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Spoiled Saturdays: The Substance · Stuff Mom Never Told You

0:05
Speaker 1: Hey, this is Anny and Samantha. I'm ope this stuff
0:07
Speaker 1: I've never told you. Production Byheartradio and welcome to a
0:20
Speaker 1: special New Year's edition of Spoiled Saturdays. Content warning before
0:26
Speaker 1: we begin, disordered eating, agism, sexism, general grossness. I guess,
0:31
Speaker 1: but yeah, this is a New Year's movie, New Year,
0:34
Speaker 1: New you. That's what I say. Spoilers, definitely spoilers. Thanks
0:41
Speaker 1: to your listeners for suggesting this movie. Thanks to Christina
0:45
Speaker 1: who kind of suggested it after our death becomes her episode.
0:49
Speaker 1: I really really recommend that you go into this movie
0:51
Speaker 1: knowing as little as possible at being said, I'm not
0:54
Speaker 1: going to sugarcoat it is really gross. It does not
0:56
Speaker 1: hold back, but it's it's a bonkers it's wild ride.
1:01
Speaker 2: It's a wild ride traumatized honestly, Like I literally had
1:05
Speaker 2: to sit back for a second and then turn off
1:09
Speaker 2: a familiar show and sit there, even though I'm like
1:12
Speaker 2: an hour past my typical bedtime, and I was like,
1:14
Speaker 2: I have to watch something else before I go to bed.
1:16
Speaker 2: I can't.
1:16
Speaker 1: I can't do this.
1:19
Speaker 3: So that took a good hour of detoxing.
1:22
Speaker 1: Yes, detoxing. Yes, it's funny, because everybody was telling me
1:29
Speaker 1: I needed to see it, and they were like, I
1:31
Speaker 1: can't even explain to you. It's so wild, and I
1:34
Speaker 1: kind of like, I've seen so much that's I'm sure
1:37
Speaker 1: I've seen it. Nope, I couldn't predict that one. So
1:45
Speaker 1: I love it. I'm so excited to talk about it. Okay,
1:48
Speaker 1: So here's the plot. The Substance is a twenty twenty
1:51
Speaker 1: four sci fi horror satire film, directed, written, and produced
1:55
Speaker 1: by Coralie Farja and starring to me more Margaret quality
1:59
Speaker 1: and in this quaid. It was a co production between
2:02
Speaker 1: the US, the UK, and France. Since it debuted, it
2:06
Speaker 1: has been a critical and commercial success and has generated
2:09
Speaker 1: a lot of conversation. Also has a lot of really
2:13
Speaker 1: cool practical effects, and I suggest looking up how they
2:16
Speaker 1: did them if you're interested, because it's really cool. The
2:20
Speaker 1: movie opens on celebrity Elizabeth Sparkles Demi Moore getting a
2:25
Speaker 1: star on the Hollywood Walk of Fan Then we see
2:28
Speaker 1: the progression of time as it goes from being as star,
2:30
Speaker 1: people take pictures with that was kept clean to one
2:34
Speaker 1: that no one recognizes, and people spill food on, and
2:37
Speaker 1: eventually it corracts on her fiftieth birthday, Elizabeth is filming
2:42
Speaker 1: for her long running aerobic show, when she accidentally overhears
2:46
Speaker 1: that she is being fired because of her age and
2:50
Speaker 1: is going to be replaced by someone younger and more beautiful.
2:53
Speaker 1: After being formally let go, she crashes her car while
2:57
Speaker 1: driving back to her apartment when she sees a billboard
2:59
Speaker 1: of her self already being taken down at the hospital.
3:03
Speaker 1: A young orderly slips her a flash drive that he
3:06
Speaker 1: says changed his life on. It is an ad for
3:10
Speaker 1: something called the Substance, a black market product that promises
3:14
Speaker 1: a better, younger, prettier version of yourself. So Elizabeth is
3:20
Speaker 1: kind of thinking about all this and sort of decides
3:23
Speaker 1: not to do it. She runs into a man her
3:25
Speaker 1: age from her class from homeroom, and he asked her
3:29
Speaker 1: if they can go get drinks sometime. Elizabeth somewhat reluctantly
3:33
Speaker 1: agrees to get his number, which he scribbles on a
3:36
Speaker 1: piece of paper that he then promptly drops in the
3:39
Speaker 1: mud and hands it to her. Anyway, she decides, after
3:45
Speaker 1: a few drinks to order the Substance, which is a
3:49
Speaker 1: real secretive process that involves her going by a number,
3:55
Speaker 1: going to a secret location where no one is there.
3:58
Speaker 1: It's like the door doesn't even open all the way.
4:02
Speaker 1: There's a lot of block boxes, and that's how she
4:04
Speaker 1: gets the kit. It's kind of a complicated process, but
4:08
Speaker 1: essentially here it is. There's a single use activator, daily
4:14
Speaker 1: syringes for stabilizer fluid from the spine, and an ivy
4:18
Speaker 1: of nutrients for both the matrix, the original self and
4:21
Speaker 1: the other self, which is necessary because once Elizabeth uses
4:26
Speaker 1: the activator, she collapses on the floor and a younger
4:30
Speaker 1: version of herself emerges from a slit in her back.
4:34
Speaker 1: She then, the younger version, has to hook up the
4:37
Speaker 1: nutrients to her older self the matrix, and inject some
4:40
Speaker 1: stabilizer fluid drawn from Elizabeth to keep her from deteriorating herself.
4:46
Speaker 1: She also has to sew up the back. The way
4:48
Speaker 1: the system works is that they have to switch every
4:50
Speaker 1: seven days, no exception. It's made very clear that they
4:53
Speaker 1: are the same person. The balance must be respected. There
4:58
Speaker 1: is no she and you. You are the same. The younger version,
5:03
Speaker 1: Quali calls herself Sue. Sue goes to audition for Elizabeth's
5:09
Speaker 1: old role on the Aerobic Show, which is now called
5:12
Speaker 1: Pump It Up, and she gets it after a very
5:15
Speaker 1: sexy audition. Harvey's played by Quaid, and yes, that name
5:19
Speaker 1: was intentional. Harvey, the producer who let Elizabeth go, is
5:23
Speaker 1: thrilled about her and even agrees to make her odd
5:26
Speaker 1: scheduling situation work. Sue's image replaces Elizabeth on billboards, notably
5:33
Speaker 1: one's visible from Elizabeth's apartment. Sue becomes a huge success.
5:40
Speaker 1: While about to have sex with someone, Sue starts to
5:42
Speaker 1: feel dizzy and realizes it is time to switch back,
5:46
Speaker 1: but she doesn't want to, so she breaks the rules
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Speaker 1: and takes more stabilizer fluid from an unconscious Elizabeth. The
5:52
Speaker 1: next day, when Elizabeth wakes up, one of her fingers
5:55
Speaker 1: is completely dead like a corpse's. Angry, Elizabeth calls the
6:00
Speaker 1: number she'd used to order the substance and tells them
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Speaker 1: what happened. They remind her there is no her and you,
6:07
Speaker 1: that they are the same, and asks if she wants
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Speaker 1: to quit. She refuses, and in this conversation, Elizabeth keeps
6:13
Speaker 1: saying like she needs to respect the balance. She has
6:16
Speaker 1: to respect the balance. Sue constructs the sort of secret room,
6:21
Speaker 1: and the bathroom tells Elizabeth's unconscious body so she can
6:25
Speaker 1: have people over even though she is really successful. She
6:29
Speaker 1: starts to have worries about her own body becoming with shapen,
6:33
Speaker 1: even having a pretty nightmarish hallucination where chicken bone comes
6:36
Speaker 1: out of her skin. But she is offered the network's
6:40
Speaker 1: coveted New Year's Eve special, watch by millions of people.
6:44
Speaker 1: She agrees. As Sue grows more successful and parties, Elizabeth
6:50
Speaker 1: becomes a self hating hermit who bings. She hate watches
6:55
Speaker 1: interviews with Sue where Sue insults her she cooks for
7:00
Speaker 1: the cookbook, Harvey gave her like whole turkeys, just food
7:04
Speaker 1: everywhere she doesn't clean up. This is very spiteful on
7:08
Speaker 1: her part, where she's like, you gonna wake up and
7:11
Speaker 1: see this mess. Sue is furious when they switch and
7:16
Speaker 1: and she sees the mess, and she decides she will
7:19
Speaker 1: not switch back. Takes a bunch of stabilizer fluid. A
7:25
Speaker 1: few months later, right before the New Year's Eve show,
7:29
Speaker 1: Sue runs out of her supply of this fluid and
7:32
Speaker 1: can no longer extract anymore from Elizabeth. The supplier tells
7:36
Speaker 1: her the only way to get more fluid is to
7:38
Speaker 1: switch back, so that Elizabeth can replenish the supply. Furious
7:43
Speaker 1: but very Desperate, Sue switches back. Elizabeth is now pretty
7:48
Speaker 1: much a walking corpse. Her bones are breaking, she is
7:53
Speaker 1: hunched over, she has lost her hair. Outraged, Elizabeth calls
7:58
Speaker 1: up the supplier demand that they put an end to
8:01
Speaker 1: the whole thing. She wants it to stop. The supplier
8:04
Speaker 1: impresses upon her that there is no going back if
8:07
Speaker 1: she decides to do this, but Elizabeth insists, ordering a
8:10
Speaker 1: serum to terminate Sue. Elizabeth injects Sue with about half
8:14
Speaker 1: the serum before she stops. Realizing she doesn't want to
8:18
Speaker 1: let go of the admiration and attention that Sue is getting.
8:21
Speaker 1: She doesn't know how to live without her. Sue wakes
8:24
Speaker 1: up the termination fluid leaves them both conscious and realizes
8:29
Speaker 1: that Elizabeth tried to kill her and attacks her. After
8:33
Speaker 1: a vicious fight, Sue kills Elizabeth and goes to film
8:37
Speaker 1: the New Year's Eve special. However, she doesn't have any
8:42
Speaker 1: more stabilizer fluid and Elizabeth is dead, so her body
8:45
Speaker 1: starts to deteriorate very quickly. Desperate, she tries to create
8:50
Speaker 1: a newer, better version of herself by using the Activator,
8:54
Speaker 1: the single use activator, despite the warning, this leads to
8:58
Speaker 1: the creation of Montrosso Eliza Sue, a monstrous amalgamation of
9:04
Speaker 1: Elizabeth Sue and the new version. She kind of looks
9:08
Speaker 1: like the rat King from the Last of Us two.
9:10
Speaker 1: To be honest and sorry about it anyway, she puts
9:15
Speaker 1: on Eliza Zue Monstrosso. Eliza Sue puts on the very
9:20
Speaker 1: Cinderella looking dress, puts on a cutout mask of Elizabeth's
9:23
Speaker 1: face when she was younger, and takes the stage. The
9:28
Speaker 1: mask soon falls to the audience's horror, and she sort
9:32
Speaker 1: of gives birth to a breast on live broadcast. People
9:36
Speaker 1: are freaking out. A man tries to cut her hand,
9:39
Speaker 1: her head off, people are calling her monster, and another
9:43
Speaker 1: even more grotesque head sprouts in that place. Her arm
9:49
Speaker 1: falls off. Blood is spewing everywhere, covering everyone, including Harvey
9:54
Speaker 1: and the execs. He introduced Sue to like twenty one
9:59
Speaker 1: thousand liters blood. I think that's the number that they used. Yep,
10:04
Speaker 1: everyone is screaming. Eliza Seu flees the studio, but eventually explodes,
10:10
Speaker 1: leaving a face that inches along the pavement until it
10:14
Speaker 1: reaches Elizabeth Star on the Walk of Fame. She imagines
10:19
Speaker 1: being famous and hearing the cheers of the crowd as
10:23
Speaker 1: she melts into a puddle of blood that is cleaned
10:26
Speaker 1: up the next day.
10:29
Speaker 2: Yeah, in that opening scene someone drops ketchup and burger
10:33
Speaker 2: and so it's in the same pattern, so you know
10:37
Speaker 2: that that's how they open and close it. Essentially, I'm traumatized.
10:44
Speaker 2: So that's all I have to say about this.
10:47
Speaker 3: I get it. It was very heavy handed. I get it.
10:49
Speaker 3: I still traumatized.
10:51
Speaker 2: I was like, damn because like the way they made
10:54
Speaker 2: sure to make the pretty sexy pictures versus the horrific
10:58
Speaker 2: end pictures, like they want you to know what they're doing,
11:01
Speaker 2: the director and the writer, and yes, point made, but damn,
11:06
Speaker 2: I'm trauma.
11:07
Speaker 1: Does Yeah, I love it. I love how bonkers it was.
11:17
Speaker 1: And every time I've shown it to somebody, they've been like,
11:21
Speaker 1: oh wow, I did not know it was gonna go
11:23
Speaker 1: this hard, And it really really went hard.
11:28
Speaker 3: Yeah, like we're not being cute in the mirror.
11:31
Speaker 2: We're gonna be disgusting and grotesque, like like what you
11:35
Speaker 2: think of me?
11:35
Speaker 3: So here we go.
11:37
Speaker 1: Yes, and we're gonna talk about that too, because the
11:40
Speaker 1: director has got a lot of good quotes about that,
11:42
Speaker 1: including about how the ways some people are describing this
11:46
Speaker 1: movie versus other body horror movies that men have done,
11:50
Speaker 1: and the differences in that, which I think is really interesting.
11:53
Speaker 1: And by the way, this director, we have talked about
11:56
Speaker 1: her before. She also directed Revenge, which we talked about
11:59
Speaker 1: in our Rape Revenge movies, and was inspired to write
12:02
Speaker 1: this movie after dealing with internalized negative feelings about her
12:06
Speaker 1: body aging and being forgotten as she grew older. The
12:10
Speaker 1: character of Elizabeth is also in part inspired by Jane Fonda, who,
12:14
Speaker 1: if you don't know, transitioned from being an actress to
12:18
Speaker 1: an aerobic show and it's really interesting to read. I
12:23
Speaker 1: believe her. The director and Demi Moore met six times
12:27
Speaker 1: to discuss this role because Demi Moore was like, I
12:30
Speaker 1: don't know, I don't know, but they eventually were like,
12:34
Speaker 1: really came together and created this really working together. So
12:39
Speaker 1: I think that's great. Obviously, when we talk about themes,
12:52
Speaker 1: one of the big ones agism and sexism, how we
12:56
Speaker 1: treat women, and in this movie, particularly women in Hollywood, disposable, expendable.
13:05
Speaker 1: Literally at one point, when Elizabeth's getting fired, it's a
13:10
Speaker 1: really grossene. Right, Dennis Quaid's character Harvey is eating all
13:14
Speaker 1: of this shrimp, and he just says it just stops
13:17
Speaker 1: at fifty. And Elizabeth asks what stucks and he's like,
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Speaker 1: and he doesn't have an answer, but he's firing her
13:26
Speaker 1: because she's fifty and they always want this younger, better version.
13:32
Speaker 1: In quotes something to someone to be washed away and
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Speaker 1: forgotten as you age, like you're wiped away from your
13:40
Speaker 1: Hollywood star, no matter how much they've done, our sacrifice,
13:44
Speaker 1: because she'd won awards, she'd been working for them forever,
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Speaker 1: and how much pain they might have put their bodies
13:51
Speaker 1: through to meet these standards. And it's really upsetting because
13:56
Speaker 1: she had given so much of herself. It was her birth.
14:00
Speaker 1: They when they fired her, and they give her such
14:04
Speaker 1: a bland gift that says you were great.
14:08
Speaker 3: Right, actually barely talked to her box like mo.
14:11
Speaker 1: Yeah, and it's the happy French cookbook that we'll talk
14:16
Speaker 1: about later.
14:17
Speaker 2: I love the same way he says I love my wife,
14:19
Speaker 2: and that he does such a random statement. I'll like,
14:22
Speaker 2: where did that come from?
14:23
Speaker 1: Okay? He was gross. And I read a really cool
14:27
Speaker 1: article before this talking about how this movie is kind
14:30
Speaker 1: of a really dark fairy tale because you have your
14:34
Speaker 1: quote chrone your young maid. But he would be the devil.
14:38
Speaker 1: He's got like the snake skin boots. He's got that
14:41
Speaker 1: like kind of really creepy smile in the way he's
14:45
Speaker 1: always consuming something. Yeah.
14:49
Speaker 2: Interestingly, the actor Dennis Quait himself like really went out
14:54
Speaker 2: to bat and spoke for the very thing that he represented,
14:58
Speaker 2: like he was painting for Donald Trump.
15:01
Speaker 3: And I find that ironic.
15:02
Speaker 2: I'm like, so you understand what this film is, right,
15:07
Speaker 2: you know they're like implicating here what.
15:14
Speaker 1: And that role was originally going to be played by
15:18
Speaker 1: Rayleioda but he died.
15:21
Speaker 4: Yeah, I'm kind of glad I didn't see him.
15:26
Speaker 2: He would have been great.
15:27
Speaker 3: But I'm really glad that's not the last memories of
15:30
Speaker 3: him I have.
15:35
Speaker 2: Yeah, yeah, that's fair.
15:41
Speaker 1: That's fair. But then it's also very clear when we
15:45
Speaker 1: look at the difference between how people at the studio
15:48
Speaker 1: treat Elizabeth versus how they treat Sue, it is stark.
15:54
Speaker 1: They can't wait to get rid of Elizabeth. They're angry
15:59
Speaker 1: she's been here as long as she has. But Sue,
16:02
Speaker 1: they're like, oh, yes, you need seven days off every
16:04
Speaker 1: other week. We can do it, We will work around it.
16:07
Speaker 1: You're the best, You're so amazing. Have our New Year's
16:11
Speaker 1: Eve show, please, So it makes it very stark in
16:14
Speaker 1: that way, and I do think it's interesting. We'll talk
16:17
Speaker 1: about this more later too. But when Elizabeth's doing her
16:22
Speaker 1: workout show, she's saying things like, you got to get
16:25
Speaker 1: that beach bud, you don't want to be a jellyfish
16:27
Speaker 1: on the beach, like all this stuff. So she's really
16:32
Speaker 1: internalized all of this as well. And then when Sue
16:35
Speaker 1: goes to the audition for the show, right before she
16:39
Speaker 1: goes in someone else auditions, and the two men who
16:44
Speaker 1: are casting kind of snidely are like, too bad, her
16:48
Speaker 1: breast an in the right place.
16:49
Speaker 2: They're implying that her nose, she would look better if
16:54
Speaker 2: her breast was on her face instead of her nose.
16:56
Speaker 1: Yeah, like criticizing her nose. Yeah, yes, which comes back
16:59
Speaker 1: to the end for sure, for sure. And then there's
17:05
Speaker 1: kind of a constant refrain about pretty girls should always smile,
17:11
Speaker 1: which a lot of us have heard, but also towards
17:15
Speaker 1: the end becomes very grotesque because Sue is losing her
17:18
Speaker 1: teeth and cannot give a full smile. Yeah, yeah, trauma past,
17:30
Speaker 1: It's gross. I'm not gonna deny it. I love it.
17:34
Speaker 1: Here's a quote from av Club in a scene that
17:37
Speaker 1: merely hints at the revulsion to come leering at network
17:40
Speaker 1: executive Harvey. Dennis Quaid has a mouthful of shrimp when
17:43
Speaker 1: he informs Elizabeth that she's being put out to pasture.
17:46
Speaker 1: The themes in the Substance are mostly expressed visually, and
17:49
Speaker 1: the casting of the film's male characters is a vicious
17:52
Speaker 1: comment in itself. The movie is populated by mediocre looking
17:55
Speaker 1: men passing judgment on women who are frankly way out
17:59
Speaker 1: of their league. Yep.
18:02
Speaker 2: Yeah. The neighbor was a stark reminder of like what
18:05
Speaker 2: he really thought he was owed. He'd be like, yes,
18:08
Speaker 2: I'm going to take that salads as a yes, we'll
18:10
Speaker 2: see you tonight.
18:11
Speaker 5: Yes, yes, Yeah. He's not cute in any least way. No,
18:16
Speaker 5: And then with Elizabeth he was like, stop being annoying.
18:21
Speaker 5: But with Sue, he's like, oh, you're never annoying. Please
18:24
Speaker 5: come up a drink with me, I'll help you.
18:27
Speaker 2: You.
18:28
Speaker 1: I love your show, it's so good. Yep. And then
18:35
Speaker 1: there there's also just the constant reminder of how Sue
18:42
Speaker 1: being young is better in terms of the billboards that
18:48
Speaker 1: you see the ripping down of Elizabeth and quickly replacing
18:51
Speaker 1: it with Sue's mirrors. There's a lot of mirrors. This
18:55
Speaker 1: maybe actually doesn't have a lot of dialogue, and that
18:57
Speaker 1: was done purposely, but there's a lot of like looking
19:02
Speaker 1: into mirrors and having when Elizabeth it's her turn, and
19:07
Speaker 1: always having Sue kind of watching over her through her
19:10
Speaker 1: like wide apartment windows, and not being able to forget
19:14
Speaker 1: that she was fired and Sue was hired, and Sue
19:18
Speaker 1: is the one that people appreciate. And a door now
19:23
Speaker 1: and it used to be her, and in fact she breaks.
19:26
Speaker 1: She has a poster, a framed poster of her when
19:29
Speaker 1: she was younger, and she throws one of her awards
19:32
Speaker 1: at it and cracks the eye of it. So even
19:38
Speaker 1: her younger self is hanging over her. And then how
19:43
Speaker 1: we view age and I think this is very over
19:47
Speaker 1: the top done in a fun way with how the
19:52
Speaker 1: makeup effects of what happens to do me more. They
19:56
Speaker 1: even have stages. There's one that's like Crone Gollum and
20:00
Speaker 1: then lots of Sue. That's what they called it. What
20:04
Speaker 1: I was watching, I was like, this is like a corpse,
20:06
Speaker 1: Like she looks like the way her finger in the beginning,
20:09
Speaker 1: it's like bone and decayed skin, which I learned a
20:14
Speaker 1: new term have exploitation, which is what it sounds like,
20:19
Speaker 1: but using older women as the villain or something really
20:24
Speaker 1: scary or something disgusting. And this movie really leaned into that,
20:30
Speaker 1: really really leaned into it. And it's I really recommend
20:37
Speaker 1: reading how they did the special effects of it, because
20:40
Speaker 1: it's fascinating. But it took a lot. It took a
20:44
Speaker 1: long time to apply, it took a lot to act
20:46
Speaker 1: in it. And me more is apparently really determined, like
20:50
Speaker 1: we're going to get this right. Even if I have
20:52
Speaker 1: to deal with this. We don't want to disrespect the makeup,
20:54
Speaker 1: So if we have to take it off and do
20:56
Speaker 1: it again, we'll do it again. And then the saying
21:00
Speaker 1: of Tony Moore was also very purposeful because she has
21:06
Speaker 1: kind of gone through this and she's had a lot
21:08
Speaker 1: of quote since then. I think she was very unsure
21:12
Speaker 1: and I get it that this movie would be exercise
21:15
Speaker 1: or not. But now that it is, she's had a
21:18
Speaker 1: lot of comments about what she thinks about it. But
21:22
Speaker 1: from av Club, here's another quote. The complexities of making
21:25
Speaker 1: a living based on one's looks and the emptiness that
21:28
Speaker 1: is left when that life is no longer possible provides
21:30
Speaker 1: a rich text for More, whose it girl days in
21:33
Speaker 1: the mid eighties also led to a long career as
21:35
Speaker 1: a famous movie star. But More is sixty two and
21:38
Speaker 1: is surely aware of her changing status within the industry.
21:42
Speaker 1: Going back to their other quote, though, I do think
21:43
Speaker 1: it's interesting that, I mean, she aged very well, but
21:46
Speaker 1: still she's being kicked out because she's fifty.
21:49
Speaker 2: Right. There's so much because agism has always played her,
21:55
Speaker 2: whether it's the character she plays with so yeah, in
21:59
Speaker 2: decent repose. That was absolutely the beginning part of the
22:02
Speaker 2: beginning of her career, all those sexy movies ghosts, like
22:06
Speaker 2: she was known as the it girl in the eighties
22:10
Speaker 2: and nineties, and so her going into that and then
22:13
Speaker 2: getting older, but like every age they would feature her
22:17
Speaker 2: as like looking amazing at thirty, looking amazing at forty.
22:20
Speaker 2: They really did that, And then Ashton Kutcher came along
22:24
Speaker 2: after Bruce Willis. There's so much conversation about her aging
22:28
Speaker 2: and whether or not she's aging gracefully or what she's doing,
22:32
Speaker 2: and her stepping in and out of about like limelight,
22:35
Speaker 2: whether she was dating someone who was or marrying someone's
22:37
Speaker 2: significantly younger, playing these characters, not playing these characters, being
22:41
Speaker 2: a mother, you know, like these she kind of represents
22:45
Speaker 2: that conversation, like to me, more is an icon in
22:50
Speaker 2: itself because of that, And now she's in this age
22:53
Speaker 2: and time where things are being fixed, whether it's ozimbic,
22:57
Speaker 2: whether it's plastic surgery, and so everybody's watching her because
23:01
Speaker 2: she's always been kind of that representation. Oddly without being
23:07
Speaker 2: said that she's that representation, So this perfectly made sense.
23:11
Speaker 2: Like the only other person that may like even come
23:16
Speaker 2: close to this, I don't know, baby, I don't even
23:18
Speaker 2: think Nicole Kinman was that, but that was not something
23:21
Speaker 2: that was a part of her conversation either. Even though
23:23
Speaker 2: it is, it isn't like she was always in that
23:26
Speaker 2: forefront in that conversation.
23:29
Speaker 1: Oddly, Yeah, I hadn't thought about that part. But yeah,
23:32
Speaker 1: she definitely definitely has been and this was an episode
23:39
Speaker 1: where it could have been many, many parts. But she
23:43
Speaker 1: does have a lot of good quotes if you want
23:44
Speaker 1: to look them up, where she was talking about how
23:48
Speaker 1: she feels now that this movie has come out and
23:50
Speaker 1: resonated with people, and how it's made her think about
23:53
Speaker 1: some of the way she's been treated or thinks she's
23:56
Speaker 1: seen in her own life. And also interestingly, I love this.
24:00
Speaker 1: Several women have written about how this movie made them
24:02
Speaker 1: feel better about aging.
24:03
Speaker 3: I mean, you definitely do hold on to a moment.
24:05
Speaker 2: I say this as I've made episodes of like I'm
24:07
Speaker 2: aging and I need help, like where I'm like, maybe
24:11
Speaker 2: it's not so bad, I shouldn't do things.
24:17
Speaker 4: Yeah, because in the end she wanted to go back
24:22
Speaker 4: to that face, you know what I mean, Like it
24:23
Speaker 4: kind of was that kind of conversation like I wasn't
24:26
Speaker 4: so bad that I shouldn't have done this because this
24:29
Speaker 4: wasn't worth it.
24:30
Speaker 2: But yeah, it kind of has that crash out of
24:32
Speaker 2: like maybe it's not worth it because the price you
24:35
Speaker 2: have to pay, whether it's having to take out fillers
24:39
Speaker 2: or like melting fillers out of your face because you
24:41
Speaker 2: realize it's actually not doing you well, or having breast
24:44
Speaker 2: and plants and not that there is anything wrong with
24:45
Speaker 2: these things, but like the repercussions sometimes the health uh
24:50
Speaker 2: like crisis that have to have happened with some people
24:54
Speaker 2: afterwards because there's not enough information or they got they
24:56
Speaker 2: went to the wrong place. Yeah, you know, that's definitely
24:59
Speaker 2: a conversation, and I think that kind of comes back
25:01
Speaker 2: to her trying to put her old face back on.
25:05
Speaker 1: Yeah, And I think that to me, one of the
25:08
Speaker 1: saddest parts of the movie, if not the saddest part,
25:10
Speaker 1: is when she does agree to go on that get
25:13
Speaker 1: the drinks with the guy yeah, who is perfectly nice,
25:18
Speaker 1: perfectly average, but perfectly nice, And she puts on makeup.
25:21
Speaker 1: She looks great, and then she keeps seeing her reflection
25:25
Speaker 1: or she sees Sue, and she just keeps taking off
25:28
Speaker 1: her lipstick and applying it and putting on more makeup
25:31
Speaker 1: and then taking it off and like just viciously scrubbing
25:34
Speaker 1: it off. And it's so sad. So you're like, just
25:36
Speaker 1: go you look great, just you can do this. But
25:39
Speaker 1: she can't make it out the door and she never goes,
25:42
Speaker 1: and it's a very very sad part. And in the end,
25:48
Speaker 1: Sue kills Elizabeth, who at that point does almost pretty
25:54
Speaker 1: much personified death. So age comes for you all, does
26:00
Speaker 1: it serious? Gonna goel too? But Yeah, going back to
26:05
Speaker 1: what you were saying. Another theme in this is the
26:09
Speaker 1: quote best self, which in this case is the younger,
26:13
Speaker 1: better version. This kind of perfectionism. I read I'm not
26:21
Speaker 1: sure if this is true, but I read that Margaret
26:24
Speaker 1: Quality wore prosthetics to make everything like more symmetrical and perfect.
26:30
Speaker 2: Well, I would assume this is without any research, that
26:34
Speaker 2: they had to make our look absolutely perfect, and we
26:37
Speaker 2: know that's not the case. So whether it's airbrush, whether
26:40
Speaker 2: it's edited, like they had to make her even though
26:44
Speaker 2: she's beautiful as is, there's something there's always cellul like,
26:48
Speaker 2: there's always a little birthmark, there's always these things. So
26:52
Speaker 2: I'm sure that she had to do extra. She had
26:55
Speaker 2: to do extra, whether it was taping up of things.
26:58
Speaker 2: Obviously she had to get like first thing I thought
27:01
Speaker 2: was like, oh, she definitely went got wax like like
27:05
Speaker 2: everything everything, And we know people are hairy, come on,
27:09
Speaker 2: her mother was a hairy woman like Annie McDowell, who
27:12
Speaker 2: was also a another nineties icon, was was not She's
27:17
Speaker 2: naturally dark hair, so that that just happens, you know,
27:21
Speaker 2: So for her not have any hair, I'm like, yeah,
27:23
Speaker 2: she definitely, yes.
27:28
Speaker 1: Yes, And that I mean that is the thing of
27:32
Speaker 1: we've talked before about, you know, constantly beingmbarded with those
27:35
Speaker 1: images of this is perfect, this is what I have
27:37
Speaker 1: to do that's howkeed look. And if you don't fit that,
27:42
Speaker 1: how do you fix it? How what can they sell
27:44
Speaker 1: you to quote fix it? And this is when we
27:49
Speaker 1: come to the conversation of quick fixes. This is literally
27:52
Speaker 1: a black market drug that she has to go to
27:55
Speaker 1: a strange location to pick up. There's no one there.
27:59
Speaker 1: They I ever referred to her by her name, only
28:01
Speaker 1: her number. You have to drain your spinal fluid, you
28:07
Speaker 1: have to sew up your back, you have to be
28:11
Speaker 1: unconscious for a week like that. That's kind of the
28:16
Speaker 1: desperation she felt, especially as somebody who that was her career,
28:20
Speaker 1: and that was how she had so long to find
28:23
Speaker 1: herself and so long found meaning, that's how desperate she was.
28:29
Speaker 1: She was like, Okay, I'll try this. And by the way,
28:34
Speaker 1: this the substance video she watched, is very like tech bro.
28:40
Speaker 1: It's a dude narrating it. Every time she talks to him,
28:44
Speaker 1: he's like, I told you to respect the balance. Like
28:48
Speaker 1: it's very it has that vibe of like a tech bro.
28:52
Speaker 1: We can make money off of these women. However, there
28:56
Speaker 1: are men that do it.
28:58
Speaker 2: You run into I wonder now that I think about it,
29:02
Speaker 2: is it the orderly dude.
29:04
Speaker 1: Yeah, you had the same scar. Okay, okay, yes. You
29:09
Speaker 1: run into his older version and he's like, has she
29:12
Speaker 1: started trading you yet? Has she started stealing the time,
29:18
Speaker 1: So even for him, the person who recommended it to her,
29:24
Speaker 1: he was like, Oh, no, I shouldn't you shouldn't have
29:27
Speaker 1: done this. I shouldn't have shouldn't have done this. Here
29:30
Speaker 1: is another quote from av club. These combined with an
29:34
Speaker 1: aesthetic of syringes and latex clubs best described as medspas chic,
29:38
Speaker 1: evoking miracle cures like ozembic and botox that encourage people,
29:42
Speaker 1: mostly women, let's be real to pump themselves full of
29:45
Speaker 1: barely regulated substances whose side effects won't be clear for
29:49
Speaker 1: a few more decades, so they can make themselves more
29:51
Speaker 1: palatable to patriarchal beauty standards. None of this will prevent
29:56
Speaker 1: the lumpy men who rule the world from throwing you
29:59
Speaker 1: away when you don't give them a boner anymore. As
30:01
Speaker 1: Elizabeth Sparkle rudely discovers early on in the film, Elizabeth
30:06
Speaker 1: is extremely famous, Billboard famous, Walk of Fame famous, and
30:09
Speaker 1: has been for decades. You'd think this would give her
30:12
Speaker 1: the slightest bit of leverage when it comes to renegotiating
30:15
Speaker 1: her contract as the host of the aerobics program that
30:18
Speaker 1: broadcast her tight body and sparkling smile into millions of
30:20
Speaker 1: American homes every week. You'd be wrong. And that's another
30:25
Speaker 1: thing is she doesn't it's these men who decide she's done.
30:30
Speaker 1: She doesn't decide that. They're just decide it. And it's
30:34
Speaker 1: because of her age. And I do think you know
30:39
Speaker 1: the title of the substance when you're talking about so
30:41
Speaker 1: we don't even know what it is and we don't
30:44
Speaker 1: know how it works, but she was willing to give
30:46
Speaker 1: it a try. I didn't want to put in here
30:51
Speaker 1: after things go terribly awry. The Eliza Sue prosthetic took
30:55
Speaker 1: six hours to apply. Quality said it made her very claustrophobic.
31:01
Speaker 1: But it's really cool. I just can't recommend enough to
31:03
Speaker 1: look up how they made it and how they did
31:05
Speaker 1: it and the blood and everything. Oh my gosh. But
31:10
Speaker 1: Farjah said of that, the only gaze that matters is
31:14
Speaker 1: her own. It's the reconciliation between all of the parts.
31:17
Speaker 1: The moment she reveals what inside her guts, but we
31:20
Speaker 1: are told to hide, be ashamed of everything is out.
31:23
Speaker 1: The butt is on the head, and the boobs are everywhere,
31:25
Speaker 1: and all those parts have been bedicized about are kind
31:28
Speaker 1: of exploded. And she is finally and she finally has
31:31
Speaker 1: some tenderness for herself. And that's true, and a lot
31:35
Speaker 1: of sums looking in the mirror, but she's putting on
31:38
Speaker 1: her earrings, at her dress and combing her hair. It's
31:42
Speaker 1: like the nicest she's looked at herself in the mirror.
31:46
Speaker 1: And I mean, of course it's really sad ultimately, but
31:50
Speaker 1: when she presents herself to her audience, she's like, it's me.
31:53
Speaker 1: I'm still the same person. I don't understand why you're
31:56
Speaker 1: reacting this way as if I'm a monster. I hadn't really.
31:59
Speaker 1: I'm glad I read that quote because I was just
32:00
Speaker 1: kind of like, oh, she's putting on earrings.
32:04
Speaker 3: Yeah, I was like, she's trying to be presentable.
32:06
Speaker 2: She's going But it could also I do also wonder
32:09
Speaker 2: like it's partially in a conversation of like, no matter
32:12
Speaker 2: how much suffering you're going through, you still have to
32:14
Speaker 2: dress up and present yourself like women constantly would do
32:18
Speaker 2: so well. Women may like talking about women who have
32:21
Speaker 2: babies and are pregnant. They get themselves nice. They do
32:24
Speaker 2: their nails, they get their toes done, so when they're
32:26
Speaker 2: looking at it, it looks nice.
32:28
Speaker 3: Like these things that they.
32:29
Speaker 2: Do, whether it's for others or themselves, it is literally
32:32
Speaker 2: a thing like I have to be.
32:33
Speaker 3: Presentable, no matter the disastrous situation I'm in, or if
32:38
Speaker 3: I'm just bleeding.
32:39
Speaker 2: Out of every orfice then non orphus things that shouldn't
32:44
Speaker 2: be bleeding.
32:47
Speaker 1: She did try to make herself resentable. She did, like
32:50
Speaker 1: even the mask she put the smile on with the
32:53
Speaker 1: lipstick YU.
32:55
Speaker 2: So yeah, I'm not being an ode to the joker
32:57
Speaker 2: to be honest that though she was literally crashing.
33:01
Speaker 1: Out here we go. Yeah, well, I love how like
33:10
Speaker 1: nobody noticed it too. I think that's really telling that
33:12
Speaker 1: nobody noticed something was a miss until.
33:15
Speaker 3: That was the part that I'm like, he let her in.
33:19
Speaker 1: Yeah what uh huh, like they put her on the
33:22
Speaker 1: on screen.
33:24
Speaker 2: There were so many well, there's so many things I
33:25
Speaker 2: had questions about because I'm like, this doesn't work this way.
33:28
Speaker 1: I know that's.
33:30
Speaker 2: Absurd, but my question on one of the parts was
33:33
Speaker 2: like wait auh. At one point she was you know
33:37
Speaker 2: the fluid that which is the food.
33:38
Speaker 3: For yours for your part fluid.
33:40
Speaker 2: This if you are where did she get that food?
33:45
Speaker 2: Because she was almost suffocating. You get it from the
33:50
Speaker 2: only has seven day supply.
33:52
Speaker 1: You can get refilled without doing the The problem is
33:55
Speaker 1: she ran out of stable stabilizer fluid. But it's like
33:58
Speaker 1: a subscription. She just kept getting it. Okay, yeah, I'll
34:02
Speaker 1: give you.
34:03
Speaker 2: And I was like, she's just suffocating, but she doesn't
34:05
Speaker 2: have food, like that's why she's a nosebleeding.
34:18
Speaker 1: Well, that does bring us to my next point. Consumption.
34:21
Speaker 1: That's a big theme in this a lot of food
34:27
Speaker 1: and eating in this movie. I've already talked about Dennis
34:32
Speaker 1: Quaid in the Shrimp, very gross, very visceral. You can
34:36
Speaker 1: hear him eating him with the cigarette like it zooms in.
34:41
Speaker 1: You can hear it very viscerally as well. This is
34:46
Speaker 1: also how we see some female rage because I'm both
34:50
Speaker 1: extremes of eating and not eating. Because previously Elizabeth had
34:55
Speaker 1: been pretty shut off from being fired, like any anger
34:58
Speaker 1: about it or anything visible. But when she starts to
35:07
Speaker 1: see Sue is taking her time or again they are one,
35:11
Speaker 1: but to her it feels like Sue is taking her time.
35:15
Speaker 1: That's when she's watching the she's watching Sue being interviewed
35:18
Speaker 1: and making fun of her and being like, oh, that
35:21
Speaker 1: she's out of my generation. She's more like my mom's
35:23
Speaker 1: age or whatever, my mom generation. And that's when Elizabeth
35:28
Speaker 1: gets out the French cookbook and starts to make everything
35:32
Speaker 1: in there, a lot of meats like blood sausage, and
35:36
Speaker 1: it's very rage filled, it's very bitter, and she does
35:41
Speaker 1: do it to get back at Sue, because when Sue
35:47
Speaker 1: comes Toue it's just a mess. It's an absolute mess.
35:52
Speaker 1: Food everywhere, dishes everywhere, it's really nasty. But she kind
35:56
Speaker 1: of starts, she stops giving a She also like starts
36:00
Speaker 1: yelling at the guy across the hall, like slams the
36:03
Speaker 1: door open. She's just not not into it anymore. A
36:08
Speaker 1: lot of people were relating to that to get related
36:10
Speaker 1: to the pandemic, like this, what's resonating with me? But
36:15
Speaker 1: also when we talk about consumption, I would say we've
36:19
Speaker 1: discussed this before, but a lot of the way camera
36:24
Speaker 1: shots have typically been used to film women, it's very
36:27
Speaker 1: like objectifying of body parts, very pornographic, and so it's
36:34
Speaker 1: like you're consuming just this part, are just this part,
36:41
Speaker 1: and the director has talked about that and and that
36:46
Speaker 1: kind of goes back to why she wanted to make
36:51
Speaker 1: the objectified parts explode or become gross because she gives
36:57
Speaker 1: birth to a boob from her forehead. So that was
37:03
Speaker 1: a very interesting interviews she's done about this movie. But
37:08
Speaker 1: also self loathing is a big theme because they both
37:17
Speaker 1: they're the same person. It says again, all all throughout
37:20
Speaker 1: the movie, respect the balance, you are one. But they
37:23
Speaker 1: hate each other. And we've discussed before the self comparison
37:28
Speaker 1: trap of always comparing yourself to your younger self or
37:32
Speaker 1: even like future worries about your older self. Sue literally
37:38
Speaker 1: dry heaves at the thought of switching back and calls
37:41
Speaker 1: her Elizabeth, her sick mother. They do more than once
37:47
Speaker 1: try to kill each other, but in the end it's Elizabeth.
37:52
Speaker 1: Elizabeth can't do it, but Sue can, and Sue does.
37:57
Speaker 1: Sue kills her, but Elizabeth can't give up Sue because
38:01
Speaker 1: she loves her too much, or she loves the idea
38:03
Speaker 1: of being young and worshiped and having an audience love
38:06
Speaker 1: her too much and it's too powerful for her to
38:11
Speaker 1: let go. And she does say things like when she's Eliza,
38:18
Speaker 1: Sue like why you love me, it's me, is still me,
38:21
Speaker 1: Like she just wants that love, that adoration, and is
38:26
Speaker 1: willing to make all these sacrifices and go through all
38:31
Speaker 1: this pain for those who are watching, who would throw
38:35
Speaker 1: her away in a second to succeed. I also think
38:40
Speaker 1: there's a theme of addiction in here, being kind of
38:44
Speaker 1: addicted to that that feeling, and maybe even to the
38:51
Speaker 1: idea of eventually like being younger when you could. And
38:57
Speaker 1: then there are a lot of this. As I said,
39:02
Speaker 1: there's not a lot a dialogue in this movie, So
39:06
Speaker 1: a lot of this is how you're seeing yourself when
39:09
Speaker 1: people are seeing you, and it's reflected through mirrors or images,
39:14
Speaker 1: the never ending hallway at the company, the studio that
39:19
Speaker 1: feels very much like the shining Alissa Wilcomson of The
39:23
Speaker 1: New York Times wrote in the end, that's what the
39:26
Speaker 1: Substance does best, not just remind us about the observed
39:29
Speaker 1: standards for female beauty and the destructive power of celebrity,
39:33
Speaker 1: but turn the mirror back on us. The sharpest critique
39:36
Speaker 1: isn't about bodies, but about the way we've trained ourselves
39:38
Speaker 1: to look at those bodies and the effect that has
39:41
Speaker 1: on our own. The movie is appropriately enough a mirror,
39:45
Speaker 1: and our discomfort reveals our own hidden biases and fears
39:48
Speaker 1: about ourselves, being older, being famous, being seen, being loved,
39:52
Speaker 1: being usurped by someone younger and hotter. It's all here.
39:57
Speaker 1: Nothing like a mirror to remind you what lurks beneath.
40:00
Speaker 1: A career spent in front of cameras, first as a
40:03
Speaker 1: celebrated actress and then as a celebrity fitness instructor on
40:06
Speaker 1: a show called Sparkle. Your life with Elizabeth abruptly ends
40:09
Speaker 1: when an executive decides she's too old to be worthy
40:11
Speaker 1: of being seen. He gets to decide if anyone wants
40:14
Speaker 1: to look at her, and if he turns the cameras away,
40:17
Speaker 1: does she even exist? Who?
40:22
Speaker 2: So?
40:23
Speaker 1: A lot a lot to be said about this movie.
40:25
Speaker 1: These are just a few of my thoughts. But before
40:28
Speaker 1: we close out this episode, I did want to touch
40:30
Speaker 1: on some irl news stories because it has generated a
40:35
Speaker 1: lot of conversation and a lot of headlines. One is
40:39
Speaker 1: I'm only going to touch on this very briefly because
40:40
Speaker 1: I thought it was funny, but Kim Kardashian criticized this movie,
40:45
Speaker 1: Oh really very very funny because people are like interesting
40:51
Speaker 1: and one of my favorite comebacks was it's like AI
40:54
Speaker 1: criticizing Terminator.
40:56
Speaker 3: I think she'll learned to appreciate this movie soon enough.
41:00
Speaker 1: I feel bad, like I it was just funny because
41:02
Speaker 1: it seems so out of touch. Like I'm not saying
41:06
Speaker 1: they're not standards, I'm not saying anything like that. It
41:09
Speaker 1: was just so out of touch.
41:11
Speaker 2: I wonder though, what she baited, maybe because like, why
41:14
Speaker 2: would Kimardi. I've not heard her talk about movies ever,
41:18
Speaker 2: so this is interesting that that's a that's even a thing.
41:21
Speaker 2: So what did they go after her? Being like, you're
41:24
Speaker 2: the representation, You're who they're talking about. So she's all
41:26
Speaker 2: in mac gonna be like what No, Like, I can't
41:30
Speaker 2: imagine she even watched this movie.
41:32
Speaker 1: I feel like she had her review and most of
41:35
Speaker 1: the things I read were I don't know where it
41:38
Speaker 1: came from, but most of the things I read it
41:40
Speaker 1: didn't feel like she had been baited by them. They
41:43
Speaker 1: were just kind of like, oh oh.
41:46
Speaker 3: Yeah, interesting.
41:48
Speaker 1: Interesting.
41:49
Speaker 2: I saw a headline recently about a couple of months ago,
41:52
Speaker 2: and I wanted to talk about it about how they
41:54
Speaker 2: felt like getting older meant they were disappearing, like they
41:57
Speaker 2: were no longer seen and what that meant, the freedom
42:00
Speaker 2: and the costs. And I saw that.
42:02
Speaker 3: I think it was before the movie.
42:05
Speaker 2: So people are talking about how aging has seen that,
42:08
Speaker 2: and I was like, huh, because again, part of my
42:12
Speaker 2: conversation is like, I obviously we're all growing older, but
42:14
Speaker 2: we were getting to a specific age where I'm like,
42:16
Speaker 2: I'm technically at midlife. So what does that look like?
42:19
Speaker 2: And have I disappeared and what does it disappearing mean?
42:23
Speaker 1: Yeah? Yeah, Like I said, a lot of people wrote,
42:30
Speaker 1: especially around the pandemic, and we've talked about this a lot,
42:33
Speaker 1: how our body's changed during the pandemic in ways that
42:37
Speaker 1: we might not like given standards that we we've are
42:41
Speaker 1: surrounded by in society. And people are saying, you know,
42:46
Speaker 1: I found this. I really related to this, whether they
42:49
Speaker 1: are saying, oh, it made me feel better about aging,
42:51
Speaker 1: and some people were just like it was nice to
42:53
Speaker 1: see something about it. So yeah, I think that is
42:57
Speaker 1: a conversation that's really happening right now. We should come
43:00
Speaker 1: back and talk about that. Another thing that happened that
43:06
Speaker 1: got a lot of headlines was Farjop pulled this film
43:10
Speaker 1: from Poland's Camera Image Film Festival after quote highly misogynistic
43:15
Speaker 1: comments from the festival's founder, Merricks Fuadovitz published He published
43:21
Speaker 1: an essay titled Time for Solidarity in Cinematography World, and
43:26
Speaker 1: this essay was his response to a petition issued by
43:29
Speaker 1: the organization Women in Cinematography in which they were calling
43:32
Speaker 1: for the event to do more around supporting women in
43:35
Speaker 1: the industry. And the founder's response was not great because
43:39
Speaker 1: he said, quote, it raises a question. Can the pursuit
43:43
Speaker 1: of change exclude what is good? Can we sacrifice works
43:46
Speaker 1: and artists with outstanding artistic achievements solely to make room
43:50
Speaker 1: for mediocre film production? So he's basically saying women cinematographers
43:58
Speaker 1: are mediocre, they shouldn't for them. So she pulled the
44:03
Speaker 1: film and it was a whole thing. The backlash is
44:06
Speaker 1: pretty intense and immediate, and the founder claims he was misinterpreted.
44:12
Speaker 1: He said he'd been working with that organization WIC and
44:16
Speaker 1: posted a diversity and inclusion proposal, though WIC claimed they
44:20
Speaker 1: wrote it and he only posted it after everyone got
44:23
Speaker 1: mad at him, which sounds about right too me right, But.
44:28
Speaker 2: What I did?
44:29
Speaker 3: Oh no, just kidding, I just claimed it.
44:31
Speaker 1: Yeah, but this movie has gotten a lot of awards buzz,
44:36
Speaker 1: so we'll see what happens. I did want to end
44:40
Speaker 1: with this quote from Farjah. I needed the substance to
44:44
Speaker 1: be bloody, to be excessive, to have a real strong
44:47
Speaker 1: message that it's time for a change, for a real change,
44:50
Speaker 1: and the change cannot be delicate. It cannot be gentle,
44:52
Speaker 1: it cannot be small. It needs to be massive, it
44:55
Speaker 1: needs to be everywhere, and it needs to be now.
44:59
Speaker 1: So she really but when we're saying she didn't pull
45:03
Speaker 1: hold back, she did not hold back. So yeah, I
45:09
Speaker 1: highly recommend it. It is very gross, but traumatized.
45:15
Speaker 3: I'm tryna leave it at that.
45:16
Speaker 1: Yes, I mean when we say it's body are it's
45:20
Speaker 1: mm hm traumatized. Well, thanks for going on this journey
45:27
Speaker 1: and thanks to everybody who recommended it.
45:30
Speaker 2: Uh.
45:30
Speaker 1: If you have any recommendations, we would love to hear from.
45:34
Speaker 1: You can emails a Stephanie momsteffant heeartmedia dot com. You
45:38
Speaker 1: can find us on Twitter and blue Sky at mom
45:39
Speaker 1: Stuff podcast or on Instagram and TikTok a stuff I
45:42
Speaker 1: Never told you for us on YouTube. We have a
45:44
Speaker 1: tea public store and we have a book you can
45:46
Speaker 1: get wherever you get your books. Thanks, It's always too
45:48
Speaker 1: our super producer Christina, executive producer, My and R. Contruder Joey,
45:51
Speaker 1: thank you and thanks to you for listening. Steffan never
45:54
Speaker 1: told you his direction by heart Radio. For more podcasts
45:55
Speaker 1: from My Heart Radio, you can check out the heart
45:57
Speaker 1: Radio app, Apple podcast or Regula send to your favorite
45:59
Speaker 1: shows