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Pulp Fiction with Jake Weisman · The Bechdel Cast

• 0:00
  Speaker 1: On the beck Dol Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in them, are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands or do they have individualism? The patriarchy? Zef
• 0:11
  Speaker 1: invest start changing it with the Bedel Cast. Hello, welcome
• 0:16
  Speaker 1: to the Bechtel Cast. My name is Jamie, my name's Caitlin,
• 0:19
  Speaker 1: and this is our podcast of where we talk about
• 0:21
  Speaker 1: women in the movies. Yeah, that is exactly what it is,
• 0:24
  Speaker 1: and it's inspired by the Bechtel Test. You're not familiar
• 0:28
  Speaker 1: with that. It's yeah, throw yourself into a river, you'd
• 0:32
  Speaker 1: walk out the travel or or you can just learn
• 0:36
  Speaker 1: from us, because we're about to tell you that it's
• 0:37
  Speaker 1: a test that you apply to movies that requires that
• 0:41
  Speaker 1: there are two female characters. They speak to each other,
• 0:44
  Speaker 1: they have names, and their conversation cannot be about a man.
• 0:47
  Speaker 1: Do you want to do a demo really quick? I'd
• 0:49
  Speaker 1: love to. Okay, So here's an example of anything fast
• 0:52
  Speaker 1: the Bechtel test, Caitlin. Do you think that Meryl Streep
• 0:57
  Speaker 1: is happy? Jay? Me? I what is happiness? You know? Who?
• 1:03
  Speaker 1: Who am I to say whether or not Meryl Street
• 1:06
  Speaker 1: is happy? Meryl? Who? What did I say? Meryl Street
• 1:16
  Speaker 1: So that's an example of it past the Bactel test
• 1:19
  Speaker 1: because we didn't talk about a man. We talked about
• 1:21
  Speaker 1: a steamed actress, Meryl Street. But what if Meryl Street
• 1:25
  Speaker 1: is a man and I sucked it up? No, it's wrong.
• 1:28
  Speaker 1: There's she's well, Meryl Streep is a woman. We don't
• 1:33
  Speaker 1: know how they identify, right, we want to put Meryl
• 1:37
  Speaker 1: Street in the box. I wonder if Meryl Street is
• 1:40
  Speaker 1: seen Doubt. When are we gonna do a Doubt episode? Soon? Soon? Anyway?
• 1:46
  Speaker 1: So yeah, let's pretend that Meryl Street is a woman,
• 1:50
  Speaker 1: and the conversation definitely passed the Bectel tests. I've got
• 1:53
  Speaker 1: I'm about to break the Bantele test. I've got a
• 1:55
  Speaker 1: Mike's Harder lemonade in blood orange today. Yeah, it tastes
• 2:00
  Speaker 1: like tang with trash in it. It's good. It's good though,
• 2:05
  Speaker 1: it's good. Hey, do you want to have an episode?
• 2:07
  Speaker 1: I'd love to. Let's have an episode. Okay, let's introduce
• 2:10
  Speaker 1: our guest. He is a co creator and co star
• 2:14
  Speaker 1: of the upcoming show Corporate on Comedy Central. It's so good.
• 2:19
  Speaker 1: You can watch the first four ups. Now. It's Jake Wiseman.
• 2:27
  Speaker 1: Oh not too much. How about you loving the Meryl
• 2:29
  Speaker 1: Street stuff? Giggle a live stifle. If you're out there,
• 2:38
  Speaker 1: Meryl Street, find me on Twitter. Let's be friends. We'll
• 2:43
  Speaker 1: send you something. We don't have any merchandise to send
• 2:45
  Speaker 1: you something, it doesn't matter. We've got to get merch
• 2:48
  Speaker 1: I still have my hamsters corps in the freezer. I'll
• 2:50
  Speaker 1: send you that. Does anyone want that? Yeah, I've been
• 2:53
  Speaker 1: I've actually been struggling with what to do with it.
• 2:55
  Speaker 1: How often do you touch it once a day just
• 2:58
  Speaker 1: to check it? But it's in the But it's in
• 3:00
  Speaker 1: a bag, right, It's in a ball in a bag,
• 3:02
  Speaker 1: in a freezer, in a ball like a hamster ball. Oh,
• 3:06
  Speaker 1: it's in a ball in a bag, in a bag.
• 3:08
  Speaker 1: So that my roommates don't see that there's a hamster
• 3:11
  Speaker 1: corps in the freezer. Do they listen to this podcast? No?
• 3:15
  Speaker 1: I certainly don't. So now I have to design. I'm
• 3:18
  Speaker 1: torn between taxidermy and Hollywood Forever Cemetery. And I've been
• 3:23
  Speaker 1: putting it off for almost three weeks now, and I
• 3:27
  Speaker 1: don't know how much how long you can keep a
• 3:29
  Speaker 1: corpse in your freezer. Well, from experience, I'd say up
• 3:33
  Speaker 1: to a kidding. I don't know. No, I was really
• 3:39
  Speaker 1: on board for taxidermy, but then now now I don't
• 3:41
  Speaker 1: want my hamsters passing to be a joke. I loved her.
• 3:45
  Speaker 1: I kind of want to just bury her next to
• 3:46
  Speaker 1: Jea Jacobar, like my original plan with so what are
• 3:49
  Speaker 1: you gonna Are you gonna pay to bury? You're just
• 3:50
  Speaker 1: gonna go in there and just do it. Yeah, I
• 3:52
  Speaker 1: just need to find someone to go with me, and
• 3:55
  Speaker 1: I'll bring like a spoon and then just burrier somewhere
• 3:59
  Speaker 1: I'll go. Yeah, okay, come with fun. I think I'm busy,
• 4:02
  Speaker 1: but it sounds great. They're believable. No time specified. Okay, fine,
• 4:07
  Speaker 1: so what what are we? What's the podcast? We're talking
• 4:11
  Speaker 1: today about pulp fiction? This is wait, this is the
• 4:14
  Speaker 1: second was the first one you did? We did Kill Bill?
• 4:19
  Speaker 1: That was our first episode ever. Okay, yeah, alright, well
• 4:21
  Speaker 1: a woman is the lead of that. Yes, so this
• 4:24
  Speaker 1: is different. This is a little bit different. Tell us
• 4:27
  Speaker 1: when you first saw this or what your history with
• 4:29
  Speaker 1: this movie is. I think this movie came out If
• 4:32
  Speaker 1: I believe and so, I would have been eleven. I
• 4:34
  Speaker 1: do remember specifically when it came out. It was all
• 4:36
  Speaker 1: the rage. It was. It was a phenomenon. I remember
• 4:39
  Speaker 1: wanting to see it so badly and just pestering my
• 4:41
  Speaker 1: dad to see it, and he had already seen it.
• 4:43
  Speaker 1: Was everyone. I was talking about how great it was,
• 4:46
  Speaker 1: and he's like, we're going to the movies, but we
• 4:48
  Speaker 1: can't see pulp fiction. You're too young to see it.
• 4:50
  Speaker 1: We're going to see Nobody's Fool instead. Now Nobody's Fool
• 4:52
  Speaker 1: as a film starring Paul Newman and Melanie Griffith, and um,
• 4:56
  Speaker 1: I've seen it. It actually is a good movie. But
• 4:58
  Speaker 1: I was such a brat. I was an eleven year
• 5:00
  Speaker 1: year old prick and I was like, no, it's not fair.
• 5:02
  Speaker 1: You're not gonna let me see pulp fiction. I'm adult enough.
• 5:05
  Speaker 1: And I remember he took me to the He's like,
• 5:06
  Speaker 1: come on, we're going to the movies, and I was
• 5:08
  Speaker 1: in the backseat just whining. And we got to the
• 5:12
  Speaker 1: window and one of the best moments of my life.
• 5:14
  Speaker 1: I remember vividly, he goes to for pulp fiction and
• 5:16
  Speaker 1: I was like, oh my god, amazing long play. Now
• 5:20
  Speaker 1: here's the thing. I was definitely too young to see it,
• 5:22
  Speaker 1: and he made a mistake. He's a bad dad, and
• 5:27
  Speaker 1: that's why I'm so fucked up. But it was cool
• 5:29
  Speaker 1: to see it because it was so like, it was
• 5:31
  Speaker 1: such an incendiary movie. It changed filmmaking, it changed everything.
• 5:36
  Speaker 1: So that was my like, I do remember that moment,
• 5:39
  Speaker 1: and I've seen it, I think a hundred times. I
• 5:41
  Speaker 1: mean everyone's seen it a million times. It's just always on,
• 5:43
  Speaker 1: it's always talked about. It's like a cultural touchdown. Everyone's
• 5:46
  Speaker 1: trying to rip it off ever since it was like
• 5:48
  Speaker 1: fifty pulp fiction posters in any given college dorm building.
• 5:53
  Speaker 1: One of the issues with like a movie like that,
• 5:55
  Speaker 1: whether you let's say you love it, if you love
• 5:58
  Speaker 1: like a movie and it changes everything, the problem though,
• 6:00
  Speaker 1: is then every movie for the next twenty years is
• 6:02
  Speaker 1: a knockoff of that movie and it sucks. So that's
• 6:05
  Speaker 1: like the real problem with changing the game is just
• 6:07
  Speaker 1: like no one else can do it, but they're gonna
• 6:09
  Speaker 1: do it, and so that's annoying. Was that your first
• 6:12
  Speaker 1: rate at our movie? I don't think so. I like
• 6:14
  Speaker 1: kind of grew up fast Chott web six um and
• 6:21
  Speaker 1: just kind of every I've seen everything, I only watch our,
• 6:24
  Speaker 1: I've only seen ours. Wild that you probably saw The
• 6:29
  Speaker 1: Lion King and pulp fiction Yeah, I think I saw
• 6:33
  Speaker 1: what was the space Jam around that time. Yeah, I
• 6:35
  Speaker 1: mean fiction, it's brutal, like in rewatching it last night
• 6:39
  Speaker 1: just for this podcast, Like, oh this is this is insane,
• 6:43
  Speaker 1: this should be X. I think like this is like
• 6:45
  Speaker 1: a crazy thing. How could you explain this to anyone? Well,
• 6:49
  Speaker 1: the thing I feel like if a movie is rated
• 6:52
  Speaker 1: like n C seventeen or whatever, that's what you mean
• 6:54
  Speaker 1: by like I'm so old, I call it X. It
• 6:58
  Speaker 1: still sounds cooler. There's like bring back X. I feel
• 7:01
  Speaker 1: like a lot of X rated movies are rated that
• 7:04
  Speaker 1: way because there's some sort of there's like graphics sex
• 7:08
  Speaker 1: but usually not like hetero sex, a lot of well
• 7:11
  Speaker 1: and and just the idea that sex is like more
• 7:14
  Speaker 1: upsetting than violence. It's just like, what are we talking about? There?
• 7:18
  Speaker 1: There were on this view and because I haven't seen
• 7:20
  Speaker 1: this movie in a couple of years, there were entire large,
• 7:23
  Speaker 1: disturbing sections of this movie that I had totally forgotten about.
• 7:28
  Speaker 1: I had completely forgotten about the extended rape plot. Yeah,
• 7:33
  Speaker 1: with Marcela's who completely forgotten about it? Yeah, that was
• 7:37
  Speaker 1: jarring fully awake. Speaking of this movie, getting ripped off me,
• 7:42
  Speaker 1: I tell you about a student film that I made
• 7:44
  Speaker 1: that basically ripped off of pulp fiction. Yes please. It's
• 7:48
  Speaker 1: a roughly seven minutes short called Exchange centers around a
• 7:52
  Speaker 1: twenty dollar bill that has like an X marker, like
• 7:54
  Speaker 1: someone wrote an X with marker on the twenty dollar bill,
• 7:58
  Speaker 1: and it follows among all these different characters who each
• 8:01
  Speaker 1: have a certain vice, Like the one guy is like
• 8:04
  Speaker 1: a drug addict. They like roll it up and they
• 8:05
  Speaker 1: like use the twin dollar bill to snort cocaine. Another
• 8:09
  Speaker 1: one is like a gambling person or like a cheater.
• 8:13
  Speaker 1: I forget. Is it all the same dollar bill? Yes? Yeah,
• 8:17
  Speaker 1: but it connects all these characters and things like happen
• 8:19
  Speaker 1: out of chronological order. And I was just like, I'm
• 8:22
  Speaker 1: so fucking brilliant. You guys are making this stupid. Yeah,
• 8:25
  Speaker 1: I have not seen it in many years. I would
• 8:27
  Speaker 1: imagine it. We find it? Can we find? The director's
• 8:32
  Speaker 1: cut is on available for purchase on Amazon. Um No,
• 8:36
  Speaker 1: I have not put it on YouTube or anything like that.
• 8:38
  Speaker 1: I'm far too embarrassed for that. Got there's so much
• 8:42
  Speaker 1: embarrassing stuff just like buried out there. I have an
• 8:44
  Speaker 1: e book somewhere out there. It sucks that, like the
• 8:47
  Speaker 1: only way to do it now is to just be
• 8:50
  Speaker 1: so horrible in public and then you maybe get a
• 8:52
  Speaker 1: chance ten years later to do something good. Like that's
• 8:54
  Speaker 1: the only way to do anything is to be horrible,
• 8:57
  Speaker 1: but but for some reason need the validation and not
• 9:00
  Speaker 1: cared too much about the shame in an effort to
• 9:02
  Speaker 1: one day know what you're doing. But it's like horrible,
• 9:05
  Speaker 1: and all your horribleness is fully archived for the world
• 9:08
  Speaker 1: to kind when you get good at something. Yeah, I think,
• 9:11
  Speaker 1: Like I think also it's weird because I think a
• 9:13
  Speaker 1: large part of especially with filmmakers, there's this myth around
• 9:16
  Speaker 1: a lot of like male filmmakers like Kubrick and stuff,
• 9:19
  Speaker 1: where it's like they're perfect. That's not true. They just
• 9:22
  Speaker 1: didn't have YouTube, so they weren't like uploading the shitty
• 9:26
  Speaker 1: fucking student films they did. They were burning the negatives
• 9:30
  Speaker 1: of the stuffs that sucked and then only putting up
• 9:32
  Speaker 1: the stuff that worked, you know what I mean. And
• 9:34
  Speaker 1: now there's less of a myth. It's a lot of
• 9:36
  Speaker 1: just like, yeah, just be shitty and figure it out eventually,
• 9:39
  Speaker 1: Like that's what it is. Wouldn't it be amazing if
• 9:41
  Speaker 1: we had the option and like a filmography thing for
• 9:44
  Speaker 1: something to be parentheses lost, because that's like, yeah, that's
• 9:48
  Speaker 1: like the first couple of years of so many famous directors.
• 9:50
  Speaker 1: They're like, oh, we don't we don't know it's done.
• 9:52
  Speaker 1: It's like it probably was just bad and someone disposed
• 9:56
  Speaker 1: of it. If only that were an option. Well, I
• 9:58
  Speaker 1: definitely take down all my old danda videos of like
• 10:01
  Speaker 1: really dumb shout I've said, and fully there be found anyway.
• 10:06
  Speaker 1: So um, let's do it. Jamie. You've seen this movie
• 10:10
  Speaker 1: once before. What's your history with it. I've seen this movie.
• 10:12
  Speaker 1: I think this was maybe my third time seeing it.
• 10:16
  Speaker 1: I don't know. I mean, I'm late to every movie.
• 10:19
  Speaker 1: I've seen doubt five hundred times in every other movie once. Um,
• 10:24
  Speaker 1: I saw this movie in I want to say, maybe
• 10:26
  Speaker 1: late high school with some friends and everyone thought was
• 10:30
  Speaker 1: so fucking cool. And then I saw it again in college,
• 10:32
  Speaker 1: same deal. And I saw it last night and this
• 10:35
  Speaker 1: is like, I like this movie. I don't have any
• 10:38
  Speaker 1: particular attachment to it, but I like it. Sure. Yeah, yeah,
• 10:41
  Speaker 1: I saw it for the first time I think in
• 10:43
  Speaker 1: high school as well. I remember going to the video
• 10:46
  Speaker 1: store and being like, there are certain movies that I
• 10:49
  Speaker 1: just need to see because I was like, I'm going
• 10:51
  Speaker 1: to be a film major, I have to have seen
• 10:53
  Speaker 1: these movies. And I went and I rented Fargo, Pulp Fiction,
• 10:57
  Speaker 1: and The Princess Bride, three movies I had never seen before,
• 10:59
  Speaker 1: and I watched them. I was like, yeah, that was
• 11:01
  Speaker 1: like they were right, these movies are pretty good. Who's they?
• 11:07
  Speaker 1: You know? They? It was listical on the Guardian dot com.
• 11:11
  Speaker 1: There was one point where, Yeah, I would just like
• 11:13
  Speaker 1: look up lists that people I had heard of had
• 11:16
  Speaker 1: like made of things that they liked. I'm like, well,
• 11:18
  Speaker 1: I'll just go look at that and then spiral out
• 11:21
  Speaker 1: from there, which is like a misguided but sort of
• 11:24
  Speaker 1: effective way when you're very young to I think it's
• 11:27
  Speaker 1: a great way to do it. Yeah. I think it's
• 11:28
  Speaker 1: like the only I feel like everything I read or
• 11:31
  Speaker 1: watch is just interviews with people who make stuff. They're
• 11:34
  Speaker 1: also do that. Yeah, like that's kind of it. Like
• 11:37
  Speaker 1: I don't really know how else to do it because
• 11:38
  Speaker 1: I don't trust. I think sometimes when you take opinions
• 11:41
  Speaker 1: from good friends, there's a real danger there because a
• 11:44
  Speaker 1: lot of people that are smart have terrible taste, Like
• 11:47
  Speaker 1: they're just not not smart about entertainment, and you're like,
• 11:50
  Speaker 1: once you know what they like, Like, I'm having a
• 11:52
  Speaker 1: personal problem with people liking three billboards outside having Missouri,
• 11:56
  Speaker 1: and it's so horrible and I'm losing friendships. Like like
• 12:00
  Speaker 1: it's like I don't I don't want to know what
• 12:01
  Speaker 1: friends like. I just want to know what the cool
• 12:03
  Speaker 1: people like and then I then at least I will
• 12:05
  Speaker 1: be hurt when we disagree. You know, feel free to
• 12:08
  Speaker 1: go on your three boboard tiraded and we can talk
• 12:10
  Speaker 1: about that there. Yeah. I mean, my whole, like my
• 12:15
  Speaker 1: whole formative years were writing down anything that was mentioned
• 12:19
  Speaker 1: in this series of Unfortunate events books and then just
• 12:22
  Speaker 1: going to locate them. But it was actually very helpful,
• 12:25
  Speaker 1: and I like found out a lot of stuff that
• 12:27
  Speaker 1: I like and know about now because of those those
• 12:30
  Speaker 1: little books. All right, that's good. How cute? I like
• 12:32
  Speaker 1: those better than pulp fiction. Okay, sure, I'm gonna go home.
• 12:38
  Speaker 1: How would I do a recap of I'll fiction Caitlyn's recap.
• 12:44
  Speaker 1: So this is a movie in which the events do
• 12:46
  Speaker 1: not happen in chronological order. Are all this thing happens,
• 12:50
  Speaker 1: and then this thing happens, But then we flash it's
• 12:52
  Speaker 1: a whole thing, so bear in mind. So we start
• 12:55
  Speaker 1: out on a couple who are in a dire and die.
• 12:58
  Speaker 1: I cannot fucking talk to them to die. Meryl Street
• 13:02
  Speaker 1: is on Diner Street, so the movie diner Um. So
• 13:08
  Speaker 1: they're in a diner and they announced this is a robbery.
• 13:13
  Speaker 1: Then we cut to John, Hey, guys, actually this is
• 13:19
  Speaker 1: a robber, Actually a robbery. I know you thought I
• 13:23
  Speaker 1: know you though, you're just like dancing up PoCA. The
• 13:26
  Speaker 1: guns are real and we want you. We're still going
• 13:29
  Speaker 1: to pay for the meal, Okay. So then we cut
• 13:35
  Speaker 1: to John Travolta and Samuel and Jackson and they're talking
• 13:38
  Speaker 1: about Royal's with cheese. They're chatting, they're having a conversation. Yeah,
• 13:44
  Speaker 1: they're like, Wow, six minutes of dialogue equals revolutionary, pretty
• 13:49
  Speaker 1: amazing stuff. So they go to these people's apartment on
• 13:51
  Speaker 1: behalf of their boss, Marcellus Wallace, who is some sort
• 13:56
  Speaker 1: of organized crime mobster type of st bad element, right,
• 14:01
  Speaker 1: and they're there to collect a briefcase that's full of
• 14:05
  Speaker 1: light bobs. We don't know it's a mcguffin, And they
• 14:09
  Speaker 1: are trying to get the briefcase from these people who
• 14:11
  Speaker 1: have totally fucked over Marcella's Wallace, and then um John
• 14:14
  Speaker 1: Travolta and Samuel Jackson, whose character's names are Vincent Vega
• 14:19
  Speaker 1: and Jules win Field went Street win Street, Uh, they
• 14:27
  Speaker 1: shoot them up, and then we meet Butch played by
• 14:29
  Speaker 1: Bruce Willis. He's a boxer. We meet Marcella's Wallace and
• 14:32
  Speaker 1: he's like he basically gives him money to fix a fight.
• 14:36
  Speaker 1: And then this is a fun scene because Vincy Vega
• 14:39
  Speaker 1: and Jules wind Field slash wind Street show up in
• 14:42
  Speaker 1: different clothes when we saw them in before, and we're like,
• 14:44
  Speaker 1: what is this all about? Like, wait, is this perhaps
• 14:47
  Speaker 1: non linear? Oh my god? The phone. Then vince Vega
• 14:52
  Speaker 1: goes and buys heroin from Eric Stolt's. Then he takes
• 14:55
  Speaker 1: me and Wallace pretty straight. That part was just a documentary.
• 15:06
  Speaker 1: It's just bad writing. He got yeah, he got let
• 15:09
  Speaker 1: go of Back to the Future. He was the original dude.
• 15:12
  Speaker 1: He was supposed to be Marty McFly and they shot
• 15:14
  Speaker 1: most of the movie with him, and then he got
• 15:16
  Speaker 1: recast because he just he was just serious. He was
• 15:21
  Speaker 1: and you just shouldn't do that. He succeeded too hard.
• 15:23
  Speaker 1: People were threatened. So then Vincent Vega takes out Mia
• 15:28
  Speaker 1: Wallace played by Uma Thurman, which is Marcellis Wallace takes
• 15:32
  Speaker 1: out literally takes out for fun, for fun, not in
• 15:35
  Speaker 1: a murdering way. They go out dancing, They go to dinner,
• 15:39
  Speaker 1: it's a great time. They go back to her house.
• 15:43
  Speaker 1: She finds the heroine that he had bought in his pocket.
• 15:46
  Speaker 1: She starts at thinking it is cocaine. Then she o
• 15:50
  Speaker 1: d s and he has to go deal with that.
• 15:51
  Speaker 1: They go back to Eric Stoltz's house and she gets
• 15:54
  Speaker 1: an adrenaline shot. Then we cut to young Butch receiving
• 15:59
  Speaker 1: him but maybe that's my SoundCloud wrapper name. He receives
• 16:06
  Speaker 1: his dad's watch from Christopher Walking. He's like, your dad
• 16:10
  Speaker 1: hit this up his asshole for five years and now
• 16:12
  Speaker 1: I'm giving it to you, which is a great plot.
• 16:15
  Speaker 1: The whole time we were watching Chris Walking in this movie,
• 16:19
  Speaker 1: which he first of all made fun of me for
• 16:20
  Speaker 1: calling him Chris Walking. Yeah, Christie, it was actually goes
• 16:24
  Speaker 1: by Christie. Is he Chris Walking down the street? Christie?
• 16:29
  Speaker 1: He's yeah in Meryl Street. Okay. I was like, wait,
• 16:33
  Speaker 1: where are we connecting it? Um? I was just thinking
• 16:36
  Speaker 1: about his his scene in Julie the whole time I
• 16:38
  Speaker 1: was watching his scene. How many movies is Christopher walking in?
• 16:42
  Speaker 1: For exactly one scene? And actually the only two movies
• 16:48
  Speaker 1: he's ever been in. He's never been in any other movies.
• 16:50
  Speaker 1: Try to think of another one. Can you tell me things?
• 16:52
  Speaker 1: I believe it? It's not good there go back and
• 16:58
  Speaker 1: rewatch Christopher walkin scene and Julie he doesn't. She has
• 17:02
  Speaker 1: no idea he's in the movie. He thinks he's just
• 17:05
  Speaker 1: a visiting. They're just like, hey, do you want to
• 17:08
  Speaker 1: just talk to ben Affleck for like four minutes? And
• 17:12
  Speaker 1: he does. He's holding a cup from Crafty. He's holding
• 17:16
  Speaker 1: like a cup with a pattern on it, and he's
• 17:19
  Speaker 1: just in a suit. And it's like he thinks he's visiting.
• 17:22
  Speaker 1: He doesn't know he's he's never heard of that movie before.
• 17:25
  Speaker 1: No one has what happened to Natalie? Would Christopher walkin?
• 17:28
  Speaker 1: Tell us? He knows? He definitely huh, Anyway, what's happening
• 17:36
  Speaker 1: in the movie. So then we flash forward to adult Butch,
• 17:40
  Speaker 1: which is my rapper name, and were again old Butch
• 17:47
  Speaker 1: is a pretty good name. But closes at the show, Yeah,
• 17:51
  Speaker 1: I have an uncle away, I've talked about every time
• 17:53
  Speaker 1: I talk about my uncle Butch on the show, you
• 17:55
  Speaker 1: edit it out because he's a criminal. He's a con artist,
• 17:59
  Speaker 1: shot out to my con artist uncle. But okay. So
• 18:04
  Speaker 1: then in the next scene, we flash forward to adult
• 18:07
  Speaker 1: Butch and it's right after his boxing match and he
• 18:11
  Speaker 1: has not fixed the match like he promised he would.
• 18:14
  Speaker 1: He instead kills his opponent and he's fine with it,
• 18:17
  Speaker 1: and he runs away and he gets in this cab
• 18:19
  Speaker 1: where this woman's like, tell me what it's like to
• 18:22
  Speaker 1: kill a man? As Morelda, right, that's her name, feminist
• 18:29
  Speaker 1: icon as Morelda, because all she wants to all she
• 18:31
  Speaker 1: cares about is what it's like to kill men. Yeah,
• 18:34
  Speaker 1: I am on board, and it's like, yeah, go for it.
• 18:37
  Speaker 1: Find out, just turn back and snap Bruce's neck. Figure
• 18:41
  Speaker 1: it out. So then Butch goes to his girlfriend and
• 18:46
  Speaker 1: they ready to run away, but she's like, funk, I
• 18:48
  Speaker 1: forgot your watch and he's like, you stupid bitch, how
• 18:51
  Speaker 1: could you forget my father's watch? He flips it tastes
• 18:55
  Speaker 1: like you forgot the ass watch and he's mad. So um.
• 18:59
  Speaker 1: He goes by to his apartment, but Vincent Vegas, they're
• 19:02
  Speaker 1: ready to kill him and he finds his gun and
• 19:05
  Speaker 1: he shoots Vincent, and Vincent is dead now, and we're like,
• 19:09
  Speaker 1: wait a second, is this linear? Are we gonna see
• 19:13
  Speaker 1: this guy? What? I don't know? Then Bot runs into
• 19:17
  Speaker 1: Marcella's Wallace, who he had just fucked over for not
• 19:20
  Speaker 1: fixing the fight, and then they have this whole fight
• 19:23
  Speaker 1: where they like you like, runs Marcella's over with a car.
• 19:27
  Speaker 1: They end up in a pawn shop. Kathy Griffin is
• 19:30
  Speaker 1: did you see the Kathy Griffin fami? I'm sorry, but
• 19:33
  Speaker 1: when he when Marcellus Wallace wakes up and all the
• 19:36
  Speaker 1: like people are there with the person who talked to him,
• 19:39
  Speaker 1: is Kathy Griffin? Really? Yeah? The red haired help me.
• 19:44
  Speaker 1: He was crazy. It was over there all testified for you.
• 19:47
  Speaker 1: That's Kathy Griffin. Wow. Wow, I'm altered. That's excited. Didn't
• 19:53
  Speaker 1: mean interrupt, but that's a very Oh. I gotta find
• 19:56
  Speaker 1: that screenshot post haste. So they end up in a
• 20:00
  Speaker 1: pawn shop, bunch of Marcelli's and they're like scuffling, and
• 20:04
  Speaker 1: the pawn shop owners like, hang on a minute, let
• 20:06
  Speaker 1: me take you down to this sex dungeon. Sorry, we
• 20:09
  Speaker 1: were just looking at a screen again. That's quite all right,
• 20:11
  Speaker 1: I was just talking about a sex dungeon. So she
• 20:14
  Speaker 1: looks great. So this cop shows up. He gets a
• 20:19
  Speaker 1: gimp out of a cage and they're like, okay, time
• 20:23
  Speaker 1: for me to rape you. And then they that's my
• 20:29
  Speaker 1: new race. When you said that, I saw it as
• 20:36
  Speaker 1: time than the number four me the number two rape you.
• 20:43
  Speaker 1: That's how I thought it was a fully green, classic
• 20:49
  Speaker 1: green not to make light of rape. Okay, So buch
• 20:54
  Speaker 1: of Marcella's get all tied up. Marcella's gets raped by
• 20:57
  Speaker 1: this horrible rapist cop and then Butch is like, actually,
• 21:01
  Speaker 1: I'm going to fight my way out of this. So
• 21:02
  Speaker 1: he undoes his bondage. He has a sword, does he not?
• 21:06
  Speaker 1: He goes up because he's about to lead, punches the gimp.
• 21:09
  Speaker 1: He runs away and he's like, wait a minute, I
• 21:13
  Speaker 1: can't just let Marcellus suffer this horrible fate. So he
• 21:17
  Speaker 1: gets a sword from the punch up, goes back downstairs,
• 21:21
  Speaker 1: slices people up, fights for the cop, gets his dick
• 21:25
  Speaker 1: shot off in my favorite scene in the movie, and
• 21:28
  Speaker 1: then Marcellis and Butcher like we're cool. Then we cut
• 21:33
  Speaker 1: to Vincent and Juels at the apartment that we saw
• 21:37
  Speaker 1: them at before. Whoa this hoff? It's sure, isn't. This
• 21:44
  Speaker 1: isn't what I'm used to. So right another person who
• 21:48
  Speaker 1: he had not seen before comes out shoots at them
• 21:50
  Speaker 1: but misses, and then Jules has this like religious experience
• 21:54
  Speaker 1: where he's like, Wow, what a miracle. I'm going to
• 21:55
  Speaker 1: leave this life of organized crime and just like be
• 22:00
  Speaker 1: a nice boy. And then they take this guy Marvin
• 22:05
  Speaker 1: with I'm going to leave this life of organized crime
• 22:08
  Speaker 1: and be a nice boy. My name is Jules. So
• 22:15
  Speaker 1: they take this guy Marvin with him there in the car.
• 22:18
  Speaker 1: What if we made every person who had committed a
• 22:21
  Speaker 1: crime say, in a court of a lot, I'm going
• 22:24
  Speaker 1: to be a nice boy now. I know I missed up,
• 22:29
  Speaker 1: but I'm going to be a nice boy. Now a
• 22:32
  Speaker 1: girl or turn a non binary person, you know, all
• 22:38
  Speaker 1: everyone has to say nice boy. Okay. So they take
• 22:44
  Speaker 1: this guy Marvin who was at the apartment with them,
• 22:46
  Speaker 1: and because I guess they're all pals, and then Vincent
• 22:48
  Speaker 1: accidentally blows his head off with his gun. So then
• 22:51
  Speaker 1: they have to go to this guy Jimmy's house played
• 22:54
  Speaker 1: by our good friend Quentin Tarantino. I'm going to second
• 22:57
  Speaker 1: Quentin Tarantino, and then they call this guy Winston Wolf
• 23:02
  Speaker 1: Harvey Kitel and they're like, help us clean this up.
• 23:06
  Speaker 1: And they're like covered in blood from cleaning out the
• 23:08
  Speaker 1: all the crap out of the car. Then they have
• 23:10
  Speaker 1: to put on these different clothes. Whoa, those are the
• 23:12
  Speaker 1: clothes we saw them in a scene earlier in the
• 23:14
  Speaker 1: movie what And then Jules and Vincent go to a
• 23:17
  Speaker 1: diner for breakfast, the same one that we saw the
• 23:21
  Speaker 1: couple in at the very beginning of the movie. We
• 23:23
  Speaker 1: come full circles. We have done. Then there in the
• 23:26
  Speaker 1: middle of the robbery, and then basically Jules is like,
• 23:30
  Speaker 1: don't take this briefcase. It does not belong to you.
• 23:33
  Speaker 1: It's for my boss. He loves light bulbs. And then
• 23:35
  Speaker 1: he's just like, don't be be a nice boy. Basically
• 23:38
  Speaker 1: he's like being a nice boy. Don't be a robber,
• 23:41
  Speaker 1: be a nice boy. By And that's the end of
• 23:43
  Speaker 1: the movie, A nice boy by cut to credits. So
• 23:48
  Speaker 1: that is the story. Good recap, good recap. Thank you
• 23:53
  Speaker 1: did it. You did it, We all did it. It
• 23:56
  Speaker 1: was a group effort. Now now, now now that we
• 24:02
  Speaker 1: have that out of the way, what shall we discuss, Well,
• 24:05
  Speaker 1: we shall discuss the representation and portrayal of women. Well,
• 24:09
  Speaker 1: given that I apparently forgot large swaths of this movie.
• 24:13
  Speaker 1: There are a lot of female characters in this movie.
• 24:16
  Speaker 1: There are there's a lot of Yeah, there's a lot
• 24:18
  Speaker 1: to talk about. None of them are apart from me
• 24:21
  Speaker 1: A Wallace, I would argue none of them are main characters.
• 24:24
  Speaker 1: I would say most of them are more secondary or
• 24:26
  Speaker 1: even tertiary. Um, so hardly any of them have any
• 24:30
  Speaker 1: sort of influence in the story. In fact, I was
• 24:34
  Speaker 1: thinking about like how crucial women are to the story,
• 24:36
  Speaker 1: and what the female characters do to contribute to the
• 24:39
  Speaker 1: story and influence like the direction that the story takes.
• 24:41
  Speaker 1: Because in a movie like this, where there's like an
• 24:44
  Speaker 1: ensemble cast, it's really sort of hard to discern who
• 24:47
  Speaker 1: is the protagonist because there's like these little vignettes and
• 24:50
  Speaker 1: they're all connected. I would argue, no one main character. Okay,
• 24:55
  Speaker 1: so I think then it is safe to assume that
• 24:59
  Speaker 1: any actor in the movie could do something that would
• 25:02
  Speaker 1: significantly impact the story. However, all of the female characters
• 25:06
  Speaker 1: we see, none of them really do it in a
• 25:09
  Speaker 1: way that moves the story forward, or if they do,
• 25:12
  Speaker 1: it's a mistake they've made that the men have to correct.
• 25:15
  Speaker 1: For example, so we've got me and Wallace accidentally snorting
• 25:18
  Speaker 1: the heroine thinking it's cocaine, and Vincent has to take
• 25:21
  Speaker 1: her to his drug dealer to get the shot of
• 25:23
  Speaker 1: adrenaline so she doesn't odee and die. In other words,
• 25:26
  Speaker 1: she makes a mistake that a man has to fix.
• 25:28
  Speaker 1: So that actually watching at this time through was kind
• 25:31
  Speaker 1: of because I need the basic plot points. I knew
• 25:34
  Speaker 1: that she did that eventually, but the scenes leading up
• 25:36
  Speaker 1: to that, she is so in control and she's so active,
• 25:40
  Speaker 1: and then kind of at that moment when she makes
• 25:44
  Speaker 1: this mistake, she is like kind of damseled right away,
• 25:48
  Speaker 1: and um, all the action she's taken is sort of
• 25:52
  Speaker 1: totally back pedaled on and she I mean, yeah, women
• 25:55
  Speaker 1: are mostly reacting in this story, they're not pushing it.
• 25:59
  Speaker 1: What's interesting thing about that, because I was I've never
• 26:01
  Speaker 1: watched it from this perspective, because it's a movie based
• 26:04
  Speaker 1: in just entertainment. Like, it's clear Quentin Tarantino doesn't give
• 26:07
  Speaker 1: a shit about issues, right, He's just like he's trying
• 26:09
  Speaker 1: to entertain you. And that's part of the problem with
• 26:11
  Speaker 1: some of his movies. Or maybe all of them. But
• 26:13
  Speaker 1: it was interesting about the Mia Wallace thing. I was
• 26:16
  Speaker 1: thinking about it and I was like, oh, well, she's
• 26:19
  Speaker 1: introduced as Marcellus's wife, so that's like how she's introduced
• 26:23
  Speaker 1: as a wife, right. But she is such a bold,
• 26:26
  Speaker 1: strong character. Her haircut is just cool as ship. She's
• 26:29
  Speaker 1: very like, you know, she's leaving the conversation. She like
• 26:32
  Speaker 1: tells him too, as you were saying, Jamie, like she
• 26:34
  Speaker 1: tells him like you think of something to say, you know,
• 26:36
  Speaker 1: she's very active, and then she's like, I want to dance.
• 26:38
  Speaker 1: Let's dance. And also when when Vincent comes into her place,
• 26:43
  Speaker 1: she's like do this, do that? You know what I mean,
• 26:45
  Speaker 1: she's bossing him around, and she's picked the restaurant, she's
• 26:47
  Speaker 1: made the reservation, like she's five dollar shake. Yeah. But
• 26:52
  Speaker 1: I will say the thing about the heroine is it
• 26:54
  Speaker 1: is a man fixing the mistake. But also she takes
• 26:57
  Speaker 1: his drugs. She like takes what's not hers, which she
• 27:01
  Speaker 1: is active. I mean, I don't know what that means necessarily,
• 27:04
  Speaker 1: but she does sort of like move it forward with
• 27:07
  Speaker 1: like it wasn't necessarily a bad choice. It was just
• 27:09
  Speaker 1: like a genuine mistake. Because the powder is white, right right. Yeah.
• 27:14
  Speaker 1: I don't know the intricacies of the Bechdel test, so
• 27:16
  Speaker 1: I will learn a lot as we speak. But I
• 27:19
  Speaker 1: was but I guess it is him cleaning up that mess.
• 27:23
  Speaker 1: But it felt that felt the most okay with a
• 27:25
  Speaker 1: female character because she at the end still I feel
• 27:29
  Speaker 1: like she still had the ability to like funk Vincent
• 27:31
  Speaker 1: over if she told Marcella's But then she was like,
• 27:33
  Speaker 1: but then she would die basically if she told him, right,
• 27:36
  Speaker 1: which he didn't totally believe. There's like that exchange they
• 27:39
  Speaker 1: have after she has revived, and you know, she's like, well,
• 27:42
  Speaker 1: I'm not going to tell him because I'd be sucked
• 27:44
  Speaker 1: over too, and he's like, well, you wouldn't be as
• 27:45
  Speaker 1: fucked over as I would. But she very well made
• 27:48
  Speaker 1: because at this point we haven't met Marcel's. We don't
• 27:50
  Speaker 1: know what kind of person he is, so what so
• 27:52
  Speaker 1: what do you What I was curious about there was
• 27:54
  Speaker 1: what do you think would have happened to her that
• 27:56
  Speaker 1: she did the drugs? Like that was the problem that
• 27:59
  Speaker 1: she's a drug addict and he wouldn't like that. I mean,
• 28:02
  Speaker 1: I got the impression that he probably knew that she
• 28:05
  Speaker 1: was using drugs. I mean, they're into all sorts of
• 28:08
  Speaker 1: you know, like illicit behaviors. But for me, my immediate
• 28:14
  Speaker 1: instinct and it's not really followed up on, but I
• 28:18
  Speaker 1: thought it was because she did it with a man,
• 28:21
  Speaker 1: and like there there's like some sort of well he
• 28:24
  Speaker 1: Marcella paid Vincent to take her out and show her
• 28:27
  Speaker 1: a good time, basically quote unquote fucked up, even though
• 28:31
  Speaker 1: it was kind of out of both of their control. Right,
• 28:34
  Speaker 1: So yeah, it's sort of like we can presume that
• 28:37
  Speaker 1: like that Marcella's was like take care of her, make
• 28:39
  Speaker 1: sure she's safe while I'm gone, because she needs looked after,
• 28:43
  Speaker 1: because you're a man and she's a woman and she
• 28:46
  Speaker 1: needs protection. But which is why he's doing that in
• 28:49
  Speaker 1: the first place, right, right, right, But well, yeah, so
• 28:52
  Speaker 1: the way me and Wallace is introduced, like you said,
• 28:55
  Speaker 1: Jules and Vincent are talking about her, and they have
• 28:57
  Speaker 1: that whole conversation about this guy being thrown out of
• 29:00
  Speaker 1: window because he gave her a foot massage. So like
• 29:03
  Speaker 1: we hear about this character. I think the point of
• 29:06
  Speaker 1: the conversation is to maybe show how much of a
• 29:10
  Speaker 1: force to be reckoned with Marcellus Wallace I think definitely
• 29:14
  Speaker 1: more like because she's the possession that no one can
• 29:17
  Speaker 1: funk with, which basically just objectifies her. She's introduced as
• 29:22
  Speaker 1: the wife, right right, right, but I think to be
• 29:24
  Speaker 1: the wife of this man Marcella's, and Marcella's is a
• 29:27
  Speaker 1: very intense character. He's like, you know, immediately legendary because
• 29:31
  Speaker 1: also like the way he's introduced, it's not even on him.
• 29:34
  Speaker 1: You don't even see him the way he's introduced. You
• 29:36
  Speaker 1: hear his voice, you're just looking at Bruce wellis his
• 29:38
  Speaker 1: head and the back of his head. It's like the
• 29:40
  Speaker 1: what the mark of the beast or something like that?
• 29:42
  Speaker 1: Is that what the band aid is? I always thought
• 29:44
  Speaker 1: that's what it was because it's connected to like the
• 29:45
  Speaker 1: thing that was in the suitcase, which I feel like
• 29:48
  Speaker 1: it's a human soul or something, and like, but I
• 29:50
  Speaker 1: think the band aid is supposed to be. That's where
• 29:52
  Speaker 1: you like the devil Enters or some bullshit like that.
• 29:55
  Speaker 1: That's like something that there's some reason why there's a
• 29:57
  Speaker 1: band aid there and then know about that sort of method.
• 29:59
  Speaker 1: But he's like, you know, this really intense character, So
• 30:01
  Speaker 1: you're like yeah, and like if you're like a drug
• 30:04
  Speaker 1: underlordd or overlord. Why would correct because it's like the underworld,
• 30:11
  Speaker 1: but you're an overlord, the overlord of the underworld. But yeah,
• 30:18
  Speaker 1: it's interesting because like that woman is never gonna be
• 30:21
  Speaker 1: if it's a male like drug peddler, it's probably not
• 30:26
  Speaker 1: going to be like like he's going to be stronger
• 30:28
  Speaker 1: than the female character most of the time, right, Like,
• 30:30
  Speaker 1: so she's like a kept woman to some degree. Right,
• 30:33
  Speaker 1: But I mean, I think that that's like an interesting
• 30:36
  Speaker 1: writing choice that's made in this movie. And again it's
• 30:40
  Speaker 1: hard to tell, especially with like early Quentin Tarantino, how
• 30:43
  Speaker 1: intentionally it's actually done. But it's like we do first
• 30:47
  Speaker 1: year about Mia Wallace as basically the property of Marcella
• 30:51
  Speaker 1: that you do not funk with. But then we meet
• 30:53
  Speaker 1: her and we do learn more about her background. We
• 30:55
  Speaker 1: learned that she was an actress Wheeler. There's more depth
• 30:58
  Speaker 1: to her, and she's very open and she takes control
• 31:00
  Speaker 1: of the situation. And that was kind of like a
• 31:02
  Speaker 1: fun or interesting inversion of getting to know a character
• 31:06
  Speaker 1: that is introduced to us as property. But then the well,
• 31:11
  Speaker 1: the scene I want to talk about that that really
• 31:12
  Speaker 1: bugged me when we were watching it was when she
• 31:15
  Speaker 1: does overdose, and then John Travolta brings her to Eric
• 31:18
  Speaker 1: Stulton's hounds, where there are god I don't know what
• 31:22
  Speaker 1: their names are, but they have names. That scene bugged
• 31:27
  Speaker 1: me because I was like, in any like in any
• 31:30
  Speaker 1: realistic world, the two women in that scene would have
• 31:33
  Speaker 1: resolved that problem and way faster than John Travolta and
• 31:37
  Speaker 1: Eric Stults would have and watching them sidelined in that
• 31:41
  Speaker 1: scene those frustratustrated me because and they were intentionally sidelined
• 31:45
  Speaker 1: for whatever reason, but like they are at least Eric Stults,
• 31:51
  Speaker 1: I think girl friend in that scene his wife, his wife.
• 31:57
  Speaker 1: She is in the background of the era Seine watching
• 32:00
  Speaker 1: it happened very passively, and I don't know like that
• 32:04
  Speaker 1: she's sort of well, she's like kind of screaming, and
• 32:07
  Speaker 1: Eric Stultz's character, she's sort of depicted as a shrewd,
• 32:10
  Speaker 1: but like, why did you bring her here? Like very
• 32:13
  Speaker 1: just like nagging and screaming and combative and just difficult
• 32:18
  Speaker 1: to deal with. And then her friend Trudy is like,
• 32:21
  Speaker 1: for sure, very passive, to the point where she's literally
• 32:24
  Speaker 1: just sitting on the couse. Yeah, like she's like team
• 32:27
  Speaker 1: there is I thought I did think that like watching
• 32:30
  Speaker 1: it this time, like because that wasn't the first time
• 32:32
  Speaker 1: I was in arquettes in the movie, She's in it
• 32:34
  Speaker 1: the first time he goes there to buy the heroine
• 32:36
  Speaker 1: and she is like, she's a wife, and then for
• 32:39
  Speaker 1: no real reason, Eric Stults is just kind of a
• 32:41
  Speaker 1: piece of ship to her, you know what I mean,
• 32:43
  Speaker 1: Like he's just kind of like fuck you. There was
• 32:45
  Speaker 1: a really cool moment though, in the Senior were just
• 32:48
  Speaker 1: talking about when they stabbed Mia Wallace's heart with adrenaline
• 32:51
  Speaker 1: where it made me laugh so hard this time where
• 32:54
  Speaker 1: just before like John Trabalta is holding up the ajournalist
• 32:57
  Speaker 1: Ari stoltis county three and there's a shot of Rosanna
• 33:00
  Speaker 1: ar Kid's face where she's like almost like sexually interested
• 33:03
  Speaker 1: in the moment, you know what I mean, She's like
• 33:06
  Speaker 1: And that was cool because I was like, that's an
• 33:08
  Speaker 1: active choice for her to just be like a fucking
• 33:10
  Speaker 1: crazy pervert kind of. And I did enjoy that part
• 33:14
  Speaker 1: where I was like, Okay, at least she's like a
• 33:16
  Speaker 1: sick oh, you know what I mean, I didn't even
• 33:19
  Speaker 1: notice that. It's really funny. It made me. I was
• 33:21
  Speaker 1: watching with the female friend and we both laughed really
• 33:23
  Speaker 1: hard about it. It was just like it was just
• 33:25
  Speaker 1: like kind of random but funny. Yeah, it was like,
• 33:28
  Speaker 1: I'm gonna see some ship right now. Also, in Eric
• 33:32
  Speaker 1: Stiltson Rosanna Arquette's house, there's a board game called Chauvinist Pigs.
• 33:36
  Speaker 1: Really in the back of a shot a lot of
• 33:38
  Speaker 1: board games there. There's yeah, it's funny. Yeah that when
• 33:42
  Speaker 1: he's looking for the for the black medical book that
• 33:45
  Speaker 1: he's screaming about for a good portion of that scene there,
• 33:49
  Speaker 1: he walks past this board game called Chauvin's Pigs. Didn't
• 33:51
  Speaker 1: notice that either. Again, it's like, well, probably not an
• 33:54
  Speaker 1: intentional choice, but I enjoyed it. Sure, um so I
• 33:57
  Speaker 1: want to go back to me Wallace. So she is
• 34:00
  Speaker 1: initially framed as like this person who's talked about but
• 34:03
  Speaker 1: not seen as like, oh, the property of this bad
• 34:06
  Speaker 1: guy who's scary and you don't want to funk with her,
• 34:08
  Speaker 1: touch her fee because I'll throw you out of a
• 34:09
  Speaker 1: window sort of thing. And then we do meet her,
• 34:12
  Speaker 1: and like you said, she's kind of she's got a
• 34:14
  Speaker 1: lot of autonomy. She's kind of bossing him around, like
• 34:17
  Speaker 1: go make yourself a drink, do this, do that, take
• 34:19
  Speaker 1: me out, I want to dance, making choices, and we
• 34:21
  Speaker 1: also see her she has a personality unlike so many
• 34:25
  Speaker 1: female characters we encounter in so many movies, where we
• 34:29
  Speaker 1: can get a sense of who she is as a person.
• 34:32
  Speaker 1: I would argue the most memorable character from that movie,
• 34:36
  Speaker 1: Like I think in pop culture, she's on the she's
• 34:38
  Speaker 1: on the poster. Yeah, And I think she's the one
• 34:40
  Speaker 1: that I think about, like her hair cut and her eye,
• 34:42
  Speaker 1: like you subjects, and I think they're kind of tied
• 34:47
  Speaker 1: for first yeah, yeah, which is great. And and when
• 34:50
  Speaker 1: you sort of pit them against each other in terms
• 34:54
  Speaker 1: of screen time, it's all the more impressive because she's
• 34:57
  Speaker 1: not in the movie a ton. It's more Slay the
• 35:00
  Speaker 1: Top path that she was the only other time she's
• 35:02
  Speaker 1: in the movie is when she's like in a bathing suit,
• 35:04
  Speaker 1: just catering to her husband by the pool. You ever
• 35:06
  Speaker 1: that I wasn't sure if that was her. You almost
• 35:08
  Speaker 1: don't realize it's her, um, but she's just like the wife.
• 35:12
  Speaker 1: I just thought maybe that was another woman that, like
• 35:14
  Speaker 1: a side loves his wife. I think he loves his wife.
• 35:18
  Speaker 1: I think, yeah, I think he does. I don't know,
• 35:22
  Speaker 1: he just does not how to show it but then say, no,
• 35:25
  Speaker 1: he's got to learn he's in the salt victim, right,
• 35:29
  Speaker 1: it's true or Marsalis. But the other thing I want
• 35:32
  Speaker 1: to say about that scene in the restaurant is that
• 35:36
  Speaker 1: Mia dispels the rumor that a guy was thrown out
• 35:39
  Speaker 1: of a window because he touched her feet. She's like,
• 35:42
  Speaker 1: do you really believe that? Like that's absurd, and whether
• 35:46
  Speaker 1: or not we if it happened that way, because she
• 35:49
  Speaker 1: she could easily be lying and being like that, well
• 35:52
  Speaker 1: that's crazy, because it is crazy, but she at least
• 35:56
  Speaker 1: stands up for herself. I also thought one of the
• 35:58
  Speaker 1: cool lines about that because that that scene was really
• 36:01
  Speaker 1: interesting where she goes the only time he ever touched
• 36:04
  Speaker 1: me was when he shook my hand at my wedding,
• 36:06
  Speaker 1: which I thought was a very like that was cool.
• 36:08
  Speaker 1: That was like a very intentional choice because it could
• 36:11
  Speaker 1: have been a huge but that was a power move. Yeah,
• 36:14
  Speaker 1: that was great. I don't know. I mean that whole
• 36:16
  Speaker 1: conversation she's completely in, like John Travolta is like in
• 36:21
  Speaker 1: her hands entirely, Like she steers that conversation entirely, and
• 36:27
  Speaker 1: also like it sounds like she doesn't even know exactly
• 36:30
  Speaker 1: what happened. The comment she makes about when men talk
• 36:34
  Speaker 1: about things it's like a sewing circle. That was like
• 36:37
  Speaker 1: a really fun line in that particular exchange where she's
• 36:40
  Speaker 1: you know, directly taking a rude comment usually directed at
• 36:44
  Speaker 1: women and saying it to John TRAVLTA great loved it. Yeah, yeah, yeah.
• 36:48
  Speaker 1: What she says is when you little scamps get together,
• 36:50
  Speaker 1: you're worse than a sewing circle. I love the use
• 36:53
  Speaker 1: of the word scamps. Yeah, and then scams can be
• 36:55
  Speaker 1: thrown in I'm there good. So then following that scene
• 36:59
  Speaker 1: in restaurant, they go back to her house, she invites
• 37:03
  Speaker 1: Vincent Vega and and he is like, I gotta go
• 37:06
  Speaker 1: to the bathroom and talk myself out of trying to
• 37:08
  Speaker 1: fuck her, because that's clearly what he wants to do.
• 37:11
  Speaker 1: That's clear what what I think he thinks she wants
• 37:13
  Speaker 1: to do. And that's how like how I read that
• 37:16
  Speaker 1: was because there's that moment where like they're at the door,
• 37:20
  Speaker 1: she's in control, it's her night, you know what I mean,
• 37:22
  Speaker 1: and like he I think clearly wants to sleep with her.
• 37:24
  Speaker 1: She's portrayed as this like sexual you know, she's like impressive. Yeah,
• 37:29
  Speaker 1: and it's just like she's cool and like she's in charge.
• 37:31
  Speaker 1: But I thought, you know, there's that moment where they're
• 37:33
  Speaker 1: in the door and they're looking at each other's eyes,
• 37:35
  Speaker 1: and he's like, is that what you call an uncomfortable silence?
• 37:37
  Speaker 1: And she's like, I don't know what that was, you know,
• 37:38
  Speaker 1: I don't know what you'd call that. So I feel
• 37:40
  Speaker 1: like she's like, you're gonna stick around, We're gonna do this.
• 37:42
  Speaker 1: I think she wants that. I don't think she's gonna
• 37:45
  Speaker 1: fuck him, but I did feel like she wants to
• 37:48
  Speaker 1: be flirted with, you know what I mean, Like she
• 37:49
  Speaker 1: wants that attention whatever she's not getting from Marcellus, because
• 37:52
  Speaker 1: why the fund isn't he taking her out? You know
• 37:54
  Speaker 1: what I mean? I still felt like I think he
• 37:57
  Speaker 1: felt like I want to do this, but I obviously
• 37:59
  Speaker 1: should didn't. But I did feel like I still felt
• 38:02
  Speaker 1: like she was guiding that. Possibly, I'm more interpreted as
• 38:06
  Speaker 1: like they were hanging out. She's all high, un coke,
• 38:10
  Speaker 1: they're drinking, and he has to be like, well, I
• 38:12
  Speaker 1: have an opportunity, possibly, but I'm not going to act
• 38:15
  Speaker 1: on it because that would be a betrayal. Of trust
• 38:17
  Speaker 1: to my boss Marcellus. So he's like talking to himself
• 38:19
  Speaker 1: in the mirror for who knows how long long enough,
• 38:24
  Speaker 1: but yeah, he's like but he's like, you're just gonna
• 38:27
  Speaker 1: go home and jerk off and just go to bed.
• 38:29
  Speaker 1: And then he comes out and she has already snorted
• 38:31
  Speaker 1: the heroine and then he has to like jump to
• 38:33
  Speaker 1: action to go save her. I interpreted that scene as
• 38:37
  Speaker 1: she was manipulating him a little bit, a little bit
• 38:41
  Speaker 1: for attention, but also just because she has known the
• 38:44
  Speaker 1: whole night that he'll basically do whatever she tells him
• 38:47
  Speaker 1: to do, because throughout the night she you know, wants
• 38:50
  Speaker 1: to compete in this dance competition. He's like, okay, we'll
• 38:52
  Speaker 1: do it. She's like, think of something to say. He's like, okay,
• 38:54
  Speaker 1: I'll do it. So she's I think at the beginning
• 38:57
  Speaker 1: that seems still fully in control. And then to me,
• 39:00
  Speaker 1: that scene where more gn Tribles is talking to himself
• 39:02
  Speaker 1: for forty five minutes is like him trying to convince
• 39:06
  Speaker 1: himself that he's the one in control and he's the
• 39:09
  Speaker 1: one who's going to make the choice, like am I
• 39:11
  Speaker 1: going to fuck her? I have to decide what I'm
• 39:13
  Speaker 1: going to do when it's sort of made clear that
• 39:16
  Speaker 1: entire sequence that he's not the person who's in control
• 39:19
  Speaker 1: of he's kind of like a dork there. Yeah, that's
• 39:23
  Speaker 1: kind of made to be a dork where she's just
• 39:25
  Speaker 1: like That's why I thought it's interesting because he doesn't
• 39:27
  Speaker 1: have to save her, but he's not very good at it,
• 39:29
  Speaker 1: like he kind of like he barely does it. But
• 39:31
  Speaker 1: I just thought it was such an active choice for
• 39:33
  Speaker 1: her to steal his drugs like this is mine. And
• 39:36
  Speaker 1: that leans into like the whole manipulative thing too, of like, oh, well,
• 39:40
  Speaker 1: why you're like trying to talk yourself out of thinking
• 39:43
  Speaker 1: that you could fuck me if you wanted to, which
• 39:45
  Speaker 1: who knows she takes his stuff? Yeah, and then the
• 39:48
  Speaker 1: power dynamic shifts, and that's I don't know, it's it's
• 39:51
  Speaker 1: interesting in a story perspective. I mean, I think the
• 39:54
  Speaker 1: main takeaway is that it's impressive that we see a
• 39:57
  Speaker 1: female character with a personality who's st taken control of
• 40:01
  Speaker 1: the situation that they're in that night where you know,
• 40:03
  Speaker 1: they're kind of out on the town, but she's sort
• 40:06
  Speaker 1: of the alpha of that whole interaction. Um, so there's
• 40:09
  Speaker 1: just something we so rarely see that. It was kind
• 40:12
  Speaker 1: of refreshing. She just is so good, Like she's just
• 40:16
  Speaker 1: such a good actor. It was just awesome. I mean,
• 40:18
  Speaker 1: she's you can't take your eyes out. What I also
• 40:20
  Speaker 1: liked about her character was like it wasn't just cool,
• 40:23
  Speaker 1: Like what I was thinking about this time was like
• 40:25
  Speaker 1: she's a failed actor. Like she's kind of has like
• 40:28
  Speaker 1: a weird personality, you know what I mean, Like she's
• 40:30
  Speaker 1: not she's cool and she like has her thing, but
• 40:33
  Speaker 1: she's kind of not like she's a failure and she's
• 40:36
  Speaker 1: kind of like some of the things she said, like
• 40:38
  Speaker 1: she she reacts a little more excitedly than most cool
• 40:41
  Speaker 1: characters would, like she's just kind of she's like a
• 40:44
  Speaker 1: drug addict, failed actor and I but she was still
• 40:47
  Speaker 1: in control, and I thought that was a really cool
• 40:49
  Speaker 1: way to portray someone. Like I was kind of impressed
• 40:51
  Speaker 1: by how not like she is cool, but she's like
• 40:54
  Speaker 1: like I remember when she was responding about like I
• 40:56
  Speaker 1: can't promise you that. If a more stereotypical man were
• 40:59
  Speaker 1: writing her, be like I can't promise you that, you
• 41:01
  Speaker 1: know what I mean. But she's like, I can't promise
• 41:03
  Speaker 1: you that. Like it was more like quirky, which I
• 41:06
  Speaker 1: thought was cool. Well that might just be her. I
• 41:09
  Speaker 1: don't know if that's more the writing or more just
• 41:11
  Speaker 1: sort of her choice as an actor. Hard to say, Man,
• 41:14
  Speaker 1: it's great, especially now watching this movie. I mean like, wow, no, Uma,
• 41:18
  Speaker 1: Thurwin's just threatening to shoot Harvey Wins, you know the
• 41:21
  Speaker 1: time on Instagram. It's great. I love it the whole
• 41:25
  Speaker 1: This whole time, I was like, she just she threatened
• 41:27
  Speaker 1: to shoot Harvy Wines. Dude, that's so cool. Yeah. Yeah,
• 41:31
  Speaker 1: Like I said, we're just so used to seeing very flat,
• 41:35
  Speaker 1: one dimensional female characters that were like, it's pretty cool
• 41:38
  Speaker 1: to be like, oh, she's she's got more than one dimension.
• 41:41
  Speaker 1: And the TV show that she was in, the pilot, Flour,
• 41:44
  Speaker 1: sounds pretty cool. Like a show that I would want
• 41:47
  Speaker 1: to watch Foxforce five. It's about five cool women being bad.
• 41:51
  Speaker 1: I mean it probably wouldn't be great, but I want
• 41:54
  Speaker 1: to see Tarantino make that movie for Yeah, And she
• 42:01
  Speaker 1: has a sense of humor at the end of it,
• 42:03
  Speaker 1: where after she's odeed and nearly died, she's like, hey,
• 42:07
  Speaker 1: let's maybe just forget about this. I want to hear
• 42:09
  Speaker 1: that joke that I refused to tell you before. And
• 42:11
  Speaker 1: He's like sure, and then she tells the dumb catchup
• 42:14
  Speaker 1: joke and we all laughed. But we're te heing. And
• 42:19
  Speaker 1: she's not the only female character in this movie who
• 42:22
  Speaker 1: we see some semblance of personality from, because I would
• 42:25
  Speaker 1: say that Fabian has a pretty we only see a
• 42:30
  Speaker 1: little sliver of her in this movie. She's only in
• 42:33
  Speaker 1: two scenes, but but those scenes are so good. It's
• 42:37
  Speaker 1: in a more macro sense, it sucks that her presence
• 42:40
  Speaker 1: doesn't have more bearing on the plot. And I would
• 42:43
  Speaker 1: say that for almost every female character in this movie,
• 42:46
  Speaker 1: with the exception of Mia, where it's like their actual
• 42:48
  Speaker 1: effect on the plot, like we're talking about, is not huge,
• 42:51
  Speaker 1: but her presence in the movie is so great. Well
• 42:54
  Speaker 1: so like Me and Wallace, where if you are oversimplifying things,
• 42:59
  Speaker 1: her main contribution to the actual maybe not the characterization
• 43:03
  Speaker 1: of the story, but the events of this story is
• 43:07
  Speaker 1: that she takes the drugs by accident almost odees and
• 43:10
  Speaker 1: it's a problem that a male character has to fix.
• 43:13
  Speaker 1: Similar thing happens with Fabian Fabian Fabian Fabian street Um.
• 43:22
  Speaker 1: She forgets Bruce Willis is like heirloom watch the but
• 43:30
  Speaker 1: and has to he so he has to go back
• 43:33
  Speaker 1: and get it, and it almost gets him killed. It
• 43:35
  Speaker 1: gets him in this like crazy almost he gets raped
• 43:39
  Speaker 1: situation to kill people. So because of her mistake that
• 43:46
  Speaker 1: he has to fix. That's her main contribution again to
• 43:50
  Speaker 1: the events of the story, not to the characterization of
• 43:53
  Speaker 1: the movie, because she does have an interesting character who
• 43:57
  Speaker 1: has a personality, again something that we're not used to
• 43:59
  Speaker 1: see in movies for a female character to have a personality.
• 44:02
  Speaker 1: But I just couldn't help but notice of the female
• 44:05
  Speaker 1: characters who do things that influence the direction this story
• 44:08
  Speaker 1: takes in a significant way. Both of them can be
• 44:11
  Speaker 1: boiled down to a female character making a mistake and
• 44:14
  Speaker 1: a man having to fix it. I would also argue
• 44:17
  Speaker 1: that the Amanda Plumber, who I believe it's Amanda Plumber,
• 44:20
  Speaker 1: the one who is Tim Roth's wife. Um, she kind
• 44:24
  Speaker 1: of is bad at her thing too, Like I think
• 44:28
  Speaker 1: she's not great at being a robber, you know what
• 44:30
  Speaker 1: I mean. She kind of needs his guidance, So I
• 44:33
  Speaker 1: was almost she doesn't necessarily funk up, but she's she
• 44:38
  Speaker 1: needs hit Like in a similar way, I would say
• 44:40
  Speaker 1: is like needs the male counterparts guidance to kind of
• 44:45
  Speaker 1: is relying on him to fix it right, because she
• 44:46
  Speaker 1: seemed kind of like a loose cannon where she might
• 44:49
  Speaker 1: she so such a good actor, like I was like, oh,
• 44:51
  Speaker 1: you are so funny and so good. But yeah, I think, yeah,
• 44:55
  Speaker 1: she's a little clearly mentally ill. Yeah it's true. There.
• 44:58
  Speaker 1: I I struggled with the with the last scene with her,
• 45:01
  Speaker 1: in the last scene in particular, where yeah, I was like, oh, man,
• 45:05
  Speaker 1: of course you know, of the two, she's the one
• 45:08
  Speaker 1: to funk up or like show some sort of weakness,
• 45:10
  Speaker 1: and I do I do. I feel like that choice
• 45:13
  Speaker 1: had to be intentional to some extent, even if it
• 45:15
  Speaker 1: was just like instinct on a male renter's part to
• 45:18
  Speaker 1: have the female character funk up. But then there's like
• 45:21
  Speaker 1: all these themes, especially with Bruce Willis's character in this movie,
• 45:24
  Speaker 1: where the whole ass Watch thing is all about this,
• 45:28
  Speaker 1: like it's this whole masculinity plot where he's trying to
• 45:32
  Speaker 1: get his father's war heirloom. He you know, doesn't have
• 45:37
  Speaker 1: a war to fight, and that's the whole you know,
• 45:40
  Speaker 1: where it's Jed X the nineties very whatever. He's fighting
• 45:44
  Speaker 1: wars in the boxing ring. He's fighting his own battle,
• 45:47
  Speaker 1: all right, But but that like masculine heirloom is so
• 45:50
  Speaker 1: important to him that he will cut down fucking whoever
• 45:54
  Speaker 1: to get his dad's ass watch instead of oh, I
• 45:57
  Speaker 1: don't know, letting it go like so I don't know.
• 46:02
  Speaker 1: I mean, all the characters in this movie are very flawed,
• 46:06
  Speaker 1: to the point where it was frustrating to see Amanda
• 46:09
  Speaker 1: Plumber's character funk up at the end. But I feel
• 46:13
  Speaker 1: like I felt that because we hadn't seen enough women
• 46:17
  Speaker 1: on screen at all for there to be like we
• 46:20
  Speaker 1: see male characters sunk up constantly in this movie. That's
• 46:24
  Speaker 1: like not an issue, but there's just like not enough
• 46:26
  Speaker 1: female characters with bearing on the plot that we see
• 46:28
  Speaker 1: funk up so that it feels equal, right. The really
• 46:32
  Speaker 1: interesting thing I thought about Fabian was watching at this time.
• 46:36
  Speaker 1: There's actually a bunch of things I thought that were
• 46:38
  Speaker 1: very interesting about that relationship. One was when they're hooking up,
• 46:42
  Speaker 1: she's like, will you go down to me? And he's like,
• 46:45
  Speaker 1: will you kiss it? And she goes, basically, if you
• 46:47
  Speaker 1: eat me first, So it was a really great talk
• 46:50
  Speaker 1: about consent. And it was also like she's like, you
• 46:52
  Speaker 1: make me come first, which I think is great. I
• 46:54
  Speaker 1: thought that was really cool because he's like, he's a boxer,
• 46:57
  Speaker 1: you know what I mean, Like he's like a meathead.
• 47:00
  Speaker 1: So I thought that was cool. But I also thought, oh,
• 47:02
  Speaker 1: knowing me that, like she was like giving me oral pleasure,
• 47:05
  Speaker 1: and he's like, well you because it not agreeing to
• 47:08
  Speaker 1: what she asked, but immediately being like, well only if
• 47:12
  Speaker 1: you took my dick also, and she has to be like,
• 47:15
  Speaker 1: but you first, because I asked you first, or like,
• 47:17
  Speaker 1: I don't know that exchange in general, I don't know.
• 47:20
  Speaker 1: I thought that was very much a relationship exchange. I mean,
• 47:22
  Speaker 1: I understand what you're saying, Like, I get it if
• 47:25
  Speaker 1: it was. But like I was like, at least she like,
• 47:27
  Speaker 1: if that had been reversed, that would have been a
• 47:29
  Speaker 1: huge problem. Whereas I thought this was at least a
• 47:32
  Speaker 1: boxer going down on a tiny woman. I was like, okay,
• 47:35
  Speaker 1: like good boxers are giving oral pleasure. This is a
• 47:38
  Speaker 1: step forward. Um. The other interesting thing I thought I
• 47:42
  Speaker 1: was watching with a female friend and so I asked
• 47:43
  Speaker 1: her about it, and we were talking about this, and
• 47:45
  Speaker 1: I'm very curious how you feel when he gets mad
• 47:49
  Speaker 1: about the watch, you know what I mean. Like, so
• 47:53
  Speaker 1: that was a really interesting scene, I thought, So he
• 47:56
  Speaker 1: gets mad. He starts yelling. She goes in the corner
• 47:58
  Speaker 1: of the room, right where like the wall, at the table,
• 48:01
  Speaker 1: like the lampion. I thought, he throws a TV. Right,
• 48:06
  Speaker 1: he throws a TV, but not at her. He throws
• 48:08
  Speaker 1: a TV at a rage. He's a rageful boxer, so
• 48:10
  Speaker 1: he throws a TV. But was So that's like bad, obviously,
• 48:13
  Speaker 1: But then what I thought was interesting, and that's what
• 48:16
  Speaker 1: I asked my friend. He sits on that chair, and
• 48:18
  Speaker 1: you know what, it's my fault. I didn't accurately tell
• 48:21
  Speaker 1: you you did your best. I didn't tell you how
• 48:24
  Speaker 1: important it was to me, and like, I'm sorry, I
• 48:27
  Speaker 1: just gotta go. Don't worry about So he has a
• 48:28
  Speaker 1: rage flip out. He liked it has some sort of aggression.
• 48:32
  Speaker 1: You could call it violence if you want. I don't
• 48:33
  Speaker 1: think it was directed at her necessarily, but maybe. And
• 48:37
  Speaker 1: then he's like, I'm sorry. And then in the car
• 48:40
  Speaker 1: he's he's like, how could you not you know what's
• 48:42
  Speaker 1: important to me? But but I thought it was interesting
• 48:45
  Speaker 1: because their relationship was very I thought bizarrely charming because
• 48:50
  Speaker 1: it was sort of like almost stereotypical and the way
• 48:54
  Speaker 1: that but there was real love there. I thought it
• 48:56
  Speaker 1: was the most love in the whole movie in a way,
• 48:59
  Speaker 1: and I thought my friend was like, you know what,
• 49:02
  Speaker 1: he apologized immediately, and it was kind of interesting where
• 49:07
  Speaker 1: he was like really aggressive and but he clearly really
• 49:10
  Speaker 1: loved her and he did apologize immediately, and for someone
• 49:12
  Speaker 1: who is such a probably like an alt right weirdo,
• 49:16
  Speaker 1: I thought it was And so I thought it was
• 49:18
  Speaker 1: just interesting for him to to have him apologize immediately.
• 49:22
  Speaker 1: And I thought that was like, I don't know if
• 49:23
  Speaker 1: it has to do with the Bechdel test, but it
• 49:24
  Speaker 1: has something to do with like how a relationship should work,
• 49:27
  Speaker 1: you know what. I mean, you make this mistake and
• 49:29
  Speaker 1: then you But I don't know. I was he has
• 49:32
  Speaker 1: a snap reaction. I mean I could have done without him,
• 49:35
  Speaker 1: you know, throwing a TV to the point where she's
• 49:38
  Speaker 1: so scared for her safety that she cowers into this crying.
• 49:42
  Speaker 1: Seeing that, seeing her default to a corner, I'm like,
• 49:48
  Speaker 1: this is maybe not the first time this has happened.
• 49:50
  Speaker 1: If she has an instinct to retreat to a corner
• 49:53
  Speaker 1: where it's like, if that's the first time that's happening,
• 49:56
  Speaker 1: it just didn't seem like the first time. I shared
• 49:58
  Speaker 1: that had happened, but then when we him dial back,
• 50:00
  Speaker 1: I mean it's hard because also they're fictional. We don't know,
• 50:05
  Speaker 1: no one truly knows. He also does flirt with Esmeralda.
• 50:09
  Speaker 1: He does see is a little bit of like a brute. Well,
• 50:11
  Speaker 1: all the men in this movie, I think that speaks
• 50:13
  Speaker 1: to the like hyper masculinity of all the men we
• 50:16
  Speaker 1: see in this movie. Like there's no I mean except
• 50:19
  Speaker 1: for maybe Eric Stolts. Like all the main characters are
• 50:22
  Speaker 1: like non sexual characters. They're just like dripping with like
• 50:27
  Speaker 1: toxic hyper masculinity. And sure that's what the movie is about.
• 50:31
  Speaker 1: Their job. They're you know, all kind of you know,
• 50:33
  Speaker 1: these like bad criminal, you know, boxer gun slinging type
• 50:38
  Speaker 1: of guys. But it's hard for me to watch movies
• 50:41
  Speaker 1: like that nowadays, just to see so much hyper masculinity
• 50:44
  Speaker 1: and have it be celebrated and have people I love
• 50:47
  Speaker 1: this movie so much. And whereas of the women in
• 50:50
  Speaker 1: the movie, if there was more of a balance, if
• 50:51
  Speaker 1: some of those like scary characters were women, Like if
• 50:56
  Speaker 1: one of the hit people was a woman in there,
• 50:58
  Speaker 1: it just like struck more of a balance, it would
• 51:01
  Speaker 1: be easier for me to watch, but now I'm just
• 51:02
  Speaker 1: like so over this like celebration of hyper masculinity that
• 51:06
  Speaker 1: I'm like that being said, this movie does a better
• 51:09
  Speaker 1: job than a lot of them, especially because it kind
• 51:12
  Speaker 1: of almost created it, like it created this run of
• 51:15
  Speaker 1: like hypers. It's like for it too, because what I
• 51:18
  Speaker 1: said at the beginning of the podcast was like I
• 51:20
  Speaker 1: truly feel like Quentin Tarantino doesn't give a funk about
• 51:23
  Speaker 1: big issues, Like so when he's writing this movie, he's
• 51:25
  Speaker 1: definitely not like his writing of Mia Wallace, He's not
• 51:29
  Speaker 1: trying to be amenable to feminism. He's just trying to
• 51:32
  Speaker 1: write a character you haven't seen before. He's like a
• 51:34
  Speaker 1: film nerd who wants to see something you haven't seen before.
• 51:36
  Speaker 1: I don't think he's writing it because he thinks men
• 51:39
  Speaker 1: should do this and women should, you know what I mean.
• 51:41
  Speaker 1: Like he's just like he like he is like a movie.
• 51:43
  Speaker 1: He's like all he is is like a movie. So
• 51:45
  Speaker 1: he's just shooting out a movie that he wants to
• 51:47
  Speaker 1: see because he wants to be cool. Like it's called
• 51:49
  Speaker 1: pulp fiction because it's based in all these sort of
• 51:51
  Speaker 1: like it's like there's a boxer, there's hitman, it's like
• 51:53
  Speaker 1: based in these like fifty cent novels, you know, And
• 51:56
  Speaker 1: so I think he more cares about entertainment than anything.
• 51:58
  Speaker 1: I don't think he gives a fuck. It's like that's
• 52:01
  Speaker 1: why he uses the N word. It's so awful. But
• 52:03
  Speaker 1: he's like, I'm not racist, Like he doesn't He's not
• 52:05
  Speaker 1: even really thinking about it, you know what I mean.
• 52:07
  Speaker 1: He's trying to be cool and he's a man, so
• 52:10
  Speaker 1: he can't understand like any issues. And so I think
• 52:13
  Speaker 1: it's it's it's hard because you have to judge the
• 52:15
  Speaker 1: movie based on what it is. But he seems like
• 52:18
  Speaker 1: a crazy sort of person who isn't even really interacting
• 52:21
  Speaker 1: in society. But you know what I mean. I mean,
• 52:23
  Speaker 1: that's a bad excuse. In two thousands, it's definitely a
• 52:25
  Speaker 1: bad excuse. You don't know, it's not an excuse. I
• 52:29
  Speaker 1: just mean when I think about him, I don't think
• 52:30
  Speaker 1: he has a funk. I don't think he gives a ship,
• 52:32
  Speaker 1: you know what I mean. And especially when this movie
• 52:35
  Speaker 1: is being made, this like I feel like with and
• 52:38
  Speaker 1: when we'll do more Tarantino movies in the future, his
• 52:41
  Speaker 1: movies with time become more intentional. It's hard to trace
• 52:47
  Speaker 1: intent with this movie where it does just seem like, oh,
• 52:51
  Speaker 1: this is cool, this is something I like, Yeah, like
• 52:54
  Speaker 1: you're saying something I would like to see, and you
• 52:56
  Speaker 1: get a very interesting movie with a lot of stuff
• 52:58
  Speaker 1: you haven't seen before it as a result. But then
• 53:01
  Speaker 1: the trade off is like it kind of becomes hard
• 53:04
  Speaker 1: to analyze because it's like a lot of times we
• 53:07
  Speaker 1: see movies where women are either being sidelined or mistreated
• 53:10
  Speaker 1: very intentionally because whatever the reason may be, and this
• 53:14
  Speaker 1: is just like hard to tell what the intention for
• 53:16
  Speaker 1: almost anything is other than this seems cool. Yeah, I
• 53:22
  Speaker 1: think it. It's like what's interesting about this movie too.
• 53:24
  Speaker 1: It's like a very small budget in movie, you know
• 53:26
  Speaker 1: what I mean, Like it's it's it's one of the
• 53:28
  Speaker 1: most popular movies ever, but it became this phenomenon, so
• 53:31
  Speaker 1: I think it became very influential, probably in a pretty
• 53:34
  Speaker 1: negative way to enhancing toxic masculinity. But it was more
• 53:39
  Speaker 1: he was just trying to like be cool. I feel
• 53:41
  Speaker 1: like I think he wasn't thinking, like at least that's
• 53:43
  Speaker 1: just what I get from him, where he's like he's
• 53:46
  Speaker 1: reversing tropes to some degree just in what he's doing
• 53:49
  Speaker 1: and sometimes yeah, or like someone getting shot in the
• 53:52
  Speaker 1: middle of a scene, or like it's two hit men
• 53:54
  Speaker 1: just have it, as you were saying, like a six
• 53:55
  Speaker 1: minute conversation about like Amsterdam or feet or whatever. It's
• 53:58
  Speaker 1: like I clearly when teams like he's concerned with that
• 54:01
  Speaker 1: ship and like being having like these scenes and then
• 54:04
  Speaker 1: it became this like behemoth and then all these men
• 54:08
  Speaker 1: were like I've got to make that, you know, because
• 54:10
  Speaker 1: I think the most I feel like the Fabian character
• 54:13
  Speaker 1: is actually pretty bad. Like I think that's like a
• 54:15
  Speaker 1: pretty bad representation of a woman. Like I think that's
• 54:18
  Speaker 1: the worst by far. But I think how come because
• 54:22
  Speaker 1: she's a tiny person who seems helpless. She's sort of
• 54:26
  Speaker 1: like a fantasy of a woman. Like she's like French,
• 54:29
  Speaker 1: has that haircuts kind of like it has like those
• 54:31
  Speaker 1: big eyes, and like has these like white shirts. He
• 54:33
  Speaker 1: kills it with the white shirts. By the way, everyone
• 54:35
  Speaker 1: were amazing white shirts in that movie. Um, Bruce and
• 54:38
  Speaker 1: Fabian and h they just the white shirts were amazing. Um.
• 54:44
  Speaker 1: She doesn't really do anything. She talks about eating. She
• 54:47
  Speaker 1: loves her boyfriend. That's what you know about her, right,
• 54:50
  Speaker 1: and then she fox up and it's kind of helpless,
• 54:52
  Speaker 1: and then she's just kind of and she cries a lot,
• 54:54
  Speaker 1: so it's like kind of like i'd say that's bad.
• 54:56
  Speaker 1: But even then I think what he's trying to do
• 54:59
  Speaker 1: is just like have like an adorable foreign woman, you
• 55:01
  Speaker 1: know what I mean, Like, I don't think he's really thinking.
• 55:04
  Speaker 1: It seems like he doesn't. He never even thought about
• 55:07
  Speaker 1: the fact that it's like a person. He's just yeah,
• 55:11
  Speaker 1: that's what I mean. We do see just a little
• 55:14
  Speaker 1: sliver of this character, and she does have I would argue,
• 55:17
  Speaker 1: more personality than a lot of female characters having movies.
• 55:20
  Speaker 1: But because she all the women in this movie are
• 55:24
  Speaker 1: framed as like the romantic partner of one of the
• 55:28
  Speaker 1: male characters who we know a little bit better. We
• 55:30
  Speaker 1: see actually doing things and and women, I mean, yeah,
• 55:37
  Speaker 1: and Esmerelda scene was a little bizarre. I mean cool
• 55:41
  Speaker 1: that you see the representation of a woman. The one
• 55:47
  Speaker 1: last thing I would say about Fabian before we move
• 55:50
  Speaker 1: on from that character is while she does not have
• 55:53
  Speaker 1: a lot of baring on the plot, and her main
• 55:55
  Speaker 1: significance in the plot is fucking up so that Bruce
• 55:58
  Speaker 1: Willis can law into all these other weird scenes and
• 56:02
  Speaker 1: eventually hold a katana, which is I think what Quentin
• 56:04
  Speaker 1: Tarantino wants the whole time is like how can I
• 56:06
  Speaker 1: get from point A to That's the most intend to
• 56:11
  Speaker 1: think that's seen by the way, not but that scene
• 56:14
  Speaker 1: was really funny when he's in the pawn shop and
• 56:16
  Speaker 1: he goes from weapon to weapon to chainsaw and then
• 56:19
  Speaker 1: that was super funny. But the exchange between Bruce Willis
• 56:25
  Speaker 1: Butch and Fabian and they're talking about bodies at the
• 56:29
  Speaker 1: beginning of their exchange together where she's like, there's that
• 56:34
  Speaker 1: kind of weird, but I think, kind of good line
• 56:38
  Speaker 1: where she's talking about like I wish I had a
• 56:41
  Speaker 1: pot belly and he was like, what that would be
• 56:43
  Speaker 1: fulk and gross or like what you know? Whatever they're
• 56:45
  Speaker 1: they're they're back and forth and it's very relationship talking,
• 56:48
  Speaker 1: and then she says that that line of like, oh,
• 56:51
  Speaker 1: it's it's so weird that what feels good and what
• 56:54
  Speaker 1: looks good to people is seldom the same or something
• 56:56
  Speaker 1: like that, and that for me was like whoa, what
• 56:59
  Speaker 1: an interesting like that character was used in some way
• 57:04
  Speaker 1: that I got a positive takeaway from. Again, impossible to
• 57:08
  Speaker 1: know if this is just words that Quentin Tarantino thought
• 57:11
  Speaker 1: sounded nice next to each other, or if there was
• 57:13
  Speaker 1: some intent next to it, But that whole like relationship
• 57:16
  Speaker 1: he's seen between them, I thought pre him throwing a
• 57:19
  Speaker 1: TV was very into their relationship. Post him throwing in
• 57:23
  Speaker 1: a TV, it's like, now there's some stuff to address. Well,
• 57:26
  Speaker 1: there's also that part where she's like, I went to
• 57:28
  Speaker 1: pot Belli and he's like, if you had a pot Belli,
• 57:30
  Speaker 1: I'd punch you in it, and we're like, ah, feminist
• 57:32
  Speaker 1: icon persual. I did want to call attention to all
• 57:39
  Speaker 1: the times in which a man in this movie calls
• 57:42
  Speaker 1: a woman a bitch or yeah, okay, early on that
• 57:48
  Speaker 1: everyone's in a while to any gender. When Jules is
• 57:52
  Speaker 1: talking about me and Wallace, he says that like eating
• 57:54
  Speaker 1: a bitch out and touching a bitch's feet, they're not
• 57:57
  Speaker 1: even in the same ballpark. And then Eric Stultz said,
• 58:00
  Speaker 1: is you're not bringing this funked up bitch into my house?
• 58:03
  Speaker 1: And then Vincent says about Eric Sails's wife, what a
• 58:06
  Speaker 1: fucking bitch, and then Butch says, you know, sorry, you
• 58:11
  Speaker 1: know what would make all of this evening if Bruce
• 58:15
  Speaker 1: Willis's character's name was bitch so then you would have
• 58:21
  Speaker 1: to be you would be young, bitch, I would be adults,
• 58:26
  Speaker 1: then old coming and then this isn't a bitch calling
• 58:30
  Speaker 1: butch calling her a bit, but it says do you
• 58:33
  Speaker 1: know how fucking stupid you are? To Fabian And then
• 58:36
  Speaker 1: Juels at the end says like, get that bitch under
• 58:38
  Speaker 1: control or whatever. So there's love that one. It's man,
• 58:44
  Speaker 1: it's almost as if but it's almost as if the
• 58:47
  Speaker 1: male characters in this movie are not feminist icons, nor
• 58:50
  Speaker 1: are they okay. So speaking of language, one of the
• 58:53
  Speaker 1: other reasons it's hard for me to watch this movie
• 58:56
  Speaker 1: and enjoy it as much as I have in the
• 58:57
  Speaker 1: past is that the end We're just gets thrown around
• 59:01
  Speaker 1: casually all the time, often by white people, either to
• 59:07
  Speaker 1: or in front of, or just about people of color,
• 59:10
  Speaker 1: and it is just very casual. The way in which
• 59:14
  Speaker 1: Quentin Tarantino was like, yeah, let's just drop, He's like, guys,
• 59:17
  Speaker 1: I'll do it myself. And also he has a black wife, yeah,
• 59:21
  Speaker 1: which is so weird. It doesn't get any it doesn't
• 59:23
  Speaker 1: get any lines. You don't even you just know that
• 59:26
  Speaker 1: she'd get mad and divorce him because there's a dead
• 59:31
  Speaker 1: body in her garage, Like it's also just weird that
• 59:35
  Speaker 1: Quentin Tarantino cast himself, Like it's just like all such
• 59:39
  Speaker 1: a weird man, Like what is he doing? We were
• 59:42
  Speaker 1: talking about this last night where it's like at very
• 59:45
  Speaker 1: least Gwen Tardina saw himself in this movie and was like,
• 59:48
  Speaker 1: probably not again, Probably we're gonna we're gonna hang it
• 59:51
  Speaker 1: up here, which I respect because because most directors that
• 59:55
  Speaker 1: are like I want to be in into like they don't.
• 59:57
  Speaker 1: They don't know when to say when all the time.
• 59:59
  Speaker 1: And he was like, know what, I maybe did a
• 1:00:01
  Speaker 1: crummy job. The N word is like it just is
• 1:00:05
  Speaker 1: a little again. This is another thing where he's like
• 1:00:08
  Speaker 1: trying to be cool, right, And what's interesting about him
• 1:00:11
  Speaker 1: I think because he has written some roles for a
• 1:00:14
  Speaker 1: lot of like famous roles for black characters. There are
• 1:00:16
  Speaker 1: black actors who like defend it, you know, like Jamie
• 1:00:19
  Speaker 1: Fox has or Samuel Jackson has I'm sure Pam Greer
• 1:00:22
  Speaker 1: did you know what I mean? Like things like that.
• 1:00:24
  Speaker 1: But it is one of those things like I'm watching
• 1:00:26
  Speaker 1: him like, oh God, like it's two white characters talking
• 1:00:29
  Speaker 1: to each other sometimes like Stulton Tripleton. It's like why
• 1:00:33
  Speaker 1: is that word there, like is this helping the movie? Um?
• 1:00:36
  Speaker 1: And it it is a little I did feel kind
• 1:00:39
  Speaker 1: of viscerally upset. I was like, oh what or when
• 1:00:42
  Speaker 1: he says it to Samuel L. Jackson, Samuel Jackson doesn't
• 1:00:45
  Speaker 1: respond to that word. I also thought that that was interesting.
• 1:00:48
  Speaker 1: It's like he's just saying clearly they're friends, and he
• 1:00:51
  Speaker 1: doesn't seem to care about it. But it is a
• 1:00:53
  Speaker 1: little like what are we talking about? What are we doing?
• 1:00:56
  Speaker 1: Because it's a white writer director making the choices. A
• 1:01:01
  Speaker 1: black writer and director probably would not have let that
• 1:01:04
  Speaker 1: happen that way. It's it's more just I'm more just
• 1:01:07
  Speaker 1: like like what do you think this is? Heading? Like
• 1:01:10
  Speaker 1: it's so weird because because The Hateful Eight, I saw
• 1:01:16
  Speaker 1: hatfulay in theaters and that movie has the N word
• 1:01:19
  Speaker 1: a lot more than pulp fiction. And I saw it
• 1:01:22
  Speaker 1: with and there were like people of all colors in
• 1:01:24
  Speaker 1: the movie theater and I thought it was horrible. Like
• 1:01:27
  Speaker 1: I was like, this is really unnecessary and I don't
• 1:01:29
  Speaker 1: know why we're doing this, Like it's not like it
• 1:01:31
  Speaker 1: doesn't you don't need that word to get across what's going.
• 1:01:35
  Speaker 1: It hasn't. It does the movie isn't saying anything about race,
• 1:01:38
  Speaker 1: you know what I mean? Like, it's just like, what
• 1:01:40
  Speaker 1: are we talking about here? And I think it bugs
• 1:01:43
  Speaker 1: me no matter where in Quentin Tarantino's uber it shows up.
• 1:01:48
  Speaker 1: It sucks and it's uncomfortable. And especially when in these
• 1:01:51
  Speaker 1: movies where it's famously written by a white guy and
• 1:01:54
  Speaker 1: you know exactly who it is, I feel like it
• 1:01:57
  Speaker 1: makes it all the more uncomfortable to watch it forced
• 1:02:00
  Speaker 1: out of character of any colors mouth. It's just like,
• 1:02:04
  Speaker 1: but this is crazy. It just sort of like to
• 1:02:06
  Speaker 1: hear it like whoa. By the time we get a
• 1:02:08
  Speaker 1: Hateful eight, it's so intentional that it's like, why the
• 1:02:12
  Speaker 1: funk would you still be just like a statement? Yeah,
• 1:02:15
  Speaker 1: it's like no, I can hold onto my words, Like
• 1:02:18
  Speaker 1: it's just that freedom of speech bullshit, which is just like,
• 1:02:20
  Speaker 1: what are we talking about? Um? The last thing I
• 1:02:23
  Speaker 1: want to say about this movie is that there's a
• 1:02:26
  Speaker 1: line that Harvey Kitel's character says, as they're like all
• 1:02:29
  Speaker 1: kind of parting ways, he says, just because you are
• 1:02:32
  Speaker 1: a character doesn't mean that you have character. And I
• 1:02:35
  Speaker 1: think that is a thesis statement for the way so
• 1:02:38
  Speaker 1: many women are written in movies just because they are
• 1:02:42
  Speaker 1: a character in the movie technically doesn't mean they didn't
• 1:02:46
  Speaker 1: think about that. When hearing that line, I just thought
• 1:02:47
  Speaker 1: it was like a kind of a dad joke. I mean, sure,
• 1:02:50
  Speaker 1: that's that's to be I absorbed it, and I was like, hey,
• 1:02:54
  Speaker 1: what a what a way to describe how women are
• 1:02:57
  Speaker 1: portrayed in movies a lot of the time. So really,
• 1:03:00
  Speaker 1: really quick, and this is not like something to be like, hey,
• 1:03:04
  Speaker 1: really quick, can we talk about the brutal rape scene
• 1:03:06
  Speaker 1: in this movie? But it was very taken aback. But
• 1:03:09
  Speaker 1: I must have blacked it out because I just I
• 1:03:11
  Speaker 1: just straight up did not remember this happened in the movie.
• 1:03:14
  Speaker 1: So there is a male and male rape scene in
• 1:03:16
  Speaker 1: this movie, and there's a lot to unpack there. But
• 1:03:19
  Speaker 1: what I thought was another, like okay, that was a
• 1:03:22
  Speaker 1: choice that kind of felt true to the character of Marcellus,
• 1:03:27
  Speaker 1: is that Marcellis basically is like when this will never
• 1:03:30
  Speaker 1: be spoken of again, like and that is the that's
• 1:03:33
  Speaker 1: sort of where like Bruce Willis story closes of like, okay, cool,
• 1:03:38
  Speaker 1: we're never going to talk about the fact that I
• 1:03:40
  Speaker 1: got raped again, and we're going to talk about we
• 1:03:44
  Speaker 1: are not It's not that we have to talk about Kevin.
• 1:03:49
  Speaker 1: So we needed to talk about Kevin. Okay, I won't
• 1:03:53
  Speaker 1: talk about what happened to you, but we do need
• 1:03:55
  Speaker 1: to talk about kept getting need to talk about Kevin.
• 1:03:58
  Speaker 1: He's troubled. Is he's got a bow and arrow in
• 1:04:01
  Speaker 1: the backyard. What's going on with that kid? What a
• 1:04:04
  Speaker 1: weird movie? Let's never do that movie? The show? We don't?
• 1:04:09
  Speaker 1: It turns out we didn't. Didn't. Wait, can you sorry?
• 1:04:12
  Speaker 1: I didn't mean. I did mean to interrupt you, obviously,
• 1:04:13
  Speaker 1: but like, what do you? Can you finish that thought?
• 1:04:16
  Speaker 1: I'm curious? I so I thought that that was an
• 1:04:19
  Speaker 1: interesting and again there's no intent in this movie, but
• 1:04:23
  Speaker 1: hyper masculine reaction to an event like that of like,
• 1:04:28
  Speaker 1: let's never talk about it, and it's not I feel
• 1:04:32
  Speaker 1: like it's not even applied of like because this is
• 1:04:35
  Speaker 1: a traumatic, horrible experience that will affect me for the
• 1:04:37
  Speaker 1: rest of my life. But the implication was more because
• 1:04:40
  Speaker 1: it was embarrassing for me, or like because people would
• 1:04:44
  Speaker 1: make fun of me for it. Like his intent in
• 1:04:47
  Speaker 1: saying let's never talk about it again didn't seem connected
• 1:04:50
  Speaker 1: to the trauma that there would be with an experience
• 1:04:53
  Speaker 1: like that. Well, you know what it's connected to I
• 1:04:55
  Speaker 1: now realize is remember when m Samuel Jackson and John
• 1:04:58
  Speaker 1: Trabalta are talking to the guy is that they shoot
• 1:05:00
  Speaker 1: in the beginning of the movie, and he's like, is
• 1:05:03
  Speaker 1: Marcella s Wallace your bitch? So then theoretically what he
• 1:05:07
  Speaker 1: what this guy did? What the Peter Green character, the
• 1:05:10
  Speaker 1: cop rapist made him quote unquote his bitch, which is
• 1:05:14
  Speaker 1: the worst thing to happen to a guy, Like that's
• 1:05:16
  Speaker 1: what happened there. It's more of like the weird homophobic
• 1:05:21
  Speaker 1: like I can't be the less the receiver of prostate
• 1:05:25
  Speaker 1: pleasure exactly, and and as opposed to any any I mean,
• 1:05:32
  Speaker 1: there's no commentary there, but it was like a very
• 1:05:35
  Speaker 1: sort of a very hyper masculine move by a hyper
• 1:05:38
  Speaker 1: masculine character. But I just thought worth mentioning there's a
• 1:05:41
  Speaker 1: lot to unpack there. What is Marcella's like, three years
• 1:05:44
  Speaker 1: down the line after that experience, he needs a lot,
• 1:05:47
  Speaker 1: He's like this keeps happening to think I'm struggling, Like
• 1:05:52
  Speaker 1: I don't get a new job. I just well, to me,
• 1:05:55
  Speaker 1: it's like Quentin Tarantino being obsessed with like revenge engine
• 1:06:00
  Speaker 1: narratives where like Marcella's gets raped and then he gets
• 1:06:03
  Speaker 1: to exact immediate revenge on his rapist by shooting his
• 1:06:06
  Speaker 1: dick off, and then we don't see what happens after that,
• 1:06:09
  Speaker 1: But which is describes Yeah, which is great, Kill Bill,
• 1:06:13
  Speaker 1: which is just straight up a revenge story. Django unchained
• 1:06:17
  Speaker 1: inglorious bastards. These are all just like stories of like,
• 1:06:20
  Speaker 1: let's just get revenge on these people. So I think
• 1:06:22
  Speaker 1: it's I feel like that scene was put in there
• 1:06:25
  Speaker 1: because he's like, I'm obsessed with people getting revenge for
• 1:06:27
  Speaker 1: doing well. And I also think that there's a little
• 1:06:31
  Speaker 1: part in Quentin Tarantino's a little weird lizard brain that's
• 1:06:34
  Speaker 1: like have people ever seen exactly? That's what it felt like,
• 1:06:40
  Speaker 1: what's cool? He's like trying to do something memorable or cool?
• 1:06:43
  Speaker 1: You know, I really think that's where he's coming from.
• 1:06:45
  Speaker 1: But that, to me makes it so much worse. It's
• 1:06:47
  Speaker 1: like of of like, oh, well, I've never seen this
• 1:06:51
  Speaker 1: on screen. Let me just put it on screen. Let
• 1:06:52
  Speaker 1: me not think about any of the ramifications or how
• 1:06:55
  Speaker 1: a character would realistically deal with this. Let me just
• 1:06:58
  Speaker 1: like I haven't seen this here it I would bet
• 1:07:01
  Speaker 1: all my money that that's exactly what. I don't think
• 1:07:03
  Speaker 1: he has thought about it at all, like even if
• 1:07:06
  Speaker 1: like the masculinity part, which is interesting because obviously he's
• 1:07:09
  Speaker 1: a man, so he can't see what he's doing. He
• 1:07:11
  Speaker 1: doesn't know what he does, I guess, but he's almost
• 1:07:13
  Speaker 1: just like, no, I haven't seen this, so mathematically I
• 1:07:16
  Speaker 1: should do that. Like even with the masculinity part. I think,
• 1:07:19
  Speaker 1: like I would think he thinks he's a feminist because
• 1:07:21
  Speaker 1: he did kill Bill, you know what I mean, But
• 1:07:23
  Speaker 1: he doesn't really. Tarantino for sure thinks he's because he's
• 1:07:27
  Speaker 1: not even he's not even really like think he's Yeah,
• 1:07:30
  Speaker 1: I just think he watches movies all day long and
• 1:07:32
  Speaker 1: isn't a person. But then when Harvey Weinstein is exposed
• 1:07:35
  Speaker 1: as a predor, Quentin Turntin was like, um, that sucks,
• 1:07:38
  Speaker 1: like and there's just god, yeah, I'm sure he thinks
• 1:07:42
  Speaker 1: he's a feminist. Probably well is threatening to murder Harvey
• 1:07:46
  Speaker 1: wat on instagram dot com a true feminist diaom. That's wild. Um,
• 1:07:50
  Speaker 1: we're running out of time, so we should talk about
• 1:07:51
  Speaker 1: whether or not the movie passes the BECTO tests. It
• 1:07:56
  Speaker 1: does in one scene where Jody and Trudy because we
• 1:07:59
  Speaker 1: both know their names. Are talking about Jody's piercings, which
• 1:08:04
  Speaker 1: introduces a new fun Bechtel asterisk to how we interpret it,
• 1:08:09
  Speaker 1: the interpret it interpret the test Street Podcast Meryl Street,
• 1:08:13
  Speaker 1: Meryl Streets Interpretative. So a lot of times when we
• 1:08:18
  Speaker 1: talk about the podcast, people will be like, well, it's
• 1:08:21
  Speaker 1: mainly about the Bucktel test, which isn't we talked about
• 1:08:23
  Speaker 1: how women are portrayed. But new asterisk to the test
• 1:08:27
  Speaker 1: because people ask about our particular interpretation of it. So
• 1:08:31
  Speaker 1: when we see this scene that passes the Backtel test,
• 1:08:33
  Speaker 1: we do not yet know the names of the female characters,
• 1:08:37
  Speaker 1: but we find out what their names are in the
• 1:08:40
  Speaker 1: scene immediately following. For us, because we find out what
• 1:08:44
  Speaker 1: their names are, we don't know when the scene is happening,
• 1:08:46
  Speaker 1: but we learned pretty much right after. Right, Yeah, I
• 1:08:49
  Speaker 1: mean we we have to make all these exceptions or
• 1:08:51
  Speaker 1: else no movies would pass the back Toel tests. Little
• 1:08:54
  Speaker 1: fun nickpicky new asterisk, right, but yeah, we do find
• 1:08:57
  Speaker 1: out their names. So, um, and they are talking. I
• 1:09:00
  Speaker 1: don't think a man gets mentioned once in that conversation.
• 1:09:02
  Speaker 1: They're just talking about Rosanna Arquets. Various piercings all over
• 1:09:05
  Speaker 1: her body, right, just a real Quentin Tarantino for some reason,
• 1:09:09
  Speaker 1: didn't hit the boa. She does say because she's talking
• 1:09:13
  Speaker 1: about her tongue piercing. She's like, it's to make filating better.
• 1:09:17
  Speaker 1: So she's flating whom filating whom probably a man? I
• 1:09:22
  Speaker 1: think that that is that to Heteronavati say, I don't know,
• 1:09:30
  Speaker 1: you're right, I'm sorry, Um okay, Yeah, So that's the
• 1:09:34
  Speaker 1: one scene where it passes the back. I don't think
• 1:09:35
  Speaker 1: any other scenes have two women even interacting interacting. There
• 1:09:40
  Speaker 1: are sometimes two women in a scene, but they don't
• 1:09:43
  Speaker 1: talk to each other, right, like in the restaurant or
• 1:09:45
  Speaker 1: something like that. But yeah, right, let's write the movie
• 1:09:49
  Speaker 1: on our nipple scale, where we write the movie based
• 1:09:52
  Speaker 1: on its portrayal of women zero to five nipple scale.
• 1:09:56
  Speaker 1: This is gonna be tricky because we see female character
• 1:10:00
  Speaker 1: 's who have personalities for once in most names that
• 1:10:04
  Speaker 1: I can Yeah, of the ones that have speaking roles,
• 1:10:07
  Speaker 1: I think almost all of them have names. And there
• 1:10:09
  Speaker 1: are more than one woman in the movie. Um, there's
• 1:10:12
  Speaker 1: like up to five or six with speaking roles. But
• 1:10:17
  Speaker 1: because this is a movie about men and their storylines,
• 1:10:21
  Speaker 1: if there are women, they're sort of framed as the
• 1:10:24
  Speaker 1: girlfriend or the wife, and they're not really contributing that
• 1:10:28
  Speaker 1: much to this story. I'm gonna give it like a
• 1:10:31
  Speaker 1: two I think. And again, it did bother me that,
• 1:10:34
  Speaker 1: like the two main plot points where a woman does
• 1:10:37
  Speaker 1: something to significantly impact the direction story takes is them
• 1:10:41
  Speaker 1: making a mistake that has to be corrected by a man.
• 1:10:43
  Speaker 1: So that bugged me a lot. So yeah, it's gonna
• 1:10:46
  Speaker 1: be two nipples, and I'm going to give my nipples
• 1:10:51
  Speaker 1: to Meryl Street, Meryl Street, Hannes, Meryl Street, please okay
• 1:11:00
  Speaker 1: arts In this movie, I wish alf Molena had perhaps,
• 1:11:03
  Speaker 1: of course, I think he could have done Harvey Kytel's
• 1:11:07
  Speaker 1: part very well. I don't know if you could have
• 1:11:09
  Speaker 1: done it as well as Harvey Kitel. And that's a
• 1:11:11
  Speaker 1: lot because alf Milena is a master of his craft,
• 1:11:14
  Speaker 1: as we know. I think that he could have done
• 1:11:16
  Speaker 1: Bruce will Is his part, and it could have been
• 1:11:19
  Speaker 1: a really fun breakout role for him. He could have
• 1:11:22
  Speaker 1: played He could have also played me a Wallets like
• 1:11:25
  Speaker 1: he's amazing. Certainly, I'm also going to give this movie
• 1:11:28
  Speaker 1: two nipples for the reasons you described. It's interesting when
• 1:11:33
  Speaker 1: you think about Quentin Tarantino's work as a whole, where
• 1:11:38
  Speaker 1: this is his second hit after Reservoir Dogs, which is
• 1:11:43
  Speaker 1: such a male, male, male movie that we barely see
• 1:11:48
  Speaker 1: a woman in the entire fucking thing. So it is
• 1:11:51
  Speaker 1: interesting that he's gradually introducing women into his body of work.
• 1:11:57
  Speaker 1: Pulp fiction is not you know, it's not on the film.
• 1:12:00
  Speaker 1: It's not a it's an actor's film. It's a tone home,
• 1:12:05
  Speaker 1: it's a lot of things. There's a lot of horny
• 1:12:06
  Speaker 1: depth in the film. I think we can argue that
• 1:12:09
  Speaker 1: there's a lot of horny tone poem elements to the film.
• 1:12:12
  Speaker 1: But it's interesting that this is the movie where we
• 1:12:15
  Speaker 1: see Quentin Tarantino start to realize, Hey, what if I
• 1:12:18
  Speaker 1: put a woman in the movie doing literally anything? Yeah,
• 1:12:22
  Speaker 1: there's I it sucks that women are either damseled or
• 1:12:25
  Speaker 1: have basically no bearing on the plot. Uh So I'll
• 1:12:29
  Speaker 1: give it two nippies, And I'm going to give those
• 1:12:32
  Speaker 1: nippies to as moralta very nice jake, what would give.
• 1:12:37
  Speaker 1: So one thing I want to say is I think
• 1:12:38
  Speaker 1: Jackie Brown would also be an interesting movie to do
• 1:12:40
  Speaker 1: on your podcast, because it came right after and it's
• 1:12:43
  Speaker 1: all about. Yeah. Anyway, I think two is pretty accurate.
• 1:12:46
  Speaker 1: Did use man explain to us what movies we should
• 1:12:48
  Speaker 1: do in our podcast? I'm a man. I warned you
• 1:12:51
  Speaker 1: when I emailed you, I said, even though I'm a
• 1:12:53
  Speaker 1: dumb man, I'd like to be your podcast. I warned
• 1:12:55
  Speaker 1: you ahead of time. I was a man. You didn't
• 1:12:57
  Speaker 1: know I was. Yeah, I just think could be interesting. Honestly,
• 1:13:01
  Speaker 1: I just haven't seen Jackie bed in a long time,
• 1:13:02
  Speaker 1: and it's it's about a woman, and it's it's like
• 1:13:06
  Speaker 1: you know, it's it's about Pam Greer and it's like
• 1:13:08
  Speaker 1: a very it's her movie. So it's would be an
• 1:13:11
  Speaker 1: interesting movie to do because it is the movie I
• 1:13:13
  Speaker 1: think after this movie, so it would be interesting to
• 1:13:15
  Speaker 1: see how much he changed. I wish that we had
• 1:13:18
  Speaker 1: done both. Anyway, Um, yeah too. I think it's pretty fair.
• 1:13:22
  Speaker 1: I mean because also again, I mean, I love the movie, Like,
• 1:13:24
  Speaker 1: even with all this stuff, watching it from this angle
• 1:13:26
  Speaker 1: which I never had before, I still love the movie.
• 1:13:28
  Speaker 1: I think it's like super entertaining and ridiculous and it's
• 1:13:30
  Speaker 1: irrelic from childhood, so it's kind of stuck there for me.
• 1:13:33
  Speaker 1: But um yeah, representation of women, I don't think you
• 1:13:36
  Speaker 1: can argue. I think two is being generous. Obviously. Mia
• 1:13:39
  Speaker 1: Wallace is like a pretty awesome character, and I do
• 1:13:42
  Speaker 1: think she really you really remember her, and she's cool
• 1:13:44
  Speaker 1: as shit. But I don't think you can say that
• 1:13:48
  Speaker 1: from a few perspective this helps at all. Um. I
• 1:13:51
  Speaker 1: think in the end, if if anything for gender, it
• 1:13:53
  Speaker 1: has definitely been on the wrong side of history. But
• 1:13:56
  Speaker 1: as a movie, I do love watching it. I have
• 1:13:58
  Speaker 1: to admit I think it's really fun. Jake, thank you
• 1:14:00
  Speaker 1: so much for being here. Where can people find you
• 1:14:04
  Speaker 1: online at Wiseman Jake on Twitter? And that's it And
• 1:14:07
  Speaker 1: but check out what can we say Corporate? Please watch
• 1:14:10
  Speaker 1: Corporate on Comedy Central ten pm on January seventeenth. You
• 1:14:14
  Speaker 1: can also watch the first four episodes right now for
• 1:14:16
  Speaker 1: free on CC dot com. I think you really like
• 1:14:18
  Speaker 1: the show. It's good. It's so good. You can follow
• 1:14:22
  Speaker 1: us on Twitter, Instagram, Facebook, all the good stuff at
• 1:14:27
  Speaker 1: becktel Cast and go to our website bactelcast dot com.
• 1:14:30
  Speaker 1: You can subscribe to Patreon. That would be a blast
• 1:14:34
  Speaker 1: for you. If you did that, then would be a
• 1:14:36
  Speaker 1: blast for you. It would be able to helps us
• 1:14:38
  Speaker 1: out with our production costs. It helps you out by
• 1:14:40
  Speaker 1: getting even more Bactel cast. Wow, what a gift. What
• 1:14:44
  Speaker 1: is timed to be a lot? What a time? Day?
• 1:14:47
  Speaker 1: Is the stuff for Patreon? Is just you two talking
• 1:14:49
  Speaker 1: about men. Yeah, it's just like a list of our
• 1:14:52
  Speaker 1: Google spreadsheet. We should just do an episode where we
• 1:14:58
  Speaker 1: list all of Alfred mill in his movies. I'm going
• 1:15:02
  Speaker 1: to start. That's a different podcast. I just going through
• 1:15:04
  Speaker 1: Alfred Molina's entire body of work with Alfred Mollina. It's
• 1:15:08
  Speaker 1: kind of just the thing for me and Alfred Bileinna.
• 1:15:10
  Speaker 1: I'm sorry. Accept the two of us, I understand, and
• 1:15:13
  Speaker 1: it ends with us hooking every episode. Congratulations, we look up.
• 1:15:18
  Speaker 1: Okay cool, Thanks thanks for listening. Bye,