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Transcript

Hitch with Ronald Young Jr. · The Bechdel Cast

• 0:00
  Speaker 1: On The Bechdelcast.
• 0:02
  Speaker 2: The questions asked if movies have women in them, are
• 0:05
  Speaker 2: all their discussions just boyfriends and husbands, or do they
• 0:08
  Speaker 2: have individualism?
• 0:10
  Speaker 3: The patriarchy?
• 0:11
  Speaker 4: Zeff and best start changing it with the Bechdel Cast.
• 0:16
  Speaker 2: Hi, Everybody, Jamie popping in at the top of the
• 0:19
  Speaker 2: episode to ask for your humble vote in the Signal Awards.
• 0:24
  Speaker 2: The Signal Awards are a podcast industry award and a
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  Speaker 2: show a produce. We The Unhoused has been nominated in
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  Speaker 2: the People's Choice category for public service and activism. If
• 0:35
  Speaker 2: you haven't listened to the show before, we've talked about
• 0:37
  Speaker 2: it on the Bechdel Cast many times. But it is
• 0:39
  Speaker 2: a show created and hosted by the wonderful Theo Henderson
• 0:43
  Speaker 2: that is about issues that affect the unhoused, told by
• 0:46
  Speaker 2: unhoused people themselves. It is a wonderful show. I am
• 0:50
  Speaker 2: so proud of it. There are some stiff competition, and
• 0:53
  Speaker 2: we would.
• 0:53
  Speaker 5: Appreciate your vote. It is literally two clicks. There is
• 0:56
  Speaker 5: a link in the description of the episode. You are
• 0:59
  Speaker 5: listening right now, so pause the episode, vote and enjoy
• 1:06
  Speaker 5: the show. The Bechdelcast, Hey, Jamie, Hey Caitlin.
• 1:11
  Speaker 1: If I do ninety percent of the introduction to this episode.
• 1:15
  Speaker 1: Will you come in with the other ten percent.
• 1:18
  Speaker 2: I'll come in with the other ten percent, and then
• 1:20
  Speaker 2: we'll fall in love. Okay, great, and then we'll be
• 1:23
  Speaker 2: I guess that makes you hitch and meet Kevin James.
• 1:27
  Speaker 2: Is that the dynamic?
• 1:28
  Speaker 1: Well, there are two different scenarios here.
• 1:31
  Speaker 2: Am I like Kevin James of the podcast? I guess yeah,
• 1:33
  Speaker 2: it's true. I could also be Kevin James. Uh? What
• 1:38
  Speaker 2: is god? Rom common names are so elusive. You're just
• 1:42
  Speaker 2: started naming the actors Kevin James, Rich Lady Addison.
• 1:47
  Speaker 1: Adelaide Allegra has the name of an isn't that an
• 1:52
  Speaker 1: allergy medicine?
• 1:53
  Speaker 2: It is the name of an allergy medicine. This is
• 1:56
  Speaker 2: an allergy medicine coded movie.
• 1:58
  Speaker 1: Oh my gosh, Benadryl makes as big appearance.
• 2:01
  Speaker 2: Anyways, Yes, I'm down to do ten percent of the work.
• 2:04
  Speaker 2: That sounds like it would be a hugely fluid rock.
• 2:07
  Speaker 6: Good. Great.
• 2:09
  Speaker 2: Welcome to the Bechdel Cast. My name's Jamie Loftis.
• 2:12
  Speaker 1: My name is Caitlin Derante. This is our show where
• 2:14
  Speaker 1: we examine movies through an intersectional feminist lens, using the
• 2:18
  Speaker 1: Bechdel Test simply as a jumping off point. And what
• 2:22
  Speaker 1: is that? Do you think, Jamie?
• 2:24
  Speaker 2: Well, I do feel like it is relevant to today's
• 2:26
  Speaker 2: discussion because there's there's a case for it, but I
• 2:31
  Speaker 2: don't know so. The Bechdel Test is a media metric
• 2:35
  Speaker 2: created by our friend and yours, Alison Bechdel, back in
• 2:39
  Speaker 2: the eighties for her comic Thanks to Watch Out for.
• 2:41
  Speaker 2: Originally made as a one off joke, it has since
• 2:44
  Speaker 2: been adapted as a mainstream media tool that we talk
• 2:49
  Speaker 2: about very little on this show, but it is the
• 2:51
  Speaker 2: title of the show. Many versions of this test. The
• 2:54
  Speaker 2: version we use requires that two characters of a marginalized
• 2:59
  Speaker 2: gender with names talk to each other about something other
• 3:02
  Speaker 2: than a man for more than two lines of meaningful dialogue.
• 3:08
  Speaker 2: Whatever that means to you can't be a nameless waiter character,
• 3:13
  Speaker 2: right unless I guess, unless the waiter's giving Will Smith
• 3:16
  Speaker 2: something he's allergic to. That would have been an interesting
• 3:19
  Speaker 2: way to pass. Oh sure, but yes, that is the metric.
• 3:22
  Speaker 2: But we are mostly here to talk about intersexual feminism
• 3:26
  Speaker 2: as it pertains to hitch Hitche two thousand and five,
• 3:30
  Speaker 2: directed by Andy Tenant, written by Kevin bish.
• 3:36
  Speaker 1: Kevin Bish, That Son of a Bish.
• 3:38
  Speaker 2: That Son of a Bish, and then Andy Tenant a
• 3:43
  Speaker 2: frequent appearance on the show. He also directed It Takes Two,
• 3:47
  Speaker 2: he directed ever after he directed Sweet Home Alabama. So
• 3:52
  Speaker 2: this is the fourth Andy Tenant movie we are covering
• 3:57
  Speaker 2: on the show Wild. So is it a feminist podcast?
• 4:01
  Speaker 2: We don't know, but we have a wonderful guest here today.
• 4:04
  Speaker 1: We certainly do. He is an audio producer and host
• 4:08
  Speaker 1: of the podcasts Wait for It and Leaving the Theater.
• 4:12
  Speaker 1: It's Ronald Young Junior.
• 4:14
  Speaker 2: Hello, Hello, Hello, and welcome.
• 4:16
  Speaker 6: Happy to be here, Happy to have you. A big
• 4:18
  Speaker 6: fan wait to talk about Hitch. Big fans of y'all
• 4:21
  Speaker 6: as well.
• 4:22
  Speaker 2: I saw you at the at the Amb's this year,
• 4:25
  Speaker 2: and I feel like you're at you the outside of
• 4:27
  Speaker 2: the MBS this past year.
• 4:28
  Speaker 6: Yeah. Yeah, it was just it was mostly the jacket
• 4:31
  Speaker 6: was doing most of the work. Well, the glasses, I
• 4:33
  Speaker 6: guess as well.
• 4:34
  Speaker 2: I was like, it was no, it was the whole thing.
• 4:36
  Speaker 1: It's the whole thing.
• 4:37
  Speaker 2: Give yourself credit. Yes, what is your history with the
• 4:41
  Speaker 2: movie Hitch?
• 4:43
  Speaker 6: The movie Hitch came out when I was a junior
• 4:47
  Speaker 6: in college, so I would have probably been barely twenty
• 4:51
  Speaker 6: years old. Well, actually I would have been solidly twenty,
• 4:54
  Speaker 6: maybe about to turn twenty one. And it was when
• 4:57
  Speaker 6: Will Smith was on a tear in terms of the
• 5:00
  Speaker 6: films that he had done. He had already done Ali
• 5:03
  Speaker 6: I am Legend was in his future and this was
• 5:06
  Speaker 6: during the same string that he was gonna end up
• 5:07
  Speaker 6: doing Hancock. So I was excited to see whatever the
• 5:10
  Speaker 6: new Will Smith movie was. When I saw the preview
• 5:13
  Speaker 6: for this, I was like, Oh, that looks cute, and
• 5:14
  Speaker 6: I also love Kevin James. I was watching a lot
• 5:16
  Speaker 6: of King of Queens at the time, which I still
• 5:19
  Speaker 6: think is a very funny show, but it was. It
• 5:21
  Speaker 6: was It was fun to see Kevin James start to
• 5:24
  Speaker 6: begin to make his transition into more of a movie star,
• 5:27
  Speaker 6: because this was kind of the beginning of him starting
• 5:29
  Speaker 6: to show up in movies. I think this is pre
• 5:31
  Speaker 6: Paul Blart.
• 5:32
  Speaker 2: Mallcop I believe, so, yeah, this is this is part
• 5:35
  Speaker 2: of the road to Blart exactly.
• 5:37
  Speaker 6: That's exactly. That's what I call it, too, the Road
• 5:38
  Speaker 6: to Blark TM. So he was headed, he was headed
• 5:42
  Speaker 6: in that direction. So seeing the previews, I remember I
• 5:44
  Speaker 6: was sitting in a room with some friends and they
• 5:47
  Speaker 6: were like, I want to see that new Will Smith
• 5:48
  Speaker 6: date doctor movie. And then we were watching a movie
• 5:51
  Speaker 6: at the time, and you know how when DVDs used
• 5:53
  Speaker 6: to have previews on them, which is yes, wild to
• 5:56
  Speaker 6: think about, but the preview came on and I was like, oh,
• 5:59
  Speaker 6: that does look very good. They had him having the
• 6:01
  Speaker 6: allergic reaction in the preview and all that, so I
• 6:04
  Speaker 6: was very excited to see it.
• 6:05
  Speaker 1: That was a huge part of the marketing of that movie.
• 6:07
  Speaker 6: I remember if drinking and be.
• 6:10
  Speaker 2: Like, come on that, which is that's really the only
• 6:14
  Speaker 2: kind of thing of that nature that hacks in this movie.
• 6:18
  Speaker 2: But I also vividly remember the yeah, the turnover the
• 6:22
  Speaker 2: shoulder and the kidvened store and the like hives prosthetics.
• 6:27
  Speaker 2: It's a choice, it's a choice.
• 6:30
  Speaker 6: It really is very very romantic comedy coded of that era.
• 6:34
  Speaker 6: They like they truly don't make them like this anymore,
• 6:38
  Speaker 6: which is like for for better and worse at the
• 6:41
  Speaker 6: same time. You know, yeah, like as soon as that
• 6:44
  Speaker 6: opening sequence comes on, you immediately start like logging for
• 6:46
  Speaker 6: a better time. Sorry, I'm talking too much. I can
• 6:48
  Speaker 6: talk about this.
• 6:50
  Speaker 1: Well, that's what we're here to do.
• 6:52
  Speaker 2: Yeah, we're here to get to the bottom of Hitch.
• 6:55
  Speaker 1: So you saw it when it came out, and then
• 6:57
  Speaker 1: have you been revisiting it since or did you leave
• 7:00
  Speaker 1: it in the past until now?
• 7:02
  Speaker 6: So I bought it on DVD. It is probably downstairs
• 7:05
  Speaker 6: in my DVD collection, which is just a big binder
• 7:08
  Speaker 6: of DVDs. I got rid of all the cases because
• 7:10
  Speaker 6: what do we even need those? I'm right there with you, yeah,
• 7:13
  Speaker 6: but I still have.
• 7:14
  Speaker 1: My DVD binder of like two hundred DVDs.
• 7:16
  Speaker 6: Okay. But the funny thing about that, okay, And I
• 7:19
  Speaker 6: used to watch Hitch regularly, like, oh, y'all want to
• 7:21
  Speaker 6: watch Hitch? Like just throw it on, like great date movie,
• 7:24
  Speaker 6: that type of thing. But all of those films that
• 7:26
  Speaker 6: existed back then, even though I own them, depending on
• 7:30
  Speaker 6: where they're positioned on streaming media, they completely leave my mind.
• 7:35
  Speaker 6: It's like they don't exist anymore. So when y'all mentioned this,
• 7:40
  Speaker 6: I was like, oh, yeah, I think it's been a
• 7:42
  Speaker 6: solid at least ten, maybe fifteen years since I watched
• 7:46
  Speaker 6: that movie, and I just I yeah, So it's I
• 7:49
  Speaker 6: loved it for a time when it was out, and
• 7:51
  Speaker 6: then it just disappeared into the back corners of my mind.
• 7:55
  Speaker 2: Yeah, you have to return. We must return to Hitch.
• 8:00
  Speaker 6: We gotta go back.
• 8:02
  Speaker 2: We have to come back.
• 8:03
  Speaker 1: We have to go back to Hitch.
• 8:05
  Speaker 2: To go back. I have just started watching Lost last year,
• 8:09
  Speaker 2: and what a treat. What a treat?
• 8:11
  Speaker 6: Yeah you say that. Now what season are you on? Oh?
• 8:14
  Speaker 2: I've watched the whole series twice.
• 8:16
  Speaker 6: Which okay, okay, okay, okay.
• 8:18
  Speaker 1: I don't know.
• 8:19
  Speaker 2: It's like, I am, well, we got a table Lost
• 8:22
  Speaker 2: because I got ept.
• 8:22
  Speaker 1: You growingly come back for Lost. We'll do a spinoff
• 8:26
  Speaker 1: podcast all of Lost.
• 8:28
  Speaker 2: Easy prep. Yeah, I got the flu and I watched Lost.
• 8:32
  Speaker 6: You probably got it from the island.
• 8:34
  Speaker 1: Oh my gosh, what are the others?
• 8:37
  Speaker 2: That's one of the other cough in my mouth and
• 8:39
  Speaker 2: here I am, Jimmie.
• 8:42
  Speaker 1: What's your history with Hitch?
• 8:44
  Speaker 2: My history with Hitch is that I saw it.
• 8:46
  Speaker 7: I I This I feel like goes very firmly into
• 8:52
  Speaker 7: my middle school sleepover cannon and kind of an outlier
• 8:58
  Speaker 7: in the ramkan genre because it's I mean in a
• 9:00
  Speaker 7: number of ways, but it's very rare in a rom
• 9:03
  Speaker 7: com for the man to be the character that.
• 9:06
  Speaker 2: We're leading with. I feel like it's very it's most
• 9:10
  Speaker 2: often that he's kind of behind the woman trying to
• 9:13
  Speaker 2: have it all. But this is like peak, well, I
• 9:16
  Speaker 2: don't even know when peak Willsmith exactly was. It feels close.
• 9:19
  Speaker 2: This feels pretty close.
• 9:20
  Speaker 6: It's close.
• 9:21
  Speaker 2: Yeah, but I hadn't seen it in at least ten years,
• 9:24
  Speaker 2: probably longer. Although I feel like you see, if you
• 9:27
  Speaker 2: spend enough time on the internet, you see Hitch in
• 9:30
  Speaker 2: the wild with some frequency. People remember Hitch. Yeah, I
• 9:35
  Speaker 2: most clearly remember the Hives scene, and then I didn't
• 9:39
  Speaker 2: remember a bunch of stuff that I've excited to talk about.
• 9:42
  Speaker 2: But I mean, mainly, rewatching this movie is like I
• 9:47
  Speaker 2: miss Eva Mendez. Yes, I miss her acting not I mean,
• 9:52
  Speaker 2: she's still thriving, but she doesn't act anymore, and I
• 9:56
  Speaker 2: miss it. She's just like the most charismatic woman on
• 9:59
  Speaker 2: the face the earth, and so as well. I mean,
• 10:02
  Speaker 2: obviously Will Smith is Will Smith, but but yeah, I
• 10:05
  Speaker 2: don't know. There's I feel like this movie has been
• 10:08
  Speaker 2: through so many waves of criticism, reconsideration, reclaiming, getting rid
• 10:15
  Speaker 2: of it again. It was so interesting going through the
• 10:18
  Speaker 2: like because there's tons of essays about Hitch every time
• 10:22
  Speaker 2: it reaches an anniversary, marker, and it always changes a
• 10:25
  Speaker 2: little bit the public perception of Hitch, and I feel
• 10:29
  Speaker 2: like I would have felt differently about it ten years
• 10:31
  Speaker 2: ago than I do now. It's all over the place
• 10:35
  Speaker 2: if this movie does mix all over the place, because
• 10:38
  Speaker 2: sometimes it's like it's so weird, whereas like sometimes it's
• 10:41
  Speaker 2: like ooh, a point is being approached, and then they're like,
• 10:44
  Speaker 2: never mind, never mind. I expected to not like it
• 10:53
  Speaker 2: a lot less than I. I mean, there there is
• 10:55
  Speaker 2: stuff to love about this movie. I get why people
• 10:57
  Speaker 2: return to it, and even then does un Retired challenge Kaylyn,
• 11:03
  Speaker 2: what's your history with Hitch?
• 11:06
  Speaker 1: I also saw it when it came out. I remember
• 11:09
  Speaker 1: the marketing a lot, and I was like, well, I
• 11:12
  Speaker 1: guess rom coms have never really been my genre, and
• 11:16
  Speaker 1: I prefer Will Smith when he's in an alien movie.
• 11:21
  Speaker 1: But I was like, sure, I'll go with what I was.
• 11:25
  Speaker 1: I think a freshman or sophomore in college at the time,
• 11:29
  Speaker 1: so I imagine I went with some friends to see
• 11:32
  Speaker 1: in theaters, and I feel like I watched it a
• 11:36
  Speaker 1: couple more times since then, just because it would kind
• 11:41
  Speaker 1: of be on in the room I was in. But
• 11:45
  Speaker 1: I never had much of an attachment to it and
• 11:49
  Speaker 1: forgot most of the things as well, except for the
• 11:54
  Speaker 1: ninety percent ten percent kissing advice.
• 11:57
  Speaker 2: You remember that.
• 11:58
  Speaker 1: I think about that like once a week. Well, not
• 12:02
  Speaker 1: as like advice that I think people should follow, but
• 12:06
  Speaker 1: it's just it for some reason that stuck with me.
• 12:09
  Speaker 2: I get that that's a sticky that's a sticky bit
• 12:11
  Speaker 2: of information.
• 12:12
  Speaker 1: It's a sticky thing because I'm always like, I think
• 12:15
  Speaker 1: what it is is I'm afraid a man is gonna
• 12:18
  Speaker 1: go ninety percent into trying to kiss me, and like,
• 12:23
  Speaker 1: just how yucky I feel about that.
• 12:25
  Speaker 2: Ninety percent is too many. That's a lot of persons.
• 12:31
  Speaker 1: Maybe it should be fifty to fifty.
• 12:33
  Speaker 2: Yeah, you know, that's a good threshold.
• 12:36
  Speaker 6: I think it also articulates something that I don't believe in,
• 12:40
  Speaker 6: which is the idea that when it comes to kissing,
• 12:42
  Speaker 6: that the onus is on the man to like make
• 12:46
  Speaker 6: the kiss happen, which is something that has bitten me
• 12:49
  Speaker 6: in the behind so many times in life, because there
• 12:52
  Speaker 6: have been women who was like, oh, well, he didn't
• 12:54
  Speaker 6: try to kiss me, he must not like me, and
• 12:56
  Speaker 6: I was like, no, I'm just shy and don't I'm
• 12:58
  Speaker 6: afraid I want to, but I don't know how to
• 13:01
  Speaker 6: do it, and I don't want to do ninety percent.
• 13:03
  Speaker 6: It feels like I've be encroaching on your space.
• 13:05
  Speaker 1: And this is why I think about it all the time.
• 13:10
  Speaker 3: And weirdly, like Hitch doesn't totally step away from the
• 13:14
  Speaker 3: fact that like men obviously experience anxiety and confidence issues
• 13:18
  Speaker 3: like that is such a huge part of it.
• 13:21
  Speaker 2: But then it gets weird to get I don't know.
• 13:24
  Speaker 6: I think the movie vacillates. I wrote this down. I
• 13:27
  Speaker 6: think it vacillates between being a pickup artist's manual and
• 13:31
  Speaker 6: then an actual guide to talking to human women. So
• 13:35
  Speaker 6: at its worst, yes, it's a pickup artist. At its best,
• 13:38
  Speaker 6: it's like, here's how you talk to a woman, and
• 13:40
  Speaker 6: I'm like, actually, that's not that bad. When it's like, hey,
• 13:43
  Speaker 6: just talk to her, be nice, like be kind to her,
• 13:46
  Speaker 6: you know what I mean. Listen, Yes, I'm like, that's
• 13:49
  Speaker 6: not bad. But then because it throws it in a blender,
• 13:52
  Speaker 6: it's like, wait a minute, wait a minute, this isn't right,
• 13:55
  Speaker 6: Will Smith, I don't know if you're doing this right.
• 13:57
  Speaker 2: And then the ending being like I don't know, and
• 14:00
  Speaker 2: then there's Grandma Hedge. I forgot about Grandma.
• 14:03
  Speaker 1: Oh yeah, Grandma Hitch.
• 14:05
  Speaker 2: I would see that movie too.
• 14:07
  Speaker 1: Yeah, at least it's not what's that movie, Crazy Stupid
• 14:11
  Speaker 1: Love where it's just like, here's how to be a
• 14:14
  Speaker 1: pickup artist?
• 14:15
  Speaker 6: Yees.
• 14:15
  Speaker 1: Yeah, it like sort of starts to veer into that
• 14:18
  Speaker 1: territory sometimes, but it never gets all the way. Yeah,
• 14:22
  Speaker 1: and yes, some of the advice that Hitch gives is
• 14:24
  Speaker 1: solid advice. A lot of it isn't, Yeah, but some
• 14:27
  Speaker 1: of it is. And the takeaway from this movie I
• 14:29
  Speaker 1: think is generally positive. But the point is I forgot
• 14:32
  Speaker 1: most of it except for the ninety ten thing, and
• 14:36
  Speaker 1: I am sort of haunted by it. But we'll unpack
• 14:40
  Speaker 1: that and more. Let's take a quick break and then
• 14:44
  Speaker 1: we'll come back for the recap, and we're back.
• 14:58
  Speaker 2: Let's lock it's Hitch time. I also this reminded me
• 15:02
  Speaker 2: of I know that this is probably something that still happens,
• 15:05
  Speaker 2: but I do associate the naming convention. It kind of
• 15:09
  Speaker 2: feels geely coded to me, where you're like, oh, the
• 15:13
  Speaker 2: guy's name is Jeelie. The guy's name is Hitch. You're like, oh,
• 15:18
  Speaker 2: I guess I didn't see that coming.
• 15:20
  Speaker 1: Alex Hitchens aka Hitch, Larry Jeelie, you know, keep going.
• 15:27
  Speaker 6: Also Gilie's Ark two thousand and three, Hitch circa two
• 15:30
  Speaker 6: thousand and five. So you're hitting the nail on the
• 15:31
  Speaker 6: head in terms of what it was happening.
• 15:34
  Speaker 2: The people wanted what they wanted, except one of the
• 15:36
  Speaker 2: main differences being Hitch was wildly successful to this day
• 15:40
  Speaker 2: is still the third most successful rom com at the
• 15:43
  Speaker 2: box office ever.
• 15:45
  Speaker 6: Wow, whoa yeah, of all time? What's two and one?
• 15:48
  Speaker 2: Two and one? Oh my gosh, it just had it
• 15:50
  Speaker 2: up two in one. One of them is so this
• 15:54
  Speaker 2: is at the box office, but yes, it beats Pretty
• 15:57
  Speaker 2: Woman adjusted for inflation. It's my big Greek wedding. What
• 16:01
  Speaker 2: women want or before.
• 16:02
  Speaker 6: Women one should not be number two. That's that's wild.
• 16:05
  Speaker 2: What women want is nasty, that is.
• 16:07
  Speaker 6: Not Yeah, have y'all done that on this show. I'll
• 16:10
  Speaker 6: be back, Yes, Okay, do it again so I can
• 16:12
  Speaker 6: talk trash.
• 16:15
  Speaker 2: It's an interesting. Top ten is my big fact Greek wedding.
• 16:18
  Speaker 2: What women Want? Hitch, Pretty Woman, Wild, there's something about
• 16:22
  Speaker 2: Mary crazy rich Asians, the proposal which I barely remember,
• 16:27
  Speaker 2: Sex and the City Runaway Bride knocked up. That's the
• 16:31
  Speaker 2: top ten.
• 16:31
  Speaker 6: Wow, that's okay, so their box office. This isn't preference,
• 16:36
  Speaker 6: which makes sense, Like you're listing ten movies that I
• 16:39
  Speaker 6: think people would go see. But wow, Hitch being number three, Well,
• 16:44
  Speaker 6: but actually it is like kind of a straight down
• 16:46
  Speaker 6: the middle of romantic comedy in a lot of ways.
• 16:48
  Speaker 6: But like I mean, and we're about to unpack the
• 16:50
  Speaker 6: real examinations of it. But I guess it's not that unsurprising.
• 16:54
  Speaker 6: The other number two, What women Want, that's way more
• 16:58
  Speaker 6: disappointing to me.
• 16:59
  Speaker 2: That's too many, yes, just too many, like at least
• 17:03
  Speaker 2: my big fact Greek wedding. I like, correct, What women
• 17:06
  Speaker 2: want is a movie with a with a dark aura.
• 17:10
  Speaker 1: Yeah, yeah, evil vibes.
• 17:12
  Speaker 2: Yeah about pick up artists, my god, totally Like even
• 17:16
  Speaker 2: without mel Gibson it's scary, but with him inexcusable.
• 17:20
  Speaker 1: Yeah, yes, yeah.
• 17:22
  Speaker 6: Can I say one thing?
• 17:23
  Speaker 1: Oh yeah, please, oh yeah.
• 17:24
  Speaker 6: I just want to point out that when y'all y'all
• 17:26
  Speaker 6: picked Hitch, and I was so excited, I expected to
• 17:29
  Speaker 6: be like anything that comes out in the early two
• 17:32
  Speaker 6: thousands that I'm revisiting now, I'm expecting that I'm going
• 17:35
  Speaker 6: to be like what was I thinking at this time?
• 17:37
  Speaker 6: And I really appreciate y'all because this was one of
• 17:40
  Speaker 6: the rare exceptions where I'm like, great, it has some problems,
• 17:43
  Speaker 6: but I don't. I don't feel dirty like walking away
• 17:45
  Speaker 6: from this as I did from other things that came
• 17:48
  Speaker 6: out around that time when we really thought we were
• 17:50
  Speaker 6: invincible culturally as a country point to be noticed a little.
• 17:54
  Speaker 6: So I really appreciate y'all bringing me in for this one.
• 17:57
  Speaker 1: Oh oh, absolutely, you are so grateful to have you.
• 18:00
  Speaker 1: And let's meet.
• 18:01
  Speaker 2: Hitch shall we Alice hitch Hitchins.
• 18:05
  Speaker 1: Alex Hitchins played by Will Smith. He is a dating
• 18:11
  Speaker 1: coach dubbed the Date Doctor. And something I think is
• 18:15
  Speaker 1: hilarious about this movie is that everyone in New York
• 18:19
  Speaker 1: City knows about the Date Doctor, as if he's like
• 18:22
  Speaker 1: Spider Man, where we don't know his true identity, but
• 18:26
  Speaker 1: it's like I've heard of him though, and he's famous.
• 18:29
  Speaker 2: Unlike Spider Man. He has an amazing apartment.
• 18:33
  Speaker 1: Yeah, yes, he's raking it in.
• 18:36
  Speaker 2: Beautiful rom com. I mean it's like that. It's almost
• 18:39
  Speaker 2: like self aware the way they're doing it because he
• 18:41
  Speaker 2: never says how much he charges. He's just like, that's
• 18:43
  Speaker 2: why they pay me, so much. I love this. This
• 18:47
  Speaker 2: world is just class does not exist, no, really in
• 18:53
  Speaker 2: this world, and sometimes that can be fun. You're like, sure,
• 18:57
  Speaker 2: not good for them and good for Hitch, although you
• 19:00
  Speaker 2: know at what cost.
• 19:03
  Speaker 1: Okay, So we meet Hitch during a montage where he's
• 19:07
  Speaker 1: helping men talk to women, or get women to notice them,
• 19:13
  Speaker 1: or orchestrate a meet. Cute. There's also voiceover monologue from
• 19:19
  Speaker 1: Hitch and we'll talk about this, but it's advice, and again,
• 19:24
  Speaker 1: some of it isn't horrible. A lot of it is
• 19:27
  Speaker 1: quite gender prescriptive as far as this is what women
• 19:31
  Speaker 1: like and so that's what you should do about it.
• 19:34
  Speaker 6: Correct.
• 19:35
  Speaker 2: Yeah, leading with the women who are really into their
• 19:37
  Speaker 2: career right now? Do you believe that? Neither did she?
• 19:40
  Speaker 2: She's lying. You're like, Wow, I love this guy.
• 19:43
  Speaker 5: Can't wait to hear her.
• 19:44
  Speaker 2: I can't wait to follow his journey.
• 19:46
  Speaker 6: Yeah. The good thing is when he's talking of like,
• 19:49
  Speaker 6: I feel good knowing that we know more than him
• 19:51
  Speaker 6: at this point. Sound like, yeah, yeah, bless, I'm going
• 19:54
  Speaker 6: to assume that Alex Hitchins grew up with the rest
• 19:56
  Speaker 6: of us, like by twenty twenty five. He's like, I
• 19:59
  Speaker 6: said some things and I don't actually agree with anymore.
• 20:01
  Speaker 6: And I'm like, oh, that's perfectly fine. That's that's the
• 20:03
  Speaker 6: grace that I'm offering him at this point, I hope.
• 20:06
  Speaker 2: So we come to this place to show Hitch grace.
• 20:10
  Speaker 1: You know, I wouldn't be mad about Hitch two you know,
• 20:15
  Speaker 1: contemporary modern day, twenty years later or whatever. And yeah,
• 20:18
  Speaker 1: he's changed his ways.
• 20:20
  Speaker 2: Yes, that's what gets us. Ava Mendez back, Fine, I
• 20:23
  Speaker 2: watch it. I'll go, I'll go watch it.
• 20:25
  Speaker 1: Yeah, let's do it. Okay. So Hitch's thing is that
• 20:30
  Speaker 1: he will help men for the first three dates and
• 20:33
  Speaker 1: after that they're on their own. Then we meet Sarah
• 20:38
  Speaker 1: played by Eva Mendez. Her various male colleagues and bosses
• 20:44
  Speaker 1: are like, you need a boyfriend, and she's like, I
• 20:47
  Speaker 1: don't have time for a boyfriend. I'm too focused on
• 20:50
  Speaker 1: my career.
• 20:51
  Speaker 2: She cooks forty hours a week talking about how she
• 20:54
  Speaker 2: doesn't need a boy thread.
• 20:58
  Speaker 6: Yep, I do like that.
• 20:59
  Speaker 2: They give because she does. I mean, in rom com fashion.
• 21:02
  Speaker 2: She is a New York City journalist, but she's kind
• 21:05
  Speaker 2: of like a dirty journalist. She's a but not the
• 21:09
  Speaker 2: way the movie frames it. The movie doesn't. They're just
• 21:12
  Speaker 2: like I just think it's I mean, it makes sense
• 21:15
  Speaker 2: in the plot. Why they she ends up being a
• 21:17
  Speaker 2: gossip I don't know. Maybe it was just sex and
• 21:19
  Speaker 2: the City era and this was this was a thing true.
• 21:23
  Speaker 1: Right because she's a gossip columnist at a newspaper, remember
• 21:27
  Speaker 1: those And some of her recent coverage has been on
• 21:31
  Speaker 1: a celebrity named Allegra Cole and a breakup that she
• 21:36
  Speaker 1: just went through.
• 21:37
  Speaker 6: Can we just point out her apartment is way too
• 21:39
  Speaker 6: big for a reporter?
• 21:40
  Speaker 2: Yes, and classic Carrie fashion. Yeah, yeah, you're just you're like, wow,
• 21:47
  Speaker 2: her and Hitch cumulatively, I'm just like, yeah, they're loaded.
• 21:52
  Speaker 2: They're loaded, and god knows how, but I'm happy for them.
• 21:56
  Speaker 6: I support it.
• 21:57
  Speaker 1: They're both living in like three million dollar condos padform.
• 22:00
  Speaker 1: We're not sure how.
• 22:01
  Speaker 6: At least her door opens out, that's how. That's how
• 22:06
  Speaker 6: I know you got money if you're not concerned about
• 22:09
  Speaker 6: the direction of your door opens like whatever, I got
• 22:11
  Speaker 6: a doorman. They can't get in here.
• 22:13
  Speaker 2: And they don't you don't know if they own, but
• 22:15
  Speaker 2: they have they carry themselves as if they own the place.
• 22:19
  Speaker 1: Yes. Yeah, Then we cut to Hitch at a bar
• 22:24
  Speaker 1: playing pool with a character played by raging Zionist piece
• 22:29
  Speaker 1: of ship. Michael Rappaport, Caitlyn I almost flipped the table.
• 22:33
  Speaker 6: I was like, what is this guy doing?
• 22:38
  Speaker 1: May he rot in hell? This man?
• 22:41
  Speaker 2: Nothing can prepare you to see what a jump scare
• 22:45
  Speaker 2: really is.
• 22:48
  Speaker 6: And that's such a good use of jump Scared two.
• 22:50
  Speaker 6: That's what happened.
• 22:51
  Speaker 2: I was like, Michael, why worse than the Hives scene?
• 22:56
  Speaker 2: Like they it's also just I mean, we don't need
• 22:59
  Speaker 2: to get it a full Michael Rappaport, but like Zionist
• 23:02
  Speaker 2: is the tip of the iceberg with this, I mean
• 23:05
  Speaker 2: just a vile, vile being overt racist.
• 23:09
  Speaker 6: Yeah, as I would say, so evil, evil man.
• 23:12
  Speaker 2: Every mask is off with this guy.
• 23:14
  Speaker 1: Yeah, at least he's only in this one scene and
• 23:17
  Speaker 1: he never comes back.
• 23:18
  Speaker 6: But it could have cut it. Honestly, they shouldly.
• 23:20
  Speaker 1: Should have cut it.
• 23:21
  Speaker 2: They should do a twentieth anniversary release that cuts out
• 23:24
  Speaker 2: the Michael Rapaport because also it's cuttable.
• 23:26
  Speaker 6: It really is a lot.
• 23:27
  Speaker 2: Wise, you don't need it cuttable.
• 23:28
  Speaker 1: And the movie is too long. It's two hours long.
• 23:32
  Speaker 1: No rom com should be longer than ninety ninety five minutes,
• 23:36
  Speaker 1: like what are we doing here?
• 23:37
  Speaker 2: Although I do appreciate the long extended wedding dance sequence
• 23:42
  Speaker 2: at the end. That's just a return to form. Yeah,
• 23:44
  Speaker 2: that's tradition.
• 23:46
  Speaker 6: That's that's obviously not what goes on the kind of
• 23:47
  Speaker 6: roof floor there's but we could as you go through,
• 23:50
  Speaker 6: we could probably say what could have been cut in
• 23:52
  Speaker 6: terms of like story, like come on, you didn't need
• 23:54
  Speaker 6: this part, Like that's very you. You said two hours
• 23:57
  Speaker 6: to it. I remember thinking it feels like a tight nine,
• 24:00
  Speaker 6: but then after a while you're like, Okay, it's still
• 24:02
  Speaker 6: kind of going, like what's what's happening here? Why are
• 24:04
  Speaker 6: we still here?
• 24:05
  Speaker 2: When that guy Tom shows up at the end, I
• 24:08
  Speaker 2: was like I'm done, I'm done.
• 24:10
  Speaker 6: Yes, this should have happened to Sina, though, why is
• 24:13
  Speaker 6: this happening now? Like this is this is weird? This
• 24:16
  Speaker 6: grand gesture, like you've already done it? Why are we
• 24:18
  Speaker 6: what are we doing here?
• 24:19
  Speaker 2: The grand gesture? Also, I was just like, this is
• 24:22
  Speaker 2: a good weaponization of the Steve Puschemi test. If Steve
• 24:26
  Speaker 2: Pushemi does anything that Hitch does in this movie, it's
• 24:29
  Speaker 2: it's menacing and scary behavior.
• 24:33
  Speaker 1: Steve, Oh, this is we made this cast original.
• 24:37
  Speaker 6: This is a this is good, this should be that's
• 24:41
  Speaker 6: amazing and also terrible for Steve. I'm so sorry.
• 24:45
  Speaker 2: I know it will mean this our friend Steve, who's
• 24:48
  Speaker 2: a bonafid but he plays creeps a lot.
• 24:52
  Speaker 6: This would also work for Bill Scar's guard. So don't
• 24:55
  Speaker 6: feel like it just has to be Steve because if Bill,
• 24:58
  Speaker 6: because you know how I know it's true about Bill
• 24:59
  Speaker 6: scar Card is that barbarian doesn't work if Bill scars
• 25:03
  Speaker 6: guard is not a little bit creepy because you you
• 25:06
  Speaker 6: think he's up to something the whole time, but he's
• 25:07
  Speaker 6: actually not good looking guy whatever. But like, yeah, I'm
• 25:10
  Speaker 6: just saying you can you can slash that. It doesn't
• 25:12
  Speaker 6: just have to be Steve.
• 25:13
  Speaker 2: Oh that makes me feel great about this test because
• 25:16
  Speaker 2: I was like, I don't want to. I don't want
• 25:17
  Speaker 2: to come down on our friend Steve. But it's the
• 25:19
  Speaker 2: same thing where it's just like that type cast actor
• 25:22
  Speaker 2: and so much of this movie. If you apply that test,
• 25:26
  Speaker 2: you're like, well, I don't know, I don't know, but
• 25:30
  Speaker 2: this this hitch.
• 25:31
  Speaker 1: Guy doesn't feel great.
• 25:32
  Speaker 6: I love this.
• 25:34
  Speaker 2: Throw him soap on the hood of a car. I
• 25:36
  Speaker 2: don't know, No, I'm.
• 25:38
  Speaker 6: Seeing it all with Steve Shimmy, you took her, you
• 25:43
  Speaker 6: took her to see.
• 25:46
  Speaker 1: Oh yeah, the Ellis Island thing.
• 25:48
  Speaker 2: Steve tell me, trapped you in Ellis Island?
• 25:51
  Speaker 6: Like I got here even with Bill Scar's guard. It's
• 25:55
  Speaker 6: still like again here, like why did you take me
• 25:57
  Speaker 6: to see my murder and grandfather?
• 25:59
  Speaker 8: Oh?
• 26:00
  Speaker 1: I can't wait to get there.
• 26:02
  Speaker 2: I kind of like the ls Island bit. It makes
• 26:05
  Speaker 2: no sense, but I was like, yeah, we get but
• 26:08
  Speaker 2: I liked it right anyway.
• 26:11
  Speaker 1: The whole point of this, like bar scene where they're
• 26:14
  Speaker 1: playing pool, is the Hitch is being told that he
• 26:18
  Speaker 1: should try to find a meaningful long term relationship, because
• 26:24
  Speaker 1: Hitch's whole thing is that he only does very casual,
• 26:28
  Speaker 1: short term dating, and according to the movie, that's bad
• 26:34
  Speaker 1: and shallow and.
• 26:36
  Speaker 2: Also women can't do it, and women are just simply
• 26:39
  Speaker 2: not allowed in this world. Women have no desire to
• 26:44
  Speaker 2: have casual sex and have no interest in it at all.
• 26:48
  Speaker 1: Yes, and we're like, oh, why is Hitch like this?
• 26:52
  Speaker 2: Who broke his.
• 26:53
  Speaker 1: Heart or whatever? And we get a flashback of Hitch
• 26:57
  Speaker 1: in college before he had any game, where he fell
• 27:01
  Speaker 1: in love with a woman named Cressida and he came
• 27:04
  Speaker 1: on too strong and she broke his heart, but he
• 27:09
  Speaker 1: learned quote unquote from this experience, and that's why he
• 27:13
  Speaker 1: does the work that he does, and that's why he
• 27:15
  Speaker 1: is the way that he is in his own dating life.
• 27:18
  Speaker 2: It feels very studio notesy that they give you this
• 27:22
  Speaker 2: explanation in full flashback. I kept waiting for, like Cresida,
• 27:27
  Speaker 2: for him to like run into Cressida or something. I
• 27:29
  Speaker 2: feel like that could have been an interesting plot point
• 27:32
  Speaker 2: of like him running into her twenty years later and
• 27:34
  Speaker 2: like them having some sort of conversation or her being like,
• 27:37
  Speaker 2: I'm sorry, I hurt you, even though he reacts quite
• 27:40
  Speaker 2: violently when he tries out she's cheating, But I don't know.
• 27:44
  Speaker 2: I kept there was like so much specificity to that
• 27:46
  Speaker 2: flashback that is, like, you really think he's gonna see
• 27:49
  Speaker 2: her down the line.
• 27:50
  Speaker 6: The other thing I want to point out is that
• 27:52
  Speaker 6: when they do the flashback and all he does is
• 27:54
  Speaker 6: put on glasses, I'm like, I just want to point
• 27:56
  Speaker 6: out this man is still very good looking, and he's
• 27:58
  Speaker 6: still very very normal of the age of the time
• 28:00
  Speaker 6: that he was around, So I don't think he'd be
• 28:03
  Speaker 6: not adjusted or unable to talk to women or date
• 28:06
  Speaker 6: or whatever. They kind of put him in this category
• 28:09
  Speaker 6: that he is not in just because you put a
• 28:12
  Speaker 6: pair of glasses on him. As a matter of fact,
• 28:13
  Speaker 6: they might have improved what he looked like. I'm like,
• 28:15
  Speaker 6: that's one of your five looks. Will. You should definitely
• 28:17
  Speaker 6: be wearing glasses of other ports in this movie.
• 28:20
  Speaker 2: It just kind of takes me to like a specific
• 28:21
  Speaker 2: Fresh Prince era. You're like, yeah, we liked that, we
• 28:24
  Speaker 2: liked that.
• 28:25
  Speaker 6: Yeah, we're here for hot yeah yeah, yeah.
• 28:29
  Speaker 1: Right. Also at this bar is Sarah with her friend Casey.
• 28:35
  Speaker 2: She's too much wearing her the Beatles shirt from Target.
• 28:39
  Speaker 2: She's too much. She's cracking me up with her her
• 28:42
  Speaker 2: little t shirts, her little blazers. You're like, two thousand
• 28:45
  Speaker 2: and five, we were just doing whatever.
• 28:46
  Speaker 1: To me. That was signaling like she's not like the
• 28:49
  Speaker 1: other girls because she likes the Beatles and drinks beer.
• 28:53
  Speaker 2: Yes, yes, I think that that is exactly what it's
• 28:56
  Speaker 2: supposed to be telegraphing. But I kind of don't have
• 28:58
  Speaker 2: a problem with it. I think funny, right, the Beatles, Wow,
• 29:02
  Speaker 2: what a subversive choice.
• 29:07
  Speaker 6: Yeah, it's so off kilter, quirky.
• 29:11
  Speaker 2: I've never heard of them.
• 29:12
  Speaker 1: Say more so, Sarah and Casey are talking about dating
• 29:17
  Speaker 1: and men and being single, so not passing the Bechdel
• 29:21
  Speaker 1: test spoiler alert.
• 29:22
  Speaker 2: At one point they're never passing the Bechdel test. But interestingly,
• 29:25
  Speaker 2: to me, in one scene there, you're not passing the
• 29:27
  Speaker 2: Bechdel test and eating some really like weird looking food.
• 29:32
  Speaker 2: When they go to that, they're eating like rice pudding.
• 29:34
  Speaker 2: In one of the scenes where they're not passing the
• 29:36
  Speaker 2: Bechdel test, You're like, what a weird what a weird
• 29:39
  Speaker 2: way to like? I like rice pudding, but it seems
• 29:42
  Speaker 2: like a gentrified rice pudding spot. I was like, was
• 29:44
  Speaker 2: that ever a thing?
• 29:45
  Speaker 6: It was wild, but I'm not I didn't live in
• 29:48
  Speaker 6: New York at that time, so I don't know what
• 29:50
  Speaker 6: was happening to get New York in two thousand and
• 29:51
  Speaker 6: five were girls.
• 29:53
  Speaker 2: We're girls talking about Will Smith over rice pudding.
• 29:57
  Speaker 1: I don't know, we don't know. But in this case,
• 30:01
  Speaker 1: they're talking about a guy who Casey has recently met,
• 30:04
  Speaker 1: who she likes, but she's worried that he might be
• 30:07
  Speaker 1: kind of a sleeze ball and Sarah is like, he's
• 30:10
  Speaker 1: definitely a sleeze but Casey wants to go out with
• 30:13
  Speaker 1: him anyway. And this will come back later. Then we
• 30:16
  Speaker 1: meet Hitch's newest client, Albert Brenneman played by Kevin James,
• 30:23
  Speaker 1: a guy with absolutely no game and he wants help
• 30:27
  Speaker 1: with Allegra Cole that like celebrity heiress woman who Sarah
• 30:33
  Speaker 1: has been writing about, and Albert's company handles her finances.
• 30:38
  Speaker 1: So he has met Allegra briefly, but she barely knows
• 30:43
  Speaker 1: he exists, and he knows that she's likely quote unquote
• 30:47
  Speaker 1: out of his league, but Hitch is up to the challenge.
• 30:52
  Speaker 6: To be clear, feels like Hitch is like, you know what,
• 30:55
  Speaker 6: I'm the best. I'll take this on. He doesn't actually
• 30:57
  Speaker 6: explicitly state that, but there's a way which he's like, man,
• 31:01
  Speaker 6: this is like because he actually uses the words like
• 31:04
  Speaker 6: Michaelangelo Siste Chapel and basically say like this is going
• 31:08
  Speaker 6: to be his masterpiece making this workout, which feels like
• 31:11
  Speaker 6: an opportunity for him with that regard. But if I
• 31:13
  Speaker 6: could just say one thing, I mean, obviously I have
• 31:16
  Speaker 6: a weight based podcast, w E I g ht weight
• 31:19
  Speaker 6: for it to see him cast a fat man in
• 31:23
  Speaker 6: this role where it's not totally lampooning himself like he is.
• 31:28
  Speaker 6: He is confident and who he is as a person.
• 31:31
  Speaker 6: What he lacks confidence in is his ability to connect
• 31:36
  Speaker 6: with this woman specifically, which feels more progressive than I
• 31:41
  Speaker 6: would expect from a two thousand and five movie. Now,
• 31:43
  Speaker 6: there are some fat jokes, and there are some very
• 31:46
  Speaker 6: distinct things that he's fat. He eats a bunch of donuts,
• 31:49
  Speaker 6: he's fat, He splits his pants. That type of thing
• 31:51
  Speaker 6: is in there, But like it's not about his person
• 31:54
  Speaker 6: hood and who he is, Like, there's never a part
• 31:57
  Speaker 6: of it that's like I need to lose weight so
• 31:59
  Speaker 6: I can go talk to this woman, which I appreciated
• 32:02
  Speaker 6: in twenty twenty five because we don't often get that,
• 32:04
  Speaker 6: especially not for fat men.
• 32:06
  Speaker 1: For sure.
• 32:06
  Speaker 2: Yeah, that's a good point. I mean, because he trips
• 32:10
  Speaker 2: on marbles at some point. You're like this poor man.
• 32:13
  Speaker 2: But but it's like that is not unlike so many,
• 32:17
  Speaker 2: especially in comedies, so many fact characters like he's that
• 32:21
  Speaker 2: is not his defined in quality, and Hitch not to
• 32:24
  Speaker 2: his credit. But I was just like Hitch, that is
• 32:26
  Speaker 2: not a factor for him, and he's like, no, it's
• 32:29
  Speaker 2: just about like I mean, he is a con man,
• 32:32
  Speaker 2: he's a confidence man. He's trying to build up Albert's
• 32:36
  Speaker 2: confidence and it I don't know.
• 32:39
  Speaker 9: Yeah, I was also like, the very broad stuff is
• 32:42
  Speaker 9: the very broad stuff you would expect for this time,
• 32:45
  Speaker 9: but the if you like look at the story, you're like,
• 32:47
  Speaker 9: they actually mutually grow through this friendship.
• 32:51
  Speaker 2: Yeah, that never happens with men. That's really nice, like
• 32:54
  Speaker 2: in movies.
• 32:55
  Speaker 6: I like it. Yeah, yeah, that's I think that's one
• 32:58
  Speaker 6: of the things that makes you feel good when you
• 32:59
  Speaker 6: get to the end end, especially you know, well, I'll
• 33:03
  Speaker 6: say this, I know we're going to get there. There's
• 33:05
  Speaker 6: a portion of the film which we're gonna get to
• 33:07
  Speaker 6: in which they connect over their boat, their like kind
• 33:10
  Speaker 6: of twin, like we'll say obstacle without spoiling it. And
• 33:13
  Speaker 6: I feel like that moment we rarely get of men
• 33:16
  Speaker 6: saying what should we do? Or I feel bad and
• 33:20
  Speaker 6: them having that kind of back and forth, which is
• 33:22
  Speaker 6: really it kind of ends up being the ethos of
• 33:24
  Speaker 6: the movie. But you're right, we don't. We don't get
• 33:26
  Speaker 6: to see that with dudes.
• 33:27
  Speaker 2: Yeah, very off.
• 33:28
  Speaker 6: Not in two thousand and five. Like, if we're talking
• 33:30
  Speaker 6: about the time, it certainly wasn't having a lot in
• 33:31
  Speaker 6: two thousand and five.
• 33:32
  Speaker 1: Definitely not.
• 33:33
  Speaker 2: No, I mean and I don't know, and then it's
• 33:36
  Speaker 2: like by the end, I mean, like Kevin James is
• 33:38
  Speaker 2: like he gets the well, it's complicated, gets does he
• 33:43
  Speaker 2: get the right girlfriend? It's the well we're about to
• 33:45
  Speaker 2: get to it.
• 33:46
  Speaker 6: Yeah, look at us jumping ahead.
• 33:50
  Speaker 1: There's just so much to talk about.
• 33:51
  Speaker 6: Okay, sorry, because like I'm not even halfway in. Guys,
• 33:55
  Speaker 6: We're three.
• 33:55
  Speaker 1: Minutes and it just got to the inciting incident.
• 33:58
  Speaker 2: So there's this guiddam hit.
• 34:02
  Speaker 1: Okay, So Hitch gets to work on helping Albert with
• 34:06
  Speaker 1: Allegra Cole, who we finally meet on screen, played by
• 34:09
  Speaker 1: Amber Valletta, who goes to a meeting with her financial advisors.
• 34:16
  Speaker 1: She's asking if she can have five hundred thousand dollars
• 34:18
  Speaker 1: to invest in her friend's clothing design company, but the
• 34:22
  Speaker 1: main advisor guy shuts her down. So Albert takes this
• 34:26
  Speaker 1: opportunity to advocate for Allegra so that hopefully she'll notice
• 34:32
  Speaker 1: and appreciate him, and it works and she wants to
• 34:35
  Speaker 1: meet with him one on one to talk about her investments.
• 34:39
  Speaker 2: Now this, hmm, I understand what they're trying to do
• 34:45
  Speaker 2: with this, but it's so I don't know. I did
• 34:49
  Speaker 2: not care for the way it's presented where he's like,
• 34:52
  Speaker 2: what if I neg do you at work in front
• 34:55
  Speaker 2: of everybody? Like there it was like a And it's
• 34:58
  Speaker 2: even referenced when she gets to the door where he
• 35:00
  Speaker 2: thinks she's going to be upset, and then she's like no,
• 35:04
  Speaker 2: I She's like, no one's ever talked to me like that,
• 35:07
  Speaker 2: And I liked it. I'm like, okay, so that's how
• 35:09
  Speaker 2: we're writing women character in this where it's like you
• 35:12
  Speaker 2: have to suspend your disbelief of how a person would talk.
• 35:15
  Speaker 1: Well because it's a mix of him nagging her, but
• 35:18
  Speaker 1: then quickly she gets too advocating for her, so yeah,
• 35:22
  Speaker 1: who knows exactly what she means, But the point is
• 35:26
  Speaker 1: it works and she does notice him finally did.
• 35:29
  Speaker 6: I think it is performed and is written and comes
• 35:33
  Speaker 6: off as nagging, but the way I received it and
• 35:35
  Speaker 6: I feel like it's poor writing, especially when you get
• 35:38
  Speaker 6: to the part where she's angry at him, because I
• 35:40
  Speaker 6: feel like if that scene had just been like, you
• 35:42
  Speaker 6: don't have to ask us for what you want to do.
• 35:44
  Speaker 6: If you wanted us to do something, we're going to
• 35:46
  Speaker 6: do it, but we're here to advise you. If that
• 35:48
  Speaker 6: had been how it was written, and he still goes
• 35:50
  Speaker 6: off on the boss and all that. Then it makes sense.
• 35:53
  Speaker 6: But like this idea because I remember sitting there being like,
• 35:57
  Speaker 6: the whole point was Hitch said that you're supposed to
• 36:00
  Speaker 6: be making a splash at this point, So if he
• 36:02
  Speaker 6: advised him to do negging, and what actually happened was
• 36:05
  Speaker 6: this this kind of like moment of advocacy. For me,
• 36:09
  Speaker 6: it feels like I wish they had written it differently
• 36:12
  Speaker 6: because Alex certainly did not tell him to like speak
• 36:15
  Speaker 6: up in the meeting, tell her to f their advice,
• 36:18
  Speaker 6: do what she's going to do, and then quit his job,
• 36:21
  Speaker 6: you know what I mean. So I think that part
• 36:23
  Speaker 6: it was murky to me in the writing. The execution
• 36:26
  Speaker 6: comes off exactly like you said, It sounds like negging
• 36:28
  Speaker 6: and an advocacy. But I'm like, all we really needed
• 36:31
  Speaker 6: because later on the movie we see that the whole
• 36:33
  Speaker 6: point is that he basically never listens to will Smith's
• 36:36
  Speaker 6: advice and just only is just being himself the whole time,
• 36:39
  Speaker 6: you know.
• 36:40
  Speaker 1: And that's what works, which I like I do too.
• 36:43
  Speaker 6: That's a great messaging and.
• 36:45
  Speaker 2: I like that. I mean, we don't get that much like,
• 36:48
  Speaker 2: we don't know that much about Allegraate, but I do know, no,
• 36:52
  Speaker 2: but but really do get the surface stuff is I
• 36:55
  Speaker 2: kind of liked it where it's like, you, you know,
• 36:58
  Speaker 2: she's whatever we think of how blonde women with severe
• 37:03
  Speaker 2: bobs are usually characterized in this genre. It's not as like, ooh,
• 37:07
  Speaker 2: I'm a dork. I've like, I feel I'm uncomfortable with
• 37:10
  Speaker 2: myself and I appreciated that.
• 37:13
  Speaker 1: Yeah, there is some dissonance to me where it's like
• 37:16
  Speaker 1: she's the daughter of maybe a billionaire it seems. And
• 37:20
  Speaker 1: I'm like, oh, we're supposed to think that she's not
• 37:24
  Speaker 1: a sociopath then, but.
• 37:26
  Speaker 2: Well, I mean, knowing that this is two thousand and
• 37:29
  Speaker 2: five and they even name drap parasols and at some
• 37:31
  Speaker 2: point I think that that's like sort of who we're
• 37:33
  Speaker 2: supposed to be inserting this into.
• 37:35
  Speaker 6: Right.
• 37:36
  Speaker 1: Yeah, in any case, Albert has made a splash. Then
• 37:42
  Speaker 1: that night, Hitch is at a bar and he spots
• 37:46
  Speaker 1: Sarah and takes an interest.
• 37:48
  Speaker 2: Having a gray Goose martini, which feels very two thousand
• 37:50
  Speaker 2: and five code dropping the gray Goose.
• 37:53
  Speaker 1: Yes, indeed.
• 37:56
  Speaker 2: Only the best because she makes a billion dollars at
• 37:58
  Speaker 2: her job in.
• 38:01
  Speaker 6: Newspaper writing where she does not have an office, where
• 38:03
  Speaker 6: she's in a cubicle in the newslank floor.
• 38:05
  Speaker 2: Come on, true, they're really back.
• 38:08
  Speaker 10: The newspaper industry is dying in the office, but for
• 38:10
  Speaker 10: some reason, at home, it's.
• 38:12
  Speaker 6: Not crushing it.
• 38:13
  Speaker 2: Yeah, she has raytheon stalks or some shit like it's Carrie.
• 38:18
  Speaker 6: She's the daughter of a billionaire, could be that well.
• 38:21
  Speaker 2: Her family life is hilarious to me because the two
• 38:25
  Speaker 2: things we learned about her family is that her great
• 38:26
  Speaker 2: grandfather was a serial killer and that her sister fell
• 38:29
  Speaker 2: through ice once. And that is all we learned about
• 38:32
  Speaker 2: her past. Really, you're like, wow, one such a specific thing,
• 38:37
  Speaker 2: and then the other thing is so vague. That's right,
• 38:39
  Speaker 2: I love it. She's just she's a complicated woman. She
• 38:42
  Speaker 2: doesn't need a boyfriend, you guys.
• 38:44
  Speaker 9: No.
• 38:47
  Speaker 1: In any case, hitch takes an interest in Sarah and
• 38:51
  Speaker 1: saves her from a creep who's hitting on her at
• 38:54
  Speaker 1: the bar. They chat for a few minutes about how
• 38:58
  Speaker 1: he's not gonna like every other annoying guy who tries
• 39:02
  Speaker 1: to chat her up, and then he leaves and gives
• 39:06
  Speaker 1: her some space to I don't know, play hard to
• 39:10
  Speaker 1: get or I don't know. And then the next day,
• 39:13
  Speaker 1: Hitch meets with another new client, Vance played by Jeffrey Donovan.
• 39:20
  Speaker 2: Yes, that was I was watching with our friend Bryant
• 39:23
  Speaker 2: this morning and he was like he came like twenty
• 39:27
  Speaker 2: minutes and he's like, is burn Notice there yet? He's like,
• 39:32
  Speaker 2: I was like, I don't know what you're talking about.
• 39:34
  Speaker 2: And he's like, oh, burn Notice is in this one.
• 39:37
  Speaker 1: Yeah, that guy.
• 39:38
  Speaker 6: Yeah, the guy shows more popular than his name.
• 39:41
  Speaker 2: Hey, yeah, he should just change it. But oh god,
• 39:46
  Speaker 2: being an actor seems so awful because what if you
• 39:49
  Speaker 2: could just end up being burn Notice.
• 39:52
  Speaker 6: Yeah.
• 39:53
  Speaker 1: I'm sure you're a person and everything.
• 39:54
  Speaker 2: But he went to the same state school as my mom.
• 39:58
  Speaker 2: Oh wow, learning all about bird Notice mister Notice.
• 40:02
  Speaker 1: Yeah. Okay, So we realized that he's the guy who
• 40:07
  Speaker 1: Sarah's friend Casey had been talking about earlier. And this
• 40:13
  Speaker 1: guy Vance is like, oh, I just want to see
• 40:16
  Speaker 1: her again and bang her, and Hitch is like, that's
• 40:20
  Speaker 1: not what I do, so fuck off. Yes, then Hitch
• 40:24
  Speaker 1: sends a courier with a walkie talkie to Sarah's work
• 40:28
  Speaker 1: so that he can walkie talkie her and ask her
• 40:31
  Speaker 1: out on a date.
• 40:32
  Speaker 2: No, okay, Buemi test Buschemy tests. Yeah, Bushemy sends a
• 40:37
  Speaker 2: mysterious box to your work, you don't open it.
• 40:40
  Speaker 1: Also, if it's a walkie talkie, it means that he
• 40:42
  Speaker 1: has to be in close enough range to her office
• 40:45
  Speaker 1: to talk to her. So he's basically outside.
• 40:48
  Speaker 2: Yeah, he's close by. He's sent an eighties punk courier.
• 40:54
  Speaker 2: I was thrown by the courier, but I was like,
• 40:56
  Speaker 2: I don't know, hitch has ops everywhere.
• 40:58
  Speaker 6: This definitely doesn't pass the little Scars guard test, which
• 41:01
  Speaker 6: I'm calling it now, but it certainly there was something
• 41:05
  Speaker 6: about it where I was like, I suspect and I'm
• 41:09
  Speaker 6: just asking y'all if this happened in real life, what
• 41:13
  Speaker 6: percentage of charmed would you feel by this? If you
• 41:17
  Speaker 6: liked the guy?
• 41:18
  Speaker 2: Okay, and that's the real thing that is.
• 41:21
  Speaker 6: Yeah, let's say you liked the guy. What percentage of charm?
• 41:24
  Speaker 1: If it's two thousand and five when this came out,
• 41:27
  Speaker 1: I think I would have been way more charmed.
• 41:29
  Speaker 2: Now.
• 41:29
  Speaker 1: I would have been like, why didn't you just ask
• 41:31
  Speaker 1: me for my number when we were talking at the
• 41:34
  Speaker 1: bar the night before? Yes, be direct, you ask.
• 41:39
  Speaker 2: I think I would be like I would be I'm
• 41:43
  Speaker 2: not made of stone. I would still be a little charmed,
• 41:45
  Speaker 2: but my first question would be where are you?
• 41:49
  Speaker 6: Are you in the house?
• 41:51
  Speaker 2: Are you been twenty yards of me?
• 41:53
  Speaker 1: Right next is the call coming from inside the newspaper office.
• 41:58
  Speaker 2: Underneath my desk. He's also so like classic brom com
• 42:02
  Speaker 2: where all of a sudden, everyone at Sarah's work is like,
• 42:06
  Speaker 2: what people we've never seen before, we'll never see again,
• 42:11
  Speaker 2: and they're like, are you gonna pick up the walkie talky?
• 42:15
  Speaker 6: I really enjoyed that part. This is how I know
• 42:19
  Speaker 6: like I'm also part of the problem because you're absolutely right,
• 42:24
  Speaker 6: they all gathered and the audience you feel like you're
• 42:26
  Speaker 6: gathering with them. You're like, ooh, what are you gonna do?
• 42:29
  Speaker 6: Even though like something that and I think you both
• 42:31
  Speaker 6: just proved that this would only work in a film
• 42:34
  Speaker 6: where it's like there's there's a level of charm versus
• 42:37
  Speaker 6: like versus actual work that it takes to do something
• 42:40
  Speaker 6: like this, versus like should like was there a more
• 42:43
  Speaker 6: practical way for you to just get my number? Like
• 42:45
  Speaker 6: could you have just written me an email? Because there
• 42:47
  Speaker 6: was an.
• 42:47
  Speaker 2: Email at that time, and then little unbeknownst to us,
• 42:51
  Speaker 2: the amount of work he's done on this first date.
• 42:55
  Speaker 2: You don't even know the half of it. He's gone
• 42:57
  Speaker 2: on ancestree dot com, which couldn't have been as easy
• 43:01
  Speaker 2: in two thousand and five.
• 43:02
  Speaker 1: Well exactly. He probably like had to look through like
• 43:05
  Speaker 1: hard copy archives or something like. Because here's what happens.
• 43:10
  Speaker 1: He asks her on a date. They settle on Sunday morning.
• 43:14
  Speaker 1: They go to Ellis Island by way of jeet skiing
• 43:18
  Speaker 1: on the rout Hudson River.
• 43:19
  Speaker 2: Yeah, which is a really dirty body of water.
• 43:23
  Speaker 6: Yeah, I would not recommend it.
• 43:25
  Speaker 1: Don't do that.
• 43:25
  Speaker 2: It looked pretty, though, I will say, like New York
• 43:28
  Speaker 2: is very pretty in this movie.
• 43:29
  Speaker 1: Yeah, yes, But hitch he kind of flubs a few
• 43:35
  Speaker 1: things up, including kicking her in the head on the
• 43:41
  Speaker 1: jet ski and then tracing her family history back to
• 43:45
  Speaker 1: a relative of hers who passed through Ellis Island who
• 43:48
  Speaker 1: turned out to be a serial killer. And so the
• 43:52
  Speaker 1: date was not this you know, magical perfect date, but
• 43:57
  Speaker 1: there is something about this hitch guy, and say Sarah
• 44:00
  Speaker 1: agrees to see him again.
• 44:02
  Speaker 2: And not before telling her friend Casey over a very
• 44:05
  Speaker 2: huge bowl of rice pudding. I was so distracted by
• 44:10
  Speaker 2: the rice pudding because it was they show you the
• 44:13
  Speaker 2: name of the I don't know why this stuck out
• 44:14
  Speaker 2: to me so much. Uh, the name of the business
• 44:17
  Speaker 2: is from rice to riches. And then we go inside
• 44:20
  Speaker 2: and rose. Like unfortunately of rom coms, it is kind
• 44:23
  Speaker 2: of a headline to be like women ate in this movie,
• 44:27
  Speaker 2: they let the meat, but it just I don't I
• 44:30
  Speaker 2: like rice pudding, but it's just I've never seen it
• 44:32
  Speaker 2: eaten in a rom com before. Their bulls were really full.
• 44:37
  Speaker 1: Look, visibility matters. I guess the rice pudding.
• 44:42
  Speaker 2: And she says he really tanked, but he did it
• 44:45
  Speaker 2: with flair, And then she is a huge scoop of
• 44:47
  Speaker 2: rice pudding, which you would imagine would make her next
• 44:49
  Speaker 2: line of dialogue really hard to hear. But it's fine.
• 44:53
  Speaker 6: It's fine. Yeah, the failing with Flair part, like I mean,
• 44:56
  Speaker 6: being charmed by all that, It felt like maybe maybe
• 44:59
  Speaker 6: being charmed by the the amount of effort it took
• 45:01
  Speaker 6: for him to then fail, because like because at that point,
• 45:04
  Speaker 6: it doesn't even feel like failure. It could be waxy
• 45:07
  Speaker 6: existential about this movie, but like it's it doesn't even
• 45:09
  Speaker 6: feel like failure. It just feels like effort, and the
• 45:12
  Speaker 6: effort is more I guess valuable than the the what
• 45:16
  Speaker 6: is the product of the effort, which I think is
• 45:19
  Speaker 6: what they're trying to get at in this part. I agree, yeah,
• 45:22
  Speaker 6: because I didn't like the fact they're like he failed
• 45:24
  Speaker 6: with flair. I'm like, what does what does that even mean?
• 45:26
  Speaker 2: To say?
• 45:26
  Speaker 6: You like him?
• 45:28
  Speaker 2: Right exactly?
• 45:29
  Speaker 1: B direct everyone. So meanwhile, Hitch is prepping Albert for
• 45:36
  Speaker 1: an event that he's going to with Allegracole, and Albert's like,
• 45:41
  Speaker 1: I hope there's dancing at the event because I freaking
• 45:45
  Speaker 1: tear it up on the dance floor. And he shows
• 45:48
  Speaker 1: Hitch some moves and Hitch is like, do not, under
• 45:52
  Speaker 1: any circumstances ever dance like that in front of her.
• 45:56
  Speaker 1: You look like a freak.
• 45:58
  Speaker 2: I feel like I remember that from that trailers show
• 46:02
  Speaker 2: Kevin James dance sequence.
• 46:04
  Speaker 6: For sure, he dances fine, and I that's another thing
• 46:07
  Speaker 6: that I want to stand for. There there's a there's
• 46:10
  Speaker 6: a portion in there where this skews into big guy
• 46:13
  Speaker 6: being a buffoon. But the truth is Kevin James has
• 46:16
  Speaker 6: rhythm and he has no shame, which on the dance
• 46:19
  Speaker 6: floor are too valuable. Those are the only two things
• 46:22
  Speaker 6: you need. Not a wedding, any of that stuff is
• 46:24
  Speaker 6: rhythm and no shame if you have those, And here's
• 46:26
  Speaker 6: the thing is, if you only have no shame and
• 46:28
  Speaker 6: you have no rhythm, you can actually still survive on
• 46:30
  Speaker 6: a dance floor. So the idea that you're telling him
• 46:33
  Speaker 6: that they do it to only do a two step
• 46:34
  Speaker 6: because you're gonna look stupid. I'm like, I don't want
• 46:36
  Speaker 6: to be with nobody who doesn't want to who doesn't
• 46:38
  Speaker 6: want to be be on the flance floor.
• 46:40
  Speaker 2: And that makes you look stupid. Yeah, yeah, Also, yeah,
• 46:44
  Speaker 2: Kevin James much later, when he gets the kiss the
• 46:48
  Speaker 2: ninety ten thing happens, he does it full like Gene
• 46:51
  Speaker 2: Kelly thing. He's got moves, moves he does.
• 46:57
  Speaker 1: He's very spry, and he does not listened to Hitch.
• 47:02
  Speaker 1: He's like, my instincts are telling me to dance, so
• 47:04
  Speaker 1: I'm going to dance. And he does that at the
• 47:07
  Speaker 1: event with Allegra.
• 47:08
  Speaker 2: And she's also dancing like a door like it's nice,
• 47:11
  Speaker 2: it's nice.
• 47:13
  Speaker 1: The thing is though, that some photos, some like paparazzi photos,
• 47:17
  Speaker 1: are taken of them dancing and they end up in
• 47:20
  Speaker 1: the tabloids, and Hitch thinks that Albert has humiliated himself
• 47:26
  Speaker 1: and Sarah is upset because she didn't get to this
• 47:29
  Speaker 1: story first.
• 47:30
  Speaker 2: Yeah, they all find us out from the same newstand.
• 47:32
  Speaker 2: The one news stand in all of New York City
• 47:34
  Speaker 2: is where every character in this movie goes.
• 47:37
  Speaker 6: Yes, yep, oh news stands. What a relic of the past?
• 47:40
  Speaker 2: Oh I no.
• 47:42
  Speaker 1: Rip. Then Hitch goes on a tirade about Albert possibly
• 47:49
  Speaker 1: kissing Allegra, and this is where we get the whole
• 47:52
  Speaker 1: men should go ninety percent of the way and wait
• 47:55
  Speaker 1: for a woman to go the other ten percent.
• 47:58
  Speaker 2: And as a two thousand and five movie, so we
• 48:00
  Speaker 2: get the expected no homo moments yes of the movie
• 48:06
  Speaker 2: with they kiss, and Will Smith has to be like,
• 48:09
  Speaker 2: that's gross, yucky, that's gross.
• 48:11
  Speaker 1: Yeah, we'll talk more about that, but that happens. Meanwhile,
• 48:16
  Speaker 1: Sarah finds out that the person who got the tickets
• 48:19
  Speaker 1: for that event where they were dancing is Hitch, which
• 48:26
  Speaker 1: means maybe she can use him as a source for
• 48:29
  Speaker 1: this ongoing Allegra Cole story. So she calls Hitch to
• 48:34
  Speaker 1: see him again, even though she had already been like,
• 48:36
  Speaker 1: I'll see him again romantically, so we're just like, what
• 48:40
  Speaker 1: is your deal? But anyway, Sarah takes Hitch to a
• 48:44
  Speaker 1: food rave thing with Sarah's editor slash boss guy and
• 48:50
  Speaker 1: his wife, and they're trying to get information out of Hitch,
• 48:55
  Speaker 1: but he's playing it off like he barely knows Albert.
• 48:58
  Speaker 1: And before they can any deeper, Hitch has his allergic
• 49:03
  Speaker 1: reaction to shellfish or whatever, and so he takes a
• 49:06
  Speaker 1: bunch of benadrill and he gets drunk off of that.
• 49:09
  Speaker 1: I don't know if that's a thing, but he's drunk.
• 49:12
  Speaker 1: Now you get high, you do, Okay, Well.
• 49:16
  Speaker 6: He played it drunk every day. Yeah, he played it drunk,
• 49:19
  Speaker 6: but it was like it's more like loopy or like
• 49:22
  Speaker 6: and you'd be way more dozy, which comes on later obviously,
• 49:26
  Speaker 6: but like at this point, like I think it was
• 49:29
  Speaker 6: for them. If you're gonna be in the New York streets,
• 49:31
  Speaker 6: that's what you want to be doing, is like being
• 49:33
  Speaker 6: like a little bit tipsy with your partner and like
• 49:36
  Speaker 6: kind of like singing a hit song from the seventy slash.
• 49:39
  Speaker 1: Eighties, right, Okay, So then Sarah takes hitchback to her
• 49:45
  Speaker 1: three million dollar condo and tucks him in. They chat
• 49:49
  Speaker 1: about their past traumas.
• 49:51
  Speaker 2: Because this is the point in the movie where, for
• 49:53
  Speaker 2: some reason, you have to learn about Eva Vendez. His
• 49:57
  Speaker 2: sister fell through some ice and she's still not over it,
• 50:00
  Speaker 2: And they're like, what does that have to do with anything?
• 50:02
  Speaker 1: But sure, really bizarre.
• 50:03
  Speaker 2: I guess it's we're always asking to find out more
• 50:06
  Speaker 2: about women in movies. I guess irrelevant information counts.
• 50:10
  Speaker 6: I think they were trying to, like build It was
• 50:13
  Speaker 6: a very weak attempt at character development, because you're trying
• 50:17
  Speaker 6: to give her some interiority by saying, well, this is
• 50:19
  Speaker 6: why she is the way she is. But the characteristic
• 50:24
  Speaker 6: that they're strengthening is more of like like like maybe
• 50:27
  Speaker 6: a stone walling or a separation or an aloofness, rather than
• 50:32
  Speaker 6: the dogged journalism that we would expect to see from her,
• 50:36
  Speaker 6: which I would expect to have that part fleshed out
• 50:38
  Speaker 6: more and not necessarily why you feel protective of your sister,
• 50:44
  Speaker 6: which doesn't actually connect well.
• 50:47
  Speaker 2: I guess we do ed the meeting for some reason.
• 50:51
  Speaker 6: But I completely forgot she fell through ice when.
• 50:53
  Speaker 2: I see her, Yeah, it doesn't come up.
• 50:58
  Speaker 6: I know something about you I forgot.
• 51:00
  Speaker 2: Don't worry you really you've been through it? Does Tom?
• 51:03
  Speaker 2: Know who's Tom? There?
• 51:06
  Speaker 6: I know you didn't meet Tom in DC.
• 51:09
  Speaker 2: I do agree. It's like, this is her like, you know,
• 51:12
  Speaker 2: letting her guards down, letting him know something randomly traumatic
• 51:16
  Speaker 2: about her life, which is kind of a fun phase
• 51:19
  Speaker 2: of dating.
• 51:19
  Speaker 1: Sure, and yeah, they're they're they're talking about why they're
• 51:23
  Speaker 1: jaded when it comes to relationships, and Sarah's reason is
• 51:27
  Speaker 1: because her sister fell through some ice twenty years ago.
• 51:32
  Speaker 6: Sure, not connected, don't see the connection.
• 51:34
  Speaker 2: Really, She's like, and I'm still not over it, and
• 51:37
  Speaker 2: that's why I don't date seriously, Like start again. Your
• 51:41
  Speaker 2: sister fell through ice.
• 51:44
  Speaker 1: A connect It hard to connect the dots. But anyway,
• 51:48
  Speaker 1: they wake up the next day, they have a nice
• 51:51
  Speaker 1: morning together, they kiss on the lips, and then they
• 51:56
  Speaker 1: part ways. Then Sarah sees her friend Casey, who mentions
• 52:01
  Speaker 1: that she went out with and slept with that sleazy
• 52:04
  Speaker 1: guy Burn notice after all thank you aka Vance, and
• 52:14
  Speaker 1: Vance mentions the date doctor to Casey before leaving, because
• 52:19
  Speaker 1: Hitch is known around town as this date doctor guy. Again,
• 52:23
  Speaker 1: he's famous, just like Spider Man is. And Sarah hears
• 52:27
  Speaker 1: this and she's like, hmm, date doctor, what's going on there?
• 52:31
  Speaker 1: So she approaches Vance to be like, hey, who's that
• 52:35
  Speaker 1: dating coach? You hired because I want to write a
• 52:39
  Speaker 1: column about him. However, she does not connect the dots.
• 52:43
  Speaker 1: She doesn't realize it's Hitch because she does not know
• 52:45
  Speaker 1: what Hitch actually does. She only knows that Hitch is
• 52:48
  Speaker 1: a consultant, like a very vague consultant guy, and she
• 52:53
  Speaker 1: knows one of his allergies, right, So she gets the
• 53:00
  Speaker 1: date doctor's card from Vance. That night, Allegra and Albert
• 53:06
  Speaker 1: go to a basketball game together and he's like, is
• 53:10
  Speaker 1: this a date and she's like, tee maybe, And Sarah
• 53:17
  Speaker 1: is there with her colleague taking photos and stuff. And
• 53:21
  Speaker 1: at the end of the night, when Albert is dropping
• 53:24
  Speaker 1: Allegra off, it's time to put Hitch's ninety slash ten
• 53:30
  Speaker 1: percent kissing roll of thumb to the test, and he
• 53:34
  Speaker 1: almost chickens out, but then he goes for it, and
• 53:36
  Speaker 1: then Albert and Allegra kiss on the lips. Everyone's kissing now.
• 53:43
  Speaker 1: And the next day, Hitch meets up with yet another
• 53:49
  Speaker 1: new client. But wait, it's Sarah's colleague. She staged this
• 53:55
  Speaker 1: so she could find out who the date doctor is
• 53:57
  Speaker 1: and what his deal is, and then she discovered that
• 54:00
  Speaker 1: it's Hitch. Oh NOI, and she's like, oh, this is
• 54:07
  Speaker 1: my boyfriend or whatever. But she but she wants to
• 54:09
  Speaker 1: move forward with the story she's writing about him. But
• 54:13
  Speaker 1: now she hates Hitch as a romantic partner.
• 54:17
  Speaker 2: And so she does something that I feel like happens
• 54:20
  Speaker 2: a lot in.
• 54:21
  Speaker 10: Round Comms, and I know what it's trying to accomplish spiritually,
• 54:23
  Speaker 10: but I always find it so bizarre where it's just like, oh,
• 54:27
  Speaker 10: you hurt me, so I'm just gonna show up and
• 54:30
  Speaker 10: get really drunk and be weird and go whoo and
• 54:33
  Speaker 10: then Lee you're like, except this changes the narrative because
• 54:37
  Speaker 10: he throws a bowl of lettuce at her.
• 54:40
  Speaker 6: Well, I also want to point out, uh, and that
• 54:43
  Speaker 6: is true. I also want to point out that I
• 54:45
  Speaker 6: don't like films or and this is my biggest problem
• 54:48
  Speaker 6: with Cobra Kai the show. I don't like anything that
• 54:52
  Speaker 6: could be resolved with a conversation. I don't like that
• 54:55
  Speaker 6: being a major plot point. Yeah, but it's basically if
• 54:57
  Speaker 6: you ask one question, this would be resolved, and instead
• 55:01
  Speaker 6: there's only assumptions made. Because that feels like weak writing
• 55:05
  Speaker 6: to me. It feels like you you're basically not You
• 55:08
  Speaker 6: need to give me a reason why they can't have
• 55:10
  Speaker 6: the conversation that would resolve this. But if you show
• 55:14
  Speaker 6: up at his house on the date, just ask the question.
• 55:17
  Speaker 6: You could ask right there, be direct. And that's another
• 55:20
  Speaker 6: reason why this movie is too long, because that should
• 55:22
  Speaker 6: have probably just been combined into the next scene when
• 55:24
  Speaker 6: you actually ask thee.
• 55:26
  Speaker 2: When they have the confrontation, Yes, why are they doing?
• 55:30
  Speaker 11: Yes?
• 55:31
  Speaker 1: Yes, I totally agree. I don't ever like that as
• 55:33
  Speaker 1: a writing choice. It always feels so contrived to me,
• 55:38
  Speaker 1: And I like, sure people do make assumptions and get
• 55:42
  Speaker 1: mad at people, and that's that's kind of reflective of
• 55:45
  Speaker 1: real life, but never in the way that it's depicted
• 55:48
  Speaker 1: in rom coms.
• 55:49
  Speaker 2: But there's like a ways to do that that are
• 55:51
  Speaker 2: like more I don't know, like whatever, Like every Shakespeare
• 55:55
  Speaker 2: comedy is like the information gets back to Hitch from
• 55:58
  Speaker 2: someone else in a weird way or a new per
• 56:01
  Speaker 2: like maybe maybe Cresida comes back, like you know, add
• 56:05
  Speaker 2: someone or something into it. If that scene, if we
• 56:08
  Speaker 2: need this to be two scenes instead of one for
• 56:10
  Speaker 2: some reason, Yeah, she can't just go to his house
• 56:13
  Speaker 2: and say nothing. I know, it's so frustrating, especially if
• 56:16
  Speaker 2: she's drunk. Of course you would say it, you.
• 56:19
  Speaker 1: Know, when I do buy. It is in Shrek one
• 56:22
  Speaker 1: when Shrek overhears Fiona being like, how could anyone ever
• 56:26
  Speaker 1: love such a hideous beast? And she's talking about herself,
• 56:30
  Speaker 1: but he thinks she's talking about him, so he's sad.
• 56:34
  Speaker 2: But then the confrontation happens in the next scene. Yeah,
• 56:37
  Speaker 2: like the next time they see each other, he's like, well,
• 56:40
  Speaker 2: I guess you don't fuck with Shreks. I guess. And
• 56:44
  Speaker 2: then that's also the point in the Broadway musical where
• 56:46
  Speaker 2: he sings the best song in the musical.
• 56:49
  Speaker 1: Whoa.
• 56:49
  Speaker 2: It's called build a wall, Okay, an emotional wall.
• 56:52
  Speaker 6: I was gonna say, build that wall is not a
• 56:55
  Speaker 6: popular song.
• 56:55
  Speaker 2: Yeah, it was written in two thousand and eight.
• 56:58
  Speaker 6: It was written I'll tell you that, okay.
• 57:06
  Speaker 1: So yeah, So Sarah goes to Hitch's place and refuses
• 57:09
  Speaker 1: to be direct and to actually have a conversation with him.
• 57:14
  Speaker 1: She does just say like, I know all about your
• 57:16
  Speaker 1: skeazy job by bitch, and then she storms out and
• 57:20
  Speaker 1: she publishes a story about him, painting him as a
• 57:23
  Speaker 1: guy who teaches men how to be pick up artists,
• 57:26
  Speaker 1: with a headline that something like Hitch can get you
• 57:30
  Speaker 1: into bed with the likes of Allegra Cole with a
• 57:34
  Speaker 1: picture of Albert and Allegra, which humiliates both of them
• 57:39
  Speaker 1: as well as Hitch. So he goes to a speed
• 57:44
  Speaker 1: dating event that Sarah is at with her friend Casey
• 57:47
  Speaker 1: and tries to explain himself, and Sarah is like, I
• 57:50
  Speaker 1: don't want to talk to you. I want to protect
• 57:52
  Speaker 1: women from guys like you, and they argue, and Casey
• 57:57
  Speaker 1: then finds out that Hitch is the date doctor guy
• 58:00
  Speaker 1: who she thinks told BYRN notice to and pardon my expression,
• 58:06
  Speaker 1: hit it and quit it with her.
• 58:09
  Speaker 6: I do not part in your expression.
• 58:11
  Speaker 2: Will I'm only.
• 58:17
  Speaker 1: Quoting Hitch earlier in the movie or whatever whoever says
• 58:20
  Speaker 1: that line understood. But anyway, Hitch is like wrong, Vance
• 58:26
  Speaker 1: is a pig, and I refuse to work with him.
• 58:29
  Speaker 1: Get your facts right?
• 58:30
  Speaker 6: And then he storms, Can I can I just point
• 58:32
  Speaker 6: out my biggest problem with the movie is right here,
• 58:36
  Speaker 6: because there's a whole scene in there in which she
• 58:39
  Speaker 6: talks to her editor of a newspaper. She talks to
• 58:43
  Speaker 6: her editor of a newspaper who gives her permission to
• 58:46
  Speaker 6: run the story even though he's like, I don't think
• 58:48
  Speaker 6: you should because it'll blow up your life and your relationship.
• 58:51
  Speaker 6: But what he does not do is do what an
• 58:53
  Speaker 6: editor is supposed to do, which is get her to
• 58:57
  Speaker 6: fact check this story and talk to all of yours.
• 59:00
  Speaker 6: And if she would have done that and had the conversation,
• 59:03
  Speaker 6: she would have had the information already, which I know
• 59:06
  Speaker 6: doesn't work in the movie world. But that's another thing
• 59:09
  Speaker 6: that gets me about lazy writing, which is to say,
• 59:12
  Speaker 6: this woman is a good reporter, and you're telling me
• 59:15
  Speaker 6: she didn't just ask him, Hey, this for the story.
• 59:19
  Speaker 6: Even as a reporter, that's all you had to do.
• 59:21
  Speaker 6: And so when he shouts that information at her, I
• 59:24
  Speaker 6: feel like the look on her face is like, is
• 59:26
  Speaker 6: like kind of presented as I feel dumb in this moment,
• 59:29
  Speaker 6: But I also wanted to be like, you should also
• 59:31
  Speaker 6: feel like a bad reporter who's not going to at
• 59:33
  Speaker 6: your job, and your editor should be fired, because that
• 59:35
  Speaker 6: would have been basic reporting at that point to say, oh,
• 59:38
  Speaker 6: you got to go ask so and so about the question.
• 59:40
  Speaker 2: Yeah, I mean, it's like the only excuse I can
• 59:43
  Speaker 2: think of is like, I don't know, I mean, I
• 59:44
  Speaker 2: don't know what the standards are for tabloid reporting, and
• 59:47
  Speaker 2: it's like it seems like, this is what she does.
• 59:49
  Speaker 2: She this is what she would normally do, is she's
• 59:51
  Speaker 2: not doing it now, so it makes her look kind
• 59:54
  Speaker 2: of like weird and incompetent in a way that's confusing.
• 59:57
  Speaker 2: And also, I mean this is addressed later, but it's
• 1:00:00
  Speaker 2: weird because it's true that was a really nasty piece
• 1:00:04
  Speaker 2: of reporting she did. It's very disingenuous. When she's like,
• 1:00:08
  Speaker 2: I'm doing this to protect women. I'm like, weird because
• 1:00:10
  Speaker 2: you seem to actively be humiliating one. So it's like, well, no,
• 1:00:15
  Speaker 2: you're like, I know you don't want your friend to
• 1:00:17
  Speaker 2: get fucked over, but you don't really seem to have
• 1:00:19
  Speaker 2: a vested interest in protecting other women outside of the
• 1:00:22
  Speaker 2: scope of you and your friend. But then Hitch presented,
• 1:00:25
  Speaker 2: He's like, no, I do noble. My job is noble.
• 1:00:30
  Speaker 2: He's talking like he's like a nurse. I'm like, well,
• 1:00:35
  Speaker 2: this is a bit of an overstatement of like I
• 1:00:37
  Speaker 2: work for good and I'm a good guy and I've
• 1:00:40
  Speaker 2: never given bad advice, and that is not really pushed
• 1:00:44
  Speaker 2: back again for the rest of the movie, and you're like, well,
• 1:00:47
  Speaker 2: you're not a bad guy, but you give a lot
• 1:00:50
  Speaker 2: of bad advice, Like this is a It's weird how
• 1:00:52
  Speaker 2: I mean, you know, I'm happy when people are proud
• 1:00:55
  Speaker 2: of what they do, but like he shouldn't be that proud.
• 1:00:58
  Speaker 2: He's like, I didn't work with one pervert. How could
• 1:01:01
  Speaker 2: you say that about me? Like you work with a
• 1:01:04
  Speaker 2: lot of scumbags.
• 1:01:06
  Speaker 6: I don't know, you're right, I think though the anger,
• 1:01:08
  Speaker 6: like I feel like the character's anger came from a
• 1:01:11
  Speaker 6: good place. However, the film thinks that Hitch is a
• 1:01:17
  Speaker 6: good guy in the way that we've come to understand,
• 1:01:20
  Speaker 6: like the good guy meaning doesn't necessarily mean that you're
• 1:01:23
  Speaker 6: not dangerous or you're not contributing to the negative aspects
• 1:01:26
  Speaker 6: of patriarchy in a very specific way. Without that awareness,
• 1:01:30
  Speaker 6: everything you say is absolutely right. It's like, hey, yeah,
• 1:01:34
  Speaker 6: you're you think that what you're doing is noble, but
• 1:01:37
  Speaker 6: it is a little borderline unless if you're talking to
• 1:01:40
  Speaker 6: people just trying to boost their confidence, but you're not
• 1:01:42
  Speaker 6: even having the nuance to understand the difference between like
• 1:01:45
  Speaker 6: building up a man's confidence to feel good talking to
• 1:01:48
  Speaker 6: a woman versus teaching men tricks on how to get
• 1:01:52
  Speaker 6: women to interact with them so that they can trap
• 1:01:55
  Speaker 6: them in a relationship, which because.
• 1:01:57
  Speaker 12: It's like, if you go back to the beginning of
• 1:01:59
  Speaker 12: the movie, he's literally kind of like playing god where
• 1:02:02
  Speaker 12: he like steals a dog.
• 1:02:04
  Speaker 1: And we'll talk about it.
• 1:02:06
  Speaker 2: Like, you can't be that proud of that job. I
• 1:02:10
  Speaker 2: know it makes you a lot of money, obviously, but
• 1:02:13
  Speaker 2: like you can't pretend that that is like this is
• 1:02:17
  Speaker 2: the most noble profession he's Yeah, he's acting like he's
• 1:02:20
  Speaker 2: a teacher. It's like, Hitch, you're good at what you do,
• 1:02:25
  Speaker 2: but chill.
• 1:02:25
  Speaker 6: You're not a central personnel. Sorry, that's my last one.
• 1:02:28
  Speaker 2: No, no, neither. I mean this we're looking in many
• 1:02:30
  Speaker 2: such cases my own relationship and like these are non
• 1:02:33
  Speaker 2: essential jobs and that's okay, but let's acknowledge that.
• 1:02:37
  Speaker 1: And I'm like, what is his rate if like a
• 1:02:40
  Speaker 1: guy goes to hire him, He's like one hundred thousand
• 1:02:42
  Speaker 1: dollars please, Like it has to be so much for
• 1:02:45
  Speaker 1: him to afford.
• 1:02:46
  Speaker 2: Especially if he life calls it at three dates.
• 1:02:50
  Speaker 1: I know, Like it's not like he has these guys
• 1:02:52
  Speaker 1: on retainer, Like, yeah, it's a very short term thing. Anyway,
• 1:03:00
  Speaker 1: is mad at Sarah's bad journalism, and so now everyone
• 1:03:06
  Speaker 1: is sad and alone, Hitch and Sarah and Allegra, and Albert.
• 1:03:13
  Speaker 1: They're all experiencing the end of act to low point
• 1:03:17
  Speaker 1: of the movie, and then Sarah goes to Hitch to
• 1:03:21
  Speaker 1: apologize for having the wrong idea about him and hurting him,
• 1:03:26
  Speaker 1: but he's like, psh you didn't hurt me because I
• 1:03:30
  Speaker 1: don't have feelings to even hurt.
• 1:03:32
  Speaker 2: Actually, bye, and then he jogs away, which just feels
• 1:03:37
  Speaker 2: kind of weirdly impotent. After that, he someone jogging away
• 1:03:41
  Speaker 2: from a confrontation is just like, all right, man, yeah,
• 1:03:45
  Speaker 2: you're doing great.
• 1:03:47
  Speaker 1: Right, And then Albert shows up to Hitch's place to
• 1:03:51
  Speaker 1: be like, I'm so sad. Can you please fix this
• 1:03:54
  Speaker 1: situation with Allegra because he's still hopelessly in love with her.
• 1:04:00
  Speaker 1: But then he realizes that Hitch doesn't really even believe
• 1:04:03
  Speaker 1: in the things that he's telling men as far as
• 1:04:06
  Speaker 1: like putting yourself out there to try to find true love,
• 1:04:09
  Speaker 1: because Hitch is so guarded and he has so many
• 1:04:13
  Speaker 1: walls up. He's a modern day Shrek basically true.
• 1:04:18
  Speaker 2: He's going to build a wall.
• 1:04:20
  Speaker 1: He has built a wall.
• 1:04:21
  Speaker 2: It doesn't sound, it doesn't yeah, which it's possible.
• 1:04:25
  Speaker 6: Expression he does say something that I really like in
• 1:04:27
  Speaker 6: this scene Kevin James Albert Brinneman says something I really like,
• 1:04:31
  Speaker 6: which is he says, if this is the only way
• 1:04:33
  Speaker 6: that I could stay connected with her, well, then this
• 1:04:36
  Speaker 6: is why I have to be talking about feeling miserable
• 1:04:38
  Speaker 6: that he's not with her. And I felt like that
• 1:04:39
  Speaker 6: was for me a very romantic like phrase. I remember
• 1:04:43
  Speaker 6: I dated a woman once and we broke up. We
• 1:04:46
  Speaker 6: were together for a while, we broke up, and she left.
• 1:04:49
  Speaker 6: She went to she left the country, like to go
• 1:04:51
  Speaker 6: to Canada for a month, and while she was gone,
• 1:04:54
  Speaker 6: I would write her letters that I didn't send. I
• 1:04:57
  Speaker 6: gave them to her later, But at the time I
• 1:04:58
  Speaker 6: wrote her letters and I realized that writing the letters,
• 1:05:01
  Speaker 6: because I was like we weren't in communication any of
• 1:05:03
  Speaker 6: that made me feel closer to her. And I feel
• 1:05:06
  Speaker 6: like that feeling of I felt very like closely connected
• 1:05:10
  Speaker 6: to that feeling of like, man, this feeling of despair
• 1:05:13
  Speaker 6: kind of becomes a comfort when it still feels like
• 1:05:16
  Speaker 6: it attaches you to a person. Now, there's ways in
• 1:05:18
  Speaker 6: which it's unhealthy and not good, but I don't feel
• 1:05:21
  Speaker 6: like he was in an unhealthy place when he said that,
• 1:05:23
  Speaker 6: which I really appreciated. A movie like this having just
• 1:05:25
  Speaker 6: like a little gem like that.
• 1:05:27
  Speaker 2: Yeah, and it's like you get in that conversation because
• 1:05:31
  Speaker 2: obviously Hit just reactive with like denial and anger and
• 1:05:35
  Speaker 2: all of this stuff. But in the Albert character, he's like,
• 1:05:40
  Speaker 2: I'm sad and I'm feeling it too, which is again
• 1:05:43
  Speaker 2: it's like not something you see very often from from
• 1:05:47
  Speaker 2: a man in a rom com. It's like, I feel
• 1:05:49
  Speaker 2: like you mostly get the Hitch reaction.
• 1:05:52
  Speaker 1: Right, which is like again reflective of a lot of
• 1:05:56
  Speaker 1: men who have been conditioned to close themselves off and
• 1:06:00
  Speaker 1: not process their emotions. But I do like that contrast
• 1:06:03
  Speaker 1: between the Albert character, who is very freely feeling his
• 1:06:08
  Speaker 1: feelings and feeling his sadness and expressing them versus Hitch,
• 1:06:13
  Speaker 1: who is either unwilling or unable to do that. But
• 1:06:17
  Speaker 1: then he realizes, I think, through interacting with Albert, like
• 1:06:21
  Speaker 1: maybe I should try to feel my emotions. And then
• 1:06:24
  Speaker 1: he learns from Albert, and that's also an encouraging thing
• 1:06:30
  Speaker 1: to see in a wrong come from two thousand and five.
• 1:06:34
  Speaker 1: But anyway, so Hitch is sad, but he's pretending not
• 1:06:38
  Speaker 1: to be. Then Albert goes after Allegra himself to try
• 1:06:43
  Speaker 1: to win her back because he's like, I don't really
• 1:06:45
  Speaker 1: trust Hitch to do this, But Hitch beats him to
• 1:06:48
  Speaker 1: it and shows up on Allegra's yacht and he's daughter of.
• 1:06:55
  Speaker 6: A billionaire Jamie.
• 1:06:57
  Speaker 2: Yes, it's true.
• 1:06:59
  Speaker 6: Mast.
• 1:07:00
  Speaker 1: Now Allegra is unhappy because she thinks Hitch encouraged Albert
• 1:07:06
  Speaker 1: to manipulate her and do these specific things to put
• 1:07:09
  Speaker 1: her at ease, such as dance like a buffoon, knowing
• 1:07:13
  Speaker 1: that she can't dance, and Hitch is like, no, I
• 1:07:17
  Speaker 1: had no hand in that. That was all Albert. Wait
• 1:07:20
  Speaker 1: a minute, did that work on you?
• 1:07:23
  Speaker 11: Do?
• 1:07:23
  Speaker 1: I not even understand my own job that I invented.
• 1:07:27
  Speaker 2: I think this is an effective scene. But aleg does
• 1:07:30
  Speaker 2: talk to Hitch as if he is a wizard he
• 1:07:35
  Speaker 2: can read her thoughts.
• 1:07:36
  Speaker 1: I was like, no, hell could he?
• 1:07:39
  Speaker 2: I mean, to be fair, he can figure out who
• 1:07:41
  Speaker 2: your serial killer great grandfather is. But that that appears
• 1:07:44
  Speaker 2: to be the limits of his powers.
• 1:07:46
  Speaker 6: Sure right, basic google searches appear to be the limits
• 1:07:50
  Speaker 6: of his power.
• 1:07:51
  Speaker 2: She's referencing something that happened to her once when she
• 1:07:53
  Speaker 2: was twelve, like, how would Hitch have access this information?
• 1:07:58
  Speaker 1: And then Albert shows up and he and Allegra kiss
• 1:08:03
  Speaker 1: and makeup. Then Hitch goes to Sarah to try to
• 1:08:07
  Speaker 1: win her back, and he's pretty terrible at it, and
• 1:08:10
  Speaker 1: then we get this reveal that she's there with another man,
• 1:08:14
  Speaker 1: and she walks away and gets in the car in
• 1:08:17
  Speaker 1: a scene that mirrors the time that he got his
• 1:08:20
  Speaker 1: heart broken in college by Cressida, only this time Hitch
• 1:08:24
  Speaker 1: does go after the woman he.
• 1:08:26
  Speaker 2: Loves still very aggressively.
• 1:08:29
  Speaker 6: Yeah, for sure, the way that I could not endorse
• 1:08:32
  Speaker 6: Bill Scarsgard.
• 1:08:33
  Speaker 2: Doing no nor any man throwing himself on the hood
• 1:08:38
  Speaker 2: of your car. Heat up.
• 1:08:41
  Speaker 6: You got to back up to go over him again.
• 1:08:43
  Speaker 1: Too, make sure, yes, yes, yes, But anyway, Hitch professes
• 1:08:48
  Speaker 1: his love for Sarah and they also kiss and make up,
• 1:08:53
  Speaker 1: and it turns out the other man is Sarah's sister's husband.
• 1:08:58
  Speaker 2: And why does she not just say that.
• 1:09:00
  Speaker 1: I don't know where?
• 1:09:03
  Speaker 2: Come on, Tom, I'm always acting that with my brother
• 1:09:05
  Speaker 2: in law. Come on, Tom, really weird.
• 1:09:11
  Speaker 1: But this is like when Hitch finally learns that there
• 1:09:16
  Speaker 1: are no rules or basic principles to dating. And the
• 1:09:24
  Speaker 1: movie ends at Albert and Allegra's wedding. The cast dances
• 1:09:29
  Speaker 1: to now that we found love by Heavy d and
• 1:09:32
  Speaker 1: the Boys, but I think it should be a Will
• 1:09:36
  Speaker 1: Smith end credits rap. So this they dance too.
• 1:09:40
  Speaker 2: I thought about this because it's weird that it doesn't happen.
• 1:09:43
  Speaker 2: You're and this is around the time where it doesn't
• 1:09:46
  Speaker 2: happen anymore. Yeah, like he's I think the last one
• 1:09:49
  Speaker 2: I was able to find is Men in Black two.
• 1:09:52
  Speaker 2: I mean, obviously he does the shitty Aladdin movie, but
• 1:09:55
  Speaker 2: I'm gonna not count that. But he does he did
• 1:09:58
  Speaker 2: do a song for Men in Black two Black It's
• 1:10:00
  Speaker 2: coming nod your head.
• 1:10:01
  Speaker 6: I remember the worst song it is. They tried to
• 1:10:06
  Speaker 6: make fetch happen. It did not. The first one was fine.
• 1:10:08
  Speaker 6: I could still sing the first one right now, but
• 1:10:10
  Speaker 6: it's probably because it's attached to another song. But this
• 1:10:13
  Speaker 6: new one, no, no stop it.
• 1:10:16
  Speaker 2: But what's weird is there was a Will Smith single
• 1:10:19
  Speaker 2: that came out the same week Hitch came out. Switch
• 1:10:22
  Speaker 2: the song where he goes you know that one.
• 1:10:25
  Speaker 1: I don't know this one at all.
• 1:10:27
  Speaker 2: Well, I just performed it so well, so true.
• 1:10:32
  Speaker 6: Now that's stuck in my head. Why would you do
• 1:10:34
  Speaker 6: this to me?
• 1:10:35
  Speaker 2: That was like, I mean, I was in middle school
• 1:10:37
  Speaker 2: and this movie came out and they were playing Will
• 1:10:39
  Speaker 2: Smith's Switch at the middle school in dances. But I
• 1:10:43
  Speaker 2: looked it up just to be like, why isn't Switching
• 1:10:45
  Speaker 2: that I feel like it was the same time. Hitch
• 1:10:47
  Speaker 2: came out on February eleventh. Switch came out February fifteenth,
• 1:10:54
  Speaker 2: and yet it is not in the movie. It's really bizarre.
• 1:10:57
  Speaker 2: I wonder why.
• 1:10:58
  Speaker 1: And it's the rhyme sing this in the movie.
• 1:11:03
  Speaker 2: They're like, oh, we we have a big budget, we
• 1:11:05
  Speaker 2: don't have to use Switch.
• 1:11:07
  Speaker 6: It's okay, we'll license something. Don't even worry about it.
• 1:11:10
  Speaker 2: It's not his best.
• 1:11:11
  Speaker 6: Bill board chats.
• 1:11:14
  Speaker 2: It's not his best, but I do. I mean, whenever
• 1:11:16
  Speaker 2: I hear Switch, I can't hear it neutrally because it
• 1:11:18
  Speaker 2: like I'm just consumed with like twelve year old anxiety,
• 1:11:22
  Speaker 2: being like I'm not going to dance with anyone. That's
• 1:11:25
  Speaker 2: what the song ignites in me. But anyways, Yeah, it's
• 1:11:28
  Speaker 2: weird that there's not a Will Smith closer song because
• 1:11:31
  Speaker 2: he had one ready. But it seems like maybe they
• 1:11:33
  Speaker 2: just just didn't want it want it.
• 1:11:35
  Speaker 1: Yeah, Well, let's take another quick break and we'll come
• 1:11:38
  Speaker 1: back to discuss, and we're back.
• 1:11:51
  Speaker 2: Or where to begin? Okay, Ronald, is there anything that
• 1:11:54
  Speaker 2: jumps out to you? Where would you like to start? Well?
• 1:11:57
  Speaker 6: I think generally there's there's a pushback in this movie.
• 1:12:02
  Speaker 6: There's a way that this movie is the ways that
• 1:12:05
  Speaker 6: it feels progressive is that in some ways it feels
• 1:12:08
  Speaker 6: like it's grappling with that idea that I said before
• 1:12:12
  Speaker 6: about vacillating between a pickup artist's manual versus a guide
• 1:12:16
  Speaker 6: to just talking to a human woman. It's at its
• 1:12:19
  Speaker 6: worst again when it's a pickup movie, when it's just like,
• 1:12:23
  Speaker 6: this is how you pick up a woman. But then
• 1:12:25
  Speaker 6: when it gets to the heart of it, and Kevin
• 1:12:27
  Speaker 6: James and Will Smith, Albert Brenneman and Alex Hichens have
• 1:12:30
  Speaker 6: that conversation where he's essentially saying to him, you don't
• 1:12:34
  Speaker 6: even believe in love, you don't believe in these parts
• 1:12:37
  Speaker 6: of it, And you realize that Albert Brenneman has just
• 1:12:40
  Speaker 6: been being himself the whole film, despite what he's being
• 1:12:43
  Speaker 6: told to do. Would you boil it down to those
• 1:12:46
  Speaker 6: basic elements. I think that's what works for me in
• 1:12:49
  Speaker 6: the film is to say that you met someone y'all
• 1:12:53
  Speaker 6: connected and it worked out because you were being yourself
• 1:12:57
  Speaker 6: and she was being herself and it was good relationship.
• 1:13:01
  Speaker 6: But I just feel like the movie wants to push
• 1:13:03
  Speaker 6: and pull at that in this way that the Hollywood
• 1:13:07
  Speaker 6: effect makes the message worse and it pushes it into
• 1:13:11
  Speaker 6: a different category. And also a man wrote this and
• 1:13:14
  Speaker 6: a man directed this, like two different men, so through
• 1:13:17
  Speaker 6: that lens, I wonder if they were really aware of
• 1:13:21
  Speaker 6: that grappling, if no women were involved in the production,
• 1:13:26
  Speaker 6: you know what I mean, right exactly.
• 1:13:28
  Speaker 2: Yeah, It's it's interesting because it feels like, yeah, this
• 1:13:32
  Speaker 2: movie is like we've been talking about this whole time,
• 1:13:35
  Speaker 2: doing more than you would expect it to. I feel
• 1:13:37
  Speaker 2: like it.
• 1:13:38
  Speaker 13: Is like I don't know, like it is encouraging men
• 1:13:44
  Speaker 13: to just be themselves basically, and which is a generally
• 1:13:49
  Speaker 13: good message.
• 1:13:50
  Speaker 2: And then like I don't hate the message, it's just
• 1:13:53
  Speaker 2: all of the like it feels very studio notesy. The
• 1:13:57
  Speaker 2: things I don't like about this movie, yes, where it
• 1:13:59
  Speaker 2: feels like very tacked on, like, oh, we have this actor,
• 1:14:02
  Speaker 2: so we should do this to them, or you know,
• 1:14:05
  Speaker 2: all of these these rom com stock actors with like
• 1:14:08
  Speaker 2: the queer coded co worker, some of the fat phobic
• 1:14:11
  Speaker 2: things that Kevin James is subjected to even.
• 1:14:13
  Speaker 8: Though if you look at the story, it's flawed, but
• 1:14:17
  Speaker 8: it feels like it's hardest more in the right place
• 1:14:20
  Speaker 8: that a lot of rom coms, which is weird, So
• 1:14:24
  Speaker 8: I didn't expect it same.
• 1:14:26
  Speaker 1: Even in that first opening montage with voiceover where Hitch
• 1:14:31
  Speaker 1: is going through the quote unquote basic principles of how
• 1:14:35
  Speaker 1: to win a woman kind of thing. Within that, it's
• 1:14:39
  Speaker 1: oscillating back and forth between vague pick up artistry advice,
• 1:14:44
  Speaker 1: but also like treat a woman like a person and
• 1:14:48
  Speaker 1: actually talk to her and then listen to her and
• 1:14:50
  Speaker 1: then respond to her like she's a person, you know.
• 1:14:53
  Speaker 1: So like the first few clips we see are the
• 1:14:56
  Speaker 1: like weird, like manipulate a woman into thinking, like stage
• 1:15:02
  Speaker 1: her dog getting run over by a cab and pretend
• 1:15:05
  Speaker 1: like you saved her dog so that she'll fall in
• 1:15:08
  Speaker 1: love with you. Like that's obviously like really manipulative, gross,
• 1:15:11
  Speaker 1: icky things. And then he's saying things like if a
• 1:15:16
  Speaker 1: woman rejects you and says that she's focusing on her career,
• 1:15:21
  Speaker 1: she's lying. And women don't even know what they want
• 1:15:25
  Speaker 1: until a man comes along and tells her, and so
• 1:15:28
  Speaker 1: like it's stuff like that, But then a few moments
• 1:15:31
  Speaker 1: later he says, like, don't use what you don't have.
• 1:15:35
  Speaker 1: If you're shy, be shy. If you're outgoing, be outgoing.
• 1:15:38
  Speaker 1: In other words, like don't fake it and try to
• 1:15:40
  Speaker 1: be someone you're not. Be yourself.
• 1:15:42
  Speaker 2: I'm so curious, like what the drafts of this looked like,
• 1:15:46
  Speaker 2: because yes, I'm wondering how because this is the game,
• 1:15:50
  Speaker 2: the book by Neil Strass, Because unfortunately, I've done a
• 1:15:53
  Speaker 2: lot of research on mans your shit pooa stuff and
• 1:15:57
  Speaker 2: listened to for episodes of sixteen, and I did last
• 1:16:00
  Speaker 2: year listen to a lot of accounts of men who
• 1:16:04
  Speaker 2: were into like tried to use the game because they
• 1:16:07
  Speaker 2: were nervous around women, and then grew up basically and
• 1:16:12
  Speaker 2: realized that it's a joke. Which there are a lot
• 1:16:14
  Speaker 2: of people like that, thankfully. And then there are the
• 1:16:16
  Speaker 2: people who've had spent the last twenty years doubling and
• 1:16:19
  Speaker 2: tripling down and becoming history's greatest monsters. Correct, But there
• 1:16:22
  Speaker 2: are people It is interesting to listen to people who
• 1:16:25
  Speaker 2: were drawn to this intentionally because it's made I mean
• 1:16:29
  Speaker 2: like it's kind of what Hitch is doing, but also
• 1:16:31
  Speaker 2: kind of not what he's doing, which is why it's confusing,
• 1:16:33
  Speaker 2: but like basically targeting insecure men and promising that there
• 1:16:39
  Speaker 2: is a recipe for success. If you just do la
• 1:16:42
  Speaker 2: la la la la, you will be successful. And what
• 1:16:46
  Speaker 2: the game does and what Hitch does sometimes not always,
• 1:16:51
  Speaker 2: which is what makes this movie so hard to talk about,
• 1:16:53
  Speaker 2: is like, not only is it raising the confidence of men,
• 1:16:58
  Speaker 2: it's raising the con men at the expense of women.
• 1:17:03
  Speaker 2: And that's the real issue. It's not that men having
• 1:17:07
  Speaker 2: you know, being self possessed and having confidence is a
• 1:17:09
  Speaker 2: bad thing. It's not. It's that a lot of these
• 1:17:12
  Speaker 2: subcultures were like, oh, it's because you are genetically superior,
• 1:17:17
  Speaker 2: and women are animals who don't understand themselves, and so
• 1:17:20
  Speaker 2: you can't trust a word they say, here's forty five steps,
• 1:17:24
  Speaker 2: including wearing the ugliest fucking hat you've ever seen, that
• 1:17:28
  Speaker 2: is going to fix this. And I'm wondering how aware
• 1:17:33
  Speaker 2: the like distribution and marketing was aware of that being
• 1:17:37
  Speaker 2: a popular thing at this time and not wanting to
• 1:17:40
  Speaker 2: completely lean away from it. I don't know.
• 1:17:44
  Speaker 6: I believe that if this movie were a person, that
• 1:17:47
  Speaker 6: this would be a person that we would be fine with.
• 1:17:50
  Speaker 6: In twenty twenty five, meaning that they would learn and
• 1:17:52
  Speaker 6: grow because there's enough. I'm thinking about all the things
• 1:17:55
  Speaker 6: that I knew in a binary when I was seventeen, eighteen, nineteen, twenty,
• 1:17:59
  Speaker 6: twenty one, twenty two whatever, in my late teens early twenties,
• 1:18:03
  Speaker 6: all the things that I knew in a binary, like,
• 1:18:05
  Speaker 6: well that's not right. Oh that's right, Oh that's not right.
• 1:18:08
  Speaker 6: That's how I kind of did everything, but the nuance
• 1:18:10
  Speaker 6: wasn't there yet. And I feel like this film knows
• 1:18:14
  Speaker 6: like there's parts of this where you say fact and
• 1:18:16
  Speaker 6: it's like women don't know what they want, and I'm like, ah,
• 1:18:20
  Speaker 6: I don't know about that. Like that's like if you
• 1:18:23
  Speaker 6: said some people don't know what they want, and maybe
• 1:18:26
  Speaker 6: our job as people is to like to continue to
• 1:18:28
  Speaker 6: let introduce them to new experiences and allow them to
• 1:18:31
  Speaker 6: become the person that they are going to be. But
• 1:18:33
  Speaker 6: that's not What I just said is like is very
• 1:18:35
  Speaker 6: nuanced and not something that you could just throw into
• 1:18:38
  Speaker 6: a film, you know. So I feel like that's where
• 1:18:41
  Speaker 6: you're right that like, at worst, when you think about
• 1:18:42
  Speaker 6: like the pickup artist stuff that's in there, it doesn't
• 1:18:45
  Speaker 6: feel as nearly married to that as it does when
• 1:18:48
  Speaker 6: it gets to the full point of the movie at
• 1:18:50
  Speaker 6: the end, which is that like, hey, there are no rules,
• 1:18:53
  Speaker 6: you know, love people, be yourself, which is feels good,
• 1:18:57
  Speaker 6: like a solid message, which is basically the only reason
• 1:19:00
  Speaker 6: while we could watch this at twenty twenty five and
• 1:19:02
  Speaker 6: not just throw this movie out with the trash, you know,
• 1:19:04
  Speaker 6: I mean the three of us, like we could have
• 1:19:06
  Speaker 6: just thrown this movie away, and we didn't.
• 1:19:08
  Speaker 11: You know, because it lands somewhere that that is like okay,
• 1:19:13
  Speaker 11: yea cool, you know, And I do like that both.
• 1:19:19
  Speaker 2: So again, there's stuff going on here, but I do
• 1:19:21
  Speaker 2: like that both of the characters Hitch and Sarah are
• 1:19:26
  Speaker 2: like are both flawed, genuinely flawed, because I feel like
• 1:19:29
  Speaker 2: there's it's so often in rom coms where like it
• 1:19:33
  Speaker 2: is a woman who is inexplicably perfect but sometimes trips
• 1:19:38
  Speaker 2: and falls, who ends up with a man who's more mean,
• 1:19:42
  Speaker 2: yes than flawed. However, there's a lot of baggage that
• 1:19:46
  Speaker 2: comes with that, because yes, Sarah is flawed in like
• 1:19:50
  Speaker 2: she's her job is pretty sky they both have pretty
• 1:19:52
  Speaker 2: scummy jobs. Yeah, so maybe they really found each other
• 1:19:55
  Speaker 2: where they're like the ethics are all over the place.
• 1:19:58
  Speaker 2: Will Smith throwing himself in the hood of a car
• 1:20:01
  Speaker 2: as a grand romantic gesture. Question, I don't think so.
• 1:20:04
  Speaker 2: A lot of the early courting is a little stocky.
• 1:20:07
  Speaker 2: And then you have I think that one of the
• 1:20:10
  Speaker 2: things that really sticks out, and in a way that's like,
• 1:20:14
  Speaker 2: I don't know, I'm almost able to like laugh it
• 1:20:16
  Speaker 2: off now. But the two thousand and five y casual
• 1:20:21
  Speaker 2: sex is not a thing for women. And if any
• 1:20:24
  Speaker 2: woman is like I'm not interested in a serious relationship,
• 1:20:27
  Speaker 2: it's like, well, because you haven't been dicked down with
• 1:20:31
  Speaker 2: the right dick yet or what like, which is sort
• 1:20:33
  Speaker 2: of hitches whole business. Is that being true? But also
• 1:20:37
  Speaker 2: the world of this movie that is true.
• 1:20:41
  Speaker 1: Yeah, this movie is very like heteronormative monogamy, normative serious
• 1:20:48
  Speaker 1: relationship is the only way to go anything else. It's
• 1:20:52
  Speaker 1: shallow and yucky. And so those are very obviously like
• 1:20:57
  Speaker 1: two thousand and five sentiments. There's another thing that rubs
• 1:21:00
  Speaker 1: me around, that rubs me the wrong way about the
• 1:21:03
  Speaker 1: sort of ideology that this movie is operating within, which
• 1:21:07
  Speaker 1: is a line that Hitch says at the end when
• 1:21:10
  Speaker 1: they're at the like speed dating thing, and he says
• 1:21:14
  Speaker 1: something like, no, my job isn't to encourage men to
• 1:21:18
  Speaker 1: just like fuck a woman and leave.
• 1:21:21
  Speaker 6: It's to when you perform this movie, I only want
• 1:21:25
  Speaker 6: to watch your performance on it. I don't even want
• 1:21:28
  Speaker 6: to watch the movie anywhere. I want to watch you
• 1:21:29
  Speaker 6: perform the book.
• 1:21:30
  Speaker 1: I'll do a solo show reenactment thing. But yeah, Hitch
• 1:21:37
  Speaker 1: is like, my job is to get women to get
• 1:21:42
  Speaker 1: out of their own head and out of their own
• 1:21:44
  Speaker 1: way so that they'll give great guys like Albert a
• 1:21:47
  Speaker 1: fighting chance. And basically what he's implying is women are
• 1:21:52
  Speaker 1: shallow and again, they don't know what they want, and
• 1:21:55
  Speaker 1: so it's my job to help these men get women
• 1:21:59
  Speaker 1: to see that they're being superficial and they just need
• 1:22:02
  Speaker 1: to give men a chance. Like forget about their compatibility,
• 1:22:06
  Speaker 1: forget about women's autonomy over who they are and are
• 1:22:09
  Speaker 1: not sexually interested in. That doesn't matter. What matters is
• 1:22:14
  Speaker 1: that Hitch is there to help his clients teach these
• 1:22:17
  Speaker 1: women a lesson in how to not be so shallow.
• 1:22:22
  Speaker 1: And even though Hitch like unlearns stuff by the end
• 1:22:26
  Speaker 1: and he realizes, oh, a lot of what I was
• 1:22:28
  Speaker 1: saying was kind of bullshit, and I was wrong to
• 1:22:32
  Speaker 1: give a lot of the advice that I gave. But
• 1:22:34
  Speaker 1: I feel like the movie lands on the side of
• 1:22:37
  Speaker 1: this particular point because we have Albert Brenneman ending up
• 1:22:43
  Speaker 1: with this, you know, gorgeous bombshell woman.
• 1:22:46
  Speaker 2: And like, you're gonna tell me he's not remotely shallow.
• 1:22:50
  Speaker 2: Everyone is shallow during this movie, Like there's yeah, it
• 1:22:54
  Speaker 2: doesn't feel like the onus, and Hitch kind of says
• 1:22:56
  Speaker 2: that directly to Allegra wheor he challenges her on that
• 1:23:00
  Speaker 2: of like, oh, well, if I didn't have him yell
• 1:23:03
  Speaker 2: at you at work, would you have ever noticed him?
• 1:23:06
  Speaker 2: And then she's like yes, eventually, well maybe it's not.
• 1:23:10
  Speaker 2: And it's just like everyone's show. I don't know, Like
• 1:23:14
  Speaker 2: it just feels like he's quicker to turn things on
• 1:23:19
  Speaker 2: the woman in terms of yet like not knowing what
• 1:23:21
  Speaker 2: she wants, and if she does know what she wants,
• 1:23:24
  Speaker 2: she's baby shallow and there are shallow women. There's shallow
• 1:23:28
  Speaker 2: people everywhere.
• 1:23:29
  Speaker 1: It's of all genders.
• 1:23:31
  Speaker 2: Yeah, very prescriptive.
• 1:23:33
  Speaker 6: It's also necessary like when you when you say that,
• 1:23:36
  Speaker 6: like the implication that I need to create an event
• 1:23:38
  Speaker 6: for y'all to talk, it's like, yeah, maybe she maybe
• 1:23:42
  Speaker 6: she never notices Albert. But I mean, the only crime
• 1:23:45
  Speaker 6: of that is that we don't get to see Hitch
• 1:23:47
  Speaker 6: the movie, like, and I'm saying that like as a
• 1:23:50
  Speaker 6: metal problem. That's not what is the actual problem of
• 1:23:53
  Speaker 6: her not meeting Albert Brenneman, Like I'm sure if there's
• 1:23:56
  Speaker 6: another Albert Brennaman out there, she would be given the
• 1:23:59
  Speaker 6: same series of circumstances she would meet them. But he's
• 1:24:02
  Speaker 6: making it like this is a good man, and I'm
• 1:24:04
  Speaker 6: going to force to show you why it's a good man,
• 1:24:06
  Speaker 6: which is largely a lot of the cultural commentary that
• 1:24:09
  Speaker 6: we have now in which people are like trying to
• 1:24:11
  Speaker 6: force each other to see, well, this is a good man,
• 1:24:14
  Speaker 6: or this is a good woman, or this is a
• 1:24:15
  Speaker 6: good partner in a very prescriptive and saying this is
• 1:24:20
  Speaker 6: what you should be liking, when I mean the truth is,
• 1:24:24
  Speaker 6: we know, like the heart wants what it wants, and
• 1:24:26
  Speaker 6: the tech boxes that you have in your life rarely
• 1:24:30
  Speaker 6: match the person that you end up falling in love
• 1:24:33
  Speaker 6: with or want to be long term partnered with or whatever.
• 1:24:36
  Speaker 6: And I feel like again that grappling is not entirely
• 1:24:41
  Speaker 6: there in this film, which makes it say and I
• 1:24:43
  Speaker 6: think something that something that makes it probably would have
• 1:24:45
  Speaker 6: beaten them better, would have been some sort of a
• 1:24:48
  Speaker 6: failure where hitchkind say sorry, guess she just didn't like you.
• 1:24:53
  Speaker 6: If that would have happened in the film, then at
• 1:24:55
  Speaker 6: least we know like, hey, we did the thing, we
• 1:24:57
  Speaker 6: did your bag of tricks, we gave you the confidence,
• 1:25:00
  Speaker 6: and she still didn't like you. If that had been
• 1:25:02
  Speaker 6: in the movie, then I'll be like, oh, this is
• 1:25:04
  Speaker 6: with intention. They're actually grappling with this thing, because at
• 1:25:07
  Speaker 6: least they're giving the women agency to say like, yeah, great,
• 1:25:10
  Speaker 6: you found my dog. I never want to talk to
• 1:25:12
  Speaker 6: you again, exactly.
• 1:25:15
  Speaker 2: Yeah.
• 1:25:16
  Speaker 1: And then also, I mean, specifically with the Albert Brenneman situation,
• 1:25:21
  Speaker 1: what does he like about Allegra? We never find out
• 1:25:24
  Speaker 1: aside from us being able to assume that she's beautiful
• 1:25:27
  Speaker 1: and he's attracted to her.
• 1:25:28
  Speaker 2: But beyond that, it's almost like he's being shallow. Yeah, right, that,
• 1:25:38
  Speaker 2: which is fine, just admit, Like.
• 1:25:40
  Speaker 1: So there are these problems, but I do think that
• 1:25:44
  Speaker 1: the movie's heart is in the right place in a
• 1:25:47
  Speaker 1: way that for example, what women want, No, that movie's
• 1:25:52
  Speaker 1: heart is in the exact wrong place.
• 1:25:54
  Speaker 2: So yeah, because Hitch genuinely grows as a character, which
• 1:25:57
  Speaker 2: you cannot say for most men in rom coms definitely,
• 1:26:00
  Speaker 2: or most characters has. Honestly, there's one thing I was
• 1:26:04
  Speaker 2: not aware was a part of the conversation around this movie.
• 1:26:06
  Speaker 2: But it's a conversation we have had about Will smith
• 1:26:09
  Speaker 2: movies on this show before.
• 1:26:11
  Speaker 1: I think I know where you're going with this.
• 1:26:13
  Speaker 2: Yes, is there is a casting conversation around this movie.
• 1:26:19
  Speaker 6: Yes, I know this now too.
• 1:26:22
  Speaker 2: Yeah. So I was not aware, and thankfully scholarly journal
• 1:26:26
  Speaker 2: Wikipedia brought me up to speed and there's a lot
• 1:26:30
  Speaker 2: of information about this. But basically Will Smith said that
• 1:26:33
  Speaker 2: Eva Mendez was cast and or offered this lead role
• 1:26:38
  Speaker 2: because the producers of the movie were worried about the
• 1:26:42
  Speaker 2: public's reaction if the part of Sarah was played by
• 1:26:45
  Speaker 2: a white actress, which is of course praying on all
• 1:26:49
  Speaker 2: of these anxieties around on one side, an interracial relationship
• 1:26:54
  Speaker 2: between a black actor and a white actress specifically, which
• 1:26:58
  Speaker 2: we could get we've obviously talked about many times on
• 1:27:01
  Speaker 2: the show. And hopefully you live in the world and
• 1:27:04
  Speaker 2: you're aware of how frequently black men are stereotyped as
• 1:27:09
  Speaker 2: being predatory towards white women, specifically but they also didn't
• 1:27:14
  Speaker 2: want to cast a black actor in this movie because
• 1:27:16
  Speaker 2: then it would be perceived as a movie. And then
• 1:27:21
  Speaker 2: it is the feeling of Hollywood to this day for
• 1:27:25
  Speaker 2: the most part, that they can't promote the movie in
• 1:27:27
  Speaker 2: the way that they want. They can't promote it to
• 1:27:29
  Speaker 2: a general audience, which is their way of saying a
• 1:27:31
  Speaker 2: white audience. And so the way that they split the
• 1:27:34
  Speaker 2: difference here, and there's a quote from Will Smith. I'm
• 1:27:36
  Speaker 2: not stating this is fact, but by casting a Latina
• 1:27:41
  Speaker 2: actress in this role, that is their way of getting
• 1:27:45
  Speaker 2: around it being either an interracial relationship between a black
• 1:27:49
  Speaker 2: actor and a white actress, but it's also not quote
• 1:27:51
  Speaker 2: unquote a black movie, and that way it's okay for
• 1:27:55
  Speaker 2: general audiences. Of course, none of this is Eva Mendus's problem,
• 1:27:59
  Speaker 2: but I want to share Will Smith. I'm not sure
• 1:28:02
  Speaker 2: exactly when he gave this interview, but he said of
• 1:28:08
  Speaker 2: this casting choice, he said, there's a sort of accepted
• 1:28:11
  Speaker 2: myth that if you have two black actors, a male
• 1:28:13
  Speaker 2: and a female in the lead of a romantic comedy,
• 1:28:16
  Speaker 2: that people around the world don't want to see it.
• 1:28:18
  Speaker 2: We spend fifty something million making this movie so the
• 1:28:21
  Speaker 2: idea of a black actor and a white actress comes up.
• 1:28:24
  Speaker 2: That'll work around the world, but it's a problem in
• 1:28:26
  Speaker 2: the US. There has been a lot written about this.
• 1:28:31
  Speaker 2: I've looked up some other examples where clearly this is
• 1:28:34
  Speaker 2: like well trodden ground but in the year sort of
• 1:28:37
  Speaker 2: leading up to Hitch and these are examples I wasn't
• 1:28:40
  Speaker 2: aware of because I was not alive. Bravely, but in
• 1:28:44
  Speaker 2: nineteen eighty nine there was an interracial relationship between a
• 1:28:48
  Speaker 2: black man and a white woman on All My Children,
• 1:28:51
  Speaker 2: and it got an actor fired because his character became
• 1:28:54
  Speaker 2: so unpopular. Allegedly, there was an example on a different
• 1:28:59
  Speaker 2: world where this also happened, where there was like boycotts
• 1:29:03
  Speaker 2: of the show. And so this is I mean, obviously
• 1:29:07
  Speaker 2: the history of interracial relationships outside of Hollywood has been
• 1:29:12
  Speaker 2: so horrifically policed and continues to be in Hollywood. But
• 1:29:17
  Speaker 2: where we talked about it before was in Bad.
• 1:29:20
  Speaker 1: Boys one and Men in Black and Men in Black,
• 1:29:23
  Speaker 1: because both of those movies have a white woman cast
• 1:29:27
  Speaker 1: as what would be the love interest to the Will
• 1:29:31
  Speaker 1: Smith character in probably any other movie, but because it's
• 1:29:35
  Speaker 1: a black male protagonist as like the lead of the
• 1:29:37
  Speaker 1: movie and a white woman. There are no on screen
• 1:29:41
  Speaker 1: kisses or any It's.
• 1:29:43
  Speaker 2: Not it doesn't actually, yeah, and this movie is very
• 1:29:47
  Speaker 2: much a part of that same conversation.
• 1:29:50
  Speaker 6: It's I mean, it's problematic in many ways, and this
• 1:29:55
  Speaker 6: is like obviously a relic of those times. But there's
• 1:29:58
  Speaker 6: also a way in which we especially when it comes
• 1:30:01
  Speaker 6: to interracial relationships between black people and white people specifically,
• 1:30:04
  Speaker 6: because this is still an interracial relationship, like we talk
• 1:30:08
  Speaker 6: about what's going on in a hitch, but like specifically
• 1:30:10
  Speaker 6: with white people and black people specifically. Like there's a
• 1:30:14
  Speaker 6: conversation that happens, especially amongst the black community about what
• 1:30:18
  Speaker 6: this means, especially for black men and white women. But
• 1:30:21
  Speaker 6: also what's happening right now with Love Island and Nicolandria,
• 1:30:25
  Speaker 6: which is a black woman and a white man. Another
• 1:30:28
  Speaker 6: conversation is also being formed within the black community. But
• 1:30:32
  Speaker 6: when it comes to the screen, when it comes to Hollywood,
• 1:30:35
  Speaker 6: there's a way in which the anticipation of what is
• 1:30:38
  Speaker 6: going to be well received or not is really a
• 1:30:41
  Speaker 6: reflection of our actual behavior. Because I do believe that
• 1:30:46
  Speaker 6: if they cast a black woman in this role, all
• 1:30:49
  Speaker 6: of a sudden, the soundtrack is different to this film.
• 1:30:53
  Speaker 6: The way that their marketing is entirely differently is different,
• 1:30:56
  Speaker 6: and there's people are that will look at this and say, oh,
• 1:30:59
  Speaker 6: I don't know if that for me. But if we
• 1:31:01
  Speaker 6: actually went down into a checklist, like even something like Hancock,
• 1:31:05
  Speaker 6: in which Will Smith is theoretically partnered with charlie' Starren
• 1:31:09
  Speaker 6: and there they broke up, they're no longer in a
• 1:31:11
  Speaker 6: relationship in the film, so we don't get any steamy
• 1:31:15
  Speaker 6: hot seeds between Charlie Starren and Will Smith, you know
• 1:31:18
  Speaker 6: what I mean. But then if you start going down
• 1:31:19
  Speaker 6: a checklist of all these Will Smith, who is a
• 1:31:21
  Speaker 6: light skinned black man, the colorism guilds in there too,
• 1:31:24
  Speaker 6: if you start to think about that and think about
• 1:31:26
  Speaker 6: who they pair him with, then it really starts declare
• 1:31:29
  Speaker 6: to be like man. So is this on us, the
• 1:31:33
  Speaker 6: viewing audience or is this on Hollywood? Who's saying based
• 1:31:37
  Speaker 6: on your be But I feel like Hollywood say was
• 1:31:39
  Speaker 6: based on your behavior. We don't think you're gonna watch
• 1:31:41
  Speaker 6: this movie, which we'd have to do more examples of
• 1:31:45
  Speaker 6: that being the case. But it's frustrating to say, like,
• 1:31:48
  Speaker 6: you put another black person in this now it's a
• 1:31:50
  Speaker 6: black film, and we can't. We can't watch it anymore.
• 1:31:53
  Speaker 6: The last thing I'll say is the studio covers this
• 1:31:55
  Speaker 6: very well. The studio on Apple TV Plus with Seth Rogen,
• 1:31:59
  Speaker 6: it covers this very well. What it talks about. There's
• 1:32:01
  Speaker 6: an episode about them making a kool Aid movie and
• 1:32:04
  Speaker 6: they talk about race casting specifically there, which I encourage
• 1:32:08
  Speaker 6: everyone to go watch because they talk about the very
• 1:32:10
  Speaker 6: nuanced way this idea of too many black folks makes
• 1:32:13
  Speaker 6: it a black film. Now can we market it? Which, yes,
• 1:32:16
  Speaker 6: you can is the real answer. But I think it's
• 1:32:19
  Speaker 6: something that it's a conversation worth continuing.
• 1:32:22
  Speaker 1: I would say absolutely yes. Before I knew about this
• 1:32:27
  Speaker 1: very deliberate casting choice, I was just watching the movie.
• 1:32:32
  Speaker 1: I was like, Wow, unlike a lot of rom coms,
• 1:32:36
  Speaker 1: and specifically romcoms set in New York City, this movie
• 1:32:40
  Speaker 1: does not center whiteness. There is this interracial, multi ethnic
• 1:32:45
  Speaker 1: relationship happening. But I did I was like, I bet
• 1:32:50
  Speaker 1: that was a very deliberate choice. Did the reading about
• 1:32:53
  Speaker 1: it found out? My suspicions were very much confirmed, and
• 1:32:58
  Speaker 1: I just had anticipated that they were very deliberately making
• 1:33:02
  Speaker 1: these casting choices to make it quote unquote palatable to
• 1:33:06
  Speaker 1: a white audience, and that worked because the movies what
• 1:33:11
  Speaker 1: the third highest grossing rom coong of all time. It
• 1:33:13
  Speaker 1: grossed three hundred and seventy one million dollars at the
• 1:33:17
  Speaker 1: box office. You know, this was a very deliberate marketing
• 1:33:22
  Speaker 1: slash investment choice.
• 1:33:24
  Speaker 12: Well, and but the thing I find where the industry
• 1:33:29
  Speaker 12: says these things as if this is going to be true,
• 1:33:32
  Speaker 12: And we've seen so many times that the way that
• 1:33:36
  Speaker 12: marketing campaigns for Hollywood movies are designed are not necessarily
• 1:33:40
  Speaker 12: based around reality. They're based around the prejudices all of
• 1:33:44
  Speaker 12: the people who dictate.
• 1:33:45
  Speaker 2: What happens in the marketing campaign. And so while it's like,
• 1:33:49
  Speaker 2: I like there is some gray area here of like
• 1:33:53
  Speaker 2: if there were a black actress playing Sarah and they
• 1:33:57
  Speaker 2: just committed to marketing it the same amout as they
• 1:34:00
  Speaker 2: would if Eva Mendez is in that role, it's very
• 1:34:03
  Speaker 2: possible the movie would still do very well. And like
• 1:34:07
  Speaker 2: that doesn't preclude racist audience members who are going to
• 1:34:11
  Speaker 2: pigeonhole this movie as a quote unquote black movie. But
• 1:34:15
  Speaker 2: I also feel like that that kind of stuff is
• 1:34:18
  Speaker 2: sometimes used by marketing people to say, well, we had
• 1:34:22
  Speaker 2: to and it's and it's the audience's fault, and it's like, well,
• 1:34:26
  Speaker 2: there's a lot more going on than it's not it.
• 1:34:29
  Speaker 2: The audience is definitely a part, a huge part of it,
• 1:34:32
  Speaker 2: but you can't say that the audience is forcing your hand.
• 1:34:35
  Speaker 2: The audience doesn't know until you market it to them.
• 1:34:37
  Speaker 6: I would strongly encourage both of y'all and the listening
• 1:34:41
  Speaker 6: audience to check out. There's an episode of the Town
• 1:34:44
  Speaker 6: where in which they talk about Centers specifically, and I'm
• 1:34:48
  Speaker 6: forgetting the guest's name who was on there, but fought
• 1:34:51
  Speaker 6: tooth and nail to specifically say what happens when you
• 1:34:56
  Speaker 6: market films that are black and what that looks like
• 1:34:59
  Speaker 6: in terms of World War gross versus domestic gross, which, like,
• 1:35:03
  Speaker 6: it's a conversation that is still being had even right now, because,
• 1:35:06
  Speaker 6: as most of us know, when Sinners came out, Variety
• 1:35:10
  Speaker 6: puts out this piece in which it's like Sinner's had
• 1:35:13
  Speaker 6: a great opening weekend, but profitability is still very far away,
• 1:35:17
  Speaker 6: in which everyone's like, why are you talking about the
• 1:35:19
  Speaker 6: movie in this way? Like you're basically like like hamstringing
• 1:35:22
  Speaker 6: it for some reason instead of talking about the path
• 1:35:25
  Speaker 6: that it could go. And of course Centners goes on
• 1:35:27
  Speaker 6: to break records and do very well and make a
• 1:35:29
  Speaker 6: lot of money at the box office, especially for a
• 1:35:31
  Speaker 6: RAT and R movie. But you're right, like the marketing
• 1:35:34
  Speaker 6: when you talk about actually spending the money, you do
• 1:35:37
  Speaker 6: see that there are returns that come. Even if it's
• 1:35:41
  Speaker 6: considered to be a black film or even a woman
• 1:35:45
  Speaker 6: film or a queer film, you still have to spend
• 1:35:48
  Speaker 6: the money to get people to see it. And I
• 1:35:50
  Speaker 6: think there's like there's this shirking of duties that happens
• 1:35:54
  Speaker 6: amongst Hollywood studios because of that assumption, well, we're not
• 1:35:57
  Speaker 6: gonna spend the money because they're not gonna come, Like, well,
• 1:35:59
  Speaker 6: if you spend the money, they're definitely not gonna come.
• 1:36:01
  Speaker 2: If you don't spend the money, no one's gonna come.
• 1:36:02
  Speaker 2: And then you're just gonna blame it on the audience
• 1:36:04
  Speaker 2: again exactly. I feel like we're in a big period
• 1:36:07
  Speaker 2: of that in streaming as well, where there's a lot
• 1:36:10
  Speaker 2: of talk around like, well we we diversified our streaming product,
• 1:36:15
  Speaker 2: but now no one's watching it. It's like because you
• 1:36:17
  Speaker 2: don't promote it the masses.
• 1:36:20
  Speaker 1: I'm excited to listen to that episode though, of the
• 1:36:23
  Speaker 1: Town on Sinners, because we'll be covering that movie pretty soon.
• 1:36:26
  Speaker 6: So definitely put this in your research.
• 1:36:29
  Speaker 1: Cool for sure.
• 1:36:30
  Speaker 6: What else?
• 1:36:31
  Speaker 2: What else we got? What else we got?
• 1:36:32
  Speaker 1: Hitch, Grandma, We've got the rampant heteronormativity of this movie.
• 1:36:39
  Speaker 1: There are a few queer characters, and I believe all
• 1:36:44
  Speaker 1: of them are identifiably queer and not just queer coded,
• 1:36:48
  Speaker 1: based on usually one tiny line of dialogue where you
• 1:36:52
  Speaker 1: have Jeff, who is Sarah's colleague, played by Nathan Lee Graham,
• 1:36:58
  Speaker 1: who I recognize from Zoolander. Of course, there's a part
• 1:37:01
  Speaker 1: where he's meeting with Hitch, pretending to hire him, and
• 1:37:05
  Speaker 1: then Sarah's other colleague is like, wow, Jeff's actually managing
• 1:37:10
  Speaker 1: to play it straight, and so, oh, I missed that.
• 1:37:14
  Speaker 1: There's that thing that I guess identifies him as a
• 1:37:18
  Speaker 1: gay man, and.
• 1:37:19
  Speaker 2: He put it's always in the blink, and you miss
• 1:37:21
  Speaker 2: it exact for sure.
• 1:37:23
  Speaker 1: And then there's Raoul, the doorman of Hitch's building, played
• 1:37:28
  Speaker 1: by Molick Patolli aka Jonathan from thirty Rock.
• 1:37:32
  Speaker 2: Yes, Oh my gosh, and they're they're making him do
• 1:37:34
  Speaker 2: an accent.
• 1:37:36
  Speaker 1: And play a character whose ethnicity is not his at all. Yeah,
• 1:37:40
  Speaker 1: because he is Indian American and the character he's playing
• 1:37:44
  Speaker 1: I think is suggested to be LATINX.
• 1:37:47
  Speaker 2: Yeah.
• 1:37:47
  Speaker 1: I feel like there was just like one of those
• 1:37:48
  Speaker 1: classic Hollywood casting you know, racist brown people. They're all
• 1:37:54
  Speaker 1: the same, right, no one will notice the difference in
• 1:37:57
  Speaker 1: any case. The character of Raoul says that he needs
• 1:38:01
  Speaker 1: to bring his partner a mirror somewhere amazing. And then
• 1:38:06
  Speaker 1: there is Maggie aka magnus Alegra's best friend, who I
• 1:38:11
  Speaker 1: think this one is a bit more coded than explicit.
• 1:38:14
  Speaker 2: Yeah. He asks if Kevin James is gay, which is
• 1:38:19
  Speaker 2: honestly maybe. I was like, oh, I guess this character
• 1:38:22
  Speaker 2: is supposed to be gay.
• 1:38:23
  Speaker 1: I didn't, That's what I interpreted to.
• 1:38:25
  Speaker 2: Yeah.
• 1:38:25
  Speaker 4: No, I think you're right. I just it was a
• 1:38:28
  Speaker 4: messy one. Yeah, they're all messy one. They're all for sure,
• 1:38:32
  Speaker 4: they're all messy. The movie does not care about their
• 1:38:35
  Speaker 4: romantic lives at all. It only cares about the large
• 1:38:38
  Speaker 4: number of straight people's romantic lives. Hitch does not work
• 1:38:42
  Speaker 4: with queer people. It seems it's only straight men who
• 1:38:45
  Speaker 4: want to date women. All three of these queer characters
• 1:38:49
  Speaker 4: are only in the movie basically to help the straight
• 1:38:53
  Speaker 4: people or to be overly concerned about the romantic lives
• 1:38:58
  Speaker 4: of their straight friends. So it's, you know, the classic
• 1:39:02
  Speaker 4: two thousand's era queer representation you see in a wrong
• 1:39:05
  Speaker 4: com I mean, yeah, it's a barely representation for sure.
• 1:39:09
  Speaker 1: And then you have the rampant homophobia of Hitch's character
• 1:39:14
  Speaker 1: when he freaks out when Albert kisses him, which we've
• 1:39:19
  Speaker 1: touched on a little bit, but again, it's just like
• 1:39:22
  Speaker 1: the classic no homo, oh my god, a man kissed me.
• 1:39:26
  Speaker 1: I have to spit in like dry heave and all
• 1:39:31
  Speaker 1: that kind of thing, because it's so gross that he
• 1:39:34
  Speaker 1: touched my lips for half a second. But also like,
• 1:39:39
  Speaker 1: maybe Albert shouldn't have surprise kissed him. Maybe this whole
• 1:39:43
  Speaker 1: ninety ratio is bad and I've been obsessed with it
• 1:39:48
  Speaker 1: for twenty years.
• 1:39:49
  Speaker 6: Is a problem here?
• 1:39:51
  Speaker 2: Yeah, yeah, I think what Hits just learned is that
• 1:39:55
  Speaker 2: it's too close. It's too close. But he will not
• 1:39:59
  Speaker 2: hes not at a point in his life where he's
• 1:40:02
  Speaker 2: ready to reevaluate the system. I do agree with you that, Renald.
• 1:40:07
  Speaker 2: I do think that he will grow as a person.
• 1:40:10
  Speaker 2: He will as a fictional man, will will grow.
• 1:40:14
  Speaker 6: I would imagine Hitch two tackles all of this every
• 1:40:17
  Speaker 6: complaint we have, Like there's there's going to be a
• 1:40:20
  Speaker 6: main Like the main consulted person would be queer, and
• 1:40:25
  Speaker 6: there would be Hitch learning along the way, and he'd
• 1:40:27
  Speaker 6: probably have like a woman partner that's helping him. Maybe
• 1:40:31
  Speaker 6: Eva Mendez is helping him with his business. Like there's
• 1:40:34
  Speaker 6: there's going to be They're definitely doing a lot more
• 1:40:37
  Speaker 6: in the sequel. I would say, it's demonstrate it. We've
• 1:40:39
  Speaker 6: taken a progressive step forward, you know what I mean,
• 1:40:41
  Speaker 6: So more of.
• 1:40:41
  Speaker 2: A queer eye energy. Yeah, yeah, that's right. Yeah, which
• 1:40:47
  Speaker 2: is classic television, classic television. I'm afraid to revisit the
• 1:40:51
  Speaker 2: old series because I watched it with my mom. I'm like,
• 1:40:53
  Speaker 2: I'm sure there's problems, but I loved it so much. Yeah,
• 1:40:57
  Speaker 2: And I also I'm like, who knows if we get
• 1:40:59
  Speaker 2: Hitch two, I don't know what even Mendes his character
• 1:41:02
  Speaker 2: is going to do. What with the collapse of journalism.
• 1:41:04
  Speaker 2: I think she probably lost her apartment. Unfortunately, she has
• 1:41:07
  Speaker 2: a podcasts.
• 1:41:10
  Speaker 6: All journalists have podcasts.
• 1:41:11
  Speaker 2: Now, Yeah, it's Sex and the City to Yeah, yeah,
• 1:41:14
  Speaker 2: it's true. As far as the Bechdel test goes, no
• 1:41:20
  Speaker 2: question Mark, you say no, I feel like hitch looms
• 1:41:25
  Speaker 2: large over every conversation in this movie, or or Albert
• 1:41:29
  Speaker 2: I guess as the case.
• 1:41:30
  Speaker 1: Maybe yeah, I mean there are scenes where Sarah and
• 1:41:33
  Speaker 1: her friend Casey talk, but it's almost always about like
• 1:41:36
  Speaker 1: heterosexual dating. So no, And then Allegra, I don't think
• 1:41:41
  Speaker 1: talks to any women. If so, it's never a meaningful conversation.
• 1:41:47
  Speaker 1: So I think this is a no to the Bechdel test.
• 1:41:51
  Speaker 2: Yeah, they did give Sarah a friend, which again is
• 1:41:55
  Speaker 2: more than you sometimes guess. But let's talk about the
• 1:41:58
  Speaker 2: most important metric to ever exist.
• 1:42:01
  Speaker 1: The Bechdel cast nipple scale, in which we rate zero
• 1:42:05
  Speaker 1: to five nipples based on examining the movie through an
• 1:42:08
  Speaker 1: intersectional feminist lens. I will give this maybe a two
• 1:42:15
  Speaker 1: two and a half. It feels like a split down
• 1:42:17
  Speaker 1: the middle for me, where again it's leaning into some
• 1:42:21
  Speaker 1: pretty formulaic rom com tropes of the time, lots of
• 1:42:27
  Speaker 1: a woman who's so focused on her career that she
• 1:42:30
  Speaker 1: doesn't have time for a boyfriend. Everything we've talked about.
• 1:42:35
  Speaker 1: I'll give it two and a half nipples. I'll give them.
• 1:42:38
  Speaker 1: I'll give one to Eva Mendez, I will give one
• 1:42:42
  Speaker 1: to and the tenant.
• 1:42:46
  Speaker 2: Yeah, friend of the show apparently.
• 1:42:48
  Speaker 1: I don't know how he is as a person or
• 1:42:50
  Speaker 1: what his politics are, but he's a frequent director on
• 1:42:55
  Speaker 1: the show, so good for him. He's directed some iconic movies.
• 1:43:00
  Speaker 1: And then I'll give my half nipple to the impending
• 1:43:04
  Speaker 1: draft of Hitch two, which I propose that we all
• 1:43:07
  Speaker 1: write together.
• 1:43:09
  Speaker 2: Incredible, an extremely hitched movie. Yes, I'll also go two
• 1:43:15
  Speaker 2: and a half, which I'm so surprised to hear myself saying, I, Yeah,
• 1:43:20
  Speaker 2: I was pleasantly surprised by this movie.
• 1:43:23
  Speaker 14: And it is very much plagued with all of the
• 1:43:28
  Speaker 14: products of its time gags you would expect in a
• 1:43:31
  Speaker 14: movie like this. It's a weird one where I do
• 1:43:34
  Speaker 14: believe it's heart is in the right place, but it's still.
• 1:43:37
  Speaker 2: Dressed up like every other movie like it of its
• 1:43:41
  Speaker 2: time whose heart isn't in the right place. So it's
• 1:43:44
  Speaker 2: just a weird watch. But revisiting it, I get why
• 1:43:49
  Speaker 2: people like why people still have a lot of love
• 1:43:51
  Speaker 2: for this movie. I also think, you know, this is
• 1:43:54
  Speaker 2: the highest grossing rom com starring a black actor ever,
• 1:43:58
  Speaker 2: and that is like a worth celebrating. And yeah, and
• 1:44:03
  Speaker 2: I do believe hitch would learn from his experience. I
• 1:44:07
  Speaker 2: also don't think Hum and Sarah are gonna stay together,
• 1:44:09
  Speaker 2: and I think what they both need is a healthy breakup,
• 1:44:12
  Speaker 2: and that is what is going to really set hitch free.
• 1:44:18
  Speaker 2: Two and a half nipples. I'm giving them all to
• 1:44:22
  Speaker 2: Eva Mendez to do with what she pleases.
• 1:44:24
  Speaker 1: Yes, Ronald, how about you?
• 1:44:27
  Speaker 6: I think I liked it a little bit more than y'all,
• 1:44:29
  Speaker 6: but not much more. I'd say three nipples, and I
• 1:44:32
  Speaker 6: would give one to the growth of Alex Hitchins, one
• 1:44:38
  Speaker 6: to the charm of Alex Brenneman, and I'll probably give
• 1:44:43
  Speaker 6: my third nipple to the aesthetic of the film. It
• 1:44:48
  Speaker 6: felt very much like Ocean's eleven doublewares Prada. You know,
• 1:44:53
  Speaker 6: they're very like slick like specific scoring that you hear
• 1:44:57
  Speaker 6: and sheen over the film. I really enjoy that, and
• 1:45:00
  Speaker 6: it just brings me back to a different era. They
• 1:45:03
  Speaker 6: really don't make them like this anymore. But for all
• 1:45:07
  Speaker 6: of the reasons that you said, I don't think it
• 1:45:09
  Speaker 6: could go above three nipples. So yeah, yeah.
• 1:45:13
  Speaker 2: Thankk you. Yeah, this was so much fun. The HH
• 1:45:16
  Speaker 2: episode was everything I dreamed in more.
• 1:45:18
  Speaker 6: I'm glad. I'm glad to be.
• 1:45:20
  Speaker 1: Here where can people follow your work? Follow you on
• 1:45:23
  Speaker 1: social media plug away.
• 1:45:25
  Speaker 6: You can follow me on Instagram and threads. That is
• 1:45:28
  Speaker 6: where I am the most prolific in my posting at
• 1:45:31
  Speaker 6: Oh It's Big Round. That's at O H I T
• 1:45:34
  Speaker 6: S B I g R O N, which is also
• 1:45:36
  Speaker 6: where you can find me on letterbox and you can
• 1:45:40
  Speaker 6: subscribe to my podcast wait for It spelled w E
• 1:45:42
  Speaker 6: I g h T and Leaving the Theater where I
• 1:45:45
  Speaker 6: review films as I'm walking out of the theater.
• 1:45:48
  Speaker 1: Hmmm.
• 1:45:49
  Speaker 2: Love that that brocks.
• 1:45:51
  Speaker 1: You can follow us mostly on Instagram as well as
• 1:45:55
  Speaker 1: our Patreon aka Matreon, where we do two bonus episode
• 1:46:00
  Speaker 1: every single month, plus access to the back catalog, all
• 1:46:04
  Speaker 1: for five dollars a month. Imagine And with that, should
• 1:46:08
  Speaker 1: we leave ninety percent of the way out of this
• 1:46:11
  Speaker 1: episode and let the listeners leave the other ten percent
• 1:46:15
  Speaker 1: and you can do the rest?
• 1:46:17
  Speaker 2: Bye bye. The Bechdel Cast is a production of iHeartMedia,
• 1:46:24
  Speaker 2: hosted and produced by Me Jamie Loftus.
• 1:46:26
  Speaker 1: And me Caitlyn Dorante. The podcast is also produced by
• 1:46:30
  Speaker 1: Sophie Lichtermann and.
• 1:46:32
  Speaker 5: Edited by Caitlyn Durrante.
• 1:46:33
  Speaker 2: Ever Heard of Them?
• 1:46:34
  Speaker 1: That's me and our logo and merch and all of
• 1:46:38
  Speaker 1: our artwork in fact, are designed by Jamie Loftis ever
• 1:46:42
  Speaker 1: heard of her?
• 1:46:42
  Speaker 2: Oh My God?
• 1:46:44
  Speaker 5: And our theme song, by the way, was composed by
• 1:46:46
  Speaker 5: Mike Kaplan.
• 1:46:47
  Speaker 1: With vocals by Katherine Voskrasinski.
• 1:46:50
  Speaker 5: Iconic and a special thanks to the one and only
• 1:46:53
  Speaker 5: Aristotle Acevedo.
• 1:46:55
  Speaker 1: For more information about the podcast, please visit Linktree Slash
• 1:46:59
  Speaker 1: Bechdel Cast