:17
  Speaker 3: of the movie. But I don't know, I mean, I
• 56:23
  Speaker 3: it's tricky because I think you're totally right, Vanessa is
• 56:27
  Speaker 3: like it's almost a thirty year old movie, Like there
• 56:31
  Speaker 3: was not a lot of representation at the time. And
• 56:34
  Speaker 3: it's not as if Rodriguez went on to like show
• 56:38
  Speaker 3: active contempt for Latin characters in his work, like it
• 56:42
  Speaker 3: only continued to grow from there.
• 56:44
  Speaker 6: But yeah, and this is not a knock on Rodriguez
• 56:48
  Speaker 6: or how the movie handled it, but in general, Latin
• 56:52
  Speaker 6: American media growing up not great about women. A lot
• 56:56
  Speaker 6: of the women I saw on TV, especially in like
• 56:59
  Speaker 6: comedy context were like a guy dressed as a baby
• 57:01
  Speaker 6: and a girl in a bikini, and that stretched out
• 57:04
  Speaker 6: to like the weather or news reporting, where like the
• 57:08
  Speaker 6: standards for what a woman looked like on TV was
• 57:11
  Speaker 6: so different for what a like, a man can be
• 57:14
  Speaker 6: the ugliest, loubbiest thing, but a girl had to have
• 57:17
  Speaker 6: a six pack and like show it off in order
• 57:19
  Speaker 6: to even exist on network at television it was it
• 57:22
  Speaker 6: was ridiculous.
• 57:23
  Speaker 4: God, the patriarchy so depressing.
• 57:27
  Speaker 3: I'm glad, Selama. Hi, I mean we're covering it's a
• 57:30
  Speaker 3: big Sela High week on the pod because we're recording
• 57:33
  Speaker 3: our episode of Frida later this week.
• 57:35
  Speaker 6: Oh my god.
• 57:36
  Speaker 4: Yeah, we're excited.
• 57:37
  Speaker 3: Yes, but yeah, I mean it's fascinating finding Selma hYP
• 57:41
  Speaker 3: at this point in her career too, where she's just
• 57:43
  Speaker 3: breaking through in American movies and just knowing watching now
• 57:48
  Speaker 3: like how unbelievably talented and also how comparatively underused she is.
• 57:53
  Speaker 4: It's just a lot.
• 57:55
  Speaker 3: But like you're saying, Vanessa, like Rodriguez eventually acknowledges that
• 58:00
  Speaker 3: she's like the most talented person in the world by
• 58:02
  Speaker 3: giving her a better role, but the fact that she
• 58:04
  Speaker 3: had to fight for it that hard just feels very,
• 58:08
  Speaker 3: I want to say, of the time.
• 58:09
  Speaker 4: But I know that it's still a very real problem. Now, Yeah,
• 58:13
  Speaker 4: should we get to Kate and Scott.
• 58:16
  Speaker 2: The kids, Yeah, let's do it. The spy kids.
• 58:20
  Speaker 4: They kind of are proto spy kids, you could say.
• 58:25
  Speaker 2: Hmm, I feel as though they're both a bit underwritten.
• 58:30
  Speaker 6: Yes, And.
• 58:32
  Speaker 2: What I was noticing about Kate is that I was clocking, like, Okay,
• 58:37
  Speaker 2: how often does she have to be saved by a
• 58:40
  Speaker 2: man versus does she ever save a man when the
• 58:45
  Speaker 2: you know vampires unleash and it seems pretty even split Yeah,
• 58:51
  Speaker 2: as far as she is saved. But then there's that
• 58:54
  Speaker 2: big moment towards the end when sex Machine is a
• 58:57
  Speaker 2: dog vampire question Mark and he's about to kill Seth,
• 59:01
  Speaker 2: but she like pulls up with her crossbow and she's like,
• 59:05
  Speaker 2: I got this and kills sex Machine once and for all,
• 59:09
  Speaker 2: saving Seth.
• 59:11
  Speaker 4: And I did that like ten years ago. People would
• 59:13
  Speaker 4: be like, isn't that a marriage suit? And you're like, well, look.
• 59:16
  Speaker 3: At the you know movies this movie is referencing. I'm
• 59:19
  Speaker 3: just not worried about it. I like that she's using
• 59:23
  Speaker 3: a scary weapon, like.
• 59:25
  Speaker 2: Ready, and look at the other characters who are men,
• 59:30
  Speaker 2: such as Jacob and Scott does right, Well, Scott only has.
• 59:36
  Speaker 4: A water gun.
• 59:37
  Speaker 3: I actually do believe he's he has the license to
• 59:40
  Speaker 3: wield that.
• 59:41
  Speaker 2: But Jacob, right, but Jacob has a shotgun that he's
• 59:46
  Speaker 2: suddenly using expertly, even though he's a pastor. You've got Seth,
• 59:51
  Speaker 2: who you know, he's a you know, professional bank robber,
• 59:56
  Speaker 2: so he might know weapons and tools more, but he
• 59:58
  Speaker 2: also like has this I don't even know what that
• 1:00:01
  Speaker 2: thing is. It sounds like a chainsaw, but it looks
• 1:00:04
  Speaker 2: like a giant drilled thing that he sticks a wooden
• 1:00:08
  Speaker 2: stake into, and it's like, how does he know how
• 1:00:10
  Speaker 2: to use that? So yeah, like every character just suddenly
• 1:00:13
  Speaker 2: becomes this like a action movie hero and you're like, yep, fine.
• 1:00:19
  Speaker 3: Yeah, I appreciate the Mary Sue conversation, but sometimes I
• 1:00:23
  Speaker 3: feel like, well, do we also ask when men randomly
• 1:00:27
  Speaker 3: know how to use things?
• 1:00:28
  Speaker 2: And yeah, for sure, I like it's weird because like,
• 1:00:31
  Speaker 2: you can criticize Mary Sue characters, but you can also
• 1:00:35
  Speaker 2: criticize the criticism of Mary Sue characters because like that
• 1:00:41
  Speaker 2: there's a double standard there.
• 1:00:42
  Speaker 4: We've come a long way.
• 1:00:46
  Speaker 3: Yeah, I generally liked Kate's character. I just felt like
• 1:00:50
  Speaker 3: there were certain like we've talked about before, I don't
• 1:00:53
  Speaker 3: think that the constant threat of sexual violence over her
• 1:00:57
  Speaker 3: needed to be there to maintaining the stakes. Like that
• 1:01:01
  Speaker 3: felt just kind of clearly exploitative and just there because
• 1:01:06
  Speaker 3: it could be there. But you know, I just I
• 1:01:10
  Speaker 3: felt like it just removed agency from her.
• 1:01:12
  Speaker 4: Thankfully, she does get to do stuff in the back
• 1:01:15
  Speaker 4: half of the movie. But I also felt like.
• 1:01:18
  Speaker 3: I don't know, this is like a smaller point, but
• 1:01:21
  Speaker 3: the fact that we're told that Jacob is having a
• 1:01:25
  Speaker 3: crisis of faith because he just lost his wife. His
• 1:01:29
  Speaker 3: wife also the things that are hanging in the balance
• 1:01:31
  Speaker 3: for Jacob for a while is the death of one
• 1:01:34
  Speaker 3: woman and the threat of sexual violence over another, which is.
• 1:01:37
  Speaker 4: Love those steaks for him.
• 1:01:39
  Speaker 3: But the fact that, like the grief over his wife,
• 1:01:44
  Speaker 3: only narratively impacts Jacob, we never get any insight to
• 1:01:48
  Speaker 3: how it's affecting the kids, which felt weird and felt
• 1:01:54
  Speaker 3: like just a very clear, intuitive opportunity to give more
• 1:02:00
  Speaker 3: insight into both Kate and Scott, like how are they
• 1:02:03
  Speaker 3: dealing with this loss? How did they feel about it?
• 1:02:07
  Speaker 3: But really the only thing we get the most we
• 1:02:10
  Speaker 3: get with Kate in the first half of the movie
• 1:02:12
  Speaker 3: is that conversation she has with Jacob at the diner,
• 1:02:15
  Speaker 3: where she is basically just asking Jacob questions about himself
• 1:02:20
  Speaker 3: and asking questions about his crisis of faith. He doesn't
• 1:02:23
  Speaker 3: ask her anything about how she is doing with the
• 1:02:25
  Speaker 3: loss of her parent. The movie doesn't really have any
• 1:02:28
  Speaker 3: interest in how that loss affects anyone except Jacob because
• 1:02:33
  Speaker 3: that advances the plot in the third act with George Clooney,
• 1:02:37
  Speaker 3: and they're weird, you know, like god thing, So I
• 1:02:41
  Speaker 3: found that to be frustrating.
• 1:02:43
  Speaker 4: Yes, And then there's Scott.
• 1:02:45
  Speaker 6: Scott has such an interesting dynamic built in too, where
• 1:02:49
  Speaker 6: it's like, oh, Scott's adopted, and like what relationship did
• 1:02:52
  Speaker 6: he have with his mom? And like what relationship does
• 1:02:54
  Speaker 6: he have with Kate and where does he like feel
• 1:02:57
  Speaker 6: like he fits into this world? And he's just kind
• 1:02:59
  Speaker 6: of a character the entire time.
• 1:03:02
  Speaker 4: It's so frustrating.
• 1:03:03
  Speaker 3: And then he's just like unceremoniously killed off at the
• 1:03:07
  Speaker 3: very end, which I found, like it just it. Yeah, again,
• 1:03:11
  Speaker 3: there were so many opportunities with Scott that like that
• 1:03:13
  Speaker 3: was one of the few things I was like interested
• 1:03:17
  Speaker 3: in possibly seeing explored by this movie. Not that you
• 1:03:20
  Speaker 3: would trust Tarantino to do it, but like the fact
• 1:03:24
  Speaker 3: that you know, the Robber brothers are you know, being
• 1:03:30
  Speaker 3: very racist towards Scott, they're being very hateful towards him,
• 1:03:33
  Speaker 3: and Jacob and Scott are both sort of holding their
• 1:03:36
  Speaker 3: ground and are like fuck you, like we're a family.
• 1:03:39
  Speaker 3: This is what this is. And I mean, as complicated
• 1:03:43
  Speaker 3: we don't know very much about the adoption. We don't
• 1:03:45
  Speaker 3: know very much about Scott at all. And it's not
• 1:03:48
  Speaker 3: like it's the job of this movie to harp on
• 1:03:50
  Speaker 3: it like they're a family.
• 1:03:51
  Speaker 4: That's it. But I just sort of the fact that
• 1:03:55
  Speaker 4: that is.
• 1:03:55
  Speaker 3: I appreciated that that was very deliberately set up, but
• 1:03:59
  Speaker 3: then the fact that we go on to learn nothing
• 1:04:02
  Speaker 3: about Scott when there's so much about him that is
• 1:04:04
  Speaker 3: interesting and with Kate, like they've just lost their mom,
• 1:04:10
  Speaker 3: but like, for whatever reason, it's not supposed to be important,
• 1:04:14
  Speaker 3: and like Scott, I feel like sort of retreats into
• 1:04:17
  Speaker 3: the background of the movie more and more as it
• 1:04:20
  Speaker 3: goes on, where it's clear that, like you know, it's
• 1:04:23
  Speaker 3: I feel like it's a pretty clearly telegraph that Kate
• 1:04:26
  Speaker 3: is going to be our final girl. And once that
• 1:04:28
  Speaker 3: becomes clear, if like Scott becomes less and less important,
• 1:04:32
  Speaker 3: which sucks because he's a very interesting character and yeah,
• 1:04:36
  Speaker 3: by the time he's sort of just like torn to
• 1:04:39
  Speaker 3: shreds by the end, it just felt very anticlimactic and
• 1:04:43
  Speaker 3: like we could have really been set up to like,
• 1:04:46
  Speaker 3: even if we do have to lose him in the
• 1:04:48
  Speaker 3: rules of this movie, I feel like if we obviously,
• 1:04:51
  Speaker 3: if we got to know him better, it would have
• 1:04:53
  Speaker 3: had more impact. But I felt like it sort of
• 1:04:56
  Speaker 3: was a little hollow in the way that it was presented.
• 1:04:59
  Speaker 2: Right you barely see the two siblings interacting, and you
• 1:05:02
  Speaker 2: don't really get a sense of their relationship either, which
• 1:05:07
  Speaker 2: seems strange. It just yeah, it feels like the writing
• 1:05:12
  Speaker 2: just thinks as most of these characters as an afterthought.
• 1:05:17
  Speaker 2: And it's also just curious to me why we would
• 1:05:19
  Speaker 2: like open on the you know, bank robber brothers, since
• 1:05:25
  Speaker 2: they're not the people were necessarily rooting for. Aren't we
• 1:05:32
  Speaker 2: rooting for Jacob and his family as this sort of
• 1:05:34
  Speaker 2: like protagonistic central force of the movie, Like why wouldn't
• 1:05:39
  Speaker 2: we open on them?
• 1:05:40
  Speaker 3: And maybe this is just like it's very possible that
• 1:05:42
  Speaker 3: this movie was not designed for us to think this
• 1:05:45
  Speaker 3: hard about it, But like I was curious by the end.
• 1:05:48
  Speaker 4: I was like, I don't know, Like Kate, you just
• 1:05:53
  Speaker 4: would imagine her whole family is dead.
• 1:05:56
  Speaker 3: Why did she display more loyalty an interest in her
• 1:06:01
  Speaker 3: kidnapper then the fact that her whole family is dead,
• 1:06:05
  Speaker 3: Like it just felt it worked as a final girl
• 1:06:08
  Speaker 3: beat because this is like a beat that we're very
• 1:06:10
  Speaker 3: used to seeing, but like she has and I did
• 1:06:14
  Speaker 3: at least again it's like peanuts, but like I did
• 1:06:17
  Speaker 3: appreciate that they're not like and now she and Seth
• 1:06:20
  Speaker 3: are gonna see what happens in this like awesome. You know,
• 1:06:25
  Speaker 3: I'm glad that that happened. I don't think it was
• 1:06:27
  Speaker 3: necessary for his character to have to draw the boundary.
• 1:06:30
  Speaker 3: That felt like a weird thing where he's like.
• 1:06:33
  Speaker 2: Babe, babe, why does she even ask to go with him?
• 1:06:37
  Speaker 4: I don't.
• 1:06:37
  Speaker 3: I mean, I guess it's like, well, I mean, you know,
• 1:06:40
  Speaker 3: as opposed to having nobody in the world, I can
• 1:06:42
  Speaker 3: understand why that would be positioned, but it's just like
• 1:06:46
  Speaker 3: so emotionless next to like the amount of loss she's experienced.
• 1:06:51
  Speaker 3: And by the end, I feel like she's almost acting
• 1:06:53
  Speaker 3: more familiar and like more in tune with Seth than
• 1:06:57
  Speaker 3: she did with her own family. I don't know, Yes, yeah,
• 1:07:01
  Speaker 3: like where did that come from? You don't know this
• 1:07:04
  Speaker 3: man and he's only presented.
• 1:07:06
  Speaker 2: Danger to you and he abducted you.
• 1:07:08
  Speaker 3: Yeah.
• 1:07:08
  Speaker 2: Yeah.
• 1:07:09
  Speaker 6: It was very silly that they'd even imply that Kate
• 1:07:13
  Speaker 6: would want to go with him at that point instead
• 1:07:16
  Speaker 6: of like I don't know any ideas about self preservation
• 1:07:20
  Speaker 6: right now.
• 1:07:22
  Speaker 3: It just I feel like, yeah, the end beat like
• 1:07:24
  Speaker 3: really hit home how underthought her entire character was. Even
• 1:07:28
  Speaker 3: though she did have like increasing agency, she did get
• 1:07:32
  Speaker 3: the like she was a great fighter. She lives till
• 1:07:35
  Speaker 3: the end. She survives, but so much of it just
• 1:07:38
  Speaker 3: like doesn't scan if you think about it too hard.
• 1:07:43
  Speaker 4: Yeah.
• 1:07:43
  Speaker 2: Worth mentioning too that not only is she under this
• 1:07:46
  Speaker 2: like looming thread of sexual violence from Richie, but there's
• 1:07:50
  Speaker 2: also that scene where the first cheech Marin character comes
• 1:07:54
  Speaker 2: into the motor home because he's like border patrol investigating
• 1:07:59
  Speaker 2: what's going on. He opens the bathroom when and granted
• 1:08:03
  Speaker 2: she's like pretending to use the bathroom, but she also
• 1:08:06
  Speaker 2: like has her pants down and she's sitting on the
• 1:08:08
  Speaker 2: toilet and he's leering at her for like a long time,
• 1:08:12
  Speaker 2: a long time, and she's like, close the fucking door, dude,
• 1:08:15
  Speaker 2: And then he continues leering at her as he very
• 1:08:19
  Speaker 2: slowly closes the door. So every time she turns around,
• 1:08:24
  Speaker 2: there's some predatory man leering at her and hallucinating about her.
• 1:08:32
  Speaker 2: And I mean it's tricky because it's not like this
• 1:08:35
  Speaker 2: is unrealistic you know, in the real world, women are
• 1:08:38
  Speaker 2: regularly under the threat of sexual violence from men because
• 1:08:42
  Speaker 2: of rape culture. But again, if you're going to include
• 1:08:46
  Speaker 2: that in the movie, say something about it or condemn
• 1:08:50
  Speaker 2: it or something. But again, it's usually just there in
• 1:08:55
  Speaker 2: this movie as like a weird jokey thing that adds
• 1:08:59
  Speaker 2: nothing to the.
• 1:09:01
  Speaker 4: Yeah, but that's it.
• 1:09:02
  Speaker 3: I mean, I feel like I'm like being so but
• 1:09:04
  Speaker 3: it's like I really did, especially the back half once
• 1:09:07
  Speaker 3: the vampire stuff kicks in.
• 1:09:08
  Speaker 4: I really do enjoy this movie.
• 1:09:11
  Speaker 3: I like that the that the story sort of evolves
• 1:09:14
  Speaker 3: to include more like I guess non Tarantino lore, that
• 1:09:20
  Speaker 3: it grows towards something that's always sort of encouraging to
• 1:09:24
  Speaker 3: just know when you're you know, doing dispatches from the
• 1:09:27
  Speaker 3: future that you know.
• 1:09:30
  Speaker 4: And then it's tricky because it's like it's such a
• 1:09:33
  Speaker 4: flawed movie. I really, I don't know.
• 1:09:36
  Speaker 3: I just the first half is so this was such
• 1:09:39
  Speaker 3: a bomber to me. And then I've never felt so
• 1:09:41
  Speaker 3: surprised to be in a good mood by the time
• 1:09:44
  Speaker 3: the movie ended, because I was just like so not
• 1:09:46
  Speaker 3: into the first half.
• 1:09:48
  Speaker 2: Right, Yeah, does anyone have any other thoughts about the movie?
• 1:09:54
  Speaker 6: My mind just keeps going back to that disco ball
• 1:09:57
  Speaker 6: so good.
• 1:09:58
  Speaker 4: It's so good.
• 1:10:00
  Speaker 6: It's such a good indicator of like the things that
• 1:10:02
  Speaker 6: does work about this movie when it thinks about, like, oh,
• 1:10:05
  Speaker 6: what are some like upgraded new for the nineteen ninety
• 1:10:09
  Speaker 6: six ways to like eliminate a vampire. It's it's so
• 1:10:14
  Speaker 6: fun in that aspect and such a welcome relief after
• 1:10:18
  Speaker 6: like the first half of the movie being like what
• 1:10:21
  Speaker 6: woman will succumb to sexual violence? Getting something as doofy
• 1:10:24
  Speaker 6: as like reciprocating steak is such a breath of fresh air.
• 1:10:30
  Speaker 3: Yeah. The only other thing I had was just like
• 1:10:34
  Speaker 3: quickly referencing Frost as a character who's also like a
• 1:10:39
  Speaker 3: Vietnam veteran, which the movie goes way out of its
• 1:10:42
  Speaker 3: way to make note of the PTSD he's experiencing as
• 1:10:47
  Speaker 3: a Vietnam veteran, which I know is like also a
• 1:10:50
  Speaker 3: I don't know, like a reference to other movies and
• 1:10:52
  Speaker 3: other genres and all this stuff. But because he's the
• 1:10:55
  Speaker 3: only black character in the movie, just felt worth kind
• 1:10:59
  Speaker 3: of out and that that he kind of like turns
• 1:11:02
  Speaker 3: into like stranger thinks vagina monster.
• 1:11:04
  Speaker 4: By the end of the movie.
• 1:11:06
  Speaker 6: He does.
• 1:11:06
  Speaker 3: Yeah, he really does turn into like mister pussy Mouth,
• 1:11:10
  Speaker 3: and I like, well, I just wish I knew him
• 1:11:12
  Speaker 3: a little better.
• 1:11:14
  Speaker 2: Oh, I was reading that is like he has bat face.
• 1:11:17
  Speaker 2: Sure well, also like some of the vampires look human ish,
• 1:11:21
  Speaker 2: but then they just have like distorted features, like vampire
• 1:11:25
  Speaker 2: features on their face, and then other ones are like
• 1:11:27
  Speaker 2: full demons with like full demon bodies. And I'm like, oh,
• 1:11:31
  Speaker 2: who are these vampires and what's up with them? The
• 1:11:35
  Speaker 2: last thing I had? And I'm curious what the rest
• 1:11:38
  Speaker 2: of you think about this. But as soon as they
• 1:11:41
  Speaker 2: get to Mexico, this movie does something that a lot
• 1:11:45
  Speaker 2: of movies do, which is put a yellow filter on
• 1:11:49
  Speaker 2: the thing. This is something that I don't think has
• 1:11:51
  Speaker 2: come up on the show a lot, but it has
• 1:11:54
  Speaker 2: been discussed heavily where movies with scenes that are set
• 1:12:00
  Speaker 2: in the Global South tend to put this yellow filter
• 1:12:05
  Speaker 2: like over the movie to other these places and to
• 1:12:10
  Speaker 2: suggest that, you know, these places are hot and dirty
• 1:12:13
  Speaker 2: and uncivilized and things like that. You could argue that
• 1:12:18
  Speaker 2: them entering Mexico and driving to the bar coincides with
• 1:12:24
  Speaker 2: dusk from the titular from dusk till dawn, and maybe
• 1:12:28
  Speaker 2: that's why there's this yellow hue because the sun is setting.
• 1:12:32
  Speaker 2: But because there's such a history of movies doing.
• 1:12:36
  Speaker 4: This, I was just right.
• 1:12:39
  Speaker 2: It was something I noticed well.
• 1:12:40
  Speaker 3: And the fact that that's like when the magical elements
• 1:12:44
  Speaker 3: enter the story, I feel like it is implied that
• 1:12:47
  Speaker 3: Mexico like is whatever, Like there's less law.
• 1:12:53
  Speaker 4: It's like it's just like implied that it's.
• 1:12:56
  Speaker 3: You know, just like a lot of tropes that we
• 1:12:58
  Speaker 3: see all of the time of like once you cross
• 1:13:00
  Speaker 3: the border, you're home free, you can do anything you want.
• 1:13:04
  Speaker 4: And then it's like.
• 1:13:04
  Speaker 3: Visually presented in this very particular way as well. And
• 1:13:09
  Speaker 3: then the survivors of the whole ordeal are two white characters,
• 1:13:14
  Speaker 3: like it's.
• 1:13:15
  Speaker 2: You know, all the people of color perish by the end,
• 1:13:19
  Speaker 2: they're all goo.
• 1:13:21
  Speaker 4: Goo, everyone's goo. Does a household Goo?
• 1:13:23
  Speaker 3: And I'm like, does the I was kind of curious,
• 1:13:26
  Speaker 3: I'm like, does the did each twister.
• 1:13:28
  Speaker 4: Like reset every night?
• 1:13:29
  Speaker 3: That was sort of the feeling I was getting. Oh yeah,
• 1:13:33
  Speaker 3: I sort of wondered if just like the goo rises
• 1:13:35
  Speaker 3: when dusk falls again and they just sort of don't
• 1:13:38
  Speaker 3: like it's a groundhog day vampire goo, because you're like,
• 1:13:42
  Speaker 3: surely this would have happened sooner.
• 1:13:45
  Speaker 2: Yeah, I feel like every night they just kill whoever
• 1:13:48
  Speaker 2: whatever patrons have come into the bar.
• 1:13:51
  Speaker 4: But I guess it would make me feel better to
• 1:13:52
  Speaker 4: know that. I guess.
• 1:13:53
  Speaker 2: I think it's implied that this was the first time
• 1:13:55
  Speaker 2: there's goo because this is the first time that any
• 1:13:58
  Speaker 2: vampires are dying. Only the vampires are killing the patrons,
• 1:14:02
  Speaker 2: sucking their blood, and then discarding their bodies somewhere. So
• 1:14:06
  Speaker 2: this is like the first gou incident because this is
• 1:14:09
  Speaker 2: the first time the humans fight back. Curious, this is
• 1:14:13
  Speaker 2: my head canon. I don't know if this is true
• 1:14:15
  Speaker 2: or not, like.
• 1:14:15
  Speaker 4: Curious or and curious or I guess.
• 1:14:17
  Speaker 3: I just like in my mind, I guess when the
• 1:14:19
  Speaker 3: movie ended, I was like, oh, so this is just
• 1:14:21
  Speaker 3: gonna happen again tomorrow.
• 1:14:22
  Speaker 4: But maybe that's not true.
• 1:14:24
  Speaker 2: Well, are there any vampires left?
• 1:14:26
  Speaker 3: No?
• 1:14:26
  Speaker 6: Yeah, I just I sort of thought.
• 1:14:28
  Speaker 3: When dusk fell they rose from the goo. Maybe I
• 1:14:30
  Speaker 3: just don't know enough about vampires. Oh see, I thought
• 1:14:32
  Speaker 3: the goo just.
• 1:14:33
  Speaker 4: Sort of like read persons.
• 1:14:35
  Speaker 2: No, I think they're permanently goo.
• 1:14:37
  Speaker 6: I think their goo forever.
• 1:14:39
  Speaker 4: Damn tough break.
• 1:14:43
  Speaker 2: Well about that bachtel test.
• 1:14:46
  Speaker 4: Oh boy, the movie.
• 1:14:48
  Speaker 2: Doesn't pass any people of marginalized genders do not speak
• 1:14:54
  Speaker 2: to each other. I don't think and that's the end that.
• 1:15:01
  Speaker 4: Yeah, No, I I don't think so.
• 1:15:04
  Speaker 2: But our nipple scale, where we rate the movie on
• 1:15:07
  Speaker 2: a scale of zero to five nipples based on examining
• 1:15:10
  Speaker 2: the movie through an intersectional feminist lens, it's like a
• 1:15:16
  Speaker 2: point five for me. It's not high at all based
• 1:15:22
  Speaker 2: on everything we discussed, no need to really re hash
• 1:15:28
  Speaker 2: it all. I think I'll give it a half nipple
• 1:15:30
  Speaker 2: and it will go to the torso guitar or the
• 1:15:37
  Speaker 2: dick gun. Then my two favorite props, Yeah, I like
• 1:15:41
  Speaker 2: my head canon.
• 1:15:42
  Speaker 3: Is that there is a like Hustler style b plot
• 1:15:46
  Speaker 3: going on inside of the Titty Twister that we are
• 1:15:48
  Speaker 3: just not privy to, and that the dancers at this
• 1:15:54
  Speaker 3: club do have something cooking. But based on what we have, yeah,
• 1:15:59
  Speaker 3: I guess I guess I'll go one because I like Robert.
• 1:16:04
  Speaker 3: I guess I just But in terms of yeah, intersexual feminism,
• 1:16:08
  Speaker 3: I mean there's there's really not much to be had.
• 1:16:10
  Speaker 3: The only character that we see character is even remotely
• 1:16:15
  Speaker 3: and as we've discussed, not particularly well, is like a
• 1:16:19
  Speaker 3: young Christian white girl who goes on to become the
• 1:16:23
  Speaker 3: final girl. Outside of that, there's just no interest in
• 1:16:28
  Speaker 3: showing women doing things at all, and even the one
• 1:16:32
  Speaker 3: character who does get to do things spends the entire
• 1:16:35
  Speaker 3: first half of the movie threatened by sexual violence and
• 1:16:39
  Speaker 3: really made to feel a frightened way that like, isn't
• 1:16:42
  Speaker 3: necessary plot wise, Yeah, Tarantino wrote it.
• 1:16:46
  Speaker 6: We know.
• 1:16:48
  Speaker 3: It's just like we know both of these directors are
• 1:16:50
  Speaker 3: capable of much more, and I feel like that's part
• 1:16:54
  Speaker 3: of what I am rating on a harsher curve. And
• 1:16:57
  Speaker 3: the fact that this even remotely Hindu Salma jayaks for
• 1:17:01
  Speaker 3: for even one second makes it all the more difficult.
• 1:17:05
  Speaker 4: Anyways. I love spy kids yea, and I love Once
• 1:17:10
  Speaker 4: upon a Time in Mexico, and.
• 1:17:12
  Speaker 3: I love Machete. And this movie does get one nipple
• 1:17:15
  Speaker 3: from me, and I will give it to Samahayak because
• 1:17:20
  Speaker 3: she deserves it and she should be in as many
• 1:17:24
  Speaker 3: middling Adam Sandler comedies as she chooses.
• 1:17:30
  Speaker 2: Vanessa, how about you?
• 1:17:32
  Speaker 6: I give it one nipple. And that is because both
• 1:17:37
  Speaker 6: Salmahayak and Juliet Lewis are doing so much more than
• 1:17:42
  Speaker 6: is being asked of them. They're doing so much more
• 1:17:45
  Speaker 6: than the script calls for and giving life to characters
• 1:17:49
  Speaker 6: that would otherwise just simply exist to further the plot
• 1:17:54
  Speaker 6: of men. So for these two beautiful flowers growing amongst
• 1:17:59
  Speaker 6: the concrete, I give one nipple.
• 1:18:03
  Speaker 3: Incredible five time our guests, Vanessa, thank you so much
• 1:18:07
  Speaker 3: for coming back.
• 1:18:08
  Speaker 6: I had such a good time.
• 1:18:09
  Speaker 4: Oh my gosh, we were so excited to talk about
• 1:18:12
  Speaker 4: this movie with you.
• 1:18:12
  Speaker 3: And again, come back anytime, whatever feels right, Just let
• 1:18:16
  Speaker 3: us know the movie.
• 1:18:17
  Speaker 4: We're ready.
• 1:18:17
  Speaker 6: I would love to.
• 1:18:19
  Speaker 2: Where can people follow you on social media? Check out
• 1:18:22
  Speaker 2: your work, etc.
• 1:18:25
  Speaker 6: Uh. You can find me under any ss Guerrero on
• 1:18:28
  Speaker 6: Twitter and sns Guerrero on everything else. I show run
• 1:18:32
  Speaker 6: and produce a show called ten Minute Power Hour that
• 1:18:35
  Speaker 6: is on The Grumps every Monday at nine o'clock. Please
• 1:18:39
  Speaker 6: watch that. It pays for my life. And gosh, I
• 1:18:45
  Speaker 6: think that's all I really have coming up right now.
• 1:18:47
  Speaker 6: I feel like there are other things I'm forgetting at
• 1:18:49
  Speaker 6: the moment, but they'll come to me eventually.
• 1:18:52
  Speaker 4: Hell yeah.
• 1:18:53
  Speaker 2: And you can follow us on Instagram at bech Podcast,
• 1:18:57
  Speaker 2: on our Patreon aka Matreon at patron dot com slash
• 1:19:01
  Speaker 2: Bechdel Cast, where you get two bonus episodes every month
• 1:19:05
  Speaker 2: centering around a genius theme that Jamie and I cook
• 1:19:09
  Speaker 2: up and then deliver on. And that's five dollars a month.
• 1:19:13
  Speaker 2: And this month, for Spooky Season, we are doing Pearl
• 1:19:17
  Speaker 2: and the Exorcist.
• 1:19:19
  Speaker 4: Yes, so fucking ready possessed by the devil or ego.
• 1:19:25
  Speaker 4: And it just goes on from there. And you can
• 1:19:29
  Speaker 4: get our merch.
• 1:19:29
  Speaker 3: At teapuble dot com Slash the Bechdel Cast for all
• 1:19:33
  Speaker 3: of your merchandising needs. And with that, let's get into
• 1:19:38
  Speaker 3: our camper that is now empty of our entire family
• 1:19:42
  Speaker 3: and right off into the distance to an uncertain future.
• 1:19:46
  Speaker 2: What do you say, Let's do it? Bye bye bye.
• 1:19:54
  Speaker 2: The Bechdel Cast is a production of iHeartMedia, hosted by
• 1:19:57
  Speaker 2: Caitlin Derante and Jamie Loftus, Sophie Lichtermann, edited by Molaboord.
• 1:20:03
  Speaker 2: Our theme song was composed by Mike Kaplan with vocals
• 1:20:06
  Speaker 2: by Katherine Voskresenski. Our logo and merch is designed by
• 1:20:10
  Speaker 2: Jamie Loftus and a special thanks to Aristotle Assevedo. For
• 1:20:14
  Speaker 2: more information about the podcast, please visit linktree slash Bechtelcast