Latest / The Bechdel Cast / Crazy, Stupid, Love. with Samee Junio

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Crazy, Stupid, Love. with Samee Junio · The Bechdel Cast

• 0:01
  Speaker 1: On the Bell Cast, the questions asked if movies have
• 0:04
  Speaker 1: women and um are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? The patriarchy? Zef in best
• 0:13
  Speaker 1: start changing it with the bel Cast. Hey, Jamie, Yeah, Caitlin,
• 0:19
  Speaker 1: you're the perfect combination of sexy and cute? Can I
• 0:22
  Speaker 1: buy you a drink? Yeah? Wait, I'm sorry. All my
• 0:27
  Speaker 1: judgment just went out the window because you said that.
• 0:30
  Speaker 1: I'm what, You're the perfect combination of sexy and cute.
• 0:34
  Speaker 1: Do you want to get out of here? Do you
• 0:35
  Speaker 1: want to go home and have sex with me right now?
• 0:37
  Speaker 1: Only if you lift me up like a scene. And
• 0:40
  Speaker 1: I can't even do I can't even I can't even
• 0:43
  Speaker 1: keep up with this charade. Oh my gosh, today today's episode.
• 0:50
  Speaker 1: I we were just having this is the Betel Cast Comma.
• 0:55
  Speaker 1: We were just having a conversation off Mike, the three
• 0:58
  Speaker 1: of us. I what do you mean the Comma Bechdel
• 1:01
  Speaker 1: Comma cast period? Exactly? Exactly. Oh my god, there's so
• 1:06
  Speaker 1: many I have a list of like things that every
• 1:10
  Speaker 1: movie in two thousand eleven did that. I'm just so
• 1:12
  Speaker 1: glad that we're just out of the woods. There punctuation
• 1:16
  Speaker 1: in the movie title is one of one of those
• 1:20
  Speaker 1: things that you're just like, oh my god, you really
• 1:22
  Speaker 1: think that you're doing something here, You think you're being
• 1:24
  Speaker 1: so serious. Anyways, I initially went in, I think reasonably,
• 1:31
  Speaker 1: assuming that our our guest today, a returning guest, brought
• 1:35
  Speaker 1: this movie to us, because that's how our show works,
• 1:39
  Speaker 1: that's how it's worked for almost five years now. And
• 1:41
  Speaker 1: then I learned that it was you. It was my idea.
• 1:47
  Speaker 1: But you're the spy, You're you're how do you say
• 1:49
  Speaker 1: his name? I'm not all listen, I'm not all listen?
• 1:53
  Speaker 1: Is that it? I struggled with his name, like I
• 1:56
  Speaker 1: struggled with I can't do it well. What happened? What
• 2:03
  Speaker 1: had happened is that, um, we've we've been wanting to
• 2:06
  Speaker 1: get our guests back on the podcast. It's a secret.
• 2:09
  Speaker 1: Even though it's a secret, their name is in the
• 2:11
  Speaker 1: title there. We've been wanting to get Sammy back on
• 2:15
  Speaker 1: the podcast, and we'll Sammy will let you talk in
• 2:18
  Speaker 1: a minute. No, Caitlyn's dombing this episode. He's wearing a
• 2:29
  Speaker 1: suit instead of forty. Yeah. I bought new shoes and
• 2:36
  Speaker 1: I'm so confident now because Ryan Gosling tossed your ship, like,
• 2:41
  Speaker 1: oh my god. That was one of the cutaway shots
• 2:43
  Speaker 1: from this movie. Is I wish you could seen Steve
• 2:46
  Speaker 1: Carrell's stinky new Balance just like knocking a twelve year
• 2:50
  Speaker 1: old unconscious and at the bottom of that mall. I
• 2:53
  Speaker 1: was like, that's so, that's such reckless behavior to throw
• 2:56
  Speaker 1: a midlife crisis person's new balance off away. But we've
• 3:01
  Speaker 1: been wanting to get Sammy back on the podcast for
• 3:03
  Speaker 1: a while, um, but the movie wasn't. It didn't come
• 3:06
  Speaker 1: into focus what movie it was going to be until
• 3:09
  Speaker 1: recently this movie came up in conversation between Sammy and
• 3:13
  Speaker 1: I and I was like, oh, this is the one,
• 3:16
  Speaker 1: let's do it on the podcast. So yes, it was
• 3:19
  Speaker 1: my idea. And I'm sorry everyone, I'm so sorry cruel
• 3:23
  Speaker 1: and unusual of you, but it's it is a pretty
• 3:28
  Speaker 1: commonly requested episode, Yeah it is. And it's one of
• 3:32
  Speaker 1: those commonly requested episodes that I'm like, to what end?
• 3:37
  Speaker 1: Sometimes we just we get these requests and I'm just like,
• 3:40
  Speaker 1: do you wanted me to watch that? If you wanted
• 3:44
  Speaker 1: us to um evisceraate it, then you're in for a treat.
• 3:49
  Speaker 1: That's what we're about to do. He requested this movie.
• 3:52
  Speaker 1: We're fighting right now. I cannot believe. Yeah. Well, okay,
• 3:58
  Speaker 1: So this is the Bectel Cast. This is our podcast
• 4:01
  Speaker 1: where we examine movies through an intersectional feminist lens, using
• 4:04
  Speaker 1: the Bechtel test as a jumping off point, which is
• 4:06
  Speaker 1: a media metric created by queer cartoonist Alison Bechdel that
• 4:10
  Speaker 1: is sometimes called the Bechtel Wallace test, and it requires,
• 4:14
  Speaker 1: for our our rendition of the test, two people of
• 4:17
  Speaker 1: a marginalized gender have names speak to each other about
• 4:21
  Speaker 1: something other than a man for a two line exchange
• 4:24
  Speaker 1: of dialogue. I can it be done? Honestly hard to say.
• 4:28
  Speaker 1: I couldn't reach a conclusion for this movie. Maybe it did,
• 4:34
  Speaker 1: I don't even I don't. I don't think so, I
• 4:36
  Speaker 1: don't think. Okay, I don't think like, did I miss
• 4:39
  Speaker 1: a rogue exchange? Like? I don't think it that, which
• 4:43
  Speaker 1: is ridiculous. It's ridiculous. Oh god. Anyway, So today's movie
• 4:50
  Speaker 1: is crazy Comma stupid, Comma love period. So already we're
• 4:54
  Speaker 1: off to a bad start. Let's bring in our amazing
• 4:57
  Speaker 1: guest that i'd like to follow eyes to an advance. Yes,
• 5:03
  Speaker 1: we are so say we are so sorry, Sammy say introduced. Sorry, sorry, sorry, Okay.
• 5:23
  Speaker 1: They are a producer. They're a writer on Let's Gots
• 5:26
  Speaker 1: Go and Ohio And you remember them from our episode
• 5:30
  Speaker 1: on She's the Man. It's Sammy Junio. Welcome back. Thank
• 5:35
  Speaker 1: you for inviting me for this episode on He's the Man.
• 5:39
  Speaker 1: Am I right? Wow? It makes you think that was
• 5:45
  Speaker 1: a joke that I texted you about. Also, we should mention,
• 5:49
  Speaker 1: I mean your your name gets brought up a lot
• 5:52
  Speaker 1: in many episodes because you're also our road dog when
• 5:56
  Speaker 1: we when we go on tour, you often check our shows.
• 6:02
  Speaker 1: Another major credit for you. It's huge. It's actually on
• 6:05
  Speaker 1: the top of my resume. I don't even put my name.
• 6:07
  Speaker 1: I just put road dog in all caps. Oh my god. Okay,
• 6:15
  Speaker 1: what a time to be alive. Sammy. What is your
• 6:21
  Speaker 1: relationship with this movie? I have it on DVD and
• 6:25
  Speaker 1: I bought it recently, not maybe in the past three years.
• 6:30
  Speaker 1: I am not embarrassed about it, but also deeply embarrassed
• 6:35
  Speaker 1: about it. Um. I think that's appropriate. Yes, I understand,
• 6:42
  Speaker 1: I understand why it's I I'm so sorry everyone, Jamie.
• 6:49
  Speaker 1: What's your history what's your relationship? I didn't see this one.
• 6:54
  Speaker 1: I feel like I saw a lot of movies like
• 6:57
  Speaker 1: this when it came out, Like the really two thousand
• 7:00
  Speaker 1: tens were like just there were so many movies like
• 7:04
  Speaker 1: this where it's like, Okay, here's my pitch. It's a
• 7:07
  Speaker 1: really famous comedian, but they're not. But you'll never laugh.
• 7:11
  Speaker 1: It's two hours long and there's a ton of improv.
• 7:15
  Speaker 1: How dare this movie be two hours long? Two hours long? There?
• 7:20
  Speaker 1: The movie poster has a disembodied woman's leg on it.
• 7:24
  Speaker 1: Headless women of Hollywood shout out, I just I just
• 7:28
  Speaker 1: at oh and the clincher brought to you by the
• 7:32
  Speaker 1: writer of Cars. You're just like what? There were so
• 7:38
  Speaker 1: many like Midlife. I was talking about this with my
• 7:41
  Speaker 1: boyfriend recently. Of like Steve Carrell went through this phase
• 7:44
  Speaker 1: where he's like, I'm just going to be in a
• 7:46
  Speaker 1: bunch of movies that say they're funny but they're not
• 7:48
  Speaker 1: and they're really long. It's like this Dan in real
• 7:51
  Speaker 1: life like there and Kristen Wig went through a similar
• 7:55
  Speaker 1: phase where it's just in a bunch of expensive indie
• 7:57
  Speaker 1: movies that sucked and we're long, and you're just like
• 8:00
  Speaker 1: why are you making me see these? They make me
• 8:03
  Speaker 1: they you know, we were we were there, we were there.
• 8:06
  Speaker 1: It wasn't good, and now it's over. This is weird.
• 8:10
  Speaker 1: I mean, it's kind of interesting to me. I've never
• 8:12
  Speaker 1: seen this movie, is the answer to the question. But
• 8:15
  Speaker 1: even like I don't know, it's watching movies that are
• 8:18
  Speaker 1: like ten years old. Is always like oh, wild Zone
• 8:22
  Speaker 1: because it looks dated, but it feels familiar enough. Like
• 8:26
  Speaker 1: phones in this movie wild blackberries, so many blackberries, miss I,
• 8:33
  Speaker 1: miss I wish I had had a BlackBerry? There are
• 8:35
  Speaker 1: they just gone? They're never coming back. They're trying. There's
• 8:39
  Speaker 1: like a version of it where it's still the little typer,
• 8:43
  Speaker 1: but then also it's touch screen, but like the touch
• 8:46
  Speaker 1: screen is like two point five inches. It's wild. Why
• 8:50
  Speaker 1: did they do that? Um? This? Yeah, this, this movie
• 8:54
  Speaker 1: is really encapsulated a very particular moment. What's your history
• 8:59
  Speaker 1: of the Caitlin? My history is that I saw it
• 9:04
  Speaker 1: maybe like a year after it came out or so.
• 9:06
  Speaker 1: This this is not the type of movie that would
• 9:09
  Speaker 1: have drawn me to the theaters. But I like people
• 9:12
  Speaker 1: were like, oh, it's good, it's so it's fun. You'll
• 9:15
  Speaker 1: like a hundred almost a hundred fifty million dollars, but
• 9:20
  Speaker 1: also it cost fifty million dollars, which is like what
• 9:26
  Speaker 1: I'm guessing the budget went to like Steve Correll and
• 9:30
  Speaker 1: Ryan Wardrobe, and also the insurance for the shoe toss right,
• 9:36
  Speaker 1: there were there were actual casualties for that. It was
• 9:39
  Speaker 1: not good well. And and then going back to the
• 9:42
  Speaker 1: length of the movie, which again is two hours for
• 9:46
  Speaker 1: what's supposed to be a rom com, way too long,
• 9:49
  Speaker 1: but I read according to our favorite scholarly journal, Wikipedia,
• 9:53
  Speaker 1: the original cut of this movie was three hours long
• 9:56
  Speaker 1: and they had to edit out an entire hour. There.
• 10:01
  Speaker 1: My favorite Wikipedia detail for this movie is that is
• 10:04
  Speaker 1: this Uh. The film was developed under the working title
• 10:08
  Speaker 1: untitled Marital Crisis Comedy. I think they should have stuck
• 10:11
  Speaker 1: with that. They should have stuck with it because the
• 10:15
  Speaker 1: title of the movie is using a bunch of dated
• 10:18
  Speaker 1: words that we're trying not to use anymore. Uh. And
• 10:22
  Speaker 1: and oh, a fun, fun twist was in the middle
• 10:26
  Speaker 1: of the movie because there's a young daughter in this movie.
• 10:30
  Speaker 1: The daughter that isn't the twist, which is like, I
• 10:33
  Speaker 1: don't want to twist daughter anyways. The young daughter is
• 10:37
  Speaker 1: Joey King kissing booz. Amazing twist. That was the best
• 10:43
  Speaker 1: twist of the movie for me, the twist that was
• 10:47
  Speaker 1: there the whole entire time. It took me a while
• 10:50
  Speaker 1: to figure it out because I was like, because you
• 10:53
  Speaker 1: don't see her face really for a long time, and
• 10:55
  Speaker 1: then you get a glimpse of her, like I don't know,
• 10:58
  Speaker 1: three quarters of the way through the movie, and you're like,
• 11:00
  Speaker 1: wait a minute, is that young Joey King? And sure
• 11:03
  Speaker 1: enough it is. She's iconic, She's great, Go Joey King. Yeah. So, anyway,
• 11:09
  Speaker 1: my history with this movie, I saw it like a
• 11:11
  Speaker 1: year or so after it came out. I was ambivalent
• 11:13
  Speaker 1: toward it, but I remember at the time thinking like, wow,
• 11:17
  Speaker 1: running Gosling is cool and what a good job he
• 11:21
  Speaker 1: does and making Steve Correll cool also. And I can't
• 11:25
  Speaker 1: believe I ever had those thoughts because looking back at
• 11:28
  Speaker 1: it now, we wash our hands of it. We live,
• 11:31
  Speaker 1: we learn, we live, and we learn. Yeah, so I
• 11:37
  Speaker 1: guess should I just get into the recap. Yeah, let's
• 11:41
  Speaker 1: party in the recap. I'm excited. I'm excited to really
• 11:44
  Speaker 1: just take out my pool floaty is and float around
• 11:47
  Speaker 1: in this recap. This Oh my god. Also I just
• 11:52
  Speaker 1: wanted to shout out the other child actor who is
• 11:55
  Speaker 1: We're not going to blame the child actor, but oh
• 11:59
  Speaker 1: my god, the kid who plays Robbie. His name is
• 12:03
  Speaker 1: Jonah Bobo, and you gotta admit that's a funny name.
• 12:08
  Speaker 1: Just wanted to shout out Jonah Bobo. Shout out. Okay.
• 12:14
  Speaker 1: So the movie opens on a married couple Cal that's
• 12:19
  Speaker 1: Steve Carrell and Emily that's Julianne Moore. And Emily announces
• 12:25
  Speaker 1: that she wants a divorce, and she also tells Cal
• 12:28
  Speaker 1: that she had sex with someone else, her co worker,
• 12:31
  Speaker 1: David Lyndhagen, David Linnagen. We learned that Cal and Emily
• 12:38
  Speaker 1: have two kids, or so we think it's only two kids,
• 12:42
  Speaker 1: but wait for it. Oh my god, this twist when
• 12:46
  Speaker 1: it's like they're using the same hair straightener and Julianne
• 12:49
  Speaker 1: Moore and emastone the whole time. It's like, come on, anyways.
• 12:54
  Speaker 1: One of the kids is Joey King. The other one
• 12:56
  Speaker 1: is thirteen year old Robbie Jonah Bobo Jonah Bobo. He
• 13:00
  Speaker 1: is in love with his babysitter, Jessica, who is seventeen
• 13:04
  Speaker 1: years old. Who does anyone remember her? From America's Next
• 13:07
  Speaker 1: Top Model. Oh yeah, she like was I don't know.
• 13:13
  Speaker 1: I didn't watch many seasons of that show, but she
• 13:15
  Speaker 1: was on one of the seasons I did watch. I
• 13:18
  Speaker 1: saw her in a piano bar when I was first
• 13:21
  Speaker 1: in l A and I passed away. She was so cool,
• 13:23
  Speaker 1: I like freaked out. Also, she is the same age
• 13:28
  Speaker 1: as Emma Stone. Oh, but playing a seventeen year old
• 13:32
  Speaker 1: I feel like Emma Stone is. I don't know how
• 13:35
  Speaker 1: old Emma Stones character is really supposed to be because
• 13:38
  Speaker 1: and also I liked, I liked. I enjoyed suspending my
• 13:41
  Speaker 1: disbelief that Steve Correll is only seventeen years older than
• 13:44
  Speaker 1: Emma Stone. That was fun for me. Right, that's a lie.
• 13:49
  Speaker 1: That's that is a lie. Um. I think she's twenty
• 13:52
  Speaker 1: five because they said that they've been married for twenty
• 13:55
  Speaker 1: five years and that they got married because they were
• 13:57
  Speaker 1: pregnant with her. So she's are you doing this movie?
• 14:02
  Speaker 1: Who cares? Um? So Robbie is in love with Jessica,
• 14:07
  Speaker 1: but Jessica is in love with cal Steve Carrell. Then
• 14:11
  Speaker 1: we cut to Hannah. That's im a Stone at a
• 14:15
  Speaker 1: bar with a friend Liz. Yes, love Liz wanted more
• 14:19
  Speaker 1: for Liz truly as the only person of color in
• 14:23
  Speaker 1: the movie I and she's so horny. I do feel represented.
• 14:27
  Speaker 1: I'll say it this kidding. It's really solid and responsible
• 14:32
  Speaker 1: representation to Yeah, yeah, yeah, yeah, absolutely. I remember her
• 14:36
  Speaker 1: from This is I'm I remember that actor Liza Lapira
• 14:43
  Speaker 1: from Don't Trust the be An Apartment twenty three, which
• 14:47
  Speaker 1: I like show. I liked that show too. Doesn't James
• 14:52
  Speaker 1: Vanderbeek play himself in that show? Am I remembering that correctly? Yeah?
• 14:57
  Speaker 1: It was. I'm sure that if you go back, it's
• 15:00
  Speaker 1: probably super dated, but I liked it when it was happening.
• 15:04
  Speaker 1: She was on it. Shout out, who care? Anyway, she
• 15:08
  Speaker 1: and Emma Stone are talking, and this is when Jacob
• 15:12
  Speaker 1: Ryan Gosling approaches Hannah and aggressively starts hitting on her.
• 15:18
  Speaker 1: Test this honey, like no, no, no no, But she
• 15:22
  Speaker 1: rejects him and leaves. So meanwhile Cal and Emily separate
• 15:27
  Speaker 1: and he goes to a bar to drown his sorrows
• 15:31
  Speaker 1: and he's loudly carrying on about having been cheated on
• 15:34
  Speaker 1: by his wife with David Lindhagen, and then Jacob is
• 15:38
  Speaker 1: also there, and Jacob is like sir, stop your whining,
• 15:42
  Speaker 1: stop being a loser. You look like shit. Here's what
• 15:45
  Speaker 1: I'm gonna do. I'm gonna help you rediscover your manhood,
• 15:49
  Speaker 1: and your wife will rue the day she left you.
• 15:52
  Speaker 1: He literally like holds out the red pill and it's
• 15:55
  Speaker 1: like take it, I dare you. Oh my goodness that
• 16:01
  Speaker 1: I did not realize. I didn't. I knew very I
• 16:05
  Speaker 1: thought this was just a really long early rom com.
• 16:09
  Speaker 1: I didn't realize that it was pick up artistry the movie. Yep, seriously,
• 16:16
  Speaker 1: what a move? What do you move to play a
• 16:19
  Speaker 1: pickup artistry story? Basically completely straight, like well, right right.
• 16:25
  Speaker 1: So then Jacob tells cal to meet him at the
• 16:28
  Speaker 1: Century City Mall food Court, which is neither the Glendale
• 16:33
  Speaker 1: Galleria nor the Americana, So like, why even fucking bother going? Wow,
• 16:40
  Speaker 1: I've I went to that mall to see Santa Oh.
• 16:44
  Speaker 1: One of the best, um, one of the best dated
• 16:47
  Speaker 1: shots in the movie is when Ryan Gosling is standing
• 16:49
  Speaker 1: in front of a gigantic Borders bookstore. You're like two eleven,
• 16:54
  Speaker 1: we were all there. Meanwhile, Hannah is celebrating something. I'm
• 17:02
  Speaker 1: not really sure she's celebrating. Lawyer, no, no, I think
• 17:06
  Speaker 1: that's correct because they were celebrating her beginning of studying
• 17:10
  Speaker 1: the book. Right. Yeah. They also call it a goodbye party,
• 17:14
  Speaker 1: but she doesn't to study. I think, yeah, she's leaving
• 17:21
  Speaker 1: to go study. Yeah, it's not clear, um, but she's
• 17:25
  Speaker 1: with a few friends, including her boyfriend Richard a k a.
• 17:28
  Speaker 1: Josh Grobin. Whatever. This his first role in a movie. Wow,
• 17:36
  Speaker 1: wild sha grow grow. I mean, okay, I take it back.
• 17:41
  Speaker 1: Good for him if this is his first role, he
• 17:44
  Speaker 1: did pretty good. Even though it's not no saying he's
• 17:47
  Speaker 1: in makes any human sense. That's not his fault, right,
• 17:51
  Speaker 1: that's that's the writing. Um. But Hannah thinks that he
• 17:55
  Speaker 1: might be proposing soon. Um. Cal. Then go to meet
• 18:01
  Speaker 1: Jacob at the mall q a shopping and make over montage,
• 18:05
  Speaker 1: which I mean, we can talk about this, but I
• 18:08
  Speaker 1: guess we get like a gender swapped makeover montage. Yeah,
• 18:13
  Speaker 1: just to just prove the gender swapping something doesn't make
• 18:16
  Speaker 1: it interesting or good. It is something that can be done.
• 18:22
  Speaker 1: And I like how they try to make it hyper
• 18:24
  Speaker 1: vasculine by just slapping each other. I'm like, what it's
• 18:29
  Speaker 1: like every shopping montage you've ever seen in your life,
• 18:31
  Speaker 1: except they can't stop hitting each other and throwing shoes
• 18:36
  Speaker 1: arm and then Jacob tries to teach Cal how to
• 18:39
  Speaker 1: pick up women at bars. Cal is terrible at it
• 18:43
  Speaker 1: at first. Then we see Emily at work. David Lyndhagen
• 18:48
  Speaker 1: shows up in the Flesh and it's Kevin Bacon did
• 18:51
  Speaker 1: not remember that I want to treat except he's awful.
• 18:56
  Speaker 1: He's not great. He professes his feelings for Emily, but
• 19:01
  Speaker 1: she's not really into it, and it seems like she
• 19:03
  Speaker 1: might be having second thoughts about leaving Cal. Robbie also
• 19:07
  Speaker 1: has professed his feelings for Jessica the babysitter um, but
• 19:11
  Speaker 1: she tells him to stop and that he's making her uncomfortable,
• 19:15
  Speaker 1: but don't worry, he doesn't stop. Then we cut back
• 19:18
  Speaker 1: to Cal and Jacob. Jacob thinks Cal is finally ready
• 19:23
  Speaker 1: to start picking up women and encourages him to hit
• 19:27
  Speaker 1: on this woman across the bar, Kate A K. Marissa Tomay,
• 19:32
  Speaker 1: and she ends up going home with him, and this
• 19:36
  Speaker 1: gives him the confidence boost that he needed and he
• 19:40
  Speaker 1: starts having sex with a lot of women after this.
• 19:43
  Speaker 1: This Marissa Tomy character is also like a very stock
• 19:47
  Speaker 1: character that I feel like appears in many movies of
• 19:51
  Speaker 1: this era. I was thinking of like Leslie Man in
• 19:54
  Speaker 1: the forty year Old Virgin. I was thinking Jennifer Anniston
• 19:59
  Speaker 1: and horror bosses. Like it's like there's so many. I mean,
• 20:03
  Speaker 1: we'll we'll talk about it, but it's it was like
• 20:06
  Speaker 1: a trope character of this era was like woman who's
• 20:10
  Speaker 1: horny and mad and a cartoon character, and they always
• 20:14
  Speaker 1: would get like a great actress to like do whatever
• 20:18
  Speaker 1: the funk that is. It's annoying. Mm hmm. Absolutely. Yeah.
• 20:23
  Speaker 1: So then Cal and Emily go to a parent teacher
• 20:26
  Speaker 1: conference about Robbie and they're like, again, they're reconnecting a
• 20:31
  Speaker 1: little bit, but oh, Robbie's teacher is Marissa Tomai. The
• 20:38
  Speaker 1: first of many twists, and Emily somebody inconsequential You're just like,
• 20:45
  Speaker 1: oh so what like that? Because we did you guys
• 20:50
  Speaker 1: like I don't. Oh my gosh. She the teacher in
• 20:54
  Speaker 1: this scene behaves so unprofessionally. But um, Emily finds out
• 21:00
  Speaker 1: that the two of them slept together, and now she's
• 21:03
  Speaker 1: really really mad at Cal, especially because he used the
• 21:06
  Speaker 1: line that he used to use on her. You're the
• 21:09
  Speaker 1: perfect combination of sexy and cute honestly, I do love
• 21:14
  Speaker 1: to hear it, but it's a very contrived line. Oh yeah.
• 21:19
  Speaker 1: So then there's the scene where Hannah thinks that Josh
• 21:23
  Speaker 1: Grobin is going to propose to her, but he doesn't,
• 21:26
  Speaker 1: so she is just so caught off guard that she
• 21:29
  Speaker 1: runs away finds Jacob at the one bar that he
• 21:34
  Speaker 1: seems to go to every night of his life. I
• 21:37
  Speaker 1: was like, does he they? Eventually the twist is that
• 21:40
  Speaker 1: he's a trust fund glorified date rapist. But but for
• 21:44
  Speaker 1: a long time in the movie, you're like, is this
• 21:46
  Speaker 1: his job? You have a job because what he's doing,
• 21:51
  Speaker 1: And also, I mean we'll get to like what a
• 21:53
  Speaker 1: horrible father Kell is, but like what he's doing has
• 21:56
  Speaker 1: to be so expensive, Like he that is like a
• 22:00
  Speaker 1: nice looking bar, Like he has to be dropping hundreds,
• 22:03
  Speaker 1: if not thousands of dollars a night trying to coerce
• 22:07
  Speaker 1: women into coming home to his house, which is clean
• 22:11
  Speaker 1: mansion with a swimming pool. He has a five thousand
• 22:15
  Speaker 1: dollar vibrating chair, like it looks like the house from
• 22:18
  Speaker 1: um at the beginning of Invisible Man. It's very sinister. Yeah. Anyway,
• 22:26
  Speaker 1: so Hannah, you know, stomps up to him, surprise kisses him,
• 22:30
  Speaker 1: and then they go home together, but they stay up
• 22:32
  Speaker 1: all night talking and this is the beginning of them
• 22:36
  Speaker 1: being in a relationship because she's not like the other girls.
• 22:40
  Speaker 1: She's worth actually talking to. That remains up for discussion.
• 22:45
  Speaker 1: They they they do have um good chemistry, but there's
• 22:50
  Speaker 1: there's also this like, I'm a huge Emma Stone fan,
• 22:54
  Speaker 1: but there are like parts in again, like this era
• 22:57
  Speaker 1: of Emma Stone, where I feel like they're like, oh,
• 22:59
  Speaker 1: we're not gonna really write her a character. We're just
• 23:01
  Speaker 1: gonna make her talk really fast, and that's the character,
• 23:06
  Speaker 1: not her fault. But so Jacob is now so busy
• 23:10
  Speaker 1: with his new girlfriend that he stops answering Cal's calls,
• 23:14
  Speaker 1: which you realize is just like a convenient plot device
• 23:17
  Speaker 1: so that Hannah doesn't find out that her new boyfriend's
• 23:21
  Speaker 1: best friend is her dad. But anyway, so meanwhile, Jessica
• 23:29
  Speaker 1: the babysitter, is trying to figure out how to get
• 23:31
  Speaker 1: Cal interested in her, and at the advice of one
• 23:35
  Speaker 1: of her classmates, she takes nude pictures of herself with
• 23:39
  Speaker 1: the intent to give them to Cal. But oh, her
• 23:43
  Speaker 1: parents find them and think that Cal is preying on Jessica. Yeah,
• 23:51
  Speaker 1: we'll talk all about this. Um, we just have to
• 23:55
  Speaker 1: we just have to move on for now. H was
• 23:59
  Speaker 1: like the fact that fucked up things were happening that
• 24:02
  Speaker 1: late in the movie. I was like, are you kidding me?
• 24:06
  Speaker 1: You just can't catch a break with this story. Wow
• 24:10
  Speaker 1: wow wow. Yeah. But so meanwhile Cal and Emily they're connecting,
• 24:16
  Speaker 1: reconnecting more and more, and then he orchestrates this big
• 24:20
  Speaker 1: romantic gesture for her in her backyard. But this is
• 24:24
  Speaker 1: when a few different things happen kind of all at once.
• 24:27
  Speaker 1: One Cal and Emily's other daughter that you didn't know
• 24:31
  Speaker 1: that they had is Hannah, a k Emma Stone. She
• 24:36
  Speaker 1: comes home with her new boyfriend, Jacob, and Cal realizes
• 24:41
  Speaker 1: this sleazy guy is now dating his daughter, and Cal
• 24:45
  Speaker 1: is furious at both of them. Uh. This is also
• 24:48
  Speaker 1: when Jessica's dad comes barreling in and attacks Cal. And
• 24:54
  Speaker 1: this is also when David Lyndhagen shows up and it's like,
• 24:59
  Speaker 1: here's your sweater, Emily. But basically all the men then
• 25:03
  Speaker 1: get in a huge fight, which ends in everyone being
• 25:08
  Speaker 1: very mad at everyone else. Another scene that you would
• 25:11
  Speaker 1: think would be really fun because we're like, oh, look
• 25:15
  Speaker 1: at all these famous people and you know, in a
• 25:18
  Speaker 1: fist fight, but it's still manages to be really boring,
• 25:22
  Speaker 1: you know, like oh yeah, yeah, yeah yeah. And then
• 25:26
  Speaker 1: later a little later, Jacob tries to talk to Cal,
• 25:30
  Speaker 1: but Cal refuses to give his approval for Jacob and
• 25:33
  Speaker 1: Hannah's relationship. But then it's Robbie's eighth grade graduation and
• 25:39
  Speaker 1: Robbie starts to give a speech about how love is
• 25:41
  Speaker 1: a scam, but Cal interrupts and gives his own speech
• 25:46
  Speaker 1: about how Emily is his soul mate and he's not
• 25:50
  Speaker 1: going to give up. He's going to keep fighting for her,
• 25:53
  Speaker 1: and she's like, oh la la la uh. And then
• 25:57
  Speaker 1: Cal finally gives his blessing to Jacob and Hannah, and
• 26:01
  Speaker 1: then Jessica gives her naked photos to Robbie, and then
• 26:06
  Speaker 1: the movie ends with it seeming like Cal and Emily
• 26:10
  Speaker 1: will get back together the end. God, let's take a
• 26:17
  Speaker 1: quick break and then we'll come right back to discuss. Okay,
• 26:28
  Speaker 1: and we're back, Okay. Can we start with like what
• 26:34
  Speaker 1: the perceived like? There's so many specifics to talk about here,
• 26:38
  Speaker 1: but the overall takeaway from this movie I thought, and
• 26:42
  Speaker 1: let me if you disagree, is they have this whole like,
• 26:46
  Speaker 1: if you believe that someone is your true love, you
• 26:50
  Speaker 1: are not just like encouraged. You are required to harass
• 26:54
  Speaker 1: that person until they reciprocate, and if they don't, just
• 27:00
  Speaker 1: keep harassing them. And like the foundation of this movie
• 27:04
  Speaker 1: is so fucked up, and the way the logic goes
• 27:08
  Speaker 1: is like because it's so poorly written, sorry Mr Cars,
• 27:12
  Speaker 1: but like it it's like men are doing the same
• 27:16
  Speaker 1: thing over and over and over and over and over,
• 27:18
  Speaker 1: and then just at some point in the plot it
• 27:20
  Speaker 1: stops bothering the women in the movie, and then they
• 27:23
  Speaker 1: get rewarded for their behavior, their incessant harassing behavior. Yeah,
• 27:30
  Speaker 1: they everyone gets what they want. So um the message,
• 27:35
  Speaker 1: it's just a disaster. I'm also not rooting You're just
• 27:39
  Speaker 1: You're not. I'm not rooting for any relationship in this movie.
• 27:43
  Speaker 1: I'm not rooting for any character in this movie except
• 27:46
  Speaker 1: for maybe like for just all of the women to
• 27:48
  Speaker 1: get away from all of the men. That's what I'm
• 27:52
  Speaker 1: rooting for. But that doesn't end up happening, so no,
• 27:55
  Speaker 1: they just get entrapped again. So I did not know
• 28:02
  Speaker 1: how to organize my notes for this because like all
• 28:05
  Speaker 1: it's like an ensemble cast and like all of the
• 28:08
  Speaker 1: characters have a relationship with all of the other characters.
• 28:11
  Speaker 1: So I was like, but don't worry that there's no
• 28:14
  Speaker 1: meaningful relationship between two women and the entire maybe, and
• 28:18
  Speaker 1: they're correct, yes there. I love how when we see
• 28:21
  Speaker 1: Julianne Moore and Emma Stone on screen together for the
• 28:25
  Speaker 1: first time, Julianne Moore is blindfolded and it's like hi, honey,
• 28:29
  Speaker 1: and it's like, this is this is how I feel
• 28:31
  Speaker 1: about how the women in this movie interact just so
• 28:36
  Speaker 1: dissonant and bizarre. And then I guess another just kind
• 28:40
  Speaker 1: of general statement before we get into more specifics, would
• 28:44
  Speaker 1: just be that the way and we already hinted at this,
• 28:46
  Speaker 1: but the way women are written in this movie is
• 28:50
  Speaker 1: just like so cartoonish, and they're all framed as being
• 28:56
  Speaker 1: very like reactionary. They seem to not know what they want.
• 29:01
  Speaker 1: They're like fickle, they are often, for lack of a
• 29:06
  Speaker 1: better word, they are like presented as being quote hysterical.
• 29:11
  Speaker 1: This applies to basically every woman is some combination of
• 29:15
  Speaker 1: these traits in this movie. So that's what we're working
• 29:18
  Speaker 1: with for the women. I just feel like most of
• 29:21
  Speaker 1: the female characters were just like not really written, like
• 29:24
  Speaker 1: they're like, well that they're just they're like they're just
• 29:28
  Speaker 1: kind of they're there Hannah's If you like try to
• 29:31
  Speaker 1: figure out what is going on in Hannah's life, it's
• 29:35
  Speaker 1: literally impossible. Like you don't understand why she thinks that
• 29:41
  Speaker 1: Josh Groban is about to marry her. Like that was
• 29:44
  Speaker 1: really confused to me. I don't understand what's going on
• 29:48
  Speaker 1: with her job. No one seems to care what's going
• 29:50
  Speaker 1: on with her job. She doesn't seem to care what's
• 29:52
  Speaker 1: going on with her job. I don't know why she
• 29:54
  Speaker 1: knows she can find Ryan Gosling at this bar. They're
• 29:58
  Speaker 1: like and I don't really under like just if you
• 30:03
  Speaker 1: like put any like if you try to piece together
• 30:06
  Speaker 1: even a synopsis of some of the female characters, Whore
• 30:09
  Speaker 1: just like, I don't I don't know, they didn't care.
• 30:12
  Speaker 1: I think the closest you can get to somebody having
• 30:15
  Speaker 1: a story, or a woman character having a story is
• 30:18
  Speaker 1: Julianne Moore because she does try to explain herself. I yeah,
• 30:23
  Speaker 1: I think she may have the most story and all
• 30:25
  Speaker 1: of this, I like, yeah, I think of all the
• 30:28
  Speaker 1: I tried to rank my character that these characters by
• 30:30
  Speaker 1: how little I liked them, And I feel like Julianne
• 30:34
  Speaker 1: Moore's character was the one that I ended up liking
• 30:36
  Speaker 1: the best, which isn't saying much, but it's like, first
• 30:40
  Speaker 1: of all, like I understood why she wanted to leave
• 30:43
  Speaker 1: Steve Carrell, Like you're like, yeah, this marriage seems really
• 30:47
  Speaker 1: dead in the water, obviously, like cheating on your spouse
• 30:50
  Speaker 1: is not the best thing to do in your life.
• 30:53
  Speaker 1: But like her being like I've been with you and
• 30:57
  Speaker 1: you fucking suck for so long, Like I just need
• 30:59
  Speaker 1: to move on with my life. And like she's a
• 31:01
  Speaker 1: good she's a good mom, she's a fun mom, like
• 31:04
  Speaker 1: you get like a little more with her. And I
• 31:07
  Speaker 1: also feel like it's Julianne Morris, so she can just
• 31:10
  Speaker 1: make a meal of anything. But it's still like it's just, oh,
• 31:14
  Speaker 1: it's just beneath her this story because it's like she's
• 31:17
  Speaker 1: the I totally agree, Sammy, like she's the woman that
• 31:21
  Speaker 1: you know the most about, but it's still like not much,
• 31:25
  Speaker 1: it's still and yeah, and she just ends up getting
• 31:28
  Speaker 1: worn down like every other woman I would cheat on
• 31:32
  Speaker 1: cow Well, yeah, that's the thing. Like the reasons that
• 31:35
  Speaker 1: they split up, is that he has stopped putting effort
• 31:40
  Speaker 1: into their relationship. She does not feel that her needs
• 31:44
  Speaker 1: are met, so she seeks affection elsewhere with Kevin Bacon.
• 31:49
  Speaker 1: But that's like the only thing that cal focuses on
• 31:52
  Speaker 1: at like the beginning of their break where he's like,
• 31:55
  Speaker 1: oh you slept with another man. I've been cuck holded.
• 31:59
  Speaker 1: And there's that scene where like she's he did get
• 32:02
  Speaker 1: he got to he got to the word cock Cock's
• 32:05
  Speaker 1: resurgence early y. I was like, wow, okay, ahead of
• 32:10
  Speaker 1: the curve, right, But there's that scene and I think, Sammy,
• 32:13
  Speaker 1: you brought this up. But she's like trying to talk
• 32:16
  Speaker 1: about like he's like getting into the U haul, and
• 32:19
  Speaker 1: Julianne Moore is like, you know, I think I might
• 32:23
  Speaker 1: be having a midlife crisis. Like she's expressing her doubts
• 32:26
  Speaker 1: and frustration shout out to the movie doubt um, doubts
• 32:30
  Speaker 1: and frustrations and insecurities. But he's like he refuses to listen,
• 32:35
  Speaker 1: he refuses to like talk this out like a real adult.
• 32:39
  Speaker 1: He's being a huge baby about it. He just keeps
• 32:42
  Speaker 1: talking about like landscaping, and then he later starts just
• 32:47
  Speaker 1: stalking her at night doing her landscaping, and then also
• 32:52
  Speaker 1: sometimes just like watching her through her window. Isaac and
• 32:55
  Speaker 1: I were dying at that scene at the end where
• 32:58
  Speaker 1: he is once again out on the on spying on
• 33:01
  Speaker 1: his family and she calls because like it's supposed to
• 33:04
  Speaker 1: be like again, it's just like, oh, they really thought
• 33:07
  Speaker 1: they were creating this beautiful moment where it's like she
• 33:11
  Speaker 1: just wanted to hear his voice, she didn't actually need
• 33:14
  Speaker 1: help with the pilot light, and like they're both crying
• 33:16
  Speaker 1: in the scene is forty minutes long, and we were
• 33:20
  Speaker 1: just cackling. We're like, God, this is really supposed to
• 33:24
  Speaker 1: be a moment, but it's just this movie. It feels
• 33:28
  Speaker 1: so long and so long. The movie frames that moment
• 33:31
  Speaker 1: as being so romantic, but it's like he's stuck in
• 33:36
  Speaker 1: her right now, shouldn't know that she's not actually letting
• 33:39
  Speaker 1: the pilot light. He's he loves to come back at night. Cal,
• 33:43
  Speaker 1: I feel like, yeah, like Julianne Moore's perspective makes a
• 33:46
  Speaker 1: ton of sense, because like Cal spends the whole movie
• 33:48
  Speaker 1: approving to you why he's an unfit husband, parent, member
• 33:52
  Speaker 1: of society. There I will say that you also don't
• 33:56
  Speaker 1: like you can see cal at work once, but I'm
• 34:00
  Speaker 1: also like, what does he do, Like, how does is
• 34:03
  Speaker 1: he like just blowing his like children's college money on
• 34:08
  Speaker 1: becoming a pickup artist? He's I it was unclear, like
• 34:12
  Speaker 1: can you afford to be And on top of that,
• 34:16
  Speaker 1: he's just aggressively not parenting his children. So it's very
• 34:20
  Speaker 1: bizarre later when Jessica is like, you know, his kids
• 34:24
  Speaker 1: love him so much, and you kind of like why
• 34:27
  Speaker 1: I've only seen him interact with him when he's like,
• 34:29
  Speaker 1: I'm off to go hang out with my pickup artist friend.
• 34:32
  Speaker 1: Like that's not It's so like you keep being told
• 34:36
  Speaker 1: that he's a good person with a good heart, but
• 34:38
  Speaker 1: then you just kind of like rarely see that. Yeah,
• 34:43
  Speaker 1: he's negligent in a lot of areas of his life.
• 34:48
  Speaker 1: And then so basically he starts to fill the void
• 34:52
  Speaker 1: of not being married to Emily anymore with becoming a
• 34:58
  Speaker 1: pickup artist. At the instruction of Jacob, I wish they
• 35:03
  Speaker 1: were a little clearer about like the fact that this
• 35:06
  Speaker 1: is pickup artist, because they kind of like dodge saying it.
• 35:09
  Speaker 1: They're like, oh, no, you just aggressively nagged women, And
• 35:13
  Speaker 1: it's like Ryan Gosling makes it sound like this was
• 35:16
  Speaker 1: all his idea and not that there was like infrastructure
• 35:20
  Speaker 1: for this. He's like, I, I wrote the game, I
• 35:23
  Speaker 1: invented this, I invented going to bars wearing suits. And
• 35:28
  Speaker 1: she's like, no, that's not okay, sir, I can't do
• 35:33
  Speaker 1: all that. So I guess, like for the Cal and
• 35:36
  Speaker 1: Jacob friendship, I mean, I do slap all of my
• 35:41
  Speaker 1: friends all the time, so I feel like I can confirm,
• 35:46
  Speaker 1: so that didn't feel weird to me. So we are
• 35:49
  Speaker 1: feeling seen here to an extent. This is why I
• 35:52
  Speaker 1: like the movie. Actually, I've represented in Liz and Jacob
• 35:56
  Speaker 1: slaps and now I get it. Now I get it.
• 36:00
  Speaker 1: Um okay. So yeah, Jacob is not that the movie
• 36:03
  Speaker 1: wants you to think this, because the movie wants you
• 36:06
  Speaker 1: to think that. I think the movie wants you to
• 36:09
  Speaker 1: think that, Like he just needs to grow up a
• 36:11
  Speaker 1: little bit. He needs to find the right woman who
• 36:14
  Speaker 1: will like, who will let him just kind of like
• 36:17
  Speaker 1: settle down and learn that, like love is real. He
• 36:22
  Speaker 1: just needs to find it. But even so, the movie
• 36:25
  Speaker 1: like condones his pickup artistry, his like very sleazy misogynists creepy,
• 36:32
  Speaker 1: like he literally says the first, the first like rule
• 36:36
  Speaker 1: of his. He's reciting the game like he's there's a book.
• 36:40
  Speaker 1: There's a book. It's bad. But like he said, the
• 36:43
  Speaker 1: first rule is to like get her really drunk. Like
• 36:48
  Speaker 1: this is like, I'm glad that you don't like really
• 36:50
  Speaker 1: but it's like, this goes into very dark territory. I
• 36:54
  Speaker 1: just am not convinced that this character is not a
• 36:58
  Speaker 1: date rapist. Very well could be. He also gives a
• 37:02
  Speaker 1: monologue to Cow where he says, the war between the
• 37:07
  Speaker 1: sexes is over, and we won, meaning men won the war.
• 37:12
  Speaker 1: We won the second women started doing pole dancing for exercise, which, like,
• 37:17
  Speaker 1: I mean, the implications, just the sham nous of all
• 37:21
  Speaker 1: of that is horrendous. And then he says, even though yeah,
• 37:27
  Speaker 1: I want to take some, I feel like I've won
• 37:29
  Speaker 1: when I take exactly It continues to say, but even
• 37:34
  Speaker 1: though we won, they still deserve our respect, meaning women
• 37:38
  Speaker 1: deserve our respect. We make them feel beautiful, actually listen
• 37:41
  Speaker 1: to their problems, open the door for them. And then
• 37:44
  Speaker 1: he says, you've got to take control of your manhood.
• 37:47
  Speaker 1: You want something, you take it. You don't like something,
• 37:50
  Speaker 1: you say it. I take what I want. So that
• 37:54
  Speaker 1: is his wisdom that he's imparting to cow. This is
• 37:57
  Speaker 1: such this whole friendship is so fucked up, like and
• 38:01
  Speaker 1: it sucks too, because it's like anytime you see like
• 38:06
  Speaker 1: a male friendship on screen, you're like, oh, this is
• 38:10
  Speaker 1: you know, like there's such a traceable history of you know,
• 38:14
  Speaker 1: like men not knowing how to like bond and express
• 38:19
  Speaker 1: emotion with each other. Um, but this relationship is just
• 38:24
  Speaker 1: so toxic. It's just so toxic. And then the twist
• 38:27
  Speaker 1: with Jacob being that he's really rich and his dad
• 38:31
  Speaker 1: was too nice and then his mom was so cold,
• 38:36
  Speaker 1: both of which are like these are very relative terms
• 38:39
  Speaker 1: you're using because you're a misogynist, so she could just
• 38:42
  Speaker 1: be a person like but the and we're supposed to
• 38:47
  Speaker 1: like feel like I'm supposed to feel bad for you
• 38:49
  Speaker 1: because your dad was so nice. That it's so it's
• 38:55
  Speaker 1: so just like I don't even know what they were
• 38:59
  Speaker 1: trying to. Yeah, I'm like, a, is this meant to
• 39:01
  Speaker 1: endear us too? I'm not sure I think it is.
• 39:04
  Speaker 1: But because it's like, oh, he's being emotionally raw with her.
• 39:07
  Speaker 1: He said that his rich dad was really nice, You're like, okay,
• 39:13
  Speaker 1: So then there's a scene where Jacob is like, okay, Cal,
• 39:17
  Speaker 1: you're ready go hit on Marissa Tomay, and then Cal
• 39:22
  Speaker 1: calls him out on his like behavior. He's like, you know,
• 39:26
  Speaker 1: you buy women a drink even if they don't want one.
• 39:29
  Speaker 1: You insist. It's a big game, a creepy, creepy game.
• 39:32
  Speaker 1: And right when you think that, like Cal has come
• 39:34
  Speaker 1: to his senses and is like, oh, wow, you know
• 39:38
  Speaker 1: this guy is a creep. He then says, wow, Jacob,
• 39:42
  Speaker 1: you're such a wise teacher. You've taught me so well.
• 39:46
  Speaker 1: And then he goes over and tries Jacob's creepy technique
• 39:50
  Speaker 1: on Marissa Tomay, which I guess we can just talk
• 39:53
  Speaker 1: about that really quickly. Marissa Tomay being done such a
• 39:57
  Speaker 1: wild dissurface, the the Radiant Marissa Tomay. I hope, I
• 40:04
  Speaker 1: hope she made five hundred trillion dollars to have to
• 40:08
  Speaker 1: do this, because that was the whole fifty million dollar budget.
• 40:11
  Speaker 1: They were just like, please, Marissa Tomay, do this. Absolutely
• 40:15
  Speaker 1: like miserable part for us because there first of all,
• 40:17
  Speaker 1: like again, just the logic of it is so bizarre,
• 40:21
  Speaker 1: where they make fun of the fact that she's a
• 40:24
  Speaker 1: recovering alcoholic and several points in the movie and she's
• 40:29
  Speaker 1: just like this, and we started talking about it, but
• 40:31
  Speaker 1: like she's just this like broad stereotype of like a
• 40:35
  Speaker 1: desperate woman who like she'll take anything, she'll take the
• 40:40
  Speaker 1: first person who gives her the smallest amount of attention.
• 40:43
  Speaker 1: And it's and I think it's just shorthand for like
• 40:47
  Speaker 1: single women over thirty, Like is that what the what
• 40:51
  Speaker 1: is this? Right? And then and then later if she
• 40:53
  Speaker 1: feels rejected, she you know, goes nuclear and it's like
• 40:58
  Speaker 1: her whole life is concern zoomed by revenge. And and
• 41:02
  Speaker 1: we're supposed to like be siding with Steve Carrell will
• 41:06
  Speaker 1: be like, Wow, she's being a bit much, don't you think.
• 41:09
  Speaker 1: Like it's just such an exhausting troupe that I feel
• 41:13
  Speaker 1: like was like extremely active in this time when every
• 41:19
  Speaker 1: comedy movie was like four hours long and had shitty
• 41:23
  Speaker 1: improv Right. And then during the scene where he's like
• 41:29
  Speaker 1: trying to pick her up, and then he at first
• 41:33
  Speaker 1: he's like nagging, but he's really bad at it. Not
• 41:36
  Speaker 1: that there's a way to be good at it, like
• 41:38
  Speaker 1: it's a thing that shouldn't be done, but anyway, it's
• 41:41
  Speaker 1: not effective. But then he starts being real and honest,
• 41:44
  Speaker 1: and because he says you're the perfect combination of sexy
• 41:47
  Speaker 1: and cute, she is now dripping her just she's she's
• 41:52
  Speaker 1: like so ready to just like jump on his dick.
• 41:56
  Speaker 1: And then there's a bad Aige joke that gets made
• 42:01
  Speaker 1: while they're like for playing with each other. But it's
• 42:04
  Speaker 1: this weird thing where she likes that he's being honest
• 42:08
  Speaker 1: and open, which is like a good thing, like men
• 42:14
  Speaker 1: people should be honest and open, but that is like
• 42:18
  Speaker 1: her liking that is like part of what makes her
• 42:21
  Speaker 1: seem so like outlandish, and it's just just so like, yeah,
• 42:28
  Speaker 1: it's I mean, I feel like it is like one
• 42:30
  Speaker 1: of the broader stereotypes of women of this era is just, yeah,
• 42:35
  Speaker 1: portraying any woman who is not like married over at
• 42:39
  Speaker 1: a certain age as like as having to be so
• 42:43
  Speaker 1: desperate for any sort of validation that and then also
• 42:47
  Speaker 1: so immediately attached if she receives any validation that. It's
• 42:51
  Speaker 1: just like a way of like making women look irrational
• 42:56
  Speaker 1: and like inherently like if you have it's like your
• 43:01
  Speaker 1: iconic stand up joke, Caitlin, It's like if you have
• 43:04
  Speaker 1: sex with someone, you're you are you have to marry
• 43:07
  Speaker 1: them and like you are like chemically bound to them
• 43:11
  Speaker 1: until you die. And there's just like scenes with Morrissa
• 43:14
  Speaker 1: Tomay where the button on the scene is just her screeching,
• 43:20
  Speaker 1: like that was one of the scene ended and it
• 43:22
  Speaker 1: echoed into the next scene. I was like, what kind
• 43:25
  Speaker 1: of this is wild sound editing? Like it's just so
• 43:29
  Speaker 1: aggressively underthought, because it's also it's not even like an
• 43:33
  Speaker 1: original thing in this movie. It's just like copy pasting
• 43:37
  Speaker 1: the Leslie Man character from a different Steve Correll movie
• 43:41
  Speaker 1: into but this time it's oh, sorry, let's take a
• 43:45
  Speaker 1: quick break and then we'll come back to discuss more
• 43:55
  Speaker 1: and we're back. I will say though, that after the
• 44:01
  Speaker 1: scene where cal hooks up with Marissa Tomay, there is
• 44:04
  Speaker 1: another sign that this movie is a sequel to She's
• 44:09
  Speaker 1: the Man. Do you guys remember please? It is after
• 44:13
  Speaker 1: he has intercourse with Massa Tomay, they play the song
• 44:18
  Speaker 1: that they play at the carnival, which is goldfraps la
• 44:20
  Speaker 1: la Oh only true. She's the Man has Well Know,
• 44:28
  Speaker 1: which is just me I saw it. I love that,
• 44:35
  Speaker 1: But I mean it's very clearly a spiritual sequel, if
• 44:38
  Speaker 1: nothing else sequels, they're really not better. They're really just
• 44:45
  Speaker 1: not better usually except Paddington too. But anyway, there. I
• 44:50
  Speaker 1: so that's like, that's Kate. I guess I just want
• 44:53
  Speaker 1: to leave Kate in the in the past. Um. And
• 44:58
  Speaker 1: then she continues to hold the grudge into like she's
• 45:01
  Speaker 1: like flipping off Steve Carrell at the eighth grade graduation.
• 45:05
  Speaker 1: And it's like, but if you were ghosted that way
• 45:09
  Speaker 1: by somebody who you were very excited about telling you
• 45:12
  Speaker 1: the truth and that's why you were screeching during intercourse,
• 45:15
  Speaker 1: Like I feel like you probably would flick them off
• 45:18
  Speaker 1: if you had to be exposed to them later on
• 45:21
  Speaker 1: in a public space. I mean, to be perfectly fair, Yes,
• 45:24
  Speaker 1: Steve Carrell did a not nice thing by discarding her,
• 45:29
  Speaker 1: because and that's the whole like pickup artist thing, right,
• 45:32
  Speaker 1: It's like you objectify women, you use them, and then
• 45:36
  Speaker 1: you discard them. And that's what he does to like
• 45:40
  Speaker 1: eight different women or something like that. Um. So she
• 45:43
  Speaker 1: has every right to be upset and mad because he
• 45:47
  Speaker 1: treats her like an object. But I think it's more
• 45:51
  Speaker 1: that the way that she is characterized with her like
• 45:53
  Speaker 1: irrationality and can't let it go. Write is what informs
• 45:58
  Speaker 1: her behavior, not the fact that she like has a
• 46:01
  Speaker 1: legitimate reason to be mad. The eighth grade graduation. I
• 46:07
  Speaker 1: don't know, it's just my half of my organs started
• 46:10
  Speaker 1: shutting down at that point. It's like he'sa, well we'll
• 46:14
  Speaker 1: get there, but yeah, like Kate is really underthought the
• 46:19
  Speaker 1: It's very bizarre to be how they kept bringing up
• 46:22
  Speaker 1: that she was five years sober as a negative, Like
• 46:25
  Speaker 1: it was just like, what do you think you're saying here?
• 46:28
  Speaker 1: It is just very bizarre. And then we have where
• 46:32
  Speaker 1: do we I'm saving the children for last because it's
• 46:34
  Speaker 1: just like I don't even want to go there. I guess.
• 46:39
  Speaker 1: Jacob and Hannah, well, I wanted to just, um give
• 46:42
  Speaker 1: some context for pickup artistry really quick, um because this
• 46:48
  Speaker 1: there's just so much here and I feel like this movie,
• 46:52
  Speaker 1: I mean, they couldn't have known in I mean, you
• 46:55
  Speaker 1: everyone who pick up artistry was bad, but they couldn't
• 46:58
  Speaker 1: have known where it led and kind of I don't know,
• 47:01
  Speaker 1: I've spent a lot of time thinking about this because um,
• 47:06
  Speaker 1: I hate myself, I guess, but there is like pickup
• 47:09
  Speaker 1: artistry is such a demonstrable gateway to darker, worse behavior,
• 47:16
  Speaker 1: which became clear soon after this movie came out. So
• 47:20
  Speaker 1: I'm not saying that this movie is like ignoring things
• 47:22
  Speaker 1: that had already happened outside of like how fucking ludicrous
• 47:26
  Speaker 1: it is to be like, let's make a movie about
• 47:28
  Speaker 1: pickup artistry that's kind of like pro But there there's
• 47:32
  Speaker 1: like there's an article that kind of like lays out
• 47:36
  Speaker 1: this pipeline where essentially, like pickup artistry can lead to
• 47:42
  Speaker 1: you becoming a far right extremist right because it's built
• 47:47
  Speaker 1: on the same Um, I don't know. I mean it
• 47:50
  Speaker 1: is like mental logic too to an extent. Uh where
• 47:55
  Speaker 1: I'm going to just pull from it. It's by Miles
• 47:56
  Speaker 1: Clee of mal magazine Love Miles is where, but he's
• 48:01
  Speaker 1: kind of tracing how to pick up artists on like
• 48:05
  Speaker 1: YouTube ended up at the Capital Insurrection and like it
• 48:10
  Speaker 1: is it is a wild there's all sorts of bizarro online,
• 48:15
  Speaker 1: you know, pipelines built on entitlement, like whether it's entitlement
• 48:19
  Speaker 1: to women, to money, to power, to whatever like it. Um,
• 48:24
  Speaker 1: there's all of these pipelines, and so he kind of traces, oh,
• 48:28
  Speaker 1: these guys were pick up artists on YouTube in the
• 48:30
  Speaker 1: early and now they're full Q and On like old
• 48:35
  Speaker 1: right superstars who were like arrested for being at the
• 48:38
  Speaker 1: fucking insurrection. So I I'll send you the links because
• 48:44
  Speaker 1: it's like it gets so dark and they're still there's
• 48:48
  Speaker 1: a great Dan Olson video about um, how flat earthers
• 48:52
  Speaker 1: all went to Q and On as well, and just
• 48:55
  Speaker 1: this movie is not like doesn't know that that stuff
• 48:59
  Speaker 1: is going to happen ibviously, but I just think it's
• 49:01
  Speaker 1: so bizarre and sinister that it's like presented as like,
• 49:06
  Speaker 1: oh ha ha, look at this clearly misogynoust thing that's
• 49:10
  Speaker 1: like built on all of the built on entitlement, which
• 49:13
  Speaker 1: every man in this movie and boy is extremely entitled,
• 49:19
  Speaker 1: where you're just like this, it's just so fucking dark,
• 49:26
  Speaker 1: and um, I think it's like also weirdly avoidant that
• 49:30
  Speaker 1: they don't say what it is and like what they're
• 49:34
  Speaker 1: doing for half of the movie, because they're literally doing
• 49:37
  Speaker 1: play by play the game, but they're acting like, oh,
• 49:41
  Speaker 1: it's just this thing. I don't know, it's just the
• 49:44
  Speaker 1: thing that I'm doing and it works, and but it's
• 49:47
  Speaker 1: like pick up artistry demonstrably does not work. People don't
• 49:51
  Speaker 1: like it. Most women don't like being spoken to that
• 49:54
  Speaker 1: way and then like yourselves. But like what Miles kind
• 50:02
  Speaker 1: of lays out in this piece is like it it's
• 50:04
  Speaker 1: sort of built to like push you into darker ideology
• 50:08
  Speaker 1: because you're given this horrible system. Uh, you go out
• 50:12
  Speaker 1: to a bar, you aggressively next next someone. They don't
• 50:16
  Speaker 1: like it, and then they're like, well, something's wrong with
• 50:19
  Speaker 1: you because I was told that this fucking system works,
• 50:23
  Speaker 1: and so like this is your problem, and then it
• 50:25
  Speaker 1: just developed like it just I mean you can literally
• 50:29
  Speaker 1: trace it to like Elliott Roger stuff like and then
• 50:33
  Speaker 1: when you're rejected by this shitty system that's based on
• 50:36
  Speaker 1: dehumanizing people and they don't like that, then it just
• 50:41
  Speaker 1: turns into anger, which leads to all of these other
• 50:43
  Speaker 1: horrible places. So I just I hate this movie. I
• 50:48
  Speaker 1: hate this movie. Okay, we can move to other characters. Sorry, no,
• 50:54
  Speaker 1: but thank you. That is helpful context. And I mean
• 50:58
  Speaker 1: the takeaway from the for me is this movie is
• 51:02
  Speaker 1: like it's glorifying. It's making pick up artistry seem cool.
• 51:06
  Speaker 1: And even though the characters at the end like they
• 51:10
  Speaker 1: stray away from that lifestyle because they have relationships, they've
• 51:16
  Speaker 1: aggressively pursued their one true love through a series of
• 51:20
  Speaker 1: right they picked up their soul mate and now they
• 51:23
  Speaker 1: don't need to pick up any more people. It's still
• 51:26
  Speaker 1: there's a large chunk of the movie that makes you,
• 51:30
  Speaker 1: as an audience member think like, oh wow, what a
• 51:33
  Speaker 1: what a huge improvement Steve Carrell's character like underwent with
• 51:38
  Speaker 1: his makeover and in his more Now he has more confidence,
• 51:42
  Speaker 1: and now he's more experienced sexually, and like it's yeah,
• 51:48
  Speaker 1: you as the audience, are meant to I think that
• 51:52
  Speaker 1: that was all pretty okay, and that that was like
• 51:56
  Speaker 1: what led him to being able to win his wife,
• 52:00
  Speaker 1: but his wife back, like he just needed to learn
• 52:04
  Speaker 1: how to put in some effort and try and like
• 52:07
  Speaker 1: wear better shoes and she and she rude the day
• 52:11
  Speaker 1: he rediscovered his quote unquote rediscovered his manhood, and she
• 52:16
  Speaker 1: indeed rude the day that she left him, because the
• 52:19
  Speaker 1: movie ends with her being like, oh my gosh, he's
• 52:22
  Speaker 1: he's trying again. He's he's new and improved, and I
• 52:26
  Speaker 1: should be with him, so aggressively strongholded eighth grade graduation.
• 52:34
  Speaker 1: God damn seene. So yeah, I just the pickup artistry
• 52:40
  Speaker 1: stuff is really dark. I feel like they're like I
• 52:42
  Speaker 1: get that they move on from it, but it is yeah,
• 52:44
  Speaker 1: just like, oh, well I picked picked up my one
• 52:46
  Speaker 1: true love. Uh. And then that's like the other very
• 52:50
  Speaker 1: sexist thing that's going on in this movie. So there's
• 52:53
  Speaker 1: just two sexist ideologies and both of them are successful. Yes,
• 53:02
  Speaker 1: oh yikes. Um. So yeah with with Jacob and Hannah,
• 53:06
  Speaker 1: you know we mentioned how they meet because he aggressively
• 53:11
  Speaker 1: hits on her, she keeps saying no, no, no, no,
• 53:14
  Speaker 1: thank you. She leaves, but then later because she is
• 53:18
  Speaker 1: furious that her boyfriend Josh Grobin didn't propose to her,
• 53:21
  Speaker 1: which like we've all been there. We've all been there
• 53:26
  Speaker 1: every party that I go to, that's a celebration of
• 53:30
  Speaker 1: question mark. I'm furious when someone doesn't propose to It
• 53:35
  Speaker 1: is so unclear in that scene why she thinks he's
• 53:38
  Speaker 1: going to propose, Like because not to side with Josh Grobin.
• 53:42
  Speaker 1: But I don't understand why she thinks he's going to propose.
• 53:45
  Speaker 1: They like don't aren't even sitting next to each other.
• 53:49
  Speaker 1: You don't interact unless he's like directing his speech towards her.
• 53:52
  Speaker 1: But like when he sits down in the earlier scene,
• 53:54
  Speaker 1: he sits with his friend like he does not interact
• 53:57
  Speaker 1: with her at all, and then like, yeah, she expects
• 54:00
  Speaker 1: him to be proposing because of the other party they
• 54:03
  Speaker 1: were at where she told Liz I think he's going
• 54:06
  Speaker 1: to propose to me, and then just decides it like
• 54:08
  Speaker 1: she's going to hold on to that until the next
• 54:10
  Speaker 1: party that they have. I don't. I mean I did. Unfortunately,
• 54:14
  Speaker 1: when Josh Groban was like, oh, um, sorry, you thought
• 54:18
  Speaker 1: I was going to propose to you, I was kind
• 54:19
  Speaker 1: of like, I'm kind of with him there. I don't
• 54:21
  Speaker 1: know why why that was something that we were supposed
• 54:24
  Speaker 1: to think was going to happen. And then when Liz,
• 54:28
  Speaker 1: her friend who is in like three scenes, is like, really,
• 54:33
  Speaker 1: why him, Like why why do you want him to
• 54:35
  Speaker 1: propose that? Hannah's response is like, well, he's nice, and
• 54:40
  Speaker 1: it's like that's that might be true, I guess, but
• 54:43
  Speaker 1: like that's not enough of a reason to want to
• 54:45
  Speaker 1: marry him. Like she doesn't say like I love him,
• 54:48
  Speaker 1: he's my soul mate, like I want to spend our
• 54:50
  Speaker 1: lives together. She's just like, well, he's nice, don't you think.
• 54:54
  Speaker 1: I'm like, it's so funny because you can just tell
• 54:57
  Speaker 1: that like some some guy wrote this movie by the
• 55:00
  Speaker 1: way that it's just like, well, two women are sitting
• 55:03
  Speaker 1: next to each other, okay, okay, okay, so one is
• 55:05
  Speaker 1: probably about to get proposed to, Like it's just so bleak.
• 55:10
  Speaker 1: And also like I mean, Liz embodies the the Best
• 55:14
  Speaker 1: Friend character where she's so invested in Emma Stone getting
• 55:19
  Speaker 1: funk funk funk funck fucked. That is what she lives for.
• 55:23
  Speaker 1: She where I assumed that she works in lawyer also
• 55:27
  Speaker 1: but I don't actually I can't actually confirm that. Also,
• 55:31
  Speaker 1: I like, there's so that is like another recognizable dynamic
• 55:36
  Speaker 1: that we know. And also it's the only non white
• 55:39
  Speaker 1: character in the entire movie, um with any sort of
• 55:43
  Speaker 1: like with I think more than one, you know, appearing
• 55:46
  Speaker 1: in more than one scene. But then also it's like
• 55:49
  Speaker 1: why is Okay, I was trying to connect the dots here,
• 55:54
  Speaker 1: Jacob is obsessed with Steve Correll having sex? Why for
• 56:00
  Speaker 1: a questions? Like also just for he reminded I wrote down, Um,
• 56:05
  Speaker 1: Jacob is obsessed with Steve Carrell having sex the way
• 56:08
  Speaker 1: that Mary Kay and Ashley are obsessed with their widowed
• 56:10
  Speaker 1: father having sex in every movie. Like it's just so,
• 56:15
  Speaker 1: but like I don't know, like and then I I
• 56:20
  Speaker 1: what he gives a one where or like a one
• 56:23
  Speaker 1: line explanation where he's like, you remind me of someone,
• 56:26
  Speaker 1: And I think the application is like his nice, rich
• 56:29
  Speaker 1: dad who died. No, I think it's he reminds Steve Carrell,
• 56:32
  Speaker 1: reminds him of like who Jacob used to be before
• 56:36
  Speaker 1: he learned to be cool and pick up artist. Y.
• 56:40
  Speaker 1: I'm guessing his daddy dad. Yeah, his dead dad. I
• 56:45
  Speaker 1: thought he was like my I wish I could get
• 56:47
  Speaker 1: my nice dead dad laid but you'll do because my
• 56:53
  Speaker 1: mom was such a like. I think he really does
• 56:55
  Speaker 1: think like my mom was a shrew and I wish
• 56:58
  Speaker 1: I could have gotten daddy laid back when he was
• 57:03
  Speaker 1: not dead. The logic is so I can't I can't
• 57:09
  Speaker 1: get there, but he was. He was so like so
• 57:12
  Speaker 1: much time and money. And also I'm like, I guess
• 57:15
  Speaker 1: he also just sort of doesn't need a job and
• 57:18
  Speaker 1: needs something to do, which is really sad. Yeah, you know,
• 57:22
  Speaker 1: it's like take a night class, Ryan Gosli, what are
• 57:25
  Speaker 1: you doing in this movie? Yeah? How invested he is
• 57:30
  Speaker 1: in cal becoming just like him is very bizarre. It's confusing.
• 57:36
  Speaker 1: It does not track who who has that relationship dynamic
• 57:41
  Speaker 1: who what man? Who is like busy trying to manipulate women?
• 57:47
  Speaker 1: Is it the type of thing where like, deep down,
• 57:49
  Speaker 1: you know what you're doing is fucked up, so you
• 57:51
  Speaker 1: want other you want to bring other people into what
• 57:53
  Speaker 1: you're doing so that you're not alone in your fucked
• 57:55
  Speaker 1: up behavior. Is that it? This is going to go
• 58:00
  Speaker 1: into my bigger thought of the movie and the general
• 58:05
  Speaker 1: world and its thoughts on love and romance and stuff.
• 58:08
  Speaker 1: But I think that specifically Jacob's obsession with Cal, aside
• 58:14
  Speaker 1: from like why does he want to help him, is
• 58:16
  Speaker 1: that like, you know, you're not a person unless you
• 58:20
  Speaker 1: are with another person and what you like, we're supposed
• 58:25
  Speaker 1: to think that he's like doing a good guy thing
• 58:27
  Speaker 1: by helping out someone else, trick another person into it,
• 58:31
  Speaker 1: and like that's like the thing that we're like, okay,
• 58:33
  Speaker 1: like he's a good guy. He's he's gonna try to
• 58:36
  Speaker 1: get his friend, you know, relevant by having his wife
• 58:40
  Speaker 1: bag or some of the ship like that. They're just
• 58:43
  Speaker 1: so it's such it's such a bizarre dynamic, and it's like,
• 58:50
  Speaker 1: I don't know that whole montage where it begins to
• 58:53
  Speaker 1: work for Steve Carrell too, I was like what am
• 58:55
  Speaker 1: I supposed to be feeling right now? I'm really unclear.
• 58:58
  Speaker 1: And what if I'm supposed to be like yeah, amazing,
• 59:02
  Speaker 1: or if I'm supposed to be like nasty, like I
• 59:05
  Speaker 1: just I don't know. It was hard to put myself
• 59:07
  Speaker 1: in brain. But the way, like the music, the camera work,
• 59:12
  Speaker 1: like the movie I'm pretty sure wants you to think, wow, awesome,
• 59:17
  Speaker 1: he finally got it. He finally clicked, you know, the
• 59:20
  Speaker 1: student has become the teacher kind of like he's doing
• 59:24
  Speaker 1: it and you're supposed to be like rooting for it.
• 59:27
  Speaker 1: I'm pretty sure that was another thing that with just
• 59:30
  Speaker 1: for how like I think all the female characters in
• 59:33
  Speaker 1: this movie are like written pretty badly, but Hannah's like
• 59:36
  Speaker 1: I just don't think she was written at all because
• 59:39
  Speaker 1: I was so like, why doesn't she? I understand that. Like,
• 59:44
  Speaker 1: so when the twist is Emma Stone is Steve Carell's daughter,
• 59:48
  Speaker 1: he immediately like, all of a sudden, it's nineteen fifty
• 59:51
  Speaker 1: four and she needs her father's approval to date someone,
• 59:54
  Speaker 1: which is like, okay, whatever, and Steve Carell's like, you
• 59:57
  Speaker 1: will never get my approval and you're like, oh my god,
• 1:00:00
  Speaker 1: please give your approval. So the movie can end. But like,
• 1:00:04
  Speaker 1: but I also don't really understand why, Like if Emma
• 1:00:08
  Speaker 1: Stone fully understands the extent to which Jacob like was
• 1:00:14
  Speaker 1: trying to turn her father into a pickup artist, and
• 1:00:17
  Speaker 1: if so, why doesn't I would feel weird about that.
• 1:00:21
  Speaker 1: I feel like that would be at least that at
• 1:00:22
  Speaker 1: least warrants a scene and a conversation of like, why
• 1:00:27
  Speaker 1: doesn't this bother her? It would really bother me if
• 1:00:29
  Speaker 1: I thought I had met the love of my life
• 1:00:31
  Speaker 1: and he had spent every night for the past three
• 1:00:33
  Speaker 1: months trying to get my father laid under nefarious pretenses,
• 1:00:38
  Speaker 1: Like that's really that's like a that's a big reveal
• 1:00:42
  Speaker 1: breaking up for sure. If he ever tells her the
• 1:00:44
  Speaker 1: truth about that, there's like no way but that like
• 1:00:49
  Speaker 1: that's a that's a that's a revelation. Yeah, I have
• 1:00:52
  Speaker 1: to imagine that she's just sort of left in the
• 1:00:54
  Speaker 1: dark about that. That's so fucked up. I hope they're
• 1:01:00
  Speaker 1: way is in shambles after the movie, and I truly
• 1:01:02
  Speaker 1: hope that. Oh my god, I like, yeah, that whole
• 1:01:09
  Speaker 1: I was just like why, like because she she was
• 1:01:11
  Speaker 1: like daddy also, daddy, daddy, daddy, it's okay, and and
• 1:01:17
  Speaker 1: I'm like, why is it okay with you? Or I
• 1:01:20
  Speaker 1: just wasn't clear, and like if she knew and didn't
• 1:01:23
  Speaker 1: care for some reason, or if just no one had
• 1:01:25
  Speaker 1: told her and she was living in the dark in
• 1:01:28
  Speaker 1: terms of Ryan Gosling's weird past, because I know that
• 1:01:33
  Speaker 1: she she knows that he tries to get women really
• 1:01:37
  Speaker 1: drunk and treats them like their machines, but she I
• 1:01:42
  Speaker 1: don't think she knows his history with Daddy. But I
• 1:01:46
  Speaker 1: have no idea either one would be grounds if if
• 1:01:49
  Speaker 1: I just found out, oh, you used to be a
• 1:01:52
  Speaker 1: unrepentant pickup artist and you did this what seems to
• 1:01:56
  Speaker 1: be every night of your life, I would just need
• 1:01:59
  Speaker 1: some real I would need some real progress reports. I
• 1:02:02
  Speaker 1: would feel like, Okay, how long have you not been
• 1:02:05
  Speaker 1: a pickup artist? Forty five minutes? Okay? Like yeah, But
• 1:02:10
  Speaker 1: it goes back to the reason that he stops is because, like,
• 1:02:14
  Speaker 1: he found a girl who's not like the other girls.
• 1:02:17
  Speaker 1: He found someone who he can goof with. And the
• 1:02:22
  Speaker 1: chemistry between Emma Stone and Ryan Gosling, it's electric. It's
• 1:02:27
  Speaker 1: it's not the press. I just I hate that aspect
• 1:02:32
  Speaker 1: of it and then yeah, when the big reveal happens
• 1:02:37
  Speaker 1: and Cal finds out that his daughter's daughter is dating
• 1:02:43
  Speaker 1: this guy who he knows to be this like sleazy womanizer,
• 1:02:49
  Speaker 1: he like gets mad at Hannah. He gets mad at Jacob,
• 1:02:53
  Speaker 1: but he's also like he refuses to like he doesn't
• 1:02:58
  Speaker 1: respect her autonomy or her decisions. He won't talk to
• 1:03:02
  Speaker 1: her unless she breaks up with him, like he's placing
• 1:03:05
  Speaker 1: a lot of blame on her. And then what he's
• 1:03:08
  Speaker 1: also not doing is noticing the like staggering hypocrisy of
• 1:03:13
  Speaker 1: his situation where he hates Jacob for being a pickup
• 1:03:17
  Speaker 1: art like a womanizer, but that's what he was just
• 1:03:20
  Speaker 1: doing with like eight different women nine Like a, wait,
• 1:03:26
  Speaker 1: it's nine, but I thought it was nine women eight
• 1:03:29
  Speaker 1: plus Julian Moore. I think it's nine. Oh is it
• 1:03:34
  Speaker 1: nine total or nine plus Julianne Moore. I hesitate to
• 1:03:37
  Speaker 1: believe that Dan Fogelman and John Requa really did that
• 1:03:41
  Speaker 1: accurate math, So I'm not sure. I mean, ultimately, it
• 1:03:46
  Speaker 1: was like Jacob ends up getting this like little redemption
• 1:03:50
  Speaker 1: arc which is totally unearned and doesn't really make any sense,
• 1:03:56
  Speaker 1: and Cal is a hypocrite and he's he's he's like
• 1:04:01
  Speaker 1: berating his daughter for having autonomy over her own life. Meanwhile,
• 1:04:07
  Speaker 1: also she's wrong and she isn't a real person. She's like,
• 1:04:12
  Speaker 1: so that's excusing. But then even so, like he if
• 1:04:16
  Speaker 1: we just look at it, like he is not respecting
• 1:04:18
  Speaker 1: his daughter's choice. It's like the whole like eight simple
• 1:04:21
  Speaker 1: Rules of Daring Martoonage daughter thing, where like he thinks
• 1:04:25
  Speaker 1: that he just can control his daughter's life. But if
• 1:04:30
  Speaker 1: he really wanted to do something, he would just have
• 1:04:33
  Speaker 1: to be totally honest with her. Maybe this is in
• 1:04:36
  Speaker 1: the fifty hour cut of the movie, but like he
• 1:04:39
  Speaker 1: would have to be honest with her and be like,
• 1:04:42
  Speaker 1: because he's being really vague, he's like, he's not a
• 1:04:45
  Speaker 1: good guy. He's not a good guy, which could just
• 1:04:47
  Speaker 1: be an overprotective father like trope thing. But he also
• 1:04:52
  Speaker 1: like if he I don't know, I would like understand
• 1:04:55
  Speaker 1: the storyline a little better if he went to her
• 1:04:57
  Speaker 1: and was like, look, he's not a good guy. I
• 1:05:00
  Speaker 1: have I have receipts. I could be specific. Here's how
• 1:05:03
  Speaker 1: I know. He taught me how to be a really
• 1:05:05
  Speaker 1: like an even worse guy, and I regret it and
• 1:05:08
  Speaker 1: I'm sorry, and like this is why I have all
• 1:05:11
  Speaker 1: this information, and that like that would have been at
• 1:05:15
  Speaker 1: least something that you're like, oh, this character has grown,
• 1:05:19
  Speaker 1: But he doesn't do that. He's just like he's bad.
• 1:05:22
  Speaker 1: I can't get more specific because it will make me
• 1:05:24
  Speaker 1: look bad. You're like really okay, and then again and
• 1:05:29
  Speaker 1: he's like, I have nothing more to say to you
• 1:05:31
  Speaker 1: if you're going to keep dating him. Meanwhile, his son
• 1:05:35
  Speaker 1: is harassing the babysitter relentlessly and he's not doing anything
• 1:05:40
  Speaker 1: about that. But he's like, but my daughter, she's dating someone,
• 1:05:44
  Speaker 1: and I'm furious about it. Okay, let's just get to
• 1:05:47
  Speaker 1: the sun. I Robbie is I think the most problematic
• 1:05:54
  Speaker 1: character in the movie. He's right up there. What the
• 1:06:00
  Speaker 1: fuck is going on here? This is like again just
• 1:06:04
  Speaker 1: like embodies so many shitty tropes all at once. Like
• 1:06:08
  Speaker 1: he's just a because he's precocious child trope, like wise
• 1:06:12
  Speaker 1: beyond his years, giving Shakespearean soliloquies that you're just like
• 1:06:17
  Speaker 1: get his thirteen he would be like like where are
• 1:06:20
  Speaker 1: my Naruto cards? Like like the so he but he's
• 1:06:25
  Speaker 1: also like hyper sexualized, which is which is a choice,
• 1:06:31
  Speaker 1: but also like he's both really immature and really mature
• 1:06:36
  Speaker 1: at the same time, like it it seemed to see
• 1:06:40
  Speaker 1: he varies. You don't know which Robbie you're going to get,
• 1:06:45
  Speaker 1: but I hate them all. Also, I think we are
• 1:06:48
  Speaker 1: introduced to him while he's jacking off. I think that's
• 1:06:52
  Speaker 1: the first here, our first reaction with Robbie. I think
• 1:06:56
  Speaker 1: that I don't know. Yeah, so we're introduced to him
• 1:06:58
  Speaker 1: when he is mass reading. The scene immediately after is
• 1:07:03
  Speaker 1: the first of many times that he's aggressively harassing his babysitter. Um.
• 1:07:10
  Speaker 1: I feel like his entire character is summed up in
• 1:07:12
  Speaker 1: the line I'm not gonna stop sending Jessica text messages
• 1:07:15
  Speaker 1: that make her feel uncomfortable, just literally a line of dialogue,
• 1:07:19
  Speaker 1: he says, and and to Kevin Bacon, to Kevin Bacon,
• 1:07:23
  Speaker 1: poor Kevin Bacon, have even listen to Jonah Bobos about
• 1:07:26
  Speaker 1: this toxic rhetoric. Um, But that's like his entire character,
• 1:07:32
  Speaker 1: Like he is constantly and I hate this so much.
• 1:07:36
  Speaker 1: Probably it's a personal thing because it makes me extremely uncomfortable.
• 1:07:40
  Speaker 1: But like the whole idea of like if you are
• 1:07:43
  Speaker 1: rejected explicitly, not even like, oh, I don't think she
• 1:07:47
  Speaker 1: likes me, She sends him a text saying stop this,
• 1:07:51
  Speaker 1: you are making me uncomfortable, and then he doubles and
• 1:07:55
  Speaker 1: triples down and the whole like grand, I hate the
• 1:07:58
  Speaker 1: whole Grand Jessicing. I think it's like the cringe eest was.
• 1:08:02
  Speaker 1: I know some people like grand gestures. They make me
• 1:08:04
  Speaker 1: so uncomfortable, hat and so many So Yeah, like so
• 1:08:08
  Speaker 1: much of this movie is and I feel like there's
• 1:08:11
  Speaker 1: an element of that um with when Emmastone meets Ryan
• 1:08:14
  Speaker 1: Gosling of like no means yes, of like she's like, no,
• 1:08:19
  Speaker 1: I don't like you know, I'm not. And it's kind
• 1:08:24
  Speaker 1: of similar with this Robbie Jessica storyline where she's like,
• 1:08:28
  Speaker 1: I don't want you to do this does make me uncomfortable,
• 1:08:31
  Speaker 1: and then he will like he does this weird thing
• 1:08:33
  Speaker 1: with the scarlet letter, he does this, he just keeps
• 1:08:36
  Speaker 1: doing ship, He's showing up at her house, He's doing
• 1:08:38
  Speaker 1: all this stuff. And then eventually she's like, I love it,
• 1:08:42
  Speaker 1: I love it, and actually I love you. He's rewarded
• 1:08:46
  Speaker 1: when she gives him her nude photos, which we will
• 1:08:51
  Speaker 1: get to why she has those in a in a second.
• 1:08:53
  Speaker 1: But yeah, like it's this like war of attrition that
• 1:08:57
  Speaker 1: all the men in this movie are doing where they
• 1:08:59
  Speaker 1: are wearing these women down until they relent for question
• 1:09:04
  Speaker 1: mark reasons because these these women are written so poorly.
• 1:09:09
  Speaker 1: I mean, yes, they are written poorly, but I feel
• 1:09:11
  Speaker 1: like in general, we are taught to believe that you
• 1:09:17
  Speaker 1: have to pursue a person until they fold. Like that's
• 1:09:22
  Speaker 1: the whole entire thing about love and how like the
• 1:09:26
  Speaker 1: whole like marriage and soulmates ship is just like if
• 1:09:30
  Speaker 1: you find somebody really really like, you better dig your
• 1:09:33
  Speaker 1: heels in because someday they all say yes. And like
• 1:09:36
  Speaker 1: that's like the grossest part of some of this stuff
• 1:09:40
  Speaker 1: in the movie is that it is like it's accurate
• 1:09:43
  Speaker 1: to how people behave Yeah right, I mean it just
• 1:09:46
  Speaker 1: it reinforced. It like takes behavior that like people have
• 1:09:50
  Speaker 1: been conditioned with thinking is like the right way to
• 1:09:53
  Speaker 1: do it, and then it just like reinforces it rather
• 1:09:55
  Speaker 1: than like examining, Hey, maybe that's not the way to
• 1:10:00
  Speaker 1: do it. Maybe this is like getting like a little dark.
• 1:10:05
  Speaker 1: But even how like, I mean, the way that the
• 1:10:07
  Speaker 1: Robbie Jessica thing resolves is just like uh like, but
• 1:10:12
  Speaker 1: I I do like there were times when it seems
• 1:10:16
  Speaker 1: like she was really in a way that I'm like,
• 1:10:18
  Speaker 1: I don't even know if this was written intentionally or
• 1:10:21
  Speaker 1: if the like the actors playing Jessica was like doing
• 1:10:25
  Speaker 1: a subtle thing, but it seems like, you know, we're
• 1:10:29
  Speaker 1: also often taught like it's easier to like let someone
• 1:10:32
  Speaker 1: down easy. It's easier to be very gentle and coddleman's
• 1:10:37
  Speaker 1: feelings literally for safety purposes, Like if you don't, like,
• 1:10:42
  Speaker 1: you know, engage with someone who's making you very uncomfortable
• 1:10:46
  Speaker 1: in a way that is very like accommodating to them,
• 1:10:49
  Speaker 1: you could get harmed. And that was like there were
• 1:10:52
  Speaker 1: moments that I'm like, oh, I don't think that they
• 1:10:55
  Speaker 1: were trying to say that, But if I were Jessica
• 1:10:57
  Speaker 1: and the same boy was escalating behavior that I didn't
• 1:11:02
  Speaker 1: like treating me, you know, like in more and more
• 1:11:06
  Speaker 1: bizarre ways, I feel like there is like a place
• 1:11:09
  Speaker 1: in my head, especially when I was younger, that I
• 1:11:12
  Speaker 1: would be like, oh, i'd better like kind of coddle
• 1:11:14
  Speaker 1: and protect this person's feelings because they're behaving really scary
• 1:11:18
  Speaker 1: and like, you don't know what someone will do if
• 1:11:21
  Speaker 1: you just keep like so I appreciate that we did
• 1:11:25
  Speaker 1: see her reject him outright several times and say stop, stop, stop,
• 1:11:31
  Speaker 1: But then it's like, I don't know. I I think
• 1:11:34
  Speaker 1: that like in a real life situation, like we are
• 1:11:38
  Speaker 1: kind of taught for our own safety to to not
• 1:11:42
  Speaker 1: be like quite so direct constantly, which is so depressing
• 1:11:48
  Speaker 1: because it's like, well, you never know when someone's gonna
• 1:11:52
  Speaker 1: murder you, like right, and like and Sammy, like you're saying,
• 1:11:56
  Speaker 1: the behavior that's on display here in this movie is
• 1:12:00
  Speaker 1: reflective of this era that the movie comes out inn
• 1:12:05
  Speaker 1: Like it's wild to think that ten years ago, which
• 1:12:09
  Speaker 1: doesn't feel like that long ago, but like that was
• 1:12:13
  Speaker 1: still very much the attitude that people had that you,
• 1:12:18
  Speaker 1: if you really like someone, you aggressively pursue them until
• 1:12:22
  Speaker 1: they have no choice but to relent. And that is
• 1:12:26
  Speaker 1: actually awesome and romantic and not creepy and harassy and stockery.
• 1:12:32
  Speaker 1: That yeah, that was that we were all still very
• 1:12:36
  Speaker 1: much subscribing to that magazine. I mean, unfortunately, I feel
• 1:12:40
  Speaker 1: like it's still what people are striving for, is that
• 1:12:44
  Speaker 1: like the whole thing of like relationships, in the beginning
• 1:12:48
  Speaker 1: of relationship, like there needs to be a little bit
• 1:12:50
  Speaker 1: of drama. There needs to be somebody like pretending or
• 1:12:53
  Speaker 1: playing a game, and like I feel like that's just
• 1:12:55
  Speaker 1: such ship and even like the whole like soulmate thing
• 1:12:59
  Speaker 1: is like ridiculous, is like that doesn't even make sense
• 1:13:01
  Speaker 1: because if you look at most of the people who
• 1:13:03
  Speaker 1: are married, they're married to people who they work with,
• 1:13:05
  Speaker 1: and you're definitely probably not going to find your soul
• 1:13:08
  Speaker 1: mate at your job. Sorry, God Willing. It's so yeah,
• 1:13:18
  Speaker 1: like and and that whole I mean, the whole idea
• 1:13:21
  Speaker 1: of how soulmates are presented is so manipulative because it's
• 1:13:26
  Speaker 1: like the whole Okay, the eighth grade graduation when Jonah
• 1:13:31
  Speaker 1: Bobo is making a speech, he's like love sucks love
• 1:13:36
  Speaker 1: like love's and then and then Steve Carrell stands up
• 1:13:40
  Speaker 1: like wait, and you're like, oh my god. If you're
• 1:13:42
  Speaker 1: just like a parent at this, You're like, what is
• 1:13:45
  Speaker 1: going on? Who is this man? I need to go home.
• 1:13:48
  Speaker 1: I have to pee, Like why is Steve Carrell standing
• 1:13:52
  Speaker 1: up here? But Steve Carrell goes down and gives the
• 1:13:55
  Speaker 1: most toxic speech of all time where he's like, my
• 1:13:59
  Speaker 1: son doesn't mean what he says. I think my son
• 1:14:01
  Speaker 1: is not very smart anyways, uh like, and then he
• 1:14:06
  Speaker 1: goes into like my son believes in soulmates and just
• 1:14:09
  Speaker 1: the whole where is the line that absolutely maybe want
• 1:14:13
  Speaker 1: to die. That's a lot of them, But there there
• 1:14:16
  Speaker 1: was a line where he basically says that like, oh,
• 1:14:19
  Speaker 1: my son believes in grand romantic gestures, which is code
• 1:14:23
  Speaker 1: for harassing women until they give into what you want,
• 1:14:26
  Speaker 1: and invokes this idea of soulmates as something that like,
• 1:14:30
  Speaker 1: you know, it's like, oh, just keep bothering your soulmate
• 1:14:33
  Speaker 1: until they talk to you. It's like, no, if your
• 1:14:34
  Speaker 1: soulmate was your soulmate, they would want to talk to you.
• 1:14:38
  Speaker 1: That is the basic dissidence of like, they're not your
• 1:14:41
  Speaker 1: soul mate if they don't want to be around you
• 1:14:43
  Speaker 1: or speak to you. Like, that's not how that works.
• 1:14:48
  Speaker 1: Like it's just such a basic thing that he's presenting
• 1:14:52
  Speaker 1: as like keep going, keep going, and and she'll change
• 1:14:56
  Speaker 1: your mind eventually. But apparently screenwriter Dan Fogelman nor directors
• 1:15:03
  Speaker 1: Glenn or John Requa know this. Oh my god. Their
• 1:15:09
  Speaker 1: their resume is funny too. Well, yeah, bad Santas in
• 1:15:12
  Speaker 1: their Bad Santas in Their Cats and Dogs, a movie
• 1:15:16
  Speaker 1: that may be so scared I cried when I was
• 1:15:19
  Speaker 1: a kid. Um and the upcoming Jungle Cruise movie. Oh,
• 1:15:25
  Speaker 1: starring the Rock, starring the Rock. They wrote a trailer
• 1:15:29
  Speaker 1: they also okay to their credit they're only like credits
• 1:15:33
  Speaker 1: that are like, oh are the first ones they did? Um,
• 1:15:37
  Speaker 1: they did right on the Wild thorn Berries and the
• 1:15:39
  Speaker 1: Angry Beavers. Good for them. Uh. They also are uncredited
• 1:15:44
  Speaker 1: on Looney Tunes Back in Action starring Brendan Fraser. So
• 1:15:48
  Speaker 1: you know, they clearly deserved to make a fifty million
• 1:15:52
  Speaker 1: dollar five hour rom com. It makes total sense to me.
• 1:15:56
  Speaker 1: M hm um also is produced by Denise dano Vi. Yeah,
• 1:16:03
  Speaker 1: who is who we've spoken about on the show before.
• 1:16:06
  Speaker 1: She's kind of an iconic producer who has really championed
• 1:16:10
  Speaker 1: a lot of amazing movies, very often champions movies that
• 1:16:14
  Speaker 1: are um driven and run by women. Um we I
• 1:16:19
  Speaker 1: think we talked about her most Indie Little Women episode
• 1:16:23
  Speaker 1: because she um, she got both the nineties and the
• 1:16:27
  Speaker 1: two thousand tens one made. Um, She's just behind a
• 1:16:30
  Speaker 1: lot of cool movies and um, but this isn't one
• 1:16:33
  Speaker 1: of them. No, No it's not. I should we talk
• 1:16:38
  Speaker 1: about Jessica the Babysitter being in love with cow yes,
• 1:16:44
  Speaker 1: and then I need to shove my head into the
• 1:16:45
  Speaker 1: garbage disposal, so we'd better get to it. Okay, So
• 1:16:51
  Speaker 1: it's established that she is in love with Steve Carrell,
• 1:16:56
  Speaker 1: and I guess we just have to suspend our disbelief
• 1:16:59
  Speaker 1: for that. That. Yeah, it's like this is this is
• 1:17:02
  Speaker 1: a setup we've seen before. I don't think it's the
• 1:17:05
  Speaker 1: like if it's handled well, this isn't always the worst setup.
• 1:17:08
  Speaker 1: It's like, you know a teenager who has a crush
• 1:17:11
  Speaker 1: on someone older. It's like, Okay, it's happy, how it goes,
• 1:17:17
  Speaker 1: let's see what they do. But then this happens so
• 1:17:22
  Speaker 1: um basically her, a classmate of hers, who is presumably
• 1:17:28
  Speaker 1: another seventeen year old, is said to be having sex
• 1:17:33
  Speaker 1: with a lot of older men all the time. This
• 1:17:35
  Speaker 1: is one of the least realistically written teen characters. I'm
• 1:17:39
  Speaker 1: like Dan Fog imagine Dan Folg woman sitting in his
• 1:17:42
  Speaker 1: car's mansion trying to imagine how seventeen year old girls
• 1:17:46
  Speaker 1: talk to each other, and then writing that scene awful, ridiculous.
• 1:17:50
  Speaker 1: He also wrote Tangled, which like, now I have to
• 1:17:53
  Speaker 1: go back and rewatch Tangled to be like, no, don't
• 1:17:56
  Speaker 1: take Tangled from me. Got to cover that someday soon. Anyway,
• 1:18:02
  Speaker 1: fred claws cars to oh car cars, you know, I
• 1:18:07
  Speaker 1: will say, haunt cars too, better than cars one anyway,
• 1:18:15
  Speaker 1: So this classmate of Jessica's says, well, if you want
• 1:18:19
  Speaker 1: an older man to be interested in you, you have
• 1:18:21
  Speaker 1: to send him a message, send him pictures that let
• 1:18:24
  Speaker 1: him know. So Jessica proceeds to take nude photos of herself,
• 1:18:31
  Speaker 1: which this actor was not underage when this movie was shot.
• 1:18:35
  Speaker 1: I checked because she and Amazon are the same age.
• 1:18:38
  Speaker 1: But yeah, it's implied child pornography and we're supposed to
• 1:18:41
  Speaker 1: be like ha ha, she okay, So that's what they do.
• 1:18:46
  Speaker 1: So she prints them out because it's and we all
• 1:18:50
  Speaker 1: had photo printers, I guess, and with the intent of
• 1:18:54
  Speaker 1: giving them to cal But before she can, Jessica's mother
• 1:18:58
  Speaker 1: finds these photos and then shows them to her dad,
• 1:19:04
  Speaker 1: which is like, in what fucking world, what of her daughter?
• 1:19:08
  Speaker 1: You would go and talk to your daughter for right?
• 1:19:12
  Speaker 1: I mean, I guess, I guess, I mean it is
• 1:19:15
  Speaker 1: like she it's not inconceivable to be that a bad
• 1:19:18
  Speaker 1: parent would do that, And every parent in this movie
• 1:19:22
  Speaker 1: is a bad parent, except for Julianne Moore sometimes. But
• 1:19:26
  Speaker 1: it's so and it's played so jokey. I also like
• 1:19:31
  Speaker 1: John Carol Lynch a lot, and I don't like when
• 1:19:33
  Speaker 1: he's misused in movies. He's a character actor icon. Come on,
• 1:19:37
  Speaker 1: you're gonna treat Mr Fargo like that? I mean, I
• 1:19:40
  Speaker 1: think it's house I think it completely stands to reason
• 1:19:44
  Speaker 1: that Jessica's mom would tell her dad about but to
• 1:19:48
  Speaker 1: show them show him the photos. Yeah, I feel like
• 1:19:52
  Speaker 1: as a mother, you destroy the photos or I don't know,
• 1:19:55
  Speaker 1: I don't know what you do. I don't want to
• 1:19:56
  Speaker 1: think of I don't want to be in this situation.
• 1:19:58
  Speaker 1: Why why is this happening at the end of the movie. Yeah? What?
• 1:20:01
  Speaker 1: I yeah? What I what? What happened? I don't know
• 1:20:04
  Speaker 1: exactly the best way to handle it. I know the
• 1:20:05
  Speaker 1: worst way to handle it, which is to show nude
• 1:20:08
  Speaker 1: photos of a teenage girl. She's sitting right there too.
• 1:20:13
  Speaker 1: Like it's just horrifying, yucky, yucky. Yeah that I mean,
• 1:20:19
  Speaker 1: Like I want to be clear, Like I don't blame
• 1:20:22
  Speaker 1: the girls, neither Jessica nor this classmate of hers, Like
• 1:20:28
  Speaker 1: I blame the adult filmmakers who put these scenes into
• 1:20:31
  Speaker 1: this movie. Yeah, these people are not real And like
• 1:20:35
  Speaker 1: this writer cannot write a female character like to save
• 1:20:38
  Speaker 1: his life. He also made This is Us apparently anyways. Yeah,
• 1:20:43
  Speaker 1: it's like the way that the teenage girls are written
• 1:20:46
  Speaker 1: is like pretty unrealistic, and the way that this like
• 1:20:50
  Speaker 1: you know, like really serious thing is treated is as
• 1:20:56
  Speaker 1: a quick joke to get us to the scene where
• 1:21:00
  Speaker 1: all the men fite each other. Yeah, it's just like
• 1:21:03
  Speaker 1: I just like if you're if you as a writer
• 1:21:05
  Speaker 1: or not like equipped to like deal with a storyline
• 1:21:10
  Speaker 1: like that responsibly, just like find another way to get
• 1:21:12
  Speaker 1: John Carroll Lynch to punch Steve Carrell in the face.
• 1:21:14
  Speaker 1: Like there's so many other ways to get there, and
• 1:21:17
  Speaker 1: like if you need to get there, but like putting
• 1:21:20
  Speaker 1: that level of like those are like gigantic steaks to
• 1:21:26
  Speaker 1: put if you don't know how to write a storyline
• 1:21:28
  Speaker 1: like that, and you don't know how to write a
• 1:21:30
  Speaker 1: teenage girl character, Like I I just don't even understand
• 1:21:35
  Speaker 1: why the writer would put that in there, you know
• 1:21:38
  Speaker 1: what I mean, Like it's just an it's an easy,
• 1:21:40
  Speaker 1: bad plot point to get to without that level of seriousness.
• 1:21:46
  Speaker 1: I don't know. I feel like the whole entire, like
• 1:21:49
  Speaker 1: Jessica being in love with cal does not even need
• 1:21:53
  Speaker 1: to be in the movie whatsoever. No, it doesn't make
• 1:21:56
  Speaker 1: sense to me. She could have just been a normal babysitter.
• 1:22:00
  Speaker 1: These perverts wanted that in there. So weird and it's
• 1:22:05
  Speaker 1: like also, I yeah, I guess I don't understand the
• 1:22:07
  Speaker 1: plot relevance it has either, because it's like are we
• 1:22:11
  Speaker 1: supposed to think? Like, oh, no, Steve Carrell is a
• 1:22:14
  Speaker 1: really viable guy, like what what? What are we being? Uh?
• 1:22:20
  Speaker 1: And which? So it doesn't go anywhere. I mean, I'm glad, obviously,
• 1:22:24
  Speaker 1: I'm glad it doesn't go anywhere, but it's just like,
• 1:22:26
  Speaker 1: why is it there? I guess like the theme of
• 1:22:30
  Speaker 1: the movie is everyone's in love with somebody who who
• 1:22:36
  Speaker 1: is near them. I'm just so glad Steve Carrell, Like Steve,
• 1:22:42
  Speaker 1: that's a shirt, that's a T shirt. I'm just glad
• 1:22:46
  Speaker 1: Steve Carrell like finally stopped doing these midlife Crisis five
• 1:22:51
  Speaker 1: movies because Okay, I'm gonna just like list some because
• 1:22:54
  Speaker 1: there were so many. Um there was Dan in real life.
• 1:22:58
  Speaker 1: That was one of them. I think that was be
• 1:23:00
  Speaker 1: the first one where his head's on the pancakes and
• 1:23:02
  Speaker 1: it was and it's boring. Um there was um this movie.
• 1:23:08
  Speaker 1: There was the next year seeking a friend for the
• 1:23:10
  Speaker 1: end of the world. Uh, there was the Way Way Back,
• 1:23:14
  Speaker 1: which I fun facted one day of paying on because
• 1:23:18
  Speaker 1: he shot at in Massachusetts. Um. And then and then
• 1:23:21
  Speaker 1: I think that this, um, this ends in when he
• 1:23:26
  Speaker 1: successfully plays a dramatic role in Fox Catcher. But that's
• 1:23:29
  Speaker 1: like five movies where he's playing the same midlife crisis guy. Um.
• 1:23:34
  Speaker 1: And oh, I guess you could maybe argue it started
• 1:23:36
  Speaker 1: with Little Miss Sunshine, which it like starts on a
• 1:23:39
  Speaker 1: high note because it's like an indie Darling where he
• 1:23:42
  Speaker 1: has a serious you know, like it's like I'm in
• 1:23:45
  Speaker 1: middle aged man in crisis. But then he keeps playing
• 1:23:47
  Speaker 1: that role, and then eventually he gets the Fox Catcher
• 1:23:50
  Speaker 1: and now and he's like, Okay, I got my nominations
• 1:23:53
  Speaker 1: for things, and now I can go back to being
• 1:23:56
  Speaker 1: a great comedian. Why was he doing these movies? It's
• 1:23:58
  Speaker 1: just confusing his range, probably on the I guess, but
• 1:24:03
  Speaker 1: it's like, is he good in this movie? Not like
• 1:24:06
  Speaker 1: he could be Steve Carrell could be anyone in this movie.
• 1:24:09
  Speaker 1: Any man could be this man. But I read the
• 1:24:13
  Speaker 1: screenwriter wrote this script with Steve Carrell in mind, so
• 1:24:17
  Speaker 1: he was like writing it for him specifically, I wonder
• 1:24:21
  Speaker 1: if he did the same thing with Lightning McQueen. I wonder,
• 1:24:25
  Speaker 1: I wonder if he was like, so yeah, I really
• 1:24:29
  Speaker 1: couldn't imagine anyone but Owen Wilson as Lightning, and it
• 1:24:32
  Speaker 1: really informed my process. Like I honestly, I guess Larry
• 1:24:39
  Speaker 1: the cable guide that what's his name made her Maybe
• 1:24:43
  Speaker 1: that was written for him. That might have been the
• 1:24:45
  Speaker 1: Fogelman technique choose the actor first. Anyways, what's funny to
• 1:24:51
  Speaker 1: me is that, like, Steve Carrell is actually incredibly handsome,
• 1:24:55
  Speaker 1: and they could have made him as handsome or more
• 1:24:59
  Speaker 1: handsome than and Ryan Gosling, but they chose to give
• 1:25:02
  Speaker 1: him this like very weird, like seven layer middle aged
• 1:25:06
  Speaker 1: man outfit rather than like leveling him up to be
• 1:25:10
  Speaker 1: like as hot as he is in real life, which
• 1:25:12
  Speaker 1: is interesting. Yeah, because like Steve Curl isn't attract I mean,
• 1:25:17
  Speaker 1: he's an attractive man. And I also feel like it's
• 1:25:19
  Speaker 1: like the way that the coding that movies used to
• 1:25:22
  Speaker 1: tell you who's attractive and who isn't is always just
• 1:25:25
  Speaker 1: so dissonant and just bizarre. And a couple last things
• 1:25:33
  Speaker 1: I wanted to bring up this is obviously a very
• 1:25:36
  Speaker 1: hetero movie. Everyone is in love with you know, men
• 1:25:40
  Speaker 1: are in love with women, women are in love with men.
• 1:25:43
  Speaker 1: There's everyone's white and has plenty of money, like, oh,
• 1:25:47
  Speaker 1: you know, all that kind of stuff. Um. In addition
• 1:25:50
  Speaker 1: to that, there are a few homophobic jokes that get made,
• 1:25:55
  Speaker 1: where the first time Cal sees Jacob across the bar,
• 1:25:59
  Speaker 1: he just looks at him and says gay because he's
• 1:26:04
  Speaker 1: homophobic and awful. There's an AIDS Jokes joke a few
• 1:26:09
  Speaker 1: scenes later, um at the same again, the same bar,
• 1:26:13
  Speaker 1: when Cal and Jacob actually talked for the first time,
• 1:26:16
  Speaker 1: Jacob comments on how Cal drinking a drink through a
• 1:26:20
  Speaker 1: straw makes him look like he's sucking on a tiny penis.
• 1:26:25
  Speaker 1: But he's also used I guess is his character supposed
• 1:26:27
  Speaker 1: to be? Is Jacob supposed to be Jewish? Because he
• 1:26:30
  Speaker 1: keeps saying either like Hebrew or Yiddish words throughout the movie.
• 1:26:36
  Speaker 1: Maybe that's in the director's cut, that that when you've
• 1:26:40
  Speaker 1: got a whole explanation about Jacob's upbringing outside of mean mommy,
• 1:26:47
  Speaker 1: nice daddy. Right. Um. And then there's a I guess
• 1:26:52
  Speaker 1: what's meant to be a visual joke when Cal passes
• 1:26:56
  Speaker 1: out in a sauna into Jacob's good crotch. And that's comedy,
• 1:27:03
  Speaker 1: baby man. I h I just I like want better
• 1:27:09
  Speaker 1: for basically every actor in this except for Jonah Bubo unfortunately,
• 1:27:15
  Speaker 1: who has since retired. He's he's done so he's writing
• 1:27:20
  Speaker 1: folk music anywhere. Statement hats I checked. Okay, wow, thanks
• 1:27:24
  Speaker 1: for doing that important research. That's the real that, That's
• 1:27:27
  Speaker 1: what I'm here for. And then the other thing we're
• 1:27:31
  Speaker 1: bringing up is the title of this movie crazy Comma,
• 1:27:35
  Speaker 1: stupid comma, love period. And this this is a conversation
• 1:27:40
  Speaker 1: that's happening, not a lot, but more and more. And
• 1:27:45
  Speaker 1: you know, we on the podcast, we're trying to help
• 1:27:47
  Speaker 1: spread the word regarding the use of certain words and
• 1:27:52
  Speaker 1: certain language choices too, of which are in the title
• 1:27:55
  Speaker 1: of this movie. Right, yes, and they might seem pretty harmless,
• 1:27:59
  Speaker 1: but in reality they are ablest because this type of
• 1:28:04
  Speaker 1: language disparages physical and intellectual disabilities and further's this stigma
• 1:28:11
  Speaker 1: of mental illness. And this includes words like crazy, stupid, dumb, lame, insane,
• 1:28:20
  Speaker 1: et cetera, because, like you know, these words have often
• 1:28:23
  Speaker 1: been used to other and to demonize people with disabilities
• 1:28:28
  Speaker 1: and mental illness, and these words are also often used
• 1:28:32
  Speaker 1: in just like everyday colloquial language in the context of
• 1:28:36
  Speaker 1: like disparaging. This thing is bad, this thing is wrong.
• 1:28:40
  Speaker 1: So our brains make these connections and it just perpetuates
• 1:28:44
  Speaker 1: these ablest ideas. So we are actively working on eliminating
• 1:28:49
  Speaker 1: this type of language from our vocabulary. We encourage others
• 1:28:54
  Speaker 1: to do the same. To read up about it, Will
• 1:28:57
  Speaker 1: will include some links in the show notes. Yeah, it's
• 1:29:02
  Speaker 1: it's it's. If this is the first time you're hearing
• 1:29:05
  Speaker 1: about something like this, just begin to educate yourself. That
• 1:29:08
  Speaker 1: is the step you can take today. And it's it's
• 1:29:12
  Speaker 1: just a thing you should do. We we used to
• 1:29:15
  Speaker 1: use words like that on the show, not realizing the
• 1:29:19
  Speaker 1: potential harm that they have to cause. UM. And then
• 1:29:22
  Speaker 1: we learned better, and then we did better, and there
• 1:29:25
  Speaker 1: you go, and we'll yeah, we'll, we'll have there's a
• 1:29:27
  Speaker 1: number of great resources about this kind of ongoing discussion,
• 1:29:30
  Speaker 1: as well as alternative words you can use, um to
• 1:29:33
  Speaker 1: kind of rewire your brain a little bit. Uh. In conclusion,
• 1:29:38
  Speaker 1: the title of this movie stinks, So I think we
• 1:29:42
  Speaker 1: can all agree that they should have stuck with their
• 1:29:44
  Speaker 1: original title, which was untitled marital crisis comedy, yes, untitled
• 1:29:49
  Speaker 1: commas comedy yes, period yeah so yeah. On top of that, uh,
• 1:29:59
  Speaker 1: to tie little bow in it the title and I
• 1:30:04
  Speaker 1: don't want to talk about this movie anymore. Does it
• 1:30:08
  Speaker 1: pass the Bechtel test? I don't think it does because
• 1:30:11
  Speaker 1: there are a couple of conversation a few conversations where
• 1:30:15
  Speaker 1: women interact. For example, Hannah and her friend Liz talk
• 1:30:19
  Speaker 1: about Conan O'Brien, they talk about Jacob, they talk about
• 1:30:23
  Speaker 1: Josh Grobin. None of those scenes passed. Jessica and her classmate,
• 1:30:29
  Speaker 1: who is named Madison, I think, talk about how to
• 1:30:33
  Speaker 1: get older men to sleep with them horrifying. Um. Jessica
• 1:30:38
  Speaker 1: and Emily talk about cal and also Jessica's really really
• 1:30:42
  Speaker 1: mean to Emilyson. Then she says I won't take your
• 1:30:45
  Speaker 1: slutty money and run the way, which, um, I don't
• 1:30:49
  Speaker 1: like the scene it's in, but I'm like, that's maybe
• 1:30:51
  Speaker 1: I'll use that line every the next time we're splitting
• 1:30:57
  Speaker 1: up Patreon money, of like, I don't want your um
• 1:31:03
  Speaker 1: and this doesn't This doesn't, of course pass, but um.
• 1:31:06
  Speaker 1: Emily says to David Lyndhagen, I'm saving you from disaster
• 1:31:11
  Speaker 1: because you're about to preboard the Titanic. Love that. Also,
• 1:31:16
  Speaker 1: we didn't get into David Lynd Hoggan because literally who
• 1:31:19
  Speaker 1: cares um, But but he also was sort of like
• 1:31:23
  Speaker 1: that in that one scene. She's like, look, this isn't
• 1:31:26
  Speaker 1: gonna work out, and he's like, it's going to work out.
• 1:31:29
  Speaker 1: But I like you, so I need to keep talking
• 1:31:32
  Speaker 1: to you even if you don't want me to. I
• 1:31:34
  Speaker 1: decided your vice soul mate, so I'm that gives me
• 1:31:36
  Speaker 1: a license to her wrath you until one of us die.
• 1:31:40
  Speaker 1: Like God. The thesis statement of the movie, Uh so,
• 1:31:47
  Speaker 1: let's rate it on our nipple scale zero to five
• 1:31:49
  Speaker 1: nipples based on an examination of intersectional feminism. I'm just
• 1:31:54
  Speaker 1: gonna go ahead and give this zero nipples. Yeah, none, none,
• 1:31:58
  Speaker 1: And I feel like we've really if we we've really
• 1:32:01
  Speaker 1: said it all none. If I had a nipple, I
• 1:32:03
  Speaker 1: would give it to baby Joey King, but I don't
• 1:32:06
  Speaker 1: have one. I have none thoughts, zero nipples. Um. I
• 1:32:12
  Speaker 1: think that my favorite part of this movie is there
• 1:32:16
  Speaker 1: is a behind the scene story that I think Ryan
• 1:32:20
  Speaker 1: and Emma talk about on Graham Norton Um where they
• 1:32:25
  Speaker 1: were talking about the terribly boring dirty dancing scene. Actually,
• 1:32:29
  Speaker 1: my note in my notes my note on my notes
• 1:32:31
  Speaker 1: says dirty dancing hyphen Clearly a boring person wrote this movie.
• 1:32:36
  Speaker 1: Um but so uh the scene where Ryan lifts Emma up,
• 1:32:43
  Speaker 1: apparently she was very, very very scared to do this scene.
• 1:32:47
  Speaker 1: She did try it, though, and apparently claude at Ryan
• 1:32:52
  Speaker 1: Gosling's head like a raccoon when she was up, so
• 1:32:56
  Speaker 1: so they did have to go with a dot person
• 1:32:58
  Speaker 1: for it. I love Emma Stone, she really is. Oh.
• 1:33:04
  Speaker 1: I had my my last note that I haven't marked off.
• 1:33:08
  Speaker 1: This was just a passing thought because I was trying
• 1:33:11
  Speaker 1: so hard to make sense of this. There was a
• 1:33:13
  Speaker 1: good ten minutes of watching this movie where I thought
• 1:33:16
  Speaker 1: that Ryan Gosling was possibly dead, like Six Cents style,
• 1:33:22
  Speaker 1: because he's just that whole montage where he's like training
• 1:33:25
  Speaker 1: Steve Garrel. I'm like, what if this is like the
• 1:33:27
  Speaker 1: sixth Cents and Steve girls actually alone because he's just
• 1:33:30
  Speaker 1: sitting at a bar with Ryan, And I'm like, well,
• 1:33:32
  Speaker 1: it makes sense because I have no idea why Ryan
• 1:33:34
  Speaker 1: Goslink is so interested in Steve Garrell. I don't know
• 1:33:37
  Speaker 1: why they're in all these locations. I don't know how
• 1:33:39
  Speaker 1: they can afford this. Maybe he's dead, Maybe he's like
• 1:33:42
  Speaker 1: this ghost. I love that theory. Let's stick with that.
• 1:33:46
  Speaker 1: There's long parts of the movie where Ryan Gosling could
• 1:33:48
  Speaker 1: very well be dead, and that would make more sense
• 1:33:51
  Speaker 1: if he was like either a ghost or if he
• 1:33:54
  Speaker 1: was like a projection of cow. Yeah, that makes more
• 1:33:57
  Speaker 1: sense than like Fight Club exactly. That makes more sense
• 1:34:01
  Speaker 1: than Jacob for no reason taking so much time out
• 1:34:06
  Speaker 1: of his day to quote fix Steve Carrell, because that
• 1:34:10
  Speaker 1: doesn't track at all. I was like, only a ghost
• 1:34:13
  Speaker 1: would be having this much free time. So also Cal,
• 1:34:20
  Speaker 1: I forgot to mention this, but Cal is very cruel
• 1:34:22
  Speaker 1: to several people who work in the service industry. Throughout
• 1:34:25
  Speaker 1: the movie, he's really yeah, awful, and then he always
• 1:34:29
  Speaker 1: just goes he's I feel like this is like a
• 1:34:31
  Speaker 1: Steve Carrell in prop. Then he'll just be like, sorry,
• 1:34:33
  Speaker 1: that was a little that We're like, come on, come on,
• 1:34:37
  Speaker 1: I love Steve Grel so much, but this era of
• 1:34:39
  Speaker 1: Steve Carell is tough. So this movie does not do
• 1:34:44
  Speaker 1: justice to any of the actors in it. Yeah, anyway,
• 1:34:51
  Speaker 1: Sammy wait, I forgot to shout this out, but please,
• 1:34:56
  Speaker 1: you guys think that they intended for Ryan Gosling to
• 1:35:00
  Speaker 1: be eating that Sabarrow when they I don't think I
• 1:35:04
  Speaker 1: really don't think that that was I think that that
• 1:35:06
  Speaker 1: was like a Ryan Gosling improv Oh if that was
• 1:35:10
  Speaker 1: just like what they had for like crafts are like
• 1:35:13
  Speaker 1: lunch that day on Stay he probably they have probably
• 1:35:15
  Speaker 1: made like a pi a, go get a fucking slice
• 1:35:18
  Speaker 1: of pizza because Ryan had an idea that day and
• 1:35:21
  Speaker 1: then they're like, Okay, we're gonna roll with it. I like,
• 1:35:24
  Speaker 1: I couldn't believe that. Yeah, Ryan Gosling seems like those
• 1:35:28
  Speaker 1: one of those guys that's like because he's so famous
• 1:35:30
  Speaker 1: that if he thinks an idea is kind of funny,
• 1:35:32
  Speaker 1: probably no one's going to be like, that's not very funny.
• 1:35:37
  Speaker 1: I don't know. I'm by that, especially because it doesn't
• 1:35:40
  Speaker 1: really track for his character. His character would be the
• 1:35:42
  Speaker 1: type of person who's like eating caviare and like patta
• 1:35:48
  Speaker 1: and stuff like that, and not like Sabarrow. I feel
• 1:35:51
  Speaker 1: like because he's just so like he's anti poor people,
• 1:35:56
  Speaker 1: things like don't you dare wear balance sneakers around him?
• 1:36:01
  Speaker 1: He will throw from he killed someone with that new
• 1:36:04
  Speaker 1: Balance sneaker. Um. Yeah, Ryan Gosling character. I think if
• 1:36:09
  Speaker 1: you do need to watch Crazy Stupid Love, you should
• 1:36:12
  Speaker 1: do so thinking that Ryan Gosling's character is dead the
• 1:36:16
  Speaker 1: whole time, and it's a more rewarding experience. Thank you
• 1:36:21
  Speaker 1: for putting that in my brain. Um, Sammy, thank you
• 1:36:25
  Speaker 1: for joining us. Thank you for having me. What a thrill. Indeed,
• 1:36:33
  Speaker 1: I just get so drunk off of Ryan Gosling and
• 1:36:36
  Speaker 1: Emastone's chemistry that I don't understand what happens. Sorry, I'm
• 1:36:41
  Speaker 1: so sorry. It is intoxicating. No. We we had to
• 1:36:45
  Speaker 1: cover this movie eventually, and what better person to do
• 1:36:48
  Speaker 1: it than you? Thank you, Thank you, thank you for
• 1:36:51
  Speaker 1: coming back. Thank you. What would you like to plug?
• 1:36:56
  Speaker 1: Where can people follow you on social media? Etcetera? Um? Oh,
• 1:37:01
  Speaker 1: find me on Instagram? It underscore your underscore, Sam And
• 1:37:04
  Speaker 1: I'm already sorry, don't be so. It's it's a You've
• 1:37:10
  Speaker 1: got great content there, okay. Um you can follow us
• 1:37:15
  Speaker 1: on Instagram as well as Twitter. At Bechtel Cast, you
• 1:37:20
  Speaker 1: can and should subscribe to our Patreon aka Matreon at
• 1:37:26
  Speaker 1: patreon dot com slash Beechtel Cast. You get to bonus
• 1:37:30
  Speaker 1: episodes every month, plus access to the entire back catalog,
• 1:37:34
  Speaker 1: which is upwards of a D bonuses. So if you've
• 1:37:37
  Speaker 1: run out of main feed episodes, screwed on over to
• 1:37:41
  Speaker 1: the to the Matreon, why don't you and you can
• 1:37:45
  Speaker 1: get our our merch at dot com. Slash the Battel
• 1:37:49
  Speaker 1: Cast hell yeah, and uh I say we. Since we're
• 1:37:53
  Speaker 1: all the perfect combination of sexy and cute, let's just
• 1:37:58
  Speaker 1: go outside and show the world that all. Let's do it.
• 1:38:03
  Speaker 1: Bye bye ye