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Mamma Mia with Miel Bredouw · The Bechdel Cast

• 0:00
  Speaker 1: On the dog Cast, the questions asked if movies have
• 0:04
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism? The patriarchy? Zef in best
• 0:12
  Speaker 1: start changing it with the Bedel Cast. Do Do Do
• 0:17
  Speaker 1: Do Do Do Do Do Do Do do do. Caitlin started,
• 0:25
  Speaker 1: Oh wait, now we're seeing a different songs. Oh, I
• 0:27
  Speaker 1: don't understand it, and we're off to an excellent start.
• 0:35
  Speaker 1: My name is Jamie Loftis, my name is Caitlin Dronte,
• 0:38
  Speaker 1: and this is the Betel Cast. Will make a fan
• 0:42
  Speaker 1: of attack what is going on today? We started a
• 0:44
  Speaker 1: different way and it threw us all off. No no, no,
• 0:47
  Speaker 1: no no no. I'm willing jump on drums Fernando. Okay,
• 0:55
  Speaker 1: so this is the Battel Cast start podcast about the
• 0:57
  Speaker 1: portrayal of him in the movies. We use the Bechtel
• 0:59
  Speaker 1: test as our jumping off point. If you're joining us
• 1:01
  Speaker 1: with the first time welcome. I have a question for Caitlin,
• 1:03
  Speaker 1: and this will pass the Bechtel test. Maybe, well, I
• 1:06
  Speaker 1: don't know. It depends on like Abba. We know that
• 1:08
  Speaker 1: includes some men. What is your favorite abason? Well, this
• 1:11
  Speaker 1: won't pass the Bechdel test because my favorite Abason is
• 1:13
  Speaker 1: Fernando Mine super Trooper. Okay, I feel like that's is
• 1:17
  Speaker 1: that a B side or is that any side? I
• 1:19
  Speaker 1: don't know. Abbess like catalog enough to really be able
• 1:24
  Speaker 1: to tell, but so Fernando is my favorite Abbas song.
• 1:28
  Speaker 1: That means that conversation does not pass the Bechdel test
• 1:31
  Speaker 1: because the Bectel test requires that a movie that you're
• 1:34
  Speaker 1: watching has two named female identifying characters. They have to
• 1:39
  Speaker 1: speak to each other in the movie, and their conversation,
• 1:43
  Speaker 1: which only by our standards, has to be a two
• 1:45
  Speaker 1: line exchange, but it cannot be about men. So Fernando doesn't,
• 1:50
  Speaker 1: and technically Abba doesn't because Abba is comprised of who
• 1:54
  Speaker 1: who all is in Abba? Uh, bunch of bunch, the
• 1:59
  Speaker 1: whole gang, the whole gangs here, okay, gang is in it,
• 2:02
  Speaker 1: and we love them all except maybe some of them
• 2:04
  Speaker 1: are bad. We don't know. I bet I would say
• 2:07
  Speaker 1: I think ABBA's four or five people. I would say
• 2:10
  Speaker 1: probably it's four people, super producer Sofie is saying, so
• 2:14
  Speaker 1: I would say four people. Probably at least one of
• 2:16
  Speaker 1: them is not a good person, just statistically where people
• 2:21
  Speaker 1: are bad and then their names are and if we're
• 2:24
  Speaker 1: we have Swedish listeners, first of all, good for us,
• 2:27
  Speaker 1: and second of all, I'm about to really destroy the
• 2:30
  Speaker 1: pronunciation of these Swedish names. But it's Agnita faults cog,
• 2:37
  Speaker 1: bjorn ol vs Benny Anderson love that and Annie fred Lingstad.
• 2:45
  Speaker 1: So do you know some guys and some gals and
• 2:47
  Speaker 1: they're all fully arian and they're their hair preer entertainment.
• 2:51
  Speaker 1: Let's get into the podcast. Let's do it. So today
• 2:54
  Speaker 1: we're talking about Mama Mia, the first one Do do
• 2:57
  Speaker 1: Do Do? Do? Do you? The dancing? Oh my god?
• 3:03
  Speaker 1: And here with us to join our discussion is a
• 3:09
  Speaker 1: very wonderful person, co host of Punch Up the Jam podcast,
• 3:14
  Speaker 1: me Albreto. Isn't abba to married couples, or it was
• 3:19
  Speaker 1: really I thought it was. I didn't know that. I'm
• 3:23
  Speaker 1: like a low key Abbastan, just know enough to be dangerous,
• 3:26
  Speaker 1: don't actually know what I'm talking about. I totally believe
• 3:29
  Speaker 1: that they look like they're two couples the way that
• 3:31
  Speaker 1: they're photographed. But the guys get the executive producer rights
• 3:34
  Speaker 1: on these movies, and I don't see the girl's names
• 3:36
  Speaker 1: in there. I wonder. I think maybe the guys wrote
• 3:38
  Speaker 1: the songs, but the girls sing all of them, so
• 3:40
  Speaker 1: it's very confusing. I don't know what's happening, but you
• 3:42
  Speaker 1: don't really think of male voices at all when you
• 3:45
  Speaker 1: think of Abba. It's the gals that's it. As person
• 3:56
  Speaker 1: repeating the name of the song in the background is
• 3:59
  Speaker 1: usually the Also shout out Tom Hanks and Rita Wilson,
• 4:03
  Speaker 1: who are executive produce these movies. I this is okay,
• 4:07
  Speaker 1: Mom and Mia is one of my favorite kinds of
• 4:10
  Speaker 1: cheesy Hollywood movies where it's so clear that's like everyone
• 4:13
  Speaker 1: wanted to go on vacation. Quality was not the priority here.
• 4:19
  Speaker 1: Everyone wanted to go on vacation. I'm sure like all
• 4:22
  Speaker 1: these actors vaguely at least knew each other and they're like, yeah,
• 4:25
  Speaker 1: vacation with this seems fun. They all look like they're
• 4:29
  Speaker 1: having so much fun, even when the movie is like,
• 4:32
  Speaker 1: so it's an annoying movie and I love it. What's
• 4:39
  Speaker 1: your history with this movie slash musical? Okay? I think
• 4:42
  Speaker 1: I probably first watched it when I was like sick
• 4:44
  Speaker 1: at home eight years ago and it just kind of
• 4:48
  Speaker 1: was on and I was too weak to change it.
• 4:50
  Speaker 1: That's all great, movies are seeing for the first time.
• 4:53
  Speaker 1: I definitely did not seek this out. It happened to me,
• 4:57
  Speaker 1: and then it kind of stuck with me, and then
• 4:59
  Speaker 1: probably a couple of years there, I was like, I
• 5:00
  Speaker 1: want to watch it again. So he did, and I
• 5:03
  Speaker 1: was like, this is trash in every sense of the word,
• 5:06
  Speaker 1: and I love it so And then they found out
• 5:09
  Speaker 1: being a second one. I was like, are you fucking
• 5:11
  Speaker 1: kidding me? Yes, and I went out opening already. Oh yeah,
• 5:16
  Speaker 1: And obviously we're not talking about the second one. But
• 5:19
  Speaker 1: in case you were wondering if it makes any sense,
• 5:22
  Speaker 1: it does not. The first one betrays so many things
• 5:26
  Speaker 1: they said up. There's so many continus. They say, the
• 5:29
  Speaker 1: mom is dead outright in the first one and a
• 5:32
  Speaker 1: pink share right, whoa, it's very insane. That does not
• 5:37
  Speaker 1: make any sense. Yeah, there's a lot of continuity errors.
• 5:41
  Speaker 1: I'm just gonna treat it like Spider Man, like when
• 5:42
  Speaker 1: they just started over here. That's so fun. It's fun though.
• 5:51
  Speaker 1: I love it. It's trash and a good way. It's
• 5:55
  Speaker 1: the movie and killen. You made this point the other
• 5:57
  Speaker 1: night because we tried to watch the movie together and
• 6:00
  Speaker 1: then it was like, literally twelve minutes and we're like,
• 6:02
  Speaker 1: we actually all have to go to bed. We went
• 6:05
  Speaker 1: to super producer Sophie's house to watch it, and we're
• 6:08
  Speaker 1: just like, you know what, it's not going to happen.
• 6:10
  Speaker 1: There's just the lighting, is you put? It is so
• 6:13
  Speaker 1: horrible really Like so, I'm not usually that much of
• 6:17
  Speaker 1: a snob when it comes to like the visual aspects,
• 6:20
  Speaker 1: which is I do have a master's degree in screenwriting,
• 6:23
  Speaker 1: though not in film production, so I'm not inclined to
• 6:27
  Speaker 1: like pay as much attention to the more like mechanical
• 6:31
  Speaker 1: side of filmmaking. I'm all about story. But this movie
• 6:35
  Speaker 1: does everything so badly that you can't not notice it. Like,
• 6:38
  Speaker 1: the lighting is extremely bad. The cinematography is so boring.
• 6:42
  Speaker 1: This is the most static movie I've ever seen in
• 6:45
  Speaker 1: my life. You have to give a shout out to
• 6:46
  Speaker 1: the one continuous shot when they're walking up the hill
• 6:48
  Speaker 1: to the church at the end. That is fucking insane.
• 6:50
  Speaker 1: That is pretty. But I'm with you because they do
• 6:53
  Speaker 1: Day for Night the worst I've ever seen it. It's
• 6:55
  Speaker 1: funny Day for Night. The editing is also really boring
• 7:00
  Speaker 1: and bad. I wouldn't say boring, would say is really
• 7:03
  Speaker 1: bad too. No, come on. No, I can't come on
• 7:09
  Speaker 1: at this time. It's so bland. Oh it's there. I
• 7:14
  Speaker 1: do the whole first scene with Amanda. Cyfrid and her
• 7:18
  Speaker 1: shitty friends don't have names. I don't think they the
• 7:22
  Speaker 1: friends have names. They like saying. They shouted at each
• 7:25
  Speaker 1: other where they're like tiny, Say we're Sophie, Ali, Lisa,
• 7:30
  Speaker 1: and we're the greatest, bestest mate. I'm tough, I'm taller,
• 7:33
  Speaker 1: I'm tiny, and we're going to rock this place. That's
• 7:35
  Speaker 1: the only time they say. That's what Galen and Sophie
• 7:38
  Speaker 1: do every time. That whole first scene is like Amanda's
• 7:43
  Speaker 1: is it Cyfred or Sea Freed or does it matter?
• 7:45
  Speaker 1: Not sure? Whatever you believe it. She has flesh colored
• 7:47
  Speaker 1: hair freaks me out, but I do have a thing
• 7:52
  Speaker 1: with flesh colored hair. But she she's like squinting and
• 7:56
  Speaker 1: the sun is in her eyes for the whole first
• 7:58
  Speaker 1: scene for honey, Honey, She's like, honey, honey, But you
• 8:03
  Speaker 1: guys like sunny, sunny. Your eyes are way more sensitive
• 8:07
  Speaker 1: to light when they're blue. I can attest to this.
• 8:09
  Speaker 1: I can't go outside without sunglasses and I literally can't
• 8:11
  Speaker 1: see whoa yeah, because nobody pigment to help you filter
• 8:14
  Speaker 1: sun light. We have strong eyes your evolution, sturdy eyes,
• 8:21
  Speaker 1: a pretty hefty eyes. Uh there, but like all three
• 8:28
  Speaker 1: of them seem like they're in pain. First number where
• 8:32
  Speaker 1: they're like, it's clearly very hot. Yeah right, Oh god,
• 8:37
  Speaker 1: the lighting, Jamie, what does your history so it? This morning?
• 8:41
  Speaker 1: Loved it? Oh, I loved it. I wish I had
• 8:44
  Speaker 1: seen it when it came out? Have you never seen
• 8:46
  Speaker 1: it before this morning? And it's something that I was like,
• 8:49
  Speaker 1: I knew I was gonna really like it. You predicted
• 8:52
  Speaker 1: I would really like it. I love. I love a
• 8:55
  Speaker 1: big dumb musical, I really do. I love especially I
• 8:58
  Speaker 1: love Hollywood musicals where O whe can sing, but most
• 9:02
  Speaker 1: of them, with the extreme accepted of Peters President, most
• 9:06
  Speaker 1: of them can act. None of them can sing. That's
• 9:08
  Speaker 1: my favorite kind of Hollywood musical When they can't sing
• 9:11
  Speaker 1: or act. That's scary. When they can sing and can't act,
• 9:15
  Speaker 1: like when they bring Broadway people into movies and it
• 9:17
  Speaker 1: doesn't translate, that makes me sad. This is my favorite,
• 9:20
  Speaker 1: like permutation of this format where it's like Meryl Streep
• 9:24
  Speaker 1: is merrolling out. She does a great job acting and
• 9:27
  Speaker 1: the secondary starts to sing, You're like, whoa, she's really bad.
• 9:30
  Speaker 1: But this is like everyone's having so much fun. They
• 9:32
  Speaker 1: don't even seem to care that they suck. I bet
• 9:35
  Speaker 1: that most of these people, if asked, would be like, yeah,
• 9:38
  Speaker 1: I'm not a great singer, would great time in Greece.
• 9:41
  Speaker 1: They do look like they're having fun. So my history
• 9:44
  Speaker 1: with this movie is I saw the stage production when
• 9:49
  Speaker 1: I was in college, so somewhere around probably like two
• 9:52
  Speaker 1: thousand five in New York City Stavor Dreams Come True. No,
• 9:55
  Speaker 1: this would be in a state college, Pennsylvania, home of
• 9:58
  Speaker 1: penn State University, where I did get my first film degree.
• 10:02
  Speaker 1: That's another city where true and known for their Broadway shows,
• 10:07
  Speaker 1: big touring production town. Exactly so I thought, and I
• 10:11
  Speaker 1: I really liked it. I liked the stage production. Is
• 10:15
  Speaker 1: everyone in the stage production white? Also, as far as
• 10:19
  Speaker 1: I can remember, it was a predominantly white cast. Yes, um.
• 10:23
  Speaker 1: And then I didn't see the movie when it came out.
• 10:26
  Speaker 1: I didn't see it until earlier this year. I went
• 10:30
  Speaker 1: to Boston to visit a friend of the cast, J. T. Taylor,
• 10:34
  Speaker 1: and he made me watch it, and I kept protesting,
• 10:39
  Speaker 1: and I said, I really don't want to and he
• 10:41
  Speaker 1: said please, and I said, okay, fine, because he's like
• 10:44
  Speaker 1: the new ones coming out, you have to be prepared.
• 10:47
  Speaker 1: So yeah, it's good when a friend looks out for you. Yeah. Yeah.
• 10:52
  Speaker 1: So we watched it and I was like, man, this
• 10:54
  Speaker 1: movie is rooting. Is not good. I'm sure if I
• 10:58
  Speaker 1: liked musicals, I would like this much better a bit.
• 11:00
  Speaker 1: I have a very very low threshold for liking movie
• 11:03
  Speaker 1: musicals that you would be movie musical right, because they're
• 11:10
  Speaker 1: usually better than I don't know, already have to get
• 11:14
  Speaker 1: over the hump of it's a jukebox musical where they
• 11:17
  Speaker 1: tried to string a storyline through songs that already were written.
• 11:20
  Speaker 1: That's crazy, that's what the This is why I don't
• 11:23
  Speaker 1: like this movie. The story makes no sense because they
• 11:25
  Speaker 1: reversed engineered a story around across the Universe, right, so
• 11:30
  Speaker 1: it is there's unless there's And I'm pretty sure this
• 11:33
  Speaker 1: was like the O G musical of this nature, or
• 11:36
  Speaker 1: maybe at least one of the first really popular ones
• 11:39
  Speaker 1: were stuff like Across the Universe, which is not nearly
• 11:42
  Speaker 1: as good. I don't know why I think this movie
• 11:46
  Speaker 1: is so good. I don't know either is good, but
• 11:49
  Speaker 1: it is on that spectrum. There's a word. We're going
• 11:51
  Speaker 1: to find it. It is not good, it's enjoyable, it
• 11:54
  Speaker 1: is popular. I think it's a word that doesn't exist yet. Okay,
• 11:58
  Speaker 1: we're going to create it. There this. I bet this
• 12:01
  Speaker 1: got nominated for an oscar for like costumes, I doubt maybe,
• 12:05
  Speaker 1: but the costumes are all the same. One pair of overalls,
• 12:09
  Speaker 1: one in those overalls. I like waiting for those overalls
• 12:13
  Speaker 1: to result into camel too. I was in full Meryl
• 12:15
  Speaker 1: streep camel toe watch and because they seemed inevitable. If
• 12:19
  Speaker 1: you're a frequent wear of overalls, it happens a lot. Well, no,
• 12:22
  Speaker 1: you're a tall person. I think this is unique experience.
• 12:25
  Speaker 1: I've never had a camel toe from overalls or one.
• 12:27
  Speaker 1: Oh my god, it's so hard to find overalls with
• 12:29
  Speaker 1: like a decent torso length. Yes, this is this is
• 12:32
  Speaker 1: your cross to bear as a person over at five
• 12:35
  Speaker 1: five I was really I was really hoping. I was
• 12:38
  Speaker 1: paying for a streep camel toe and God was asleep.
• 12:44
  Speaker 1: I think that's an automatic fail of the back toel
• 12:46
  Speaker 1: to pull on camel toe. It doesn't pass. It doesn't.
• 12:53
  Speaker 1: Oh no, okay, we're okay. So and I also I
• 12:59
  Speaker 1: did see Mama Mia, here we go again, thank you
• 13:02
  Speaker 1: a few nights ago, and also don't like it, don't
• 13:06
  Speaker 1: find it. Removing Meryl Streep was a mistake for sure.
• 13:10
  Speaker 1: Do you think she was just unwilling to do it again? Well,
• 13:13
  Speaker 1: she's my guest. Yes, she's in the movie for one scene,
• 13:17
  Speaker 1: for a scene at the end. She's one scene. She's
• 13:19
  Speaker 1: taping Doubt to movie and Philip seymore hoff is just
• 13:26
  Speaker 1: like a hologram. Well, it's kind of like how they
• 13:29
  Speaker 1: killed off Meryl Streep while the priest died, so we
• 13:33
  Speaker 1: had to find a new source of dramatic flashion too.
• 13:37
  Speaker 1: It's mostly about Amy Adams Meryl Streeps starting a new religion.
• 13:41
  Speaker 1: Pretty cool to This movie comes out this same year
• 13:46
  Speaker 1: as Doubt, So Meryl I like to think Doubt was
• 13:50
  Speaker 1: filmed first, and you know, because that's the kind of
• 13:52
  Speaker 1: movie that she probably made like six dollars for. And
• 13:55
  Speaker 1: she's just screaming it's at Hoffman all day long, does
• 13:59
  Speaker 1: a real heavy stuff and then she's like, God, I'm exhausted.
• 14:03
  Speaker 1: Let me just I wish someone would pay me a
• 14:05
  Speaker 1: billion dollars to hang out in Greece and not really
• 14:08
  Speaker 1: try the one thing I want to say about Mama
• 14:11
  Speaker 1: Mia too is that this is not a spoiler, but
• 14:14
  Speaker 1: there is a direct Titanic reference in the movie where
• 14:19
  Speaker 1: Colin Firth and Stolen Scars Guard are on the front
• 14:24
  Speaker 1: of a boat. One is behind the other one. The
• 14:27
  Speaker 1: one in front has his arms outstretched and it's just
• 14:31
  Speaker 1: like the Jack and Rowse scene. It's the most beautiful
• 14:33
  Speaker 1: homo erotic scene in a straight movie against such a gift.
• 14:37
  Speaker 1: The whole sequence reminds me of Fast and the Furious.
• 14:39
  Speaker 1: If we're being honest, this has been suggested to us
• 14:43
  Speaker 1: by former uh for us because a former friend of
• 14:46
  Speaker 1: the pot my fucking enemy, no, former guest of the
• 14:51
  Speaker 1: pod or love has really repeatedly flooded my phone with
• 14:57
  Speaker 1: a demand for all eight asked movies reviewed in one episode,
• 15:03
  Speaker 1: which would be a hell of an episode. No no, no, no,
• 15:05
  Speaker 1: no no no, Sophie saying no, I'm just narrating movement.
• 15:11
  Speaker 1: No no, no, no, Sophie seems to be really not
• 15:14
  Speaker 1: loving this. But in in my my counterpoint is I
• 15:19
  Speaker 1: did watch all the Lord of the Rings movie and
• 15:20
  Speaker 1: that was the trial of a lifetime. Yes, so we'll
• 15:23
  Speaker 1: be on the lookout for our Lord of the Rings episode,
• 15:26
  Speaker 1: but okay, so I'll do the recap of Mamma Mia.
• 15:30
  Speaker 1: So the story of Mamma Mia two thousand and eight
• 15:34
  Speaker 1: is Sophie. That's Amanda Seafried's character flesh Air. She old
• 15:39
  Speaker 1: flesh Air. She lives on a Greek island called Kalakari
• 15:47
  Speaker 1: with her mom Donna that's Meryl Streep, at a hotel
• 15:50
  Speaker 1: that they run together and her and Meryl Streep is
• 15:53
  Speaker 1: beautiful but also busted hotel, yes, And Sophie is about
• 15:59
  Speaker 1: to get married, but Sophie does not know who her
• 16:03
  Speaker 1: father is and she's like, who's going to give me
• 16:05
  Speaker 1: away at the wedding? But then she finds her mom's
• 16:09
  Speaker 1: diary that she kept during the year that she was
• 16:12
  Speaker 1: pregnant with Sophie and gets so excited about her mom
• 16:16
  Speaker 1: fucking in a way that is like, Okay, it's not
• 16:19
  Speaker 1: like you shouldn't like not want your mom to have sex,
• 16:22
  Speaker 1: but there is a threshold of like, your way too
• 16:25
  Speaker 1: excited that your mom is like she It's like, yeah,
• 16:28
  Speaker 1: your mom, you know, really cleaned up that summer, but
• 16:30
  Speaker 1: why are you Like She's like, yeah, I think it's
• 16:34
  Speaker 1: the tone of the movie right out the top of
• 16:37
  Speaker 1: women are so fucking horny in this movie, even for
• 16:42
  Speaker 1: their own moms. Okay. So she finds this diary, and
• 16:47
  Speaker 1: in the diary, Donna tells the story of three different
• 16:51
  Speaker 1: guys that she slept with over the course of a
• 16:53
  Speaker 1: very short amount of time. So these are the three
• 16:56
  Speaker 1: raw dogs. Yes, oh, it was a raw summer, very
• 17:00
  Speaker 1: rang not a piece of contraception insight. Okay. The timeline
• 17:06
  Speaker 1: of this movie is very funny to me because if
• 17:08
  Speaker 1: we're taking the lyrics at face value, later on, when
• 17:12
  Speaker 1: they're like, you go, Meryl, it's good that you know
• 17:14
  Speaker 1: you should sleep with whoever you want, they use dancing
• 17:17
  Speaker 1: Queen Young and Sweet only seventeen, which would imply that
• 17:21
  Speaker 1: Meryl Streep is thirty seven in this movie because her right,
• 17:27
  Speaker 1: don't pay attention to the timeline. You're going to ruin it.
• 17:29
  Speaker 1: Don't even think about it. Mert seven years old? Right, yeah? Okay, bit,
• 17:34
  Speaker 1: she's thirty seven. A lot of sun exposure and crazy. Um.
• 17:39
  Speaker 1: So she finds a diary and in it it tells
• 17:43
  Speaker 1: of Sam, Bill and Harry, and these are the three
• 17:47
  Speaker 1: people who might be Sophie's father. So Sophie sends out
• 17:53
  Speaker 1: wedding invitations to all three of them. She somehow knows
• 17:56
  Speaker 1: their addresses even though her mom, Donna, has spoken to
• 18:00
  Speaker 1: them in twenty years. She's a hacker, she hacked, she
• 18:06
  Speaker 1: fully hacked. Amanda Seafreys husband is kind of a hacker.
• 18:11
  Speaker 1: And then although I do think he is just using squarespace,
• 18:15
  Speaker 1: he's like, I'm making a website. It's really clean looking.
• 18:20
  Speaker 1: So Sophie invites all three of these men to the wedding,
• 18:23
  Speaker 1: and then we see a montage scene of them dropping
• 18:27
  Speaker 1: literally everything that they're doing and rushing to their respective
• 18:31
  Speaker 1: airports to get to this wedding. But they think Donna
• 18:34
  Speaker 1: invited them, so they dropped everything to try to fuck. Yeah, woman,
• 18:39
  Speaker 1: they haven't sucked in twenty years. That it is so
• 18:43
  Speaker 1: weird that all of them, like the men in this movie,
• 18:46
  Speaker 1: are extremely docile like and very obedient to the point
• 18:51
  Speaker 1: where it is kind of irrational, where it's like, wait,
• 18:54
  Speaker 1: you just showed up. Yeah, they're safe men, the super
• 18:59
  Speaker 1: their allies are. They're extremely unhinged in it. I would
• 19:03
  Speaker 1: be like, hey, do you mind sailing across? They're holding
• 19:06
  Speaker 1: a very tiny boat together, like it's clearly not easy
• 19:09
  Speaker 1: to get there, and they're like yeah, sure they might have.
• 19:12
  Speaker 1: They well, everyone sucks in this movie, I'm pretty sure
• 19:16
  Speaker 1: for sure. So Sophie wants to figure out which of
• 19:19
  Speaker 1: these three guys is her father, so she invites them
• 19:21
  Speaker 1: all to the wedding under the pretense that it was
• 19:23
  Speaker 1: Donna who invited them, right, And they arrive and they're like, oh,
• 19:30
  Speaker 1: we're here to see Donna, and Sophie's like, no, you
• 19:33
  Speaker 1: can't see her yet, and then whatever your hair. Donna
• 19:35
  Speaker 1: finds out that they're there, she pitches a horny fit. Basically,
• 19:40
  Speaker 1: I love that horny fit. She's underneath the fucking floor
• 19:45
  Speaker 1: boards and it's like, I'm so horny. This is my
• 19:49
  Speaker 1: worst nightmare. And also getting too horny getting horne is
• 19:54
  Speaker 1: my worst nightmare. I haven't done it before, and I'm scared.
• 19:59
  Speaker 1: There's no I I used to have this dream that
• 20:02
  Speaker 1: everyone I've ever had sex with would just like be
• 20:04
  Speaker 1: having brunch without me, and I would have nightmare. That's
• 20:07
  Speaker 1: the nightmare. But that's basically kind of what happens, where
• 20:10
  Speaker 1: like three guys she had sex with who she didn't
• 20:13
  Speaker 1: think knew each other are all there twenty years later,
• 20:16
  Speaker 1: and she's freaked out by it. But she doesn't ask
• 20:19
  Speaker 1: a lot of questions. No. Well, again, almost nothing in
• 20:22
  Speaker 1: this story makes sense. It's also the gohouse scene is
• 20:26
  Speaker 1: where they start incorporating this like very often on Greek
• 20:30
  Speaker 1: chorus theme they have going on through Yeah you just
• 20:33
  Speaker 1: pop out of nowhere, and like part of the scene,
• 20:36
  Speaker 1: all the locals are like, hey, we're saying the only
• 20:38
  Speaker 1: vaguely non white people in the movie, who I'm pretty
• 20:41
  Speaker 1: sure are all actually white. Still, there's not a single
• 20:44
  Speaker 1: Grecian person in this movie. No, I feel I feel
• 20:47
  Speaker 1: like the only Grecian people are used very much as
• 20:50
  Speaker 1: set dressing, Like as is the unfortunate trend in movies
• 20:56
  Speaker 1: like this, where they're like, let's just put a bunch
• 20:57
  Speaker 1: of extremely Caucasian people and then we'll have people who
• 21:01
  Speaker 1: live there but holding the chickens, not speaking roles, they're
• 21:05
  Speaker 1: having things thrown at them. They work for the white people,
• 21:08
  Speaker 1: and that is mostly unfortunately how that goes. Same in
• 21:11
  Speaker 1: the second one, if anyone's keeping track, they learned nothing
• 21:16
  Speaker 1: as long as no one learned anything, Okay, So then
• 21:18
  Speaker 1: the dads are there and Sophie's like, let's spend the
• 21:21
  Speaker 1: day together, and then throughout the course of like because
• 21:24
  Speaker 1: her wedding is the following day. So throughout the course
• 21:26
  Speaker 1: of this like twenty four hours, she spends time with them.
• 21:29
  Speaker 1: She's kind of like has like a one on one
• 21:31
  Speaker 1: moment with each of them. And during those moments, each
• 21:34
  Speaker 1: of the men Bill, Harry and Um Sam are like,
• 21:40
  Speaker 1: wait a minute, I'm your father, aren't I, And She's like,
• 21:43
  Speaker 1: I d K. And then she's like yeah, right, literally
• 21:47
  Speaker 1: never yeah. So much confusion is created where she anytime
• 21:51
  Speaker 1: someone's like, am I your dad, she says yes, are
• 21:54
  Speaker 1: you Yeah? And then they later the reverse happens where
• 21:58
  Speaker 1: they run up to her they're like, I'm your dad,
• 21:59
  Speaker 1: and she's like, oh, yeah, this three times right, So
• 22:04
  Speaker 1: she doesn't know. And then meanwhile like Donna is like,
• 22:07
  Speaker 1: why are these dad's here? I don't like Sophie can
• 22:11
  Speaker 1: never find out. And then so like it's this whole
• 22:14
  Speaker 1: comedy of errors kind of thing where it's like I
• 22:16
  Speaker 1: don't know that she knows, and she doesn't know that
• 22:17
  Speaker 1: I know, and blah blah blah blah blah. And then
• 22:19
  Speaker 1: finally at the end, during the wedding of Sophie and
• 22:24
  Speaker 1: her Sky. So then at the wedding, all the dads
• 22:28
  Speaker 1: are like yeah, I might be your dad, but we
• 22:30
  Speaker 1: don't need to need to know you're our daughter anyway.
• 22:33
  Speaker 1: And Donna is like, yeah, everything's great and everything, and
• 22:39
  Speaker 1: then Sophie decides not to get married after all. But
• 22:41
  Speaker 1: then Pierce bross like, why waste a good wedding, So
• 22:45
  Speaker 1: then Pierce Brosnan, who is, uh, yeah, Sam was a
• 22:49
  Speaker 1: good wedding, Donna, and then they get married, and then
• 22:54
  Speaker 1: then there's some more songs and that is the end
• 22:57
  Speaker 1: of the movie. It's another thing I love about movies.
• 23:00
  Speaker 1: I love this nature as they take twelve minutes stand
• 23:03
  Speaker 1: for no reason for sure. So let's take a quick
• 23:06
  Speaker 1: break and then we'll come back for the discussion and
• 23:15
  Speaker 1: we're back. I was starting the song Mama Mia. Yeah, okay,
• 23:22
  Speaker 1: I know, I gotta go to that like weird it
• 23:26
  Speaker 1: like boom bum bum bum bum boom. It's kind of
• 23:32
  Speaker 1: like because it's scary. It's a scary chord. The cool
• 23:37
  Speaker 1: thing they did. They're cool songwriter, They're cool. The A's
• 23:41
  Speaker 1: were married to the Bees was in the movie. I'm
• 23:45
  Speaker 1: so mad about all this. Yeah, they should be called
• 23:48
  Speaker 1: bah Bah. It takes place in New Jersey. I'm on board.
• 24:06
  Speaker 1: It's trying to who owns the spaghetti restaurant? Like, what
• 24:12
  Speaker 1: is Papa boot here? I go? I get why? Why?
• 24:23
  Speaker 1: Where's the bust of meat? I want to meet sandwiches? Okay,
• 24:33
  Speaker 1: call back to point break. All right, So this is
• 24:43
  Speaker 1: our unhinged say I think I'm the reason. I'm so sorry.
• 24:47
  Speaker 1: I'm cuts. I'm so sorry. I sucked it out. I
• 24:52
  Speaker 1: brought my notes and they're really bad. This is a
• 24:55
  Speaker 1: safe place. No one ever brings notes. This is thrilling.
• 24:59
  Speaker 1: Oh that's so great. So I kind of the first
• 25:03
  Speaker 1: time I saw this, I like kind of when I
• 25:06
  Speaker 1: watched and I was like, I don't even know what
• 25:07
  Speaker 1: I'm going to say about this, Like what are my
• 25:09
  Speaker 1: talking points? And then one of our fans tweeted at
• 25:13
  Speaker 1: us with tweets from Keiley Flattery. Who is that someone? Yeah? Uh,
• 25:22
  Speaker 1: she tweeted the yes MoMA Mia is a fun and
• 25:26
  Speaker 1: fluffy musical, but also the story is about a working
• 25:29
  Speaker 1: single mother. It's about sex positivity. It's about the importance
• 25:34
  Speaker 1: and longevity of female friendships. It's about dismantling the pressure
• 25:38
  Speaker 1: placed on people, especially women, to get married. Also, well
• 25:42
  Speaker 1: we'll debate that. And it's about an imperfect but deeply
• 25:46
  Speaker 1: loving relationship between a mother and a daughter. It's men
• 25:49
  Speaker 1: excited to embrace their role as father's it's men's father
• 25:54
  Speaker 1: figures showing up for and prioritizing their daughter, and it's
• 25:57
  Speaker 1: about the beauty of non traditional family's. So I was like, Okay, this,
• 26:02
  Speaker 1: I can kind of use some of these as sort
• 26:03
  Speaker 1: of the basis that's I think that that's maybe a
• 26:06
  Speaker 1: little bit too nice, but but definitely all of those
• 26:10
  Speaker 1: are grounded in what happens in the movie. And on
• 26:13
  Speaker 1: the oh serious note, this is like one of those
• 26:17
  Speaker 1: weird movies that I feel like these kinds of movies
• 26:19
  Speaker 1: always do so well internationally because like a lot of
• 26:22
  Speaker 1: movies we've been covering recently, there are hints of female
• 26:26
  Speaker 1: empowerment and sex positivity, but the conclusion of the movie
• 26:29
  Speaker 1: is always very heteronormative of like we're getting married and
• 26:33
  Speaker 1: like literally every woman given attention in the story. So
• 26:38
  Speaker 1: I'm like kind of counting out, uh, Fleshheads friends because
• 26:42
  Speaker 1: I really want to see them at the beginning, and
• 26:43
  Speaker 1: they're not the second one. They're they're not yeah, like
• 26:46
  Speaker 1: they're they like they're not really characters, but like the
• 26:49
  Speaker 1: four main women, Amanda Meryl Christine, Ron Weasley's mom, right,
• 26:56
  Speaker 1: those are their character names and all of them by
• 26:59
  Speaker 1: the end, and I was like, oh, maybe Ron Weasley's
• 27:02
  Speaker 1: mom will get to be single, but they don't. I mean,
• 27:04
  Speaker 1: every single one of those women ends up with a guy,
• 27:07
  Speaker 1: or it's implied that they're going to end up with
• 27:08
  Speaker 1: a guy, and there's all an there's a song for
• 27:10
  Speaker 1: all of them about how they're gonna end up with
• 27:12
  Speaker 1: a guy. Meryl, who is like the most sex positive
• 27:15
  Speaker 1: character in the movie, is you know, married to But
• 27:21
  Speaker 1: I don't know. I just like I feel like it
• 27:22
  Speaker 1: goes in the right direction. And then at the end
• 27:24
  Speaker 1: it just reached us kind of the obvious hetero normative conclusion. Well,
• 27:27
  Speaker 1: I mean, you're forgetting called Firth does say he's gay
• 27:30
  Speaker 1: and end up with a man hetero that's true. That yeah,
• 27:33
  Speaker 1: that's true. And I also will say a bone to
• 27:35
  Speaker 1: pick with that tweet is that stolen scars guards the
• 27:38
  Speaker 1: whole end of movie arc here is that he's like,
• 27:40
  Speaker 1: I don't want to be a dad at all. I'm
• 27:41
  Speaker 1: not ready for this. That's true. So I don't know
• 27:44
  Speaker 1: about the last third guy right right right, But to me,
• 27:47
  Speaker 1: instead of run Weasley's mom. She is Mrs Bird from
• 27:51
  Speaker 1: Paddington and Paddington two. So that's really how I'm gonna
• 27:56
  Speaker 1: classify her. But I'm calling her not Tracy Ullman. Okay,
• 28:01
  Speaker 1: everyone has an interesting take on this woman. She she
• 28:05
  Speaker 1: is great in this movie, and Christine make the movie
• 28:09
  Speaker 1: they really like, give us that. Yeah, I would like
• 28:11
  Speaker 1: that movie, but Christine Branski is wonderful. Christine Baranski hints
• 28:15
  Speaker 1: at her own semi obvious plastic surgery and one shot
• 28:19
  Speaker 1: of this where she pulls her face back the whole
• 28:21
  Speaker 1: plot point. Yeah, like making fun of her for all
• 28:24
  Speaker 1: the work she's had done. And then when she sees
• 28:25
  Speaker 1: a man of cipher, she's like, you probably don't recognize
• 28:27
  Speaker 1: me because your face is so different. That's like, can
• 28:30
  Speaker 1: we stop subtweeting Christine please? She seems game for it,
• 28:34
  Speaker 1: I know, and her back muscles were amazing. I love
• 28:37
  Speaker 1: her and The Good Wife and The Good Fight and
• 28:40
  Speaker 1: other Grench so Christmas and Chicago and wells an't love
• 28:44
  Speaker 1: it all. Both Finger is my favorite movie that she's in.
• 28:47
  Speaker 1: So Christine Branski and Mrs Bird, Yeah let's start, are
• 28:52
  Speaker 1: Donna's two best friends, and they appear again in the
• 28:57
  Speaker 1: sequel and then we all love it and shows have
• 28:59
  Speaker 1: a great time. I feel like they passed right at
• 29:02
  Speaker 1: the top when she's rausing her about the cookbook on
• 29:04
  Speaker 1: the boat, right, yeah, yeah, yeah, a lot of their
• 29:07
  Speaker 1: stuff does. So yeah, it's a great female friendship. I think, Um,
• 29:12
  Speaker 1: there's really nothing coming between them. They're all like, well,
• 29:15
  Speaker 1: why didn't you tell us about like who? But other
• 29:19
  Speaker 1: than that, there's like not that much tension in the
• 29:22
  Speaker 1: story between them. It's just like all positivity. They had.
• 29:27
  Speaker 1: The few conflicts that come up sort of end with
• 29:30
  Speaker 1: the other two like lifting her up where there are
• 29:33
  Speaker 1: times where and this didn't even totally miss for me,
• 29:36
  Speaker 1: but like when Donna Merrill occasionally expresses like regret or
• 29:43
  Speaker 1: shame or feeling bad about herself or fearing that her
• 29:45
  Speaker 1: daughter will judge her because her daughter is sort of
• 29:48
  Speaker 1: like more conservative and traditional than her mom is. But
• 29:51
  Speaker 1: every time that happens, her two friends are like, no,
• 29:54
  Speaker 1: you're great, like you were so hot and fun and
• 29:57
  Speaker 1: then they sing dancing Queen and anytime like my earl's
• 30:00
  Speaker 1: feeling like, they do the friend thing and they're like, no,
• 30:02
  Speaker 1: you're you're the best, and you fucked so much and
• 30:04
  Speaker 1: we thought that was awesome. Yeah, you raw dogged hard summer.
• 30:08
  Speaker 1: And then and then Meryl's like, you know what, I
• 30:10
  Speaker 1: did raw dog a lot that summer. And then she
• 30:12
  Speaker 1: starts to dance on the bed and I was like
• 30:14
  Speaker 1: this rules. Yeah. So it's like women uplifting other women.
• 30:18
  Speaker 1: That's very nice dancing. I don't think it mentions young,
• 30:24
  Speaker 1: does it? Yeah? I think I think a lot of
• 30:26
  Speaker 1: it does. At least they're exchanges that do. But it's
• 30:30
  Speaker 1: weird because like in this movie, they give random characters
• 30:32
  Speaker 1: they I love how they it's such everything as a
• 30:36
  Speaker 1: reach in terms of contextualizing it. Where the end of Honey, Honey,
• 30:40
  Speaker 1: where it's like all about her mom sucking, at the end,
• 30:42
  Speaker 1: it's like, but I wish I had a daddy. At
• 30:46
  Speaker 1: the end, you're just like they missed me with that.
• 30:49
  Speaker 1: I think that is one of the big problems that
• 30:53
  Speaker 1: I have with this movie is that it's a story
• 30:56
  Speaker 1: driven by Sophie desperately knee to know who her father
• 31:01
  Speaker 1: is and feeling emptiness because she does not have a
• 31:04
  Speaker 1: father in her life. I think Sophie is like my
• 31:06
  Speaker 1: least favorite character in the movie's she super sucks. Not
• 31:11
  Speaker 1: that it's like fiance is like I don't really want
• 31:13
  Speaker 1: to get married, can we please not? And her mom's like, hey,
• 31:15
  Speaker 1: why are you doing this? And she's like, fuck you,
• 31:18
  Speaker 1: I'm around. I'm establishing a ruse here. This is the
• 31:22
  Speaker 1: lamest parent trap ever. It's like, I literally is. And
• 31:26
  Speaker 1: that's not to say like if you don't know who
• 31:28
  Speaker 1: one of your parents is, it's okay that that could
• 31:31
  Speaker 1: bother you. Like that's logical, that's fine. But the way
• 31:34
  Speaker 1: she goes about it just you know, she's like, oh,
• 31:37
  Speaker 1: this is the key, and that's not really thoroughly challenged. Yeah.
• 31:42
  Speaker 1: I think her like she said something like I need
• 31:45
  Speaker 1: I need to know who my dad is in order
• 31:47
  Speaker 1: to feel complete. Direct quote from the movie is that
• 31:49
  Speaker 1: I feel like there's a part of me missing. And
• 31:52
  Speaker 1: I think at one point Sky, her fiance, says something
• 31:55
  Speaker 1: like no, you, like you just need to figure your
• 31:58
  Speaker 1: own self out, Like knowing who you're dad isn't going
• 32:00
  Speaker 1: to like help you find yourself. Like you have to
• 32:03
  Speaker 1: find yourself because you already have a family, right, Yeah,
• 32:07
  Speaker 1: So like that, but I think that's the extent to
• 32:09
  Speaker 1: which that goes challenged. The end, her whole arc is
• 32:13
  Speaker 1: realizing the air of her ways. She ends up why
• 32:16
  Speaker 1: did I need a dad? I've had you this whole time,
• 32:18
  Speaker 1: you give me away at the wedding. But then it's
• 32:19
  Speaker 1: also like why do I need a dad? I have
• 32:22
  Speaker 1: three dads now, So it's like I feel like the
• 32:26
  Speaker 1: message wasn't like my mom was enough the whole time.
• 32:29
  Speaker 1: It was like wedding, yeah, but then the monk gets married.
• 32:33
  Speaker 1: I don't know well again, so so much in this
• 32:36
  Speaker 1: movie doesn't make like characters reactions to things often don't
• 32:40
  Speaker 1: make sense, but the story is written that way to
• 32:42
  Speaker 1: serve the next song that's coming up, So like I
• 32:45
  Speaker 1: feel like a discussion that we would like usually have
• 32:48
  Speaker 1: in an episode like this, we're just like, well, it
• 32:51
  Speaker 1: doesn't even make any sense, Like he didn't make it,
• 32:53
  Speaker 1: Like it's just a series of setups for another avid song.
• 32:56
  Speaker 1: But but like building a movie around the theme of
• 32:59
  Speaker 1: like the very regressive giving away, like one man gives
• 33:03
  Speaker 1: you a way to another man, and it's like, no,
• 33:06
  Speaker 1: my mom going to give me away to another man.
• 33:08
  Speaker 1: But then but then she doesn't get married. I think
• 33:10
  Speaker 1: Scott should dump her personally because she's not awesome. It
• 33:14
  Speaker 1: seems like, you know, Sky's here, He's got his Squarespace account.
• 33:17
  Speaker 1: He seems to really care about her. He's helpful, he
• 33:21
  Speaker 1: goes along with her family, and she's always like I'm
• 33:25
  Speaker 1: scamming people and I'm mad and I'm yelling at my mom. Yeah,
• 33:29
  Speaker 1: she is like rather than like just talking to anyone
• 33:33
  Speaker 1: about what's troubling her, Like, instead of being like, hey, mom,
• 33:36
  Speaker 1: could you maybe give me a little more information about
• 33:39
  Speaker 1: who my father might be, she like steals her diary
• 33:42
  Speaker 1: reads it, which is like a huge violation of her
• 33:44
  Speaker 1: mom's privacy. Then goes through the trouble of like inviting
• 33:49
  Speaker 1: those guys, like she doesn't know how those relationships like
• 33:52
  Speaker 1: panned out or like how they ended, like they might
• 33:54
  Speaker 1: have like who knows. Now she actually knows that Sam
• 33:57
  Speaker 1: like cheated on his fiance with her mom and that's
• 34:00
  Speaker 1: how they watched things and she invited him anyway, that's right. Yeah,
• 34:06
  Speaker 1: that's really mean to your mom. It's very selfish what
• 34:09
  Speaker 1: she's doing, Like instead of because and maybe I really
• 34:14
  Speaker 1: because there were some moments of watching this movie where
• 34:16
  Speaker 1: I was just smiling so much so I don't think
• 34:17
  Speaker 1: I was fully listening. Does she ever reference ever being
• 34:21
  Speaker 1: like and I asked my mom who my father was,
• 34:24
  Speaker 1: and she said, no, I'm never going to tell you,
• 34:26
  Speaker 1: and that's why she's scamming. At the very beginning, she
• 34:30
  Speaker 1: says something to the effect that Donna had told her like, oh,
• 34:34
  Speaker 1: it was just a summer romance and that's all. She's like,
• 34:37
  Speaker 1: and I came to accept that that's all I'd ever know.
• 34:39
  Speaker 1: And then when she finds this diary, she's like, oh,
• 34:41
  Speaker 1: I can use this to like piece together the puzzle,
• 34:43
  Speaker 1: but it is supposed to be and reveal at the
• 34:45
  Speaker 1: end at the altar when real strips like I don't
• 34:47
  Speaker 1: know which one it is that's supposed to be news,
• 34:50
  Speaker 1: but like de dot, you don't know, Like how about
• 34:54
  Speaker 1: a surprise? Like we put that together as viewers in
• 34:56
  Speaker 1: the first scene there it is weird. I don't know.
• 34:59
  Speaker 1: I mean to an extent like you're saying, Caitlin, like
• 35:01
  Speaker 1: tearing apart. The plot of this movie is like pointless.
• 35:04
  Speaker 1: It is fun, but it is also pointless. But yeah,
• 35:07
  Speaker 1: like the thing it was like she could she's she's
• 35:09
  Speaker 1: an adult, she could go up to her mom and
• 35:11
  Speaker 1: be like, Hey, I'm getting married, and I'm like sorry,
• 35:14
  Speaker 1: if this makes you uncomfortable, you don't have to answer.
• 35:16
  Speaker 1: But like do you know who my father is? We're
• 35:19
  Speaker 1: led to believe they have a good relationship, but I
• 35:21
  Speaker 1: will say we see them together very little, and when
• 35:25
  Speaker 1: they are together, there's like seems to do some animosity
• 35:27
  Speaker 1: between each other because it seems like Donna disapproves of
• 35:30
  Speaker 1: this wedding and of her getting married to Sky. She
• 35:34
  Speaker 1: for sure does, yeah, but then it's all remedied with
• 35:36
  Speaker 1: slipping through my fingers. That's like the big moment of like, fuck,
• 35:39
  Speaker 1: I just I don't want you to grow up. That's
• 35:41
  Speaker 1: what this really is. I love you, and she's like
• 35:43
  Speaker 1: really here. I did like that. I don't know. I
• 35:46
  Speaker 1: like that scene. It made me cry. And anything about
• 35:50
  Speaker 1: Mama that made you cry, Yeah, I cried when rail
• 35:53
  Speaker 1: strip cannonballed off the dock in the fake SloMo like
• 35:58
  Speaker 1: they couldn't afford to hire frame rate what the book was?
• 36:02
  Speaker 1: Just like that passes the beds, A cannonball passes the lady,
• 36:08
  Speaker 1: throwing her sticks in the air and joining the dancing
• 36:10
  Speaker 1: congo line. That passes. Yes, does she come back in
• 36:14
  Speaker 1: the second movie? I feel like there's a quick reference
• 36:16
  Speaker 1: to her. She doesn't the oh my god, but there
• 36:21
  Speaker 1: is the just to close the leap on the mother
• 36:24
  Speaker 1: daughter relationship. It is weird and all over the place,
• 36:27
  Speaker 1: as is all of this movie. I did like at
• 36:30
  Speaker 1: the end where one of the few coherent themes of
• 36:32
  Speaker 1: this was Meryl straight fearing being judged by her own
• 36:36
  Speaker 1: daughter for past promiscuity. That is like a definite thing
• 36:41
  Speaker 1: that we know that she's worried about her daughter learning
• 36:44
  Speaker 1: about and passing Jack. And I do close that loop,
• 36:47
  Speaker 1: like right before the fucking nuts wedding not wedding scene
• 36:52
  Speaker 1: where Meryl like kind of directly asked her like She's like,
• 36:55
  Speaker 1: I'm sorry, and like, do you hate me because I
• 36:58
  Speaker 1: funk a lot? Which is passive aggressive, but and then
• 37:04
  Speaker 1: was like, no, you can funk whoever you are, and
• 37:06
  Speaker 1: you have my mom. I think she even says you
• 37:08
  Speaker 1: can have sex with a hundred people and I wouldn't care.
• 37:11
  Speaker 1: And the priest is like, yeah, I know. I was
• 37:14
  Speaker 1: like that. I was like, did you fuck the priest?
• 37:17
  Speaker 1: But but it seems nice And and then Amanda sy
• 37:20
  Speaker 1: freeds like you give me away? And then I did, right,
• 37:23
  Speaker 1: and oh dude, then you're gonna ball on the second one. No,
• 37:27
  Speaker 1: I I do like I know that you don't like
• 37:30
  Speaker 1: wedding culture. I like, I love I love country, I
• 37:36
  Speaker 1: like looking at every never. Well, let's take a quick
• 37:41
  Speaker 1: break and then we'll be right back with my hot
• 37:44
  Speaker 1: takes about wedding wish Welcome back. Everyone knows the meat.
• 38:01
  Speaker 1: Oh I really quickly, I do want to say about
• 38:06
  Speaker 1: So here are my problems with weddings, and then we
• 38:08
  Speaker 1: can move on to something else. M r as are
• 38:10
  Speaker 1: about to slide it in. Get ready. Well, you know what,
• 38:14
  Speaker 1: if m r as don't hate us, then we're not
• 38:16
  Speaker 1: We're not doing a good job, I think. So weddings,
• 38:21
  Speaker 1: traditional hetero weddings are steeped in pretty sexist traditions where
• 38:28
  Speaker 1: it's like, oh, my daughter is property and I the father,
• 38:34
  Speaker 1: have to give her literally away, right, I have to
• 38:39
  Speaker 1: give you four hundred goats to get rid of this fit.
• 38:44
  Speaker 1: So the fact that we maintain that tradition in contemporary
• 38:49
  Speaker 1: weddings is really baffling to me. That's another thing that
• 38:52
  Speaker 1: made me not like Sophie, because I don't I don't
• 38:55
  Speaker 1: have a problem with what I mean. I understand that
• 38:58
  Speaker 1: wedding culture and marriage is inherently patriarchal and and regressive,
• 39:04
  Speaker 1: but Sophie's character is like, it's so weird where this
• 39:10
  Speaker 1: is this was the amount where I was like Sky
• 39:11
  Speaker 1: should dump her where basically he calls her out where
• 39:15
  Speaker 1: and I hate taking on then side on literally anything,
• 39:20
  Speaker 1: but I am sort of like team Sky on this
• 39:22
  Speaker 1: one because he also says that he's like, listen, I
• 39:25
  Speaker 1: didn't want to get married and I put my life
• 39:27
  Speaker 1: on hold because I love you, and this is what
• 39:29
  Speaker 1: you said you wanted. And now it turns out that
• 39:31
  Speaker 1: you were just throwing a big fucking parent trap that
• 39:32
  Speaker 1: has nothing to do with me. And she's like, so
• 39:35
  Speaker 1: that love me, and he was like, no, I do,
• 39:37
  Speaker 1: but why did you turn this thing into a parent trap?
• 39:39
  Speaker 1: And you spent all our money on a parent trap?
• 39:43
  Speaker 1: And that's frustrating. That's a frustrating quality in a mate
• 39:46
  Speaker 1: much like Disney's The Parent Trap, where Lindsay Lohan, one
• 39:50
  Speaker 1: of the characters, is like, I'm not going to be
• 39:53
  Speaker 1: complete until I've met my father because a daddy is
• 39:56
  Speaker 1: such a crucial part of a girl's life. And it
• 39:59
  Speaker 1: like that movie still goes both ways where it's also
• 40:02
  Speaker 1: parent to desire in this movie, like she already has
• 40:06
  Speaker 1: a very strong bond with her mother. She has seems
• 40:10
  Speaker 1: like good relationships with her mother's friends is unclear how
• 40:13
  Speaker 1: often she sees them every time do you remember me?
• 40:20
  Speaker 1: But it seems like between Sophie's mom and Sky, she
• 40:24
  Speaker 1: has at least a couple of loving relationships. So it's
• 40:28
  Speaker 1: just a little unclear to me why she feels so
• 40:32
  Speaker 1: empty and so incomplete by not knowing who her dad is.
• 40:35
  Speaker 1: And again that might that's her. Like, I wouldn't want
• 40:40
  Speaker 1: to make anyone like if I mean, I don't I
• 40:43
  Speaker 1: was lucky enough to grow up with both my parents,
• 40:45
  Speaker 1: so I wouldn't know what it's like to have a
• 40:47
  Speaker 1: missing parent, and like it sounds like there's a level
• 40:50
  Speaker 1: of trauma for that for depending on who you are.
• 40:52
  Speaker 1: Based on Star Wars, I think it's a pretty big deal. Yeah, exactly.
• 40:55
  Speaker 1: And if we are using that as her yard stick, now,
• 40:59
  Speaker 1: I know plenty of people, though, who grew up with
• 41:02
  Speaker 1: a single parent and they don't seem to be pining,
• 41:05
  Speaker 1: But did they not know who their other parent is?
• 41:08
  Speaker 1: Because I think that's the component that seems to be
• 41:10
  Speaker 1: key in Star Wars and was my parents two yardsticks there?
• 41:19
  Speaker 1: I just I just like I wouldn't want to like
• 41:21
  Speaker 1: shame anyone for like, because I think that that is
• 41:24
  Speaker 1: a rational feeling, but the way the story plays it
• 41:27
  Speaker 1: out is a little bit it doesn't challenge. Yeah, I
• 41:30
  Speaker 1: understand the feeling. What I think I'm bothered by is
• 41:34
  Speaker 1: her explaining that she feels incomplete, like she needs a
• 41:38
  Speaker 1: man in her life as a father figure, and not
• 41:41
  Speaker 1: having that makes her feel incomplete. Like the the implication
• 41:46
  Speaker 1: is me, as a woman, in order to feel complete,
• 41:49
  Speaker 1: there needs to be a male presence there, and that's
• 41:52
  Speaker 1: what is like I'm having trouble with. I didn't get that.
• 41:56
  Speaker 1: I mean, I think technically it's probably true on paper,
• 41:58
  Speaker 1: but I sense that it was as a matter of
• 42:01
  Speaker 1: I want to know who both my parents are. It
• 42:03
  Speaker 1: didn't feel inherently like because she never even says like
• 42:06
  Speaker 1: no one was there to teach me how to change
• 42:07
  Speaker 1: a tire, Like there was no allusion to like I
• 42:10
  Speaker 1: need a man like. I really didn't get that. And
• 42:12
  Speaker 1: from when I got from Sky, it sounds like they
• 42:14
  Speaker 1: met while he was traveling and he just like stopped
• 42:17
  Speaker 1: on an island was like, Hey, I'm gonna stay I guess,
• 42:19
  Speaker 1: and marry her. Yeah. So like I get the sense
• 42:21
  Speaker 1: that it's always been her and her mom, and that's
• 42:23
  Speaker 1: not been an issue, but now that she's getting married,
• 42:26
  Speaker 1: it's like, well, I kind of do want to know
• 42:27
  Speaker 1: who my dad is, though right I don't know the
• 42:30
  Speaker 1: female stuff so strong in this movie. I didn't really
• 42:32
  Speaker 1: feel like it was a matter of like we need
• 42:34
  Speaker 1: man And in fact, Christine's storyline to me was like
• 42:36
  Speaker 1: the exact opposite. She's like, I just want to fuck
• 42:39
  Speaker 1: and I don't care about man. I it's it's weird
• 42:43
  Speaker 1: where this whole story is weird. I don't prograbe someone
• 42:46
  Speaker 1: for wanting to know who about their parents are, but
• 42:49
  Speaker 1: it is like, I do see what you're saying, Caitlin,
• 42:51
  Speaker 1: with like the feeling of and I feel like Meryl
• 42:54
  Speaker 1: Streep's character even kind of articulates this a little bit
• 42:57
  Speaker 1: of like I understand that you want to know who
• 42:59
  Speaker 1: your dad is, but it does make me feel bad
• 43:01
  Speaker 1: that you feel such a gaping hole in your life
• 43:03
  Speaker 1: when I tried really hard, but they sort of seemed
• 43:05
  Speaker 1: to resolve that by the end. And then there's a
• 43:09
  Speaker 1: Meryl Streep has a great line, even though the storyline
• 43:12
  Speaker 1: doesn't really end up reflecting it at all. But like
• 43:15
  Speaker 1: when I guess like Pierce Browsnon is supposed to be
• 43:18
  Speaker 1: her one true love, which is I've never seen less
• 43:21
  Speaker 1: chemist stream between two people in my whole life than
• 43:24
  Speaker 1: Meryl Stream and Pierce brawsnon howling like wolverines at the
• 43:28
  Speaker 1: top of a Grecian mountain to what's the fucking song?
• 43:34
  Speaker 1: But it's like a really that shot is also impressive.
• 43:39
  Speaker 1: I will say that is a good shot. It's a
• 43:41
  Speaker 1: good shot. But Pierce Browson and Meryl Streep are so
• 43:43
  Speaker 1: physically far away from each other and singing and not
• 43:46
  Speaker 1: making and they re arranged it. I hate it. They
• 43:48
  Speaker 1: don't abandon but the pierced thing. Okay, so she sees
• 43:53
  Speaker 1: him again and it took me a while to figure
• 43:55
  Speaker 1: out he was the true love, which it makes sense,
• 43:57
  Speaker 1: but anyways, I didn't. I didn't figure it out until
• 44:01
  Speaker 1: he's like, He's like, I've loved you this whole Like
• 44:03
  Speaker 1: to me, there's nothing that really clearly indicates it's journal.
• 44:07
  Speaker 1: That's why they make called Firth game because it's like,
• 44:10
  Speaker 1: let's just take him off the table so you don't
• 44:12
  Speaker 1: feel bad for him. Car Scard's a drunk, he's a
• 44:14
  Speaker 1: man the whole time, like I don't want to be here,
• 44:16
  Speaker 1: I'm going to leave. And then Ron Weasley's moms like, no,
• 44:19
  Speaker 1: you ate because cars kind of feel like disappears from
• 44:22
  Speaker 1: the movie for a solid forty minutes. I forgot I
• 44:26
  Speaker 1: was here. I wanted to see a quivering There's something
• 44:28
  Speaker 1: about Colin Firth w It's like it just always he's
• 44:31
  Speaker 1: acting like he's always someone's just throwing a bucket of
• 44:34
  Speaker 1: water out to him, or he's just quivering. That's why
• 44:37
  Speaker 1: he had like a bad way though. Right, I'm just like,
• 44:40
  Speaker 1: you're so I'm going to fix You're going to fix you,
• 44:45
  Speaker 1: you poor puppy. But Meryl and Pearce are having some
• 44:48
  Speaker 1: sort of confrontation and you're like, sure, we're doing this,
• 44:51
  Speaker 1: but she's said like he's like, what you didn't And
• 44:55
  Speaker 1: none of the men say anything outright misogynists, but they're
• 44:58
  Speaker 1: sort of like Meryl streeps magical vagina makes anyone fall
• 45:01
  Speaker 1: in love with her for decades, like it's just a thing,
• 45:04
  Speaker 1: And can you imagine knowing someone for a week twenty
• 45:08
  Speaker 1: years ago and still considering them like a viable part
• 45:10
  Speaker 1: of her dingy and watch my daughter get married. He's like,
• 45:16
  Speaker 1: why didn't call him for it? Even go? But anyway,
• 45:19
  Speaker 1: she says, I love being on my own. I wake
• 45:21
  Speaker 1: up every morning and I thank God for not having
• 45:23
  Speaker 1: a middle aged menopozzle man blah blah blah, and I'm
• 45:25
  Speaker 1: single and it's great, which is great, but when she's
• 45:28
  Speaker 1: saying it, you can tell that she's like, she doesn't
• 45:31
  Speaker 1: really feel that way. Well, then she sings money money
• 45:34
  Speaker 1: and talks about how much she wants to just marry
• 45:36
  Speaker 1: a rich man. This is actually and they do another
• 45:38
  Speaker 1: Titanic reference, do they? I mean, no one's holding her,
• 45:42
  Speaker 1: but she's doing she just love Titanic in that's her
• 45:49
  Speaker 1: I'm the King of the World moment is so weird too,
• 45:53
  Speaker 1: because that number starts with her breaking one of her
• 45:56
  Speaker 1: own windows, and then she goes down to pick up
• 45:58
  Speaker 1: the window, and then people start throwing money and you're like,
• 46:01
  Speaker 1: what are they giving again? It's like this recoursing they
• 46:03
  Speaker 1: do for one third of the movie and they're like,
• 46:05
  Speaker 1: never mind. There was like we're Greek people only available
• 46:10
  Speaker 1: for because there's sometimes where her like hotel whatever it
• 46:15
  Speaker 1: is seems full of people and employees, guests not sure,
• 46:21
  Speaker 1: and then other times where it's abandoned because the squirre
• 46:24
  Speaker 1: space has taken a while. Oh wait, there is a
• 46:29
  Speaker 1: full on blooper just in the middle of the scene
• 46:32
  Speaker 1: that they keep in there. It was just like they
• 46:34
  Speaker 1: did one take. It's when um Christine Bransky, Meryl Streep
• 46:39
  Speaker 1: and Mrs Bird. Christine's like, oh, I know that you're
• 46:44
  Speaker 1: going to make a fortune with webs. Webs. Oh no,
• 46:48
  Speaker 1: she meant to say Sky's website, but she says webs
• 46:50
  Speaker 1: and then they like make fun of her for and
• 46:52
  Speaker 1: like it's clear that it was like not in the script,
• 46:55
  Speaker 1: and she just like bloopered the hell out of that,
• 46:58
  Speaker 1: and then love script really yeah, was like I know,
• 47:00
  Speaker 1: the exact scene on the bench like drinking in the morning,
• 47:03
  Speaker 1: and I was like, Wow, they're like really good at
• 47:05
  Speaker 1: seeming authentic. Maybe she's that good. I don't know, why
• 47:09
  Speaker 1: would she Why would that that serve no purpose? Like
• 47:12
  Speaker 1: I think there was just establishing friendship. I don't know.
• 47:15
  Speaker 1: It seemed like a really good choice to me. I
• 47:17
  Speaker 1: was like, I believe it now. Well then, I mean
• 47:19
  Speaker 1: because they laughed together and they're like, I'm pretty sure
• 47:23
  Speaker 1: that's a blooper and they just left it in. But
• 47:26
  Speaker 1: I would say that most of the like explicitly problematic
• 47:30
  Speaker 1: things that get said or like moments in the movie
• 47:32
  Speaker 1: come in the form of an Abba song where like
• 47:35
  Speaker 1: the one you were talking about, where she was like,
• 47:36
  Speaker 1: all I want to do is just find a rich
• 47:38
  Speaker 1: man to marry to take care of me. And it's
• 47:39
  Speaker 1: like that's not really what's not And then I felt
• 47:43
  Speaker 1: okay and not to stand out for like I thought
• 47:46
  Speaker 1: the nature that that number was kind of playful and dumb,
• 47:49
  Speaker 1: and in context I don't think I wasn't like, oh,
• 47:53
  Speaker 1: this is sending a bad message because she didn't really
• 47:55
  Speaker 1: mean it, and everything she says afterwards indicates that she
• 47:58
  Speaker 1: didn't really mean it. She's like, yeah, I'd be great
• 48:00
  Speaker 1: if someone just like gave me a ton of fucking money.
• 48:02
  Speaker 1: I say that all the time, though I'm always like, yeah,
• 48:04
  Speaker 1: I wish that some loser would give me a billion
• 48:06
  Speaker 1: dollars so I could do whatever the funk I want. Well,
• 48:08
  Speaker 1: what I'm saying is that, unlike a lot of movies
• 48:11
  Speaker 1: we covered, there's no like explicitly problematic things that get
• 48:14
  Speaker 1: said throughout the course of the movie except four and
• 48:16
  Speaker 1: songs that are thirty years old. Like there's another moment
• 48:19
  Speaker 1: rter On where it's when Sky is singing and he's
• 48:23
  Speaker 1: all like, I'm possessive and every man I see is
• 48:27
  Speaker 1: a potential threat. Yeah, that's the porno scene. That's that's
• 48:31
  Speaker 1: where they're fully fun on the beach. But he's basically
• 48:33
  Speaker 1: saying it's kind of like Babba Boy's problem, right, Like
• 48:36
  Speaker 1: that's ABBA's problem and not the Movi. It makes no
• 48:40
  Speaker 1: sense for his ark or their storyline at all. I
• 48:42
  Speaker 1: think he just couldn't shoehorn in that song. So they're like,
• 48:44
  Speaker 1: I don't know, this guy can't sing at all. There's
• 48:47
  Speaker 1: a lot of God when they're like, let's send Baranski
• 48:49
  Speaker 1: and Weasley's mom acapella. We ran out of studio musicians. Listen,
• 48:55
  Speaker 1: the guy with the zylophone sick. They're gonna have to
• 48:58
  Speaker 1: go acapella today. They also to the top of super Trooper.
• 49:01
  Speaker 1: The outfits and super Trooper are from Ricky in the
• 49:04
  Speaker 1: flash that. I was very excited because when we talked
• 49:11
  Speaker 1: about it the other day, Kail and You're like, I
• 49:13
  Speaker 1: know it's in the first it's in one of them,
• 49:14
  Speaker 1: but I don't remember which one. And I was like, oh,
• 49:16
  Speaker 1: I hope the first one, and it is the first one,
• 49:19
  Speaker 1: and it's it's back in the second one for the
• 49:21
  Speaker 1: credit sequence. The credit sequences in both movies are worth
• 49:24
  Speaker 1: a watch. Super Trooper is great, especially because the men
• 49:27
  Speaker 1: wear them too, and they kind of have this like
• 49:29
  Speaker 1: sheepist expression, like they're like this is kind of gay,
• 49:32
  Speaker 1: huh boys, but like they love it anyway. They have
• 49:34
  Speaker 1: like a no, yeah, okay, but it's like barely there.
• 49:38
  Speaker 1: And I feel like usually that's all that's there. When
• 49:40
  Speaker 1: you put straight men in like full on jumpsuits with
• 49:43
  Speaker 1: frilly sleeves, that is such like an international movie, I mean,
• 49:46
  Speaker 1: and I think that that is something we don't talk
• 49:47
  Speaker 1: a lot about on this podcast that does make a
• 49:51
  Speaker 1: difference where it's like this movie was hugely let me
• 49:54
  Speaker 1: let me look up exactly how hugely successful, but it was.
• 49:56
  Speaker 1: It was a big international movie. And I feel like
• 50:00
  Speaker 1: with movies that are intended to do really well internationally,
• 50:04
  Speaker 1: it is very frequently like they will only hint at
• 50:09
  Speaker 1: progressiveness and they won't go all the way out because
• 50:12
  Speaker 1: they're like, well, then China will not show it in theaters.
• 50:16
  Speaker 1: You need in terms of like having like Harry be
• 50:19
  Speaker 1: identifiably queer in the movie, although he does not kiss
• 50:22
  Speaker 1: his partner at the end, the only hugs. It's very
• 50:24
  Speaker 1: weird it's like that where it's like by the end
• 50:27
  Speaker 1: of this movie, all the hetero people are literally soaking
• 50:29
  Speaker 1: wet and fucking and they're talking and the same the
• 50:35
  Speaker 1: same with and this goes into like what we were
• 50:37
  Speaker 1: talking about yesterday with like the vague like nineties two
• 50:41
  Speaker 1: thousands still sometimes now like you go girl freedom and
• 50:46
  Speaker 1: progressiveness and you know, like pro woman stuff. But then
• 50:50
  Speaker 1: also you still have to get married at the end.
• 50:52
  Speaker 1: And that's I don't know. I mean that those are
• 50:54
  Speaker 1: the movies that do well internationally, right because I mean
• 50:57
  Speaker 1: that's just like the Hollywood narrative, you know, is not
• 51:02
  Speaker 1: a hit in China. I would throw in the mix
• 51:05
  Speaker 1: to that theory that perhaps musicals just do well internationally
• 51:08
  Speaker 1: because that's it's a visual thing. There's less nuance lost
• 51:12
  Speaker 1: in translation, and that's jobbing and stuff. This movie costs
• 51:15
  Speaker 1: fifty two million dollars, made six hundred fifteen million dollars. Dude,
• 51:21
  Speaker 1: why don't we have eight mama? I know it made
• 51:25
  Speaker 1: a ton of money, but like with Harry's character, there's
• 51:29
  Speaker 1: a scene where he tries to come out to build
• 51:32
  Speaker 1: there in the boat and he's trying to come out
• 51:33
  Speaker 1: and then they ends up there talking about different things,
• 51:36
  Speaker 1: and then I thought he wasn't trying to come out.
• 51:38
  Speaker 1: I thought he was trying to tell him about Sophie
• 51:41
  Speaker 1: and Stone Scars. Guards thinking he's trying to come out,
• 51:44
  Speaker 1: and then they throw in the actual thing is like
• 51:47
  Speaker 1: a bit almost. It's unclear exactly because I interpreted as
• 51:51
  Speaker 1: him trying to come out. Maybe I don't know. It's
• 51:55
  Speaker 1: it's very unclear. But in any case, at the very
• 51:58
  Speaker 1: end he does he's like, oh no, I have a
• 52:00
  Speaker 1: reason to say, and he looks to like this handsome
• 52:02
  Speaker 1: guy who's like sitting at the wedding, and then they
• 52:06
  Speaker 1: have a hug at the end, but yeah, like a
• 52:09
  Speaker 1: light hug. Right, So it's it's representation on screen of
• 52:14
  Speaker 1: an identifiably queer person, but it's so glossed over and
• 52:19
  Speaker 1: we don't Yeah, we don't get to see a kiss.
• 52:21
  Speaker 1: We don't, but because we do get to see Bill
• 52:24
  Speaker 1: and Mrs Bird kiss a lot, which I do enjoy
• 52:29
  Speaker 1: that it's like old Usually we don't see older people
• 52:32
  Speaker 1: like get to be sexual on screen, like I wish
• 52:35
  Speaker 1: we would a more. Made me so horny. Oh my god,
• 52:37
  Speaker 1: that that wild scene that with the pigeont I was
• 52:42
  Speaker 1: fucking wet dude. But when we're Baranski is like in
• 52:48
  Speaker 1: a beach full of young people and it's like I
• 52:52
  Speaker 1: could fuck all of you, and like that's the whole song.
• 52:56
  Speaker 1: She's just kind of like wanting to fund a whole
• 52:58
  Speaker 1: beach full of people, not going to date any of you.
• 53:01
  Speaker 1: Yeah we will only that's great. And then there's that
• 53:04
  Speaker 1: one day in particular, who seems to be really into her.
• 53:07
  Speaker 1: She blows, she does suck him. Yeah, she sucked him
• 53:09
  Speaker 1: on the batchelbat party night, and then the next morning
• 53:11
  Speaker 1: he's like, hey, how about it. She's like, no, no, no,
• 53:13
  Speaker 1: I was drunk. We're not talking about is that you
• 53:17
  Speaker 1: need to know? He does, but she actually ties a
• 53:19
  Speaker 1: towel into a diaper around him instead to show that
• 53:21
  Speaker 1: he's a baby. It's a big mystery. He is the
• 53:24
  Speaker 1: same man that says now baby right, that's his first
• 53:30
  Speaker 1: auction into the film, in case you were trying to
• 53:32
  Speaker 1: track it. Well. So so he's like a good two
• 53:36
  Speaker 1: to three decades younger than he's I'm pretty sure like seven. Yeah,
• 53:41
  Speaker 1: he's extremely and again unclear how old like Meryl and
• 53:47
  Speaker 1: her friends are, because it's that would have to be
• 53:56
  Speaker 1: when happened unclear, but yeah, so we see like Christie
• 54:00
  Speaker 1: being romantically involved with a much younger guy. Usually we
• 54:03
  Speaker 1: don't see that in movies. Usually it's Tom Cruise who's
• 54:06
  Speaker 1: fifty five, and then you know a woman who's twenty five,
• 54:11
  Speaker 1: or you know, any combination of older actors and much
• 54:15
  Speaker 1: younger Meryl might even be older than Pierce. I think
• 54:18
  Speaker 1: Meryl sixty nine. She don't know how old pierces. I
• 54:20
  Speaker 1: want to say, like sixty three. She's older than all
• 54:22
  Speaker 1: three of her love interests in this movie. She's born
• 54:24
  Speaker 1: forty nine. I think that respectively. I don't know who
• 54:28
  Speaker 1: is who, but it's like fifty three sixty. Colin Firth
• 54:32
  Speaker 1: is eleven years younger than her. So uh, fucking swish
• 54:37
  Speaker 1: for Meryl and then wish for Colin first. I mean,
• 54:39
  Speaker 1: everyone wins, right, we're right in this funk pile, we
• 54:41
  Speaker 1: all holes a hole and then the funk pile between
• 54:48
  Speaker 1: Mrs Bird, whose character's name is actually Rosie Rosie and
• 54:52
  Speaker 1: t right. Yeah, oh yeah, that's that's um right. But
• 54:58
  Speaker 1: Rosie is going after her bill and aggressive, very aggressively,
• 55:03
  Speaker 1: Like if the genders were reversed, we'd be freaked out. Yeah,
• 55:07
  Speaker 1: so she's pursuing him, and again, he don't often see
• 55:10
  Speaker 1: a woman pursuing, especially that she actually gets him and
• 55:13
  Speaker 1: she gets him because he like, usually if a woman
• 55:15
  Speaker 1: is pursuing, it's to be like creepy, gross, hag, won't
• 55:18
  Speaker 1: leave me alone. But it's actually like she knows what
• 55:23
  Speaker 1: she wants. They can kiss a lot, and they're like,
• 55:27
  Speaker 1: she does have to chase it around the entire villa first,
• 55:31
  Speaker 1: and you have a near death experience, but it pays off. Again,
• 55:35
  Speaker 1: we can't there's so much of this movie that we
• 55:37
  Speaker 1: can't really take a phase value because nothing makes sense
• 55:40
  Speaker 1: and it's so silly and nothing makes sense. But the
• 55:44
  Speaker 1: things that do happen, it's like, okay, like older people
• 55:48
  Speaker 1: like being sexual. That's pretty cool. An older woman and
• 55:51
  Speaker 1: a younger guy like, that's pretty cool. Harry. I want
• 55:54
  Speaker 1: to go back to Harry and like Harry Headbanger. Of course,
• 55:57
  Speaker 1: Harry Headbanger, Like I get it. They have to appeal
• 56:01
  Speaker 1: to international markets and it's two thousand eight, you know
• 56:06
  Speaker 1: this is still a time where and not to say
• 56:09
  Speaker 1: that couldn't win American at all, it was at different times.
• 56:14
  Speaker 1: So it's really only like a tiny glimpse or a
• 56:17
  Speaker 1: hint of queerness, whisper a whisper of a whisper of queerness.
• 56:22
  Speaker 1: Because we spent so much time on like Bill and
• 56:26
  Speaker 1: Mrs Bird. Mrs Bird like picking up Bill with her
• 56:30
  Speaker 1: talents because she's a literal bird. But I don't know, um,
• 56:38
  Speaker 1: And we spend a lot of time on Sam and
• 56:42
  Speaker 1: Donna ending up together at the end, but we can't
• 56:44
  Speaker 1: spend any time on Harry exploring his sexuality. Well, I
• 56:47
  Speaker 1: feel like it's not dealt with horribly, but it's like
• 56:51
  Speaker 1: to an extent, And I'm sure, and I haven't seen
• 56:53
  Speaker 1: the musical, but I would wager guess that this would
• 56:56
  Speaker 1: be even more agreed just in the musical, just because
• 56:59
  Speaker 1: it's older that him being queer is almost like a punchline,
• 57:03
  Speaker 1: just to take him out of the running, as it
• 57:06
  Speaker 1: were for Meryl's heart. Um, but I don't know, I
• 57:09
  Speaker 1: even seen a musical and I don't remember how that
• 57:11
  Speaker 1: plays out, but I want to see it. Yeah, So
• 57:16
  Speaker 1: what we have liked to have seen more than what
• 57:19
  Speaker 1: we're given? Sure? Is that a question? Is that real question?
• 57:22
  Speaker 1: I would always like to see more queerness, right, I
• 57:25
  Speaker 1: will not rest until every single person, both actors and
• 57:28
  Speaker 1: characters are queer movies. Imagine how awesome and all queer
• 57:31
  Speaker 1: person of MoMA Meo would be. It would be it
• 57:35
  Speaker 1: basically is, so why not just let it be? You know, Yes,
• 57:39
  Speaker 1: I want to three between Mrs Weasley. Yeah, it should
• 57:43
  Speaker 1: be like a young trans person who's like, I want
• 57:47
  Speaker 1: to know which like sperm donor like only to see
• 57:52
  Speaker 1: it if I'm going to get Alzheimer's right, very practical. Yeah,
• 57:58
  Speaker 1: that should be the story. And I also want to
• 58:00
  Speaker 1: talk about how the reviews for this movie versus Mama
• 58:05
  Speaker 1: Mia Here we Go Again. On run Tomatoes, it only
• 58:12
  Speaker 1: got a fifty fresh so critical audio not critics. So
• 58:18
  Speaker 1: critics did not especially like this movie was about half
• 58:21
  Speaker 1: and half where they were like, it's okay and the
• 58:24
  Speaker 1: other ones were like boo, but MoMA Mia Here we
• 58:27
  Speaker 1: Go Again. As of this recording has an eight percent
• 58:31
  Speaker 1: fresh on Rotten Tomatoes and critics. So people have been
• 58:35
  Speaker 1: pointing that, and it's not. It's not as though Mama
• 58:39
  Speaker 1: Mia Here we Go Again is a much better movie.
• 58:42
  Speaker 1: Would say Mama far worse based alone on the fact
• 58:45
  Speaker 1: that Meryl Streep is not really in it was the
• 58:48
  Speaker 1: only Meryl Streep is good in one is because it's
• 58:51
  Speaker 1: Meryl Streep. But Mama Me and Here We Go Again
• 58:54
  Speaker 1: does have Fernando in it, making it the better movie.
• 58:58
  Speaker 1: But yeah, but I do want to see that movie now,
• 59:01
  Speaker 1: but you have to, I do. Yeah, I mean, now
• 59:03
  Speaker 1: that I've really loved the first one, I'm like, Doubt
• 59:07
  Speaker 1: Too Better be good. You know, if you skip MoMA
• 59:09
  Speaker 1: Mia to Doubt to Better be a sucking banger. So
• 59:13
  Speaker 1: the point is people are talking about how it's not
• 59:16
  Speaker 1: as another sequel is any better. It's just that, like
• 59:18
  Speaker 1: the cultural landscape, it's that Donald Trump is president. People
• 59:23
  Speaker 1: need to feel happy more. And I think it's just
• 59:27
  Speaker 1: like critics are a little more tolerant of like a
• 59:30
  Speaker 1: female driven story about a woman who humps a bunch
• 59:33
  Speaker 1: of guys. Okay, humps, that is an attack. I can't
• 59:37
  Speaker 1: believe you just use that word. I love hump. I
• 59:43
  Speaker 1: will leave because like many filmmakers are straight white men,
• 59:49
  Speaker 1: so are many movie critics. So I know, I don't know.
• 59:53
  Speaker 1: I just wanted to point out the disparity between like
• 59:56
  Speaker 1: the fresh and rotten ratings, like in this ten year
• 1:00:00
  Speaker 1: between the two movies coming out, and it's not as
• 1:00:02
  Speaker 1: though the sequel is that much better. I think it's
• 1:00:05
  Speaker 1: just that we're seeing like a little bit of a
• 1:00:09
  Speaker 1: shift happening in our landscape. Yeah, I agree that, like
• 1:00:13
  Speaker 1: the criticism, landscape is shifting. And also there's more like
• 1:00:18
  Speaker 1: not to two to rown fucking horn. Sorry, but there
• 1:00:22
  Speaker 1: are more like there are other outlets to to talk
• 1:00:24
  Speaker 1: about movies now that there weren't in two thousand and eight,
• 1:00:27
  Speaker 1: including uh you like I mean two that's like o
• 1:00:30
  Speaker 1: G podcast so and that's like we're first lock in
• 1:00:33
  Speaker 1: the gates, you know. Yeah, well, I think this movie
• 1:00:38
  Speaker 1: is my favorite movie. I love to listen. I'm not
• 1:00:42
  Speaker 1: as saying to say I love to feel good. Yeah,
• 1:00:45
  Speaker 1: I love a feel good movie. I like to feel good.
• 1:00:47
  Speaker 1: I can't usually feel the way I feel after watching
• 1:00:49
  Speaker 1: Mamma Mia or Mama Mia to here we go Again
• 1:00:52
  Speaker 1: without a lot of drugs or Bubba booty or is
• 1:00:58
  Speaker 1: that the word that we were for whenever we have
• 1:01:01
  Speaker 1: to make up or baba. Yeah, this movie makes me
• 1:01:05
  Speaker 1: ends and I go, well, bub they did go again.
• 1:01:10
  Speaker 1: This is maybe Meryl's best year. I mean, she's on
• 1:01:14
  Speaker 1: one hand, in the summer, she's mom, She's Bubba buy Yeah.
• 1:01:19
  Speaker 1: By winter from winter, she's doubting up a storm, she
• 1:01:23
  Speaker 1: brings Mama, and then fall is Julia and Julia. That's
• 1:01:28
  Speaker 1: the Meryl spectrum. Like on a scale of Donna to lady,
• 1:01:34
  Speaker 1: what's her name, sister Allowish, sister aloishes, listen, I I
• 1:01:39
  Speaker 1: stand for sister Elowishes. Don't get me wrong, make them
• 1:01:42
  Speaker 1: voice go local. Thank you for seeing me. That crowns limb.
• 1:01:54
  Speaker 1: So that's everything I had. I think I have so
• 1:01:57
  Speaker 1: much more. How we have an hour? How many? fIF
• 1:02:00
  Speaker 1: three more hours? I would just like to add my
• 1:02:02
  Speaker 1: one thing that um, women are horny, triple underline horny.
• 1:02:09
  Speaker 1: That's um. I think that's the thesis of mom and
• 1:02:10
  Speaker 1: MEA one and momvia to Actually I think so, yeah,
• 1:02:13
  Speaker 1: I would. I would argue that this movie is, for
• 1:02:15
  Speaker 1: the most part pretty sex positive. There is a moment
• 1:02:18
  Speaker 1: where Donna slut shames herself by literally calling herself as
• 1:02:23
  Speaker 1: and I love self slating. Does that mean masturating? I
• 1:02:29
  Speaker 1: think I'm a slut for me? No, I like, I
• 1:02:32
  Speaker 1: mean we're on the hat sluts what top network right now?
• 1:02:35
  Speaker 1: So I don't know. The fucking friends immediately are like, no,
• 1:02:39
  Speaker 1: that sounds like your mom, which betrays the second one,
• 1:02:44
  Speaker 1: in which the moms share and I think actually share
• 1:02:48
  Speaker 1: in the universe. I'm not totally sure because she's like
• 1:02:51
  Speaker 1: in this one. In the first one, they say, a
• 1:02:53
  Speaker 1: my mom's dead, be my mom was Catholic. She put
• 1:02:56
  Speaker 1: so much Catholic. You'll tell me that when she found
• 1:02:57
  Speaker 1: out was pregnant, I wasn't allowed to come home, which
• 1:02:59
  Speaker 1: is why I'm all in Callicari or whatever the book
• 1:03:01
  Speaker 1: it's called. And she would she called me a slut
• 1:03:04
  Speaker 1: when she found out I had sex with strangers. In
• 1:03:07
  Speaker 1: the new one, she was too much of a rock
• 1:03:09
  Speaker 1: star to be around. And it's also shared, and she's
• 1:03:11
  Speaker 1: not dead. I do like that. The setup of Mama
• 1:03:15
  Speaker 1: Mia one is that Meryl Street was literally marooned on
• 1:03:18
  Speaker 1: Funk Island for life. That's the caption underneath Mamma Mia
• 1:03:26
  Speaker 1: and then underneath that semi cool and semi cold and
• 1:03:28
  Speaker 1: women's get horny too. All that that was when I
• 1:03:31
  Speaker 1: was like, oh, she got pregnant as a very young woman.
• 1:03:34
  Speaker 1: Her parents didn't understand, and then she began to manage
• 1:03:36
  Speaker 1: a hotel. What is this Gilmore, girls, Oh, I've never
• 1:03:40
  Speaker 1: seen it. Women, Thank you so much for funnily saying it.
• 1:03:44
  Speaker 1: Now we can end the podcast. Actually, I'm not a fan.
• 1:03:48
  Speaker 1: Get out of here. Um, did you have anything else
• 1:03:52
  Speaker 1: you want to say? We haven't changed your mind. I'm
• 1:03:59
  Speaker 1: so surprised. I just and I like Abbot. It's not
• 1:04:02
  Speaker 1: that I don't like Abbat. I like most of the cast.
• 1:04:05
  Speaker 1: I'm here from Meryl. I'm here. It was weird to
• 1:04:08
  Speaker 1: me to see Stalin scars Guard as like a romantic
• 1:04:12
  Speaker 1: interest because he's played a villain in so many movies
• 1:04:15
  Speaker 1: where I'm just like, yeah, you saw Girls of Dragon
• 1:04:17
  Speaker 1: Tattoos recently. But you know, I'm here for I think
• 1:04:22
  Speaker 1: the cast is largely made up a very talented people.
• 1:04:25
  Speaker 1: Love Christine Branski, love Mrs Bird and Paddington and Paddington
• 1:04:28
  Speaker 1: two of course. But I mean, it's just I'm not
• 1:04:32
  Speaker 1: a big musical person, so I just am not. And
• 1:04:37
  Speaker 1: really it boils down to the story making no sense.
• 1:04:39
  Speaker 1: They reverse engineered the story based on Abbas songs and
• 1:04:43
  Speaker 1: it you can tell. The whole thing feels like a
• 1:04:46
  Speaker 1: fever dream. It really does. I think it does work
• 1:04:49
  Speaker 1: better as a staged production. As a movie. Don't think
• 1:04:52
  Speaker 1: it works as well, But yeah, I don't know. I
• 1:04:55
  Speaker 1: do think it does have some things going for it.
• 1:04:58
  Speaker 1: It's largely about female friendship. It's largely about a strong
• 1:05:03
  Speaker 1: bond between mother and daughter. It mostly promotes sex positivity. Uh,
• 1:05:08
  Speaker 1: it is about like generally, men like embracing their roles
• 1:05:13
  Speaker 1: as fathers. And even though they don't know, like even
• 1:05:15
  Speaker 1: which one of them it is, they're all like, yeah,
• 1:05:18
  Speaker 1: i'll be your dad, I'll be one third of your daddy.
• 1:05:20
  Speaker 1: I'll take the stomach. So yeah, I think it. It
• 1:05:25
  Speaker 1: promotes some positive messages. It's on the right track. It's
• 1:05:29
  Speaker 1: on the generally, it's on the right track. And then
• 1:05:32
  Speaker 1: unfortunately a blockbuster movie in two thousand and eight being
• 1:05:36
  Speaker 1: on the right track is better than most movies. True,
• 1:05:39
  Speaker 1: does it improve upon any of that and take it
• 1:05:42
  Speaker 1: even further and more progressive in the sequel? No, I
• 1:05:45
  Speaker 1: would not say that, But see it for yourselves, everybody.
• 1:05:49
  Speaker 1: Can you believe The Doubt only made fifty million dollars
• 1:05:51
  Speaker 1: at the box office? I mean it did over double
• 1:05:54
  Speaker 1: its budgets. I'm gonna say I'm surprised it made that much. Um,
• 1:05:57
  Speaker 1: it's mostly me that is at least ten million dollar
• 1:06:00
  Speaker 1: ours is me and my mom going to seat out
• 1:06:02
  Speaker 1: all the time, like fucking psychics, really working through some
• 1:06:05
  Speaker 1: ship that that winter. Yeah, I don't know. Well, let's
• 1:06:08
  Speaker 1: see if it passes the Bechdel tests, shall we. It's
• 1:06:12
  Speaker 1: a really weak drum roll? Can you hear the drum roll? Fernando,
• 1:06:18
  Speaker 1: there it is. It's not in this movie. It should be.
• 1:06:22
  Speaker 1: It's the best, Okay, So yeah, I would say the
• 1:06:26
  Speaker 1: song where Sophie and her friends Alie and Lisa are
• 1:06:31
  Speaker 1: talking about being the greatest bestist mates because they all
• 1:06:34
  Speaker 1: name themselves and they're never seen again, but they don't
• 1:06:38
  Speaker 1: talk about men. So I would say that passes the
• 1:06:40
  Speaker 1: Beckte test. There's a few different combos of passing. It
• 1:06:43
  Speaker 1: passes between Donna and Sophie, it passes between Donna and
• 1:06:48
  Speaker 1: Rosie and Tanya Um, and I think a couple other
• 1:06:52
  Speaker 1: combos here. Now, largely the conversations are about men. It's like, okay,
• 1:06:56
  Speaker 1: who's my daddy or who's my daughter's daddy, or who's
• 1:07:03
  Speaker 1: who's anybody's daddy. The first couple I caught where between
• 1:07:08
  Speaker 1: two and four line exchanges. It's not like grabbing long
• 1:07:10
  Speaker 1: conversations that aren't about because this is sort of a
• 1:07:13
  Speaker 1: you know, male rooted story, and even when there are
• 1:07:16
  Speaker 1: good things going on, but it does pass in terms
• 1:07:19
  Speaker 1: of it being I mean, it's needs should be said.
• 1:07:23
  Speaker 1: It is an extremely Caucasian movie. Um in Greece. Again,
• 1:07:29
  Speaker 1: I'm so it is. It's very shitty and typical for
• 1:07:34
  Speaker 1: for that to be the case. The diversity is to Burnetts.
• 1:07:38
  Speaker 1: It's literally yeah, it's like, oh, someone not have flesh
• 1:07:42
  Speaker 1: colored hair. The young guy who Christie Bransky's character sleeps
• 1:07:47
  Speaker 1: with whets with is the only person of color who
• 1:07:50
  Speaker 1: has lines. Yeah, I think that that is true. Again,
• 1:07:53
  Speaker 1: if I need to get my notes back out, let
• 1:07:55
  Speaker 1: me just remind you what his line is now, Baby,
• 1:08:00
  Speaker 1: he does have a lot. At least it's a hell
• 1:08:03
  Speaker 1: of a line. Yes, but yeah, it's a it's a
• 1:08:07
  Speaker 1: super right movie, which sucks. It does pass the Bechtel test.
• 1:08:11
  Speaker 1: It has that, surprisingly not as much as you think
• 1:08:13
  Speaker 1: it would considering it's all female leads. Yeah. Mostly, um,
• 1:08:17
  Speaker 1: but now they are all talking about either Sam or
• 1:08:21
  Speaker 1: Bill or Harry or I will chalk that up less
• 1:08:24
  Speaker 1: to the movie being too male oriented and more to
• 1:08:27
  Speaker 1: the movie having literally zero scenes that aren't exactly forwarding
• 1:08:30
  Speaker 1: the plot. There's no room to breathe in this entire script. No,
• 1:08:35
  Speaker 1: because they're like, we need to have five hundred songs.
• 1:08:38
  Speaker 1: Like the volume of songs is unnecessary so much. I
• 1:08:43
  Speaker 1: feel like I would love to crunch some numbers and see,
• 1:08:45
  Speaker 1: like I feel like I had twice the number of songs,
• 1:08:48
  Speaker 1: like twice the number of songs you would normally like, Yes,
• 1:08:51
  Speaker 1: Phantom of the Opera moment pounds. There's nine hundred songs
• 1:08:54
  Speaker 1: in this movie, and they're all strung together by like
• 1:08:57
  Speaker 1: no more than two lines of dialogue. Yeah of Meryl
• 1:09:00
  Speaker 1: streeps like, well, that song was great, and Christine Branski
• 1:09:04
  Speaker 1: is like, yeah, but you know it would be even
• 1:09:05
  Speaker 1: better the next So they're all humping. I um, I
• 1:09:13
  Speaker 1: think I feel like really oppressed by you being anti hump.
• 1:09:16
  Speaker 1: I can't handle that word. I'm so sorry hump culture
• 1:09:19
  Speaker 1: is allowing Jamie, you hacker. I'm personally a humper. I
• 1:09:26
  Speaker 1: have to the dry home. So you hate marriage. I
• 1:09:28
  Speaker 1: hate the word up your phone dry. Let's write the
• 1:09:33
  Speaker 1: movie on our nipple scale, shall we? Uh? We rate
• 1:09:37
  Speaker 1: it based on its portrayal and representation of women zero
• 1:09:40
  Speaker 1: to five nipples. I'm gonna I'm like between a two
• 1:09:44
  Speaker 1: and a two and a half on this one. I think,
• 1:09:47
  Speaker 1: because even though the movie does have a lot of
• 1:09:49
  Speaker 1: things going for it in terms of it's like celebration
• 1:09:52
  Speaker 1: of female friendship and mother daughter relationships and sex positivity,
• 1:09:56
  Speaker 1: things like that. It is the story deeply rooted and
• 1:10:00
  Speaker 1: a woman desperately needing a man to make her feel
• 1:10:04
  Speaker 1: more complete. It is rooted in every female character that
• 1:10:11
  Speaker 1: we spend any significant amount of screen time with ending
• 1:10:14
  Speaker 1: up with a man. There is a glimpse of queerness
• 1:10:18
  Speaker 1: in this movie, but it's so I would say, glossed
• 1:10:21
  Speaker 1: over that it may as well not even be there,
• 1:10:24
  Speaker 1: Like it's I mean, I wish it was explored much
• 1:10:28
  Speaker 1: more as far as like character development goes. Like for
• 1:10:32
  Speaker 1: the movie being about Sophie, she's the protagonist, she's got
• 1:10:37
  Speaker 1: the main desire and it's her goal that is pushing
• 1:10:39
  Speaker 1: the story forward, we don't really get to know that
• 1:10:43
  Speaker 1: much about her, and like her character development is all
• 1:10:46
  Speaker 1: wonky because again the story makes no sense and her
• 1:10:50
  Speaker 1: reactions often make no sense because they have to fit
• 1:10:53
  Speaker 1: in with whatever abba song they decided was next. So
• 1:10:58
  Speaker 1: I feel, like I would say, I mean Mike countered boy,
• 1:11:00
  Speaker 1: there be that no characters are super well developed, to
• 1:11:04
  Speaker 1: the point where the male characters are not developed at all.
• 1:11:07
  Speaker 1: We know, like one thing about them, and it's that
• 1:11:09
  Speaker 1: they had sex with Meryl Streep twenty years ago and
• 1:11:10
  Speaker 1: they can't get over it. Like that's so I think
• 1:11:14
  Speaker 1: that that's more that it's not a well written story
• 1:11:18
  Speaker 1: than anything else. But yeah, yeah, so yeah, two and
• 1:11:22
  Speaker 1: a half nipples from I'll give one to Donna, I'll
• 1:11:26
  Speaker 1: give one to Christine Baransky, and I'll give one half
• 1:11:29
  Speaker 1: nipple to Mrs Bird specifically in Paddington Too. I'm gonna
• 1:11:34
  Speaker 1: go I'm gonna be generous here, and I'm gonna give
• 1:11:37
  Speaker 1: it a three. Obviously, there's virtually no diversity in this
• 1:11:41
  Speaker 1: movie whatsoever, but it is nice to see, uh story
• 1:11:44
  Speaker 1: that Fourth Flaws is very empowering towards not just female sexuality,
• 1:11:49
  Speaker 1: but older women. Uh Like it's okay for older women
• 1:11:54
  Speaker 1: to be single, to have sex, just not themes you
• 1:11:57
  Speaker 1: see very often in movies. I think it's really art
• 1:12:00
  Speaker 1: because who is the prime audience for this movie is
• 1:12:04
  Speaker 1: like older women, and so having a movie that uplifts them,
• 1:12:08
  Speaker 1: I feel like almost every time that's done, those types
• 1:12:11
  Speaker 1: of movies tend to do really well when they're like
• 1:12:14
  Speaker 1: servicing their audience. So yeah, and then and I agree
• 1:12:17
  Speaker 1: with everything you're saying this movie it's so and it's
• 1:12:20
  Speaker 1: just so fun, and Meryl is so good and Christine Barrantki,
• 1:12:25
  Speaker 1: that's three nipples right there, she has to but there
• 1:12:28
  Speaker 1: that we know of, I'm giving all three of my
• 1:12:31
  Speaker 1: nipples to Christine Baranski because I feel like she has
• 1:12:33
  Speaker 1: an extra like a spare tire. You know, how many
• 1:12:36
  Speaker 1: nips would you give it? I would say I would
• 1:12:40
  Speaker 1: give it a full four if there was a single
• 1:12:43
  Speaker 1: non white woman that got more than one line. But
• 1:12:47
  Speaker 1: I feel like you can't talk about women and not
• 1:12:49
  Speaker 1: include not white women at all, So I would say
• 1:12:54
  Speaker 1: maybe three only because every woman excepts fucking Amanda Cypherd,
• 1:12:59
  Speaker 1: who we've already said is insufferable in this movie, has
• 1:13:01
  Speaker 1: also a very established career, like Christine's got a ship
• 1:13:06
  Speaker 1: ton of money, fucking Mrs Birds, an accomplished cookbook author.
• 1:13:10
  Speaker 1: People recognize her. Meryl Streep owns her own hotel and
• 1:13:14
  Speaker 1: works a power drill. Yeah, we get to see her
• 1:13:17
  Speaker 1: like with a and like yeah with a drill, yeah,
• 1:13:21
  Speaker 1: And then yeah, it's just every woman in this like
• 1:13:24
  Speaker 1: has a job that she's good at and that's I
• 1:13:26
  Speaker 1: don't think, and they're not depict it as like workhorse,
• 1:13:30
  Speaker 1: bitter old hags still get drunk and fuck and they
• 1:13:35
  Speaker 1: have fun. And it seems like Meryl Streep genuinely enjoys
• 1:13:38
  Speaker 1: being marooned on Funck Island and she likes it. She
• 1:13:41
  Speaker 1: loves it okay a lot think where she is clearly
• 1:13:45
  Speaker 1: good at her job, but she also seems to care
• 1:13:47
  Speaker 1: very little that her hotel is fucking busted. She smells
• 1:13:51
  Speaker 1: like she got money from somewhere that's not the hotel
• 1:13:53
  Speaker 1: for sure. That moment where like the foundation her hoteltel
• 1:13:57
  Speaker 1: cracks in half. She's like, whoof wild? And they just
• 1:14:02
  Speaker 1: keep singing. She literally cheers al right because it's the
• 1:14:06
  Speaker 1: spring of aphrodite, and also like you know, engineer to
• 1:14:12
  Speaker 1: rein in your old fucking house, like your foundations cracked
• 1:14:15
  Speaker 1: are so fucked. It's like that is I think the
• 1:14:18
  Speaker 1: beginning of the end for this. It's like a multimillion
• 1:14:20
  Speaker 1: dollar mistakes. And she's like, well, it's Greece, and so
• 1:14:24
  Speaker 1: let's say the name of I'm gonna give all three
• 1:14:27
  Speaker 1: nipples to um Pierce Brasna because I just feel really
• 1:14:31
  Speaker 1: bad for him. He really did give it his all
• 1:14:34
  Speaker 1: in this movie, and it was a miss. It was
• 1:14:36
  Speaker 1: not it was and it's obviously not good, and I
• 1:14:39
  Speaker 1: feel really bad about that. He tries something new, something
• 1:14:43
  Speaker 1: I do. It is very fun to watch an actor
• 1:14:46
  Speaker 1: really swing for the fences and miss see Ashton Kutcher
• 1:14:50
  Speaker 1: in jobs like you can tell you this is the
• 1:14:55
  Speaker 1: role of a lifetime and it's like you are you
• 1:15:00
  Speaker 1: damn well, Bola, thank you so much for being here.
• 1:15:04
  Speaker 1: Oh yeah, I love talking about mom with She would
• 1:15:07
  Speaker 1: have been doing this anyways in the streets. I'll just
• 1:15:09
  Speaker 1: text Jamie where could people follow you online? Do you
• 1:15:14
  Speaker 1: have anything he'd like to plug? Yeah, you can follow
• 1:15:16
  Speaker 1: me at meal or a meal momster and anything. And um,
• 1:15:18
  Speaker 1: I have a podcast called Punch of the Jam's great. Yeah.
• 1:15:21
  Speaker 1: We every week pick up part different song and then
• 1:15:24
  Speaker 1: remake it with a friend of the cast. De yeah,
• 1:15:28
  Speaker 1: Demmie and I and um, it's good. I'm gonna say
• 1:15:31
  Speaker 1: it's good. Yeah, it's fucking good. Damn it. It's a good. Actually,
• 1:15:36
  Speaker 1: I my mom gave me when she figured out what
• 1:15:38
  Speaker 1: a podcast was last week. She's like, you can sign
• 1:15:40
  Speaker 1: me up for five, and she was like, I can't
• 1:15:44
  Speaker 1: handle more than five, So I gave her. I gave
• 1:15:46
  Speaker 1: her a few, but I gave her a punch up
• 1:15:48
  Speaker 1: the jam and she is loving it. I love my
• 1:15:50
  Speaker 1: new fans to be first, she's only listened to the
• 1:15:53
  Speaker 1: episode that I'm on, but she's she's like, favorite episodes.
• 1:15:57
  Speaker 1: It was so fine that she was like, they're fun.
• 1:15:59
  Speaker 1: I like them. And then she Google imaged you both.
• 1:16:02
  Speaker 1: Thank you because my voice sounds so annoying. She's like,
• 1:16:05
  Speaker 1: what does she look like? She's like, I just wanted
• 1:16:08
  Speaker 1: to picture what the room was like. I love her
• 1:16:11
  Speaker 1: shout out Joey Well. You can follow the Bechtel Cast
• 1:16:16
  Speaker 1: on social media at bectel Cast, and you can sign
• 1:16:19
  Speaker 1: up for our Matreon. It's five dollars a month and
• 1:16:21
  Speaker 1: you get to bonus episodes like, for instance, Doubt Yes,
• 1:16:26
  Speaker 1: Oh Doubt August It's it's my birthday month and we're
• 1:16:29
  Speaker 1: doing Doubt and Hackers Leo, Seasoned Baby. And you can
• 1:16:37
  Speaker 1: go to our website bechtel cast dot com. If you
• 1:16:39
  Speaker 1: go to the store there, you can buy all of
• 1:16:42
  Speaker 1: our merch We've got t shirts, we've got mugs, we've
• 1:16:45
  Speaker 1: got notebookson, feminist icon cartoons of us. Oh, feminist icon
• 1:16:51
  Speaker 1: Alfred Molina, which reminds me Alfred Molina could have played
• 1:16:54
  Speaker 1: any of the Dad's better than any of the Dad
• 1:16:58
  Speaker 1: Give Me a Deep Roy and Charlie and the Chocolate
• 1:17:01
  Speaker 1: Factory Umpa loompa Style three Alfred Alfred Molina's Oh my god,
• 1:17:05
  Speaker 1: I just had a panic attack. Anyways, Uh that's the show.
• 1:17:11
  Speaker 1: Why were there any cats in this movie? Yeah? What's
• 1:17:15
  Speaker 1: with the black cat? I know? But anyway, well, thanks
• 1:17:18
  Speaker 1: for listening, everybody. Here we go again, Fernando. We're all
• 1:17:23
  Speaker 1: dancing queens and we're other stuff. Okay, bye,