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Casino Royale with Kenice Mobley · The Bechdel Cast

• 0:00
  Speaker 1: On the Bedel Cast, the questions asked if movies have
• 0:03
  Speaker 1: wenen inum, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have in individualism the patriarchy zef in
• 0:11
  Speaker 1: best start changing it with the Bechdel Cast. Hello, and
• 0:16
  Speaker 1: welcome to the Bechdel Cast. My name is now you
• 0:23
  Speaker 1: keep talking, I'll be I'll do them. My name is Durante,
• 0:29
  Speaker 1: Caitlin Durante. I'm Jamie, but James, Jamie Jamie loftus. Also
• 0:45
  Speaker 1: at the beginning of the movie is fun and then
• 0:47
  Speaker 1: it's so long. Oh, welcome, This is the Bechdel Cast.
• 0:53
  Speaker 1: It sure is. And what do we do here? What?
• 0:58
  Speaker 1: What are we doing? Well? Uh, this is a podcast
• 1:02
  Speaker 1: about the role that women play in famous movies, whether
• 1:06
  Speaker 1: they be main sidekicks from fatales or sacrificial lance. Hey. Yes,
• 1:15
  Speaker 1: So we use the Bechtel test as a jumping off
• 1:17
  Speaker 1: point to initiate a conversation about the representation of women
• 1:21
  Speaker 1: in movies and the Bechtel test. If you're not familiar
• 1:26
  Speaker 1: two female identifying characters, they should have names. Come on
• 1:31
  Speaker 1: first of all, okay, they should be in the movie together,
• 1:35
  Speaker 1: they should talk to each other, and they shouldn't talk
• 1:39
  Speaker 1: about a man, especially if batman is James, I like
• 1:44
  Speaker 1: to call him Jimmy Bond. I was, I kept rearing
• 1:47
  Speaker 1: down Jimmy be Jimmy Bobo. And then for our for
• 1:53
  Speaker 1: our purposes, it's just has to be a two line
• 1:55
  Speaker 1: exchange between two women. And uh, we'll find out her
• 2:00
  Speaker 1: on if this movie past we have picked perhaps it's
• 2:04
  Speaker 1: it's kind of interesting that we it's taken us this
• 2:06
  Speaker 1: long to get to this franchise, notoriously toxic franchise that
• 2:10
  Speaker 1: I'm excited to talk about. I know nothing about Jimmy Bobo,
• 2:15
  Speaker 1: and so I did a lot of reading, did a
• 2:17
  Speaker 1: lot of learning. Then, boy, is this movie long? It
• 2:22
  Speaker 1: certainly is. With that much further ado, let's introduce our guests,
• 2:26
  Speaker 1: shall we. Let's do it. She is a New York comedian.
• 2:30
  Speaker 1: Ever heard of it? So sorry, um, you might have
• 2:37
  Speaker 1: seen her on laughs on Fox. She is the host
• 2:40
  Speaker 1: of the Love About Town podcast, and if you're a matron,
• 2:44
  Speaker 1: you might remember her from our Back to the Future episode.
• 2:47
  Speaker 1: It's Canis Mobley. I'm back. Sorry, it's really exciting. I
• 2:58
  Speaker 1: should have It's a It's Mobli Mobli. I just keep
• 3:05
  Speaker 1: doing that. I do it so many times, So what's
• 3:12
  Speaker 1: your relationship with this franchise? Okay, so we're doing Casino
• 3:16
  Speaker 1: Royale by the way, two thousand six. Okay, So when
• 3:22
  Speaker 1: I was a kid, I watched all of the Pierce
• 3:23
  Speaker 1: Brosson ones. I went to the theater with my mom
• 3:26
  Speaker 1: to watch them. They are cheesy as hell, but I
• 3:28
  Speaker 1: was like super intovent, Like the tech is dumb. They
• 3:31
  Speaker 1: try to do some cg I stuff, It's dumb. The
• 3:33
  Speaker 1: relationship to the entire country of Russia is very silly.
• 3:37
  Speaker 1: They have Alan Cumming playing a Russian do you remember that? Yes,
• 3:42
  Speaker 1: Alan Cumming is a Russian jerkrogrammer, hacker. Yes, perfect for him.
• 3:49
  Speaker 1: Golden Eye, Oh ship. I played the video game Golden Eye.
• 3:52
  Speaker 1: I don't know if I saw the movie. That's the
• 3:54
  Speaker 1: only video game I've played more than once. And I
• 3:56
  Speaker 1: work at a video game company and they try to
• 3:58
  Speaker 1: make me play video games and we're like absolutely, but
• 4:00
  Speaker 1: I will funk with some Golden that sure. Sure. Oh
• 4:02
  Speaker 1: my god, I have to see Alan Cumming Villa like especially,
• 4:07
  Speaker 1: like everyone's doing the most, like none of the people
• 4:11
  Speaker 1: they I think Femka Jansen is not Russian, right, I
• 4:14
  Speaker 1: don't believe so yeah, yeah, they have her being an
• 4:17
  Speaker 1: evil lady who like chokes people with their thighs. It's
• 4:19
  Speaker 1: like a whole thing. Yeah, you're a woman, you have
• 4:23
  Speaker 1: to put your pussy in someone's face. And yeah, when
• 4:27
  Speaker 1: you guys mentioned that on another episode, I was like,
• 4:29
  Speaker 1: they must have seen the Chanson fucking people today with
• 4:34
  Speaker 1: her thoughts like it's the thing Pierce brows and so
• 4:37
  Speaker 1: inherently silly to like you Just I feel like I
• 4:40
  Speaker 1: just can't take him seriously. Like maybe it's because I'm
• 4:42
  Speaker 1: most familiar with his work in the moment be a franchise,
• 4:46
  Speaker 1: but I was just like, I can't take this guy seriously.
• 4:49
  Speaker 1: I saw for me he starts off as Bond and
• 4:52
  Speaker 1: then he goes Thomas Crown Affair, which not a great
• 4:55
  Speaker 1: like representing women not great. But oh man, I have
• 5:00
  Speaker 1: a solve software and I have to acknowledge that. But okay,
• 5:02
  Speaker 1: sure all that is preface to uh the last one
• 5:07
  Speaker 1: I think with Pierce browsing. It was like two thousand
• 5:09
  Speaker 1: or no, like ninety eight maybe, and then I heard
• 5:12
  Speaker 1: that they were coming out with a new one. It
• 5:14
  Speaker 1: was around my twenty first birthday. I am older than
• 5:17
  Speaker 1: you guys, but uh so I feel like a year older.
• 5:21
  Speaker 1: It's like crazy, It's like all all different times references.
• 5:25
  Speaker 1: I'm just like so old. So uh yeah. So I
• 5:28
  Speaker 1: heard that they were coming out with it, and I
• 5:30
  Speaker 1: themed my entire twenty first birthday party around James Bond.
• 5:33
  Speaker 1: So I brought like, um, like the green felt stuff
• 5:37
  Speaker 1: that covers like a table that you would play poker on.
• 5:39
  Speaker 1: I got like three handles of vodka to make vodka
• 5:42
  Speaker 1: marteenis with. Uh. Not that many people came. I was
• 5:46
  Speaker 1: not popular, So everyone who came, like outside of me
• 5:49
  Speaker 1: and the other people who were like playing poker the
• 5:51
  Speaker 1: whole night, everyone else became ship faced. And I turned
• 5:54
  Speaker 1: around and like everyone's just on the floor and I'm like, oh, well,
• 5:57
  Speaker 1: successful party party. Yeah. Guess what the theme of my
• 6:01
  Speaker 1: birthday party was last year? Paddington Yep, hell yeah. It
• 6:09
  Speaker 1: was it Paddington, both Paddington's or Paddington Too. It was
• 6:12
  Speaker 1: basically just like dress as close to Paddington as you can,
• 6:15
  Speaker 1: so everyone's dressed as Paddington. There's like literally someone wore
• 6:19
  Speaker 1: a red hat and that was it. We try get
• 6:22
  Speaker 1: to be fair. It was in the event description in
• 6:26
  Speaker 1: the event I made, and I didn't show up but
• 6:30
  Speaker 1: it was hard. It's hard to get a Paddington outfit.
• 6:32
  Speaker 1: I didn't realize. Yeah, it looks so you can get
• 6:35
  Speaker 1: a blue coat or jacket or shirt, just a blue thing.
• 6:38
  Speaker 1: There's a red bucket hat. You think it would be
• 6:41
  Speaker 1: easier to find a red bucket. I feel like you
• 6:43
  Speaker 1: got to go to Venice Beach. Yeah, they're selling them there. Yeah,
• 6:47
  Speaker 1: you're gonna have to take like the weed banner that's
• 6:50
  Speaker 1: around the base of You're gonna have to take that off.
• 6:51
  Speaker 1: But once you do that, then I think you're good.
• 6:54
  Speaker 1: Fun birthday though, it was great. I had such a
• 6:56
  Speaker 1: good time. So so then you saw the movie when
• 6:59
  Speaker 1: it came mount, Yes, and have you seen the other
• 7:02
  Speaker 1: ones in this? And then I have seen every other one? Okay? Cool? Uh?
• 7:06
  Speaker 1: In order I will give them in quality and if
• 7:08
  Speaker 1: people disagree with me, they are wrong. Okay. So first one,
• 7:13
  Speaker 1: sky Fall the best. I think sky Fall's best, followed
• 7:16
  Speaker 1: by Casino Royal, followed by this maybe controversial Quantum of Solace,
• 7:20
  Speaker 1: and last I hated Spector. Spector is really bad. I
• 7:24
  Speaker 1: would agree with you. I think I like Casino Royal
• 7:27
  Speaker 1: a little better than Skyfall, but I did enjoy Skyfall. Yeah, yeah, yeah,
• 7:30
  Speaker 1: either way. I feel like people shed on quantum of
• 7:32
  Speaker 1: solas so hard. But like compared to like Spector was
• 7:36
  Speaker 1: very very bad. Ye Spector the most recently, Yes, Spectr
• 7:41
  Speaker 1: is the one where he sleeps with a woman his
• 7:44
  Speaker 1: age and they're like, whoa, this is wild. Okay, he
• 7:48
  Speaker 1: sucked Monica Bellucci. This is nuts, even though she is
• 7:51
  Speaker 1: like a supermodel who was his exact same age, right,
• 7:55
  Speaker 1: oh my god? Like inclusion is this cool? It was awesome? Jamie,
• 8:01
  Speaker 1: what's your history with Jimmy be nothing. I have no
• 8:06
  Speaker 1: history nor attachment to Jimmy Bobo. He seems like he
• 8:11
  Speaker 1: seems like he kind of hates women. It's weird. I
• 8:15
  Speaker 1: feel like most people have like some at least someone
• 8:18
  Speaker 1: in their family, Like who is very in a James Bond?
• 8:20
  Speaker 1: I just didn't. I don't know what. I don't know
• 8:22
  Speaker 1: what it was. At Robot Chicken, there was a really
• 8:24
  Speaker 1: funny skitch that got cut based around Golden Eye, a
• 8:27
  Speaker 1: movie I haven't seen, but it was about peeing in
• 8:30
  Speaker 1: someone's eyeball. That was kind of funny. What it would
• 8:33
  Speaker 1: make your eye gold It's like a golden shower into
• 8:37
  Speaker 1: your eye, Like, well, if it's got cut and that's
• 8:42
  Speaker 1: all I know about coo good. Yeah, what about I
• 8:47
  Speaker 1: some of the had seen at least a few of
• 8:49
  Speaker 1: the Pierce brows and ones. The one I remember most
• 8:52
  Speaker 1: was the one that Hallie Berry was in, which I
• 8:54
  Speaker 1: think was like early two thousand's that I think that
• 8:56
  Speaker 1: was like one of the last periods, if not the
• 8:58
  Speaker 1: last one. Yeah. I just remember her like being tied
• 9:02
  Speaker 1: to a slab and there's like a laser about to
• 9:04
  Speaker 1: like slice her up, and then of course Jimmy Bee
• 9:07
  Speaker 1: has to come in and save her. And that was
• 9:09
  Speaker 1: still Pierce. Yeah. Yeah, I only remember that one because
• 9:13
  Speaker 1: that movie came out right after She Wanted an Oscar
• 9:15
  Speaker 1: and people were like, huh, first that was like two one,
• 9:20
  Speaker 1: and then yeah, this had to be like two thousand two,
• 9:22
  Speaker 1: Y think, so it was not good? And then did
• 9:25
  Speaker 1: they all have the same name these movies? It's like
• 9:28
  Speaker 1: Live another Day, Die Again Tomorrow, Tomorrow, never dies, die
• 9:34
  Speaker 1: Die another Day? Because I remember that was like a song. Man,
• 9:44
  Speaker 1: I honestly like most of the James Bond songs. And
• 9:46
  Speaker 1: I cannot accept this out about myself, but it is true.
• 9:49
  Speaker 1: The adele One is really good, Sky Falls great, Ye
• 9:53
  Speaker 1: Trees hates it. Sister, none of you know her. Okay, cool,
• 9:56
  Speaker 1: but she complains about this song constantly because we constantly
• 9:59
  Speaker 1: diet in fight about James Bond. She thinks Quantum of
• 10:01
  Speaker 1: Solace is the best because she's looking crazy, She's like, no,
• 10:05
  Speaker 1: I studied geopolitics, don't you have the same twin wait,
• 10:10
  Speaker 1: she she's arguing the cultural importance of Quantum of solid
• 10:14
  Speaker 1: She's like, water rights are gonna be a thing. Come on, guys,
• 10:17
  Speaker 1: we gotta get on board. And I'm like, I don't
• 10:19
  Speaker 1: think that's a reason to like a film. I don't
• 10:23
  Speaker 1: so anyway, So I've seen a few of those. I
• 10:25
  Speaker 1: have seen all of the Daniel Craig ones, and then
• 10:28
  Speaker 1: I hadn't seen any of like the ones from the
• 10:31
  Speaker 1: Sean connri era or like Roddermore, any of those older ones.
• 10:34
  Speaker 1: So I was like, maybe for this episode, I should
• 10:36
  Speaker 1: just go and watch one of them, see how it goes.
• 10:38
  Speaker 1: So I started gold Member or gold Finger again, they
• 10:43
  Speaker 1: all have the same members, so not that one. So
• 10:51
  Speaker 1: gold Finger and I saw the first five minutes of it,
• 10:55
  Speaker 1: and within the first five minutes you see a naked
• 10:58
  Speaker 1: woman in a bathtub. She gets out and starts kissing
• 11:02
  Speaker 1: James Bond, who this one is a Connery one. Hyeah,
• 11:05
  Speaker 1: it was a notorious advocate for one yes from this icon. Um.
• 11:12
  Speaker 1: So he starts kissing her while she is still naked
• 11:15
  Speaker 1: and he is fully clothed, and then a bad guy
• 11:18
  Speaker 1: comes into attack Bond, and so Bond flings her around
• 11:22
  Speaker 1: and uses her as a human shield and that results
• 11:26
  Speaker 1: in the bad guy bludgeoning her on the head. And
• 11:29
  Speaker 1: then I was like, I've seen enough. I get it.
• 11:32
  Speaker 1: I understand what the movie was going to be, so uh,
• 11:36
  Speaker 1: I can't get behind anything before Peters Brosnan I saw
• 11:39
  Speaker 1: from Russia with Love or two whom you get it.
• 11:43
  Speaker 1: He hits a lady in it, and they're just like,
• 11:45
  Speaker 1: of course hits her in the face, So like, why
• 11:49
  Speaker 1: are we doing There's a number of super cuts out
• 11:51
  Speaker 1: there of like old school James Bond just straight up
• 11:54
  Speaker 1: abusing women, like treating them badly, physically abusing him like
• 12:00
  Speaker 1: being raised. It's like he's just horrible. Um, it's weird.
• 12:06
  Speaker 1: And then it's like by comparison, like a lot of
• 12:09
  Speaker 1: stuff I was reading about Casino Royale was like, well,
• 12:11
  Speaker 1: by comparison, he's actually a militant feminist like, I guess
• 12:18
  Speaker 1: if he was beating women up and now it's I
• 12:22
  Speaker 1: don't know, I'll do the recap. I couldn't tell you
• 12:27
  Speaker 1: what happens in this movie. Really. I know there's a
• 12:30
  Speaker 1: card game. Yes, yes, well I'm here to tell you what.
• 12:33
  Speaker 1: Accountants also have to sort of be pretend to be
• 12:37
  Speaker 1: people's girlfriends some kind part of every accountants job. She
• 12:41
  Speaker 1: is not a spy, but they're like, let's bring like
• 12:43
  Speaker 1: she's undergo she's like the assistant comptroller or something. They're
• 12:49
  Speaker 1: They're like, no, you gotta be hot. They I guess
• 12:52
  Speaker 1: they did what they did in Miss Congeniality, where they
• 12:54
  Speaker 1: were just like scanned through the computer and was like
• 12:56
  Speaker 1: who works here? And then they just threw her into
• 12:59
  Speaker 1: this much of you is at least, but she was
• 13:01
  Speaker 1: like already an undercover FBI agent? Was she yeah? Yes, yeah, no,
• 13:07
  Speaker 1: this is like someone with no fight training, who's never
• 13:10
  Speaker 1: seen anyone die, who like doesn't know how to be
• 13:13
  Speaker 1: discreet in any way, Like yeah, and then he's like
• 13:16
  Speaker 1: where this dress? You're my wife? And that dress. I
• 13:21
  Speaker 1: was like, I don't think I've seen anything that's more
• 13:23
  Speaker 1: two thousand six in that dress and that hairstyle together.
• 13:26
  Speaker 1: I was amazed, but I was furious when she's like,
• 13:28
  Speaker 1: we'll get to it, but she's like just sitting in
• 13:29
  Speaker 1: a shower. I was like, bitch, that dress cost like
• 13:31
  Speaker 1: ten thous dollars. Like I get that you're sad, but
• 13:33
  Speaker 1: like all you did do was like take the dress
• 13:35
  Speaker 1: off and then sit in the shower, like the funk
• 13:37
  Speaker 1: out of here, Like that's ridiculous. Okay, sorry, it's a
• 13:40
  Speaker 1: it's a really every prom dress from that era looks
• 13:44
  Speaker 1: exactly like that dressed, like the rhy stones down, the
• 13:47
  Speaker 1: plunging neckline, in the straightened hair. It's like, okay, okay,
• 13:50
  Speaker 1: eight grade, semmy, what's up? Okay? So the story of
• 13:54
  Speaker 1: cause you know Royal Uh, there's an opening scene. It's
• 13:58
  Speaker 1: in black and white, and it's just establishing there's a
• 14:02
  Speaker 1: new James Bond in town because he gets because he's
• 14:08
  Speaker 1: gotten promoted to double oh status, or he will once
• 14:11
  Speaker 1: he kills this double crossing agent dude. And then we
• 14:17
  Speaker 1: see all that happen and we're like, wow, James Bond
• 14:20
  Speaker 1: is cool. It's gritty now. So we cut to Madagascar
• 14:26
  Speaker 1: where Bond is after a bombmaker, uh, and there's this
• 14:31
  Speaker 1: huge parkour chase for a construction site that ends with
• 14:36
  Speaker 1: James Bond killing the guy and blowing up an embassy.
• 14:41
  Speaker 1: That's very cool. Yep, that was great. And we were
• 14:44
  Speaker 1: supposed to be like, yeah, this is like they need
• 14:50
  Speaker 1: the infrastructure, and the whole sequence resulted in like the
• 14:54
  Speaker 1: destruction of a high rise building and I'm like, wow, okay,
• 14:58
  Speaker 1: what you're trying to save? Like you could have just
• 15:00
  Speaker 1: saved money by not doing any of that. Yeah, this
• 15:03
  Speaker 1: is a sequence that only could have been made during
• 15:05
  Speaker 1: the Bush administration. Yeah. Just the number of black bodies
• 15:09
  Speaker 1: that are just like falling from this guy, like well
• 15:11
  Speaker 1: collateral damage. Yeah, I want to talk about that a
• 15:15
  Speaker 1: little later on. Meanwhile, there's this bad guy the Sheef
• 15:22
  Speaker 1: say it again and that's Mad's Michelson's character. And he's
• 15:32
  Speaker 1: free bleeding out of his eye you know text and
• 15:38
  Speaker 1: here is his eye vall Diva cup. He is taking
• 15:46
  Speaker 1: money from bad guys in Uganda to invest in bad things.
• 15:54
  Speaker 1: I'm not really sure. And then he's he's playing poke.
• 15:57
  Speaker 1: He loves poker. He's on a he's got a girlfriend
• 16:01
  Speaker 1: who I don't know if she even has a line
• 16:03
  Speaker 1: in the entire movie. She's his girlfriend, and yet she
• 16:06
  Speaker 1: is seventeen the actress that place his girlfriend was in. Oh,
• 16:12
  Speaker 1: it's got Monica Potter and Freddie Prince Jr. And she
• 16:15
  Speaker 1: has to blend in with a bunch of models to
• 16:17
  Speaker 1: like for some reason because they think he killed somebody.
• 16:20
  Speaker 1: She even that, but she's also in she's one of
• 16:22
  Speaker 1: the Americans in love actually Oh okay, yeah, with like
• 16:27
  Speaker 1: January Jones, Yeah, with January Jones and Denise Richards shows. Yeah. Yeah,
• 16:33
  Speaker 1: she's one of those ladies, like I am a model
• 16:36
  Speaker 1: and this is I don't know why I gave her
• 16:38
  Speaker 1: that accept given her face, I think it makes sense.
• 16:41
  Speaker 1: But okay, her name is Ivana milick iven Y. That
• 16:46
  Speaker 1: accent made sense. Yeah, yeah, you know this. Russians, Please
• 16:51
  Speaker 1: do not be mad at me. I'm so sorry. So
• 16:53
  Speaker 1: we're back in London and Bond is hacking. He's finding
• 16:57
  Speaker 1: finding stuff out about something called Ellipsus, and then he
• 17:02
  Speaker 1: breaks into his boss's house that's m played by Dame
• 17:05
  Speaker 1: Judy Dench, and she's like Bond, like, you shouldn't have
• 17:10
  Speaker 1: killed that guy. You shouldn't have blown up the embassy. Yes, yes,
• 17:15
  Speaker 1: but she's like, you need to look at the bigger picture. Like,
• 17:18
  Speaker 1: who hired that bomb maker? We don't know that because
• 17:21
  Speaker 1: you killed him. And then she like basically she's like
• 17:23
  Speaker 1: quit being such an arrogant wenk and never comfortable a
• 17:27
  Speaker 1: house again. And god, every time they cut to Judy
• 17:30
  Speaker 1: Den she's in this ornate room and she's super concerned.
• 17:34
  Speaker 1: And then sometimes she's on like a patio and she's
• 17:37
  Speaker 1: super concerned. Right, and then Bond goes to the Bahamas.
• 17:43
  Speaker 1: He's driving a forward. Yeah, oh my god. The product
• 17:47
  Speaker 1: placement in Casino Rail is so funny. He's always texting
• 17:50
  Speaker 1: people on his sony ericson phone. And then in the
• 17:53
  Speaker 1: closing scene after spoiler alert, his lover dies, he's on
• 17:56
  Speaker 1: a sony via okay, Jude Denver a lot of lot
• 18:07
  Speaker 1: like that doesn't drive a Ford anyway. So he's driving
• 18:09
  Speaker 1: around a Ford and then he finds this guy named
• 18:11
  Speaker 1: Alex Demetrios who is up to no good and he
• 18:15
  Speaker 1: is a known associate off. This is my new favorite
• 18:23
  Speaker 1: um and this guy Demetrios, he's got a hot wife,
• 18:26
  Speaker 1: he's got an Aston Martin. He is playing poker as well.
• 18:29
  Speaker 1: So Bond joins in this poker game and he wins
• 18:32
  Speaker 1: Demetrios's car, and money and wife uman the top three possessions,
• 18:41
  Speaker 1: and he finds out from her that Demetrios is getting
• 18:46
  Speaker 1: this flight to Miami, so Bond follows him to Miami.
• 18:49
  Speaker 1: He realizes that there's some terrorists who are targeting this
• 18:52
  Speaker 1: large plane to blow it up. The shot of the
• 18:56
  Speaker 1: plane are so it's shot like it's a cock. I mean,
• 19:02
  Speaker 1: like the they're the shots of the plane are extremely
• 19:05
  Speaker 1: felt like I went back and wanted them twice of
• 19:07
  Speaker 1: like what an interesting? Like you didn't need to do that. Well,
• 19:11
  Speaker 1: it's basically it looks like they're like it's like the
• 19:15
  Speaker 1: biggest plane ever to fly. This guy, it's basically Titanic.
• 19:18
  Speaker 1: They're like, I want to marvel the speed it's filmed
• 19:22
  Speaker 1: like it's a huge dick, Like it's just that the
• 19:25
  Speaker 1: Titanic of these guys. I wasn't. I was like, okay,
• 19:29
  Speaker 1: this is that. This was the choice? Yeah, I mean anyway,
• 19:32
  Speaker 1: So Bond stops this from happening. He stops the explosion,
• 19:36
  Speaker 1: and then the sheif was counting on the plane exploding
• 19:41
  Speaker 1: because it would have done something stocks, which I don't
• 19:46
  Speaker 1: understand how making the stocks lower would have made him money.
• 19:49
  Speaker 1: I don't understand the stock market get and I only
• 19:53
  Speaker 1: sort of know this because of the big short, but
• 19:57
  Speaker 1: you can compet against h a certain eltcome. I think
• 20:01
  Speaker 1: that sounds that's that's wild. That doesn't that feels like
• 20:06
  Speaker 1: it should be any And I will say in that
• 20:09
  Speaker 1: scene where they talk about like, oh, he was supposed
• 20:12
  Speaker 1: to make all this money from this plane being exploded.
• 20:15
  Speaker 1: It didn't work, they also say, like someone did he
• 20:18
  Speaker 1: also did this on nine eleven, and they like very
• 20:20
  Speaker 1: much so gloss over that. They're like, yeah, he did
• 20:24
  Speaker 1: all this and he made a fortune on nine twelve,
• 20:26
  Speaker 1: And I'm like, so wait, wait, wait, wait, wait, in
• 20:28
  Speaker 1: this movie's logic, Lastifa did nine eleven and it's only
• 20:32
  Speaker 1: mentioned once and we never talked about it, and he
• 20:35
  Speaker 1: like made a lot of money off of nine. That's
• 20:37
  Speaker 1: like a one off. Judy Dench left. She says one
• 20:40
  Speaker 1: line about it, and I'm like, so we're not We're
• 20:42
  Speaker 1: not going to go back to that. And j harg
• 20:44
  Speaker 1: is like those movies suggesting that nine. I mean, well,
• 20:53
  Speaker 1: that's wild. So let's set Oh my god, let's sheaf
• 20:59
  Speaker 1: the st reef. He has to recoup all that lost money.
• 21:03
  Speaker 1: So now he is setting up a very high stakes
• 21:06
  Speaker 1: poker game at Casino Royal in Montenegro, bad writing, Um,
• 21:13
  Speaker 1: there's ten players, it's a ten million dollar buying and
• 21:16
  Speaker 1: he's hoping that he will because he's so good at poker.
• 21:19
  Speaker 1: He'll sweep everyone out. He'll get everyone's money. But guess
• 21:22
  Speaker 1: who's gonna be one of the players. It's our friend
• 21:26
  Speaker 1: Jimmy be Jimmy Bobo a table playing the card because
• 21:31
  Speaker 1: he's also good at poker, because he's good at everything.
• 21:34
  Speaker 1: And then Vesper Lynde shows up. That's Ava Green's character,
• 21:39
  Speaker 1: and she's with the Treasury who is fronting the ten
• 21:42
  Speaker 1: million dollars for bonds buying, and she's cute, you know,
• 21:46
  Speaker 1: and they have some cheeky banter. They have some cheeky banter.
• 21:51
  Speaker 1: This is the first, this is canonically the first smart
• 21:55
  Speaker 1: woman James Bond has ever spoken to. It's wild. And then,
• 22:01
  Speaker 1: as you hinted at Jamie, they have to assume these
• 22:04
  Speaker 1: alter egos because they're going undercover. But immediately Bond is like,
• 22:08
  Speaker 1: I'm not Mr Beach, I'm James Bond because you know
• 22:12
  Speaker 1: he's an arrogant winka. Yeah, and then they have to
• 22:15
  Speaker 1: pretend to be a couple and they have to even
• 22:19
  Speaker 1: though they don't have this cover story before, they need
• 22:21
  Speaker 1: to write the logic of why they have to be
• 22:24
  Speaker 1: a couple as well, and they like the logic of
• 22:26
  Speaker 1: when you have Like there's that scene where he brings
• 22:29
  Speaker 1: her the dress and then he was like, when you
• 22:31
  Speaker 1: go down to kiss my neck, well you want them
• 22:35
  Speaker 1: to look at your neck. So that I was like,
• 22:38
  Speaker 1: this is a bad play. This is a perfect It
• 22:42
  Speaker 1: certainly is also, I mean, wouldn't it be crazy if
• 22:44
  Speaker 1: like women were playing this poker game. Like there's the
• 22:49
  Speaker 1: Asian lady who's at the she was also on the
• 22:51
  Speaker 1: yacht with Lasifa earlier. She hits. She never says anything
• 22:54
  Speaker 1: throughout the movie. She appears in these two pivotal scenes
• 22:58
  Speaker 1: but has no name and no one right, maybe she
• 23:01
  Speaker 1: did not eleven And then there's a story to be told.
• 23:04
  Speaker 1: Someone at that poker table, they're the dealer is a woman,
• 23:08
  Speaker 1: I believe, But yeah, there's other than that. Women aren't
• 23:13
  Speaker 1: allowed to play poker and don't talk. In that scene,
• 23:16
  Speaker 1: but before that, they link up with this guy Mathis
• 23:19
  Speaker 1: because he's there like contact for this mission and the
• 23:22
  Speaker 1: players assemble. They have to enter this password and in
• 23:26
  Speaker 1: the event that they win so that the money will
• 23:27
  Speaker 1: be wired to them, and then the game begins. It's
• 23:30
  Speaker 1: Texas hold him Bond in. The Sheaf are very good
• 23:35
  Speaker 1: at poker, and Bond discovers the chiefs tell, which is
• 23:39
  Speaker 1: that his eye twitches when he bluffs, so he has
• 23:42
  Speaker 1: to cover it up. And then there's a break in
• 23:44
  Speaker 1: the game during which Bond fights and kills a bunch
• 23:47
  Speaker 1: of bad guys who are trying to kill a Sheaf
• 23:49
  Speaker 1: because he lost them the money. And then Bond gets
• 23:52
  Speaker 1: all cleaned up and he's like, I'm bad baby, here
• 23:55
  Speaker 1: to play more poker. And then Bond loses all his
• 23:58
  Speaker 1: money because he thought La Chief was bluffing because he
• 24:01
  Speaker 1: was doing his tell, but turns out he wasn't bluffing
• 24:04
  Speaker 1: and he had the winning hand. So he needs five
• 24:07
  Speaker 1: million dollars to buy back in. Invespers like, no, you're
• 24:10
  Speaker 1: you're an arrogant one guy. I'm not going to give
• 24:12
  Speaker 1: you the money, and he's like me. But this CI,
• 24:17
  Speaker 1: a dude who is also undercover and also playing, is like, hey,
• 24:22
  Speaker 1: I'll buy you back in as long as the CIA
• 24:24
  Speaker 1: gets to take lachief and he's like great. He says
• 24:27
  Speaker 1: my favorite line in the whole movie, which is Jeffrey
• 24:30
  Speaker 1: Right being like, it look like we need the money.
• 24:33
  Speaker 1: And I don't know why I love it. It's delivered
• 24:36
  Speaker 1: to this very throaty way. Yeah, it works for me
• 24:39
  Speaker 1: every single time. I love it so much. And when
• 24:41
  Speaker 1: he said it, I was like, I actually don't know
• 24:42
  Speaker 1: the answer to that question. And maybe they I think
• 24:45
  Speaker 1: maybe they could use them as the CIA, just like rolling.
• 24:48
  Speaker 1: That's what I think everyone thinks about our government, just
• 24:51
  Speaker 1: like we don't give a ship. Here's a billion dollars,
• 24:54
  Speaker 1: We literally throw this away. I was thrilled to see
• 24:57
  Speaker 1: Jeffrey right and in this movie, and I was like, God.
• 25:02
  Speaker 1: So then the game starts up again, but before anything
• 25:05
  Speaker 1: can happen, La Chief poisons bond Um and he goes
• 25:09
  Speaker 1: into cardiac arrest, but luckily there's a defibrillator in his car,
• 25:14
  Speaker 1: and then Vesper has to come in and save him.
• 25:18
  Speaker 1: She saves him, but then she's kidnapped. Shit, and it's
• 25:22
  Speaker 1: the final phase of the game. Everyone is all in
• 25:25
  Speaker 1: and guess who wins. It's our friends something like a
• 25:30
  Speaker 1: hundred and fifty million dollars, and he somehow figures out
• 25:34
  Speaker 1: that Mathis is a bad guy. And then he runs
• 25:38
  Speaker 1: out to go do something about that, and then Vesper
• 25:42
  Speaker 1: gets kidnapped right then he goes after her. They're both
• 25:45
  Speaker 1: captured by like lachief goons and he tortures Bond by
• 25:51
  Speaker 1: hitting him in the balls a lot and hard hard,
• 25:55
  Speaker 1: And did not see this kink ball play scene coming
• 26:03
  Speaker 1: because he strips him down totally naked. It makes him
• 26:05
  Speaker 1: sit on a chair without any like you could have
• 26:08
  Speaker 1: left his shirt on for the purposes of this type
• 26:10
  Speaker 1: of torture. But sure we need to see Jimmy Bee's nipples. Yeah,
• 26:15
  Speaker 1: I mean I was, and I was thrilled. I was thrilled,
• 26:18
  Speaker 1: But what a what a wild sexually charged scene. Because
• 26:21
  Speaker 1: he's trying to get the password that Bond had entered
• 26:24
  Speaker 1: so he can steal all the money back from him,
• 26:26
  Speaker 1: but Bond refuses, and then someone comes in and kills
• 26:29
  Speaker 1: the sheet from leaves Bond in Vesper alive, so then
• 26:33
  Speaker 1: the money gets transferred to Bond. You know Vespers, like,
• 26:36
  Speaker 1: I have the account number and you have the password,
• 26:38
  Speaker 1: and he reveals that the password was Vesper because he's
• 26:42
  Speaker 1: in love with her, and they're in love now. She
• 26:44
  Speaker 1: took way too long to recognize that it was her name.
• 26:47
  Speaker 1: It's like a six letter thing and he's like v
• 26:51
  Speaker 1: E and it isn't until Pe where she's like, oh,
• 26:55
  Speaker 1: it was like perfectly my fame. What do you want?
• 26:58
  Speaker 1: You know? And also she starts loving him for no reason.
• 27:02
  Speaker 1: But suddenly they're in love, or at least I guess
• 27:05
  Speaker 1: she's pretending. I don't know. But they go on holiday
• 27:08
  Speaker 1: in Europe and they're riding around on a boat and
• 27:10
  Speaker 1: he is there's Wifia Penis recovered there. There's a scene
• 27:18
  Speaker 1: where she literally weeps, like even if it's just a figure.
• 27:22
  Speaker 1: He's like, oh, yeah, hey, babes, got still. And then
• 27:29
  Speaker 1: he decides to quit being a spy because he loves
• 27:31
  Speaker 1: her so much. He like emails M with his resignation
• 27:35
  Speaker 1: letter from a boat that apparently has WiFi anyway, But
• 27:38
  Speaker 1: then he's like, wait, something is wrong and the money
• 27:40
  Speaker 1: is not in the account that it's supposed to be in,
• 27:43
  Speaker 1: and he realizes that Vesper stole it, so he goes
• 27:46
  Speaker 1: after her. There's a big fight, a building collapses into
• 27:50
  Speaker 1: the sea, and then she lets herself drown and die.
• 27:56
  Speaker 1: What I'm not sure and then M is like, oh,
• 28:00
  Speaker 1: she was being blackmailed by the Sheef's people who kidnapped
• 28:05
  Speaker 1: her boyfriend, so that's why she betrayed Bond. This is
• 28:08
  Speaker 1: all delivered so last minute, and like Judy Dench says
• 28:13
  Speaker 1: it all in one Brand're like what She's like, hey,
• 28:17
  Speaker 1: bt debs, we found out this person that we were
• 28:18
  Speaker 1: working like, that was working for us has been against
• 28:21
  Speaker 1: us this whole time, is completely compromised, Like this is
• 28:24
  Speaker 1: her dating, Like the amount they were able to discover
• 28:28
  Speaker 1: so quickly, it was very obvious. And then yeah, and
• 28:32
  Speaker 1: then like Judy den just like, yeah, bummer, we didn't
• 28:35
  Speaker 1: figure that out earlier anyways, That's how I guess, but
• 28:40
  Speaker 1: we were. She starts off as being so thorough and
• 28:43
  Speaker 1: then it's like, well, Eva Greenstead should have seen it coming,
• 28:46
  Speaker 1: didn't he coming? What are you gonna do? Come back
• 28:48
  Speaker 1: to work maybe? And he's like okay, And somehow this
• 28:52
  Speaker 1: is the easiest Daniel Craig Bond movie to follow, because
• 28:56
  Speaker 1: I would like the Quantum of Solace Inspector are unfollowable.
• 29:00
  Speaker 1: Scotty follow is pretty easy too, but like you're just like, what, Yeah,
• 29:05
  Speaker 1: we need to take a quick break, but we will
• 29:07
  Speaker 1: come right back in a second. We're back here we are,
• 29:20
  Speaker 1: I think that was a good transition bag. All right,
• 29:24
  Speaker 1: where do we we're to be in We're too? I mean, well,
• 29:27
  Speaker 1: I want to because you both have far more experience
• 29:31
  Speaker 1: with this franchise as a whole than me. I wanted
• 29:34
  Speaker 1: to talk about the concept of a bond girl in general,
• 29:39
  Speaker 1: because it seems like Eva Green is one of the
• 29:43
  Speaker 1: bond girls that is treated slightly better than a lot
• 29:48
  Speaker 1: of other women in the franchise, and I was I
• 29:50
  Speaker 1: did some reading about this, but I was curious about
• 29:52
  Speaker 1: your impressions on Vesper. I like that she at least
• 29:57
  Speaker 1: has an active role. Like in a lot of the
• 29:59
  Speaker 1: pierres bras and ones, it's a woman who like, Hey,
• 30:02
  Speaker 1: I was going about my life, living it and somehow
• 30:04
  Speaker 1: I'm tied up in this international intrigue and oh no,
• 30:09
  Speaker 1: someone's trying to kill me and I have no preparation
• 30:11
  Speaker 1: for this, and I just run around and scream a lot. Yeah,
• 30:13
  Speaker 1: so thankfully this isn't I mean, she does do her
• 30:15
  Speaker 1: fair amount of screaming, but at least she's like a
• 30:17
  Speaker 1: reason to be there and some sort of training, and
• 30:20
  Speaker 1: she gets to make some decisions even though they're immediately overridden.
• 30:23
  Speaker 1: So right, Yeah, it's weird because she does. She participates
• 30:28
  Speaker 1: in the narrative more than I expected, just like with
• 30:31
  Speaker 1: the reputation of the James Bond franchise, but it's still
• 30:34
  Speaker 1: so like she participates in that fight where James Bond
• 30:39
  Speaker 1: kills two men in front of her, but she only
• 30:41
  Speaker 1: only for like a second. She like gets the gun
• 30:43
  Speaker 1: out of his hand and that's it. Or she prevents
• 30:47
  Speaker 1: James Bond from being poisoned, but then two seconds later
• 30:51
  Speaker 1: she's kidnapped and like, yeah, like it's like you're saying
• 30:54
  Speaker 1: her most of the stuff she contributes is overwritten right away,
• 30:57
  Speaker 1: and she's mostly just like James Bond, you're not as
• 30:59
  Speaker 1: cool as you are, and then he does something that
• 31:01
  Speaker 1: proves that he's that cool, and you're like, okay, really,
• 31:04
  Speaker 1: so you're just you're just saying she's wrong. That's the
• 31:06
  Speaker 1: whole Okay. I would argue that her involvement in the
• 31:11
  Speaker 1: story doesn't make that much sense because the position that
• 31:14
  Speaker 1: she's put in is like the representative of the treasury
• 31:17
  Speaker 1: that's fronting the money, like as we already kind of
• 31:19
  Speaker 1: hinted at, like she has no like spy training. The
• 31:23
  Speaker 1: fact that she's thrown into this undercovermas as a spy. Yeah,
• 31:27
  Speaker 1: and you know when they saw this, she's twenty six. Yeah,
• 31:31
  Speaker 1: there's there's a twelve year age gap with the age gap.
• 31:36
  Speaker 1: It's sad that I'm like, that was less of an
• 31:39
  Speaker 1: age gap than I thought. But twelve year age gap
• 31:41
  Speaker 1: between these actors just for for curious listeners. Yeah, So
• 31:47
  Speaker 1: she's thrust in the story in this like spy role
• 31:51
  Speaker 1: that she has no training for. She's an accountant. But
• 31:56
  Speaker 1: it's clear that the whoever crafted this story was like, well,
• 31:59
  Speaker 1: we you know, a woman there to keep being there
• 32:02
  Speaker 1: so that he has someone to kiss. So like, oh,
• 32:03
  Speaker 1: we'll just take this treasury woman, but like her role
• 32:07
  Speaker 1: as like a representative of the treasury and then her
• 32:11
  Speaker 1: ongoing role based on that, Like that doesn't make sense,
• 32:14
  Speaker 1: but they're just like, well, we need this beautiful woman here,
• 32:15
  Speaker 1: so let's keep her, you know, keep her around. From
• 32:18
  Speaker 1: what I know, and I'm sure that James Bond fans
• 32:20
  Speaker 1: are going to slide into our mentions for this episode.
• 32:22
  Speaker 1: It's inevitable. I'm still traumatized from Lord of the Rings,
• 32:27
  Speaker 1: but I believe that Casino Royale. This is adapted from
• 32:31
  Speaker 1: one of the first, if not the first James Bond
• 32:34
  Speaker 1: stories ever written, And I don't know how closely. I know,
• 32:38
  Speaker 1: like all the main players that are in this movie
• 32:41
  Speaker 1: are included in that story, but I don't know how
• 32:43
  Speaker 1: far this deviates from the Ian Fleming original. This movie
• 32:48
  Speaker 1: had also previously been adapted in the sixties too. I
• 32:52
  Speaker 1: think there's another royale based on based on the novel?
• 32:58
  Speaker 1: Is that a Connery one? Do we know? I don't.
• 33:00
  Speaker 1: I'll fact check it really quick. Just nixt seven David
• 33:06
  Speaker 1: Niven the first James Bond Okay, Yeah, there's there's a
• 33:10
  Speaker 1: there's a few Bonds that were only in like one
• 33:13
  Speaker 1: or two movies, and the Sellers is in it. Okay,
• 33:16
  Speaker 1: So in the original one at Ursula Andrews plays Ves
• 33:20
  Speaker 1: Berlin and David Niven plays Sir James bond Um in
• 33:25
  Speaker 1: the seven one, so also, and it is cassing around
• 33:30
  Speaker 1: the first James Bond novel, first Ian Fleming novel, however, yeah, okay,
• 33:36
  Speaker 1: but not the first Bond movie, because there had been
• 33:38
  Speaker 1: a few before that, I believe in the earlier sixties.
• 33:43
  Speaker 1: It doesn't matter. I had a little bit of did
• 33:47
  Speaker 1: a little bit of research about the history of Bond girls.
• 33:50
  Speaker 1: They do tend to fall into three categories main side kick,
• 33:53
  Speaker 1: from fatale, sacrificial lamb, all three of which are like
• 33:56
  Speaker 1: not every story has all three casino royal us. According
• 34:01
  Speaker 1: to this, the main sidekick would be of Usperlind, the
• 34:05
  Speaker 1: fem fatal would be Volenka uh, and the sacrificial lamb
• 34:09
  Speaker 1: would be uh. Solange Demetrios, the wife who was the
• 34:15
  Speaker 1: fem fatale Valenka who poisons him. Yeah, his girlfriend. She
• 34:22
  Speaker 1: makes a mean face while she someone. So these are
• 34:26
  Speaker 1: the three main categories of Bond girl. Apparently it's Ian Fleming,
• 34:32
  Speaker 1: who seems generally pretty, pretty, gross and misogynistum, but he
• 34:39
  Speaker 1: says that the inspiration for all of the Bond girls
• 34:42
  Speaker 1: that appear in the franchise ever are based around this
• 34:46
  Speaker 1: woman named Muriel Wright, who she met when she was
• 34:50
  Speaker 1: twenty six and he was not twenty six. Um. She
• 34:55
  Speaker 1: was an independently wealthy model who was devoted to Fleming
• 34:59
  Speaker 1: to spite his repeated unfaithfulness, and then she died in
• 35:03
  Speaker 1: an air raid. And so then Ian Fleming was like,
• 35:08
  Speaker 1: I'll honor her memory by being rude to women until
• 35:12
  Speaker 1: I die, right, Because if we break down those three
• 35:16
  Speaker 1: Bond girl roles it's a woman who has to die
• 35:21
  Speaker 1: to further the plot. It's a woman who doesn't really
• 35:25
  Speaker 1: get her own story. She's just attached to the male heroes.
• 35:30
  Speaker 1: Or it is an evil, devious woman because women being
• 35:34
  Speaker 1: manipulative and like not just that, but like the using
• 35:37
  Speaker 1: her sexuality for evil. Yeah, and there's there's a few
• 35:41
  Speaker 1: other like tropes of the Bond girl that, and there's
• 35:44
  Speaker 1: so many that no one character like there's no complete
• 35:48
  Speaker 1: through lines. But several Bond girls have obvious sidnes of
• 35:52
  Speaker 1: inner turmoil, and others have traumatic pasts. Uh, several have
• 35:57
  Speaker 1: unhappy sexual backgrounds that we know about. So Rolled Dahl
• 36:01
  Speaker 1: wrote the screenplay to Charlie and the Chocolate Factory you
• 36:07
  Speaker 1: only liked twice, Okay, all these nine seventies like children's
• 36:11
  Speaker 1: authors like shelslo Verstein and Rolled all there out there
• 36:13
  Speaker 1: doing pervy, weird stuff on the side. So he wrote this.
• 36:17
  Speaker 1: But he said that when he was writing that screenplay,
• 36:19
  Speaker 1: he was explicitly told he was advised to use three
• 36:23
  Speaker 1: Bond girls. The first should die preferably in Bond's arms
• 36:26
  Speaker 1: early in the movie. The second a villain whom Bond
• 36:29
  Speaker 1: seduces before she dies in an unusual and gory way
• 36:33
  Speaker 1: midway through the movie, and the third who survives until
• 36:36
  Speaker 1: the end of the film. So this is like baked
• 36:39
  Speaker 1: into the formula to the point where they would just
• 36:42
  Speaker 1: tell a writer like, these three things should happen. I mean,
• 36:46
  Speaker 1: we're just looking around the room of the three of us, like,
• 36:48
  Speaker 1: obviously one of us is a film fatale, obviously, one
• 36:51
  Speaker 1: of us is a sacrificial lamb, and one of us
• 36:53
  Speaker 1: is uh, the sidekick the three categories of women. Like
• 36:56
  Speaker 1: so it actually lines very well, actually very accurate. It
• 37:00
  Speaker 1: for women. Yeah, I mean that's where we've all been
• 37:04
  Speaker 1: at one point. We've all been all of these Wow,
• 37:06
  Speaker 1: because women contain multitude. Oh my god, can we talk
• 37:10
  Speaker 1: about the sacrificial lamb first? I guess okay, I have
• 37:14
  Speaker 1: I take a lot of notes. I was in a
• 37:17
  Speaker 1: Starbucks in Culver City yesterday just going nuts, like wow, wow.
• 37:22
  Speaker 1: All of my lines begin with okay, well because like
• 37:27
  Speaker 1: even okay, we first see her. She's riding on a
• 37:30
  Speaker 1: horse on the beach, and the people on the beach
• 37:32
  Speaker 1: are happy to see this, and I'm like, that is
• 37:35
  Speaker 1: fucking disgusting. There's poop everywhere, and they have these three
• 37:38
  Speaker 1: random black kids who were just like smiling and running
• 37:41
  Speaker 1: after Yeah, they do like a close up of these
• 37:44
  Speaker 1: smiling black kids face and I'm like, for what, oh
• 37:48
  Speaker 1: black people co sign So it's like posensual and meaningful.
• 37:51
  Speaker 1: It's very I was so so dumb. And then are
• 37:55
  Speaker 1: supposed to believe that she's like this poorly treated put
• 37:58
  Speaker 1: upon woman because she goes into the casino. She hugs
• 38:01
  Speaker 1: Demetrius and he's like, you're two hours late, and then
• 38:03
  Speaker 1: she looks at James Bond like, see how I'm treated.
• 38:06
  Speaker 1: But if you were two hours late to a date
• 38:09
  Speaker 1: with me, I'm sorry. I have the right to be mad.
• 38:11
  Speaker 1: I'd be like, you're two hours late? And then she
• 38:14
  Speaker 1: was like, oh, sorry, I was out on a horse. Yeah,
• 38:17
  Speaker 1: so that's why I'm curious. I was like you why, No,
• 38:21
  Speaker 1: you're the jerk in this scenario, and Bond says he
• 38:24
  Speaker 1: negs her outside of the car. He's like because she's like, oh,
• 38:28
  Speaker 1: I don't go home with strange men, and he's like,
• 38:29
  Speaker 1: maybe you're just out of practice where it's like I
• 38:32
  Speaker 1: shouldn't have to prove it. I fuck I'm married right
• 38:35
  Speaker 1: this So much of the Bushey test can be applied
• 38:38
  Speaker 1: to this movie. If if Steve says that to a
• 38:42
  Speaker 1: woman outside of a car, even if he has an
• 38:45
  Speaker 1: aston Martin, She's still like, yeah, yeah. If Steve Buschevy says,
• 38:51
  Speaker 1: have you gone home with a strange man? Reason, they
• 38:54
  Speaker 1: exchanged maybe like six lines of dialogue, and she gets
• 38:57
  Speaker 1: into this stranger's car, and I was like, I know
• 39:00
  Speaker 1: what happens start like I've seen this movie before, and
• 39:02
  Speaker 1: I feel less bad because she's clearly not protect like
• 39:05
  Speaker 1: she's random strangers anybody. She's also this like you know,
• 39:11
  Speaker 1: exotic beauty with this yes European x, like an Italian
• 39:17
  Speaker 1: accent kind of thing. And yeah, it's like Daniel Craig
• 39:21
  Speaker 1: is ugly hot, Okay, he's like he's a category of men.
• 39:24
  Speaker 1: He is ugly. I'm into it. It's definitely my type.
• 39:26
  Speaker 1: But to act like this woman who is clearly with
• 39:29
  Speaker 1: some sort of millionaire man who lives on a fucking beach,
• 39:32
  Speaker 1: is going to be like, oh, box or face over here,
• 39:34
  Speaker 1: that's who I wanted to get with, Like what like
• 39:39
  Speaker 1: she would have been fucking a bell boy so long ago.
• 39:42
  Speaker 1: I have so many issues that absolutely not I mean
• 39:46
  Speaker 1: just like the whole building and I know it's like
• 39:48
  Speaker 1: so baked into his character. But the idea that James Bond,
• 39:51
  Speaker 1: regardless of which actors playing him, is just inherently irresistible
• 39:55
  Speaker 1: to all women because it's like even his smaller interactions
• 39:57
  Speaker 1: with women, because he, you know, flir with a number
• 40:00
  Speaker 1: of like secretaries and sieragees and they're all like, yes,
• 40:04
  Speaker 1: like you wouldn't do that to any random daddy off
• 40:07
  Speaker 1: the street, which is ultimately he's like an upper scale,
• 40:12
  Speaker 1: good looking dad. You wouldn't like that. The receptionist at
• 40:16
  Speaker 1: that the hotel or whatever in the Bahamas is like
• 40:20
  Speaker 1: fucking him with her eyes, and I'm like, why she
• 40:23
  Speaker 1: has to change her pants. Yeah, she's like you a man,
• 40:28
  Speaker 1: a regular ass looking dude. Oh my god. Also, they
• 40:31
  Speaker 1: this is a pet peep of mine in this movie.
• 40:34
  Speaker 1: Outside of the concierge lady, none of the people who
• 40:37
  Speaker 1: work for this hotel are white. And then so the
• 40:40
  Speaker 1: idea that this like James Bond, is going to be
• 40:42
  Speaker 1: just tying issue and someone's gonna be like hey you,
• 40:45
  Speaker 1: and I'm like, oh no, they would have been like
• 40:47
  Speaker 1: where's the black person that park start like it just
• 40:50
  Speaker 1: it drove me insane. But I do look forward to
• 40:52
  Speaker 1: a future when white people are also accused of working
• 40:54
  Speaker 1: wherever they happened to be. I was like progress, but
• 41:00
  Speaker 1: what no, oh my god, and this I mean, this
• 41:03
  Speaker 1: is on topic for what you were just saying. But
• 41:05
  Speaker 1: like the way that Africans are treated in this movie, yeah,
• 41:10
  Speaker 1: is because you see scenes in Uganda and in Madagascar,
• 41:14
  Speaker 1: and it can tell the difference because in Uganda the
• 41:18
  Speaker 1: black people are very shiny and sweaty, and in Madagascar
• 41:21
  Speaker 1: they are dusty, and that means we are in a
• 41:25
  Speaker 1: different place. Yes, it's raining in one place and not
• 41:28
  Speaker 1: in the other. I feel like this is very common
• 41:31
  Speaker 1: of a lot of movies, especially of this genre. But
• 41:33
  Speaker 1: if you see Africans, they are all like militant militia,
• 41:37
  Speaker 1: like money power grubbing, like just violent people and largely
• 41:43
  Speaker 1: used as scenery. Yeah, like when they like they follow
• 41:47
  Speaker 1: a little black kids running around and it's like, hey,
• 41:49
  Speaker 1: you know, exotic, It's like And then the in the
• 41:52
  Speaker 1: scene where James Bond kills those two guys in the stairwell,
• 41:56
  Speaker 1: one of them is fighting with a machete, and I
• 41:59
  Speaker 1: find that, like, I wish they would stop making Africans
• 42:02
  Speaker 1: fight with machetes, like act like these people have weapons yeah,
• 42:06
  Speaker 1: but they're like, no, no, no, never mind, what is
• 42:08
  Speaker 1: the culturally appropriate thing that I should have because he's
• 42:11
  Speaker 1: wearing like a three piece where he only brought so
• 42:17
  Speaker 1: infuriated because he well, he had the machete because he
• 42:20
  Speaker 1: was going to chop off a woman's arm because you know,
• 42:25
  Speaker 1: it was impractical, No one would ever bring a machete
• 42:29
  Speaker 1: to I mean, but I mean it's the suggestion that, like,
• 42:31
  Speaker 1: these people are so primitive that they are gonna they're
• 42:34
  Speaker 1: gonna chop off limbs. And it's like, well, and also
• 42:37
  Speaker 1: like right before that fight, when they capture the f
• 42:41
  Speaker 1: fatal girlfriend, it's like that is such an old image
• 42:43
  Speaker 1: of like black men taking these virginal white girls, and like,
• 42:47
  Speaker 1: oh no, James Bond has to rescue this virginal white
• 42:50
  Speaker 1: girl who later tries to kill him. Uh, and then
• 42:54
  Speaker 1: he murders two black men and it's fine because he
• 42:57
  Speaker 1: sucks their blood off of Eva Green's fingers. Hated that
• 43:02
  Speaker 1: when they're ruining very expensive clothes and he's like he
• 43:06
  Speaker 1: sits down next to he puts his arm around her.
• 43:08
  Speaker 1: Did she ask her that? Whatever? Okay? But then he's like, oh,
• 43:11
  Speaker 1: like I'll make it better and he sucks on her
• 43:13
  Speaker 1: figures and then he says better and she's like, yeah,
• 43:18
  Speaker 1: she's like rocking back and forth, like having a like
• 43:21
  Speaker 1: a fit. And then he was just like, let me
• 43:24
  Speaker 1: just look, she was having a full on. I mean,
• 43:26
  Speaker 1: but to be fair, that was one of the only
• 43:28
  Speaker 1: reactions in the movie that made sense. I'm like, she
• 43:30
  Speaker 1: is an accountant. She did not sign up to watch
• 43:33
  Speaker 1: two men die by someone she doesn't know. That well,
• 43:37
  Speaker 1: like it's oh god, we're all over the back, back
• 43:41
  Speaker 1: to solanch Um. I just yeah, that character, she's not
• 43:44
  Speaker 1: around for very long um, and then how does she die?
• 43:47
  Speaker 1: So here's what happens. Basically, Bond uses her to get
• 43:51
  Speaker 1: information from her on her husband, which she knows. She mentions,
• 43:59
  Speaker 1: and then they're dry humping on the floor in another
• 44:03
  Speaker 1: very two thousand six stress. Yeah, that's like that weird
• 44:06
  Speaker 1: sort of sat team not sat in exactly, but like
• 44:08
  Speaker 1: this shiny thing that hang on you. I guess if
• 44:11
  Speaker 1: it gets wet, it's ruined forever. So he invites her
• 44:17
  Speaker 1: to his room. She, for reasons that don't make any sense,
• 44:20
  Speaker 1: agrees to it. I guess because it's implied. Yeah, she's
• 44:23
  Speaker 1: like this horny housewife whose husband doesn't love her enough
• 44:26
  Speaker 1: for something, and then he uses her and then like
• 44:30
  Speaker 1: orders some champagne and caviare for her, and then she
• 44:35
  Speaker 1: didn't just like while she goes to the bathroom, he's like, yeah, chip, okay, cool,
• 44:42
  Speaker 1: Wait what no for one? Just for one? And yeah.
• 44:46
  Speaker 1: She's also I don't know like what background it's implied
• 44:49
  Speaker 1: that she's from, but I felt like she was like
• 44:51
  Speaker 1: pretty exoticized. Yeah, like the way her character was treated,
• 44:55
  Speaker 1: like she just can't help herself, she has to have
• 44:58
  Speaker 1: sex with and there's that whole this exchange to m
• 45:02
  Speaker 1: P laugh where it's just so like James Bond cheesy
• 45:05
  Speaker 1: or she's like, I had so many chances to be happy,
• 45:08
  Speaker 1: so many nice guys. We can't nice guys be more
• 45:11
  Speaker 1: like you, and then he says because then they'd be bad.
• 45:17
  Speaker 1: I was like he went there. And then so the
• 45:22
  Speaker 1: next scene we see her in she is a dead body.
• 45:25
  Speaker 1: She's dead in a hammock, like tangled up in a
• 45:28
  Speaker 1: hammock because Lachief's people had her killed for talking to
• 45:31
  Speaker 1: Bond and giving him any information. I think it was
• 45:35
  Speaker 1: Lash's people. It's hard to tell. There seems to be
• 45:37
  Speaker 1: a lot of bad guys in this movie. It's so cool.
• 45:39
  Speaker 1: And it's like the fact that in two thousand and
• 45:41
  Speaker 1: six they're like, no, that's still has to be a
• 45:43
  Speaker 1: core element of these stories. There's so many ways he
• 45:45
  Speaker 1: could have gotten that information. Uh, woman didn't need to
• 45:48
  Speaker 1: die for it, right, he is a spy, like he
• 45:51
  Speaker 1: can't just follow the guy around. The fact that he
• 45:55
  Speaker 1: used aren't horny. He Yeah, he uses a woman to
• 46:01
  Speaker 1: get information that he easily could have gotten somewhere else,
• 46:04
  Speaker 1: and based on his personal history, he should be more
• 46:06
  Speaker 1: concerned for her safety. Right, If a woman you've slept
• 46:10
  Speaker 1: with dies, you should figure that out. Well, I mean
• 46:14
  Speaker 1: you he sees women as being disposable. So, um, we
• 46:19
  Speaker 1: got to take another quick break, but we'll come back
• 46:21
  Speaker 1: and talk about more of the ladies. Do do darn No,
• 46:38
  Speaker 1: that's still right. Yeah, I keep being really nervous. I'm
• 46:40
  Speaker 1: going to slip into Mission impossible accident that I was
• 46:43
  Speaker 1: so afraid when we started. I was like, oh no,
• 46:45
  Speaker 1: it's the wrong one. I mean it's confusing. Also, they
• 46:49
  Speaker 1: work for m I six not to be confused with
• 46:52
  Speaker 1: Mission Impossible six. Oh yeah, God, there's such a different
• 46:58
  Speaker 1: movie where what if they had really just jumped the
• 47:01
  Speaker 1: Shark with a Daniel Craig franchise, and they're like, no,
• 47:04
  Speaker 1: his dick gets cut off, and now we've got Eunich
• 47:08
  Speaker 1: Jimmy Bobo out here navigating the world without a penis
• 47:12
  Speaker 1: probably being a way better. He can hack into EM's
• 47:18
  Speaker 1: house and computer. He clearly has access to all of
• 47:22
  Speaker 1: these things. He does not need to funk these women
• 47:24
  Speaker 1: to get this. His dick is really what's holding him
• 47:27
  Speaker 1: back for being an exceptional spot And honestly, I think
• 47:30
  Speaker 1: that's true of a lot of people. If we could
• 47:34
  Speaker 1: just get like, not all the dicks. I'm not crazy like,
• 47:36
  Speaker 1: but sure some of the dicks would help people achieve
• 47:40
  Speaker 1: their full ste more clarity, I mean horny nous in general.
• 47:43
  Speaker 1: If people were less horny, imagine what we could More
• 47:48
  Speaker 1: people need to be neutered. This is platform like for
• 47:53
  Speaker 1: a less horny future. Please elect me. I think I
• 47:57
  Speaker 1: think the biggest flaw of this movie is the it
• 48:00
  Speaker 1: Q is not present, and Q, of course is his
• 48:04
  Speaker 1: friend who comes in later who makes like gadgets and
• 48:07
  Speaker 1: stuff for him, who is played by Ben Wish Show
• 48:11
  Speaker 1: a k a. Paddington. So he's got like flopsy hair.
• 48:16
  Speaker 1: He's looking cute. He's like every guy I dated in
• 48:20
  Speaker 1: grad school. It's perfect, thinner than me. But I have
• 48:26
  Speaker 1: to live with that in my brain. It's so moving
• 48:30
  Speaker 1: on to them. Fatale. We don't know that much about her,
• 48:34
  Speaker 1: including her name. I don't do we even ever learn
• 48:37
  Speaker 1: her name on the screen. I don't think so. And
• 48:40
  Speaker 1: she's credited as being named Volenka, but I'm assuming that's
• 48:43
  Speaker 1: because she has a name in the book, Okay, because
• 48:46
  Speaker 1: I don't think we ever hear it on screen. She
• 48:48
  Speaker 1: is the first time you see a woman on screen
• 48:50
  Speaker 1: in the whole movie. I believe it's around nineteen minutes
• 48:53
  Speaker 1: into the Yeah, she's like there's like a male gaze
• 48:57
  Speaker 1: shot where she's like she's popped out of the water.
• 49:00
  Speaker 1: She's wearing a she's drenched, and then she climbs onto
• 49:04
  Speaker 1: this yacht and then she like walks through a poker
• 49:07
  Speaker 1: game and then a number of times people walk through
• 49:10
  Speaker 1: poker games like that's cool. Is insane to me? Like
• 49:13
  Speaker 1: it's so soaking wet there, this is a mega yat. Okay,
• 49:16
  Speaker 1: you could go to another floor. You don't have to
• 49:18
  Speaker 1: do this in front of everyone, like so, and her
• 49:21
  Speaker 1: crossing that room just starts out a scene of that
• 49:25
  Speaker 1: poker We could just cut straight to the poker game.
• 49:28
  Speaker 1: We don't need to see a woman getting out of
• 49:30
  Speaker 1: the water and then like toweling off as like. But
• 49:33
  Speaker 1: it's just like we haven't had a James Bond movie
• 49:35
  Speaker 1: in four years. People forget what the kinis are, they
• 49:39
  Speaker 1: forget what objectification feels like, and we have to remind them. Yeah,
• 49:44
  Speaker 1: I don't know. And then she's later there's that moment
• 49:47
  Speaker 1: with the two men that James Bond eventually kills, who
• 49:50
  Speaker 1: I don't think her named either. Are they the two
• 49:53
  Speaker 1: African Machean not Machell. She's like captured by them, and
• 50:00
  Speaker 1: we're supposed to be like, we have to say this
• 50:02
  Speaker 1: virginal white girl. But then it turns out the twist
• 50:05
  Speaker 1: is women are bad and she tries to poison them
• 50:10
  Speaker 1: and then she dies as well, doesn't she? Um, where
• 50:14
  Speaker 1: does her story leave off? She's around? I think when
• 50:18
  Speaker 1: they're like cutting a hole in the chair to put
• 50:20
  Speaker 1: James Bond in, I think, doesn't she leave lead vesper
• 50:23
  Speaker 1: off into another room? Think? So, if she does die,
• 50:26
  Speaker 1: it happens off screen, and it's implied that we don't
• 50:28
  Speaker 1: really know for sure. But if she is with them
• 50:32
  Speaker 1: as Vespers being tortured. It's implied that all the people
• 50:36
  Speaker 1: except for Vesper get killed. So if she dies, it
• 50:39
  Speaker 1: happens off screen, but you know, but she can assume
• 50:42
  Speaker 1: that she might die. She's she's not even a particularly
• 50:45
  Speaker 1: like interesting or good from Fatale, but she's there because
• 50:48
  Speaker 1: she's only on screen for maybe a combined total of
• 50:52
  Speaker 1: two minutes. Like she's hardly in them. She doesn't have
• 50:55
  Speaker 1: any lot, Like she doesn't even get like a cool
• 50:56
  Speaker 1: catchphrase like no you got like vim k Jensen would
• 50:59
  Speaker 1: like say like some nonsense after like pussy killing someone,
• 51:03
  Speaker 1: Like she would say something cool and you're like, oh wow,
• 51:05
  Speaker 1: that's what she's nut, Like there was something there, but
• 51:09
  Speaker 1: this was just like she silently poisons people, right. I
• 51:14
  Speaker 1: think she says one line like I'm sorry. She's she's
• 51:17
  Speaker 1: classy classic. You get one line and it is you apologizing.
• 51:22
  Speaker 1: She's apologizing to the she because I guess she knew
• 51:26
  Speaker 1: the bad guys were there in the room, and because
• 51:29
  Speaker 1: like right after that they attack him. So I guess
• 51:33
  Speaker 1: it's implied that she knew that they were about to
• 51:35
  Speaker 1: attack him, or that she sold him out or something.
• 51:39
  Speaker 1: I don't quite know, but yeah, we see so little
• 51:42
  Speaker 1: of her that it it's like I can't make heads
• 51:44
  Speaker 1: tail because they always show her back. But she's there
• 51:48
  Speaker 1: to be. I don't know, Like I mean, clearly this
• 51:51
  Speaker 1: franchise has never regard for women whatsoever. But like not,
• 51:56
  Speaker 1: I mean, I guess Vesper kind of ends up to
• 51:57
  Speaker 1: be a similar thing of like she's not what you thought.
• 52:01
  Speaker 1: She's duplicitous and like she's you know, she's fooling you,
• 52:04
  Speaker 1: she's lying to you. All the women are deceitful above
• 52:07
  Speaker 1: all because they want your money and they want your
• 52:10
  Speaker 1: penis and I want to you know, like all this ship.
• 52:13
  Speaker 1: Um so that's val So, just to recap, we see
• 52:17
  Speaker 1: her sexualized, We see her being brutalized. She poisons our hero,
• 52:23
  Speaker 1: and then it's implied that she dies. Yeah, which is
• 52:27
  Speaker 1: very exact same thing Solange minus the poisoning. She is sexualised,
• 52:31
  Speaker 1: she is brutal as she is murdered. Let's talk Vesper.
• 52:35
  Speaker 1: She's not like the other girls that Vesper. She's kind
• 52:38
  Speaker 1: of working for four years like she I'm sorry, it
• 52:43
  Speaker 1: made me so mad when I found out that she
• 52:45
  Speaker 1: was only twenty six, and I'm like the way he
• 52:48
  Speaker 1: negs her at the beginning where he's like, you wear
• 52:50
  Speaker 1: managed clothes and you tried to act tough and that's
• 52:53
  Speaker 1: why you're not promoted. I like, like in the four
• 52:56
  Speaker 1: years since college, like she's already being put in charge
• 53:01
  Speaker 1: of ten million dollars. I think she's doing. Let's unpack
• 53:05
  Speaker 1: that scene where they made each other because there's so
• 53:07
  Speaker 1: much of I wasn't expecting a scene like that. I
• 53:11
  Speaker 1: hated it. But um, from the reviews that I read
• 53:14
  Speaker 1: at the time, this is supposed to be like it's
• 53:17
  Speaker 1: one of the only two times James Bond quote unquote
• 53:20
  Speaker 1: falls in love in any of the movies. Ever. I
• 53:22
  Speaker 1: guess it happens in one other movie in the late sixties,
• 53:25
  Speaker 1: but she is killed after they get married. Um, and
• 53:28
  Speaker 1: then he goes back to being an asshole. But this
• 53:31
  Speaker 1: is Vesper is the only other woman he like, actually
• 53:34
  Speaker 1: falls in love with, and possibly it considers quitting the
• 53:38
  Speaker 1: swinging dick lifestyle. So this is supposed to be like James,
• 53:42
  Speaker 1: but Jimmy Boba finally meets his match and there's just
• 53:46
  Speaker 1: like it's such corny dialogue where he's like, your beauty
• 53:49
  Speaker 1: is a problem. You worry you won't be taken seriously,
• 53:52
  Speaker 1: and then she says which one could say if any
• 53:54
  Speaker 1: woman would have a brain, and we're like, yes, queen.
• 53:58
  Speaker 1: And then and then he's like true, he says like
• 54:01
  Speaker 1: you're saying, and he's overly masculine clothing, more aggressive than
• 54:05
  Speaker 1: her female colleagues, which gives her a sort of prickly
• 54:07
  Speaker 1: demeanor and ironically enough, makes it less likely she'll be
• 54:10
  Speaker 1: respected and promoted by her male superiors, who mistake her
• 54:14
  Speaker 1: baits for arrogance, right, and then she looks at him
• 54:18
  Speaker 1: like you've got me right, Oh, you're right. The fact
• 54:21
  Speaker 1: that I have any confidence is a game. Yeah. But
• 54:26
  Speaker 1: then she like turns it back on him because he's
• 54:28
  Speaker 1: this whole scene serves to be like, look how good
• 54:30
  Speaker 1: I am at poker. I'm so good at reading people.
• 54:33
  Speaker 1: So he's like reading her, and then she turns it
• 54:35
  Speaker 1: right back on him. She's like, well, you're an orphan
• 54:37
  Speaker 1: who wears suits that look like shit, yeah, which was
• 54:41
  Speaker 1: cool as saying you wear it. And then he looks
• 54:46
  Speaker 1: at her like, oh, perhaps Jimmy Bobo has met Tom.
• 54:49
  Speaker 1: And then she's just like I'm not gonna suck you
• 54:51
  Speaker 1: nice ass though, and he's like thank you, just before that,
• 54:55
  Speaker 1: she says, she's like, am I sex looks for maladjusted
• 54:58
  Speaker 1: young man who give little to sacrificing others in order
• 55:01
  Speaker 1: to protect queen and country. And then a little bit
• 55:03
  Speaker 1: later she says, you think of women as disposable pleasures
• 55:06
  Speaker 1: rather than meaningful pursuits. I don't think women should be
• 55:08
  Speaker 1: looked at his meaningful pursuits either. But but it's like
• 55:13
  Speaker 1: that was her line where I was like a heart
• 55:14
  Speaker 1: in the right place, right, But again, it feels this
• 55:18
  Speaker 1: is one of many examples as we see of like
• 55:21
  Speaker 1: the woman character who we're supposed to like saying something
• 55:24
  Speaker 1: that is vaguely feminist, but it feels so empty because
• 55:28
  Speaker 1: of everything else that happens in the movie. So it's like,
• 55:32
  Speaker 1: because she's calling attention to him like his habitual mistreatment
• 55:36
  Speaker 1: of women, but then with kind of like a nod
• 55:39
  Speaker 1: in a wink to this entire misogynist franchise. Remember how
• 55:43
  Speaker 1: you used to literally punch women in the face, right,
• 55:48
  Speaker 1: But then the movie still treats women like ships, so
• 55:51
  Speaker 1: it means something sneaky. And then she's like, yeah, you
• 55:55
  Speaker 1: have a hot ass though, yeah, and then he's like
• 55:58
  Speaker 1: thanks for noticing, and in the car ride to the hotel,
• 56:03
  Speaker 1: they're talking about how they have adjoining rooms, and she's like,
• 56:06
  Speaker 1: I'm not gonna have to worry about you and that
• 56:08
  Speaker 1: just like you're not gonna have to worry about him
• 56:10
  Speaker 1: coming into your room, and is that you have to
• 56:12
  Speaker 1: ask him to be again. It's like, you're not going
• 56:14
  Speaker 1: to rape me again. It's like she's an accountant, that
• 56:19
  Speaker 1: this is such a crazy concern for an accountant to have.
• 56:23
  Speaker 1: She's like, no, you're not my type, not that I'm
• 56:25
  Speaker 1: mora really opposed to going into your room. Your your
• 56:28
  Speaker 1: sting also gross. She goes smart and he goes single.
• 56:32
  Speaker 1: I was like, oh, so you're a bad person. I'm
• 56:37
  Speaker 1: a bad person. I'm not a rapist, so um great, right,
• 56:41
  Speaker 1: And then because of this weird who who knows who
• 56:45
  Speaker 1: made the choice that she has to go from being
• 56:47
  Speaker 1: an accountant to a spy who's undercover and in love
• 56:51
  Speaker 1: with him too, Like it has to be his hand
• 56:53
  Speaker 1: because I was like, who would be the one to
• 56:57
  Speaker 1: make this call? Would it be judy? I don't I
• 57:00
  Speaker 1: guess whose jurisdiction? But that happens, and it's and we've
• 57:05
  Speaker 1: already discussed that that's ludicrous. But then he uses that
• 57:08
  Speaker 1: excuse to take a lot of liberties with her body, surprise,
• 57:12
  Speaker 1: kissing her, groping at her. She is like resisting a
• 57:17
  Speaker 1: lot of the time at first, and he's still just like,
• 57:20
  Speaker 1: we have to maintain this cover that you're in love
• 57:22
  Speaker 1: with me immediately broke upon entering this hotel. What are
• 57:25
  Speaker 1: you talking about? Which is so not necessary? I mean
• 57:29
  Speaker 1: it's like just so not necessary to his success in
• 57:32
  Speaker 1: this poker game. Uh to, I'll be like forcing himself
• 57:36
  Speaker 1: on this woman he just met. I guess the idea
• 57:39
  Speaker 1: is like, well, you're a woman who is attractive conventionally,
• 57:43
  Speaker 1: so I'm gonna use you to distract the other players
• 57:47
  Speaker 1: so that I can win. And then it's like again
• 57:49
  Speaker 1: kind of like you're saying, Caitlin, there's like these empty
• 57:52
  Speaker 1: like well she has she's she's got his number two
• 57:55
  Speaker 1: where he brings in that dress. He's like, you're going
• 57:56
  Speaker 1: to wear this dressey're gonna kiss my neck? And then
• 57:59
  Speaker 1: she's like, well, I got you a jacket dinner jacket, right,
• 58:05
  Speaker 1: And then that's like the empty like, oh no, she's
• 58:08
  Speaker 1: not powerless in this situation. She bought him a jacket, right.
• 58:14
  Speaker 1: But that's the thing with her character is that like
• 58:16
  Speaker 1: she yeah, she always has like a rebuttal or, she's like,
• 58:19
  Speaker 1: your jacket sucks. I sized you up the moment I
• 58:22
  Speaker 1: tell you. And the idea that the movie is putting
• 58:25
  Speaker 1: forward is that like, oh, he's met his match. All
• 58:29
  Speaker 1: other women are lame and stupid, but she's not like
• 58:33
  Speaker 1: the other girls, and she can like match his wits
• 58:35
  Speaker 1: and his whole thing. I mean, they're all lame and stupid.
• 58:37
  Speaker 1: But you have to throw your dicket there. You have to,
• 58:41
  Speaker 1: you have to throw your body and launch it there.
• 58:46
  Speaker 1: And ultimately, with with her, it's it sucks because it's
• 58:49
  Speaker 1: just like with with these characters, even when you're given
• 58:51
  Speaker 1: this empty feminist like it reminded me of that thing
• 58:55
  Speaker 1: we talked about all the time, where like women in
• 58:57
  Speaker 1: action movies get to do one thing and everyone's like, wow,
• 59:00
  Speaker 1: look at her, go go girl power. But it's like
• 59:03
  Speaker 1: empty and means nothing, and it's just to like throw
• 59:07
  Speaker 1: the s j w's off. But we're not thrown off there.
• 59:12
  Speaker 1: But she like ultimately she has no motivation outside of
• 59:18
  Speaker 1: establishing a domestic life with James Bond because after all
• 59:21
  Speaker 1: this stuff happens, she I mean, and it's like we
• 59:25
  Speaker 1: find out she's a double agent, but we're led to
• 59:28
  Speaker 1: believe like we don't know what her ambition in life is.
• 59:30
  Speaker 1: It seems like she's got a pretty powerful job that
• 59:33
  Speaker 1: she can apparently just leave. She to go on a
• 59:37
  Speaker 1: boat in Venice, a high ranking money manager for England.
• 59:42
  Speaker 1: But she's just like, no, you're gonna like be my
• 59:45
  Speaker 1: basically be my husband, and you know, pulls him away
• 59:49
  Speaker 1: and and takes on this nurturing role for him where
• 59:52
  Speaker 1: there's a weird line where she was like, if you
• 59:53
  Speaker 1: were just a smile and a little finger, I'd still
• 59:57
  Speaker 1: fuck you. And it's like that it is looked up
• 1:00:00
  Speaker 1: stuff like are you going to finger her with your
• 1:00:03
  Speaker 1: pinky or like rub her? What do you? What do you?
• 1:00:08
  Speaker 1: What do you do with a pinky face? Costically and
• 1:00:15
  Speaker 1: they just um, But yeah, it's just she's ultimately like
• 1:00:21
  Speaker 1: we don't know anything about her. The logistics of her
• 1:00:23
  Speaker 1: character are paid. There's no attention. We don't know what
• 1:00:26
  Speaker 1: she wants in life rather than to be hanging out
• 1:00:28
  Speaker 1: with James Bond. Well, I would argue that she is
• 1:00:31
  Speaker 1: all three things. She is also a fem fatale and
• 1:00:34
  Speaker 1: also a sacrificial lamb, because I kill her because she
• 1:00:36
  Speaker 1: sacrifices herself and by drowning herself in the elevator when
• 1:00:41
  Speaker 1: that right, And she's a feen fatale because she like
• 1:00:45
  Speaker 1: double crossed Bond and like sucks him over, So she's
• 1:00:49
  Speaker 1: kind of like all three of those roles by the end.
• 1:00:52
  Speaker 1: So it's because she's like that fem fatale type. We
• 1:00:55
  Speaker 1: don't know like did she love him or was that
• 1:00:58
  Speaker 1: just all part of like the news Yeah, and then
• 1:01:01
  Speaker 1: it's like ultimately it's like a double punch in the
• 1:01:04
  Speaker 1: stomach of it's then revealed that no, her real motivation
• 1:01:07
  Speaker 1: was to save a different guy who you've never met
• 1:01:11
  Speaker 1: and never will and we just needed to kill her
• 1:01:13
  Speaker 1: or get rid of her because women never come back
• 1:01:16
  Speaker 1: for a second movie, so she has to. And it's
• 1:01:19
  Speaker 1: it looks like that's not like the Bond girl doesn't
• 1:01:22
  Speaker 1: always die, but it's not out of the question because
• 1:01:25
  Speaker 1: it's just canonically women don't come back, and Daniel Craig
• 1:01:29
  Speaker 1: gets a million page We talked about that on the
• 1:01:32
  Speaker 1: Mission Impossible episode too, so if you want more discussion
• 1:01:35
  Speaker 1: on you know, disposable women, but the man keeps the
• 1:01:40
  Speaker 1: corps of men get to keep coming back, but the ladies.
• 1:01:43
  Speaker 1: You never see him again. Yeah, there's a scene where
• 1:01:49
  Speaker 1: she's like coming on to him aggressively in like whatever hospital,
• 1:01:53
  Speaker 1: like very fancy hospital's recovering in, Yeah, and he has
• 1:01:57
  Speaker 1: a sexy hospital and he's like, oh, you used to
• 1:02:01
  Speaker 1: hate me, And she's like, I'm afraid I'm a complicated woman.
• 1:02:04
  Speaker 1: And he's like, oh, that is something to be afraid of. Okay,
• 1:02:10
  Speaker 1: I'm tired. Um it's unfortant. I mean I feel like, yeah,
• 1:02:14
  Speaker 1: for two thousand and six, I think that unfortunately, this
• 1:02:18
  Speaker 1: was an attempt at a more empowered Bond girl. But
• 1:02:22
  Speaker 1: I mean it's like but, but compared to the others,
• 1:02:25
  Speaker 1: it's like they're like, look, he doesn't hit her, and
• 1:02:29
  Speaker 1: he doesn't like treat her like she's the stupidest person
• 1:02:32
  Speaker 1: in the world. So it's like unfortunately, and Bond heads
• 1:02:37
  Speaker 1: leap into our swan dive into our mentions. It seems
• 1:02:40
  Speaker 1: like for this particular like very toxic franchise, this would
• 1:02:45
  Speaker 1: be progress, but they abandoned that because in the specter
• 1:02:51
  Speaker 1: he's dating someone who's like twenty two years younger than like,
• 1:02:55
  Speaker 1: because the whole movie I was like, oh, good, maybe
• 1:02:58
  Speaker 1: either she'll find out that like that's her dad, or
• 1:03:01
  Speaker 1: she's the daughter of someone who is very close to him.
• 1:03:03
  Speaker 1: But yeah, and I'm like, there's no way they're gonna
• 1:03:05
  Speaker 1: oh they Oh so they're gonna this? No, absolutely not.
• 1:03:08
  Speaker 1: This is this is why Specter is the bottom one.
• 1:03:11
  Speaker 1: It's not good. Oh gosh. Also, the mathist character is
• 1:03:16
  Speaker 1: like constantly explaining to Vesper what's happening in the poker game.
• 1:03:19
  Speaker 1: And that is obviously there because the audience, if you're
• 1:03:24
  Speaker 1: not familiar with poker, like there needs to be like
• 1:03:27
  Speaker 1: expository dialogue to be like, oh, here's what the bed
• 1:03:30
  Speaker 1: is or here's how this is going to play out.
• 1:03:32
  Speaker 1: But like, why not make Vesper the one who knows poker,
• 1:03:36
  Speaker 1: who's the one who's like give her a thing? It
• 1:03:39
  Speaker 1: makes sense. She's an accountant, she's a numbers person, Like
• 1:03:43
  Speaker 1: it would make sense that she would know she might
• 1:03:45
  Speaker 1: know poker, and that's why she would be able to
• 1:03:47
  Speaker 1: say with authority, no, I'm not going to give you
• 1:03:49
  Speaker 1: this additional five million dollars because I know how this
• 1:03:52
  Speaker 1: should be played and I understand it, and you don't
• 1:03:54
  Speaker 1: have the ability to carry this off, and I know
• 1:03:57
  Speaker 1: that that would make her better, But no, she doesn't
• 1:04:01
  Speaker 1: know anything, because women can't know anything. It's always the
• 1:04:03
  Speaker 1: man who know the stuff. And the reason she denies
• 1:04:06
  Speaker 1: him the money is connected to that same through line
• 1:04:09
  Speaker 1: of just her being flippant towards James Bond, and that's
• 1:04:12
  Speaker 1: how she's the match for him, because she won't give
• 1:04:15
  Speaker 1: him whatever he wants right away. She will make him
• 1:04:17
  Speaker 1: wait as many as two minutes to give him exactly
• 1:04:20
  Speaker 1: what he wants. There's that scene where he's arguing with
• 1:04:23
  Speaker 1: her and she's like, I'm not gonna you're a bloody
• 1:04:26
  Speaker 1: arrogant way, and then he's like, you're a bloody idiot,
• 1:04:30
  Speaker 1: screams at her for being an idiot because she won't
• 1:04:32
  Speaker 1: give him money that he's constantly so it's very cool. Also,
• 1:04:39
  Speaker 1: the men in this story are commenting on her looks constantly.
• 1:04:42
  Speaker 1: I hate math this or whatever, like hey, he's like
• 1:04:46
  Speaker 1: talking to James Bond like she isn't there for when
• 1:04:48
  Speaker 1: they're having this introductory making and then he's like, oh,
• 1:04:52
  Speaker 1: sometimes the mellane and he like touches her shoulder in
• 1:04:54
  Speaker 1: this weird way and like clearly he's like, I'm straight
• 1:04:56
  Speaker 1: up looking at your boobs right now. I'm not hiding
• 1:04:58
  Speaker 1: it and I'm seeing your for tin man, I'm looking
• 1:05:01
  Speaker 1: in his eyes letting him know that I'm looking at
• 1:05:03
  Speaker 1: your It's like, right, crazy, Yeah, I would tell you
• 1:05:07
  Speaker 1: you're beautiful. But everybody's still staring at you. And she's like, hey,
• 1:05:12
  Speaker 1: you're there. This is their job. They're at work, and
• 1:05:16
  Speaker 1: they're still just like You're like, that is not appropriate workplace.
• 1:05:22
  Speaker 1: The last, the last thing I wanted to talk about
• 1:05:24
  Speaker 1: was Judy Dench's character. This seems to be one of
• 1:05:28
  Speaker 1: the only things this movie does that is like, I think,
• 1:05:31
  Speaker 1: unequivocally right, because this was a character who's always played
• 1:05:34
  Speaker 1: by a man who it's like, but now it's Judy Dench.
• 1:05:38
  Speaker 1: I liked that a lot. Um I guess that m
• 1:05:41
  Speaker 1: Jimmy Bobo's boss. Judie Bobo's Bobo was previously played by
• 1:05:48
  Speaker 1: John Houston, David Niven, Edward Fox, Bernard Lee, Robert Brown,
• 1:05:52
  Speaker 1: and Ralph Finds. Yeah, oh yeah, because a guy fall
• 1:06:00
  Speaker 1: because you know, oh shit, I forgot Yeah, so's he's
• 1:06:03
  Speaker 1: playing it now, but he's not in the mix at
• 1:06:06
  Speaker 1: this time this time. But Judy Dinch was also m
• 1:06:09
  Speaker 1: in some of the Pures Brosnan ones, so she's carried through. Yeah, okay,
• 1:06:14
  Speaker 1: that part for me was cool. It's like she is,
• 1:06:17
  Speaker 1: even though there's not a lot of things of substance
• 1:06:19
  Speaker 1: that happens in the scene, she does know who caused
• 1:06:21
  Speaker 1: nine eleven. She doesn't seem worried about it. It is
• 1:06:25
  Speaker 1: not that important. But they never tell the American spy like, oh, hey,
• 1:06:29
  Speaker 1: bet that thing that happened in your gut that's a
• 1:06:33
  Speaker 1: long ago. I feel like you should know. They're still
• 1:06:38
  Speaker 1: holding on to a grudge from years ago. They're like, yeah,
• 1:06:42
  Speaker 1: we know who caused nine eleven, but we're not going
• 1:06:43
  Speaker 1: to tell them. Here's my thing with m is that.
• 1:06:47
  Speaker 1: So she assumes this kind of like trophy boss role
• 1:06:51
  Speaker 1: where she's like this stiff by the book's boss who
• 1:06:55
  Speaker 1: doesn't like our heroes methods because they're a little unorthodox.
• 1:07:00
  Speaker 1: But then because he gets results, she's meant to look
• 1:07:03
  Speaker 1: kind of like wrong and foolish for not believing in him.
• 1:07:07
  Speaker 1: So she's like, oh, we have to do things by
• 1:07:10
  Speaker 1: the rules, and he's like, no, I'm too cool for that.
• 1:07:12
  Speaker 1: I'm going to do things my way, and then she's like,
• 1:07:14
  Speaker 1: you were right. So like, I feel like she's kind
• 1:07:17
  Speaker 1: of made out to like look a little like, hey,
• 1:07:19
  Speaker 1: you should be more lenient with your stuff. You're too
• 1:07:22
  Speaker 1: stuffy over there, Judy. So that was my main thing
• 1:07:27
  Speaker 1: with them well, and she's also constantly advising I do
• 1:07:30
  Speaker 1: think the character is written to be more of a
• 1:07:33
  Speaker 1: female character just the way she communicates with him, And
• 1:07:35
  Speaker 1: she's also constantly advising him to repress his emotions, where
• 1:07:40
  Speaker 1: she I don't know, I'm just like I did. Did
• 1:07:42
  Speaker 1: the did the male versions of this character talk this
• 1:07:44
  Speaker 1: much about emotional compartmentalization? Doesn't seem like it's something that
• 1:07:49
  Speaker 1: James bonds male boss of me, but she brings it
• 1:07:51
  Speaker 1: up like two or three times of like yeah, like yeah,
• 1:07:55
  Speaker 1: you need to you know, you need to be sure
• 1:07:57
  Speaker 1: that you know you're keeping your emotions. And I don't
• 1:08:00
  Speaker 1: think you'll have a problem with that though, and he's like,
• 1:08:02
  Speaker 1: no way, never looked at her dead, it doesn't matter.
• 1:08:05
  Speaker 1: I don't care about any of this and what he
• 1:08:07
  Speaker 1: was saying at that moment, and then she's like, okay,
• 1:08:09
  Speaker 1: nine eleven, see you later. You're like no dark. She
• 1:08:14
  Speaker 1: is also if you can hear like banging happening on
• 1:08:16
  Speaker 1: this recording, we don't know what it's from, but sorry
• 1:08:20
  Speaker 1: about it. Were best. It's the metronome of life. Yeah, yeah,
• 1:08:24
  Speaker 1: the heartbeat of the earth. I guess my final thoughts
• 1:08:29
  Speaker 1: for this movie, or this whole franchise, this whole thing,
• 1:08:32
  Speaker 1: is that these movies go to great lengths to be like, look,
• 1:08:36
  Speaker 1: how freaking cool James Bond is. He dressed as well.
• 1:08:41
  Speaker 1: He's charming, he's classy, he's very good at betting women.
• 1:08:44
  Speaker 1: He drives cool cars, he wears cool watches, he says
• 1:08:48
  Speaker 1: quippy lines and kills guns. Yeah, and he's good. He's good.
• 1:08:54
  Speaker 1: So the male audience who these movies are targeted toward
• 1:09:00
  Speaker 1: are seeing this and they're gobbling it up. They're like, Oh,
• 1:09:02
  Speaker 1: this is how you'd be cool by mistreating women and
• 1:09:06
  Speaker 1: dressing good. All right. I mean this is like one
• 1:09:09
  Speaker 1: of the seminal examples of like how young men, because
• 1:09:12
  Speaker 1: it's like the movies like this are are targeted at
• 1:09:15
  Speaker 1: horny uncles, but also boys. Yeah, where it's just like
• 1:09:19
  Speaker 1: this is like a blueprint, and it's like the further
• 1:09:21
  Speaker 1: you go back in this franchise, the worse and worse against.
• 1:09:23
  Speaker 1: But even if you're a young boy that sees something
• 1:09:26
  Speaker 1: like this, it's just like said, it just hardwares your
• 1:09:29
  Speaker 1: brain all sorts of fucked up ways, and I would
• 1:09:34
  Speaker 1: I mean, it's like, if you were to guess, like,
• 1:09:36
  Speaker 1: what are the top five film franchises that whire boys
• 1:09:40
  Speaker 1: brains the wrong way on how to treat women, I
• 1:09:43
  Speaker 1: would say this, this would be there to one of them. Yeah,
• 1:09:46
  Speaker 1: and it's going strong, baby, it is going strong. And
• 1:09:49
  Speaker 1: there is also one they're making a new I think
• 1:09:52
  Speaker 1: this is Daniel Craig's last one, this Swan song. There
• 1:09:55
  Speaker 1: was worth saying. Last year, Uh, there was a James
• 1:09:58
  Speaker 1: Bond producer where I think there was some like they
• 1:10:00
  Speaker 1: were like, who's going to take over for Daniel Craig.
• 1:10:02
  Speaker 1: Maybe we'll get a black James Bond. Maybe we'll get
• 1:10:04
  Speaker 1: a female James Bond. And the producers were like, you
• 1:10:07
  Speaker 1: will not get a female Bund James Bond. Ever, like
• 1:10:10
  Speaker 1: it was they were very close. We need Jamie Bond.
• 1:10:17
  Speaker 1: We need to me to Jamie Bond. First of all,
• 1:10:19
  Speaker 1: I'm very strong, um, and I fucked constantly and it
• 1:10:24
  Speaker 1: does ruin. It makes me worse at my job. So
• 1:10:29
  Speaker 1: I think that there's a lot there. I also I'm
• 1:10:30
  Speaker 1: just like I'm sort of over all female reboots of
• 1:10:34
  Speaker 1: fundamentally flawed franchises, but the fact that they were just
• 1:10:38
  Speaker 1: like nope, fuck you, no way. You're like, well, now
• 1:10:41
  Speaker 1: I kind of want it. Any other final thoughts, Um, yes, okay,
• 1:10:48
  Speaker 1: so I have been in love with mad Nicholson for
• 1:10:52
  Speaker 1: a long time. It is part of the reason why
• 1:10:54
  Speaker 1: I was like, we have to all see this. I'm
• 1:10:56
  Speaker 1: making all of my friends come to this movie. That
• 1:10:59
  Speaker 1: is You're right, Jamie. I did not realize how fucking
• 1:11:01
  Speaker 1: long it was. They're already in Montenegro and I'm like, oh,
• 1:11:04
  Speaker 1: there's gotta be like, what like twenty five minutes. There's
• 1:11:06
  Speaker 1: another hour in eight minutes to the film. I was
• 1:11:09
  Speaker 1: shocked that it was as long as it was, and
• 1:11:11
  Speaker 1: half longer. It's over the top. They could have cut
• 1:11:14
  Speaker 1: most of the scenes where where he's doing something. Um,
• 1:11:18
  Speaker 1: I am asthmatic, and I hate that they villainize asthma
• 1:11:23
  Speaker 1: in this movie because he's like, he's like sinister, like
• 1:11:27
  Speaker 1: in his shaking of his inhaler and using it. I'm like, Okay,
• 1:11:30
  Speaker 1: some of us just can't breathe that well, and I
• 1:11:32
  Speaker 1: don't think that that has to be a sign that
• 1:11:34
  Speaker 1: we're bad people. I was very upset by the representation
• 1:11:37
  Speaker 1: of unacceptable. Actually, I had one question for the room.
• 1:11:42
  Speaker 1: Do you both think that a feminist version of the
• 1:11:48
  Speaker 1: James Bond character is possible? I mean, it would have
• 1:11:53
  Speaker 1: to be. It wouldn't have to like disrupt basically everything
• 1:11:57
  Speaker 1: we know about James Bond, because the one of the
• 1:12:00
  Speaker 1: any things so it's known about him is that he
• 1:12:01
  Speaker 1: is a womanizer. So like you gotta strip that whole
• 1:12:04
  Speaker 1: identity from him. Well, I think that there's a way.
• 1:12:07
  Speaker 1: I think that there's a way that he can still
• 1:12:10
  Speaker 1: like you can have a lot of sex and be
• 1:12:13
  Speaker 1: not feminist. Like it's like I think that there's a
• 1:12:15
  Speaker 1: way that he could hook up with a bunch of
• 1:12:18
  Speaker 1: women and treat them with respective She wouldn't do it
• 1:12:21
  Speaker 1: all the time, not enough, but it's been done. I
• 1:12:23
  Speaker 1: feel like it could. It would have to be almost
• 1:12:25
  Speaker 1: in the way that like I feel like there's a
• 1:12:27
  Speaker 1: number of horror films now where a character something that
• 1:12:30
  Speaker 1: happened when they were a child or something comes back
• 1:12:33
  Speaker 1: and they're like, well, we were kids, and oh I didn't,
• 1:12:35
  Speaker 1: but I didn't. You would have to have something that
• 1:12:37
  Speaker 1: makes him confront like oh, and like just I would
• 1:12:39
  Speaker 1: love it if it was like pictures of all the
• 1:12:41
  Speaker 1: women that he slept with who were dead, and it's
• 1:12:42
  Speaker 1: like you're toxic, and he's like being like he's like
• 1:12:45
  Speaker 1: being tortured, but like also being forced to see, like, hey,
• 1:12:48
  Speaker 1: you like all these things that you've done. Maybe this
• 1:12:51
  Speaker 1: isn't the mission. Doesn't love for James for there to
• 1:12:54
  Speaker 1: be a major component of a James but maybe, like
• 1:12:57
  Speaker 1: the movie after Daniel Craig, he takes a good, long,
• 1:13:00
  Speaker 1: hard look at himself. Yes, I want it. I don't
• 1:13:04
  Speaker 1: think that. I mean, they're never going to do that,
• 1:13:06
  Speaker 1: but I would love to see it. It would be
• 1:13:07
  Speaker 1: so good. Like they're again. I have very little knowledge
• 1:13:10
  Speaker 1: of this franchise, but just based on like the fact
• 1:13:13
  Speaker 1: that the character has changed over time and he still
• 1:13:16
  Speaker 1: doesn't treat women well, but treat them differently, Like it
• 1:13:19
  Speaker 1: seems like this is a malleable character. The actor changes.
• 1:13:22
  Speaker 1: It's like it seems like they're there's at least if
• 1:13:25
  Speaker 1: we're never going to get a female James Bond whatever,
• 1:13:28
  Speaker 1: I don't even want that. I want a woman to
• 1:13:30
  Speaker 1: have her own franchise, But there seems like there's a
• 1:13:33
  Speaker 1: version of this character that could still drink, fight and
• 1:13:38
  Speaker 1: fuck and not be horrible. To women. Sure yea, So
• 1:13:44
  Speaker 1: Mr Hollywood, if you're listening, I mean sorry, just real quick.
• 1:13:48
  Speaker 1: In Skyfall, there is a character who has to pay
• 1:13:52
  Speaker 1: for the consequences of how am I six operates in
• 1:13:55
  Speaker 1: how not whatever group there in yet who does to
• 1:14:00
  Speaker 1: answer for that? And it's not James Bond. It's Judy
• 1:14:02
  Speaker 1: Dench Like so she has to deal with the consequences
• 1:14:06
  Speaker 1: of like this lifestyle what it means because someone's like, hey,
• 1:14:08
  Speaker 1: here's a mirror to like what you guys actually do.
• 1:14:11
  Speaker 1: But yeah, it doesn't affect James Bond at all. He
• 1:14:13
  Speaker 1: doesn't change, He still works around, he still takes actions there,
• 1:14:17
  Speaker 1: he destroys city blocks and kill millions of brown people,
• 1:14:21
  Speaker 1: but like cares you know? Oh man, Well, I'm holding
• 1:14:26
  Speaker 1: out hope for James Bond. Ally holding out hope. I
• 1:14:32
  Speaker 1: mean if we get Idris elba As is often discussed
• 1:14:36
  Speaker 1: he's too busy doing his HBO DJ show what he is?
• 1:14:42
  Speaker 1: Oh it dropped. I haven't seen it yet. My boyfriend
• 1:14:45
  Speaker 1: watched it, but there's an Idris elba DJ show on HBO. Anyways,
• 1:14:50
  Speaker 1: this might be his Ballers. Just famous actor gets shitty
• 1:14:54
  Speaker 1: HBO show for no reason. I love it. Anyways Elba
• 1:14:58
  Speaker 1: I would Yeah, he would be incredible. Indeed, um, does
• 1:15:01
  Speaker 1: this movie pass the Betel test? Now? It doesn't even
• 1:15:04
  Speaker 1: come close. Women do not even interact or I think,
• 1:15:06
  Speaker 1: or even in the same scene. There's one scene where
• 1:15:10
  Speaker 1: he's like, it's not Mr Beach or whatever, it's Mr
• 1:15:13
  Speaker 1: Bond and he's talking to a hotel receptionist. She is
• 1:15:16
  Speaker 1: not talking to the hotel receptionist. She doesn't resume talking
• 1:15:19
  Speaker 1: until they walk away from that other woman. Right, yeah,
• 1:15:22
  Speaker 1: they can't actually see each other. Yeah, it's not Mr
• 1:15:26
  Speaker 1: but it's Mr Bond. That's my favorite line in the movie. Um, yeah, No,
• 1:15:31
  Speaker 1: women don't even know each other in this movie. Nope. Well,
• 1:15:35
  Speaker 1: how many nipples will we get this? I'm gonna go
• 1:15:39
  Speaker 1: with a zero. Yep, yep, zero. I'm gonna go with
• 1:15:45
  Speaker 1: a zero as well. All right, yeah, I will go
• 1:15:47
  Speaker 1: with half the nipple, all of which goes to Judy
• 1:15:51
  Speaker 1: Dench because she, like, when I was a kid, I
• 1:15:53
  Speaker 1: was like, she's the cool She's the one charge she
• 1:15:55
  Speaker 1: tells everybody would do They all do it. That's true. Okay,
• 1:15:59
  Speaker 1: I will also give a half nipple, all right, I'm zero.
• 1:16:04
  Speaker 1: I will for Judy and and for the baldest woman
• 1:16:08
  Speaker 1: being in charge, that rule being abided by. I will
• 1:16:12
  Speaker 1: give you half an nipple everything else with bullshit. Indeed, Canice.
• 1:16:17
  Speaker 1: Thank you so much for being here. Thank you so
• 1:16:19
  Speaker 1: much for having me. I listen to the show. I
• 1:16:21
  Speaker 1: love it, Gosh, thank you, and listen to if You're
• 1:16:25
  Speaker 1: If you're on our matreon, I loved our Back to
• 1:16:28
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• 1:16:33
  Speaker 1: sign up, um cannese. Where can people follow you online?
• 1:16:37
  Speaker 1: Is there anything you'd like to plug? They can follow
• 1:16:39
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• 1:16:42
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• 1:16:44
  Speaker 1: Y and I have a podcast called Love about Town
• 1:16:46
  Speaker 1: where we are very dumb and we joke about sex
• 1:16:50
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• 1:16:54
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• 1:16:58
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• 1:17:01
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• 1:17:05
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• 1:17:08
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• 1:17:11
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• 1:17:13
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• 1:17:16
  Speaker 1: awesome designs, all designed by our very own James Loftist Jimmy.
• 1:17:22
  Speaker 1: Yes you're very are Jimmy Bobo and do do do
• 1:17:30
  Speaker 1: Do Do do do? He hates women, women, bad person
• 1:17:44
  Speaker 1: all right, Bye bye