Latest / The Bechdel Cast / The Phantom of the Opera with Lindsay Ellis

Transcript

The Phantom of the Opera with Lindsay Ellis · The Bechdel Cast

• 0:00
  Speaker 1: On the Bedel Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, Are all their discussions just boyfriends and husbands?
• 0:07
  Speaker 1: Do they have individualism? The patriarchy? Zef and best start
• 0:12
  Speaker 1: changing it with the Bechdel Cast. Hello, Welcome to the
• 0:16
  Speaker 1: Bechdel Cast. My name is Jamie, my name is Caitlin.
• 0:19
  Speaker 1: You're doing your sexy radio voice. I'm a ghost that
• 0:22
  Speaker 1: hides in the walls and he tries to raise you.
• 0:26
  Speaker 1: I'm I'm a sex ghost with a face mask, and
• 0:28
  Speaker 1: I'm a hot young on Janue Good and singing on
• 0:32
  Speaker 1: new code for pray. Yeah, I'm so excited. So okay,
• 0:39
  Speaker 1: this is the Bechtel Cast where we talk about the
• 0:42
  Speaker 1: portrayal of women in movie inspired by the Bechdel Tests,
• 0:44
  Speaker 1: which requires that two women in a movie of names
• 0:47
  Speaker 1: they talked to each other in their conversation has to
• 0:48
  Speaker 1: be something about something other than a man grow up.
• 0:51
  Speaker 1: Never happens never, never, once in the history of cinema.
• 0:56
  Speaker 1: This is an episode I feel like we've been talking
• 0:59
  Speaker 1: about doing for at least six months. Yeah, well, because
• 1:04
  Speaker 1: once every two to three episodes, do you find a
• 1:07
  Speaker 1: way to mention it? Because I loved to shoehorn inch,
• 1:13
  Speaker 1: Schumacher mentioned, this is our second episode of a Joel
• 1:16
  Speaker 1: Schumacher movie. Third, so I think only the second. We
• 1:19
  Speaker 1: did Flatliners and that's no, and we did bat Oh no,
• 1:23
  Speaker 1: that was a Tim Burton Batman. Okay, Well, lots of
• 1:27
  Speaker 1: Schumacher undertones in this podcast. I love a mediocre man.
• 1:31
  Speaker 1: That's why I will always feel like, you know what,
• 1:34
  Speaker 1: if it's a Joel Schumacher joint. Sure he deserves another chance,
• 1:37
  Speaker 1: absolutely he doesn't, but he's like five million years old.
• 1:40
  Speaker 1: He's gonna be making movies until he dies, and we
• 1:42
  Speaker 1: just have to get used to it. I love how
• 1:45
  Speaker 1: mediocre Joel Schumacher is. He is just emblematic of just
• 1:49
  Speaker 1: infinite chances for kind of no reason. I agree that
• 1:52
  Speaker 1: he's mediocre, and I hate him for that reason. So
• 1:55
  Speaker 1: we right. I mean I generally only mediocreman are not
• 2:01
  Speaker 1: okay for some reason. Joel Schumacher, he just he at
• 2:05
  Speaker 1: least tries to take creative risks that just have historically
• 2:08
  Speaker 1: never once worked. But he keeps doing it, and he
• 2:11
  Speaker 1: keeps getting opportunities to do it. And it's just like
• 2:14
  Speaker 1: so many female directors with challenge you're gonna you know,
• 2:16
  Speaker 1: diet obscurity. But Joel Schumacher is gonna make five million
• 2:19
  Speaker 1: movies and they're all gonna be fine there, except this
• 2:23
  Speaker 1: one is actually really spectacularly bad. I thought you were
• 2:26
  Speaker 1: going to end it spectacular and I was gonna be upset,
• 2:29
  Speaker 1: and I thought, I've seen this movie at least twenty times.
• 2:34
  Speaker 1: I was, I, Well, we'll get into it. It's the
• 2:37
  Speaker 1: Phantom of the Opera episode the Joel Schumacher film. The
• 2:41
  Speaker 1: two thousand four Christmas movie season was maybe like my
• 2:45
  Speaker 1: favorite Christmas movie season growing up, because a fan of
• 2:48
  Speaker 1: the Opera came out horny for that right. Series of
• 2:51
  Speaker 1: Unfortunate Events starring Jim Carrey was the first movie I
• 2:55
  Speaker 1: ever saw that made me viscerally angry and I really
• 2:58
  Speaker 1: hated and so that was fun. Also National Treasure, which
• 3:03
  Speaker 1: a hot season, a real hot season. Well, who can
• 3:06
  Speaker 1: argue with that? Hey, let's introduce our guests. Yeah, she
• 3:11
  Speaker 1: is a writer, she's a video essay as. She has
• 3:13
  Speaker 1: this whole series of wonderful video essays, including an amazing
• 3:19
  Speaker 1: on this movie. We're so almost stinked up there, we
• 3:24
  Speaker 1: did it. It's early, but there, it's ten, it's happening.
• 3:28
  Speaker 1: What are we doing? All those little things from seven
• 3:30
  Speaker 1: to eleven. They put them next to the creamers, but
• 3:32
  Speaker 1: it's actually like caffeine shots. I've got a couple of
• 3:36
  Speaker 1: anyone needs me. And that voice you're hearing is our
• 3:39
  Speaker 1: guest who we started intro and then forgot to do
• 3:42
  Speaker 1: it the rest of the way. Lindsay Ellis. Thank you, guys,
• 3:45
  Speaker 1: thank you so much. You happen to be doing a
• 3:47
  Speaker 1: podcast on my favorite cracks, So so here for this.
• 3:52
  Speaker 1: We're so excited you. So Phantom of the Opera, you
• 3:56
  Speaker 1: have a history with this franchise. Maybe I've done three
• 4:00
  Speaker 1: thirty plus minute videos we've seen on the opera. I
• 4:06
  Speaker 1: don't front with my Phantom, but it's like probably my
• 4:09
  Speaker 1: oldest fandom, and its like there's something about Phantom. Like
• 4:13
  Speaker 1: most things you kind of outgrow, but Phantom just the
• 4:15
  Speaker 1: stink never leaves you, so you just kind of got
• 4:17
  Speaker 1: to own it. So when did you see this two
• 4:20
  Speaker 1: thousand four Juel Schumacher Phantom? Well, I first when I was, like,
• 4:25
  Speaker 1: you know, a sad fifteen sixteen year old. I mean,
• 4:28
  Speaker 1: I actually wasn't that sad. Like Phantom drew me out
• 4:31
  Speaker 1: of an even sadder phase of my life, which is
• 4:33
  Speaker 1: when I was like in the New Metal and limpist
• 4:35
  Speaker 1: get and really angry and sad all the time, and
• 4:37
  Speaker 1: then I discovered musical theater, so there's a logical progression
• 4:40
  Speaker 1: for you, and uh, I was like really obsessively into it.
• 4:44
  Speaker 1: And that's actually how I met, like several of my
• 4:47
  Speaker 1: current business partners to mostly Phantom of the Opera fandom
• 4:50
  Speaker 1: in two thousand one, like my current co writer Angelina,
• 4:54
  Speaker 1: I met on fan fiction dot net. Same with a
• 4:56
  Speaker 1: Lisa Hansen who now does Vampirebout You Too, and Antonello
• 5:01
  Speaker 1: and Sarah who used to do Nostalgic with me. Not
• 5:04
  Speaker 1: so much anymore because we live in different cities. But
• 5:07
  Speaker 1: by the time the movie came out, I wouldn't say
• 5:10
  Speaker 1: it was over it, but it was like it was
• 5:11
  Speaker 1: sort of like our joke old thing. We were excited
• 5:14
  Speaker 1: at first, but then we saw that Schumacher was attached
• 5:16
  Speaker 1: to it, and then like that like Antonio Vanderis who
• 5:19
  Speaker 1: wanted it so bad, and they were already making this
• 5:22
  Speaker 1: terrible creative decision in the form of Emmy Rossim and
• 5:25
  Speaker 1: Gerard Butler, and we were just like, oh wow, this
• 5:27
  Speaker 1: is gonna be like just as bad as we think
• 5:29
  Speaker 1: it will be, and I just remember what was really
• 5:32
  Speaker 1: funny was like seeing it. Did you see in theater? Yeah?
• 5:34
  Speaker 1: I saw in theaters with my mother in Asheville, North Carolina.
• 5:37
  Speaker 1: We were both like, wow, how did they mess that
• 5:40
  Speaker 1: up so bad? You know the show that's like it's cheesy,
• 5:43
  Speaker 1: but it works. How it happened? Jamie? What's your history?
• 5:47
  Speaker 1: Oh man? I also got into fandom, I mean freakishly young,
• 5:51
  Speaker 1: because my mom is obsessed with Phantom of the Opera.
• 5:54
  Speaker 1: My mom also, as you know, completely unhinged. But's a
• 5:58
  Speaker 1: theme with Phantom fans exactly, like we relate to that
• 6:03
  Speaker 1: Phantom and there's too much of me that I see
• 6:06
  Speaker 1: in that because I but I have a very specific
• 6:09
  Speaker 1: memory of when I was really young, I mean probably
• 6:13
  Speaker 1: five years old. So and it's directly connects to two
• 6:16
  Speaker 1: of your videos. So I got those Hunchback of Notre
• 6:21
  Speaker 1: Dame puppets that they sold. Yes, So I got all
• 6:26
  Speaker 1: of this because my mom ran a daycare out of
• 6:28
  Speaker 1: our house, and so there'll be some time every day
• 6:30
  Speaker 1: where I'd be like, I want to be like by
• 6:32
  Speaker 1: myself because I live here. So my mom would let
• 6:34
  Speaker 1: me have time alone in a room and she would
• 6:37
  Speaker 1: give me the three puppets Esmeralda, Quasimodo, and Phoebus, and
• 6:40
  Speaker 1: she would turn on the original London cast of the
• 6:43
  Speaker 1: Fantom of the Opera and I would pretend they were
• 6:45
  Speaker 1: Christine and the Phantom and Raoul So and that was
• 6:47
  Speaker 1: when I was like five, So it's into Phantom super early.
• 6:51
  Speaker 1: Like some of my earliest memories are listening to the
• 6:53
  Speaker 1: Phantom of the Opera and playing with puppets by myself,
• 6:56
  Speaker 1: so very into it. And then goth teen Jamie, my
• 7:01
  Speaker 1: middle school choir was going to a production of Fan
• 7:04
  Speaker 1: of the Opera at the Boston Opera House. I remember
• 7:07
  Speaker 1: I like had all these fish nets and like very
• 7:10
  Speaker 1: like Phantom of the Operas super fan clothes on underneath
• 7:14
  Speaker 1: normal clothes. And then I got to school and I
• 7:16
  Speaker 1: was like, I'm the biggest fan of fanom of the Opera.
• 7:18
  Speaker 1: And I had like the skirt from Trip with like
• 7:21
  Speaker 1: chains on it and like fish nets, and I love
• 7:24
  Speaker 1: this movie. It's very into it. I've seen I've seen
• 7:30
  Speaker 1: Fan of the Opera on stage probably fine times. I
• 7:34
  Speaker 1: think I've actually got to beat Yeah, I've probably seen
• 7:37
  Speaker 1: it at least fifteen times. It doesn't good old though,
• 7:41
  Speaker 1: Like if I lived in New York, it was just
• 7:43
  Speaker 1: sort of like tickets, it was twenty five bucks. You know.
• 7:46
  Speaker 1: Although like I'm so like, I'm so happy they're finally
• 7:48
  Speaker 1: replacing bad phantom James Barber. Finally you should have you
• 7:53
  Speaker 1: should never have hired him. He was not good, worse
• 7:55
  Speaker 1: than Gerard Butler. No, I don't what it is for
• 7:59
  Speaker 1: a Broadway fantom, just like you know, on top of
• 8:01
  Speaker 1: being like a pedophile, he's just not a good phantom. Yeah,
• 8:04
  Speaker 1: I mean that in the literal since he was actually
• 8:06
  Speaker 1: actually went to trial for it, and really, yeah, there
• 8:10
  Speaker 1: was an old man. It's like speaking of mediocre men
• 8:12
  Speaker 1: getting second chances. Yeah, he was accused and went to
• 8:15
  Speaker 1: trial for I think one, but then there were two
• 8:17
  Speaker 1: more accusers, all were under the age of fifteen, and
• 8:21
  Speaker 1: so they eventually he had a plea deal and so
• 8:24
  Speaker 1: he was never actually served any time. But that then
• 8:27
  Speaker 1: he was like after his probation was up in two
• 8:29
  Speaker 1: thousand twelve or eight, I don't know, Somewhere somewhere in
• 8:34
  Speaker 1: the Obama years, Broadway was like, welcome back, brother, and
• 8:37
  Speaker 1: he's been doing pretty well. Why why do we let
• 8:41
  Speaker 1: criminals do the thing well? I mean that is kind
• 8:45
  Speaker 1: of a smooth transition right into Uh. There's a lot
• 8:48
  Speaker 1: of praying on a minor in this movie, a lot
• 8:52
  Speaker 1: of it. So I had never seen the movie until
• 8:54
  Speaker 1: a couple of days ago. I thought I had, but
• 8:56
  Speaker 1: turns out I hadn't, and I didn't know what the story.
• 9:00
  Speaker 1: I've never this is my first. I hadn't seen the show,
• 9:03
  Speaker 1: not familia, never read the book. Nothing. But you don't
• 9:06
  Speaker 1: like music generally, I don't like musicals. But yeah, I
• 9:09
  Speaker 1: just I have. This was my first experience with Phantom
• 9:12
  Speaker 1: of the Opera, and boy did this movie sour my experience.
• 9:18
  Speaker 1: It's good, here's got a lot of pain. Okay, just
• 9:22
  Speaker 1: just to illustrative point of how much people love this Okay,
• 9:25
  Speaker 1: so it has on rotten to me as critically, no
• 9:28
  Speaker 1: one liked it. Everyone said get the electric guitar riff
• 9:31
  Speaker 1: out of there, right audience score like people love fanom
• 9:36
  Speaker 1: of the Opera and they hear now people people will,
• 9:39
  Speaker 1: I guess because like when I did the video about it,
• 9:41
  Speaker 1: I tended to focus mostly on the technical filmmaking. For
• 9:45
  Speaker 1: that reason, I think I didn't get a lot of
• 9:47
  Speaker 1: pushback from fans. But I definitely remember like in two
• 9:51
  Speaker 1: thousand five, when I guess we were. I was in
• 9:53
  Speaker 1: college at the time, and uh, you know that was
• 9:56
  Speaker 1: like when Phantom of the Opera fandom got to shut
• 9:58
  Speaker 1: the arm from this new movie and like there was
• 10:00
  Speaker 1: this new wave of people who just loved the movie,
• 10:03
  Speaker 1: and then there was the old guard that was just
• 10:05
  Speaker 1: like gate keeping. So there was like a war. I
• 10:07
  Speaker 1: remember it. Well, yeah, those people they live. Um, should
• 10:12
  Speaker 1: I do the recap? Yeah? Okay. Family the Opera is
• 10:16
  Speaker 1: about a young woman named Christine. She is a chorus
• 10:21
  Speaker 1: girl in this opera house. Also in the opera house
• 10:25
  Speaker 1: is a spooky phantom man. As he goes as he
• 10:28
  Speaker 1: really don't know, but everyone's scared of him, and everyone's like, ah,
• 10:33
  Speaker 1: that's literally yeah, there's there's a literal. Oh, there's there's
• 10:40
  Speaker 1: a really yeah, there's a really obnoxious set up to
• 10:43
  Speaker 1: this movie. Oh the frameming devices, and they keep going
• 10:48
  Speaker 1: back to it. Patrick Wilson's age makeup is Patrick Wilson
• 10:53
  Speaker 1: and old makeup. I'm pretty age makeup. Oh god, why Yeah,
• 10:58
  Speaker 1: it's not that bad, but mean, the makeup is not bad,
• 11:01
  Speaker 1: but I mean I was realized I thought that was
• 11:04
  Speaker 1: just an old man. But like Why wouldn't they have
• 11:05
  Speaker 1: just cast an old Anyway, I do love that Patrick
• 11:08
  Speaker 1: Wilson puts on old man voice. It sounds really connectors.
• 11:15
  Speaker 1: It's like, okay, we get it, you're old. I mostly
• 11:17
  Speaker 1: fast forwarded through those parts, but those are the worst parts.
• 11:22
  Speaker 1: You missed that so extraneous if they don't need to
• 11:25
  Speaker 1: be there. They had nothing. They had product placement. It
• 11:30
  Speaker 1: was like there Swarovski I think there was another one.
• 11:34
  Speaker 1: It was like another brand that existed in the eighteen Okay,
• 11:37
  Speaker 1: so the show takes place in the eighteen seventies, which
• 11:39
  Speaker 1: doesn't make sense because that was during the Franco Prussian
• 11:41
  Speaker 1: War and the opera was under siege. Not an opera,
• 11:45
  Speaker 1: but the shows like eighteen seventy one was like okay,
• 11:47
  Speaker 1: So in the movie, I think they bump it back
• 11:48
  Speaker 1: to eighteen eight or a time that made sense when
• 11:53
  Speaker 1: the novel took place. So I guess this one thing
• 11:55
  Speaker 1: the movie fixed, thank you, We're not much else, We're
• 11:59
  Speaker 1: the Andrew low Wepper was like, no, let's let's kick
• 12:01
  Speaker 1: it back another fifteen years. For whatever reason. Well, I
• 12:05
  Speaker 1: guess maybe it's like the dresses were cooler in the
• 12:07
  Speaker 1: eighteen than in the eighties. It's true. It's true though
• 12:12
  Speaker 1: I didn't like those bustles. But also this movie does
• 12:15
  Speaker 1: not abide by any manner of like I mean, there's
• 12:19
  Speaker 1: some that's more realistic, but there's sometimes there's like the
• 12:21
  Speaker 1: time that where Christine is wearing like a slip with
• 12:24
  Speaker 1: like a slit on the leg. You're just like, oh,
• 12:27
  Speaker 1: totally on the outside of my night gown. Yeah, I'm
• 12:30
  Speaker 1: just like, oh. Let's also I'm a singer, but I'm
• 12:32
  Speaker 1: in the ballet right, but you're not going to see
• 12:36
  Speaker 1: me do much of either, Like yeah, she okay, okay, sorry,
• 12:41
  Speaker 1: there's a spookie ghost Carlotta. She's like the prima donna diva,
• 12:46
  Speaker 1: like the star of all the opera is the only
• 12:48
  Speaker 1: person who knows what's a movie. She's in any different
• 12:53
  Speaker 1: things happen where she's like, I'm not gonna sing, or
• 12:56
  Speaker 1: she's you know, refusing to perform. So they're like, how
• 12:59
  Speaker 1: about this Christine girl? She can sing, but they're like,
• 13:04
  Speaker 1: how how can she s? I mean that's about what
• 13:07
  Speaker 1: I sounded like when I was seventeen, So okay, I'm
• 13:10
  Speaker 1: ready to beat the prematana of the premier French opera
• 13:13
  Speaker 1: is how old she is in the in the movie
• 13:15
  Speaker 1: when she's aged down in the movie, and I think
• 13:20
  Speaker 1: that Emmy Rossum was sixteen she was your age because
• 13:26
  Speaker 1: she kisses two old men in this movie. She kisses
• 13:29
  Speaker 1: two men far older than he. So she's like, yeah,
• 13:32
  Speaker 1: I can sing. Because it turns out she's been taking
• 13:35
  Speaker 1: singing lessons from a an angel of music, who she
• 13:42
  Speaker 1: thinks is her dead father's spirit, teaching her how to sing.
• 13:46
  Speaker 1: He is just like drenched in electric complex. Yes. Yes,
• 13:50
  Speaker 1: she thinks the ghost is her daddy. No, she thinks
• 13:53
  Speaker 1: that the ghost is an angel sits because so it's
• 13:57
  Speaker 1: basically as bad, but because as he as he lay dying,
• 14:01
  Speaker 1: she's like, I'm gonna send you an angel County, don't
• 14:03
  Speaker 1: worry like the panther. Somehow her other finds out about this,
• 14:08
  Speaker 1: and he's like, right, how does he know about that
• 14:10
  Speaker 1: and know about Maybe he was No, I don't know.
• 14:14
  Speaker 1: Maybe I don't know watching her dad died, I don't
• 14:17
  Speaker 1: know for a long Maybe he was in the walls.
• 14:22
  Speaker 1: Maybe he died in her dressing He tends to do
• 14:24
  Speaker 1: that her dressing room that she has by herself alone,
• 14:31
  Speaker 1: which is yeah, I mean when okay, that was another
• 14:34
  Speaker 1: part where I was like, Okay, is she supposed to
• 14:37
  Speaker 1: be in Carlotta's dressing room, but it looks like it's
• 14:40
  Speaker 1: all her stuff, and the phantom wouldn't have rigged Carlotta's
• 14:44
  Speaker 1: dressing room so that he could just appear wherever, like
• 14:48
  Speaker 1: a two way mirror that slides. Okay, but that rules,
• 14:52
  Speaker 1: to be fair, that rules, and it's a very exciting
• 14:54
  Speaker 1: stage moment, and I'm just like in the book it
• 14:56
  Speaker 1: was her dressing room. So yeah, she's such a big
• 15:00
  Speaker 1: dressing room. She's a teen orphan. They don't get nice
• 15:05
  Speaker 1: dressing room in France comes orphans. She can't sing, but
• 15:10
  Speaker 1: she is a teen in an orphanage. Good enough, Okay,
• 15:14
  Speaker 1: we'll put her corset on the outside of her clothes. Anyway,
• 15:18
  Speaker 1: we're about fifteen minutes where we have not got much further.
• 15:22
  Speaker 1: So she thinks this angel of music is singing to
• 15:26
  Speaker 1: her and teaching how to sing. Turns out this phantom,
• 15:29
  Speaker 1: who is real, approaches her and she's like, oh wait,
• 15:35
  Speaker 1: you're a man, but you're still my angel of music,
• 15:38
  Speaker 1: and they have a whole song about it. She has
• 15:42
  Speaker 1: no reaction to learning that he's a man. Does get
• 15:46
  Speaker 1: darker though, Sorry it gets very, very very smoky. It
• 15:51
  Speaker 1: does get Yeah, by the time she's in the gutter,
• 15:54
  Speaker 1: she is in full smoke. Ye. Like I said, the
• 15:57
  Speaker 1: further down she goes the smoky and it looks like
• 16:00
  Speaker 1: it looks like when I was thirteen and trying on
• 16:02
  Speaker 1: moms makeup for the first times, Like darker she there's
• 16:07
  Speaker 1: a lot of long shots of Emmy Ross. I'm just
• 16:10
  Speaker 1: like looking like she's basically falling a like mouth kind
• 16:14
  Speaker 1: of a dog. Yeah, And it's like, oh, that's what
• 16:17
  Speaker 1: love is, just tranced voice Yard Butler. So I didn't
• 16:24
  Speaker 1: realize that, Like this movie does a very bad job
• 16:27
  Speaker 1: I think of setting up that he's supposed to be
• 16:30
  Speaker 1: this like seductive and she's like, oh, I like that.
• 16:33
  Speaker 1: Like I did not realize that they were having like
• 16:36
  Speaker 1: a love story. Like it didn't really not good at
• 16:41
  Speaker 1: things right, It's almost like he's just laying on top
• 16:44
  Speaker 1: of that. Gerard Butler is doing an exceptionally bad job
• 16:47
  Speaker 1: of being seductive. Amy Rawsom is like sixteen and has
• 16:50
  Speaker 1: never gone outside, so she doesn't know how to look
• 16:52
  Speaker 1: like seduced. I guess, which is already gross. Why did
• 16:55
  Speaker 1: they cast a sixteen year old Anne Hathaway really wanted
• 16:58
  Speaker 1: the part to really and out the way who can
• 17:00
  Speaker 1: sing and was the correct age in two thousand five.
• 17:03
  Speaker 1: I think she would have done She would have done well,
• 17:06
  Speaker 1: and Heathway and Antonio Banders what could have done would
• 17:09
  Speaker 1: entire and this like didn't really launch anyone's career in
• 17:16
  Speaker 1: the way that I think the movie intended to. I mean,
• 17:19
  Speaker 1: we're Patrick Wilson's. Patrick Wilson's didn't get hurt, right, it
• 17:24
  Speaker 1: wasn't He wasn't actively harmed by I would I would
• 17:27
  Speaker 1: think perhaps that Emmy Rassam was maybe damaged by this.
• 17:30
  Speaker 1: I think she was like maybe on the rise and
• 17:33
  Speaker 1: then kind of stalled. She was in the Day after Tomorrow,
• 17:36
  Speaker 1: and then he went away until Beautiful Creatures switched yes myself, Yeah, yeah,
• 17:42
  Speaker 1: she was like the oh sexy older sister and she
• 17:46
  Speaker 1: just that looked his network on her well. And then
• 17:49
  Speaker 1: now she she's like relegated to TV and seems to
• 17:52
  Speaker 1: be doing well. But it's I feel for her this
• 17:54
  Speaker 1: week because imagine like having the rest of your life
• 17:56
  Speaker 1: affected by a mistake that didn't seem like a mistake
• 18:00
  Speaker 1: when you were sixteen. Sure, basically it's her teen pregnancy
• 18:06
  Speaker 1: so we're we're so he's like seducing her, and she's
• 18:09
  Speaker 1: kind of into it, question mark, I don't really know.
• 18:13
  Speaker 1: But he shows her this like wax sculpture he made
• 18:17
  Speaker 1: of her, of her in a in a wedding dress,
• 18:20
  Speaker 1: and she also has no reaction to that. She's just
• 18:23
  Speaker 1: like she passes out. She passes out because women be fainting, right,
• 18:27
  Speaker 1: I mean, that is so creepy out. But then after that,
• 18:33
  Speaker 1: when she wakes up to me, she does not have
• 18:35
  Speaker 1: an appropriate reaction to a creepy man whose face is
• 18:38
  Speaker 1: half hot and half under a mask making a sculpture
• 18:43
  Speaker 1: of her. And then she's just like, yeah, okay, you're
• 18:45
  Speaker 1: my friend. Now there's something not to jump to anyone's devans.
• 18:51
  Speaker 1: But she does think that he's like an angel. Yeah.
• 18:55
  Speaker 1: I think the tay she rips off the mask is
• 18:57
  Speaker 1: when she's like, oh, you're ugly. I guess you're not
• 18:58
  Speaker 1: an angel and can only be high. I mean, it's
• 19:01
  Speaker 1: it's just kind of confusing because when you like both
• 19:04
  Speaker 1: in the show and in the movie, from that point on,
• 19:06
  Speaker 1: you don't see her again until the opera, right, and
• 19:09
  Speaker 1: and then she runs to the roof like I'm really
• 19:12
  Speaker 1: scared Raoul, and he's like, don't worry, honey, it's not
• 19:14
  Speaker 1: it's not real. So I guess like at that point
• 19:16
  Speaker 1: where she kind of turns on him, but it's all
• 19:19
  Speaker 1: really implicit, and there's like, yeah, this story is so
• 19:23
  Speaker 1: clunky the more you look at it. But she okay,
• 19:28
  Speaker 1: So she meets him, she's like, he's an angel. He
• 19:31
  Speaker 1: made it a wax statue of me that we have
• 19:34
  Speaker 1: to assume he has sex with. There's no way there's
• 19:38
  Speaker 1: not a cavernous hole in that wax section. So anyways,
• 19:42
  Speaker 1: she wakes up and she's like, well, that happened. But
• 19:46
  Speaker 1: then he does start to behave more and more threatening
• 19:49
  Speaker 1: after that, where not that her reaction at any point
• 19:52
  Speaker 1: in this story totally makes sense, But if I'm remembering correctly,
• 19:57
  Speaker 1: she gets out and that's when he starts being like
• 20:00
  Speaker 1: you have to recast the show. And then he like
• 20:03
  Speaker 1: causes the fucking chandelier. Yeah it doesn't fall yet. That's
• 20:09
  Speaker 1: the funny thing about the chandelier freaking people out. It
• 20:12
  Speaker 1: has like has no consequence. It just kind of happened.
• 20:16
  Speaker 1: As far as we know, no one's hurt. He does,
• 20:19
  Speaker 1: so right, I'm thinking, I'm sorry I'm thinking of the
• 20:21
  Speaker 1: show because the show, it falls at the end of
• 20:23
  Speaker 1: act one, whenever he goes like, you will curse the
• 20:26
  Speaker 1: day you did not do all that the phantom masks
• 20:28
  Speaker 1: of you, and then he cuts the chandelier as a threat,
• 20:31
  Speaker 1: and then in the movie he just cuts it because
• 20:32
  Speaker 1: he feels like it because I forgot to do this.
• 20:37
  Speaker 1: We have it on. We have to justify the framing
• 20:39
  Speaker 1: device right exactly. But before that he has the guy
• 20:44
  Speaker 1: from the rafters and then everyone's like, oh, this is
• 20:47
  Speaker 1: a ghost to be reckoned with. By the time people
• 20:50
  Speaker 1: are dying, I'm like, okay, it makes sense for her
• 20:52
  Speaker 1: to be scared now, yeah, but then she still sort
• 20:55
  Speaker 1: of is and then sort of isn't throughout the rest
• 20:57
  Speaker 1: of the movie to the point where this is. This
• 21:01
  Speaker 1: is kind of the genius of the Lloyd Webber version
• 21:04
  Speaker 1: because this was the first version where they really play
• 21:07
  Speaker 1: up the she's kind of into it, and I think
• 21:09
  Speaker 1: that's also why I know that's why this is the
• 21:12
  Speaker 1: most successful version. Was like in the book, he's just
• 21:14
  Speaker 1: kind of like a creepy guy and she's never into it,
• 21:16
  Speaker 1: like she pities him, like in the Proto Pity and
• 21:19
  Speaker 1: Gollum kind of way, but like the second she sees
• 21:22
  Speaker 1: him and she's like oh, and then he's like sorry
• 21:26
  Speaker 1: because real looks like ship. Yeah, he's wearing the masks,
• 21:29
  Speaker 1: but he's just like, hey, um, I'm not an angel.
• 21:32
  Speaker 1: I'm a fifty year old man who's in love with you.
• 21:34
  Speaker 1: Come to my basement. And she's like, he's going to
• 21:37
  Speaker 1: kill and eat me. I have to just placate him
• 21:40
  Speaker 1: and do whatever he says it. So she does this
• 21:42
  Speaker 1: for like two weeks where she's like, no, you're great,
• 21:45
  Speaker 1: you're awesome. I think you're really nice. Looky the things
• 21:51
  Speaker 1: that women have to do. I'm not getting murder. Yeah,
• 21:56
  Speaker 1: And that's so then he lets he like after two weeks,
• 21:58
  Speaker 1: she convinces him and he's like okay, final, let you
• 22:00
  Speaker 1: go back into the opera. And then she tells Raoul
• 22:02
  Speaker 1: everything like oh my god, there's this creepy guy and
• 22:04
  Speaker 1: he's gonna kill me. And then he overhears it and
• 22:06
  Speaker 1: that's when he snaps and loses it. That makes more sense,
• 22:10
  Speaker 1: not happened in this In this movie, she's kind of
• 22:14
  Speaker 1: into it. Toxic. Yeah. Yeah, there's like moments where he's
• 22:17
  Speaker 1: like wrapping his arms around her and she's not like
• 22:20
  Speaker 1: I'm in a shampoo. There's there is a part and
• 22:25
  Speaker 1: this was my favorite part. I remember when I see
• 22:27
  Speaker 1: the movie when I was twelve, I was like, during
• 22:30
  Speaker 1: point of No Return, which is an insane number in
• 22:33
  Speaker 1: the movie, just looks like that. I like most of
• 22:36
  Speaker 1: the songs, but you should seem like, like I said,
• 22:40
  Speaker 1: like we watch the Royal Albert Hall version, be like, wow,
• 22:42
  Speaker 1: this is even better when people can sing. There are
• 22:45
  Speaker 1: random tango dancers there, there's but there's a point in
• 22:50
  Speaker 1: this version of it where Emmy Rosso looks like she's
• 22:53
  Speaker 1: straight up going to pass out again because she's so
• 22:57
  Speaker 1: turned on where they're like, you know the peak of
• 23:02
  Speaker 1: that song, it looks like her eyes are like fluttering.
• 23:06
  Speaker 1: It's like she's sick. Something someone give her. Also her
• 23:09
  Speaker 1: like straps of her dress falling off her shoulders and
• 23:12
  Speaker 1: she's like, I'm getting more and more naked as I
• 23:14
  Speaker 1: get so horny with this song. And then he I
• 23:18
  Speaker 1: skipped half of the movie, but who cares. It doesn't
• 23:20
  Speaker 1: make any sense and it's sucking, terrible the story but
• 23:25
  Speaker 1: nothing but any sense. Nothing, It really doesn't. It's amazing
• 23:28
  Speaker 1: how like that doesn't bother you when it's on stage,
• 23:30
  Speaker 1: because there's like I think there's just a lot more
• 23:32
  Speaker 1: suspension of disbelief inherent in the medium of theater totally.
• 23:37
  Speaker 1: So I think it's just like the bizarre plot holes
• 23:40
  Speaker 1: just kind of wash over you in the stage version
• 23:43
  Speaker 1: where in the movie version and they're just spectacularly glaring
• 23:46
  Speaker 1: because everything is literal. There's no sort of you know,
• 23:49
  Speaker 1: magical realism going on. Yeah, yeah, yeah, and it really
• 23:52
  Speaker 1: emphasizes how much this story makes no fucking sense. And
• 23:56
  Speaker 1: it's just I mean, it's adapted really not well at all.
• 24:00
  Speaker 1: Like there's just there's things that could have been done
• 24:02
  Speaker 1: in this adaptation that would have made it transition a
• 24:04
  Speaker 1: little smoother, but it just didn't. And then there's like
• 24:07
  Speaker 1: weird moments where people are speaking dialogue that should be
• 24:11
  Speaker 1: sung but they're speaking rhyming diet. We're just like, why
• 24:15
  Speaker 1: aren't you There's like you're my bride that we don't
• 24:19
  Speaker 1: need to hide. That part of Masquerade drives me crazy,
• 24:22
  Speaker 1: where Patrick Wilson and talking to each other in the
• 24:25
  Speaker 1: music is still going right, I was like, why can't
• 24:29
  Speaker 1: you just Patrick Wilson can actually sing yeah, you get
• 24:33
  Speaker 1: any driver? Ironically the person who was dubbed right yeah
• 24:37
  Speaker 1: really yeah, alright. So the basic story is that there's
• 24:41
  Speaker 1: a guy who's a creep and he is gaslighting Christine
• 24:45
  Speaker 1: and she also is like in love with and being
• 24:48
  Speaker 1: gas lit by Raoul. Everyone's like, there is no phantom
• 24:52
  Speaker 1: and she's like there Izzy, if I don't know, he's
• 24:54
  Speaker 1: an angel, right, and then the Phantom gets more more
• 25:00
  Speaker 1: dangerous and threatening, and then by the end he is
• 25:04
  Speaker 1: like murdering people and like making these insane demands and
• 25:08
  Speaker 1: then he drops the shandeli around everyone, but no one
• 25:11
  Speaker 1: is hurt and it's fine, but that's like they're like, well,
• 25:17
  Speaker 1: this needs a consequence. I yess. It burns the opera
• 25:21
  Speaker 1: down and now there's no operation. And then he takes
• 25:22
  Speaker 1: Christine into his like swampement level apartment and had apartment
• 25:29
  Speaker 1: like that, and then Raoul goes to save her, of course,
• 25:33
  Speaker 1: and the Phantom's like, you either have to be with
• 25:36
  Speaker 1: me to save Raoul's life or I'll kill you both
• 25:40
  Speaker 1: or who knows what are And it's so funny, Like
• 25:44
  Speaker 1: I love the way that scene is shut, like he
• 25:47
  Speaker 1: just sneaks up behind role or like just walks up
• 25:50
  Speaker 1: to him with the noosy light here, but he'll still
• 25:54
  Speaker 1: he just like loops it over his head and then
• 25:56
  Speaker 1: like fastens him to a great. But it's just like okay,
• 25:59
  Speaker 1: so it's an news, which is the thing you could
• 26:01
  Speaker 1: hang people with. But he's like tied, tied, tied to
• 26:04
  Speaker 1: a great, So, um, is he just gonna strangle him
• 26:07
  Speaker 1: with the new like manually, like he's just gonna he
• 26:10
  Speaker 1: can't be hung he's tied to a great. Your video
• 26:14
  Speaker 1: the first time that was ever, I was like, oh, yeah,
• 26:16
  Speaker 1: there's no he's probably fine, Like maybe he's about to
• 26:20
  Speaker 1: pull out a gun and shoot him, but like the
• 26:25
  Speaker 1: pulling yankee at the rope, like that will eventually be.
• 26:28
  Speaker 1: I don't know why they did it because like in
• 26:29
  Speaker 1: the show, it's like a magical realism thing, like yeah,
• 26:32
  Speaker 1: throws the rope on him, and then the rope magically
• 26:34
  Speaker 1: kind of lifts, so he's actually being like you know,
• 26:37
  Speaker 1: that's so much a phantom of like let's just throw
• 26:39
  Speaker 1: something into fog. People just hate how this movie doesn't
• 26:41
  Speaker 1: commit to the magical realism. It's just like you either
• 26:44
  Speaker 1: do it or don't. Like I talked about like in
• 26:45
  Speaker 1: the show, because they had like the Jean Cocteau arms
• 26:47
  Speaker 1: in the movie, which is like the sort of like, oh,
• 26:50
  Speaker 1: I'm being seduced and being brought into this magical, mysterious world,
• 26:54
  Speaker 1: and they're like lifting this thing from Jean Coocto's Beauty
• 26:56
  Speaker 1: and the Beast, which are the these arms stick jutting
• 26:59
  Speaker 1: out of the wall and holding candles. And then they
• 27:01
  Speaker 1: never do anything like that for the rest of the movie.
• 27:04
  Speaker 1: It's just straight literal this. There's like commit to some
• 27:07
  Speaker 1: stuff like that sty glaring plot holes, you know, just
• 27:12
  Speaker 1: just at least, I mean, that's like the least you
• 27:14
  Speaker 1: can ask of Joel Schumachers, like commit to your bad choices.
• 27:17
  Speaker 1: But he doesn't do that in this one. This movie
• 27:19
  Speaker 1: could have been at least consistently fun and bizarre. Yeah,
• 27:23
  Speaker 1: but there it's just has to be serious, very disjointed.
• 27:26
  Speaker 1: The addition of the weird sword fighting scene, Well, the
• 27:30
  Speaker 1: sword fight leads to one of the talking points I
• 27:33
  Speaker 1: had about the treatment of women in the movie, which
• 27:36
  Speaker 1: is that so in that sword fight, and we see
• 27:39
  Speaker 1: this in a ton of movies where two men are
• 27:43
  Speaker 1: fighting over a woman. The men are fighting, the woman
• 27:45
  Speaker 1: is being fought four So it's like women are often
• 27:48
  Speaker 1: rendered just so passive in situations like the same thing
• 27:51
  Speaker 1: with like a woman having to be saved, like she
• 27:53
  Speaker 1: has to wait around to be saved by a man.
• 27:55
  Speaker 1: This isn't a huge component of this movie, but I
• 27:58
  Speaker 1: think it's worth mentioning that there was just like, well,
• 28:00
  Speaker 1: it's one of two major scenes where Christine is completely
• 28:03
  Speaker 1: sidelined as two men fight, Slash saying Slash argue about
• 28:08
  Speaker 1: her because it's that sword fighting scene where she's just
• 28:10
  Speaker 1: totally like literally watching like that that Quinn from Daria
• 28:16
  Speaker 1: being like, don't fight over me. Uh. And then and
• 28:23
  Speaker 1: then in the climactic scene to where dry Butler's like
• 28:25
  Speaker 1: I'm gonna make your boyfriend hurt and he's like he's
• 28:28
  Speaker 1: like it's okay, you know, and Christine's just standing there like, oh,
• 28:34
  Speaker 1: she has a little more agency in that scene because
• 28:36
  Speaker 1: she then kisses the phantom, who would argue that it
• 28:40
  Speaker 1: is such a crazy like I get, I don't know.
• 28:43
  Speaker 1: She's sidelined for the majority of that scene. And then
• 28:45
  Speaker 1: it's like how do I get out of here? And
• 28:47
  Speaker 1: if I give him a little kissy, let us go,
• 28:50
  Speaker 1: which you couldn't bank on working, but it does. It
• 28:54
  Speaker 1: works at this show. It doesn't show in the movie.
• 28:57
  Speaker 1: It's just like I just feel like rolls like tied
• 29:00
  Speaker 1: that great in christ Post, just looking on with confusion,
• 29:03
  Speaker 1: like what is this supposed to? What was anyone here? Well,
• 29:08
  Speaker 1: the kiss that she gives to the phantom to like
• 29:11
  Speaker 1: placate him ignores the fact that like she's just doing
• 29:14
  Speaker 1: this out of desperation, because she's like, my life's in danger, Roles,
• 29:17
  Speaker 1: life's endangered. I've been gasp by every fucking person in
• 29:20
  Speaker 1: this entire movie throughout the whole fucking story. I gotta
• 29:24
  Speaker 1: kiss this guy to like make him not murder people.
• 29:26
  Speaker 1: But the movie frames it is like big romantic, the
• 29:31
  Speaker 1: camera spin, this is not romantic, Like what are you doing? Movie?
• 29:38
  Speaker 1: There's a cinema talk John Matthison is swirling around this
• 29:41
  Speaker 1: swab filming an underage woman kissing Gerard Butler just bleak
• 29:47
  Speaker 1: in every respect. But like, yeah, the point I want
• 29:49
  Speaker 1: to make about so often in movies, this one included,
• 29:52
  Speaker 1: we see a woman taking a very passive role in
• 29:55
  Speaker 1: whatever's happening, just sitting idly by watching as two men
• 29:59
  Speaker 1: fight or a man has to stave her or whatever,
• 30:01
  Speaker 1: and it just sends a message that women can't do
• 30:04
  Speaker 1: things I guess, and then we as a society or like, oh,
• 30:08
  Speaker 1: women can't do things because I've never seen them do
• 30:10
  Speaker 1: things in media, so I don't trust them to be
• 30:13
  Speaker 1: able to do anything. I think more than anything, it's
• 30:16
  Speaker 1: just like Christine's character is like, oh, you just have
• 30:18
  Speaker 1: to take a lot of shit, like she'd takes ship
• 30:21
  Speaker 1: for this entire Okay, so if we're talking about I
• 30:24
  Speaker 1: don't know I relate to Christine card but like so
• 30:29
  Speaker 1: her as a character, she's set up as she misses
• 30:32
  Speaker 1: her father, her father was the main figure in her life,
• 30:35
  Speaker 1: and then we're presented with to father like figures who
• 30:38
  Speaker 1: are fun boys that she has to choose between, where
• 30:40
  Speaker 1: it's like, does she choose the dangerous ghost father committing
• 30:44
  Speaker 1: murders or is she going to choose the useless guy
• 30:47
  Speaker 1: who like walked right into a trap and never But
• 30:51
  Speaker 1: also is like pretty consistently like you're making this up.
• 30:55
  Speaker 1: It's fine, just stay with men in it, and and
• 30:58
  Speaker 1: is visibly older than her as well, so it's like
• 31:02
  Speaker 1: they're supposed to be the same age, So let's all
• 31:04
  Speaker 1: right because they were childhood sweethearts. Are they supposed to
• 31:07
  Speaker 1: because if they are the same age, unless like he
• 31:10
  Speaker 1: was seventeen and she was seven, which, honestly, in like
• 31:13
  Speaker 1: nineteenth century France, that was probably a thing, you know.
• 31:16
  Speaker 1: I mean, he's he's in the show. At least he's
• 31:19
  Speaker 1: supposed to be a year or two older than she is.
• 31:21
  Speaker 1: But but he has so many like successes. But he's
• 31:24
  Speaker 1: only supposed to be eighteen. Um, well, I mean Christine's
• 31:27
  Speaker 1: nineteen in the show, so he's supposed to be be one.
• 31:29
  Speaker 1: So I don't Again, I don't know why they age
• 31:32
  Speaker 1: Christine down. That does nothing for this movie. It just
• 31:36
  Speaker 1: makes it. Well, he's rich, but as it that, I'm
• 31:39
  Speaker 1: guessing he's an he's a navy officer, which is why
• 31:42
  Speaker 1: he like at the masquerade, he has his like naval
• 31:45
  Speaker 1: uniform on, so he's like a he's a vicomte, so
• 31:48
  Speaker 1: he like vicun died his way to the top of
• 31:51
  Speaker 1: the navy hierarchy, so he's like a sailor hot. So
• 31:55
  Speaker 1: Christine's like a girl with daddy issues who's presenting with
• 31:58
  Speaker 1: two daddy's and she has to pick one of them
• 32:01
  Speaker 1: because there has two daddies. I mean, I would actually
• 32:04
  Speaker 1: argue that I don't see Raoul as as a father figure. Really,
• 32:07
  Speaker 1: I think that in this movie, he's pretty consistently I
• 32:11
  Speaker 1: mean very least. Yeah, but I don't think she sees
• 32:16
  Speaker 1: her father in him. Okay, this or any of the
• 32:18
  Speaker 1: version at least that's kind of how I took it,
• 32:20
  Speaker 1: And that's why I guess in some ways he's less
• 32:22
  Speaker 1: appealing to her because she you know, she kind of
• 32:25
  Speaker 1: wants her dad back and so like, she has made
• 32:27
  Speaker 1: this association in her mind with the Phantom and her father.
• 32:32
  Speaker 1: But there's a level of security that comes with being
• 32:35
  Speaker 1: super Yeah, he got her scarf back. That's nice. Did something.
• 32:42
  Speaker 1: Speaking of that love triangle, I couldn't help but notice
• 32:47
  Speaker 1: that no time is spent developing the romance between Christine
• 32:51
  Speaker 1: and Raoul. They're like, oh, we knew each other as kids,
• 32:54
  Speaker 1: and now we're adults and we haven't seen each other
• 32:55
  Speaker 1: for years. I have that's what we're in love. We
• 32:57
  Speaker 1: have that big swell of romance number which is which
• 33:01
  Speaker 1: takes place right after the murder on the roof. I love.
• 33:06
  Speaker 1: I love that scene because it's like Bouque gets murdered,
• 33:09
  Speaker 1: he gets hung. She runs up to the roof and
• 33:11
  Speaker 1: she's like, oh god, oh god, oh god, it freaked out.
• 33:13
  Speaker 1: I know who did it He's gonna kill me, oh god,
• 33:15
  Speaker 1: and was like, don't worry, honey, it's fine, And then
• 33:17
  Speaker 1: like the clarinets of Romance start playing and they have
• 33:22
  Speaker 1: that big All I Ask of You number. They just
• 33:25
  Speaker 1: forgot about the killing, right, but it works, Like, yeah,
• 33:34
  Speaker 1: it just doesn't work here well, especially because he's just
• 33:37
  Speaker 1: like creeping around, like the pantroom is just like the
• 33:41
  Speaker 1: whole seed, hiding behind statues and it's just like we
• 33:45
  Speaker 1: don't need to like this was another like point that
• 33:47
  Speaker 1: I made the videos, like we don't need to know
• 33:49
  Speaker 1: he's here. Why do you keep cutting to him? What
• 33:52
  Speaker 1: is the emotion you're going for? Is it tension or
• 33:54
  Speaker 1: are we supposed to feel bad for him? Either way,
• 33:57
  Speaker 1: it doesn't work because this is supposed to be like
• 33:59
  Speaker 1: they're big row and obviously that you know doesn't stick
• 34:02
  Speaker 1: because like you you're like the when do they connect? Like, well,
• 34:04
  Speaker 1: it's there, but you don't realize it because the phantoms
• 34:07
  Speaker 1: like creeping around, pouting at the camera, and then in
• 34:11
  Speaker 1: in the musical, that's not what it is at all,
• 34:14
  Speaker 1: Like you don't see him just leering, you know, tiptoeing
• 34:17
  Speaker 1: around the stage, Like guys, it's there. It's there in
• 34:22
  Speaker 1: the Lawn Cheney movie. I always think it the Lawn
• 34:24
  Speaker 1: Chaney movie that's a reflection of the book. It's kind
• 34:27
  Speaker 1: of funny in the book because there's this one line
• 34:29
  Speaker 1: where that she's like telling role at about how ugly
• 34:31
  Speaker 1: he is, and then you had here this whale like
• 34:34
  Speaker 1: in that she lied to me and said I was
• 34:44
  Speaker 1: okay because I have her just because I kid not her,
• 34:48
  Speaker 1: and told her she could never leave damn it. Well
• 34:53
  Speaker 1: to the romance between Rale and Christine. This happens a
• 34:58
  Speaker 1: lot in movies where not I'm spent developing why these
• 35:01
  Speaker 1: characters would like each other or love each other, which
• 35:03
  Speaker 1: I think is a symptom of female characters just not
• 35:06
  Speaker 1: being well developed enough where they would just have a
• 35:08
  Speaker 1: personality or we would understand why the male lead, but
• 35:11
  Speaker 1: they're like, oh, well, you know, there's a man in
• 35:14
  Speaker 1: the movie, and he's got to have a hot lady
• 35:17
  Speaker 1: to be with. So here's this lady character, but we're
• 35:19
  Speaker 1: not going to do anything else to develop her, and
• 35:21
  Speaker 1: that I think it's so true for this movie. What
• 35:24
  Speaker 1: is Christine's character? She has no fucking personality. She's basically
• 35:29
  Speaker 1: just a singing voice and then she's barely that because
• 35:32
  Speaker 1: well we don't see her make a lot, like most
• 35:35
  Speaker 1: of things happened to her made for her right, And
• 35:39
  Speaker 1: this is you know, I think in this version more
• 35:41
  Speaker 1: than any of the others, which is kind of surprising
• 35:43
  Speaker 1: because it's like it being the most recent, big one
• 35:46
  Speaker 1: that got big enough to where there were no other
• 35:48
  Speaker 1: versions besides the Dario or Agento version, which I do
• 35:53
  Speaker 1: not recommend. I haven't seen it, don't see it. There
• 35:58
  Speaker 1: there's I mean, I think you can out on one
• 36:00
  Speaker 1: hand kind of the choices we see her actually actively making.
• 36:05
  Speaker 1: And we don't know that she necessarily has aspirations to
• 36:09
  Speaker 1: be like Carla. We know she takes music lessons and
• 36:12
  Speaker 1: that music is important to her. We don't know that,
• 36:14
  Speaker 1: but she's just forced out into this role. There's no Yeah,
• 36:17
  Speaker 1: there's no specific goal that she has that we know
• 36:19
  Speaker 1: about that we don't know. Yeah, but like that's the
• 36:23
  Speaker 1: thing that we should probably know for any protagonist, what
• 36:26
  Speaker 1: their desire is, what their goal is. But just kidding,
• 36:28
  Speaker 1: we don't have any idea in this movie. The first
• 36:31
  Speaker 1: choice that she actively makes in the movie is to
• 36:32
  Speaker 1: kiss him at the end. Yeah, because she chooses to
• 36:37
  Speaker 1: go she sneaks out to go to her dad's grave.
• 36:40
  Speaker 1: That's one choice to see her. But that's funny, Like
• 36:43
  Speaker 1: she's like, they're like Christine, and you have to be
• 36:45
  Speaker 1: in the show. The Phantom is forcing us to put on.
• 36:48
  Speaker 1: We had to be in his fan fiction opera, which
• 36:53
  Speaker 1: is literally he's like, I really love Don Giovanni, but
• 36:55
  Speaker 1: it's it's not serious enough. I'm going to make serious do.
• 36:59
  Speaker 1: It's called Done Want Triumphant, and it's gonna be about
• 37:02
  Speaker 1: how I'm really sexy and hot and all the ladies
• 37:04
  Speaker 1: want me. Don One doesn't go to hell in this version.
• 37:07
  Speaker 1: That's literally what it is. Like. It says it's his fanic.
• 37:10
  Speaker 1: So they're like, Christine, you have to start and the
• 37:12
  Speaker 1: Phantom is fan fic. And she's like no, they's seeing
• 37:16
  Speaker 1: where they're like in the chapel and she's like, she says,
• 37:19
  Speaker 1: like I'm scared, don't make me do this. He's like,
• 37:22
  Speaker 1: he's like, you need to do it. Fine, he's only
• 37:24
  Speaker 1: killed the one guy, and then he's like I'll be there.
• 37:28
  Speaker 1: It's like, who cares? But I think that the choices
• 37:32
  Speaker 1: here make She goes to her dad's grave, only to
• 37:35
  Speaker 1: be sidelined pretty much but at that point, she's still confused,
• 37:39
  Speaker 1: apparently about who the Angel of Music is because that
• 37:43
  Speaker 1: song happens again. Surely she knows that they're going again
• 37:47
  Speaker 1: for the magical realism thing that they don't commit to,
• 37:49
  Speaker 1: where he's got like some sort of like hypnotic power
• 37:52
  Speaker 1: over her. Doesn't make any sense when she when she
• 37:55
  Speaker 1: looks asleep, it's whenever she does the like you lazy
• 38:00
  Speaker 1: face thing, It's confusing if I didn't know Sarah Brighten face,
• 38:06
  Speaker 1: it is Sarah Brighten face. Yeah, just like the look
• 38:09
  Speaker 1: kind of asleep but kind of turned on. Like yeah,
• 38:13
  Speaker 1: so she she is not really inactive, not at all
• 38:17
  Speaker 1: protagonist at all. I'm like, I'm like having to suppress
• 38:20
  Speaker 1: my like my Christine stand like because I'm like, this
• 38:23
  Speaker 1: is absolutely true in the movie and in the show.
• 38:24
  Speaker 1: But I'm just like, but that's not how it wasn't
• 38:26
  Speaker 1: the book there, It wasn't originally like this, Andrew Lloyd,
• 38:32
  Speaker 1: we were changed it to make her more romance novel
• 38:34
  Speaker 1: hair when I guess, I don't know, I mean that
• 38:36
  Speaker 1: totally makes sense to make this romance work. If you
• 38:40
  Speaker 1: give Christine a more active role, it would probably fall
• 38:43
  Speaker 1: apart pretty quickly. Because the male if you established, if
• 38:48
  Speaker 1: you had just like established a desire for her where
• 38:51
  Speaker 1: she will like stop at nothing to become the lead
• 38:54
  Speaker 1: of the opera like the new Prima Donna or whatever.
• 38:57
  Speaker 1: That's her driving thing. And then this fan to man
• 39:00
  Speaker 1: comes along who's promising to help her with that. It
• 39:02
  Speaker 1: would make sense why she would maybe be seduced by
• 39:05
  Speaker 1: him and his promises and all that stuff and then
• 39:08
  Speaker 1: go along with it. But because we have no idea
• 39:10
  Speaker 1: what her specific goal is, it's insane that she's just like, oh,
• 39:13
  Speaker 1: I'm enchanted and hypnotized by his genius or what like.
• 39:17
  Speaker 1: It doesn't make any sense to me. In the show
• 39:20
  Speaker 1: and certainly in the movie, it's like the closest we
• 39:22
  Speaker 1: can get to boiling down a motivation has to do
• 39:26
  Speaker 1: with her dad or somehow like recapturing boring just bad writing,
• 39:33
  Speaker 1: but there, But like her motivation seems pretty closely tied
• 39:37
  Speaker 1: to her dad, which is just crazy. And in both
• 39:41
  Speaker 1: the book and the show, she's just kind of coasting
• 39:43
  Speaker 1: like she's studying music. Dad died. I mean, well, I
• 39:46
  Speaker 1: guess I'll keep studying music. He paid for it, right,
• 39:50
  Speaker 1: But it's like the never it's like, does she want
• 39:52
  Speaker 1: to be here, do we know? And then that brings
• 39:55
  Speaker 1: me to Madame Jerry, who I just thought about this
• 39:58
  Speaker 1: like the most recent time I watched it. Of like,
• 40:01
  Speaker 1: Madame Jerry's basically I mean, she's in charge of the ballet.
• 40:06
  Speaker 1: She's like the lead choreographer of the ballet, and she's
• 40:10
  Speaker 1: the mother to one of the only other female characters
• 40:12
  Speaker 1: who speaks, Meg Jerry, who is Christine's best friend. Madame
• 40:16
  Speaker 1: Jerry's basically subbing in as Christine's parent. But it's so clear,
• 40:22
  Speaker 1: like there's a few times in the movie where we
• 40:24
  Speaker 1: see Madame Jerry actively make sure that Meg stays away
• 40:28
  Speaker 1: from the phantom. Madame Jerry, we learn knows everything about him,
• 40:32
  Speaker 1: knows about grew up with him, right, which is an addition.
• 40:37
  Speaker 1: That's that's a new addition to the movie. And I
• 40:38
  Speaker 1: don't like it because you know, it's like, why does
• 40:40
  Speaker 1: he have a friend? It's not like it doesn't It
• 40:43
  Speaker 1: really kind of takes some of the like impetus for
• 40:46
  Speaker 1: him to be so desperate and you know, obsessed with
• 40:49
  Speaker 1: Christine if he just has like this, you know, emotional
• 40:51
  Speaker 1: support all these years in the form of Madame Jerry,
• 40:54
  Speaker 1: who's been kind of helping you and never FLEs poorly
• 40:56
  Speaker 1: on her character too, because it's like, oh, she knows everything,
• 40:59
  Speaker 1: and his letting this child communicate openly with this very
• 41:04
  Speaker 1: dangerous person while keeping her daughter like and we know
• 41:07
  Speaker 1: she knows he's dangerous because she's keeping her biological daughter
• 41:10
  Speaker 1: away from him at all costs. But then she was like, oh,
• 41:13
  Speaker 1: well she I don't know, what are you know, I'm
• 41:16
  Speaker 1: not going to get in the way he had a
• 41:17
  Speaker 1: bad childhood. Well, just that begs the question that was
• 41:22
  Speaker 1: let him have his fun. That's frustrating me this time.
• 41:25
  Speaker 1: I'm like, man, ma'am Jerry, you suck we totally. And
• 41:28
  Speaker 1: that also begs the question if I mean, it's established
• 41:31
  Speaker 1: with this flashback that she rescues him, has him live
• 41:35
  Speaker 1: in his you know, dungeon apartment or whatever, and then
• 41:38
  Speaker 1: so what's dungeon studio? I want to make more sense
• 41:41
  Speaker 1: that he was obsessed with Madame Jerry and like she
• 41:44
  Speaker 1: was the object of his affection because she liked him
• 41:47
  Speaker 1: Chase man, she's emotionally available and also, you know, women
• 41:53
  Speaker 1: over forties is not there for way before. He was
• 41:57
  Speaker 1: there for her for a little while, and he's like,
• 42:00
  Speaker 1: you've got too old. I made a sixteen year old also,
• 42:05
  Speaker 1: just like Miranda Richardson and Gerard Butler. So if they're
• 42:08
  Speaker 1: supposed to be the same age, then the phantom is yeah,
• 42:12
  Speaker 1: I mean he would be like, well into his right,
• 42:16
  Speaker 1: how old is he in the book, like he's he's
• 42:19
  Speaker 1: about okay, Madame Jerry though there this was the first time,
• 42:23
  Speaker 1: and then I was like, oh, they're the way that
• 42:25
  Speaker 1: she's portrayed this movie does not bode well for that
• 42:28
  Speaker 1: character because it's like, oh, she's a poor guardian, she's
• 42:32
  Speaker 1: very complicit, and the fact that murders are taking place,
• 42:36
  Speaker 1: and then the whole keep the hand at the level
• 42:38
  Speaker 1: of I was like, what does that mean? I mean
• 42:40
  Speaker 1: if your hand so you're supposed to do this, you
• 42:44
  Speaker 1: supposed to literally keep your hand next to your head
• 42:47
  Speaker 1: because the pun so his like weapon of choice, is
• 42:50
  Speaker 1: like he'll try to noose you, but if your hand
• 42:53
  Speaker 1: is up, you can't noose you, and you can push
• 42:57
  Speaker 1: the pun. So it's like it's like I think it's
• 42:59
  Speaker 1: supposed to be like a whip in the book, but
• 43:01
  Speaker 1: they just make it a literal noose in the show,
• 43:03
  Speaker 1: which is like I'm gonna noose you, buddy, like that's
• 43:05
  Speaker 1: not a very good, you know, offensive weapon. No, it's
• 43:09
  Speaker 1: like get a knife there, Okay. In the Phantom's apartment
• 43:13
  Speaker 1: swamp next to his action figure swamp apartment actual figures
• 43:17
  Speaker 1: and also in addition, a bizarre edition and that's unique
• 43:21
  Speaker 1: to this version, plays with dolls. Dolls. He lives in
• 43:25
  Speaker 1: basically the sewer because there's waters the lake. The bathroom situation.
• 43:33
  Speaker 1: Just go outside. Literally, I'm just like a part where
• 43:39
  Speaker 1: like they're standing in water, like I mean, like Phantom, No,
• 43:43
  Speaker 1: the thing is like the opera has a like a drainage,
• 43:46
  Speaker 1: Like that's what that is. So because that's not you know,
• 43:49
  Speaker 1: it's it's a very you know, it's a very large building,
• 43:51
  Speaker 1: and so like the foundation requires there to be like
• 43:54
  Speaker 1: a drainage lake. So he builds a house next to
• 43:56
  Speaker 1: this lake. In the book, it actually has like running
• 43:58
  Speaker 1: water electricity because he's just that smart. So like in
• 44:03
  Speaker 1: the movie, they just kind of make it like a cave.
• 44:06
  Speaker 1: That is like he kind of threw some dropcloths, you know,
• 44:10
  Speaker 1: on the cave and some candles we're going to call
• 44:12
  Speaker 1: sexy Schumacher. Where does he poop Schumacher. It's like that,
• 44:18
  Speaker 1: it's like that episode of Bras City that Amy Saidaris
• 44:20
  Speaker 1: is in and she was like, where isn't the bathroom? Oh, Schumacher,
• 44:30
  Speaker 1: have you guys seen Love Never Dies? No? No, I haven't.
• 44:34
  Speaker 1: I've like actively avoided it for a long time. Okay,
• 44:37
  Speaker 1: So there's like twenty versions because they like it's terrible
• 44:40
  Speaker 1: and they keep work shopping it. But in the like
• 44:43
  Speaker 1: Madame Jerry and Meg, yeah, in the sequel they have
• 44:47
  Speaker 1: they both have like really beefed up parts, and like
• 44:50
  Speaker 1: Madame Jerry is like the Red Herring bad guy because
• 44:53
  Speaker 1: like she's jealous because like turns out the phantom has
• 44:56
  Speaker 1: a kid from the one time he and Christine did
• 44:58
  Speaker 1: the do and they fucked. Yeah, they sucked. They sucked
• 45:02
  Speaker 1: after the musical in it, like she came back and
• 45:04
  Speaker 1: she's like, hey, let's do it, and he's like yeah,
• 45:06
  Speaker 1: and then they do it and then he's like, oh,
• 45:07
  Speaker 1: I can't handle it and leaves and they have this
• 45:09
  Speaker 1: this like what a funck boy followed around and Love
• 45:14
  Speaker 1: Never Dies where they sing about how they sucked this
• 45:16
  Speaker 1: one time and then they described it in song why
• 45:19
  Speaker 1: did this never make it to Broadway? And then and
• 45:22
  Speaker 1: then he kind of puts two and two together, like
• 45:24
  Speaker 1: we sucked ten years ago, you have a ten year
• 45:27
  Speaker 1: old and then like Madam Jerry's like, no, he's gonna
• 45:31
  Speaker 1: take our inheritance. But then at the end of the
• 45:33
  Speaker 1: show it turns out Meg is the bad guy. What yeah,
• 45:38
  Speaker 1: and she like kidnaps the kid and she's gonna shoot it.
• 45:44
  Speaker 1: It's so funny because like the Phantom is talking her down.
• 45:47
  Speaker 1: Like the show ends at the Phantom talking Meg down,
• 45:52
  Speaker 1: and then Meg accidentally shoots Christine and Christine dies yes, yes,
• 45:58
  Speaker 1: and the fans like, na, oh, well, I guess I
• 46:00
  Speaker 1: get the kid as a constellation prize. And then it
• 46:02
  Speaker 1: ends actually, well, have never died. Why I'm so attached
• 46:06
  Speaker 1: to Christine. Yeah, You're saying all this stuff about Christine,
• 46:09
  Speaker 1: and I'm like, you're not wrong. I'm really not wrong.
• 46:11
  Speaker 1: It's hard though, it's hard there, especially in this movie.
• 46:15
  Speaker 1: There's like because like I think there's also this sort
• 46:19
  Speaker 1: of like there's the discussion between overrepresentation of certain harmful
• 46:22
  Speaker 1: tropes and also certain harmful tropes that there is some
• 46:25
  Speaker 1: truth to you know, because you look at like the
• 46:27
  Speaker 1: story about this teenage girl that's just being led by
• 46:30
  Speaker 1: her nose by all these men and it's like, while
• 46:32
  Speaker 1: that is absolutely overdone, there's also a lot of truth
• 46:35
  Speaker 1: to that, you know, just like because that's just what happens,
• 46:38
  Speaker 1: especially in entertainment, you know, and because you see this
• 46:41
  Speaker 1: reflecting like the careers of so many like actresses and me,
• 46:44
  Speaker 1: Like I think of Kesha especially, who was just like
• 46:47
  Speaker 1: molded into this you know figure that wasn't her and
• 46:51
  Speaker 1: she didn't want to be and she they like you know,
• 46:52
  Speaker 1: created this public persona for her and she had to
• 46:55
  Speaker 1: live it for so many years. And the thing about Christine,
• 46:58
  Speaker 1: I think that's sort of like why I think we
• 46:59
  Speaker 1: both a little protective of hers, Like there is some
• 47:01
  Speaker 1: truth to this for sure, and you know that's sort
• 47:05
  Speaker 1: of like it's sort of like a both thing where
• 47:07
  Speaker 1: it's like, yeah, it's so lame that she's so passive.
• 47:09
  Speaker 1: But on the other hand, you know, that's kind of
• 47:12
  Speaker 1: what coming of ages for a lot of women figuring
• 47:15
  Speaker 1: out like, oh my god, I have to do something
• 47:18
  Speaker 1: and make a choice because women are not socialized to
• 47:21
  Speaker 1: be active, you know. So I guess like I think
• 47:23
  Speaker 1: a little more in the stage version, not too much,
• 47:25
  Speaker 1: not to like act like the stage version is superior.
• 47:27
  Speaker 1: It's really not. I mean, it is, but it's not
• 47:30
  Speaker 1: story wise Christine, you know, it's just sort of her
• 47:34
  Speaker 1: coming into her own is sort of like she does
• 47:37
  Speaker 1: it in the only way she knows how, which is
• 47:39
  Speaker 1: to play Kate the murderer and considering the time period
• 47:43
  Speaker 1: as well. Like, I totally agree with you, because and
• 47:46
  Speaker 1: and then it just becomes the duty of the storyteller
• 47:50
  Speaker 1: and the filmmaker to frame that correctly and not glorify
• 47:54
  Speaker 1: the wrong parts. I think that we could sort of
• 47:58
  Speaker 1: maybe draw a comparison to Twilight here, where it's like
• 48:02
  Speaker 1: a young teenager who you know, young women are going
• 48:06
  Speaker 1: to plug themselves into. I mean, I remember doing that
• 48:09
  Speaker 1: with Fantom of the Opera and Twilight and then seeing
• 48:12
  Speaker 1: a very like sort of dangerous relationship developed, but have
• 48:15
  Speaker 1: the movie be like, but this is right, and that's
• 48:20
  Speaker 1: why this or that's why Andrew Lloyd Weber's version, not
• 48:22
  Speaker 1: the movie the musical is the most successful version of
• 48:25
  Speaker 1: Phantom was because it was he was the one that's like,
• 48:27
  Speaker 1: let's frame it as really sexy and let's make him
• 48:31
  Speaker 1: really simple, you know, sympathetic as a murderer can be.
• 48:34
  Speaker 1: And it's just like, you know, when you take a
• 48:36
  Speaker 1: step back and you're like, well, it's no wonder this
• 48:38
  Speaker 1: is the one that took off, But what does that
• 48:43
  Speaker 1: say about humanity and their taste and things? So like,
• 48:47
  Speaker 1: while I would agree that Christine is I mean, she's
• 48:50
  Speaker 1: not making any choices, and any sixteen year old girl
• 48:54
  Speaker 1: would have more of a personality than she has, or
• 48:56
  Speaker 1: would at least on the adopting like let's be honest,
• 49:00
  Speaker 1: like and I you know, and she she was again,
• 49:02
  Speaker 1: she was too young for the part. I'm sure there
• 49:04
  Speaker 1: are sixteen year olds out there that could have pulled
• 49:06
  Speaker 1: it off. But I think also like it's kind of
• 49:08
  Speaker 1: a testament to bad directing, Like Schumucker is a notoriously
• 49:11
  Speaker 1: bad director, and part of directing is training because you
• 49:15
  Speaker 1: can see, like you can see the direction in the
• 49:16
  Speaker 1: way that she's acting, like because he's you know, telling
• 49:19
  Speaker 1: her like you're seduced, you're entranced, and this is like
• 49:22
  Speaker 1: really like so she's just kind of clearly reacting off
• 49:26
  Speaker 1: of these very basic good direction and that's why she
• 49:29
  Speaker 1: looks the way she does. And because I feel like
• 49:32
  Speaker 1: there's a lot you could do with that blank slate
• 49:34
  Speaker 1: if we had a better actor, right, it's very frustrating
• 49:37
  Speaker 1: to watch. She's really not that good in the movie. Man,
• 49:44
  Speaker 1: I was in chamber choir too. Yeah, I could have
• 49:48
  Speaker 1: been Christie. I can hit that high e Oh god,
• 49:52
  Speaker 1: Emmy Ross I'm playing that part the way she did
• 49:54
  Speaker 1: in a way that most teenage girls can sing. Or
• 49:58
  Speaker 1: it's just like you're deadly stating for talent shows for
• 50:02
  Speaker 1: the next several years. I'm just like, I can think
• 50:06
  Speaker 1: think of me like Emmy Rossum, of course you can't. Yeah,
• 50:09
  Speaker 1: where they're just like the h you know that really
• 50:18
  Speaker 1: her hitting the hind on and that one always sends
• 50:20
  Speaker 1: like a chill through my body because it's just not good.
• 50:24
  Speaker 1: And you know, it's funny how many fights I've been
• 50:25
  Speaker 1: in over that, like she's not good and they're like, well,
• 50:27
  Speaker 1: she's not supposed to be good. It's like voice of
• 50:33
  Speaker 1: an angel over here. It should not sound like a
• 50:36
  Speaker 1: gravel driveway, and the prima donna should sound better than
• 50:42
  Speaker 1: your high school chamber choir diva, Like right, holy no, no,
• 50:46
  Speaker 1: you don't get to pull that in this movie. Oh.
• 50:48
  Speaker 1: Another thing about those Christine and Carlotta is that Carlotta
• 50:53
  Speaker 1: is super jealous of Christine and they're sort of like
• 50:55
  Speaker 1: pitted against each other and like young hot women are
• 50:59
  Speaker 1: super threatening to older women. I feel like that's a
• 51:02
  Speaker 1: really it just perpetuate thing. It's just like perpetuate. I
• 51:06
  Speaker 1: want I want more of that because I think that's
• 51:08
  Speaker 1: really uh and creative. Let's see more of that. I've
• 51:12
  Speaker 1: been writing. It's really it's good. It's good writing, underrepresented
• 51:15
  Speaker 1: and it's good writing. Also, that was yeah, that was
• 51:18
  Speaker 1: I mean, that's not an addition that's unique to the
• 51:20
  Speaker 1: Lloyd Webber version. They've been like because like she didn't
• 51:22
  Speaker 1: really care about Christine in the book, but that that's
• 51:24
  Speaker 1: been there as early as the Lawn Cheney version, right
• 51:27
  Speaker 1: where she's very strange a better but it's like you're
• 51:30
  Speaker 1: the best one, like you're she's fine. Carlotta and Christine.
• 51:34
  Speaker 1: I think it's, you know, a little bit of a
• 51:36
  Speaker 1: virgin horror trope word. It's more like Carlotta is decadent
• 51:41
  Speaker 1: and conceded and how did she become And it's funny
• 51:45
  Speaker 1: because like everyone, like especially in the movie, they play
• 51:47
  Speaker 1: up that like everybody hates her because she's arrogant, but
• 51:51
  Speaker 1: it's it's just like a she's pretty madonna for a reason.
• 51:54
  Speaker 1: She puts butts and seeds and b she doesn't seem
• 51:56
  Speaker 1: to do anything to actively offend people. But there's that
• 51:59
  Speaker 1: sea where she's like, you know the Prima Dona scene
• 52:01
  Speaker 1: where she's like chomping out and everybody's like mooning her
• 52:03
  Speaker 1: and being like good riddance, and it's like, this doesn't
• 52:06
  Speaker 1: make any sense. Why does everyone hate her? She's kind
• 52:09
  Speaker 1: of the reason that people have a job like gos.
• 52:12
  Speaker 1: She's storming out again. Why why why are they acting
• 52:16
  Speaker 1: like this? I mean, well, to speak to all the
• 52:19
  Speaker 1: other female characters, they have just this little agency, I
• 52:22
  Speaker 1: would argue as Christine, because Meg basically does nothing. It
• 52:28
  Speaker 1: also bothered me that Christine whenever they were like, hey,
• 52:32
  Speaker 1: you should play Carlotta's part, and oh man, this is
• 52:35
  Speaker 1: what the phantom wants, so let's maybe do it, and
• 52:37
  Speaker 1: then she was never like, hey, wait a minute, let's
• 52:39
  Speaker 1: step back here for a second and like, maybe address
• 52:43
  Speaker 1: the problem of getting rid of this phantom rather than
• 52:46
  Speaker 1: just appeasing him for no fucking reason. Yeah, it was
• 52:49
  Speaker 1: crazy that they didn't have more of as a sixteen
• 52:51
  Speaker 1: year old girl, we probably should try to get rid
• 52:54
  Speaker 1: of him. It's just too dangerous, so let's just do
• 52:55
  Speaker 1: what he wants. That's like addressed several times of like
• 52:59
  Speaker 1: should we do to think about this? Like no, no, no, no, no, no,
• 53:02
  Speaker 1: you don't you don't do something about the fantaist. Do
• 53:06
  Speaker 1: you see the way he wiggles that chandelier A don't well,
• 53:12
  Speaker 1: And that's where like part of the function of Madame
• 53:14
  Speaker 1: Jerry's character is just every time someone offers a practical solution,
• 53:17
  Speaker 1: she's sort of just like, but you can't. And then
• 53:20
  Speaker 1: it's like, oh that. One of the last points I
• 53:24
  Speaker 1: wanted to bring up was the because we just did
• 53:26
  Speaker 1: an episode on be for Vendetta the Trump the kidnapping
• 53:31
  Speaker 1: slash re education true kidnapping exactly, Yeah, yeah, kidnapping with
• 53:37
  Speaker 1: the intent being that I'm going to teach you and
• 53:40
  Speaker 1: you're going to be mine. And then you know, just
• 53:42
  Speaker 1: like uh, he's listening. I gave you music, you belong
• 53:47
  Speaker 1: to me, you owe me something, you owe me your
• 53:49
  Speaker 1: body and your talent and your presence, and it's just like, ah,
• 53:53
  Speaker 1: why are you falling for this? Right? And it's you know,
• 53:57
  Speaker 1: obviously done to a very selfish end. It barely has
• 54:01
  Speaker 1: anything to do with Christine at all. It sort of
• 54:03
  Speaker 1: seems like where he just you know, wants companionship and
• 54:07
  Speaker 1: wants hot companionship, and he should just fuck his wax doll.
• 54:13
  Speaker 1: I mean he for sure does, but he for sure
• 54:15
  Speaker 1: does that doll. Let's watch like smell the ngeled Phantom come.
• 54:28
  Speaker 1: Speaking of other other movies, I would argue that there
• 54:31
  Speaker 1: is a Titanic illusion in the beginning of Phantom, where
• 54:36
  Speaker 1: there's the big field, bear with me, Bear with Me.
• 54:42
  Speaker 1: There's a of the of the chandelier, and then that
• 54:46
  Speaker 1: all of a sudden is back. We're going to transition
• 54:48
  Speaker 1: into the it's so bad but whenever everything is like
• 54:54
  Speaker 1: dusty and shitty, and then it transitions into shiny look
• 54:57
  Speaker 1: at these yeah, statue nipples. That I think is a
• 55:04
  Speaker 1: direct allusion to when I'm Titanic, when there's a shot
• 55:07
  Speaker 1: of like the old, gross, grimy underwater Titanic and then
• 55:10
  Speaker 1: it fades into this like schumachers, like work for them,
• 55:14
  Speaker 1: let's try it. There's also a sweeping romance. Yeah yeah, sure.
• 55:19
  Speaker 1: Does anyone have any other final thoughts about the movie
• 55:21
  Speaker 1: The Phantom of the Opera. I think that the two
• 55:23
  Speaker 1: people who do very well in this movie are many
• 55:27
  Speaker 1: drivers great. I think Patrick Wilson escapes unscathed and does
• 55:32
  Speaker 1: as well as anyone could do in this movie. I'm
• 55:35
  Speaker 1: also just like Patrick Wilson. He's good, but his characters, Yeah,
• 55:43
  Speaker 1: he's a he's a bland man. How about that he's
• 55:45
  Speaker 1: kind of pushy and I don't care for him. What
• 55:47
  Speaker 1: about that scene whenever she's sleeping in her room, gets
• 55:50
  Speaker 1: up and then goes to the cemetery and he's just
• 55:54
  Speaker 1: like sleeping outside of her room. Why is he doing?
• 55:57
  Speaker 1: Is he's looking? I guess he's like yeah. But that's
• 56:02
  Speaker 1: that's why I would argue that that's a choice, because
• 56:04
  Speaker 1: she sneaks past him, n't ask for permission before she
• 56:08
  Speaker 1: she does make an active choice in that she doesn't
• 56:11
  Speaker 1: really choose to rip his mask off. I forgot about that.
• 56:14
  Speaker 1: Oh that is true, But again it makes a lot
• 56:18
  Speaker 1: more sense. In the book, she does specifically tells her
• 56:21
  Speaker 1: don't do this, so she's like, I think you've got
• 56:24
  Speaker 1: to do that. Yeah, I think I will actually get
• 56:28
  Speaker 1: any sixteen year old girl thing to do, like, oh,
• 56:30
  Speaker 1: you told me not to do that thing, Okay, But
• 56:33
  Speaker 1: in the movies, both times it happens, it feels so unmotivated,
• 56:36
  Speaker 1: like why is she doing? I also love the way
• 56:40
  Speaker 1: it's like shot where he's just kind of like piano
• 56:44
  Speaker 1: like ducking his head back and forth. And I mean
• 56:47
  Speaker 1: it's really funny at the show because she like reaches
• 56:49
  Speaker 1: and he'll kind of like duck away like to write
• 56:52
  Speaker 1: something that's good stuff. They're revealing the movie so funny too,
• 56:57
  Speaker 1: because it's like it's not that bad. Yeah, I don't know.
• 57:00
  Speaker 1: I feel like because I say, like, definitely watch the
• 57:02
  Speaker 1: Live at the Royal Elbart Hall version. It used to
• 57:04
  Speaker 1: be on Netflix. Um, I think maybe it still as
• 57:06
  Speaker 1: might be like on Amazon or something now because I
• 57:09
  Speaker 1: watched it with one of my more cynical friends who
• 57:11
  Speaker 1: had seen the Schumacher movie and that was all he
• 57:13
  Speaker 1: had ever seen, and like after he left at that
• 57:16
  Speaker 1: it was just like, you know what, I get it.
• 57:18
  Speaker 1: It's not for me, but like I get the Phantom
• 57:21
  Speaker 1: thing again because it is. It is honestly, like kind
• 57:24
  Speaker 1: of impressive how much the movie fails to capture what
• 57:27
  Speaker 1: worked about the show, even though it doesn't really change
• 57:30
  Speaker 1: much about the story. I am just gonna go home
• 57:32
  Speaker 1: and watch um Mulan Rouge the only musical I like,
• 57:36
  Speaker 1: and South Park bigger, longer than on Cut everything else.
• 57:40
  Speaker 1: I hate musicals. Hey, let's talk about whether or not
• 57:43
  Speaker 1: the movie passes the Bechtel test. Okay, I'm going with no. Yeah,
• 57:47
  Speaker 1: I don't think so either. There is a scene early
• 57:50
  Speaker 1: on when Christine talks to Meg, but they're talking about Raoul.
• 57:54
  Speaker 1: She's like, we were childhood sweethearts. He called me little
• 57:57
  Speaker 1: Bloodie or whatever. I Then later on they have a
• 58:02
  Speaker 1: song where Christine and Meg sing to each other and
• 58:04
  Speaker 1: Christine is telling her about the Angel of Music, but
• 58:08
  Speaker 1: they're talking about who she perceives to be a man
• 58:12
  Speaker 1: who is sent Yeah, but she at this point doesn't
• 58:16
  Speaker 1: know who he is and seems to never figure it
• 58:18
  Speaker 1: out through the entire movie. There's a brief exchange between
• 58:21
  Speaker 1: Madame Jerry and Christine. Oh, this is no it does
• 58:25
  Speaker 1: pass because this is after her first performance where she
• 58:28
  Speaker 1: takes Carlotta's place and Madame She's like, yeah, like you did,
• 58:33
  Speaker 1: you did very well. He's very pleased. Madame Jerry is
• 58:35
  Speaker 1: now my least favorite character in this entire Madame Jerry
• 58:39
  Speaker 1: is just a whitewash because even that character in the
• 58:41
  Speaker 1: original novel was a Persian guy who was never in
• 58:45
  Speaker 1: any of the adaptations. Even in the Launcheney movie, they're
• 58:49
  Speaker 1: like Psych. He's not actually Persian, he's a French guy.
• 58:53
  Speaker 1: I love that reveal of like, actually they were white
• 58:56
  Speaker 1: the whole time, like in the Hunchback. Yeah, she's she's white.
• 59:00
  Speaker 1: It's cool. Yeah, this isn't like a hundred percent white.
• 59:05
  Speaker 1: I don't think you see any people of color at
• 59:06
  Speaker 1: any point, which is funny because in the original book
• 59:08
  Speaker 1: that was not the case. There you see some non
• 59:14
  Speaker 1: white people in the Phantom flashback, but they're the portrayal
• 59:18
  Speaker 1: is not good. We're like, ha ha, you're gross. They
• 59:22
  Speaker 1: were it was like the circus was run by Roma,
• 59:25
  Speaker 1: right right, Yeah, I think that's also there and all
• 59:27
  Speaker 1: of them, some of them. There's one book that like
• 59:30
  Speaker 1: I despise in every Phantom every other Fantom fan loves,
• 59:33
  Speaker 1: called Just Phantom by Susan Kay and it's in the
• 59:37
  Speaker 1: romance novel section. And for you, I know you're out
• 59:40
  Speaker 1: there getting mad. I could feel you're anger. I don't
• 59:42
  Speaker 1: care like um Boy because like during his time with
• 59:48
  Speaker 1: the you know, they used the g slur the Roma
• 59:50
  Speaker 1: they like kidnap him, putting into circus and there's one
• 59:53
  Speaker 1: named Javert who like tries to rape him and it's Wolf. Okay, Well, Okay,
• 1:00:01
  Speaker 1: so that's a hard no. Yeah, oh they love it.
• 1:00:06
  Speaker 1: The girls love it so much. Yeah, I don't. I
• 1:00:09
  Speaker 1: mean if women talk in the movie, they're always talking
• 1:00:12
  Speaker 1: about either Rale or her daddy or the phantom. I
• 1:00:17
  Speaker 1: don't think there's an exchange about something that's not any
• 1:00:20
  Speaker 1: of those people. So does not pass the test unsurprisingly. Um,
• 1:00:26
  Speaker 1: let's write the movie on our would actually say surprisingly,
• 1:00:28
  Speaker 1: but musicals are usually a lot better about that. Yeah,
• 1:00:33
  Speaker 1: and also no shortage of opportunity, even like from an
• 1:00:36
  Speaker 1: adaptation point, like we never hear any of the many
• 1:00:40
  Speaker 1: female dancers we see all the time, any of female
• 1:00:42
  Speaker 1: chorus members, and they were missed opportunities sort of scattered.
• 1:00:46
  Speaker 1: When I say unsurprisingly, I mean more that this movie
• 1:00:50
  Speaker 1: is not good to women or does not portray them
• 1:00:53
  Speaker 1: in a strong specifically to Oh, he sure doesn't have
• 1:00:59
  Speaker 1: dark guys at a right right. Put the corset on
• 1:01:04
  Speaker 1: the outside, Captain Underpin, you're bad. Um let's write the
• 1:01:17
  Speaker 1: movie on a nipple scale, where we rate the movie
• 1:01:19
  Speaker 1: on a scale of zero to five nipples based on
• 1:01:21
  Speaker 1: its portrayal of women. I'm gonna give it, I'm gonna
• 1:01:26
  Speaker 1: say a half nimble because hey, great, that there is
• 1:01:30
  Speaker 1: a woman in the story, even more than one, there's several,
• 1:01:33
  Speaker 1: so that's pretty much the only positive thing about it.
• 1:01:37
  Speaker 1: Apart from that, it's a movie about a young woman,
• 1:01:41
  Speaker 1: again being gas lit by every person around her, being
• 1:01:47
  Speaker 1: seduced by an old creep. She is the object of
• 1:01:52
  Speaker 1: his affection emphasis on object because she's really literally he
• 1:01:56
  Speaker 1: literally objectifies her in the real like he turns her
• 1:01:59
  Speaker 1: into object. Yeah. So, and there's a dress and she
• 1:02:06
  Speaker 1: h she fainted and then she wakes up and she's like, actually,
• 1:02:10
  Speaker 1: I could see myself hanging out with him again. Yeah,
• 1:02:12
  Speaker 1: he's my angel of music. It was just a bad
• 1:02:15
  Speaker 1: first impression, right, yeah yah yeah yeah yeah. So that
• 1:02:19
  Speaker 1: and then her having no agency, no specific desire in
• 1:02:23
  Speaker 1: the story, despite the fact that she's supposed to be
• 1:02:25
  Speaker 1: the protagonist of the movie, the character that we're you know,
• 1:02:28
  Speaker 1: rooting for and plugging ourselves into and all that stuff,
• 1:02:31
  Speaker 1: we have no idea what she wants. We hardly see
• 1:02:34
  Speaker 1: her make any active choices or do anything. Decisions are
• 1:02:38
  Speaker 1: either made for her or she just does fucking nothing
• 1:02:40
  Speaker 1: and just stands by and watches. And then all the
• 1:02:42
  Speaker 1: other female characters are similarly useless. Therefore, one half nipple.
• 1:02:47
  Speaker 1: It belongs to the shiny um golden statue nipple that
• 1:02:52
  Speaker 1: we see in this I just want to draw a parallel.
• 1:02:59
  Speaker 1: But between h Christine meeting the phantom and then meeting
• 1:03:03
  Speaker 1: someone that you met online. He's like talking through the
• 1:03:06
  Speaker 1: wall and she's like he sounds great. He says, oh,
• 1:03:08
  Speaker 1: he's nice. He thinks I'm so pretty, and then you
• 1:03:11
  Speaker 1: meet him. He was like, he's a murderer. Dolls. But
• 1:03:20
  Speaker 1: you know, then you see them, You're like, oh, for
• 1:03:22
  Speaker 1: sure you have a sword collection. For sure, you fucked dolls.
• 1:03:26
  Speaker 1: I don't want to hear about your katanas, sir. That's
• 1:03:31
  Speaker 1: I can think of three different examples of like going
• 1:03:33
  Speaker 1: to a man's house for the first time and being like, Okay,
• 1:03:36
  Speaker 1: there's a sword. I better just see myself out. Yeah,
• 1:03:40
  Speaker 1: hard to pass. I'm gonna. I'm sorry. I'm gonna given
• 1:03:46
  Speaker 1: of the amper two thousand and four dranted my jewel shoemaker.
• 1:03:49
  Speaker 1: Did you give it any more than zero nipples? I'm
• 1:03:51
  Speaker 1: gonna be furious. I'm gonna give it two nipples. I'm
• 1:03:54
  Speaker 1: gonna do it, and I don't. I'm sorry. I'm sorry.
• 1:03:56
  Speaker 1: I'm sorry. First of all, I'm sorry. You know what,
• 1:03:58
  Speaker 1: I'm sorry. I'm not sorry. I'm not sorry because Okay,
• 1:04:05
  Speaker 1: Madame Jerry, especially in this movie, Garbage really like upset
• 1:04:10
  Speaker 1: with her Meg nothing to do, We we don't know. Carlotta,
• 1:04:14
  Speaker 1: I think, is a good character who's mistreated by the story,
• 1:04:19
  Speaker 1: is particularly in this adaptation where she's just receiving abuse
• 1:04:23
  Speaker 1: from angry poor people confusing. Um. So I like Carlotta,
• 1:04:29
  Speaker 1: and I do like I think that Christine sort of
• 1:04:32
  Speaker 1: in this movie in particular, uh and and in the
• 1:04:35
  Speaker 1: stage adaptation, suffers from the same thing that Bella Swan
• 1:04:39
  Speaker 1: suffers from, where she is a very clear figure that
• 1:04:43
  Speaker 1: a young audience can plug themselves into sort of reacts
• 1:04:46
  Speaker 1: to a lot of things, I think, and not too
• 1:04:49
  Speaker 1: dissimilar to a way a teenage girl would. But then
• 1:04:52
  Speaker 1: all the bad things that are happening to her are
• 1:04:54
  Speaker 1: framed as good things, are romantic romanticizes her being like
• 1:04:59
  Speaker 1: just give it, just oh, and even to the abuse
• 1:05:03
  Speaker 1: the first you're gonna want to marry them, you know,
• 1:05:07
  Speaker 1: Like so it sucks to see not realistic, but like
• 1:05:11
  Speaker 1: a clear avatar that people can plug themselves into, have
• 1:05:14
  Speaker 1: all the bad ship that happens to them framed as like,
• 1:05:17
  Speaker 1: oh yeah, I just give up. That's fine. But I'm
• 1:05:21
  Speaker 1: I'm I gotta give it two nipples. I have to,
• 1:05:23
  Speaker 1: I have to. Well, then I take back my happen
• 1:05:26
  Speaker 1: and I'm giving it zero just when we averaged out.
• 1:05:30
  Speaker 1: It's just like worse than so many of the movies
• 1:05:33
  Speaker 1: that we've seen them. That's what I'm thinking. It's like,
• 1:05:35
  Speaker 1: what is the scale here, because if it's not a
• 1:05:37
  Speaker 1: scale of all movies, you know, right where it's like
• 1:05:40
  Speaker 1: there's so many. Maybe I'm biased because I hated this
• 1:05:43
  Speaker 1: movie so much, for sure, but there's like I mean
• 1:05:46
  Speaker 1: I feel like if this movie is zero nipples, then
• 1:05:48
  Speaker 1: Twilight would have to certainly. I think I gave Twilight
• 1:05:51
  Speaker 1: pretty close to zero nipples. I mean we didn't give
• 1:05:53
  Speaker 1: it a lot. I gave Transformers. I think zeros like yeah, yeah,
• 1:05:59
  Speaker 1: that's right. I don't know because like to me, zero
• 1:06:02
  Speaker 1: nimbles would be like Transformers three, you know, like, because
• 1:06:06
  Speaker 1: I'm just like compared to that, I'm like, woit, this
• 1:06:08
  Speaker 1: is pretty good, you guys. I don't know what you're
• 1:06:10
  Speaker 1: talking about because I watched a lot of Transformers, which
• 1:06:14
  Speaker 1: is a great series. Check. Oh yeah, the whole place,
• 1:06:18
  Speaker 1: the whole place my serious about film theory and Transformers
• 1:06:21
  Speaker 1: very good. It's great, lots of lots of things I
• 1:06:23
  Speaker 1: had certainly never thought about it regards to Transformers. Think
• 1:06:26
  Speaker 1: about Transformers a lot. I think on the scale of
• 1:06:31
  Speaker 1: movies we've covered here, it certainly does not do well.
• 1:06:35
  Speaker 1: But I don't know. I mean, I think we're biased
• 1:06:37
  Speaker 1: in opperst directions. I'm certainly biased in wanting to give
• 1:06:40
  Speaker 1: it more nipples than it deserves because I love it.
• 1:06:43
  Speaker 1: Phantom rules. I'm going to see it again. I'll see
• 1:06:45
  Speaker 1: the movie again. I'll see the stage adaptation again. But
• 1:06:48
  Speaker 1: I recognize that, you know, feminist icon Phantom of the Opera.
• 1:06:53
  Speaker 1: I think not no, no, no, no, two nipples. Christine
• 1:06:56
  Speaker 1: gets the nipples right. Yeah again, And for aforementioned reasons
• 1:07:01
  Speaker 1: where if like zero is Transformers three, I'm gonna have
• 1:07:04
  Speaker 1: to go with two and a half for reasons that
• 1:07:06
  Speaker 1: you outlined, Like Karlotta, actually no, I'm gonna go back
• 1:07:10
  Speaker 1: down to two because I feel like stage show, I'd
• 1:07:11
  Speaker 1: give more because Carlotta doesn't receive that and just abuse
• 1:07:14
  Speaker 1: and like is a little more. I mean, there's a
• 1:07:17
  Speaker 1: lot of strange decisions in that. But you know, I
• 1:07:20
  Speaker 1: think the fact that Christine is just sort of like
• 1:07:22
  Speaker 1: a cipher in this or you know, as a huge disservice.
• 1:07:25
  Speaker 1: But at the same time, it's like, man, there's a
• 1:07:27
  Speaker 1: lot of really bad representations out there on the grand scheme.
• 1:07:31
  Speaker 1: I'm like, it's better than Twilight. It is better than
• 1:07:34
  Speaker 1: a Twilight. I don't know. I think it's about around
• 1:07:36
  Speaker 1: the same. Really. I feel like that ending though, because
• 1:07:40
  Speaker 1: like she she ends up with Edward, she does not
• 1:07:43
  Speaker 1: end up with the Phantom, right right, But then she
• 1:07:45
  Speaker 1: ends up with Raoul, who had also been gaslighting her
• 1:07:48
  Speaker 1: and like being all weird, and he's like, you're a woman,
• 1:07:50
  Speaker 1: so I need to protect you. And also there is
• 1:07:52
  Speaker 1: no Phantom of the Opera, you're crazy. But also the man.
• 1:07:55
  Speaker 1: Give the man some room to you know, be wrong.
• 1:07:58
  Speaker 1: He can't be perfect and have room to grow. It
• 1:08:01
  Speaker 1: changes my view of Rowl a little bit. That they're
• 1:08:03
  Speaker 1: supposed to be the same age. I think that that's
• 1:08:05
  Speaker 1: another sort of thing that is almost never true in
• 1:08:08
  Speaker 1: the stage version or and certainly not in the movie version,
• 1:08:11
  Speaker 1: where they never appear to be the same age. In reality,
• 1:08:15
  Speaker 1: if they are, you know, suspend your disbelief. Patrick Wilson
• 1:08:18
  Speaker 1: an Emmy rosmore the same age. Sure that makes role
• 1:08:22
  Speaker 1: a little more palatable. I mean I still don't like
• 1:08:24
  Speaker 1: the character. And yeah, because like there's no there is
• 1:08:27
  Speaker 1: no role fandom in the grand like everyone, there's no
• 1:08:30
  Speaker 1: team role. There's it's funny. Well, gang, that was a
• 1:08:34
  Speaker 1: fan of the opera episode. I hope you liked it.
• 1:08:38
  Speaker 1: I am so glad we did it. Yeah, I really
• 1:08:42
  Speaker 1: thank you for joining us, thank you for having me,
• 1:08:45
  Speaker 1: and of all the topics, I'm glad it was this one.
• 1:08:49
  Speaker 1: And where where can people find you online? Well, I
• 1:08:52
  Speaker 1: like on YouTube, it's my name on YouTube is just
• 1:08:55
  Speaker 1: my name is Lindsay Ellis. You can also find me
• 1:08:57
  Speaker 1: on Twitter at at the Lindsay Ellis awesome. Yeah, you
• 1:09:01
  Speaker 1: can follow us on all the platforms Twitter, Instagram, Facebook,
• 1:09:05
  Speaker 1: everything at Bechtel Cast. You can donate to our Patreon.
• 1:09:11
  Speaker 1: If you do, it's five dollars a month and you
• 1:09:13
  Speaker 1: get to bonus episodes a month of the podcast. Yeah,
• 1:09:17
  Speaker 1: you can go to patreon dot com slash becktel Cast
• 1:09:19
  Speaker 1: to do that. We strongly encourage it because it helps
• 1:09:23
  Speaker 1: with our production costs and then we have great bonus
• 1:09:25
  Speaker 1: episodes for you guys, the fans with pH I love it.
• 1:09:33
  Speaker 1: I love it. Also, you should go to our live show. God,
• 1:09:39
  Speaker 1: oh my words, oh heavens to Betsy. Wait, what is
• 1:09:44
  Speaker 1: Kathy Bates and stripes? God, almighty, God, Ald God Almight.
• 1:09:53
  Speaker 1: What we're trying to say is that we have a
• 1:09:56
  Speaker 1: live show in Los Angeles. We sure do at the
• 1:10:01
  Speaker 1: Nerdus Showroom at Mailtdown Comics. Yeah, we're sitting on top
• 1:10:05
  Speaker 1: of it right now. It's on Saturday, December two at
• 1:10:10
  Speaker 1: seven pm. Yes, we have a guest. Her name is
• 1:10:14
  Speaker 1: Debora di Giovanni. You know where you love her. She's
• 1:10:16
  Speaker 1: one of our most popular episodes of all time. Love actually,
• 1:10:19
  Speaker 1: but this time we're talking with her about Die High,
• 1:10:25
  Speaker 1: a Christmas movie that's dripping with masculinity. Oh, we cannot
• 1:10:29
  Speaker 1: wait to and scream. So if you're in so cow Baby,
• 1:10:34
  Speaker 1: check it out. Can't say baby, dude, it's so cowed
• 1:10:39
  Speaker 1: baby rock on surfers and also longboards. Yeah, that's what
• 1:10:45
  Speaker 1: they say every time they talk about the area we
• 1:10:49
  Speaker 1: call a so cow Baby. So if you're there in
• 1:10:53
  Speaker 1: that area, please come to our live show. Um tickets
• 1:10:57
  Speaker 1: only ten dollars, and if you do come bring some
• 1:11:00
  Speaker 1: feminine hygiene products because We're going to donate them to
• 1:11:04
  Speaker 1: an organization called Project Caged Birds. They do a lot
• 1:11:08
  Speaker 1: of help with like victim advocacy of intimate partner abuse,
• 1:11:13
  Speaker 1: So we love that organization. So please, yes, bring something
• 1:11:16
  Speaker 1: with you and come to the goddamn show. You're gonna
• 1:11:18
  Speaker 1: have a blast. It's gonna be We've got a special,
• 1:11:20
  Speaker 1: we've got a lot of treats planned treats. You might
• 1:11:23
  Speaker 1: get a free movie ticket out of it. Not to
• 1:11:25
  Speaker 1: spoil anything, but we talked about it yesterday and this
• 1:11:28
  Speaker 1: time we made a plan. So hot brags we are.
• 1:11:34
  Speaker 1: We're trying up here. We're prepared. Can't wait to try
• 1:11:39
  Speaker 1: up your Season two Saturday, December second. Yeah, see the
• 1:11:44
  Speaker 1: fine