Latest / The Bechdel Cast / Adventures in Babysitting with Maebe A. Girl

Transcript

Adventures in Babysitting with Maebe A. Girl · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdelcast. The questions asked if movies have women
• 0:04
  Speaker 1: in them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? The patriarchy, zeph and best
• 0:12
  Speaker 1: start changing with the Bechdel Cast.
• 0:16
  Speaker 2: WU we woo. Another plug for our upcoming Midwest tour.
• 0:24
  Speaker 3: It's gonna be a great one, guys. For the first time,
• 0:28
  Speaker 3: we are touring with the Bechdel Cast throughout the Midwest
• 0:32
  Speaker 3: in the following four locations at the end of the
• 0:35
  Speaker 3: summer and your summa with us. First in Indianapolis, Indiana.
• 0:42
  Speaker 3: Ever heard of it? I have? I have two. That's
• 0:46
  Speaker 3: where they raced the Weirdermobiles a couple of months ago.
• 0:50
  Speaker 3: It's also where Let's Fest is going to be happening
• 0:53
  Speaker 3: the last weekend of August, and we will be performing
• 0:57
  Speaker 3: on August thirtieth at two pm. And that is going
• 1:01
  Speaker 3: to be at the Fountain Square Theater as a part
• 1:04
  Speaker 3: of Let's Fest. I'll also be doing a solo show
• 1:07
  Speaker 3: also at the Fountain Square Theater. So come all day,
• 1:09
  Speaker 3: come all weekend. It's going to be It's a great lineup.
• 1:13
  Speaker 3: Some past guests of the show will be there. It'll
• 1:15
  Speaker 3: be a blast.
• 1:16
  Speaker 2: Our next show is in Chicago. Oh, is that where
• 1:21
  Speaker 2: today's movie takes place.
• 1:23
  Speaker 3: It's all tied together. Our web connects them all.
• 1:29
  Speaker 2: Our web indeed connects them all. So the following day,
• 1:33
  Speaker 2: on August thirty first, our show is in Chicago at
• 1:38
  Speaker 2: the Den Theater.
• 1:39
  Speaker 3: We're so stoked. Chicago heads in particular, you guys have
• 1:43
  Speaker 3: been asking for this four years and we are finally
• 1:46
  Speaker 3: doing it. From there, we are going to be headed
• 1:49
  Speaker 3: to Madison, Wisconsin at the Burrough Theater a couple days later,
• 1:53
  Speaker 3: on Thursday, September fourth.
• 1:56
  Speaker 2: We're also so stoked for that show. I've never been
• 1:58
  Speaker 2: to Madison. I've never been to Wisconsin.
• 2:01
  Speaker 3: Decided Wisconsin rocks.
• 2:02
  Speaker 2: I have also never been to Minneapolis, which is where
• 2:06
  Speaker 2: our final show of the tour is on September seventh.
• 2:11
  Speaker 2: It's at Dudley Riggs Theater and we are going to
• 2:15
  Speaker 2: have a blast. We are still deciding on what movies
• 2:19
  Speaker 2: to cover, but we will announce that very soon.
• 2:22
  Speaker 3: Sound off in the comments if you have particular Midwestern
• 2:26
  Speaker 3: you know classics that you would like to see covered.
• 2:29
  Speaker 3: No John Hughes this time, chill out.
• 2:32
  Speaker 2: Yeah, we've done enough.
• 2:33
  Speaker 3: We've suffered long enough. But We are very, very excited
• 2:37
  Speaker 3: to keep your eyes peeled for our movie announcements, but
• 2:40
  Speaker 3: in the meantime, get your tickets because our live shows
• 2:43
  Speaker 3: are always a blast. We're so excited to bring them
• 2:46
  Speaker 3: to the Midwest. Not only do we do our classic discussion,
• 2:50
  Speaker 3: we do bits, we do audience involvement, we have exclusive
• 2:54
  Speaker 3: tour merch, we do meet and greets afterwards. They're always really,
• 2:58
  Speaker 3: really fun and we hope to see you there.
• 3:00
  Speaker 2: Grab your tickets at link tree slash Bechdel Cast. We'll
• 3:05
  Speaker 2: also stick the link in the description of this episode.
• 3:09
  Speaker 2: Tickets will likely sell out for all of these shows.
• 3:13
  Speaker 2: Not to brag, but people love us.
• 3:16
  Speaker 3: But we really have never toured here before. So you
• 3:18
  Speaker 3: got it. So if you're if you're on the fence,
• 3:20
  Speaker 3: just just get it done now and we'll see it
• 3:23
  Speaker 3: at the shows.
• 3:25
  Speaker 2: See there, cast, Jamie, don't fuck with the Babuchdel Cast.
• 3:33
  Speaker 2: I almost said babysitter, and then it turned into the
• 3:36
  Speaker 2: name of our show.
• 3:37
  Speaker 3: Ooh me, I'm just a guy from the city. I'm scary.
• 3:41
  Speaker 2: You're so scary.
• 3:43
  Speaker 3: I'm what a kid thinks of when they think of
• 3:45
  Speaker 3: a scary guy. Yeah, welcome to the Babytail Cast.
• 3:51
  Speaker 2: That's I think what I was trying to say, and
• 3:53
  Speaker 2: then I just couldn't.
• 3:54
  Speaker 3: Don't mess with the Bechdel sitter.
• 3:57
  Speaker 2: Okay, there it is, that's it. Anyway, we figured it out.
• 4:02
  Speaker 3: We're you know, that's the beauty of podcasting. You don't
• 4:05
  Speaker 3: really need to know what you're saying when you open
• 4:07
  Speaker 3: your mouth.
• 4:08
  Speaker 2: Yeah, that's ninety nine percent of podcasting.
• 4:10
  Speaker 3: I would say, yeah, yeah, I think we actually think
• 4:13
  Speaker 3: harder than ninety nine percent of podcasters. And that's not
• 4:16
  Speaker 3: saying very much.
• 4:17
  Speaker 2: No, the bar is low. Yeah, So welcome to the
• 4:21
  Speaker 2: bechel Cast listeners. My name is Caitlin Durante.
• 4:24
  Speaker 3: My name is Jamie Loftus, and this is our show
• 4:27
  Speaker 3: where we take a look at your favorite movies using
• 4:30
  Speaker 3: an intersectional feminist lens, using the Bechdel Test as a
• 4:35
  Speaker 3: jumping off point for discussion. But Caitlin, the hell is
• 4:40
  Speaker 3: the Bechdel Test?
• 4:41
  Speaker 2: Well, it originated in our best friend Alison Bechdel's comic
• 4:46
  Speaker 2: Dix to Watch Out For.
• 4:47
  Speaker 3: I love that we can adjust the show to reflect
• 4:50
  Speaker 3: that we have spent exactly forty five seconds with the
• 4:53
  Speaker 3: real life Alison Bechdel.
• 4:55
  Speaker 2: I would say, it's more like forty five minutes plus
• 4:58
  Speaker 2: a different encounter.
• 5:00
  Speaker 3: I mean, I guess I meant physically physically physically forty
• 5:03
  Speaker 3: five seconds, okay to the till.
• 5:07
  Speaker 2: Yes, forty five minutes and forty five seconds when you
• 5:10
  Speaker 2: combine our recording with her and are in person meet
• 5:13
  Speaker 2: and greet. Anyway, we are best friends. The Bechdel tests,
• 5:16
  Speaker 2: there are many versions of it. The one that we
• 5:18
  Speaker 2: use requires that two people of a marginalized gender have names,
• 5:24
  Speaker 2: they speak to each other, and their conversation is about
• 5:26
  Speaker 2: something other than a man. And ideally we like it
• 5:29
  Speaker 2: when it's substantial dialogue and not just a throwaway oh hey.
• 5:36
  Speaker 3: Girl or whatever, unless that is very meaningful, and it depends.
• 5:42
  Speaker 2: It could be, it could be.
• 5:43
  Speaker 3: Your mileage may vary. Yeah, but yes, that is the show.
• 5:46
  Speaker 3: And today we are covering a request that has been
• 5:49
  Speaker 3: around for really as long as our show has. It's
• 5:53
  Speaker 3: I want to say it's it's it's a classic for many.
• 5:56
  Speaker 3: We're covering Adventures in Babysitting. Chris columb Is first movie Yeah,
• 6:02
  Speaker 3: from nineteen eighty seven.
• 6:04
  Speaker 2: And our guest today. She's the first drag queen elected
• 6:08
  Speaker 2: to a public office. She has been serving on the
• 6:11
  Speaker 2: Silver Lake neighborhood council since twenty nineteen. She works professionally
• 6:15
  Speaker 2: as the operations manager for cila neighborhood homeless coalition, and
• 6:20
  Speaker 2: she just announced a run for California State Senate in
• 6:24
  Speaker 2: District twenty six. It's maybe a girl.
• 6:27
  Speaker 4: Hello, Hello, Hey, everybody, super excited to be here.
• 6:34
  Speaker 2: Thank you for coming.
• 6:36
  Speaker 3: Such a pleasure to have you. Maybe before we get
• 6:39
  Speaker 3: into the movie, yes, tell us a little bit more
• 6:41
  Speaker 3: about your campaign and let the listeners know what you're
• 6:44
  Speaker 3: all about.
• 6:45
  Speaker 5: Yeah.
• 6:46
  Speaker 4: So, I've been involved in local politics since about twenty nineteen.
• 6:50
  Speaker 4: That's when I was elected to the Silver Lake Neighborhood
• 6:52
  Speaker 4: Council and I actually just recently got re elected for
• 6:56
  Speaker 4: my fourth and final term. We actually we have term limits,
• 7:00
  Speaker 4: which is remarkable that we have term limits on the
• 7:03
  Speaker 4: micro governmental level.
• 7:05
  Speaker 3: I didn't realize that until you got elected to a
• 7:08
  Speaker 3: fourth term.
• 7:09
  Speaker 4: Yeah, yep, so this will be my final two years
• 7:13
  Speaker 4: in the neighborhood council. It's been a really awesome experience.
• 7:16
  Speaker 4: You know, a lot of local organizing and getting your
• 7:20
  Speaker 4: neighbors to get together and care about the community. You know,
• 7:24
  Speaker 4: we also influence legislation at the city level through community
• 7:28
  Speaker 4: impact statements. We do neighborhood purpose grants. It's been a
• 7:31
  Speaker 4: really awesome experience. I definitely have my complaints as well.
• 7:35
  Speaker 4: You know, when it comes down to it, we're supposed
• 7:38
  Speaker 4: to act as advisory boards to city Council, and whether
• 7:42
  Speaker 4: or not city Council actually takes our advice very much
• 7:46
  Speaker 4: up for debates. So we are an advisory body, We're
• 7:49
  Speaker 4: not a legislative body. And having been involved at this
• 7:52
  Speaker 4: level for over six years now, I am ready to
• 7:56
  Speaker 4: move on to something bigger and larger. So by the
• 7:59
  Speaker 4: time anybody is listening to this, I will have announced
• 8:03
  Speaker 4: a run for California State Senate District twenty six in
• 8:07
  Speaker 4: twenty twenty six, and basically that covers the Hollywood area,
• 8:12
  Speaker 4: Silver Lake, Echo Park, parts of downtown ky Town, Eagle Rock,
• 8:17
  Speaker 4: Highland Park, and I'm very excited to get back on
• 8:20
  Speaker 4: the campaign trail. Many of you might know I ran
• 8:22
  Speaker 4: for Congress. I ran for US Congress. We came pretty close.
• 8:27
  Speaker 4: In twenty twenty two. I came in second place out
• 8:30
  Speaker 4: of nine candidates advanced to the general election. It was
• 8:33
  Speaker 4: the first time that an openly trans, non binary person
• 8:36
  Speaker 4: has ever advanced to a general election for a seat
• 8:39
  Speaker 4: in US Congress, and this time we're ready to make
• 8:42
  Speaker 4: it happen. I think it couldn't be any more necessary
• 8:46
  Speaker 4: than the politically tumultuous time that we're going through right
• 8:49
  Speaker 4: now to have progressive representation truly.
• 8:54
  Speaker 3: And as a maybe head, I would like to add,
• 8:58
  Speaker 3: I just I have I admired you from afar and
• 9:02
  Speaker 3: then as a friend over the years, as I've been
• 9:04
  Speaker 3: lucky to both campaign for you and then also work
• 9:08
  Speaker 3: with you hands on at Celia, I mean maybe works
• 9:13
  Speaker 3: day in and day out with our neighborhood's unhoused population
• 9:18
  Speaker 3: and in a way that I have never seen anyone
• 9:23
  Speaker 3: running for office do in earnest actually get to know
• 9:27
  Speaker 3: the most disenfranchised people in their districts and try to
• 9:32
  Speaker 3: understand more meaningfully, like what are the issues they're experiencing
• 9:36
  Speaker 3: and what can we do to help and how are
• 9:39
  Speaker 3: they being failed at every level, whether that's community, city, state,
• 9:44
  Speaker 3: and federal. So I just we love you. I just
• 9:48
  Speaker 3: am so happy you're here.
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  Speaker 5: Thank you, Jamie. It really means a lot to me,
• 9:51
  Speaker 5: thank you.
• 9:52
  Speaker 3: Of course. And then there's the feature film Adventures and Babies,
• 9:58
  Speaker 3: which I was actually really surprise is it how much
• 10:01
  Speaker 3: overlap there is in this conversation.
• 10:03
  Speaker 2: Weirdly enough, Yeah, for sure. So maybe what is your
• 10:07
  Speaker 2: relationship with this movie?
• 10:10
  Speaker 4: So I will say this is it's one of my
• 10:13
  Speaker 4: favorite movies of all time. It's probably I've probably seen
• 10:17
  Speaker 4: this movie more than any other movie I've seen. It's
• 10:21
  Speaker 4: at least in the top five in terms of the
• 10:24
  Speaker 4: number of times that I've seen it. I can pretty
• 10:26
  Speaker 4: much watch the whole thing and just I could lip
• 10:29
  Speaker 4: sync the movie. Actually, maybe I should do that.
• 10:30
  Speaker 2: I'm a drag quin Woa lipstick for your life.
• 10:34
  Speaker 5: Yeah, so I think I don't know.
• 10:36
  Speaker 4: I just I loved it as a kid, and I
• 10:38
  Speaker 4: still watch it probably at least once a year. For me,
• 10:42
  Speaker 4: it's like a comfort movie, you know. We talked earlier
• 10:46
  Speaker 4: before we started recording. I'm originally from Pittsburgh, Pennsylvania, but
• 10:49
  Speaker 4: my family moved to Chicago when I was nine. That's
• 10:52
  Speaker 4: where I grew up sort of came of age, if
• 10:54
  Speaker 4: you will. So having been in La now for over
• 10:57
  Speaker 4: twelve years, I think it's also very ste for me,
• 11:00
  Speaker 4: like nostalgic childhood wise, but also for Chicago.
• 11:04
  Speaker 3: Yeah. Wow, I didn't know that you spent time as
• 11:06
  Speaker 3: a kid in Chicago. Mm hmm. It seems like such
• 11:09
  Speaker 3: a cool I don't know. It's so wild that like
• 11:11
  Speaker 3: the Midwest and Chicago specifically the Greater Chicago area is
• 11:15
  Speaker 3: the basis for so many seminal movies because of movies
• 11:20
  Speaker 3: like this totally and everything John Hughes has ever done. Basically, Yes, Kitlin,
• 11:26
  Speaker 3: what's your experience with this movie?
• 11:27
  Speaker 2: I did not grow up with it.
• 11:30
  Speaker 3: Interesting.
• 11:30
  Speaker 2: Yeah, the eighties movie that Elizabeth Shoe was in that
• 11:36
  Speaker 2: I watched all the time was Back to the Future too,
• 11:40
  Speaker 2: so that.
• 11:41
  Speaker 3: There's a fair amount of Back to the Future overlap,
• 11:44
  Speaker 3: because isn't Marty McFly's little sister plays Sarah.
• 11:48
  Speaker 2: Oh wait, Marty McFly has a little sister, question Mark.
• 11:54
  Speaker 3: I think it might be in one of like the
• 11:55
  Speaker 3: alternate timeline things.
• 11:56
  Speaker 2: Okay, yeah, I'm like my mind is being blown right
• 11:59
  Speaker 2: now because I'm like, I didn't recognize that little girl
• 12:01
  Speaker 2: at all. Anyway. Yes, so, I had not watched Adventures
• 12:06
  Speaker 2: in Babysitting until maybe two years ago. I think it
• 12:11
  Speaker 2: was just because I was like, oh, we'll need to
• 12:13
  Speaker 2: cover this eventually, let me familiarize myself with it vaguely,
• 12:18
  Speaker 2: and I remember thinking that it was different than what
• 12:22
  Speaker 2: I was expecting it's like grittier. It's like a teen
• 12:26
  Speaker 2: version of After Hours, which is what the screenwriter was
• 12:29
  Speaker 2: going for. But I was like, oh, I thought this
• 12:32
  Speaker 2: would be like way more lighthearted. I was like, WHOA,
• 12:36
  Speaker 2: I didn't. I thought they would just like, I don't know,
• 12:39
  Speaker 2: hang around a jungle gym or go to the park
• 12:43
  Speaker 2: or I don't know. But I was like, they get
• 12:45
  Speaker 2: into some some misadventures, I would say, But I still
• 12:49
  Speaker 2: thought it was a romp.
• 12:50
  Speaker 3: It definitely is a romp. I mean it's like a
• 12:52
  Speaker 3: Chris Columbus movie. It's like even when it's some things
• 12:55
  Speaker 3: that are fucked up of like the pacing's pretty incredible, like.
• 13:01
  Speaker 2: Yeah, ten out of ten on the rampometer. But I
• 13:03
  Speaker 2: have a lot of thoughts otherwise. And yeah, I just
• 13:07
  Speaker 2: watched it again to prep for this episode. And then
• 13:10
  Speaker 2: I also did some extra credit and watched the twenty
• 13:14
  Speaker 2: sixteen d com reboot starring Sabrina Carpenter among other child
• 13:21
  Speaker 2: stars who I have no idea who they are and
• 13:24
  Speaker 2: have some stress thoughts on that one too that we'll
• 13:28
  Speaker 2: get into eventually. But yeah, I don't have much of
• 13:31
  Speaker 2: a history with this movie, but I'm excited to dig
• 13:35
  Speaker 2: in Jamie, what's your relationship with it?
• 13:38
  Speaker 3: I first wanted to just correct so the reason that
• 13:41
  Speaker 3: it's not Marty McFly's little sister, it's Lorraine Bain's little sister.
• 13:47
  Speaker 2: Oh yes, Okay.
• 13:49
  Speaker 3: The actor, the child actor who plays Sarah Maya Brutten
• 13:53
  Speaker 3: is a character in Back to the Future. I'm not
• 13:56
  Speaker 3: a Back to the Future head. I can't answer to
• 13:58
  Speaker 3: this shit.
• 13:59
  Speaker 2: Okay, No, that's all.
• 14:00
  Speaker 3: And I feel guilty in advance because I feel like
• 14:03
  Speaker 3: I am going to be a micro generational hater on
• 14:06
  Speaker 3: this movie. I have seen adventures in babysitting once at
• 14:11
  Speaker 3: like a middle school sleepover. I remember really vividly because
• 14:15
  Speaker 3: it was like such a fun night, and we took
• 14:18
  Speaker 3: a sip of vodka from someone's mom's bottle, and it
• 14:23
  Speaker 3: was the only time I tasted vodka before college. So
• 14:27
  Speaker 3: I associate this movie with my first sip of vodka.
• 14:32
  Speaker 3: And the hot dog joke, which is the only thing
• 14:35
  Speaker 3: I remembered about this movie. Is then no wiener and
• 14:41
  Speaker 3: we were laughing.
• 14:42
  Speaker 2: You don't have money for me, I don't have a
• 14:44
  Speaker 2: wiener for you, or whatever it is.
• 14:46
  Speaker 3: And so we were twelve, and so we were laughing,
• 14:48
  Speaker 3: and that was. And the other connection that I had
• 14:52
  Speaker 3: to this was I was a big fan of Rent
• 14:56
  Speaker 3: as a middle schooler. When I saw this and rilled
• 15:00
  Speaker 3: to see Anthony Rap a very young Anthony Rap, who
• 15:04
  Speaker 3: plays Marcus in the original Broadbay cast of Rent and
• 15:07
  Speaker 3: also plays Mark. Probably shouldn't have because everyone was so
• 15:12
  Speaker 3: old in the movie adaptation, but Chris Columbus goes on
• 15:15
  Speaker 3: to adapt Rent for the screen in two thousand and
• 15:18
  Speaker 3: five not well, but I loved it, and Anthony Rap
• 15:24
  Speaker 3: is in that as well. So I think that that
• 15:26
  Speaker 3: was probably why I was like wanting to watch this
• 15:29
  Speaker 3: movie as a kid, because I was like, there's Rent connections,
• 15:32
  Speaker 3: and that's about my only connections to it. But I
• 15:35
  Speaker 3: do I have a lot of thoughts about it. I
• 15:38
  Speaker 3: think that there's like a lot going on in this
• 15:40
  Speaker 3: movie that makes it a very interesting time capsule.
• 15:44
  Speaker 2: Definitely. Yeah, Well, let's take a quick break and then
• 15:47
  Speaker 2: we'll come back for the recap. And we're back, okay,
• 16:01
  Speaker 2: So here's the recap of Adventures in Babysitting nineteen eighty seven.
• 16:07
  Speaker 2: I just want to place a quick note at the
• 16:09
  Speaker 2: top as far as the version I watched, slash Am
• 16:14
  Speaker 2: doing the recap on is the Disney Plus version, which
• 16:19
  Speaker 2: is slightly edited from the original version. I don't think
• 16:24
  Speaker 2: the Disney Plus version cuts any scenes. I think it's
• 16:27
  Speaker 2: mostly just like slight changes to dialogue. I think so
• 16:31
  Speaker 2: based on what I was finding. Yeah, and we'll talk
• 16:34
  Speaker 2: about these changes later, but just wanted to give that
• 16:38
  Speaker 2: little disclaimer in case I am leaving something out that
• 16:42
  Speaker 2: people are like, what about that moment or that scene,
• 16:46
  Speaker 2: because the theatrical version and the Disney Plus version are
• 16:50
  Speaker 2: slightly different. So just FYI, Okay. So we are in
• 16:56
  Speaker 2: the suburbs of Chicago.
• 16:58
  Speaker 3: We so often are movies, and this time truly in
• 17:02
  Speaker 3: Chris Columbus movie specifically, Yes so often are.
• 17:06
  Speaker 2: Yes, And we meet Chris Parker played by Elizabeth Shu.
• 17:11
  Speaker 2: She is a seventeen year old high school senior and
• 17:15
  Speaker 2: she's getting ready for a big dinner date because it's
• 17:19
  Speaker 2: her anniversary with her boyfriend, Mike Todwell, played by a
• 17:23
  Speaker 2: young Bradley Whitford.
• 17:25
  Speaker 3: And not to shame him, but when we say young,
• 17:31
  Speaker 3: he's like twenty nine years old in this movie. He's like,
• 17:35
  Speaker 3: you know, he's I guess young in the span of
• 17:38
  Speaker 3: like between here and The Ming Dynasty. But he's certainly
• 17:42
  Speaker 3: not you know, a teenager?
• 17:46
  Speaker 2: Yes, true, And he shows up in his car with
• 17:51
  Speaker 2: a license plate that says so cool to tell Chris
• 17:57
  Speaker 2: that he has to cancel their date because his little
• 17:59
  Speaker 2: sister sick and he has to stay home and take
• 18:02
  Speaker 2: care of her. So Chris is really bummed if she
• 18:05
  Speaker 2: was really looking forward to the anniversary dinner, and her
• 18:08
  Speaker 2: friend Brenda comes over to console her and also to
• 18:12
  Speaker 2: complain about her overbearing mother in a scene that passes
• 18:17
  Speaker 2: the Bechdel test. And then a missus Anderson calls wanting
• 18:22
  Speaker 2: to know if Chris can babysit her daughter tonight, and
• 18:27
  Speaker 2: Chris reluctantly agrees. We cut to the Andersons. We meet Sarah,
• 18:34
  Speaker 2: the I don't know nine year old girl.
• 18:37
  Speaker 3: She's a little stinker. She's got the best outfits.
• 18:40
  Speaker 2: Oh yeah, she loves Thor.
• 18:44
  Speaker 3: Before it was cool.
• 18:45
  Speaker 2: Yeah, before Thor was Chris Hemsworth. Right, So this is
• 18:49
  Speaker 2: who Chris will be babysitting. And then Sarah's fifteen year
• 18:55
  Speaker 2: old brother, Brad played by Keith Coogan, is also there
• 19:00
  Speaker 2: and he has a huge crush on Chris. The Anderson
• 19:05
  Speaker 2: parents give Chris a few instructions on how to care
• 19:08
  Speaker 2: for Sarah, like make sure she has cough syrup and
• 19:12
  Speaker 2: stuff like that, and they say they'll be home by
• 19:14
  Speaker 2: one am, and then they head out. Now, Brad is
• 19:18
  Speaker 2: supposed to sleep over at his friend Darryl's that night,
• 19:21
  Speaker 2: but now that he knows Chris is gonna be at
• 19:24
  Speaker 2: his house, he wants to stay home. And Darryl shows up,
• 19:29
  Speaker 2: played by Anthony Rapp, he wants to hang out. He's like, hey, Brad,
• 19:34
  Speaker 2: look at this centerfold model in this month's issue of Playboy.
• 19:38
  Speaker 2: She looks just like Chris, and so we're like, oh,
• 19:41
  Speaker 2: he's like you know that like eighties pervert kids stock character.
• 19:48
  Speaker 3: Yeah, poor Anthony rap he's really putting a box on
• 19:51
  Speaker 3: this one. Yeah.
• 19:53
  Speaker 2: I also just mention this Playboy issue during the recap
• 19:58
  Speaker 2: because it keeps up throughout the movie.
• 20:02
  Speaker 3: It's Daa's ex Playboys as a former Playboy employee. M
• 20:07
  Speaker 3: M I support.
• 20:10
  Speaker 2: Yeah, Chekoff's Playboy issue. Then Chris's friend Brenda calls, saying
• 20:17
  Speaker 2: that she decided to run away from home because her
• 20:21
  Speaker 2: mom is that awful, and she made it as far
• 20:24
  Speaker 2: as the bus station in the city, but she's freaked
• 20:28
  Speaker 2: out and she needs Chris to come pick her up
• 20:32
  Speaker 2: because she doesn't have any more money for a bus
• 20:35
  Speaker 2: or a cab ride home. And Chris agrees. But the
• 20:40
  Speaker 2: only way she can really make this work without anyone
• 20:42
  Speaker 2: like telling on her that she like left these kids
• 20:46
  Speaker 2: to go into the city is if she takes Sarah
• 20:50
  Speaker 2: and Brad and Darryl along. So they all pile in
• 20:55
  Speaker 2: Chris's mom's car and she drives them to the big
• 21:00
  Speaker 2: skinyy city.
• 21:03
  Speaker 3: I did love a good station wagon. That's something that
• 21:07
  Speaker 3: I genuinely get nostalgic for. It's like, where the hell
• 21:10
  Speaker 3: did those cars go? I liked them. We knew they
• 21:14
  Speaker 3: were made out of wood, but I liked the effort. Oh.
• 21:19
  Speaker 2: I loved that game you would play when like, yeah,
• 21:21
  Speaker 2: the wood paneling on the side, have we caught it?
• 21:23
  Speaker 2: Like woody whacker or woody whack back or something like that.
• 21:27
  Speaker 3: Ohit, I don't know this game.
• 21:28
  Speaker 2: Yeah, you'd be in the car your parent was driving,
• 21:31
  Speaker 2: and then you'd see one of those like wood sided
• 21:34
  Speaker 2: paneled station wagons and then you'd hit the person next
• 21:37
  Speaker 2: to you and you'd say, woody whacker, no whack backs
• 21:41
  Speaker 2: or something.
• 21:41
  Speaker 3: I don't remember, Caitlin, what you were hitting cars?
• 21:46
  Speaker 2: I was hitting my sister.
• 21:48
  Speaker 3: What do you want, Oh, you hit your sister? Yeah yeah, yeah, yeah,
• 21:51
  Speaker 3: oh yeah. I guess it's okay to hit your sister. Yes,
• 21:54
  Speaker 3: I thought you were leaning out of the car and
• 21:56
  Speaker 3: hitting the car. No no, no, no, no, no, no, okay, yeah, no,
• 22:00
  Speaker 3: you can hit your sister. That's okay.
• 22:02
  Speaker 2: Yeah, thank you.
• 22:03
  Speaker 3: She turned out fine.
• 22:05
  Speaker 2: Yea, yea yeah, yeah, she's great. Okay. So on the
• 22:08
  Speaker 2: way into the city, they get a flat tire and
• 22:11
  Speaker 2: have to pull over, and there's no spare in the car,
• 22:15
  Speaker 2: and Chris realizes she forgot her purse back at the house,
• 22:18
  Speaker 2: so they don't have any money to get like a
• 22:21
  Speaker 2: tow truck or anything like that, but a tow truck
• 22:24
  Speaker 2: driver conveniently shows up. Anyway. This is John Pruitt. There
• 22:30
  Speaker 2: is a lot of ableism around this character, and we'll
• 22:33
  Speaker 2: talk about that later. But out of the kindness of
• 22:36
  Speaker 2: his heart, he hooks up the car and drives them
• 22:41
  Speaker 2: into the city. But before they reach Dawson's garage where
• 22:47
  Speaker 2: he's taking them too, he gets a call about another
• 22:52
  Speaker 2: man being over at his house who's like fucking his wife,
• 22:58
  Speaker 2: so he drives everyone to his house and starts shooting
• 23:02
  Speaker 2: this other man who his wife is having an affair with.
• 23:06
  Speaker 3: He's having a day. It's like that he's just having
• 23:10
  Speaker 3: the wildest day. I want to show him grace, but
• 23:14
  Speaker 3: he's having a difficulty.
• 23:15
  Speaker 2: He is I want to see a spinoff movie like
• 23:17
  Speaker 2: Adventures in Tow truck Driving.
• 23:21
  Speaker 3: It is demonstrated repeatedly. He's got a good heart, yeah,
• 23:25
  Speaker 3: but it escalates very quickly with him.
• 23:28
  Speaker 2: Yeah, he has a gun and he's not afraid to
• 23:30
  Speaker 2: use it. Sure, and so the kids dash into the
• 23:35
  Speaker 2: first car they see, which is in the process of
• 23:39
  Speaker 2: being stolen by a man named Joe Gibbs, and Chris
• 23:45
  Speaker 2: starts freaking out, but she realizes that she has to
• 23:48
  Speaker 2: be level headed. You know, she's the responsible one in
• 23:51
  Speaker 2: this situation. So she puts her babysitter hat back on.
• 23:55
  Speaker 2: She keeps her cool. She's like, Sarah, take your cough syrup, Brad,
• 23:58
  Speaker 2: don't eat chocolate, it'll you acne.
• 24:01
  Speaker 3: Darryl, put your.
• 24:02
  Speaker 2: Seat belt on, and we're like, wow, she's such a
• 24:05
  Speaker 2: good babys She's doing great. So then Joe takes them
• 24:13
  Speaker 2: to this warehouse full of stolen cars where this group
• 24:17
  Speaker 2: of crime bosses is having a meeting and They're like,
• 24:22
  Speaker 2: what the fuck are these kids doing here? They're gonna
• 24:25
  Speaker 2: rat us out to the cops.
• 24:27
  Speaker 3: It's so wild that I mean, and we'll get into
• 24:29
  Speaker 3: the implications of these stock characters, but it's like every
• 24:33
  Speaker 3: possible stock character that could appear in this movie does
• 24:40
  Speaker 3: because then you just get to like a Godfather pestige
• 24:44
  Speaker 3: in the middle of You're like, yeah, I guess, like
• 24:47
  Speaker 3: I don't know.
• 24:48
  Speaker 2: Right, So these crime bosses lock Chris and the kids
• 24:53
  Speaker 2: up in like their office, but the kids escape through
• 24:57
  Speaker 2: a hole in the ceiling, but not before Darryl takes
• 25:01
  Speaker 2: a copy of the Playboy magazine that he finds in
• 25:04
  Speaker 2: the office. But oh no, that's where the crime bosses
• 25:08
  Speaker 2: have written all of their crime notes.
• 25:12
  Speaker 3: Wait, how does he refer to it? Where he was like,
• 25:15
  Speaker 3: that's the Philadelphia idea is you're like the what, yeah,
• 25:24
  Speaker 3: deis ex Playboy magazine?
• 25:26
  Speaker 2: Yeah, yeah, certainly.
• 25:28
  Speaker 4: I Also I want to add that I remember them
• 25:30
  Speaker 4: saying those notes were so important, and I think they
• 25:33
  Speaker 4: would have let the kids go if not for taking
• 25:35
  Speaker 4: that magazine because they said that if they had the
• 25:38
  Speaker 4: magazine that the information could put them away for twenty years.
• 25:42
  Speaker 2: So the stakes are very high. For these crime bosses.
• 25:45
  Speaker 3: They shouldn't have put the Philadelphia plan in there. That
• 25:48
  Speaker 3: was a big mistake.
• 25:50
  Speaker 2: Yeah, their Philadelphia story needed to go elsewhere. Yeah, okay,
• 25:55
  Speaker 2: So when the bosses discover the kids have escaped, they
• 25:59
  Speaker 2: start chasing them. Chris and company run into a blues
• 26:04
  Speaker 2: club and accidentally end up on the stage, and so
• 26:08
  Speaker 2: the owner of this club, played by Albert Collins, won't
• 26:13
  Speaker 2: let them leave until they sing the blues.
• 26:16
  Speaker 3: This is a pretty iconic scene. Yeah.
• 26:20
  Speaker 2: Yeah. It is also replicated in the Sabrina Carpenter twenty
• 26:25
  Speaker 2: sixteen Adventures and Babysitting, where she has to.
• 26:27
  Speaker 3: Oh and she can actually sing no offense to this.
• 26:31
  Speaker 2: Well, she has to improvise a rap. No, she and
• 26:39
  Speaker 2: the other kids, and in the reboot there are like
• 26:42
  Speaker 2: eight kids for some reason, it's double the number of children,
• 26:46
  Speaker 2: and they all improv a rap. They freestyle wrap their
• 26:50
  Speaker 2: way through this, needing to get out of the whatever
• 26:54
  Speaker 2: club they find themselves in, and it's a very bad song.
• 26:58
  Speaker 2: I would say it's a argument for producing original stories. Yes, absolutely.
• 27:06
  Speaker 3: Yeah.
• 27:06
  Speaker 2: Anyway, so Chris improvs a blues song about how hard
• 27:11
  Speaker 2: it is to be a babysitter, and I believe the
• 27:14
  Speaker 2: song is called babysitter Blues.
• 27:16
  Speaker 5: Is that right, babysitting blues.
• 27:18
  Speaker 2: Babysitting blues? Okay, yes, yes, yes, important important. Yeah. And
• 27:23
  Speaker 2: so after that, Chris and friends leave the blues joint
• 27:28
  Speaker 2: and Brad is like, hey, Chris, your boyfriend sucks. You
• 27:33
  Speaker 2: should be interested in me instead, especially because I just
• 27:37
  Speaker 2: noticed that you're more than a pretty face and you
• 27:41
  Speaker 2: actually have a personality as it turns out, and she's like, Okay,
• 27:48
  Speaker 2: that's one of.
• 27:49
  Speaker 3: The only ways I mean, not totally, but one of
• 27:52
  Speaker 3: the only ways in which this movie slightly subverts eighties
• 27:56
  Speaker 3: plot lines, where usually that would just confer end game
• 28:00
  Speaker 3: between these two characters is like, hey, I just realized
• 28:03
  Speaker 3: you had two brain cells and you should probably be
• 28:08
  Speaker 3: my wife. And usually that means that that will happen,
• 28:12
  Speaker 3: very true, but spoiler alert, she's just gonna end up
• 28:16
  Speaker 3: being with some other.
• 28:18
  Speaker 2: Yay, a different guy. Yeah.
• 28:20
  Speaker 3: Yeah.
• 28:21
  Speaker 2: Meanwhile, back at the bus station, Brenda is having a time.
• 28:26
  Speaker 2: Someone takes her glasses so now she can't see, and
• 28:30
  Speaker 2: she picks up what she thinks is a cute little kitten,
• 28:33
  Speaker 2: but it's actually a huge rat and she's like, yuckye
• 28:39
  Speaker 2: and then back to the babysitting Adventure, the two crime
• 28:44
  Speaker 2: boss guys plus Joe Gibbs are still chasing the kids,
• 28:49
  Speaker 2: who managed to evade them again by getting on the
• 28:53
  Speaker 2: metro the l If You Will, where they find themselves
• 28:58
  Speaker 2: in the middle of a turf war between rival gangs.
• 29:02
  Speaker 3: It's literally like the amount of thought put into this
• 29:05
  Speaker 3: sequence is like sharks versus jets, Like they might as
• 29:09
  Speaker 3: well be snapping.
• 29:11
  Speaker 2: Yes, but they're wearing blue and red, so I think
• 29:14
  Speaker 2: it's implied that it's like maybe a bloods and crips thing.
• 29:18
  Speaker 3: Yeah, but it's so musical theater coded. Absolutely, I'm curious
• 29:23
  Speaker 3: where the edits are coming in. Were there edits in
• 29:25
  Speaker 3: that scene?
• 29:26
  Speaker 1: Oh?
• 29:26
  Speaker 3: This is the big edit. This is the big edit. Okay,
• 29:29
  Speaker 3: in terms of dialogue, I wasn't aware that there was
• 29:32
  Speaker 3: edits to that extent.
• 29:33
  Speaker 2: Yeah. So basically, they're about to kill each other, these
• 29:36
  Speaker 2: two gangs, but Chris intervenes and she in the original
• 29:41
  Speaker 2: version says, don't fuck with the babysitter, and that's like
• 29:46
  Speaker 2: the famous line of the movie. They should let her
• 29:49
  Speaker 2: say that, I know, but the Disney Plus version has
• 29:52
  Speaker 2: her says don't fool with the babysitter.
• 29:57
  Speaker 3: I can't believe, like we should have left that behind
• 30:01
  Speaker 3: with TNT edits. Yeah, I always still do it because
• 30:05
  Speaker 3: at this point Disney Plus is such and they should
• 30:09
  Speaker 3: still hire me. But there's such a shithole that, like
• 30:13
  Speaker 3: I watched Secret Lives of Mormon Wives on that same
• 30:16
  Speaker 3: platform yesterday. You can just let her say, don't fuck
• 30:20
  Speaker 3: with the babysitter. There's no laws on this platform anymore.
• 30:24
  Speaker 2: Come on, there are movies with like nudity in them
• 30:27
  Speaker 2: on Disney Plus.
• 30:29
  Speaker 3: Yeah, Tetan. We watched Titan on Disney Plus. Like it's
• 30:35
  Speaker 3: it's silly. Yeah, there's no need to like do a
• 30:38
  Speaker 3: PG edit.
• 30:39
  Speaker 2: I don't know, yeah, especially because well the movie is
• 30:42
  Speaker 2: still rate a PG thirteen and PG thirteen movies I
• 30:44
  Speaker 2: think are allowed one fuck maybe two because there's.
• 30:48
  Speaker 3: I wonder how that's changed. Yeah, I think it's like
• 30:50
  Speaker 3: one hard swear.
• 30:52
  Speaker 4: I think it's two because in the original, the reason
• 30:56
  Speaker 4: that Chris says that is because one of the gangsters says,
• 31:00
  Speaker 4: don't fuck with the Lords of Hell. Oh yeah, yeah,
• 31:04
  Speaker 4: it stabs Brad in the foot with the knife. She
• 31:07
  Speaker 4: pulls the knife out and says, don't fuck with the babysitters,
• 31:11
  Speaker 4: So I guess that's two right.
• 31:12
  Speaker 3: There is true, yeah, but that's also just a really
• 31:16
  Speaker 3: good callback, so right, there.
• 31:19
  Speaker 2: Should be an exception. There should be an exception also
• 31:23
  Speaker 2: in this scene, and I couldn't totally confirm this, but
• 31:27
  Speaker 2: different gang members call Chris a witch, which I imagine
• 31:33
  Speaker 2: the original line would have been.
• 31:35
  Speaker 3: They say bitch the first time. They say bitch once.
• 31:38
  Speaker 3: Oh I rewatched and I was like, I assume that
• 31:41
  Speaker 3: was edited. Yeah, they say bitch once and then they
• 31:45
  Speaker 3: say which the rest of the time. But I'm assuming,
• 31:48
  Speaker 3: based on your description in the original that there was
• 31:51
  Speaker 3: no witch. It was all bitch.
• 31:54
  Speaker 2: It was all bitch, and then all bitch, no witch.
• 31:58
  Speaker 2: Well new merch maybe. Anyway. The point of this scene
• 32:04
  Speaker 2: is that a knife gets dropped on Brad's foot or
• 32:08
  Speaker 2: he gets stabbed in the foot, so they rush to
• 32:10
  Speaker 2: the hospital. It turns out Brad only needs one stitch,
• 32:14
  Speaker 2: but there is a misunderstanding between the hospital staff and
• 32:18
  Speaker 2: the kids, and for a moment, Chris thinks that Brad
• 32:21
  Speaker 2: died from his knife wound, and so she faints because
• 32:25
  Speaker 2: women be fainting, but he's not dead, and everyone rejoices.
• 32:34
  Speaker 3: No.
• 32:34
  Speaker 2: Meanwhile, the toe. Truck guy John Pruitt is also at
• 32:38
  Speaker 2: the hospital because he was previously in a gunfight a
• 32:44
  Speaker 2: few scenes ago, and he's like, oh, come with me, kids.
• 32:48
  Speaker 2: Your car is fixed and it's at Dawson's garage by
• 32:52
  Speaker 2: the way. He you know, mister Dawson's going to make
• 32:55
  Speaker 2: you pay fifty dollars for the tire repair. But the
• 32:59
  Speaker 2: kids don't have fifty dollars, so they have to figure
• 33:02
  Speaker 2: out a way to get some money. So they come
• 33:04
  Speaker 2: upon a frat party where Chris meets a college guy
• 33:09
  Speaker 2: named I Think Dan, who at first thinks she's Miss
• 33:15
  Speaker 2: March from this month's issue of Playboy magazine, so he
• 33:21
  Speaker 2: like approaches her and they start chatting and flirting and dancing,
• 33:26
  Speaker 2: and Brad, who again is in love with Chris, is like, meanwhile,
• 33:32
  Speaker 2: a drunk college girl is kissing, aka assaulting, a visibly
• 33:39
  Speaker 2: fifteen year old Darryl, so we have that. Then Chris
• 33:44
  Speaker 2: asks Dan if she can borrow fifty dollars and he's like,
• 33:48
  Speaker 2: no problem, here's free money, except he only has forty
• 33:52
  Speaker 2: five dollars on him, and he also drives them to
• 33:56
  Speaker 2: Dawson's garage.
• 33:58
  Speaker 3: It does feel like you're gonna say every time Dawson's Creek,
• 34:02
  Speaker 3: and then it keeps being garage.
• 34:05
  Speaker 2: Yeah yeah, yea yeah yeah. So Kristen friends go to
• 34:08
  Speaker 2: the garage and meet mister Dawson no relation to Jack Dawson.
• 34:13
  Speaker 3: Yeah sure, Yeah.
• 34:14
  Speaker 2: He's played by a young Vincent Dinofrio, which what a
• 34:18
  Speaker 2: what a thrill? What are the rill to see?
• 34:22
  Speaker 1: Right?
• 34:22
  Speaker 3: Yeah, move over, Chris Hemsworth. Tanafrio had it all figured
• 34:26
  Speaker 3: out in nineteen eighty seven.
• 34:29
  Speaker 2: Right, because he has long blonde hair and is holding
• 34:32
  Speaker 2: a sledgehammer, which is famously a tool that auto mechanics
• 34:39
  Speaker 2: use all the time.
• 34:41
  Speaker 3: I also like, I mean, we'll get into this afterwards,
• 34:44
  Speaker 3: but I feel like so much of this For Better
• 34:46
  Speaker 3: and for Worse is written from a suburban kid's perspective
• 34:50
  Speaker 3: of how they would view the city versus how cities
• 34:53
  Speaker 3: actually are. Oh yeah, for sure, And so I feel
• 34:56
  Speaker 3: like it's like, if you're a ten year old seeing
• 34:58
  Speaker 3: this movie, you're like, sure mechanics thor hammers, they could,
• 35:02
  Speaker 3: you know, right?
• 35:03
  Speaker 2: Because the idea here is that Sarah thinks this guy
• 35:07
  Speaker 2: is Thor and she accidentally insults him based on another
• 35:13
  Speaker 2: line that was edited so earlier in the movie. When
• 35:16
  Speaker 2: we first meet Sarah and her brother Brad. Brad calls
• 35:21
  Speaker 2: Thor a homophobic slur, but the Disney Plus edit of
• 35:26
  Speaker 2: that is Thors a weirdo and Sarah's like, no, he's
• 35:30
  Speaker 2: not take that back, and so in this scene she's like, oh, yeah,
• 35:36
  Speaker 2: my brother said that you're a homophobic slur, but again
• 35:40
  Speaker 2: it gets edited to weirdo. So this really upsets mister Dawson,
• 35:46
  Speaker 2: and he also is upset that they shortchange him with
• 35:48
  Speaker 2: the forty five dollars instead of fifty, so he gets
• 35:51
  Speaker 2: pissed and refuses to give their car back.
• 35:54
  Speaker 3: And these are reasonable reactions to what happened in script.
• 35:59
  Speaker 2: Ye right, But then Sarah is like, wait for you're
• 36:05
  Speaker 2: my hero, you're a good guy, and she gives him
• 36:09
  Speaker 2: her helmet, and this endears mister Dawson to the kids,
• 36:15
  Speaker 2: and he's like, you little stinkers, here you go. Here's
• 36:18
  Speaker 2: the keys. So they drive off and head to the
• 36:23
  Speaker 2: bus station to pick up Brenda, who has gotten her
• 36:26
  Speaker 2: glasses back. By the way, she's trying to get a
• 36:30
  Speaker 2: hot dog, et cetera. But before Chris and the others
• 36:34
  Speaker 2: reach the bus station, they drive past the restaurant that
• 36:39
  Speaker 2: Chris's boyfriend was supposed to take her for their anniversary
• 36:41
  Speaker 2: dinner because they see his car parked outside with the
• 36:46
  Speaker 2: so cool license.
• 36:48
  Speaker 3: No mistaking it if you're cheating, If you're a Cereal cheater,
• 36:53
  Speaker 3: here's my advice to you. Don't get a vanity license plate.
• 36:56
  Speaker 2: Don't drive a red Camaro with a very recognizable license plate.
• 37:01
  Speaker 3: Just drive a nondescript Prius. No one will know.
• 37:05
  Speaker 2: Why do you think I drive a Prius because you're
• 37:09
  Speaker 2: a Liared. I mean, I'm freaking all the time, but
• 37:14
  Speaker 2: everyone else knows about everyone else.
• 37:16
  Speaker 3: Everyone else. That's your bumper sticker part, because I'm fucking.
• 37:24
  Speaker 2: Exactly. Okay. So they go inside the restaurant and Chris
• 37:30
  Speaker 2: finds her boyfriend Mike with another girl and she confronts him.
• 37:35
  Speaker 2: He gaslights her and belittles Chris. So Brad yells at
• 37:42
  Speaker 2: this shitty dude Mike, Daryl kicks him in the ass,
• 37:46
  Speaker 2: and everyone runs out of the restaurant, except they've kind
• 37:49
  Speaker 2: of lost Sarah, and the crime boss guys find Sarah
• 37:54
  Speaker 2: and chase her to the building where her parents' event
• 37:57
  Speaker 2: is and Sarah like this. There's high jinks where she
• 38:02
  Speaker 2: has climbed onto the roof slashes like dangling from the
• 38:08
  Speaker 2: side of the building. She's like thirty stories up. It's
• 38:11
  Speaker 2: like YadA YadA. It's the third act. You know, kids
• 38:16
  Speaker 2: on a roof. Yeah, yeah, yeah, And one of the
• 38:19
  Speaker 2: bad guys is still chasing after Sarah. The other bad
• 38:23
  Speaker 2: crime boy is the other what the bad crime boy?
• 38:29
  Speaker 2: Oh okay, yeah yeah. He ends up at the event
• 38:33
  Speaker 2: with Sarah and Brad's parents, as do the rest of
• 38:37
  Speaker 2: the teens, and they see Sarah outside of the window.
• 38:41
  Speaker 2: They save her. Joe Gibbs shows up, the one who
• 38:45
  Speaker 2: had stolen the car toward the beginning of the movie,
• 38:47
  Speaker 2: and he gets the Playboy magazine from them, but he's friendly.
• 38:51
  Speaker 2: He's like, I'll help you guys, and then he punches
• 38:55
  Speaker 2: his bad crime boy boss and so Chris and Brad
• 39:00
  Speaker 2: and Sarah and Darryl are safe. Cut to them picking
• 39:05
  Speaker 2: up Brenda at the bus station and driving like a
• 39:08
  Speaker 2: bat out of hell back to the Anderson house. They arrive,
• 39:12
  Speaker 2: Chris hurriedly cleans everything up while the kids rush to
• 39:16
  Speaker 2: get ready for bed, and then Chris sits down just
• 39:19
  Speaker 2: in time for mister and Missus Anderson to open the
• 39:23
  Speaker 2: door and return home, completely unaware of the adventure the
• 39:28
  Speaker 2: kids just had. Then Chris says goodbye to Sarah, Brad
• 39:34
  Speaker 2: and Darryl, and as she's leaving, that frat guy Dan
• 39:39
  Speaker 2: shows up because Sarah had left her roller skate in
• 39:43
  Speaker 2: his car with her address on it, which is how
• 39:47
  Speaker 2: he knew where to go.
• 39:49
  Speaker 3: Yeah, bischemy tests that, see how it does?
• 39:53
  Speaker 2: Yeah, exactly, And Dan is like, oh, maybe you could
• 39:59
  Speaker 2: baby it me sometime baby sit on my face that is.
• 40:05
  Speaker 2: And then they kiss.
• 40:06
  Speaker 3: And that's exactly what he says.
• 40:08
  Speaker 2: That's exactly what he says. And it's so weird that
• 40:11
  Speaker 2: Disney Plus didn't edit that.
• 40:13
  Speaker 3: They didn't edit that. They actually added that in, which
• 40:16
  Speaker 3: is wild.
• 40:19
  Speaker 2: And then they kiss and that's how the movie ends. Yeah,
• 40:22
  Speaker 2: so let's take a quick break and we'll come back
• 40:24
  Speaker 2: to discuss. We're back.
• 40:36
  Speaker 3: Yeah, maybe where would you like to start the discussion?
• 40:39
  Speaker 3: What's jumping out to you?
• 40:41
  Speaker 4: You know, let's start at the beginning. You know, I
• 40:45
  Speaker 4: want to point out, as I was rewatching this for
• 40:48
  Speaker 4: the umpteenth time last night, I saw a plot hole
• 40:53
  Speaker 4: really really early on that could.
• 40:54
  Speaker 5: Have just made the movie not even happen.
• 40:58
  Speaker 4: So, you know, Chris is at home, she's depressed, she's sulking,
• 41:03
  Speaker 4: she's talking to Brenda, and when her mom comes in
• 41:05
  Speaker 4: and she's like, oh, missus Anderson just called wants to
• 41:08
  Speaker 4: know if you can babysit to night. And you know,
• 41:10
  Speaker 4: that almost doesn't even happen, but she agrees. She shows
• 41:13
  Speaker 4: up and missus Anderson is just like, oh, you know,
• 41:16
  Speaker 4: thanks for agreeing to babysit at the last minute. And
• 41:19
  Speaker 4: there was just something unbelievable to me that the Andersons
• 41:24
  Speaker 4: and they live in a nicer home. It's you know,
• 41:27
  Speaker 4: it's very like up at East Suburbia. I think it's
• 41:29
  Speaker 4: Oak Park, and I just I could not believe that
• 41:33
  Speaker 4: they were going to this fancy event and didn't think
• 41:37
  Speaker 4: until twenty minutes before, oh we should get a babysitter.
• 41:41
  Speaker 3: Right, It's like just as simple, like the babysitter is
• 41:46
  Speaker 3: sick or some some half assed something.
• 41:49
  Speaker 2: Yeah, they had to cancel last minute.
• 41:51
  Speaker 4: Yeah, I was searching for some sort of throwaway line
• 41:53
  Speaker 4: as to why.
• 41:54
  Speaker 3: And yeah, there's no reason, given they're just negligent parents. Yeah,
• 41:59
  Speaker 3: which actually it does kind of come up later when
• 42:01
  Speaker 3: we see them again. They're like, well, they're probably fine, and.
• 42:04
  Speaker 5: Like literally the daughter's dangling outside of the party.
• 42:09
  Speaker 3: Parenting in the eighties seemed very chill based on what
• 42:13
  Speaker 3: I've seen in movies. Yeah, but I do think that
• 42:17
  Speaker 3: that opening scene, I mean, we've seen so many versions
• 42:21
  Speaker 3: of that type of scene to open a movie. The
• 42:24
  Speaker 3: other two that jump directly to mind, I think are
• 42:27
  Speaker 3: both from the early two thousands. It's Charlie's Angels one
• 42:32
  Speaker 3: with Cameron Diaz, which is full panties, like kind of
• 42:35
  Speaker 3: more exploitive version of this scene, and then also the
• 42:39
  Speaker 3: Lizzie McGuire movie two thousand and three that is I
• 42:42
  Speaker 3: think ripping off this scene directly and is fairly wholesome.
• 42:45
  Speaker 3: I don't know that the Adventures in Babysitting scene is
• 42:48
  Speaker 3: the blueprint for girl twirling around in bedroom to a
• 42:53
  Speaker 3: pop classic, but I think this is my favorite version
• 42:57
  Speaker 3: of it that I've seen. I like it.
• 42:59
  Speaker 4: Yeah, Yeah, it's a really iconic opening, I do have
• 43:03
  Speaker 4: to say that. And even at the beginning, like as
• 43:06
  Speaker 4: soon as you see like the logo of the production company,
• 43:10
  Speaker 4: I think it was Touchstone, and you just hear like
• 43:12
  Speaker 4: the first few like chords of the song, you just
• 43:15
  Speaker 4: you know exactly what's coming.
• 43:19
  Speaker 3: Yeah, Yeah, it's great. And Elizabeth shu is awesome in
• 43:23
  Speaker 3: this movie. I feel like she brings more to the
• 43:26
  Speaker 3: character than is necessarily on the page.
• 43:31
  Speaker 2: Right, So speaking of I'll give a little. There's not
• 43:36
  Speaker 2: much like production stuff that's very relevant here. But as
• 43:42
  Speaker 2: we mentioned, this is Chris Columbus's directorial debut. The screenplay
• 43:46
  Speaker 2: was written by writer David Simkins, produced by Deborah Hill Yes,
• 43:52
  Speaker 2: who we've talked about on the podcast before.
• 43:54
  Speaker 3: And Linda Owes, two really iconic women producers. Because Deborah
• 43:59
  Speaker 3: Hill like obviously got her start with John Carpenter doing Halloween,
• 44:04
  Speaker 3: she started super young and then went on to work
• 44:07
  Speaker 3: with Cronenberg and then also on Big Top Peewee as
• 44:12
  Speaker 3: in Babysitting, Escape from La Like Clue, so many of
• 44:17
  Speaker 3: my favorite movies she had a hand in. And then
• 44:20
  Speaker 3: Linda Obst, who I think passed away fairly recently and
• 44:25
  Speaker 3: went on to work I think with Christopher Nolan. She
• 44:28
  Speaker 3: also worked on Sleepless in Seattle, How to Lose a
• 44:31
  Speaker 3: Guy in Ten Days, Angus songs in Perfect Snogging, a
• 44:34
  Speaker 3: recent cover, and Interstellar. Okay, there, Chris Columbus weirdly kind
• 44:40
  Speaker 3: of closes it, and but that was her last credit
• 44:42
  Speaker 3: before she.
• 44:42
  Speaker 2: Passed Okay, Yeah, so yeah, some iconic people behind the scenes.
• 44:47
  Speaker 2: It seems as though David Simkins, a screenwriter, drew inspiration
• 44:52
  Speaker 2: from Ferris Bueller's Day Off and again after Hours. Like
• 44:55
  Speaker 2: I mentioned, No, Also, several critics compared Adventures in Babysitting
• 45:02
  Speaker 2: to Risky Business. My point here is that a lot
• 45:06
  Speaker 2: of movies like this, where there's like a series of
• 45:10
  Speaker 2: misadventures that happen over the course of a day or
• 45:13
  Speaker 2: a night, have a protagonist who is a man or
• 45:17
  Speaker 2: a teen boy, and Adventures in Babysitting feels like one
• 45:20
  Speaker 2: of the few movies from this era with a female protagonist.
• 45:24
  Speaker 2: So that's something. Yeah, So that's pretty much the kind
• 45:28
  Speaker 2: of relevant production context.
• 45:30
  Speaker 3: Yeah, they wanted Molly Ringwall to be the lead, but
• 45:33
  Speaker 3: she couldn't do it. All of the nineteen eighties facts
• 45:36
  Speaker 3: that you could almost make up predict yeah.
• 45:40
  Speaker 2: Yeah. So basically, the general premise of the movie, to me,
• 45:47
  Speaker 2: the narrative thrust, if you will, yeah, is what would
• 45:52
  Speaker 2: be so scary and create so much conflict for a
• 45:57
  Speaker 2: group of middle class white kids from the suburbs. Put
• 46:01
  Speaker 2: them in this city where there are black people and
• 46:05
  Speaker 2: poor people, and that's like the logic this movie is
• 46:10
  Speaker 2: operating on where like, basically, here's who this movie thinks
• 46:17
  Speaker 2: is scary. People of color and especially black people, people
• 46:22
  Speaker 2: with physical disabilities, people dealing with drug addiction, people who
• 46:28
  Speaker 2: are unhoused, people who take public transit, working class people,
• 46:34
  Speaker 2: sex workers, immigrants, Like, It's just everything you'd expect from
• 46:38
  Speaker 2: a movie of this era. Almost every group of marginalized
• 46:43
  Speaker 2: people is like.
• 46:44
  Speaker 3: So scary but also very I mean not uniquely tied
• 46:50
  Speaker 3: to Chris Columbus's catalog during this time, but like a
• 46:54
  Speaker 3: lot of his early work encapsulates these themes directly right
• 46:58
  Speaker 3: where he wrote Gremlins, which the inciting incident is an
• 47:04
  Speaker 3: encounter with an Asian person, and that is what like
• 47:08
  Speaker 3: reeks Havoc into this otherwise quiet white suburban life in
• 47:13
  Speaker 3: the eighties. Aventures in babysitting, even though he didn't write it,
• 47:15
  Speaker 3: feels like an escalation of this. I think you could
• 47:18
  Speaker 3: make the same argument for Home alone. This idea of
• 47:21
  Speaker 3: like this city life and the idea of like poverty
• 47:24
  Speaker 3: making its way into the quote unquote safe lives of
• 47:28
  Speaker 3: this like Oak Park white suburban community, Like it seems
• 47:32
  Speaker 3: so connected to his early work in general, which also
• 47:37
  Speaker 3: makes it even Wilder that they were like, yeah, let's
• 47:40
  Speaker 3: let this get a direct rent. I don't know, right,
• 47:44
  Speaker 3: And I mean there's a lot of you know, direct
• 47:47
  Speaker 3: overlap in like region and people that he worked with
• 47:51
  Speaker 3: with John Hughes's work. But I feel like John Hughes,
• 47:54
  Speaker 3: for all of the criticism we have loved at John
• 47:57
  Speaker 3: Hughes on this show, I think he has made a
• 48:01
  Speaker 3: couple of like just kind of evil movies and then
• 48:03
  Speaker 3: a couple of really good ones. But there isn't really
• 48:08
  Speaker 3: as much the like shades of gray that you could
• 48:10
  Speaker 3: see in a John Hughes movie in Chris Columbus movies
• 48:15
  Speaker 3: or I'm not sure, because I feel like as I
• 48:17
  Speaker 3: was going through like taking notes for this movie and
• 48:20
  Speaker 3: listing sort of like you were saying, Kuelen the list
• 48:23
  Speaker 3: of others quote unquote, not because they actually are others,
• 48:27
  Speaker 3: but because that's how the movie presents these characters to us.
• 48:31
  Speaker 3: Where totally it feels like this movie is written from
• 48:35
  Speaker 3: the perspective of a white suburban kid in the way
• 48:41
  Speaker 3: that they would imagine a city versus the way that
• 48:43
  Speaker 3: a city actually is. Where it's not that all of
• 48:48
  Speaker 3: the characters who are like you're saying, like who are black,
• 48:52
  Speaker 3: who are immigrants, who are poor, who are sex workers,
• 48:54
  Speaker 3: like any other quote unquote other character in this movie,
• 48:58
  Speaker 3: anyone who we come to love, we only come to
• 49:02
  Speaker 3: love because they help. These white characters, Like, it's not
• 49:06
  Speaker 3: because we come to know anything about them and the
• 49:10
  Speaker 3: systemic issues that create cities are you know, this movie
• 49:15
  Speaker 3: doesn't have an interest in and it's not the job
• 49:17
  Speaker 3: of a single movie, but it just feels like it's
• 49:20
  Speaker 3: a lot of stock characters that like, well, if this
• 49:24
  Speaker 3: character helps. I mean, I think Joe's a good example
• 49:28
  Speaker 3: where they literally present the fact that he exists as
• 49:32
  Speaker 3: a jump scare, like with the music where it's like bloop,
• 49:37
  Speaker 3: here's a black teenager. You're like, well, we didn't need
• 49:40
  Speaker 3: to choose that music. Cute, right, But like, because over
• 49:45
  Speaker 3: the period of the movie, we realize that he we
• 49:49
  Speaker 3: don't know his circumstances, we don't know anything about him
• 49:53
  Speaker 3: other than he decides that he's going to be kind
• 49:55
  Speaker 3: to these white suburban kids, and that's why we like him.
• 49:59
  Speaker 3: And I feel like we kind of see that in
• 50:01
  Speaker 3: the characters that we come to like, we only like
• 50:04
  Speaker 3: them because from the like very white perspective of the movie.
• 50:09
  Speaker 3: They quote unquote like earn our trust the same thing.
• 50:12
  Speaker 3: I mean, that whole Blues sequence I feel like illustrates
• 50:15
  Speaker 3: that really well, where it's presented as like, this is
• 50:18
  Speaker 3: a really hostile environment. Why doesn't anyone want Elizabeth Shoe here?
• 50:22
  Speaker 3: And it's like, well, but when it turns out the
• 50:26
  Speaker 3: club really likes her, all of a sudden, it's safe
• 50:29
  Speaker 3: and they're comfortable, and I don't know, I mean, it's
• 50:31
  Speaker 3: just it feels like a very kind of like Reagan
• 50:33
  Speaker 3: era time capsule in that way where it's like the
• 50:36
  Speaker 3: systemic issues that affect a city, and a very specific
• 50:41
  Speaker 3: city Chicago in the eighties is presented as like this
• 50:44
  Speaker 3: is just how it is, and ultimately, like the movie
• 50:48
  Speaker 3: is presented as like it's so cool that these like
• 50:52
  Speaker 3: young white teenagers survived this experience. I don't know, I
• 50:57
  Speaker 3: don't know what to make of it. I was like
• 51:00
  Speaker 3: a hard time with this movie.
• 51:02
  Speaker 5: Yeah, well now I feel bad for liking it. No no, no, no,
• 51:06
  Speaker 5: no, no no no no.
• 51:10
  Speaker 2: We always say you can like whatever you like. We
• 51:13
  Speaker 2: just encourage people to think about the media they consume critically.
• 51:18
  Speaker 2: But I mean, again, like back to the Future to one,
• 51:21
  Speaker 2: all of them totally I have the same a similar
• 51:26
  Speaker 2: slew of problems, and you know, they're still my favorites.
• 51:29
  Speaker 2: But also I kept saying, Joe Gibbs, it's Joe gipp
• 51:33
  Speaker 2: is the character's name, so my bad.
• 51:35
  Speaker 3: Yeah. Played by Calvin Levels, who was I think mainly
• 51:40
  Speaker 3: a Broadway actor prior to this, he was a Tony
• 51:45
  Speaker 3: nominated actor. So there you go, there you go.
• 51:49
  Speaker 2: Yeah, And then the kind of subplot with Brenda being
• 51:53
  Speaker 2: stuck at the bus station and it feels like most
• 51:58
  Speaker 2: of the characters that she and hunters there and this
• 52:01
  Speaker 2: is relevant to so much of the work that you
• 52:04
  Speaker 2: have done, maybe as far as like it seems like
• 52:06
  Speaker 2: they're all implied to.
• 52:08
  Speaker 4: Be unhoused totally, yeah.
• 52:10
  Speaker 2: And therefore like they're crazy and like all of those tropes.
• 52:17
  Speaker 3: Right, or they're like fie. I was like, oh, maybe
• 52:20
  Speaker 3: you can really speak to yeah, like just the way
• 52:22
  Speaker 3: that unhouse people are presented totally.
• 52:25
  Speaker 2: Uh.
• 52:25
  Speaker 4: I definitely was thinking about that as I was rewatching it,
• 52:29
  Speaker 4: and just the tropes of the characters, they're very they're caricatures,
• 52:34
  Speaker 4: and I think, you know, watching it as a little kid,
• 52:37
  Speaker 4: I thought, you know, some of it was funny, but
• 52:39
  Speaker 4: I think absolutely from that perspective of how you described
• 52:42
  Speaker 4: it earlier, Jamie, as a you know, a white kid
• 52:46
  Speaker 4: that grew up in the suburbs of Chicago. I feel
• 52:49
  Speaker 4: as if I viewed it through that lens, sure, and
• 52:53
  Speaker 4: not really knowing what. You know, I didn't have many
• 52:55
  Speaker 4: interactions with people experiencing homelessness when I was probably until
• 52:59
  Speaker 4: I was, you know, a late teenager, and you know,
• 53:03
  Speaker 4: watching it now, you can definitely see that these are
• 53:05
  Speaker 4: just caricatures of human beings. And you know, working in
• 53:09
  Speaker 4: a field with people experiencing homelessness, you realize these are
• 53:13
  Speaker 4: human beings, and you can just make these assumptions about
• 53:16
  Speaker 4: what people are like simply by knowing their housing status.
• 53:21
  Speaker 4: But yeah, the characters at the bus station, definitely, we're
• 53:24
  Speaker 4: all implied to be either unhoused, dangerous, or both.
• 53:29
  Speaker 3: Yeah, that's just how unhouse people lifeel like are presented
• 53:32
  Speaker 3: to us from the time that we're very, very young.
• 53:35
  Speaker 3: I'm trying to think of like the first I want
• 53:38
  Speaker 3: to say it was the movie Big Daddy for me,
• 53:40
  Speaker 3: which feels embarrassing, but just the way that is specifically
• 53:45
  Speaker 3: in like comedy, that unhouse people are presented as either
• 53:49
  Speaker 3: a part for an extra or a cameo to basically
• 53:53
  Speaker 3: just like mock the Endhouse. It's so normalized and still is.
• 53:58
  Speaker 3: I just saw what was the Key Palmer movie Kiki
• 54:01
  Speaker 3: Palmer and says that one of them days, Yeah, there's
• 54:03
  Speaker 3: a character like that in that movie, a movie I
• 54:06
  Speaker 3: otherwise liked that came out this year, like this year. Yeah,
• 54:11
  Speaker 3: this is still a very very common trope that is like,
• 54:16
  Speaker 3: you know, just deployed in comedy in this like lazy way.
• 54:21
  Speaker 3: And I feel like that's part of why it's like,
• 54:23
  Speaker 3: I paradoxically like this is a well made movie, Like
• 54:27
  Speaker 3: it's paced super well, the jokes are constant, the performances
• 54:31
  Speaker 3: are good, and it also just sort of like takes
• 54:34
  Speaker 3: you through this sort of like walking tour of white
• 54:38
  Speaker 3: suburban anxieties in nineteen eighty seven. Like there's so many
• 54:43
  Speaker 3: where I think about the they meet a seventeen year
• 54:47
  Speaker 3: old sex worker and a scene that felt like an
• 54:49
  Speaker 3: opportunity and then ended up not being used in that
• 54:54
  Speaker 3: way where you know, Anthony Rap's character because he's the
• 54:57
  Speaker 3: you know, like little eighties piece of shit kid is
• 55:01
  Speaker 3: talking to a sex worker and not realizing that she's
• 55:05
  Speaker 3: a sex worker, and Elizabeth Shoe comes over, they have
• 55:09
  Speaker 3: a brief conversation, they realize that they're the same age.
• 55:13
  Speaker 3: The sex worker, who does not get a name, I
• 55:15
  Speaker 3: don't think, says like I think Elizabeth Shoe asks like,
• 55:19
  Speaker 3: how did you like come to be doing this, and
• 55:21
  Speaker 3: then she's just like, oh, well, I ran away from home,
• 55:23
  Speaker 3: which is also like overly simplistic we don't know why,
• 55:26
  Speaker 3: like you know, but but she's just more positioned as
• 55:30
  Speaker 3: like a warning about what could happen to Brenda exactly
• 55:36
  Speaker 3: if they don't pick her up from the bus station
• 55:39
  Speaker 3: and then they just say bye and they don't.
• 55:43
  Speaker 1: Like.
• 55:43
  Speaker 3: As I was watching this, like it would have been
• 55:45
  Speaker 3: fun to start with just like even with like one kid,
• 55:49
  Speaker 3: instead of forcing this weird like two teenage nerds trying
• 55:55
  Speaker 3: to fuck the lead, which is every eighties movie of
• 55:57
  Speaker 3: all time. If you just started with the babysit and Sarah,
• 56:01
  Speaker 3: Chris and Sarah and then they sort of meet people
• 56:04
  Speaker 3: and they form a Wizard of Oz kind of coalition
• 56:07
  Speaker 3: as they go along versus these kind of like two
• 56:10
  Speaker 3: useless suburban teenage boys no offense. I almost feel like
• 56:15
  Speaker 3: like you could, you know, still be dated to an extent,
• 56:19
  Speaker 3: but like this movie had the opportunity to have kind
• 56:23
  Speaker 3: of the stereotypical protagonist in like kid comedies of this
• 56:28
  Speaker 3: time actually interact with people, you know. Yeah, but it's
• 56:33
  Speaker 3: sort of like they meet people and then they're like,
• 56:36
  Speaker 3: well bye, you know, like that's kind of what the
• 56:40
  Speaker 3: movie because it's so like episodic.
• 56:43
  Speaker 2: Yeah, And I mean, as we've talked about many times
• 56:48
  Speaker 2: on the podcast before, especially with comedies or movies with
• 56:52
  Speaker 2: a lot of comic relief for such a long time
• 56:57
  Speaker 2: and again sometimes still to this day, the comedy is
• 57:02
  Speaker 2: relying pretty solely on punching down type jokes, and this
• 57:10
  Speaker 2: movie certainly does that. It feels as though basically every
• 57:15
  Speaker 2: kind of like eighties trope or any like you know,
• 57:18
  Speaker 2: status quo upholding thing is done here where you know,
• 57:25
  Speaker 2: it's the stuff that we've already talked about. It's the
• 57:28
  Speaker 2: you know, adults hitting on or kissing teenagers is totally
• 57:35
  Speaker 2: fine according to this movie.
• 57:37
  Speaker 3: Well, it's like, particularly without getting too into it, but
• 57:40
  Speaker 3: like particularly that happening to a young Anthony rap which
• 57:43
  Speaker 3: becomes such a large part of his story that he
• 57:49
  Speaker 3: started speaking on when he was an adult, Like it
• 57:51
  Speaker 3: just feels especially like not that there's an appropriate way
• 57:56
  Speaker 3: for that to happen, but just because of Anthony Rap's
• 57:59
  Speaker 3: personal hiss, that felt especially like pointed, yeah, Jesus Christ,
• 58:03
  Speaker 3: like who was looking out for these kids?
• 58:05
  Speaker 2: Yeah, and then his character is written to be someone
• 58:09
  Speaker 2: who for example, after they've picked up Brenda and she's
• 58:12
  Speaker 2: sleeping in the car on the way home, he tries
• 58:15
  Speaker 2: to like peek under her shirt and at least Brad stops.
• 58:19
  Speaker 3: Him, which is presented as like, well, she should be
• 58:23
  Speaker 3: with him because he's not trying to assault her. I've
• 58:27
  Speaker 3: seen a lot of I don't know, it's because our
• 58:29
  Speaker 3: show's been on for since twenty sixteen, and a lot
• 58:34
  Speaker 3: of the kind of feminist arguments for movies around twenty
• 58:38
  Speaker 3: sixteen when we started the show, we're basically like, well,
• 58:45
  Speaker 3: if there is a female lead and she didn't get assaulted,
• 58:48
  Speaker 3: that's a feminist win. And yeah, yeah, and that was
• 58:55
  Speaker 3: a lot of that because I was interested in, like
• 58:56
  Speaker 3: what because it's like this movie has been through a
• 58:59
  Speaker 3: lot of, you know, rounds of discourse because it's been
• 59:03
  Speaker 3: around for a long time. And yeah, the last round
• 59:06
  Speaker 3: of discourse with this movie I think was in like
• 59:08
  Speaker 3: the late twenty tents where they're like this movie is
• 59:10
  Speaker 3: a feminist sleigh because she does not end up with
• 59:15
  Speaker 3: Brad question mark. Although I do think that that is
• 59:18
  Speaker 3: interesting for the time because the movie is telegraphing, and
• 59:23
  Speaker 3: I also feel like a lot of movies at this
• 59:24
  Speaker 3: time telegraph like the cool girl has to tate the
• 59:28
  Speaker 3: nerd because he just realized that she can think it's
• 59:33
  Speaker 3: a human. Yes, yes, and that doesn't happen here. But
• 59:38
  Speaker 3: then something else happens that I think is like annoying
• 59:41
  Speaker 3: in a totally different way.
• 59:43
  Speaker 2: Yeah, basically, we're to believe he's an adult man. He's
• 59:48
  Speaker 2: eighteen or nineteen, you know, legally an adult.
• 59:51
  Speaker 3: I'm not upset about like an age gap, but it's
• 59:53
  Speaker 3: just like, who is this guy? And he's also kind
• 59:56
  Speaker 3: of following her to her house? That was the issue
• 59:59
  Speaker 3: that I had. I was like, because I don't know,
• 1:00:01
  Speaker 3: when I was sixteen, I dated a nineteen year old,
• 1:00:05
  Speaker 3: and you know, I think that that dynamic can differ.
• 1:00:08
  Speaker 3: But like it's someone within two years of her age range,
• 1:00:11
  Speaker 3: I'm not super upset. I mean, also, Brad is within
• 1:00:14
  Speaker 3: two years of her age range on the other side,
• 1:00:17
  Speaker 3: but this guy followed her home. That's what I'm more
• 1:00:21
  Speaker 3: concerned about. Because it's like, what if she wasn't into
• 1:00:25
  Speaker 3: him and then he simply followed her home.
• 1:00:28
  Speaker 2: Yeah, it's there's definitely some stalking happening. There is the
• 1:00:32
  Speaker 2: movie ending with this, like I think very wedged in
• 1:00:38
  Speaker 2: hetero kiss because like, that's not what the movie is about.
• 1:00:41
  Speaker 2: The movie's about. I mean, I guess it does open
• 1:00:43
  Speaker 2: with she gets ditched by her boyfriend. So if the
• 1:00:48
  Speaker 2: arc is like, oh, well, who's gonna kiss her now
• 1:00:51
  Speaker 2: that her boyfriend ditched her? Oh, she meets this other guy,
• 1:00:55
  Speaker 2: but the core of the movie is about her as
• 1:00:57
  Speaker 2: a babysitter and the adventures they get in. I don't know,
• 1:01:00
  Speaker 2: I just felt a little unnecessary.
• 1:01:01
  Speaker 5: And then he kissed me, and then.
• 1:01:03
  Speaker 3: He kissed me, and then he kissed her, and then
• 1:01:06
  Speaker 3: you're like, but wait, who kissed her?
• 1:01:09
  Speaker 2: Who's this guy? Just a couple other things, you know, again,
• 1:01:14
  Speaker 2: tropes that are adhered to that are extremely reductive. There's
• 1:01:18
  Speaker 2: that doctor in the hospital who speaks English with a
• 1:01:23
  Speaker 2: not American accent, and he is characterized as being goofy
• 1:01:28
  Speaker 2: and cartoonish and not smart or good at his doctor job.
• 1:01:33
  Speaker 2: You have that scene where Chris sees her boyfriend with
• 1:01:37
  Speaker 2: another girl, and Chris's first instinct is to insult the
• 1:01:42
  Speaker 2: other girl and slut shame her rather than like be
• 1:01:46
  Speaker 2: pissed at her boyfriend, which she is in the next moment,
• 1:01:49
  Speaker 2: but like her first thing is like, I mean.
• 1:01:51
  Speaker 3: It's very nineteen eighty seven.
• 1:01:53
  Speaker 2: Yeah, yeah, yeah, for sure, So you know a bunch
• 1:01:56
  Speaker 2: of things like that. Maybe I'm sorry, I feel badly
• 1:01:59
  Speaker 2: we're just.
• 1:01:59
  Speaker 3: Like, no, no, it's piling on totally.
• 1:02:02
  Speaker 5: It's I mean, I recognize that.
• 1:02:04
  Speaker 4: I mean, you know, that's it not as an excuse,
• 1:02:07
  Speaker 4: but it's just very of that time, where.
• 1:02:10
  Speaker 3: Like, definitely, yeah, I would be.
• 1:02:13
  Speaker 4: You know, a little shocked to find, you know, some
• 1:02:16
  Speaker 4: movies where we don't see those kinds of tropes, and.
• 1:02:20
  Speaker 5: But yeah, there is a lot to unpack about a lot.
• 1:02:23
  Speaker 4: Of the characters and scenes, and yeah, at the expense
• 1:02:27
  Speaker 4: of marginalized communities.
• 1:02:31
  Speaker 2: I did note a couple exceptions to the you know,
• 1:02:34
  Speaker 2: pretty tropy nature of the writing, which is that, I mean,
• 1:02:39
  Speaker 2: I guess aside from like, the protagonist of a movie
• 1:02:42
  Speaker 2: from the nineteen eighties is a go go ga girl,
• 1:02:46
  Speaker 2: but then there's also the little girl Sarah. She is
• 1:02:50
  Speaker 2: obsessed with thor slash like superhero stuff like rather than
• 1:02:56
  Speaker 2: something traditionally hyper feminine, and you know, superhero and comic
• 1:03:02
  Speaker 2: books and all that kind of stuff is like it
• 1:03:04
  Speaker 2: has been pigeonholed into a quote unquote masculine interest.
• 1:03:08
  Speaker 3: I love Sarah. She's so chaos. I love her. I
• 1:03:12
  Speaker 3: love that she's like a little bit evil in a
• 1:03:15
  Speaker 3: fun way. She's always laughing when they're getting into car crashes.
• 1:03:20
  Speaker 4: Yeah, and then even you know, like at the restaurants
• 1:03:24
  Speaker 4: when she's like being all sneaky and sneaking the pastries
• 1:03:28
  Speaker 4: off the pastry cart, and then she just decides, you
• 1:03:31
  Speaker 4: know what, I'm leaving.
• 1:03:32
  Speaker 5: I'm going to the toy store.
• 1:03:35
  Speaker 3: Yeah, this is none of my business.
• 1:03:37
  Speaker 5: And that this is how the whole building moment happens.
• 1:03:41
  Speaker 3: Right. Yeah. I really appreciated her character. I feel like
• 1:03:45
  Speaker 3: this is like precocious young kid done right, because she
• 1:03:49
  Speaker 3: still feels like a kid, right, Like she still wants
• 1:03:53
  Speaker 3: ice cream and toys and has very like kid like interest.
• 1:03:57
  Speaker 3: But she's also like, I don't know, like moment at
• 1:04:01
  Speaker 3: the beginning where she I guess that I am pro Disney.
• 1:04:05
  Speaker 2: Edit, but yeah, in this case, yes.
• 1:04:08
  Speaker 3: That edit at the beginning, sure, I'm pro that, but
• 1:04:12
  Speaker 3: that she basically tricks her older brother into admitting that
• 1:04:16
  Speaker 3: he has a crush on Chris, and like, it's just
• 1:04:20
  Speaker 3: it's like it's younger sibling, devious, done well, and I
• 1:04:25
  Speaker 3: really like her and I like Chris too. I think
• 1:04:28
  Speaker 3: that there were opportunities for Chris that weren't really taken
• 1:04:33
  Speaker 3: in again in a way that is very of the time,
• 1:04:36
  Speaker 3: right where the moment I was like, I think just
• 1:04:40
  Speaker 3: Bachtel cast frustrated by was There's a moment towards the
• 1:04:45
  Speaker 3: beginning of the movie when Chris has just come over
• 1:04:49
  Speaker 3: and Sarah asks her, what are you going to major
• 1:04:52
  Speaker 3: it in college? Oh?
• 1:04:54
  Speaker 2: Yeah?
• 1:04:54
  Speaker 3: And she just goes like, what, I'm not going to college. Well,
• 1:04:58
  Speaker 3: I don't even know if that's the implication. I like,
• 1:05:00
  Speaker 3: it's like unclear she even heard it. And then Chris's
• 1:05:05
  Speaker 3: life outside of babysitting and having crushes is never brought
• 1:05:10
  Speaker 3: up again, which is like, you know, if you're seventeen,
• 1:05:14
  Speaker 3: obviously your life is small in ways that are to
• 1:05:18
  Speaker 3: be expected, right, But it was just like and I
• 1:05:21
  Speaker 3: wouldn't advocate for like a change that would be like
• 1:05:24
  Speaker 3: an over correction, Like here's a question, Kila, did they
• 1:05:27
  Speaker 3: add a weird woman in stem ambition for the Sabrina
• 1:05:30
  Speaker 3: Carbonder character. Was she like, I really want to be
• 1:05:33
  Speaker 3: a chemist.
• 1:05:34
  Speaker 2: Not women and so, but she she wants to be
• 1:05:37
  Speaker 2: a photographer or an artist. She's like vying for an
• 1:05:41
  Speaker 2: art or photography internship or something like that.
• 1:05:44
  Speaker 3: Okay, I appreciate that. Does it ever come into the plot?
• 1:05:48
  Speaker 3: Probably not, But I just thought it was funny that
• 1:05:50
  Speaker 3: in the eighty seven version, she's like what and then
• 1:05:53
  Speaker 3: it never comes up again, like an external life for her.
• 1:05:57
  Speaker 2: That scene is is Sarah being like, Yo, what are
• 1:06:00
  Speaker 2: you going to major in or something? And Chris responds
• 1:06:03
  Speaker 2: by saying, I'm not going to college. She's like college. Oh,
• 1:06:08
  Speaker 2: and it's kind of like, I mean, it was more
• 1:06:10
  Speaker 2: affordable in the eighties, so if you were going to
• 1:06:12
  Speaker 2: go to college, that was the time to do it.
• 1:06:14
  Speaker 3: But well it seems like, I mean, given their socioeconomic like,
• 1:06:18
  Speaker 3: she probably could. I don't know, I don't know. Yeah, sorry,
• 1:06:20
  Speaker 3: maybe we cut you off.
• 1:06:21
  Speaker 5: No, No, I was just gonna say.
• 1:06:23
  Speaker 4: I mean Sarah was digging through her purse, which also
• 1:06:25
  Speaker 4: sort of lends to that you know, sort of tvous
• 1:06:27
  Speaker 4: little character, little sister character you were talking about, and
• 1:06:32
  Speaker 4: she directly asks Chris. She goes, are you going to
• 1:06:35
  Speaker 4: go to college? And Chris is like what, no, thanks mom,
• 1:06:39
  Speaker 4: and like obviously like her mom is trying to convince
• 1:06:42
  Speaker 4: her to go to college and she's.
• 1:06:43
  Speaker 5: Just not having it.
• 1:06:46
  Speaker 4: And I think it's because she's so preoccupied with so cool,
• 1:06:50
  Speaker 4: mister so Cool.
• 1:06:52
  Speaker 2: But to the Sarah being a little stinker and like
• 1:06:55
  Speaker 2: ragging on her older brother about the little crush that
• 1:06:58
  Speaker 2: he has. I think another subversion is that a teen
• 1:07:03
  Speaker 2: boy is characterized almost entirely by his crush on a girl,
• 1:07:08
  Speaker 2: where normally you would see a male character be way
• 1:07:11
  Speaker 2: more fleshed out, and that then a teen girl be
• 1:07:14
  Speaker 2: solely defined by her crush on a boy. But that
• 1:07:19
  Speaker 2: feels like there's a little bit of a flip there.
• 1:07:22
  Speaker 3: That's true. I guess that there is like some equity
• 1:07:24
  Speaker 3: there where it's like Chris has more dimension than most
• 1:07:28
  Speaker 3: of the kids because she also has a friend named
• 1:07:32
  Speaker 3: Brenda who's at the bus station. And then the two
• 1:07:37
  Speaker 3: teenage boys are horny Horny Horney and Sarah lex Thor
• 1:07:42
  Speaker 3: And that is really what we have. And I don't
• 1:07:45
  Speaker 3: I'm not complaining about it. I do like a like
• 1:07:47
  Speaker 3: low concept like these are the characters. This is what
• 1:07:50
  Speaker 3: we've got.
• 1:07:51
  Speaker 2: Mm hmm.
• 1:07:52
  Speaker 3: Yeah, I guess it's just like the whole idea that, like,
• 1:07:55
  Speaker 3: I feel like with some very slight additions to Chris's character,
• 1:08:01
  Speaker 3: even I don't know watching it through this time, like
• 1:08:03
  Speaker 3: maybe you were saying, like the promise of like the
• 1:08:07
  Speaker 3: and then he kissed me at the very beginning is
• 1:08:10
  Speaker 3: fulfilled by the end. But that's like not really her
• 1:08:14
  Speaker 3: central goal the whole time, and so I wish that
• 1:08:17
  Speaker 3: there was like just a slightly different ending. I'm not
• 1:08:19
  Speaker 3: upset that she ends up with a boyfriend. It seems
• 1:08:21
  Speaker 3: like that's something that she wants, is like someone who
• 1:08:25
  Speaker 3: is thoughtful and treats her well, which this movie interprets
• 1:08:28
  Speaker 3: as following you to your house, who is nineteen eighty seven.
• 1:08:34
  Speaker 3: But I don't know, Yeah, how did everyone feel about
• 1:08:36
  Speaker 3: the ending? I mean, it's obviously very dated.
• 1:08:39
  Speaker 5: I mean it's interesting.
• 1:08:40
  Speaker 4: It's kind of like you know, in the last like
• 1:08:43
  Speaker 4: fifteen minutes they like wrap up everything, I mean, from
• 1:08:47
  Speaker 4: getting the car back to racing home, to cleaning up
• 1:08:51
  Speaker 4: to pretending like nothing happened who end of the evening?
• 1:08:54
  Speaker 5: Uh, and then he kissed me.
• 1:08:56
  Speaker 4: So it feels like not necessarily, Like it feels like
• 1:09:00
  Speaker 4: the finale is not just the kiss, but like sort
• 1:09:03
  Speaker 4: of the scene where they're like, Okay, we're getting out
• 1:09:06
  Speaker 4: of the city, We're going back to the suburbs, like
• 1:09:09
  Speaker 4: that's the beginning of the finale, and then like the
• 1:09:11
  Speaker 4: kiss at the end is just sort of like what
• 1:09:14
  Speaker 4: they probably thought was like the cherry on top, right.
• 1:09:18
  Speaker 2: Yeah, No, I totally agree the twenty sixteen decom reboot for.
• 1:09:23
  Speaker 3: A Sabrina as a Sabrina fan. She had to go
• 1:09:26
  Speaker 3: through so much to get to Shortened Sweet.
• 1:09:30
  Speaker 2: She really did. But I don't think like the final
• 1:09:33
  Speaker 2: frame of the movie are like teens kissing each other.
• 1:09:38
  Speaker 2: But there are various hetero love interests sprinkled throughout the
• 1:09:44
  Speaker 2: movie where Sabrina Carpenter's character has a crush on a
• 1:09:49
  Speaker 2: boy and there's a misunderstanding where oh no, someone told
• 1:09:51
  Speaker 2: him that she wasn't interested, but she is interested in
• 1:09:54
  Speaker 2: that you know, culminates and she like lets him know
• 1:09:57
  Speaker 2: that she does like him after all, and that's nice.
• 1:10:00
  Speaker 2: The other babysitter, because there are two babysitters in this one, and.
• 1:10:05
  Speaker 3: There's two babysitters, two.
• 1:10:07
  Speaker 2: Babysitters, two families two sets of kids, oh too much.
• 1:10:11
  Speaker 2: One of the younger girls likes one of the younger
• 1:10:16
  Speaker 2: boys from the other family, so there's another hetero love
• 1:10:20
  Speaker 2: interest in that one.
• 1:10:21
  Speaker 3: And then they just like double down. They're like more more,
• 1:10:24
  Speaker 3: more teenage couples.
• 1:10:26
  Speaker 2: So the other babysitter, and again I'm probably supposed to
• 1:10:30
  Speaker 2: know who that is. I don't have the tab open.
• 1:10:32
  Speaker 2: I don't know who plays her, but it's the other babysitter.
• 1:10:36
  Speaker 2: She is given a love interest who is a cop.
• 1:10:41
  Speaker 2: So it's, uh, you know, it's bad. And I think
• 1:10:45
  Speaker 2: that's all I really had to say about the reboot,
• 1:10:48
  Speaker 2: except that the nineteen eighty seven movie, like you said, Jamie, like,
• 1:10:52
  Speaker 2: it's well made, it's a good script.
• 1:10:54
  Speaker 3: I think it's like directed well too. Like it's I
• 1:10:58
  Speaker 3: get why people really like it totally.
• 1:11:01
  Speaker 2: Yeah, it's a fun romp. It's easy to follow. Yeah,
• 1:11:04
  Speaker 2: we're having fun. The Dcon reboot is so convoluted it
• 1:11:09
  Speaker 2: is nonsensical. It loses the thread almost immediately. I somehow
• 1:11:14
  Speaker 2: could not follow along. I was like, what is happening?
• 1:11:18
  Speaker 3: I'm sure that the budget was like twelve dollars and
• 1:11:22
  Speaker 3: I recently read I've actually to get ready for our
• 1:11:25
  Speaker 3: upcoming Camp Rock episode. I just read a book about
• 1:11:29
  Speaker 3: the history of dcons that came out I think last
• 1:11:32
  Speaker 3: year called Disney High that said that The Adventures in
• 1:11:36
  Speaker 3: Babysitting reboot was in the works at Distey for so
• 1:11:39
  Speaker 3: long that I think by the time it actually came out,
• 1:11:42
  Speaker 3: they very much just kind of sharded it out because
• 1:11:45
  Speaker 3: it was originally supposed to start Raven Simone in like
• 1:11:49
  Speaker 3: two thousand and seven or something, and then like it
• 1:11:52
  Speaker 3: just kept not happening, and then poor Sabrina Carpenter, her
• 1:11:56
  Speaker 3: number came up and she had to be in. Yeah,
• 1:11:59
  Speaker 3: whatever of shit you had to watch, But this movie
• 1:12:03
  Speaker 3: isn't a piece of shit, and I actually do. I mean,
• 1:12:05
  Speaker 3: it's like Chris Columbus. I am constantly frustrated and impressed
• 1:12:10
  Speaker 3: by him because he directed this when he was like
• 1:12:12
  Speaker 3: twenty eight, he'd already written Gremlins. He would go on
• 1:12:17
  Speaker 3: to I mean, yeah, like a couple of years after
• 1:12:19
  Speaker 3: he directs Home Alone. Like obviously he went on to
• 1:12:22
  Speaker 3: have a ridiculous career, But it's interesting to seeing kind
• 1:12:27
  Speaker 3: of how much of what his kind of thumbprint in,
• 1:12:32
  Speaker 3: Like American family movies are kind of right from the
• 1:12:35
  Speaker 3: jump with even before this, with Gremblins of like, you
• 1:12:39
  Speaker 3: have this quote unquote like allegedly idyllic suburban life, and
• 1:12:43
  Speaker 3: then there is this sort of outside factor. I mean,
• 1:12:46
  Speaker 3: you could even attribute this to his Harry Potter movies
• 1:12:50
  Speaker 3: of like this idyllic suburban life that with complicated families
• 1:12:54
  Speaker 3: inside being disrupted in some way by an other force.
• 1:12:59
  Speaker 3: You're a wizard, Harry, whether it's a gremlin or wizards
• 1:13:04
  Speaker 3: or Robin Williams in Drag and Missus Doubtfire, Like there's
• 1:13:09
  Speaker 3: so many outside like that is just his playbook, and
• 1:13:13
  Speaker 3: I guess that never like fully came together for me
• 1:13:16
  Speaker 3: until Sitting With like his first the first movie he directed.
• 1:13:20
  Speaker 2: But this is very much a through line babysitting with it.
• 1:13:24
  Speaker 3: I babysat with it. Yeah wow? Yeah did we all?
• 1:13:29
  Speaker 3: Do we all babysit at different points? Any babysitting stories
• 1:13:32
  Speaker 3: to swap?
• 1:13:34
  Speaker 5: No, I didn't really babysit.
• 1:13:36
  Speaker 4: I mean, I've watched my little brother sometimes, but I
• 1:13:39
  Speaker 4: don't know if I it didn't feel like babysiting. I
• 1:13:42
  Speaker 4: never babysat for non family members.
• 1:13:46
  Speaker 2: Okay, yeah, neither did I I didn't want to be
• 1:13:50
  Speaker 2: around children.
• 1:13:51
  Speaker 3: Okay, Well, never mind, No, but tell yours. No, I
• 1:13:55
  Speaker 3: don't have any. I babysat a lot because I had
• 1:13:59
  Speaker 3: a huge fan and that's what they do. They exploit
• 1:14:02
  Speaker 3: your labor. But you get to know your cousins really well,
• 1:14:05
  Speaker 3: and so that's the upside of it.
• 1:14:07
  Speaker 2: True.
• 1:14:08
  Speaker 3: Yeah, I wiped all my cousins butts. Whoa fun I've Wow,
• 1:14:13
  Speaker 3: have you ever wiped the baby's butt?
• 1:14:15
  Speaker 2: I never have and I never will.
• 1:14:17
  Speaker 5: No.
• 1:14:18
  Speaker 3: Sorry, everyone, I'm really good at it. I learned this
• 1:14:21
  Speaker 3: when I was quite young.
• 1:14:24
  Speaker 2: I love that for you.
• 1:14:25
  Speaker 3: That was I think that was Honestly, this is a
• 1:14:27
  Speaker 3: separate this is a side tanded, but I think that's
• 1:14:29
  Speaker 3: part of why I One of the many reasons I
• 1:14:32
  Speaker 3: connected to American Girl books was they were always having
• 1:14:36
  Speaker 3: a wipe baby butts and I was like, Wow, she's
• 1:14:40
  Speaker 3: so me. She wiped a butt today, I'm just like kirstone.
• 1:14:45
  Speaker 2: Wow, visibility of wiping baby butts? Yeah, does anyone have
• 1:14:50
  Speaker 2: anything else they'd like to talk about?
• 1:14:52
  Speaker 3: No? I mean this is this is like a tricky
• 1:14:55
  Speaker 3: movie in a fun way where it Yeah, like I
• 1:14:58
  Speaker 3: I like it. It's a fun movie to watch. It's
• 1:15:02
  Speaker 3: well made, it's funny, and there's all this nineteen eighty
• 1:15:06
  Speaker 3: seven stuff going on inside.
• 1:15:08
  Speaker 4: Of it, you know, the only thing that I wanted
• 1:15:11
  Speaker 4: to mention. I know, we talked a little bit about
• 1:15:14
  Speaker 4: some of the vocal dialogue that was altered in the
• 1:15:18
  Speaker 4: Disney edits, and I got to say, I, as a homo,
• 1:15:23
  Speaker 4: I never felt offended by that joke.
• 1:15:27
  Speaker 5: That line.
• 1:15:28
  Speaker 4: I actually like, I don't know, I thought it was funny. Yeah,
• 1:15:30
  Speaker 4: it definitely is rooted in homophobia. But I also feel
• 1:15:35
  Speaker 4: like I take issue with pretending that that never existed,
• 1:15:39
  Speaker 4: that that never that that line was never there. It
• 1:15:41
  Speaker 4: sort of feels like it's glossing over, you know, the
• 1:15:46
  Speaker 4: prevalence of homophobic throwaway comments, you know, from the eighties
• 1:15:51
  Speaker 4: that went until like the two thousands, I mean still today,
• 1:15:55
  Speaker 4: So it kind of I don't know, for that reason,
• 1:15:57
  Speaker 4: I wish it was still there.
• 1:15:58
  Speaker 2: Yeah, Yeah, I see your point. And it's interesting that
• 1:16:02
  Speaker 2: the like what this movie shows to censor and edit
• 1:16:08
  Speaker 2: and not because it's like I understand maybe the feeling
• 1:16:14
  Speaker 2: inclined to want to censor homophobic remarks, but like you're saying,
• 1:16:19
  Speaker 2: that ends up just sort of like erases the fact
• 1:16:23
  Speaker 2: that there was rampant homophobia during this time that was
• 1:16:27
  Speaker 2: so normalized, and like we need to contend with that
• 1:16:32
  Speaker 2: because it it has lasted and informs homophobia today, so
• 1:16:36
  Speaker 2: to pretend like it never existed is weird. But then
• 1:16:40
  Speaker 2: there's all these you know, there's these moments that are
• 1:16:42
  Speaker 2: shaming of sex workers and that are implying that all
• 1:16:47
  Speaker 2: the people of color in the movie are in a gang,
• 1:16:50
  Speaker 2: or they are unfriendly, or they're car thieves or uneducated.
• 1:16:56
  Speaker 5: Yep, they're in a.
• 1:16:57
  Speaker 2: Blues club and absolutely love these white teens sing a
• 1:17:02
  Speaker 2: shitty song.
• 1:17:03
  Speaker 3: And that's what makes us like them is that they
• 1:17:07
  Speaker 3: like Elizabeth Shoe improvising. I also feel that we have
• 1:17:11
  Speaker 3: a Joe GiB where like Joe is a lovable character
• 1:17:17
  Speaker 3: from the.
• 1:17:17
  Speaker 5: Moment we meet him, Yeah, from the beginning.
• 1:17:20
  Speaker 3: Like he is a very very sweet person. I wish
• 1:17:23
  Speaker 3: that we got to know him better because at the end,
• 1:17:25
  Speaker 3: at least in the cut that's on Disney Plus, he
• 1:17:28
  Speaker 3: is I think the kindest that we see a man
• 1:17:32
  Speaker 3: really be to Chris in the entire movie, where she
• 1:17:36
  Speaker 3: is once again like compared to this playboy model and
• 1:17:41
  Speaker 3: he's just like I forget what the exact wording was,
• 1:17:44
  Speaker 3: but it was like, oh, you're you're even better. She's
• 1:17:47
  Speaker 3: got nothing on you, right, like and he he says
• 1:17:50
  Speaker 3: it in a way that doesn't like aggressively sexualize her
• 1:17:53
  Speaker 3: in the way that everyone else who has made this
• 1:17:55
  Speaker 3: comparison has totally. But it also feels like the movie
• 1:18:00
  Speaker 3: in a way that like I can't really articulate, but
• 1:18:04
  Speaker 3: like he's never seen as a viable interest for her,
• 1:18:09
  Speaker 3: and that feels very pointed in this like aggressively white
• 1:18:14
  Speaker 3: suburban movie, because I think if he were not a
• 1:18:17
  Speaker 3: black actor, he would of course be that's the guy
• 1:18:21
  Speaker 3: that you would go with as the person who is
• 1:18:23
  Speaker 3: sweet with you, if we absolutely need this teenage girl
• 1:18:28
  Speaker 3: to end up with a guy at the end of
• 1:18:30
  Speaker 3: the movie, adding that moment felt very interesting because in
• 1:18:36
  Speaker 3: ten minutes she ends up with this college guy who
• 1:18:38
  Speaker 3: is also nice to her. But like, Joe is like
• 1:18:41
  Speaker 3: so present in the story, but I feel like there's
• 1:18:44
  Speaker 3: almost this like and this is me galaxy braining it
• 1:18:47
  Speaker 3: so feel free to be like shut up, but like
• 1:18:51
  Speaker 3: it just feels like there's this implication that they really
• 1:18:53
  Speaker 3: the one place that the kids go that isn't presented
• 1:18:57
  Speaker 3: as like actively horrifically dangerous is a mostly white frat party, which.
• 1:19:04
  Speaker 2: Is hilarious because those can be incredibly hostile and dangerous places.
• 1:19:09
  Speaker 3: It's maybe one of the most dangerous places a teenage
• 1:19:12
  Speaker 3: girl could be. But it's presented as almost like I
• 1:19:16
  Speaker 3: don't even know if he has a name, but the
• 1:19:18
  Speaker 3: guy she kisses at the end, Dan, it's almost implied that,
• 1:19:22
  Speaker 3: like he's passing through the city, you know, like he'll
• 1:19:25
  Speaker 3: be back to the suburbs. He's quote unquote safe for her, whereas.
• 1:19:29
  Speaker 2: Yeah, he's a yuppie, like fucking boat shoes wearing.
• 1:19:32
  Speaker 5: Yeah, attending the University.
• 1:19:34
  Speaker 3: Of shut right where it's like where Joe is presented
• 1:19:38
  Speaker 3: as not a viable of interest in spite of being equally,
• 1:19:42
  Speaker 3: if not more, kind to her. Yeah, it just feels
• 1:19:47
  Speaker 3: very of the moment and kind of quietly racist in
• 1:19:51
  Speaker 3: the way that he's not presented as viable because based
• 1:19:55
  Speaker 3: on everything that happens and this movie's insistence on her
• 1:19:59
  Speaker 3: having a love interest, he should be in the running,
• 1:20:02
  Speaker 3: Like why wouldn't he be.
• 1:20:03
  Speaker 2: Totally Yeah, So it's all the things like that that
• 1:20:10
  Speaker 2: make this movie.
• 1:20:11
  Speaker 3: Glaringly Reagan was president also not for nothing. Brenda, played
• 1:20:18
  Speaker 3: by Penelope Anne Miller, went on to play Nancy Reagan
• 1:20:24
  Speaker 3: opposite Dennis quaidas Reagan last year. Whoa so, because I
• 1:20:29
  Speaker 3: was like, this is like one of the most like
• 1:20:31
  Speaker 3: Reagan coded family comedies I've seen. And then I was like,
• 1:20:35
  Speaker 3: and she literally played Nancy Reagan.
• 1:20:38
  Speaker 2: There you go the quaids. What a family anyway?
• 1:20:44
  Speaker 3: What a web they weave? She's also she was also
• 1:20:46
  Speaker 3: in she her I don't know, but her her filmography
• 1:20:51
  Speaker 3: is very Republican coded. She also was in Rudy, The
• 1:20:56
  Speaker 3: Rudy Giuliani Story, which was a TV movie. Oh yeah,
• 1:21:00
  Speaker 3: I don't know.
• 1:21:02
  Speaker 2: I'm also saying she was in Kindergarten Cop and Carlito's Way.
• 1:21:06
  Speaker 3: Which are just I guess facts about her.
• 1:21:09
  Speaker 2: Yeah, nothing nothing to see here.
• 1:21:11
  Speaker 3: Not quite as republican cudit. Yeah.
• 1:21:15
  Speaker 2: Anyway, Okay, does the movie pass the Bechdel test technically?
• 1:21:21
  Speaker 3: Yes? It does.
• 1:21:21
  Speaker 2: Yeah, I mean Chris talks to Brenda about Brenda's mom,
• 1:21:26
  Speaker 2: you know, Chris and missus Anderson talk about Sarah. Chris
• 1:21:30
  Speaker 2: and Sarah talk about roller skates and ice cream. So,
• 1:21:35
  Speaker 2: you know, quite a bit of passing the Bechdel test.
• 1:21:38
  Speaker 4: You know, I have a slight argument in there. I
• 1:21:42
  Speaker 4: mean I've heard you know, the Bechdel test being a
• 1:21:46
  Speaker 4: conversation between two women, and technically Brenda and Chris are
• 1:21:52
  Speaker 4: our teenagers. They're seventeen, you know, they're not full adult
• 1:21:56
  Speaker 4: women yet, and so if you take that out, I
• 1:21:59
  Speaker 4: don't know if they if it passes. I mean, I
• 1:22:02
  Speaker 4: don't think there's any you know, mature adult women who
• 1:22:05
  Speaker 4: have a conversation between each other. But we definitely see,
• 1:22:08
  Speaker 4: you know, lots of men having conversations, like the bad
• 1:22:11
  Speaker 4: guys who.
• 1:22:12
  Speaker 5: Run the car operations.
• 1:22:15
  Speaker 4: So that's sort of my only arguments where I'm like,
• 1:22:18
  Speaker 4: I it feels like it does, but I don't know.
• 1:22:21
  Speaker 5: It's a little between pass and fail for me.
• 1:22:25
  Speaker 3: I feel like spiritually, for me, it definitely doesn't because
• 1:22:28
  Speaker 3: it's such a bummer, especially because we're set up with
• 1:22:32
  Speaker 3: what you would help. Because I also, like, didn't really
• 1:22:34
  Speaker 3: remember the details of this movie. We really Oh, we're
• 1:22:37
  Speaker 3: starting with these like two teenage friends, and you want
• 1:22:41
  Speaker 3: their friendship to be a more driving force in the movie,
• 1:22:44
  Speaker 3: but it just isn't, which sucks because they're opening I
• 1:22:48
  Speaker 3: thought their opening exchange was really funny where Brenda was
• 1:22:52
  Speaker 3: not afraid to be like, yeah, Bradley Whitford's a liar,
• 1:22:56
  Speaker 3: Like I was hoping for more of that dynamic, but
• 1:23:00
  Speaker 3: then she just gets stranded at the bus station and
• 1:23:03
  Speaker 3: she's just like a plot factor versus a character for
• 1:23:07
  Speaker 3: the most part.
• 1:23:08
  Speaker 2: Yeah, she's also like, I'm gonna spike my mom's soda
• 1:23:12
  Speaker 2: with draino. I'm gonna murder my mom. Is Brenda's vibe.
• 1:23:19
  Speaker 3: So she's hard, she's hard, She's so hard.
• 1:23:24
  Speaker 2: Yeah, until she goes into the city and then she's
• 1:23:28
  Speaker 2: the softest motherfucker scene.
• 1:23:31
  Speaker 3: You know.
• 1:23:31
  Speaker 5: I guess that explains though, why she ran away. You know.
• 1:23:35
  Speaker 4: Yeah, that's why she ended up at the bus stop.
• 1:23:37
  Speaker 4: That's why the whole adventure ended up happening. So you know,
• 1:23:40
  Speaker 4: it almost required Brenda having a poor relationship with her mother.
• 1:23:44
  Speaker 3: Yeah, it's true anyway.
• 1:23:45
  Speaker 2: As far as rating the movie on the Bechdel Cast
• 1:23:49
  Speaker 2: Nipple scale, where we rate zero to five nipples based
• 1:23:53
  Speaker 2: on examining the movie through an intersectional feminist lens, I
• 1:23:59
  Speaker 2: would say that this movie.
• 1:24:02
  Speaker 3: M.
• 1:24:04
  Speaker 2: I think like one nipple. It's not it's not doing great.
• 1:24:09
  Speaker 2: It is again adhering to many many tropes that punch
• 1:24:14
  Speaker 2: down to marginalize people and communities. It is just making
• 1:24:19
  Speaker 2: the easy choice almost every single time, the tropy reductive
• 1:24:23
  Speaker 2: choice almost every single time, and not really subverting anything significant.
• 1:24:28
  Speaker 2: But it is fun. I like that. It is yeah,
• 1:24:31
  Speaker 2: like a wild little caper kind of thing, or you know,
• 1:24:35
  Speaker 2: just a wild story of a night of misadventures that
• 1:24:39
  Speaker 2: does center a woman. And yes it is a white
• 1:24:41
  Speaker 2: woman from the suburbs, and but you know she she
• 1:24:46
  Speaker 2: takes initiative, she has agency. She drives the narrative quite
• 1:24:52
  Speaker 2: a bit. So there's I don't know, there's something there
• 1:24:55
  Speaker 2: in the car, and she drives the car literally. So
• 1:25:00
  Speaker 2: I'll give the movie one nipple, and I will give
• 1:25:02
  Speaker 2: it to the shirt worn by one of the like
• 1:25:07
  Speaker 2: car thief guys who's just in the warehouse that says
• 1:25:12
  Speaker 2: eat the Rich, and Brad is like kind of like
• 1:25:16
  Speaker 2: looking at everyone, he's like, cool shirt, but he's like
• 1:25:18
  Speaker 2: not really being serious. He's frightened, and that is meant
• 1:25:21
  Speaker 2: to be like a shirt that's scary. Oh no, eat
• 1:25:25
  Speaker 2: the rich. But I'm like, no, that is a cool shirt,
• 1:25:27
  Speaker 2: and I'm giving my nipple to that the end.
• 1:25:32
  Speaker 3: I'll meet you there. I'll give it one nipple. I'm
• 1:25:34
  Speaker 3: tempted to give it one point five, but I don't
• 1:25:36
  Speaker 3: know why and so I guess I was kind of
• 1:25:40
  Speaker 3: there too. Okay, well then I'll do it. I'll go
• 1:25:43
  Speaker 3: one point five. I do think that with Chris and Sarah,
• 1:25:46
  Speaker 3: well they are, you know, like white suburban kids, we
• 1:25:49
  Speaker 3: do get a little more depth and centering than we
• 1:25:53
  Speaker 3: do in your average eighties movie. I think I like Chris.
• 1:25:58
  Speaker 3: I wish I knew more about her. I think Elizabeth
• 1:26:01
  Speaker 3: she brings a lot to that performance. I could take
• 1:26:04
  Speaker 3: your leave Brenda to be perfectly honest. But Sarah. I
• 1:26:07
  Speaker 3: love Sarah. I love a little tomboy kid with a
• 1:26:13
  Speaker 3: very specific interest. I feel seen by that. Uh huh same.
• 1:26:18
  Speaker 3: I love that she has this weird cronenberry. She loves
• 1:26:22
  Speaker 3: getting into car crashes. She's so weirdo. Like, I just
• 1:26:27
  Speaker 3: I really appreciated that character. I remember that being like
• 1:26:31
  Speaker 3: the big standout to me when I watched it when
• 1:26:33
  Speaker 3: I was younger. And yeah, I mean there in like
• 1:26:36
  Speaker 3: we've been talking about for an hour and a half,
• 1:26:38
  Speaker 3: there is I think this element of this to me
• 1:26:42
  Speaker 3: time capsule of white suburban anxieties at this very particular
• 1:26:46
  Speaker 3: moment that acknowledges but doesn't state a lot of things
• 1:26:52
  Speaker 3: that we now historically know were going on in the
• 1:26:55
  Speaker 3: mid to late eighties in a lot of cities, which
• 1:26:58
  Speaker 3: is there are drug epidemics that were being pushed by
• 1:27:02
  Speaker 3: the government. There's like all of these you know, the
• 1:27:05
  Speaker 3: AIDS epidemic was happening, Like, there are all of these
• 1:27:07
  Speaker 3: very very serious issues happening in the background of these
• 1:27:12
  Speaker 3: scenarios that are I think presented more as like what
• 1:27:15
  Speaker 3: would a white suburban kid think this scenario would be like,
• 1:27:19
  Speaker 3: versus what it actually would be. And so I feel
• 1:27:22
  Speaker 3: like this movie is best consumed when you frame it
• 1:27:26
  Speaker 3: as like a fantasy versus any reflection of like reality. Anyways,
• 1:27:33
  Speaker 3: I'll give it one and a half. I don't really
• 1:27:35
  Speaker 3: know why, but I'm giving one to Sarah, and then
• 1:27:39
  Speaker 3: I'm giving one to Sarah's mom because she's just phoning
• 1:27:43
  Speaker 3: it in.
• 1:27:46
  Speaker 2: Yeah, She's like, who's the caterer at that party?
• 1:27:49
  Speaker 3: She's like, if she dies, she dies. It was like
• 1:27:53
  Speaker 3: love that energy.
• 1:27:55
  Speaker 2: Maybe how about you.
• 1:27:56
  Speaker 4: I'm going to say three and a half. And I'm
• 1:27:58
  Speaker 4: saying this based off of my love, my early love
• 1:28:03
  Speaker 4: for this movie. I would have given it. I would
• 1:28:05
  Speaker 4: have given it five as a kid. But you know,
• 1:28:08
  Speaker 4: it's always you know, revisiting these things. For that reason,
• 1:28:12
  Speaker 4: I'm going to deduct one and a half nipples.
• 1:28:14
  Speaker 2: Excellent. Well, thank you so much for joining us.
• 1:28:17
  Speaker 5: Of course, I really enjoyed this.
• 1:28:20
  Speaker 3: And where can we where can we find you? Where
• 1:28:22
  Speaker 3: can we find more about the campaign?
• 1:28:24
  Speaker 5: Amazing?
• 1:28:25
  Speaker 4: Yeah, you can find me on Instagram. It's at maybe
• 1:28:28
  Speaker 4: a Girl that's m A E B E A G
• 1:28:32
  Speaker 4: I R L. And then our website is maybe for
• 1:28:35
  Speaker 4: State Senate dot com.
• 1:28:37
  Speaker 3: Yay, amazing, We're so excited.
• 1:28:40
  Speaker 5: Thank you.
• 1:28:41
  Speaker 2: You can follow us on Instagram mostly at Bechdelcast. You
• 1:28:47
  Speaker 2: can subscribe to our Patreon a k a. Matreon, where
• 1:28:52
  Speaker 2: you get two bonus episodes every month, plus access to
• 1:28:56
  Speaker 2: the back catalog of Matreon bonuses. It always sent her
• 1:29:00
  Speaker 2: an amazing genius, hilarious theme and then that's all for
• 1:29:05
  Speaker 2: five dollars a month. You can go to our link
• 1:29:07
  Speaker 2: tree for different important things.
• 1:29:12
  Speaker 3: And with that, was piled in the station wagon and
• 1:29:16
  Speaker 3: get home and pretend we've never been to a city before.
• 1:29:20
  Speaker 2: Yeah, the city's too scary. I'm skewed. Bye bye. The
• 1:29:29
  Speaker 2: Bechdel Cast is a production of iHeartMedia, hosted by Caitlin
• 1:29:33
  Speaker 2: Derante and Jamie Loftis, produced by Sophie Lichterman, edited by
• 1:29:36
  Speaker 2: Mola Board. Our theme song was composed by Mike Kaplan
• 1:29:40
  Speaker 2: with vocals by Katherine Volskrosenski. Our logo in merch is
• 1:29:44
  Speaker 2: designed by Jamie Loftis and a special thanks to Aristotle Acevedo.
• 1:29:49
  Speaker 2: For more information about the podcast, please visit link Tree
• 1:29:52
  Speaker 2: Slash Bechdel Cast