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Transcript

Flubber · The Bechdel Cast

• 0:00
  Speaker 1: On the beck Del Cast. The questions asked if movies
• 0:03
  Speaker 1: have women and um are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands or do they have individualism? The patriarchy zef
• 0:11
  Speaker 1: invest start changing it with the beck Del Cast. Caitlin, Yes, Jamie,
• 0:19
  Speaker 1: we started this podcast many moons ago. I feel like
• 0:23
  Speaker 1: we weren't really honest with our listeners who we were
• 0:27
  Speaker 1: doing this podcast for, really, and so I just want
• 0:32
  Speaker 1: to take this opportunity right here, right now to say
• 0:35
  Speaker 1: we're doing it for wee bow Welcome to the back
• 0:42
  Speaker 1: dol cast. Um, yes, welcome. My intro was gonna be
• 0:52
  Speaker 1: something like, um, hey, Jamie, I invented some green flying rubber.
• 1:01
  Speaker 1: Do you want to come try it with me? I
• 1:03
  Speaker 1: hope it doesn't hit me in the head with a
• 1:05
  Speaker 1: bowling ball, and I go ALLEI there there the bowling ballsy.
• 1:11
  Speaker 1: I mean, this is the flabber episode of the Betel Cast,
• 1:14
  Speaker 1: So get ready for some serious discorse the bowling balls.
• 1:17
  Speaker 1: I thought it would have been so much funnier if
• 1:20
  Speaker 1: the spy like guy if his head just like exploded,
• 1:25
  Speaker 1: Like what is that movie where the head like fully explode,
• 1:28
  Speaker 1: Well that's what would happen if a ball you're just
• 1:32
  Speaker 1: pulverized skull would be all over the pavement. Yeah, that
• 1:36
  Speaker 1: is I'm trying to think of that. Do you know,
• 1:38
  Speaker 1: like the gift I'm talking about where someone's head Just
• 1:45
  Speaker 1: I don't, I mean probably I've probably seen that. I'll
• 1:48
  Speaker 1: think of it. Anyways. This is the Flabber episode of
• 1:51
  Speaker 1: the Betel Cast. This. I don't know if this has
• 1:54
  Speaker 1: really been a request. I feel like it's been like
• 1:56
  Speaker 1: a joke request. I don't think anyone's ever wanted this
• 2:00
  Speaker 1: to happen. Also, we should stay right at the top here.
• 2:03
  Speaker 1: So this is the episode that is being released the
• 2:06
  Speaker 1: week of the US election, and the reason if if
• 2:11
  Speaker 1: you don't know the read if you're if you don't
• 2:13
  Speaker 1: know the reason because you're like, what do you mean?
• 2:17
  Speaker 1: I love elections? They're so fun, you know, it's just
• 2:22
  Speaker 1: no matter the outcome. And that really didn't feel good
• 2:25
  Speaker 1: to say everyone's fucking exhausted and upset, and so we figured,
• 2:32
  Speaker 1: you know, why not when not released an episode on
• 2:35
  Speaker 1: the Flubber. We're not trying to make you like, well, see,
• 2:39
  Speaker 1: this is where it gets complicated. We were saying, you know,
• 2:43
  Speaker 1: let's not make you be strenuous with anyone's brain this week,
• 2:47
  Speaker 1: because we're usually geniuses, but like, let's not like choose
• 2:53
  Speaker 1: any material that is like really dense. But then it
• 2:58
  Speaker 1: turns out we for got so much of a flubber
• 3:04
  Speaker 1: and there's actually quite a bit to talk about. Well,
• 3:06
  Speaker 1: there's a bit to talk about, but it's I think
• 3:09
  Speaker 1: totally upset you. It's not gonna upset you totally. This
• 3:12
  Speaker 1: episode will still be light either. And we are recording
• 3:16
  Speaker 1: this well before the election, so we do not know
• 3:19
  Speaker 1: two weeks the outcome. So this is either going to
• 3:22
  Speaker 1: be a we just don't know, I guess celebration or
• 3:28
  Speaker 1: away for listeners to escape the tragic result of the election.
• 3:37
  Speaker 1: We don't know. But here, but here's flubber. We don't
• 3:41
  Speaker 1: know what's going on. Here's flubber. And so here's so
• 3:47
  Speaker 1: the backtel cast. If this is your first episode, change that, No,
• 3:54
  Speaker 1: listen to this and only this episode. Oh that's really
• 3:58
  Speaker 1: fun that, I mean, it would be kind of mean
• 4:00
  Speaker 1: to us. But if like, you know, when someone's like, oh,
• 4:02
  Speaker 1: I want to try this podcast, but it's been on
• 4:04
  Speaker 1: for a long time, what episodes should they start with?
• 4:06
  Speaker 1: And they're like the flubber episode changed with the way
• 4:10
  Speaker 1: I watched movies u um. The Bechtel Cast is our
• 4:16
  Speaker 1: podcast where we take a look at some of the
• 4:20
  Speaker 1: movies of the world that I've had a cultural impact,
• 4:24
  Speaker 1: and we look at it using an intersexual feminist lens,
• 4:28
  Speaker 1: and we use the Bechdel Test as a jumping off
• 4:31
  Speaker 1: point for discussion. And I'm spoiling it. I can't believe
• 4:36
  Speaker 1: this movie passes the Bechdel Test. I'm actively upset by it.
• 4:41
  Speaker 1: It's like, may I enter, Yes, you may like okay.
• 4:46
  Speaker 1: I was like, I'm aware of a couple of different conversations,
• 4:48
  Speaker 1: but I forgot to pay close enough attention. As per usual,
• 4:52
  Speaker 1: there's a conversation between feminist icon we and feminist icon
• 4:59
  Speaker 1: Dr Sarah where she's like, hey Sarah, let me in.
• 5:03
  Speaker 1: I'm a robot I can't use and Dr Sarah's like, okay,
• 5:09
  Speaker 1: DOAK come in? And you're like, well, god damn it.
• 5:12
  Speaker 1: Well if it doesn't pass the damn test, well I'll
• 5:16
  Speaker 1: be gosh darn't. Wait, Kayla. What is the test? It's
• 5:22
  Speaker 1: a media metric created by queer cartoonist Alison Bechtel, sometimes
• 5:27
  Speaker 1: called the Bechtel Wallace Test. It requires for our purposes,
• 5:32
  Speaker 1: our version of the test. Two people of any marginalized
• 5:36
  Speaker 1: gender must have names, they must speak to each other,
• 5:39
  Speaker 1: and their conversation has to be about something other than
• 5:42
  Speaker 1: a man, and that conversation must last at least two
• 5:46
  Speaker 1: lines of dialogue. Hey, Dr Sarah, let me in the window.
• 5:50
  Speaker 1: I'm a robot. Okay, come in. Now back to talking
• 5:56
  Speaker 1: about Robin Williams and what a talks life partner he
• 6:01
  Speaker 1: is in this movie. I don't know what's going on
• 6:04
  Speaker 1: in this movie, but it's the Flabber episode Flabber directed
• 6:10
  Speaker 1: by Les Mayfield, produced by John Hughes, and it's We've
• 6:14
  Speaker 1: talked about John Hughes a few times on this show, right,
• 6:17
  Speaker 1: I mean, we definitely get the Breakfast Club. But he's
• 6:20
  Speaker 1: come up quite a bit. He has a couple of
• 6:23
  Speaker 1: good movies and then it's really like deadlock between a
• 6:27
  Speaker 1: lot of movies for worst. And this is by no
• 6:31
  Speaker 1: means his worst, but it's since it's not very good.
• 6:38
  Speaker 1: I think other of his movies are more competently written.
• 6:41
  Speaker 1: I think this might be the least competently written movie
• 6:44
  Speaker 1: he's ever worked on. Right, he has movies that are
• 6:47
  Speaker 1: more problematic. Do adhere to store story structure a little better,
• 6:55
  Speaker 1: whereas Flubber has third act problems the problems first act problem.
• 7:05
  Speaker 1: The movie ends in the middle of the second act
• 7:08
  Speaker 1: and then it just kind of starts again. I was genuinely,
• 7:14
  Speaker 1: I mean, you have a master's in the damn thing.
• 7:18
  Speaker 1: This is sud film, But where is it from. I
• 7:22
  Speaker 1: would never bring this up on my own, so thank
• 7:24
  Speaker 1: you for doing it for Meg. You on a little yeah, yeah, yeah,
• 7:28
  Speaker 1: it is a master's degree in screenwriting from Boston University,
• 7:32
  Speaker 1: not Medfield or whatever. This is only because it's not real. Also, okay,
• 7:37
  Speaker 1: this is fun. Uh. Friend of the cast Slash, one
• 7:41
  Speaker 1: of the closest people in my whole life, Julia Claire
• 7:44
  Speaker 1: is from Medfield, Medfield, Massachusetts. Medfield College does not exist.
• 7:51
  Speaker 1: But I guess the reason this movie takes place in Medfield,
• 7:53
  Speaker 1: Massachusetts is because Walt Disney's best friend is from there,
• 7:59
  Speaker 1: and their use to be a like special tiny airport
• 8:05
  Speaker 1: in Medfield, so Walt Disney could visit his friend. And
• 8:09
  Speaker 1: that's the fun fact I learned. So to all our Medfield,
• 8:13
  Speaker 1: Massachusetts listeners, they don't need to hear about Flubber from us.
• 8:17
  Speaker 1: It's Medfield Cannon. Well, may I share my fun fact
• 8:23
  Speaker 1: yes please. So towards the end of the movie, Philip
• 8:26
  Speaker 1: and Sarah are trying to pitch Flubber to Ford Motor Company,
• 8:32
  Speaker 1: and she holds up a sign with Philip's email address
• 8:37
  Speaker 1: on it, p Brainard at Medfield dot e du. Now,
• 8:41
  Speaker 1: I took it upon myself to email you did that
• 8:45
  Speaker 1: email address? Did anything happen? I said, Hi, Phil, I
• 8:49
  Speaker 1: would like to buy some flubber please. He in response,
• 8:56
  Speaker 1: I got this address not found peperin Ard at Medfield
• 9:01
  Speaker 1: dot e d U. The message was not delivered because
• 9:05
  Speaker 1: Medfield dot e du could not be found. There's no
• 9:08
  Speaker 1: such thing. It turns out that's a really hard way
• 9:11
  Speaker 1: to find out that they made up of college for
• 9:13
  Speaker 1: the movie. Like usually I forget who I was talking about?
• 9:17
  Speaker 1: Was it? Were we talking about this on a different
• 9:20
  Speaker 1: episode where it's like usually when there's like fake phone
• 9:23
  Speaker 1: numbers and emails, they lead some somewhere and it's usually
• 9:27
  Speaker 1: like donate here or like, ha ha, here's the movie's website.
• 9:31
  Speaker 1: They couldn't even bothered, They couldn't even be bothered to
• 9:35
  Speaker 1: make up Medfield dot e d you for this movie.
• 9:39
  Speaker 1: I can't believe this. Yeah, I think we talked about
• 9:42
  Speaker 1: we talked about that on an episode that is coming
• 9:44
  Speaker 1: out in the future post this episode. What if we
• 9:47
  Speaker 1: were like, what if everyone was like, wait, they don't
• 9:50
  Speaker 1: record live, Um, so you'll hear us talk about that
• 9:54
  Speaker 1: and you'll be like, oh my god, wow, there it is.
• 9:58
  Speaker 1: So we don't have a guest today. We know we
• 10:00
  Speaker 1: don't have a guest. We just thought we would goof
• 10:02
  Speaker 1: around today because it's a tough week here in the US,
• 10:06
  Speaker 1: and so you know, we wanted to speak to none
• 10:11
  Speaker 1: of it and hopefully offer you a little bit of escapism. Yes,
• 10:16
  Speaker 1: so actually Flubber Flubber is our guest, and here in
• 10:19
  Speaker 1: spirit we have here with this flubber. Do you think
• 10:21
  Speaker 1: there's are flubber toys? It's so weird. There's like there
• 10:25
  Speaker 1: was a lot of I remember I had a Flubber
• 10:28
  Speaker 1: Happy Meal toy for sure. Yeah, that sounds familiar. They
• 10:32
  Speaker 1: had these like Disney Happy Meal toys where it would
• 10:34
  Speaker 1: be like the base of the toy was like a
• 10:36
  Speaker 1: va a fake v A just tape, and then on
• 10:38
  Speaker 1: top would be a little flubber wearing sunglasses. Oh I've
• 10:41
  Speaker 1: got oh Jamie, you're a little memory. Wow. I'm so
• 10:45
  Speaker 1: proud of myself. That's literally what it is. It's wearing sunglasses.
• 10:51
  Speaker 1: I love when Flubber wears sunglasses. I will say the
• 10:54
  Speaker 1: dance scene in Flubber Necessary is iconic. And there we're
• 11:02
  Speaker 1: big fans of super Flubber here and Flubber, and you
• 11:07
  Speaker 1: know how Superocky will do shirts that are like credits
• 11:11
  Speaker 1: in movies. I want a shirt that says Flubber Mambo
• 11:18
  Speaker 1: by Danny elf Danny Elfman. That was such a good credit.
• 11:22
  Speaker 1: I like, is there it says like score by Danny Elfman,
• 11:27
  Speaker 1: and then there's a separate title card that says Flubber
• 11:31
  Speaker 1: Mambo by Danny Elfman. Why is that its own thing?
• 11:35
  Speaker 1: I I wondered that too, and then I came up
• 11:37
  Speaker 1: with a theory, which is I feel like, if you
• 11:40
  Speaker 1: really make a point to single out a song, it
• 11:45
  Speaker 1: says to me, you're trying to get trophies for that song.
• 11:49
  Speaker 1: Do you think they submitted Flubber Mambo for Best Original?
• 11:56
  Speaker 1: I mean it definitely wasn't nominated, but I wouldn't rule
• 11:59
  Speaker 1: it out. I like that theory. Yeah, I think that
• 12:03
  Speaker 1: they were like flabber Mom was gonna sweep it is
• 12:07
  Speaker 1: good that whole like, I love the Flabber dance sequence.
• 12:11
  Speaker 1: I was still like, you know, we are like weirdly
• 12:15
  Speaker 1: gendering the flabber at one point, but but outside of that,
• 12:20
  Speaker 1: it's a great dance sequence. The flabber turns into drums,
• 12:23
  Speaker 1: the flabber turns into the horns the flabber. What can't
• 12:27
  Speaker 1: the flabber do? And that's the question we never really
• 12:30
  Speaker 1: get answered. No, you're right. I thought there was going
• 12:33
  Speaker 1: to be a lot of gender issues with the Flabber, right,
• 12:37
  Speaker 1: but it's really the Flabber ends up kind of being
• 12:40
  Speaker 1: genderless icon, genderless icon at one point where the skirt,
• 12:44
  Speaker 1: but we don't really I mean, that could mean anything
• 12:46
  Speaker 1: that's true. So we're doing what's your history with Flabber?
• 12:56
  Speaker 1: My history with Flabber. It came out when I was
• 13:00
  Speaker 1: I guess eleven, so I was like pretty much the
• 13:03
  Speaker 1: target demo more or less. I was like getting to
• 13:06
  Speaker 1: an age where I mean, this was the same year
• 13:08
  Speaker 1: that Titanic came out as well. This movie comes out
• 13:11
  Speaker 1: mere weeks before before Titanic. Yes, and as soon as
• 13:16
  Speaker 1: Titanic came out, that was it for me. I watched
• 13:19
  Speaker 1: nothing for an entire year besides Titanic. But I got
• 13:23
  Speaker 1: a few weeks worth of a flubbering, so I seen it.
• 13:27
  Speaker 1: Do you think Flabber was like the last movie you
• 13:29
  Speaker 1: saw before titan Like in theaters? I don't even know
• 13:34
  Speaker 1: if I saw Flubber in theaters. We didn't. We definitely
• 13:38
  Speaker 1: rented it. We never owned it on VHS, but I've
• 13:42
  Speaker 1: I'm so sorry. Yeah, I think we must have just
• 13:45
  Speaker 1: rented it a couple of times because my sister was
• 13:49
  Speaker 1: like eight at the time, and she would have been
• 13:51
  Speaker 1: I think, a little closer to the target demo. So
• 13:58
  Speaker 1: I had seen it a couple of times as a
• 14:00
  Speaker 1: probably like and I have not. I had not seen
• 14:04
  Speaker 1: it since then, so it was a pretty big cultural
• 14:07
  Speaker 1: staple in the late nineties. But yeah, I just I
• 14:11
  Speaker 1: never bothered with it again as soon as I discovered Titanic.
• 14:15
  Speaker 1: Most people know about Flabber, but no one remembers what
• 14:17
  Speaker 1: happened in Flabber. It's very much like a Wes Anderson
• 14:21
  Speaker 1: movie in that way where you know what it is,
• 14:24
  Speaker 1: and you remember three things that happened in the trailer,
• 14:27
  Speaker 1: but you really are not able to answer any further questions. True, Yeah, well,
• 14:31
  Speaker 1: what's your history with it? We definitely owned this NBA.
• 14:35
  Speaker 1: But I have a very early formative memory of seeing
• 14:38
  Speaker 1: Flabber in theaters because I was my my brother, my baby.
• 14:44
  Speaker 1: My brother was born shortly before this movie came out.
• 14:48
  Speaker 1: I remember this was like he was, well, act, he's
• 14:51
  Speaker 1: born in April seven, so he would have been like
• 14:55
  Speaker 1: an infant, but not like the tiniest infant, like not
• 14:58
  Speaker 1: completely ridiculous to bring an infant to Flubber, but like,
• 15:02
  Speaker 1: I see where this is going. So your mom brought
• 15:05
  Speaker 1: a baby to my guess is that me and my
• 15:08
  Speaker 1: cousins really wanted to see Flubber and my mom brought
• 15:12
  Speaker 1: a tiny baby and was like, let's see how it goes.
• 15:15
  Speaker 1: But I was like, yeah, I was, I was four
• 15:18
  Speaker 1: and my brother was baby, and I just remember he
• 15:21
  Speaker 1: kind of wrecked the Flubber experience what with being allowed baby,
• 15:28
  Speaker 1: and so I just when I it's this movie. And
• 15:31
  Speaker 1: then weirdly Eddie Murphy Doctor Doolittle, which I think comes
• 15:34
  Speaker 1: out in the ninety eight. I'd have to check that,
• 15:38
  Speaker 1: but those were two movies about wacky professors that I
• 15:43
  Speaker 1: was really excited about. That my brother cried as a
• 15:47
  Speaker 1: little baby head off the whole time and ruined it,
• 15:51
  Speaker 1: and so Ben ruined Flabber the first time, but then
• 15:54
  Speaker 1: we did get the VHS tape and I saw it
• 15:57
  Speaker 1: many times after, but I haven't seen it for uh
• 16:02
  Speaker 1: twenty years at least, Like I think that probably we
• 16:06
  Speaker 1: got Flabber n VHS. I watched it fifty times and
• 16:09
  Speaker 1: then I haven't watched it since. Sure, so there was
• 16:13
  Speaker 1: a lot I didn't remember about it, but I yeah,
• 16:16
  Speaker 1: early early memory, me and me and Flubber and uh, Ben,
• 16:20
  Speaker 1: if you're listening, he fucked Flabber all the way up
• 16:24
  Speaker 1: for the whole family been. Honestly, it's on my mom.
• 16:28
  Speaker 1: She shouldn't have brought a baby to Flabber, but it
• 16:31
  Speaker 1: was worth a try. Maybe he would have slept through Flabber,
• 16:33
  Speaker 1: but it's too compelling. He just couldn't get see, I mean,
• 16:36
  Speaker 1: the bouncy, the flying rubber, he's Flabber. I think I
• 16:43
  Speaker 1: remember the trailer for this movie more clearly than the
• 16:46
  Speaker 1: movie itself, because there were a few moments that I
• 16:49
  Speaker 1: was like, oh, that's a trailer moment, such as when
• 16:53
  Speaker 1: he says it's Flabber. That's definitely in the trailer, or
• 16:57
  Speaker 1: when he says what a bang, that's definitely in the trailer.
• 17:02
  Speaker 1: I didn't watch the trailer, but I'm pretty sure. And
• 17:04
  Speaker 1: then and then when what's his name Christopher McDonald is
• 17:08
  Speaker 1: dancing with the flubber, that's definitely in the trailer. And
• 17:12
  Speaker 1: then when the basketball player jumps with the flubber. There's
• 17:15
  Speaker 1: no women in the trailer, is what I'm saying. There's well,
• 17:20
  Speaker 1: there's barely women in the movie. So poor Marshall Ghart.
• 17:24
  Speaker 1: I didn't know who Marsha gay Harden was the last
• 17:26
  Speaker 1: time I watched this movie me either, And now that
• 17:30
  Speaker 1: I watched it, it was like in her career wise,
• 17:33
  Speaker 1: it was a pretty early role for her, and uh,
• 17:36
  Speaker 1: we gotta get her out of this movie. Good Escaping.
• 17:41
  Speaker 1: I know, by the way, Dr Doolittle did come out
• 17:45
  Speaker 1: in and it was directed by a woman, Betty Thomas. Wow,
• 17:50
  Speaker 1: so I guess we have to cover it. I bet
• 17:54
  Speaker 1: that movie sucks, but I remember really, really liking I
• 17:58
  Speaker 1: have two formative memories that d do little, which is
• 18:01
  Speaker 1: first that my brother cried the whole time, and second
• 18:04
  Speaker 1: that because I would always go to movies with all
• 18:07
  Speaker 1: like ten of my cousins because my mom ran like
• 18:10
  Speaker 1: a fake daycare out of our house and so we
• 18:14
  Speaker 1: would all go together, and I remember someone got like
• 18:16
  Speaker 1: a roll of Starbursts and they were like just past
• 18:19
  Speaker 1: the starburst down the row, and for some reason, I
• 18:21
  Speaker 1: thought my cousins were unwrapping my starburst and I had
• 18:24
  Speaker 1: like four starbursts that with the full story before. But
• 18:30
  Speaker 1: I didn't realize it was that movie. It was any
• 18:33
  Speaker 1: Murphy talking to and it was so embarrassing because I
• 18:38
  Speaker 1: was like, ha ha, what a crunchy starbirsts my cousins. Yeah,
• 18:45
  Speaker 1: clearly it hasn't effected me at all because I don't
• 18:47
  Speaker 1: even remember it happened. Oh my god. Okay, alright, so
• 18:54
  Speaker 1: should should I just do the recap and good luck? Yeah,
• 19:00
  Speaker 1: I'll try to come in on the assist where I
• 19:02
  Speaker 1: can thank you so much. All right, First of all,
• 19:06
  Speaker 1: there's an opening sequence that is very similar to the
• 19:09
  Speaker 1: opening sequence of Back to the Future, and we're like, oh,
• 19:13
  Speaker 1: I guess you know lest Mayfield watched Back to the
• 19:16
  Speaker 1: Future and just copied it. I had not connected that. Okay,
• 19:20
  Speaker 1: I do enjoy the opening of the movie, and a
• 19:23
  Speaker 1: Danny Elfman score cannot be denied. Unfortunately, Um so I
• 19:29
  Speaker 1: was you know, there are moments when on the rewatch
• 19:31
  Speaker 1: of this where I was kind of like dancing with
• 19:33
  Speaker 1: my dog. Let's say, I mean, there's a mambo, the
• 19:38
  Speaker 1: Flower Mambo snubbed the snub of the Century, but just
• 19:45
  Speaker 1: that that part where like you see all the robots
• 19:47
  Speaker 1: like making breakfast and stuff like that, something very similar
• 19:51
  Speaker 1: happens in Back to the Future. I wrote that down
• 19:53
  Speaker 1: is I think that that is safe to say a
• 19:56
  Speaker 1: full on movie troupe because I thought of two other
• 19:59
  Speaker 1: movies that happen and in that are not Back to
• 20:01
  Speaker 1: the Future. Oh wait, what also happens in Pee's Big
• 20:04
  Speaker 1: Adventure at the very beginning, and it also happens at
• 20:07
  Speaker 1: the beginning of Wallace and Grommet in a lot of
• 20:11
  Speaker 1: the shorts. And then I think also in the movie
• 20:13
  Speaker 1: where I don't I don't know what it says about
• 20:16
  Speaker 1: the movie other than like there's an inventor in this movie.
• 20:20
  Speaker 1: That and the lengths that men will go to to
• 20:23
  Speaker 1: not do household chores. But it's like breakfast breakfast machine
• 20:30
  Speaker 1: is definitely some sort of movie length something something something
• 20:39
  Speaker 1: semiotics is breakfast machine semiotics. We don't know anyways, Um, yeah,
• 20:45
  Speaker 1: he does have a breakfast machine. And then I immediately
• 20:47
  Speaker 1: tried to think of all the other breakfast machines that
• 20:49
  Speaker 1: I've seen, Well, we've got four. Four that's too many.
• 20:54
  Speaker 1: That's a lot. Listeners. If you can think of any others,
• 20:56
  Speaker 1: please in like a twenty years fan to too many? Yeah,
• 21:00
  Speaker 1: that's true. Okay, So, um, it's two movies with a
• 21:05
  Speaker 1: Danny Elfman score. Sorry, what was the other one? Peewee?
• 21:08
  Speaker 1: I think so it was the Tim Burton movie Safe
• 21:11
  Speaker 1: to Assume, right, Yeah, anyways, continue, this is not important.
• 21:16
  Speaker 1: So this breakfast machine belongs to Philip Brainard. That's Robin
• 21:21
  Speaker 1: Williams brain get it right. And yeah, if you're like, oh,
• 21:25
  Speaker 1: is this movie subtle? His last name is brain This
• 21:28
  Speaker 1: movie is adapted from another Disney movie. I think when
• 21:33
  Speaker 1: like every live action Disney movie that came out in
• 21:36
  Speaker 1: the nineties sixties except Mary Poppins, I was like, no,
• 21:40
  Speaker 1: thank you. Um, but it's one of those. So there
• 21:44
  Speaker 1: is a precedent for this character, right, but that doesn't
• 21:47
  Speaker 1: make his name less really bashing you over the head
• 21:50
  Speaker 1: of a mallet. So this movie, so the property is
• 21:54
  Speaker 1: based on a short story by Samuel W. Taylor and
• 21:58
  Speaker 1: it's also by st On the movie The Absent Minded Professor,
• 22:04
  Speaker 1: which I did you We talked about this a little
• 22:07
  Speaker 1: bit before, and as soon as you mentioned it, I
• 22:09
  Speaker 1: was like, oh, maybe it's like right there on my
• 22:11
  Speaker 1: Disney Plus I'll hit play. So I watched like of
• 22:15
  Speaker 1: it just to like see if there's anything worth talking about.
• 22:19
  Speaker 1: I watched clips and I was just like, m my takeaway,
• 22:24
  Speaker 1: I don't like it, but it definitely had I was
• 22:29
  Speaker 1: active the only thing I found in my research, and like,
• 22:32
  Speaker 1: I watched a few clips of it that I didn't
• 22:35
  Speaker 1: realize that there was. I thought that flubber wasn't a
• 22:38
  Speaker 1: nineties naming convention, but flubber it's been with us as
• 22:44
  Speaker 1: a culture. It's been there. Flubber has been there for
• 22:48
  Speaker 1: for you know, almost sixty years at this point. So
• 22:51
  Speaker 1: that's the thing about that, which means we're do We're
• 22:54
  Speaker 1: about due for another Flubber the thirty If the thirty
• 22:58
  Speaker 1: years cycle is true, gird your loins. We're getting Flubber
• 23:03
  Speaker 1: in the next couple of years. Honestly, it would be
• 23:07
  Speaker 1: an honor to be involved. You will be the most embarrassing,
• 23:11
  Speaker 1: like classically, this this moment in time mistake to be
• 23:18
  Speaker 1: Do you see where I'm going with this all female
• 23:20
  Speaker 1: rebit of Flabber. Okay, Okay, I don't hate it was
• 23:25
  Speaker 1: a woman in step. You're just like, please just let
• 23:29
  Speaker 1: a woman direct a movie. That's literally we didn't ask
• 23:33
  Speaker 1: for girl Flubber. Um. But would I watch it? Yes,
• 23:37
  Speaker 1: I would watch. But now that you mentioned it, we're
• 23:39
  Speaker 1: getting it. But hold on, hold girl Flubber, Girl Flabber. Okay,
• 23:44
  Speaker 1: I'll watch it. Okay. So anyway, so this is an adaptation,
• 23:51
  Speaker 1: which I didn't realize until I went on Wikipedia. Yeah,
• 23:55
  Speaker 1: I didn't know that before like researching for this right. Yeah.
• 23:58
  Speaker 1: The one thing I'll say about up amount of Professor
• 24:00
  Speaker 1: is that there is another female character who they eliminate
• 24:04
  Speaker 1: in Flubber because the Professor has like a housekeeper that
• 24:09
  Speaker 1: I think they replace with we Bow. I think they
• 24:11
  Speaker 1: combine a housekeeper and a dog into that was read.
• 24:18
  Speaker 1: I was like wow ee, wowee wow, where to where
• 24:21
  Speaker 1: to even begin? Or I think they turned the housekeeper
• 24:24
  Speaker 1: into Webber the other robot, and then the dog Charlie
• 24:29
  Speaker 1: in the first movie gets turned into we Bow. So
• 24:33
  Speaker 1: for everyone listening, if you I remembered there was a
• 24:37
  Speaker 1: robot assistant, I did not remember the extent that she
• 24:44
  Speaker 1: is involved in the movie. Then that how much she
• 24:47
  Speaker 1: wants to have sex with him. I do not remember
• 24:49
  Speaker 1: how horny, horny horny she was. I yeah, I remembered
• 24:54
  Speaker 1: that I did. Two things I remembered about her was
• 24:56
  Speaker 1: that she was a robot assistant and that she some
• 25:00
  Speaker 1: times played I remember that she played a clip from
• 25:02
  Speaker 1: Dumbo on her screen at one point, because she communicates
• 25:06
  Speaker 1: only in Disney owned clips, yes, which is like, uh,
• 25:12
  Speaker 1: fun as a kid, but as an adult kind of
• 25:14
  Speaker 1: embarrassing to watch. Yeah, exactly. So okay, let's sorry, where
• 25:20
  Speaker 1: are we know? It's it's it's no one's fault. It's
• 25:24
  Speaker 1: clubber's fault, all right. So um Philip Brainerd. He is
• 25:30
  Speaker 1: a science professor at Midfield College, which is at risk
• 25:34
  Speaker 1: of closing down because it owes a lot of money
• 25:38
  Speaker 1: or something. There's it's there in dire financial streets. And
• 25:41
  Speaker 1: then we learn by Philip telling his robot wi bow oh,
• 25:47
  Speaker 1: if he could just discover this new source of energy,
• 25:50
  Speaker 1: he could save the college. And once you listen, if
• 25:54
  Speaker 1: you're if you've gotten this far in the episode, you
• 25:56
  Speaker 1: gotta watch flubber. Um. I didn't really lies until I
• 26:01
  Speaker 1: looked at the I had like scholarly journal Wikipedia up
• 26:04
  Speaker 1: as I was watching the movie and it said Jody
• 26:07
  Speaker 1: Benson as we Bow, I was like, wait a second,
• 26:10
  Speaker 1: Jodie Benson is Ariel. And then once you find out
• 26:14
  Speaker 1: that the voice of Weibo is the voice of Ariel,
• 26:16
  Speaker 1: you cannot unhear it, and you're just like, why does
• 26:19
  Speaker 1: Ariel want to have sex with the professor so bad? Anyways,
• 26:25
  Speaker 1: it's her, and I'm pretty sure that the later video
• 26:27
  Speaker 1: you see is also her. I'm pretty sure. I was
• 26:31
  Speaker 1: curious about that if it was. I don't know exactly
• 26:34
  Speaker 1: how Jody Benson looked in but it looks like her
• 26:38
  Speaker 1: with nineties hair, so I'm assuming, right, okay, And then
• 26:41
  Speaker 1: we expect her to break it out in song and
• 26:43
  Speaker 1: be like you want singabout bops? I got twenty. She
• 26:46
  Speaker 1: just wants to be where the people are, but she
• 26:48
  Speaker 1: didn't understand that once she was there where the people were,
• 26:52
  Speaker 1: that if she wasn't a people, she's not gonna be
• 26:55
  Speaker 1: able to see. She kind of has had the same
• 26:58
  Speaker 1: problem in two movies. And The Fun she's a mermaid
• 27:01
  Speaker 1: and she can't attain the arbitrary love interest, and the
• 27:05
  Speaker 1: next one, this is basically The Little Mermaid too. She
• 27:09
  Speaker 1: wants the arbitrary love interest who would not be nice
• 27:11
  Speaker 1: to her. But she's a robot this time it's complicated.
• 27:16
  Speaker 1: Wow makes you think. Alright, So Phillips his future wife
• 27:24
  Speaker 1: Sarah played by Marcia gay Harden. They're supposed to be
• 27:28
  Speaker 1: getting married that evening, but he keeps forgetting about it
• 27:32
  Speaker 1: because he's so absent minded. He's the absent minded professor.
• 27:37
  Speaker 1: We know? Did you catch? I want this movie twice
• 27:40
  Speaker 1: and I kept forgetting to check. She works at the
• 27:44
  Speaker 1: college as well. Her door says doctor Sarah. Does it
• 27:48
  Speaker 1: say what she teaches? Do we know what she's like
• 27:51
  Speaker 1: a professor of I was under the impression that she
• 27:54
  Speaker 1: was like the dean or the president, I thought, But
• 27:59
  Speaker 1: I don't remember how I got that information. This poor
• 28:02
  Speaker 1: woman does not have a true friend in her entire
• 28:06
  Speaker 1: life because she is being stood up by this man
• 28:11
  Speaker 1: at the altar for the repeatedly. This is the third time,
• 28:15
  Speaker 1: and her friends aren't like, maybe dump him. Yeah, she's
• 28:18
  Speaker 1: got one friend, Martha, who's just like who's too supportive?
• 28:23
  Speaker 1: Like Martha, you really need to step it up as
• 28:26
  Speaker 1: a friend, because Marcia gay Harden is humiliating herself over
• 28:31
  Speaker 1: and over for this loser. Yeah, he's he's missed two
• 28:35
  Speaker 1: other wedding dates of theirs, but he's like, don't worry, Sarah,
• 28:39
  Speaker 1: I will not miss our wedding this time, because she's
• 28:42
  Speaker 1: all like, if you miss it this time, we are
• 28:45
  Speaker 1: through no Before the wedding, though, Philip's rival Wilson shows
• 28:52
  Speaker 1: up to his classroom and he openly admits to the
• 28:55
  Speaker 1: following stealing Philip's ideas being petty, being corrupt, and wanting
• 29:03
  Speaker 1: to steal his bride to be Okay, honestly, we have
• 29:08
  Speaker 1: no choice but to stand. He is the most expository
• 29:12
  Speaker 1: character I've seen in a movie in a really long time.
• 29:16
  Speaker 1: Like he's so and he's played by Christopher McDonald, who
• 29:19
  Speaker 1: is a well respected, like a good character actor who
• 29:22
  Speaker 1: also has like resting nineties villain face, like he literally
• 29:28
  Speaker 1: they're like typecasting him as Mr Steel your girl. Uh.
• 29:33
  Speaker 1: And then there's that one what is that line read
• 29:35
  Speaker 1: he does where you're like, oh my goodness, like can
• 29:38
  Speaker 1: you be serious? He like he like walks out after
• 29:41
  Speaker 1: he's been wooing her and he's like, I can't lose
• 29:44
  Speaker 1: the girl is mine, and you're like, did you just
• 29:48
  Speaker 1: say that out loud? Like it's so I feel. My
• 29:53
  Speaker 1: read was that Christopher McDonald fully knew what movie he
• 29:56
  Speaker 1: was in, and he was just like, all right, I'll
• 29:59
  Speaker 1: read a line. I'll dance with the flubber. You might
• 30:03
  Speaker 1: not like what you see, but that's on you. He
• 30:07
  Speaker 1: also at one point ships the flubber out of his
• 30:11
  Speaker 1: butt hole. Does so let's not forget that that is
• 30:16
  Speaker 1: actually a really good point and I should have made
• 30:17
  Speaker 1: it sooner. We can't forget that he does ship the
• 30:22
  Speaker 1: flabber out his butt hole, and that's after he's been defeated,
• 30:25
  Speaker 1: because you can argue that that is that scene takes
• 30:29
  Speaker 1: place after the movie should have ended, right, there's a
• 30:33
  Speaker 1: whole point where the movie ends, but then it keeps
• 30:36
  Speaker 1: going anyways. Yeah, so Wilson shows up and then okay,
• 30:41
  Speaker 1: so then later that day, as Philip is getting ready
• 30:44
  Speaker 1: for his wedding, he figures out the final piece of
• 30:48
  Speaker 1: the puzzle for this new energy source that he's been
• 30:50
  Speaker 1: working on, and then he like does some science stuff.
• 30:54
  Speaker 1: He accidentally blows up his lab, but it ends up
• 30:57
  Speaker 1: working because emerges. But Flubber, it's not a scary movie.
• 31:08
  Speaker 1: October over, It's November. No more scares. Flubber is a
• 31:13
  Speaker 1: blob of green gelatinous balncy goo that also seems to
• 31:20
  Speaker 1: be sentient. That was a question I had. Yes, there's
• 31:24
  Speaker 1: a question. When Flubber starts wilding out, bursting through glass,
• 31:30
  Speaker 1: harassing the neighborhood, we both flies up to. Also the
• 31:36
  Speaker 1: science of this movie, I'll say it as a scientist,
• 31:39
  Speaker 1: it makes no sense because he's because Robin Williams, Dr
• 31:43
  Speaker 1: Flabber or Professor Flabber whatever. Professor Fluber is like, I
• 31:48
  Speaker 1: need to make things fly, but his robot can already fly.
• 31:51
  Speaker 1: How is she flying? Great question? Could that technology be applied?
• 31:56
  Speaker 1: But anyways, we both flies because she can. She flies
• 32:00
  Speaker 1: up to Professor Flabber and says, oh, no, you gave
• 32:03
  Speaker 1: Flabber too much free will? And you're like, is that
• 32:06
  Speaker 1: a chemical composition? Like? And also, even if let's go
• 32:13
  Speaker 1: a step further, even if free will can be put
• 32:17
  Speaker 1: in a little test tube, why would you then give
• 32:20
  Speaker 1: it to Flubber. You would think that Flabber having free
• 32:24
  Speaker 1: will would only cause problems. There's no practical use for
• 32:30
  Speaker 1: Flubber having free will and a personality. Here's my theory
• 32:36
  Speaker 1: as also a scientist, I have your science scientific theories.
• 32:40
  Speaker 1: I think that that line is meant to be a joke,
• 32:44
  Speaker 1: and it just so happens that it's not funny. It's
• 32:48
  Speaker 1: not funny. But then, how do you explain Flabber having
• 32:52
  Speaker 1: having Yes, I don't think he deliberately gave Flubber free will.
• 33:00
  Speaker 1: That might just be a byproduct of the very complicated
• 33:05
  Speaker 1: formula he was working on. I'm guessing I was trying
• 33:09
  Speaker 1: to read this movie like a few movies. I think
• 33:12
  Speaker 1: there's a few influential movies you can kind of map
• 33:16
  Speaker 1: this movie on, and one of them is I Frankenstein.
• 33:23
  Speaker 1: I think that Flupper and and and Adam Frankenstein have
• 33:28
  Speaker 1: more in common than we ever could have met. But
• 33:32
  Speaker 1: they just kind of they have free will, but they
• 33:35
  Speaker 1: just kind of take it in different directions. I don't know.
• 33:37
  Speaker 1: I mean, I guess Victor Frankenstein didn't necessarily want his
• 33:41
  Speaker 1: creature to have free will, but then it just kind
• 33:45
  Speaker 1: of did. That was kind And that's kind of a
• 33:47
  Speaker 1: question that comes up later of like do robots have souls?
• 33:50
  Speaker 1: That's brought up in exactly one line of dialogue and
• 33:52
  Speaker 1: then they're like, we're actually not equipped to handle that,
• 33:55
  Speaker 1: and they're right, Um, the robots have soul? Does flab
• 34:01
  Speaker 1: have a soul? No one asks that and not the
• 34:05
  Speaker 1: problem except for us. So we're out here doing the
• 34:10
  Speaker 1: important cinematic discourse that is absent. This is the world.
• 34:16
  Speaker 1: Yeah exactly, Okay, exactly exactly. Anyway, so, uh, Philip inventing
• 34:27
  Speaker 1: this substance makes him miss his wedding. So now Wilson,
• 34:33
  Speaker 1: the rival man, is there to make a move on
• 34:36
  Speaker 1: Sarah because she's like, I'm through with Philip and he
• 34:40
  Speaker 1: gives her a ride home and we're like, oh no,
• 34:44
  Speaker 1: Marcia gay Harden already has no self esteem. Let's not
• 34:48
  Speaker 1: make this worse. I can't wait to talk about that.
• 34:51
  Speaker 1: I'm just like, does she have like a sibling? Does
• 34:54
  Speaker 1: she have like a friend? Like? Is there anyone in
• 34:57
  Speaker 1: her life? Like we've all been at a low po wine.
• 35:00
  Speaker 1: Sure in terms of like I'm not asking for what
• 35:04
  Speaker 1: I need in a relationship, but this is just egregious.
• 35:07
  Speaker 1: She needs someone in her life to intervene. I know
• 35:11
  Speaker 1: it's not funny. You know what slubber is sentient slubber
• 35:15
  Speaker 1: should should intervene. Should have been like Dr Sarah, you
• 35:20
  Speaker 1: know you're a brilliant woman with your life ahead of you.
• 35:23
  Speaker 1: Why are you settling for someone who keeps I'm just imagining,
• 35:26
  Speaker 1: like Oprah, Why is an Oprah in this movie? Does it? Also?
• 35:31
  Speaker 1: I feel like if Dr Sarah watched a single episode
• 35:34
  Speaker 1: of Oprah, she would be like, WHOA, I need to
• 35:38
  Speaker 1: I need to stop accepting less than what I deserve.
• 35:41
  Speaker 1: You know who would have been a perfect already character
• 35:45
  Speaker 1: in the movie. Who would have talked her out of
• 35:47
  Speaker 1: marrying Philip is wee Bow. She would have done it
• 35:50
  Speaker 1: for selfish purposes. But we Bow should have been there
• 35:54
  Speaker 1: being like Sarah, you can do better. Yeah, I work
• 35:57
  Speaker 1: for the guy, but he's not a good romantic partner.
• 36:00
  Speaker 1: But someone else, we both goes a very different way.
• 36:04
  Speaker 1: We've said I've got to ruin your marriage. I feel like,
• 36:08
  Speaker 1: is it implied that she just never reminds him that
• 36:11
  Speaker 1: at his wedding? And also that's on the assumption that
• 36:13
  Speaker 1: someone needs to be reminded that they're getting married, which
• 36:16
  Speaker 1: means they're not invested enough in their relationship. But like,
• 36:19
  Speaker 1: I'm sorry, I'm just like he's just so absent minded.
• 36:22
  Speaker 1: Though he's absent minded, I feel like he just maybe
• 36:29
  Speaker 1: as a lifelong bachelor, it's all good. Like if you're
• 36:34
  Speaker 1: not wanting or if you were like work over relationship
• 36:38
  Speaker 1: every time, then maybe just you need a certain kind
• 36:43
  Speaker 1: of a relationship or no relationship. But I'm not seeing
• 36:45
  Speaker 1: the compatibility. I'm Dr phil I'm not seeing the compatibility.
• 36:51
  Speaker 1: She seems like she really like wants an engaging relationship.
• 36:56
  Speaker 1: You're not wrong. I just I tried to view her
• 36:59
  Speaker 1: as like if you were my friend, what would I do?
• 37:01
  Speaker 1: And you would simply be like, don't marry him. Stop
• 37:05
  Speaker 1: trying to marry this person. They're not they're ill equipped.
• 37:08
  Speaker 1: You've tried twice already. It's it's failed both times. Don't
• 37:12
  Speaker 1: keep trying. You're so sad, like like you're so sad
• 37:15
  Speaker 1: about him. Let's just like he's ill equipped. We've got
• 37:18
  Speaker 1: to move on. We're in Medfields. The city's swarming with
• 37:23
  Speaker 1: romantic prospects in Medfield, Massachusetts. Maybe I don't know. I've
• 37:29
  Speaker 1: never been. Um, So, okay, let's take a break before
• 37:32
  Speaker 1: we go any further, because this is going to be
• 37:34
  Speaker 1: an episode where the episode is recap. So let's take
• 37:40
  Speaker 1: a break and then we'll come right back to keep recapping.
• 37:49
  Speaker 1: And we're back. We're back. So where so Philip has
• 37:56
  Speaker 1: missed his wedding. So he goes to Sarah and he's like,
• 38:00
  Speaker 1: I'm so sorry, but I was just too busy inventing
• 38:05
  Speaker 1: Flubber to be at our wedding. And then he shows
• 38:07
  Speaker 1: her Flubber and she's like, I honestly don't give a
• 38:11
  Speaker 1: ship about Flubber. We're through now. Meanwhile, how many I mean,
• 38:17
  Speaker 1: we've all been there, We've all we've all been stood
• 38:22
  Speaker 1: up for Flubber. I do love his angle coming into
• 38:26
  Speaker 1: this scene and his angle is like no, no, no, no no, no, no,
• 38:29
  Speaker 1: no no no. I know I stood you up at
• 38:32
  Speaker 1: the alder for the third time, but it's because and
• 38:37
  Speaker 1: she's supposed to be like, oh okay, So she does
• 38:42
  Speaker 1: stand up for herself here. And then there's another trailer
• 38:44
  Speaker 1: moment which is Robin Williams throwing himself directly into his
• 38:49
  Speaker 1: spine from a third story window. I was just gonna
• 38:52
  Speaker 1: say he that would have broken his spine, would have
• 38:55
  Speaker 1: been a fatal accident. But there's a I mean, that's
• 38:59
  Speaker 1: part of I feel like, that's a that's kind of
• 39:01
  Speaker 1: a part of like the like sixties movie, nineties movie dissonance,
• 39:06
  Speaker 1: where in the sixties, I'm sure it looked so cartoony
• 39:11
  Speaker 1: goofy that you're like, oh, this is a cartoon basically,
• 39:15
  Speaker 1: but when you see it with like more updated effects,
• 39:18
  Speaker 1: you're like, oh, that he would have died. Well, unless
• 39:23
  Speaker 1: I will say I did have difficulty paying attention to
• 39:27
  Speaker 1: the absent minded professor when I was watching it, But
• 39:29
  Speaker 1: I'm pretty sure that moment doesn't even happen. Not that specific,
• 39:32
  Speaker 1: but the stunt, that's like the stunts to me, the
• 39:36
  Speaker 1: stunts I saw like looked faker, I guess because it
• 39:39
  Speaker 1: was just like an older movie but in the nineties.
• 39:42
  Speaker 1: I mean, maybe this is controversial, but I feel like
• 39:45
  Speaker 1: for the most part, the effects, while there's too many
• 39:49
  Speaker 1: of them, they mostly held like flubber I have no notes,
• 39:55
  Speaker 1: that's Lord of the Rings. That's my Lord of the
• 39:56
  Speaker 1: Rings for seven Like the c g I. The practical
• 40:03
  Speaker 1: effects yeah, pretty decent. The only thing that really like
• 40:07
  Speaker 1: bumped me as like whoa those effects like old were
• 40:09
  Speaker 1: some like c g I geese flying in the sky. Yeah, yes,
• 40:14
  Speaker 1: those looked really fake. But the flubber I'm the flubber dancing.
• 40:18
  Speaker 1: I was like, well, color me and press. Who am
• 40:20
  Speaker 1: I to say how flubber dances? This is the only
• 40:23
  Speaker 1: way I've seen it. Yeah, well, they did have an
• 40:28
  Speaker 1: eighty million dollar budget, and I think like seventy million
• 40:32
  Speaker 1: of that went to animating Flabber in seven money. Like,
• 40:38
  Speaker 1: hold on, I'm gonna crunch some numbers, you please. I
• 40:40
  Speaker 1: feel that I'm slowing down the recap so much today. Um,
• 40:43
  Speaker 1: I'm going to convert flubber money. Now, this is important.
• 40:47
  Speaker 1: We need we need the adjusted for inflation. Oh okay, wait,
• 40:52
  Speaker 1: wait there, I got a website that's like you do
• 40:56
  Speaker 1: the map? Who are we? Professor Brainerd? And I'm like,
• 41:02
  Speaker 1: you think I am? Do we get a first name
• 41:04
  Speaker 1: for him? Yeah? Philip? Philip? Oh yeah, who am I
• 41:07
  Speaker 1: phil Brainard? I think so okay, one point six too.
• 41:12
  Speaker 1: I'm doing a math problem. It would be million dollars
• 41:17
  Speaker 1: in today money. Embarrassing. That's such a big budget for
• 41:24
  Speaker 1: for flubber animation. Flubber well, you know the scene is iconic. Alright.
• 41:34
  Speaker 1: So meanwhile, Will Wheaton is suddenly in the movie and
• 41:39
  Speaker 1: you're like, sure, sure, he's twenty five, but he's fifteen. Um,
• 41:46
  Speaker 1: he's a student of Phillips at the university. Yeah, he's
• 41:51
  Speaker 1: like probably twenty, but he is flunking his chemistry class.
• 41:56
  Speaker 1: So his rich dad, Chester Honecker sends his goons to
• 42:02
  Speaker 1: Philip's house to kick his ass. We're not really sure,
• 42:06
  Speaker 1: but they don't get a chance to do anything. Another
• 42:10
  Speaker 1: pre was like, what were they going to do when
• 42:13
  Speaker 1: they arrived at Professor Flabber's house. They're wearing dark clothing
• 42:19
  Speaker 1: that made them seem like they're going to try to
• 42:21
  Speaker 1: rob him for grades. I didn't know what their angle was,
• 42:26
  Speaker 1: but yeah, Well the scene right before that is like, well,
• 42:29
  Speaker 1: he has principles, but anyone can be bought for the
• 42:32
  Speaker 1: right price. Basically, so, okay, are you going to go
• 42:36
  Speaker 1: bribe him? Doesn't seem like it. It seems like you're
• 42:38
  Speaker 1: going to go try to beat the ship out of him, right.
• 42:41
  Speaker 1: But whatever they intended to do, they don't get to
• 42:44
  Speaker 1: do because this is when Philip is doing more experiments
• 42:48
  Speaker 1: with Flubber, and he's rubbing Flubber all over golf balls
• 42:53
  Speaker 1: and bowling balls, which end up hitting the goons balls
• 42:59
  Speaker 1: for his experiments at his house. Uh, it's like, you're
• 43:04
  Speaker 1: the worst scientist ever. Why aren't you in like a
• 43:07
  Speaker 1: legitimate lab. You're not measuring anything, You're not like everything
• 43:13
  Speaker 1: every experiment he does, he's like not using this scientific
• 43:16
  Speaker 1: method at all. Well, it fully applies that whatever he's
• 43:21
  Speaker 1: doing with Flubber, the university does not have any interest
• 43:25
  Speaker 1: in funding because he would like that was another question
• 43:30
  Speaker 1: that I had about story logic. Where is he like
• 43:34
  Speaker 1: doing the first draft of Flubber at his house, then
• 43:37
  Speaker 1: he has to apply for grant to do like is
• 43:40
  Speaker 1: it an academia issue or like? But he already works there,
• 43:44
  Speaker 1: and apparently he's going to get married to someone who's
• 43:48
  Speaker 1: like higher up, Like couldn't he ask the president? He could?
• 43:52
  Speaker 1: He could ask her, like who shouldn't ask for funding
• 43:54
  Speaker 1: about Flubber? Maybe? But well, Jamie, they're not on speaking
• 43:59
  Speaker 1: terms because he forgot to go to their wedding for
• 44:02
  Speaker 1: a third time. But this is my other question, Like,
• 44:08
  Speaker 1: so he it seems like he's been working on flabber
• 44:11
  Speaker 1: for maybe a little while, like he like. That's what
• 44:16
  Speaker 1: Phil and Weebo have led me to believe is that
• 44:18
  Speaker 1: he's been working on it for a bit. So word
• 44:21
  Speaker 1: to believe that his work he doesn't discuss with his
• 44:24
  Speaker 1: fiance at all, even though it would actually be really
• 44:27
  Speaker 1: helpful because she could probably help him secure funding to
• 44:31
  Speaker 1: do what he's doing, which then led me to this theory,
• 44:35
  Speaker 1: which is every time this is okay, every time Professor
• 44:40
  Speaker 1: Flabber doesn't marry Marcia Gayharden, does she just say I'm
• 44:44
  Speaker 1: not speaking to you. Here's the next wedding, Like, does
• 44:48
  Speaker 1: she just not speak to him between weddings? He doesn't
• 44:52
  Speaker 1: show up that because I don't understand why he wouldn't
• 44:55
  Speaker 1: tell her about Flabber until after he missed the third wedding. Right,
• 45:00
  Speaker 1: it seems like she would be interested in it, which
• 45:03
  Speaker 1: we which is later confirmed when she's interested in it. Yes,
• 45:07
  Speaker 1: because yeah, right, this, yes, this all tracks because he
• 45:11
  Speaker 1: already has most of the formula. The only thing that
• 45:14
  Speaker 1: he needed to figure out was like, oh, I need
• 45:17
  Speaker 1: to introduce heat into the equation to like whatever to
• 45:22
  Speaker 1: have have some reaction, and that's what ultimately invents Flabber.
• 45:27
  Speaker 1: So he'd been working on this for who knows how
• 45:30
  Speaker 1: long he had never told her about this. Ridiculous. Again,
• 45:34
  Speaker 1: this is another red flag for Dr Sarah being like,
• 45:39
  Speaker 1: you were working on like sentient goo and you didn't
• 45:43
  Speaker 1: even tell me. If if a romantic partner of mine
• 45:47
  Speaker 1: was like by the way I made Flabber, I I
• 45:50
  Speaker 1: my reply would be, what do you mean by the way,
• 45:53
  Speaker 1: is there no transparent Yeah, why were you keeping that
• 45:57
  Speaker 1: whole process is secret? I thought you were gene being
• 46:00
  Speaker 1: on me. I mean, while you're at home making flabber
• 46:03
  Speaker 1: with your robot and then I would dump them, which
• 46:07
  Speaker 1: they also don't cohabitate, which I think sometimes happens. Maybe
• 46:11
  Speaker 1: that was more of a thing in the nineties where
• 46:13
  Speaker 1: you wouldn't already be living with I feel like that's
• 46:15
  Speaker 1: almost a carryover from the sixties probably of like, yeah,
• 46:19
  Speaker 1: I guess you get married and then you move out
• 46:21
  Speaker 1: of your house you grew up in, or I don't know.
• 46:23
  Speaker 1: I was, yeah, I was like, that's like kind of
• 46:25
  Speaker 1: unusual by today's standards, But I don't I don't remember.
• 46:30
  Speaker 1: Maybe that was something that happened. But even so, it
• 46:34
  Speaker 1: seems like they weren't on speaking terms before the wedding
• 46:37
  Speaker 1: and then and this is like getting nitpicky, I'll admit.
• 46:41
  Speaker 1: But they both go to work the day of their wedding,
• 46:45
  Speaker 1: don't you. People usually take the day off. And it
• 46:47
  Speaker 1: also implies that they're getting married on a weekday, which
• 46:50
  Speaker 1: also really happens. They're getting married on a Friday evening
• 46:54
  Speaker 1: at six thirty pm. I don't know that much about
• 46:58
  Speaker 1: wedding culture, granted, but what I do know is that
• 47:01
  Speaker 1: you usually get married on a weekend day, a Saturday,
• 47:04
  Speaker 1: maybe a Sunday, so people can come, so they don't
• 47:07
  Speaker 1: have two people can come work right, and that you
• 47:11
  Speaker 1: can just have the day off and enjoy the festivities
• 47:15
  Speaker 1: that the Friday at six thirty. I I first was
• 47:18
  Speaker 1: thought that was a writing mistake, but then I thought
• 47:21
  Speaker 1: about it, and I think it's not a writing mistake.
• 47:24
  Speaker 1: And it makes me really sad. I feel like that's
• 47:27
  Speaker 1: third scheduled wedding logic where you're like, I don't care
• 47:32
  Speaker 1: when it is, I just want it to happen. And
• 47:37
  Speaker 1: you can see there's like fourteen people there. It's a
• 47:40
  Speaker 1: very small wedding, and it makes you wonder how many
• 47:42
  Speaker 1: people were invited to the first wedding versus the third,
• 47:46
  Speaker 1: which makes you wonder how many tens of thousands of
• 47:49
  Speaker 1: dollars has been wasted on all of the like deposits
• 47:53
  Speaker 1: and all the people you have to book, the caterers,
• 47:56
  Speaker 1: the flower people, the everything. I just have to repeat.
• 48:01
  Speaker 1: John Hughes wrote this movie like and he adapted and
• 48:07
  Speaker 1: in the so neither of us have watched the original.
• 48:10
  Speaker 1: All the way through. But based on everything I know
• 48:14
  Speaker 1: about the nineteen sixties version, it's less of a movie
• 48:19
  Speaker 1: and more of a series of episodes of like, here's
• 48:22
  Speaker 1: what happens with the absent minded professor. He does this,
• 48:25
  Speaker 1: and then it kind of ends, and then this happens,
• 48:27
  Speaker 1: and then that kind of ends, and then it's this
• 48:29
  Speaker 1: and then, like I don't think so, at least from
• 48:31
  Speaker 1: what I the chunk that I watched, or like the
• 48:34
  Speaker 1: three quarters I watched, it was like a fluid like movie. Yeah, God,
• 48:39
  Speaker 1: I mean the clips I saw, I was like, these
• 48:41
  Speaker 1: assume like three different movies. I mean, but I guess
• 48:44
  Speaker 1: that that's what movie is too. It takes a slight
• 48:47
  Speaker 1: like act three of the movie. Like, well, first of all,
• 48:51
  Speaker 1: I think maybe the sixties version is better written because
• 48:55
  Speaker 1: like the whole basketball game, the whole like villain with
• 48:58
  Speaker 1: the rich guy, that all gets introduced almost immediately, which
• 49:03
  Speaker 1: does need to happen story logic wise. Well, and also
• 49:07
  Speaker 1: there's no like robot. It's just it's simply a dog,
• 49:14
  Speaker 1: and you're like, well that makes that's a movie. That's
• 49:18
  Speaker 1: a kids movie. It's someone and as the dog instead
• 49:22
  Speaker 1: of someone, and it's there tortured robot assistant that's in
• 49:27
  Speaker 1: love with them like that change, Yeah, was the change.
• 49:32
  Speaker 1: The big difference with the the I keep wanting to
• 49:35
  Speaker 1: call it the nutty Professor. That's not the same thing.
• 49:38
  Speaker 1: The absent minded professor is that later in that movie,
• 49:42
  Speaker 1: he's trying he tries to sell the Flubber technology to
• 49:46
  Speaker 1: the government. Yes, so a bunch of stuff happens there,
• 49:49
  Speaker 1: and then meanwhile the bad guy, the rich guy who's
• 49:53
  Speaker 1: evil like tries to trick him and like, so there's
• 49:57
  Speaker 1: slightly different plot points there, but generally it's like, yeah,
• 50:01
  Speaker 1: it's like a pretty standard, cohesive movie that doesn't feel
• 50:06
  Speaker 1: that episodic. Uh. And that is probably again better written
• 50:09
  Speaker 1: than Flabber because that script is a mess. It's not good,
• 50:13
  Speaker 1: but it's structure like right, that's I don't yeah, I
• 50:19
  Speaker 1: don't know. And John Hughes took the original Like by
• 50:23
  Speaker 1: all accounts from the like context, I was able to
• 50:27
  Speaker 1: find there's not that much written about You know what's
• 50:29
  Speaker 1: bad when you can google the name of a movie
• 50:31
  Speaker 1: and then the word BuzzFeed and there are no results.
• 50:34
  Speaker 1: That's how you know you are. You were you were
• 50:37
  Speaker 1: addressing lost media. But Bill Walsh randomized name for me.
• 50:43
  Speaker 1: But he he co wrote Mary Poppins. He did like
• 50:46
  Speaker 1: the sixties live action Disney movies basically is what he
• 50:49
  Speaker 1: was famous for writing. And so he wrote the original script,
• 50:52
  Speaker 1: and I guess that John Hughes like officially took his
• 50:56
  Speaker 1: script and they were like John Hughes rewriting Bill all script, Wow,
• 51:02
  Speaker 1: this is going to be so good. And then I
• 51:04
  Speaker 1: just like got hornier and it wasn't good. What I
• 51:08
  Speaker 1: will say the absent minded professor, Well, the collective fifteen
• 51:13
  Speaker 1: minutes I watched board Me out of my skull and
• 51:16
  Speaker 1: you want to leave this earth. It at least like
• 51:21
  Speaker 1: wasn't horny. There's a noticeable absence of horny. Why is
• 51:26
  Speaker 1: the children's movie so horny? So horny? Like that? For me,
• 51:32
  Speaker 1: I just don't understand. Yes, yeah, we'll talk about that
• 51:36
  Speaker 1: as soon as we somehow. This is the recap. Is
• 51:39
  Speaker 1: the episode in a way? In a way? Um okay,
• 51:43
  Speaker 1: So the goons show up, they get fought off by
• 51:47
  Speaker 1: the flubber balls, get hit by the bowling ball. Would
• 51:50
  Speaker 1: have been if you're watching the movie, tell me like,
• 51:53
  Speaker 1: it wouldn't be funnier if his head exploded and one
• 51:55
  Speaker 1: of the goons simply died of flubber related causes. That's
• 52:00
  Speaker 1: the goons are played by. And I didn't bother even
• 52:05
  Speaker 1: to look up the actor's names either. I didn't know
• 52:09
  Speaker 1: it's Buffalo Bill from the Silence of the Lamb. Yes,
• 52:14
  Speaker 1: is one of them, and then the main prison guard
• 52:17
  Speaker 1: from Shawshank Redemption is the other one. Unbelievable, How yeah,
• 52:25
  Speaker 1: I mean, I guess they're like John Hughes movie eighty
• 52:27
  Speaker 1: million dollar budget, Robin Williams Disney. You're like, this all
• 52:31
  Speaker 1: sounds like things that people like, but then unfortunately it
• 52:35
  Speaker 1: is flubber, and then it's that's so cruel. Also, I
• 52:39
  Speaker 1: wanted to shout out the character actor who plays Martha
• 52:43
  Speaker 1: in exactly two scenes, who is apparently Martha gay Harden's
• 52:47
  Speaker 1: only friend in the world and is too afraid to
• 52:49
  Speaker 1: tell her that she's in the most toxic relationship of
• 52:52
  Speaker 1: all time. But it is iconic character actor Edie mcclerk,
• 52:57
  Speaker 1: who is in everything. If you feel like recognize her
• 53:00
  Speaker 1: from something, it's because you probably do. She was I
• 53:03
  Speaker 1: remember her in I remember her in Ferris Feeler's Day Off.
• 53:08
  Speaker 1: She's in that. I remember her, and I think, yes,
• 53:12
  Speaker 1: she's in Carrie oh, I remember her from Plane Strings
• 53:16
  Speaker 1: and Automobiles. She's in a scene where Steve Martin says
• 53:20
  Speaker 1: fuck like a hundred times in a row because she's
• 53:23
  Speaker 1: like playing this customer service role. So that's also a
• 53:26
  Speaker 1: John Hughes movie. So she's in a bunch of John
• 53:28
  Speaker 1: Hughes Okay, so she's John Hughes canon, so he brought
• 53:32
  Speaker 1: her in for. But she's first of all classic stock
• 53:36
  Speaker 1: best friend character where the only thing we know about
• 53:39
  Speaker 1: her is that she is the leading lady's best friend.
• 53:42
  Speaker 1: But unfortunately, the second thing we know about her is
• 53:44
  Speaker 1: that she's the worst good friend. The first thing we know,
• 53:49
  Speaker 1: she's a friend. The second thing we know, she's a
• 53:51
  Speaker 1: bad friend, and that's all we know. Also, I'm sorry,
• 53:57
  Speaker 1: like Dr Sarah if in if I'm putting myself in
• 54:01
  Speaker 1: Dr Sarah's shoes. If my triple fiance who keeps not
• 54:06
  Speaker 1: not being my fiance because he won't show up to
• 54:09
  Speaker 1: a wedding, If my triple fiance can't remember my only
• 54:13
  Speaker 1: friend's name, I'm not going to marry that. Like I'm
• 54:16
  Speaker 1: just not. You know, he doesn't even remember her name,
• 54:20
  Speaker 1: and it's supposed to be like ha ha, he doesn't
• 54:23
  Speaker 1: even know her name. He's so absent minded and you're like,
• 54:26
  Speaker 1: this is not We're just like, no, this is a
• 54:28
  Speaker 1: bad person. Don't marry. I need to get like Marshak
• 54:33
  Speaker 1: heard and out of here. We got to get her out,
• 54:35
  Speaker 1: I know, alright, So actually we kept so Philip an hour. Um,
• 54:45
  Speaker 1: Philip figures out how to make his car fly using flubber,
• 54:50
  Speaker 1: and then he flies it over to Sarah's house to
• 54:52
  Speaker 1: win her back, but she is already canoodling with Wilson,
• 54:58
  Speaker 1: which really upset it's Philip, he throws an apple at
• 55:02
  Speaker 1: his head. Yes. Meanwhile, back at Philip's house, Wiebo creates
• 55:07
  Speaker 1: a hologram image of a woman I think, with the
• 55:11
  Speaker 1: sole purpose of seducing Philip. But the twist is I
• 55:14
  Speaker 1: think it's actually Jody Benson's body, which is like, doesn't
• 55:19
  Speaker 1: make it better, it makes it I think even weirder.
• 55:23
  Speaker 1: I know. But yes, she goes on some it looks
• 55:26
  Speaker 1: like the it looks like the thing that Share has
• 55:29
  Speaker 1: at the beginning of Yeah, I thought that too. She
• 55:32
  Speaker 1: creates this all hologram image of this woman and she's
• 55:37
  Speaker 1: about to like surprise, kiss Philip in his sleep, but
• 55:41
  Speaker 1: before she can, he wakes up and he's like, wait
• 55:44
  Speaker 1: a minute, I got it. I can use flubber to
• 55:48
  Speaker 1: influence the results of the basketball game. Because there's this
• 55:52
  Speaker 1: basketball game that's happening surprise, between Medfield and Rutland where
• 55:59
  Speaker 1: Will works, and he wants to do this because Wilson
• 56:04
  Speaker 1: was like, if my team wins the game, then you
• 56:07
  Speaker 1: we have to go away for a weekend together, Sarah.
• 56:10
  Speaker 1: So Phillips like, well, I can't let that happen. I
• 56:13
  Speaker 1: can't let the other team win. I have to use
• 56:16
  Speaker 1: flabbers so that Medfield wins. This seat is so pointless
• 56:24
  Speaker 1: that it like makes your body hurt. Yeah. It's also
• 56:27
  Speaker 1: a huge component of the The Absent Minded Professor sixties movie, Yes, right,
• 56:32
  Speaker 1: And it was like a big thing in both of them.
• 56:34
  Speaker 1: But in both of them you're just like, you're just
• 56:36
  Speaker 1: like why, I think it has a purpose in the
• 56:38
  Speaker 1: first one, but in this one it's just like a
• 56:40
  Speaker 1: really long scene. Yes. So then Philip goes and sprays
• 56:46
  Speaker 1: liquid flubber on the team's basketball gear, and then he
• 56:51
  Speaker 1: goes to watch the game. While the game is happening,
• 56:54
  Speaker 1: Weibo is back at home and let's flubber out of
• 56:59
  Speaker 1: its container. Que flubber mambo. That's when that scene happens,
• 57:05
  Speaker 1: and then we cut back to the basketball game where
• 57:07
  Speaker 1: Medfield College wins, right, but Sarah is still like, no, Philip,
• 57:13
  Speaker 1: I'm hanging out with Wilson. So he goes home and
• 57:16
  Speaker 1: confides in weibo about how much he loves Sarah, which
• 57:21
  Speaker 1: weebow records, and then she goes over to Sarah's house
• 57:25
  Speaker 1: to show her all of the gushy stuff that Philip
• 57:29
  Speaker 1: was saying, and Sarah is touched, so she goes back
• 57:33
  Speaker 1: to Philip and she's like, I'll take you back, and
• 57:36
  Speaker 1: then he's like, look, here's my flubber car, and she's like,
• 57:39
  Speaker 1: this is how we can save the school. So then
• 57:42
  Speaker 1: they go we should say the movie that is set
• 57:46
  Speaker 1: up for us should end when they get back together.
• 57:50
  Speaker 1: That's where the movie for me, I'm like, okay, so
• 57:53
  Speaker 1: at the beginning of the movie, oh no, I keep
• 57:58
  Speaker 1: forgetting about the wedding. At the end, she forgives him says, Okay,
• 58:02
  Speaker 1: we'll get married again. I it's a bad plot, but
• 58:07
  Speaker 1: with the plot we're given at the beginning, it's like
• 58:10
  Speaker 1: I had no more questions after that, there's no more there.
• 58:15
  Speaker 1: I mean the loose end. Tying up is like the
• 58:17
  Speaker 1: fact that you included a robot and made them horny,
• 58:21
  Speaker 1: But that's kind of on you the whole, Like, but
• 58:24
  Speaker 1: what's going to happen to the school. It's like, oh wait,
• 58:29
  Speaker 1: I never fully understood that mistake. Uh, and I don't
• 58:34
  Speaker 1: care and I don't care about like it seems like
• 58:36
  Speaker 1: the That's the other thing is like the like goons
• 58:40
  Speaker 1: that are sent to the house are taken out by Flubber,
• 58:43
  Speaker 1: and then it was for me, it's sort of like alright, cool, yeah,
• 58:47
  Speaker 1: they're the like guess what they're back? You're like, why
• 58:52
  Speaker 1: that the Third Actors Show was so rough it was
• 58:55
  Speaker 1: really hard to pay attention. Here's why. It's because and
• 58:58
  Speaker 1: they don't do enough to properly set this up or
• 59:01
  Speaker 1: explain it. But the evil rich guy has loaned the
• 59:05
  Speaker 1: school money so that he's like, I'm going to collect
• 59:09
  Speaker 1: on my loan by stealing Flubber. So then that's why
• 59:12
  Speaker 1: we still have this like tension of him trying to
• 59:16
  Speaker 1: like take the flubber and like all those steaks. But
• 59:21
  Speaker 1: that should have played out before Philip and Sarah got
• 59:25
  Speaker 1: back together. I feel like, yeah, because you're right, because
• 59:27
  Speaker 1: once that tension is resolved. We're just like, okay, cool,
• 59:30
  Speaker 1: the movie should be over. The only thing that was
• 59:33
  Speaker 1: unresolved for me that the movie doesn't even resolve. They
• 59:37
  Speaker 1: instead murder the character. H is that like, oh, you know,
• 59:43
  Speaker 1: like Wee Bow is the driving force that gets Professor
• 59:48
  Speaker 1: Flabber and Dr Sarah back together. But doesn't that you know,
• 59:52
  Speaker 1: hurt for her because she has these strong feelings for
• 59:55
  Speaker 1: for Professor Flabber. So what I I thought might happen
• 59:59
  Speaker 1: because I don't remember how this fucking movie ends. I'm like, oh,
• 1:00:04
  Speaker 1: like Wee Bo is gonna have to have this personal
• 1:00:07
  Speaker 1: reckoning of like, well, how where do I go from here?
• 1:00:10
  Speaker 1: As as a as a robot? Where do I go?
• 1:00:13
  Speaker 1: You know, like that I've accepted that this is not
• 1:00:17
  Speaker 1: a relationship that's going to happen for me, but instead
• 1:00:21
  Speaker 1: that doesn't happen. She seems to immediately be like, oh, well,
• 1:00:25
  Speaker 1: I know it was killing me before and I canceled
• 1:00:28
  Speaker 1: multiple weddings on purpose, but I'm over it. And then
• 1:00:32
  Speaker 1: she's killed another example of a woman who's in love
• 1:00:37
  Speaker 1: with this mediocre man and then just like it's literally
• 1:00:40
  Speaker 1: her for two year old, like it's her movie her
• 1:00:48
  Speaker 1: if it was for someone who was zero years old,
• 1:00:51
  Speaker 1: if they were like, okay, so computers and humans could
• 1:00:54
  Speaker 1: they fuck let's discuss And then like Flubber Flubber arrives
• 1:01:01
  Speaker 1: at no, they can't. But just in this case, I mean,
• 1:01:06
  Speaker 1: it's possible. Again, You're like, maybe I knew this didn't
• 1:01:09
  Speaker 1: happen because I was, like, I would have remembered. But
• 1:01:12
  Speaker 1: if we Bo, like maybe we Bow could go dad
• 1:01:15
  Speaker 1: another guy, a human guy you don't know. But obviously
• 1:01:20
  Speaker 1: she doesn't do that. Instead, she's killed. Instead, she is killed.
• 1:01:23
  Speaker 1: I just can't get over the fact that we've always
• 1:01:26
  Speaker 1: murdered murdered, and then we're supposed to care about it.
• 1:01:29
  Speaker 1: But I could not even begin to make myself care
• 1:01:33
  Speaker 1: about that moment because we both like we're still kind
• 1:01:36
  Speaker 1: of mad at we Bow, right, because we Bow has
• 1:01:40
  Speaker 1: been a lot of fucked up stuff, and I'm rooting
• 1:01:44
  Speaker 1: for no one right except for kind of doctor Sarah,
• 1:01:48
  Speaker 1: who I'm like, I just need her to, like, you know,
• 1:01:51
  Speaker 1: get a therapist or like talk to someone who's going
• 1:01:53
  Speaker 1: to be like act with some self esteem. But I
• 1:01:57
  Speaker 1: don't feel anything for Professor Flubber because he's like a
• 1:02:02
  Speaker 1: narcissistic jerk who doesn't care about anything except Flubber. That's
• 1:02:11
  Speaker 1: who I'm rooting for. I'm rooting for Flubber. I don't
• 1:02:14
  Speaker 1: know what Flubber wants. I want. They're trying to get
• 1:02:17
  Speaker 1: whatever they want. Uh. I'm not rooting for we Bow
• 1:02:21
  Speaker 1: because we Bow is like also very selfish and doesn't
• 1:02:26
  Speaker 1: care what it's going to make Professor Flubber happy. She
• 1:02:28
  Speaker 1: just wants what's going to make her happy. And then
• 1:02:31
  Speaker 1: she's surprised kisses him via astral projection and I don't
• 1:02:34
  Speaker 1: like that, and like, so I'm not rooting for wee Bo.
• 1:02:40
  Speaker 1: Dr Sarah has is kind of like too big a
• 1:02:43
  Speaker 1: project to take on. So yeah, it's you're just kind
• 1:02:46
  Speaker 1: of rooting for Flubber. I feel for Dr Sarah, but
• 1:02:49
  Speaker 1: I'm rooting for Flubber. It's just the whole wee Bow
• 1:02:53
  Speaker 1: thing is so it just like made my head hurt.
• 1:02:57
  Speaker 1: I totally forgot about the whole webo of story and
• 1:03:01
  Speaker 1: the fact that it is not just unresolved but killed.
• 1:03:06
  Speaker 1: It's such a John Hughes thing for me to be like,
• 1:03:09
  Speaker 1: I don't know what to do with this female character.
• 1:03:10
  Speaker 1: Let's get rid of her, Like let's see. Ah, you know,
• 1:03:15
  Speaker 1: I don't know. Well, why don't we take another break
• 1:03:18
  Speaker 1: and then come back to finish the reekend and we're
• 1:03:30
  Speaker 1: back all right? Where were we? Um the disaster of
• 1:03:35
  Speaker 1: a third act of this movie? Oh? Yes, So Sarah
• 1:03:38
  Speaker 1: and Philip get back together, and then they go to
• 1:03:43
  Speaker 1: Ford to sell the Flubber technology weird spawn in the movie.
• 1:03:49
  Speaker 1: You're like, really, but that was the first movie too.
• 1:03:52
  Speaker 1: It's also a forward car. You're like, what American industry
• 1:03:56
  Speaker 1: is dead? Get over it. But Chester, the rich bad guy,
• 1:04:03
  Speaker 1: he's mad at Philip again because the whole Lone thing
• 1:04:07
  Speaker 1: or something again, it's not clear, but he sends his
• 1:04:11
  Speaker 1: goons to Philip's house to steal the Flubber and in
• 1:04:15
  Speaker 1: so doing that when they kill Webow. But Weibo has
• 1:04:18
  Speaker 1: uploaded her consciousness onto the computer, and then a daughter
• 1:04:23
  Speaker 1: of Weibow is created we Bet or something. I feel
• 1:04:29
  Speaker 1: like we are in this episode. We are kind of
• 1:04:31
  Speaker 1: analyzing things in real time. Wow. I mean the Weibow death.
• 1:04:39
  Speaker 1: I was like, wow, the wee Bow will I did
• 1:04:44
  Speaker 1: not remember and I was like, wow, that video. She's
• 1:04:50
  Speaker 1: so horny. She's like, oh, Professor Brainer Ariel the Mermaid,
• 1:04:59
  Speaker 1: she and again I'm like, Dr Sarah, are you really
• 1:05:02
  Speaker 1: like yeah, seems cool to me, Like I get like, oh,
• 1:05:07
  Speaker 1: your robot was murdered, and but it was so horry
• 1:05:11
  Speaker 1: and he's like crying. Also, there is that, okay, one
• 1:05:15
  Speaker 1: of my favorite bad line exchanges in this movie. And
• 1:05:20
  Speaker 1: again it's like, no, just I love Robin Williams, no
• 1:05:23
  Speaker 1: disrespect to him. It's not his fault that this movie sucks.
• 1:05:27
  Speaker 1: He's doing everything he can. But there is that there's
• 1:05:30
  Speaker 1: that line where after it seems like Dr Sarah has
• 1:05:34
  Speaker 1: dumped him for good, Eddie comes home. He's like me, me, me,
• 1:05:37
  Speaker 1: and then he says, I guess it's just you and
• 1:05:42
  Speaker 1: me now we both it's just us and she's like
• 1:05:46
  Speaker 1: and then he says, and Flabber makes three. And then
• 1:05:54
  Speaker 1: I just was like I watched that exchange so many
• 1:05:57
  Speaker 1: times because and Flabber makes three. I'm like, I can't
• 1:06:00
  Speaker 1: write like that. That's genius. That's and Flobber makes three.
• 1:06:03
  Speaker 1: That's incredible. Back to the Will, the will is so
• 1:06:07
  Speaker 1: horny and again the story logical. She's like, okay, So
• 1:06:13
  Speaker 1: first of all, it's another example of like professor, Professor
• 1:06:19
  Speaker 1: Flobber only has toxic relationships in his life. He has
• 1:06:22
  Speaker 1: a toxic relationship where he's like mistreating his triple fiance
• 1:06:27
  Speaker 1: Dr Sarah, and then he has a toxic relationship with
• 1:06:31
  Speaker 1: with we Bow. But it's kind of like more on
• 1:06:34
  Speaker 1: both ends there because we Bow is also like deceiving
• 1:06:37
  Speaker 1: him and hiding from him and ever return and You're like,
• 1:06:40
  Speaker 1: this is double this is you know, there's it's there's
• 1:06:43
  Speaker 1: two parties in this situation where I feel like Dr
• 1:06:46
  Speaker 1: Sarah is kind of more squarely a victim of the relationship,
• 1:06:50
  Speaker 1: but we Bow is like, oh yeah, I copied all
• 1:06:54
  Speaker 1: my data and I never told you. And you're like,
• 1:06:56
  Speaker 1: who programs are robot to do that? Like I can't
• 1:07:01
  Speaker 1: think of it? But again, okay, Professor flaps. Big problem
• 1:07:04
  Speaker 1: is he gives He gives all of his creations too
• 1:07:07
  Speaker 1: much free will, too much free will, which also begs
• 1:07:10
  Speaker 1: the question if he has invented a robot with like
• 1:07:15
  Speaker 1: he she's a I, he has invented artificial intelligence, how
• 1:07:21
  Speaker 1: has he not sold that technology to save the school?
• 1:07:25
  Speaker 1: How has that not been something The only thing he
• 1:07:28
  Speaker 1: put in it was Google calendar and Disney Plus that's
• 1:07:32
  Speaker 1: the only thing that's in the robot has two absides
• 1:07:36
  Speaker 1: Calendar and Disney Plus and neither of them work. Uh,
• 1:07:40
  Speaker 1: it can fly, but it can fly, and it has
• 1:07:42
  Speaker 1: its own thoughts and feeling. It experiences human emotion. It
• 1:07:47
  Speaker 1: falls in love with a person that they can play
• 1:07:51
  Speaker 1: clips of dumbbo like it's so confusing that but like, yeah, no,
• 1:07:59
  Speaker 1: we Bow is shady as hell, like she's she's like, oh,
• 1:08:03
  Speaker 1: by the way, I copied all of my data and
• 1:08:04
  Speaker 1: I never told you. Also, I've been this, I've been
• 1:08:08
  Speaker 1: I've been Jody Benson the whole time, but you just
• 1:08:11
  Speaker 1: didn't know. And like she's and I'm so horny and
• 1:08:15
  Speaker 1: I'm wearing she looks like, um she looks like a
• 1:08:18
  Speaker 1: Cape Bush music video is what she looks like in
• 1:08:20
  Speaker 1: that um oh, with the outfit she puts on with
• 1:08:23
  Speaker 1: with the flowy I'm like just like full wuthering heights,
• 1:08:27
  Speaker 1: Like what is this? But but what she says is,
• 1:08:32
  Speaker 1: first of all, I never told you I copied my brain,
• 1:08:36
  Speaker 1: which is something as the creator that you would want
• 1:08:40
  Speaker 1: to know. She copied her brain on an emergency disc,
• 1:08:45
  Speaker 1: a sloppy disk, a floppy disk. Yeah, And and she
• 1:08:50
  Speaker 1: implies that she's had like digital zero and one sex
• 1:08:55
  Speaker 1: with his consciousness because she's like, I made a copy
• 1:08:58
  Speaker 1: of my brain, but I took out all the parts
• 1:09:00
  Speaker 1: that are like weird in random and I replace them
• 1:09:03
  Speaker 1: with parts of you, which to me says it's their baby.
• 1:09:07
  Speaker 1: She made a baby, right, which they do refer to
• 1:09:12
  Speaker 1: her like the new Webow, the little red we Bow
• 1:09:15
  Speaker 1: as their daughter. So they raise her. I'm like, I'm
• 1:09:22
  Speaker 1: I don't know, I don't know. I was just like
• 1:09:26
  Speaker 1: I was. Maybe I'm being a little harder on Weibow,
• 1:09:28
  Speaker 1: but I'm like we Bow deceitful to the very end,
• 1:09:32
  Speaker 1: like by the way, I'm pregnant and you sure I'm dead,
• 1:09:37
  Speaker 1: but I'm pregnant and you have to raise it with
• 1:09:40
  Speaker 1: Marcia gay Harden, I'm like, what, And now Flubber makes
• 1:09:46
  Speaker 1: Fourber makes four because now and then they like gender
• 1:09:52
  Speaker 1: Flubber at the end, because they make Flubber like the
• 1:09:55
  Speaker 1: brother kind of there, like I'm not sharing a room
• 1:09:57
  Speaker 1: with Flubber. He's spinky. You're like what, I just can't believe.
• 1:10:05
  Speaker 1: I just can't believe. Like from that on, I'm like,
• 1:10:08
  Speaker 1: I don't even know where we are. So so she
• 1:10:12
  Speaker 1: dies but she's pregnant to raise the baby and here's
• 1:10:18
  Speaker 1: the schematics for the baby, right. He also just happens
• 1:10:23
  Speaker 1: to have an updated, newer looking little red wee bow
• 1:10:28
  Speaker 1: robot that that consciousness gets uploaded into. I guess I
• 1:10:33
  Speaker 1: can't even handle it. Yeah, it's it's no good. Okay.
• 1:10:38
  Speaker 1: So we're almost done with the recap. We're at the
• 1:10:41
  Speaker 1: climactic sequence. So Philip and Sarah go to Chester to
• 1:10:47
  Speaker 1: get the flubber back, and Wilson is also there, and
• 1:10:50
  Speaker 1: some for some reason, Sarah is surprised that he's a
• 1:10:54
  Speaker 1: bad guy, and it's like, do you not have any
• 1:10:56
  Speaker 1: judge of character at all? Sarah? I'm just like what, yeah, poor,
• 1:11:02
  Speaker 1: I mean, I'm like, I just wish I could talk
• 1:11:05
  Speaker 1: to Sarah, I know you were real. And then all
• 1:11:10
  Speaker 1: the goons are there, so this big fight breaks out,
• 1:11:12
  Speaker 1: but Sarah and Philip have put flubber all over their
• 1:11:16
  Speaker 1: hands and feet, so they're you know, bouncing all around.
• 1:11:19
  Speaker 1: They're punching the bad guys. Flubber goes through Wilson's digestive
• 1:11:24
  Speaker 1: system out of his butt hole, and that's the final like, woo,
• 1:11:29
  Speaker 1: we won. That's iconic. And then they're like, yeah, the enemy.
• 1:11:33
  Speaker 1: Once the enemy poops flubber out his butt hole. That's
• 1:11:37
  Speaker 1: how you know you won. The battle has been fought
• 1:11:42
  Speaker 1: and you lost. They win and they saved the college.
• 1:11:47
  Speaker 1: And then Philip and Sarah finally get married, but they
• 1:11:51
  Speaker 1: get married remotely because he's still can't be bothered to
• 1:11:56
  Speaker 1: show up for the wedding. I had to rewind. I'm like,
• 1:12:00
  Speaker 1: there's no way he didn't show up. And he's in
• 1:12:03
  Speaker 1: his basement like a miga away. He's right there. It's oh,
• 1:12:10
  Speaker 1: and she has to kiss her daughter. She's to kiss
• 1:12:13
  Speaker 1: her daughter, who's the who's the baby of a robot
• 1:12:18
  Speaker 1: that was murdered, And you just want better for her.
• 1:12:24
  Speaker 1: You want better for her. She has a pattern where
• 1:12:28
  Speaker 1: she is with this toxic person, and this toxic person
• 1:12:32
  Speaker 1: just begets toxic robots, toxic everything. I just I couldn't
• 1:12:37
  Speaker 1: believe he didn't show up at the wedding. At the end,
• 1:12:39
  Speaker 1: it's like furious. I was so mad, and flubber makes
• 1:12:43
  Speaker 1: four flubber makes and then and then here's what I wrote,
• 1:12:47
  Speaker 1: um and then they live flubberly ever after. Sorry, that's
• 1:12:53
  Speaker 1: the police coming to arrest you from what you just said.
• 1:12:57
  Speaker 1: Uh there, oh, oh a cab. I can't this movie. Okay,
• 1:13:07
  Speaker 1: we've talked so much already. Some lines that stick out
• 1:13:11
  Speaker 1: to me. Flubber could save this college. Okay that I love.
• 1:13:16
  Speaker 1: Do it for wee bo. That's great. Uh this line
• 1:13:21
  Speaker 1: when after Sarah and Professor Flabbery back together, we're going
• 1:13:26
  Speaker 1: to sell you the flubber. Okay, that's a line that
• 1:13:29
  Speaker 1: they say to the rich guy, Oh what else is there?
• 1:13:35
  Speaker 1: And Flubber makes three? Of course, somebody iconic line, I think. Oh,
• 1:13:40
  Speaker 1: and I was also going to say that should we
• 1:13:42
  Speaker 1: should just try to introduce that into like the lexicon
• 1:13:45
  Speaker 1: of this podcast. When the villain is defeated, they have
• 1:13:50
  Speaker 1: pooped out the flubber. They poop the flubber, and then
• 1:13:53
  Speaker 1: the movie is over. They can't. He said something like,
• 1:13:59
  Speaker 1: oh mommy, and then he poops it out. He goes,
• 1:14:02
  Speaker 1: oh mommy, you know what. That's another iconic quote. He doesn't,
• 1:14:08
  Speaker 1: Oh mommy poops out flabber. That is something that happens. Oh,
• 1:14:13
  Speaker 1: you gave Flubber too much free will. That's another. So
• 1:14:20
  Speaker 1: do you have any notes on Flabber? No perfect acts.
• 1:14:23
  Speaker 1: I thought I would, but then I didn't. Oh sorry,
• 1:14:26
  Speaker 1: I meant like the character Flabber like Flabber I thought
• 1:14:32
  Speaker 1: was gonna. I thought that they were like gonna miss
• 1:14:35
  Speaker 1: pac Man Flubber, and they were gonna put a lot
• 1:14:38
  Speaker 1: of gender coating onto Flabber. But the really the only
• 1:14:41
  Speaker 1: example of that I could find was when Flubber dances
• 1:14:45
  Speaker 1: with Flubber the Flubber mambo. The Flabber I mean Oscar
• 1:14:49
  Speaker 1: nominated in a just world, right. I already in the
• 1:14:55
  Speaker 1: time we've been recording this have tweeted it at super
• 1:14:57
  Speaker 1: yucky and I'm getting them to consider it, uh that
• 1:15:01
  Speaker 1: that's just called efficiency baby um. But it seems like
• 1:15:07
  Speaker 1: they were trying to put on some gender signifiers onto
• 1:15:10
  Speaker 1: flubbers flubbers um where they put a kind of a skirt,
• 1:15:16
  Speaker 1: a dancing skirt onto Flabber. But I would say even that,
• 1:15:19
  Speaker 1: you know, Flubber is such a genderless entity that really
• 1:15:22
  Speaker 1: any Flabber could be wearing the skirt. And while I
• 1:15:25
  Speaker 1: would say that probably whoever wrote it wasn't was probably
• 1:15:29
  Speaker 1: in a more gender normative nineties mindset, I don't know
• 1:15:32
  Speaker 1: that for sure. So in that way, Flubber is a
• 1:15:37
  Speaker 1: gender fluid icon. I agree. I think that they there
• 1:15:41
  Speaker 1: could have definitely been because a lot of things that
• 1:15:44
  Speaker 1: especially of this era and before this, and even there's
• 1:15:48
  Speaker 1: you know, residual things after this where something that would
• 1:15:53
  Speaker 1: not be gendered at all would never be assigned any
• 1:15:58
  Speaker 1: gender will still be given gender signifiers. And this even
• 1:16:02
  Speaker 1: happens in like a lot of animated movies, where like
• 1:16:07
  Speaker 1: animals are the characters and they find ways to be like, well,
• 1:16:11
  Speaker 1: the female character even though the female and the male
• 1:16:14
  Speaker 1: of this species look exactly alike, you could not distinguish.
• 1:16:17
  Speaker 1: The female has long eyelashes and a bow, long eyelashes,
• 1:16:21
  Speaker 1: and like a bust and like hips sausage. Pretty yeah, yeah,
• 1:16:27
  Speaker 1: like like weird animal titties that don't actually exist. There.
• 1:16:32
  Speaker 1: There's a great old at this point, but like an
• 1:16:35
  Speaker 1: Anya Sarkisian video that like breaks down this whole phenomenon
• 1:16:39
  Speaker 1: of just like adding egregious gender signifiers because no reason,
• 1:16:46
  Speaker 1: literally just to do it right, which I honestly thought
• 1:16:51
  Speaker 1: I was going into this with brain thinking for sure
• 1:16:55
  Speaker 1: that was going to happen with the actual flabber more
• 1:16:58
  Speaker 1: but then it was just done with we bow instead,
• 1:17:02
  Speaker 1: but flabber, you know, the flabber itself, iconic, iconic, still
• 1:17:08
  Speaker 1: justice for flubber. There, I said it all the Flubber,
• 1:17:12
  Speaker 1: all of the Flubber. There was one time when Flubber
• 1:17:16
  Speaker 1: made a a fat phobic kind of joke, or a
• 1:17:19
  Speaker 1: Flubber made fun of a butt, and I didn't like that.
• 1:17:25
  Speaker 1: I noticed that as well, and Flubber really needs to
• 1:17:29
  Speaker 1: get right in that way. Yeah, so there. I mean,
• 1:17:32
  Speaker 1: it wasn't it wasn't completely flawless, but it honestly, I
• 1:17:36
  Speaker 1: thought that the flo the actual Flabber, not the movie Flabber,
• 1:17:42
  Speaker 1: was going to be there was gonna be way more
• 1:17:44
  Speaker 1: to talk about, but I kind of don't really have
• 1:17:46
  Speaker 1: that much to talk about. I really just have like
• 1:17:48
  Speaker 1: Wee Bow and Dr Sarah same. So kudos to Flubber
• 1:17:53
  Speaker 1: the character. You go, Flubber the Mambo Flubber seems to
• 1:17:59
  Speaker 1: be able to reproduce a sexually because Flubber is replicating
• 1:18:05
  Speaker 1: itself over and over again. But I wouldn't say that
• 1:18:08
  Speaker 1: the Flabber isn't horny. So for me, it got like
• 1:18:12
  Speaker 1: the Flubber did seem to be. I'm like, the Flabber
• 1:18:16
  Speaker 1: reproduced a sexually we saw, but I also feel like
• 1:18:19
  Speaker 1: we saw the Flabber kind of getting like, you know,
• 1:18:21
  Speaker 1: like stimulated by the other Flabber. So there are true
• 1:18:27
  Speaker 1: questions about the reproductive habits of Flubber. But also I'm like,
• 1:18:32
  Speaker 1: also it begs the question is Flubber and organic material
• 1:18:39
  Speaker 1: or is this inorganic chemistry? Is this organic chemistry or
• 1:18:42
  Speaker 1: inorganic chemistry? We still don't really know. Yeah, and and
• 1:18:46
  Speaker 1: it really you would think, well, I don't know. Does
• 1:18:51
  Speaker 1: does too much free will imply sexuality? Maybe? Don't know?
• 1:18:57
  Speaker 1: I don't know. I mean because Professor Flabber never made
• 1:19:00
  Speaker 1: it clear what the ingredients are in too much free will?
• 1:19:04
  Speaker 1: We may never know. We will never know. The Flabber
• 1:19:07
  Speaker 1: is kind of just like a scientific miracle. And I
• 1:19:14
  Speaker 1: hope that the Flabber gets emancipated from Professor Flabber much
• 1:19:18
  Speaker 1: like again, and I'll draw that I Frankenstein parallel again,
• 1:19:23
  Speaker 1: you know, I Frankenstein got away from professoral he killed
• 1:19:26
  Speaker 1: Professor killed he did kill him? Uh, he killed him?
• 1:19:31
  Speaker 1: And what if Flabber killed Professor and then got away
• 1:19:36
  Speaker 1: and then waged the war of gargoyles first demons I
• 1:19:44
  Speaker 1: love so much. Um, if Flabber did kill Professor Flabber,
• 1:19:49
  Speaker 1: that would not be a children's movie, but it would
• 1:19:51
  Speaker 1: be a movie I would watch yeah, and maybe he
• 1:19:54
  Speaker 1: doesn't deserve to die, but he certainly is not worthy
• 1:19:57
  Speaker 1: of a relationship with Dr Sarah. Dr Sarah, I mean,
• 1:20:03
  Speaker 1: I don't I've maybe I've already said everything I need
• 1:20:05
  Speaker 1: to say about Dr Sarah. I just like again, and
• 1:20:08
  Speaker 1: it's like we've been having a flubber load of fun
• 1:20:11
  Speaker 1: in this episode. But from a writing perspective, this is
• 1:20:16
  Speaker 1: like just a really poorly written female character that it
• 1:20:20
  Speaker 1: doesn't seem like was written that much better in the
• 1:20:23
  Speaker 1: nineteen sixties. But it's just kind of studying how passive
• 1:20:29
  Speaker 1: she is and outside of like the joke slash point
• 1:20:33
  Speaker 1: we've been making of, like she clearly has no support
• 1:20:36
  Speaker 1: system to like advocate for her and she's not able
• 1:20:40
  Speaker 1: to advocate for herself. But it's like John Hughes is
• 1:20:43
  Speaker 1: writing this, This is not a real person, you know,
• 1:20:45
  Speaker 1: Like there is even a version of this script that
• 1:20:49
  Speaker 1: goes exactly the same way. I still wouldn't like it,
• 1:20:52
  Speaker 1: but like Dr Sarah doesn't really even stand up for
• 1:20:55
  Speaker 1: herself one time. The one time she stands up for herself,
• 1:20:58
  Speaker 1: it's to be like I'm breaking up with you enough
• 1:21:01
  Speaker 1: with the flubber, But then she just goes back on that,
• 1:21:05
  Speaker 1: and and also the way that what's the villain's name,
• 1:21:09
  Speaker 1: the guy who ships out the flower Wilson, the way
• 1:21:13
  Speaker 1: he treats her is also really coercive and gross where
• 1:21:17
  Speaker 1: he I mean, where he literally does like a mission
• 1:21:21
  Speaker 1: statement was like I'm here to steal your girl and
• 1:21:23
  Speaker 1: your flabber and like and your flabber too, and you're
• 1:21:29
  Speaker 1: a little flabber too, your little flabber two, He'll get you.
• 1:21:35
  Speaker 1: And you're a little flaber too. That should be that funny, um,
• 1:21:40
  Speaker 1: but he, I mean, the way he treats her and
• 1:21:43
  Speaker 1: the way she responds is it's a very coercive situation.
• 1:21:46
  Speaker 1: But in a way to me, it was clear that
• 1:21:48
  Speaker 1: the writer wasn't really aware, Like he knows that Wilson
• 1:21:52
  Speaker 1: is bad, but he doesn't know how to write the response.
• 1:21:56
  Speaker 1: So I just I ended up like feeling badly for
• 1:22:00
  Speaker 1: her in that situation too, because it was hard to
• 1:22:03
  Speaker 1: tell is she interested in him but she's not, but
• 1:22:06
  Speaker 1: then she has, but then she's It seems like she
• 1:22:08
  Speaker 1: was just appeasing him to end the conversation, but it
• 1:22:13
  Speaker 1: didn't seem like that was what the movie. I wasn't
• 1:22:15
  Speaker 1: sure what the movie I thought here's my read of it, because,
• 1:22:19
  Speaker 1: like you said, the one moment she stands up for
• 1:22:21
  Speaker 1: herself when she likes puts her foot down. She was like,
• 1:22:23
  Speaker 1: we are through. You failed to show up for our
• 1:22:26
  Speaker 1: third wedding, so I can't do this anymore. It's like, God,
• 1:22:30
  Speaker 1: that's already the line. First of all, right, It's like, wow,
• 1:22:33
  Speaker 1: that's like after the first wedding he didn't show up.
• 1:22:36
  Speaker 1: That's when you draw the line. Maybe, but whatever, your
• 1:22:40
  Speaker 1: it's your life. So she puts her foot down, she
• 1:22:43
  Speaker 1: breaks off the relationship. And then that's when what's his
• 1:22:46
  Speaker 1: favor Wilson swoops in. She somehow does not notice that
• 1:22:50
  Speaker 1: he is a sleazy piece of ship because she just
• 1:22:53
  Speaker 1: does not have any awareness of the world at all.
• 1:22:56
  Speaker 1: And this is because of this trope that we see
• 1:22:59
  Speaker 1: a lot where I think a lot of male writers
• 1:23:02
  Speaker 1: of screenplays, I think that women are so just like
• 1:23:08
  Speaker 1: desperate for the affection of a man. She will just
• 1:23:11
  Speaker 1: get engaged to the first man who pays her any attention.
• 1:23:15
  Speaker 1: So when Wilson comes in, he's like, well, I'm here now, yeah,
• 1:23:18
  Speaker 1: let's kiss, And she's like, well okay, and then and
• 1:23:22
  Speaker 1: then when and then when he turns out to you know,
• 1:23:25
  Speaker 1: he doesn't show up for the third wedding, Well, three
• 1:23:26
  Speaker 1: strikes and you're out, Mr, as far as weddings go.
• 1:23:30
  Speaker 1: And and then the first guy that shows her attention
• 1:23:32
  Speaker 1: after that she engages and she's like, well, we're in
• 1:23:36
  Speaker 1: a relationship now, I guess. And you're like Marcia Gayharden,
• 1:23:39
  Speaker 1: you're the president of a fictional college, like you know,
• 1:23:44
  Speaker 1: woman in a leadership role, like you're you're a woman
• 1:23:47
  Speaker 1: in academia. You're like, there's just no reason that her
• 1:23:53
  Speaker 1: logical choice would be so like anyone, Like she's a
• 1:23:58
  Speaker 1: really smart and I don't know, it's it's I and
• 1:24:01
  Speaker 1: I understand, like where there's a lot of women in
• 1:24:04
  Speaker 1: leadership roles who still struggle with self esteem. I get that.
• 1:24:07
  Speaker 1: I just don't think that the writer is thinking that
• 1:24:10
  Speaker 1: hard about it. It just seems like a generalization of
• 1:24:12
  Speaker 1: like she's a woman over thirty, she's desperate to get married,
• 1:24:17
  Speaker 1: Like that was more how I read that choice, Yeah, exactly.
• 1:24:22
  Speaker 1: Or there's another reading of that where we're supposed to
• 1:24:25
  Speaker 1: think that they're genuinely in love, Which brings me to
• 1:24:27
  Speaker 1: a point that we didn't we didn't touch on yet,
• 1:24:30
  Speaker 1: which was though like most mind numbing character explanation for
• 1:24:37
  Speaker 1: me in the whole movie, where I don't even remember
• 1:24:42
  Speaker 1: which rejection. Oh. I think it's like after the basketball
• 1:24:45
  Speaker 1: game where Professor Flever comes home and he's like, hmm,
• 1:24:48
  Speaker 1: she don't love me because I stood her up for
• 1:24:51
  Speaker 1: a wedding three times. He's like, she doesn't love me,
• 1:24:55
  Speaker 1: she likes the guy, and then we bow. Seems like
• 1:24:59
  Speaker 1: she's about to confess her love and be like, let's
• 1:25:02
  Speaker 1: have sex right now, Professor Flubber take my astral projection body.
• 1:25:11
  Speaker 1: But then he says, and I didn't write down the quote.
• 1:25:13
  Speaker 1: I should have something akin to well, you don't understand weepo.
• 1:25:19
  Speaker 1: I am so absent minded because I love Dr Sarah
• 1:25:25
  Speaker 1: so much, and you're like, that does not make sense,
• 1:25:29
  Speaker 1: that does not make your That is the most gaslighty
• 1:25:34
  Speaker 1: to your own robot ship I've ever heard. It's like, no,
• 1:25:38
  Speaker 1: it's I keep forgetting about our wedding because I'm just
• 1:25:42
  Speaker 1: thinking about how much I freaking love you. And it's like, no, dude,
• 1:25:47
  Speaker 1: you're thinking about Flubber, Like we see what you're thinking about,
• 1:25:52
  Speaker 1: and you're committed relationship with Flubber studies, Like you're not
• 1:25:59
  Speaker 1: thinking about Sarah. That's the whole problem, the whole infuriating
• 1:26:04
  Speaker 1: start seeing where like his Google calendar is like Mary
• 1:26:08
  Speaker 1: Sarah and he's like, I don't know, I don't know
• 1:26:10
  Speaker 1: haircut flubber, And you're like, oh my god, we know
• 1:26:13
  Speaker 1: you can read what's happening. Yeah, I wrote down that
• 1:26:18
  Speaker 1: this is a story about a man who loses his
• 1:26:22
  Speaker 1: fiancee because of flubber and then uses flubber the the
• 1:26:27
  Speaker 1: reason he lost his fiance to begin with, to try
• 1:26:30
  Speaker 1: to win her back. And it's just like, you're I
• 1:26:32
  Speaker 1: don't work. You're supposed to be a genius. How is
• 1:26:35
  Speaker 1: this your logic? Right? And then the fact that it
• 1:26:37
  Speaker 1: does work is just like this is the worst writing
• 1:26:39
  Speaker 1: I've ever seen in my life. It's so frustrating. Yeah,
• 1:26:42
  Speaker 1: and and then the fact that like he doesn't even
• 1:26:45
  Speaker 1: apologize to her, really like wee Bo starts to feel guilty,
• 1:26:51
  Speaker 1: which she should by the way she keeps intentionally sabotaging
• 1:26:55
  Speaker 1: the wedding, although again, he shouldn't be forgetting the wedding.
• 1:26:58
  Speaker 1: He should treat me about to remind him he's getting married.
• 1:27:01
  Speaker 1: That said, if he needs we both to remember and
• 1:27:03
  Speaker 1: she's not doing it, because she wants to have sex
• 1:27:05
  Speaker 1: with them. That's not good either way. We both starts
• 1:27:09
  Speaker 1: to feel guilt because she has too much free will.
• 1:27:11
  Speaker 1: And she goes to a Bechtel cast past Bechtel test,
• 1:27:16
  Speaker 1: not cast, no Bechtel test, passing scene with Marcia gay
• 1:27:20
  Speaker 1: Harden because she's like, oh, you know whatever, I'm accountable
• 1:27:23
  Speaker 1: for this, and she's like no. Look. Also she's like, no, look,
• 1:27:26
  Speaker 1: I'm secretly filming Professor Flaber at all times from multiple
• 1:27:32
  Speaker 1: cinematic angles. And here's him, and here is him saying
• 1:27:38
  Speaker 1: this totally irrational explanation of why he keeps missing the wedding,
• 1:27:42
  Speaker 1: which is that he's absent minded because he loves you.
• 1:27:45
  Speaker 1: And Marcia gay Harden is like, oh, I forgive him,
• 1:27:48
  Speaker 1: and you're like that is not Not only is that
• 1:27:52
  Speaker 1: not just not a good explanation of what's going on,
• 1:27:55
  Speaker 1: it's also he never apologizes to her, or like he's
• 1:27:59
  Speaker 1: sort of kind of does and passing me like, ah,
• 1:28:02
  Speaker 1: I'm so glad we're passed all of that, Like and
• 1:28:05
  Speaker 1: now you can really focus on what matters, which is
• 1:28:07
  Speaker 1: flabber which was the problem, Like, I just don't get it.
• 1:28:12
  Speaker 1: Not only does he not apologize He never even just
• 1:28:16
  Speaker 1: tries to talk to Sarah about what is clearly relationship
• 1:28:20
  Speaker 1: problems that they are having. He never Yeah, It's like
• 1:28:24
  Speaker 1: if he were an adult, he would be like, look,
• 1:28:28
  Speaker 1: I know, like, here's some flaws that I have. I'm
• 1:28:32
  Speaker 1: so sorry. I'm gonna work on being better. But the
• 1:28:34
  Speaker 1: only thing he ever does is just be like, here,
• 1:28:38
  Speaker 1: let me show you how much of a geniees I am.
• 1:28:40
  Speaker 1: Let me show you how good I am at flubber,
• 1:28:43
  Speaker 1: And that's going to save our relationship. I'm so good
• 1:28:47
  Speaker 1: at flubber. You don't understand. Maybe, baby baby, you know
• 1:28:52
  Speaker 1: what a guy is like flailing and he's like, baby baby,
• 1:28:55
  Speaker 1: maybe there's a lot of soft bees and you're like, up, um,
• 1:29:01
  Speaker 1: he's like that. But with flubber, which has a couple
• 1:29:07
  Speaker 1: of soft bees, in't it? It's I felt I felt
• 1:29:11
  Speaker 1: so mad when she And then also the like, why
• 1:29:16
  Speaker 1: does I mean this is a convention we talked about
• 1:29:18
  Speaker 1: a million times, but this is just so uniquely bizarre.
• 1:29:23
  Speaker 1: Why does everyone want to have a kiss with Professor
• 1:29:27
  Speaker 1: Flabber while he's asleep. They're like, you know, it's like
• 1:29:30
  Speaker 1: when it's the same, it's the same logic that will
• 1:29:33
  Speaker 1: eventually get us an all female reboit of Flubber, which
• 1:29:36
  Speaker 1: is like, what if we just do the same thing
• 1:29:38
  Speaker 1: that we did that everyone hated, but we flipped it
• 1:29:40
  Speaker 1: and you're like, no one wants that, Like what if
• 1:29:43
  Speaker 1: we kissed an unconscious male? And it's like, that's not
• 1:29:46
  Speaker 1: why people were asking for Actually, uh and somebody because
• 1:29:51
  Speaker 1: we Bow is always citing Disney movie references. She like
• 1:29:57
  Speaker 1: to show her intention of what she wants to do
• 1:30:00
  Speaker 1: with I think her name is Sylvia, the like hologram
• 1:30:04
  Speaker 1: version of her. There's like this little clip of snow
• 1:30:07
  Speaker 1: White in the Seven Dwarves that plays where you see
• 1:30:10
  Speaker 1: Prince Charming kissing an unconscious snow White and she's like, yeah,
• 1:30:14
  Speaker 1: great idea that too, And it's just like and then
• 1:30:18
  Speaker 1: the only that's what happens been the only thing you
• 1:30:20
  Speaker 1: install on your emotionally intelligent robot is Disney Plus it's commentary.
• 1:30:26
  Speaker 1: She's gonna start wilding out with some irrational behaviors. Okay, Well,
• 1:30:31
  Speaker 1: was that Shirley McClain movie that she kept watching and
• 1:30:34
  Speaker 1: then like that was the thing that made her realize that, oh,
• 1:30:38
  Speaker 1: I if I love him, I need to let him
• 1:30:40
  Speaker 1: go kind of thing. I don't know. I was wondering
• 1:30:43
  Speaker 1: that too, and then I was like, Wow, we're so young.
• 1:30:46
  Speaker 1: We don't even know what this movie is. I don't know.
• 1:30:49
  Speaker 1: Let me look up some Shirley McClain performances and see
• 1:30:51
  Speaker 1: if we can guess, because there were a few. I'm
• 1:30:54
  Speaker 1: guessing that they had to license a few things. I
• 1:30:56
  Speaker 1: don't know what Disney owned at this time, because I'm like,
• 1:30:58
  Speaker 1: they are only Simpsons now. I don't don't know. If
• 1:31:00
  Speaker 1: they did then, who know, I don't think so they
• 1:31:02
  Speaker 1: used a Mickey Rooney clip, they used a Shirley Temple clip,
• 1:31:06
  Speaker 1: they used like a few old Hollywood clips. What do
• 1:31:09
  Speaker 1: you think it was? Was it Shirley McClain? Was it
• 1:31:13
  Speaker 1: terms of endearment? Maybe she was I think would have
• 1:31:17
  Speaker 1: been older by that point, was it? It wasn't the apartment?
• 1:31:21
  Speaker 1: I think I've seen that one Steel Magnolias. No, she
• 1:31:26
  Speaker 1: would have been even older. I don't in terms of
• 1:31:29
  Speaker 1: what is terms of endearment? Maybe that is right. Three
• 1:31:34
  Speaker 1: Debora Winger, Shirley McClain. Don't you know there's someone out
• 1:31:39
  Speaker 1: there screaming at us from home, being like, it's this movie?
• 1:31:44
  Speaker 1: I don't know, the only thing I know about terms.
• 1:31:46
  Speaker 1: I haven't seen terms of endearment, but I know that
• 1:31:49
  Speaker 1: Coreina Longworth talked about it on last season of You
• 1:31:52
  Speaker 1: Must Remember This, and that's all I know. When you
• 1:31:54
  Speaker 1: said terms of endearment, I thought the thing that came
• 1:31:58
  Speaker 1: to my mind was Steel Magnolia's So I don't know
• 1:32:02
  Speaker 1: the difference between movies. We're so young and that's honestly
• 1:32:06
  Speaker 1: killing us. Um yeah, I have. I don't know what
• 1:32:10
  Speaker 1: that was, but I also that was my first Like
• 1:32:13
  Speaker 1: everything I thought was going to happen to the Flubber
• 1:32:15
  Speaker 1: in terms of like aggressively forcing gender stereotypes onto a
• 1:32:20
  Speaker 1: character that it doesn't really make sense, would be this
• 1:32:25
  Speaker 1: heavily gendered happened to Weibo instead, where we had a
• 1:32:29
  Speaker 1: version of this conversation in our her like thing, where
• 1:32:32
  Speaker 1: it's not it's not in a rational writing decision to
• 1:32:36
  Speaker 1: make an assistant programmed tool to have a woman's voice.
• 1:32:42
  Speaker 1: And I know a lot of the time it seems like, oh, well,
• 1:32:45
  Speaker 1: this is a win for women, but it isn't. Because
• 1:32:49
  Speaker 1: the reason that that like Siri has a female voice,
• 1:32:52
  Speaker 1: or like, you know, all the Siri knockoffs is because
• 1:32:55
  Speaker 1: we're you know, at a young age formed to think
• 1:32:58
  Speaker 1: that women were in service, you know, like care roles, people,
• 1:33:04
  Speaker 1: and people are more comfortable telling a woman what to
• 1:33:06
  Speaker 1: do than younger man what to do. So that is
• 1:33:10
  Speaker 1: why all your robot voices are or most of your
• 1:33:13
  Speaker 1: robot voices are defaulting to female. And then there's a
• 1:33:16
  Speaker 1: bunch of examples of like when it's a science like
• 1:33:20
  Speaker 1: when it's a science assistant, you'll hear a male voice
• 1:33:23
  Speaker 1: and like why is that? And it isn't like off
• 1:33:26
  Speaker 1: the wall that Weibo would have a female voice, because
• 1:33:30
  Speaker 1: you would assume Professor Flabber is more comfortable telling a
• 1:33:33
  Speaker 1: woman what to do than a man, uh, which we
• 1:33:36
  Speaker 1: know because he keeps disrespecting women the whole movie. But
• 1:33:40
  Speaker 1: then there's the the other robot, Webber, who seems to
• 1:33:43
  Speaker 1: be doing only domestic chores. And I feel like that
• 1:33:46
  Speaker 1: robot was coded male. I think so, But also you
• 1:33:51
  Speaker 1: can't really tell because Weber never really talks. I don't
• 1:33:55
  Speaker 1: Flebern doesn't really have an arc. Where was Webber's are
• 1:33:57
  Speaker 1: where Justice for Webber? Come on? Justice for Webber? Yeah?
• 1:34:02
  Speaker 1: I don't really know what's going on with Webber other
• 1:34:04
  Speaker 1: than that he was a vacuum cleaner. Um, but but
• 1:34:07
  Speaker 1: he was gendered male. I think that they use he
• 1:34:10
  Speaker 1: him pronounced towards Webber, who is a vacuum cleaner. Why
• 1:34:14
  Speaker 1: did we gender the vacuum cleaner? So many questions? Uh there,
• 1:34:19
  Speaker 1: um yeah, But like the fact that on top of
• 1:34:23
  Speaker 1: like the semi coherent choice, where again, Her is not
• 1:34:27
  Speaker 1: a movie I like, I think it's a fucking I
• 1:34:30
  Speaker 1: don't like it kind of movie. But at least the
• 1:34:35
  Speaker 1: the like assistant was made with a like female coded personality,
• 1:34:42
  Speaker 1: and it's made clear in the movie why that is happening.
• 1:34:45
  Speaker 1: Right in this movie, it just happens. And then she's
• 1:34:50
  Speaker 1: also given all these like human female nineties stereotypes. That is,
• 1:34:58
  Speaker 1: like did he program the is he doesn't seem to
• 1:35:01
  Speaker 1: be emotionally intelligent enough to know what any woman is
• 1:35:04
  Speaker 1: like literally says, I wish I understood human beings. I
• 1:35:08
  Speaker 1: wish I understood women. I wish I understood emotions and passions.
• 1:35:12
  Speaker 1: I wish I understood any of that. So how it's
• 1:35:16
  Speaker 1: because he just keeps knocking over this like court of
• 1:35:20
  Speaker 1: free will, He's gotten his basement. I'm just like, you
• 1:35:23
  Speaker 1: know the fact that the fact that the first thing
• 1:35:25
  Speaker 1: we see, you know, we Bow with I don't know
• 1:35:30
  Speaker 1: why I thought her name was Phoebe. Listeners if there's
• 1:35:33
  Speaker 1: another robot assistant in a movie called Phoebe. I was
• 1:35:37
  Speaker 1: shocked that her name wasn't Phoebe, but maybe my brain
• 1:35:39
  Speaker 1: was just like weebo Phoebe. It's the same either way.
• 1:35:44
  Speaker 1: The first thing we see where she's on her own,
• 1:35:46
  Speaker 1: she's like crying at a romance movie, which it's not,
• 1:35:52
  Speaker 1: you know, it's just like it's a lot of it's
• 1:35:54
  Speaker 1: a lot of coding. And then when you consider who
• 1:35:57
  Speaker 1: who programmer is, You're like, how did this happen? Exactly?
• 1:36:02
  Speaker 1: How long has she existed for? Like is this anything
• 1:36:05
  Speaker 1: she's developed over time? Like does she get smarter as
• 1:36:09
  Speaker 1: she does she like develop and grow and dependent of
• 1:36:13
  Speaker 1: her programming. There's a lot of questions. I don't know.
• 1:36:16
  Speaker 1: I feel like they're like, Okay, so the viewers of
• 1:36:18
  Speaker 1: this movie are four years old, and there Jamie and
• 1:36:22
  Speaker 1: her brother was crying, and they're gonna be like, okay,
• 1:36:25
  Speaker 1: so there we don't need to really worry about we
• 1:36:27
  Speaker 1: Bow's arc. And they're like, no killer or whatever if
• 1:36:29
  Speaker 1: she won't remember, and they were right, And I feel
• 1:36:32
  Speaker 1: like that is like people will be like, Caitlin, Jamie,
• 1:36:35
  Speaker 1: why are you Why are you analyzing Flubber so deeply?
• 1:36:40
  Speaker 1: This is a children's movie, you know what first? And
• 1:36:44
  Speaker 1: in this case, normally I would say, well, doesn't media
• 1:36:48
  Speaker 1: formulate how you view the rest of your life? But
• 1:36:50
  Speaker 1: in this case, we did not remember any of the
• 1:36:52
  Speaker 1: problematic elements. And so the answer is, I don't know, Well,
• 1:36:55
  Speaker 1: we didn't remember them consciously, maybe, but maybe we did subconsciously.
• 1:37:02
  Speaker 1: What if I have been I'm like, what if I
• 1:37:04
  Speaker 1: was watching Okay, Devil's Advocate. Maybe this happened to a listener.
• 1:37:08
  Speaker 1: Let us know you're watching Flabber, and then you're like,
• 1:37:11
  Speaker 1: oh my gosh, every toxic relationship in my life is
• 1:37:17
  Speaker 1: because a Flabber. Like I have been stood up at
• 1:37:22
  Speaker 1: the altar three times, several times, and I didn't realize
• 1:37:26
  Speaker 1: it was because I was just chasing this unrealistic ideal
• 1:37:30
  Speaker 1: of Professor Flabber and wee bow and Flabber makes three.
• 1:37:35
  Speaker 1: I and Flabber makes three. I'm just never going to
• 1:37:38
  Speaker 1: get over. That's another shirt I want, just like that
• 1:37:41
  Speaker 1: part of the script. And Flubber makes three. I'd buy it,
• 1:37:44
  Speaker 1: I'd wear it. I honestly thought that flabber was more
• 1:37:47
  Speaker 1: of like a cult movie, but it's kind of not.
• 1:37:50
  Speaker 1: I think it's just kind of like people remember Robin
• 1:37:52
  Speaker 1: Williams saying it's Flabberber right. Well. My other counter argument
• 1:37:56
  Speaker 1: too it's a movie for children, is that there are
• 1:38:00
  Speaker 1: many movies four children that are a million times less
• 1:38:04
  Speaker 1: problematic and better written. And some of my favorite movies
• 1:38:09
  Speaker 1: i e. Paddington, Paddington to Mowanna, et cetera. Well there's
• 1:38:15
  Speaker 1: even like problematic children's movies that stuck with me more
• 1:38:18
  Speaker 1: and I still think are better like we Have whatever.
• 1:38:22
  Speaker 1: You can listen to the Little Mermaid episode. But even
• 1:38:24
  Speaker 1: in terms of like the cannon of Jody bentson children's movies,
• 1:38:28
  Speaker 1: would I ever, unless I was like making a joke,
• 1:38:33
  Speaker 1: choose Flubber over The Little Mermaid? No, like never, because
• 1:38:41
  Speaker 1: the problem is here that more people would be negatively
• 1:38:45
  Speaker 1: affected by the toxic messages of the movie Flubber if
• 1:38:50
  Speaker 1: Flubber was a good movie, But since it's not, I
• 1:38:53
  Speaker 1: think that generally the the negative effect was kind of neutral.
• 1:39:00
  Speaker 1: But maybe if it was good, like the Little Mermaid
• 1:39:02
  Speaker 1: is a good movie with a lot of bad messages,
• 1:39:05
  Speaker 1: and that is why so many people carry so many
• 1:39:08
  Speaker 1: negative messages from it. Flubber is a bad movie that
• 1:39:12
  Speaker 1: no one remembers what happens in it, so but a
• 1:39:16
  Speaker 1: lot of people did see it grossed enough almost a
• 1:39:20
  Speaker 1: hundred and eighty million dollars worldwide at the box office
• 1:39:23
  Speaker 1: in nineties seven, money, which adjusted for inflation, is five
• 1:39:27
  Speaker 1: billion dollars. It seems like this was a Thanksgiving movie.
• 1:39:32
  Speaker 1: It was released like around Thanksgiving time, bringing the whole
• 1:39:37
  Speaker 1: family to see Flubber, and I guess they did. I did.
• 1:39:41
  Speaker 1: I was there. Um, this movie sucks so much, like,
• 1:39:46
  Speaker 1: but did I have fun watching it? Yes? Well the
• 1:39:49
  Speaker 1: other okay, so the other. Going back to Wei Bow not,
• 1:39:56
  Speaker 1: one of the weird things about her is that she
• 1:39:59
  Speaker 1: is so she's rife with all of these like women
• 1:40:03
  Speaker 1: be desperate, women be lying and deceiving women be surely
• 1:40:09
  Speaker 1: not claim it all that kind of stuff. But she
• 1:40:12
  Speaker 1: is still the more active female character than Sarah. Sarah
• 1:40:17
  Speaker 1: is so passive. Weibo is far more active, but everything
• 1:40:21
  Speaker 1: she's doing is deceitful. So it's just like, what is
• 1:40:26
  Speaker 1: the takeaway I'm supposed to be rooting for we like,
• 1:40:29
  Speaker 1: I think that we're supposed that I can't suspend, suspend
• 1:40:32
  Speaker 1: my belief to be rooting for Professor Flubber or we Bow.
• 1:40:37
  Speaker 1: I think that they both need to like work on themselves.
• 1:40:41
  Speaker 1: And I really need to send a long email and
• 1:40:45
  Speaker 1: be like, I can't be your friend anymore because this
• 1:40:48
  Speaker 1: is just becoming too much and the way you're treating
• 1:40:51
  Speaker 1: Professor Flabber isn't okay, and the way Professor Flubber is
• 1:40:54
  Speaker 1: treating the people in his life isn't okay. And I
• 1:40:56
  Speaker 1: just need to remove myself from the situation. And Dr
• 1:40:59
  Speaker 1: Sarah and I are going to get an Airbnb this
• 1:41:01
  Speaker 1: weekend and just talk things out, like that's what Martha
• 1:41:04
  Speaker 1: should have done, but we don't know anything about Martha. Um. Yeah, no,
• 1:41:09
  Speaker 1: I this movie really wants me to empathize with Wee Bow,
• 1:41:13
  Speaker 1: but we Bow is acting like a twelve year old,
• 1:41:16
  Speaker 1: which maybe she has. I don't know. I'd like it's
• 1:41:19
  Speaker 1: a very junior high revenge tactic to me. And Astral
• 1:41:25
  Speaker 1: projecting to surprise kiss someone that's new for me in
• 1:41:28
  Speaker 1: a movie, but that I don't like it. But I've
• 1:41:31
  Speaker 1: never seen it before. I've never seen that we've seen
• 1:41:35
  Speaker 1: Astral because there's there's moments in like Blade runner. There's
• 1:41:41
  Speaker 1: moments in I seen that movie Get a Grip. There's
• 1:41:49
  Speaker 1: moments like that where they're like, Okay, let's make out
• 1:41:51
  Speaker 1: with a hologram, but probably it happened, but there's not.
• 1:41:59
  Speaker 1: Most of those hisses seem to be consensual. So yeah,
• 1:42:02
  Speaker 1: this is I think maybe a rare instance of a
• 1:42:06
  Speaker 1: non consensual hologram kiss. So whoops, So that's not good.
• 1:42:12
  Speaker 1: And then it happens also in real life, and neither
• 1:42:16
  Speaker 1: time is there any consequence. The first time it happens,
• 1:42:19
  Speaker 1: he's like, I had a dream about basketball, And the
• 1:42:21
  Speaker 1: second time he's like, oh goody, my ex girlfriend broke
• 1:42:25
  Speaker 1: into my house and kissed me and now I'm so happy.
• 1:42:28
  Speaker 1: And now we're going to get married a fourth time.
• 1:42:30
  Speaker 1: And you're just like, I'm not going to show up
• 1:42:32
  Speaker 1: to that wedding either. Get me out of this yeah literally,
• 1:42:36
  Speaker 1: and he isn't. Uh, It's like, get me out of
• 1:42:38
  Speaker 1: this movie, get me out of this world? Um, did
• 1:42:42
  Speaker 1: she anything else? Two last quick things? Okay, Phil is like, hey,
• 1:42:48
  Speaker 1: we bow come into this flying car with me and
• 1:42:50
  Speaker 1: she's like, no, flying makes me sick, even though she
• 1:42:53
  Speaker 1: is a flying robot. Yeah. I was like, don't you
• 1:42:57
  Speaker 1: fly all day. We bow and then she's like, I'm sick,
• 1:43:02
  Speaker 1: and he's like, you're a robot and she's like, oh yeah. Um.
• 1:43:06
  Speaker 1: The other thing I wanted to say was flubber clean
• 1:43:09
  Speaker 1: energy question mark. Yeah, oh my god. We that's a
• 1:43:13
  Speaker 1: way better application of flubber than a basketball game. Yeah,
• 1:43:18
  Speaker 1: flubber seems like renewable clean energy. Although we don't we
• 1:43:22
  Speaker 1: don't know for sure, We don't really know what went
• 1:43:25
  Speaker 1: into the making of Flubber. Literally, like Elon Musk, the
• 1:43:29
  Speaker 1: story down to the toxicity and lack of understanding of
• 1:43:35
  Speaker 1: how to treat a human being that Professor Flubber has.
• 1:43:39
  Speaker 1: This is the blueprint. Elon Musk sees Flabber in theaters
• 1:43:42
  Speaker 1: and it's like, I could do that. I could be
• 1:43:45
  Speaker 1: cruel to women and any employee I've ever had. Yeah,
• 1:43:49
  Speaker 1: and then and then also make electric cars at his
• 1:43:52
  Speaker 1: flubber tesla more like flabber. Let's not do that a flabber.
• 1:43:57
  Speaker 1: I wish that there was a flubber toy. Also, this
• 1:44:00
  Speaker 1: was such a moment for such a moment for like
• 1:44:05
  Speaker 1: goop in children's entertainment, you got slime, you got flubber,
• 1:44:10
  Speaker 1: you got ghack. Remember Ghack. I remember ghack and it's
• 1:44:14
  Speaker 1: a cycle too, because it came back a couple of
• 1:44:16
  Speaker 1: years ago as like slime that you would make at
• 1:44:18
  Speaker 1: your house, and that like child YouTubers to be like
• 1:44:22
  Speaker 1: I'm making slime, and it's like, okay, kids love goop.
• 1:44:27
  Speaker 1: I get it. I remember getting ghack for my birthday
• 1:44:30
  Speaker 1: once and being like, oh my god, a whole egg
• 1:44:33
  Speaker 1: full of goop. Now my parents spent eight dollars on
• 1:44:38
  Speaker 1: Like that's too much for Goopluber expensive. Do you think
• 1:44:41
  Speaker 1: that Gwyneth Paltrow saw flubber and she's like, there are
• 1:44:45
  Speaker 1: other applications to this. Yeah, the implications of this technology
• 1:44:51
  Speaker 1: are just unbelievable. I'm looking up flubber toys because I would.
• 1:44:56
  Speaker 1: I would get you buy a flubber. I would buy
• 1:44:59
  Speaker 1: a flubber. Don't email p Brainard at Medfield dot et
• 1:45:03
  Speaker 1: you ask him to buy some flubber because he won't respond.
• 1:45:07
  Speaker 1: What an asshole. Honestly talks it to the very end. Uh,
• 1:45:10
  Speaker 1: there are flubber bean bags of the Disney Store made,
• 1:45:13
  Speaker 1: and there is of course five hundred million people on
• 1:45:17
  Speaker 1: eBay trying to get rid of that happy Meal toy
• 1:45:20
  Speaker 1: with flabber wearing sunglasses. There's also oh my god, there's
• 1:45:24
  Speaker 1: also a what the hell there's a talking wee bow? Wait,
• 1:45:29
  Speaker 1: that's what's what? There's a talking wee bow. Listen, I
• 1:45:35
  Speaker 1: pre quarantine. I would be like I would never get
• 1:45:37
  Speaker 1: a flubber toy. But guess what. I bought a Babu
• 1:45:41
  Speaker 1: frick and it's in my house and I also tried
• 1:45:45
  Speaker 1: to buy I don't know. I don't know if it's
• 1:45:46
  Speaker 1: ever coming. It seemed like it was kind of from
• 1:45:48
  Speaker 1: a suspicious vendor. But something Kaitlyn you sent it to
• 1:45:52
  Speaker 1: me is something called green Baby, because I don't think
• 1:45:55
  Speaker 1: they can call it baby Grinch without paying royalties. But
• 1:45:59
  Speaker 1: I mean, in the way a flubber another green baby.
• 1:46:02
  Speaker 1: A listener sent us that link. Actually so and I'm
• 1:46:05
  Speaker 1: so sorry. I don't I don't shout remember your handle,
• 1:46:08
  Speaker 1: but shout out to the listener who made us aware
• 1:46:11
  Speaker 1: of green Baby, a k baby Grinch the toy. And honestly,
• 1:46:17
  Speaker 1: I have to say, I think I just gave a
• 1:46:19
  Speaker 1: random person. I just don't think that my feeling and
• 1:46:26
  Speaker 1: the green Baby isn't coming. I will be. It will
• 1:46:28
  Speaker 1: be a Christmas miracle and green Baby gets here in
• 1:46:32
  Speaker 1: time for me to watch Baby Grinch. But it we'll
• 1:46:35
  Speaker 1: see your heart will grow three sizes that day. My
• 1:46:39
  Speaker 1: heart will explode out of my body and I'll die.
• 1:46:42
  Speaker 1: If Green Baby gets here, it would make me so happy.
• 1:46:46
  Speaker 1: I don't know well well, and Flubber makes three anyone,
• 1:46:52
  Speaker 1: So we the movie does pass the Bechdel test, as
• 1:46:54
  Speaker 1: we've discussed between Sarah and we bought that quick exchange
• 1:46:58
  Speaker 1: the remainder of that conversation, and as them talking about Phil,
• 1:47:03
  Speaker 1: so that doesn't pass. And then Sarah and Martha also talk,
• 1:47:06
  Speaker 1: but I think they only talk about the impending hetero wedding. Yeah,
• 1:47:11
  Speaker 1: that's coming up. So I don't think any of those
• 1:47:14
  Speaker 1: exchanges past. Jamie. If we have a nipple scale that
• 1:47:18
  Speaker 1: we have to oh no on the five nipples based
• 1:47:24
  Speaker 1: on how affairs looking at it through an intersectional feminist lens, uh,
• 1:47:32
  Speaker 1: you know what? Five flowers? I don't know. I guess
• 1:47:42
  Speaker 1: I would give this like nipple, okay, because I don't
• 1:47:46
  Speaker 1: think the movie. I mean, I guess I appreciate any
• 1:47:50
  Speaker 1: story in which a man is largely motivated by a woman.
• 1:47:57
  Speaker 1: I feel like, although I mean it annoys is me
• 1:48:00
  Speaker 1: when a woman is largely motivated by a man, right
• 1:48:04
  Speaker 1: in a movie. But I don't mind the flip of that, right,
• 1:48:08
  Speaker 1: because I think men normally aren't characterized that way. So
• 1:48:14
  Speaker 1: when you do see it, I'm like, Okay, that feels
• 1:48:17
  Speaker 1: sort of like a subversion. Um although everything that he
• 1:48:21
  Speaker 1: does to try to win her back is ridiculous and
• 1:48:24
  Speaker 1: ill informed and he needs to go to several hundred
• 1:48:28
  Speaker 1: hours worth of therapy to learn how to be a
• 1:48:31
  Speaker 1: better partner because he also does like he the one
• 1:48:35
  Speaker 1: time he attempts to communicate with her, he just ends
• 1:48:38
  Speaker 1: up spying on her instead, Right, So that was that
• 1:48:42
  Speaker 1: was a double disappointment. Was like, oh, I was like, oh,
• 1:48:44
  Speaker 1: he's going to go try to communicate with her, but
• 1:48:46
  Speaker 1: then he instead spies on her and then never talks
• 1:48:50
  Speaker 1: her and drives away in his flying car. Immature, right,
• 1:48:54
  Speaker 1: And just the way that Sarah seems to be characterized
• 1:48:57
  Speaker 1: as just being so desperate for the attention of a
• 1:48:59
  Speaker 1: man she will just be with any man who is
• 1:49:03
  Speaker 1: paying attention to her, and we Bow is characterized as
• 1:49:07
  Speaker 1: just being also obsessive with the only man she knows,
• 1:49:12
  Speaker 1: to the point where she's she's lying to herself, She's
• 1:49:16
  Speaker 1: lying to him. She's lying to everybody about it. It
• 1:49:21
  Speaker 1: ain't right. But I don't know. I guess one nipple
• 1:49:24
  Speaker 1: for reasons I don't even know about know why I
• 1:49:32
  Speaker 1: don't even I mean, I'm telling I'm I guess I'm
• 1:49:35
  Speaker 1: going to say like a half um, but I like,
• 1:49:43
  Speaker 1: do have a bizarre unexplained I mean, actually I can't.
• 1:49:51
  Speaker 1: You're gonna hate this. I can explain my attachment to
• 1:49:54
  Speaker 1: the movie. And you know what it is, the Flubber.
• 1:49:58
  Speaker 1: I love the Flubber. I love the flubber. I love
• 1:50:01
  Speaker 1: when the flubber dances. I love when the flubber bounces
• 1:50:04
  Speaker 1: around and breaks things and scares people. I like when
• 1:50:08
  Speaker 1: the flubber is caught in the glove. I like when
• 1:50:10
  Speaker 1: the flubber dances the flubber mombo. I like when the
• 1:50:14
  Speaker 1: flubber lives happily ever after, And I love when Flubber
• 1:50:18
  Speaker 1: makes three Do you mean flubberly ever after? In a way? Yes,
• 1:50:24
  Speaker 1: I so this movie. I mean the redeeming part of
• 1:50:27
  Speaker 1: Flubber is the flubber. Um. The story is horrible. The
• 1:50:32
  Speaker 1: story is maybe one of the worst. Um it is
• 1:50:35
  Speaker 1: at least I mean, I guess the argument that you
• 1:50:38
  Speaker 1: can make is that it's like not a male protagonist
• 1:50:42
  Speaker 1: that is openly disdainful of women, but just kind of
• 1:50:45
  Speaker 1: extremely dismissive and careless in I would assume all of
• 1:50:50
  Speaker 1: his relationships, but we only see his relationships with women.
• 1:50:53
  Speaker 1: I can't imagine that. It's like he would have a
• 1:50:55
  Speaker 1: male friend who he would be really attentive towards. That
• 1:50:57
  Speaker 1: doesn't really make sense to me, But we only see
• 1:51:00
  Speaker 1: him miss treating his partner and miss treating what I
• 1:51:04
  Speaker 1: don't even I mean, and something something weird robot relationship,
• 1:51:10
  Speaker 1: has a toxic relationship with his robot. And then we
• 1:51:14
  Speaker 1: also see heavy gender coating on an aerial than mermaid robot,
• 1:51:20
  Speaker 1: who is I mean, she's suffering. I feel for her
• 1:51:22
  Speaker 1: in some ways, but also she's like not nice and
• 1:51:25
  Speaker 1: she is not an ally to other women because she
• 1:51:27
  Speaker 1: keeps sucking over Dr Sarah, who did nothing, nothing, nothing nothing.
• 1:51:31
  Speaker 1: If she's gonna love anyone, she should love Webber, the
• 1:51:34
  Speaker 1: other robot. Like he's right there, he's also a robot,
• 1:51:37
  Speaker 1: You're probably more compatible. We had nothing nice to say
• 1:51:41
  Speaker 1: about Webber, Like we're like, we didn't think, you know,
• 1:51:44
  Speaker 1: We're just like what, he's just a vacuum cleaner, but
• 1:51:46
  Speaker 1: also there was more that I don't know. It's like
• 1:51:48
  Speaker 1: she doesn't need to date Weber, but like just yeah,
• 1:51:52
  Speaker 1: we only need to take the l or like search
• 1:51:55
  Speaker 1: herself and what she really needs to not do is
• 1:51:59
  Speaker 1: Diana Blaze of Glory and then tell someone that she's pregnant. Um,
• 1:52:05
  Speaker 1: so I'm going to give it half of one nipple.
• 1:52:07
  Speaker 1: And then also like what happened with Martha, she was
• 1:52:10
  Speaker 1: a bad friend and she was disrespected by the plot.
• 1:52:13
  Speaker 1: She wasn't even at the wedding when she well, I mean,
• 1:52:17
  Speaker 1: to be fair, it's the fourth one. It's true. She's like,
• 1:52:19
  Speaker 1: I've been to the first three. I'm not coming to
• 1:52:21
  Speaker 1: another one. That's I mean, maybe that's just her establishing
• 1:52:24
  Speaker 1: boundaries that are like maybe kind of healthy. Uh true,
• 1:52:27
  Speaker 1: She's like, listen, I'm not you're wasting my time. I
• 1:52:30
  Speaker 1: have an e harmony date. Did that exist? Um? In
• 1:52:35
  Speaker 1: any case? In any case or match dot com? I
• 1:52:39
  Speaker 1: don't know what with dating say was it was? I
• 1:52:42
  Speaker 1: think it was still not very online, was it? I
• 1:52:44
  Speaker 1: think it was. But it was like the period of
• 1:52:46
  Speaker 1: movies where I wonder when those movies started when it
• 1:52:49
  Speaker 1: was like if you dated online. Everyone in the movie
• 1:52:51
  Speaker 1: would be like, no, no, don't do that, and then
• 1:52:57
  Speaker 1: three years later they're like, I get like, I'm taking
• 1:53:00
  Speaker 1: three days a week from the internet. Um, in any case,
• 1:53:05
  Speaker 1: that was nothing to do with this. I'll give it
• 1:53:09
  Speaker 1: a half nipple, but I'll give it five flobbers. So
• 1:53:13
  Speaker 1: I don't think there is a single person of color
• 1:53:15
  Speaker 1: on screen at any point in the entire even in
• 1:53:19
  Speaker 1: scenes where there's like there you're on campus and you
• 1:53:21
  Speaker 1: see like extras and stuff. I think every person is white,
• 1:53:26
  Speaker 1: which we should have mentioned sooner. Um. In our defense,
• 1:53:29
  Speaker 1: this is a John Hughes movie, so it almost goes
• 1:53:31
  Speaker 1: throughout saying this is going to be the very white,
• 1:53:35
  Speaker 1: incoherent and toxic. Yeah, this movie isn't good, but uh
• 1:53:39
  Speaker 1: it's saving Grace is the one thing that John Hughes
• 1:53:43
  Speaker 1: didn't make up, which was Flabber. Uh flabber forever. I
• 1:53:47
  Speaker 1: just put a flabber toy in my eBay card and
• 1:53:50
  Speaker 1: Flabber will be getting to my house on Tuesday. Incredible.
• 1:53:57
  Speaker 1: H Well, that's our flabber episode. I think you'll agree
• 1:54:05
  Speaker 1: that it was necessary, and I'm like worried for I
• 1:54:10
  Speaker 1: hope everyone in the world, everyone in the US is
• 1:54:13
  Speaker 1: doing okay this week. I also hope that we're doing
• 1:54:16
  Speaker 1: okay this week. I mean, who knows there, you know?
• 1:54:21
  Speaker 1: We we yeah, we we don't. We again, don't know
• 1:54:24
  Speaker 1: what the results of the election are at this time
• 1:54:28
  Speaker 1: of this recording. We record like a month in advance.
• 1:54:31
  Speaker 1: And that's just um self care. Yes, so that's flabber,
• 1:54:38
  Speaker 1: that's flabber. Hey, here's something I would like to plug
• 1:54:41
  Speaker 1: of my own. Oh yes, go ahead. I do a
• 1:54:44
  Speaker 1: new Instagram live show called Movie Talk with Caitlin. It
• 1:54:50
  Speaker 1: is derived from a Facebook bit I did for a
• 1:54:55
  Speaker 1: while back when I still used Facebook. But it's an
• 1:54:58
  Speaker 1: Instagram live show now where me and a guest Jamie.
• 1:55:02
  Speaker 1: You've been on it. I've had several friends of the
• 1:55:05
  Speaker 1: cast on it at this point as well. But it's
• 1:55:09
  Speaker 1: just me talking about movies with people. There's no preparation
• 1:55:14
  Speaker 1: that I have to do beforehand. There's no uh post
• 1:55:17
  Speaker 1: production work I have to do afterward. It's just a
• 1:55:20
  Speaker 1: fun little time. So check that out. Follow me on
• 1:55:24
  Speaker 1: Instagram to be able to watch the show. You can
• 1:55:27
  Speaker 1: do that. Follow me at Caitlyn Dronte and I have
• 1:55:31
  Speaker 1: a little thing to plug as well. Please I have
• 1:55:35
  Speaker 1: a podcast coming out called Lolita Podcast because I couldn't
• 1:55:39
  Speaker 1: think of another thing to call the podcast. Um, it's
• 1:55:42
  Speaker 1: coming out right here on iHeart Radio. It is a
• 1:55:45
  Speaker 1: deep dive into the story of Vladimir Nabokov's Lolita and
• 1:55:51
  Speaker 1: it's cultural impact in all the ways it has been
• 1:55:55
  Speaker 1: twisted to get a global culture to take every single
• 1:55:58
  Speaker 1: wrong message from the original work. So that is going
• 1:56:02
  Speaker 1: to start airing on November twenty three, and then there's
• 1:56:06
  Speaker 1: going to be episodes airing into the new year. Um.
• 1:56:09
  Speaker 1: And it is a project that is very interesting and
• 1:56:12
  Speaker 1: is actively ruining my mental health. So check it us
• 1:56:17
  Speaker 1: sorady to hear that it's fun. It's actually really interesting. Jimmy,
• 1:56:21
  Speaker 1: you should watch a movie talk with Caitlin for a
• 1:56:23
  Speaker 1: public cleanser. I should I do, I will um. And
• 1:56:28
  Speaker 1: then you can follow us all the regular places on
• 1:56:31
  Speaker 1: at Bechtel Cast. Uh. Follow us at patreon dot com,
• 1:56:34
  Speaker 1: slash backtel cast for five dollars a month. All right,
• 1:56:37
  Speaker 1: it's our patreon ak Matreon and you get to bonus
• 1:56:42
  Speaker 1: episodes a month. And it's Mary Kate nationally November. For
• 1:56:46
  Speaker 1: some reason, I insisted let's see how it goes and
• 1:56:51
  Speaker 1: You can get our merch at t public dot com,
• 1:56:54
  Speaker 1: slash the Bechtel Cast, and most of all, just take
• 1:56:58
  Speaker 1: care of yourself. Take here, engage in mutual aid. We
• 1:57:03
  Speaker 1: will always keep you updated on everything there that we can.
• 1:57:06
  Speaker 1: And get yourself a flubber toy. You deserve it. You
• 1:57:11
  Speaker 1: deserve it, and also live flubberly ever after and Flabber
• 1:57:16
  Speaker 1: makes three. Bye Bye Maye