Latest / The Bechdel Cast / 13 Going On 30 with Melissa Lozada-Oliva

Transcript

13 Going On 30 with Melissa Lozada-Oliva · The Bechdel Cast

• 0:00
  Speaker 1: Hi, everybody, you know who it is. It's us. You're
• 0:04
  Speaker 1: about to hear our thirteen going on thirty episode that
• 0:06
  Speaker 1: we recorded live in New York City. I've heard of
• 0:09
  Speaker 1: it with special guest Melissa Lozada Oliva. Yes, and we
• 0:14
  Speaker 1: also did a thirteen going on thirty episode that we
• 0:17
  Speaker 1: recorded live in d C. We say pretty much the
• 0:20
  Speaker 1: same thing during both shows, but we also wanted to
• 0:24
  Speaker 1: release part of the DC episode, like the highlights, some
• 0:29
  Speaker 1: parts that we like, we dug a little deeper into
• 0:32
  Speaker 1: the discussion, uh, and then the audience questions also from
• 0:35
  Speaker 1: that episode, So if you want to give that a listen,
• 0:37
  Speaker 1: we're releasing that on our Patreon ak Matreon. You don't
• 0:41
  Speaker 1: have to be a subscriber to hear it. We're just
• 0:43
  Speaker 1: kind of making it accessible to everyone if you want
• 0:45
  Speaker 1: to get a little deeper into it. So we'll tweet
• 0:48
  Speaker 1: out the link for that, and also if you go
• 0:50
  Speaker 1: to patreon dot com slash batel cast, it will be
• 0:53
  Speaker 1: available there. Yeah, it'll be somewhere and just look for it. Yeah,
• 0:56
  Speaker 1: just find it. So that's a bonus if you want it.
• 0:57
  Speaker 1: In the meantime, please enjoy our live New York City
• 1:01
  Speaker 1: show with Melissa on the Dog Cast. The questions asked
• 1:06
  Speaker 1: if movies have wenen and all their discussions just boyfriends
• 1:10
  Speaker 1: and husbands, or do they have individualism the patriarchy? Zefan
• 1:15
  Speaker 1: best start changing it with the bel Cast. What's up,
• 1:23
  Speaker 1: brook Clean, Welcome. I've always wanted to say that, what's
• 1:29
  Speaker 1: up Brooklyn? Yeah, you did a great job. Thank you,
• 1:32
  Speaker 1: thank you for coming. Welcome, y'alls, welcome to the Beck
• 1:38
  Speaker 1: Dol Cast. It's us. Okay, I'm Caitlin. Sorry for that
• 1:43
  Speaker 1: weird thing I just said. I'm Jamie. Uh yeah, we're
• 1:48
  Speaker 1: so stoked to be here at the Bell House our
• 1:51
  Speaker 1: first time here. Um, yeah, how are you? We just
• 1:56
  Speaker 1: we haven't seen each other in like a week, which
• 1:58
  Speaker 1: is longer than years. You have bangs, now I have bangs.
• 2:03
  Speaker 1: I thank you for the cheer for my bangs. That's correct.
• 2:07
  Speaker 1: The story with my bangs, not that anyone asked, is
• 2:11
  Speaker 1: that my my boyfriend and my dog. This doesn't pass
• 2:15
  Speaker 1: the becktels. I was just gonna say this might have
• 2:17
  Speaker 1: been a good example, but no, listen, I hate feminism.
• 2:22
  Speaker 1: I my boyfriend and my dog are in Wisconsin for
• 2:27
  Speaker 1: three months for a job he has, and so I
• 2:29
  Speaker 1: reacted by becoming my own dog. And I have truly
• 2:36
  Speaker 1: the exact same haircut as my dog. He has floppy ears,
• 2:41
  Speaker 1: and I'm my own I'm actually my own boyfriend and
• 2:44
  Speaker 1: my own dog. And that's my feminism. Just getting a
• 2:49
  Speaker 1: miserable I think, well, some of that passed the Bechtel test.
• 2:55
  Speaker 1: My dog's a man, I know, and he's a cock
• 2:58
  Speaker 1: or spaniel. I know. What's the Bechtel test. It's a
• 3:06
  Speaker 1: media test that you applied to I don't know, for
• 3:09
  Speaker 1: our sake, movies dog anecdotes. That requires that a movie
• 3:16
  Speaker 1: has two named female identifying characters to talk to each
• 3:22
  Speaker 1: other about something other than a man. Yeah, clap. If
• 3:27
  Speaker 1: you have listened to the Vectel cast before, this is great, awesome.
• 3:34
  Speaker 1: That is a trick called free applause. Um curious clap.
• 3:38
  Speaker 1: If you have not listened to the show before and
• 3:41
  Speaker 1: you have been dragged here, no shame, okay, trash canceled,
• 3:45
  Speaker 1: bad hates women? Got it? Interesting? Um cool? Well, we
• 3:50
  Speaker 1: just always want to shut out the people who drag
• 3:53
  Speaker 1: people in their lives to the show. They are the true,
• 3:57
  Speaker 1: the true soldiers. Yes, so, if you haven't heard the
• 4:01
  Speaker 1: show before, we take a specific movie every episode and
• 4:07
  Speaker 1: analyze it through the lens of how does it treat
• 4:11
  Speaker 1: and portray women. Yeah, for most movies, if you listen
• 4:15
  Speaker 1: to the show before, it bad bad, almost universally always bad.
• 4:21
  Speaker 1: I'm so excited for the movie we're talking about tonight.
• 4:25
  Speaker 1: It's it was one of my favorite movies growing up.
• 4:27
  Speaker 1: We're time about thirteen going on thirty. Um uh peak,
• 4:32
  Speaker 1: Jennifer Garner argue, unless you're what was that superhero? Juno
• 4:42
  Speaker 1: was the correct answer. I was trying to think of
• 4:46
  Speaker 1: Dared and wait was it dar? No Electric Electro? Yes,
• 4:50
  Speaker 1: that was the bad movie. I couldn't think of the
• 4:51
  Speaker 1: name of that joke. Wasn't worth the journey? Thank you though,
• 4:56
  Speaker 1: But yeah, I'm so excited and I'm really, really really
• 4:59
  Speaker 1: excited for our guest tonight. Let's bring her out. Yes,
• 5:02
  Speaker 1: she is a poet. She's the author of Polluta. She's
• 5:05
  Speaker 1: a co host of Stay More podcast. It's Melissa Losatta Oliva. Welcome, Hi, everybody.
• 5:18
  Speaker 1: What's up? Nothing? I made my hair look like I
• 5:22
  Speaker 1: was one of the six chicks. Yeah, you're but there's
• 5:27
  Speaker 1: only six chicks. If there was seven, something something something
• 5:31
  Speaker 1: that goes against stath or I don't know something classic
• 5:35
  Speaker 1: Matt Matt. Yeah. I was watching this and I was like,
• 5:39
  Speaker 1: this is when I started only dating people named Matt,
• 5:41
  Speaker 1: even if their name wasn't Matt, their name was somehow Matt.
• 5:45
  Speaker 1: It was yeah. Spiritually after that, a lot of math.
• 5:48
  Speaker 1: Yeah yeah, yeah, yeah, that feels about right. Thank you
• 5:54
  Speaker 1: so much for being here. You're here. What is your
• 5:58
  Speaker 1: history with this movie? I think that my history of
• 6:01
  Speaker 1: this movie is my like developing unrealistic expectations for the
• 6:07
  Speaker 1: men I was seeing, more so that they like none
• 6:09
  Speaker 1: of them were Mark Ruffalo. Um. Yeah, I was watching that.
• 6:14
  Speaker 1: I was like, oh, this is when it started. That's
• 6:17
  Speaker 1: my only cornerstone its Mark Ruffalo. So I guess I
• 6:21
  Speaker 1: don't pass the back gold tests in my life there. Yeah. Yeah.
• 6:25
  Speaker 1: I think this movie came out two thousand three or
• 6:28
  Speaker 1: four four four, right right at the part where she's like,
• 6:36
  Speaker 1: here's the idea for the magazine, right, all, I know
• 6:40
  Speaker 1: the only history I have my girls? Yeah cool. Um,
• 6:46
  Speaker 1: so it was like the perfect time for this movie
• 6:48
  Speaker 1: to come out. And we're the same age, so I
• 6:50
  Speaker 1: feel like it was it was like peak. Like any
• 6:52
  Speaker 1: movie that about teenagers is directed at ten year olds
• 6:56
  Speaker 1: basically yeah, yeah, yeah yeah. And so when this movie,
• 6:59
  Speaker 1: I was like ready to take everything that happened in
• 7:01
  Speaker 1: this movie is complete gospel and what I wanted in
• 7:05
  Speaker 1: my life. I was. I was especially affected by the
• 7:08
  Speaker 1: fact that she was dating a hockey player because my
• 7:13
  Speaker 1: dad was a hockey writer prom side brag local publication.
• 7:18
  Speaker 1: If anyone subscribes to the Patriot Ledger. If you don't,
• 7:20
  Speaker 1: that's why Prent is dead, and my dead will lose
• 7:23
  Speaker 1: his job. But he is a hockey writer, and he
• 7:26
  Speaker 1: always used to be like, someday, I'm gonna hook you
• 7:29
  Speaker 1: up with a hockey player, even though he didn't have
• 7:32
  Speaker 1: the power to do so. But I didn't know that.
• 7:37
  Speaker 1: I was ten. I was like, my dad's all powerful,
• 7:40
  Speaker 1: and I'm going to funk a hockey player too, And
• 7:43
  Speaker 1: so I viewed her relationship like I would always be like,
• 7:47
  Speaker 1: our hockey players really like that. I'm going to have
• 7:51
  Speaker 1: to tell them to stop stripping the ice ice baby.
• 7:55
  Speaker 1: Oh I just got that. But hey, I just got
• 7:59
  Speaker 1: stripped doing ice related songs. I he was a hockey player. Wow,
• 8:06
  Speaker 1: but no, I mean I like, I saw this movie
• 8:08
  Speaker 1: in the theaters, loved it, loved it. What about you Caitlin.
• 8:12
  Speaker 1: I did not see this movie for the first time
• 8:14
  Speaker 1: until about a year ago, and I watched it because
• 8:17
  Speaker 1: I was like, we'll probably do this on the Bechtel
• 8:19
  Speaker 1: Cast someday. I better familiarize myself with it now. And
• 8:25
  Speaker 1: I was right, So congratulations. First of all, a year later,
• 8:30
  Speaker 1: here we are. But yeah, I hadn't seen it. It
• 8:33
  Speaker 1: was a little in two thousand four. I was a
• 8:35
  Speaker 1: senior in high school, so I had like kind of
• 8:37
  Speaker 1: age just a few years older than the target demographic,
• 8:41
  Speaker 1: so I wasn't super interested in seeing it. Also, I
• 8:44
  Speaker 1: have a pretty big aversion to rom coms. They're not
• 8:48
  Speaker 1: my genre. Um, but I enjoyed this movie. It's cute, man,
• 8:54
  Speaker 1: I like, got fully skull fucked by. I like, I mean,
• 9:00
  Speaker 1: I feel like this is sort of like the tail
• 9:02
  Speaker 1: end of a very like specific time in rom coms. Um,
• 9:07
  Speaker 1: We're like this came out the year after Maid in Manhattan.
• 9:09
  Speaker 1: This is kind of when like j Lo's starting to
• 9:12
  Speaker 1: transition out of rom coms. At this point, she's doing
• 9:16
  Speaker 1: Monster in Lawn and she's kind of tapping out right,
• 9:20
  Speaker 1: I mean, shout out to the JL reference in this movie.
• 9:23
  Speaker 1: She's on the cover of Boys and yeah, she was
• 9:28
  Speaker 1: like it when this movie came out, Like how long
• 9:32
  Speaker 1: before the Devil Wores product came out? Eight seven or
• 9:38
  Speaker 1: eight something like that. You can tell this movie is
• 9:40
  Speaker 1: pre recession based on where everyone lives. This movie is
• 9:46
  Speaker 1: fully pre recession. Yeah, but it also I mean, like
• 9:50
  Speaker 1: I went back to as I usually do, I went
• 9:53
  Speaker 1: back to the original coverage of this movie, and it's
• 9:56
  Speaker 1: two thousand four, so women are not allowed to write
• 9:59
  Speaker 1: in print yet. So every review, like the Raw Tomatoes
• 10:04
  Speaker 1: of thirteen going on thirty, is very skewed because it's
• 10:07
  Speaker 1: written by old dudes who are just like, I don't
• 10:10
  Speaker 1: fucking get this. Like Roger Ebert, my nemesis, he like
• 10:17
  Speaker 1: gave us a horrible review. He's just like what like
• 10:20
  Speaker 1: she'd grabbing her Today's like he's just dumbass. But like
• 10:25
  Speaker 1: all the reviews around this movie, they basically say that
• 10:28
  Speaker 1: it is the same thing as Big, which it is not.
• 10:33
  Speaker 1: It's not the Biggest kind of isn't like creepier like
• 10:37
  Speaker 1: Big like leans more into like he has sex with
• 10:40
  Speaker 1: an adult woman boy. But mainly Big goes from like
• 10:47
  Speaker 1: a twelve year old becoming a thirty year old in
• 10:49
  Speaker 1: the same era where this is like a flash forward
• 10:53
  Speaker 1: into the future. And then the other criticism was that
• 10:56
  Speaker 1: it was too much like Freaky Friday with Lindsay Lohan
• 10:59
  Speaker 1: and Jamie Lee Curtis, which we will cover over my absolutely,
• 11:04
  Speaker 1: but but that's like a body swap. That's also different.
• 11:07
  Speaker 1: I don't know. I think that the main thread is
• 11:10
  Speaker 1: the iconic moment when the person looks in the mirror
• 11:14
  Speaker 1: and it's like what they're like, No, yeah, I like
• 11:20
  Speaker 1: that she grabs her boobs. She grabs her boobs so much,
• 11:24
  Speaker 1: so much. Okay, well we'll get into this, mored. But
• 11:27
  Speaker 1: I would argue, and I'm like curious how everyone feels
• 11:30
  Speaker 1: about this. But we see Jenna Rank at thirteen for
• 11:35
  Speaker 1: the first fifteen minutes of this movie, and let me
• 11:37
  Speaker 1: see her flash forward into Jennifer Garner's body. I think
• 11:40
  Speaker 1: that Jennifer Garner's acting like she's nine years old. I
• 11:45
  Speaker 1: don't think she's at Like, there are some things she
• 11:47
  Speaker 1: does and I'm like a thirteen year old would know
• 11:50
  Speaker 1: how to conduct themselves. I don't know. It's like, why
• 11:53
  Speaker 1: is the marker for you being like a teen that
• 11:56
  Speaker 1: you're very clumsy, like you're falling over time? Yeah, rom
• 12:00
  Speaker 1: coms have to have a beautiful woman Pratt falling all
• 12:03
  Speaker 1: over the place, all over New York City. Should I
• 12:09
  Speaker 1: do the recap? Yeah? Okay, So we meet Jenna Rink,
• 12:15
  Speaker 1: big Time fashion magazine editor. Also her last name? Okay, another,
• 12:19
  Speaker 1: her last name is Rink and it's a hockey rink.
• 12:22
  Speaker 1: Oh my god, I didn't catch on. The are thinking
• 12:33
  Speaker 1: where is the Zamboni representation in movie? She should have
• 12:37
  Speaker 1: been Janna Zamboni would have been a better movie. Okay, So,
• 12:44
  Speaker 1: um we meet her. It is the late eighties, it's
• 12:47
  Speaker 1: her thirteen birthday. Her best friend is Matt Flam half
• 12:55
  Speaker 1: Flam half I don't know, last name I've never heard,
• 13:00
  Speaker 1: but she wants to be friends with this group of
• 13:03
  Speaker 1: popular girls called the Six Chicks. Their leader is Tom Tom.
• 13:09
  Speaker 1: Was that like Tom Tom Club? Is that why she was?
• 13:12
  Speaker 1: I don't understand. Yeah. Also in The Six Chicks is
• 13:16
  Speaker 1: both Brie Larson what and yeah? Yeah? Brie Larson at
• 13:22
  Speaker 1: like thirteen or fourteen is in this movie. And also
• 13:25
  Speaker 1: Ashley Benson, who's in Pretty Little Liars is also in
• 13:28
  Speaker 1: The Six Chicks. The Six Chicks a star studded scene
• 13:35
  Speaker 1: of non participants. Mark Ruffalo just found out Bree Larson
• 13:40
  Speaker 1: was in that movie when he was when she was thirteen,
• 13:42
  Speaker 1: and all the click bait surrounding it was like Mark
• 13:46
  Speaker 1: Ruffalo is so touched, but you can just see him
• 13:48
  Speaker 1: like recognize his age and he's like, oh I am
• 13:53
  Speaker 1: fifty years old. It's a fun way. He's always like
• 13:58
  Speaker 1: he reacted the way he seems to react to everything,
• 14:01
  Speaker 1: which is just like confused, like oh really, that's what
• 14:06
  Speaker 1: he does through the whole movie. Is Mark Ruffalo stupid?
• 14:16
  Speaker 1: And you might have been person he might be stupid?
• 14:23
  Speaker 1: I think that, like I don't know if there I mean,
• 14:25
  Speaker 1: even with his character, it's like any guy that's like yeah,
• 14:28
  Speaker 1: I love the talking heads and then just stop talking
• 14:33
  Speaker 1: like stupid. Okay, moving on. So she wants to be
• 14:41
  Speaker 1: part of the Six Chicks to the extent that she
• 14:43
  Speaker 1: agrees to do a school project for them so that
• 14:46
  Speaker 1: they'll have time to come to her birthday party. Basically,
• 14:51
  Speaker 1: she'll do anything to be cool and popular and to
• 14:54
  Speaker 1: look like the Women and Poise magazine. She sees an
• 15:02
  Speaker 1: article in Poise about how being thirty is great, and
• 15:06
  Speaker 1: she's like, I want to be thirty, Caitlin, say what
• 15:09
  Speaker 1: it says? It doesn't say thirty is great. It says
• 15:17
  Speaker 1: thirty and flirty and thriving. Yes, it's exciting, thriving, I think,
• 15:27
  Speaker 1: And in the context of this movie, thriving is so critical. Yeah,
• 15:31
  Speaker 1: because if she hadn't specified thriving, we'll get into what
• 15:35
  Speaker 1: the other timelines could have been. Just being thirty and
• 15:40
  Speaker 1: flirty is, as we know as older people now, is
• 15:43
  Speaker 1: not enough. You must one muscles thirty flirting and struggling
• 15:51
  Speaker 1: students a story of my life. Um. So, her friend
• 15:58
  Speaker 1: Matt comes over for her birthday party and brings this
• 16:01
  Speaker 1: dream house that he made for her that is so elaborate,
• 16:05
  Speaker 1: so elaborate. How long did it take? He said three?
• 16:11
  Speaker 1: He must have been working at it twelve hours a
• 16:13
  Speaker 1: day every day for three weeks. But if I bought
• 16:16
  Speaker 1: it pre made and then just fill it in, so like, yeah,
• 16:21
  Speaker 1: the cutouts, the furniture, bathtub, Rick Springfield in there. I
• 16:28
  Speaker 1: honestly don't know who that is, but I kept calling
• 16:33
  Speaker 1: him in my notes throughout. I call them Rick Springberg,
• 16:38
  Speaker 1: and then I double checked and corrected the mistake and
• 16:41
  Speaker 1: then announced it. Jim Gaffigan is like, Rick Springsteen, does
• 16:46
  Speaker 1: that happen to the movie Jim. Yeah, it's so funny
• 16:51
  Speaker 1: because all of the people like young people who are
• 16:54
  Speaker 1: like no one quite matches up with like young person
• 16:57
  Speaker 1: growing into older person. But it like the disservices throwing
• 17:02
  Speaker 1: into Jim gaff again. Is it egregious? I think I
• 17:08
  Speaker 1: think Jim Govian is never going to be on the
• 17:10
  Speaker 1: Bectel cause I'm not concerned. Oh my god. I think
• 17:14
  Speaker 1: this movie does a much better job at like matching
• 17:17
  Speaker 1: the younger counterparts to the adults than say seventeen Again.
• 17:21
  Speaker 1: When we're supposed to believe the exact Efron turns into
• 17:25
  Speaker 1: Matthew Perry. It's like the director of seventeen Again must
• 17:30
  Speaker 1: have secretly hated Zach to be like, no, you know
• 17:35
  Speaker 1: this is all gonna fall apart. Okay, So he brings
• 17:43
  Speaker 1: to this dream house and it's covered in wishing dust. Well,
• 17:47
  Speaker 1: he brings the wishing dust and then he sprinkles it
• 17:51
  Speaker 1: onto without her consent, true sprinkle of the wishing dust?
• 17:58
  Speaker 1: Did he get it at like a magic shot or
• 18:00
  Speaker 1: like like a mysterious old lady. There's a lot of
• 18:04
  Speaker 1: conspiracy theories I've found online that have ideas about the
• 18:08
  Speaker 1: wishing I want to know. Yeah, okay, So there's wishing
• 18:13
  Speaker 1: dust and he sprinkles it on the house. The Six
• 18:16
  Speaker 1: Chicks show up to the party and Jenna is trying
• 18:18
  Speaker 1: to seem as cool as possible. But then the six
• 18:22
  Speaker 1: Chicks ditch the party and I locked her in a
• 18:25
  Speaker 1: closet because they say it's going to be seven minutes
• 18:27
  Speaker 1: in heaven with the man who will become jin Gaff again.
• 18:33
  Speaker 1: But they lock her in a closet, steal her homework,
• 18:36
  Speaker 1: and right so she burst out and Matt has just
• 18:40
  Speaker 1: brought his cassio over and she's like, you suck. I
• 18:43
  Speaker 1: hate you, I hate me. I want to be thirty
• 18:47
  Speaker 1: and flirty and thriving. It makes people feel good to
• 18:53
  Speaker 1: say it out loud. Yeah, stay in front of the mirror,
• 18:57
  Speaker 1: power pose and then some wishing to sprinkles on her,
• 19:03
  Speaker 1: and then the scene fades out, and then it fades
• 19:07
  Speaker 1: back up and she wakes up and she is Jennifer.
• 19:12
  Speaker 1: I appreciated in the design of like the scarf becomes
• 19:18
  Speaker 1: her sleeping mass design becomes her dress design. Someone thought,
• 19:25
  Speaker 1: which I appreciated, that like weird design was like a
• 19:28
  Speaker 1: continuing thing. Beautiful, beautiful, beautiful. Yeah, she's been instantly transported
• 19:34
  Speaker 1: not only into the body of a thirty year old
• 19:36
  Speaker 1: woman while still having the mind of a thirteen year
• 19:39
  Speaker 1: old girl. She is now in the year two thousand four.
• 19:43
  Speaker 1: She is thriving, She's got No one explains the Iraq
• 19:47
  Speaker 1: War to her at any point in this movie. It's
• 19:54
  Speaker 1: after nine eleven. Yeah, do we know exactly where she
• 19:59
  Speaker 1: was living? I think she would notice the Twin Towers
• 20:05
  Speaker 1: nine eleven and the Iraq War don't matter. At no
• 20:10
  Speaker 1: point do we see her ask who was the president? No? Also,
• 20:15
  Speaker 1: this means that she skipped over Shrek. She missed the
• 20:23
  Speaker 1: whole She didn't see it, right, She hasn't seen There's
• 20:26
  Speaker 1: so much she hasn't seen. All she cares about is like,
• 20:29
  Speaker 1: where is Mark Ruffalo? Right, That's what I care about.
• 20:36
  Speaker 1: So she's got a boyfriend, She's got a nice apartment
• 20:39
  Speaker 1: in New York City. It's where's that I price checked
• 20:45
  Speaker 1: her because the name of her building they have it.
• 20:48
  Speaker 1: When she looks at her envelopes, it's a real building.
• 20:51
  Speaker 1: That apartment costs three million dollars of course magazine. But
• 20:58
  Speaker 1: pre I mean like pre recession. True, she's chilling and
• 21:03
  Speaker 1: he's good. So she is freaking out because she was like,
• 21:09
  Speaker 1: why do I look like Jennifer Garner? This is weird?
• 21:12
  Speaker 1: Oh no, I look like Jennifer Garner. My insanely toned arms. What?
• 21:22
  Speaker 1: So she runs outside and a woman is there who's like,
• 21:25
  Speaker 1: I'm your best friend. It's Judy Greer. Er. You run outside,
• 21:30
  Speaker 1: it's Judy Greer. She says, she's your best friend? What
• 21:33
  Speaker 1: do you do? Get in? She's like, we gotta go
• 21:41
  Speaker 1: to work. You're an important editor at Poise magazine. And
• 21:45
  Speaker 1: Jenna is like, I love Poise Magazine. So no one
• 21:51
  Speaker 1: in this movie is concerned enough about their friend that
• 21:55
  Speaker 1: is clearly sick. They're is like, she's so hungover. Have
• 22:03
  Speaker 1: you ever been so hungover? You don't know who you are? Yes?
• 22:08
  Speaker 1: But it is worn off in a day. It is crazy,
• 22:14
  Speaker 1: the lack of concern for Jenna's state of mind throughout
• 22:19
  Speaker 1: this movie. So they get to the office. Andy Circus
• 22:23
  Speaker 1: is her boss. Yes, I'm sorry. I love Andy Circus.
• 22:28
  Speaker 1: This is post Golem. By the way, Andy Circus famously
• 22:34
  Speaker 1: is Golem and nothing else. I love I stand Andy Serkus.
• 22:43
  Speaker 1: I love him so much. I love that he occasionally
• 22:46
  Speaker 1: every couple of years is like I have to dance
• 22:49
  Speaker 1: and I need my face physically, like he's a good dancer.
• 22:52
  Speaker 1: I love, I love him. Um. Okay, So they're rushed
• 22:56
  Speaker 1: into a meeting about how another magazine Arkle is like
• 23:01
  Speaker 1: stealing poises ideas. No right, I love And this is
• 23:06
  Speaker 1: yet another The trope of magazine editor in rom coms
• 23:11
  Speaker 1: is alive and well in this movie. Um and also
• 23:15
  Speaker 1: just like the trope that for me most recently ticks with,
• 23:19
  Speaker 1: like the Gilmore Girl's revival of a very like weird
• 23:23
  Speaker 1: understanding of how magazines actually work, of like this one
• 23:28
  Speaker 1: stole our idea and now we're out of business. We're like, no,
• 23:32
  Speaker 1: it's two thousand four. Print is already dead, but sure
• 23:37
  Speaker 1: they're stealing your idea. Okay. So she's still freaking out.
• 23:42
  Speaker 1: She tracks down her best friend, Matt flam Half and
• 23:50
  Speaker 1: she shows up at his place and it's Mark Ruffalo,
• 23:55
  Speaker 1: hot so hot and stupid? I mean, is are cross? Like?
• 24:00
  Speaker 1: Who are you? This is all I say? So he's like,
• 24:04
  Speaker 1: what are you doing here? We aren't friends anymore, and
• 24:06
  Speaker 1: she's like, here's my predicament and and he's also not
• 24:11
  Speaker 1: that concerned. No, He's like most of all, yeah, and
• 24:15
  Speaker 1: the only speed yeah are you high another person who
• 24:21
  Speaker 1: he's like, I'm a photographer, enter my five thousand square
• 24:25
  Speaker 1: but village apartment. And then he's like, I'm not that successful.
• 24:34
  Speaker 1: Doesn't And also my hot take is that Matt flam
• 24:39
  Speaker 1: Half is a shitty photographer. If you're getting hired off
• 24:45
  Speaker 1: of your high school yearbook, you're a bad photograher. I
• 24:49
  Speaker 1: mean the photos he takes for Poise look like shit photos.
• 24:56
  Speaker 1: That's his specialty, Wendy Okay, So he's like, we're not
• 25:04
  Speaker 1: friends anymore. You became cool and popular in high school
• 25:07
  Speaker 1: and that's why we don't. We didn't talk anymore. Jenna
• 25:10
  Speaker 1: learns that she also like distanced herself from her family.
• 25:14
  Speaker 1: That her best friend currently and colleague at Poise is
• 25:20
  Speaker 1: Tom Tom from the six d Greer is Tom Tom?
• 25:23
  Speaker 1: What do you do? Get in the car? There's the
• 25:30
  Speaker 1: scene where she goes to a work party and live
• 25:33
  Speaker 1: ends it up by dancing to thriller Man. That's the scene.
• 25:39
  Speaker 1: The scene and then he comes. He's like, he shows
• 25:42
  Speaker 1: and he comes from we all come. He comes. Yeah,
• 25:52
  Speaker 1: that scene was really hard to watch this time around.
• 25:55
  Speaker 1: I mean so embarrassed. It takes so long to get
• 25:58
  Speaker 1: people out of Yeah, and she's just like, can you
• 26:02
  Speaker 1: imagine shimmying yourself childhood friends? And then there's that moment
• 26:09
  Speaker 1: where he's like I can't do this, I'm too attracted
• 26:12
  Speaker 1: to you and like leaves. Yeah, He's like, I gotta go.
• 26:19
  Speaker 1: I'm engaged. Oh my god. Oh yeah. Is a twist
• 26:24
  Speaker 1: that he has been engaged the entire time and the
• 26:27
  Speaker 1: wedding is tomorrow. So I feel like this also goes
• 26:34
  Speaker 1: along with people I've dated, like, oh wait, you're actually
• 26:37
  Speaker 1: seeing someone else, Matt or other Matts. I'm going to
• 26:42
  Speaker 1: try to get through this very quick because we've been
• 26:44
  Speaker 1: talking about the recap for a hundred years. Um, okay,
• 26:48
  Speaker 1: So things are falling apart. At work, Sparkle is out
• 26:51
  Speaker 1: selling Poise. They're talking about having to do a redesign
• 26:54
  Speaker 1: of Poise, and then like Jenna overhears the lucy ak
• 26:58
  Speaker 1: Tom tom a, Judy Grier is planning to stab her
• 27:03
  Speaker 1: in the back. Uh. And Jenna also learned that she's
• 27:06
  Speaker 1: apparently a horrible person who takes her a very long
• 27:09
  Speaker 1: time to figure it out having an affair. Yeah, oh yeah,
• 27:13
  Speaker 1: she's fucking her coworkers husband at work. Yeah, he calls
• 27:17
  Speaker 1: her Pookie behind frosted glass. Gross. So she's bad and
• 27:25
  Speaker 1: she's like, I'm not going to be a bad person anymore.
• 27:27
  Speaker 1: So she goes and visits her parents. She hied there
• 27:31
  Speaker 1: taking horrible photos and then they vibe there vibing they kiss. Yeah,
• 27:40
  Speaker 1: the spoilers did you a lot of the lion King
• 27:45
  Speaker 1: thing where they like they leap into a sex position
• 27:47
  Speaker 1: and then yeah, they're playground for children, for children, which
• 27:53
  Speaker 1: she is, and they fly on top of each other.
• 28:00
  Speaker 1: They're like soaring through the air from being on swings
• 28:02
  Speaker 1: and then they like land on top of each other
• 28:04
  Speaker 1: and then they're like, oh, you have arm hair. Oh yeah,
• 28:10
  Speaker 1: I'm sorry, is that not as that's something I say,
• 28:15
  Speaker 1: that's so fun to give, like a man the lowest
• 28:19
  Speaker 1: common DENI you have arm hair. They're like yeah, okay.
• 28:25
  Speaker 1: So then meanwhile she's working very hard on her pitch
• 28:28
  Speaker 1: for the redesign, which is horrible. It's it's not good,
• 28:32
  Speaker 1: but not not as bad as Judy Greer's, which is
• 28:35
  Speaker 1: horrible and disturbing. This like fashion suicide. I'm just like,
• 28:40
  Speaker 1: we need to be researching bullies. Going on with bullies,
• 28:44
  Speaker 1: they're growing up to being dangerous. And then Lucy like
• 28:50
  Speaker 1: steals Matt's photos and Jenna's designs and takes them to
• 28:54
  Speaker 1: Sparkle and becomes their new editor in chief via snail mail.
• 28:58
  Speaker 1: And then right and then Jenna learned that she was
• 29:01
  Speaker 1: the one who was leaking ideas to Sparkle via snail man.
• 29:07
  Speaker 1: It was two thousand four. They had email, yea, they
• 29:11
  Speaker 1: had some times there was no WiFi. Snail mail was
• 29:16
  Speaker 1: still a thing. Okay, I don't know why I'm defending
• 29:19
  Speaker 1: two thousand four. So then she's like, I suck and
• 29:24
  Speaker 1: I have to fix this, and she high tails it
• 29:25
  Speaker 1: to New Jersey because Matt is you do in the
• 29:28
  Speaker 1: middle of his wedding. Oh. She goes to Wendy's apartment
• 29:32
  Speaker 1: and when he's like hi, me again, and she's like,
• 29:35
  Speaker 1: the wedding is tomorrow. Oh my god, because that's why.
• 29:38
  Speaker 1: It's like, I'm Wendy the fiance and I'm a weather woman.
• 29:41
  Speaker 1: In case you forgot, sorry, why the wedding is tomorrow?
• 29:47
  Speaker 1: And then yeah, she takes the Long Island and she
• 29:50
  Speaker 1: takes a Long Island railroad. She goes to New Jersey.
• 29:54
  Speaker 1: Whatever the transit, I don't fucking living here. I she
• 30:02
  Speaker 1: takes a commuter rail of sorts to the correct area
• 30:08
  Speaker 1: and tries to hashtag stop the wedding. The way Matt
• 30:13
  Speaker 1: Mark was talking about Wendy was traumatizing. He was she
• 30:17
  Speaker 1: was like, are you in love? He was like, I
• 30:19
  Speaker 1: would say we're together, and it's like, you know someone
• 30:23
  Speaker 1: has said that about you. Yeah, And then he's like
• 30:27
  Speaker 1: anyone who feels like that's so romantic. It's like, no,
• 30:30
  Speaker 1: you're on the wrong side of that interaction. You've been
• 30:33
  Speaker 1: like I would say we're together. Yeah. So yeah. She
• 30:39
  Speaker 1: tries to be like, I love you, and he's like, well,
• 30:42
  Speaker 1: I think you're great, but here's the dollhouse that's been
• 30:45
  Speaker 1: in my room for seventeen years. It because he's a warlock,
• 30:49
  Speaker 1: best because he's he as that jif, that famous jif
• 30:53
  Speaker 1: says gift, I'm sorry, guys. He looks down and he's like,
• 30:56
  Speaker 1: I've always loved you, yes, and then he's like, here,
• 30:58
  Speaker 1: take this dollhouse back. She goes outside. She has the dollhouse.
• 31:02
  Speaker 1: They're still wishing dust on it. The wind stirs it up.
• 31:06
  Speaker 1: I guess it blows on her and then suddenly she's
• 31:11
  Speaker 1: back as a thirteen year old. She's a front again.
• 31:20
  Speaker 1: And then she tackles Matt with her face surprised kiss
• 31:25
  Speaker 1: She's surprised kisses for sure, the young boy. Yeah, and
• 31:29
  Speaker 1: then she's like, come on, we're gonna be late. Smash
• 31:33
  Speaker 1: cut to their wedding when they're thirty again, where did
• 31:38
  Speaker 1: they go to? Is that? What they're late to their
• 31:41
  Speaker 1: wedding is that? I guess to the rest of their lives.
• 31:48
  Speaker 1: The stairway is the future. And then they move into
• 31:53
  Speaker 1: a pink house together and that right, it is Jenna's dreamhouse,
• 31:58
  Speaker 1: dream house and not why they do that. It's dumb,
• 32:01
  Speaker 1: but it resonated with me. She's like, do you want
• 32:06
  Speaker 1: another candy from the eighties? Mr? Full House? What's it?
• 32:10
  Speaker 1: What is his name? Falstaff? Falstaff, flam half flam half
• 32:16
  Speaker 1: Flam half flam half. The last two lines of the
• 32:19
  Speaker 1: movie are calling or when they are calling each other
• 32:22
  Speaker 1: Mr and Mrs flam half and we're like, yes, no,
• 32:25
  Speaker 1: Riches the goal forgot, that's the movie. That's the movie.
• 32:30
  Speaker 1: Either did it something that I was thinking about this
• 32:41
  Speaker 1: whole movie just because I haven't rewatched the movie and
• 32:43
  Speaker 1: at least ten years watching it now being closer to
• 32:48
  Speaker 1: thirty than thirteen, there's like all this stuff that comes
• 32:51
  Speaker 1: up that wouldn't otherwise. And the first thing is that,
• 32:54
  Speaker 1: like all these movie premises that involve flashing into the
• 32:59
  Speaker 1: few sure or to older age in some way, whether
• 33:03
  Speaker 1: it be Big or thirteen going on thirty, or even
• 33:07
  Speaker 1: like Little that came out two weeks ago, you have
• 33:10
  Speaker 1: to for it to remain a comedy flash into a
• 33:13
  Speaker 1: future body of an insane privilege, because otherwise it's a
• 33:18
  Speaker 1: horror movie. No. I kept thinking that. She's like, like,
• 33:22
  Speaker 1: everything isn't awesome because you're thirty. Everything is awesome because
• 33:26
  Speaker 1: you're loaded up middle class and you can go back
• 33:29
  Speaker 1: to your loaded family who went to the Caribbean without you, right, yeah,
• 33:35
  Speaker 1: like it's your Yeah, I mean well, the main character
• 33:38
  Speaker 1: in Little is like gaming executive. Yes, she owns her
• 33:42
  Speaker 1: own like gaming company. Jenna is a magazine editor. Like
• 33:45
  Speaker 1: it's like you have to be flashing forward into literally
• 33:49
  Speaker 1: your ideal or if you're flashing forward realistically to someone
• 33:53
  Speaker 1: who may be struggling. Uh, No, one wants to see
• 33:57
  Speaker 1: that movie. Jennifer Arner won't take that job if you flash.
• 34:02
  Speaker 1: I mean it truly, like if if Jennifer Garner came
• 34:06
  Speaker 1: from because in in this movie, like Jenna Rink is
• 34:10
  Speaker 1: at lowest an upper middle class white girl, right, so
• 34:14
  Speaker 1: if it's anything lower than that, you could be flashing
• 34:17
  Speaker 1: forward to a lot of different stuff. Like if Jenna
• 34:21
  Speaker 1: Rink flashes forward to like I'm thirty and flirty, you know,
• 34:25
  Speaker 1: so many different things could happen, but she has to
• 34:29
  Speaker 1: add the addendum of thriving and then we get the movie.
• 34:33
  Speaker 1: I mean that's true for every rom com I can
• 34:35
  Speaker 1: think of. These are all focusing on middle to upper
• 34:40
  Speaker 1: middle class white people and they're very privileged lives and
• 34:45
  Speaker 1: they're like, but how will I have time for a
• 34:47
  Speaker 1: boyfriend when I have this demanding job? And then that's
• 34:51
  Speaker 1: the plot of right, it has to be like low
• 34:54
  Speaker 1: steak high steak things. Yeah, I think these movies like
• 34:58
  Speaker 1: Big or Little is that one right where they have
• 35:03
  Speaker 1: to work like Cinderella stories almost where there's like this
• 35:08
  Speaker 1: like transformation into like all of this like wonder for
• 35:11
  Speaker 1: it to be like interesting to watch. Yeah, but I
• 35:14
  Speaker 1: think it's boring. Caitlin. That's so brave of you, and yeah,
• 35:22
  Speaker 1: I mean it's just like there has to be you
• 35:24
  Speaker 1: had to be in a very specific class for this movie.
• 35:29
  Speaker 1: Formula that's been used a lot of times at this
• 35:31
  Speaker 1: point to work, like if you go below a certain
• 35:34
  Speaker 1: income rate, this genre does not want you do not
• 35:39
  Speaker 1: want to involved. For me, the biggest problem with this
• 35:42
  Speaker 1: movie is that a romantic relationship develops when it's an
• 35:47
  Speaker 1: adult man in an adult body with an adult brain.
• 35:51
  Speaker 1: That's okay, But he falls in love with a woman
• 35:57
  Speaker 1: who is an an adult body, but she has the
• 36:00
  Speaker 1: mind of a thirteen year old and she's acting like
• 36:03
  Speaker 1: she's nine. Well, it just sort of strikes as like
• 36:09
  Speaker 1: a very like kind of like the born Sexy Yesterday
• 36:12
  Speaker 1: tripe that we've talked about a lot, where, um, if
• 36:15
  Speaker 1: you haven't heard this us talk about this trope before,
• 36:17
  Speaker 1: it's just like the sort of the movie trope where
• 36:21
  Speaker 1: men in movies are very attracted to baby women are
• 36:25
  Speaker 1: women who have the body of a conventionally sexy for
• 36:30
  Speaker 1: whatever the era the movie comes out in rise jeans
• 36:33
  Speaker 1: exactly two thousand four, sexy lady, but she acts like
• 36:39
  Speaker 1: she's a baby, and that's hot, and it's so with
• 36:46
  Speaker 1: this movie. It's especially weird because in most Born Sexy
• 36:50
  Speaker 1: Yesterday tropes you've got stuff like the fifth element where
• 36:54
  Speaker 1: it's like a woman who came to life with a
• 36:58
  Speaker 1: full grown hot lady Addie literally yesterday. But with Matt,
• 37:02
  Speaker 1: it's someone he knows who is acting like a baby yeah,
• 37:08
  Speaker 1: and he asks no question. He's like, oh, and she says,
• 37:13
  Speaker 1: I'm thirteen years old and he's like, where do you live? Water? Yeah?
• 37:22
  Speaker 1: Like it's in so many ways in this this movie,
• 37:26
  Speaker 1: Like the way that everyone reacts to her is very
• 37:28
  Speaker 1: weird and everyone in this movie should be more concerned
• 37:31
  Speaker 1: about her than they are. But Matt, especially, Like if
• 37:36
  Speaker 1: you if you saw your best friend in seventh grade
• 37:40
  Speaker 1: now and they were like, I'm thirteen, you would be like,
• 37:43
  Speaker 1: we're going to the hospital right, Like, I'm so glad
• 37:48
  Speaker 1: you found me. Let's do you have insurance? I hope,
• 37:51
  Speaker 1: so let's get help. She also gives him like a
• 37:55
  Speaker 1: ship ton of money to she hires him to do
• 37:58
  Speaker 1: that whole ship yeah, which again is like that trope
• 38:01
  Speaker 1: of like, let me give my boyfriend a job, like
• 38:03
  Speaker 1: I love him so much so talented? Is that a trope?
• 38:06
  Speaker 1: That's just something I was thinking about. There is a
• 38:10
  Speaker 1: bunch of sinister listicles written because this movie just hit
• 38:14
  Speaker 1: its fifteenth anniversary, which means there's a lot of sinister
• 38:17
  Speaker 1: listicles coming out about how actually it's great. Uh, but
• 38:23
  Speaker 1: there's like a bunch of like she employed him, so
• 38:25
  Speaker 1: she's in charge. I'm like he should have fifty one
• 38:28
  Speaker 1: fifty her weeks ago, Like why is no one looking
• 38:33
  Speaker 1: out for this woman? Or if like if it still
• 38:36
  Speaker 1: needs to take a like comedy approach to the narrative
• 38:41
  Speaker 1: then unfolds. I think it would have worked better if
• 38:43
  Speaker 1: Mark Ruffalo was like, Okay, you're a thirteen year old
• 38:47
  Speaker 1: girl trapped in an adult woman's body. Let me go
• 38:50
  Speaker 1: get my wishing dust. I mean, the movie would be
• 38:53
  Speaker 1: over after or it's just like, let's help, let me
• 38:58
  Speaker 1: help you figure this out and like navigate your job,
• 39:01
  Speaker 1: and let me make sure I don't kiss you because
• 39:03
  Speaker 1: that's horrifying. Here's okay, here's where the conspiracy theories. Oh
• 39:08
  Speaker 1: my god, there's been a lot of extensive Reddit threads
• 39:13
  Speaker 1: dedicated to the poor writing of this movie. Um so,
• 39:19
  Speaker 1: how some people feel is that the wishing dust, while
• 39:24
  Speaker 1: viewed in the plot as arbitrary, is actually Matt's wishing
• 39:29
  Speaker 1: dust and he's a war lock. This theory is very good.
• 39:36
  Speaker 1: It is so basically Matt at the beginning of the
• 39:41
  Speaker 1: movie he's thirteen. He's basically Harry Potter, but weirder it
• 39:48
  Speaker 1: has to go to public school in New Jersey, and
• 39:52
  Speaker 1: he's magic. He's got this dust. He's like, Okay, this
• 39:57
  Speaker 1: dust is gonna make my crush love me, and if
• 40:01
  Speaker 1: she doesn't love me, it will punish her, which means
• 40:07
  Speaker 1: in the mysteriture, that's why because the weird plot hole
• 40:12
  Speaker 1: of an adult man holding onto a dollhouse for seventeen
• 40:16
  Speaker 1: years bothered people. I don't know why. You know why
• 40:21
  Speaker 1: he did it because he was a war law and
• 40:23
  Speaker 1: that's his fucking core crux. Okay, it literally is Okay.
• 40:28
  Speaker 1: So the theory goes that he had to hold on
• 40:30
  Speaker 1: to it so that when Jenna finally reaches the end
• 40:34
  Speaker 1: of her punishment of realizing, like Christmas Carol style that
• 40:39
  Speaker 1: if you don't fuck me, your life is gonna fucking
• 40:42
  Speaker 1: suck life. You rearranged his last name, what was it full?
• 40:48
  Speaker 1: It spells Baltimore, exactly playing the half Baltimore. So at
• 41:01
  Speaker 1: the end, the theory goes that he had to hold
• 41:04
  Speaker 1: onto the dollhouse and make sure there was extra wishing
• 41:08
  Speaker 1: dust on it so that Jenna would receive her come
• 41:11
  Speaker 1: up and only after she admitted she loved Yeah, could
• 41:16
  Speaker 1: she receive the dollhouse and then could be you know,
• 41:20
  Speaker 1: have to go to the past and fuck him and
• 41:25
  Speaker 1: it worked, and it works warlocks upsetting h. So that
• 41:33
  Speaker 1: is a theory. Um, I'm just presenting it. Looking at
• 41:40
  Speaker 1: the story of story was my idea just at face value,
• 41:46
  Speaker 1: looking at the story. The fact remains that the movie,
• 41:49
  Speaker 1: I mean, it is mostly a romantic story. Although I
• 41:53
  Speaker 1: do enjoy that just as much. I would say, just
• 41:56
  Speaker 1: as much time as devoted to her career and like
• 42:01
  Speaker 1: her trying to put together this presentation and all of
• 42:03
  Speaker 1: that stuff as the romantic storyline. Yeah, but I also
• 42:07
  Speaker 1: think that, like, there is no relationship between women and
• 42:11
  Speaker 1: this movie that you're really rooting for as much. Definitely
• 42:15
  Speaker 1: rooting for Matt and Jenna, like because you know, that's
• 42:19
  Speaker 1: that sleepoverseen there where's Becky's mom. You know, yeah, there's
• 42:26
  Speaker 1: a there's a woman with a six figure salary who
• 42:29
  Speaker 1: wants to sleep Yeah. Yeah, everyone's like yeah, Invider, Like,
• 42:38
  Speaker 1: I mean, yeah, you're totally right. Well, we can talk
• 42:40
  Speaker 1: about the female relationship or relationships in the movie, but
• 42:44
  Speaker 1: the fact remains that, like the romantic storyline that unfolds
• 42:47
  Speaker 1: is troubling because it is a t and it would
• 42:52
  Speaker 1: have been maybe better if it was just sort of
• 42:55
  Speaker 1: like she realizes that she is interested in him, and
• 42:58
  Speaker 1: then he's like, you seems really immature. I don't like you.
• 43:04
  Speaker 1: Is upsetting. This is weird. Yeah, but yeah, that's the
• 43:08
  Speaker 1: biggest prophet because it was very much like the born
• 43:11
  Speaker 1: Sexy Yesterday or Jamie as you said back stage, born
• 43:14
  Speaker 1: Sexy Tamara. Wow, thank you, I earned that. Go Jamie
• 43:23
  Speaker 1: the whole like yearbook class of two thousand and fourth thing,
• 43:27
  Speaker 1: and like her being nine years old. Something about it
• 43:30
  Speaker 1: is so I guess like obsessed with nostalgia and he
• 43:33
  Speaker 1: like falls in love with her because of nostalgia, and like, like,
• 43:38
  Speaker 1: is the movie like a desire to go back to
• 43:40
  Speaker 1: the Reagan era? It's like seven, Yeah, I don't know.
• 43:47
  Speaker 1: I mean, yeah, this movie is very is very rude
• 43:50
  Speaker 1: in nostalgia that I feel like the target audience of
• 43:53
  Speaker 1: the movie didn't fully understand, right, Like we were the
• 43:57
  Speaker 1: target audience. I didn't know the thriller dance, I knew
• 44:00
  Speaker 1: the song. I didn't know who Pat Benatar was. Like
• 44:05
  Speaker 1: there was a lot of stuff I learned through watching
• 44:07
  Speaker 1: this movie. They'm like, oh, I guess we care about this.
• 44:11
  Speaker 1: I thought the picture of Madonna was a picture of
• 44:13
  Speaker 1: Marilyn Monroe. I didn't too it was in black and white.
• 44:21
  Speaker 1: I don't know. But in general, life feel like this movie.
• 44:23
  Speaker 1: You know, there is the undercurrent of if we're going
• 44:27
  Speaker 1: with like the a Christmas Carol style theme that this
• 44:31
  Speaker 1: movie kind of has that like, oh, if only she
• 44:35
  Speaker 1: had dated this nerdy guy, she would be a good person.
• 44:39
  Speaker 1: But if she chooses her own path and like goes
• 44:43
  Speaker 1: with her career, she's a bad person. And like being
• 44:46
  Speaker 1: into your like there's just like this only but like
• 44:49
  Speaker 1: stopping being friends with a dude and like joining this
• 44:52
  Speaker 1: group of women who are because women are bad influences
• 44:57
  Speaker 1: mean Judy Greer is always wearing green like puke there
• 45:02
  Speaker 1: Like yeah, like there's like a very weird like anti
• 45:07
  Speaker 1: women having careers undercurrent to this whole movie, because it's like, yeah,
• 45:13
  Speaker 1: like she chooses her like this group of basically mean girls,
• 45:18
  Speaker 1: and she chooses the mean girls over her talking heads
• 45:22
  Speaker 1: fan childhood friend, and as a result, she like because
• 45:27
  Speaker 1: she's into her career, she is a bad daughter. She's
• 45:30
  Speaker 1: a bad friend, she's a bad partner. Like I feel
• 45:32
  Speaker 1: like it just like insinuates a lot of cruel things
• 45:35
  Speaker 1: about women who want careers. Sure, and then the way
• 45:39
  Speaker 1: the movie ends when she flashes forward and we see like,
• 45:44
  Speaker 1: you know, we're late, and then she's late to her
• 45:46
  Speaker 1: wedding with Mark Ruffalo, and we don't know in the future,
• 45:50
  Speaker 1: we know she lives in a big house, but we
• 45:53
  Speaker 1: don't know what she does. Does she still work at Poised?
• 45:58
  Speaker 1: Probably not, like she's living in the Jersey suburbs, probably not.
• 46:03
  Speaker 1: Like so it just there's like a lot of like
• 46:06
  Speaker 1: weird sub tweeting of women who want to have a job.
• 46:13
  Speaker 1: I mean that, and it it villainizes. The female friendships
• 46:17
  Speaker 1: or female relationships in this movie are largely antagonistic, where
• 46:21
  Speaker 1: obviously the main one is between Jenna and Lucy a
• 46:26
  Speaker 1: k A Tom Tom a k Judy Greer, where all
• 46:29
  Speaker 1: they do is stab each other in the back, and
• 46:32
  Speaker 1: then the the other one is between well there's her
• 46:37
  Speaker 1: and Becky, which again is narrative tool whose mother is
• 46:42
  Speaker 1: not present, right, and then there's Jenna and her assistant
• 46:48
  Speaker 1: whose name is I think are yes, she is so frightened.
• 46:54
  Speaker 1: We have some hand friends in there. Yeah, it's just Jenn.
• 47:00
  Speaker 1: We don't see this on screen, but in all the backstory,
• 47:04
  Speaker 1: we know that Jenna is awful to other women is
• 47:08
  Speaker 1: what we can glean, right, like well and and other
• 47:12
  Speaker 1: people in general, where like she is bad to her parents.
• 47:16
  Speaker 1: There is that scene where she's talking to Judy Greer
• 47:19
  Speaker 1: and Judy Greer implies that she has cheated on her
• 47:21
  Speaker 1: boyfriend before. Like it seems like she becomes because she
• 47:25
  Speaker 1: makes this one choice when she's thirteen years old, she
• 47:29
  Speaker 1: becomes the worst person. Which was like, oh, like this
• 47:34
  Speaker 1: whole time and the movie the whole time. I was
• 47:37
  Speaker 1: just like, I also have regrets, right, maybe if I
• 47:42
  Speaker 1: had done this differently in seventh grade, Yeah, I would
• 47:45
  Speaker 1: be married to this movie. Was like, actually, they're like
• 47:48
  Speaker 1: there are no consequences. You just have to stare at
• 47:51
  Speaker 1: a house for long enough and then everything will be fine. Right,
• 47:55
  Speaker 1: It's just yeah, it's just weird, Like and and the
• 47:58
  Speaker 1: fact that I think the like her, like Jenna's relationship
• 48:02
  Speaker 1: with Lucy, because that's the way that the story goes.
• 48:05
  Speaker 1: Like even with bully characters, there's always more there than
• 48:10
  Speaker 1: just like she's mean and she's mean to the core,
• 48:13
  Speaker 1: and she'll be mean for job but that's like all
• 48:17
  Speaker 1: we know about her, right right, And they're so cruel
• 48:21
  Speaker 1: to each other, and it's just like that's the main
• 48:24
  Speaker 1: two women that we see interact in the movie, and
• 48:26
  Speaker 1: we don't ever learn anything about Lucy when she's younger
• 48:30
  Speaker 1: or older. We just know she's mean and she's the
• 48:33
  Speaker 1: stock character and that the only way that Jenna can
• 48:37
  Speaker 1: rebel against her is by being with Mark Rufflo. There's
• 48:41
  Speaker 1: no alter right, Yeah, Like the only way she cannot
• 48:45
  Speaker 1: be bullied ist to marry Mark Ruffles. I wanted to
• 48:49
  Speaker 1: think while watching I was like trying to think, like
• 48:51
  Speaker 1: maybe this movie is like anti capitalist because it's like
• 48:54
  Speaker 1: showing like the evils of the magazine world. But instead
• 48:57
  Speaker 1: it's like, you know, it would be better if you've
• 48:59
  Speaker 1: got a giant house with one man and and you
• 49:02
  Speaker 1: sat there you loved him, y, Yeah, totally. I mean
• 49:07
  Speaker 1: it's like and the way we see women in this
• 49:09
  Speaker 1: workplace versus the only man we really see in this
• 49:11
  Speaker 1: workplace is Andy Serkis, and we sort of just see
• 49:15
  Speaker 1: him being like hapless and being like, what are your
• 49:17
  Speaker 1: ladies up to? Like twice melt bat He's the editor
• 49:22
  Speaker 1: in chief but never seems to know what's happening? And
• 49:26
  Speaker 1: so it's like the women are mean and the men
• 49:28
  Speaker 1: are clueless at this workplace. So it's like, sorry, I
• 49:32
  Speaker 1: did a British accent, let's forgive me. But it's it's like,
• 49:38
  Speaker 1: you know, they're they're treated on different levels of like
• 49:41
  Speaker 1: the women are are against each other and the one
• 49:45
  Speaker 1: guy at the workplace is just like where are we,
• 49:49
  Speaker 1: which I feel like is kind of a cop out
• 49:51
  Speaker 1: in the way that those relationships are treated. And also
• 49:54
  Speaker 1: like Jenna being a thirteen year old girl in a
• 49:58
  Speaker 1: thirty year old body, her proposal, both proposals for the
• 50:02
  Speaker 1: redesign of the magazine are so fat, like how did
• 50:06
  Speaker 1: they get this sho She's like twiddling with like a
• 50:09
  Speaker 1: balloon for no reason. And then yeah, she's like, these
• 50:12
  Speaker 1: are the woman I want to see. I want to
• 50:14
  Speaker 1: see the girl next door. She's like talking like that.
• 50:17
  Speaker 1: The older She's like, if you want if you don't
• 50:24
  Speaker 1: like this, I don't care like you. And she also
• 50:28
  Speaker 1: like takes down the fashion editorials and presents in White Yearbook. Yeah,
• 50:37
  Speaker 1: she's like about this and Andy because it's like, oh
• 50:41
  Speaker 1: my god, I did not think of that. Is there?
• 50:47
  Speaker 1: Are there? They're they're not really people of color in
• 50:49
  Speaker 1: this movie. Mark Ruffalo is ethnic maybe yeah. Yeah, it's
• 50:57
  Speaker 1: very like background, like it's just set dressing, which is
• 51:02
  Speaker 1: just like, yeah, it's the worst. Yeah, it's like the
• 51:06
  Speaker 1: version of New York where pretty much only white people
• 51:09
  Speaker 1: live in work, as we see in so many movies,
• 51:13
  Speaker 1: and tell people exist only twenty feet away. There is
• 51:20
  Speaker 1: a person of color with the speaking role who works
• 51:23
  Speaker 1: at Poise. Uh he. I think his character's name is Glen.
• 51:27
  Speaker 1: I only know it because I looked it up on IMDb,
• 51:30
  Speaker 1: but he is played by an actor who is Iranian.
• 51:35
  Speaker 1: Other than that, there's also a black woman who works there.
• 51:39
  Speaker 1: There's a black woman who works here who Judy Greer,
• 51:42
  Speaker 1: talks about her mission to destroy Jennifer Garner, who is
• 51:47
  Speaker 1: not named. Yes, we don't. We also don't get to see. Oh.
• 51:53
  Speaker 1: Then there's like the DJ who's playing the Michael Jackson songs,
• 51:57
  Speaker 1: which a thing that we can all agree ages very well.
• 52:00
  Speaker 1: It is extremely well. There are no documentaries about Yeah,
• 52:06
  Speaker 1: I know it's it's a super secret, super white upper
• 52:09
  Speaker 1: class movie, which, like rom coms in general generally and
• 52:15
  Speaker 1: movies in general generally, tend to be and like this movie,
• 52:20
  Speaker 1: I don't know. There's no there's no societal questions invoked,
• 52:25
  Speaker 1: and it's just like, I don't know. The main thing
• 52:27
  Speaker 1: with this movie is it presents two kids a very
• 52:30
  Speaker 1: like yes queen girl power, capitalist feminist version of feminism
• 52:37
  Speaker 1: where they're like, yeah, if you have every advantage and
• 52:40
  Speaker 1: magic exists, everything's gonna end up high. Like I mean,
• 52:48
  Speaker 1: you mentioned Christmas story kind of thing. I do think.
• 52:51
  Speaker 1: I guess that it's refreshing that we see a female
• 52:55
  Speaker 1: redemption story because we have so many male redemption stories
• 52:58
  Speaker 1: where we see so many stories about shitty men who
• 53:01
  Speaker 1: are like, oh, I see the error of my ways.
• 53:04
  Speaker 1: I have to be a better person. Uh and I'm tired. Uh.
• 53:10
  Speaker 1: So I guess because the way women are generally presented
• 53:15
  Speaker 1: in media is that they have to be perfect, already flawless.
• 53:20
  Speaker 1: They have to be these amazing creatures who like have
• 53:24
  Speaker 1: nothing wrong with them, because otherwise audiences can't handle a
• 53:28
  Speaker 1: slightly unlikable woman. Uh. And we don't even see her
• 53:33
  Speaker 1: really do the bad stuff either, We just like, right,
• 53:36
  Speaker 1: that's all in the back story. Um, and we only
• 53:39
  Speaker 1: see her be this like very naive nine year old
• 53:42
  Speaker 1: acting person. So I guess it's cool that there's like
• 53:48
  Speaker 1: a redemption story there that we don't actually see, but
• 53:51
  Speaker 1: the fact that the like take away from that redemption
• 53:54
  Speaker 1: story is like I don't know, like if you're a
• 53:57
  Speaker 1: kid and you see this movie, like in my truly
• 54:00
  Speaker 1: like when I saw being like, oh well, I should
• 54:03
  Speaker 1: just kiss Peter Sacchetti on the lips and then I'll
• 54:07
  Speaker 1: be an amazing person. Like the messages are like being
• 54:11
  Speaker 1: successful equals being raging bitch, and right, like the path
• 54:16
  Speaker 1: of redemption is directly tied to this very traditional thing, right,
• 54:22
  Speaker 1: being nice equals being like domesticated by a hetero relationship,
• 54:28
  Speaker 1: and that that is like cool cool, which is but
• 54:33
  Speaker 1: it's I mean, which is fine if that's what she wants,
• 54:35
  Speaker 1: but we just like we don't know if she had
• 54:38
  Speaker 1: a life at all. She goes from like we find
• 54:41
  Speaker 1: out this complex life that she had. She's sucking a
• 54:44
  Speaker 1: hockey player, she's doing all this stuff that I'm like,
• 54:47
  Speaker 1: that's pretty cool. Yeah, if you were sucking a hockey
• 54:51
  Speaker 1: player and cheating on a hockey player, that sounds awesome,
• 54:55
  Speaker 1: But then you just sort of flashed for like when
• 54:58
  Speaker 1: she does the do over, she gets the most generic
• 55:02
  Speaker 1: version of generic happiness yeah, like, we just don't know anything.
• 55:07
  Speaker 1: I would rather be like, know the specifics that I'm
• 55:10
  Speaker 1: cheating on a hockey player than just be like you're married.
• 55:21
  Speaker 1: I wanted to briefly touch on the representation of queerness
• 55:25
  Speaker 1: in this movie, because Andy Serkis is for a while
• 55:32
  Speaker 1: coated as queer. And then we see a stain toward
• 55:36
  Speaker 1: the end where uh, he's talking to Jenna. He's like, Hey,
• 55:41
  Speaker 1: that photographer who I don't think he has actually seen. Yeah, yeah,
• 55:47
  Speaker 1: we made him ask that he's like that yearbook photographer.
• 55:50
  Speaker 1: These pictures are pretty good. Does he fuck? He says
• 55:56
  Speaker 1: is he an Arthur or a Martha? Right? Is this
• 56:01
  Speaker 1: a common expression? Do we know this or is this
• 56:06
  Speaker 1: written by someone who's only heard of? Oh my god,
• 56:11
  Speaker 1: So I guess this means is he straight or is
• 56:14
  Speaker 1: he gay? Yeah? And then Jenna, because she is a baby,
• 56:19
  Speaker 1: says he's matt hot. And then Richard says no, no, no,
• 56:32
  Speaker 1: is he gay? And then she says are you gay?
• 56:37
  Speaker 1: And then giggle, giggle, giggle, nodding, shrugging, giggle, giggle. Aside
• 56:44
  Speaker 1: from the weird implied casual homophobia in this joke, he
• 56:50
  Speaker 1: should be worried about her it's implied they've known each
• 56:56
  Speaker 1: other for years. She would know this. If someone you
• 57:01
  Speaker 1: knew was gay for years, you were all of a
• 57:04
  Speaker 1: sudden like are you gay? Like you would have follow
• 57:09
  Speaker 1: up questions, right, Okay, So from his point of view,
• 57:13
  Speaker 1: he knows her is this likening bitch for years working
• 57:18
  Speaker 1: for him at this magazine, and then suddenly one day
• 57:22
  Speaker 1: she's like my dad who he's wayne drink? Like, are
• 57:28
  Speaker 1: you gay? I just like call someone. Jenna doesn't have
• 57:34
  Speaker 1: any good friends. So I also, first, I don't know,
• 57:37
  Speaker 1: maybe I'm dumb, but I was like, I felt I
• 57:40
  Speaker 1: had the same reaction. I was like, wait, this character
• 57:42
  Speaker 1: is supposed to be gay. What were the signs that
• 57:46
  Speaker 1: he just works in a magazine? I wasn't totally clear.
• 57:49
  Speaker 1: I mean I wasn't totally clear in that at first time,
• 57:52
  Speaker 1: because I hadn't seen this movie in a long time,
• 57:54
  Speaker 1: and like it was implied that they were close. But
• 57:57
  Speaker 1: I'm like, I don't know, Like it's hard to plug
• 58:00
  Speaker 1: yourself back into two thousand four logic. I'm like, is
• 58:03
  Speaker 1: a man who is comfortable around a woman get like queer? God?
• 58:08
  Speaker 1: I honestly wasn't sure that became like they seemed to
• 58:11
  Speaker 1: be friends and then he's like, of course I'm gay.
• 58:15
  Speaker 1: They are all men, just visibly tense and two four
• 58:20
  Speaker 1: all men where hockey players are gay, I would have yeah,
• 58:26
  Speaker 1: I don't know, like and the the whole I mean,
• 58:29
  Speaker 1: the way sex is treated in this movie, I don't
• 58:32
  Speaker 1: know for this movie, if you're do if you're flashing
• 58:34
  Speaker 1: forward from thirteen thirty, you have to address sex in
• 58:37
  Speaker 1: some way. Um, So I don't know. I mean, I'm
• 58:42
  Speaker 1: curious as to like what you think, because it's the
• 58:45
  Speaker 1: way it's mainly addressed is through the hockey player. And
• 58:48
  Speaker 1: it was like, wasn't the best, Like it was weird
• 58:51
  Speaker 1: and he you know, but they're supposed to be in
• 58:54
  Speaker 1: a relationship. She does during that scene, she's like stop stop,
• 58:58
  Speaker 1: and he's like, I'm stripped. But I don't know. I mean,
• 59:02
  Speaker 1: it's like, I don't really know how I would suggest
• 59:06
  Speaker 1: a rewrite for that scene other than them having a frank,
• 59:10
  Speaker 1: unfunny discussion. I feel like I appreciated how uncomfortable she
• 59:17
  Speaker 1: was because it was like one of the only moments
• 59:19
  Speaker 1: where they were like she is thirteen, except for the
• 59:22
  Speaker 1: other scene where she like flirts with that thirteen year
• 59:24
  Speaker 1: old boy. Yes, that's one of the moments where I'm like,
• 59:30
  Speaker 1: she's not stupid, wrong, and then Lucy voice of reason,
• 59:36
  Speaker 1: it's like, do you want to get arrested? Do you
• 59:38
  Speaker 1: want to go to jail? I actually kind of thought
• 59:40
  Speaker 1: that was okay, that was good. Yeah, but that was
• 59:44
  Speaker 1: one of the moments where it was like, even if Jennifer,
• 59:46
  Speaker 1: like if her character is supposed to be thirteen, a
• 59:49
  Speaker 1: thirteen year old would know not to do that, Like
• 59:54
  Speaker 1: that's something that a five year old would be like,
• 59:56
  Speaker 1: you're cute, but like a thirteen year old would be like,
• 1:00:00
  Speaker 1: I have sea cups. I can't do this right, you know,
• 1:00:05
  Speaker 1: I don't know. That scene was weird. Well, so where
• 1:00:09
  Speaker 1: was I get at a bar? Yeah? Where were his parents? Parents?
• 1:00:14
  Speaker 1: Where his parents that he was alone with two full
• 1:00:18
  Speaker 1: bottles of ketchup? Is that happen in New York? I
• 1:00:23
  Speaker 1: think it was like ketchup at a bar. I think
• 1:00:27
  Speaker 1: it was like a cheesecake factory. But the big Time magazine, Yes,
• 1:00:34
  Speaker 1: go to the cheesecake factory. The logic of that scene
• 1:00:38
  Speaker 1: for the second there was an alone child, I was like,
• 1:00:42
  Speaker 1: what restaurant is this? I think I just have a
• 1:00:45
  Speaker 1: couple of quick almost afterthoughts. But there are some like
• 1:00:50
  Speaker 1: pretty rom comy tropes that are in this movie. We've
• 1:00:55
  Speaker 1: touched on a few already. But it's you know, the
• 1:00:57
  Speaker 1: woman who works at a magazine in New York's city.
• 1:01:00
  Speaker 1: It's the beautiful woman Pratt falling. It's the very white cast.
• 1:01:05
  Speaker 1: There is a short makeup putting on montage because women
• 1:01:10
  Speaker 1: be putting on makeup, but she's also putting on makeup
• 1:01:13
  Speaker 1: when she's thirteen, right, true, but also because and she
• 1:01:15
  Speaker 1: puts on the same makeup. Yes, yeah, yeah, yeah she
• 1:01:19
  Speaker 1: has not I allowed that. And then shortly after that,
• 1:01:24
  Speaker 1: there's a quick shot of her coming back from having
• 1:01:27
  Speaker 1: been shopping, because women be shopping, but if you woke
• 1:01:32
  Speaker 1: up and you had a six figure salary, I would shop.
• 1:01:37
  Speaker 1: She forgets her credit card too, They're like, miss your
• 1:01:40
  Speaker 1: credit card. She's like so rich, Like I want to
• 1:01:45
  Speaker 1: talk about Wendy really, Um okay, I Wendy. Wendy is
• 1:01:53
  Speaker 1: Matt's fiance and the weather woman, right, the weather person,
• 1:01:59
  Speaker 1: so like Wendy, don't clap for that. Wendy is marm
• 1:02:11
  Speaker 1: Ruffalo's fiance in the future, right, and Mark Ruffalo's character
• 1:02:16
  Speaker 1: is shady on the whole, and that he wants to
• 1:02:18
  Speaker 1: fuck a woman who acts like a baby also really
• 1:02:24
  Speaker 1: like buries the lead of the fact that he's going
• 1:02:27
  Speaker 1: to get married in trigger weeks. Has to run into
• 1:02:31
  Speaker 1: Jenna out in public after she hit on the kid
• 1:02:34
  Speaker 1: with the catchup, and then it's like, by the way,
• 1:02:37
  Speaker 1: I'm engaged. Her name's Wendy. She's a weather woman, and
• 1:02:40
  Speaker 1: Wendy bravely says weather person, and we're like, okay, we
• 1:02:44
  Speaker 1: like Wendy, right, I feel so bad for Wendy. Okay,
• 1:02:49
  Speaker 1: like Matt is a deadbeat guy because apparently they're getting
• 1:02:54
  Speaker 1: married in two weeks, and she's like, I work in Chicago,
• 1:02:57
  Speaker 1: Matt might move in with me, and I city Wow. Wow,
• 1:03:07
  Speaker 1: that was really good. But then that is like they're
• 1:03:10
  Speaker 1: gonna be getried in two weeks, and Matt's like, I
• 1:03:13
  Speaker 1: don't know if we're going to move in together. You're like,
• 1:03:17
  Speaker 1: there's no sparks. She's like, I just don't really want
• 1:03:20
  Speaker 1: to be like a commuter couple, and she and he's like,
• 1:03:22
  Speaker 1: what did you tell her? He's the word? And then
• 1:03:27
  Speaker 1: at the end we're like we're supposed to be like,
• 1:03:29
  Speaker 1: oh no, we just want him to be happy with Wendy. Like,
• 1:03:32
  Speaker 1: I did appreciate that this movie is sort of like
• 1:03:35
  Speaker 1: avoided the trope of stop the wedding successfully, Like Jenna
• 1:03:40
  Speaker 1: wants to stop the wedding but then has to realize
• 1:03:43
  Speaker 1: that it's too late. In this timeline, she's a bit right.
• 1:03:48
  Speaker 1: She wanted a job too much. It would be so
• 1:03:51
  Speaker 1: beautiful if it just ended with her looking at the house.
• 1:03:55
  Speaker 1: But that wouldn't happen. That that would only happen now maybe,
• 1:03:58
  Speaker 1: but it would only result in like losing two minutes
• 1:04:00
  Speaker 1: of runtime. Yeah, you could just be like, this is
• 1:04:04
  Speaker 1: what happens if you want a career. Yeah, that's kind
• 1:04:11
  Speaker 1: of what the ending is anyways. Kind of Yeah, well,
• 1:04:14
  Speaker 1: but I just felt bad for Wendy because in the
• 1:04:16
  Speaker 1: future timeline, I hope Wendy is like Oprah and like
• 1:04:21
  Speaker 1: doesn't like never met Matt is far better off. Yeah.
• 1:04:26
  Speaker 1: The other thing I like about that is that that
• 1:04:28
  Speaker 1: character is usually presented as being this like evil, witchy
• 1:04:34
  Speaker 1: woman who like it's clear that the audience is meant
• 1:04:38
  Speaker 1: to hate her and meant to be like, yeah, screw her,
• 1:04:42
  Speaker 1: and we definitely want our hero Jenna and Matt to
• 1:04:46
  Speaker 1: end up together. But she seems perfectly nice and respectable,
• 1:04:51
  Speaker 1: so it would have been an easy choice and in
• 1:04:53
  Speaker 1: a common choice that we do see a lot from her,
• 1:04:54
  Speaker 1: and I'm thinking of like how the first half of
• 1:04:57
  Speaker 1: Legally Blonde is we're like Soma there where like the
• 1:05:01
  Speaker 1: New Girlfriend is so I mean cal Hockley but like
• 1:05:06
  Speaker 1: a woman, but still like Wendy. We see her at
• 1:05:12
  Speaker 1: the end of her timeline about to enter a loveless marriage.
• 1:05:15
  Speaker 1: That's so sad. It sucks. He's like, her family's here,
• 1:05:20
  Speaker 1: so I guess we have to get married. He's like,
• 1:05:23
  Speaker 1: we care about each other. It's not perfect, but whatever,
• 1:05:26
  Speaker 1: get out of my room. Yeah, I think that that
• 1:05:30
  Speaker 1: scene I really want to know why, Like Ariana Grande
• 1:05:34
  Speaker 1: was like obsessed with that house looking scene where she's
• 1:05:37
  Speaker 1: looking at the dollhouse. I mean it's in the thank
• 1:05:39
  Speaker 1: You Next video, like she hasn't seen it in a while. Yeah,
• 1:05:44
  Speaker 1: Like that's not the best moment, right. I feel bad
• 1:05:50
  Speaker 1: for Wendy in her timeline. Good for Wendy in the
• 1:05:53
  Speaker 1: timeline where she's not present, because hopefully that means she's
• 1:05:56
  Speaker 1: doing great. Let's see. I have a couple of other things. Um,
• 1:06:01
  Speaker 1: we touched on this a little bit already. But there
• 1:06:03
  Speaker 1: was an article published at the time of this recording,
• 1:06:06
  Speaker 1: just a few days ago. But it's entitled thirteen Going
• 1:06:09
  Speaker 1: on thirty turns fifteen celebrate by admitting it's a better
• 1:06:13
  Speaker 1: film than Big Click Click, Yeah, here we go. It
• 1:06:18
  Speaker 1: was published in Decider by Anna menta quote that I
• 1:06:22
  Speaker 1: want to read is the real reason thirteen Going on
• 1:06:25
  Speaker 1: thirty never had a shot at the prestige status enjoyed
• 1:06:28
  Speaker 1: by Big is because it was made to appeal to women.
• 1:06:31
  Speaker 1: Quote chick flicks, as some like to call romance films
• 1:06:34
  Speaker 1: that center on a woman, are never quote refreshing or poignant.
• 1:06:38
  Speaker 1: Chick flicks, no matter how original they are are. Quote
• 1:06:42
  Speaker 1: well worn, formulaic, and uninspired. These are, you know what
• 1:06:46
  Speaker 1: the male critics say in terms never applied to action movies,
• 1:06:52
  Speaker 1: which are Yeah, and then Big gets to be on
• 1:06:57
  Speaker 1: the American Film Institutes list funniest films of all time,
• 1:07:01
  Speaker 1: while thirteen Going on thirty gets dubbed as a guilty pleasure.
• 1:07:05
  Speaker 1: So right, I mean there's so much I guess, like
• 1:07:09
  Speaker 1: my favorite there's like some great Lindsay Ellis video essays
• 1:07:13
  Speaker 1: for friends. Yeah, of of like how movies targeted at
• 1:07:18
  Speaker 1: women are always upon their release kind of like couched
• 1:07:23
  Speaker 1: and like, well, this is a stupid movie. But for
• 1:07:27
  Speaker 1: a stupid movie, I didn't hate it, Like it's so
• 1:07:31
  Speaker 1: couched in the way it's like reviewed. Yeah, I want
• 1:07:35
  Speaker 1: to say that it is like radical for the sleepover
• 1:07:38
  Speaker 1: scene because it's just like even though it's like centered
• 1:07:41
  Speaker 1: around her talking about Mark Ruffalo kissing her, they're still
• 1:07:44
  Speaker 1: like this beautiful like all these girls just like dancing
• 1:07:47
  Speaker 1: to love is a battlefield and like wearing a brawl
• 1:07:51
  Speaker 1: over their dresses, Like that's cool. That wasn't in Big. Yeah,
• 1:07:59
  Speaker 1: there's so much about this movie that I mean, people
• 1:08:02
  Speaker 1: shouldn't stop watching it and a great movie. It's cute
• 1:08:06
  Speaker 1: and it's there's a lot. I don't know, there's a
• 1:08:08
  Speaker 1: lot to love about it. There's one scene that we
• 1:08:10
  Speaker 1: didn't talk about. There's one of the other female relationships
• 1:08:14
  Speaker 1: that we'd like grayze on in this movie that's like
• 1:08:16
  Speaker 1: a bunch of half formed female relationships is Jenna and
• 1:08:19
  Speaker 1: her mom um where when Jenna goes back home, she
• 1:08:23
  Speaker 1: and her mom had this discussion where it's very expositional
• 1:08:27
  Speaker 1: this scene because Jenna is like, if you could go back,
• 1:08:33
  Speaker 1: do you have anything that she's like, well, I would
• 1:08:35
  Speaker 1: take away a few wrinkles, that's for sure, Like, okay, mom,
• 1:08:43
  Speaker 1: anything else and her mom, I mean, it's just weird,
• 1:08:51
  Speaker 1: like that scene. I I like, because any scene between
• 1:08:54
  Speaker 1: a mom and a daughter that is like pleasant and sweet,
• 1:08:57
  Speaker 1: you're like, okay, sure, but like we don't know anything
• 1:09:00
  Speaker 1: about Jenn's mom. Maybe she should regret. Yeah, maybe when
• 1:09:05
  Speaker 1: she's even regret right, I stand regret. She's like, do
• 1:09:12
  Speaker 1: you regret anything? And Jenna's mom was like, no, nothing,
• 1:09:15
  Speaker 1: And I'm like, what if her mom did something horrible
• 1:09:17
  Speaker 1: and Jenna knows it. We don't know what happened. Really,
• 1:09:22
  Speaker 1: what if Jenna's mom meant that as a challenge where
• 1:09:24
  Speaker 1: she's like, three years ago, I killed five yeah and
• 1:09:29
  Speaker 1: got off on a technicality. Yeah, I regret nothing, your move.
• 1:09:36
  Speaker 1: Maybe she regrets trying to fuck Edward scissor Hands because
• 1:09:41
  Speaker 1: same actor. Really, Yeah, she's like the horny housewife who's
• 1:09:47
  Speaker 1: like Edwards, Oh my god, I didn't realize that I
• 1:09:53
  Speaker 1: love him. I would regret that. And I kind of wow,
• 1:09:57
  Speaker 1: that scene is weird because it's like her mom doesn't
• 1:09:59
  Speaker 1: regret anything, but Jenna, by going back in time, clearly
• 1:10:02
  Speaker 1: does so like, what what was the lesson? Right? I
• 1:10:07
  Speaker 1: was like, well, I guess Jenna's mom, who we know
• 1:10:09
  Speaker 1: nothing about, regrets nothing. Sure. One other quick thing I
• 1:10:14
  Speaker 1: wanted to mention is just a reminder or you know,
• 1:10:19
  Speaker 1: this has never been said before, but representation is important.
• 1:10:22
  Speaker 1: I came up with that take of the this is
• 1:10:29
  Speaker 1: not I know. I am so smart. Um, I do
• 1:10:32
  Speaker 1: have a master's screen screen writing from Boston. What wait? What? Oh? Cats?
• 1:10:47
  Speaker 1: Okay the musical? Okay, yes, are you in it? Okay? Not?
• 1:10:53
  Speaker 1: The requests are coming out, so um you said Cats
• 1:10:58
  Speaker 1: the musical? Just really quick. There is a scene where
• 1:11:03
  Speaker 1: Jennifer Garner's character drives through Times Square and there is
• 1:11:06
  Speaker 1: a Mama Mia poster. We talked about that anyway, cats
• 1:11:11
  Speaker 1: have eight nipples. That's what people wanted to hear. It's
• 1:11:14
  Speaker 1: not relevant to them, but that's cat facts. With Caitlin
• 1:11:22
  Speaker 1: onto my point, which is that a pretty big part
• 1:11:27
  Speaker 1: of at least the beginning of the movie is Jenna
• 1:11:31
  Speaker 1: as a teen seeing women in magazines, specifically very conventionally
• 1:11:38
  Speaker 1: attractive by Western beauty standards models in Poise in the
• 1:11:43
  Speaker 1: eighties and saying I want to look like that. Like
• 1:11:47
  Speaker 1: that is the ideal that is presented to me by society,
• 1:11:51
  Speaker 1: and I need to make sure that that's how I
• 1:11:53
  Speaker 1: look because that is how people will value me, which
• 1:11:57
  Speaker 1: just again goes to show well that is presented in
• 1:12:01
  Speaker 1: the movie as if it is the wrong frame of mind. Yes,
• 1:12:04
  Speaker 1: and it's like but the movie goes on to really
• 1:12:08
  Speaker 1: not challenge it at all because it's like, and she
• 1:12:11
  Speaker 1: ended up working there, but she shouldn't have. She should
• 1:12:13
  Speaker 1: have just gotten married, right, like yeah, yeah, and like, well,
• 1:12:18
  Speaker 1: she also wants to be a part of something, like
• 1:12:21
  Speaker 1: she wants to be a part of the Six Chicks,
• 1:12:24
  Speaker 1: and like that is also the wrong move. Like it's
• 1:12:27
  Speaker 1: just I feel like Jenna's character is so like profoundly
• 1:12:32
  Speaker 1: punished for having wants and desires that for a thirteen
• 1:12:36
  Speaker 1: year old girl are very which is to like want
• 1:12:40
  Speaker 1: to fit in and to want to look like what
• 1:12:43
  Speaker 1: is presented to them, like incessantly, and she is somehow
• 1:12:47
  Speaker 1: punished for that even though like she's really just like
• 1:12:51
  Speaker 1: there's only there's probably no one here that didn't feel
• 1:12:55
  Speaker 1: like that at some point, Like no kid when they're
• 1:12:59
  Speaker 1: years old, or if or a few kids are like
• 1:13:01
  Speaker 1: so aggressively woke that they're like fuck, I was like
• 1:13:08
  Speaker 1: I would have done anything. Yeah. I really love that
• 1:13:11
  Speaker 1: line where she's like, I don't want to be original,
• 1:13:13
  Speaker 1: I want to be cool like the same yeah, yeah,
• 1:13:17
  Speaker 1: like sometimes still adult. Yeah. And then just here Matt's
• 1:13:24
  Speaker 1: over there being like, um, actually they're robots and he's
• 1:13:30
  Speaker 1: but also like he doesn't get I don't know, just
• 1:13:32
  Speaker 1: like the fact that his point, they're like if she
• 1:13:34
  Speaker 1: only just like pomped in a talking hands cassette and
• 1:13:38
  Speaker 1: kiss that boy, she would get it. I mean, it
• 1:13:41
  Speaker 1: does present the idea that a teen girl who wants
• 1:13:46
  Speaker 1: the things that typical teen girls do will become an evil,
• 1:13:50
  Speaker 1: heinous bitch. Yeah, exactly, like best case scenario, right, Like
• 1:13:55
  Speaker 1: I don't I don't know. I mean, I just like
• 1:13:57
  Speaker 1: I think that being a thirteen year old girl is
• 1:14:01
  Speaker 1: the most fragile state of being and the fact that
• 1:14:05
  Speaker 1: she has like punished intensely for the next seventeen years
• 1:14:09
  Speaker 1: of her life. This movie kind of taints the idea
• 1:14:12
  Speaker 1: that like a boy and a girl in there like
• 1:14:16
  Speaker 1: formative years can't just have a platonic relationship. It's it's
• 1:14:21
  Speaker 1: a boy pining after a girl and it has to
• 1:14:25
  Speaker 1: result in marriage or it was an invalid friendship. Also,
• 1:14:31
  Speaker 1: if I had if I had seen this movie as
• 1:14:34
  Speaker 1: like a tween, and I had heard the description of
• 1:14:37
  Speaker 1: what seven minutes in Heaven was as it is described
• 1:14:40
  Speaker 1: in this movie, which is whatever a boy goes into
• 1:14:45
  Speaker 1: a closet with you and brutalizes and he can do
• 1:14:49
  Speaker 1: whatever he wants to you for seven minutes, I would
• 1:14:54
  Speaker 1: be like, I'm gonna live in a cave and never
• 1:14:57
  Speaker 1: talked to anybody. That is so scary. The other line
• 1:15:00
  Speaker 1: of dialogue that is frequently cited and very freaky in
• 1:15:05
  Speaker 1: this movie is that line that Lucy has where Jenna
• 1:15:11
  Speaker 1: is in the bar and she's like, I think that
• 1:15:13
  Speaker 1: thirty is going to be awesome, and she's like, yeah,
• 1:15:16
  Speaker 1: of course, you're thin, you're hot, you could get any
• 1:15:18
  Speaker 1: guy in the world, and just like defining that as
• 1:15:21
  Speaker 1: like the way to be a successful thirty year old
• 1:15:25
  Speaker 1: and she got. She doesn't challenge that, and really the
• 1:15:28
  Speaker 1: movie doesn't challenge in any way that could she doesn't.
• 1:15:32
  Speaker 1: For everyone's so skinny except for the scared woman. Yeah,
• 1:15:37
  Speaker 1: except for it's a very thin the oldest, most fearful woman. Yeah,
• 1:15:42
  Speaker 1: Like there isn't the most diversity. We get the woman
• 1:15:47
  Speaker 1: who is the most full of fear? Right? Does anyone
• 1:15:53
  Speaker 1: have any other final thoughts? Okay, great, I think we
• 1:15:59
  Speaker 1: have a few minutes for some audience questions and or comments.
• 1:16:05
  Speaker 1: Hopefully we get to everybody. There's a lot of bustling. Well,
• 1:16:08
  Speaker 1: we'll see, but there's a line dear God. Okay, cool,
• 1:16:20
  Speaker 1: this is because wonderful Hi. What's your name? Him? Hi
• 1:16:24
  Speaker 1: mean for you? Yeah? This is this is thank you
• 1:16:32
  Speaker 1: so much. This is an embroidered tweet of mine. I'm
• 1:16:40
  Speaker 1: so glad it gives me an opportunity to bring up Titanic.
• 1:16:46
  Speaker 1: It was a tweet that I tweeted, apparently on December one.
• 1:16:51
  Speaker 1: I love that you included that. Uh. My favorite part
• 1:16:54
  Speaker 1: of Titanic is when Bill Paxton only wants to hear
• 1:16:57
  Speaker 1: about what happened to the Diamond and Old Road tells
• 1:17:00
  Speaker 1: a seven hour story about a stranger she fucked. Thank
• 1:17:06
  Speaker 1: you so much. This is so awesome. Hello, it's so
• 1:17:14
  Speaker 1: hard to follow up higher bridget Um. I have a
• 1:17:17
  Speaker 1: very important question. How do you think Alfred Molina would
• 1:17:19
  Speaker 1: factor into think? Yes, I think we could easily recast
• 1:17:25
  Speaker 1: Mark Ruffalo in this movie. And Jennifer Garnner answers the door,
• 1:17:29
  Speaker 1: and she's like, wow, you look not what I expected
• 1:17:35
  Speaker 1: going on. We don't know. I think that as with
• 1:17:40
  Speaker 1: most movies, Okay, even better, Jenna is blindfolded at thirteen.
• 1:17:46
  Speaker 1: She wakes up, she's Alfred Molina and it's two thousand
• 1:17:51
  Speaker 1: four and she's filming a Spiderman too, and she has
• 1:17:55
  Speaker 1: to figure out how can I actualize myself as a woman,
• 1:17:59
  Speaker 1: and all will play Doc Dog in two thousand four
• 1:18:02
  Speaker 1: and I have to play Tevy on Broadway. Yes, that's hard,
• 1:18:08
  Speaker 1: that's the real I think that. Yeah, the rest important
• 1:18:10
  Speaker 1: thing to know. Yeah, funck women, Let's recast Jennifer Garner.
• 1:18:16
  Speaker 1: Thank you, of course, thank you so much. Hi. Hi,
• 1:18:20
  Speaker 1: I'm Hannah. Hi. I was wondering if you guys had
• 1:18:23
  Speaker 1: any thoughts on the way Judy Greer is typecascid as
• 1:18:26
  Speaker 1: characters were not supposed to like. I feel like in
• 1:18:29
  Speaker 1: every single year I've ever seen people best friends, she's
• 1:18:32
  Speaker 1: not You're not supposed to like her character. So yeah,
• 1:18:36
  Speaker 1: I highly work if if if people here are like
• 1:18:40
  Speaker 1: Judy Greer fans, which I am, she has a great men. Yeah,
• 1:18:43
  Speaker 1: she's great like and she almost never gets her do
• 1:18:47
  Speaker 1: but like she wrote a great memoir about how this
• 1:18:51
  Speaker 1: has been truly the course of the past several decades
• 1:18:54
  Speaker 1: of her life of like being the best friend type,
• 1:18:58
  Speaker 1: and I mean, it's just it's such a strange thing
• 1:19:01
  Speaker 1: to be caught into. And she writes a lot about
• 1:19:05
  Speaker 1: how like she's like, I think I look like a
• 1:19:07
  Speaker 1: fairly normal person, and how normal looking people are demonized
• 1:19:13
  Speaker 1: in in media, and how like normal looking people, even
• 1:19:18
  Speaker 1: when they're very talented, are never used to their full ability.
• 1:19:22
  Speaker 1: And she has like a lot of interesting thoughts on
• 1:19:25
  Speaker 1: like where like if you get into deep Judy Greer lore,
• 1:19:30
  Speaker 1: like she's so talented and she's done so many cools,
• 1:19:35
  Speaker 1: she's still killing it. Yeah, but like the major roles
• 1:19:39
  Speaker 1: she gets here so blat and so lame, and she's
• 1:19:43
  Speaker 1: she she sort of draws the conclusion She's like, I
• 1:19:45
  Speaker 1: look like a regular person, and that is why people
• 1:19:49
  Speaker 1: think I'm mean and terrible. Oh my god, yeah, I'm
• 1:19:57
  Speaker 1: as high. So my question and slash comment was I'm wondering.
• 1:20:03
  Speaker 1: So when I saw this again recently, it made me
• 1:20:06
  Speaker 1: think of a friend zone wish fulfillment narrative from the
• 1:20:11
  Speaker 1: side of the dude. So it's like she shows no
• 1:20:15
  Speaker 1: interest in him when she's younger, except for friendship, and
• 1:20:18
  Speaker 1: then you switched to his wish fulfillment, which is she
• 1:20:21
  Speaker 1: should be punished for any of her other wants and desires,
• 1:20:23
  Speaker 1: which are all fulfilled in the future except him. So
• 1:20:27
  Speaker 1: it's this punishment because she gets everything that she wants
• 1:20:31
  Speaker 1: then and it's all wrong, and she's punished for that
• 1:20:33
  Speaker 1: because the one thing that him as a young person wanted.
• 1:20:37
  Speaker 1: So it's like, yeah, it does go like it was
• 1:20:42
  Speaker 1: all orchestrated, right, He's like, here's the friend zone illustrated
• 1:20:49
  Speaker 1: in a movie. So yeah, yeah, yeah, I wondered if
• 1:20:53
  Speaker 1: you guys what your thoughts were. Agreed, Yeah, totally agree.
• 1:20:58
  Speaker 1: I hadn't really considered this be from Mark Ruffalo's perspective.
• 1:21:01
  Speaker 1: From his perspective, it's kind of dope, like change, yeah
• 1:21:08
  Speaker 1: the whole movie. He's just perspective. But yeah, and he
• 1:21:13
  Speaker 1: either Timeline gets to marry a very successful woman who
• 1:21:18
  Speaker 1: will presumably take care of his yearbook photographers pay him forever.
• 1:21:23
  Speaker 1: He's like aggressively mediocre the whole Yeah. True, I mean,
• 1:21:27
  Speaker 1: I mean I was still the s is Mark Ruffalo
• 1:21:33
  Speaker 1: that its CBGV shirt, Like we get it. You like
• 1:21:36
  Speaker 1: the talking hands relax there. Yeah, I think this movie
• 1:21:41
  Speaker 1: is way more fun if you view it from a
• 1:21:43
  Speaker 1: friend z owe narrative. That seems like that's the victorious
• 1:21:46
  Speaker 1: route to that's awesome. Thank you so much. Hi, Hi
• 1:21:53
  Speaker 1: him um. Yeah, So I wanted to propose Maddie or
• 1:22:00
  Speaker 1: Mark Ruffalo as finest Icon because there is a very
• 1:22:05
  Speaker 1: short scene where I had to actually rewine. Yes, I
• 1:22:09
  Speaker 1: had to rewind a little bit to re listen to
• 1:22:11
  Speaker 1: it because basically they're talking about spin the bottle. Spin, Yes, yes,
• 1:22:15
  Speaker 1: spin the rapist, because spin the bottle, spin the rapist,
• 1:22:19
  Speaker 1: spin the bottles, been the rapist, And I think because
• 1:22:23
  Speaker 1: it's true, Yeah, is that when he's a thirteen year old,
• 1:22:27
  Speaker 1: when he's an adult. When Mark Ruffalo, I missed Mark Ruffo.
• 1:22:33
  Speaker 1: Mark Ruffalo was like me too, He was like, okay,
• 1:22:40
  Speaker 1: point take it. Yeah, I agree. Wow, I still want
• 1:22:44
  Speaker 1: to kiss. Thank you. Hi. My name is Nicole, And
• 1:22:50
  Speaker 1: as a woman in stem I say when Tom Tom
• 1:22:59
  Speaker 1: found the snap oh male saying that Jenna was going
• 1:23:01
  Speaker 1: to take the job at Sparkle, I was like, damn,
• 1:23:04
  Speaker 1: I would do that too to advance my career. I
• 1:23:07
  Speaker 1: think we were all painted to hate her, but I
• 1:23:11
  Speaker 1: kind of identified and said, you know what, I might
• 1:23:14
  Speaker 1: have done that too if I found out. My friend was, ye,
• 1:23:18
  Speaker 1: it's reasonable. Yeah, I mean I think, yeah, like nihilist.
• 1:23:22
  Speaker 1: Why like you're just like, you know what if I'm switching,
• 1:23:26
  Speaker 1: if I'm going to participate in capitalism, doesn't matter which
• 1:23:31
  Speaker 1: structure I participated, No, poised to sparkle doesn't matter. Yeah, No,
• 1:23:38
  Speaker 1: I mean I guess if Judy Greer is coming from
• 1:23:41
  Speaker 1: the po v of just like, well, she was going
• 1:23:43
  Speaker 1: to do it. So I'm Tom Tom. I wish I
• 1:23:49
  Speaker 1: had like I'm Tom Tom, I could do anything. Thank you,
• 1:23:53
  Speaker 1: thank you, thank you. Hello. Hi, I'm Amy um. So
• 1:23:58
  Speaker 1: I asked this question as a pure Mark Ruffalo fan,
• 1:24:01
  Speaker 1: but I was wondering. He thought, if you were to
• 1:24:04
  Speaker 1: replace Mark Ruffalo with Steve bush Emmy and Steve Bushey
• 1:24:14
  Speaker 1: was there as her Oh god. Thirty year later, best
• 1:24:18
  Speaker 1: friend asked the inventor of the which is the test
• 1:24:23
  Speaker 1: that if you replace a conventionally hot man with Steve
• 1:24:26
  Speaker 1: bush Emmy, how does the narrative change. I don't know
• 1:24:32
  Speaker 1: how much about this movie changed. I think that Jennifer
• 1:24:34
  Speaker 1: Garner is the I mean, I don't know. I mean,
• 1:24:37
  Speaker 1: like Jennifer Garner is the weird one in a lot
• 1:24:39
  Speaker 1: of ways, where she's rejected a lot of times by him,
• 1:24:42
  Speaker 1: and she just keeps being like, hiya, I'm thirteen. And
• 1:24:47
  Speaker 1: but if you see Steve, but if you see Steve
• 1:24:49
  Speaker 1: Bushemy be like, okay, like big eyes, she'd be yeah,
• 1:24:54
  Speaker 1: she'd be like you have arm hair and a scary
• 1:24:58
  Speaker 1: face and then they kiss. Yeah. I feel like Mark
• 1:25:05
  Speaker 1: always looks like confused and Steve bush Emmy always looks
• 1:25:08
  Speaker 1: like do they know? Right? Yeah? Yeah, It's like there's
• 1:25:13
  Speaker 1: always distant sirens, but you're like, I wonder if they're
• 1:25:16
  Speaker 1: actually gonna get closer. Who are they for? I don't know. Yeah,
• 1:25:22
  Speaker 1: I think that the Steve the test definitely applies to
• 1:25:25
  Speaker 1: this story. As with any born Sexy Yesterday trope, the
• 1:25:30
  Speaker 1: Steve bush Emmy test is in full effect. Yeah, for sure.
• 1:25:34
  Speaker 1: Can I also just comment on how many times this
• 1:25:36
  Speaker 1: happens in the movie where Mark Rufflo is like walking
• 1:25:40
  Speaker 1: away and then Jenna is like so many times and
• 1:25:45
  Speaker 1: then he turns around, He's like what and then she's
• 1:25:48
  Speaker 1: like a or something like it happens. Okay, I want that,
• 1:25:56
  Speaker 1: Okay anyway, but the Boschemmy test is definitely in full
• 1:26:01
  Speaker 1: for sure. Fore, Hi, So my question actually serendipitously connected
• 1:26:08
  Speaker 1: that one, which was just that when I was watching
• 1:26:10
  Speaker 1: the movie, I think you guys might agree that there
• 1:26:13
  Speaker 1: was not a lot of chemistry between Mark Ruffalo and
• 1:26:15
  Speaker 1: John Gardner. Loved them both independently, but that romantic story
• 1:26:19
  Speaker 1: was like kind of like. So my question is how
• 1:26:22
  Speaker 1: much different or better would the movie be if the
• 1:26:26
  Speaker 1: long lost childhood friend was actually a female character. Everyone
• 1:26:35
  Speaker 1: just caught horny all at once. That was a very
• 1:26:41
  Speaker 1: unique moment. I think the crowd has indicated it would
• 1:26:49
  Speaker 1: be much better better, I mean if there was I mean,
• 1:26:54
  Speaker 1: but even truly like if you do like, because I
• 1:26:57
  Speaker 1: think that the Judy Greer character warn it's more explanation.
• 1:27:01
  Speaker 1: No bully exists in a void. Maybe we write Maddie
• 1:27:04
  Speaker 1: out and we figured that out. What's going on there? Tom? Tom?
• 1:27:10
  Speaker 1: Why did you still my proposal and leave me to
• 1:27:13
  Speaker 1: get molested by a kid in a closet? Right? And
• 1:27:17
  Speaker 1: she's and because I loved you? That's why progressive there?
• 1:27:23
  Speaker 1: I mean, yeah, there's and there's so many young like,
• 1:27:27
  Speaker 1: there's so many young women at the in the beginning
• 1:27:30
  Speaker 1: of the story who are basically mean nothing to the
• 1:27:32
  Speaker 1: plot besides Tom Tom that, yeah, you could sub ut
• 1:27:36
  Speaker 1: Maddie very easily and people would be horning her. I'm
• 1:27:42
  Speaker 1: very down for that. And I just like, truly do
• 1:27:44
  Speaker 1: think that the Judy Grid character was not examined well
• 1:27:47
  Speaker 1: enough as an adult or a kid, and that whether
• 1:27:51
  Speaker 1: it be as a friendship or something more. Uh, that
• 1:27:55
  Speaker 1: like that relationship wasn't fully explored in the movie. Yes,
• 1:28:00
  Speaker 1: for sure, Thank you, I love it, Thanks you guys,
• 1:28:02
  Speaker 1: Yeah of course. Hi. Hi, last point, I guess more
• 1:28:08
  Speaker 1: of an observation than a question in terms of people
• 1:28:11
  Speaker 1: of color representation. As a person of color who grew
• 1:28:15
  Speaker 1: up in the New Jersey suburbs, the biggest plot hole
• 1:28:17
  Speaker 1: to me was how many black people were at the
• 1:28:22
  Speaker 1: Wendy and Mark Ruffalo's character wedding. It was literally fifty
• 1:28:28
  Speaker 1: if you want to go back and watch. Urged to
• 1:28:31
  Speaker 1: my husband and say, how do you think it's so
• 1:28:32
  Speaker 1: many black friends? So so just something for everybody to
• 1:28:38
  Speaker 1: watch out for this. Thank you, Wendy the Woke weather Woman. Hi, Hi,
• 1:28:51
  Speaker 1: thank you so much for everything. I have two observations.
• 1:28:55
  Speaker 1: First is tom tum is usually used to French for
• 1:29:00
  Speaker 1: GPS machine sitcom. Oh yeah, yeah. And the second was
• 1:29:08
  Speaker 1: what if Mark Ruffalo, who was very stupid it's also
• 1:29:12
  Speaker 1: thirteen in a thirty year old spody. It just and
• 1:29:22
  Speaker 1: just like played it way cooler. Oh my god, whoa hey,
• 1:29:30
  Speaker 1: way more fun. I like that. It always reminds me
• 1:29:35
  Speaker 1: of what's the character's name in The Good Place, who's like,
• 1:29:39
  Speaker 1: I'm a monk, And it's just that he's a I mean,
• 1:29:45
  Speaker 1: his whole character is already kind of like yeah, yeah, yeah, yeah.
• 1:29:49
  Speaker 1: Is that why he didn't know he was married? Yes,
• 1:29:53
  Speaker 1: more like us acted back on him. That would explain
• 1:29:58
  Speaker 1: so much of his suspicious behavior. And why are you
• 1:30:02
  Speaker 1: still such a horrible photographer? You know when he gets
• 1:30:09
  Speaker 1: a check and he's like, this would mean a lot
• 1:30:11
  Speaker 1: for me, but what if it's like four dollars, he's
• 1:30:14
  Speaker 1: like Jennifer was like, that's only half of it. It's
• 1:30:19
  Speaker 1: actually eight dollars. He's like, holy shit, Oh man, well
• 1:30:26
  Speaker 1: just this movie fast. The Bectel says, Yeah, yes, women
• 1:30:33
  Speaker 1: talk about a lot of things. They talk about magazines,
• 1:30:37
  Speaker 1: they talk about age swaps, they talk about hangovers, they
• 1:30:42
  Speaker 1: talk about being thirty. Yeah, there's a lot of different
• 1:30:45
  Speaker 1: combinations too. It's like Jenna and Lucy, Jenna and her
• 1:30:49
  Speaker 1: assistant mom Mom Jenna and Becky um bev bev according
• 1:30:57
  Speaker 1: to IMDb. But yeah, we don't know that I'm in
• 1:31:01
  Speaker 1: the icon IMDb. Yeah, so that's a hard yes on passing. Yeah. Yeah,
• 1:31:09
  Speaker 1: And I guess finally, how would everyone rate this on
• 1:31:14
  Speaker 1: our nipple scale? Our nipple scale. I don't want to
• 1:31:17
  Speaker 1: go first. Okay, Melissa, would you like to her first? Oh? No? Um, Okay,
• 1:31:23
  Speaker 1: I'm going to be consistent with what I've been saying. Okay,
• 1:31:26
  Speaker 1: I'll give it four nipples, and two of them I
• 1:31:29
  Speaker 1: will give to Mark ruff Buffalo to do as he pleases. Um,
• 1:31:34
  Speaker 1: and they're my nipples and I can feel it. And
• 1:31:43
  Speaker 1: and then the third nipple, I guess I'll give to
• 1:31:46
  Speaker 1: the to the scared woman representation matters Um as a
• 1:31:51
  Speaker 1: woman who's afraid, always loved her. And then I'll give
• 1:31:56
  Speaker 1: the last nipple to to Judy Greer storming down the
• 1:32:00
  Speaker 1: magazine hall throwing things. Yeah, I'll come with three. I
• 1:32:04
  Speaker 1: think I think that there's like there's a lot to
• 1:32:08
  Speaker 1: love about this movie. I'm still attached to it. I
• 1:32:11
  Speaker 1: think that it sort of I'm like between two and
• 1:32:15
  Speaker 1: a half and three, because there there's a lot of
• 1:32:18
  Speaker 1: underlying messages with this movie that I feel like either
• 1:32:22
  Speaker 1: path of the movie presents is not ideal and really
• 1:32:27
  Speaker 1: only applies freedom of choice to which guy you kiss,
• 1:32:33
  Speaker 1: where you know you can either choose the path of
• 1:32:36
  Speaker 1: choosing a group of female friends and a career or
• 1:32:42
  Speaker 1: choosing a guy, and one is clearly good and one
• 1:32:45
  Speaker 1: is clearly horrible. And so I think that there's like
• 1:32:49
  Speaker 1: a lot of demonization of women working at all in
• 1:32:52
  Speaker 1: this movie that I thought, even for two thousand and four,
• 1:32:54
  Speaker 1: it was kind of a strange thing to be doubling
• 1:32:57
  Speaker 1: down on. I wish that there was a female, like
• 1:33:01
  Speaker 1: a relationship between two women of any sort in this
• 1:33:04
  Speaker 1: movie that we could really really root for, or that
• 1:33:07
  Speaker 1: felt super nuanced and grounded. But whether it's like Lucy
• 1:33:11
  Speaker 1: and Jenna, Jennet her mom, Jenna and Becky, they're all
• 1:33:14
  Speaker 1: kind of one note and play out either kind of
• 1:33:17
  Speaker 1: like nothingness, like Jenna and her mom, or we don't
• 1:33:20
  Speaker 1: know anything about their relationships so their conversations don't matter,
• 1:33:24
  Speaker 1: or it's two women who are actively against each other
• 1:33:29
  Speaker 1: and it has to do with career ambition, and it's
• 1:33:32
  Speaker 1: just like women can't work together and just kind of
• 1:33:34
  Speaker 1: all these like old tropes that seep into it. But
• 1:33:37
  Speaker 1: I do like that it's her story, she has an
• 1:33:41
  Speaker 1: active role in redeeming herself. And I just, I mean,
• 1:33:45
  Speaker 1: I just love I'm very attached to it. I like
• 1:33:48
  Speaker 1: it and I like the dancing, and I'll give it.
• 1:33:53
  Speaker 1: I'll give it two and a half. I'm going to
• 1:33:55
  Speaker 1: give one too. Was Eileen or Arlene? Are are Lane
• 1:34:00
  Speaker 1: Arlene the assistant? She has two fearful nipples now, and
• 1:34:06
  Speaker 1: I'll give the other one and a half to Andy Circus, Yeah,
• 1:34:10
  Speaker 1: because he never gets real human nipples. He always gets
• 1:34:13
  Speaker 1: c gas. I'll also go with a two and a
• 1:34:18
  Speaker 1: half just to piggyback on everything you said, Jamie. But
• 1:34:21
  Speaker 1: I also think it's important to like, this is an
• 1:34:24
  Speaker 1: unapologetically I would say, girly movie. And that's okay, that
• 1:34:30
  Speaker 1: is good there, it's good that those exists in the world.
• 1:34:34
  Speaker 1: And yeah, it's just it's so it's okay to still
• 1:34:36
  Speaker 1: love it. Um. Yeah, I'm gonna go with a two
• 1:34:39
  Speaker 1: and a half. I will give two nipples to Judy
• 1:34:43
  Speaker 1: Greer and I will give my half nipple to Wendy. Yes,
• 1:34:51
  Speaker 1: Wendy Justice for Wendy. Yeah, Wendy, don't you a successful
• 1:34:58
  Speaker 1: meteorologist with a woman in stem Melissa, thank you so
• 1:35:05
  Speaker 1: much for being us. Where can we find you online?
• 1:35:10
  Speaker 1: Where can we listen to Say More? Tell us everything? Um,
• 1:35:13
  Speaker 1: you can listen to Say More podcast hosted with Olivia
• 1:35:17
  Speaker 1: Gatwood on all streaming devices, and you can follow me
• 1:35:20
  Speaker 1: everywhere at Hello Melissa, which is Hello Melissa without the
• 1:35:24
  Speaker 1: h awesome. Thank you, Thank you guys so much. Thank
• 1:35:29
  Speaker 1: thanks to the Bellhouse for hosting us here, Thank you
• 1:35:33
  Speaker 1: for coming. Thanks to you for being here on Game
• 1:35:36
  Speaker 1: of Thrones night's starting right now. Did you know that
• 1:35:42
  Speaker 1: the dragons and Game of Thrones can't talk? I learned
• 1:35:44
  Speaker 1: that today. Yeah, they are not smelled. You can't do.
• 1:35:50
  Speaker 1: Thank you so much for coming, Thanks for tomming those
• 1:35:57
  Speaker 1: our episode. We did such a fun at Thank you
• 1:36:00
  Speaker 1: to everyone who came to that show at the Bellhouse.
• 1:36:02
  Speaker 1: That was such a blast. It was recorded on like
• 1:36:05
  Speaker 1: the third to last episode of Game of Thrones and
• 1:36:08
  Speaker 1: we were afraid no one was going to come, but
• 1:36:10
  Speaker 1: a bunch of people get packed. It was so much fun. Yes,
• 1:36:12
  Speaker 1: so thank you for coming. Thanks to everyone who bought
• 1:36:15
  Speaker 1: merch and posters that helps us out a lot. That
• 1:36:19
  Speaker 1: was so fun. Thanks again to our guest Melissa Lazata Eliva.
• 1:36:23
  Speaker 1: She was so awesome and please check out all of
• 1:36:26
  Speaker 1: her stuff. She put in her plugs as well, but
• 1:36:28
  Speaker 1: at Ella Melissa and read all of her wonderful poetry. Indeed,
• 1:36:33
  Speaker 1: and then shout out and thanks to the Bellhouse for
• 1:36:36
  Speaker 1: having us there, all the staff who helped out with
• 1:36:39
  Speaker 1: the show. Everything that was awesome. Yeah, it was such
• 1:36:42
  Speaker 1: a blast. And thank you to Jennifer Garner, I mean
• 1:36:46
  Speaker 1: and thanks. We should always think the lead actors at
• 1:36:52
  Speaker 1: the end of every episode. And of course this wouldn't
• 1:36:54
  Speaker 1: be possible without Meryl Street. I think you mean Meryl Street.
• 1:37:00
  Speaker 1: It's true and she would have she but she's so gracious.
• 1:37:02
  Speaker 1: She would have just been like a streep shirt. So,
• 1:37:06
  Speaker 1: you know, thanks to the whole Thanks to Andy Circus,
• 1:37:10
  Speaker 1: to to Gollum who made probably that role possible for
• 1:37:15
  Speaker 1: him because he's trying to subvert the narratives. Sure, thanks
• 1:37:18
  Speaker 1: to everyone real and hey, we can ploke some stuff
• 1:37:22
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• 1:37:26
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• 1:37:30
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• 1:37:34
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• 1:37:41
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• 1:38:18
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