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Overboard (1987) with Mo Fry Pasic · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdel Cast. The questions asked if movies have.
• 0:04
  Speaker 2: Women and them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 2: or do they have individualism? It's the patriarchy, Zephyn bast
• 0:12
  Speaker 2: start changing it with the Bechdel Cast.
• 0:16
  Speaker 3: Oh no, I fell off a boat and I can't
• 0:18
  Speaker 3: remember who I am.
• 0:20
  Speaker 1: Oh nor well, I have an issue with that story,
• 0:25
  Speaker 1: and the issue is that the wrong gender fell off
• 0:28
  Speaker 1: the boat. Let's make it again thirty years later for
• 0:31
  Speaker 1: some reason and fix none of the problems.
• 0:34
  Speaker 3: I watched that remake last night, and I have some
• 0:37
  Speaker 3: things to say about it. Oh, I will get there.
• 0:40
  Speaker 1: I simply was like, I not even Anna Faris could
• 0:43
  Speaker 1: get me to watch the reboot, although I mean, look, look,
• 0:47
  Speaker 1: two powerful blondes have played this rancid plot and also two.
• 0:53
  Speaker 3: Guys and two men.
• 0:55
  Speaker 1: Okay, okay, Welcome to the Bechdel Cast. This is like,
• 0:58
  Speaker 1: this is the day. This is the day in which
• 1:00
  Speaker 1: we see if we've been preparing for nine years for
• 1:04
  Speaker 1: this episode.
• 1:05
  Speaker 3: Truly, this is the overboard episode which we will examine
• 1:11
  Speaker 3: through an intersectional feminist lens, which is what we do
• 1:13
  Speaker 3: on this podcast using the Bechdel test. Simply as a
• 1:16
  Speaker 3: jumping off point. But what's that?
• 1:20
  Speaker 1: Well, okay, it is pertinent today and does it pass, Yes,
• 1:24
  Speaker 1: but in a really hostile way. Maybe one of my
• 1:28
  Speaker 1: favorite hostile passes. The Bechdel Test is a media materic
• 1:32
  Speaker 1: created by friend of the Pod Alison Bechtel. It was
• 1:36
  Speaker 1: originally created in the eighties as a part of her
• 1:39
  Speaker 1: incredible comic collection dis to Watch Out For, as a
• 1:42
  Speaker 1: one off bit that was specifically referencing the fact that
• 1:45
  Speaker 1: there are never queer women talking to each other's in cinema.
• 1:50
  Speaker 1: It has since been sort of adapted to a more
• 1:53
  Speaker 1: mainstream way. There's a lot of versions of the test.
• 1:56
  Speaker 1: Our version requires that two people of a marginal gender
• 2:01
  Speaker 1: with names speak to each other about something other than
• 2:04
  Speaker 1: a man for more than two lines of dialogue that
• 2:07
  Speaker 1: are plot important. I actually feel like it is very
• 2:11
  Speaker 1: relevant to today's episode. Sometimes we cover movies where the
• 2:14
  Speaker 1: test is not quite as applicable or relevant. Today, I
• 2:17
  Speaker 1: feel like this is an old school Bechdel cast episode,
• 2:21
  Speaker 1: like I had like stretched before I Stretched, and I
• 2:26
  Speaker 1: also ate Chips before.
• 2:28
  Speaker 3: It feels like something we should have covered within the
• 2:31
  Speaker 3: first year of the show. You know what I mean?
• 2:33
  Speaker 1: Well, this is one of the movies though, if correct
• 2:36
  Speaker 1: me if I'm wrong, I feel like this is a
• 2:37
  Speaker 1: movie we have almost covered like six times. It's been
• 2:41
  Speaker 1: on Matreon polls at different times. We've had other guests shortlisted,
• 2:46
  Speaker 1: and then we're like, we almost covered it when the
• 2:49
  Speaker 1: reboot came out, but then no one saw the reboots,
• 2:52
  Speaker 1: so we were like, never mind. Like, this is a
• 2:55
  Speaker 1: movie that we've come so close to covering many times.
• 2:57
  Speaker 1: But I'm very glad that we wait it because I
• 3:01
  Speaker 1: feel like we are ready. We're ready to kill this
• 3:05
  Speaker 1: movie once and for all. We have an incredible guest here,
• 3:09
  Speaker 1: so let's get them in the mix.
• 3:12
  Speaker 3: They are the host of the podcast Worse than You.
• 3:16
  Speaker 3: It's Mo Fry Passic. Hello, welcome.
• 3:21
  Speaker 4: I'm just doing push ups over here.
• 3:24
  Speaker 1: This is what the Feminist podcast was made for.
• 3:27
  Speaker 5: I'm so excited.
• 3:29
  Speaker 1: So let us know what your history with this film is.
• 3:33
  Speaker 1: I'm very curious.
• 3:35
  Speaker 5: I'm so I'm so excited.
• 3:36
  Speaker 4: So my history is like, this is the reason I
• 3:39
  Speaker 4: suggested it because like formative, Okay, I would describe this
• 3:43
  Speaker 4: as one of my stuck in the players, which is
• 3:46
  Speaker 4: my term for when you're a kid and you either
• 3:47
  Speaker 4: go to like a cabin or it's your you know,
• 3:49
  Speaker 4: babysitter's basement, and there's always a shitty TV and there's
• 3:53
  Speaker 4: one VCR stuck in the player and it's just always
• 3:56
  Speaker 4: on and it's like what they turn on and you play.
• 3:58
  Speaker 4: And so this was a very stuck in the player
• 4:01
  Speaker 4: movie in my family.
• 4:03
  Speaker 3: The VHS that you can't get out of the.
• 4:06
  Speaker 4: Machine exactly, and so I've watched it. So it was
• 4:10
  Speaker 4: so funny because in the true like Audihd Queno way,
• 4:14
  Speaker 4: I was like, I'm rewatching it.
• 4:15
  Speaker 5: I'm rewatching it. And then I was like, I'll rewatch
• 4:16
  Speaker 5: it Monday night.
• 4:17
  Speaker 4: And then I realized, truly knowing the pod was Monday morning,
• 4:20
  Speaker 4: didn't rewatch it. And then I was reviewing it, I go, oh,
• 4:23
  Speaker 4: I haven't memorized. I'm pretty sure I have this movie
• 4:25
  Speaker 4: memorized it because it was like on from Ages I
• 4:30
  Speaker 4: want to say five to eleven and Goldiehan. The fashion,
• 4:35
  Speaker 4: it was one of the most fantastic things.
• 4:38
  Speaker 1: The fashion is unbelievable. The boat fashion alone is just
• 4:42
  Speaker 1: like I'm like, bring it back. Oh, maybe don't bring it,
• 4:45
  Speaker 1: but like bring it back for me. I want it.
• 4:48
  Speaker 5: And I'm curious.
• 4:49
  Speaker 4: This kicks it off because I grew up in very
• 4:51
  Speaker 4: famous household, you know, and we're very conscious of those things.
• 4:55
  Speaker 4: But I didn't clack it necessarily as a kid, because
• 5:00
  Speaker 4: I was a kid who didn't think, right you could
• 5:03
  Speaker 4: make out with the person or get a date, because
• 5:06
  Speaker 4: you know, you just didn't think that was for you,
• 5:08
  Speaker 4: if you're like a nerd or whatever it is. And
• 5:10
  Speaker 4: so then all movies and romantic movies were orchestration based,
• 5:15
  Speaker 4: and so it's like it was this huge orchestration where
• 5:18
  Speaker 4: don't worry, like they'll end up together, and so it
• 5:21
  Speaker 4: was so orchestrated and ridiculous. I thought of it from
• 5:24
  Speaker 4: that perspective, not from an absolutely Stockholm syndrome kidnapping.
• 5:33
  Speaker 1: So I, well, I guess speaking to I had not
• 5:36
  Speaker 1: seen this movie before. I don't know why, because I
• 5:40
  Speaker 1: mean it might have just been I don't know. I
• 5:43
  Speaker 1: feel like I've seen the vast majority of like would
• 5:46
  Speaker 1: I would also say I was raised in a feminist
• 5:48
  Speaker 1: household for the time, you know, like nineties girl power.
• 5:52
  Speaker 1: We were for it in the home. It was not
• 5:55
  Speaker 1: it was I think it was like progressive for the time, right,
• 5:57
  Speaker 1: but we were, But like I was absolutely still watching
• 5:59
  Speaker 1: every problematic rom Com under the Sun. This was just
• 6:03
  Speaker 1: not one of them.
• 6:05
  Speaker 5: Oh so it didn't hit you, so it didn't hit me.
• 6:08
  Speaker 1: I definitely see and we'll talk about it. I definitely
• 6:12
  Speaker 1: see the things this movie is doing to try to
• 6:15
  Speaker 1: get around the concept, like the fact that goldieh. I mean,
• 6:21
  Speaker 1: first of all, Goldie Han like this movie. In my
• 6:24
  Speaker 1: I have no nostalgia for this movie. I think it
• 6:26
  Speaker 1: just like straight up fucking sucks. But I think Goldiehan
• 6:29
  Speaker 1: turns in a great performance in a terrible movie. I
• 6:32
  Speaker 1: think she genuinely does That's an awesome job in this movie.
• 6:36
  Speaker 1: She's super funny. She somehow, I think, manages to pull
• 6:40
  Speaker 1: off this like absurd arc for this character, Like when
• 6:44
  Speaker 1: she returns.
• 6:45
  Speaker 4: I literally just got chills when she has to go
• 6:47
  Speaker 4: back to the boat. The nuance in her acting.
• 6:50
  Speaker 1: It is wild, how like close she gets to selling
• 6:53
  Speaker 1: you on the premise. Like I think Goldiehan as Tire,
• 6:57
  Speaker 1: I feel like she is like the reason that the
• 6:59
  Speaker 1: movie is loved. Or that's my that's my biased opinion
• 7:04
  Speaker 1: because I love Goldie Han. But but yeah, I don't
• 7:08
  Speaker 1: know this. This movie has a dark aura for me.
• 7:11
  Speaker 1: I haven't seen the reboot. I feel bad because I'm like, mo,
• 7:16
  Speaker 1: you like it, I've I don't really have a lot
• 7:18
  Speaker 1: of nice things to say about it, but we'll talk
• 7:20
  Speaker 1: about it.
• 7:20
  Speaker 5: I'll feel bad.
• 7:21
  Speaker 1: It's very funny. I think that of all of the
• 7:25
  Speaker 1: takeaways from this movie, the thing that I left being
• 7:29
  Speaker 1: most like ah about is I found the score to
• 7:32
  Speaker 1: this movie so grating. I found the banjo's no like,
• 7:39
  Speaker 1: and it was informed by nothing other than the scene ending,
• 7:43
  Speaker 1: like it just happened at the end of every scene
• 7:45
  Speaker 1: where was like rain and it was like but it
• 7:47
  Speaker 1: was like eighties banjo, So it was electric. It was
• 7:50
  Speaker 1: electric banjo.
• 7:52
  Speaker 5: I hated it.
• 7:53
  Speaker 3: The score was written by Alan Silvestri, who, for my money,
• 7:57
  Speaker 3: is most famous for the Back to the Future score.
• 8:00
  Speaker 3: I see, okay, and I think also like who framed
• 8:02
  Speaker 3: Roger Rabbit and a lot of those like more actiony.
• 8:06
  Speaker 5: But cartoonish too, right, Yeah.
• 8:08
  Speaker 3: Exactly, so, I think he does pretty well at those
• 8:12
  Speaker 3: those genres. But it doesn't really make sense for a
• 8:14
  Speaker 3: rom com.
• 8:15
  Speaker 5: So but is that evidence that was intentionally supposed to
• 8:17
  Speaker 5: be camp?
• 8:19
  Speaker 1: Maybe it could it could be if so, I was
• 8:24
  Speaker 1: like every like by the end. And also, this movie
• 8:28
  Speaker 1: is so long for what it is Okay, I feel bad.
• 8:31
  Speaker 1: I so, I had never seen it before, and I
• 8:34
  Speaker 1: watched it and I was like, wow, this is this
• 8:36
  Speaker 1: is the movie we've been preparing to cover because it
• 8:39
  Speaker 1: has a lot of it's really kind of playing the
• 8:41
  Speaker 1: hits on tropes we've discussed over the years. So I'm
• 8:44
  Speaker 1: excited to talk about it. Love Kurt Russell and Goldie Hahn.
• 8:48
  Speaker 1: I believe in their love. I also think their relationship
• 8:51
  Speaker 1: probably sold this movie at the time because everyone's like, well,
• 8:55
  Speaker 1: that didn't. Actually we know that they're happy and they're
• 8:58
  Speaker 1: together and like their son took his first steps on
• 9:01
  Speaker 1: the set of this movie, and like they're a Hollywood couple.
• 9:04
  Speaker 1: It's charming and they're still like it's great. But I
• 9:07
  Speaker 1: don't know why as a married couple you'd be like
• 9:09
  Speaker 1: or whatever a couple that you'd be like, you know,
• 9:12
  Speaker 1: it would be a fun plot to play out together.
• 9:13
  Speaker 1: It almost feels like a sex thing that they're doing.
• 9:15
  Speaker 1: You're like, oh, I feel like I shouldn't be watching this.
• 9:20
  Speaker 5: Watch that's incredible.
• 9:22
  Speaker 1: It is kind of a porn setup. It's a porny setup.
• 9:25
  Speaker 4: Actually, I'm sorry, he's like non shirt in the cedar closet.
• 9:29
  Speaker 5: Yeah, that's porny as hell.
• 9:31
  Speaker 1: Enemy's to Lovers a classic.
• 9:33
  Speaker 3: It's showing his nipples, et cetera.
• 9:37
  Speaker 1: So I think, my, my, yeah, I think the movie
• 9:40
  Speaker 1: is terrible, but it's definitely fun to talk about. I'm excited. Caitlyn.
• 9:47
  Speaker 1: When's your history with this movie.
• 9:49
  Speaker 3: I didn't grow up with it either. I didn't see
• 9:52
  Speaker 3: it until we had already started the podcast.
• 9:56
  Speaker 1: There.
• 9:56
  Speaker 3: There have been a few movies that we've gotten so
• 9:59
  Speaker 3: many requests for that I wasn't familiar with that. I
• 10:02
  Speaker 3: was like, oh, I should probably just kind of preemptively
• 10:07
  Speaker 3: prepare myself for this when we inevitably cover this movie someday,
• 10:10
  Speaker 3: and this was one of those. So I probably watched
• 10:12
  Speaker 3: it for the first time I don't know, maybe five
• 10:15
  Speaker 3: to seven years ago, so I don't have any nostalgia
• 10:18
  Speaker 3: for it. However, I don't think it absolutely well, Okay,
• 10:22
  Speaker 3: let me, I don't think it sucks. I well, okay, I.
• 10:25
  Speaker 1: Think it's I'm the bitch of the episode. I don't know.
• 10:29
  Speaker 5: I'm obsessed with people hating it. You're right too, I
• 10:31
  Speaker 5: think I think it.
• 10:33
  Speaker 3: To be clear, I think it sucks. From a Bechdel
• 10:37
  Speaker 3: cast perspective, it will fare terribly from a high concept
• 10:42
  Speaker 3: rom com from the eighties. No, I like, I think
• 10:48
  Speaker 3: the script is not horrible. Like again, I like it's
• 10:52
  Speaker 3: bad from our perspective, but I don't know, like I didn't,
• 10:57
  Speaker 3: I don't hate it. I don't love it.
• 11:00
  Speaker 1: Movie that feels like a movie is sure.
• 11:02
  Speaker 3: Right, I mean again the high conceptness of the premise.
• 11:07
  Speaker 3: But but but there's there's like the high concept you're
• 11:12
  Speaker 3: referred to includes forced motherhood and.
• 11:17
  Speaker 1: Enslaving.
• 11:19
  Speaker 3: Like yeah, no, it's good. It's a concept. It's gonna
• 11:22
  Speaker 3: get like zero nipples from me, But but.
• 11:25
  Speaker 5: It got too from Kurt.
• 11:27
  Speaker 1: It's true, he's tips out whole movie. And like Kurt
• 11:32
  Speaker 1: Russell is awesome and hot and charming, and again, like
• 11:35
  Speaker 1: these two actors are so like and obviously they have
• 11:38
  Speaker 1: ridiculous chemistry because they have a child together. I also
• 11:43
  Speaker 1: love that the Grandpa from Gilmore Girls is he's there,
• 11:46
  Speaker 1: is the villain, and his lines just took me out
• 11:50
  Speaker 1: without fail like I thought he was, like he's whatever.
• 11:54
  Speaker 1: We'll talk about him because I feel like he fulfills.
• 11:56
  Speaker 5: Talk about a queer performance as well.
• 12:00
  Speaker 1: Performance. He's like I'm shooting skeat, like he's all of
• 12:05
  Speaker 1: his lines or like I'm written like he's always just
• 12:08
  Speaker 1: saying what he's doing, which I think is hilarious, hilarious
• 12:10
  Speaker 1: thing for a character to do, where he's like, I'm
• 12:12
  Speaker 1: dancing and I'm rich, and you're like, but he sells
• 12:17
  Speaker 1: it because it's ever herman Like this movie. I like,
• 12:21
  Speaker 1: I guess speaking to what you're saying. It's like super campy,
• 12:23
  Speaker 1: and there were moments that I laughed, it's fun. Just
• 12:26
  Speaker 1: I just hate what's happening to the main character the
• 12:30
  Speaker 1: whole time. And I hated Kurt Russell's character. They're like,
• 12:32
  Speaker 1: here's a bunch of uh, here's a bunch of stereotypes
• 12:35
  Speaker 1: around poor people in this world. They're all true. You're like,
• 12:38
  Speaker 1: why why here are stereotypes around single fathers in this world?
• 12:43
  Speaker 1: They're all true. You're like this man, I like the
• 12:46
  Speaker 1: pee Wee Kid.
• 12:47
  Speaker 3: I like the pee Wee well Kid. That kid is
• 12:51
  Speaker 3: very Jamie Codin.
• 12:53
  Speaker 1: That was Yeah, it was like I felt seen in
• 12:55
  Speaker 1: the pee Wee Kid character.
• 12:56
  Speaker 3: I also liked it.
• 12:57
  Speaker 1: Weirdly, I don't know if this is like a directorial choice,
• 12:59
  Speaker 1: but the kid, we're acting like kids in this movie.
• 13:03
  Speaker 5: I adore that part. Like it was like endearing. They
• 13:06
  Speaker 5: wanted to be feral, but they were actually just being
• 13:08
  Speaker 5: kids in a house.
• 13:09
  Speaker 1: It seemed like they were big, like they were like
• 13:11
  Speaker 1: almost improvising or something, which felt which feels weird in
• 13:15
  Speaker 1: a scripted movie, but it was kind of refreshing to
• 13:17
  Speaker 1: see kids that were like just did Yeah, kind of
• 13:19
  Speaker 1: seemed loose doing what they want.
• 13:23
  Speaker 3: Yeah, yeah, true, But uh, either way, this movie gives
• 13:27
  Speaker 3: us so very much to talk about it.
• 13:29
  Speaker 4: I know, who theories, rich text, high concept, rich text, overboard.
• 13:36
  Speaker 3: Yeah, exactly. So let's take a quick break and then
• 13:39
  Speaker 3: we'll come back for the recap.
• 13:52
  Speaker 1: And we're back.
• 13:52
  Speaker 3: Okay, we're back.
• 13:54
  Speaker 1: What happened in this movie? It's actually so much.
• 13:57
  Speaker 3: It's a lot, And you're right, Jamie, it it's almost
• 14:00
  Speaker 3: two hours long. I firmly believe that no rom com
• 14:05
  Speaker 3: should be longer than like ninety five minutes.
• 14:07
  Speaker 1: So I'm like, if we've got a gaslight this woman
• 14:10
  Speaker 1: to death, we could take out a few rounds. We
• 14:12
  Speaker 1: could take out a few rounds of gaslight.
• 14:13
  Speaker 5: There were so many rounds.
• 14:15
  Speaker 1: It was like shockingly thorough to the point where it's
• 14:18
  Speaker 1: all diabolical.
• 14:19
  Speaker 5: And the only redeeming part of him is that he
• 14:20
  Speaker 5: was owed money.
• 14:22
  Speaker 1: What for six hundred dollars he did this? Maybe you're
• 14:25
  Speaker 1: going to jail, Like what do you mean?
• 14:28
  Speaker 3: He human trafficked a person.
• 14:30
  Speaker 1: He human traffic And that's like kind of the tip
• 14:34
  Speaker 1: of the iceberg somehow. Anyways, I love movie premises Where
• 14:38
  Speaker 1: Your Life.
• 14:38
  Speaker 5: So there's this really.
• 14:40
  Speaker 1: Like wealthy socialite and no one cares where she is.
• 14:45
  Speaker 3: Well, that's even less believable in the remake really because
• 14:49
  Speaker 3: it came out in twenty eighteen. Oh yeah, and it
• 14:52
  Speaker 3: takes place in twenty eighteen when there was so much
• 14:55
  Speaker 3: more technology to be able to like track a person
• 14:59
  Speaker 3: slash like, notice that you're looking at a famous person whatever.
• 15:03
  Speaker 1: I mean, it's like it's fat, Like I'm not gonna
• 15:05
  Speaker 1: cinema since this. But it is funny that she that
• 15:08
  Speaker 1: no one is looking for her except her mother, who
• 15:11
  Speaker 1: for most of the movie only appears in you could tell.
• 15:13
  Speaker 1: They shot all of her scenes in basically a day,
• 15:15
  Speaker 1: and she just kept changing dresses like she's just.
• 15:19
  Speaker 3: Like sitting in her fancy bed with her fancy dogs,
• 15:21
  Speaker 3: being like, where's my daughter?
• 15:23
  Speaker 5: Those dogs?
• 15:24
  Speaker 4: Though, that was like informative to like my whole aesthetic
• 15:26
  Speaker 4: though that was hugely aspiring.
• 15:29
  Speaker 1: I like that this movie. I mean, it's like not
• 15:32
  Speaker 1: really plot relevant, but they just elect to go for
• 15:35
  Speaker 1: like a very eighties like opulent aesthetic troop Beverly Hills. Yeah, yeah, yeah,
• 15:42
  Speaker 1: where it's it's oh I loved I wish I had
• 15:45
  Speaker 1: watched Troop Beverly Hills instead, but but yeah, like where
• 15:50
  Speaker 1: it's like, I mean, and this is reference where they're
• 15:53
  Speaker 1: like calling her TACKI and You're like, no, she's she's beautiful,
• 15:57
  Speaker 1: she's perfect.
• 15:58
  Speaker 4: Well doesn't you even call her nails tack to? And
• 16:00
  Speaker 4: like even the language of that.
• 16:02
  Speaker 5: Too is so like double entendre maybe yeah a little bit.
• 16:05
  Speaker 1: Yeah, I do. I do like that. That's one of
• 16:08
  Speaker 1: the I mean. And this is like when I read
• 16:11
  Speaker 1: interviews with the writer, it was like she it made sense.
• 16:14
  Speaker 1: We were like, oh, yeah, this is clearly intentional. But
• 16:16
  Speaker 1: this movie weirdly does feel like it takes place in
• 16:18
  Speaker 1: like nineteen thirty five, because it's like, that's such a
• 16:22
  Speaker 1: good point writing a screwball comedy, like it's a it's
• 16:25
  Speaker 1: it feels like almost like a Catherine Hepburn kind of
• 16:28
  Speaker 1: premise totally.
• 16:29
  Speaker 4: And now that even thinking about like the way at
• 16:31
  Speaker 4: the fancy events like his top like even their succeedos,
• 16:34
  Speaker 4: or like a little nineteen thirties gilded like or whatever
• 16:37
  Speaker 4: it is.
• 16:37
  Speaker 1: And certainly the gender roles put put upon. Not that
• 16:41
  Speaker 1: these gender roles didn't exist to the eighties, but it
• 16:45
  Speaker 1: just it just feels like a script that was written
• 16:47
  Speaker 1: in nineteen thirty five that was for some reason made
• 16:50
  Speaker 1: in nineteen eighty seven.
• 16:53
  Speaker 3: Anyways, in any case, the plot of the movie is this,
• 16:59
  Speaker 3: We meet Dean Prophet played by Kurt Russell. He's a
• 17:03
  Speaker 3: carpenter who is hired by a wealthy woman named Joanna
• 17:07
  Speaker 3: played by Goldie Hahn to remodel the walk in closet
• 17:11
  Speaker 3: on her and her husband's yacht. And he, of course
• 17:15
  Speaker 3: is played by Edward Herman aka the Grandpa from Gilmore Girls,
• 17:20
  Speaker 3: so basically kind of the same character as he plays
• 17:22
  Speaker 3: in Gilmore Girls.
• 17:23
  Speaker 5: But like, just like a rich maybe he's booked him
• 17:25
  Speaker 5: the job.
• 17:25
  Speaker 1: It kind of I do believe that this would be Wait, mo,
• 17:28
  Speaker 1: did you watch Gilmore Girls? Were Gilmore Girls? Oh, it's
• 17:32
  Speaker 1: one of my favorites. It's the most millennial basic thing
• 17:35
  Speaker 1: about me, and I celebrate it.
• 17:37
  Speaker 5: I love that.
• 17:38
  Speaker 1: But yeah, I would buy that this is the like
• 17:41
  Speaker 1: Grandpa from Gilmore Girls. The character is like Koke years like,
• 17:47
  Speaker 1: We're like he was weird in the eighties. He was
• 17:50
  Speaker 1: like skinny and running around on a bow. Two no's
• 17:55
  Speaker 1: we were all doing it right.
• 17:57
  Speaker 5: I love that.
• 17:59
  Speaker 3: So Joanna is very entitled and elitist and she's grossed
• 18:04
  Speaker 3: out by working class people like Dean, and she has
• 18:09
  Speaker 3: him build shelves and shoe racks and.
• 18:11
  Speaker 1: He does a great job.
• 18:13
  Speaker 3: He'd liked he does.
• 18:14
  Speaker 1: He's basically a mechanical engineer.
• 18:16
  Speaker 5: No, because she doesn't want mobs.
• 18:18
  Speaker 3: So well, he used the wrong materials. He used oak,
• 18:23
  Speaker 3: and she wanted cedar, but she did not say that
• 18:25
  Speaker 3: she wanted cedar, so they argue. He calls her out
• 18:29
  Speaker 3: for being awful and entitled. She fires him and refuses
• 18:33
  Speaker 3: to pay him the six hundred dollars for materials and labor,
• 18:38
  Speaker 3: and she pushes Dean and all of his tools overboard.
• 18:42
  Speaker 1: Right, that's the name of the movie. And this is
• 18:45
  Speaker 1: where you have to ask yourself. I would be so
• 18:47
  Speaker 1: upset if that happened to me. Would I be upset
• 18:50
  Speaker 1: enough to kidnap and traffic the person who had done
• 18:53
  Speaker 1: it to me? I don't know. I might have brought
• 18:55
  Speaker 1: her to small claims court, maybe, but that's not what
• 19:00
  Speaker 1: movies are about. There's a part in that sequence where like, again,
• 19:05
  Speaker 1: Goldiehan is fabulous. This entire sequence, she looks incredible. She's
• 19:09
  Speaker 1: so funny. And then there's like that weird exchange she
• 19:12
  Speaker 1: has with her butler where she's like talking about she's
• 19:17
  Speaker 1: talking about caviar in this really horny way. For some reason,
• 19:20
  Speaker 1: You're like, I don't know why that happened, but I
• 19:22
  Speaker 1: loved that it happened, where she's like needs to be
• 19:24
  Speaker 1: round and hard and burst in your mouth, and you're like, yeah, it.
• 19:30
  Speaker 4: Was so like it's also like her performance of like
• 19:32
  Speaker 4: I Know how to be rich, and it was like yeah,
• 19:35
  Speaker 4: like I feel like it cannot be stated.
• 19:36
  Speaker 5: It feels like plot important.
• 19:38
  Speaker 4: That her voice is Chauncy is the husband, and then
• 19:42
  Speaker 4: the voice changed because it's very.
• 19:44
  Speaker 3: Like it has to this doesn't sit up.
• 19:47
  Speaker 5: It's like may West.
• 19:48
  Speaker 1: It's a big choice.
• 19:50
  Speaker 3: Yeah.
• 19:50
  Speaker 1: It feels like, yeah, she's like pulling from old Hollywood. Yeah,
• 19:54
  Speaker 1: and it's like working even though she looks so eighties
• 19:57
  Speaker 1: and she's acting so through. I don't know, Goldiehan can
• 19:59
  Speaker 1: do it anything. Goldiehann undefeated.
• 20:03
  Speaker 3: My note about this scene. I kept trying to draw
• 20:06
  Speaker 3: all of the parallels between this movie and Titanic, because,
• 20:09
  Speaker 3: I mean, hello, movie about a rich woman and a
• 20:13
  Speaker 3: poor man who meet on a boat and fall in love,
• 20:15
  Speaker 3: and then at the end of the movie they're both
• 20:17
  Speaker 3: submerged in water, fully clothed. It's true, that's the plot
• 20:21
  Speaker 3: of Titanic.
• 20:22
  Speaker 5: True.
• 20:23
  Speaker 3: But there's the part at the dinner scene in Titanic
• 20:26
  Speaker 3: where one of the boat staff says, how do you
• 20:29
  Speaker 3: take your caviat and and then I was like, oh,
• 20:32
  Speaker 3: what if it was that question? But then Goldiehan's response
• 20:35
  Speaker 3: of cavia should be round and hard and of adequate size.
• 20:40
  Speaker 3: It should burst in your mouth at precisely the right moment.
• 20:44
  Speaker 3: I mean, so that was my fun little bit I
• 20:46
  Speaker 3: was doing with myself.
• 20:47
  Speaker 1: I really wish Billy Zane was in this movie. He
• 20:50
  Speaker 1: would be great in this movie.
• 20:51
  Speaker 5: He would be a good hut. How old was he then?
• 20:54
  Speaker 1: He's still pretty young. I mean he was in he
• 20:56
  Speaker 1: was an adult. He was in because he was in
• 20:59
  Speaker 1: Back to the Future.
• 20:59
  Speaker 3: I was ten years before Titanic.
• 21:01
  Speaker 1: Yeah, a young Zay. I would love a young Zay
• 21:04
  Speaker 1: in this. I don't know what he would do, but
• 21:06
  Speaker 1: I just like to have him around.
• 21:10
  Speaker 3: Yeah, he plays the pewee herman kid anyway. So they're
• 21:16
  Speaker 3: arguing on the boat, Joanna and Dean are. She pushes
• 21:21
  Speaker 3: him off overboard with all of his tools, and so
• 21:26
  Speaker 3: Dean heads home, where he's a single father to four
• 21:31
  Speaker 3: young and unruly children because his wife died three years prior,
• 21:38
  Speaker 3: so he's got a lot on his plate right now.
• 21:41
  Speaker 1: I have such thoughts about the choice to kill off
• 21:44
  Speaker 1: the wife instead of have her like abandon them bail
• 21:47
  Speaker 1: on the family, which I feel like works way better
• 21:50
  Speaker 1: with the story. But I think sometimes movies just like
• 21:53
  Speaker 1: they're like there's a oh no, we just got to
• 21:55
  Speaker 1: kill her, like it's just Disney Princess mode, because I
• 21:59
  Speaker 1: just feel like it's it's there's whatever. It's a silly movie,
• 22:02
  Speaker 1: but I am gonna that we come here to pick
• 22:04
  Speaker 1: it to death. We have The children are clearly like
• 22:08
  Speaker 1: first of all, Kurt Russell Top five most evil characters
• 22:12
  Speaker 1: in film for doing for also doing this to his children.
• 22:17
  Speaker 1: They clearly lost their mother when they were very young,
• 22:21
  Speaker 1: and it as written they are constantly thinking about this.
• 22:25
  Speaker 1: He for some reason, isn't he is like not really
• 22:29
  Speaker 1: thinking about the dead wife very much. He's mostly thinking
• 22:33
  Speaker 1: about the six hundred dollars.
• 22:35
  Speaker 4: I think a genius psychological thriller would be this entire
• 22:38
  Speaker 4: movie from the middle kid's perspective, where it's just fuzzy
• 22:41
  Speaker 4: enough to be like, my mom died.
• 22:43
  Speaker 5: But that's my mom. My mom's back, right.
• 22:46
  Speaker 1: I'm like, say, something, did they look similar? Like there's
• 22:51
  Speaker 1: no trace of this woman in their home either, right,
• 22:55
  Speaker 1: like she does. I just feel like her picture would
• 22:59
  Speaker 1: be around. I don't know, I don't know. Everyone grieves
• 23:02
  Speaker 1: it a different way. And yeah, Kurt Russell is dealing
• 23:06
  Speaker 1: with his grief by kidnapping a different.
• 23:08
  Speaker 3: Woman, kidnapping a woman to force her to be the
• 23:12
  Speaker 3: mother of his children so that he can just resume
• 23:14
  Speaker 3: his life of like going bowling and drinking beers with
• 23:17
  Speaker 3: his friends.
• 23:18
  Speaker 1: Which also, yeah, I mean just speaking to I just
• 23:21
  Speaker 1: I again, Like Kurt Russell is so charming, and I
• 23:24
  Speaker 1: hate this character because it is like I don't think,
• 23:28
  Speaker 1: I mean, let me know if you disagree, Like I
• 23:30
  Speaker 1: couldn't really parse. It seems like he was doing this anyways,
• 23:34
  Speaker 1: like he was just a straight up negligent parent. Because
• 23:36
  Speaker 1: the house is a pit, the kids are alone, which
• 23:40
  Speaker 1: their principal points out, but the movie is like, and
• 23:42
  Speaker 1: she's a bitch to do that.
• 23:44
  Speaker 4: But what confuses me is the performance of being a slob,
• 23:47
  Speaker 4: Like when he comes back in, he pours alcohol and
• 23:49
  Speaker 4: himself to smell like he's fucked up, right, And I'm like,
• 23:52
  Speaker 4: aren't you fucked up?
• 23:53
  Speaker 5: The g's what I mean? And so I like, does
• 23:55
  Speaker 5: he want to be a slob? Because to like cut
• 23:58
  Speaker 5: like what was that? You know what I mean? Like,
• 24:00
  Speaker 5: what was that performance from him?
• 24:02
  Speaker 1: It's one of the many confusing like I feel like
• 24:06
  Speaker 1: trying to say something about class that doesn't really happen
• 24:10
  Speaker 1: at least I thought in this movie where like the
• 24:14
  Speaker 1: principle comes over, and the principle is also a very
• 24:17
  Speaker 1: confusing character because like she does have some good points,
• 24:20
  Speaker 1: but then she's also has some terrible point, like you
• 24:22
  Speaker 1: just don't know what to do with her. But Kurt
• 24:24
  Speaker 1: Russell's kind of like I thought they were setting up
• 24:26
  Speaker 1: him up to be like I'm doing my best, but
• 24:29
  Speaker 1: like I'm a single parent and I'm like a working
• 24:32
  Speaker 1: class guy and I have to work a lot to
• 24:34
  Speaker 1: support my four kids without any help from anyone else.
• 24:38
  Speaker 1: And so he's like you know, she's judging him and
• 24:40
  Speaker 1: he's upset about that. But then you see his parenting
• 24:43
  Speaker 1: and it is pretty negligent, so negligent, and so you're
• 24:47
  Speaker 1: just like, so she was right, like what is this say?
• 24:51
  Speaker 4: I think that's their attempt, though I do think their
• 24:53
  Speaker 4: attempt like him performing like is also like telling you audience, like,
• 24:57
  Speaker 4: don't worry, he's safe.
• 24:58
  Speaker 5: He's not going to rape her tonight because it's you
• 25:00
  Speaker 5: know what I mean that. We're also like we'll.
• 25:03
  Speaker 3: Get we'll get there, we have to get there.
• 25:06
  Speaker 1: That whole thing. We're there. Like I was like, that's
• 25:08
  Speaker 1: why I'm rooting for him, because he didn't dissulter.
• 25:11
  Speaker 5: But I think they really think that that is like
• 25:13
  Speaker 5: checking the box of like, see he's a good guys,
• 25:16
  Speaker 5: a good.
• 25:17
  Speaker 1: Guy, I agree, which is where that's what we can
• 25:20
  Speaker 1: get into it later. But that's why I think they
• 25:22
  Speaker 1: make the Edward Herman character so evil so that Kurt
• 25:26
  Speaker 1: Russell seems viable by comparison. Yes, yes, anyways, sorry, but
• 25:34
  Speaker 1: we're still about.
• 25:36
  Speaker 3: Well, Okay, So we see Dean back at home and
• 25:40
  Speaker 3: we see that he has a lot on his plate
• 25:43
  Speaker 3: of being a single father and also trying to find
• 25:46
  Speaker 3: steady work. He has this friend Billy, who they have
• 25:51
  Speaker 3: a dream of building a mini golf course together. So
• 25:56
  Speaker 3: we'll put a pin in that.
• 25:57
  Speaker 5: Billy is so Randy Quaid coated. Also, it's true.
• 26:03
  Speaker 1: And there I did take note of, like the fact
• 26:06
  Speaker 1: that I didn't know they were gonna that they were
• 26:08
  Speaker 1: actually going to build a very expensive golf course. But
• 26:10
  Speaker 1: because this was a comedy that came out in the eighties,
• 26:12
  Speaker 1: I'm like, for sure, we're going to see a very
• 26:14
  Speaker 1: expensive golf course set piece for no reason late in
• 26:16
  Speaker 1: the movie. And sure enough we do this. Also we haven't,
• 26:22
  Speaker 1: I don't think said yet. Directed by Gary Marshall, Friend
• 26:25
  Speaker 1: of the Pod, a man who we love and who
• 26:29
  Speaker 1: sometimes plagues us. I mean because like Princess Diary is
• 26:32
  Speaker 1: one of my favorite movies ever he directed it. Which
• 26:35
  Speaker 1: is you can tell because Hector Alizondo is in this
• 26:38
  Speaker 1: movie for two seconds, and he's in every Gary Marshall movie.
• 26:41
  Speaker 3: Wow, I thought I didn't even notice him.
• 26:43
  Speaker 1: He plays the guy on the news who starts singing
• 26:45
  Speaker 1: like the fisher mil Oh my god, young Hector Alixander
• 26:50
  Speaker 1: is him. Yeah, and I love that, Like one of
• 26:52
  Speaker 1: my favorite little Hollywood anecdotes is just I think they
• 26:55
  Speaker 1: like randomly met and then Gary Marshall's like, I want
• 26:57
  Speaker 1: to put you in all my movies, and then he did.
• 27:00
  Speaker 5: That's like his Hitchcock signature, you know what I mean, yeah.
• 27:04
  Speaker 1: Something, because he's like obviously her charactor Alizondo and Princess
• 27:08
  Speaker 1: Diary's incredible, But like he I think, like many directors,
• 27:14
  Speaker 1: Gary Marshall made a lot of great movies, and then
• 27:15
  Speaker 1: there was a clear point of falloff in the way
• 27:18
  Speaker 1: that there's a clear Tim Burton fall off, in the
• 27:20
  Speaker 1: way that there was a clear Robert Zemeckis' has been on.
• 27:24
  Speaker 3: What do you mean Welcome tomorrowin is the best movie ever.
• 27:27
  Speaker 5: Yeah, that bomber Jacket. Nobody can be.
• 27:31
  Speaker 1: Like, I don't know, directors get old and then the
• 27:33
  Speaker 1: movies start to suck. But like, but this is still
• 27:36
  Speaker 1: kind of Gary Marshall's thriving, Like the Princess diarys is
• 27:39
  Speaker 1: fifteen years away, and then he gets into New York'sey
• 27:43
  Speaker 1: Valentine's Day kind of the ones that we covered because.
• 27:46
  Speaker 4: I would argue about him specifically though, that he didn't
• 27:50
  Speaker 4: fall off society fell off because he knows Trope better
• 27:53
  Speaker 4: than anybody Princess Diary's the Beautiful, the glasses off here,
• 27:56
  Speaker 4: the circumstance, orchestration love like he's hitting it, that sort
• 28:01
  Speaker 4: of seventh grade seven minutes in Heaven Forced Together, he
• 28:05
  Speaker 4: like nails it.
• 28:06
  Speaker 1: That is very true.
• 28:07
  Speaker 3: That's what I'm talking about, the high concept promise.
• 28:10
  Speaker 1: Yeah, the Times, The Times did not go in in
• 28:14
  Speaker 1: our friend Gary's favor. Oh right, because he also did
• 28:18
  Speaker 1: run Away Bride. God Yeah, pretty Woman. Orchestration yes, prolific, prolific.
• 28:23
  Speaker 1: So yeah, this is actually made before a lot of
• 28:26
  Speaker 1: his best movies. I don't know, Puzzling, Puzzling anyways, just
• 28:30
  Speaker 1: wanted to shout out Hector Elizondo before I forgot that's.
• 28:33
  Speaker 3: A really good chest of course. Okay, so we get
• 28:38
  Speaker 3: a better sense of Dean's home life. Meanwhile, on Joanna's
• 28:43
  Speaker 3: yacht that night, she accidentally and kind of randomly falls overboard.
• 28:50
  Speaker 3: I assumed because I already knew the premise of this
• 28:52
  Speaker 3: movie going in before the first time I watched it,
• 28:54
  Speaker 3: and I was like, Oh, there's going to be some
• 28:56
  Speaker 3: big thing that gets her to fall overboard, and it's
• 28:59
  Speaker 3: just like quite random. So I was like, oh, okay, anyway,
• 29:03
  Speaker 3: she falls off the boat and washes up on shore
• 29:07
  Speaker 3: with amnesia. She does not.
• 29:09
  Speaker 5: Remember who she is, a classic trope.
• 29:12
  Speaker 3: I mean women be bunking their heads and forgetting it.
• 29:16
  Speaker 1: Now. That's now, that's what I call trope. Seen most
• 29:18
  Speaker 1: recently in Falling for Christmas darring Lizzie Lohan. She can
• 29:21
  Speaker 1: amnesia in that Oh my god, she she gets bombed.
• 29:25
  Speaker 1: She gets bombed. I forget it's on a ski slope,
• 29:28
  Speaker 1: because it's a Christmas movie.
• 29:29
  Speaker 4: If somebody in my world had amnesia, then neuroses don't
• 29:32
  Speaker 4: come out of.
• 29:33
  Speaker 1: I'm so sorry.
• 29:33
  Speaker 5: You're never gonna think odds and everyone is usually just like, hey, okay,
• 29:37
  Speaker 5: you'll remember soon.
• 29:40
  Speaker 1: The sequence when she first gets amniesia, I think is
• 29:43
  Speaker 1: very funny, and it's a high for the character because
• 29:46
  Speaker 1: she is like they're like canonically, she cannot not be
• 29:50
  Speaker 1: a pain in the ass. It is just like her
• 29:52
  Speaker 1: core quality. She can forgets everything about herself, including her
• 29:55
  Speaker 1: government name. But first and foremost she is.
• 29:58
  Speaker 5: A bitch and best read is so right.
• 30:02
  Speaker 1: It's so funny her core.
• 30:06
  Speaker 3: She has no memory of who she is or anything
• 30:09
  Speaker 3: about her past. Her husband Grant sees a news report
• 30:13
  Speaker 3: about you know, this woman in the hospital with amnesia
• 30:16
  Speaker 3: and he's like, WHOA, that's my wife. So he goes
• 30:19
  Speaker 3: to pick her up, but she's still, as we were
• 30:23
  Speaker 3: just saying, very cruel and entitled. So he sees this
• 30:26
  Speaker 3: as his chance to escape her. Yeah, and so he's
• 30:30
  Speaker 3: like just kidding, I don't know her and he leaves.
• 30:33
  Speaker 5: She's also looking like fraggle Rock in this. I love
• 30:36
  Speaker 5: how obsessed.
• 30:37
  Speaker 1: With it she is not she is not looking awesome,
• 30:40
  Speaker 1: but I mean she's had a rough couple of days,
• 30:43
  Speaker 1: and this is I think, Okay, I'm like, probably not
• 30:45
  Speaker 1: intended commentary, but well, I guess kind of like the
• 30:49
  Speaker 1: two people she is surrounded by throughout this, including after
• 30:53
  Speaker 1: Kurt Russell gets his little idea, is she's surrounded by
• 30:57
  Speaker 1: a doctor and a cop, both of who do not
• 30:59
  Speaker 1: believe her, and gaslight like join in on the gaslight.
• 31:03
  Speaker 1: And I was like, you know, but I felt like
• 31:05
  Speaker 1: that was like a good little bit of writing. You're like, oh, yeah,
• 31:08
  Speaker 1: truth and comedy there it is. I don't know if
• 31:11
  Speaker 1: they meant it, but I was like, that's true. Doctors
• 31:17
  Speaker 1: and cops famously don't believe women about anything.
• 31:20
  Speaker 4: And it did set up because he was so you know,
• 31:22
  Speaker 4: misogynistic it did set him up to release her to Rando.
• 31:26
  Speaker 1: It's true, It's true.
• 31:28
  Speaker 3: Yeah. So Dean also shows up at the hospital because
• 31:31
  Speaker 3: he sees this same news story and realizes that he
• 31:35
  Speaker 3: can get Joanna to pay off the debt. She owes
• 31:39
  Speaker 3: him if he pretends that she is his wife and
• 31:46
  Speaker 3: makes her take care of his house and his kids.
• 31:49
  Speaker 3: So he goes to the hospital to be like, I'm
• 31:52
  Speaker 3: your husband. She of course doesn't recognize him and refuses
• 31:56
  Speaker 3: to believe this.
• 31:57
  Speaker 1: Which, again I think a lesser movie a trope that
• 32:01
  Speaker 1: we don't see in this movie necessarily born sexy Yesterday,
• 32:05
  Speaker 1: which I feel like is a common bunk on the
• 32:08
  Speaker 1: head trope, or like a lady gets bomked on the
• 32:11
  Speaker 1: head or hatches out of an egg and like falls
• 32:14
  Speaker 1: in love with the first person she needs, which does
• 32:17
  Speaker 1: technically happen here. But she is resistant to it, which
• 32:20
  Speaker 1: I think makes the character more credible, but also makes
• 32:24
  Speaker 1: the premise more ichy because she is resisting it every
• 32:27
  Speaker 1: step of the way.
• 32:28
  Speaker 5: A lot of nos.
• 32:29
  Speaker 1: Oh yes, yeah, a lot of nos. She is not like, Okay,
• 32:33
  Speaker 1: let's try it. She sort of never does that.
• 32:35
  Speaker 3: So true, and he tries a few little he has
• 32:39
  Speaker 3: a few little tricks up his sleeve to try to
• 32:42
  Speaker 3: get this to work, such as he surprised kisses her. Yeah,
• 32:46
  Speaker 3: he makes up a backstory about her.
• 32:50
  Speaker 5: He's named her.
• 32:51
  Speaker 3: Also, he gives her.
• 32:54
  Speaker 1: Oh when she keeps the old name. At the end,
• 32:56
  Speaker 1: I was like, this movie is evil, evil or queer?
• 33:02
  Speaker 1: I wind up both win. I like that.
• 33:07
  Speaker 3: So he's trying these things, and then he's like, well,
• 33:11
  Speaker 3: if I wasn't her husband, then how would I know
• 33:14
  Speaker 3: about the birthmark on her ass because he saw a
• 33:18
  Speaker 3: birthmark earlier when she was wearing a thong bathing suit.
• 33:22
  Speaker 1: Which I read is like pivoted to be a different
• 33:25
  Speaker 1: racist joke in the twenty eighteen one that he has
• 33:28
  Speaker 1: like a speedy Gonzalez tattoo or something. This is true, Okay.
• 33:33
  Speaker 1: I read the premise to the reboot, and I would
• 33:35
  Speaker 1: just that was because I was like, oh, let's see
• 33:37
  Speaker 1: how much they changed it. Maybe I'll watch it.
• 33:39
  Speaker 4: But then they were also like, I need everyone to
• 33:41
  Speaker 4: know that he's like a strawberry shape birth more. And
• 33:44
  Speaker 4: then this woman in a hospital gown in a public
• 33:47
  Speaker 4: waiting room and has to go behind a TV and
• 33:50
  Speaker 4: pull up her own gown.
• 33:51
  Speaker 5: The doctor's like well, legally, if you have it, you gotta.
• 33:54
  Speaker 3: Go ground, by which they are like, yep, that's proof
• 34:00
  Speaker 3: enough for us, let's send you off with this random man.
• 34:03
  Speaker 1: I'm choosing to see that as incisive commentary.
• 34:10
  Speaker 3: Yes, yes, let's go with that. But yeah, the doctor
• 34:13
  Speaker 3: and the Cop release Joanna to Dean, although her new
• 34:16
  Speaker 3: name is Annie now the doctor and the Cop.
• 34:19
  Speaker 1: I'd like, come on, and yeah, she's on TV. I
• 34:24
  Speaker 1: like that again because this is like such a I
• 34:27
  Speaker 1: watched The Women over the weekend, so I'm like in
• 34:30
  Speaker 1: screwball comedy mode, but like they go out of the
• 34:33
  Speaker 1: way to show you why no one is looking for
• 34:36
  Speaker 1: her kind of like everyone like just happens to miss
• 34:40
  Speaker 1: the newscast and she canonically has no friends because she's
• 34:43
  Speaker 1: an asshole question mark. So long story short, no one's
• 34:48
  Speaker 1: looking for her. This is I mean, the news loves
• 34:52
  Speaker 1: to bend over backwards for a missing white woman, but
• 34:55
  Speaker 1: not in this world.
• 34:56
  Speaker 4: Well, also, doesn't it like come on when Howard the
• 34:58
  Speaker 4: husband is like making out with Bimbo in the thing
• 35:01
  Speaker 4: and he like turns off the thing, it's like actively
• 35:04
  Speaker 4: shown like we're not taking her back, and even if
• 35:07
  Speaker 4: it plays, I'm gonna turn it off, right.
• 35:09
  Speaker 1: They're like, there's three people in the world who know
• 35:11
  Speaker 1: who this lady is and they all hate her, and
• 35:14
  Speaker 1: you're like, okay, got it.
• 35:17
  Speaker 3: Yes, So Dean takes Joanna aka Annie home to his
• 35:25
  Speaker 3: very messy house and very rambunctious children. Travis is the eldest.
• 35:31
  Speaker 3: There are twins Greg and Charlie, and then the youngest
• 35:35
  Speaker 3: is Joe, who is mister pee Wee Herman. And the
• 35:40
  Speaker 3: kids are all in on the ruse and they are
• 35:44
  Speaker 3: totally fine to pretend that Annie is and always has
• 35:48
  Speaker 3: been their mother.
• 35:49
  Speaker 1: This is so he is so evil for this. I'm like,
• 35:53
  Speaker 1: that is so horrible. I hate him. I hate him.
• 35:58
  Speaker 3: He's nasty.
• 35:59
  Speaker 1: Right.
• 36:00
  Speaker 4: There's like a kid's book that I had that I
• 36:02
  Speaker 4: don't find this data anywhere else, but it's like a
• 36:04
  Speaker 4: legitimate book. I have it on like artists and they
• 36:06
  Speaker 4: would like make cartoons of artists to learn about their lives,
• 36:09
  Speaker 4: and I do think it's true. One of the cartoons
• 36:12
  Speaker 4: was about Salvador Dolli and like, maybe why you're so
• 36:14
  Speaker 4: messed up in that his parents had a son named
• 36:17
  Speaker 4: Salvador who lived till he was nine and he passed away,
• 36:21
  Speaker 4: and then they had Salvador Dolli, the artist we know,
• 36:23
  Speaker 4: but they treated him as if he was that son,
• 36:26
  Speaker 4: and so Salvador would be like, I don't want my beans.
• 36:28
  Speaker 4: I'm like, you love beans. You've always loved being Salvador. Oh,
• 36:31
  Speaker 4: and like that's the comic they did four children, but
• 36:35
  Speaker 4: they would like they forced him to be and it
• 36:37
  Speaker 4: feels exactly like what it would create, just absolute splitting
• 36:40
  Speaker 4: in the brain and like psychop it that he'd be like,
• 36:43
  Speaker 4: that's my mom.
• 36:44
  Speaker 5: We're doing a bit is kids.
• 36:45
  Speaker 1: I'm like, you're fucking your kids have forever forever.
• 36:50
  Speaker 3: Yeah.
• 36:50
  Speaker 1: I kept waiting for one of the kids to like
• 36:53
  Speaker 1: threaten to tell, but they really are. I mean they're
• 36:56
  Speaker 1: they're on board and then.
• 36:57
  Speaker 3: And then they're overboard and they're over.
• 37:02
  Speaker 1: Because once Goldie Han is gaslight enough to become Mommy
• 37:06
  Speaker 1: and she's like hose spraying Mommy, they're like, oh like
• 37:10
  Speaker 1: her rustle most evil character ever because he just like
• 37:14
  Speaker 1: everyone he loves.
• 37:15
  Speaker 4: He when we enter that home, do you guys watch
• 37:19
  Speaker 4: this talk about stuck in the player We had I
• 37:21
  Speaker 4: got it for free, taped to a pizza box in
• 37:23
  Speaker 4: a sleeve, but a DVD of Mister Mom.
• 37:28
  Speaker 3: I make a mister Mom reference in my recap because
• 37:32
  Speaker 3: of the montage where she starts doing all of the
• 37:34
  Speaker 3: domestic chores and she's horrible at them.
• 37:36
  Speaker 1: Actually, yes, exactly she is.
• 37:39
  Speaker 5: And it's such an eighties Yes, I love you did
• 37:41
  Speaker 5: that because it's an eighties mess house. It's the exact
• 37:43
  Speaker 5: same kind.
• 37:45
  Speaker 1: Yes, yeah, like there they were just like, okay, every
• 37:49
  Speaker 1: production designer works from the same pile of garbage.
• 37:52
  Speaker 4: And like, and there's always like an iron and ironing
• 37:55
  Speaker 4: board on top of something it shouldn't be.
• 37:57
  Speaker 3: Oh no, it's burning.
• 37:58
  Speaker 5: Yeah.
• 37:59
  Speaker 1: I did laugh because it reminded of me trying to
• 38:02
  Speaker 1: cook when she just shoves that. She keeps trying to
• 38:04
  Speaker 1: shove the chicken, and like a whole carrot loved her.
• 38:07
  Speaker 1: Oh I just I was like, wow, okay.
• 38:09
  Speaker 5: The eminem is on the on the white bread with
• 38:12
  Speaker 5: the nuga heaven. I want that right now.
• 38:14
  Speaker 1: Like Goudiehan is so funny. It's it's not fair.
• 38:18
  Speaker 3: It's but all okay. Something that I think subverts a
• 38:21
  Speaker 3: trope is that a woman's holding a chainsaw. Oh we
• 38:26
  Speaker 3: don't know why, we don't know what her chores is,
• 38:29
  Speaker 3: that she needs to be wielding a chainsaw. But she's
• 38:31
  Speaker 3: really bad at it, and she cuts the head off
• 38:33
  Speaker 3: of a scarecrow and that's feminism.
• 38:36
  Speaker 4: But you're still right because it was she was doing
• 38:38
  Speaker 4: the feminine chores and.
• 38:39
  Speaker 1: Like, what what was that? Like, Yeah, she's like also
• 38:44
  Speaker 1: chopping wood. I guess it's because like they live in
• 38:46
  Speaker 1: the woods that I'm like, maybe this is a feminine children. Well, Kaitlyne,
• 38:50
  Speaker 1: you're from I'm from the wood woods. I was like, Okay,
• 38:54
  Speaker 1: fucked up to say you're from the woods.
• 38:55
  Speaker 5: What do your people do?
• 38:56
  Speaker 3: Yeah, Well, as a matter of fact, in addition to
• 39:02
  Speaker 3: my you know, feminized household chores that I would have
• 39:06
  Speaker 3: to do inside, my dad would make me go out
• 39:09
  Speaker 3: into the woods with him. He would find trees that
• 39:13
  Speaker 3: had fallen over. He would bring his chains off, he
• 39:15
  Speaker 3: would cut them up, and then I had to help
• 39:17
  Speaker 3: load the logs onto his little okay, tractor wagon thing.
• 39:21
  Speaker 5: That's beautiful.
• 39:22
  Speaker 3: Yeah. Wow, So I'm kind of a lumber jack.
• 39:26
  Speaker 1: You are the woods.
• 39:27
  Speaker 3: I am woods and a growed. Anyway, So to get
• 39:35
  Speaker 3: to this moment in the story, she's trying to get
• 39:38
  Speaker 3: acclimated to living in this house, Dean puts her in
• 39:41
  Speaker 3: ill fitting clothes. We'll talk about all of the fat
• 39:44
  Speaker 3: phobia surrounding that. He makes her cook dinner and his
• 39:49
  Speaker 3: plan is to have her do housework for a month
• 39:54
  Speaker 3: to pay off her debt to him while he goes
• 39:58
  Speaker 3: out and neglects his children and his household and drinks
• 40:02
  Speaker 3: with his buddy Billy, which.
• 40:03
  Speaker 1: It seems like he planned to kind of do anyways, right.
• 40:06
  Speaker 4: What exit strategy though, if it's a month, what's your
• 40:10
  Speaker 4: exit strategy?
• 40:11
  Speaker 3: What? He has not thought that far ahead?
• 40:14
  Speaker 1: No, and then it's and then it's hard for him.
• 40:17
  Speaker 1: It is so wild what this movie asks you to
• 40:19
  Speaker 1: empathize with. Just on Kurt Russell's charisma alone, You're like,
• 40:23
  Speaker 1: even that cannot sell you on it. Where the scene
• 40:26
  Speaker 1: where he's like, I have to tell you the truth.
• 40:29
  Speaker 1: Oh no, but I can't because I love you. I'm like, yeah,
• 40:32
  Speaker 1: that's why you're keeping her prisoner.
• 40:34
  Speaker 3: Because you yeah, yikes, yeah whatever. And then that night
• 40:41
  Speaker 3: this is the scene where he comes home. He pretends
• 40:44
  Speaker 3: to be drunker than he is and tries to manipulate
• 40:47
  Speaker 3: her into having sex with him. She is like hard pass.
• 40:52
  Speaker 5: Which he says, boom boom, and she always gives it
• 40:54
  Speaker 5: to him. If you want a guy.
• 40:56
  Speaker 3: Nasty, nasty yeah.
• 40:57
  Speaker 1: And he also is like bragging to his he and
• 41:00
  Speaker 1: his gross friend, like they're they're like, so are you
• 41:04
  Speaker 1: gonna are you gonna rape the woman you kidnapped? And
• 41:08
  Speaker 1: then he's like, haha, maybe I will. And then he
• 41:11
  Speaker 1: gets home and then she rejects him, and then and
• 41:14
  Speaker 1: then we're supposed to think, oh, he's not that bad
• 41:15
  Speaker 1: a guy. He's he's not. Instead of assaulting the woman
• 41:18
  Speaker 1: he kidnapped, he's making her sleep on the.
• 41:20
  Speaker 4: Couch and making her believe that it's her fault because
• 41:22
  Speaker 4: she has a bad.
• 41:23
  Speaker 3: Back, right, lots of gaslighting. She has to sleep on
• 41:27
  Speaker 3: the couch under a leak in the roof, and then
• 41:31
  Speaker 3: the dogs are mauling her the whole night, like.
• 41:35
  Speaker 4: I do every New Year's though every single New Year's
• 41:37
  Speaker 4: I play the fantasy when it's dripping the leaking and
• 41:40
  Speaker 4: then it turns into the New Year's song.
• 41:43
  Speaker 1: Oh my God.
• 41:44
  Speaker 5: I play that every New Year's because.
• 41:45
  Speaker 3: It's like, because they're singing old LNG sign.
• 41:49
  Speaker 4: Yes and then like the confetti comes, like she wakes
• 41:53
  Speaker 4: up and it's like, you know, I think toilet paper
• 41:55
  Speaker 4: are one of the kids.
• 41:56
  Speaker 5: And she's back there and I say I love that.
• 42:00
  Speaker 3: It's a good secrets anyway. So the next day, this
• 42:03
  Speaker 3: is the montage where Dean gives her a list of
• 42:06
  Speaker 3: daily chores. So we see her cleaning up the house,
• 42:10
  Speaker 3: fixing meals, washing clothes, doing yard work, using the chainsaw
• 42:16
  Speaker 3: for some reason, and she's bad at everything. And this
• 42:18
  Speaker 3: is the like mister Mom parallel montage, and Annie hates
• 42:23
  Speaker 3: this life and she's still very skeptical that this is
• 42:27
  Speaker 3: her home and her family.
• 42:29
  Speaker 1: I was impressed at how many attempts that she makes
• 42:32
  Speaker 1: to get the truth. Yeah, where she's like, well, we're pictures,
• 42:36
  Speaker 1: and then he has to have his friend do like
• 42:39
  Speaker 1: proto photoshop where it's like just her own, not her
• 42:43
  Speaker 1: mug shot, but her like just like they're just manipulating
• 42:46
  Speaker 1: the same picture. It's so ridiculous, but I did appreciate that,
• 42:51
  Speaker 1: like she was at least asking questions, which I feel like,
• 42:55
  Speaker 1: I don't know, the bar is like absolutely on the floor,
• 42:57
  Speaker 1: But I feel like a lot of movies like this
• 43:00
  Speaker 1: you don't see the character who's bompd on the head
• 43:02
  Speaker 1: really ask questions in a meaningful way.
• 43:06
  Speaker 4: Well, it's also so interesting because we immediately buy into
• 43:09
  Speaker 4: the fact that she wouldn't be mourning the fact she
• 43:11
  Speaker 4: doesn't remember anything. She's like or like accepting amnesia being
• 43:15
  Speaker 4: in a hospital, which we all would.
• 43:17
  Speaker 5: She literally is like, no, I know who I am.
• 43:19
  Speaker 5: This ain't it. This ain't it right.
• 43:21
  Speaker 1: It's like the vibes are this is not I like, wait,
• 43:25
  Speaker 1: what was the line that she said that. I was like,
• 43:27
  Speaker 1: I want to start saying that when I wake up
• 43:29
  Speaker 1: every day, you're living a nightmare that begins at the
• 43:31
  Speaker 1: crack of dawn. You're like, yeah, exactly, exactly.
• 43:36
  Speaker 3: Yeah. So she's looking for memorabilia, you know, photographs. She
• 43:41
  Speaker 3: can't find anything. Then she has a flash of memory
• 43:44
  Speaker 3: of Dean when he was working on her closet on
• 43:47
  Speaker 3: the yacht, but she doesn't know exactly what it means,
• 43:50
  Speaker 3: and he, of course gaslights this memory out of her brain.
• 43:54
  Speaker 3: And then this is also when he has his friend
• 43:57
  Speaker 3: photoshop the photos to quote unquote prove that they have
• 44:00
  Speaker 3: a life together. And because of this, Annie seems to
• 44:05
  Speaker 3: accept that this must be her life. Either that or
• 44:09
  Speaker 3: she's dissociating, but she tries to pick the best of it,
• 44:12
  Speaker 3: doing the chores and being more playful with the kids.
• 44:16
  Speaker 3: There's a water hose scene that I don't really understand
• 44:19
  Speaker 3: what that was supposed to be.
• 44:21
  Speaker 1: But by jinks, now she's a mama.
• 44:24
  Speaker 3: She's fun.
• 44:24
  Speaker 5: Yeah, but it was in the kitchen it was like
• 44:26
  Speaker 5: this isn't like she plays back.
• 44:30
  Speaker 3: I get right, so.
• 44:31
  Speaker 1: Even yeah, confusing. The kids are absolutely feral. They're eating
• 44:37
  Speaker 1: with their hands. You're like Kurt Russell's all time worst father.
• 44:42
  Speaker 4: But how many It felt like a thousand days in
• 44:45
  Speaker 4: one day because then we have the count the poison
• 44:48
  Speaker 4: ivy situation. But it's like the way they were trying
• 44:51
  Speaker 4: to show us the development of a relationship, but time
• 44:53
  Speaker 4: is also not really working there.
• 44:55
  Speaker 1: Yes, it is pretty unclear how long she's there for.
• 44:57
  Speaker 3: I guess yeah totally, but some amount of time passes.
• 45:02
  Speaker 3: She goes to the school and defends her quote unquote
• 45:05
  Speaker 3: family when the school principle says that the children are
• 45:09
  Speaker 3: a nuisance and that there isn't adequate parental guidance at home.
• 45:13
  Speaker 1: Unfortunately she is correct, but like, wait, her argument is
• 45:16
  Speaker 1: so round about that she still ends up kind of
• 45:18
  Speaker 1: being a villain because she's like upset about it because
• 45:21
  Speaker 1: she wants the children to perform better on standardized tests.
• 45:25
  Speaker 1: And then Goldie Han is like steris tests are bullshit.
• 45:27
  Speaker 1: I'm like, Okay, she's right. Yeah, but like everyone's right
• 45:31
  Speaker 1: and everyone's wrong. This is really bizarre because you're like,
• 45:33
  Speaker 1: at the end of the day, one of the kids
• 45:34
  Speaker 1: can't read, so like, yeah, the principle is right, the
• 45:37
  Speaker 1: pristal is right.
• 45:38
  Speaker 3: That like there's not adequate parental guidance at home, which
• 45:42
  Speaker 3: Annie realizes is true. So she goes to Dean and
• 45:46
  Speaker 3: she's like, you're not a good father and you need
• 45:48
  Speaker 3: to be more active in your son's lives. And he
• 45:51
  Speaker 3: dismisses her at first as he's obsessed with doing but
• 45:54
  Speaker 3: later he apologizes and they have a tender moment and
• 45:59
  Speaker 3: he even lets her sleep in the bed and this
• 46:01
  Speaker 3: time he takes the couch. So they're starting to vibe
• 46:05
  Speaker 3: the question.
• 46:10
  Speaker 1: The things, the things presented as like, wow, he's really
• 46:15
  Speaker 1: becoming a better man in full things like letting this
• 46:19
  Speaker 1: woman he's kidnapped sleep in a bed for the first time.
• 46:22
  Speaker 4: Can I say, like, from my child like perspective, it
• 46:24
  Speaker 4: didn't feel like he's coming a good man. It feels
• 46:26
  Speaker 4: like it felt like she's finally being normal and not ridiculous.
• 46:30
  Speaker 1: Like right, that's probably probably what we're supposed to think, right.
• 46:35
  Speaker 4: Yeah, yeah, totally like she's finally not being a difficult bitch.
• 46:41
  Speaker 1: She's finally accepting his love. I mean exact thing. Yeah,
• 46:44
  Speaker 1: I was trying to think of other Stockholm syndrome because
• 46:48
  Speaker 1: it's like, I feel like Beauty and the Beast is
• 46:50
  Speaker 1: the one that, like people attributed Stockholm syndrome too, but
• 46:55
  Speaker 1: like that discourse came all the way around, because that's
• 46:58
  Speaker 1: not really quite Stockholm syndrome. This feels kind of more
• 47:01
  Speaker 1: cut and dry Stockholm syndrome because it's like she has
• 47:06
  Speaker 1: like no tools really with which to fight this situation,
• 47:10
  Speaker 1: because it's like it is a war of like mental
• 47:14
  Speaker 1: attrition and actual imprisonment.
• 47:17
  Speaker 3: She has amnesia and on top of that he's gaslighting her,
• 47:21
  Speaker 3: and on top of that he has imprisoned her. So
• 47:24
  Speaker 3: it's so many layers.
• 47:25
  Speaker 4: Yeah, it's one of the Reddit reviews I was reading
• 47:28
  Speaker 4: this morning. Was like, no, it was really funny. It's
• 47:30
  Speaker 4: good comedy. However, you know, you couldn't really make it
• 47:32
  Speaker 4: today about a guy taking a disabled woman home with it,
• 47:34
  Speaker 4: And I was like, oh my god, because it's like.
• 47:37
  Speaker 1: Yeah, you really couldn't. I mean, but actually they kind
• 47:40
  Speaker 1: of did. They were like, no, now a woman can
• 47:42
  Speaker 1: do it to a man.
• 47:43
  Speaker 4: That's that's such like an exact thing of being like, well,
• 47:46
  Speaker 4: we want Ona to have, you know, Goldie's career, so
• 47:49
  Speaker 4: let's pick one.
• 47:49
  Speaker 5: And it's like, don't pick that one.
• 47:52
  Speaker 1: I'm sure that this was the cheapest one to remake,
• 47:54
  Speaker 1: but it was for a reason. Yeah, there's ill. I'm
• 47:59
  Speaker 1: kind of excited to hear what you thought and like,
• 48:00
  Speaker 1: what what that was like, Caitlin, because I like, I mean,
• 48:04
  Speaker 1: this podcast existed through the gender swapped era and like
• 48:08
  Speaker 1: we we only barely made it, We only barely survived
• 48:12
  Speaker 1: this era. That just completely missed the point.
• 48:14
  Speaker 3: It's so true. Yeah, I'll share my my thoughts on
• 48:18
  Speaker 3: the remake in a bit, but yeah, in the meantime,
• 48:24
  Speaker 3: it seems as though Dean and Annie might be developing
• 48:29
  Speaker 3: some feelings for each other. And then the next day,
• 48:34
  Speaker 3: Dean and his friend Billy are like working on their
• 48:38
  Speaker 3: mini golf course idea. Of course, Annie is like, oh,
• 48:42
  Speaker 3: build the Eiffel Tower, and then she speaks French, and
• 48:46
  Speaker 3: she's like, wait, why do I know French? That's suspicious, and.
• 48:49
  Speaker 1: Then she goes she goes on to completely make his
• 48:52
  Speaker 1: business for him she's like an architect more thankless labor.
• 48:57
  Speaker 3: Yeah, he does credit her the very least.
• 49:01
  Speaker 1: Yeah, after he's decided, you know what, I am going
• 49:04
  Speaker 1: to keep her prisoner forever. That's the only time he
• 49:07
  Speaker 1: credits her. He's like, I'm going to tell her the truth,
• 49:10
  Speaker 1: and then it doesn't work, and he's like, all right, well,
• 49:11
  Speaker 1: I gotta toss her a bone somehow. I guess I'll
• 49:14
  Speaker 1: admit that she did all the work on this.
• 49:18
  Speaker 4: I think we're past the point in the plot though.
• 49:20
  Speaker 4: But the calamine lotion when she's covering all the kids
• 49:22
  Speaker 4: from poison was so intensive for it because it was like, what.
• 49:26
  Speaker 5: Is that they all look so sickly?
• 49:28
  Speaker 4: Yeah, And it was like, so she's medically caring for
• 49:30
  Speaker 4: these children, but somehow is her fault for them playing
• 49:33
  Speaker 4: and running outside?
• 49:34
  Speaker 5: Like hit after it, we don't.
• 49:36
  Speaker 1: Need to repeat it. Hit. It keeps going. Yes, And
• 49:39
  Speaker 1: then when he almost tells her but then instead he
• 49:42
  Speaker 1: lies to her about her own birthday, Oh my god.
• 49:45
  Speaker 1: And then they do sleep together, which you're like, that's evil.
• 49:48
  Speaker 1: That was the one that was the one thing he
• 49:50
  Speaker 1: wasn't doing, and then he starts doing it. I talked
• 49:54
  Speaker 1: about just a lot why are there, Like yeah, like
• 49:58
  Speaker 1: you're saying, why are there so many beats of like, uh,
• 50:03
  Speaker 1: it's just it's it's freaky.
• 50:06
  Speaker 3: So she has this moment of suspicion about her French speaking,
• 50:11
  Speaker 3: and then she's suspicious for a different reason a little later,
• 50:15
  Speaker 3: when Dean goes out one night and he seems to
• 50:18
  Speaker 3: be lying about where he is, but she discovers that
• 50:21
  Speaker 3: he's moonlighting at a second job, and this is meant to,
• 50:24
  Speaker 3: I think, imply that he is being a more responsible
• 50:27
  Speaker 3: adult than he was before. And then they get financing
• 50:31
  Speaker 3: to build the mini golf course and she's helping and
• 50:36
  Speaker 3: it really is starting to feel like Annie is part
• 50:38
  Speaker 3: of the family, and Dean feels bad about lying to her,
• 50:44
  Speaker 3: and it seems like he's about to tell her the
• 50:46
  Speaker 3: truth about how he abducted her and forced her into
• 50:50
  Speaker 3: a life of domestic labor, but then he bails and
• 50:53
  Speaker 3: brushes it off as, oh, I forgot your birthday. And
• 50:56
  Speaker 3: so this is the scene where they have sex, because
• 51:01
  Speaker 3: you know, he takes her out for her quote unquote
• 51:02
  Speaker 3: birthday and they have fun and they're vibing and they
• 51:05
  Speaker 3: kiss and they have sex.
• 51:07
  Speaker 1: And then he buys her a washing machine what every
• 51:11
  Speaker 1: kidnapped woman wants.
• 51:13
  Speaker 4: Which is like as if that was her biggest issue
• 51:15
  Speaker 4: because it hopped at her and it was messing up
• 51:17
  Speaker 4: before and it was like, hey, I noticed something and
• 51:19
  Speaker 4: I thought about it on my own and I got
• 51:21
  Speaker 4: it for you.
• 51:22
  Speaker 1: This makes crazier for you to do the labor that
• 51:25
  Speaker 1: I'm to do. I'm a good guy. You're welcome, babe.
• 51:30
  Speaker 1: And at this point she's all in, She's like, yes, oh,
• 51:34
  Speaker 1: thank you, let's have sex again.
• 51:37
  Speaker 4: This is very propaganda based then too, because she was
• 51:40
  Speaker 4: like rich, childless having the time of her life.
• 51:42
  Speaker 5: And then it's like, no, she's really happy when she
• 51:44
  Speaker 5: has a family and purpose and.
• 51:45
  Speaker 1: That right, well that's part of it. And it gets
• 51:48
  Speaker 1: so muddled because like there is some funny class stuff
• 51:50
  Speaker 1: going on there, but it does imply that like the
• 51:53
  Speaker 1: life of a childless woman is buying its nature hollow. Yeah, right,
• 51:59
  Speaker 1: And you're like, oh god, I mean I'm glad that
• 52:03
  Speaker 1: these these these kids are to be so fucked up.
• 52:06
  Speaker 1: It's consert truly cooked.
• 52:09
  Speaker 4: Yeah, I mean, pee wee kid is clearly neurotive, virgin.
• 52:12
  Speaker 4: He needs a lot of support. He's not gonna get.
• 52:14
  Speaker 1: He's not gonna get it. He's not gonna get help,
• 52:18
  Speaker 1: Like it's it's lucky that they can all read by
• 52:20
  Speaker 1: the end of the movie, thanks to the woman their
• 52:23
  Speaker 1: father kidnapped instead of helping his kids with their homework.
• 52:28
  Speaker 5: Yes, so awhile, and we're not even off the boat yet.
• 52:32
  Speaker 1: Yeah for a minute. Seven.
• 52:37
  Speaker 3: Oh okay. So Annie's aka Joanna's mother has been calling
• 52:44
  Speaker 3: Joanna's real husband Grant to speak to her, but he
• 52:48
  Speaker 3: keeps making excuses week after week.
• 52:50
  Speaker 1: Husband's name Grant are like.
• 52:52
  Speaker 3: This, Oh, well you would know, Janie.
• 52:55
  Speaker 1: I would know. I kept I kept calling Grant over
• 52:58
  Speaker 1: to be like, this is what you're like, and people
• 53:01
  Speaker 1: are noticing.
• 53:02
  Speaker 5: You can scaveage.
• 53:03
  Speaker 4: You could screenshot a bunch of things where like Grant
• 53:05
  Speaker 4: blah blah blah. I've ben send it to him, Grant, Gret.
• 53:08
  Speaker 1: Yeah. Meanwhile, I'm falling off a boat like this is
• 53:10
  Speaker 1: what it feels like.
• 53:13
  Speaker 3: But anyway, Joanna's mother is like, let me talk to
• 53:16
  Speaker 3: my daughter or else I'm gonna chop your dick off.
• 53:19
  Speaker 3: And so he turns his yacht around and heads back
• 53:22
  Speaker 3: to where Joanna slash Annie is in Oregon. Meanwhile, Annie
• 53:28
  Speaker 3: finds a pair of sexy underwear in Dean's truck that
• 53:31
  Speaker 3: belonged to her from before she lost her memory because
• 53:35
  Speaker 3: they have her real initials JS on them, but she
• 53:38
  Speaker 3: doesn't know who that is, so she confronts Dean, thinking
• 53:43
  Speaker 3: they belong to another woman, and he finally takes this
• 53:46
  Speaker 3: opportunity to say, those underwear are yours because your name
• 53:51
  Speaker 3: is Joanna, we were never married, those kids are not yours,
• 53:55
  Speaker 3: and I've been tricking you this whole time.
• 53:57
  Speaker 5: And why is her underwear in his because the hospital
• 54:01
  Speaker 5: had it.
• 54:02
  Speaker 3: Oh, those were like her personal effects us X under underwear, Yes,
• 54:08
  Speaker 3: Chekhov's underwear.
• 54:10
  Speaker 1: Checkoffs, yeah, Checkovs panties, chechos satin Fanny.
• 54:15
  Speaker 3: But okay. So he lays out the truth, but for
• 54:18
  Speaker 3: some reason she does not believe him, and then his
• 54:23
  Speaker 3: friend Billy covers for him to be like, oh, yeah,
• 54:26
  Speaker 3: those underwear belonged to some other lady that I'm stupping,
• 54:30
  Speaker 3: and Joanna is like, sounds right to me. Let's carry
• 54:34
  Speaker 3: on as we have.
• 54:35
  Speaker 1: Been, which is so disappointing because like this. One of
• 54:38
  Speaker 1: the things I liked about Joanna's character in this like
• 54:41
  Speaker 1: terrifying scenario is that she always asks questions and then
• 54:46
  Speaker 1: at this point. Maybe it's like she's just so thoroughly
• 54:49
  Speaker 1: gaslight that she passively accepts what she's like the most
• 54:52
  Speaker 1: comfortable thing that she's told, which is like that is
• 54:55
  Speaker 1: what's happening. That's really scary that like her, it's just like, okay,
• 55:01
  Speaker 1: so we have effectively killed this woman's spirit.
• 55:04
  Speaker 4: We have but also like imagine right, Like it's so
• 55:06
  Speaker 4: funny because we're like, believe it, you dressed it. But
• 55:08
  Speaker 4: it's like even if she was like, that's not true,
• 55:10
  Speaker 4: that's not true. In what world would.
• 55:12
  Speaker 5: She fathom that that is what happened? Right? And so
• 55:15
  Speaker 5: if he said that, it'd be like, oh, he's ill.
• 55:17
  Speaker 5: That's not good. We're both sick now, Like.
• 55:20
  Speaker 1: It's so too good. They did too good a job
• 55:23
  Speaker 1: of kidnapping her.
• 55:25
  Speaker 3: Yeah, you're right, like that that plan is so evil
• 55:27
  Speaker 3: and unfathomable that who would believe that?
• 55:30
  Speaker 5: Yes?
• 55:30
  Speaker 3: But yeah, Like to your point, Jamie, one of the
• 55:33
  Speaker 3: things we know about her is that she's very discerning
• 55:36
  Speaker 3: and incredulous and where did those qualities go? But true, like,
• 55:40
  Speaker 3: when you're worn down by emotional abuse and manipulation and gaslighting,
• 55:45
  Speaker 3: you might lose a sense of yourself.
• 55:48
  Speaker 5: So God as metaphor and warning for DV.
• 55:51
  Speaker 4: This is incredible movie.
• 55:55
  Speaker 1: It's true if you just forget how it ends.
• 55:57
  Speaker 5: That's what I mean. It's like a dark if you
• 55:59
  Speaker 5: look at it as a horror like and.
• 56:01
  Speaker 1: Go don't go back like it is it is a
• 56:03
  Speaker 1: horror movie. Like there I again. It's like, someday we'll
• 56:06
  Speaker 1: think of something better than the Buchemi test. But like
• 56:08
  Speaker 1: this whole movie, if you Bouchemi test, this entire movie, like, nope, nope, nope, nope, nope, nope, nope, nope, nope,
• 56:15
  Speaker 1: it just doesn't. Especially at the end, We're like, oh,
• 56:18
  Speaker 1: her captor is coming back for her and she wants
• 56:21
  Speaker 1: to be with him and she's excited, and he's also
• 56:23
  Speaker 1: brought his children. You're like, oh, honestly he this character
• 56:27
  Speaker 1: should be in jail.
• 56:29
  Speaker 3: Yeah yeah, yeah, yeah, Okay. So the lie keeps going
• 56:35
  Speaker 3: and Dean professes his love for Annie, and it seems
• 56:39
  Speaker 3: like she loves him too. But then Annie Slash, Joanna's
• 56:44
  Speaker 3: real husband shows up, and seeing him jogs Joanna's memory.
• 56:49
  Speaker 3: She remembers Grant, she remembers her old life and her riches,
• 56:54
  Speaker 3: and she's like, wait a minute, Dean, why did you
• 56:57
  Speaker 3: kidnap me and turn me into your wife and mother
• 57:00
  Speaker 3: of your children? And she's upset about this, but I
• 57:03
  Speaker 3: would say she is not nearly upset enough.
• 57:06
  Speaker 1: Yeah, but this this is a bunch of clunky writing
• 57:10
  Speaker 1: that Goldie Han is like trying to deliver convincingly, but
• 57:13
  Speaker 1: it's so abrupt where she's like, oh, this is so
• 57:17
  Speaker 1: thank you so much for letting me be a mother.
• 57:19
  Speaker 1: Wait why did you do that? Wait? Wait, I'm upset.
• 57:22
  Speaker 1: I'm like, we need to be asking more questions. We
• 57:24
  Speaker 1: need to like call a third party.
• 57:27
  Speaker 4: It feels like they It's what's interesting, it feels like
• 57:30
  Speaker 4: they ran out of time, but not in an edit way.
• 57:32
  Speaker 4: It's like it's like during the filming, it's like with
• 57:34
  Speaker 4: the script, like shoot, can you just say it all
• 57:36
  Speaker 4: right now? Like we don't have any more days to shoot,
• 57:38
  Speaker 4: like of like there was no work as far as
• 57:41
  Speaker 4: what they've done before first setup. It was just like
• 57:43
  Speaker 4: she's struggling with that. Now say it like.
• 57:46
  Speaker 3: Right, yeah, They're like, oh god, we're already an hour
• 57:48
  Speaker 3: and forty minutes into the movie. We got to wrap
• 57:51
  Speaker 3: this up. But anyway, so she gets in Grant's limo
• 57:55
  Speaker 3: and leaves and returns to her life of luxury with
• 57:59
  Speaker 3: Grant and her mother, but now she feels out of place.
• 58:03
  Speaker 3: She wants beer instead of champagne. She's serving herself and
• 58:07
  Speaker 3: others rather than letting the servants serve her.
• 58:11
  Speaker 1: Class commentary, rich woman drinking beer.
• 58:14
  Speaker 5: But she also looks iconic in that look.
• 58:15
  Speaker 4: She like easily, gracefully goes back to her beat it
• 58:18
  Speaker 4: in ensembles.
• 58:19
  Speaker 1: Yeah, I think that is the one thing. It seems
• 58:21
  Speaker 1: like she missed the most, that was the fits and
• 58:24
  Speaker 1: who can blame her?
• 58:25
  Speaker 3: Yes, And so she's also hanging out with the working
• 58:30
  Speaker 3: class crew on the yacht rather than being around the
• 58:34
  Speaker 3: wealthy people. And she realizes that she enjoyed her life
• 58:40
  Speaker 3: with Dean and the kids, and she decides she wants
• 58:43
  Speaker 3: to go back, and so she has the captain turn
• 58:46
  Speaker 3: the yacht around, but Grant is like, not on my watch,
• 58:51
  Speaker 3: so he takes control of the boat. Meanwhile, Dean and
• 58:54
  Speaker 3: his kids are on their way to get Joanna slash
• 58:59
  Speaker 3: Annie back via a coastguard boat that's trying to catch
• 59:04
  Speaker 3: up to the yacht, and Dean and Annie both jump
• 59:08
  Speaker 3: overboard that's again the name of the movie, and they
• 59:11
  Speaker 3: swim to each other and they kiss, kiss, kiss, and
• 59:15
  Speaker 3: she's like, by the way, all of that money, it's mine,
• 59:19
  Speaker 3: So don't worry. We're still rich. Now get me gregnant
• 59:24
  Speaker 3: with a little girl, you virile man, And that's the
• 59:28
  Speaker 3: end of the movie.
• 59:29
  Speaker 4: That's the end of the well we also they also
• 59:32
  Speaker 4: identify themselves as a great love epic because in their
• 59:35
  Speaker 4: like connective he had told her the story of the
• 59:38
  Speaker 4: sailor lost at sea with our tour and Katerina, and
• 59:41
  Speaker 4: sometimes the sailors can hear them, the lovers calling each
• 59:43
  Speaker 4: other's names. Oh yeah, And so then they're screaming to
• 59:46
  Speaker 4: each other from their boats Arturo.
• 59:49
  Speaker 1: And they're like, come on, I like, we don't. It's
• 59:53
  Speaker 1: introduced way too late in the movie for this day,
• 59:55
  Speaker 1: I do late. And also he tells her about it
• 59:59
  Speaker 1: at the birth he made up for her.
• 1:00:01
  Speaker 3: Oh yeah, So let's take another quick break and we
• 1:00:04
  Speaker 3: will come back to discuss. Okay, we're back, We're back
• 1:00:18
  Speaker 3: on board. Okay, we're ready.
• 1:00:21
  Speaker 1: Is there a place that you would like to start? Where? Where?
• 1:00:23
  Speaker 1: Where do we begin? Where do we begin? Here?
• 1:00:25
  Speaker 4: I love I love the way we've been dancing throughout
• 1:00:27
  Speaker 4: and in my thing is I would love from your perspective,
• 1:00:33
  Speaker 4: because objectively, I think it's important to acknowledge that in
• 1:00:36
  Speaker 4: any argument or convincing or theme or.
• 1:00:39
  Speaker 5: Theory, it is a horrible, horrible, horrible premise.
• 1:00:43
  Speaker 4: It is objectively, even for scooball just a actual man
• 1:00:47
  Speaker 4: taking a woman and like assaulting. Like like, I think
• 1:00:53
  Speaker 4: that's such an important start point where you go, like,
• 1:00:55
  Speaker 4: because I can absolutely get this to a place where
• 1:00:57
  Speaker 4: it is an important, important feminist that is teaching us
• 1:01:01
  Speaker 4: and helping us.
• 1:01:01
  Speaker 5: In many ways.
• 1:01:03
  Speaker 4: But I would say, okay, I would like to start
• 1:01:06
  Speaker 4: in a space where I think of this a lot
• 1:01:08
  Speaker 4: as I think of you know, we say oparate art
• 1:01:10
  Speaker 4: from artists. If you watch this creeps thing, can you
• 1:01:13
  Speaker 4: do this? And I think certain actors in the reverse
• 1:01:18
  Speaker 4: make it okay? So, like I think of James Marsters
• 1:01:21
  Speaker 4: as Spike in Buffy. Spike is pretty vile character in
• 1:01:24
  Speaker 4: many ways, including like assaulting Buffy, But because James Marsters
• 1:01:29
  Speaker 4: brings himself to it's charming, it's so forgivable, you so
• 1:01:34
  Speaker 4: want him to win. I think Goldie Han and Kurt Russell,
• 1:01:37
  Speaker 4: their relationship is maybe the only reason we're talking about
• 1:01:40
  Speaker 4: it still.
• 1:01:41
  Speaker 3: Yeah, which is kind of the premise of the Bouchemi
• 1:01:44
  Speaker 3: test or whatever other name we'll decide to have for it,
• 1:01:47
  Speaker 3: where if it's not an incredibly charming person or people
• 1:01:52
  Speaker 3: in the cast.
• 1:01:53
  Speaker 1: Or just like a a when it's like the failure
• 1:01:57
  Speaker 1: of calling it the buchemy host is Steve BUSHEMI is
• 1:01:59
  Speaker 1: hot and we love him, but a Steve Buschevy, if
• 1:02:03
  Speaker 1: a Steve Buschevy type character is doing everything Kurt Russell
• 1:02:05
  Speaker 1: is doing, the movie doesn't work and it's a horror movie. Yeah, yeah,
• 1:02:09
  Speaker 1: I definitely agree with what you're both saying, where it's
• 1:02:13
  Speaker 1: just like this movie in spite of itself, Like there
• 1:02:17
  Speaker 1: were parts that I enjoyed, but it was strictly because
• 1:02:20
  Speaker 1: the cast is so charming and really not anything else.
• 1:02:25
  Speaker 1: There was some and then there's like some funny screwball
• 1:02:28
  Speaker 1: style one off lines. I was shocked to learn that
• 1:02:31
  Speaker 1: a woman had written this movie. This movie was written
• 1:02:35
  Speaker 1: by Leslie Dixon, who I like, I really love a
• 1:02:38
  Speaker 1: lot of her work. She wrote Lindsay Lohan Freaky Friday.
• 1:02:42
  Speaker 1: She wrote Missus Doubtfire.
• 1:02:45
  Speaker 4: I'm sorry the whole disembodiment and identity tropes and her
• 1:02:48
  Speaker 4: shit is crazy.
• 1:02:49
  Speaker 1: Then, like her catalog is totally full of like, I'm like,
• 1:02:53
  Speaker 1: what she and her therapist must have a wild time,
• 1:02:55
  Speaker 1: because I noticed that too.
• 1:02:57
  Speaker 3: She as wrote Hairspray two thousand and seven.
• 1:03:00
  Speaker 5: Yeah, I saw that.
• 1:03:01
  Speaker 4: That was one of the only things I saw in
• 1:03:02
  Speaker 4: theaters multiple times. Oh wow, I'm not a musical theater kid.
• 1:03:06
  Speaker 5: I just fucking loved it.
• 1:03:07
  Speaker 1: It was really I really love that movie. Yeah, I mean,
• 1:03:11
  Speaker 1: like she she does like this is a premise she
• 1:03:13
  Speaker 1: excels in. But this was one of her first credits,
• 1:03:17
  Speaker 1: and I just I mean, she has talked about it since,
• 1:03:21
  Speaker 1: and I think that there's a lot of people who
• 1:03:24
  Speaker 1: were fans of this movie when it came out that
• 1:03:26
  Speaker 1: sort of defend it now, and Leslie Dixon understandably is
• 1:03:31
  Speaker 1: one of those people. But she sort of says the
• 1:03:33
  Speaker 1: same thing that everyone says. Where like Reese Witherspoon loved
• 1:03:36
  Speaker 1: this movie as a kid, and like Kate Hudson loves
• 1:03:39
  Speaker 1: this movie, I wonder why.
• 1:03:41
  Speaker 5: I love my mom's movie like I love my Mommy.
• 1:03:45
  Speaker 1: That cannot be the argument for this movie. Is I
• 1:03:47
  Speaker 1: love my mommy like I do too, And if she
• 1:03:50
  Speaker 1: was an overboard I guess I would like it.
• 1:03:51
  Speaker 5: Yeah, I love my Mommy.
• 1:03:52
  Speaker 1: Test well, can I criticize this movie if their daughter
• 1:03:57
  Speaker 1: loves their mommy, I don't know. But but Leslie Dixon
• 1:04:01
  Speaker 1: kind of says something similar where she's like, oh, well,
• 1:04:06
  Speaker 1: you know, like when she was interviewed during the second
• 1:04:10
  Speaker 1: wave of this movie when the reboot came out, which
• 1:04:12
  Speaker 1: she also co wrote that, she was just like, well,
• 1:04:15
  Speaker 1: you know, Kurt Russell and Goldie Honk are the most
• 1:04:17
  Speaker 1: charming people in the entire world. She said, quote, this
• 1:04:21
  Speaker 1: is twenty seventeen. She's a quote. I was daunted from
• 1:04:24
  Speaker 1: the get go by the idea that the amnesia was
• 1:04:26
  Speaker 1: a central plot device. I thought that was hokey, but
• 1:04:29
  Speaker 1: I was in no position to complain. Someone was paying
• 1:04:31
  Speaker 1: me to write a screenplay, so this also was something
• 1:04:32
  Speaker 1: she was being paid to write. It was more of
• 1:04:34
  Speaker 1: a contract writer O thing that's real, which I think
• 1:04:38
  Speaker 1: does sort of put it into context a little more.
• 1:04:41
  Speaker 1: But I'm also like, no offense to Leslie Dixon, but
• 1:04:44
  Speaker 1: surely we could have come up with a less scary
• 1:04:46
  Speaker 1: version of this premise, like I've seen less scary versions
• 1:04:50
  Speaker 1: of this premis.
• 1:04:51
  Speaker 4: Or we could have justified it so many different ways,
• 1:04:53
  Speaker 4: or like not had them have sex.
• 1:04:56
  Speaker 1: Right, right, Yeah, I mean, I guess should we just
• 1:04:59
  Speaker 1: sort of like run down the scary thing because it's
• 1:05:02
  Speaker 1: like we've been whatever, we've been working around it. But like, yeah,
• 1:05:07
  Speaker 1: all of the ways that Kurt Russell's character is villain is,
• 1:05:11
  Speaker 1: you know, he is like he's kidnapped this woman. He
• 1:05:15
  Speaker 1: you know, is functionally like making.
• 1:05:19
  Speaker 3: Her his like domestic servant.
• 1:05:22
  Speaker 1: It's fucked up and to the point where it's referenced
• 1:05:25
  Speaker 1: in dialogue as a joke in one of the most
• 1:05:28
  Speaker 1: diabolical jokes I think in the in the script where
• 1:05:31
  Speaker 1: he's singing zippity dooda, zippity a, my, oh my, I
• 1:05:36
  Speaker 1: got a wonderful slave, which is first of all, what
• 1:05:39
  Speaker 1: and also just the context of how Americans use the
• 1:05:44
  Speaker 1: term slave and slavery, using zippity dooda, which is canonically
• 1:05:50
  Speaker 1: by a character who is enslaved.
• 1:05:52
  Speaker 4: Like as he's also going to pretend to work, he's
• 1:05:56
  Speaker 4: like singing to himself getting into his truck to then
• 1:05:58
  Speaker 4: go not.
• 1:05:58
  Speaker 1: Work, and you're like this he's the guy that we
• 1:06:01
  Speaker 1: have to root for by the end, Like why is
• 1:06:04
  Speaker 1: he's so overtly villainous in a way that I don't understand,
• 1:06:09
  Speaker 1: Like he's just not sympathetic at all, to the point
• 1:06:12
  Speaker 1: where I don't know, and I guess like at the
• 1:06:14
  Speaker 1: time that wasn't as true, but like watching it with
• 1:06:16
  Speaker 1: today goggles, it's just like, yeah, he's a piece of shit,
• 1:06:20
  Speaker 1: which also seems to be like reinforcing a lot of
• 1:06:23
  Speaker 1: the tropes that were presented with him. But then there's
• 1:06:26
  Speaker 1: a lot of like you're saying though, like Gary Marshall
• 1:06:30
  Speaker 1: is master of tropes, but like it's I feel like
• 1:06:33
  Speaker 1: he's using his powers for evil in this one a
• 1:06:35
  Speaker 1: little bit. Because we are presented with these familiar stock characters,
• 1:06:40
  Speaker 1: I think we get like kind of a stock working
• 1:06:42
  Speaker 1: class character. With Kurt Russell, we also get a stock
• 1:06:46
  Speaker 1: but in this movie all of the stereotypes based around
• 1:06:50
  Speaker 1: working class people are just true of like he drinks
• 1:06:55
  Speaker 1: too much. I mean, it's like come And at some
• 1:06:58
  Speaker 1: points Kurt Russell is stating these himself to manipulate Goldie Han,
• 1:07:03
  Speaker 1: where he's saying like he's lying about her parents. He's like, oh,
• 1:07:06
  Speaker 1: your mother died of alcoholism and your father's in prison.
• 1:07:09
  Speaker 1: Two like broad stereotypes about poor people. But in the meantime,
• 1:07:15
  Speaker 1: he's committing a crime the whole movie, and he's out
• 1:07:18
  Speaker 1: drinking all the time. So it's not even like they're
• 1:07:20
  Speaker 1: like the movie isn't pushing back on these tropes at all.
• 1:07:23
  Speaker 1: They're like, yeah, these and in this world these tropes
• 1:07:25
  Speaker 1: are true.
• 1:07:26
  Speaker 3: He's doing them. Also, just the tropes of like poor
• 1:07:29
  Speaker 3: people are slobbish and dirty and their house is unkempt,
• 1:07:34
  Speaker 3: and they're grifters. They're going to trick people any opportunity
• 1:07:38
  Speaker 3: they get, that they can't take care of their children,
• 1:07:41
  Speaker 3: that they're not very smart, Like all of these tropes
• 1:07:44
  Speaker 3: are present. But then the movie also doesn't like rich people, right.
• 1:07:49
  Speaker 3: It shows the rich characters for being elitist, entitled, cruel assholes.
• 1:07:56
  Speaker 3: So the movie is all over the place with class.
• 1:07:59
  Speaker 1: It just kind of hates everybody.
• 1:08:01
  Speaker 3: Right, But like, I think the movie the best I
• 1:08:06
  Speaker 3: can figure as far as I think we're meant to
• 1:08:11
  Speaker 3: understand that what he is doing to Joanna slash Annie
• 1:08:16
  Speaker 3: is wrong, but I think the movie wants us to
• 1:08:20
  Speaker 3: be like, well, it's okay because she's getting her come
• 1:08:24
  Speaker 3: up and for being so horrible and entitled and rich
• 1:08:27
  Speaker 3: and classist to him, so she's kind of getting what
• 1:08:32
  Speaker 3: she deserves. Yeah, which, as we've pointed out, like yeah,
• 1:08:38
  Speaker 3: It's one thing to like want to collect the money
• 1:08:41
  Speaker 3: that's owed to you for the labor you did for someone.
• 1:08:44
  Speaker 3: It's another thing to abduct someone and force them into
• 1:08:49
  Speaker 3: a life of domestic labor and mistreat them the whole
• 1:08:53
  Speaker 3: time and have sex with them when the consent is very,
• 1:08:57
  Speaker 3: very very murky, like.
• 1:09:00
  Speaker 1: I think she cannot give, she can't give, you can't give,
• 1:09:02
  Speaker 1: like it's it's no great.
• 1:09:04
  Speaker 5: But I also think they have such a disdain. So
• 1:09:08
  Speaker 5: I think you're right in the.
• 1:09:09
  Speaker 4: Attempt to make equal evils this sort of double negative.
• 1:09:14
  Speaker 4: But I think also at the time, if we think
• 1:09:16
  Speaker 4: about the tropes of rich people in media at the eighties,
• 1:09:19
  Speaker 4: like they were just inherently evil. So I do think
• 1:09:21
  Speaker 4: that added more value to those scales of bad, of
• 1:09:25
  Speaker 4: being equally bad, But it completely missed the fact that
• 1:09:29
  Speaker 4: on an individual basis, this man is evil and it
• 1:09:34
  Speaker 4: almost didn't like it is at the threshold of camp.
• 1:09:37
  Speaker 5: It is so close.
• 1:09:38
  Speaker 4: If they had amped everything up, we would have been
• 1:09:40
  Speaker 4: in a magical world where it is farce and ridiculous.
• 1:09:43
  Speaker 4: But we didn't get there. It just kept trying to
• 1:09:45
  Speaker 4: ground itself. So you can't necessarily authentically justify some of
• 1:09:50
  Speaker 4: the caricatures.
• 1:09:51
  Speaker 5: Because it didn't stay that way. It wasn't consistent.
• 1:09:54
  Speaker 1: Yeah, I feel like Edward Herban is in that world,
• 1:09:56
  Speaker 1: but he's kind of alone there. I agree, he's playing
• 1:09:59
  Speaker 1: like camp rich guy. He nailed Yeah, oh he killed it.
• 1:10:04
  Speaker 1: But like Kurt Russell is like giving just a grounded
• 1:10:07
  Speaker 1: enough performance that like not everyone is doing that, like
• 1:10:10
  Speaker 1: you're saying, and like the kids are acting like more
• 1:10:14
  Speaker 1: normal than I've seen kids act in a movie in
• 1:10:16
  Speaker 1: a while, Like they're just acting like kids. But then
• 1:10:20
  Speaker 1: like Goldiehan, I think starts as a camp performance, like
• 1:10:23
  Speaker 1: when she's doing Rich, she's doing camp. But like when
• 1:10:27
  Speaker 1: she becomes Annie or she's forced to become Annie, it
• 1:10:32
  Speaker 1: feels like things change. I yeah.
• 1:10:35
  Speaker 3: Well, Also, again, the way this movie handles class is
• 1:10:39
  Speaker 3: all over the place, but it seems to want to.
• 1:10:42
  Speaker 3: It seems to have the agenda of trying to make
• 1:10:45
  Speaker 3: some kind of class commentary as far as because we
• 1:10:48
  Speaker 3: see Joanna realize how classist and abusive she has been
• 1:10:53
  Speaker 3: to the people who work for her.
• 1:10:55
  Speaker 1: And she apologized.
• 1:10:57
  Speaker 3: She does I would say, she does not adequately apologize,
• 1:11:00
  Speaker 3: but she cries. But now that she has lived life
• 1:11:05
  Speaker 3: on the other side of the class divide. She has
• 1:11:08
  Speaker 3: a better understanding now of labor and what it is
• 1:11:14
  Speaker 3: to live in poverty, and I think the movie is
• 1:11:16
  Speaker 3: trying to be like, well, this rich woman who we
• 1:11:20
  Speaker 3: hated at the beginning and who got what she deserved
• 1:11:23
  Speaker 3: by being human trafficked, she learned her lesson, but ultimately
• 1:11:28
  Speaker 3: what lesson will she actually end up learning, because she
• 1:11:32
  Speaker 3: reveals at the end of the movie that her wealth
• 1:11:34
  Speaker 3: is hers, not her husband's, so she will still live
• 1:11:37
  Speaker 3: a fabulously wealthy life with Dean and these children that
• 1:11:42
  Speaker 3: I guess she's going to adopt.
• 1:11:43
  Speaker 1: Well, I think that like kind of neither of these people. Well,
• 1:11:46
  Speaker 1: I do think that she grows. I think she does growths,
• 1:11:51
  Speaker 1: but like, I agree that like the fantasy ending kind
• 1:11:54
  Speaker 1: of undercuts like her newfound appreciation for labor and what
• 1:12:00
  Speaker 1: poor people experience. But it's also like this movie's version
• 1:12:03
  Speaker 1: of poor people that also like it's like her, it's
• 1:12:08
  Speaker 1: just also muddled where it's like part of her learning
• 1:12:11
  Speaker 1: about the value of labor is her accepting the misogyny
• 1:12:14
  Speaker 1: she receives at home, and you're like, well, that doesn't
• 1:12:17
  Speaker 1: feel good exactly right, where it's not like she's like
• 1:12:20
  Speaker 1: and now like there's never an it would be a
• 1:12:23
  Speaker 1: totally different thing, less campy, but like a totally different thing.
• 1:12:27
  Speaker 1: If like Kurt Russell's character whatever I mean, regardless, he
• 1:12:31
  Speaker 1: would have kidnapped her. But if he had been like, oh, like,
• 1:12:33
  Speaker 1: you have to contribute to the house, like there's a
• 1:12:36
  Speaker 1: division of labor, but he's he's not doing that. He is,
• 1:12:40
  Speaker 1: so she is appreciating that most people have to clean
• 1:12:44
  Speaker 1: up their own house and cook their own food and
• 1:12:47
  Speaker 1: do all this basic stuff, but he's not contributing to that.
• 1:12:51
  Speaker 1: So there's also this underlying misogyny to the quote unquote
• 1:12:56
  Speaker 1: lesson she learns, well.
• 1:12:57
  Speaker 4: Also, I feel, I genuinely feel like this thing he
• 1:13:00
  Speaker 4: keeps showing its cards in its attempt to congratulate itself,
• 1:13:03
  Speaker 4: because ending with her being rich and being able to
• 1:13:06
  Speaker 4: support is an attempt at a feminist switched instead of
• 1:13:09
  Speaker 4: going back to this po dunk kids like where mom,
• 1:13:12
  Speaker 4: she still gets to be glamorous and gorgeous and is
• 1:13:15
  Speaker 4: empowered because it's her money.
• 1:13:17
  Speaker 5: It's a girl.
• 1:13:18
  Speaker 4: Boss, and so to me, that is an attempt But
• 1:13:21
  Speaker 4: recognizing that they're like, hey, you thought we were grossed,
• 1:13:24
  Speaker 4: don't worry, we're not, and they were.
• 1:13:28
  Speaker 1: Right, You're like, it doesn't quite Yeah, I think with
• 1:13:31
  Speaker 1: that in my like, it does get there. I was surprised,
• 1:13:34
  Speaker 1: just because the eighties were so full of like, this
• 1:13:37
  Speaker 1: movie does feel extra creepy even given the time, which which,
• 1:13:42
  Speaker 1: to be fair, I was looking at original reviews of
• 1:13:44
  Speaker 1: the movie. A lot of people felt at the time,
• 1:13:46
  Speaker 1: They're like, this is a really creepy setup for a movie.
• 1:13:48
  Speaker 1: I think it probably contributed to its lack of, you know,
• 1:13:51
  Speaker 1: financial success, in spite of starring a very famous couple.
• 1:13:54
  Speaker 1: At the time, it was not reviewed particularly well, except
• 1:13:58
  Speaker 1: by Roger Ebert, who I could never down to save
• 1:14:01
  Speaker 1: my life.
• 1:14:02
  Speaker 5: That guy is so weird but just truly.
• 1:14:05
  Speaker 1: You cannot predict what he's gonna say. But you know,
• 1:14:09
  Speaker 1: when it came out, it was like reviewed very mixed,
• 1:14:13
  Speaker 1: where they were like, not only is this a clunky
• 1:14:16
  Speaker 1: attempt to revive the scruball comedy, it's also creepier than
• 1:14:19
  Speaker 1: most screwball comedies made fifty years ago, which I would
• 1:14:22
  Speaker 1: agree with. Yeah, I mean, but it just it feels
• 1:14:25
  Speaker 1: weirdly conservative even for the time. Because when I think
• 1:14:29
  Speaker 1: of like eighties movies with white girl protagonists, I'm thinking
• 1:14:35
  Speaker 1: of movies like Working Girl. I'm thinking about movies where
• 1:14:38
  Speaker 1: women having jobs are central to the plot, even if
• 1:14:41
  Speaker 1: women having jobs is supposed to be this regressive, like oh,
• 1:14:45
  Speaker 1: she's too ambitious, she's like you think about the shoulder pads.
• 1:14:48
  Speaker 1: You're thinking about Like a lot of chopes around eighties women,
• 1:14:52
  Speaker 1: I feel like was especially like eighties White Women, was
• 1:14:55
  Speaker 1: built into the idea that now women are working outside
• 1:14:58
  Speaker 1: of the home, and I you have like a scary
• 1:15:01
  Speaker 1: version of that, like fatal attraction and like women are
• 1:15:04
  Speaker 1: waiting later to have children, or.
• 1:15:08
  Speaker 5: Or a normal version like in Decent Proposal exactly.
• 1:15:12
  Speaker 1: But it's like this movie is like just going this
• 1:15:15
  Speaker 1: very conservative route by like suggesting that it's okay to
• 1:15:19
  Speaker 1: be like I don't know. Yeah, the ending is so
• 1:15:21
  Speaker 1: messy because you're like, Okay, she's she has her girl
• 1:15:24
  Speaker 1: boss riches, but like she's still not going to work,
• 1:15:27
  Speaker 1: Like she doesn't have an ambition. It's heavily implied by
• 1:15:31
  Speaker 1: the movie that her life is inherently empty because she
• 1:15:35
  Speaker 1: doesn't have a child. Like there's just all of these
• 1:15:38
  Speaker 1: very conservative implications that feel even conservative for the eighties.
• 1:15:43
  Speaker 3: For sure, and then the boggling question of why does
• 1:15:48
  Speaker 3: She want to go back to a man who she
• 1:15:52
  Speaker 3: knows that for weeks manipulated her, lied to her, treated
• 1:15:56
  Speaker 3: her badly, forced her to do all this labor like
• 1:15:59
  Speaker 3: what compel and then she's to relate.
• 1:16:01
  Speaker 1: To him, not just and then she's like, I like
• 1:16:03
  Speaker 1: the name Annie, Actually let's keep it. You're like, well,
• 1:16:08
  Speaker 1: I I don't know, I don't know.
• 1:16:10
  Speaker 5: I'm realizing as we're talking.
• 1:16:11
  Speaker 4: I feel like this a little bit suffers from what
• 1:16:14
  Speaker 4: I call the House of Gucci effect.
• 1:16:16
  Speaker 5: Where every character was in a different movie.
• 1:16:20
  Speaker 4: So like Jared Leito was like Mario, and then you know,
• 1:16:24
  Speaker 4: you had Adam Driver doing like a grand thing and
• 1:16:27
  Speaker 4: Lady Gaga in a totally different film, and so it
• 1:16:30
  Speaker 4: feels like some of them were like, I get it,
• 1:16:32
  Speaker 4: it's totally camp, let's go crazy. Some of them were like,
• 1:16:35
  Speaker 4: this is my oscar. Some of them were like all right,
• 1:16:38
  Speaker 4: and it's just nobody was on the same page.
• 1:16:40
  Speaker 1: Yeah. It is very all over the place, like even
• 1:16:44
  Speaker 1: down to like a certain creating, like and I'm a
• 1:16:46
  Speaker 1: Gary Marshall fan that like, I don't really think he
• 1:16:49
  Speaker 1: killed it on this one, because it's like even the
• 1:16:51
  Speaker 1: directorial choices feel a little bit uncertain where it's like
• 1:16:55
  Speaker 1: the music, even though I was just like roasting it
• 1:16:57
  Speaker 1: for just being annoying, but it also like you're like,
• 1:17:01
  Speaker 1: what version of this?
• 1:17:02
  Speaker 3: It's like lisant. It's very feels.
• 1:17:04
  Speaker 1: Dissonant with like what the movie is, where you're like,
• 1:17:08
  Speaker 1: why are we getting this like silly, this silly soundtrack
• 1:17:11
  Speaker 1: when a woman has been kidnapped.
• 1:17:14
  Speaker 5: Because it's kind of funny.
• 1:17:16
  Speaker 1: It's kind of funny. It's so it's it's really confusing.
• 1:17:20
  Speaker 1: I don't Yeah, I guess it's like, ultimately, I don't
• 1:17:23
  Speaker 1: really know what the movie is trying to tell us.
• 1:17:26
  Speaker 1: Not that it's like the job of a movie to
• 1:17:28
  Speaker 1: teach us something, but this movie wants us to be
• 1:17:29
  Speaker 1: taking something away.
• 1:17:31
  Speaker 3: I just am not sure what it is, something about class,
• 1:17:35
  Speaker 3: but it doesn't stick. The landing. Yeah, to touch on
• 1:17:39
  Speaker 3: the reductive way that bodies and fatness is discussed in
• 1:17:45
  Speaker 3: this movie. The thing here is that Dean has his
• 1:17:49
  Speaker 3: children buy some dresses for Annie, but they buy ones
• 1:17:54
  Speaker 3: that are too big because they're children and they don't
• 1:17:57
  Speaker 3: know how adult clothing sizes.
• 1:17:59
  Speaker 1: Work, and it's become a hilarious bit. Yeah, so won't
• 1:18:02
  Speaker 1: stop coming up.
• 1:18:04
  Speaker 3: Which is that Dean makes up a story about how
• 1:18:07
  Speaker 3: Annie used to be fat and that's why these dresses
• 1:18:11
  Speaker 3: of hers are too big for her, and Annie seems
• 1:18:15
  Speaker 3: disgusted at the thought that she used to be fat.
• 1:18:18
  Speaker 3: There are jokes made about it by multiple characters. Also,
• 1:18:22
  Speaker 3: this seems to happen a lot in Goldiehn movies. Because
• 1:18:25
  Speaker 3: I'm thinking of death becomes her, her weight fluctuates, and
• 1:18:31
  Speaker 3: a lot of reductive jokes are made about, like her
• 1:18:34
  Speaker 3: losing and gaining weight.
• 1:18:35
  Speaker 1: Also, I think it's just like this is very of
• 1:18:38
  Speaker 1: the times. I mean not to dismiss it because it
• 1:18:43
  Speaker 1: is egregious, but like I almost put the fat shaming
• 1:18:47
  Speaker 1: elements of this movie in the same category as the
• 1:18:50
  Speaker 1: like how old am I You're twenty nine? Like these
• 1:18:54
  Speaker 1: sort of like lazy susan of heavily recycled Joe about
• 1:19:01
  Speaker 1: things that you're being told by the movie. If you
• 1:19:03
  Speaker 1: are a woman, you need to feel insecure about this.
• 1:19:06
  Speaker 1: It like ties into OPRAH culture, like you're like you
• 1:19:09
  Speaker 1: should feel insecure and constantly unsurveillance and possibly disgusted by
• 1:19:14
  Speaker 1: your own size and age.
• 1:19:18
  Speaker 4: Like well, there's also always this threat like a woman
• 1:19:21
  Speaker 4: isn't able to change for good or change or let
• 1:19:23
  Speaker 4: a perversion die because you can't change, for you can't
• 1:19:26
  Speaker 4: get old.
• 1:19:27
  Speaker 5: But also it was that trope of.
• 1:19:29
  Speaker 4: Like the looming wall, you might get fat again, so
• 1:19:32
  Speaker 4: you can't trust that the people like you for being hot.
• 1:19:34
  Speaker 4: Blah blah blah, you might get fat. It was like
• 1:19:36
  Speaker 4: that always might come back. So then women were disgusted
• 1:19:39
  Speaker 4: by having been a different weight, and like it was
• 1:19:42
  Speaker 4: just constantly a trap of your identity has to maintain
• 1:19:45
  Speaker 4: this way or no one will love you.
• 1:19:47
  Speaker 1: And it's still something that like very much happens in
• 1:19:50
  Speaker 1: movies now. I just feel like that the tropes have
• 1:19:52
  Speaker 1: like mutated, not really improved over the years, where now
• 1:19:56
  Speaker 1: it's like a romantic hero will say I don't care,
• 1:20:01
  Speaker 1: like I don't care what you look like, while clearly
• 1:20:03
  Speaker 1: pointing out a woman's size, as opposed to what this
• 1:20:07
  Speaker 1: movie is doing, which is just straight up like again
• 1:20:10
  Speaker 1: just one of Kurt Russell's very villainous qualities where he
• 1:20:13
  Speaker 1: was like, oh, yeah, you used to be disgusting to
• 1:20:16
  Speaker 1: me because you were fat, and then you you go
• 1:20:19
  Speaker 1: through all you go back through like the layers of
• 1:20:22
  Speaker 1: the like that this is all just a part of
• 1:20:25
  Speaker 1: him gaslighting her. So she remains under his control.
• 1:20:28
  Speaker 4: It's just it wasn't the photoshop photo too, like she
• 1:20:31
  Speaker 4: was a PreCure, was fat in it?
• 1:20:33
  Speaker 3: Like no, it's so I was trying to make sense
• 1:20:36
  Speaker 3: to this. Here's what I've concluded.
• 1:20:38
  Speaker 1: I thought she was supposed to be pregnant in this photos.
• 1:20:40
  Speaker 3: Yes, so it's not. It's clearly a photo of his
• 1:20:44
  Speaker 3: first wife, who is the actual mother to children.
• 1:20:48
  Speaker 1: You're like, did he hate this lady?
• 1:20:51
  Speaker 3: Like like it really did, but it's it's a photo
• 1:20:55
  Speaker 3: of him and her, but instead of because you know
• 1:20:58
  Speaker 3: now deceased wife's head, his friend Billy photoshopped Goldie Han's
• 1:21:03
  Speaker 3: head onto it. And it's like, yeah, this is a
• 1:21:07
  Speaker 3: photo from back when you were fat, but it's that
• 1:21:09
  Speaker 3: she's pregnant. It's still a thin person when that person
• 1:21:13
  Speaker 3: was pregnant. And she's just like, yep, looks yeah, that
• 1:21:16
  Speaker 3: tracks for me. That makes sense, And that's supposed to
• 1:21:19
  Speaker 3: be a joke. Yeah, but obviously it's horrible.
• 1:21:24
  Speaker 1: Does not work. It's just like it's it doesn't work
• 1:21:27
  Speaker 1: on so many levels that it's like where do you
• 1:21:30
  Speaker 1: even begin because it is like this fat phobic runner
• 1:21:33
  Speaker 1: that takes place throughout the movie and also just the
• 1:21:36
  Speaker 1: implications around again, I'm just like, why didn't they make
• 1:21:40
  Speaker 1: the writing choice to have her be someone who ran
• 1:21:43
  Speaker 1: out on them, someone who kurt Russell being hostile towards
• 1:21:47
  Speaker 1: would make sense? Yeah, because his hostility, his ostensible hostility
• 1:21:51
  Speaker 1: towards his deceased wife, only goes to make his character
• 1:21:57
  Speaker 1: even more despicable, Like it's awful. It's awful how he acts.
• 1:22:03
  Speaker 4: I always like, that's like such a because it's not
• 1:22:05
  Speaker 4: a storyline. It's such a forgotten part of it that
• 1:22:07
  Speaker 4: I'm like, oh, yeah, completely erased.
• 1:22:10
  Speaker 1: She's simply gone.
• 1:22:12
  Speaker 3: No one seems affected by the absence of this.
• 1:22:17
  Speaker 1: This Steva woman, Like are I pitched this woman who
• 1:22:20
  Speaker 1: ostensibly died in her thirties?
• 1:22:22
  Speaker 5: Like yeah, that's dark.
• 1:22:23
  Speaker 1: No one cares. No one in this movie cares except
• 1:22:27
  Speaker 1: her children.
• 1:22:28
  Speaker 6: Who don't necessarily who they kind of like they're doing
• 1:22:32
  Speaker 6: there like kid wise where they're like sometimes moms leave,
• 1:22:35
  Speaker 6: And I was like, do they not know she died
• 1:22:38
  Speaker 6: or is this like I don't know, it's just all
• 1:22:40
  Speaker 6: very it's all It just made me really sad for everyone.
• 1:22:45
  Speaker 1: And Anna hate kur Russell's character because it seems like
• 1:22:48
  Speaker 1: he's recycling yeah, recycling photos of her, recycling anecdotes from
• 1:22:52
  Speaker 1: her life, but in a way that just like never
• 1:22:56
  Speaker 1: comes full circle, so it just ends up coming off
• 1:22:58
  Speaker 1: as like pretty mean totally. There's a version of this
• 1:23:02
  Speaker 1: movie where I feel like the script tries to convince
• 1:23:04
  Speaker 1: you he's doing all of this because he hasn't processed
• 1:23:08
  Speaker 1: his wife's death, which would be like stupid, but at
• 1:23:12
  Speaker 1: least would be an attempt at.
• 1:23:14
  Speaker 5: It's all fanfic. Anything we do here is fanfic.
• 1:23:18
  Speaker 3: Well, speaking of other versions of this movie, yeah, well
• 1:23:23
  Speaker 3: quick note, this movie has been remade in various other countries.
• 1:23:29
  Speaker 3: I have not seen any of those remakes, but there's
• 1:23:33
  Speaker 3: one from South Korea, there's one from India. There I
• 1:23:38
  Speaker 3: think is a Russian TV series with this premise, So
• 1:23:41
  Speaker 3: this makes sense. It's a very like it's high concept.
• 1:23:44
  Speaker 1: It's high concept, but it works in any culture.
• 1:23:47
  Speaker 3: Really exactly universal. Yeah, but I'm talking, of course about
• 1:23:52
  Speaker 3: the gender Swapped remake from twenty eighteen, which I did
• 1:23:55
  Speaker 3: watch last night, and I will.
• 1:23:58
  Speaker 1: Say sorry about that.
• 1:24:01
  Speaker 3: Here's the thing. I liked it better than the original.
• 1:24:06
  Speaker 3: That might be controversial to say. I think it addresses
• 1:24:09
  Speaker 3: a lot of the issues that we're having not perfectly.
• 1:24:12
  Speaker 3: It doesn't necessarily correct them, but it handles them a
• 1:24:16
  Speaker 3: little better.
• 1:24:17
  Speaker 1: Okay, say more, say more.
• 1:24:19
  Speaker 3: Well, especially the class issue, I would say, it's not
• 1:24:23
  Speaker 3: quite so all over the place regarding class, and it
• 1:24:27
  Speaker 3: doesn't lean into as many tropes about poor people. So
• 1:24:33
  Speaker 3: the premise of this one, it's basically the same, except
• 1:24:36
  Speaker 3: it's a working class woman tricks a rich man with
• 1:24:40
  Speaker 3: amnesia into thinking that he is her husband and father
• 1:24:44
  Speaker 3: to her three children. It stars Anna Faris and Euchenio d'rbez,
• 1:24:51
  Speaker 3: who play characters named Kate and Leonardo. Oh do you
• 1:24:56
  Speaker 3: mean Kate Wenda and Leonardo DiCaprio.
• 1:25:00
  Speaker 4: It feels like also like such an ai bought of
• 1:25:02
  Speaker 4: a time when it was like girls are and minorities,
• 1:25:05
  Speaker 4: but then it's at the same time, you're like making
• 1:25:07
  Speaker 4: the minority of like a victim of this white woman.
• 1:25:10
  Speaker 5: Like it's like it's like.
• 1:25:10
  Speaker 3: Right, right, the optics are trash.
• 1:25:13
  Speaker 1: That's why none of these gender swap reboots work where
• 1:25:17
  Speaker 1: you're just like, okay, so you're like the problem was
• 1:25:21
  Speaker 1: the premise. The premise was the issue. It's not that
• 1:25:24
  Speaker 1: like we needed a more inclusive version of this horrible premise.
• 1:25:29
  Speaker 3: No, we do need the gender swapped, all black cast
• 1:25:33
  Speaker 3: of what women want.
• 1:25:35
  Speaker 4: Yeah, that's my favorite conceit as if we don't know
• 1:25:38
  Speaker 4: what men think, right.
• 1:25:42
  Speaker 1: Anyway, they're so inscrutable to us, and yeah.
• 1:25:46
  Speaker 3: So mysterious. But the remake follows a lot of the
• 1:25:50
  Speaker 3: same beats, but the class thing is handled I think better,
• 1:25:54
  Speaker 3: where the Leonardo character he is not only made to
• 1:25:59
  Speaker 3: do like domestic labor, but also starts working as a
• 1:26:05
  Speaker 3: you know, working class blue collar construction worker, doing the
• 1:26:08
  Speaker 3: type of labor that he used to exploit as a
• 1:26:10
  Speaker 3: rich person, and doing labor for a rich man who
• 1:26:14
  Speaker 3: doesn't treat him or his coworkers well. So he gets
• 1:26:17
  Speaker 3: an even clearer and better understanding of labor exploitation and
• 1:26:22
  Speaker 3: like sees things from the other side in a way
• 1:26:25
  Speaker 3: that I think the original movie attempts to do but
• 1:26:28
  Speaker 3: again doesn't really work out. The ending of this one's
• 1:26:32
  Speaker 3: also like and he is rich also the whole time
• 1:26:35
  Speaker 3: because he inherits his yacht and it's worth sixty million
• 1:26:39
  Speaker 3: dollars whatever, blah blah blah.
• 1:26:40
  Speaker 4: Was that the only way they mentioned in the overboard part,
• 1:26:42
  Speaker 4: like how do they keep the yacht tro No.
• 1:26:44
  Speaker 3: The yacht is still so Anna faris. They meet because
• 1:26:48
  Speaker 3: she goes onto his yacht to clean the carpets because
• 1:26:52
  Speaker 3: she's a carpet cleaner as well as a pizza delivery person. Right,
• 1:26:56
  Speaker 3: But they still meet on a yacht. There's still a
• 1:26:58
  Speaker 3: lot of people falling over board, jumping overboard, you know.
• 1:27:02
  Speaker 1: I mean, that's that's what gets people in the scene,
• 1:27:05
  Speaker 1: because we want to see famous people off the boat.
• 1:27:09
  Speaker 3: So the movies are basically the same, aside from the
• 1:27:11
  Speaker 3: gender swappedness of it all. I do think I like
• 1:27:16
  Speaker 3: the remake better, but not because it's good.
• 1:27:19
  Speaker 5: Do you like it in contrast?
• 1:27:20
  Speaker 1: Yeah?
• 1:27:20
  Speaker 4: Okay, Do you like it in contrast to the first?
• 1:27:22
  Speaker 4: Or is its own thing?
• 1:27:24
  Speaker 3: I would say probably in contrast to the first, But
• 1:27:28
  Speaker 3: I've already kind of memory hold both films, so I
• 1:27:32
  Speaker 3: don't really know. But that's kind of all I had
• 1:27:36
  Speaker 3: to say about these movies. Does anyone have anything else
• 1:27:41
  Speaker 3: they'd like to talk about?
• 1:27:43
  Speaker 1: No? I think the last thing that I this sort
• 1:27:46
  Speaker 1: of dove taels into the Bechtel test of the Really
• 1:27:50
  Speaker 1: only two women that speak are Joanna as Annie talking
• 1:27:56
  Speaker 1: to Adele Burbridge. Can we get a full name for it?
• 1:27:59
  Speaker 1: The principle of the school of another fun performance and
• 1:28:02
  Speaker 1: another character that is just all over the place where
• 1:28:05
  Speaker 1: like she's ultimately wrong. She has good but but you know,
• 1:28:08
  Speaker 1: the only communication that we really get between women in
• 1:28:11
  Speaker 1: this story that is very dominated by men and white
• 1:28:16
  Speaker 1: men at that and like, I know we're in Oregon,
• 1:28:18
  Speaker 1: but this is ridiculous, but is like it is a
• 1:28:23
  Speaker 1: contentious it's an argument. They're like the only two women
• 1:28:26
  Speaker 1: who speak in this movie are in an argument.
• 1:28:29
  Speaker 3: She also talks to her mom on the phone.
• 1:28:31
  Speaker 1: She does, that's true, that's.
• 1:28:32
  Speaker 3: About but I think it's mostly about her husband and
• 1:28:35
  Speaker 3: her husband wanting to ngregnate her.
• 1:28:38
  Speaker 1: So yeah, no, that their conversation unfortunately does not pass
• 1:28:41
  Speaker 1: the Bechel's test. I mean, there might be like a
• 1:28:43
  Speaker 1: one off between them that does, when she is drinking
• 1:28:45
  Speaker 1: beer in front of her mom, but like, oh sure,
• 1:28:48
  Speaker 1: the main conversations are yeah, between heard her mom about
• 1:28:52
  Speaker 1: her husband or the one that passes the Bugel test
• 1:28:56
  Speaker 1: is about how standardized testing is fucking children it up,
• 1:29:00
  Speaker 1: which is true, and then it goes back to the kids.
• 1:29:02
  Speaker 4: Does it pass though, because she's talking about the kids
• 1:29:05
  Speaker 4: that she has been stockholmed to care for as a
• 1:29:07
  Speaker 4: mother for a man.
• 1:29:08
  Speaker 3: I see your point.
• 1:29:09
  Speaker 1: I usually give kids a pass. Yeah, but also there
• 1:29:14
  Speaker 1: are aggressively sons.
• 1:29:18
  Speaker 4: But no, but I mean like not that, I mean
• 1:29:19
  Speaker 4: like it truly like translated, probably not about the children,
• 1:29:22
  Speaker 4: Like she's talking about the children that this man has
• 1:29:25
  Speaker 4: forced her to It is like the trauma still connected
• 1:29:27
  Speaker 4: to the husband, like do you know what I mean?
• 1:29:30
  Speaker 3: Yeah, and she does say like you and your husband
• 1:29:33
  Speaker 3: are not good at rearing children.
• 1:29:36
  Speaker 4: Right, because she'd never be having this conversation if this
• 1:29:39
  Speaker 4: man had not put her in a situation to take
• 1:29:41
  Speaker 4: care of his fit kids.
• 1:29:43
  Speaker 3: I'm fine with saying this movie does at least spiritual
• 1:29:46
  Speaker 3: does not.
• 1:29:47
  Speaker 1: It's not a feminist movie. Yeah, so let's get.
• 1:29:50
  Speaker 4: To this just feels like I don't know if you
• 1:29:51
  Speaker 4: guys have this. It feels like an Oreo pass, you
• 1:29:53
  Speaker 4: know how, like oreos are vegan.
• 1:29:56
  Speaker 1: I love that.
• 1:29:57
  Speaker 4: Yeah, take that because it feels like an Oreo fan.
• 1:29:59
  Speaker 4: We're technically I think it might, but it doesn't.
• 1:30:02
  Speaker 1: But like, no, it doesn't. Yeah, I love that.
• 1:30:05
  Speaker 3: That's hilarious. Yeah, let's go with that. The one true
• 1:30:09
  Speaker 3: metric is the Bechdel cast nipple scale, of course, where
• 1:30:13
  Speaker 3: we rate the movie on a scale of zero to
• 1:30:15
  Speaker 3: five nipples, examining it through an intersectional feminist lens. I'm
• 1:30:19
  Speaker 3: gonna go ahead and give this zero nipples, as I
• 1:30:21
  Speaker 3: foreshadowed earlier, based on everything we talked about, just the
• 1:30:26
  Speaker 3: evil aura of this film. I appreciate that it's trying
• 1:30:30
  Speaker 3: to talk about class, but again doesn't really do it well.
• 1:30:36
  Speaker 3: Zero nipples, So I have no nipples to award or
• 1:30:39
  Speaker 3: give out.
• 1:30:40
  Speaker 1: Yeah, I'm meeting you there. Zero nipples. Really cannot do more.
• 1:30:45
  Speaker 1: I think the Goldiehan performance is really fun. I love Goldiehan,
• 1:30:50
  Speaker 1: but there's so many other Goldiehan movies to watch in
• 1:30:52
  Speaker 1: the world, and I'm grateful for that. Yeah, zero nipples
• 1:30:56
  Speaker 1: for all the reasons we discussed and probably some we
• 1:30:58
  Speaker 1: forgot about. Oh many. Yeah, what do you think?
• 1:31:04
  Speaker 4: I and I know, I think this might subvert the metric,
• 1:31:07
  Speaker 4: But I think one nipple only because what it has
• 1:31:10
  Speaker 4: been used for, its collective reception and this sort of
• 1:31:15
  Speaker 4: affirming in society.
• 1:31:17
  Speaker 5: That that is bad.
• 1:31:19
  Speaker 4: So it does feel like as a feminist sort of
• 1:31:22
  Speaker 4: exercise outside of itself. I'll give it one because of
• 1:31:27
  Speaker 4: its relationship to the world.
• 1:31:29
  Speaker 3: Fair. Hell, yeah, nice, Thank you so much for joining
• 1:31:32
  Speaker 3: us for this discussion.
• 1:31:33
  Speaker 4: But I say I'm so upset that I have to
• 1:31:36
  Speaker 4: skid atle because I feel like I genuinely think we
• 1:31:39
  Speaker 4: could dive in and we can teach a course.
• 1:31:41
  Speaker 5: There's so much in this one movie.
• 1:31:43
  Speaker 3: I know, really well, come back for the remake, Oh
• 1:31:47
  Speaker 3: my god, saw another Time, or.
• 1:31:49
  Speaker 1: Another movie or another movie. I don't have to cover
• 1:31:51
  Speaker 1: the remak.
• 1:31:52
  Speaker 4: I'll let you know if I watch it and I
• 1:31:54
  Speaker 4: might be stressed. I'm grateful you did.
• 1:31:57
  Speaker 3: We'll tell us where people can follow your work, follow
• 1:32:01
  Speaker 3: you online, et cetera.
• 1:32:02
  Speaker 4: Yes, I would love for people to listen to my podcast,
• 1:32:05
  Speaker 4: and I would love for both of you to be
• 1:32:06
  Speaker 4: on called Worse Than You with Mofry Passk, where I
• 1:32:10
  Speaker 4: talk about people's creative process.
• 1:32:12
  Speaker 5: And how they make things, but in a way that
• 1:32:14
  Speaker 5: is not like I get up I write this.
• 1:32:16
  Speaker 4: It's the more abstract efforts that holistically create us. And
• 1:32:20
  Speaker 4: what makes us proud is artists and our themes, et cetera.
• 1:32:24
  Speaker 5: And I think I.
• 1:32:25
  Speaker 4: Would love if you, guys, we'd love to talk about
• 1:32:27
  Speaker 4: the themes of Leslie, because this woman's themes we could
• 1:32:30
  Speaker 4: go down psychologically crazy.
• 1:32:34
  Speaker 1: Hell yeah, yeah, specifically body swap and like dissociative all disembodiment. Incredible.
• 1:32:42
  Speaker 3: I don't forget she wrote limitless so shut up.
• 1:32:46
  Speaker 1: Yeah, oh it's do.
• 1:32:47
  Speaker 3: You not know about the Limitless Pillar movie with Bradley
• 1:32:50
  Speaker 3: Cooper and he takes cocaine or something and it.
• 1:32:53
  Speaker 5: Makes it's every ADHD's dream this movie.
• 1:32:56
  Speaker 1: Yeah, incredible.
• 1:32:57
  Speaker 3: It's not a very good movie, but it has a
• 1:33:00
  Speaker 3: concept premise.
• 1:33:01
  Speaker 5: It does.
• 1:33:01
  Speaker 4: It's like Lucy where it's like I've unlocked the extra
• 1:33:04
  Speaker 4: hundred percent of my brain and now I see the world.
• 1:33:08
  Speaker 1: Yeah. Yeah, god, Okay, Well, I look forward to more
• 1:33:14
  Speaker 1: of Laslie Sport. I mean genuinely consider myself a fan.
• 1:33:16
  Speaker 1: Just this is this one did not hit. That's what
• 1:33:18
  Speaker 1: did not hit.
• 1:33:19
  Speaker 4: But yeah, listening to my pod folks, I listened watch
• 1:33:22
  Speaker 4: Watch Overboard. But I'm so happy to've been on this.
• 1:33:27
  Speaker 4: I thank you, guys. This is so fun.
• 1:33:28
  Speaker 1: No, thank you.
• 1:33:29
  Speaker 3: Come back anytime and you can follow us on Instagram
• 1:33:34
  Speaker 3: as well as our Patreon aka Matreon, where we release
• 1:33:40
  Speaker 3: two bonus episodes every single month, always on an incredible, genius,
• 1:33:45
  Speaker 3: amazing theme, as well as access to the back catalog
• 1:33:50
  Speaker 3: of well over one hundred bonus episodes all for five
• 1:33:54
  Speaker 3: dollars a month at patreon dot com. Slash Bechdel Cast.
• 1:33:59
  Speaker 1: Absolutely and until then, let's jump overboard, but not to
• 1:34:09
  Speaker 1: Kurt Russell to swim the other way. We're swimming the
• 1:34:11
  Speaker 1: other way. Goodbye bye. The Bechdel Cast is a production
• 1:34:18
  Speaker 1: of iHeartMedia, hosted and produced by Me, Jamie Loftus and.
• 1:34:22
  Speaker 3: Me Caitlyn Dorante. The podcast is also produced by Sophie
• 1:34:26
  Speaker 3: Lichtermann and.
• 1:34:27
  Speaker 1: Edited by Caitlyn Dorante. Ever heard of them? That's me?
• 1:34:31
  Speaker 3: And our logo and merch and all of our artwork,
• 1:34:34
  Speaker 3: in fact are designed by Jamie Loftus, Ever heard of her?
• 1:34:38
  Speaker 1: Oh my God? And our theme song, by the way,
• 1:34:41
  Speaker 1: was composed by Mike Kaplan.
• 1:34:43
  Speaker 3: With vocals by Katherine Voskrasinski.
• 1:34:45
  Speaker 1: Iconic and a special thanks to the one and only
• 1:34:48
  Speaker 1: Aristotle Acevedo.
• 1:34:50
  Speaker 3: For more information about the podcast, please visit linktree Slash
• 1:34:54
  Speaker 3: Bechdel Cast