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What Women Want with Laci Mosley · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdel Cast. The questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and husbands?
• 0:08
  Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing
• 0:13
  Speaker 1: it with the Bechdel Cast. Hello, and welcome to the
• 0:17
  Speaker 1: Bechdel Cast. My name is Jamie Lofton, my name is
• 0:19
  Speaker 1: Caitlin Darante, and this is our podcast about the portrayal
• 0:22
  Speaker 1: of women in movies. That's right, and how movies usually
• 0:26
  Speaker 1: do a bad job. Yeah, we use the I don't
• 0:30
  Speaker 1: I need to like wake up? This is earlier than
• 0:32
  Speaker 1: we usually record. It's ten. I am, yeah, I do.
• 0:34
  Speaker 1: I will say the fury of this movie does kind
• 0:37
  Speaker 1: of drive me, and how today I will go, I
• 0:41
  Speaker 1: just used to wake myself up into it. So we
• 0:44
  Speaker 1: use the Bechdel test, uh media metric created by Alison
• 0:49
  Speaker 1: Bechdel that we use as a starting off point. But
• 0:53
  Speaker 1: there's a lot more to talk about than the Bechdel
• 0:55
  Speaker 1: Test alone. Indeed, and of course the Becktel test, if
• 0:58
  Speaker 1: you're not familiar, requires the at a piece of media.
• 1:02
  Speaker 1: A movie, let's say, has two female identifying characters who
• 1:06
  Speaker 1: are named. They must speak to each other, and their
• 1:09
  Speaker 1: conversation cannot be about men who informed by an impending reboot.
• 1:18
  Speaker 1: I haven't seen any of the reviews of the impending reboot.
• 1:21
  Speaker 1: I have not seen reviews. I have seen the trailer
• 1:25
  Speaker 1: several times. I have too. Yeah, which I don't think
• 1:29
  Speaker 1: it looks good, but I think it has been at
• 1:33
  Speaker 1: least given a little bit more thought in terms of
• 1:38
  Speaker 1: basically everything than this movie what women want. I hope
• 1:42
  Speaker 1: it's good. Yeah, I hope it's good. I will probably
• 1:46
  Speaker 1: see it. I just I'm a Taragi p Henson stand
• 1:50
  Speaker 1: so usually go. I don't know. I'm just like, I
• 1:53
  Speaker 1: don't think a reboot of a rom com is strange
• 1:56
  Speaker 1: to me? Right, and this, I mean, okay, well, we'll
• 2:00
  Speaker 1: get into it. There's there's too much. In fact, I
• 2:04
  Speaker 1: feel like this movie took me like five hours to
• 2:06
  Speaker 1: watch because I kept having to pause and like take
• 2:09
  Speaker 1: notes and be like what did he just say? Like
• 2:12
  Speaker 1: what it was? It was exhausting, went into a blind
• 2:16
  Speaker 1: furious this type. Well, well, before we jump in, let's
• 2:21
  Speaker 1: introduce our guest. She is an actress. She is a comedian.
• 2:25
  Speaker 1: You remember her from our Ten Things I Hate About
• 2:28
  Speaker 1: You episode. It's Lacey Mosley. Hey back so good that
• 2:37
  Speaker 1: was fun. I had a good time of here yelling
• 2:38
  Speaker 1: about that movie. Fun. Yeah, yelling. I mean it keeps
• 2:42
  Speaker 1: it keeps my blood pressure where it needs to be,
• 2:44
  Speaker 1: rightly up, almost bursting out of my skin. I can
• 2:51
  Speaker 1: feel the blood moving through my veins. Yeah, I feel that, right,
• 2:54
  Speaker 1: that's normal. It's good to remember. It's good to remember that.
• 3:01
  Speaker 1: Uh yeah, so what women want? It's a two thousand movie.
• 3:06
  Speaker 1: It was a hit, big hit, seventy million dollar budget,
• 3:12
  Speaker 1: which is like, what for for? Who? Why are you
• 3:15
  Speaker 1: that much? I think to make mel Gibson dance for
• 3:18
  Speaker 1: that long? That was talking about one of the more
• 3:21
  Speaker 1: upsetting things of it. But it made almost four million dollars.
• 3:24
  Speaker 1: Oh my god, people domestically or like internationally, I'm wikipedialy,
• 3:31
  Speaker 1: so it's probably total everywhere, just cleaning up. I mean,
• 3:40
  Speaker 1: this is kind of like maybe on the later end
• 3:44
  Speaker 1: of peak Mel Gibson, like when people would go to
• 3:47
  Speaker 1: see a movie. It feels crazy now, but just because
• 3:50
  Speaker 1: he was in it, people would be like the thing, Okay,
• 3:54
  Speaker 1: the first thing that drives me crazy is this was
• 3:56
  Speaker 1: directed by a woman, Nancy Myers, who hasn't who's all
• 4:00
  Speaker 1: over the place. Yes, we've covered several of her movies
• 4:04
  Speaker 1: that she's directed, including The Parent Trap, The Lindsay Lion one,
• 4:08
  Speaker 1: and The Holiday and the Intern, which is one of
• 4:12
  Speaker 1: my favorite bad movies. Oh yeah, that's a good one.
• 4:14
  Speaker 1: What if old people wanted to work? And like Robert
• 4:21
  Speaker 1: de Niro's The Underdog movie, I was like, Okay, I
• 4:24
  Speaker 1: guess yeah, let's see Anne Hathaway's the villain. Like it's
• 4:28
  Speaker 1: just Oh, I love it. She's also made some some stinkies.
• 4:34
  Speaker 1: She's made a Father of the Bride Part one and two.
• 4:38
  Speaker 1: I haven't seen that. Haven't seen. It's complicated. Oh it's complicated,
• 4:43
  Speaker 1: was true? I like it complicate. Marilyn a movie. I'm like,
• 4:49
  Speaker 1: sign fash that ship was bad, But I said, I
• 4:54
  Speaker 1: didn't see it. It's complicated. I kind of did funk
• 4:58
  Speaker 1: with it. I think I I like more Nancy Myers
• 5:01
  Speaker 1: movies than I dislike, even The Holiday, as stupid as
• 5:06
  Speaker 1: it is. Like rich white lady fantasy, one day when
• 5:12
  Speaker 1: I become a rich white lady, I too would share
• 5:16
  Speaker 1: my house and have an eventure. Yes, they don't even
• 5:20
  Speaker 1: have an adventure though that at the other people's houses.
• 5:24
  Speaker 1: The whole time. They don't even go outside for me,
• 5:26
  Speaker 1: that's an eventure. It's pre AIRB and B. It was
• 5:30
  Speaker 1: a simpler time. Just being in someone else's house was
• 5:34
  Speaker 1: why we're like, whoa this is? And then and then
• 5:36
  Speaker 1: Jack Black. My favorite part of that movie is the
• 5:39
  Speaker 1: movie does not consider Jack Black hot enough to kiss. Well.
• 5:43
  Speaker 1: Jude Law is shown actively fucking the whole movie. Jack
• 5:46
  Speaker 1: Black gets a little peck on the cheek at like
• 5:48
  Speaker 1: the last second, and they're like, that's all you get,
• 5:52
  Speaker 1: normal looking person. Anyways, I I now that I'm looking
• 5:57
  Speaker 1: at her, I mean I I She's definitely got some
• 6:00
  Speaker 1: problematic faves, but in general, this I would say is
• 6:04
  Speaker 1: my least favorite movie of hers. Yeah. Yeah, What Women
• 6:09
  Speaker 1: Want is a movie that I hate. So um it
• 6:14
  Speaker 1: was a fun to hate watch. There's a version of
• 6:16
  Speaker 1: this that I could imagine, like making a drinking game
• 6:20
  Speaker 1: and getting very fucked, like just drink every time you're upset,
• 6:26
  Speaker 1: and then you die in alcohol Police. Yeah. It's crazy
• 6:32
  Speaker 1: how frustrated this movie is so quickly. I've never seen
• 6:38
  Speaker 1: an opening montage just goes. It's like, whatever this is
• 6:42
  Speaker 1: leading up to it was not worth it at all.
• 6:46
  Speaker 1: So Lacy, what's your history with this movie? When did
• 6:49
  Speaker 1: you first see it, you know. So I saw this
• 6:52
  Speaker 1: movie when it came out of two thousand. Remember I
• 6:54
  Speaker 1: remember seeing this movie I'm Gonna put an age on myself.
• 6:58
  Speaker 1: I was nine, and I liked this movie because I
• 7:02
  Speaker 1: was a problematic child. I mean I had to go
• 7:05
  Speaker 1: back and look at my tweets from even college and
• 7:07
  Speaker 1: I was like, who is this bit ruined my life?
• 7:11
  Speaker 1: I deleted man ship, I paid for one of those
• 7:13
  Speaker 1: services and wiped all my ship clean. I said, I
• 7:15
  Speaker 1: don't know that bitch. I ain't never knew her, and
• 7:17
  Speaker 1: nobody can prove that I did. Everyone has to wipe
• 7:20
  Speaker 1: who they were pres before I talked to other people.
• 7:28
  Speaker 1: Lord Jesus, But I remember enjoying this movie. I remember
• 7:31
  Speaker 1: kicking to this movie like, oh this is funny, yes,
• 7:35
  Speaker 1: mal um my god the time of my life where
• 7:38
  Speaker 1: I said yes, mal oh child. But so I remember
• 7:43
  Speaker 1: enjoying it. I remember being like, oh, I loved drom
• 7:46
  Speaker 1: comms and I've always loved comedy obviously, So I remember
• 7:49
  Speaker 1: being like, oh, this movie is killing me. Look he
• 7:51
  Speaker 1: now he sympathized with the women because he heard their thoughts.
• 7:54
  Speaker 1: Oh lord no, so yeah, that has has me problematic. Lacy, Hey,
• 8:01
  Speaker 1: we were all there, all there, fully there, Jamie, what
• 8:05
  Speaker 1: about you? Uh? This was my mom's favorite movie, of
• 8:10
  Speaker 1: mom's favorite movies, that makes sense. My my friend was
• 8:13
  Speaker 1: saying the same thing. He's like every mom in Wisconsin
• 8:15
  Speaker 1: fucking squirts for this movie, like they're my mom had
• 8:19
  Speaker 1: this on VHS. I remember, I like, I don't think
• 8:22
  Speaker 1: I saw it. I've seen it in like bits and
• 8:25
  Speaker 1: pieces on TV over the years. I think this was
• 8:28
  Speaker 1: the first time I've seen it all the way through.
• 8:30
  Speaker 1: But I knew this story because my mom would. My
• 8:33
  Speaker 1: mom would use this movie and Click as like ways
• 8:36
  Speaker 1: to impart life lessons to me, where with Click she'd
• 8:40
  Speaker 1: always be like, you know, you really can't go back.
• 8:46
  Speaker 1: She's just a demented woman. She's just you know, you
• 8:49
  Speaker 1: can't go back. Really, there's no rewind button. I wish
• 8:54
  Speaker 1: I had a click. But but what women want was
• 8:59
  Speaker 1: like when she it was so funny, she was like,
• 9:02
  Speaker 1: I mean she might still be struggling through, uh the
• 9:06
  Speaker 1: whole because she loved mel Gibson and h had has
• 9:10
  Speaker 1: had a lot to work through. But yeah, my experience
• 9:13
  Speaker 1: was I'm pretty sure I saw like chunks of it
• 9:16
  Speaker 1: on like TNT over the course of years, but this
• 9:19
  Speaker 1: is my first time all the way through, and it
• 9:21
  Speaker 1: was a journey, right, It's a journey I'll never forget.
• 9:25
  Speaker 1: And I hate to say it, but it like it
• 9:27
  Speaker 1: has like the pacing and the parts of all Nancy
• 9:30
  Speaker 1: Myers movies that I do like. So it was weird
• 9:33
  Speaker 1: to see a movie that was like paced and looked
• 9:36
  Speaker 1: and sort of sounded like a movie that I have
• 9:40
  Speaker 1: liked but have everything filled in with horrible bullshit. See.
• 9:46
  Speaker 1: I think the pacing is one of this movie's worst things.
• 9:49
  Speaker 1: And there's a lot wrong with it because first of all,
• 9:52
  Speaker 1: it's two out over two hours, which is way too
• 9:56
  Speaker 1: long for rom com Yeah, and it like it just
• 9:59
  Speaker 1: feels like it takes a really long time for the
• 10:02
  Speaker 1: romantic story to get going, and then in the last
• 10:06
  Speaker 1: two seconds yet to be like Judy Greer, don't yeah,
• 10:08
  Speaker 1: there's always and that it was still funny. We'll get
• 10:14
  Speaker 1: to that. That was like, it's interesting. I think if
• 10:18
  Speaker 1: I enjoyed mel Gibson, like if I thought he was
• 10:20
  Speaker 1: like a Zaddie or something, but I would understand the
• 10:23
  Speaker 1: pacing more because I'd be like, oh, they'd be like,
• 10:24
  Speaker 1: you know, I'm watching this movie because I have a
• 10:26
  Speaker 1: hard on for Mel Gibson, so, you know, having dancing
• 10:28
  Speaker 1: ship and as he's not he's not charming like an
• 10:33
  Speaker 1: uncle in this movie. He was quite I remember how
• 10:37
  Speaker 1: old he was. I remember thinking he looked young in
• 10:40
  Speaker 1: the movie. I don't know, I think that I'm like two.
• 10:43
  Speaker 1: I guess it was a long fucking time ago. But
• 10:45
  Speaker 1: people were like, yeah, I would I want this scene
• 10:48
  Speaker 1: to go on longer. Why is that dancing seems so long?
• 10:52
  Speaker 1: I don't even know. It felt like like they took
• 10:55
  Speaker 1: his resume and was like, well, what has he not
• 10:57
  Speaker 1: done in the movie yet, Let's do his ex Let's
• 11:00
  Speaker 1: do to accent, you know what he's talking about the
• 11:02
  Speaker 1: TV Let's do it shot. Let's just do a Sean Connery.
• 11:07
  Speaker 1: And they all saw they were just picking off the resume.
• 11:09
  Speaker 1: Let's do to dance thing, Let's go to dancing n
• 11:11
  Speaker 1: and yes, not in the script. And then he turns
• 11:16
  Speaker 1: on bitch and then he takes his shirt off, and like,
• 11:19
  Speaker 1: this is not what bitch should be playing during is
• 11:22
  Speaker 1: a shirtless Mel Gibson. That's the opposite of what that
• 11:25
  Speaker 1: song stands for. I God, I did love to I mean,
• 11:30
  Speaker 1: although I do love to see Mel Gibs and get electrocuted.
• 11:32
  Speaker 1: That was fun. That was tight. Oh yeah, because he's
• 11:38
  Speaker 1: trying to electrocute himself. And then at the and he
• 11:40
  Speaker 1: accidentally gets electrocuted. Before going to a doctor, He's like,
• 11:44
  Speaker 1: let me just get drunk and electric a second time,
• 11:48
  Speaker 1: which could have cut the movie short, especially with the
• 11:52
  Speaker 1: amount of electrocution. They showed like they zoomed out from
• 11:55
  Speaker 1: the building and it was like an explosion. He was
• 11:57
  Speaker 1: hit by lightning. Know where he could? Yeah, he wakes
• 12:04
  Speaker 1: up on his couch. My history with the movie is
• 12:09
  Speaker 1: I don't think I saw it the whole way through
• 12:11
  Speaker 1: either until just watching it to prep for the episode.
• 12:15
  Speaker 1: But I thought that I had, And I think it's
• 12:17
  Speaker 1: just because I've seen the trailer for this movie a
• 12:19
  Speaker 1: million times. Like I remember seeing the trailer when the
• 12:22
  Speaker 1: movie was coming out, and then I just that made
• 12:25
  Speaker 1: me think that I had seen it or I knew
• 12:27
  Speaker 1: the premise and not, so I think maybe I've seen
• 12:29
  Speaker 1: parts of it. In any case, there was so much
• 12:31
  Speaker 1: that I didn't remember or didn't know about, and I
• 12:35
  Speaker 1: am furious about it. But shall we get into the recap?
• 12:41
  Speaker 1: I guess. So there's so many subplots to tackle I
• 12:45
  Speaker 1: feel like this movie needs two subplots. Gone, Yes, there's
• 12:50
  Speaker 1: so many there's so many women in his life. So
• 12:55
  Speaker 1: suddenly the Judy Grew storyline like makes mental illness is
• 13:00
  Speaker 1: what it isn't in every single way, but to the
• 13:02
  Speaker 1: point where it did make me laugh where she just
• 13:04
  Speaker 1: want I just was somewhere like I wish he'd killed me.
• 13:10
  Speaker 1: It was like, so, whoever wrote this has never been
• 13:13
  Speaker 1: depressed the day in their fucking life. That's not what
• 13:17
  Speaker 1: It's crazy. He almost killed me and I loved them
• 13:27
  Speaker 1: like she wanted to kill herself because she didn't get
• 13:29
  Speaker 1: a promotion, or like that's just not enough. The way
• 13:36
  Speaker 1: suicidality is handled is it's just completely wrong, to the
• 13:42
  Speaker 1: point where I'm like, all right, I'm down to laugh.
• 13:44
  Speaker 1: This is the thing that's never happened before. Right, Maybe
• 13:47
  Speaker 1: that's what they were going for. I don't know. I
• 13:51
  Speaker 1: hope so, because they're like, this is a way to
• 13:53
  Speaker 1: treat suicide and not have it be in the realm
• 13:56
  Speaker 1: of reality, because if it was to fit the tone
• 13:59
  Speaker 1: of the movie, which just to me is like, then
• 14:01
  Speaker 1: just don't have it. I haven't get rid of it.
• 14:04
  Speaker 1: But also I love that he doesn't notice that she's
• 14:06
  Speaker 1: suicidal to the end, but he does notice that she's funny.
• 14:09
  Speaker 1: He says like, he's like, oh, you know what, we
• 14:10
  Speaker 1: should have her as a copywriter. She's very funny. Every
• 14:13
  Speaker 1: time I bump into her, she's like, well, she would
• 14:15
  Speaker 1: have murdered me. He does notice, but he totally brushes
• 14:20
  Speaker 1: it off. He's like, she's funny. Suicidal, but funny, and
• 14:23
  Speaker 1: that's what matters. And then he finds and then he's like,
• 14:27
  Speaker 1: she's not here. Oh no, she meant all those suicidal
• 14:29
  Speaker 1: thoughts she was having better go to her apartment. So
• 14:36
  Speaker 1: she does anyway, didn't he like, doesn't he find her
• 14:41
  Speaker 1: suicide note? And then but then she's there and they're like,
• 14:44
  Speaker 1: she's like, what are you doing here? I'm like, well,
• 14:46
  Speaker 1: he's holding your suicide note. So this has to be
• 14:49
  Speaker 1: a conversation or just tell him to leave. But he's like,
• 14:52
  Speaker 1: ha ha, you are funny. Do you want to be promoted?
• 14:55
  Speaker 1: And then she's like, oh, y, he would fixed my suicide.
• 15:04
  Speaker 1: I don't care. Before he fixed our suicide. He has
• 15:06
  Speaker 1: a whole moment to himself about his own ship, like
• 15:09
  Speaker 1: he's like, comes in, it's like this, don't kill yourself
• 15:12
  Speaker 1: then she's like, oh, why are you here. Then he's like,
• 15:14
  Speaker 1: I can't hear your thoughts. Say some thoughts. I'm saying thoughts.
• 15:19
  Speaker 1: Let me think about me. It turns around to himself
• 15:22
  Speaker 1: about his own life, and then it's like, right, right,
• 15:23
  Speaker 1: right right, don't kill yourself much. He goes back to it, Oh,
• 15:28
  Speaker 1: there's something more urgent here. Ah, you what it's. He
• 15:35
  Speaker 1: takes a break from stopping this woman's suicide to be like,
• 15:38
  Speaker 1: oh my god. The third act of the movie, it's
• 15:41
  Speaker 1: still happening. There's a lot of moments in this movie
• 15:45
  Speaker 1: where mel Gibson is really like mugging to nobody that's
• 15:49
  Speaker 1: like one of them. There's the moment he's in the
• 15:52
  Speaker 1: department store and he's hearing thoughts. He's like, it's like
• 15:56
  Speaker 1: you look completely like out of your mind. And then
• 16:00
  Speaker 1: later when he's like, oh, this thing that I have
• 16:02
  Speaker 1: is actually a gift, and he's like running down the
• 16:05
  Speaker 1: street and like getting close to women to like hear
• 16:07
  Speaker 1: their thoughts, and he's like he immediately starts abusing it,
• 16:11
  Speaker 1: but with the permission of a woman. So we're supposed
• 16:14
  Speaker 1: to think that's okay, because it's like, oh, Bette Midler's
• 16:17
  Speaker 1: old trifle mask I used to love bet Miler came out, Oh, Chad,
• 16:22
  Speaker 1: but back when I used to love So she just
• 16:24
  Speaker 1: comes out as like, mal, you have a gift, go
• 16:26
  Speaker 1: use that ship. Everybody comes back never never. She's not
• 16:32
  Speaker 1: even credited in the movie, which is why she doesn't
• 16:36
  Speaker 1: appear in the credits. That's very funny. When she saw that,
• 16:40
  Speaker 1: she was like, I don't know. She's like, never mind,
• 16:42
  Speaker 1: take me out. Actually I don't know, but you're in question.
• 16:46
  Speaker 1: I used to love you, man, I had your album
• 16:48
  Speaker 1: anyway another time. So the story, I'll get through this
• 16:53
  Speaker 1: as quickly as possible because there's so much to talk about.
• 16:56
  Speaker 1: But okay, So we meet Nick Marshall played by Mel Gibson.
• 16:59
  Speaker 1: He is a player. He's a manipulator of women. He
• 17:02
  Speaker 1: has an ex wife who feels that he never understood her.
• 17:06
  Speaker 1: He has a fifteen year old daughter named Alex who
• 17:08
  Speaker 1: he's never really connected with. There's this woman named Lola
• 17:11
  Speaker 1: who works at a coffee shop that he keeps trying
• 17:13
  Speaker 1: to ask out. We see him at work. He's up
• 17:16
  Speaker 1: for a big promotion as a creative director at the
• 17:18
  Speaker 1: ad agency where he works, but he doesn't get it
• 17:21
  Speaker 1: because Darcy McGuire Helen Hunt's character is hired instead, and
• 17:27
  Speaker 1: Nick knows of this person and thinks that she is
• 17:29
  Speaker 1: a bitch on wheels quote from the movie It's ridiculous. Yeah,
• 17:39
  Speaker 1: she is hired over him because his boss played by
• 17:43
  Speaker 1: Alan Alda, is like, we need it's a woman's world
• 17:46
  Speaker 1: out there, you know, the how how could he? How could?
• 17:50
  Speaker 1: He's like, younger women are buying stuff, so we like
• 17:53
  Speaker 1: need to cater to that demographic. So that's why he
• 17:56
  Speaker 1: hires Darcy and she comes in. She's like, hey, let's
• 18:00
  Speaker 1: figure out how to advertise this box of products to women,
• 18:03
  Speaker 1: expensive box of products that everyone gets. And Nick is
• 18:07
  Speaker 1: all like, what a fucking bitch she is for like
• 18:10
  Speaker 1: doing her job. The like the low key framing of
• 18:14
  Speaker 1: like yeah, like the whole point of this movie is
• 18:17
  Speaker 1: to sell products to women that are too expensive that
• 18:20
  Speaker 1: they don't need. So it's a real capitalist love story
• 18:25
  Speaker 1: where you're entering yeah, yeah. Yeah. So then there's a
• 18:28
  Speaker 1: five minute scene of him dancing to Frank sinatra Um,
• 18:32
  Speaker 1: which does not need to be in the movie. I
• 18:34
  Speaker 1: guess it's trying to endear us to him, because otherwise
• 18:36
  Speaker 1: he's so irredeemable. But anyway, he's getting more and more naked,
• 18:40
  Speaker 1: and you're just like, oh no. And so as he's
• 18:46
  Speaker 1: trying these different products and he's struggling with him because
• 18:49
  Speaker 1: he doesn't understand women. Um, and he's talking to himself
• 18:52
  Speaker 1: way too much. He like accidentally, like prat Fall style,
• 18:57
  Speaker 1: electrocutes himself with a hair dryer in a bathtub. That's fun.
• 19:03
  Speaker 1: He's also listening to Bitch. He's listening woman. Yeah, Atlantis Morrisett. No,
• 19:10
  Speaker 1: I always think always it's someone else who is not
• 19:14
  Speaker 1: Atlantis Morsett, but I always think it's Alanis mor Set. Yeah,
• 19:17
  Speaker 1: just because it's got bitch in the title. Sounds like
• 19:20
  Speaker 1: a nineties attus. Meredith Brooks. Yes, that's the one. I
• 19:24
  Speaker 1: don't did she make any other song. I think she's
• 19:26
  Speaker 1: had a few other hits. Maybe I don't know that's her.
• 19:30
  Speaker 1: That's her song. Hard to say Sorry, I'll to all you,
• 19:33
  Speaker 1: Meredith Brooks. Fans out there are screaming heads are gonna
• 19:38
  Speaker 1: come for us with Mary be My mentions are demolished,
• 19:44
  Speaker 1: so our apologies. But anyway, so when he wakes up,
• 19:49
  Speaker 1: he discovers that he can hear women's thoughts. Is it
• 19:53
  Speaker 1: because you got electrocuted by an enchanted women's hair product,
• 19:57
  Speaker 1: I thought, because he had on all the ladies, all
• 19:59
  Speaker 1: the ladies on the nail polish, and he had on
• 20:02
  Speaker 1: the leg although and I did not like that his
• 20:06
  Speaker 1: nails were perfectly painted. I was like, well, how to
• 20:08
  Speaker 1: fund he pay his nails so well? And he got
• 20:10
  Speaker 1: a top coat on. Get the funk out here? Really,
• 20:12
  Speaker 1: no damn top coat? Now do that out of here? Yeah. Um.
• 20:19
  Speaker 1: So then he's like, oh my god, I'm going crazy.
• 20:21
  Speaker 1: Why can I hear these women's thoughts? And there's like
• 20:24
  Speaker 1: this pitch meeting that he performs badly because he learns
• 20:27
  Speaker 1: that a bunch of women think that he is a jerk,
• 20:31
  Speaker 1: and he is genuinely shocked. He's like what I was
• 20:36
  Speaker 1: starting to think, nobody likes. But also when he can
• 20:41
  Speaker 1: first hear that though there's I mean, we can break
• 20:43
  Speaker 1: these down to detail later. But the way that the
• 20:46
  Speaker 1: thoughts were kind of depends on what the scene is,
• 20:48
  Speaker 1: because at first he's walking down the street and women
• 20:51
  Speaker 1: are thinking about the most stereotypical women thinking like estrogen
• 20:57
  Speaker 1: and other women's like child rearing. Well, the next one's
• 21:00
  Speaker 1: like calories that I do the right thing in the kitchen,
• 21:03
  Speaker 1: I don't know. But then but then when he gets
• 21:07
  Speaker 1: the office, then it gets like more critical of him.
• 21:11
  Speaker 1: But if first ever women are only ever thinking about
• 21:15
  Speaker 1: him for a few exceptions, yeah, the thought the thoughts
• 21:18
  Speaker 1: were first you, like you said, all women's thoughts like
• 21:21
  Speaker 1: oh my push china, oh nips and lady bits and
• 21:28
  Speaker 1: men maybe, And then it turns it's just everything is
• 21:31
  Speaker 1: about him, and every woman in his life completely thinks
• 21:33
  Speaker 1: and works for him, even in their own brains. They're
• 21:36
  Speaker 1: not free of being obsessed with him. With mel Gibbs, yeah, okay.
• 21:43
  Speaker 1: So then meanwhile, his daughter Alex is staying with him.
• 21:46
  Speaker 1: She's got a boyfriend who uh, he doesn't like. She
• 21:51
  Speaker 1: and her dad are not getting along. And then he
• 21:54
  Speaker 1: can hear his daughter's thoughts too, and he's all like,
• 21:57
  Speaker 1: oh no, how dare my daughter have any sexual feelings?
• 22:01
  Speaker 1: And then he tries to reverse what has happened by
• 22:04
  Speaker 1: re electrocuting himself, but it does not work. He just
• 22:08
  Speaker 1: gets electrocuted. He just gets electrocuted but survives and he's fine.
• 22:12
  Speaker 1: So he goes to his former marriage counselor played by
• 22:16
  Speaker 1: Bette Midler, and she's like Wow, this is actually a gift.
• 22:20
  Speaker 1: This is a good thing for you. You have to
• 22:22
  Speaker 1: learn from this and if you know what women want,
• 22:26
  Speaker 1: then you can rule, she says, and he's like like
• 22:30
  Speaker 1: why who are And then there's also like supposed to
• 22:34
  Speaker 1: be the justification for him being a complete piece of
• 22:36
  Speaker 1: ship with this new gift, but it's like a woman
• 22:39
  Speaker 1: told him to you all ask for it? Yeah, Yeah,
• 22:43
  Speaker 1: this movie finds so many ways to blame what's happening
• 22:47
  Speaker 1: on women. It's like he was raised by a bunch
• 22:50
  Speaker 1: of floozies, old times holes, and they taught him to
• 22:55
  Speaker 1: be this misogynistic and they said, touch my ask because
• 22:58
  Speaker 1: I'm a floosi hole in vegues, Like what did the
• 23:03
  Speaker 1: very forgetting his ex wife absolves him of everything? It's
• 23:07
  Speaker 1: not like and which also like if you think about
• 23:10
  Speaker 1: it for two seconds, makes no sense of like, oh,
• 23:12
  Speaker 1: he was raised by a single mother who is like
• 23:15
  Speaker 1: working in Vegas, but he hates women, like it just doesn't.
• 23:20
  Speaker 1: I think they were trying to say that because he
• 23:22
  Speaker 1: was raised by what is deemed to be not respectable,
• 23:26
  Speaker 1: you know, women who obviously don't have any self esteem
• 23:30
  Speaker 1: because there flos then obviously how could he respect woman
• 23:34
  Speaker 1: because he's never known a woman who respected herself. Exhausted
• 23:39
  Speaker 1: directed by a woman, this movie and co written by
• 23:42
  Speaker 1: a woman, and I know it's shame on everyone involved
• 23:46
  Speaker 1: in this movie has like very little respect for any
• 23:51
  Speaker 1: like woman who isn't like white and working in an office.
• 23:54
  Speaker 1: Because even at the end in that scene with his
• 23:56
  Speaker 1: daughter where the daughter was like, and then he gives
• 24:00
  Speaker 1: us what with a tongue ring, and then he was like,
• 24:04
  Speaker 1: I can't believe he kissed us with a tongue ring.
• 24:08
  Speaker 1: Just to say that again, They're like, no, we have
• 24:11
  Speaker 1: to also let mel Gibson happy. He's a feminist icon
• 24:15
  Speaker 1: and people want to hear it. Oh sorry, So he
• 24:20
  Speaker 1: uses what now He also believes to be this gift
• 24:23
  Speaker 1: to take out Lola or to ask her out, and
• 24:27
  Speaker 1: he's like, don't worry, I won't hurt you. He's reading
• 24:29
  Speaker 1: all our thoughts. She's manipulating her goodness um, and she
• 24:34
  Speaker 1: really likes him. So he's like basically taking advantage of
• 24:37
  Speaker 1: the situation. And then back at the office, he goes
• 24:41
  Speaker 1: to Darcy and he learns via her thoughts that she
• 24:45
  Speaker 1: wants to land the Nike Women's division as a client.
• 24:49
  Speaker 1: Do you think maybe Nike gave this movie a little
• 24:52
  Speaker 1: bit of money to repeat itly call them the most
• 24:55
  Speaker 1: feminist friend that's ever existed. There's like a very long
• 25:02
  Speaker 1: scene where Helen Hunt is like, okay, so Nike, as
• 25:06
  Speaker 1: we know, loves and respects women in every way, and
• 25:10
  Speaker 1: this is like what we have to do to just
• 25:12
  Speaker 1: put on display how much women should be buying Nike products.
• 25:17
  Speaker 1: And they gives him like, yes, of course Nike and women.
• 25:22
  Speaker 1: When they make out, she's moaning, oh, Nike, just do
• 25:26
  Speaker 1: it subtle advertising shout out to goodness. Um. So he's like, hey,
• 25:33
  Speaker 1: I'll help you with Nike. And then their boss comes
• 25:36
  Speaker 1: in and he's like, hey, let me get to read
• 25:38
  Speaker 1: on something. And then Nick steals all of her thoughts
• 25:42
  Speaker 1: and uses them as his own. Not the first time
• 25:45
  Speaker 1: he's done this. He already tried it with Anagasta, but
• 25:49
  Speaker 1: it backs successful. So now he's better at stealing. He's
• 25:52
  Speaker 1: better at it. And because he's still trying to sabotage
• 25:56
  Speaker 1: Darcy and get her fired because he still wants her job,
• 26:00
  Speaker 1: he's trying to get on his daughter's good side by
• 26:02
  Speaker 1: offering to buy her prom dress. Um. He goes on
• 26:05
  Speaker 1: that date with Lola and they have sex and he's
• 26:08
  Speaker 1: bad at it at first, and then he starts he's like,
• 26:11
  Speaker 1: wait a minute, if I just listen to her thoughts,
• 26:14
  Speaker 1: I'll be good at sex, and then that works to me.
• 26:18
  Speaker 1: Really overacts her way through it, but I enjoyed it
• 26:23
  Speaker 1: the whole thing. She's like Mel Gibbs, bis good naked.
• 26:35
  Speaker 1: Then he starts bonding with various women at his office
• 26:38
  Speaker 1: and he Sarah Paulson's there so many great women and
• 26:44
  Speaker 1: their talents are completely wasted on but they gotta check, honey,
• 26:49
  Speaker 1: that check get the money. I mean, I guess if
• 26:53
  Speaker 1: you're like an up and coming like actress, that's like,
• 26:57
  Speaker 1: do you want to be in a Nancy Myers movie?
• 26:59
  Speaker 1: You're like sure, but they were like the Twists, it's
• 27:03
  Speaker 1: the worst Nancy. Um. So then he and Darcy start
• 27:08
  Speaker 1: to work together on the pitch for Nike, and he
• 27:11
  Speaker 1: uses his mind reading powers to make her think that
• 27:14
  Speaker 1: they're on the same wavelength um. And then she thinks uh,
• 27:18
  Speaker 1: and he knows her thoughts that she might be attracted
• 27:21
  Speaker 1: to him, and then she looks at his penis and
• 27:24
  Speaker 1: that scene that I think is from the trailer, but
• 27:27
  Speaker 1: the penis twice I looked at his penis. I don't know,
• 27:30
  Speaker 1: I looked at it again. I kind of giggled. But
• 27:33
  Speaker 1: also I shouldn't have. She reacts in a way that
• 27:37
  Speaker 1: is like not subtle, and she could have just been
• 27:40
  Speaker 1: like oops. Um. So then they start to flirt and
• 27:45
  Speaker 1: they go onto this like romantic dinner. They kiss, uh,
• 27:49
  Speaker 1: and then later Lola is like, wait a minute, remember
• 27:52
  Speaker 1: when you had sex with me? You're gay? And he's like, yeah,
• 27:57
  Speaker 1: it was. There's so much done talk with that scene.
• 28:00
  Speaker 1: We'll get there. Um. And then in the pitch meeting
• 28:04
  Speaker 1: to Nike, he started he's feeling guilty about having stolen
• 28:07
  Speaker 1: her ideas, but she's like, no, no, no, you do
• 28:09
  Speaker 1: the pitch meeting. So he does it, and he nails it.
• 28:13
  Speaker 1: Everyone in Nike's immediately like where can I side this guy?
• 28:19
  Speaker 1: I want to give him my vagina? So brutal. And
• 28:25
  Speaker 1: then Ellen Alda's like, wow, this darcy lady, what a
• 28:28
  Speaker 1: mistake that was. So he fires her because he thinks
• 28:31
  Speaker 1: that she hasn't done anything. And then Nick's like, wait
• 28:34
  Speaker 1: a minute, no, the good ideas were actually hers. You've
• 28:37
  Speaker 1: got to hire her back. And then the various subplots
• 28:42
  Speaker 1: that don't need to be in the movie. Come to
• 28:46
  Speaker 1: a conclusion where he has to go to proms. He
• 28:50
  Speaker 1: has goes to prom. They walk him through the whole prom.
• 28:56
  Speaker 1: Look it com nobody has to be in high school
• 29:01
  Speaker 1: for the problem to happen. Forty six years old and
• 29:07
  Speaker 1: fucking prom, this cne ass man and they talk. He
• 29:12
  Speaker 1: gets it with no problem. He approaching a teenage girl.
• 29:15
  Speaker 1: He's like, hey, do you know my daughter? She's got
• 29:17
  Speaker 1: brown hair, and oh the brown haired girl, yeah, she's
• 29:23
  Speaker 1: in there. And then her his daughter, is like, I
• 29:26
  Speaker 1: can't believe in telling you this. I was gonna freak,
• 29:29
  Speaker 1: but then guys are bad. And then he was like,
• 29:32
  Speaker 1: he was like, listen, I know what it's like to
• 29:35
  Speaker 1: be a woman, because for like three days, I know
• 29:41
  Speaker 1: what it's like to be a woman. And if he's
• 29:43
  Speaker 1: kissing a slut with a tongue ring, just come home
• 29:47
  Speaker 1: and take a nap. And she's like, I forgive you
• 29:49
  Speaker 1: for not being there. Oh it's a mess. Also, his
• 29:55
  Speaker 1: ex wife calls it. There's so many unnecessary scenes in
• 29:59
  Speaker 1: this movie where like his ex Woy didn't need to
• 30:01
  Speaker 1: call him from a cruise, We didn't need to see
• 30:03
  Speaker 1: the crew at all. They paid for a whole cruize
• 30:07
  Speaker 1: million dollars. You can see the cruise. Let's get a boat.
• 30:12
  Speaker 1: She can't afford it. She's like, I'm on a cruise. Anyways,
• 30:16
  Speaker 1: I don't know if prom's going well. It's like, right, flex,
• 30:20
  Speaker 1: I don't appreciate that. They're just like, fucking, let's go
• 30:25
  Speaker 1: a whole prom. You mean it is chased through Chinatown
• 30:31
  Speaker 1: to get to Judy Greer's apartment save her life. Like
• 30:35
  Speaker 1: it's just there's so much like New York City is
• 30:37
  Speaker 1: ours Chicago. It's not even New York City, you know
• 30:41
  Speaker 1: where the advertising happens. It's Chicago, where of course there
• 30:44
  Speaker 1: are advertising firms. And but like there's that scene where um,
• 30:47
  Speaker 1: Sarah Paulson's like, hey, boyfriend, you can write from anywhere.
• 30:51
  Speaker 1: If I want to be in advertising, I have to
• 30:53
  Speaker 1: work in Chicago. Like okay, maybe I don't know. So
• 31:01
  Speaker 1: I feel bad for everyone who had to be in
• 31:03
  Speaker 1: this movie. So all these subplots like come doing and
• 31:07
  Speaker 1: he saves Rudy Career's life. That's the whole thing. And
• 31:09
  Speaker 1: then finally he gets ahold of Darcy and he's like
• 31:13
  Speaker 1: he admits to stealing her thoughts and manipulating her and
• 31:18
  Speaker 1: all of this stuff, and then she's like, well, but
• 31:21
  Speaker 1: does he really does? Like he the way he explains
• 31:23
  Speaker 1: it to her is weird where he's like, I was
• 31:25
  Speaker 1: stealing all your ideas and she wasn't. She does not
• 31:29
  Speaker 1: question it at all. Maybe she was also writing them
• 31:32
  Speaker 1: down somewhere, but she's never like, what did you go
• 31:34
  Speaker 1: into my computer? Like, she's like okay, she's like, oh
• 31:39
  Speaker 1: that's not cool, and you're fired, which that was fun,
• 31:44
  Speaker 1: but it's fun. She does fire him, but then she's like,
• 31:48
  Speaker 1: but you're still my boyfriend, so you're fired from my job,
• 31:52
  Speaker 1: but you're hired to my flag now gets to work,
• 32:01
  Speaker 1: so there that lass soon as a mess. She also
• 32:05
  Speaker 1: there's so many I'm like if she get her job
• 32:07
  Speaker 1: because she doesn't check to see if she's actually been rehired.
• 32:11
  Speaker 1: After the man who's like, I've been lying to you
• 32:13
  Speaker 1: the whole time is like, actually I was reading your
• 32:16
  Speaker 1: thoughts and you're fired, but also you're rehired, and she
• 32:21
  Speaker 1: was just like, ah, do I really have my job back?
• 32:25
  Speaker 1: Man who laed to me this whole time, you're fired,
• 32:28
  Speaker 1: let's kiss and then they kiss and then it is
• 32:33
  Speaker 1: mercifully over two hours later it's over. It was a
• 32:37
  Speaker 1: long movie, so we got to take a quick break.
• 32:40
  Speaker 1: But we'll come right back for the discussion. And we
• 32:48
  Speaker 1: are back. Where to start? I don't know. I don't
• 32:52
  Speaker 1: even know. I mean, like we touched on some of
• 32:55
  Speaker 1: it in their recap. The first thing that stood up
• 32:58
  Speaker 1: out to me was, like you were saying, lace, you
• 32:59
  Speaker 1: have the beginning sequence another expensive not important because it's
• 33:04
  Speaker 1: the child in Vegas being grown up in smoking cigars
• 33:08
  Speaker 1: and being kissed all like as an eight year old.
• 33:11
  Speaker 1: That whole sequence is like, well, this is setting us
• 33:15
  Speaker 1: up for a fucking disaster. Uh so that I mean,
• 33:19
  Speaker 1: we I don't know how if there's much more to
• 33:21
  Speaker 1: say about it, because like many things in this movie,
• 33:23
  Speaker 1: the topic of his mother and his upbringing is never
• 33:26
  Speaker 1: brought up again. And the thing that was problematic about
• 33:31
  Speaker 1: the child's upbringing wasn't all the women around him. It
• 33:33
  Speaker 1: was just that one man who had him smoking cigars,
• 33:37
  Speaker 1: counting money, and was that and then he was like
• 33:42
  Speaker 1: getting back to work, was that man from child gives
• 33:54
  Speaker 1: in his his accountant, like his account is like an
• 33:56
  Speaker 1: eight year old. He's like start counting this. He's like,
• 33:59
  Speaker 1: fucking he just like wanders into central casting, like the
• 34:04
  Speaker 1: women were actually lovely, they were like, oh hard, and
• 34:08
  Speaker 1: he grew up about so many nice women. But I
• 34:09
  Speaker 1: guess because they had the breasts out and they were
• 34:12
  Speaker 1: they were the thoughts of the time, he hated them.
• 34:18
  Speaker 1: It really, it makes no sense the whole intro. And
• 34:22
  Speaker 1: again it's like words put into his ex wife's mouth,
• 34:26
  Speaker 1: so it seems like the way she's explaining it is like,
• 34:29
  Speaker 1: because he grew up around like women that aren't to
• 34:33
  Speaker 1: my standard, that's why he's a raging misogynist. But then
• 34:36
  Speaker 1: the movie's like, no, but she's right, because look, he's
• 34:38
  Speaker 1: a raging misogynist. And then we get to the first sequence,
• 34:43
  Speaker 1: which in the first I was trying to clock it.
• 34:46
  Speaker 1: In the space of five minutes, he sexually harasses his
• 34:50
  Speaker 1: housekeeper within an inch of her life, including slapping her ass,
• 34:53
  Speaker 1: calling her babe, make me a sandwich, the whole nine yards.
• 34:56
  Speaker 1: Then he gets to work, he bumps into a woman
• 35:00
  Speaker 1: so she spills coffee and then he grabs her titty
• 35:02
  Speaker 1: and it's just like, oh, I'm sorry, and then she's like, oh,
• 35:06
  Speaker 1: she loves it. Hit her own purpose with this. That
• 35:09
  Speaker 1: bothered me because I was in my head weighing would
• 35:13
  Speaker 1: I rather a man grab my titty or spill my
• 35:16
  Speaker 1: coffee on me on purpose? And I was like, I
• 35:19
  Speaker 1: would my outfit. She's like, I'm like you my whole
• 35:23
  Speaker 1: ship up, didn't grab my titty. And then I'm gonna
• 35:25
  Speaker 1: be like thank you so much, Mr sir, Like that
• 35:28
  Speaker 1: was the most unrealistic part of the movie, like it
• 35:30
  Speaker 1: bloves this to me on purpose, and then you grab
• 35:32
  Speaker 1: my whole titty. And then she was like, it's like
• 35:35
  Speaker 1: when she snapped out that shirt is ruined and you
• 35:38
  Speaker 1: were assaulted. That's not good. Then he goes to Marissa Tomay,
• 35:43
  Speaker 1: who in this scene says no to him three times,
• 35:47
  Speaker 1: where he's like, oh's your god me and she's like no,
• 35:49
  Speaker 1: I'm not your type, which is like sure whatever, and
• 35:52
  Speaker 1: then he's like, yeah, sure, I got grande nick and
• 35:55
  Speaker 1: then she's like she's like no, I don't want to
• 35:58
  Speaker 1: and then he touches her hand. He's like who with
• 36:00
  Speaker 1: you and with me? There's a sucking line behind him
• 36:03
  Speaker 1: and she's like no, I don't think so, and then
• 36:05
  Speaker 1: he's like sure, and then at the end she's like, Okay,
• 36:09
  Speaker 1: you know what's crazy about that is I've seen so
• 36:11
  Speaker 1: many movies do that thing, but the guy like gets
• 36:14
  Speaker 1: increasingly charming and it works. But I've never seen even then,
• 36:18
  Speaker 1: I'm like, this is not real life. I said, no,
• 36:20
  Speaker 1: tell you your ask this because no, you went because like,
• 36:23
  Speaker 1: please stop asking me increasingly creepy and it works. That
• 36:27
  Speaker 1: was the weird thing for me. And I was like, this, mother,
• 36:29
  Speaker 1: I didn't even get no more charming. He was like,
• 36:31
  Speaker 1: go out with me, go out with me, this dick
• 36:35
  Speaker 1: out with me. I'm gonna touch you now. He also said,
• 36:40
  Speaker 1: I don't know how where the Starbucks sizes were at
• 36:43
  Speaker 1: it this time, but he's he's as grande, which is medium.
• 36:47
  Speaker 1: He's like, I've got a medium sized d some of
• 36:50
  Speaker 1: this that's like it's more of a tall, small dick.
• 36:56
  Speaker 1: So we're still a lot out of the first five
• 36:58
  Speaker 1: minutes of the movie. He oh, okay. So then and
• 37:01
  Speaker 1: now he's at work, he says that horrible joke to
• 37:05
  Speaker 1: that woman where he was like, is it crazy how
• 37:07
  Speaker 1: your wife doesn't suck your dick anymore? And she's like
• 37:10
  Speaker 1: ha ha ha. And then he goes up to his
• 37:13
  Speaker 1: friend who I thought was breck and Meyer but wasn't.
• 37:16
  Speaker 1: That's the only way I think I've described that. I
• 37:18
  Speaker 1: thought that he was the guy from The Walking Dead.
• 37:21
  Speaker 1: Oh it could have been, but it's neither of that
• 37:26
  Speaker 1: bigger lady like who wasn't bigger, she was Hollywood fat,
• 37:30
  Speaker 1: like a normal size pa. She's a six and she's
• 37:34
  Speaker 1: trying to eat a don'tnut. He's like, put that down,
• 37:35
  Speaker 1: fat bitch. It's in passing. He's just walking. It's insane.
• 37:41
  Speaker 1: And then and then he like the first five minutes
• 37:44
  Speaker 1: end when he's at Sarah Paulson and Sarah and he's
• 37:48
  Speaker 1: just like, I think that's like the least bad of
• 37:51
  Speaker 1: the interactions, but it's still bad because he's just condescending
• 37:54
  Speaker 1: to her and he's like, get my coffee, blah blah blah,
• 37:56
  Speaker 1: and that is how the movie starts. He's sexually her
• 38:00
  Speaker 1: is no less than like ten people batchas and salt. Yeah, well,
• 38:05
  Speaker 1: here's the thing about like everything women ate he does
• 38:10
  Speaker 1: in the first five minutes of the movie, it's really
• 38:13
  Speaker 1: the joke about the joke was incoherent, the one about
• 38:17
  Speaker 1: you was crazy. After ten years work still sus but
• 38:21
  Speaker 1: your wife still doesn't suck. I'm getting divorced and no, shure,
• 38:27
  Speaker 1: you're getting divorced. Well, that's okay. So he's set up
• 38:30
  Speaker 1: to be this like horrible misogynist. I guess as the
• 38:34
  Speaker 1: audience were supposed to see that he's a misogynist, but
• 38:38
  Speaker 1: he's also the protagonist who we're like, ah, he's charming,
• 38:41
  Speaker 1: and so what if he's assaulting and harassing women. It's weird.
• 38:45
  Speaker 1: It wasn't even that charming Gibson's fault because I just
• 38:49
  Speaker 1: think mel Gibson is inherently not charming. But this guy
• 38:52
  Speaker 1: is not charming. Nothing he did. I was like, I
• 38:55
  Speaker 1: could see how somebody would get away with this, Like
• 38:57
  Speaker 1: I was always like, no, the like the uncanny Valley
• 39:02
  Speaker 1: of like us needing to believe Mel Gibson is hot
• 39:05
  Speaker 1: is like on par with like the Polar Express. You're
• 39:08
  Speaker 1: just like they're no, this looks wrong, Like everything about
• 39:12
  Speaker 1: this is wrong. I feel tricked. I feel like was
• 39:15
  Speaker 1: like this man is sexy to y'all know, we never
• 39:18
  Speaker 1: never said this, we said so it's a listening. Then,
• 39:23
  Speaker 1: so whenever he can start to hear women's thoughts, he
• 39:25
  Speaker 1: realizes that all of the comments who's been making have
• 39:28
  Speaker 1: been not received well and that he has not been
• 39:32
  Speaker 1: respecting women. So to me, it feels like this movie
• 39:37
  Speaker 1: attempts to make a feminist message. I don't think it
• 39:41
  Speaker 1: succeeds or works at all, But I don't know that
• 39:44
  Speaker 1: that I don't That's what is Like a lot of
• 39:48
  Speaker 1: moms love this movie, and that is baffling to me.
• 39:52
  Speaker 1: But I'm like, is I don't know? It's not feminist
• 39:55
  Speaker 1: in any way, but I did. There are moments where
• 39:58
  Speaker 1: you can tell the movie thinks it's doing right and
• 40:01
  Speaker 1: you're just like, because I think the message of the
• 40:03
  Speaker 1: movie is supposed to be or the thing that the
• 40:06
  Speaker 1: like filmmakers intended for the audience to take away was that,
• 40:09
  Speaker 1: oh man, this this guy who doesn't respect women until
• 40:13
  Speaker 1: he's forced to like get inside their heads and like
• 40:16
  Speaker 1: learn that he's been sexist to them this whole time.
• 40:18
  Speaker 1: So he has to like change his attitude about women
• 40:21
  Speaker 1: if he wants to keep having sex with them. He's
• 40:24
  Speaker 1: got to learn he's gotta listen. Like there is like
• 40:27
  Speaker 1: an attempt atta like men should listen to women more.
• 40:32
  Speaker 1: This being revolutionary at the time, I think I'm kind
• 40:35
  Speaker 1: of like, I mean, we're progressively getting more feminists, you know,
• 40:38
  Speaker 1: as the years go on, or at least starting to
• 40:40
  Speaker 1: listen to women. The structures, the infrastructures that keep women
• 40:43
  Speaker 1: and people of color still exist or keep us down
• 40:45
  Speaker 1: that you know, they exist, um still and they're going
• 40:48
  Speaker 1: very strong. But at least there are mediums where we
• 40:51
  Speaker 1: can be heard. So I feel like this movie was
• 40:53
  Speaker 1: probably like if you were in solitary confinement and then
• 40:55
  Speaker 1: somebody lets you like walk around a prison cell, You'd
• 40:58
  Speaker 1: be like, oh damn, look at me, I got a toilet,
• 41:04
  Speaker 1: I gotta bit. Is it something like you'd be like,
• 41:08
  Speaker 1: like that is a step up? You still in jail,
• 41:12
  Speaker 1: like it just got a little room to move around.
• 41:15
  Speaker 1: Now you got the tuns in a while, no more.
• 41:19
  Speaker 1: It's just like crazy, difend if this movie, well, I
• 41:22
  Speaker 1: don't know, Like I feel like we're all too young
• 41:24
  Speaker 1: to really know what was then. But like if the
• 41:29
  Speaker 1: first movie that was like hey guys, maybe listen to
• 41:33
  Speaker 1: women for the first time in two thousands, they're like,
• 41:36
  Speaker 1: holy sh it, everyone's got to see this movie, like
• 41:39
  Speaker 1: not this revolutionary, like what that talk? Maybe you won't
• 41:44
  Speaker 1: grab my breast my shirt. It's also just crazy that
• 41:48
  Speaker 1: a movie called What Women Want stars Mel Gibson. It's
• 41:53
  Speaker 1: told from his point of view. It's about a guy
• 41:56
  Speaker 1: who never stops manipulating women until maybe the very very end.
• 42:01
  Speaker 1: And it also doesn't help that it's Mel Gibson and
• 42:04
  Speaker 1: he is a notorious racist and notoriously anti Semitic and
• 42:10
  Speaker 1: women he's got some mean voicemails, he's left women he's
• 42:14
  Speaker 1: absolutely like, which rings true in the movie. I think
• 42:17
  Speaker 1: that's why I don't. He's not even a little bit charm.
• 42:21
  Speaker 1: You can't because they're so hard to men who get
• 42:24
  Speaker 1: away with doing because you'd be like, mostly fine men.
• 42:27
  Speaker 1: My mom works in HR and was always like, you know,
• 42:29
  Speaker 1: we never get any reports about hot guys. That's just
• 42:32
  Speaker 1: what doesn't happen. And I was like, it's not okay still,
• 42:35
  Speaker 1: but there are some people who get away with more
• 42:37
  Speaker 1: because you're like, you kind of fine, let's still happen though,
• 42:40
  Speaker 1: because I feel like I think today, I think it's
• 42:43
  Speaker 1: an individual basis. I don't think there's a person alive
• 42:46
  Speaker 1: who can be disrespectful to a group of people and
• 42:49
  Speaker 1: someone's not going to find it disrespectful. But I think
• 42:52
  Speaker 1: that there are people who get a little bit more
• 42:54
  Speaker 1: case by case acknowledgement than others, and that does not
• 43:00
  Speaker 1: in of those and it does seem something like a
• 43:02
  Speaker 1: movie like this could reinforce uh, And a lot of
• 43:06
  Speaker 1: movies reinforce ideas like that. We're like, when hot guys
• 43:09
  Speaker 1: harass you, it's fine because you're supposed to like want
• 43:14
  Speaker 1: so that's well, we live in hell. Well this movie
• 43:21
  Speaker 1: is so this movie. Also it reinforces the idea that
• 43:24
  Speaker 1: women are impossible to figure out, that they never say
• 43:27
  Speaker 1: what they mean, that we aren't like clear communicators. Also
• 43:31
  Speaker 1: that when you're walking around, you're just like estrogen and
• 43:34
  Speaker 1: that should think full complete sentences. That was what was
• 43:38
  Speaker 1: bothering me. I was like, how much of my day
• 43:39
  Speaker 1: do I actually spend thinking like, oh my god, I
• 43:42
  Speaker 1: looked at his penis. I thought, I'm having stundering in
• 43:46
  Speaker 1: my head, Like in my head, I'm stuttering in my head.
• 43:52
  Speaker 1: Also the fact that he finds out he has this ability,
• 43:56
  Speaker 1: and then first he thinks it's a curse, and then
• 43:58
  Speaker 1: when he whenever bet Middler convinces them that it's actually
• 44:01
  Speaker 1: a gift, he's like, well, hey, it's fine. Then for
• 44:05
  Speaker 1: me to just completely be so invasive and read women
• 44:10
  Speaker 1: literally read women's thoughts in order to figure them out
• 44:14
  Speaker 1: and trick them and manipulate them like this makes him
• 44:18
  Speaker 1: so irredeemable throughout the entire movie, and then the movie
• 44:21
  Speaker 1: like makes the attempt to him standing at his house
• 44:29
  Speaker 1: and then him being like, it's so hard for me
• 44:31
  Speaker 1: to lie and say that I'm gay because I'm obviously
• 44:33
  Speaker 1: so straight. Obviously it'll stop fucking women. You know, I'm
• 44:41
  Speaker 1: going to make this concession for you because I read
• 44:43
  Speaker 1: your mind and tricked you into banning me. Like he
• 44:47
  Speaker 1: spent so much of this the time of this movie
• 44:51
  Speaker 1: stealing women's ideas, totally steamrolling them, gaslighting them into being like, no,
• 44:57
  Speaker 1: this was my idea, and just it's horrible that first
• 45:03
  Speaker 1: scene with on a gas star, why is your name?
• 45:07
  Speaker 1: I believe so say it wrong? But like when he's
• 45:10
  Speaker 1: first starting to realize that he can be a thought grifter,
• 45:15
  Speaker 1: he like steals an idea from one of the female
• 45:17
  Speaker 1: employees in the room, says it but says it kind
• 45:19
  Speaker 1: of wrong, and then immediately because I don't know, like,
• 45:23
  Speaker 1: I guess's idea also doesn't sound good, but it's like Adville,
• 45:27
  Speaker 1: what you take when you need to to fake a
• 45:31
  Speaker 1: headache so you don't have sex with your man? Right,
• 45:34
  Speaker 1: I was like, this is already too long of a
• 45:36
  Speaker 1: journey for a single billboy, I'm having an ad bill
• 45:40
  Speaker 1: tonight because I don't want to have your dick. What
• 45:44
  Speaker 1: is this? And then they'll givs and tries to communicate
• 45:47
  Speaker 1: women can't say that idea, I gotta take inset, don't forget.
• 45:53
  Speaker 1: Like that's how our women also attestament to help our
• 45:56
  Speaker 1: women have to go to just say they don't want
• 45:58
  Speaker 1: to have I have to take an add bill. You
• 46:02
  Speaker 1: have to buy advil, not because you needed, because you
• 46:04
  Speaker 1: need to fake addict because like a gentle pill in
• 46:08
  Speaker 1: front of your because women are so frigid that we
• 46:11
  Speaker 1: never want to have sex with our husbands or whatever.
• 46:14
  Speaker 1: And also if you don't want to, you can't just
• 46:16
  Speaker 1: say something. You need to insure. You have to like
• 46:21
  Speaker 1: ruin your liver and your kidneys with like medicine you
• 46:24
  Speaker 1: don't need. So then so then mel Gibson tries to
• 46:26
  Speaker 1: present that idea as his zone and then Helen Hunter
• 46:28
  Speaker 1: is like, what are you talking about? And then mel Gibson,
• 46:32
  Speaker 1: instead of being like, I'm sorry, that wasn't a good idea,
• 46:35
  Speaker 1: he then weaponizes it against the person whose idea it was.
• 46:39
  Speaker 1: He goes up to on a gas star and he's like,
• 46:41
  Speaker 1: you don't fuck your husband, do you? And then she
• 46:45
  Speaker 1: was like what. He's like, you fake your orgasms, don't you.
• 46:48
  Speaker 1: And she's like, no, I never fake my orgasms. And
• 46:51
  Speaker 1: he's like fuck you and he sits down. You're like, yeah, oh,
• 46:55
  Speaker 1: if he's supposed to be good at advertising, like you
• 46:58
  Speaker 1: can't tell what a good ideas and what a bad
• 47:01
  Speaker 1: idea is. Like you were just like, all right, which
• 47:03
  Speaker 1: one of these bitches is thinking right now? Okay, let
• 47:06
  Speaker 1: me get that thought. Woman has got to be good. Also,
• 47:11
  Speaker 1: don't forget that he interrupted the other woman who was
• 47:14
  Speaker 1: trying to pitch Helen Hunt an idea. He's like, wait
• 47:17
  Speaker 1: a minute, let me interrupt a man's talking. Here's my
• 47:20
  Speaker 1: stupid idea about advil. And that's the same woman who
• 47:23
  Speaker 1: he was like, wives don't suck enough, nick anyways, Like
• 47:28
  Speaker 1: that was the same lady. Yeah, And yet we're supposed
• 47:32
  Speaker 1: to feel that he has been redeemed by the end
• 47:35
  Speaker 1: of the movie, and then he's so the majority he is.
• 47:37
  Speaker 1: So he finds someone who is very so Helen Hunt's
• 47:41
  Speaker 1: really good at her job, and he steals her thoughts
• 47:44
  Speaker 1: and presents the messes on which she doesn't really push
• 47:47
  Speaker 1: back on ever his bizarre yeah, where she's like, that's
• 47:51
  Speaker 1: so crazy. I was just thinking that. But then even
• 47:54
  Speaker 1: so if she was just thinking that, then like we're
• 47:56
  Speaker 1: going it together. Like there, I don't because the thought
• 47:59
  Speaker 1: is is that women are so insecure and that like, oh,
• 48:04
  Speaker 1: she got this job. But come on, guys, we all
• 48:05
  Speaker 1: know she got the job because she's a woman. She
• 48:08
  Speaker 1: had to push China and needed one to really reform
• 48:12
  Speaker 1: at our company. So here she is, and Alan Arkin
• 48:15
  Speaker 1: like says buck Alan, He says that, he literally says,
• 48:21
  Speaker 1: like you're not gonna believe this, but women are making
• 48:25
  Speaker 1: purchases out there, so he like do he like tokenizes
• 48:29
  Speaker 1: her before we even meet her. And then she is,
• 48:34
  Speaker 1: I mean and that that's like a whole other like
• 48:37
  Speaker 1: that they made it true. They didn't actually even make
• 48:39
  Speaker 1: her smart because she never says any of your ideas
• 48:42
  Speaker 1: like out loud. It's that he steals them from her
• 48:45
  Speaker 1: head and realizes that she's smart, which otherwise he would
• 48:47
  Speaker 1: not have or Yeah, I don't know what would have
• 48:50
  Speaker 1: happened if he didn't. I feel like maybe he might
• 48:53
  Speaker 1: have crashed and burned, because then she would have been
• 48:55
  Speaker 1: good at her job. I think things would have worked
• 48:57
  Speaker 1: out much better for her if he couldn't read her
• 48:59
  Speaker 1: he wasn't around, because then he would have he wouldn't
• 49:01
  Speaker 1: have gotten the promotion. He still wouldn't have been good
• 49:04
  Speaker 1: at his job. She was having the good ideas, and
• 49:06
  Speaker 1: she wouldn't have wanted to hang out with him because
• 49:08
  Speaker 1: she heard he was an asshole. Because I feel like
• 49:10
  Speaker 1: the movie tried to make it seem like, well, if
• 49:12
  Speaker 1: he wasn't dealing the thoughts, would she have ever said them?
• 49:14
  Speaker 1: And I was like, oh, Ry, probably, yeah, I think
• 49:17
  Speaker 1: she would have. So. Also, the advertisement that he stole
• 49:22
  Speaker 1: from her head and then formulated into the ad was
• 49:24
  Speaker 1: still about men, like the ad at the end of
• 49:29
  Speaker 1: the day was about men. It was like the road
• 49:32
  Speaker 1: that you run on. It doesn't care if you have
• 49:34
  Speaker 1: on lipstick. It doesn't care if you're old or you're young,
• 49:38
  Speaker 1: like a man would care. It will call you back,
• 49:40
  Speaker 1: unlike that man that you're dealing with, Like this road,
• 49:43
  Speaker 1: it's better than a man. Like what's this road? If
• 49:47
  Speaker 1: you wanted to it, probably make it come better than
• 49:49
  Speaker 1: a man. What is happening? Like the road is It's
• 49:55
  Speaker 1: just it's fucking ridiculous, and then the women are like,
• 49:59
  Speaker 1: oh I love it, Yes, sign me up. The road
• 50:02
  Speaker 1: is for unforkable women. Jesus Christ. We got to take
• 50:08
  Speaker 1: another quick break, but we'll come right back. Another thing
• 50:16
  Speaker 1: I wanted to say about the Ellen Alda character and
• 50:19
  Speaker 1: that whole situation is Eleanorda doesn't hire a woman to
• 50:24
  Speaker 1: give her a professional opportunity or to like diversify the
• 50:28
  Speaker 1: company's employees. He only does it so that they can
• 50:31
  Speaker 1: make money. And he thinks that like, oh, well, if
• 50:33
  Speaker 1: we do this, then like we're going to pull in
• 50:35
  Speaker 1: a whole different demographic of people and that will make
• 50:37
  Speaker 1: us money. And I feel like that's a lot of
• 50:39
  Speaker 1: what the thinking is in like Hollywood still, where it's like, well,
• 50:44
  Speaker 1: we don't really care about, you know, showing the stories
• 50:47
  Speaker 1: of women or people of color or queer people, but
• 50:51
  Speaker 1: it's trendy to do right now, and people seem to
• 50:54
  Speaker 1: be paying money to go see those stories, so let's
• 50:57
  Speaker 1: do it. And it's like they're capitalized on a movement
• 51:01
  Speaker 1: rather than like actually giving people a platform to tell
• 51:04
  Speaker 1: their stories because they actually care about doing that and
• 51:08
  Speaker 1: about it. Yeah, And it's like if you're commenting on
• 51:11
  Speaker 1: it in the movie. That's one thing. But they're not
• 51:13
  Speaker 1: they're not doing they're saying, look, yes, white men are
• 51:15
  Speaker 1: more interesting than all of you hetero white men. We're
• 51:18
  Speaker 1: the best, We're the most interesting. But apparently Itches is
• 51:21
  Speaker 1: out here buying ship. So God, let's get one of
• 51:24
  Speaker 1: those ones with the boobs in here so that we
• 51:27
  Speaker 1: can get some of that money. Melankuson says, I hear
• 51:31
  Speaker 1: she is a bit on wheels, and then Alan Alder
• 51:33
  Speaker 1: rep that is very funny. There is Okay, I'm sorry,
• 51:39
  Speaker 1: there's something very funny about why on wheels is she
• 51:43
  Speaker 1: moving really fast? So she has this reputation apparently as
• 51:51
  Speaker 1: being like, I guess a ball buster something like that,
• 51:53
  Speaker 1: So why wouldn't she, whenever she's in this job be
• 51:56
  Speaker 1: more outspoken and like being unless like maybe this or
• 52:00
  Speaker 1: reputation was not earned or who I mean, It's hard
• 52:03
  Speaker 1: to say, but I think it's because she was a boss,
• 52:04
  Speaker 1: like a woman in a position of power. Immediately she
• 52:07
  Speaker 1: has to be a bit because that's how jobs were,
• 52:09
  Speaker 1: that's how people has a better position than you, and
• 52:13
  Speaker 1: she is unfortunately it is she's yeah, yeah, it's the
• 52:21
  Speaker 1: whole thing is confusing. And then the romantic pursuit and
• 52:24
  Speaker 1: their romantic relationship is also very troubling, where first he
• 52:30
  Speaker 1: absolutely hates her just based on her reputation alone. He
• 52:34
  Speaker 1: hates he resents the fact that she was hired instead
• 52:36
  Speaker 1: of him for this promotion. He does all this stuff
• 52:39
  Speaker 1: to undermine her, steals her ideas. Oh and then whenever
• 52:43
  Speaker 1: she's first introduced, there's like this weird, like male gaze
• 52:46
  Speaker 1: shot of just her legs where he's like on the
• 52:48
  Speaker 1: ground picking up a pen or something and he's like
• 52:50
  Speaker 1: looking at her legs and then it like pans up
• 52:52
  Speaker 1: and this like weird male gaze shot that like doesn't
• 52:56
  Speaker 1: need to happen, but I guess it's to establish that, like,
• 52:58
  Speaker 1: oh wow, she is attractive and they're going to end
• 53:02
  Speaker 1: up together. Like this is overly critical, but it is
• 53:06
  Speaker 1: of mel Gibson, so I don't think it matters. I
• 53:10
  Speaker 1: think he has a dead tooth. I kept pausing it
• 53:13
  Speaker 1: to be like, I think he has a dead tooth.
• 53:16
  Speaker 1: I think Mel Gibson has a dead tooth, which would
• 53:19
  Speaker 1: a dollar budget. You can get you a laugh too,
• 53:22
  Speaker 1: real quick cut the cut the fucking Vegas scene and
• 53:26
  Speaker 1: get this man a tooth, right, we need Jerry Bruckheimer
• 53:29
  Speaker 1: in there to get him some veneers. He had a
• 53:30
  Speaker 1: shadow tooth. It was haunting me. Yeah, Bruckheimer would not
• 53:34
  Speaker 1: be having any of this. No better to take him out,
• 53:38
  Speaker 1: put in a new set anyting like how are you
• 53:44
  Speaker 1: supposed to be extra super fun? And then he's kind
• 53:46
  Speaker 1: of dead tooth. Also, like that moment in the beginning
• 53:49
  Speaker 1: where she's speaking and she does like it seems like
• 53:51
  Speaker 1: she's on top of her ship. She comes in with
• 53:53
  Speaker 1: some products she already has to work for everyone to do,
• 53:55
  Speaker 1: and he's like with his foil. I think the guy
• 53:57
  Speaker 1: who's his best friend is meant to be a foil
• 53:59
  Speaker 1: of Like, yeah, Mel Gibson's trash, but look at this creepy,
• 54:02
  Speaker 1: little more trash guys. He's shorter and he's got a
• 54:08
  Speaker 1: douche face. Right, he's got to be worse than Mel.
• 54:12
  Speaker 1: What is this guy's purpose? But they're sneakering and undermining
• 54:14
  Speaker 1: her as she talks, and then when even when they
• 54:17
  Speaker 1: begin to become friends. It was very disturbing to me
• 54:20
  Speaker 1: because there is a power dynamic of this is your boss, dude,
• 54:22
  Speaker 1: and he never treats her like she's his boss. He
• 54:25
  Speaker 1: grabs her chair. That's on wheels and pulls it close
• 54:29
  Speaker 1: to him. Yeah, right, well their work, and yeah he's
• 54:34
  Speaker 1: like her underling. And it's never it's always she's like
• 54:40
  Speaker 1: I thinking about like someone who works for you, being
• 54:44
  Speaker 1: like get over here. I'm like, what, I'm gonna pull
• 54:50
  Speaker 1: your chair. No matter who did that to me, I
• 54:53
  Speaker 1: would probably also sick. And she's like, I'm I don't
• 54:57
  Speaker 1: feel and she's like he's like I don't care, Like
• 55:01
  Speaker 1: oh gosh, so yeah, he's doing all this whole stuff.
• 55:03
  Speaker 1: And then I mean, not to mention the very unequal
• 55:06
  Speaker 1: power dynamic of him being able to hear her innermost thoughts,
• 55:11
  Speaker 1: he has. What he should have done when he realized
• 55:13
  Speaker 1: he has this ability is go to like Walden Pond
• 55:16
  Speaker 1: and close himself up in a cabin and never leave again.
• 55:19
  Speaker 1: Like that's what a good person would have done. But
• 55:22
  Speaker 1: instead he's like, oh, I can hear every woman's thoughts.
• 55:24
  Speaker 1: Better take advantage of this. I don't know what he
• 55:28
  Speaker 1: I don't like. I have no suggestion for what he
• 55:30
  Speaker 1: should have done, except for like, not what he did.
• 55:35
  Speaker 1: I don't know. I mean the way that like the
• 55:37
  Speaker 1: magic of the hearing women's thoughts is very vague and
• 55:42
  Speaker 1: that's fine whatever, Like there's no way to explain it
• 55:46
  Speaker 1: that is going to make any fucking sense. But he's
• 55:51
  Speaker 1: stealing women's thoughts and weaponizing their own innermost thoughts against them,
• 55:56
  Speaker 1: and then on top of that, the writing of their
• 55:58
  Speaker 1: thoughts is like non sense. And the fact that he
• 56:02
  Speaker 1: has to get so physically close to a woman to
• 56:04
  Speaker 1: hear her thoughts, he's like, ah ha, and like my
• 56:08
  Speaker 1: least favorite one but also the most egregious one. Was
• 56:11
  Speaker 1: like when he literally like, there's such a women joggers
• 56:16
  Speaker 1: are constantly assaulted. It's like a known thing. But he
• 56:21
  Speaker 1: gives him just stands directly behind one and jogs after
• 56:25
  Speaker 1: her to hear her thoughts. I'm like, she thinks you're
• 56:27
  Speaker 1: going to kill her? Like that's and how are her
• 56:30
  Speaker 1: thoughts not about that? Like this man, okay, put my
• 56:35
  Speaker 1: car Kei's in between my fingers, Like these are the
• 56:37
  Speaker 1: real thoughts of this woman you're jogging behind. Also, Loretta
• 56:40
  Speaker 1: divine being in this movie. Loretta. I feel like Loretta
• 56:46
  Speaker 1: is the Samuel Jackson, like the black woman Samuel Jackson
• 56:49
  Speaker 1: just like up in movies with the same accent. And
• 56:52
  Speaker 1: I'm like, Loretta, how did you get it? This movie,
• 56:55
  Speaker 1: her coaches attracted to him. She's like someone that whe chocolate,
• 56:59
  Speaker 1: because that's what black women are thinking about white men.
• 57:01
  Speaker 1: But my first thought, all the color in this movie,
• 57:06
  Speaker 1: which of which there are not many, are like relegated
• 57:09
  Speaker 1: to either like service jobs and areolds and then they're
• 57:15
  Speaker 1: they're just like made the butt of a joke, mostly,
• 57:17
  Speaker 1: like especially with Loretta Divine, because it's like, look how
• 57:20
  Speaker 1: horny she is. Isn't that hilarious? So horny for him?
• 57:23
  Speaker 1: He would never think, right, it is funny that a
• 57:26
  Speaker 1: woman would be attracted to mel Gibson, But it's like,
• 57:30
  Speaker 1: you have fucking Loretta Divine here. Use her correctly makes
• 57:36
  Speaker 1: the housekeeper character too. I think that it seems like
• 57:40
  Speaker 1: this movie assumes that it can say a lot of
• 57:42
  Speaker 1: horrible things as long as the woman it's being done
• 57:46
  Speaker 1: against thinks something later. But to me, that makes it
• 57:49
  Speaker 1: way worse because they never actually say anything. So you
• 57:52
  Speaker 1: just realize that like women are nervous or like afraid
• 57:56
  Speaker 1: in this world and like in the real world a
• 57:59
  Speaker 1: lot of the time, to you, like they're they're not
• 58:01
  Speaker 1: going to say what they think because they're afraid of
• 58:04
  Speaker 1: someone retaliating on them. His housekeeper is like clearly like
• 58:09
  Speaker 1: hates him but doesn't want to get fired, but so
• 58:11
  Speaker 1: has to like take this abuse from him in order
• 58:13
  Speaker 1: to remain. Like there's just so many dark subplots that
• 58:17
  Speaker 1: are played as jokes where it's like, well, we at
• 58:19
  Speaker 1: least now we know she thinks he's an asshole, and
• 58:22
  Speaker 1: like she knows he's a worthless alcoholic. It's like, yeah,
• 58:25
  Speaker 1: this is not good, Like we're we gotta help her. Yeah,
• 58:29
  Speaker 1: you got to help her. But I think it was
• 58:30
  Speaker 1: like more treated like women. We know you feel this
• 58:33
  Speaker 1: way around men, So enjoy this movie where you realize
• 58:36
  Speaker 1: all other women are in constant fear and discomfort around men,
• 58:41
  Speaker 1: but they're celebrate have because there's no Catharsis, because they're
• 58:46
  Speaker 1: just like, yeah, they don't escape, there's predicament, be stupid, right.
• 58:51
  Speaker 1: They never women never verbally challenge any of the men.
• 58:55
  Speaker 1: It's just their thoughts, which again perpetuates the idea that
• 58:58
  Speaker 1: it's like, well, women are never saying what they mean,
• 59:00
  Speaker 1: and we're impossible to figure out. We're just like keeping
• 59:02
  Speaker 1: everything to ourselves. But at the same time, we're always
• 59:04
  Speaker 1: thinking about you, always thinking about mel Gibson specific we
• 59:08
  Speaker 1: can't help ourselves. Poor Sarah Paulson another another great character
• 59:15
  Speaker 1: actress who has nothing to do here, like just and
• 59:18
  Speaker 1: they pointed that in the movie even it's like I
• 59:20
  Speaker 1: have a degree from and I like to get his coffee,
• 59:24
  Speaker 1: which is ironic because that's all she does in this movie. Yeah,
• 59:27
  Speaker 1: she probably really does have to. She's like a very talented,
• 59:31
  Speaker 1: like added actress. And then there's that scene where she's
• 59:34
  Speaker 1: like she's like yeah, She's like, do you realize I
• 59:36
  Speaker 1: have an Ivy League education and that running your errands
• 59:39
  Speaker 1: has put me into therapy? Why don't you take me
• 59:41
  Speaker 1: seriously and give me some real work to do? Oh yeah,
• 59:43
  Speaker 1: I remember why. It's because I have a vagina. And
• 59:45
  Speaker 1: it's like, okay, here's this again. This movie is attempt
• 59:47
  Speaker 1: at being like, see you, we're doing like a feminist
• 59:49
  Speaker 1: thing here, right, And it's like no, sorry, Nancy. Two
• 59:52
  Speaker 1: secretaries who have nothing, one of them is played by
• 59:58
  Speaker 1: Delta Park and they're like, this is okay because we
• 1:00:00
  Speaker 1: have a blonde and brunette, so no one can say
• 1:00:03
  Speaker 1: it's a dumb blonde because we all have a brunette.
• 1:00:05
  Speaker 1: And just think ever, did either you see the decor
• 1:00:11
  Speaker 1: in his office it's all like Vegas pin ups, like
• 1:00:15
  Speaker 1: he's got some mommy problems on display in his office
• 1:00:18
  Speaker 1: because it's all old school pin ups that he goes
• 1:00:22
  Speaker 1: in with his two of his two secretaries. Who I mean,
• 1:00:26
  Speaker 1: I'm like, what is this commenting on? Like just no,
• 1:00:28
  Speaker 1: no thoughts whatsoever. They just they're like, no, we say
• 1:00:32
  Speaker 1: what we mean, and what we mean is mel Gibson rules,
• 1:00:35
  Speaker 1: just like and that's the only thought we have. Dear
• 1:00:38
  Speaker 1: straighten his tie and we brushed the lint off of
• 1:00:40
  Speaker 1: him when he comes in. What is this? Are these women?
• 1:00:43
  Speaker 1: I don't don't know. There's there are many women characters
• 1:00:48
  Speaker 1: in this movie, but often they only get a handful
• 1:00:51
  Speaker 1: of scenes or just like a couple of scenes and
• 1:00:54
  Speaker 1: we don't see them again, or they were part of
• 1:00:56
  Speaker 1: a wacko subplot, like the Judy character. And you know,
• 1:01:00
  Speaker 1: we already touched on how irresponsibly depression and like suicidal
• 1:01:06
  Speaker 1: ideation is handled in this movie, but like, yeah, what
• 1:01:09
  Speaker 1: was anyone thinking? No one was thinking that whole I mean,
• 1:01:14
  Speaker 1: the Judy Grew thing. It's like, I don't I don't
• 1:01:16
  Speaker 1: even know how deep I feel like we we basically
• 1:01:19
  Speaker 1: touched on it because they're high. I have a male
• 1:01:23
  Speaker 1: dog taking up too much space. Excuse me, I don't
• 1:01:27
  Speaker 1: I don't know. The Judy Grew thing is is a
• 1:01:29
  Speaker 1: fucking disaster, and I feel like analyzing it too closely
• 1:01:32
  Speaker 1: is almost just like what's the point because I'm just
• 1:01:34
  Speaker 1: thinking about it in the first place. I do want
• 1:01:37
  Speaker 1: to talk a little bit about his relationship with his daughter,
• 1:01:41
  Speaker 1: because that's frame we get. We don't really get to
• 1:01:43
  Speaker 1: know his ex wife very well, except for the fact
• 1:01:46
  Speaker 1: that he fucking hates her at the end. We don't
• 1:01:49
  Speaker 1: really know if that relationship has changed or how justified
• 1:01:53
  Speaker 1: it was in the first place. Also, he tries to
• 1:01:55
  Speaker 1: kiss her on the mouth at her own wedding to
• 1:01:57
  Speaker 1: another man, like came in and just slack the funk
• 1:02:00
  Speaker 1: out of her. He's like, but first yeah, he's like,
• 1:02:04
  Speaker 1: can I kiss you? And she's like yeah, and she
• 1:02:06
  Speaker 1: thinks it's gonna be like a cheek kiss and he
• 1:02:09
  Speaker 1: goes into her mouth and he's like and then the
• 1:02:12
  Speaker 1: guy did they get to be? Her new husband is
• 1:02:15
  Speaker 1: obviously some type cast of whatever, a dorky man it's
• 1:02:19
  Speaker 1: supposed to look like. It's like, looks she went from
• 1:02:21
  Speaker 1: this hot male gibsonstad to this cornball, dorky spain like
• 1:02:26
  Speaker 1: there there. It reminded me of the new dad or
• 1:02:30
  Speaker 1: new boyfriend in The Santa Claus, like where it's like
• 1:02:33
  Speaker 1: where Tim Allen supposed to look like a super alpha
• 1:02:36
  Speaker 1: because this other guy's wearing a sweater. You're just like,
• 1:02:39
  Speaker 1: I don't believe I can't respect this man wearing a sweater.
• 1:02:42
  Speaker 1: Right if they're like he's wearing a sweater and he
• 1:02:45
  Speaker 1: loves you, funk off. You could have had it bad
• 1:02:48
  Speaker 1: with me. You could, because they'll be sufferating with a
• 1:02:54
  Speaker 1: sexy man. It's worse in the Santa Claus because I
• 1:03:00
  Speaker 1: don't even think time Ellen was ever like position as
• 1:03:03
  Speaker 1: a sexy person, so it's just confusing. Has never been attractive. Also,
• 1:03:08
  Speaker 1: like he's a Republican, yeah, yeah, the like the relationship
• 1:03:15
  Speaker 1: with his daughter, Yeah, he's so irresponsible with his daughter.
• 1:03:19
  Speaker 1: Every person in his life is an afterthought, which was
• 1:03:23
  Speaker 1: really disturbing to me. Like he catches his daughter making
• 1:03:25
  Speaker 1: out with a do she kid who's eighteen and looks
• 1:03:29
  Speaker 1: like trouble, and then he's like, get up, you can't
• 1:03:32
  Speaker 1: have none of my daughter's vagina, and then then they
• 1:03:35
  Speaker 1: both leave together, right right, Well, good job, Mel. Now
• 1:03:40
  Speaker 1: they're just gonna elsewhere. You want to have sex with
• 1:03:43
  Speaker 1: my daughter in an alley, you go won't be a
• 1:03:47
  Speaker 1: mock ouch like kicks them out that whole Oh. Another
• 1:03:52
  Speaker 1: scene that went on way too long is the scene
• 1:03:54
  Speaker 1: to what a Girl Wants like Christian Acular, where his
• 1:03:57
  Speaker 1: daughter's trying on prom dresses for five minutes, just spinning
• 1:04:03
  Speaker 1: in a chair. Reaction. This is how much people thought
• 1:04:07
  Speaker 1: we loved Milk Gibson. And they were like, we don't
• 1:04:09
  Speaker 1: have to put dialogue in and we don't need jokes.
• 1:04:12
  Speaker 1: The girl doesn't even have to say anything. Let's just
• 1:04:14
  Speaker 1: keep showing Mills chair. I think Mello just like I
• 1:04:17
  Speaker 1: just finished a two o one class and I kind
• 1:04:19
  Speaker 1: of want to show off what I've got. It starts improvi.
• 1:04:23
  Speaker 1: He does the same thing in the dancing and makeup scene,
• 1:04:25
  Speaker 1: but the spinning in a chair, I'm like, I don't
• 1:04:28
  Speaker 1: even know if they're in the same room when this
• 1:04:30
  Speaker 1: is being filled, because he's just yeah, maybe they were.
• 1:04:33
  Speaker 1: They're like, look, Mel has a very tight schedule. We're
• 1:04:36
  Speaker 1: just gonna shoot him spinning around, and he's gonna say next, next, next,
• 1:04:39
  Speaker 1: There's no way, thank you, next, thank you? Next gave
• 1:04:44
  Speaker 1: us that. I was like, how would dare you? But
• 1:04:47
  Speaker 1: maybe they weren't in the same room for that. Now
• 1:04:50
  Speaker 1: I'm starting to think that that was one of those
• 1:04:51
  Speaker 1: like where they just had a tennis ball as an
• 1:04:53
  Speaker 1: eyeline for her when they shot her ship, and was like,
• 1:04:55
  Speaker 1: just male is gonna be right there? You just be
• 1:04:57
  Speaker 1: like dad, because he says thing that really corresponds with
• 1:05:01
  Speaker 1: what she's saying. The reactions never line up. I'm like,
• 1:05:04
  Speaker 1: I guess it's not two thousand and I don't. But like,
• 1:05:06
  Speaker 1: all the dresses are horrible, horrible. There's no wide shot,
• 1:05:10
  Speaker 1: there's no two shot. Oh my god, they were never
• 1:05:13
  Speaker 1: any I think there because because he's trying to she
• 1:05:19
  Speaker 1: has she has like a leather jacket on one of
• 1:05:22
  Speaker 1: and he keeps trying to pull it off. And then
• 1:05:24
  Speaker 1: there's another one where he's like trying to put his
• 1:05:26
  Speaker 1: hand in. It wasn't his hands, it was his whole body.
• 1:05:29
  Speaker 1: Unfortune unfortunately we had to see his whole body circus
• 1:05:35
  Speaker 1: kind of like c g I hands. Dresses were very bad,
• 1:05:46
  Speaker 1: and she chooses one of the worst ones and he's like, yes,
• 1:05:50
  Speaker 1: you look amazing, and then she looks in because she's
• 1:05:53
  Speaker 1: a girl. She looks in the mirror and things, I
• 1:05:55
  Speaker 1: wish I had some boobies to fill out this DRez
• 1:05:59
  Speaker 1: and then were like, oh, their relationship is going well.
• 1:06:02
  Speaker 1: But then they have a dinner together and I mean,
• 1:06:07
  Speaker 1: basically he's saying like, hey, don't fuck. I know I've
• 1:06:11
  Speaker 1: never done anything for you. I don't even know you are,
• 1:06:14
  Speaker 1: but it's critical you don't fuck, and she's she's I mean,
• 1:06:19
  Speaker 1: one of the better moments for her where she's like, no,
• 1:06:22
  Speaker 1: fuck you, I'm leaving. But then that scene ends. That
• 1:06:27
  Speaker 1: scene ends with apparently every other woman in the restaurant,
• 1:06:31
  Speaker 1: who are all facing him for some reason, have an
• 1:06:34
  Speaker 1: opinion on the conversation they could not have possibly heard, right,
• 1:06:38
  Speaker 1: I guess the people's conversations. It's it's what is it?
• 1:06:45
  Speaker 1: I don't know what is tired. And then their storyline
• 1:06:49
  Speaker 1: ends when she doesn't fuck because she's crying at the
• 1:06:53
  Speaker 1: prom and then he's like, thank god, you didn't fuck,
• 1:06:56
  Speaker 1: And that's sort of where that's left, Like there's no
• 1:07:00
  Speaker 1: acknowledgment of like her sexuality, and he never accepts because
• 1:07:05
  Speaker 1: of the way that storyline plays out, he never has
• 1:07:07
  Speaker 1: to accept that his daughter is growing up. He literally
• 1:07:10
  Speaker 1: tucks her in like a little girl, and it's like,
• 1:07:13
  Speaker 1: I'm a great dad. I gotta go leave the house
• 1:07:15
  Speaker 1: and funk Helen Hunt. Like he also didn't know that
• 1:07:18
  Speaker 1: she was going to the prom. He didn't he forget
• 1:07:21
  Speaker 1: off like like you know, parents usually like see you
• 1:07:23
  Speaker 1: off for taking pictures of you, Like the mom calls
• 1:07:28
  Speaker 1: from a cruise like, hey, something's wrong with our kid.
• 1:07:33
  Speaker 1: It's and then he has just he gets that call
• 1:07:37
  Speaker 1: fresh off of saving Judy GRI's life and it's like
• 1:07:40
  Speaker 1: ship the prom, Like are you serious? He's going from
• 1:07:43
  Speaker 1: a suicide rescue to a prom and there and then
• 1:07:46
  Speaker 1: he gets to the prom and he's like, hey, I'm
• 1:07:49
  Speaker 1: sorry I forgot prom and she's like, that's not what
• 1:07:51
  Speaker 1: it is. I was like, but it could be like, yeah,
• 1:07:56
  Speaker 1: it's the whole like eight simple rules of dating my
• 1:07:59
  Speaker 1: teenage daughter kind thing where it's like like why I
• 1:08:02
  Speaker 1: get that, you Like, parents want to you know, protect
• 1:08:06
  Speaker 1: their children and stuff like that. But we see so
• 1:08:09
  Speaker 1: much of these stories of like parents, especially the father's
• 1:08:12
  Speaker 1: being like, well, she's my baby girl, so no one,
• 1:08:15
  Speaker 1: no other boys can touch her. I have control over
• 1:08:19
  Speaker 1: her body and her sexuality. Why is this weird male
• 1:08:23
  Speaker 1: ownership of daughters. I don't mean it's a huge thing.
• 1:08:27
  Speaker 1: My daughter don't fuck the best day there was a
• 1:08:32
  Speaker 1: girl and I don't know what religion this ceremony is
• 1:08:36
  Speaker 1: affiliated with, but it's basically like something that happens when
• 1:08:39
  Speaker 1: you're in your early teens where you do this weird
• 1:08:41
  Speaker 1: ceremony your dad. It's like a promise. You get a
• 1:08:46
  Speaker 1: promise ceremony with your dad, Like I promise I won't
• 1:08:50
  Speaker 1: fuck dad. I'm married to you, dad, until I'm married
• 1:08:53
  Speaker 1: to some other man who owns me, and then I
• 1:08:56
  Speaker 1: we won't fun because that's weird, but we'll dance together
• 1:08:59
  Speaker 1: and gives me really close and take like creepy pictures
• 1:09:05
  Speaker 1: together with like girl sitting on her dad's lap a
• 1:09:09
  Speaker 1: lot of the time. I mean, I don't want to
• 1:09:11
  Speaker 1: be disrespectful to any really, but like that is that
• 1:09:16
  Speaker 1: it's like a weird property Paul, before we keep I
• 1:09:20
  Speaker 1: watched this movie with my boyfriend last night and thank
• 1:09:26
  Speaker 1: you so much with a man that loves me. But
• 1:09:29
  Speaker 1: he had a little theory was he reading your thoughts?
• 1:09:34
  Speaker 1: If he is, he is very horrible because uh no,
• 1:09:38
  Speaker 1: I have to explicitly tell him every thought I'm having
• 1:09:41
  Speaker 1: and I do. Uh So, his theory was that mel
• 1:09:45
  Speaker 1: Gibson when the hair dryer hits the water the first time,
• 1:09:48
  Speaker 1: mel Gibson dies and then his version of Hell is
• 1:09:53
  Speaker 1: having to hear what women think, and that's what the
• 1:09:57
  Speaker 1: whole movie is. I was like, whoa, okay, where this
• 1:10:00
  Speaker 1: is like his Groundhog Day purgatory style, Like the last
• 1:10:04
  Speaker 1: thing he wanted in life was to know what women
• 1:10:06
  Speaker 1: were thinking. And I'm like, you're giving the reading of
• 1:10:09
  Speaker 1: this movie way too much credit, but I wasn't. I
• 1:10:11
  Speaker 1: do enjoy that theory, and maybe since because that's why
• 1:10:14
  Speaker 1: he's trying to like electrocute himself again to stop it.
• 1:10:18
  Speaker 1: Oh my gosh. Um. I wanted to quickly talk about
• 1:10:21
  Speaker 1: the scene where his daughter and her boyfriend walk in
• 1:10:26
  Speaker 1: on him while he's trying on all like the different
• 1:10:29
  Speaker 1: quote feminine products, and it's meant to be this like
• 1:10:33
  Speaker 1: hugely embarrassing moment for him because like movies and society
• 1:10:37
  Speaker 1: in general love to make fun of men when they're
• 1:10:40
  Speaker 1: doing anything that might be considered feminine. So you know,
• 1:10:43
  Speaker 1: he's got on the tights and the nail polish and
• 1:10:46
  Speaker 1: all this stuff, and it's always framed was like, Wow,
• 1:10:49
  Speaker 1: how embarrassing for him, because like mixing traditionally feminine things
• 1:10:54
  Speaker 1: with traditionally masculine like with a traditionally man is so weird.
• 1:11:01
  Speaker 1: And this movie is no exception. It does that very thing,
• 1:11:04
  Speaker 1: which is bad. And then I feel like there's like that,
• 1:11:08
  Speaker 1: I mean, can we hit that homophobic storyline? We must? Yeah,
• 1:11:14
  Speaker 1: So what happens here is basically that, uh, he used
• 1:11:20
  Speaker 1: the god of sex. Now apparently he has sex with
• 1:11:23
  Speaker 1: Lola and she's really into him, and she thinks the
• 1:11:27
  Speaker 1: sex was great, and he doesn't call her because now
• 1:11:30
  Speaker 1: he's falling in love with Darcy. So then Lola basically
• 1:11:34
  Speaker 1: stalks him and like hangs outside of his building, like
• 1:11:38
  Speaker 1: her face pressed up against the window, like how do
• 1:11:40
  Speaker 1: you casually for something? And then she's like I've been
• 1:11:43
  Speaker 1: here for six hours, like my hands pressed on the
• 1:11:46
  Speaker 1: window and my face like peering inside, Like that's an
• 1:11:50
  Speaker 1: uncomfortable physician to hole for six hours. And then she's like,
• 1:11:55
  Speaker 1: wait a minute, you didn't call me, and and you're
• 1:11:58
  Speaker 1: you're sensitive and you think like a woman and you
• 1:12:01
  Speaker 1: act like a woman and all this stuff, so that
• 1:12:04
  Speaker 1: must mean you're gay, right, And he's like huh, and
• 1:12:08
  Speaker 1: then he's hearing her thoughts and she's like, if he's
• 1:12:11
  Speaker 1: not gay, I'll be so sad and upset, and so
• 1:12:15
  Speaker 1: to like not hurt her feelings, he struggles to say
• 1:12:20
  Speaker 1: yet because I'm gay, and then she's like, how gay?
• 1:12:24
  Speaker 1: And he's like, is gay? Is that getting Like it's
• 1:12:27
  Speaker 1: like that, like what part of this isn't so funny?
• 1:12:33
  Speaker 1: You just touched my bread? Coffee's like she's loving it.
• 1:12:41
  Speaker 1: It's also weird because it's like, is this the conception
• 1:12:44
  Speaker 1: that people have of homosexuality is like, Oh, because I'm gay,
• 1:12:48
  Speaker 1: I'm no longer a man, Like I'm no longer masculine anyway,
• 1:12:51
  Speaker 1: I'm no longer man, I'm a woman. Respect is bad
• 1:12:55
  Speaker 1: and so why that's not how anything works? And it's like,
• 1:13:00
  Speaker 1: but not only is like listening and respecting a woman
• 1:13:05
  Speaker 1: makes you gay, and that's really bad. That's the worst
• 1:13:10
  Speaker 1: thing you can do. He has to really, it's supposed
• 1:13:13
  Speaker 1: to be an equal exchange that he listened to this
• 1:13:18
  Speaker 1: woman's thoughts, like, first of all, harassed the ship out
• 1:13:20
  Speaker 1: of her to get this date. They listened to all
• 1:13:22
  Speaker 1: her thoughts and manipulated her to have sex with her.
• 1:13:24
  Speaker 1: They did not call her first six days ghosted her
• 1:13:26
  Speaker 1: so hard that she showed up to his damn house.
• 1:13:29
  Speaker 1: Him saying that he's gay is supposed to be a
• 1:13:32
  Speaker 1: fair and equal exchange, right, What it's not. I mean,
• 1:13:37
  Speaker 1: it's it's like very obviously insulting to any queer person
• 1:13:43
  Speaker 1: that he's like, oh yeah, I'm gonna take this opportunity
• 1:13:47
  Speaker 1: so that i can ghost this woman effectively, which is horrible.
• 1:13:52
  Speaker 1: Every Her opinions on queer people are horrible. His reinforcing
• 1:13:58
  Speaker 1: that and taking advantage of it as a horrible and
• 1:14:00
  Speaker 1: just the implication of like what being gay means in
• 1:14:05
  Speaker 1: this scene is weird. It's weird. But also this felt
• 1:14:10
  Speaker 1: like a moment that was written by a woman as
• 1:14:14
  Speaker 1: a as a former not woke and still always waking
• 1:14:19
  Speaker 1: up much more every day. Even as we talked, like
• 1:14:22
  Speaker 1: me referencing like, oh, like attractive men don't get written
• 1:14:24
  Speaker 1: up for sexual arrassment as much. It's like, oh, wow,
• 1:14:27
  Speaker 1: that is something that is ingrained in me, because I'm
• 1:14:30
  Speaker 1: supposed to think that if you're attractive, that, oh you
• 1:14:32
  Speaker 1: can disrespect me or be you know, inappropriate. Right, even
• 1:14:36
  Speaker 1: that moment, I was like, whoa, that's still something that's
• 1:14:38
  Speaker 1: in my mind. Thank you, But like I think a
• 1:14:41
  Speaker 1: woman brother, because I think a common thing that a
• 1:14:44
  Speaker 1: lot of women do to escape unwanted male advancements is
• 1:14:50
  Speaker 1: be like, I'm gay, And I think that this was
• 1:14:53
  Speaker 1: supposed to be like, oh, that that's that's what we
• 1:14:57
  Speaker 1: use on the men that we don't want all the time,
• 1:14:59
  Speaker 1: so they will leave a slone. Either we say we're
• 1:15:01
  Speaker 1: property like I have a boyfriend, or we say I'm
• 1:15:04
  Speaker 1: gay and then I my brain has no way to
• 1:15:07
  Speaker 1: want you physically, so you shouldn't feel bad that I
• 1:15:09
  Speaker 1: don't want you. And I was like oh, and then
• 1:15:13
  Speaker 1: he uses that same that's supposed to seem like a
• 1:15:16
  Speaker 1: moment I think it's supposed to appeal to women like, look,
• 1:15:20
  Speaker 1: a man did this thing that we have to do
• 1:15:24
  Speaker 1: because we just can't say no with our own agency
• 1:15:26
  Speaker 1: because men won't accept that right like you, there's no
• 1:15:29
  Speaker 1: option for like she has to prove in furious and
• 1:15:34
  Speaker 1: I guess that is the position males put in. It's like, well,
• 1:15:37
  Speaker 1: if I'm single, what can I say? Why can't I
• 1:15:40
  Speaker 1: say I didn't want her without just rejecting someone clearly?
• 1:15:44
  Speaker 1: But it's different because it's like if mel Gibson rejected her,
• 1:15:49
  Speaker 1: She's not gonna attack him, like something isn't like going
• 1:15:53
  Speaker 1: to He's not going to be I feel like that
• 1:15:54
  Speaker 1: the reason women are afraid to reject it because of
• 1:15:57
  Speaker 1: our fear of being hurt by men physically or killed.
• 1:16:01
  Speaker 1: And that's why this moment is even more gross to me,
• 1:16:03
  Speaker 1: because I feel like it's trying to liken what we
• 1:16:06
  Speaker 1: do sometimes to be safe, as oh, look, he's doing
• 1:16:10
  Speaker 1: it totally point, he's doing it because he's a coward,
• 1:16:15
  Speaker 1: because he's fearing for his safety exactly. And that's why
• 1:16:19
  Speaker 1: I was like, this is and I think that's I
• 1:16:21
  Speaker 1: think that's their underlying justification for doing something horrible to
• 1:16:25
  Speaker 1: so many different people in this moment of like trying
• 1:16:28
  Speaker 1: to treat homosexuality like it's this, I think they were
• 1:16:30
  Speaker 1: trying to be like, but look now we're using it
• 1:16:32
  Speaker 1: like how you women use it when you're not actually gay,
• 1:16:34
  Speaker 1: when it's like we don't if if which if women
• 1:16:37
  Speaker 1: are still doing that, please don't like that's not good,
• 1:16:41
  Speaker 1: like just like and I know like we do have to,
• 1:16:45
  Speaker 1: like our our safety is sometimes in in danger when
• 1:16:49
  Speaker 1: we reject certain types of unhinged men. But still a
• 1:16:53
  Speaker 1: common thing that people do I see it on the
• 1:16:55
  Speaker 1: internet all the time, like if you don't like the guy,
• 1:16:57
  Speaker 1: just tell him you're getting what. But it was a
• 1:17:00
  Speaker 1: thing that like I can't blame women who have done
• 1:17:03
  Speaker 1: it because I'm like ship, like men will kill you
• 1:17:06
  Speaker 1: if you need to escape, like to escape, right, but
• 1:17:09
  Speaker 1: it's not right. And I think that moment for me,
• 1:17:11
  Speaker 1: I looked at it and I was like, this is
• 1:17:14
  Speaker 1: and it's just totally played for a joke in every way, Like, man,
• 1:17:17
  Speaker 1: he really got away with that. And then he you
• 1:17:19
  Speaker 1: get the feeling he feels a little bit bad, but
• 1:17:21
  Speaker 1: never enough to apologize and never I mean, you know,
• 1:17:23
  Speaker 1: the second that interaction over, he's just going to go
• 1:17:26
  Speaker 1: to a different coffee shop and that's it. And he
• 1:17:28
  Speaker 1: doesn't have to apologize to her because he's gonna apologize
• 1:17:31
  Speaker 1: to the respectable woman that he cares about, so he
• 1:17:34
  Speaker 1: don't got to apologize as this other woman he completely
• 1:17:36
  Speaker 1: fucked over, like not a working class person who you
• 1:17:40
  Speaker 1: felt like a service. She's I want to be actress
• 1:17:42
  Speaker 1: who makes coffee, which means her life is worse. So
• 1:17:46
  Speaker 1: she's fucking silly and you don't need to respect her.
• 1:17:48
  Speaker 1: And she's I mean, it sounds like she was told
• 1:17:52
  Speaker 1: to like play it dumb, oh for sure, because can
• 1:17:57
  Speaker 1: be subtle. She is not here, No, it's frazzled and
• 1:18:01
  Speaker 1: anxious in these moments and showing up at his house.
• 1:18:05
  Speaker 1: So yeah, they tried to play her like I think
• 1:18:07
  Speaker 1: in the minds of men, the women that they toy with, like, oh,
• 1:18:10
  Speaker 1: this woman is just a dumb bimbo. It's okay if
• 1:18:13
  Speaker 1: I disrespect her because she doesn't respect herself, which is
• 1:18:17
  Speaker 1: it's not all of the side bars. Let me look through. Oh,
• 1:18:23
  Speaker 1: I just like, I mean, I feel like I'm missing
• 1:18:27
  Speaker 1: so much. I mean even just like the list of
• 1:18:29
  Speaker 1: the like women's products that they have to figure out
• 1:18:32
  Speaker 1: how to target two women which are also just it
• 1:18:36
  Speaker 1: reminds me of that scene in Elf, kind of where
• 1:18:39
  Speaker 1: it's like, oh, the girls want dolls and like make
• 1:18:43
  Speaker 1: up kids Indoda, and it's like everything that would be
• 1:18:45
  Speaker 1: considered a woman's product of stuff like anti wrinkle cream,
• 1:18:49
  Speaker 1: mescara lipstick like like stuff capitalist, feminist like and that's
• 1:18:55
  Speaker 1: never addressed in any way of like, yeah, we need
• 1:18:57
  Speaker 1: to sell these really expensive products to women because the
• 1:19:01
  Speaker 1: world has taken such a concerted effort to make them
• 1:19:04
  Speaker 1: seem like they need to look a certain way, blah
• 1:19:06
  Speaker 1: blah blah. That's just it also doesn't make any sense
• 1:19:09
  Speaker 1: because if we're even talking into like a heteronormative society
• 1:19:12
  Speaker 1: where we do force this kind of shot on women,
• 1:19:14
  Speaker 1: I'm pretty sure if they just know about great Lash,
• 1:19:17
  Speaker 1: like we know, we know where to get it Great Lash,
• 1:19:20
  Speaker 1: We're gonna go buy it. Like, I don't think you
• 1:19:21
  Speaker 1: have to target with They're the demographic right for that,
• 1:19:25
  Speaker 1: and lipstick and for pantyhose. Everything exactly been already buy.
• 1:19:31
  Speaker 1: Should you be trying to sell I don't know, like
• 1:19:33
  Speaker 1: a car engine the women or something that something hard
• 1:19:36
  Speaker 1: snario typically women aren't in the market for. Wouldn't that
• 1:19:40
  Speaker 1: be that would have been a child challenge? And the
• 1:19:43
  Speaker 1: way that like mel Gibson interacts with these products when
• 1:19:47
  Speaker 1: he's trying them on, like the thing that I was like,
• 1:19:49
  Speaker 1: like when he does the legwix and I just don't
• 1:19:52
  Speaker 1: need any more scenes of men. I thought of the
• 1:19:55
  Speaker 1: forty year old virgin. You're like, oh my god, actually
• 1:19:58
  Speaker 1: hard like they're just like obviously it hurts. But his
• 1:20:04
  Speaker 1: reaction to that is like why did these women do
• 1:20:07
  Speaker 1: this to themselves? And they're like, because you would have
• 1:20:11
  Speaker 1: nothing to do with them if they didn't, because you're
• 1:20:13
  Speaker 1: fucking nightmare. But he does. That's not It's just it's
• 1:20:16
  Speaker 1: like when like men make fun of women for taking
• 1:20:19
  Speaker 1: so long to get ready, and it's like, well, we
• 1:20:21
  Speaker 1: only do that because you've placed such unrealistic standards of
• 1:20:25
  Speaker 1: beauty on us. Shower, you wash the crack of your ass,
• 1:20:31
  Speaker 1: and I'm supposed to be excited, but I gotta go
• 1:20:33
  Speaker 1: in the room like a fucking demolition and the hair
• 1:20:36
  Speaker 1: out of my boticles and paint my face and dam
• 1:20:40
  Speaker 1: myself in the eye with maskra shit. What? And then
• 1:20:44
  Speaker 1: also the last thing in that box of women's products
• 1:20:47
  Speaker 1: was a visa card because women be shopping women, why
• 1:20:51
  Speaker 1: does she I should go to put that in? But
• 1:20:54
  Speaker 1: she's like, and also here's a visa card, just acause
• 1:20:56
  Speaker 1: you didn't know how it works. Yeah, the little women
• 1:21:00
  Speaker 1: use the visa card to buy Like, oh, no, one's
• 1:21:06
  Speaker 1: good at their jobs. No, they really are not. In
• 1:21:09
  Speaker 1: some people's jobs. I truly don't understand. He has two
• 1:21:12
  Speaker 1: secretaries with no thoughts, But he asked the woman with
• 1:21:15
  Speaker 1: a degree to get him his coffee, Like, don't you
• 1:21:18
  Speaker 1: have two the secretaries with the het what do you do?
• 1:21:22
  Speaker 1: Do you have? And they're like, we're going to the
• 1:21:25
  Speaker 1: forty fourth floor. What also, your office is biggest ship?
• 1:21:29
  Speaker 1: Like so bridge bigger? Could it get? It's Oh, and
• 1:21:33
  Speaker 1: don't forget the part where Sarah Paulson's boyfriend from Israel
• 1:21:36
  Speaker 1: gives Mel Gibson a yamica. Yes, I forgot about that.
• 1:21:41
  Speaker 1: He probably like took that off the set at the
• 1:21:44
  Speaker 1: end of the day of shooting and then like burned
• 1:21:46
  Speaker 1: it or something because it hates Jewish people. This is
• 1:21:53
  Speaker 1: this is still to this day the second highest grossing
• 1:21:57
  Speaker 1: rom com ever. You're kidding to this day these days,
• 1:22:03
  Speaker 1: that's why they remaking the ship. They're they're like, well
• 1:22:05
  Speaker 1: it worked. Yeah. The only thing that's oh, this isn't.
• 1:22:08
  Speaker 1: The only more successful round coom is My Big Fat
• 1:22:10
  Speaker 1: Greek Wedding. Oh that's fascinating. What next? Right between My
• 1:22:17
  Speaker 1: Big Fat Greek Wedding and Hitch was good. I got
• 1:22:23
  Speaker 1: to revisit Hitch. I loved it when it came out,
• 1:22:26
  Speaker 1: and I was thinking about the show obviously as I
• 1:22:29
  Speaker 1: was watching this, I had a two part of it.
• 1:22:30
  Speaker 1: I fell asleep last night. I had to just pose
• 1:22:32
  Speaker 1: it and then watched the list in the morning stas is,
• 1:22:34
  Speaker 1: I can't take it. My brain was like, no, stop
• 1:22:37
  Speaker 1: too much. I was helping me. Yeah, but I was
• 1:22:41
  Speaker 1: really trying to think of like did women talk to
• 1:22:43
  Speaker 1: each other? And that one girl did talk to herself,
• 1:22:46
  Speaker 1: but that doesn't count. That doesn't count. Yeah, you would
• 1:22:49
  Speaker 1: think with all the characters, can we see who were
• 1:22:52
  Speaker 1: women in this movie, they would interact more, But as
• 1:22:56
  Speaker 1: far as I could tell, I was shocked, they only
• 1:22:59
  Speaker 1: interact with male Yeah, pretty much. Yeah, they barely interact
• 1:23:03
  Speaker 1: with other men. From what I could tell. There's a
• 1:23:05
  Speaker 1: bunch of scenes at the very beginning of women talking
• 1:23:08
  Speaker 1: about Nick to other unnamed women who do not respond,
• 1:23:12
  Speaker 1: so by no means do any of those tests. We
• 1:23:17
  Speaker 1: see Lola talking to her female colleague in the coffee
• 1:23:20
  Speaker 1: shop about her auditioned but she, the other characters, is unnamed,
• 1:23:24
  Speaker 1: so that does not pass. Um Alex mel Gibson's daughter
• 1:23:29
  Speaker 1: in the movie, Um talks to her mom Gig. Mostly
• 1:23:32
  Speaker 1: they talk about either Cameron or mel Gibson, but there's
• 1:23:36
  Speaker 1: a tulne exchange where one says I'm going to miss
• 1:23:38
  Speaker 1: you and the other one says I'm gonna miss you too.
• 1:23:40
  Speaker 1: But she's only saying that they're gonna miss each other
• 1:23:42
  Speaker 1: because her mom is about to go on a heatero
• 1:23:45
  Speaker 1: honeymoon with a man, so on a bata we have
• 1:23:51
  Speaker 1: to um. And then Dina, that's the character who Um
• 1:23:57
  Speaker 1: is starting to pitch an idea to dark See about advil,
• 1:24:01
  Speaker 1: but their conversation only happens in the background and it's
• 1:24:03
  Speaker 1: immediately interrupted by Nick, who's like, wait a minute, I'm
• 1:24:06
  Speaker 1: a man and I have an idea, so it's my turn.
• 1:24:10
  Speaker 1: And then Um, Darcy's assistant who's played by Arden Marine
• 1:24:14
  Speaker 1: Um talks to Darcy a couple of times, but I
• 1:24:17
  Speaker 1: don't think that character is ever named. And then Alex
• 1:24:21
  Speaker 1: has a like a three line exchange with a few
• 1:24:24
  Speaker 1: of her friends about prom dresses, but the friends are
• 1:24:26
  Speaker 1: never named, so they're like, there's just a handful of
• 1:24:28
  Speaker 1: times where women do interact, but it's almost always about men,
• 1:24:32
  Speaker 1: or the other characters aren't named, or I don't know.
• 1:24:35
  Speaker 1: I think the daughter mother exchange, I can't this movie, no,
• 1:24:38
  Speaker 1: I would say, because especially yeah, I guess by our
• 1:24:43
  Speaker 1: rules that would technically pass. But also it's such that's
• 1:24:46
  Speaker 1: not a meaningful conversation, like it's we hardly see women
• 1:24:51
  Speaker 1: interacting and it what women want is male Gibson and
• 1:24:58
  Speaker 1: nothing else. No flawed premise. Flawed premise from the jump,
• 1:25:04
  Speaker 1: like the name of the movie, what a dirty ash trick?
• 1:25:07
  Speaker 1: Like you're like, what woman? What? Yes, I'm a woman?
• 1:25:11
  Speaker 1: Is this what I want? I wanted to dance to
• 1:25:15
  Speaker 1: phrase the national for five minutes. I want to watch him.
• 1:25:18
  Speaker 1: I want to watch oh man abs. I don't know,
• 1:25:21
  Speaker 1: o lord. The fact that we see milk Gibson's abs
• 1:25:28
  Speaker 1: is why so long? It was so long that I
• 1:25:32
  Speaker 1: counted them and noticed how much they were on the screen. Really,
• 1:25:37
  Speaker 1: I feel like when you started looking at a body
• 1:25:39
  Speaker 1: part and you know, like you're like, I'm looking at abbs,
• 1:25:42
  Speaker 1: It's like they lingered. And then also when he was
• 1:25:47
  Speaker 1: having sex with Marissa Tomay, her thoughts went straight to, wow,
• 1:25:51
  Speaker 1: he's got such a great body. I'm like, stop gaslighting me, stoping.
• 1:25:57
  Speaker 1: She does make fun of his tall penis, and by
• 1:25:59
  Speaker 1: tall mean oh gosh, well it doesn't pass the back time.
• 1:26:05
  Speaker 1: I don't think so either. Okay, um, well, I'm gonna
• 1:26:10
  Speaker 1: go ahead and give this zero nipples. I mean everything.
• 1:26:14
  Speaker 1: From the horrible way in which the romantic story plays out,
• 1:26:20
  Speaker 1: the idea that women only have thoughts that are about
• 1:26:25
  Speaker 1: traditionally female things, or they only have thoughts about mel Gibson,
• 1:26:30
  Speaker 1: just the way the Queerness istrays, the way queerness is portrayed,
• 1:26:37
  Speaker 1: the way the suicidality has handled, the way that just everything,
• 1:26:42
  Speaker 1: everything is mishandled in this movie. And it's like very
• 1:26:45
  Speaker 1: feeble attempts to make a feminist message feminist four to
• 1:26:49
  Speaker 1: the year two thousand are just do not land or
• 1:26:54
  Speaker 1: hold up in any sort of way today. And I
• 1:26:57
  Speaker 1: don't even know that they would have been that year either,
• 1:26:59
  Speaker 1: really afensive on everybody. It's just horribly done in every
• 1:27:03
  Speaker 1: single way. So it's another example of you know, media
• 1:27:07
  Speaker 1: that is you know, created and directed and co written
• 1:27:11
  Speaker 1: by women that really fucking misses the mark. But as
• 1:27:15
  Speaker 1: we have all admitted earlier in this episode, you know,
• 1:27:18
  Speaker 1: but we've were growing. We all as people are continuing
• 1:27:23
  Speaker 1: to wake up. So hopefully Nancy Myers is doing that also,
• 1:27:27
  Speaker 1: wake up. It's not too late to stop. It snows
• 1:27:33
  Speaker 1: join us. Um. So, yeah, this is a piece of
• 1:27:37
  Speaker 1: ship movie and it gets zero nipples. Yeah, I'm the same.
• 1:27:40
  Speaker 1: Zero nipples is just a fucking disaster on every level.
• 1:27:44
  Speaker 1: The fact that it was so popular. Is it just
• 1:27:48
  Speaker 1: means that, Yeah, we gotta keep we gotta keep questioning
• 1:27:51
  Speaker 1: stuff just because the movie says, Hey, this is what
• 1:27:54
  Speaker 1: you want. Don't don't. You don't have to be a
• 1:27:57
  Speaker 1: great You don't have to agree. It's okay, you don't
• 1:28:00
  Speaker 1: have to see the movie. Uh, you know, I God,
• 1:28:04
  Speaker 1: I the only thing I'm grateful for is this movie.
• 1:28:07
  Speaker 1: I mean, I guess it is being remade, but like
• 1:28:09
  Speaker 1: it doesn't seem to have much of a following or
• 1:28:12
  Speaker 1: a legacy anymore, especially for a movie that was this popular,
• 1:28:16
  Speaker 1: like it made more money than Pretty Woman. But there's
• 1:28:19
  Speaker 1: like movies like that, we'll still have a fan base.
• 1:28:23
  Speaker 1: And yeah, like it's not not everything about every rom
• 1:28:27
  Speaker 1: com that was successful in this era is completely abhorrent
• 1:28:33
  Speaker 1: the way this is zero yeah, zero, it's it's the worst.
• 1:28:36
  Speaker 1: And Mel gives it as ugly what a piece of ship. Zero. Anyway,
• 1:28:43
  Speaker 1: I'll give it um one cat nipple can't be a
• 1:28:47
  Speaker 1: human nipple because this movie is really inhumane. Um. I
• 1:28:52
  Speaker 1: remember this one from my childhood, and I remember, like,
• 1:28:55
  Speaker 1: I guess, oh, I don't even know how I enjoyed it,
• 1:29:00
  Speaker 1: but it was nine, so you know, Lacy I'm not
• 1:29:03
  Speaker 1: gonna I think the nostalgic nine year old me is like,
• 1:29:05
  Speaker 1: you can have like an animal nipple. You know. This
• 1:29:09
  Speaker 1: is why, because there's so many women that I love
• 1:29:11
  Speaker 1: in this movie. Um, they're not utilized at all, but
• 1:29:16
  Speaker 1: I do love seeing them. And I'm an actor, so
• 1:29:18
  Speaker 1: sometimes I look at stuff and I'm like, oh, girl,
• 1:29:21
  Speaker 1: but you got that chick though, So thanks Nancy for
• 1:29:24
  Speaker 1: getting a bunch of women paid at least a supporting role.
• 1:29:27
  Speaker 1: Sag rate Um, but unfortunately this movie can have no
• 1:29:32
  Speaker 1: real lady nipples at all because it's so fucking abhorrent.
• 1:29:36
  Speaker 1: I didn't even realize and store we started breaking down
• 1:29:38
  Speaker 1: that Mersa Tomay gay scene, how disturbed it is on
• 1:29:44
  Speaker 1: so many different levels. It's just this is bad. Guys.
• 1:29:48
  Speaker 1: I don't want this, and I'm a woman, Yeah, I
• 1:29:51
  Speaker 1: don't want it. Please ask any woman today if this
• 1:29:54
  Speaker 1: is what they wanted. And I guess we should have
• 1:29:58
  Speaker 1: known because you called the movie what Women, but you
• 1:30:00
  Speaker 1: ain't call none of us beforehand, like hey, what do
• 1:30:05
  Speaker 1: you want? This is what you want? You just decided
• 1:30:07
  Speaker 1: this is what I wanted. I think the remakes should
• 1:30:10
  Speaker 1: also be called what Women Want, because this time it's
• 1:30:14
  Speaker 1: at least a woman who's the protagonist of the story,
• 1:30:17
  Speaker 1: and we will get a sense of what she wants.
• 1:30:20
  Speaker 1: But hearing is men's thoughts just seems like a hall
• 1:30:23
  Speaker 1: like like I think they tried to make this is
• 1:30:26
  Speaker 1: I think your boyfriend has onto something about this maybe
• 1:30:28
  Speaker 1: being male Gibson's hell and this. But it's not a
• 1:30:30
  Speaker 1: fair flip because hearing men's thoughts really would be my
• 1:30:34
  Speaker 1: own personal hall. I don't want to know what they
• 1:30:36
  Speaker 1: they can They're already doing too much with their face
• 1:30:38
  Speaker 1: and the has and the mouth and their actual words.
• 1:30:40
  Speaker 1: So men are allowed to say whatever they want, right,
• 1:30:43
  Speaker 1: so we know what they're thinking. Hey, Blue sweat a
• 1:30:48
  Speaker 1: nice ass? What else is back there? I don't want
• 1:30:50
  Speaker 1: to know. I don't write what they're saying is going
• 1:30:53
  Speaker 1: through a little bit of a filter, So like what
• 1:30:56
  Speaker 1: is what is not unfiltered? Yes, I don't want to know. Well,
• 1:31:01
  Speaker 1: we'll see. This was a trial. Yes, thank you for
• 1:31:07
  Speaker 1: joining us. Sorry that we keep making you watch these
• 1:31:11
  Speaker 1: upsetting movies two hours so long, but thank you so
• 1:31:17
  Speaker 1: much for being here. We love you dearly. Where can
• 1:31:21
  Speaker 1: people follow you online? What would you like to plug? Oh?
• 1:31:24
  Speaker 1: You can follow me at d I V A l
• 1:31:27
  Speaker 1: A C I DVA Lacey on all platforms, Twitter, Instagram,
• 1:31:30
  Speaker 1: vm oh send me your money. Other people know I
• 1:31:38
  Speaker 1: scam one up in my daily life. I'm known for it. Yes,
• 1:31:43
  Speaker 1: thank you blessing the people by scamming them. Um, I
• 1:31:49
  Speaker 1: so hope Bechtel tests. This is a show that it's
• 1:31:52
  Speaker 1: about four women. Um, that I am one of the
• 1:31:55
  Speaker 1: leads and called Florida Girls. And it'll be out in
• 1:31:58
  Speaker 1: April on Pop TV, also beaming on either Netflix or Hulu.
• 1:32:01
  Speaker 1: I'll have more fo by then. But it's about four
• 1:32:04
  Speaker 1: women and it's a comedy and we never talk about men.
• 1:32:09
  Speaker 1: We don't give a funk about them. And it's very
• 1:32:11
  Speaker 1: very fun. Yes, um. And I'll be on Single Parents
• 1:32:16
  Speaker 1: on ABC uh next month. Also yeah, um, not talking
• 1:32:22
  Speaker 1: about men either. Yeah yeh never talked about working. Yes.
• 1:32:30
  Speaker 1: And then if you're in l A, you see the theater. Um,
• 1:32:32
  Speaker 1: you can see me on Mama on mid night or
• 1:32:34
  Speaker 1: Leroy on Harold Nights. Awesome. Let's go to the show's Jamie.
• 1:32:38
  Speaker 1: Oh goodness. Um. We are on social media as well
• 1:32:44
  Speaker 1: at becktel Cast. You can subscribe to our Patreon ak
• 1:32:47
  Speaker 1: Matron Patreon dot com. Slash packtel Cast and you get
• 1:32:50
  Speaker 1: two bonus episodes every single month and it's only five
• 1:32:52
  Speaker 1: dollars and uh our merch Go to t public dot
• 1:32:57
  Speaker 1: com slash the Bechtel Cast and grab our T shirts
• 1:33:00
  Speaker 1: and our feminist icm paraphernalia and all the goods are
• 1:33:04
  Speaker 1: right there, and take care of yourselves. Don't watch this movie,
• 1:33:09
  Speaker 1: you can watch it. And a good day, a great day.
• 1:33:13
  Speaker 1: We'll see you next time. Bye bye,