Latest / The Bechdel Cast / Ghost with Nicole Byer

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Ghost with Nicole Byer · The Bechdel Cast

• 0:00
  Speaker 1: On The Bechdel Cast. The questions asked if movies have
• 0:03
  Speaker 1: women and them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism the patriarchy? Zef in best
• 0:12
  Speaker 1: start changing it with the Bechdel Cast. Hi, Welcome to
• 0:16
  Speaker 1: the Bechtel Cast. My name is Jamie, my name is Caitlin.
• 0:19
  Speaker 1: Welcome to a very spooky episode. I wanted the confidence
• 0:24
  Speaker 1: to open with a spooky but I did not. Um.
• 0:28
  Speaker 1: Welcome to the Beachdel Cast. This is our podcast where
• 0:30
  Speaker 1: we talk about the role of women in movies. Hey,
• 0:33
  Speaker 1: why is it called the Bechdel Cast Because it's inspired
• 0:37
  Speaker 1: by the Bechdel Test by Mr Jerry Bechdel. Jerry Tyrone Bechdel.
• 0:44
  Speaker 1: I'm man, just kidding. Alison Bechdel developed a test whereby
• 0:51
  Speaker 1: two women in a movie have to talk to each other,
• 0:54
  Speaker 1: they have to have names. First of all, they have
• 0:57
  Speaker 1: to talk to each other. Their conversation has to be
• 0:59
  Speaker 1: about some thing other than a man. Is this too
• 1:02
  Speaker 1: much to ask of any movie? Usually? Yeah, I wouldn't
• 1:06
  Speaker 1: think so. But you think it would just be really
• 1:09
  Speaker 1: easy to write two women into your story and have
• 1:11
  Speaker 1: them talk about a fucking sandwich or something. Yeah, Hey,
• 1:16
  Speaker 1: nice sandwich. Thank you. My name is Carrie. My name
• 1:19
  Speaker 1: is Carrie Done. Two women named carry talking about a
• 1:22
  Speaker 1: sandwich that passes one of them. One of them c
• 1:26
  Speaker 1: A R y the other one spells at c A
• 1:28
  Speaker 1: R R I E. Yeah. But still this never happened.
• 1:32
  Speaker 1: I don't know why I'm so angry so far, but
• 1:35
  Speaker 1: I'm I have a Mike's Hard. I have a Mike's
• 1:37
  Speaker 1: Hard Lemonade. You never have a Mike's Hard lemonade. I
• 1:40
  Speaker 1: know we both have one. For the record, I love
• 1:42
  Speaker 1: when people who listen to the podcast tweet pictures of
• 1:44
  Speaker 1: them drinking Mike's Hard Lemonade to us, just to check
• 1:47
  Speaker 1: in and be like, hey, we're supporting the brand that
• 1:49
  Speaker 1: you've never received any financial support from. You just happened
• 1:52
  Speaker 1: to be a fan of their products. And to you, guys,
• 1:55
  Speaker 1: I say, hey, thank you. Keep enjoying the Mike's brand.
• 1:57
  Speaker 1: I know waiting at us with your photo of it
• 2:00
  Speaker 1: Mike's Hard Lemonade. Answer our tweets, please send us a
• 2:03
  Speaker 1: case enable us. Anyways, it's got a nice cold Mike's
• 2:07
  Speaker 1: Hard Lemonade in hand, strawberry lemonade. Baby Aristotle was giving
• 2:12
  Speaker 1: us a hard time about it, because he was like,
• 2:14
  Speaker 1: isn't that the bad flavor? And it's like, well, isn't
• 2:16
  Speaker 1: every flavor the bad flavor of misade? So true tastes
• 2:21
  Speaker 1: like my problematic past. Speaking of problems now anyway, Hey,
• 2:28
  Speaker 1: let's introduce our guest. Hey, I'm excited for it to
• 2:32
  Speaker 1: talk about today's movie, and it'll explain the spooky the
• 2:35
  Speaker 1: failed spooky motif. We did a great job. But hey,
• 2:41
  Speaker 1: before we talk about that, let's introduce our guests. You've
• 2:44
  Speaker 1: got a terrific comedian, very funny lady. You know we're
• 2:47
  Speaker 1: from Girl Code on MTV. That cute dogs, Nicole Buyers.
• 2:56
  Speaker 1: I love how the original segue was speaking of problematic here.
• 3:02
  Speaker 1: I know it didn't make any sense. I was like,
• 3:04
  Speaker 1: this is a dumb transition. Now I liked it, and
• 3:07
  Speaker 1: I wish you had an abandon and I wish you
• 3:09
  Speaker 1: had doubled down, Like this woman is a real problem.
• 3:12
  Speaker 1: She got here five minutes late. She's bad. She's not
• 3:15
  Speaker 1: drinking a Mike's hard lemonade. She's a bad potato only
• 3:18
  Speaker 1: because we didn't offer you one. No, it's okay, I'm
• 3:22
  Speaker 1: gonna go to the gym after this. Oh you're a
• 3:27
  Speaker 1: better woman than we are. We're literally going to get
• 3:30
  Speaker 1: another mix. That's the plan. So we're talking about the
• 3:35
  Speaker 1: movie Ghosts. When did you first see the movie? Um,
• 3:40
  Speaker 1: I don't remember how old I was, but I assume
• 3:44
  Speaker 1: maybe like eight, maybe seven, maybe six. I was very young.
• 3:50
  Speaker 1: A lot of the things went over my head. But
• 3:52
  Speaker 1: I just loved Whoopie Goldberg. I thought she was so
• 3:56
  Speaker 1: funny in it. And then I loved Patrick Swaze. I
• 3:59
  Speaker 1: was like, oh man, he makes my downstairs quiver. And
• 4:04
  Speaker 1: then I would just I just watched that movie so
• 4:07
  Speaker 1: many times. Would you say it's one of your favorites,
• 4:09
  Speaker 1: it's my favorite favorite of all? Yeah? I love it.
• 4:13
  Speaker 1: I had seen it, I think probably for the first
• 4:15
  Speaker 1: time in college. Remembered the very famous pottery fox. Of course,
• 4:21
  Speaker 1: I didn't remember much else about it many years past,
• 4:24
  Speaker 1: and then I rewatched it again for this episode, and
• 4:27
  Speaker 1: I was like, oh, ship, this is a good movie.
• 4:29
  Speaker 1: It's a great movie that would never get made today, right,
• 4:32
  Speaker 1: Yeah it is. So. It's funny, it's scary, it's sweet.
• 4:37
  Speaker 1: I love it. It holds up, it does. I was
• 4:40
  Speaker 1: a little nervous because I watched it with my mom.
• 4:43
  Speaker 1: I think when I was like a young teen aby
• 4:45
  Speaker 1: thirteen or fourteen, and I remember loving it and being
• 4:48
  Speaker 1: like maybe I was just a babe, but I was
• 4:50
  Speaker 1: like I was a little bit afraid of it, but
• 4:52
  Speaker 1: I was also a little bit turned on. But it
• 4:55
  Speaker 1: like it has everything, has everything you could possibly want,
• 4:58
  Speaker 1: but it holds up in a pretty major I was
• 5:02
  Speaker 1: like so pleasantly surprised that how much fun it was
• 5:05
  Speaker 1: to say, And if you just analyze it from like
• 5:07
  Speaker 1: a storytelling screenwriting standpoint, it's really well crafted. Like you mentioned,
• 5:13
  Speaker 1: this movie would never be made today, which yes it
• 5:16
  Speaker 1: would not. But also a movie just came out called
• 5:19
  Speaker 1: a Ghost Story starring Ruoney Mara and Casey Affleck, and
• 5:26
  Speaker 1: the problematic, speaking of problematics, the log line is in
• 5:31
  Speaker 1: this singular exploration of legacy, love loss in the enormity
• 5:36
  Speaker 1: of existence, a recently diceased, white sheeted ghost returns to
• 5:41
  Speaker 1: his suburban home to try to reconnect with his bereft
• 5:44
  Speaker 1: wife to find white like an old school. That's the
• 5:49
  Speaker 1: movie poster. And I bet you it's not a comedy
• 5:55
  Speaker 1: and it should be. Like a woman turns around in
• 5:59
  Speaker 1: her bedroom and she's like a child ghost chicker tree
• 6:02
  Speaker 1: in my bedroom yeah, yeah, look up, this is the
• 6:06
  Speaker 1: movie covered in a sheet. What is it? I mean,
• 6:14
  Speaker 1: I'm all for covering Casey have like in a sheet
• 6:17
  Speaker 1: wherever he may be. What is it called a ghost story?
• 6:21
  Speaker 1: A ghost story? Oh Man, bad HANDA hilarious came out
• 6:30
  Speaker 1: July seven. Okay, it has sent on rotten tomatoes. Oh
• 6:34
  Speaker 1: I just shall we go see it? Honestly, maybe we
• 6:38
  Speaker 1: should go see it. But Roger Ebert gave it four
• 6:41
  Speaker 1: out of four. I don't buy it's not even alive.
• 6:44
  Speaker 1: But really, yeah, it was his website. Probably I thought
• 6:48
  Speaker 1: Siskel was dead or they both? Did? They know who's
• 6:52
  Speaker 1: reviewing movies? Who we are? Who's a roper? Roper? Al? Oh? Fuck?
• 7:02
  Speaker 1: I really confused with two people? Who's roper? Replaced Cisco
• 7:07
  Speaker 1: and Siskel died? Oh so who replaced Ebert? No one?
• 7:13
  Speaker 1: You can't replace Ebert. I wonder if they're like arguing
• 7:15
  Speaker 1: in Heaven't like, how come I got replaced? Replaceable? But
• 7:21
  Speaker 1: he sings it like replaced every time you're irreplaceable. It
• 7:29
  Speaker 1: reminds me of my freshman in high school history teacher,
• 7:32
  Speaker 1: because that was when that song came out. She would
• 7:34
  Speaker 1: try to connect with us by asking us to pass
• 7:37
  Speaker 1: all our homework to the left to the left and
• 7:39
  Speaker 1: then would turn this song on while we would pass
• 7:41
  Speaker 1: our homework. What an awful job? What a terrible do
• 7:45
  Speaker 1: you have to try to? Like? She sat at home.
• 7:48
  Speaker 1: I was like, how can I get through Beyonce? Beyonce
• 7:51
  Speaker 1: will help me teach the love of science. Now I
• 7:55
  Speaker 1: just need to develop a lesson plan that involves the left.
• 8:00
  Speaker 1: Sad shout out to Miss McCray. You did your best anyway, Jamie.
• 8:06
  Speaker 1: When did you first se this movie? I saw it
• 8:07
  Speaker 1: when I was probably around the Miss McCray era. My
• 8:10
  Speaker 1: mom sometimes would just choose a summer night to show
• 8:14
  Speaker 1: us one of her weird, horny movies. This was one
• 8:17
  Speaker 1: of them that she'd had on cassette. And then she's like, Jamie,
• 8:21
  Speaker 1: I think that because she knew that I had a
• 8:23
  Speaker 1: thing for Patrick Swayze, and she for some reason was like,
• 8:27
  Speaker 1: that's good because you and Patrick Swayze have the same birthday.
• 8:29
  Speaker 1: And my mom believes fun fact about my mom, she
• 8:32
  Speaker 1: thinks everyone who has the same birthday shares a part
• 8:36
  Speaker 1: of each other's soul. So she believed she believed because
• 8:40
  Speaker 1: Patrick Swayzy was alive at the time. She believed that
• 8:42
  Speaker 1: Patrick Swayzy and I had in August eighteenth connection and
• 8:47
  Speaker 1: that I should see the movie, and I thought I
• 8:49
  Speaker 1: loved it. So me and Michael Jackson had a connection.
• 8:53
  Speaker 1: We were both born on August twenty night. Yeah, both
• 8:56
  Speaker 1: of your birthdays are coming up pretty soon? Are you
• 8:59
  Speaker 1: a liover go? I'm a Leo. Oh, I'm a virgo.
• 9:02
  Speaker 1: I've been wronged by virgos in the past. Oh well,
• 9:05
  Speaker 1: I'll push you down the stairs. Let's keep the trend
• 9:08
  Speaker 1: going my way out. I'm just like your leg will
• 9:13
  Speaker 1: splint her out of your body, just like in the Beguild.
• 9:16
  Speaker 1: Just go in the Beguild. That doesn't pass the back
• 9:21
  Speaker 1: to old test, does it? Um? I don't even remember.
• 9:23
  Speaker 1: It was such a terrible movie that I've blocked it
• 9:25
  Speaker 1: from memory. It's a wild movie, right, It's like set
• 9:28
  Speaker 1: during the Silver War and there's no black people, and
• 9:30
  Speaker 1: there's yeah, the Sofia couple of the couple in their
• 9:33
  Speaker 1: original version. It's just like way more interesting and better,
• 9:36
  Speaker 1: and it's not all white people. We shouldn't be the
• 9:39
  Speaker 1: Silver War era. It was like in Virginia pretty heavily black.
• 9:44
  Speaker 1: Granted we were in the background picking up things but
• 9:46
  Speaker 1: like just put us in there. Yeah. No, Sofia couple
• 9:50
  Speaker 1: is like, I don't know how it's going to be
• 9:53
  Speaker 1: white blonde, Yes, Sofia a couple of games all the
• 9:55
  Speaker 1: shrug and she was like, we don't know what she
• 9:58
  Speaker 1: really was she like asked about Yeah, I mean she
• 10:01
  Speaker 1: very intentionally wrote out the only black character and yeah,
• 10:05
  Speaker 1: she's unnoticed. She's unnoticed. Wow. Yeah, So she like had
• 10:09
  Speaker 1: to like a thought in her brain and she was like, oh,
• 10:12
  Speaker 1: I'll just get rid of that problem her. I mean,
• 10:15
  Speaker 1: her excuse was like, well, I don't know how to
• 10:17
  Speaker 1: write a black character. It's like, well, then talk to
• 10:19
  Speaker 1: someone do your job. But also, dummy, all you have
• 10:22
  Speaker 1: to do if they're not speaking in like the language
• 10:26
  Speaker 1: of the time, you just cast a black person in
• 10:28
  Speaker 1: that part. Do you know what I'm saying. If she
• 10:30
  Speaker 1: didn't know how to write slave talk like and if
• 10:33
  Speaker 1: nobody else is speaking the way they spoke back, then
• 10:35
  Speaker 1: you just write that character the way you write the
• 10:37
  Speaker 1: white people and then cast a black person. That's like
• 10:39
  Speaker 1: people like I don't know how to write women. Just
• 10:42
  Speaker 1: write a man and then change his name from Jason
• 10:45
  Speaker 1: to Allison, and then you have a woman congratulations, very easy.
• 10:49
  Speaker 1: Everyone is horny and tortured regards of Yeah, Sofia couple
• 10:54
  Speaker 1: is unnoticed. She's unnoticed. But let's talk about the movie.
• 10:58
  Speaker 1: Ghost Goes is a fun movie that doesn't suck the
• 11:02
  Speaker 1: way that Beguiled does. So I'll do the recap of
• 11:07
  Speaker 1: Ghost Molly Molly Jensen. Molly Jensen is married to Sam Waite.
• 11:12
  Speaker 1: They're not married yet. Oh sorry, Oh yeah, they never
• 11:16
  Speaker 1: get married and never get married because he goes on her. Yeah,
• 11:22
  Speaker 1: he ghosted her the Ultimate ghost in Ultimate Ghost Her,
• 11:26
  Speaker 1: but then like hung around. Yeah, he's like every fucking
• 11:29
  Speaker 1: man of now right, Like, I don't want to be together,
• 11:31
  Speaker 1: but I'm going to scare you and I have to
• 11:33
  Speaker 1: follow your every Move's gonna watch you. Another man comes
• 11:37
  Speaker 1: in your house, I'm going to scare him away and
• 11:39
  Speaker 1: follow him home. I'm gonna learn how to kick a can.
• 11:43
  Speaker 1: Oh man, I'm mad. I think we pretty much already
• 11:46
  Speaker 1: recaped love the kick a can scene, the whole montage
• 11:50
  Speaker 1: where he learns how to be a better ghost montage. Honestly,
• 11:56
  Speaker 1: if someone knows how to do this, please put that
• 11:58
  Speaker 1: whole sequence to other with milans make a man that song,
• 12:03
  Speaker 1: I'll make a man. How do you? I would really
• 12:07
  Speaker 1: love it. There's also just like, okay, I know that
• 12:11
  Speaker 1: we didn't even get one sentence into the recap, but
• 12:14
  Speaker 1: there's so many fun one scene character actors in this movie.
• 12:19
  Speaker 1: The hospital ghost who presently hangs out it waits for
• 12:22
  Speaker 1: other ghosts. No, he's waiting for his wife to die. Yeah?
• 12:25
  Speaker 1: Oh does he is that what he meant by that? Okay?
• 12:28
  Speaker 1: Because then he just watches a man die in the
• 12:30
  Speaker 1: surgery table in his life, Yeah, that's gonna happen, just like,
• 12:35
  Speaker 1: thank you so much. And then there's a scary subway ghost.
• 12:38
  Speaker 1: Oh my god, guy's incredible. One flew over the cuckoo's nest.
• 12:43
  Speaker 1: He's perfect. You think I jumped always pushed me, which
• 12:51
  Speaker 1: I guess I do anything for. Who are you? Who
• 12:58
  Speaker 1: sent you? Joe? It's my love it? Suicide again right
• 13:04
  Speaker 1: onto that train, but this time he's dead. I love it.
• 13:08
  Speaker 1: Oh wait, do you want to do the really fast?
• 13:12
  Speaker 1: So Molly and Sam are together. They live in its nice, new,
• 13:16
  Speaker 1: huge fucking apartment in New York City. How do they
• 13:19
  Speaker 1: afford it while he's a rich banker? Fine? They're out
• 13:22
  Speaker 1: one night and they get mugged and he gets murdered
• 13:25
  Speaker 1: and they think it's just like a random killing, and
• 13:29
  Speaker 1: his spirit stays behind. He's a ghost now, but Molly
• 13:34
  Speaker 1: can't see him. So he goes to a psychic, Odo
• 13:37
  Speaker 1: May Brown played by Whoopi Goldberg, and he starts to
• 13:41
  Speaker 1: figure out that this murder was actually like an intentional
• 13:44
  Speaker 1: First Whoopee is a psychic who's faking it the whole time.
• 13:48
  Speaker 1: So then Patrick Sweezy Sam Weed is giving like audio commentary,
• 13:52
  Speaker 1: like give me a brick, and then she's like, who
• 13:55
  Speaker 1: is it? Huh? And her sisters are like, what's happening?
• 13:58
  Speaker 1: And then he's like, say my name Sam Wait, Say
• 14:00
  Speaker 1: my name Sam wait. And then she's like then she
• 14:03
  Speaker 1: runs to a closet and then and then her sisters
• 14:08
  Speaker 1: go some queen. Her sister's there's so funny, there's no
• 14:16
  Speaker 1: she's talking to a white man again. We gotta called
• 14:18
  Speaker 1: the doctor. It's so funny, it's great. So he goes
• 14:23
  Speaker 1: to her to try to because it turns out that
• 14:25
  Speaker 1: she can actually like communicate with the dead, the spirits
• 14:29
  Speaker 1: who have who She has that crazy backstory like the
• 14:32
  Speaker 1: more you learn about you're just like this woman has
• 14:36
  Speaker 1: lived a very interesting way. Yeah, So He goes to
• 14:40
  Speaker 1: her to be like, can you communicate to Molly for me?
• 14:44
  Speaker 1: Because I gonna warn her that she's in danger. Because
• 14:46
  Speaker 1: he starts to figure out that he was set up
• 14:48
  Speaker 1: and he was murdered intentionally because his friend Carl Carl
• 14:53
  Speaker 1: was so hot. Carl Carl, I suppose he takes his
• 14:58
  Speaker 1: shirt off. He's sure. Tony Goldwin, I had like my
• 15:03
  Speaker 1: sexual awakening watching this movie. But then odom A Brown
• 15:06
  Speaker 1: goes to Molly after Molly like doesn't answer, and then
• 15:09
  Speaker 1: she's talking to Molly and then Sam's like, tell her
• 15:12
  Speaker 1: she's in danger, and she's like, I tell her my
• 15:14
  Speaker 1: own way. She goes Molly, you and danger girl. It's
• 15:17
  Speaker 1: another favorite line reading of mine. It's so good. It
• 15:22
  Speaker 1: took me a while. It took me till midway in
• 15:24
  Speaker 1: the movie. I'm like, oh my god, it's fits from Scandal,
• 15:28
  Speaker 1: And then I got horny. He plays the president. Yes,
• 15:33
  Speaker 1: he's the president on Scandal. Has a badass, beautiful man.
• 15:42
  Speaker 1: I saw her once in the airport and I almost died.
• 15:45
  Speaker 1: I don't get star struck, and I don't think I was.
• 15:47
  Speaker 1: I was just like, I don't want to open my
• 15:49
  Speaker 1: p I just love him. Oh, God, he's great. You
• 15:56
  Speaker 1: did get to see him shirtless, which I forgot if
• 15:58
  Speaker 1: you were if you did in this movie, and I
• 16:00
  Speaker 1: was like, well, thank god. Because he spills the coffee
• 16:03
  Speaker 1: on himself because I think he's trying to seduce Smolly.
• 16:06
  Speaker 1: But I don't understand why he's trying to seduce Molly.
• 16:09
  Speaker 1: Oh no, that is gibolical. No, it's to get her
• 16:13
  Speaker 1: on his side, Odo May says anything. She's already slept
• 16:17
  Speaker 1: with him, so she feels an allegiance to him. That's
• 16:20
  Speaker 1: so fucked up. And I can't believe I've watched that
• 16:22
  Speaker 1: movie a hundred times and just now unders him. I
• 16:26
  Speaker 1: feel very dumb. No, I mean it's not super explicit,
• 16:30
  Speaker 1: but perfect. He's a manipulative That's that's what it is
• 16:34
  Speaker 1: to me. It's just like it. But it turns out
• 16:36
  Speaker 1: he is a bad guy. He's trying to He hired
• 16:40
  Speaker 1: money Willie Lopez to not murder Sam Weet, just steal
• 16:45
  Speaker 1: his bank book with like codes in it because he's
• 16:48
  Speaker 1: like laundering money. But then Willie Lopez couldn't get it,
• 16:51
  Speaker 1: so Willie Lopez accidentally kills him. So then they're having
• 16:53
  Speaker 1: a conversation. He's like, you murdered. Hi, man, He's like,
• 16:56
  Speaker 1: did you won't feel free? And yeah, And at first
• 17:00
  Speaker 1: I was feeling for for Willy Lopez, but then at
• 17:03
  Speaker 1: the end you find out when you see Willie Lopez
• 17:05
  Speaker 1: go to Hell, all the blood rises from the floor
• 17:08
  Speaker 1: and it's like, oh, this man has killed and that's
• 17:11
  Speaker 1: why he's got that bear clow tattoo and the like
• 17:14
  Speaker 1: it's like a tear drop tattoo. Fact. Willy Lopez. I
• 17:17
  Speaker 1: cannot remember his actual his like real life name, but
• 17:19
  Speaker 1: he's a comic. He was, Yes, he stand up and
• 17:25
  Speaker 1: he was like pretty funny. I watched a couple of clips.
• 17:27
  Speaker 1: Hell yeah he did his Oh yeah he died. His
• 17:33
  Speaker 1: Wikipedia picture is just a picture of him from Ghost. Yeah.
• 17:37
  Speaker 1: It's literally like Ricky Vellis that looks like the picture
• 17:41
  Speaker 1: when he's looking in the mirror when Sam we makes
• 17:44
  Speaker 1: it all foggy and writes boot, I literally have seen
• 17:46
  Speaker 1: this movie so many times there. That was one of
• 17:49
  Speaker 1: the things that stood out to me. That scene when
• 17:51
  Speaker 1: like Willie is like basically going through a series of
• 17:55
  Speaker 1: rooms before he's hit by three cars at one. But
• 17:59
  Speaker 1: they're like a practical effect in this movie are really
• 18:01
  Speaker 1: they're really great, Like she flying off the walls and
• 18:04
  Speaker 1: the and the boo and you're just like, funk, this
• 18:07
  Speaker 1: is like really it is a well done as movie.
• 18:09
  Speaker 1: It was scary. I remember like that that freaked me
• 18:12
  Speaker 1: out when I was a little The beginning scares me
• 18:15
  Speaker 1: when they because they're in the new apartment they're renovating
• 18:18
  Speaker 1: it and it's Carl, Molly and Sam and they're like
• 18:22
  Speaker 1: hitting through this thing and then like as like light happens,
• 18:26
  Speaker 1: a big noise happens, and I still I'm like, oh,
• 18:30
  Speaker 1: and it's not the scariest part of the movie, no,
• 18:33
  Speaker 1: but but I get it's like and it's kind of
• 18:35
  Speaker 1: like foreshadowing. Yeah. So he goes to Otomey is like
• 18:41
  Speaker 1: your dead boyfriend, Sam Weed is communicating to you through me,
• 18:44
  Speaker 1: and here's everything he's saying. And at first she doesn't
• 18:46
  Speaker 1: believe otomy, and then she starts to come around. She's like, hey, maybe,
• 18:50
  Speaker 1: but then meanwhile Carl is manipulating her into being like, actually, no,
• 18:55
  Speaker 1: you're crazy, you're not here, like go start real. And
• 18:59
  Speaker 1: then they still to just piece more and more things.
• 19:01
  Speaker 1: Soone they don't believe, don't believe her. And that woman said, honey,
• 19:06
  Speaker 1: if you go start watching me every day, I'd never
• 19:08
  Speaker 1: take a shower again, and then walks away and I
• 19:11
  Speaker 1: was like, you can't, you're so rude, which is technically
• 19:15
  Speaker 1: a scene that by our rules passes the back del Well,
• 19:18
  Speaker 1: she doesn't have a name's just an officer. She's not
• 19:22
  Speaker 1: giving a name. Well, we'll get there later. One of
• 19:24
  Speaker 1: the coolest things about this movie for me was the
• 19:26
  Speaker 1: fact that, like in most movies, it's very hard to
• 19:29
  Speaker 1: identify what everyone's motivation is at every point in the movie.
• 19:33
  Speaker 1: But for this, like every main character is super motivated
• 19:36
  Speaker 1: in a way that makes a ton of sense, Like
• 19:39
  Speaker 1: down to the fact that Patrick Swayze low key kind
• 19:43
  Speaker 1: of blackmails Whoopi Goldberg into continuing to work with him,
• 19:46
  Speaker 1: and she has stuff at steak, and me Moore has
• 19:49
  Speaker 1: stuff at steak because she, I mean, everyone around her
• 19:53
  Speaker 1: saying something different. And it would be so easy to
• 19:55
  Speaker 1: just write her characters like this lady's grieving and she
• 20:00
  Speaker 1: things ghost surreal, but like she's taking in all the
• 20:02
  Speaker 1: information and doing the best she can, just being gaslighted
• 20:05
  Speaker 1: by Tony freaking Goldwin. And like it's just every character
• 20:10
  Speaker 1: has like a very specific It's so each scene is
• 20:13
  Speaker 1: like a sketch because each character has a game and
• 20:17
  Speaker 1: everyone plays their game, and it's like, if it's true,
• 20:20
  Speaker 1: what else is true? Like all of Odomy Brown scenes
• 20:24
  Speaker 1: to meet our sketches, they heightened perfectly, and you blow
• 20:27
  Speaker 1: out the world and you get out, and then like
• 20:29
  Speaker 1: the next scene heightens what she's doing. So like when
• 20:33
  Speaker 1: I learned how to write sketches, I would watch Ghost
• 20:35
  Speaker 1: a lot because I was like, these are perfect, like
• 20:38
  Speaker 1: especially when they're in the bank and sam Weed is
• 20:41
  Speaker 1: whispering to Odomy and she's like, why are you whispering?
• 20:44
  Speaker 1: That is such a funny specific because like she remembers
• 20:48
  Speaker 1: she was talking to a ghost and has to do
• 20:49
  Speaker 1: like x Y and it's my favorite moment. Uh No,
• 20:55
  Speaker 1: you're right though, Like if you just isolate every scene,
• 20:57
  Speaker 1: it's just like every scene serves a purpose, it heightens well. Yeah,
• 21:02
  Speaker 1: everything is just a very well crafted story. I'm kind
• 21:04
  Speaker 1: of upset with myself that I didn't like, revisit it
• 21:07
  Speaker 1: sooner and pay more change into it. It works on
• 21:10
  Speaker 1: every level, and the romance is really good and I
• 21:14
  Speaker 1: get it and I love that to me more sort of,
• 21:18
  Speaker 1: I mean for the most part immediately before he dies, granted,
• 21:21
  Speaker 1: but basically proposes to Patrick Swayzy and he's like, hey,
• 21:25
  Speaker 1: I don't have any jewelry on me, but I do.
• 21:27
  Speaker 1: We should get married, you know, and and and that's
• 21:29
  Speaker 1: like I want to talk about that scene. Yeah, yeah,
• 21:31
  Speaker 1: I think the recap is done. He's a ghost. He's
• 21:34
  Speaker 1: a ghost. He gets murdered in a billowy burgundy shirt
• 21:38
  Speaker 1: that he used to wear for the rest of his
• 21:41
  Speaker 1: chucked into his pants. What happens, What happens to the
• 21:45
  Speaker 1: world if he untuch, I don't know, it would explode
• 21:49
  Speaker 1: and maybe he untucked and then it magically goes back
• 21:51
  Speaker 1: in because that's the way he died. And I like
• 21:54
  Speaker 1: in the Santa Claus where he shaves off his beard back.
• 21:58
  Speaker 1: I love that this schizophrenic subway gust. It's like, your
• 22:01
  Speaker 1: shirts not real, your body is not real. But he
• 22:04
  Speaker 1: references the shirt specifically, and it's like, thank you. I've
• 22:07
  Speaker 1: been thinking about what a great outfit to die in.
• 22:12
  Speaker 1: For sure. Yeah, he woren't to the play. They went
• 22:15
  Speaker 1: to go see Macbeth Mabeth another grade. He fell asleep
• 22:19
  Speaker 1: and he was snoring, but anyway, so yeah, he finally
• 22:23
  Speaker 1: convinces to help Molly talk to the thing and they
• 22:27
  Speaker 1: figured all the thing out, and the ministery, the murder
• 22:29
  Speaker 1: gets solved, and then all the bad guys die and
• 22:33
  Speaker 1: then finally Sam's spirit can ascend Molly. It's amazing the
• 22:39
  Speaker 1: love inside you get to take it with you, and
• 22:42
  Speaker 1: then he goes up to heaven. I was weeping. It's
• 22:48
  Speaker 1: really touching, it really is. And there was and and
• 22:52
  Speaker 1: this was while I was watching the movie because I
• 22:54
  Speaker 1: love Swazie. We after all share each other soul Annway
• 22:59
  Speaker 1: and then in August eighteenth cents. But I I did
• 23:02
  Speaker 1: posit at one point because every time I watched the
• 23:05
  Speaker 1: scene between Patrick Swayze and Whoopi Goldberg, I'm like, oh,
• 23:07
  Speaker 1: for sure they were real life friends, like you can
• 23:09
  Speaker 1: just yes, that's how she got the job. Patrick Swayzey
• 23:12
  Speaker 1: was like, I won't do this movie unless Whoopi Goldberg
• 23:14
  Speaker 1: does this movie. Yeah. Then I read some article that
• 23:17
  Speaker 1: Tina Turner was like one of the original choices and
• 23:19
  Speaker 1: then the reference tinga turn in the movie. But I
• 23:21
  Speaker 1: don't know how true that is, and I didn't get that.
• 23:23
  Speaker 1: I started reading. I looked up and this is like
• 23:26
  Speaker 1: slightly more bid, and like, I bet Whoopie Goldberg had
• 23:29
  Speaker 1: a great tearful public appearance after Patrick Swayze's death. And
• 23:33
  Speaker 1: I watched what she said several days after on the view,
• 23:36
  Speaker 1: and it was check it out YouTube dot com, YouTube
• 23:39
  Speaker 1: dot com. I've never been to that website. It's it's
• 23:42
  Speaker 1: a new cool It's just short clips of your favorite
• 23:47
  Speaker 1: song of history and time. I better get it. It's
• 23:50
  Speaker 1: pretty cool. It's pretty cool. Whoopi Goldberg basically credits quite
• 23:55
  Speaker 1: a bit of her success to Patrick Swayze. Is like
• 23:58
  Speaker 1: vouching for a year, want to fucking oscar for it,
• 24:02
  Speaker 1: and became a legitimate movie star. And I can't think
• 24:06
  Speaker 1: of another bankable black movie star like that. I mean,
• 24:09
  Speaker 1: she's she's one of a kind in everyone, but I
• 24:12
  Speaker 1: didn't realize the role Swazy had and man, and she
• 24:17
  Speaker 1: also said, fun fact this Swazy loves to moon his
• 24:20
  Speaker 1: close stars, like whenever she was saying, like, she cited
• 24:27
  Speaker 1: a specific scene where it's her and Swayzie and and
• 24:30
  Speaker 1: it's like, you're the shots are back and forth between
• 24:32
  Speaker 1: a tight shot on her and a tight shot on him,
• 24:34
  Speaker 1: and She's like, whenever it was like a shot on
• 24:36
  Speaker 1: just me. Swazie was off on the side moon and
• 24:39
  Speaker 1: me making me laugh. What a goofball, what a warrior
• 24:42
  Speaker 1: arrest in paradise and you're just like they were good friends.
• 24:47
  Speaker 1: That makes me so happy because they had they have
• 24:51
  Speaker 1: such a great chemistry together. It's so it's so much
• 24:54
  Speaker 1: fun to watch them together. I don't know, it makes
• 24:57
  Speaker 1: me feel like a kid to be like, oh, man,
• 24:59
  Speaker 1: I hope they're really friends in real life. But it
• 25:01
  Speaker 1: may be they were really friends in real life. But okay,
• 25:05
  Speaker 1: So I wanted to talk about that scene where she
• 25:07
  Speaker 1: effectively proposes to him. It's right before he gets murdered,
• 25:12
  Speaker 1: which is just more great writing. I never started telling
• 25:15
  Speaker 1: chance to get married, but she's like, I want to
• 25:19
  Speaker 1: marry you. I've been thinking about a lot, and I
• 25:21
  Speaker 1: think we should just do it. And he's like, well,
• 25:23
  Speaker 1: you never wanted to talk about it. So the implication
• 25:25
  Speaker 1: is that maybe he proposed, or maybe he was just like, hey,
• 25:29
  Speaker 1: are we gonna get married? Like what's going on? And
• 25:30
  Speaker 1: she's like, well, no, like which I like because so
• 25:34
  Speaker 1: often in movies and just society in general, this idea
• 25:40
  Speaker 1: is put forth that if you're in a hetero relationship,
• 25:43
  Speaker 1: women are just like I can't wait to get married
• 25:46
  Speaker 1: and want to get me so much and I can't
• 25:47
  Speaker 1: wait till it happens. I just want to have to
• 25:49
  Speaker 1: sit around and wait till he asks me. And I
• 25:51
  Speaker 1: can't wait for that day because it's gonna be the
• 25:53
  Speaker 1: best day in my life. And just so I like
• 25:55
  Speaker 1: that she was the one who was like, actually, I
• 25:57
  Speaker 1: don't want to talk about it. It's not important to
• 26:00
  Speaker 1: me right now. And then finally it was on her
• 26:02
  Speaker 1: terms where she's like hey, She's like I thought about
• 26:04
  Speaker 1: it and I'm ready. Yeah. Yeah, I think Molly is
• 26:08
  Speaker 1: you can like write her off. Is like just like
• 26:10
  Speaker 1: this whiny, sad, widowed woman, but like she's pretty complex.
• 26:14
  Speaker 1: She's got short hair, which is the baldest woman is
• 26:16
  Speaker 1: in charge, and then she has her own business. She's
• 26:22
  Speaker 1: like a pretty successful sculptor. She wears masculine clothing, she
• 26:25
  Speaker 1: wears like overalls and stuff, but then she has like
• 26:27
  Speaker 1: a soft feminine sign and then she proposes to her boyfriend. Yeah, like,
• 26:32
  Speaker 1: I I like her character. I like that she and
• 26:35
  Speaker 1: then like the fact that she did go to the
• 26:36
  Speaker 1: police to talk about a ghost. Takes a lot of
• 26:38
  Speaker 1: balls to be like, well, I mean I don't know,
• 26:42
  Speaker 1: this ship seems true. Let me fucking figure this out.
• 26:44
  Speaker 1: And she was like totally aware of how crazy she sounds.
• 26:48
  Speaker 1: She's like, I know this sounds so stupid, but like
• 26:51
  Speaker 1: I gotta hear me out. And it was also the
• 26:53
  Speaker 1: way that the scenes between her and outamate and we'll
• 26:56
  Speaker 1: get to also Patrick Spacey play out was also believable,
• 27:00
  Speaker 1: and that she does not respond to Odamy the first time,
• 27:04
  Speaker 1: because that was probably scary and confusing, but then eventually,
• 27:09
  Speaker 1: I mean it, that seemed like a realistic betrayal of
• 27:12
  Speaker 1: grief of like, Okay, there's been enough specifics and like,
• 27:15
  Speaker 1: what do I have to lose by just listening to
• 27:17
  Speaker 1: this person a little bit? And that sort of is
• 27:19
  Speaker 1: like and even down to like the shirtless Tony Goldwin
• 27:23
  Speaker 1: the deceiver, that's a very common and that was something
• 27:26
  Speaker 1: that and not to get personal, but like that was
• 27:30
  Speaker 1: something that resonated with me specifically of like the deceased
• 27:33
  Speaker 1: man's best friend trying to look out for not quite
• 27:37
  Speaker 1: the widow, but basically the widow of his best friend.
• 27:40
  Speaker 1: I feel like that's sort of a normalized thing of like, well,
• 27:44
  Speaker 1: if his friend can't take care of her, then you know,
• 27:47
  Speaker 1: he'll take care of her. And I think that that's
• 27:48
  Speaker 1: a creepy thing and the reason that my uncle Butch
• 27:51
  Speaker 1: is in my life and I hate Uncle Butch, but
• 27:54
  Speaker 1: he's the Tony Goldwin except a liar and not hot.
• 28:00
  Speaker 1: But anyways, I but it was even realistic how those
• 28:03
  Speaker 1: scenes played out between the two of them. Of like,
• 28:06
  Speaker 1: you know that dem Moore's characters really isolated herself from people,
• 28:11
  Speaker 1: and Tony Goldwyn is one of the only people she
• 28:13
  Speaker 1: really trusts and has a connection with because she knew
• 28:16
  Speaker 1: and and so even the fact that they might have
• 28:19
  Speaker 1: hooked up if Patrick Swayzy hadn't overture of himself remember me. Oh.
• 28:28
  Speaker 1: Then also, Carl was pushing Molly so hard to like
• 28:31
  Speaker 1: get over it. I feel like that happens a lot
• 28:34
  Speaker 1: when a loved one passes away. The people around you
• 28:37
  Speaker 1: were like, you have to move on. It's like well,
• 28:39
  Speaker 1: and I like that she like slapped him at one
• 28:41
  Speaker 1: point and she was like, no, Carl, and it was like, yeah, Carl,
• 28:44
  Speaker 1: let her fucking grieve, even though I know that, like
• 28:46
  Speaker 1: you murdered her boyfriend, Like if you hadn't let her grieve,
• 28:50
  Speaker 1: still be wrong even if you murder. Yeah. Oh, I'd
• 28:54
  Speaker 1: like to propose a new movie role that I noticed
• 28:57
  Speaker 1: in this movie The Man in the Loosest Khakis is
• 29:00
  Speaker 1: up to something before and well because Patrick Swayze, who
• 29:06
  Speaker 1: in their right mind would put a pair of loose
• 29:08
  Speaker 1: khakis on Patrick Swayze, He's got the bus but the
• 29:12
  Speaker 1: butt of the center so there, so he's in tight
• 29:15
  Speaker 1: pants the whole time. But Tony Goldwin, they they like
• 29:18
  Speaker 1: to put him in loser. Yeah, I guess I gotta
• 29:22
  Speaker 1: go and attention to that. You know what scene. I
• 29:24
  Speaker 1: really love the elevator scene in the beginning, it's like
• 29:28
  Speaker 1: towards the beginning, they're like, in the elevator they talk
• 29:31
  Speaker 1: about how Karl needs to pay off his Mustang. They
• 29:34
  Speaker 1: get in the elevator and then he starts coughing and
• 29:36
  Speaker 1: he's like the doctor says, it's contagious, and uh, I
• 29:40
  Speaker 1: do that often. I won't do sickness. But when I'm
• 29:45
  Speaker 1: in an elevator with my roommate, I'll look at him
• 29:47
  Speaker 1: and I'll go, why won't you just have a baby
• 29:50
  Speaker 1: with me? And he goes, now is not the time,
• 29:52
  Speaker 1: and I'm like, please, when is the time to talk? John?
• 29:55
  Speaker 1: I love you? And then he always like, it's into
• 30:00
  Speaker 1: exactly what I want, even though he doesn't mean to it.
• 30:02
  Speaker 1: He'll be like I'm never taking elevated with you again,
• 30:05
  Speaker 1: and I'm like why are we fighting? And he's like
• 30:08
  Speaker 1: stop it. And then people are always like, oh no,
• 30:13
  Speaker 1: that's very funny. That's a great scene because it's basically
• 30:17
  Speaker 1: it's like it uses a diversion so that we won't
• 30:20
  Speaker 1: suspect Carl is this evil militias there showing how close
• 30:25
  Speaker 1: they are. The movie is really well written and very
• 30:29
  Speaker 1: well executed. It's a great movie. I was blown at
• 30:33
  Speaker 1: how many different points. I'm like, wow, I didn't I
• 30:36
  Speaker 1: forgot that part happened. And that's so smart because every
• 30:39
  Speaker 1: scene has a purpose that never happens never. It's so well.
• 30:43
  Speaker 1: It's so famous for the pottery Fox scene, which actually
• 30:47
  Speaker 1: makes me furious because but it's so horny. She's sculpting
• 30:53
  Speaker 1: az if you will out of clay and he puts
• 30:57
  Speaker 1: his hand into it, sucks it up, and she's just
• 31:00
  Speaker 1: like okay. But I feel like she did a good
• 31:05
  Speaker 1: job of being like, huh, well it's not now, because
• 31:09
  Speaker 1: she does get a little terse with him, and I
• 31:11
  Speaker 1: was like, oh, I like that. That's like a real relationship.
• 31:14
  Speaker 1: I would have like elbowed him in the face and
• 31:16
  Speaker 1: been like fuck you, you ruined, but but then you
• 31:19
  Speaker 1: win and get to funk. When I was little, I
• 31:21
  Speaker 1: was like, why aren't their hands dirty? How did they
• 31:24
  Speaker 1: did they clean? What makes me furious? So they get
• 31:27
  Speaker 1: all that, they get all I know, I know, but
• 31:29
  Speaker 1: I just well, I want to see a tense scene
• 31:32
  Speaker 1: of penersuavy and for me more washing their hands and
• 31:35
  Speaker 1: we're going to hook. So even before that, when they're
• 31:38
  Speaker 1: like getting their hands all dirty, I just and it's
• 31:40
  Speaker 1: supposed to be very hot because they're running on their
• 31:42
  Speaker 1: hands on each other and getting each other more laid.
• 31:46
  Speaker 1: To me, that so grows. I think sex should be
• 31:48
  Speaker 1: in a sterile environment, in a white room. We're not
• 31:52
  Speaker 1: all gonna pods unchane melody playing while their little fingies
• 31:58
  Speaker 1: are touching. And I think no part of two people's
• 32:03
  Speaker 1: bodies should touch during sex except for their genitals. I
• 32:06
  Speaker 1: think people should just be far, just farm and just
• 32:10
  Speaker 1: just rusting and receiving. Yes, that is how I think
• 32:14
  Speaker 1: sex should be. So this scene here's a fun to
• 32:17
  Speaker 1: Really I asked my old roommate Evan to take my
• 32:19
  Speaker 1: virginity and he said okay, and he's gay, and I
• 32:24
  Speaker 1: was like, okay, but I don't want you to touch
• 32:26
  Speaker 1: me because that might change our relationship. So I was like,
• 32:29
  Speaker 1: I will wear a crotchless le a tart or like
• 32:32
  Speaker 1: a snap crotch last, and you can interview that way,
• 32:36
  Speaker 1: but do not touch my titties, and do not touch
• 32:38
  Speaker 1: my face and don't kiss me. We didn't end up
• 32:41
  Speaker 1: having sex because I had too many rules. He was like,
• 32:45
  Speaker 1: I can't just like do my thing, and I was like, no, no,
• 32:48
  Speaker 1: absolutely not the best. Yes, it was definitely for the best.
• 32:55
  Speaker 1: It would have been fun for either one of us.
• 32:56
  Speaker 1: You've been like I wish you were a man. I'd
• 32:58
  Speaker 1: be like, I wish you were a straight man who
• 33:00
  Speaker 1: loved me. Well, anyway, that that the part where he's
• 33:09
  Speaker 1: where is it? Hope that wasn't a masterpiece did make
• 33:12
  Speaker 1: me laugh because I was trying to like in my head,
• 33:14
  Speaker 1: I'm like, what if she had done like what if
• 33:16
  Speaker 1: she was an oil painter? And he just was like,
• 33:20
  Speaker 1: wasn't a masterpiece? Would you like to fuck me? I
• 33:23
  Speaker 1: mean that's with any creative job. I imagine she was
• 33:26
  Speaker 1: doing a stand up show and he walked on stage
• 33:28
  Speaker 1: was like, I hope you weren't trying to have a
• 33:31
  Speaker 1: good set. Yeah, or if she was a surgeon, he
• 33:36
  Speaker 1: just came in and stuck his hand and a body.
• 33:40
  Speaker 1: This wasn't a casualty. He heckled her pottery. But okay,
• 33:45
  Speaker 1: here's a plot. Hole does bother me? He passes away.
• 33:49
  Speaker 1: It seems like he's pretty well off. He's doing well
• 33:52
  Speaker 1: in his profession. There's a promotion on the table, etcetera.
• 33:56
  Speaker 1: They just moved into this really nice apartment. Are we
• 33:58
  Speaker 1: to expect on a potter sal She can afford this
• 34:02
  Speaker 1: apartment by herself life insurance and then they do packages
• 34:07
  Speaker 1: when people die. They give you a bunch of money
• 34:09
  Speaker 1: to loved ones when you have a good job. And
• 34:12
  Speaker 1: then if they had sold any assets, so like if
• 34:15
  Speaker 1: they each owned a home and sold it or whatever,
• 34:18
  Speaker 1: she would get the money from his house, so it
• 34:20
  Speaker 1: could work. Yesbsolutely yeh. Dead people with good jobs usually
• 34:26
  Speaker 1: take care of you, Okay, Because it was like I
• 34:27
  Speaker 1: didn't want her to move, but I was just like,
• 34:29
  Speaker 1: how that's a great apartment. They live in New York
• 34:34
  Speaker 1: and she has like a Also, remember it's the eighties
• 34:38
  Speaker 1: or the early nineties and he and he works in
• 34:43
  Speaker 1: finance in some ways, so we're to believe he like cats. Okay,
• 34:47
  Speaker 1: that brings up a point I wanted to talk about.
• 34:49
  Speaker 1: He never offers to nor pays what Pio Goldberg's character
• 34:54
  Speaker 1: for all of her services. Oh no, he should be
• 34:58
  Speaker 1: like like a mutual well kind I mean, no, a
• 35:01
  Speaker 1: ghost can't pay you. Well, but he could have been like, hey, Molly,
• 35:04
  Speaker 1: throw her a bone. Well, I think she's gonna be
• 35:07
  Speaker 1: fine because she can hear ghosts and she can charge more.
• 35:11
  Speaker 1: Remember when he goes back and she was like, I
• 35:14
  Speaker 1: got ghosts from New Jersey coming in. And then uh,
• 35:18
  Speaker 1: that woman was just like where's the money. And then
• 35:22
  Speaker 1: that man jumps in her money and wouldn't you do
• 35:24
  Speaker 1: to your hair? Do you like it? It's autumn sunra.
• 35:28
  Speaker 1: That's so good. It's very funny. But I think she
• 35:32
  Speaker 1: because he did help her. He showed her that she
• 35:35
  Speaker 1: can speak to dead people, so then she will always
• 35:38
  Speaker 1: be busy and she can charge so much money. Sure,
• 35:42
  Speaker 1: I still I think that he should have offered to pay,
• 35:46
  Speaker 1: especially because he kind of teases her with like you're
• 35:48
  Speaker 1: going to get formed, or like he doesn't tease her.
• 35:52
  Speaker 1: He shouldn't know how much money he was murdered for.
• 35:55
  Speaker 1: He just knew it was money. So then when that's
• 35:58
  Speaker 1: why when the guy goes, oh, you are taking out
• 36:00
  Speaker 1: four million dollars and she goes four million? Do say yes?
• 36:04
  Speaker 1: Say yes? How would you like that? Tess in twenties?
• 36:08
  Speaker 1: Excuse me? Cash? She has check? I think a cash
• 36:11
  Speaker 1: she has check is best. I love it. I her
• 36:15
  Speaker 1: outfit that hole, It's like it's perfect. And she's like,
• 36:21
  Speaker 1: you don't like my outfit. He's like, no, I love
• 36:23
  Speaker 1: it's great. Don't change, Nicole. I want to see your
• 36:26
  Speaker 1: one woman show where you just reenact the entire movie
• 36:30
  Speaker 1: of GHOL. I mean, if they ever do a remix
• 36:33
  Speaker 1: and I am not casting it, I will literally end
• 36:36
  Speaker 1: my love. I love it so much. I just got overwhelmed. Well,
• 36:43
  Speaker 1: I mean, and also, we haven't talked about Odomay his
• 36:47
  Speaker 1: first outfit with the fun when her sister opens, oh, no,
• 36:50
  Speaker 1: one's in the door, and then and think, or no,
• 36:57
  Speaker 1: is it bronze? Or is it is it like maybe
• 37:00
  Speaker 1: a closet is orange? Maybe, but she's had a metallic
• 37:03
  Speaker 1: like golden robe. And then and then does this amazing
• 37:08
  Speaker 1: Oh god, and Patrick Swayze as most of like most
• 37:11
  Speaker 1: scenes in the movie, lurking, Patrick Swayzy really mastered a
• 37:15
  Speaker 1: resting expression in this movie, just like yeah, but but
• 37:20
  Speaker 1: in a way that was very You're like, you know,
• 37:22
  Speaker 1: he really is listening. He really is listening in that
• 37:27
  Speaker 1: beautiful bergun t shirt billowing, very billowing billowing. So we
• 37:33
  Speaker 1: talked a lot about Molly being a pretty complex character.
• 37:39
  Speaker 1: She's a little boring, especially when you compare her everybody
• 37:44
  Speaker 1: else in the movie she has. She's working with a lot.
• 37:47
  Speaker 1: Like growing up, I'd be like Molly, but then like
• 37:51
  Speaker 1: as I got older, I was like, oh no. She
• 37:53
  Speaker 1: was literally dealing with the love of her life, dying
• 37:55
  Speaker 1: and trying to figure out this woman who says she
• 37:58
  Speaker 1: can hear him, and then a best friend he was like,
• 38:00
  Speaker 1: it's okay, come on, touch my body. And you know,
• 38:05
  Speaker 1: she's got a new house. It's a lot. She's dealing
• 38:07
  Speaker 1: with so much and she's still and she continues working.
• 38:11
  Speaker 1: And also they renovated it. It was fixed. It was
• 38:14
  Speaker 1: like just like an empty space. So I'm sure they
• 38:16
  Speaker 1: got it very cheaply, great time to die sway renovating stressful. Yeah.
• 38:23
  Speaker 1: I I was not like particularly impressed by her, like
• 38:27
  Speaker 1: because everything she does in the context of what happens
• 38:31
  Speaker 1: in the story and makes sense, and her reactions pretty
• 38:34
  Speaker 1: much universally makes sense to me. But things are usually
• 38:37
  Speaker 1: happening to her versus her doing things like she goes
• 38:41
  Speaker 1: to the police, but that doesn't really yield anything. It's
• 38:44
  Speaker 1: mostly we I feel like most things we see with her,
• 38:46
  Speaker 1: she's receiving information right, so it's like, you know, which
• 38:51
  Speaker 1: makes sense because she's not really Sam Weeds, the protagonist
• 38:55
  Speaker 1: of this story, makes sense that he's the one driving
• 39:02
  Speaker 1: the story. So the fact that she does pretty much
• 39:04
  Speaker 1: anything that influences anything is good because often women in
• 39:09
  Speaker 1: a story are just there is a set piece, really
• 39:13
  Speaker 1: just oh I look hot and I'm here to look
• 39:15
  Speaker 1: at and uh, that's all I have to Women in
• 39:18
  Speaker 1: this movie are treated well. I think. I think they're
• 39:21
  Speaker 1: well written, and they serve a purpose. Even that cop
• 39:24
  Speaker 1: being so nasty sets the tone of how Odemy is
• 39:29
  Speaker 1: going to be treated in that scene, because then the
• 39:31
  Speaker 1: other cop is like, we have her file, and it's like, oh,
• 39:35
  Speaker 1: oh no, and then it makes the audience even start
• 39:38
  Speaker 1: to well, not even doubt because we know, we know.
• 39:41
  Speaker 1: But when you're like, oh, ship, this may not work
• 39:43
  Speaker 1: out because ode May has a record and Will Lopez
• 39:46
  Speaker 1: is clean, we understand why Molly then might start to
• 39:50
  Speaker 1: question her own reality of what's happening, and we're so
• 39:54
  Speaker 1: it's like fuck. So it's like, really a great victory
• 39:57
  Speaker 1: when she starts to believe ode may again because we
• 40:00
  Speaker 1: see like she used to fake ideas. Con artist makes sense. Yeah, yeah,
• 40:05
  Speaker 1: it's we're so horny for this movie. It's such a
• 40:09
  Speaker 1: good movie. I can't remember who I just watched it with,
• 40:11
  Speaker 1: but they're like, yep, holds up, yeah, I have some
• 40:15
  Speaker 1: some fun behind the scenes facts about tell them so.
• 40:21
  Speaker 1: In terms of possible casting, Deme Moore's character could have
• 40:25
  Speaker 1: been Julia Roberts right, which would have made sense for
• 40:28
  Speaker 1: the time, but thank god Harrison Ford was the original pick.
• 40:33
  Speaker 1: But then and this really brings the view in and
• 40:36
  Speaker 1: brings whoop be back, you know. But I guess the
• 40:39
  Speaker 1: director or the writer I think exactly which I saw
• 40:42
  Speaker 1: an interview with Patrick Swayze where he openly cried about
• 40:47
  Speaker 1: the death of his father and they were like, Wow,
• 40:49
  Speaker 1: what a hot man being sad in public. We've got
• 40:53
  Speaker 1: to have him as as Sam Wheat, And so that's
• 40:56
  Speaker 1: how Patrick Swayze got the part. And then Patrick Swayze,
• 40:59
  Speaker 1: I guess Oprah was the original pick for to May Yeah,
• 41:03
  Speaker 1: and they really wanted her, but Patrick Swayzey was like,
• 41:06
  Speaker 1: you've gotta cast Whoopee and then what we had some
• 41:09
  Speaker 1: amazing Oprah would have been just so different. I don't
• 41:12
  Speaker 1: know if that role would have been funny, right, I
• 41:15
  Speaker 1: don't think. And that's the thing is, I did not
• 41:17
  Speaker 1: realize that. I just didn't have like I didn't recognize
• 41:19
  Speaker 1: the name. But the I feel like the reason that
• 41:22
  Speaker 1: Whoopie works so well in this movie and is like
• 41:25
  Speaker 1: directed so well, and that this movie has so many
• 41:27
  Speaker 1: funny moments is because it's the same director as Airplane
• 41:31
  Speaker 1: and The Naked Gun. Oh. I didn't know. There's like
• 41:34
  Speaker 1: just like a bunch of famous older comedy movies. Um,
• 41:38
  Speaker 1: what a versatile director. That guy who directed it, Jerry
• 41:43
  Speaker 1: Jerry Jerry Zucker, Yes, and then Robert Zemeckis I think
• 41:46
  Speaker 1: was a producer on it. He was involved. He did
• 41:49
  Speaker 1: a Back to the Future is another favorite of mine.
• 41:55
  Speaker 1: It's my all time favorite. I just watched it last night. Really,
• 41:59
  Speaker 1: I watch that there's like five movies that I will
• 42:02
  Speaker 1: watch forever. I can do what you're able to do
• 42:05
  Speaker 1: with ghosts basically reciting the entire script, all the dialogue.
• 42:10
  Speaker 1: I can do that with Back to the Future. Such
• 42:12
  Speaker 1: a great movie. Another very well crafted story, is it?
• 42:16
  Speaker 1: It's a wild story? Well the first one, Like there's
• 42:19
  Speaker 1: so much plant and payoff in that story, and just
• 42:22
  Speaker 1: like every little detail gets paid off later on. Like
• 42:27
  Speaker 1: so I like the third one better than the second one. Honestly,
• 42:31
  Speaker 1: the second one kind of sucks. I like the second
• 42:33
  Speaker 1: half of the second The second half of the second
• 42:35
  Speaker 1: one is good because when he goes back to and
• 42:39
  Speaker 1: then the wild wild last that's fun. I like it.
• 42:41
  Speaker 1: That was that was three? Yeah, I go it goes
• 42:45
  Speaker 1: one three two for me. Fair, I've got another effect
• 42:49
  Speaker 1: about ghost Please please tell us this is This is
• 42:52
  Speaker 1: fun and sort of speaks to um what we were
• 42:54
  Speaker 1: talking about earlier of just like just write a female character. Um.
• 42:58
  Speaker 1: Originally Otomy was written as a white male psychic character. Yeah,
• 43:04
  Speaker 1: the first draft of this movie, right, I don't think
• 43:08
  Speaker 1: I've ever met Oh no, that's a lot. Well, no,
• 43:10
  Speaker 1: he read my tarot cards, but like he was really
• 43:13
  Speaker 1: I don't I've never read my cards were New Orleans.
• 43:18
  Speaker 1: It's very strange, that is, Yeah, how did he fall
• 43:21
  Speaker 1: into that? It was very bad? I handed him all
• 43:23
  Speaker 1: the tarot cards upside down somehow, because he was like,
• 43:26
  Speaker 1: handing to me anyway you want. So I twisted a
• 43:27
  Speaker 1: bunch of them around and he went, huh, I don't
• 43:30
  Speaker 1: know what that means. And I was like that you're
• 43:32
  Speaker 1: bad at this. You're very bad at your job. They're
• 43:36
  Speaker 1: straight men should not be allowed to read cards. They
• 43:40
  Speaker 1: just shouldn't honestly, shouldn't be allowed to do anything in society. Yeah,
• 43:44
  Speaker 1: noticed banned them from Ghost By apparently was written as
• 43:49
  Speaker 1: a white male character. And then the writers of stand
• 43:52
  Speaker 1: By Me, for some reason, there was some sort of conversation.
• 43:56
  Speaker 1: You mean that movie was almost exclusively straight white man.
• 44:00
  Speaker 1: You know, suggestions come from strange places. But they suggested, hey,
• 44:05
  Speaker 1: that's an interesting character. What if it was a woman.
• 44:09
  Speaker 1: And then the writer wrote otomy and the world was
• 44:12
  Speaker 1: better off. So it's really not that difficult, and in fact,
• 44:16
  Speaker 1: usually your output will benefit from another good female character.
• 44:22
  Speaker 1: Do you think Molly and Otomy Brown retain a friendship
• 44:25
  Speaker 1: and go remember that ghost The Molly otomy seemed that
• 44:33
  Speaker 1: we as an audience don't get to see, Oh man,
• 44:37
  Speaker 1: where is that? I love to watch them because let's
• 44:44
  Speaker 1: Samy use her body and then they like dance and
• 44:46
  Speaker 1: I think kiss right now, almost just stay there. I
• 44:50
  Speaker 1: mean it's intimate, it's very intimate. But you get the
• 44:54
  Speaker 1: beginning with Odomy's red fingernails as they like intertwined, so
• 44:59
  Speaker 1: you know that this is the deal, Like it's not
• 45:02
  Speaker 1: just like they're closing their eyes and like they're making
• 45:04
  Speaker 1: physical contact. And then cut too, and and the scene
• 45:08
  Speaker 1: that I like very clearly remembered was like, you know,
• 45:11
  Speaker 1: like Swazie and to me reuniting beautiful and you're crying,
• 45:16
  Speaker 1: but you just gotta go that whoopee is the one.
• 45:20
  Speaker 1: And then you see at the end of that scene
• 45:22
  Speaker 1: there's a very quick shot of them, you know, because
• 45:25
  Speaker 1: then Tony goldans like hey, I'm about to die. And
• 45:27
  Speaker 1: then and then you see them like physically separate. So
• 45:30
  Speaker 1: you're like, oh that all happened. Why not just inter
• 45:34
  Speaker 1: cut some of it for for us? And I was
• 45:37
  Speaker 1: I was like, oh, yeah, whoopy and to me are
• 45:38
  Speaker 1: at the same height. How did it work? How did
• 45:40
  Speaker 1: she nestle her sweet little head? Gotta just suspend that disbelief.
• 45:45
  Speaker 1: I did want to see that though. Well that brings
• 45:48
  Speaker 1: up another point where men are always trying to control
• 45:51
  Speaker 1: women's bodies. They're always trying to enter you. And the
• 45:55
  Speaker 1: scene she gives, but earlier she not give consent. Orlando
• 46:01
  Speaker 1: did not get consent. Nando, Like God, I forgot his
• 46:09
  Speaker 1: name was Orlando? Oh, Nando, You can't be jumping into
• 46:12
  Speaker 1: a bout as you know, that WAPs you out. I
• 46:15
  Speaker 1: love that's a rule that this movie. Yeah, when they
• 46:20
  Speaker 1: follow it, and it pays off later on because then
• 46:23
  Speaker 1: Sam's like, I'm too tired and too weak, and then
• 46:26
  Speaker 1: those cars get in trouble. But then you hear and
• 46:29
  Speaker 1: he like push his carl and then all the ghosts.
• 46:33
  Speaker 1: I liked in that big scene where suddenly out of
• 46:36
  Speaker 1: May is an actual psychic and now she's there's like
• 46:40
  Speaker 1: a million people in her room. All the ghosts are
• 46:42
  Speaker 1: friends and they all know each other out. But then
• 46:46
  Speaker 1: there's weird like it's just like the regular world where
• 46:49
  Speaker 1: there's like the scary schizophrenic guy who hangs out at
• 46:52
  Speaker 1: the tracks, but there's also a community that you can
• 46:55
  Speaker 1: hang in, like there's all sorts of people. Here's a
• 46:58
  Speaker 1: question and I don't know the answer. It's not a trick.
• 47:02
  Speaker 1: Are there any female ghosts in the movie and dead husbands? Yeah? Yeah, yeah,
• 47:08
  Speaker 1: it's kind of hard to tell in that scene because
• 47:11
  Speaker 1: at sam Wat's funeral, he sees a ghost walks through
• 47:15
  Speaker 1: the grave. And then when all when she tells all
• 47:18
  Speaker 1: the ghosts to get out, I believe I saw someone
• 47:21
  Speaker 1: in a skirt walk through the wall. That's yes, But
• 47:23
  Speaker 1: there are no like real female ghosts who have a
• 47:28
  Speaker 1: effect on the movie. They don't. They don't get they
• 47:31
  Speaker 1: don't get Orlando moments. I mean when I'm glad Orlando,
• 47:35
  Speaker 1: because that was like one of my that made me
• 47:37
  Speaker 1: laugh really hard when well, I was annoyed that he like,
• 47:40
  Speaker 1: without what these permission, enters your body, which is like,
• 47:45
  Speaker 1: can we call it rape? But not ghost? Ghost rules
• 47:50
  Speaker 1: are confusing, which are confusing that I loved that. I
• 47:54
  Speaker 1: love the first time that Patrick Swayze someone like walks
• 47:58
  Speaker 1: through him with his with their guts and You're like, no,
• 48:00
  Speaker 1: Patrick Swayzy can see poorly random body animation. What a curse?
• 48:07
  Speaker 1: I forgot that happened. And I love that he was
• 48:09
  Speaker 1: so scared to go through he'd be like, oh no,
• 48:12
  Speaker 1: oh no. Then he leaps through the door and he's
• 48:14
  Speaker 1: like and he like looks back at the door and
• 48:16
  Speaker 1: was like, yeah, dude, you're fucking ghost. What don't you
• 48:19
  Speaker 1: get And then when he goes to the turnstile for
• 48:22
  Speaker 1: the first time and he like stops and looks back.
• 48:24
  Speaker 1: You're a ghost. Keep going, he's new, he doesn't know
• 48:29
  Speaker 1: every single time or yeah, whenever he sticks his head through,
• 48:32
  Speaker 1: something's like is this safe? Yes, and you're like, you're
• 48:35
  Speaker 1: a goddamn ghost. You are fine, You're fine. There's a
• 48:39
  Speaker 1: lot of great Swayzy reaction shot when he finds when
• 48:43
  Speaker 1: he finds out Carl is betraying him the first I
• 48:46
  Speaker 1: thought you were my friends, right, But but first that
• 48:49
  Speaker 1: long shot of just Swayze's eyes watering, like, but I
• 48:53
  Speaker 1: thought friendship was forever, so beautiful. Oh, this movie is
• 48:58
  Speaker 1: so fun and I love really some woman knows where
• 49:02
  Speaker 1: you live. A lot of women know where I live.
• 49:08
  Speaker 1: Can we talk about the climactic sequence at the end,
• 49:11
  Speaker 1: whenever Carl's like banging on the door he breaks in.
• 49:15
  Speaker 1: Sam is all weak because he's just been inside of May.
• 49:19
  Speaker 1: And then Molly and Otomy are kind of like left
• 49:22
  Speaker 1: to fend for themselves for a few minutes and they
• 49:24
  Speaker 1: go up to the roof and there's a moment where
• 49:27
  Speaker 1: Molly tackles Carl Um when yeah, like Carl's kind of
• 49:32
  Speaker 1: attacking oto May, Molly attacks him, gets away, but then
• 49:37
  Speaker 1: he holds a gun to Molly's head. Then Sam needs
• 49:40
  Speaker 1: to save her. It always bugs me when a man
• 49:43
  Speaker 1: needs to save a woman because it's a trope that
• 49:45
  Speaker 1: happens again and again. Yes, but I do think those
• 49:49
  Speaker 1: women were smart enough that they could have saved themselves
• 49:52
  Speaker 1: if given enough time. Yeah, I think so. I think
• 49:55
  Speaker 1: they could have figured something out because I do think
• 49:58
  Speaker 1: they were strong women. But yes, then Sam comes and
• 50:00
  Speaker 1: he flicks the gun away, and then he pushes Carl,
• 50:04
  Speaker 1: and then I mean Carl kind of kills himself because
• 50:08
  Speaker 1: because he flings that look and it hits the window
• 50:11
  Speaker 1: and then the glass falls down and impales him. And
• 50:14
  Speaker 1: then his little thing he wipes down the window and
• 50:18
  Speaker 1: he's like his death is like hilariously gruesome. It's very gruesome.
• 50:23
  Speaker 1: That was what I that most scared me the first
• 50:26
  Speaker 1: time I shot like Carl's I remember having dreams about
• 50:29
  Speaker 1: it because it was so It's weird with this movie
• 50:32
  Speaker 1: because they do like get a ship and a fucking
• 50:34
  Speaker 1: there every once in a that they don't need to
• 50:36
  Speaker 1: and they don't need to impale him like that. But
• 50:38
  Speaker 1: I'm so glad to know, but I'm glad they did.
• 50:42
  Speaker 1: And then when he comes up from his dead body
• 50:44
  Speaker 1: and he's like, hey Sam, and it's like what you
• 50:48
  Speaker 1: can't know? You know what just happened? Were not cool? No,
• 50:52
  Speaker 1: you guys can't be friends now you're both dead, and
• 50:55
  Speaker 1: he's like, oh, Carl. And then the little little mentors,
• 51:02
  Speaker 1: like those things scared me when I was little. I
• 51:05
  Speaker 1: was like, I hope they don't get me in my bed. Yeah. Yeah,
• 51:08
  Speaker 1: they're just little de mentors. Yeah. Then they make that noise.
• 51:16
  Speaker 1: And my favorite part is when Willie Lopez gets hit
• 51:20
  Speaker 1: by three cars and then they like show him dead
• 51:24
  Speaker 1: and then you hear in the background that dude is dead.
• 51:30
  Speaker 1: It's obviously an extra who is just like someone needs
• 51:33
  Speaker 1: to say I want to say it, I'll say it.
• 51:36
  Speaker 1: And he probably said it every take and someone probably
• 51:39
  Speaker 1: was like, hey, man, don't say that again. But then
• 51:41
  Speaker 1: they saw it, like the dailies were like, oh no,
• 51:42
  Speaker 1: that's a that's great. We have to keep it. You
• 51:44
  Speaker 1: know what. This guy's getting his sad probably from that
• 51:48
  Speaker 1: dude is dead. He went from being a featured extra
• 51:52
  Speaker 1: to it's good for him. Perfect. Can we talk about
• 51:58
  Speaker 1: how okay. So it's implied in the movie that cats
• 52:02
  Speaker 1: can see or sense ghosts because Sam we figures it
• 52:07
  Speaker 1: out and then he uses it to advantage to scare
• 52:10
  Speaker 1: off Will Lopez. So I would just like to, for
• 52:15
  Speaker 1: the record, just remind everyone that cats do have eight
• 52:18
  Speaker 1: nipples and they can see ghosts nipples. This has been
• 52:22
  Speaker 1: cat facts with Caitlin. Eight nipples ghosts and you didn't
• 52:29
  Speaker 1: realize how many nipples you've grazed And it was a
• 52:32
  Speaker 1: boycat boycats. That was your question, all question. Yeah, you're
• 52:37
  Speaker 1: stand by it. All mammal male, female, gender non binary
• 52:44
  Speaker 1: animals and people. All mammals have nipples because all embryos
• 52:49
  Speaker 1: start out as female and grow little nipples, and then
• 52:53
  Speaker 1: a certain like hormone is introduced in the womb to
• 52:58
  Speaker 1: determine whether or not it's it ends up being maybe
• 53:02
  Speaker 1: it's probably like a litter of kittens thing like cats
• 53:05
  Speaker 1: have tend to have so many babies at once that
• 53:07
  Speaker 1: they need more nipples. There's a direct correlation to like
• 53:10
  Speaker 1: how many offspring a mammal has at a time to
• 53:14
  Speaker 1: how many nipples they So we're only twins, two little nippies. Yeah,
• 53:20
  Speaker 1: you should be double fisted. Honestly, humans should only have
• 53:24
  Speaker 1: one boob, imagine because we only have usually one baby
• 53:29
  Speaker 1: at a time. So I'm going to campaign for a
• 53:33
  Speaker 1: one boob movement. Well, then I should have no titties.
• 53:37
  Speaker 1: I don't want babies upset me. I want to pull
• 53:41
  Speaker 1: my boobs and have one good one great tips. I
• 53:45
  Speaker 1: want to have one decup instead, and said to too
• 53:49
  Speaker 1: little midgets, it's fine, it's it's manageable in the heat.
• 53:55
  Speaker 1: I accept it. I mean, yeah, big old titties in
• 53:57
  Speaker 1: the heat. That can't be fun. Right, I want and
• 54:00
  Speaker 1: I want in the winter. But keep time of year.
• 54:04
  Speaker 1: I'm grateful this time of year. I count my blessings. Yeah. Well,
• 54:09
  Speaker 1: this has been a very enlightening des Niptalk Nip Nip
• 54:14
  Speaker 1: nip Talk, nip Talk, nip slash talk. That's the name
• 54:20
  Speaker 1: of this podcast. There we go. Hey, let's talk about
• 54:22
  Speaker 1: whether or not ghost passes the Bechtel test. I see,
• 54:26
  Speaker 1: I I haven't told this, but I think it does.
• 54:29
  Speaker 1: I think it technically. Okay, are you your point please? Um? Well,
• 54:33
  Speaker 1: I wrote in a few different places. You're right. I didn't.
• 54:36
  Speaker 1: I didn't think that the police scene doesn't pass because
• 54:38
  Speaker 1: the officer doesn't have a name. Do we ever find
• 54:41
  Speaker 1: out Odemy's sisters names, because there's an extreme I do
• 54:46
  Speaker 1: not think they do have names. They do have names.
• 54:50
  Speaker 1: I just I by the time it occurred to me
• 54:52
  Speaker 1: that I should have known their names, it was too late.
• 54:54
  Speaker 1: And you were right. Because they have a conversation about
• 54:57
  Speaker 1: our cineo hall oh wait, that's a man by our rules.
• 55:00
  Speaker 1: They just have to have There has to be two
• 55:01
  Speaker 1: lines of dialogue where they talk about yeah, and they
• 55:05
  Speaker 1: talk about Otomy, and they talk about like, I don't
• 55:08
  Speaker 1: I don't have the quote in front of me, but
• 55:09
  Speaker 1: they're like, oh, you know, she finally got the power
• 55:12
  Speaker 1: or whatever. And then there's a response that also has
• 55:15
  Speaker 1: to do with Otomy, and I wish I had written
• 55:18
  Speaker 1: down the exact exchange, but I think I because I
• 55:20
  Speaker 1: detailed all of these they technically don't have names. They
• 55:24
  Speaker 1: don't they are credited and I am dB as Odomy's
• 55:27
  Speaker 1: sister and Odomy's sister. So those scenes where there are
• 55:30
  Speaker 1: women interacting. It starts off with Otomy and Mrs Santiago,
• 55:34
  Speaker 1: who does have a name, but they talk only about
• 55:38
  Speaker 1: Mrs Santiago's dead husband, so that does not pass. Then
• 55:41
  Speaker 1: we've got odom May and her sisters. During the scene
• 55:45
  Speaker 1: where Sam is all like, I'm a ghost and you
• 55:47
  Speaker 1: can hear me, and now you have the gift that
• 55:49
  Speaker 1: you didn't think you had, her sisters are like, oh,
• 55:52
  Speaker 1: she's talking crazy. She hit her head harder than we thought.
• 55:55
  Speaker 1: The other ones like she was talking to nobody before
• 55:57
  Speaker 1: she even hit her head, So that would pack as
• 56:00
  Speaker 1: the test if we knew their names, but we don't.
• 56:02
  Speaker 1: Then we've got Auto May calling Molly on the phone
• 56:06
  Speaker 1: to be like, I'm a spiritual reader and I have
• 56:08
  Speaker 1: a message from your friend Sam doesn't pass. Talking about Sam.
• 56:11
  Speaker 1: Then the scene where Automy goes to Molly's apartment, same
• 56:14
  Speaker 1: thing doesn't pass because they only talk about Sam and
• 56:18
  Speaker 1: all the things like because she's trying to convince her
• 56:20
  Speaker 1: I've got your dad friend. Then we've got the cop
• 56:25
  Speaker 1: who is the woman who is all like, I'm never
• 56:28
  Speaker 1: going to take my clothes off again. If there's ghosts everywhere,
• 56:31
  Speaker 1: we don't know her name does not pass. And then
• 56:33
  Speaker 1: we've got Auto May in the psychic shop talking to
• 56:37
  Speaker 1: another lady who's trying to communicate with her dead husband.
• 56:41
  Speaker 1: They either only talk about a man. Either way, that
• 56:43
  Speaker 1: woman is not named I have. I have like a
• 56:46
  Speaker 1: sneaking feeling that there is, and I wasn't doing the
• 56:51
  Speaker 1: close enough notes that that I should have been doing.
• 56:54
  Speaker 1: But I do think that there is an exchange in
• 56:56
  Speaker 1: this movie somewhere that likely technically passes. But I don't
• 57:01
  Speaker 1: think that that between and Molly. Yes, probably, but I
• 57:07
  Speaker 1: think it happens. They always talk about Sam. But if
• 57:11
  Speaker 1: I mean, but even if there's like the next I
• 57:13
  Speaker 1: think an exchange the lines between them of like do
• 57:15
  Speaker 1: you believe yes or no? Like that is the type
• 57:19
  Speaker 1: of exchange that would pass, right, It would be, but
• 57:22
  Speaker 1: it would be so fleeting right right, it's yeah, it's
• 57:25
  Speaker 1: one of those if it's barely right. I think this
• 57:30
  Speaker 1: does pretty right by its female characters. I think they're
• 57:33
  Speaker 1: both well developed and because like May is just such
• 57:36
  Speaker 1: a like dynamic character, just like she's so fun and
• 57:39
  Speaker 1: fun to watch, and Molly is also again she's dealing
• 57:42
  Speaker 1: with a lot of ship, but she's serving the story.
• 57:47
  Speaker 1: So I think the movie treats its female characters well,
• 57:50
  Speaker 1: but I don't think it passes the Bechdel tests because
• 57:54
  Speaker 1: every conversation where women are talking, they're either not named
• 57:57
  Speaker 1: or they're talking about Sam. So that is my stance.
• 58:01
  Speaker 1: But as we've only Swaysy weren't such a lurker, right,
• 58:06
  Speaker 1: or if we just got maybe like a scene of
• 58:09
  Speaker 1: Aftermath after Sam goes to heaven and then is like, well,
• 58:14
  Speaker 1: it's nice meeting you. You want to get some ice cream?
• 58:17
  Speaker 1: You owe me money. I did a lot of work
• 58:20
  Speaker 1: for Sam, and please give me a hundred dollars that
• 58:23
  Speaker 1: could pass the test. And also she would get the
• 58:25
  Speaker 1: money I feel she's entitled to. And I don't think
• 58:28
  Speaker 1: that dem would be stingy about it. No, she'd be like,
• 58:31
  Speaker 1: she'd be like, and also, here's a weird pottery I made.
• 58:37
  Speaker 1: I mean, she helps save her life. To me, was
• 58:39
  Speaker 1: going to get murdered by Willy Lopez otherwise, so or
• 58:43
  Speaker 1: Carl or car Yeah, one or the other. But as
• 58:47
  Speaker 1: we've often mentioned, the Bechtel test isn't necessarily like, it's
• 58:51
  Speaker 1: not the end all be all, like if this movie
• 58:54
  Speaker 1: does pass the test, it's great to women, and if
• 58:56
  Speaker 1: it doesn't, it's bad like shitty movies. It's like like, like,
• 59:00
  Speaker 1: what the guild, But aren't they Oh, I guess they're
• 59:04
  Speaker 1: not constantly talking about Colin Farrell. There's like three scenes
• 59:08
  Speaker 1: where they're like, let's talk about our French lessons. Here's
• 59:12
  Speaker 1: a fun one that passes. Sister act Yes, and I
• 59:15
  Speaker 1: love that that. It's a there's a real Whoopie Goldberg
• 59:18
  Speaker 1: career Foreshadow and Ghost where they're like, give the money
• 59:21
  Speaker 1: to the nuns and she's like, no, none suck. For
• 59:24
  Speaker 1: some variation on that, Nicle probably knows the exact line,
• 59:27
  Speaker 1: give money to a bunch of nuns. They can't even like,
• 59:32
  Speaker 1: they can't even buy panny y. That was a great
• 59:36
  Speaker 1: like end ending line to a senior, always end on
• 59:39
  Speaker 1: a button. I'm trying to think of other favorite movies
• 59:42
  Speaker 1: and if they pass, are probably not. Twang Foo passes,
• 59:47
  Speaker 1: Thanks for everything, Julie Newmar, we see my cousin Vinny
• 59:54
  Speaker 1: does not pass. I wouldn't think so. I haven't seen
• 59:57
  Speaker 1: it in a long time. I think Mercy to me
• 59:58
  Speaker 1: is the only female archer who speaks. I don't think
• 1:00:02
  Speaker 1: there's another woman for her. I've not seen it, but
• 1:00:05
  Speaker 1: that sounds about right. Eddie passies. Another Whoopie Goldberg movie,
• 1:00:08
  Speaker 1: Eddie that passes because she has a friend and they
• 1:00:12
  Speaker 1: talk about basketball. A nice white lady. I like how
• 1:00:17
  Speaker 1: this movie. I mean, there's not a whole lot of
• 1:00:19
  Speaker 1: like tackling race in this movie. But there's a few
• 1:00:22
  Speaker 1: different lines where Odom will be like you're a white guy,
• 1:00:25
  Speaker 1: aren't you? Like and then and then she sees a
• 1:00:28
  Speaker 1: picture of Sam and she's like, oh, you're cute, cute
• 1:00:30
  Speaker 1: white guy. Yeah, and then oh yeah the line where
• 1:00:34
  Speaker 1: she's basically like, uh wait I wrote down when Whoopy
• 1:00:38
  Speaker 1: goldbergs like you know are you? Are you hit? And
• 1:00:41
  Speaker 1: then she's just like literally like a white guy? Why me? Like, well,
• 1:00:46
  Speaker 1: I don't. It doesn't truly tackle race, but it does
• 1:00:49
  Speaker 1: tackle that like she lives in a bad area and
• 1:00:53
  Speaker 1: a murderer lives in her neighborhood, and this white guy
• 1:00:56
  Speaker 1: is very concerned about his white fiance who lives in
• 1:01:00
  Speaker 1: a good area. So I think, I don't it's does
• 1:01:04
  Speaker 1: It doesn't tackle race at all, but like I it
• 1:01:07
  Speaker 1: does tackle like she's like, oh shit, like there's bad
• 1:01:09
  Speaker 1: ship happening in my neighborhood and I'm hoping out this
• 1:01:12
  Speaker 1: white man like you're dead. Yeah, I think let's write
• 1:01:17
  Speaker 1: the movie. We we rate each movie on our Nipple
• 1:01:20
  Speaker 1: scale nipple scale of one to eight. We should adjust
• 1:01:25
  Speaker 1: it for cats. For any movie with a cat in it,
• 1:01:28
  Speaker 1: we should know, but we do. On a scale of
• 1:01:30
  Speaker 1: one to five nipples. No animals have only five nipples,
• 1:01:34
  Speaker 1: unless maybe they started out with six or eight and
• 1:01:38
  Speaker 1: some of them were surly them off. Oh boy, I
• 1:01:42
  Speaker 1: would hate having my nipples are removed. Yeah, I give
• 1:01:45
  Speaker 1: it five Little nippies. It's literally my favorite movie in
• 1:01:48
  Speaker 1: the whole world world. We we we rate it on our
• 1:01:50
  Speaker 1: it's portrayal of female Yeah, I stand by Drive Little Nippies.
• 1:01:55
  Speaker 1: I think the women are great in the movie. I'm
• 1:01:57
  Speaker 1: going to give it four. It get some marks off.
• 1:02:02
  Speaker 1: I don't like that the women have to be saved
• 1:02:05
  Speaker 1: by Sam at the end. That's a trump that's always
• 1:02:07
  Speaker 1: gonna bug me. It's still Sam driving the story it is.
• 1:02:11
  Speaker 1: He's the protagonist, so that makes sense. But I feel like, maybe,
• 1:02:16
  Speaker 1: I don't know, Molly couldn't maybe have a little more
• 1:02:18
  Speaker 1: to do or because she is kind of passive. There's
• 1:02:21
  Speaker 1: also a scene where Willie Lopez is like watching her undress,
• 1:02:25
  Speaker 1: which I guess, like, sure, that's to communicate to the
• 1:02:28
  Speaker 1: audience she's in danger, this is scary. But then Odamy
• 1:02:31
  Speaker 1: tells her, yeah, he watched you undressing. Whatever. But that
• 1:02:36
  Speaker 1: scene like didn't really need to happen, like, we don't.
• 1:02:39
  Speaker 1: Why do we have to see like a voyeuristic naked
• 1:02:43
  Speaker 1: lady scene. She's not. She's also think it paints how
• 1:02:47
  Speaker 1: gross Willie is. Yeah, but and then he gets scratched
• 1:02:51
  Speaker 1: by a cat, which does have eight nipples, so in
• 1:02:56
  Speaker 1: a way, it's an eight out of it. But yeah,
• 1:02:59
  Speaker 1: I think that Molly and especially Otomy are just really interesting,
• 1:03:06
  Speaker 1: multidimensional characters that are enjoyable to watch. And there wasn't
• 1:03:12
  Speaker 1: any moment where I was just like, well, I don't
• 1:03:15
  Speaker 1: like this. There are opportunities where it could pass the
• 1:03:18
  Speaker 1: Bechdel test, but there the whole thing is about a man,
• 1:03:23
  Speaker 1: their relationship otomy, and Molly's relationship is completely contextualized by
• 1:03:27
  Speaker 1: this man. So if they talked about other stuff, would
• 1:03:31
  Speaker 1: it make sense for the movie? Maybe not, but I
• 1:03:34
  Speaker 1: don't know. Just throw a line in there. Oh did
• 1:03:36
  Speaker 1: you watch Oprah yesterday? Yeah? I loved it? How about you? Too? Bad?
• 1:03:40
  Speaker 1: She didn't get this part that's gonna happen? Yeah, I'll
• 1:03:45
  Speaker 1: get I'll give it a ford to based on I mean,
• 1:03:49
  Speaker 1: the two main female characters are both and I wouldn't
• 1:03:52
  Speaker 1: have said this for Molly the last time I saw it,
• 1:03:54
  Speaker 1: but after seeing her this time through our are both
• 1:03:59
  Speaker 1: really well developed and have very clear, strong motivations and
• 1:04:03
  Speaker 1: their storylines. Although they are propelled forward by men, they
• 1:04:08
  Speaker 1: seem like two independent women with heads on their shoulders
• 1:04:11
  Speaker 1: and deal with problems in a way that makes sense. Yeah,
• 1:04:14
  Speaker 1: I mean basically just uh, the one nip off based
• 1:04:18
  Speaker 1: on missed opportunities and less so having to do with
• 1:04:21
  Speaker 1: Odomy and while because I feel like it would be
• 1:04:23
  Speaker 1: disingenuous to the story if they like ended up being
• 1:04:26
  Speaker 1: best friends like that that would not happen in real life,
• 1:04:29
  Speaker 1: but missed opportunities more in terms of it would have
• 1:04:32
  Speaker 1: been very easy to give Otomy's sisters names. It would
• 1:04:35
  Speaker 1: have been very easy to not have almost all male ghosts.
• 1:04:38
  Speaker 1: It would have you know, it would have been very
• 1:04:41
  Speaker 1: easy to flip one of um Odomy's clients into a
• 1:04:45
  Speaker 1: man trying to talk to his wife, you know, like
• 1:04:47
  Speaker 1: they're just little stuff like that. Uh. Four nipples. I'm
• 1:04:50
  Speaker 1: gonna give two to both of Otomy's unnamed sisters. I
• 1:04:55
  Speaker 1: do like that of the women with speaking roles in
• 1:04:58
  Speaker 1: this movie, they are almost all women of color because
• 1:05:03
  Speaker 1: it's o May her sister's Mrs Santiago. Molly's kind of
• 1:05:08
  Speaker 1: the only white woman. Yeah, you don't very much of
• 1:05:12
  Speaker 1: her world, which is like interesting, like you get the
• 1:05:16
  Speaker 1: you get that, like Sam's a Wall Street broker or whatever.
• 1:05:19
  Speaker 1: But then like they spent a lot of time in
• 1:05:20
  Speaker 1: Brooklyn in Prospect Park, I think is where it would
• 1:05:23
  Speaker 1: be like, which was like not gentrified, so like everybody
• 1:05:27
  Speaker 1: on the street as a person of color, like it
• 1:05:28
  Speaker 1: was on the subway to I think they did a
• 1:05:31
  Speaker 1: great job of depicting New York because so many movies
• 1:05:36
  Speaker 1: will be in New York and they'll be like in
• 1:05:38
  Speaker 1: Brooklyn and it's like filled with white people. I'm like,
• 1:05:40
  Speaker 1: I don't know where you are, but now I do.
• 1:05:43
  Speaker 1: Now it's any part of Brooklyn very gentrified. Take some notes.
• 1:05:49
  Speaker 1: So how dare you have a Civil war movie without
• 1:05:53
  Speaker 1: somebody being like, here's your tea. It's like, come on now, Nicole,
• 1:05:58
  Speaker 1: thank you so much for paying. Thanks for Heavy, It's
• 1:06:02
  Speaker 1: been a blast. Where can people find you online? He
• 1:06:05
  Speaker 1: seeing on Twitter and Instagram at Nicole Buyer for both.
• 1:06:10
  Speaker 1: I have a Facebook page because I had a show
• 1:06:13
  Speaker 1: an MTV called Lucy exactly in a call that got canceled.
• 1:06:15
  Speaker 1: But it's being resurrected by Facebook, so you can look
• 1:06:19
  Speaker 1: for that soon. And you can look at my fan
• 1:06:21
  Speaker 1: page and I'll I guess update it great. There's only
• 1:06:25
  Speaker 1: two pictures up. I don't know how to do it,
• 1:06:28
  Speaker 1: but yeah, so you can find me out and I
• 1:06:31
  Speaker 1: perform all over l A. I usually tweet about it
• 1:06:33
  Speaker 1: and I tour, so look for them tweets. Look for
• 1:06:37
  Speaker 1: those tweets. Speaking at tweets, you can follow us on
• 1:06:40
  Speaker 1: Twitter at becktel Cast. You can email us at the
• 1:06:43
  Speaker 1: backtel Cast at gmail dot com. Anytime you're drinking a
• 1:06:46
  Speaker 1: Mike's Hard List now let us know. Also, you can
• 1:06:49
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• 1:06:53
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• 1:06:56
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• 1:07:01
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• 1:07:04
  Speaker 1: was able to pay my student loans this month. Really,
• 1:07:08
  Speaker 1: to be clear, they did not pay my student loans,
• 1:07:10
  Speaker 1: but because we didn't need to absorb the cost of
• 1:07:12
  Speaker 1: the podcast this month, I could pay my students. Yeah,
• 1:07:15
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• 1:07:19
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• 1:07:22
  Speaker 1: that would be great. We'd so appreciate it. Again, Nicole,
• 1:07:25
  Speaker 1: thanks for being here. It's been a lot having me
• 1:07:28
  Speaker 1: have a great time. And men don't ghost on women. No,
• 1:07:32
  Speaker 1: don't call us back, calling back, call us back. But
• 1:07:36
  Speaker 1: also feel free to die. Yeah, it just dies longing
• 1:07:39
  Speaker 1: to leave us some money, all right. Bye,