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Boogie Nights with Josh Androsky · The Bechdel Cast

• 0:00
  Speaker 1: On the Dog Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism the patriarchy? Zef and Best
• 0:12
  Speaker 1: start changing it with the Beck dol Casts. Hello and
• 0:16
  Speaker 1: welcome to the beckdel Cast. I'm your host, Caitlin Darante.
• 0:19
  Speaker 1: I'm your other host, Jamie Lautus, and we have a
• 0:21
  Speaker 1: podcast about the portrayal of women in movie. It's not
• 0:25
  Speaker 1: this one is a different one. It's a different one.
• 0:28
  Speaker 1: We're starting off hot. Yeah, we're doing role man hot today.
• 0:33
  Speaker 1: I kept telling myself, I'm gonna stop calling myself the
• 0:36
  Speaker 1: other host. Yeah, but I'm mothering myself, you know, I
• 0:41
  Speaker 1: just try to. I know, it's not your fault. It's
• 0:43
  Speaker 1: my fault. I mean don't know, but I keep casting
• 0:46
  Speaker 1: myself as the b character of my own story. It's like, Jamie,
• 0:49
  Speaker 1: what do you do it? Yeah, don't do that. You're
• 0:51
  Speaker 1: like a who's a star? Who's this member of single
• 0:57
  Speaker 1: movie star? I'm Natalie Portman. I'm not Mila coup Is right?
• 1:01
  Speaker 1: That dirty? Okay? This is this is what happens when
• 1:07
  Speaker 1: our guests are late. I hit the MIC's hard, too hard.
• 1:12
  Speaker 1: Before we start, and then the opening as a disaster.
• 1:15
  Speaker 1: Normally I'm very together for the opening, and then it
• 1:17
  Speaker 1: goes and then yeah, let's just entro our guests. Then okay.
• 1:21
  Speaker 1: He is a writer for SpongeBob square Pants. Hey cool,
• 1:26
  Speaker 1: and he is with the Democratic Socialists of America the
• 1:29
  Speaker 1: Los Angeles chapter. Interesting juxtaposition, Josh Androwski. Hello, I'd also
• 1:36
  Speaker 1: like to point out I was a writer for I
• 1:39
  Speaker 1: did nothing I say currently reflects the values of the
• 1:41
  Speaker 1: Nickelodeon Corporation, Like look, come see, I couldn't say that
• 1:47
  Speaker 1: they you can. You gotta sneak it in. Yeah, sneak
• 1:51
  Speaker 1: it in. Get a lot of socialism into that show too, Okay,
• 1:54
  Speaker 1: socialism income we're off the bat. Let's talk gender roles,
• 1:57
  Speaker 1: because I kept trying to get bright part Info Wars
• 2:00
  Speaker 1: and shipped to get mad at me for Colin Baron
• 2:04
  Speaker 1: Trump a waterhead, but they only got mad at women
• 2:07
  Speaker 1: that did it right, because not just the way it
• 2:11
  Speaker 1: just the way. It's almost as if it's not at
• 2:13
  Speaker 1: all about the thing. It's just about men that aren't
• 2:16
  Speaker 1: okay with powerful women. Wow, that's crazy when you think
• 2:21
  Speaker 1: about it. I would like to reallocate some things that
• 2:24
  Speaker 1: people are mad at me about and give them to you.
• 2:27
  Speaker 1: I could take them, dude. Yeah, what do I do
• 2:29
  Speaker 1: all day? I got a bookieboard, put it on my
• 2:31
  Speaker 1: bookie board, unpacked and put it onto my bookie board. Wow,
• 2:35
  Speaker 1: what a great transition to the movie we're talking. Oh
• 2:39
  Speaker 1: that that was on purpose. I just love books. Who
• 2:43
  Speaker 1: uses the word bookie with any regularity? Hello, let's take
• 2:48
  Speaker 1: the transition. Let's ride that wave. Yeah. Oh whoa, whoa, whoa.
• 2:54
  Speaker 1: I know. Let's see how many bad puns we can
• 2:57
  Speaker 1: squeeze into this episode. I mean squeeze and a good day.
• 3:01
  Speaker 1: Oh yeah, that's it's a squeeze. That's I think the
• 3:09
  Speaker 1: official genre squeeze. Paul Thomas Anderson fuck squeeze anyway, if
• 3:16
  Speaker 1: you haven't guessed or the movie is Boogie Nights, written
• 3:24
  Speaker 1: and directed by Paul Thomas Anderson and all his high
• 3:27
  Speaker 1: school friends. If you want to believe some of the stories,
• 3:30
  Speaker 1: I haven't heard those stories. He stole the whole movie.
• 3:31
  Speaker 1: He made it with his friends and that was like bye,
• 3:34
  Speaker 1: and then made it himself. But just you know, typical man.
• 3:38
  Speaker 1: I would like to say right off the top, I
• 3:40
  Speaker 1: don't trust three names. I never have trusted three names.
• 3:45
  Speaker 1: I never will trust three names. I enjoy this film,
• 3:48
  Speaker 1: I perhaps enjoy this three names creative output, sure, but
• 3:53
  Speaker 1: I would never trust him with my life. A lot
• 3:55
  Speaker 1: of the cast of the movie has three names. Because
• 3:57
  Speaker 1: you've got Jonathan Taylor, Thomas Up, Michael Clark, Dunkee, Marquis
• 4:02
  Speaker 1: Mark Wilberg. Well, if you count someone using their middle initial,
• 4:07
  Speaker 1: that's a third name. You've got your John c Riley's
• 4:10
  Speaker 1: you're William H. Mason, and you've got Philip Seymour Hoffman,
• 4:14
  Speaker 1: I'm exact, Julie, Anne Moore, Heather Room Room Graham. That's
• 4:20
  Speaker 1: for something I'll be bringing up a lot in this
• 4:22
  Speaker 1: particular episode is guess who doesn't have three names? Alfred
• 4:26
  Speaker 1: Molina just a bunch of syllables but only two names.
• 4:31
  Speaker 1: I love him this movie. I also am a just
• 4:36
  Speaker 1: gonna gently flick my being to all his scenes and
• 4:40
  Speaker 1: feud tonight. So, Josh, when did you first see the movie?
• 4:45
  Speaker 1: I saw this movie as part of like that like
• 4:47
  Speaker 1: awakening that you have when you're like fourteen and you're
• 4:51
  Speaker 1: like I'm an adult, where you're just like these movies
• 4:56
  Speaker 1: defining me and everything. I'll talk about for the next
• 4:59
  Speaker 1: six years and so. Yeah, so I was like fourteen
• 5:03
  Speaker 1: or fifteen, and I saw it when he says Dirk
• 5:07
  Speaker 1: Diggler and the sign comes on and like it explodes
• 5:10
  Speaker 1: and it's so big, Like that was what the movie
• 5:12
  Speaker 1: did to my brain. Well, yeah, the sign comes this
• 5:15
  Speaker 1: is basically my head. Jeez. I saw it again around
• 5:21
  Speaker 1: the same age. I might have been a little older.
• 5:23
  Speaker 1: I think I was sixteen. I just knew it was
• 5:25
  Speaker 1: one of those movies that was very iconic, and I
• 5:28
  Speaker 1: was like, I gotta watch this if I'm going to
• 5:29
  Speaker 1: be a film major at Penn State. Uh. So, I
• 5:34
  Speaker 1: saw it when I was in high school to prepare
• 5:37
  Speaker 1: for all the you know, movies I would need to
• 5:39
  Speaker 1: know about. Much like Penn State, this movie also features
• 5:43
  Speaker 1: a prominent old white pedophile. Yes, oh it's sad when
• 5:48
  Speaker 1: he cries though it is you're my friend. And then
• 5:54
  Speaker 1: the scene that I didn't remember when he's like in
• 5:58
  Speaker 1: jail and he's like getting beaten up by his cellmate.
• 6:01
  Speaker 1: I didn't remember that scene. Characters. Yeah, I thought for
• 6:08
  Speaker 1: the first time then, and then I didn't watch it
• 6:10
  Speaker 1: again until maybe a few months ago. I was like, oh,
• 6:14
  Speaker 1: I gotta see this movie again. It's been a very
• 6:15
  Speaker 1: long time. And then uh, and then I rewatched it twice,
• 6:19
  Speaker 1: as I always do in preparation for every episode because
• 6:23
  Speaker 1: I care too much. It's hard when you set a bar,
• 6:29
  Speaker 1: you know, man, It's not because then I've got to
• 6:31
  Speaker 1: get of the way there. And then I'm challenged by that.
• 6:35
  Speaker 1: When had you seen it first? I saw maybe a
• 6:38
  Speaker 1: half hour of it in high school. When my dad
• 6:41
  Speaker 1: used to do this really funny thing, or after we
• 6:43
  Speaker 1: fall asleep, he would watch the sun Dance Channel because
• 6:47
  Speaker 1: we couldn't afford that. What are the sexy channels? We
• 6:50
  Speaker 1: couldn't afford the premium like HBO. Yeah yeah, yeah. So
• 6:54
  Speaker 1: my my dad would seek out titties on the Sundance
• 6:57
  Speaker 1: channel at night and one I'm sorry, no, I have
• 7:01
  Speaker 1: to we need to give that a moment just for
• 7:04
  Speaker 1: the last thing you just said. You just have to
• 7:05
  Speaker 1: say it one more time and I'm really sorry to interrupt. Okay, okay. Uh.
• 7:09
  Speaker 1: My dad would seek out titties on the Sundance dannal
• 7:11
  Speaker 1: thank you at nights. Uh. And then sometimes I would
• 7:16
  Speaker 1: be like, I can't sleep, I'm gonna go down and
• 7:17
  Speaker 1: hang out with my dad. And one time he was
• 7:19
  Speaker 1: watching Boodie Knights, and before he realized all the discussing
• 7:23
  Speaker 1: things were about to happen, He's like, yeah, this is
• 7:24
  Speaker 1: my favorite movie. And then I watched it for like
• 7:27
  Speaker 1: fourteen minutes and we saw all these It was the
• 7:30
  Speaker 1: scene with Julianne Moore's like sweet little pink nip and
• 7:37
  Speaker 1: I was like, all right, this is where I'm going
• 7:38
  Speaker 1: to tap out and go upstairs. And he kept watching
• 7:42
  Speaker 1: and then I watched it. It It took me like ten
• 7:44
  Speaker 1: years to sleep that off, but I watched it again
• 7:48
  Speaker 1: and I like it. One of the first times I
• 7:49
  Speaker 1: saw Titanic after he had come out on VHS, I
• 7:52
  Speaker 1: was watching in my living room and my dad came
• 7:55
  Speaker 1: in and it was like the nude drawing scene and
• 8:00
  Speaker 1: and he didn't walk away, so we were just sitting there.
• 8:03
  Speaker 1: And I think it was also in that same moment
• 8:05
  Speaker 1: that I asked him what flour play was, because I
• 8:07
  Speaker 1: legitimately had no idea what that word meant. And he
• 8:11
  Speaker 1: stuttered and stumbled and then walked away, and I was like, Okay, well,
• 8:15
  Speaker 1: at least I got what I wanted in terms of
• 8:17
  Speaker 1: him not being in the room during this sex scene.
• 8:20
  Speaker 1: How old were you? I must have been like twelve.
• 8:26
  Speaker 1: I had heard the word and I was like, I
• 8:27
  Speaker 1: don't know what that means, and so I I just
• 8:30
  Speaker 1: thought it was a very innocent question because you knew
• 8:32
  Speaker 1: what fingering was when you were twelve. I yeah, I know.
• 8:36
  Speaker 1: I think everybody, come on, do you know what it is? Now? No,
• 8:43
  Speaker 1: it's like, okay, imagine your body. I'll figure it out. No.
• 8:48
  Speaker 1: I didn't. Well, I think maybe we've talked about it.
• 8:50
  Speaker 1: I didn't know what any sex things were until they
• 8:52
  Speaker 1: were happy happening as an in real time learner. I
• 8:56
  Speaker 1: told you how, Yeah, I did, because the guy I
• 8:58
  Speaker 1: was talking about texting me, I was like, hey, why
• 9:01
  Speaker 1: did you say that you saw it invented oral sex
• 9:04
  Speaker 1: on women? Yeah? And I thought he was and I
• 9:06
  Speaker 1: thought it was a pervert. Yeah, I thought what he
• 9:10
  Speaker 1: listens to the podcast, he's a bit Yeah. Shout out
• 9:12
  Speaker 1: to Steven, who I thought invented oral sex. Anyways, Yeah,
• 9:16
  Speaker 1: we're still we're still tight. Was it the movie we're
• 9:19
  Speaker 1: talking about? It's Boogie Nights. Let me give you the
• 9:22
  Speaker 1: famous Caitlin's recap or whatever. This movie it's like an
• 9:27
  Speaker 1: ensemble cast, but the focus is a character named Dirk
• 9:32
  Speaker 1: Diggler played by Mark Wahlberg, and he is a seventeen
• 9:37
  Speaker 1: year old kid working in a nightclub. He sort of
• 9:40
  Speaker 1: gets scouted by this adult filmmaker. He's both an adult
• 9:45
  Speaker 1: and he makes adult films. Just in case you were confused, Well,
• 9:48
  Speaker 1: because one adult makes child films, let's revealed laters. So
• 9:52
  Speaker 1: it is a good distinction. It is, uh yeah, films
• 9:55
  Speaker 1: for and by children. It's like kids, Bob Yeah, oh boy,
• 10:01
  Speaker 1: Jack Horner right corner and he's like, hey, you should
• 10:05
  Speaker 1: work with me, and he's like okay, and then they
• 10:09
  Speaker 1: see his dick and it's huge and they're like, oh yeah,
• 10:11
  Speaker 1: we definitely want to work. We gotta employ this hog.
• 10:15
  Speaker 1: When did the word hog come into the vernacular? Because
• 10:18
  Speaker 1: I was waiting for her to be Alige in this
• 10:20
  Speaker 1: movie that was like sweet hog, you know, and never came.
• 10:23
  Speaker 1: I don't know when that happened. I feel like it
• 10:25
  Speaker 1: was a different scene, like a different the different social scene.
• 10:28
  Speaker 1: I feel like there were people, there were people that
• 10:30
  Speaker 1: Altamont talking about hogs. There had to be I feel
• 10:33
  Speaker 1: like that was, you know, the seventies is where the
• 10:35
  Speaker 1: phrase hog would because like maybe like a ken ke zy,
• 10:39
  Speaker 1: like you know, Portland bikers. It's like, you know, like
• 10:42
  Speaker 1: I don't want to call it a cork. I don't
• 10:44
  Speaker 1: want to call it a crank. There's got to be
• 10:46
  Speaker 1: something that's softer but gets the point across. And then
• 10:49
  Speaker 1: he's got a large farm animal. All right, I'm narrowed down. Okay,
• 10:53
  Speaker 1: uh big no ever, No, that's that's that implies female?
• 10:59
  Speaker 1: Yeah right right right? Horse? No close? Nope? Wait, back,
• 11:06
  Speaker 1: you were closer with horse? Hi? Okay, we're so close. Okay, Wait,
• 11:14
  Speaker 1: there's gotta be another vowel. We can put a hag.
• 11:17
  Speaker 1: All right, guys, I know I've said this a lot today,
• 11:21
  Speaker 1: but we're the next one we say. I think we're
• 11:23
  Speaker 1: gonna do it. And by the way, we're all bakers
• 11:25
  Speaker 1: that were all out of our minds on speed right now. Okay,
• 11:28
  Speaker 1: one to three h I think we got it. Great hogs, everybody,
• 11:37
  Speaker 1: we've all had our hogs out this entire time. Yep.
• 11:39
  Speaker 1: I'm a great, bright, beautiful, shining star. Okay, to all
• 11:42
  Speaker 1: the perverts listening right now, I hope your hogs have
• 11:45
  Speaker 1: been out. Yes, uh, we expect that of you. Hogs
• 11:50
  Speaker 1: out baby, welcome to the back. You gotta start that
• 11:55
  Speaker 1: every wait, do you have a catchphrasey after your podcast
• 11:58
  Speaker 1: grow up? Right, Well, now you gotta another one, and
• 12:00
  Speaker 1: it's hogs Out. It's the Bexel Cats. Hogs out, grow up.
• 12:07
  Speaker 1: The rest of the story, Yeah, sum, I know. Basically,
• 12:13
  Speaker 1: he's like, my name's Dirk now not Eddie, and I'm
• 12:16
  Speaker 1: gonna make these adult films and he like rises to
• 12:19
  Speaker 1: superstardom in the porn industry and everyone loves him and
• 12:23
  Speaker 1: it's huge dick. And then he starts doing a bunch
• 12:25
  Speaker 1: of coke and he has like everyone has sort of
• 12:27
  Speaker 1: like this fall from Grace at the end of the seventies,
• 12:30
  Speaker 1: and there's the starting of the eighties that all goes
• 12:32
  Speaker 1: to ship right exactly literally moment one of when it
• 12:37
  Speaker 1: all goes to chip Um. And then there's all these
• 12:39
  Speaker 1: secondary characters that each of their own subplot read rothchildk
• 12:44
  Speaker 1: chest Rockwell, yeah, okay, John c Riley a young hand
• 12:51
  Speaker 1: not to uh objectified John c Riley, but I'm gonna
• 12:55
  Speaker 1: go for it. Uh. It is so weird to see
• 12:58
  Speaker 1: John c Riley with like a tight little body and
• 13:01
  Speaker 1: the same hairline as he has today. Head up, he's
• 13:05
  Speaker 1: current John c Riley. And then from the neck down
• 13:09
  Speaker 1: he's like a babe. It's confusing. Yes, he's got a
• 13:13
  Speaker 1: subplot where he, you know, wants to be a magician,
• 13:17
  Speaker 1: and that just like hits really close to home from
• 13:20
  Speaker 1: the way that makes me want to flip a table.
• 13:23
  Speaker 1: Why Why? Because I feel like I'm drawn to people
• 13:27
  Speaker 1: who secretly want to be magicians and and it's just
• 13:31
  Speaker 1: a vile habit. I think. Yeah. I was at a
• 13:35
  Speaker 1: bar in college at again Penn State, and those sirens.
• 13:43
  Speaker 1: This guy was doing card tricks and then his friend
• 13:46
  Speaker 1: was doing like mentalism stuff, and I was so I
• 13:50
  Speaker 1: love magic, So I was like, oh my god, I
• 13:52
  Speaker 1: love this. Guys want to go? I asked neither of
• 13:56
  Speaker 1: them in particular. I just sort of posed the question
• 13:58
  Speaker 1: at both of them, and I said, do you want
• 14:01
  Speaker 1: to go on a date? And because they weren't sure
• 14:04
  Speaker 1: who the question was directed at, they both showed up.
• 14:07
  Speaker 1: So I went on a like three way date with
• 14:10
  Speaker 1: these two magicians, but one magician, one mentalist. Are you
• 14:15
  Speaker 1: sure this wasn't a nightmare you had? This was real
• 14:19
  Speaker 1: life's Red Shoe Diaries. I mean it was fun. They
• 14:25
  Speaker 1: did magic tricks the whole time. They didn't did no,
• 14:28
  Speaker 1: they didn't. And then did they pull anything out of
• 14:31
  Speaker 1: their hats? They pulled their hogs out, They pull out
• 14:34
  Speaker 1: their hogs from their hats, hogs out? Did they both
• 14:36
  Speaker 1: pull their hogs out? No, that didn't know. It was like,
• 14:39
  Speaker 1: this is a wild story. I love it. I'm gonna
• 14:42
  Speaker 1: make my penis disappear and then it just recedes into
• 14:46
  Speaker 1: his guy. I would want to see that trick. Love
• 14:56
  Speaker 1: a good trick. I took clowning classes one important for okay,
• 15:03
  Speaker 1: for love, I have found my inner clown. And it
• 15:08
  Speaker 1: was this different from the puppeteering classes. You took different thing.
• 15:12
  Speaker 1: Oh my god, Jamie didn't think. This is around the
• 15:15
  Speaker 1: same time, probably the same calendar year. Troubling year for me.
• 15:18
  Speaker 1: I took the took the puppet classes, and then amazingly,
• 15:22
  Speaker 1: the puppeteer, who was ten years older than me, never
• 15:26
  Speaker 1: fell in love with me, who lived in the attic
• 15:28
  Speaker 1: of the puppet theater. So I was like, all right,
• 15:30
  Speaker 1: let's be mature, let's move on. Is this like a
• 15:33
  Speaker 1: Phantom of the Paper situation. It's a fan of the opera.
• 15:41
  Speaker 1: If he doesn't give a funk about you, that's no fun.
• 15:44
  Speaker 1: And it's just a guy who lives in a dank
• 15:46
  Speaker 1: place with a weird face, with a weird face and
• 15:50
  Speaker 1: a lot of puppets, and then and then I was like,
• 15:54
  Speaker 1: all right, now I have a crush on the clown
• 15:57
  Speaker 1: and I took his clown class and gang I was
• 16:00
  Speaker 1: the star of the class. Uh, teachers at the clown class.
• 16:05
  Speaker 1: And then, uh, I never saw him again. Well, we're
• 16:09
  Speaker 1: talking about who knows. There's a lot of carnival music
• 16:12
  Speaker 1: and boogie nights. There is just saying Michael Penn score
• 16:15
  Speaker 1: very good. I believe it was Michael Penn that scored it.
• 16:18
  Speaker 1: And there's a lot of carnival music in it. So
• 16:20
  Speaker 1: this all this all check check out. I was listening
• 16:23
  Speaker 1: to Elo on the way over. Well, yeah, I love
• 16:25
  Speaker 1: l O. I'm almost at the end of the recap,
• 16:28
  Speaker 1: which has maybe been my worst one yet, but I
• 16:31
  Speaker 1: don't know, you almost two magicians in the middle of it.
• 16:34
  Speaker 1: I feel like it's been the best one. Uh. So
• 16:38
  Speaker 1: everyone has had sort of their fall from Grace Dirk.
• 16:41
  Speaker 1: Digglers like jerking off in front of people for money
• 16:44
  Speaker 1: and then they don't even pay him. They beat the
• 16:46
  Speaker 1: ship out of him instead. Things like that beat them up. Yeah. Uh,
• 16:51
  Speaker 1: and then everyone realizes, oh, maybe I should start doing
• 16:53
  Speaker 1: so much coke and like maybe get my life back
• 16:55
  Speaker 1: on track. And then you know, some g E d
• 16:58
  Speaker 1: s are taken and people who need help ask for help,
• 17:02
  Speaker 1: and then everyone sort of has a little kind of comeback. Yeah.
• 17:06
  Speaker 1: I was surprised at how pleasant the end of this
• 17:08
  Speaker 1: movie is, like everyone right, Yeah, William age Macie is
• 17:13
  Speaker 1: truly sort of the only victim of the movie. Well
• 17:16
  Speaker 1: and all those guys who got shot that covered Don
• 17:19
  Speaker 1: Cheedle in blood right, but that led to him and
• 17:22
  Speaker 1: his wife, But truly the only two innocent, nice, good,
• 17:27
  Speaker 1: perfect people other than Scotty. Uh, but Scotty is the
• 17:32
  Speaker 1: sin of the key, He's too covetous. But truly, the
• 17:36
  Speaker 1: only pure people in the movie are Don Cheetle and
• 17:40
  Speaker 1: I forget the actress's name who plays he marries um
• 17:42
  Speaker 1: Jesse st Vincent. Yes, yes, yes, who I believe was
• 17:46
  Speaker 1: played by an actual adult actress. Maybe I think so,
• 17:49
  Speaker 1: I'm not sure, Okay, r I P Philipsy, We're happy,
• 17:53
  Speaker 1: but this is like peak Philipsy were hoff and where
• 17:56
  Speaker 1: the whole movie He's like, what, why do you love me?
• 18:06
  Speaker 1: Here's my message to Philips and more. Hoffman's ghost grow up,
• 18:12
  Speaker 1: here's my ghost. Can I kiss you right now? I'm
• 18:16
  Speaker 1: gonna kiss you on the mouth. Please let me that's
• 18:19
  Speaker 1: how I please, let me kiss you on the mouth.
• 18:24
  Speaker 1: That he's like on the mouth. That is one of
• 18:27
  Speaker 1: many very hard scenes to watch in this movie. Yes,
• 18:30
  Speaker 1: the scene. The other one that's especially hard is whenever
• 18:35
  Speaker 1: Roller Girls in the limo Jack Horner and they pick
• 18:38
  Speaker 1: up that guy who she went to high school and
• 18:40
  Speaker 1: like slut shamed her in the middle of an exam,
• 18:43
  Speaker 1: and then that's when she's like, I'm not going to
• 18:44
  Speaker 1: be in high school anymore, rolls out of the classroom.
• 18:47
  Speaker 1: But yeah, that seems super empowering. That's completely flipped, like
• 18:50
  Speaker 1: the empowerment of that slut shame, but also I think
• 18:53
  Speaker 1: led her back to go finish her. So it's like
• 18:56
  Speaker 1: a weird circular thing for a woman who wears wheels
• 18:59
  Speaker 1: all the time. Well, she's found to go on circles.
• 19:03
  Speaker 1: Was the puns are coming back? She don't take her
• 19:06
  Speaker 1: roller skates off to have sex. That's cool. Yeah, I
• 19:13
  Speaker 1: love how they sucked that song from Burt Reynolds and
• 19:19
  Speaker 1: I have a dream. At the end of that scene though,
• 19:22
  Speaker 1: after they get out of the limo, and then they
• 19:24
  Speaker 1: beat the ship out of that guy and then she
• 19:26
  Speaker 1: like stomps him on the face with her rollers. Yeah,
• 19:30
  Speaker 1: and I was like, you know what, good for her?
• 19:32
  Speaker 1: I usually don't condone violence, but you stop that guy
• 19:35
  Speaker 1: in the face. This is the Yeah. I like roller
• 19:38
  Speaker 1: Girl and she is part of this movie. I was,
• 19:43
  Speaker 1: you know, as a ciss hat white straight male. Yeah.
• 19:50
  Speaker 1: I don't watch the I don't watch movies like Looking
• 19:53
  Speaker 1: for the Bechtel Test. You know, it's just not a
• 19:55
  Speaker 1: thing that I think of, But this movie passed it
• 19:58
  Speaker 1: within the first five minutes. There is a like that
• 20:01
  Speaker 1: very uh we've talked about this towards the end of
• 20:03
  Speaker 1: the thing is that you're stomping on our faces with
• 20:07
  Speaker 1: your roller. That's a good one. Thanks. Uh yeah, well
• 20:12
  Speaker 1: we'll get to that. But I never listened to the
• 20:14
  Speaker 1: podcast that I showed up twenty five minutes late, so
• 20:17
  Speaker 1: typical fund up on that. God the podcast because groovy baby,
• 20:30
  Speaker 1: I'm gonna you ever have that like thought where you're
• 20:33
  Speaker 1: just like, what if I just hit my head so
• 20:35
  Speaker 1: hard at the table I passed out. That's like a
• 20:39
  Speaker 1: lot of first date thoughts have had. Uh No, this
• 20:42
  Speaker 1: is a fun one, Okay, so like, if you're a
• 20:45
  Speaker 1: dinner resonant or you know, at a at a Denny's,
• 20:48
  Speaker 1: perhaps and go on first dates at a Denny's, I insist, okay,
• 20:54
  Speaker 1: But anyways, like if your hand and you're having a
• 20:56
  Speaker 1: bad time and you're like, I hate this person, do
• 20:58
  Speaker 1: you ever think about like taking the knife and just
• 21:01
  Speaker 1: chopping your hand off just to like get them to
• 21:04
  Speaker 1: stop talking, because then they'd be like, oh wait, speaking
• 21:07
  Speaker 1: of like a horrible first dates, I'm gonna tell a
• 21:09
  Speaker 1: very quick story that's also very relevant to the movie
• 21:12
  Speaker 1: where So I went on the first date in New
• 21:14
  Speaker 1: York City with a guy who turned New York City
• 21:19
  Speaker 1: concrete jungle where dreams are made of. So you were
• 21:22
  Speaker 1: walking here, walking here with this guy there's you can't do? Okay,
• 21:27
  Speaker 1: grow up? Um, so you're pizza pie. I was like, hey,
• 21:33
  Speaker 1: I'm walking here. I went on a date. We had
• 21:38
  Speaker 1: nothing in common. He was very very boring. We did
• 21:41
  Speaker 1: briefly talk about what he did for a living, which
• 21:43
  Speaker 1: was he's like, and I'm an actor in a model
• 21:45
  Speaker 1: and okay, cool, what have you been in? And I
• 21:48
  Speaker 1: don't know? It was a match dot he was pretty,
• 21:51
  Speaker 1: which will come into the story later. I met him
• 21:54
  Speaker 1: on match dot com and um, but like I left
• 21:56
  Speaker 1: the date earlier. It was so miserable that I was like,
• 21:58
  Speaker 1: I can't even I was there for an hour and
• 22:00
  Speaker 1: then I was like, I'm going to go home and
• 22:01
  Speaker 1: never talked to you again. Fast forward to a year later,
• 22:06
  Speaker 1: I was living in Central Pennsylvania and I got a
• 22:10
  Speaker 1: job as an assistant to a talent scout who scouted
• 22:15
  Speaker 1: for men to be in jerk off videos for gay
• 22:18
  Speaker 1: porn websites. I think I know where this is going,
• 22:21
  Speaker 1: and I'm so excited. This is how you guys met originally. Yeah,
• 22:27
  Speaker 1: I scouted you. Yeah, wild I love this story. First
• 22:33
  Speaker 1: my name was Beefie Beaver and then I'm now I'm
• 22:35
  Speaker 1: I've lost some weight and I'm OOPSI otter and so
• 22:38
  Speaker 1: it's fun. It's fun. We're having fun. Okay. So we
• 22:43
  Speaker 1: were having a hard time finding people, and I was like, hey,
• 22:46
  Speaker 1: I went on a date with this guy who was
• 22:49
  Speaker 1: like very good looking, like the type of guy we
• 22:51
  Speaker 1: were looking for. They wanted very chiseled exactly, and he
• 22:55
  Speaker 1: I know I've frequented and he with the description. So
• 23:01
  Speaker 1: I was like, why don't we like email him and
• 23:04
  Speaker 1: just see because he said he was an actor in
• 23:05
  Speaker 1: a model he might be willing to do this type
• 23:08
  Speaker 1: of work, who knows. So I still had his phone
• 23:11
  Speaker 1: number and we googled it to see if like an
• 23:12
  Speaker 1: email address would pop up. I didn't, But what did
• 23:15
  Speaker 1: pop up was like twelve profiles advertising him as a
• 23:19
  Speaker 1: gay for pay mail escort. I guess the lord must
• 23:25
  Speaker 1: be in New York City. So I had gone on
• 23:30
  Speaker 1: a date with what turned out to have been a
• 23:33
  Speaker 1: mail prostitute. Uh, so we emailed him or we found
• 23:37
  Speaker 1: there was like a contact page on one of his profiles.
• 23:39
  Speaker 1: It was midnight Cowboy at this is not a movie jazz.
• 23:45
  Speaker 1: He never wrote back, though, and I was like, well,
• 23:48
  Speaker 1: why wouldn't you do this stuff already? Yeah, maybe he
• 23:52
  Speaker 1: does it for the love of the game. Well maybe,
• 23:55
  Speaker 1: Well why didn't he do it pro bono? Then? Or
• 24:00
  Speaker 1: hen I had a gun pointed. I thought I was
• 24:04
  Speaker 1: gonna say, boner. Hey, shall we talk about the movie? Sure? No, okay,
• 24:11
  Speaker 1: it is like my favorite movie. If I had to
• 24:13
  Speaker 1: pick if I if many times do you think you've
• 24:15
  Speaker 1: seen it? Oh? God? Uh? Countless? I mean like start
• 24:19
  Speaker 1: to finish, not doing anything but watching the movie, probably
• 24:22
  Speaker 1: like twenty this movie is at least for me, going
• 24:26
  Speaker 1: to be kind of tricky to talk about in this
• 24:28
  Speaker 1: context because the porn industry has historically been based on
• 24:34
  Speaker 1: objectifying people women, especially women. Uh So a movie about
• 24:41
  Speaker 1: this industry is like maybe not going to portray women
• 24:45
  Speaker 1: in the best light if they're like depicting it accurately.
• 24:49
  Speaker 1: But also like this movie doesn't do a terrible job,
• 24:53
  Speaker 1: and they do acknowledge there are different points in the
• 24:55
  Speaker 1: story where like Dirk Diggler's like, I don't want to
• 24:58
  Speaker 1: see women treated that it and um, there's a scene
• 25:02
  Speaker 1: when he's about to have his first sex scene with
• 25:05
  Speaker 1: amber A k a Pink Nips and they're like, Okay,
• 25:10
  Speaker 1: here's what you're gonna do. And he's like, well do
• 25:12
  Speaker 1: we just go like right into the sex And he's
• 25:14
  Speaker 1: like yeah, yeah, And then he turns to Ambery he's like,
• 25:16
  Speaker 1: are you okay with that? Like, so he's like making
• 25:19
  Speaker 1: sure everything is about to happen is something that she's
• 25:21
  Speaker 1: consenting to. So you know, that was interesting to see
• 25:25
  Speaker 1: on screen. Um, and also like not a big deal,
• 25:28
  Speaker 1: Like it wasn't like, you know, it wasn't one of
• 25:30
  Speaker 1: those things where it's like we're going to talk about consent,
• 25:32
  Speaker 1: but like very quietly throughout, like you could root for
• 25:35
  Speaker 1: Mark Wahlbert because the entire time he was like, very
• 25:39
  Speaker 1: I feel like consenting and wasn't the monster that you
• 25:43
  Speaker 1: would expect somebody that was on that much cocaine and
• 25:46
  Speaker 1: an important industry to be right. In fact, not a
• 25:50
  Speaker 1: lot of the characters were as villainous as you might
• 25:53
  Speaker 1: think considering the industry that they were working. And although
• 25:56
  Speaker 1: there is that part whenever I think Amber is making
• 25:59
  Speaker 1: a documentary about porn or specifically her colleagues, and she's like, well,
• 26:05
  Speaker 1: what about the violence that's happening towards women in these movies,
• 26:08
  Speaker 1: and he's she's speaking specifically about the Brocklanders series, and
• 26:12
  Speaker 1: Dirk's just like, well, like whatever, that's just what the
• 26:15
  Speaker 1: movie is, Like, that's my character, that's not me. And
• 26:18
  Speaker 1: then read Rothchild said something similar. He's like, well, if
• 26:21
  Speaker 1: you know, if movies cause violence, and then we could
• 26:23
  Speaker 1: just eliminate violence altogether by getting rid of movies. And
• 26:26
  Speaker 1: it's like, I feel like that at least is portrayed
• 26:28
  Speaker 1: as like comedy, they're stupid. Yeah, exactly, it was played
• 26:32
  Speaker 1: for comedy. That was one of the dumbest moments they had.
• 26:34
  Speaker 1: It was like that, and then the when they recorded
• 26:36
  Speaker 1: their song, We're like there too, funny sidest moments like
• 26:39
  Speaker 1: as friends. That was another scene that was so hard
• 26:41
  Speaker 1: to watch because they were so bad at music and
• 26:45
  Speaker 1: Dirk Deggler is the worst singers. And then they were like,
• 26:49
  Speaker 1: we made gold here. If we could just get our tapes,
• 26:51
  Speaker 1: we could have a record deal and give us our
• 26:53
  Speaker 1: tapes because that's everyone we know. Delusion, I live for Delusion. Well,
• 27:01
  Speaker 1: rock you, we will like a little kitten. The tone
• 27:09
  Speaker 1: of this movie is very interesting because it goes from
• 27:12
  Speaker 1: like having quite a bit of comic relief to that
• 27:15
  Speaker 1: whole sequence where like everyone is like they've totally sucked
• 27:19
  Speaker 1: their lives up. And it starts with William H. Macy
• 27:22
  Speaker 1: shooting his wife and her lover and then himself, and
• 27:26
  Speaker 1: then that just becomes this whole sequence where everyone is
• 27:30
  Speaker 1: a disaster. They're all like coke aduled and they're jerking
• 27:34
  Speaker 1: off for ten dollars in front of people, which they
• 27:37
  Speaker 1: were doing at the beginning. Its Well, it was a
• 27:41
  Speaker 1: fun full circle moment when he's jerking off for ten
• 27:44
  Speaker 1: dollars again. Well, I'll get back there, sure, but like it.
• 27:50
  Speaker 1: And this sequence is so tragic people are getting the
• 27:53
  Speaker 1: ship beat out of them and stuff, but um so
• 27:56
  Speaker 1: that the tone kind of shifts, but then it shifts
• 27:59
  Speaker 1: back again end towards the end of the movie where
• 28:02
  Speaker 1: they're all like, hey, it's all right, I took my
• 28:04
  Speaker 1: g E d and I get to be in a
• 28:06
  Speaker 1: poor movie again and I'm going to show my dick
• 28:09
  Speaker 1: and because I'm I'm Dirk Diggler and I'm cool. But
• 28:13
  Speaker 1: there's so much there's a bunch of like running jokes,
• 28:15
  Speaker 1: where one is when William H. Macy keeps walking in
• 28:21
  Speaker 1: on his wife sucking some other dude and he's like,
• 28:24
  Speaker 1: what the hell are you doing and she's just like,
• 28:26
  Speaker 1: get out of here. You're embarrassing me. And that has
• 28:30
  Speaker 1: one of my favorite line, one of my favorite lines
• 28:31
  Speaker 1: of the movie, which is actually a funk up that
• 28:34
  Speaker 1: they kept in where he goes Williams goes up to
• 28:37
  Speaker 1: Ricky J. The magician and the I R L magician
• 28:41
  Speaker 1: who was in this movie, and he goes, my wife
• 28:44
  Speaker 1: has an assent her cock in the driveway and it's
• 28:47
  Speaker 1: not and he's just so flustered that he says ass
• 28:50
  Speaker 1: in her cock and that was a funk up, but
• 28:52
  Speaker 1: they kept it in because Paul Thomas Anderson just loved
• 28:55
  Speaker 1: how legit flustered Little Bill was. And yeah, I caught
• 28:58
  Speaker 1: that and I wrote it down, is like that is funny,
• 29:02
  Speaker 1: total funk up by William H. Macy. Not planned what
• 29:04
  Speaker 1: fun up. He's unnoticed that running joke is like such
• 29:11
  Speaker 1: a class example of like the rule of three, and
• 29:14
  Speaker 1: it heightened each time, and then at the very end,
• 29:16
  Speaker 1: like how much more can you heighten it besides like
• 29:19
  Speaker 1: suicides exactly, But like up until then, it was like
• 29:23
  Speaker 1: a really funny running gag. And but also it spoke
• 29:27
  Speaker 1: to the power that women had over men in this movie.
• 29:30
  Speaker 1: And that's something that I really tried to watch it,
• 29:32
  Speaker 1: like really focusing on the women in this movie because
• 29:35
  Speaker 1: usually I'm a read rothchild. That's how I watched the movie.
• 29:38
  Speaker 1: I watched it from his perspective, like when I was
• 29:40
  Speaker 1: like a teen, I just like the John c Riley
• 29:44
  Speaker 1: and then trying not to be the philipsine more Hoffman.
• 29:47
  Speaker 1: But I watched how the women affected the men and
• 29:50
  Speaker 1: how they interacted with each other a lot, and women
• 29:53
  Speaker 1: had the power almost throughout the entire movie except for
• 29:56
  Speaker 1: when the ship hit like really hit the ski kids
• 30:00
  Speaker 1: was when like there weren't that as much like women
• 30:03
  Speaker 1: in charge. Like the whole reason that this happened was
• 30:06
  Speaker 1: because Marky Mark's mom is the most powerful woman in
• 30:09
  Speaker 1: that family, you know, like if you're talking like pure
• 30:12
  Speaker 1: power dynamics, cook Dad, cook dad, and then like wanted
• 30:16
  Speaker 1: to her son. Maybe it was weird that there was
• 30:18
  Speaker 1: a weird moment in the beginning when he shoves here
• 30:21
  Speaker 1: against the wall. I was like, are they get kissed? Yeah?
• 30:24
  Speaker 1: I did not interpret it that way. Oh I felt
• 30:28
  Speaker 1: it it was this morning for mommy. Yeah, no, but
• 30:31
  Speaker 1: that I mean that was interesting because it's like, you know,
• 30:33
  Speaker 1: the movie is already so long, there was no time
• 30:36
  Speaker 1: to explain why the family dynamic was that way per se,
• 30:40
  Speaker 1: but it was so like it heightened so quickly and
• 30:43
  Speaker 1: so intensely. I guess that's like one of the female
• 30:47
  Speaker 1: characters where I was like why is that? You know,
• 30:49
  Speaker 1: like why is that the dynamic here? She understood why
• 30:53
  Speaker 1: they did it for like narrative reasons, because she's basically
• 30:56
  Speaker 1: the catalyst that gets him to be like Okay, I'm
• 30:59
  Speaker 1: gonna choose his path of being and I need a daddy,
• 31:03
  Speaker 1: right yeah. Also, yeah, a mommy and a daddy. Yeah.
• 31:08
  Speaker 1: So basically Amber ends up being his like mother figure,
• 31:11
  Speaker 1: and then Jack Horner ends up being his father figure.
• 31:14
  Speaker 1: And so it was kind of upsetting to see his mom,
• 31:17
  Speaker 1: his actual mom, being such like a shrew and just
• 31:20
  Speaker 1: such an awful person. But I mean that's how some
• 31:24
  Speaker 1: people are, so you know, I guess it makes sense.
• 31:28
  Speaker 1: And the dad was portrayed just as shitty. He like
• 31:32
  Speaker 1: had no idea how to connect with his son at
• 31:35
  Speaker 1: all or his wife for the world that you could
• 31:37
  Speaker 1: just how this guy was, like it was one of
• 31:39
  Speaker 1: those three you just like staring out of a window
• 31:41
  Speaker 1: and then the scenery behind him changes. About that dad, Yeah,
• 31:48
  Speaker 1: spin up movie cut dad, cut daddy, cut daddy. So, Josh,
• 31:53
  Speaker 1: your point about like women kind of being the most
• 31:57
  Speaker 1: powerful force of the movie, I I agree, and I disagree.
• 32:01
  Speaker 1: I do like how anytime there's a sex scene, it's
• 32:04
  Speaker 1: often like on the women's terms and they're like calling
• 32:07
  Speaker 1: the shots and they're saying like, don't come inside me,
• 32:09
  Speaker 1: I never take my roller skates off, blah blah blah.
• 32:12
  Speaker 1: But in terms of like the actual narrative and the
• 32:15
  Speaker 1: portrayal of their stories, like so every single character or
• 32:19
  Speaker 1: every main character has their own subplot where they have
• 32:23
  Speaker 1: like an individual desire or something they're pursuing. So you've
• 32:25
  Speaker 1: got like Don Cheatle wants to open a stereo store.
• 32:29
  Speaker 1: John c Riley wants to be a magician, and he's
• 32:32
  Speaker 1: like a musician and our poet and stuff like that,
• 32:37
  Speaker 1: and the sugar, the sugar is full of bees, but
• 32:43
  Speaker 1: the bees don't sting. Oh yeah, So you have these
• 32:49
  Speaker 1: different male characters have like these pretty strong desires, whereas
• 32:52
  Speaker 1: the women, in particular Roller Girl and Amber, they kind
• 32:57
  Speaker 1: of have their subplots are just either like not as
• 33:00
  Speaker 1: clearly defined or if they do have like a distinct desire,
• 33:04
  Speaker 1: they're not pursuing it that ambitiously or nearly as ambitiously
• 33:07
  Speaker 1: as the men are. So like Amber's character she has
• 33:10
  Speaker 1: a son. I mean, I feel free to disagree with me,
• 33:14
  Speaker 1: but um, she has a son and she is trying
• 33:16
  Speaker 1: to like pursue getting him back and it doesn't work
• 33:19
  Speaker 1: out for her. But I don't know, it just it
• 33:21
  Speaker 1: didn't strike me as like being as strong or is
• 33:25
  Speaker 1: a prominent part of the story as these other like
• 33:27
  Speaker 1: male subplots were. And then same thing with Roller Girl
• 33:30
  Speaker 1: to me, she can't. She's just you know, doing the movies.
• 33:34
  Speaker 1: She wants to go back and get her G E D. Eventually,
• 33:36
  Speaker 1: that's something that's revealed because she drops out of high school,
• 33:39
  Speaker 1: but she doesn't really have a definitive desire that's like
• 33:42
  Speaker 1: carrying her subplot. I kind of disagree with that. I
• 33:45
  Speaker 1: think I think that they, you know, we could both.
• 33:49
  Speaker 1: We could argue that both these characters have clearly defined goals,
• 33:52
  Speaker 1: but they're just not as successful at achieving them. And
• 33:56
  Speaker 1: I think that that is like probably part of why
• 34:00
  Speaker 1: this movie reflects this industry and all this stuff where,
• 34:03
  Speaker 1: you know, for the guys that feel like it pans
• 34:05
  Speaker 1: out in a more black and white way. But I
• 34:09
  Speaker 1: think that with with Uh, with Amber she wants her son,
• 34:13
  Speaker 1: and then we see with the documentary she makes that
• 34:16
  Speaker 1: she also sort of has higher aspirations than just being
• 34:19
  Speaker 1: like the true woman important and neither of those really
• 34:23
  Speaker 1: pan out for her. But I feel like there is
• 34:25
  Speaker 1: like an aspiration for something more and in your right
• 34:28
  Speaker 1: that it's a little bit less defined. But Uh, and
• 34:30
  Speaker 1: then Roller Girl with her G E D also you know,
• 34:34
  Speaker 1: like lots of roadblocks. But I don't know, I didn't
• 34:39
  Speaker 1: I did think that for sure, every character's subplot was
• 34:43
  Speaker 1: clearly defined, and just for the female characters, it didn't
• 34:46
  Speaker 1: tend to work out as black and white. I would
• 34:49
  Speaker 1: also say that, um, they're most Both of their most
• 34:52
  Speaker 1: intense desires were freedom, like the freedom to do what
• 34:56
  Speaker 1: they want as women. You know. I think that that
• 34:59
  Speaker 1: was like, really the crux of ambers thing was she
• 35:02
  Speaker 1: liked to party and fuck and be the mother of
• 35:07
  Speaker 1: all of these people who are already old enough to
• 35:09
  Speaker 1: agree with her and want to do But then she
• 35:11
  Speaker 1: wanted her son, like she wanted to have it both ways,
• 35:14
  Speaker 1: and like it's the seventies, you know, like and same
• 35:17
  Speaker 1: with the roller girl, like you saw her in school,
• 35:19
  Speaker 1: like she was trying hard to like figure it out,
• 35:22
  Speaker 1: and then like the dudes at the school were fucking assholes,
• 35:25
  Speaker 1: and so she wanted the free She doesn't take off
• 35:27
  Speaker 1: her skates. She gets what she wants, you know, in
• 35:29
  Speaker 1: her way. I think it's a lot of it is
• 35:32
  Speaker 1: a commentary on society like that time and how hard
• 35:36
  Speaker 1: it is for a woman to even be able to
• 35:40
  Speaker 1: come up with a distinct desire in this world, you know,
• 35:44
  Speaker 1: like you're not useful in the seventies if you're a woman,
• 35:49
  Speaker 1: like to to capitalism, to industry, to whatever, you know,
• 35:53
  Speaker 1: you would have to fight so much fucking harder. And
• 35:55
  Speaker 1: so I think a lot of this was like the
• 35:58
  Speaker 1: you know, last remnants of really love trying to like
• 36:01
  Speaker 1: get for freedom. It also could be the men's characters
• 36:05
  Speaker 1: desires are more outward and the women's characters designs were
• 36:10
  Speaker 1: more like internals. That's an interesting point though, because I
• 36:14
  Speaker 1: think that you could probably find a moment where every
• 36:17
  Speaker 1: male man or sub character clearly states what they want,
• 36:21
  Speaker 1: maybe with the exception of Philip Seemore Hoffmann, because I
• 36:23
  Speaker 1: don't want to kiss you on the math, I want
• 36:24
  Speaker 1: to kiss you in the mouth. He does. But but
• 36:28
  Speaker 1: we don't really hear those sort of mission statements made
• 36:31
  Speaker 1: by the female characters, which maybe why it's less clear,
• 36:33
  Speaker 1: or if we do, you know, we could sort of
• 36:36
  Speaker 1: argue that roller Girl sort of makes that mission statement,
• 36:39
  Speaker 1: uh in that scene where she's talking to Amber, but
• 36:42
  Speaker 1: that's yeah, like, but that's just them, you know, and
• 36:46
  Speaker 1: it's like never stated to a male character. Yeah, And
• 36:49
  Speaker 1: well that's also when she's like, I'm going to go
• 36:51
  Speaker 1: back and get my g E D. And we don't
• 36:54
  Speaker 1: learn that about her until that's towards the end of
• 36:57
  Speaker 1: the movie. Yeah, but did she know that about her? Um,
• 37:01
  Speaker 1: maybe not until that point. Is that what you mean?
• 37:04
  Speaker 1: Maybe that was like a moment of clarity for her.
• 37:08
  Speaker 1: She has kicked around for quite a bit of the
• 37:10
  Speaker 1: movie before we know what she actually wants. We also
• 37:13
  Speaker 1: have to remember that she's very young and like but
• 37:17
  Speaker 1: the same thing seduced into this world, just like Eddie
• 37:20
  Speaker 1: from Torrents. You know. But yeah, I mean this is
• 37:24
  Speaker 1: why this movie is, like, it's very complex. So it's
• 37:27
  Speaker 1: like kind of difficult to at least for me to
• 37:30
  Speaker 1: very long. It's very to take a walk. It's two
• 37:34
  Speaker 1: and a half hours long. Yeah, that exceeds my attention span.
• 37:38
  Speaker 1: But I did my best. Wait, you so you've seen
• 37:40
  Speaker 1: it countless time, So you spent like day's worth of time,
• 37:44
  Speaker 1: Probably at least two days of my life. It's been
• 37:47
  Speaker 1: watching Boogie Nights and I love it. I mean, Titanic
• 37:51
  Speaker 1: is three and a half hours long. I've probably seen
• 37:53
  Speaker 1: it fifty times. Yeah, we've maybe a whole week, probably
• 37:57
  Speaker 1: at least three days watching the Jinks. Yeah, like I
• 38:01
  Speaker 1: think all the way through talked about him no bathroom breaks.
• 38:09
  Speaker 1: I am on a piss strike. I am announcing it
• 38:12
  Speaker 1: now on this podcast two years. Hey, here's a question
• 38:16
  Speaker 1: in The Big Lebowski. Whenever the dude meets Jackie Treehorn,
• 38:21
  Speaker 1: is that I wonder if that's a vague allusion to
• 38:25
  Speaker 1: well Jack Corner. Isn't that like a nursery friend, little Jack? Yeah,
• 38:28
  Speaker 1: I mean that's a fake name, Corner, Yeah, pointing themselves.
• 38:34
  Speaker 1: I should have chosen a porn scout name for myself.
• 38:37
  Speaker 1: Oh yeah, actually I had one because my boss. My
• 38:41
  Speaker 1: boss made me business cards to hand out that I
• 38:45
  Speaker 1: never did, never handed a single one out to anyone.
• 38:51
  Speaker 1: You should start handing them out now. I might still
• 38:54
  Speaker 1: have that. I kept my first name, but my last
• 39:00
  Speaker 1: name was Kelly. Caitlyn Kelly for right now. That's a
• 39:05
  Speaker 1: great name. I think you're going to say your name
• 39:08
  Speaker 1: was like sex Xena. Oh that would have been good.
• 39:11
  Speaker 1: Fuck guy, horsewoman Caitlin the Hog, big old hog Kelly.
• 39:20
  Speaker 1: Hogs out hogs out grow up dogs out Kelly. Let's
• 39:25
  Speaker 1: let's do our general tests, Aristole. If we forget any less, no, uh,
• 39:33
  Speaker 1: steampunk imagery in this movie, I'm happy to report very low.
• 39:38
  Speaker 1: Is there any steampunk immagery that not a rogue gear.
• 39:43
  Speaker 1: And there's two magicians in the movie. There's two magicians,
• 39:46
  Speaker 1: and yet they suck, and so steampunk culture is not glorified.
• 39:51
  Speaker 1: I'd like to point out that Josh Androwski is currently
• 39:54
  Speaker 1: vaping the vision. It smells like coffee. It smells like
• 40:04
  Speaker 1: breakfast here, bab um. What else? There's no bald women
• 40:09
  Speaker 1: in this movie, so I can't apply her bald woman test.
• 40:12
  Speaker 1: What else is? We did mention Titanic already? We did
• 40:14
  Speaker 1: mention Titanic. We said grow up? Did we say I'm triggered?
• 40:17
  Speaker 1: If not, I'm triggered. I've said it a couple of times. Okay,
• 40:20
  Speaker 1: you've been triggered quite a bit. Yeah, this is very
• 40:22
  Speaker 1: trigger woman. There's no women. It doesn't pass the fact text.
• 40:31
  Speaker 1: Wait doesn't it? Because I was gonna say that's not
• 40:35
  Speaker 1: stem I wish that roller Girl had had a more
• 40:39
  Speaker 1: defined desire. She wanted to go back and get her
• 40:42
  Speaker 1: g e d to specifically go on to be a
• 40:45
  Speaker 1: woman instead. I want to be a woman instead. Hold on.
• 40:48
  Speaker 1: Julianne Moore explains the process in which a chemical enters
• 40:53
  Speaker 1: your body Cocaine to Marky Mark the first time he
• 40:57
  Speaker 1: does it, which is chemistry that ain't STEMP. There's also
• 41:01
  Speaker 1: a lot of chemistry in this movie that ain't STEMP.
• 41:04
  Speaker 1: Baby chemistry, the lab, the chemistry between Julianne Moore and
• 41:12
  Speaker 1: Mark Wahlberg during that first sex scene when she says
• 41:14
  Speaker 1: to come in her Oh like a romantic chemistry. Funny. Okay,
• 41:23
  Speaker 1: Josh was doing it funny. We didn't realize what's up there? Oh,
• 41:29
  Speaker 1: how many degrees you have? I have two degrees. I
• 41:32
  Speaker 1: mentioned one of them already, a film degree from Penn State.
• 41:35
  Speaker 1: Do you just can't stop? I can't. And then I
• 41:38
  Speaker 1: have a second, a master's degree in screenwriting from Boston University.
• 41:44
  Speaker 1: I still just got my one in radio broadcasting. I
• 41:47
  Speaker 1: dropped out of high school. Much like roller Girl, I'm
• 41:50
  Speaker 1: the roller Girl of the Los Angeles East Side alternative
• 41:53
  Speaker 1: comedy scene. I kept wanting to be able to drop
• 41:57
  Speaker 1: parallels from like the porn industry to like the comedy community.
• 42:01
  Speaker 1: It's very similar, I think. So you're listening to nine,
• 42:07
  Speaker 1: this is oh I forgot in the other episode where
• 42:10
  Speaker 1: I did my R and B late night radio show boy,
• 42:12
  Speaker 1: was that I gave the wrong name to the show
• 42:15
  Speaker 1: and the actual name of the show is way better.
• 42:17
  Speaker 1: It's you're listening to this secret spot. Oh no, that
• 42:22
  Speaker 1: sounds like a Louis Guzman club name the Rodriquez Brothers's
• 42:27
  Speaker 1: supposed to be and all he wants he just wants
• 42:33
  Speaker 1: to be in one of the movies. Yeah, yeah, wants
• 42:35
  Speaker 1: to be fucking a lady, which he doesn't get to do.
• 42:37
  Speaker 1: But he wants his brother to see him a lady,
• 42:40
  Speaker 1: but his brothers get to see him betraying Chess Rockwell
• 42:44
  Speaker 1: and read roth your wait Chess Rockwell? And what was
• 42:46
  Speaker 1: Dirk Deegler's fake name rock Landers? And then he gets
• 42:49
  Speaker 1: punched and falls way too early? Uh can we tell?
• 42:54
  Speaker 1: One of my favorite jokes in the movie is they're
• 42:57
  Speaker 1: going shopping with the money that like Dirk Degler now
• 43:00
  Speaker 1: as from like and they have a pair of shoes
• 43:03
  Speaker 1: and someone goes, oh are they lizard and he goes, no,
• 43:05
  Speaker 1: they're Italian. Loved it. My other favorite thing is Jesse St.
• 43:12
  Speaker 1: Vincent in her oil paintings. Yes they are very bad,
• 43:19
  Speaker 1: but that's another thing where it's like that she very
• 43:22
  Speaker 1: quietly has an ambition and doesn't talk about it. She
• 43:24
  Speaker 1: doesn't externalize it like the men do. And then also, um,
• 43:27
  Speaker 1: what's her name um that Don Jetle was with Becky Barnett.
• 43:31
  Speaker 1: Becky Barnett also just like gets out of the industry,
• 43:36
  Speaker 1: marries a man that she clearly liked more than Don Jeedle.
• 43:41
  Speaker 1: Uh yeah, he was in the auto industry. They moved
• 43:45
  Speaker 1: to Bakersfield, and she was she got married and she
• 43:47
  Speaker 1: was super happy, and she was totally she seemed like
• 43:50
  Speaker 1: the most well adjusted one out of all of them
• 43:52
  Speaker 1: and got the funk out and was super quiet about it.
• 43:54
  Speaker 1: And so I think there is definitely something to the
• 43:56
  Speaker 1: idea of the men just so externalizing their desires and
• 43:59
  Speaker 1: the women in herinalizing them more. And but I think
• 44:02
  Speaker 1: she out of everybody because everybody else's success comes at
• 44:06
  Speaker 1: hitting a real bottom. And as the movie has it,
• 44:10
  Speaker 1: Becky Barnett, she gets out, she gets a family, she's
• 44:14
  Speaker 1: living in Bakersfield with her husband, who's got a nice
• 44:16
  Speaker 1: job for that, you know, for like the early eighties
• 44:19
  Speaker 1: management baby, Yeah bring it. Ah. Yeah, that is interesting.
• 44:23
  Speaker 1: I I kind of forgot about Becky Um. She gets
• 44:26
  Speaker 1: very little screen time. She and Jesse st Vincent don't
• 44:30
  Speaker 1: have a ton of screen time. Yeah, I don't know,
• 44:33
  Speaker 1: I mean, I I was I kind of forgot about that,
• 44:36
  Speaker 1: And it's funny because I think it would be sort
• 44:38
  Speaker 1: of like an easy gag to be like, oh and
• 44:40
  Speaker 1: Jesse sam Vincent sucks at painting. But no one in
• 44:44
  Speaker 1: this movie is very good at anything, regardless of gender.
• 44:49
  Speaker 1: Everyone's kind of fucking mediocre and just scraping by, Like
• 44:54
  Speaker 1: you know, Amber's documentary is not good. John c Riley
• 44:58
  Speaker 1: is not good at poetry or magic, like everyone's sort
• 45:02
  Speaker 1: of sucking. Is a horrible singer, he's yeah, yeah, and
• 45:05
  Speaker 1: that's kind of sad, like all of their ambitions with
• 45:08
  Speaker 1: I don't know, I can't I don't know if I
• 45:10
  Speaker 1: can think of any Jack Horner's movies suck. Yeah, I'm
• 45:13
  Speaker 1: just about to say sad they're not good, and I
• 45:15
  Speaker 1: mean sure, like low budget porn movies aren't gonna be
• 45:19
  Speaker 1: but those are sure. And then he kept saying like
• 45:23
  Speaker 1: I want to make films. I want I want people
• 45:26
  Speaker 1: to sit and watch and stew in that. So just
• 45:31
  Speaker 1: because they're so engaged with the story, I think the
• 45:34
  Speaker 1: thing is And this gets to another reason why I
• 45:37
  Speaker 1: really like this movie is that it portrays sex workers
• 45:40
  Speaker 1: as just people. These people are, They're they're not great,
• 45:44
  Speaker 1: They're not bad like they're somewhere in between. They're just
• 45:47
  Speaker 1: human beings. Even like the new trailer where like it's
• 45:51
  Speaker 1: like the so called feminist movie where they like accidentally
• 45:54
  Speaker 1: kill a stripper, you know, it's like fuck you, Like yeah,
• 45:58
  Speaker 1: like this this movie's portrayal of sex works like an
• 46:01
  Speaker 1: honest thing that just people do and then leave or
• 46:03
  Speaker 1: then go back to or whatever. It's the same as anything.
• 46:06
  Speaker 1: It's the same as any people. And I think that
• 46:08
  Speaker 1: is a really underplayed part of the movie, is that
• 46:12
  Speaker 1: just how fucking real all these people are and they
• 46:16
  Speaker 1: also happen to be sex workers. Yeah, I'm on board
• 46:20
  Speaker 1: co signed. You know what, I would like to take
• 46:22
  Speaker 1: credit for all that I like to co sign, but
• 46:26
  Speaker 1: now it's mine. Yeah. Well, as when you agree to
• 46:30
  Speaker 1: do this podcast, if you give any like cool and
• 46:32
  Speaker 1: good opinions, they actually become ours. That I should have
• 46:36
  Speaker 1: read the fine prints to the podcast once before I
• 46:40
  Speaker 1: flip the table. Go flift the table. It's that that's
• 46:44
  Speaker 1: really all I ever want to do in my whole life.
• 46:45
  Speaker 1: If I flip to table today, I can die tomorrow
• 46:47
  Speaker 1: and totally fine, Well, you gotta wait to plup that table.
• 46:51
  Speaker 1: It's got to be the perfect table. Because if you
• 46:53
  Speaker 1: waste it on this, I barely a table, folks. My
• 46:58
  Speaker 1: Here's how I think this is going to go. I'm
• 47:00
  Speaker 1: going to live to be ninety four years old beyond
• 47:03
  Speaker 1: my deathbed, and my great great grandchild will be like, hey,
• 47:07
  Speaker 1: you move. Did you ever flip that table? And I'll
• 47:15
  Speaker 1: say I'll look at my tattoo which reminds me to
• 47:17
  Speaker 1: do it, and I'll say, no, I never did, and
• 47:20
  Speaker 1: she'll set up a table and then I'll almost flip it,
• 47:24
  Speaker 1: but I'll die in the middle. Here's how I wanted
• 47:27
  Speaker 1: to have Here's how it should happen. So you're on
• 47:29
  Speaker 1: a you're on a boat, a boat Titanic. Yeah, so
• 47:36
  Speaker 1: you're gonna be like I've told my story about always
• 47:39
  Speaker 1: wanting to flip the table, and then you're going to
• 47:41
  Speaker 1: flip there over the edge of a boat and it's
• 47:45
  Speaker 1: going to sink down into the water, and then you're
• 47:47
  Speaker 1: going to go to sleep that night and die and
• 47:49
  Speaker 1: then go to heaven. And you're gonna see, don't even
• 47:54
  Speaker 1: start with the heaven seed. I like tears jumped to
• 47:57
  Speaker 1: my eyes. Just wait and Titanic, do they go to heaven? Yes,
• 48:00
  Speaker 1: Patamic ends in heaven. They go to heaven. I'm sorry,
• 48:04
  Speaker 1: I still think it's a dream. They go to heaven.
• 48:11
  Speaker 1: It's not a dream, it's real life. And it's so
• 48:16
  Speaker 1: sad because they walk in and you're like, it's all
• 48:19
  Speaker 1: the beaters see characters, and then they got to hang
• 48:22
  Speaker 1: out here too, and then they're all there. That's not
• 48:27
  Speaker 1: the person heaven. Bit. Well, there's a lot of parallel heavens.
• 48:32
  Speaker 1: I don't understand why that would be hold on, you
• 48:34
  Speaker 1: can't just zoom right by that. There's a lot of
• 48:37
  Speaker 1: parallel heavens who are all aware of that. What also,
• 48:42
  Speaker 1: why would everyone has their own Why would heaven be
• 48:44
  Speaker 1: the place died all those people died on the ship.
• 48:47
  Speaker 1: Why would their version of heaven be like, oh, remember
• 48:50
  Speaker 1: the ship that killed me. Jesus is just on the
• 48:53
  Speaker 1: cross in heaven, just hopping around on like the bottom
• 48:56
  Speaker 1: of the heaven. But what if it's mine, then what
• 49:00
  Speaker 1: are you doing? Well? Then where is he? He has
• 49:02
  Speaker 1: to know a little bit and his heaven that he's
• 49:04
  Speaker 1: doing that in mind, it's parallel, Jesus. What if heaven
• 49:07
  Speaker 1: is like you get plugged into the matrix or like
• 49:09
  Speaker 1: what I mean want and then you're like, this is
• 49:11
  Speaker 1: how I don't make this into sci fi. I'm having
• 49:14
  Speaker 1: fun with my heaven, my heaven when my heaven would
• 49:19
  Speaker 1: be Yeah, that last thing in Titanic except I am
• 49:23
  Speaker 1: Fabricio's girlfriends. You're even a minor character in your own
• 49:28
  Speaker 1: heaven fun. Yes, Like at the beginning, I cast myself.
• 49:31
  Speaker 1: I only have four five seconds of the screen time
• 49:33
  Speaker 1: in my own movie. Wow, it's it's it's round. We're
• 49:36
  Speaker 1: going in circles, just like we're on wheels. And my
• 49:39
  Speaker 1: blood blood pressure is insane right now, did you bleed
• 49:42
  Speaker 1: a lot or something? I feel like my bloods about
• 49:45
  Speaker 1: to first out of my body all myfices. Yeah. Yeah,
• 49:51
  Speaker 1: there's a surprising amount of the murder, and there's a
• 49:55
  Speaker 1: lot of blood. There's a lot of blood, a lot
• 49:57
  Speaker 1: of blood for people's heads and mouths and went in Titanic, No,
• 50:02
  Speaker 1: they cut that all out. I was like, can we
• 50:03
  Speaker 1: talk about Titanic now? Remember when they used the necklace
• 50:06
  Speaker 1: to strangle all those people. Well, there's murder in both movies.
• 50:09
  Speaker 1: We can you know what, I'd love to keep talking
• 50:11
  Speaker 1: about Titanic. I would not. I just thought a book nights.
• 50:15
  Speaker 1: I'm like, I'm bored. I want to talk about Titanic
• 50:19
  Speaker 1: is so good. Does anyone have any And he's got
• 50:23
  Speaker 1: heaven in it. Yeah, there is heaven in it. There's
• 50:26
  Speaker 1: heaven and boogie Knights. Heaven and boogie Knights is the
• 50:29
  Speaker 1: fucking when they all are dancing together and they all
• 50:32
  Speaker 1: have a group dance routine on the disco, that's a metaphor,
• 50:35
  Speaker 1: yea for heaven. Everything heaven and we're never going to die.
• 50:40
  Speaker 1: That's heaven. Titannic is real heaven. And you take his
• 50:44
  Speaker 1: hand and then it pans up and hey, it's the
• 50:46
  Speaker 1: captain end of the movie. I'm triggered. Um, can we
• 50:51
  Speaker 1: talk about the scene where Dirk Diggler pulls out the out?
• 51:00
  Speaker 1: I like that this movie is basically an extended objectification
• 51:05
  Speaker 1: of a man based on his dick size. He's just
• 51:09
  Speaker 1: treated mostly as a commodity. They're like, you're we're going
• 51:11
  Speaker 1: to make money off you because you're a huge dick,
• 51:14
  Speaker 1: and that's what this movie is about. Um, and you're
• 51:17
  Speaker 1: too stupid, like his mom is just like you're too
• 51:19
  Speaker 1: stupid to know anything? Yeah something that. Yeah, that another
• 51:26
  Speaker 1: hard scene to watch, especially because he almost sucked his mom.
• 51:30
  Speaker 1: I don't I would have I would have forgiven everything.
• 51:33
  Speaker 1: If they had just give me a little kiss. If
• 51:37
  Speaker 1: he was like, Mom, give me a little kids, like mom,
• 51:42
  Speaker 1: or give me a little kids. I want to kiss
• 51:45
  Speaker 1: my own. Let's talk about the same where he pulled
• 51:47
  Speaker 1: his stick out in front of his mom. Mom to TVs.
• 51:54
  Speaker 1: Very need more oxygen. Okay, old hogs just left because
• 52:05
  Speaker 1: he can't handle I I bet he's doing he's break. No,
• 52:10
  Speaker 1: he's jerking off. We haven't have one of those inns.
• 52:12
  Speaker 1: We haven't know he's jerking off in someone's paying in
• 52:15
  Speaker 1: ten bucks. But he'll be thinking about a hog. Mom. Wait, okay,
• 52:20
  Speaker 1: so this is what I was thinking about about hogs,
• 52:22
  Speaker 1: old hogs wild hogs? Is that like a hogs reference?
• 52:27
  Speaker 1: I mean, look, what isn't? But is it? I don't.
• 52:30
  Speaker 1: I've never seen wild dogs, but I assume about motorcycles.
• 52:34
  Speaker 1: But it's like also like old dicks. So you're confusing
• 52:37
  Speaker 1: old dogs. You're you're confusing old dogs as wild hogs,
• 52:40
  Speaker 1: which I totally understand. But there are two very different movies.
• 52:43
  Speaker 1: Isn't there old hogs? No, that is a that is
• 52:47
  Speaker 1: a genre. That is just a genre. That's not a movie.
• 52:50
  Speaker 1: That's a part. If you go, yeah, there is a U.
• 52:55
  Speaker 1: I purchased whippets last night at the exotic boutique right
• 52:59
  Speaker 1: by my house. There is an entire section of pornography
• 53:03
  Speaker 1: that is like one of the titles was, Oops, I
• 53:05
  Speaker 1: fuck your Grandma? Where do you get whip it? At
• 53:09
  Speaker 1: the portant Place. I do want everyone that I am
• 53:13
  Speaker 1: the whippet comedian. God damn it, I'm going to be
• 53:16
  Speaker 1: the dug bends at a whipp Its. I didn't know
• 53:17
  Speaker 1: how many I'm gonna do all my shows at three eleven,
• 53:22
  Speaker 1: which is the Times and whips get getting whipped with it.
• 53:26
  Speaker 1: Your theme song can be getting whippy with It. There
• 53:30
  Speaker 1: is literally a song called whipp It. There's you need
• 53:35
  Speaker 1: to do any work for it. You got to write
• 53:38
  Speaker 1: a different song. That's so much extra alright, deal, you
• 53:45
  Speaker 1: can hire out the person who wrote the Bactel Cast
• 53:47
  Speaker 1: theme song to write who is Mike Kaplan wrote the lyrics? Okay?
• 53:52
  Speaker 1: We were like, I think again, I can see my
• 53:53
  Speaker 1: peripherals screen. It's three eleven. Okay, okay. You know what
• 53:58
  Speaker 1: turns out there is steampunk. You're in the weird chrome
• 54:06
  Speaker 1: steampunk vape cigarettes. It's like as long as a bugle,
• 54:13
  Speaker 1: it's ridiculous. One of the buttons a little flag on
• 54:17
  Speaker 1: FROs it his bag. He got vapid. He keeps he
• 54:20
  Speaker 1: keeps blowing out smoke cloth. It's not smoke, gets vape.
• 54:25
  Speaker 1: He keeps vaping little cogs out of his mouth and
• 54:29
  Speaker 1: swayed vests. I hate it. Hey, does anyone have any
• 54:32
  Speaker 1: final thoughts about the movie? I like it very poignant. Yes,
• 54:41
  Speaker 1: so it does does a couple different times. I was
• 54:44
  Speaker 1: pleasantly it's in the first five minutes it does with
• 54:47
  Speaker 1: the yeah yeah. Roller Girl rolls up to Amber at
• 54:51
  Speaker 1: the table and Ambers like, hey, do you call that girl?
• 54:54
  Speaker 1: You gotta get that checked off. You don't call tomorrow,
• 54:56
  Speaker 1: you won't be able to get to see her. Presumably
• 54:59
  Speaker 1: she has a T I or an S t I
• 55:01
  Speaker 1: or something. She'satively like, I imagine someone trying, you know,
• 55:05
  Speaker 1: like if you have a U T I and someone
• 55:07
  Speaker 1: tries to talk to you and you're like, like, there's
• 55:09
  Speaker 1: someone tries to dance with her. She's like, I gotta go, yeah,
• 55:12
  Speaker 1: I'm on fire. Then it happens again. There's a montage
• 55:16
  Speaker 1: where we see a few different scenes between Amber and
• 55:19
  Speaker 1: roller Girl. Again, they're doing a bunch of coke yeah,
• 55:22
  Speaker 1: rule girls, like let's take a pottery class. I want
• 55:24
  Speaker 1: to get my g e. D lasts for maybe fifteen
• 55:27
  Speaker 1: seconds and then it cuts back and then she they
• 55:29
  Speaker 1: are talking about Dirk for a minute. They're like I
• 55:32
  Speaker 1: miss him. But then she's like, be my mom. Will
• 55:35
  Speaker 1: you say that you're my mom? And she's like, yes, honey,
• 55:37
  Speaker 1: I'm your mom. And that's arguably the most intense part
• 55:40
  Speaker 1: of the entire movie. Like, like, I mean, it's a
• 55:43
  Speaker 1: super intense movie at parts, but I mean it's to me,
• 55:47
  Speaker 1: it's more intense than the violence. It's more intense than
• 55:50
  Speaker 1: any of the actual physical violence done. Is just the
• 55:53
  Speaker 1: emotional violence of that scene and just they're so desperate
• 55:57
  Speaker 1: and they need each other so much and this world
• 55:59
  Speaker 1: has given them fucking nothing and they just have each
• 56:01
  Speaker 1: other and it's like so intense. I've gotta I got
• 56:06
  Speaker 1: a vape. Yeah together, Aristotle. I want to talk about,
• 56:13
  Speaker 1: just real quick, the romantic relationships or sort of lack
• 56:17
  Speaker 1: thereof in like maybe Jack is like dating slash with
• 56:23
  Speaker 1: roller Girl and Amber, we're not really sure, like no
• 56:26
  Speaker 1: one's really together, Like they're fucking on screen like on
• 56:29
  Speaker 1: camera all the time, but no one like really had
• 56:33
  Speaker 1: except for like Don Cheatle and um Justine st Vincent.
• 56:38
  Speaker 1: The people who like get together and then they pair
• 56:40
  Speaker 1: off and then they basically leave the industry are really
• 56:43
  Speaker 1: the only ones who are like managed to like sustain
• 56:46
  Speaker 1: a like a solid romantic relationship everyone who stays in it,
• 56:49
  Speaker 1: which like stands to reason. I mean, like imagine trying
• 56:54
  Speaker 1: to sustain a relationship where you're just like, oh, but
• 56:57
  Speaker 1: you gotta go fuck my friend for money, right, But
• 57:00
  Speaker 1: also like it seems like Amber and Jack have an understanding,
• 57:05
  Speaker 1: you know, they have a mutual respect almost like a
• 57:08
  Speaker 1: kind of but not even I wouldn't even say Henry
• 57:11
  Speaker 1: because Jack for as fucking weird as he is and
• 57:14
  Speaker 1: and correct me if I'm wrong. As a man watching it,
• 57:16
  Speaker 1: Jack never came off like a creep, like the colonel
• 57:19
  Speaker 1: or even the other the guy that was the dying
• 57:22
  Speaker 1: guy in Magnolia that that was the videotape guy, like
• 57:25
  Speaker 1: all of them, like we're fucking creeps. But to me,
• 57:29
  Speaker 1: Jack never seemed like a creep. He just seemed like
• 57:32
  Speaker 1: he was like, I run a business, and I know
• 57:34
  Speaker 1: you're the type of people that would be in this business.
• 57:36
  Speaker 1: You need me, I need you, and let's have an understanding.
• 57:39
  Speaker 1: He didn't seem to exploit anyone more than necessary, more
• 57:43
  Speaker 1: than they wanted to be exploited for a moment at least,
• 57:45
  Speaker 1: you know, and then afterwards, like he stopped. And the
• 57:48
  Speaker 1: only true moment of exploitation you really saw at the
• 57:51
  Speaker 1: hands of a woman with Jack was that Limos scene
• 57:54
  Speaker 1: and Jack almost murdered the man afterwards. That did it?
• 57:58
  Speaker 1: You know, I feel like it is obviously per problematic,
• 58:02
  Speaker 1: but like there wasn't understanding we could speculate us to what.
• 58:06
  Speaker 1: He only went after him after he said, well, your
• 58:08
  Speaker 1: movie stuck now anyway, and that's what triggered him to
• 58:11
  Speaker 1: go and like be And then it was roller girl,
• 58:16
  Speaker 1: who's like, you disrespected me and then she stomps on
• 58:18
  Speaker 1: his face with her roller skates. Um, so who knows
• 58:21
  Speaker 1: a few if part of I mean he was talking
• 58:23
  Speaker 1: about like, hey, this this is a woman. Don't treat
• 58:26
  Speaker 1: her like just a hole like in the fucking you
• 58:28
  Speaker 1: know Limo. So I mean, obviously, yeah, you could positive
• 58:31
  Speaker 1: that it was his the slight to his own ego
• 58:34
  Speaker 1: that made him do it. I could totally see that.
• 58:36
  Speaker 1: But it just was interesting to me in a movie
• 58:38
  Speaker 1: where it would have been so easy to paint people
• 58:41
  Speaker 1: with such broad strokes. Paul Thomas Anderson did such a
• 58:44
  Speaker 1: great job of like finely detailing three names. Yeah. Uh No.
• 58:50
  Speaker 1: Jack's character is is interesting to me, like because I
• 58:54
  Speaker 1: don't think that he's a pervert either, but it's just
• 58:56
  Speaker 1: like his I feel like his whole narrative is just
• 58:59
  Speaker 1: like this really sad, desperate search for integrity of some sort.
• 59:06
  Speaker 1: And he and it seems like he treats every area
• 59:09
  Speaker 1: of his life with that approach of like I'm going
• 59:12
  Speaker 1: to approach the people I work with with integrity. I'm
• 59:14
  Speaker 1: gonna try to approach my my own work with integrity.
• 59:17
  Speaker 1: And none of it is great or works out well.
• 59:21
  Speaker 1: But it's like I feel like he always compromises it.
• 59:23
  Speaker 1: He always compromises it when push comes to shove, but
• 59:26
  Speaker 1: like wants to believe that he's this principle alpha boy.
• 59:31
  Speaker 1: There's a scene as everyone else is deteriorating in their lives,
• 59:35
  Speaker 1: are going to ship. His also sort of is because
• 59:38
  Speaker 1: first of all, he had to like compromise and switch
• 59:41
  Speaker 1: to video, which he didn't really do, and then he's
• 59:44
  Speaker 1: directing a movie with uh, a little boy, and then
• 59:50
  Speaker 1: movie and and and uh and Jesse san Vincent's like,
• 59:54
  Speaker 1: is he gonna suck me in the ass? And he's like,
• 59:56
  Speaker 1: I don't know, do you want him to? And she's
• 59:57
  Speaker 1: like yeah, that'd be great. He's like all right, fuck
• 59:59
  Speaker 1: her in the as like he just he's kind of
• 1:00:02
  Speaker 1: given up. He's like, well, I'm not I can't you
• 1:00:04
  Speaker 1: know what is that is right? This isn't the art
• 1:00:08
  Speaker 1: I was making rama. But when you're calm. I do
• 1:00:14
  Speaker 1: like the scene where whenever the Dirk comes back and
• 1:00:17
  Speaker 1: it's like I need help? Can you help me? And
• 1:00:19
  Speaker 1: he's just like give me a huggle, pal. They make up. Yeah, yeah,
• 1:00:23
  Speaker 1: but but it is God. Those characters are so weird,
• 1:00:28
  Speaker 1: and I think that Julianne Moore's character is kind of this,
• 1:00:30
  Speaker 1: like uh, people who like get off on being needed
• 1:00:35
  Speaker 1: people around them, Like I think the Amber and Jack
• 1:00:38
  Speaker 1: are both like that in a way that I feel
• 1:00:40
  Speaker 1: like in real life is so weird. Yeah yeah, where
• 1:00:46
  Speaker 1: they're like, you know, I know that you funked up
• 1:00:49
  Speaker 1: and I probably shouldn't forgive you, but I need to
• 1:00:51
  Speaker 1: feel important, so I'm going to make this big show
• 1:00:53
  Speaker 1: of forgiveness and then you're just like, this is not
• 1:00:56
  Speaker 1: this is just gonna fault to ship again for sure.
• 1:00:59
  Speaker 1: I don't know. I mean, most of the people in
• 1:01:01
  Speaker 1: the movie have pretty severe emotional baggage. I mean, like
• 1:01:04
  Speaker 1: we said before, one of the reasons that Dark leaves
• 1:01:08
  Speaker 1: and like enters into this this enterprise is because his
• 1:01:13
  Speaker 1: mom was HORRILYA is where you were going, I was
• 1:01:16
  Speaker 1: gonna say horribly. He was very emotionally verbally abusive. Okay, daddy,
• 1:01:27
  Speaker 1: market mark kiss, Yeah, daddy, I have to I'm just
• 1:01:35
  Speaker 1: cock daddy. I'm not too directed by Joel made. We're
• 1:01:42
  Speaker 1: going to kill kill herself. I'm gonna flip a table. Yeah,
• 1:01:47
  Speaker 1: his mom was very emotionally and verbally abusive, and you know,
• 1:01:52
  Speaker 1: he hadn't so he had to leave. And so, like,
• 1:01:57
  Speaker 1: I mean, we don't know a lot of other people's
• 1:02:00
  Speaker 1: stories or any really, but we can kind of imagine
• 1:02:03
  Speaker 1: that they all have a lot of emotional baggage. That
• 1:02:06
  Speaker 1: except Cosmo, the Chinese boy who throws fireworks, she who
• 1:02:12
  Speaker 1: is the true hero of the tale. Oh man, that
• 1:02:14
  Speaker 1: scene is God, It's just one hard scene to watch
• 1:02:19
  Speaker 1: after another. That scene is not hard to watch. That
• 1:02:22
  Speaker 1: scene is the easiest scene to watch. That scene is
• 1:02:24
  Speaker 1: such a payoff after so much brutal, fucking awful ship.
• 1:02:27
  Speaker 1: It's just funny. It's funny, but I mean with the
• 1:02:31
  Speaker 1: firecrackers going off, Yeah, it's start a lot. That's startling.
• 1:02:34
  Speaker 1: And I love how they're so jumpy. It's just the
• 1:02:36
  Speaker 1: most tense. Yeah, it is literally hard to watch in
• 1:02:40
  Speaker 1: that there's booms and bangs throughout it, but it's not
• 1:02:43
  Speaker 1: hard to watch like emotionally sure y yeah exactly, but yeah,
• 1:02:48
  Speaker 1: that seems so funny. And Tom Jane, what a performance
• 1:02:50
  Speaker 1: by Tom Jane. The dancer, the strip, the stripping, the
• 1:02:55
  Speaker 1: stripper who comes in and ruins the heist at the end,
• 1:02:58
  Speaker 1: who's Red's friend? But yeah, Tom Jane kills it as
• 1:03:02
  Speaker 1: the Chippendal's dancer turned coke at it turned guy who
• 1:03:05
  Speaker 1: introduces them all to Crystal meth. Uh, and I love
• 1:03:08
  Speaker 1: watching his car, Like as soon as Tom Jane introduces
• 1:03:11
  Speaker 1: them to Crystal meth, then you just the next time
• 1:03:15
  Speaker 1: you see uh, Dirk Diggler's car, it looks like absolute shit,
• 1:03:19
  Speaker 1: like you're out all the coke. His car looks fine.
• 1:03:21
  Speaker 1: But then the minute he was like because that was
• 1:03:23
  Speaker 1: also the first time that he was a dick to
• 1:03:25
  Speaker 1: roller Girl was when Tom ja was like, careful to
• 1:03:28
  Speaker 1: only do bumps. This is crystal and and fucking Dirk
• 1:03:31
  Speaker 1: Tiggers like like he just takes a whole rail. And
• 1:03:34
  Speaker 1: then roller girl comes in. She's like, how are you
• 1:03:36
  Speaker 1: and he's like whatever, Yeah it is. I was impressed
• 1:03:40
  Speaker 1: with how long Dirk Diggler is decent to people in
• 1:03:44
  Speaker 1: this movie. He pretty far like Pique Philip Syemore homing
• 1:03:47
  Speaker 1: like I'm so dummy, but I'm so horny. That's every
• 1:03:52
  Speaker 1: Philip sye Ar hoping character ever, but Mark, and Mark
• 1:03:55
  Speaker 1: handles it rather well and he's like no, but I
• 1:03:59
  Speaker 1: love you yes, and then and then he leaves and
• 1:04:04
  Speaker 1: it was like, oh, what a sweet little buff teenager. Yeah,
• 1:04:07
  Speaker 1: he was such a sweet teen meat, sweet teen beef,
• 1:04:11
  Speaker 1: sweet teen beef, sweet teen beef, sweet teen beef. Daddy's
• 1:04:17
  Speaker 1: out there hogs out baby that sweet teens of consenting ages.
• 1:04:29
  Speaker 1: Of course, without that hog. That's why I say in
• 1:04:35
  Speaker 1: public at night, whoa. My phone just buzzed and said
• 1:04:39
  Speaker 1: time for bed. Look, it's a time for bed. Can
• 1:04:50
  Speaker 1: do that. You gotta go to sleep. Now. You talk
• 1:04:54
  Speaker 1: too much about tea and beef, typer bed bed? Well,
• 1:04:58
  Speaker 1: does anyone have any else do you you want to say
• 1:05:00
  Speaker 1: about the movie, is that twenty minutes ago? Uh, Alphad
• 1:05:04
  Speaker 1: Mallina steals a scene. Oh god, the one scene, the
• 1:05:07
  Speaker 1: only scene that matter. If that movie was just that scene,
• 1:05:09
  Speaker 1: I'd love it just as much. I would like to
• 1:05:11
  Speaker 1: draw out the comparison of Alphad Mellina's scene Steeler in
• 1:05:16
  Speaker 1: Boogie Nights to Christopher Waltkin scene Steeler and Jeelie, which
• 1:05:22
  Speaker 1: is another movie done on that Uh that Klein gets
• 1:05:27
  Speaker 1: upset just thinking about. I'm furious right now, you're driving
• 1:05:33
  Speaker 1: me to vape. I'm sorry. It's a really good scene.
• 1:05:36
  Speaker 1: Christopher Walkin clearly has food he brought from craft services
• 1:05:40
  Speaker 1: and has it in the scene the whole time. We
• 1:05:43
  Speaker 1: could hear you vaping, Oh my god, trying to do
• 1:05:46
  Speaker 1: it as audibly as possible, because I do not care
• 1:05:48
  Speaker 1: all about this story, what allowed vape, of the homes
• 1:05:52
  Speaker 1: of vaping? Should we should we rate the movie? Yes? Okay?
• 1:05:56
  Speaker 1: What's your scale? Oh? Zero to five? Nipples and nipples
• 1:06:00
  Speaker 1: being great? Five nipples is the highest score. Nipples are good.
• 1:06:05
  Speaker 1: You got to describe them. Okay, So you guys go first,
• 1:06:08
  Speaker 1: or do you want me to go first? You go last?
• 1:06:11
  Speaker 1: You're a man, put your muzzle back on. Shut up
• 1:06:15
  Speaker 1: a second. But now I'm okay. Oh no, he's making
• 1:06:18
  Speaker 1: too much control. He's in the main frame. See everything,
• 1:06:31
  Speaker 1: numbers are colored. Did you give it though? Man? Again,
• 1:06:41
  Speaker 1: I this movie is it's hard. It's a little muppet noise.
• 1:06:52
  Speaker 1: I mean, I guess three and a half again. It's
• 1:06:57
  Speaker 1: a movie about people working in porn, which again is
• 1:07:02
  Speaker 1: an industry that revolves almost entirely around objectifying people. Although
• 1:07:10
  Speaker 1: I think there may maybe some recent developments in the
• 1:07:12
  Speaker 1: porn industry where people are kind of like taking back
• 1:07:16
  Speaker 1: power and like this is porn for women and buy
• 1:07:19
  Speaker 1: women and it's not so horrible. Yeah, because it's everyone's
• 1:07:24
  Speaker 1: gonna come all the time. You're never going to stop
• 1:07:27
  Speaker 1: people from coming. You could just stop the people from
• 1:07:29
  Speaker 1: getting hurt to make other people come. Please stop reading
• 1:07:32
  Speaker 1: my uncle's tombstones. Incredibly triggering, unbelievable. I guess r I
• 1:07:40
  Speaker 1: p Uncle Louis, we miss you. I'm down here in hell.
• 1:07:49
  Speaker 1: Let me tell you I'm great in my hog gripped
• 1:07:53
  Speaker 1: off every day. It's a dream hog rip off. Oh,
• 1:08:00
  Speaker 1: it's so good. Who there's so many different versions of heaven.
• 1:08:07
  Speaker 1: You know, coal is getting his dick ripped off every day. Hey,
• 1:08:10
  Speaker 1: he should call that the doctor who gave birth to
• 1:08:13
  Speaker 1: you twice because he did a penis transplant. We should
• 1:08:16
  Speaker 1: add that to the list. Was I born in mate
• 1:08:19
  Speaker 1: or au guess, we don't know. I'd say like three
• 1:08:26
  Speaker 1: and a half. Again, good points were made, but I
• 1:08:29
  Speaker 1: still wanted to see women have I just wanted to
• 1:08:32
  Speaker 1: see them be more ambitious or have like more clearly
• 1:08:35
  Speaker 1: defined desires that were a bit more cauthartic, because we
• 1:08:38
  Speaker 1: see like the men I got my got my stereo
• 1:08:40
  Speaker 1: store now, or I'm a performing magician, and then like
• 1:08:44
  Speaker 1: the women are just like, well, I kind of I
• 1:08:46
  Speaker 1: don't really do anything but um, for a movie that
• 1:08:49
  Speaker 1: could have treated the female characters in it very poorly,
• 1:08:53
  Speaker 1: it didn't. And it even addressed like violence towards women
• 1:08:56
  Speaker 1: in porn. So I think overall it did a pretty
• 1:08:59
  Speaker 1: good job hub, but I still have some some complaints
• 1:09:03
  Speaker 1: about it, some notes, some com plaints. I'm gonna give
• 1:09:10
  Speaker 1: it three and a half as well. I think that's good, uh,
• 1:09:12
  Speaker 1: for all the reasons you said. And also there are
• 1:09:14
  Speaker 1: some scenes where it's like we're using naked ladies as
• 1:09:18
  Speaker 1: set dressing. In this scene maybe a little bit. Um
• 1:09:22
  Speaker 1: we do. They also linger on roller girl roller skating
• 1:09:26
  Speaker 1: around like pretty much looking at yeah, yeah, yeah, we
• 1:09:32
  Speaker 1: see that a bunch. Yeah that's true. Um so I'll
• 1:09:35
  Speaker 1: give it three and a half as well, And I
• 1:09:37
  Speaker 1: give two nipples too hard troubled nipples to cut daddy,
• 1:09:45
  Speaker 1: give one leaky faucett nipple to horny mommy, and give
• 1:09:51
  Speaker 1: a half nipple to the perfect who got beat up
• 1:09:57
  Speaker 1: in jail. This is a five nip. This is a
• 1:10:01
  Speaker 1: five thousand, six hundred nipples. This is a five an
• 1:10:06
  Speaker 1: effort for me, defend yourself, defend your nip choice. I mean,
• 1:10:11
  Speaker 1: it's my favorite movie. It takes it takes a it
• 1:10:16
  Speaker 1: takes a subject that is I mean, this was like
• 1:10:20
  Speaker 1: eight heggs in a duffel bag and like, you know whatever,
• 1:10:23
  Speaker 1: like those like let's go kill a stripper, Like there
• 1:10:25
  Speaker 1: was nothing at all about the adult industry that treated
• 1:10:29
  Speaker 1: any of them like the human beings that they are.
• 1:10:33
  Speaker 1: And it also was like the soundtrack was phenomenal. The
• 1:10:37
  Speaker 1: movie was just like I just thought that the most
• 1:10:39
  Speaker 1: complex characters in the movie were The most complex character
• 1:10:43
  Speaker 1: in the movie to me was Amber. You know, everybody
• 1:10:45
  Speaker 1: else was pretty straightforward and Julianne Moore's performance at Amber
• 1:10:48
  Speaker 1: or as Amber like I fell in love with when
• 1:10:51
  Speaker 1: I was fifteen years old, Like I wanted her to
• 1:10:53
  Speaker 1: be my horny mommy. Uh and I just like couldn't
• 1:10:56
  Speaker 1: handle it. It's like her performance. I think it's one
• 1:11:00
  Speaker 1: of the most like emotionally complex and like she's so
• 1:11:04
  Speaker 1: much more developed than every other man. Every man because
• 1:11:09
  Speaker 1: they have their their wants and needs are so distinct
• 1:11:14
  Speaker 1: and often so external. Are they delusional? Also delusional? She
• 1:11:21
  Speaker 1: just seems I don't know, she's the anchor of that movie.
• 1:11:23
  Speaker 1: She's the glue of the movie. She's the jizz that
• 1:11:26
  Speaker 1: glues the pages shut in the script of that movie.
• 1:11:29
  Speaker 1: I love her, and I also like watching brother Girls
• 1:11:33
  Speaker 1: stomp the ship out of that fucking asshole that ruled
• 1:11:37
  Speaker 1: I don't know, I mean, I totally understand your three
• 1:11:40
  Speaker 1: and a half nips and uh as a as a boy,
• 1:11:43
  Speaker 1: as a boy toy, as as OOPSI otter. I am
• 1:11:48
  Speaker 1: allowing myself the privilege to not get triggered, prav I'm
• 1:11:54
  Speaker 1: using my priv and everybody's just themselves and like going
• 1:11:57
  Speaker 1: through everybody, male and female are just constantly playing at
• 1:12:00
  Speaker 1: their looks like that's a super underrated part of the
• 1:12:02
  Speaker 1: movie is that constantly everybody's playing with their luck and
• 1:12:06
  Speaker 1: cheetles like Rick James I it finally takes off that
• 1:12:11
  Speaker 1: stupid wig and just gets honest. Yeah, and then they
• 1:12:15
  Speaker 1: about Sunrise. They better than Sunset. Yeah, it's like the
• 1:12:19
  Speaker 1: cutest thing. And then they have a baby and they
• 1:12:22
  Speaker 1: are actually in love. Yeah. Yeah, I loved it. I
• 1:12:25
  Speaker 1: thought it was super uplifting. And again the score is amazing.
• 1:12:28
  Speaker 1: Dummies fall in love and that's what that was like
• 1:12:30
  Speaker 1: the best scene of like you like the sunset, like
• 1:12:33
  Speaker 1: the sunset, but my god, but Sunrise it's better. It's
• 1:12:36
  Speaker 1: just good. Oh yeah, I feel the same one. I thought, yeah,
• 1:12:40
  Speaker 1: this nice. So I was like. My other favorite moment
• 1:12:43
  Speaker 1: from the movie is when I think it's William H.
• 1:12:46
  Speaker 1: Mazie is talking to I want to say, like the
• 1:12:48
  Speaker 1: d P and they're talking about the movie that they're
• 1:12:52
  Speaker 1: supposed to shoot in a couple of days, and they're like, well,
• 1:12:54
  Speaker 1: is there even a script? And they're like, I don't know,
• 1:12:56
  Speaker 1: Like they clearly just make up the scenes as they go.
• 1:13:00
  Speaker 1: Story doesn't matter, and they're just fine with it. Well,
• 1:13:03
  Speaker 1: there's a line that I also whenever I make a thing,
• 1:13:05
  Speaker 1: like my friends and I make a thing, uh, we
• 1:13:08
  Speaker 1: always say like when we're lighting and their shadows shadows
• 1:13:10
  Speaker 1: in life, Dude, like this that's just like, yeah, why
• 1:13:14
  Speaker 1: are we gonna light this? It's there's shadows in life,
• 1:13:17
  Speaker 1: Like that's their whole. That's like a production mentality. It's
• 1:13:20
  Speaker 1: their shadows of life. Yeah, that's the name of my
• 1:13:24
  Speaker 1: new email band. All right. I like sweet teen Beef
• 1:13:30
  Speaker 1: is my like fucking room room or cycle music. I
• 1:13:35
  Speaker 1: was getting robed. Everybody's just getting rubbed. Genderless rubub, non
• 1:13:43
  Speaker 1: battery robe, sweet teen beef. Yeah, you just had that
• 1:13:47
  Speaker 1: tag it. Uh. So my nips belong to Cosmo. Two
• 1:13:52
  Speaker 1: of them belong to Cosmo the Chinese because there those
• 1:13:55
  Speaker 1: of firecracker nips. He's also wearing a Rick Springfield shirt
• 1:13:59
  Speaker 1: while Jesse Girl plays They Love Jesse's Girl. Um, two
• 1:14:04
  Speaker 1: of my nips have to go to Julian Moore's perfect
• 1:14:07
  Speaker 1: pink naps. Is that you've mentioned perfect? So I got
• 1:14:09
  Speaker 1: one and a half more nips. One of those nips
• 1:14:13
  Speaker 1: is the one that's poking out of Scottie's tank top,
• 1:14:17
  Speaker 1: uh when his arms are crossed, and the half nip.
• 1:14:21
  Speaker 1: That's my man, Louise. Are you giving the movie five
• 1:14:23
  Speaker 1: and a half five and a half nicks because Luis
• 1:14:26
  Speaker 1: Gooseman puts it over the top. You can't deny those nips.
• 1:14:32
  Speaker 1: So you can't deny those Gooseman nips. Great. I feel
• 1:14:35
  Speaker 1: good about all of our choices here today. We didn't.
• 1:14:38
  Speaker 1: Thank you so much. Thanks for being here, Thank you
• 1:14:40
  Speaker 1: so much. Hey, where can people find you online? You
• 1:14:42
  Speaker 1: can find me at Twitter dot com, backslash, help me
• 1:14:49
  Speaker 1: at shut up androwsky. Yeah, you're gonna read it. You're
• 1:14:52
  Speaker 1: looking at it. Fans want to know where'd you get
• 1:14:55
  Speaker 1: that horrible vapeur colisl Let's burn it down. Run a
• 1:15:03
  Speaker 1: show here at nerd Mold every month called Reunited that's
• 1:15:08
  Speaker 1: fun and good and the next one is April Night. Question,
• 1:15:13
  Speaker 1: why should I know? I'm just the programmed and I'm
• 1:15:16
  Speaker 1: just the person the work into it. Yet I think
• 1:15:20
  Speaker 1: it's in two weeks. It's a whole wild card. I
• 1:15:23
  Speaker 1: don't care. Yeah. Come, we's me and Brian Cook and
• 1:15:26
  Speaker 1: we make fun of stuff from TV and we've had
• 1:15:28
  Speaker 1: Greg proops and also, um ah, so many people that
• 1:15:32
  Speaker 1: are good. Karen killed Gareth played a ghost once so
• 1:15:34
  Speaker 1: it's great. Hey Jamie, do you want to plug anything
• 1:15:38
  Speaker 1: your new bands No Shadows in the Desert Shadows and
• 1:15:47
  Speaker 1: like I exhaust myself, you don't need to pay to me.
• 1:15:50
  Speaker 1: This week you can check out my new hit single,
• 1:15:52
  Speaker 1: getting Whippy with It and give me laugh ape out,
• 1:15:59
  Speaker 1: maype out. I'm gonna bury you alive, tell you dude,
• 1:16:07
  Speaker 1: I'm down. Let's go to the beach alright. You can
• 1:16:11
  Speaker 1: also follow the podcast on Twitter at bectel cast, and
• 1:16:16
  Speaker 1: you can write and review us. We got more reviews.
• 1:16:19
  Speaker 1: We got more reviews are positive. Thanks guys for reviewing us.
• 1:16:22
  Speaker 1: We really appreciate no haters and everyone and just you know,
• 1:16:26
  Speaker 1: support movies that feature women and that treat women well
• 1:16:30
  Speaker 1: and treat the women in your life. Well, yeah, Horney,
• 1:16:33
  Speaker 1: mommy says, give me a little kiss. Okay, bye, mommy
• 1:16:38
  Speaker 1: a kist all right, bye,