Latest / The Bechdel Cast / Little Miss Sunshine

Transcript

Little Miss Sunshine · The Bechdel Cast

• 0:00
  Speaker 1: On the Bell Cast, the questions asked if movies have
• 0:04
  Speaker 1: women and um are all their discussions just boyfriends and
• 0:07
  Speaker 1: husbands or do they have individualism? The patriarchy? Zef in
• 0:12
  Speaker 1: best start changing it with the Bedel Cast. Hello, and
• 0:17
  Speaker 1: welcome to the Bechdel Cast. My name is Caitlin Darante,
• 0:20
  Speaker 1: my name is Jamie Loftus, and it's my birthday episode.
• 0:24
  Speaker 1: It's your birthday episode, and so we're celebrating accordingly with
• 0:28
  Speaker 1: one of your favorite movies, as is the birthday tradition
• 0:31
  Speaker 1: in these your parts. Indeed, if you've never celebrated a
• 0:35
  Speaker 1: birthday with us, we get to pick movies for our
• 0:38
  Speaker 1: birthday episode. It's that simple. It's that simple. So we're
• 0:41
  Speaker 1: doing little Miss Sunshine for my birthday this year. It's
• 0:44
  Speaker 1: just the two of us. We're going to have just
• 0:47
  Speaker 1: a romp of an episode, fun, flirty conversation about little
• 0:52
  Speaker 1: Miss Sunshine. If you're new, first of all, congratulations for
• 0:55
  Speaker 1: coming in on a birthday episode. What a treat for you. Seriously,
• 0:58
  Speaker 1: the gift you can give yourself. But we are a
• 1:01
  Speaker 1: feminist movie podcast that examines popular films using the Bechdel
• 1:08
  Speaker 1: test as a jumping off point for discussion about how
• 1:12
  Speaker 1: the movie portrays female identifying characters. Jamie, what on earth
• 1:17
  Speaker 1: is the Bechtel test? Well, since it's your birthday, I
• 1:20
  Speaker 1: guess I'll finally clue in on the little secret. Yeah. Thanks.
• 1:25
  Speaker 1: The Bechdel test is a media metric invented by cartoonist
• 1:29
  Speaker 1: Alison Bechdel, sometimes called the Bechtel Wallace test, that requires
• 1:33
  Speaker 1: that a piece of media has the following two female
• 1:38
  Speaker 1: identifying characters with names that talk to each other about
• 1:42
  Speaker 1: something other than a male identified character for two lines
• 1:47
  Speaker 1: of dialogue. Oh my goodness, it doesn't happen enough. What
• 1:52
  Speaker 1: in this movie? Or most rude? How dare this? It's
• 1:57
  Speaker 1: my birthday? All movies should pass the Bechtel test for
• 2:01
  Speaker 1: your birthday. Indiana gents passes the Bechtel test. It's just
• 2:06
  Speaker 1: it's just about one day a year. But yeah, so
• 2:10
  Speaker 1: that that's the that's the Bechtel test. We pass it
• 2:13
  Speaker 1: all the time, every freaking day. In fact, should we
• 2:16
  Speaker 1: test it out right now? Should we? Should we pass it? Okay? Um?
• 2:20
  Speaker 1: Hey Jamie, what what was I expecting that response? Um? Well,
• 2:27
  Speaker 1: my name is Caitlin. Thank you for asking. I just
• 2:32
  Speaker 1: wanted to let you know Jamie that I have poured
• 2:34
  Speaker 1: myself a birthday Margharita. Wow, well it cheers to you.
• 2:40
  Speaker 1: Thank you so much with my little glass of Francia
• 2:42
  Speaker 1: over yonder on the zoom call. And I, if I'm
• 2:45
  Speaker 1: not mistaken, both my Margharita and your Franzia identify as women. Oh,
• 2:51
  Speaker 1: she absolutely does. She can't stop talking about it all
• 2:56
  Speaker 1: day long. I'm discussing women's issues with my various glasses
• 2:59
  Speaker 1: of Zeah. Did you see that clip? And this I'm
• 3:02
  Speaker 1: about to stop passing the Bechtel test, but did you
• 3:05
  Speaker 1: see that clip from a recent episode of Rick and
• 3:08
  Speaker 1: Morty that a bunch of people sent us. I bravely
• 3:11
  Speaker 1: have never seen that show. They do a little Bechtel
• 3:14
  Speaker 1: test bit, do they? Yeah? There are some wonderful um
• 3:20
  Speaker 1: female writers and allies on that show, so I'm I'm
• 3:23
  Speaker 1: thrilled to hear it. Yeah, it was pretty a funny
• 3:26
  Speaker 1: little clip, if I may say, you know, we we
• 3:29
  Speaker 1: we hear at the Bechtel cast love a funny little clip.
• 3:35
  Speaker 1: My feelings for Rick and Morty are complicated, but that's
• 3:37
  Speaker 1: for It's simply not what the podcast is about. And
• 3:39
  Speaker 1: I couldn't be happier about it. Yeah, yeah, it's my birthday. Yeah,
• 3:43
  Speaker 1: we gotta steer the conversation away from Rick and Morty
• 3:46
  Speaker 1: and steer different male helmed project. So we're talking about
• 3:51
  Speaker 1: Little Miss Sunshine. Um, Jamie, what is your history and
• 3:55
  Speaker 1: your relationship with this film? I am honestly so surprised
• 3:59
  Speaker 1: that I had never seen this entire movie. But what
• 4:04
  Speaker 1: I know, it's right up my alley. If I had
• 4:07
  Speaker 1: seen it when it came out, which I was at
• 4:09
  Speaker 1: the right age to see it. I truly don't understand
• 4:12
  Speaker 1: how I missed this movie when it came out. I
• 4:14
  Speaker 1: just never I don't know, I just haven't. I've seen
• 4:17
  Speaker 1: clips of it. I basically knew what happened in the movie,
• 4:21
  Speaker 1: but I had never seen the whole thing in one setting.
• 4:23
  Speaker 1: So it was like truly a pleasure to sit down
• 4:26
  Speaker 1: and watch it because it's a great movie. I really
• 4:29
  Speaker 1: love it. It's so good. I know. Yeah, thank you,
• 4:33
  Speaker 1: and I'd like to also thank your birthday for finally
• 4:37
  Speaker 1: bringing the whole of this movie into my life. It
• 4:41
  Speaker 1: was I cried so many times during this movie. I
• 4:43
  Speaker 1: got real emotional. It was who what a journey? I love?
• 4:46
  Speaker 1: What's your what's your history? First? Of all my birthday
• 4:49
  Speaker 1: says you're welcome. Um. And secondly, oh, we should do
• 4:52
  Speaker 1: a little context I guess, which is that? So on
• 4:56
  Speaker 1: the Matreon for Matrons, yes, I did a little poll,
• 5:01
  Speaker 1: which I often do because, um, not only do we
• 5:03
  Speaker 1: do a regular main feed birthday episode for each of us,
• 5:07
  Speaker 1: we also dedicate each of our birthday months. Yes we
• 5:12
  Speaker 1: here's the here's the fact. We like our birthdays. Okay,
• 5:16
  Speaker 1: we simply like our birthdays and every year we make
• 5:19
  Speaker 1: a big fucking deal about it. And that's we're within
• 5:21
  Speaker 1: our rights to do. So, that's true. So what I
• 5:24
  Speaker 1: did was on the Patreon aka Matreon, I did a
• 5:28
  Speaker 1: little poll of a few of my favorite movies that
• 5:31
  Speaker 1: we have not yet covered, and I was basically the
• 5:35
  Speaker 1: top two most voted on movies we're going to be
• 5:38
  Speaker 1: the two that we covered on the Matreon this month,
• 5:42
  Speaker 1: and little Miss Sunshine blew the other ones out of
• 5:45
  Speaker 1: the fucking water. It really did. And and like we
• 5:49
  Speaker 1: sort of we sort of knew that we knew people
• 5:51
  Speaker 1: wanted this episode, but that really it was an unprecedented response.
• 5:55
  Speaker 1: I think the most overwhelming response in a history of
• 5:58
  Speaker 1: the Matreon. I believe so because sometimes there will be
• 6:01
  Speaker 1: a pretty even split between like a few movies, but
• 6:05
  Speaker 1: a lot of Election two thousand going on in the Matreon.
• 6:08
  Speaker 1: But not this time. Not this time, we had a
• 6:11
  Speaker 1: clear winner. So we decided, hey, maybe we should move
• 6:15
  Speaker 1: this up to the main feed and then do something
• 6:19
  Speaker 1: else on the Matron. So that's what we did. So
• 6:21
  Speaker 1: this was originally going to be a Matron Patreon episode,
• 6:25
  Speaker 1: but I said, hey, it's my birthday. I can do
• 6:27
  Speaker 1: what I want. I want to share the joy of
• 6:31
  Speaker 1: little Miss Sunshine. I don't want to put this behind
• 6:33
  Speaker 1: the pay well. It's available to everyone here, so okay,
• 6:37
  Speaker 1: to be fair, the other two birthday movies you chose,
• 6:40
  Speaker 1: it's a whole pile of man. It's Monty Python and
• 6:45
  Speaker 1: Sean of the Dead. Yes, soups Supsies, listen, it's it's
• 6:51
  Speaker 1: these are we're constantly you know. I'm very glad that
• 6:55
  Speaker 1: little Miss Sunshine has mosied her way onto the main feed.
• 7:00
  Speaker 1: It feels right. Yes. I also realized that those three movies,
• 7:04
  Speaker 1: my three birthday picks, are all like journey from point
• 7:08
  Speaker 1: A to point B movies, Like it's just all about
• 7:10
  Speaker 1: like a quest I love, I love, A good quest
• 7:13
  Speaker 1: to me to love it. I feel like quests and romps,
• 7:15
  Speaker 1: if done well, go hand in hand. Really absolutely, yes,
• 7:20
  Speaker 1: I love it. So that's just me anyway. So my
• 7:24
  Speaker 1: history with the movie is it came out when I
• 7:27
  Speaker 1: was twenty. I saw it in theaters. When it came out, like,
• 7:30
  Speaker 1: I instantly loved it. I was like, oh my god,
• 7:33
  Speaker 1: these performances are incredible. I remember thinking that this family
• 7:39
  Speaker 1: in the movie was the closest thing to my family
• 7:44
  Speaker 1: that I had ever seen on screen. And they aren't
• 7:46
  Speaker 1: even that close, but like, it was still the most
• 7:50
  Speaker 1: accurate depiction of of my family that I had ever seen.
• 7:54
  Speaker 1: I just loved how you know, realistic and genuine all
• 7:57
  Speaker 1: the characters felt. I was obsessed with the score. Um.
• 8:02
  Speaker 1: I was in the middle of my undergrad film school
• 8:05
  Speaker 1: education when the movie came out, and every short film
• 8:08
  Speaker 1: I made that year I used songs from this score
• 8:13
  Speaker 1: in my student films. Very cool, no way, So this
• 8:18
  Speaker 1: is this was one of my boyfriend's favorite movies and
• 8:21
  Speaker 1: he I guess that there was am I don't even
• 8:23
  Speaker 1: know which comic it was, but there was a comic
• 8:25
  Speaker 1: that was using the score from this movie in their show,
• 8:29
  Speaker 1: and my boyfriend, like I think was kind of being
• 8:31
  Speaker 1: kind of like, you probably haven't heard of this, so
• 8:34
  Speaker 1: you know, like, are you having trouble finding it? And
• 8:36
  Speaker 1: he's like, yeah, it's the score from Little Miss Sunshine.
• 8:39
  Speaker 1: I've heard it. And the guy was like mortified because
• 8:43
  Speaker 1: he thought he had like galaxy brained everybody and everyone's like, no,
• 8:46
  Speaker 1: we know what this is. It was a very popular movie. Unrelated.
• 8:50
  Speaker 1: I want to see your student films from undergar. You
• 8:53
  Speaker 1: don't want to see them place place for my birthday?
• 8:57
  Speaker 1: I can wait. Oh okay, all right, I do have
• 9:00
  Speaker 1: a few on DVD. I have a few. Um, they're
• 9:03
  Speaker 1: so embarrassing I would be mortified. I've got some too,
• 9:06
  Speaker 1: we can swap. Okay, all right, let's have a screening party.
• 9:10
  Speaker 1: That will probably have to do again from Afar. Okay,
• 9:16
  Speaker 1: sorry I interrupted. So you know the music and us
• 9:19
  Speaker 1: the music. I was just obsessed with the movie. I
• 9:22
  Speaker 1: I loved it. I bought it on DVD as soon
• 9:25
  Speaker 1: as it came out. I watched it many many times.
• 9:28
  Speaker 1: Absolutely loved it. But it wasn't It's not one that
• 9:31
  Speaker 1: I've revisited in recent years. I'm not quite I don't
• 9:34
  Speaker 1: know why, because I like It's not that I stopped
• 9:36
  Speaker 1: loving it or anything like that. I just I don't
• 9:38
  Speaker 1: know Paddington came along. You only have so much real
• 9:42
  Speaker 1: estate for favorite right there. I feel like this is
• 9:46
  Speaker 1: like I feel like the two thousands were a big
• 9:48
  Speaker 1: year for four indie movies, but more so the indie
• 9:52
  Speaker 1: movie aesthetic. And this movie is like Cannon. But I
• 9:57
  Speaker 1: think I think that why I hadn't I didn't see
• 9:59
  Speaker 1: this movie the year it came out was that my
• 10:02
  Speaker 1: intro to movies that were sort of indie but kind
• 10:05
  Speaker 1: of not was Juno, and so I think this just
• 10:08
  Speaker 1: this movie came out a year too soon. Sure, but
• 10:11
  Speaker 1: this was like this was like Golden Age, quirky white
• 10:15
  Speaker 1: families on a mission to do various things. Two thousand six, Baby,
• 10:19
  Speaker 1: we were all there. Should I do the recap and
• 10:23
  Speaker 1: we'll go from there. Let's do it, Okay, Caitlin's birthday
• 10:27
  Speaker 1: recap of Flow with Sunshine. Okay, so we meet Olive.
• 10:31
  Speaker 1: That's Abigail Breslin. So cute. And if you're a listener
• 10:36
  Speaker 1: of the podcast, you know that I'm not the biggest
• 10:39
  Speaker 1: fan of many child actors, not the actors themselves, but
• 10:43
  Speaker 1: their inability to be good actors, the acting style, acting
• 10:48
  Speaker 1: let's blame it on the instructors. The acting style can
• 10:52
  Speaker 1: be very grading, indeed, but Abigail Breslin is an incredible
• 10:58
  Speaker 1: child actor. She's an natural and she's from a family
• 11:01
  Speaker 1: of good child actors because her brother Spencer was on
• 11:05
  Speaker 1: Even Stevens as Beans. Oh. Another show that I have
• 11:09
  Speaker 1: not watched, Ground Floor Shaya. I don't know if it
• 11:12
  Speaker 1: was actually good, but I know that I watched it great.
• 11:17
  Speaker 1: So all of is a seven year old girl who
• 11:19
  Speaker 1: loves all things beauty pageants. We meet her dad, Richard
• 11:23
  Speaker 1: played by Greg kinnear um. He is a motivational speaker
• 11:28
  Speaker 1: with this nine step refused to lose program. He loves winners,
• 11:34
  Speaker 1: he hates losers. Then we meet her brother Dwayne. That's
• 11:38
  Speaker 1: Paul Dano. Oh boy. We learned that he has taken
• 11:44
  Speaker 1: a vow of silence until he gets into the Air
• 11:47
  Speaker 1: Force because he wants to fly jets. He's also obsessed
• 11:52
  Speaker 1: with Nietzsche. Sure, I mean, you're just like, all right,
• 11:56
  Speaker 1: he's supposed to be what a sixteen year old boy
• 11:58
  Speaker 1: we all knew a version of the Paul Dano character. Yeah,
• 12:03
  Speaker 1: I'm thinking I'm thinking of a very specific kid in
• 12:06
  Speaker 1: the percaution section. Okay, yeah, could just be the haircut.
• 12:09
  Speaker 1: Not sure? Oh sure. Then we meet her grandpa played
• 12:15
  Speaker 1: by Alan Arkin. Um. He is a heroin Addict. And
• 12:20
  Speaker 1: then we meet her mom, Cheryl. That's Tony Collett, our queen.
• 12:25
  Speaker 1: I know, I kind of forgot she was in this movie.
• 12:28
  Speaker 1: When I think of this movie, I think Abigail Breslin
• 12:30
  Speaker 1: and Alan Arkin and kind of Steve Carrell. So I
• 12:33
  Speaker 1: was I I kind of half forgot she was in it,
• 12:36
  Speaker 1: and then was thrilled, Oh my gosh, she's she's present.
• 12:39
  Speaker 1: She's not as present as she should be, and we'll
• 12:41
  Speaker 1: talk about that. Well. I think that I sort of
• 12:44
  Speaker 1: forgot she was in it because she doesn't have enough
• 12:47
  Speaker 1: good scenes. But yes, um. So anyway, she is picking
• 12:50
  Speaker 1: up her brother all of his uncle Frank played by
• 12:54
  Speaker 1: Steve Carrell. She's picking him up from the hospital because
• 12:57
  Speaker 1: he has just attempted suicide. They sit down to dinner
• 13:02
  Speaker 1: together as a family. We realize that there's a lot
• 13:06
  Speaker 1: of tension in this family. A lot of the people
• 13:08
  Speaker 1: don't really like each other or are only pretending to
• 13:12
  Speaker 1: like each other. Things like that, and then Olive listens
• 13:15
  Speaker 1: to a message on the answering machine, saying that she
• 13:18
  Speaker 1: has been given a spot in the Little Miss Sunshine
• 13:22
  Speaker 1: pageant and she is very excited about this. The only
• 13:26
  Speaker 1: trouble is that it's in Redondo Beach, California. Ever heard
• 13:30
  Speaker 1: of it? And they live in New Mexico. Yes, New
• 13:34
  Speaker 1: Mexico is the perfect place for this family. It really is. Yeah,
• 13:39
  Speaker 1: and their house is so I've for some reason bout
• 13:43
  Speaker 1: to New Mexico for various reasons many times. Wow, brag,
• 13:46
  Speaker 1: thank you so much. I've been Albuquerque five or six times.
• 13:50
  Speaker 1: I went to a strip club in Albuquerque on my
• 13:53
  Speaker 1: road on my road trip when I moved from Boston
• 13:57
  Speaker 1: to l A. Albuquerque is in my experience, I mean limited,
• 14:02
  Speaker 1: but also weirdly statistically a lot. Uh. It's a weird place.
• 14:06
  Speaker 1: It's a weird place where weird things happen. I like
• 14:10
  Speaker 1: that they live in Albuquerque, which I guess was not originally.
• 14:13
  Speaker 1: This was originally supposed to be from I think Maryland
• 14:16
  Speaker 1: to California. And they're like, um, what about Albuquerque. We
• 14:20
  Speaker 1: can only afford to get you as far as New Mexico.
• 14:23
  Speaker 1: But if it works perfectly, yeah, um my quick little
• 14:27
  Speaker 1: because it's my birthday, I can do what I want.
• 14:29
  Speaker 1: My quick little anecdote about my time in New Mexico
• 14:32
  Speaker 1: was I was traveling across country. My best friend j
• 14:36
  Speaker 1: T was my travel companion, and we were just kind
• 14:40
  Speaker 1: of walking around the streets of Albuquerque and we happened
• 14:45
  Speaker 1: upon this strip club and if you were a couple,
• 14:49
  Speaker 1: you got in for free. So j T and I
• 14:52
  Speaker 1: pretended to be a couple, and we really know this story.
• 14:57
  Speaker 1: This is a good story. Thank you. We really over
• 14:59
  Speaker 1: so hold it there. I feel like everyone in that
• 15:03
  Speaker 1: position does. We were like, babe, babe, come on, let's
• 15:07
  Speaker 1: go to the strip club. And then we were like
• 15:09
  Speaker 1: making out with each other. Um, and it was really cool,
• 15:14
  Speaker 1: really cool thing, and then we went into really cool.
• 15:18
  Speaker 1: Well I'm congratulations, thank you so much. Um. It was,
• 15:21
  Speaker 1: I will say weird. Albuquerque was the I think the
• 15:25
  Speaker 1: last time I was there was in like the month
• 15:27
  Speaker 1: of May, and it was so hot that I never
• 15:31
  Speaker 1: want to know what it's like. They're in not May.
• 15:35
  Speaker 1: To all our listeners in New Mexico, you're very brave,
• 15:38
  Speaker 1: you are. It's simply too hot there. So we have
• 15:42
  Speaker 1: to also take into account that every character in this
• 15:46
  Speaker 1: film is constantly affected by heat. Stroke, So that just
• 15:51
  Speaker 1: the fact that they're making irrational decisions at times, can
• 15:54
  Speaker 1: we we can assume that their whole live has been
• 15:56
  Speaker 1: at nine degrees and they're driving in this VW bus,
• 16:00
  Speaker 1: which we'll get to in a moment, but I have
• 16:02
  Speaker 1: to imagine the air conditioning was either non existent or
• 16:05
  Speaker 1: not very good in that vehicle. So so they're sweating
• 16:09
  Speaker 1: all over each other. It's it's no wonder things fall apart.
• 16:13
  Speaker 1: Don't blame capitalism or the system. I think we can
• 16:16
  Speaker 1: just blame the heat of New Mexico. Okay. Anyway, So
• 16:22
  Speaker 1: this is the trip they have to make, and the
• 16:24
  Speaker 1: pageant is two days away, and based on some specific circumstances,
• 16:31
  Speaker 1: they realize that for this trip to work out, for
• 16:34
  Speaker 1: them to be able to get all of to the
• 16:36
  Speaker 1: pageant on time, the entire family has to go, and
• 16:41
  Speaker 1: they are going to go in this old Volkswagen bus.
• 16:46
  Speaker 1: So they set off. There's a scene in a diner
• 16:51
  Speaker 1: where Olive and her dad talk about ice cream. We
• 16:54
  Speaker 1: will discuss that later, an important scene. Then they just
• 17:00
  Speaker 1: cover that the clutch in the bus is shot and
• 17:04
  Speaker 1: they take it to like a mechanic and they find
• 17:06
  Speaker 1: out they can still drive the vehicle as long as
• 17:09
  Speaker 1: they get out and push to kind of skip over
• 17:13
  Speaker 1: the first gear or two. Um quirky alert, Yeah it's true. Okay,
• 17:20
  Speaker 1: So they set off again after having pushed the vehicle,
• 17:24
  Speaker 1: but they soon have to pull over again because Richard
• 17:27
  Speaker 1: gets a call from someone named Stan Grossman. It's Brian Cranston.
• 17:32
  Speaker 1: It's Brian Cranston, as we will soon find out, he's
• 17:35
  Speaker 1: the guy who's helping Richard to facilitate this book deal
• 17:39
  Speaker 1: on his nine step program. And he learns that the
• 17:42
  Speaker 1: deal didn't go through, and everyone's upset about this whole thing,
• 17:46
  Speaker 1: and then they accidentally leave without Olive, but then they
• 17:49
  Speaker 1: realize it, and then they swing back around and grab
• 17:52
  Speaker 1: her in one of my favorite scenes in the movie.
• 17:54
  Speaker 1: I remember that scene in the trailer of the movie.
• 17:57
  Speaker 1: It's iconic. It does not end up being as big
• 18:00
  Speaker 1: of a problem as the trailer would lead you to believe.
• 18:03
  Speaker 1: They remember immediately and she is fine. But it is
• 18:07
  Speaker 1: a fun scene indeed. Yes. So then that night they
• 18:10
  Speaker 1: check into a motel and Richard and Cheryl fight a
• 18:15
  Speaker 1: bunch and Richard is like, screwed this, so I'm gonna
• 18:18
  Speaker 1: go fix it. So then he drives to Scott's Dale,
• 18:21
  Speaker 1: where he knows Stan Grossman is at the moment and
• 18:25
  Speaker 1: confronts him and then we're like, oh my gosh, yeah
• 18:27
  Speaker 1: there's Brian Cranston. He's looking really like pretty fucking hot,
• 18:33
  Speaker 1: and like in turn, because Brian Cranston like often alters
• 18:38
  Speaker 1: himself physically, and you're kind of like, oh, yeah, he's
• 18:41
  Speaker 1: kind of like a traditionally hot daddy. That was my
• 18:44
  Speaker 1: takeaway from that. Okay, I think he's hot in this movie.
• 18:48
  Speaker 1: That's great. Um, I did not have those same feelings.
• 18:52
  Speaker 1: I was like, he's scruffy. He's if he wants to
• 18:55
  Speaker 1: be scruffy, he can be scruffy, but not I mean
• 18:58
  Speaker 1: seeing him, you know, all shaven off in his underwear
• 19:01
  Speaker 1: selling drugs or something. I don't know, to watch the shows,
• 19:05
  Speaker 1: it's more or less it. Um. So basically nothing gets
• 19:10
  Speaker 1: resolved with this confrontation and Richard storms off, and then
• 19:15
  Speaker 1: the following morning, Grandpa won't wake up, so they take
• 19:19
  Speaker 1: him to the hospital where he is pronounced dead. But
• 19:23
  Speaker 1: they can't leave him there, and they can't take him
• 19:26
  Speaker 1: with them because the body can't cross state lines without
• 19:30
  Speaker 1: a permit, right, So they decided to sneak him out
• 19:33
  Speaker 1: of the hospital and head the rest of the way
• 19:38
  Speaker 1: to Rodondo Beach with his dead body in their trunk.
• 19:41
  Speaker 1: Great scene, hilarious, love it, um, And of course what
• 19:46
  Speaker 1: happens next is they get pulled over because that's comedy writing, baby, Um.
• 19:52
  Speaker 1: And the cop that pulls them over is Hank from
• 19:54
  Speaker 1: Breaking Bad, and we're like, wait a minute, is everyone
• 19:57
  Speaker 1: from Breaking Bad in this movie? That's out of my
• 20:01
  Speaker 1: breaking bed breadth of knowledge. Well, he wasn't on the poster,
• 20:05
  Speaker 1: So if he wasn't on the if he's not the
• 20:08
  Speaker 1: two guys on the poster, I don't know who he is. Um.
• 20:11
  Speaker 1: That sameness is weird. There is this is like more
• 20:15
  Speaker 1: of a writing note or just like not even a
• 20:18
  Speaker 1: writing note, but like the props should have been shifted differently.
• 20:22
  Speaker 1: In that scene, there's a very clearly a corpse writ
• 20:25
  Speaker 1: in front of the police officer and he's like, like,
• 20:28
  Speaker 1: it's funny, but the places the props are put, You're
• 20:31
  Speaker 1: just like he would see the corpse, he would see
• 20:35
  Speaker 1: the corps. It is right there in front of him.
• 20:37
  Speaker 1: This is script notes with Jamie. Oh cute. I guess
• 20:43
  Speaker 1: the idea is that he's just so horny for porn
• 20:47
  Speaker 1: that he doesn't notice the dead body right there in
• 20:50
  Speaker 1: front of him. Also, uh, nothing bad happens when white
• 20:54
  Speaker 1: guys are pulled over, right, yes, I feel like it's
• 20:57
  Speaker 1: a white guy or even like a white person, like
• 21:00
  Speaker 1: a white woman as well. Getting getting pulled over is
• 21:03
  Speaker 1: more often played for comedy, and when it's a non
• 21:07
  Speaker 1: white character that is like not the case as often,
• 21:10
  Speaker 1: but like this is a very like it is ha
• 21:13
  Speaker 1: ha funny. This man has a court like like Greg Canary.
• 21:17
  Speaker 1: You know, even though his family is adorable, they are
• 21:20
  Speaker 1: breaking the law. Uh, but you you never really think
• 21:24
  Speaker 1: they're going to get like caught. And then it's like
• 21:26
  Speaker 1: oh ha ha, the police officer's horny. Bye bye um.
• 21:30
  Speaker 1: That's I mean, that's not even a critique of the
• 21:32
  Speaker 1: movie as much as just like kind of a a
• 21:34
  Speaker 1: trend that reflects an unfortunate reality because fuck the world. True.
• 21:42
  Speaker 1: So anyways, the police officer poses no threat to them, surprised,
• 21:48
  Speaker 1: so he lets them go. And now the family is
• 21:51
  Speaker 1: only forty five minutes away from their destination, but the
• 21:54
  Speaker 1: check in deadline is also in forty five minutes, so
• 21:58
  Speaker 1: time is of the essen is here, but they have
• 22:01
  Speaker 1: to pull over again because Dwayne has an outburst because
• 22:05
  Speaker 1: he finds out that he's color blind and that means
• 22:07
  Speaker 1: he will not be able to fly jets. No, Paul Daniel,
• 22:11
  Speaker 1: Paul Daniel, you wanted to fly the plane so bad
• 22:17
  Speaker 1: the I just need to like make a quick note
• 22:22
  Speaker 1: just because I feel like this happens in movies a lot.
• 22:24
  Speaker 1: I mean, Paul Dano is like kind of a notoriously
• 22:28
  Speaker 1: baby faced man. But he is twelve years younger than
• 22:32
  Speaker 1: Tony Colette. Yes, and I would like to say I
• 22:35
  Speaker 1: object he is not he is technically he's old enough
• 22:40
  Speaker 1: to be Greg Kinnear's son. If Greg Kinnear had a
• 22:43
  Speaker 1: son when he was twenty one years old, he is
• 22:45
  Speaker 1: not old enough to be Tony Collette's son. Um, which
• 22:49
  Speaker 1: is you know, I mean, she's she's a community what
• 22:51
  Speaker 1: can't she do? But also I was like, wait a second, right,
• 22:56
  Speaker 1: this Paul Dano business, You're just like, who do you
• 23:00
  Speaker 1: think you're fully? Anyways, we don't know, maybe he's adopted.
• 23:03
  Speaker 1: We don't know. Maybe she adopted him when she was
• 23:06
  Speaker 1: twelve when oh right that house that makes sense? Well no,
• 23:11
  Speaker 1: but if she like was like, maybe she adopted him
• 23:14
  Speaker 1: when she was let's full blow Cannon. This if she
• 23:17
  Speaker 1: adopted him when she was like twenty five or twenty
• 23:20
  Speaker 1: six and he was already like ten years old, like
• 23:23
  Speaker 1: if she adopted him when he was like not when
• 23:25
  Speaker 1: he was an infant, when he was got older. But
• 23:27
  Speaker 1: but that is in no way implied in Cannon. We're
• 23:29
  Speaker 1: just there, like Tony Colette was twelve, I guess, yeah,
• 23:33
  Speaker 1: I guess they're relying on you, assuming that um Paul
• 23:36
  Speaker 1: Dana was much younger than he actually is in this movie.
• 23:39
  Speaker 1: He looks sixteen in this movie, like I think his
• 23:42
  Speaker 1: character is supposed to be like sixteen or fifteen sixteen anyways, Yes,
• 23:48
  Speaker 1: So he has an outburst and then another one of
• 23:51
  Speaker 1: my favorite scenes follows where they don't know how to
• 23:54
  Speaker 1: like comfort him or kind of get back on track
• 23:58
  Speaker 1: on this trip. But then all of goes and just
• 24:01
  Speaker 1: like puts her little arm around his and then he's
• 24:04
  Speaker 1: like angel and then he's like, okay, let's go, because
• 24:09
  Speaker 1: moments before this he was like, fuck you guys, you're
• 24:11
  Speaker 1: not my family. I hate all of you, your losers.
• 24:15
  Speaker 1: Just leave me here. I never want to see you again.
• 24:17
  Speaker 1: But then he's like, oh way, all the she's the best.
• 24:25
  Speaker 1: It's great. So they get back in the car again.
• 24:27
  Speaker 1: They make it to the pageant, just in the nick
• 24:30
  Speaker 1: of time. Then Olive prepares for the pageant, and it
• 24:34
  Speaker 1: quickly becomes obvious to all of and her family that
• 24:38
  Speaker 1: Olive isn't competing at quite the same level as the
• 24:43
  Speaker 1: other contestants. And there's a whole conversation to be had
• 24:49
  Speaker 1: about pageants and all of that, although the movie does
• 24:53
  Speaker 1: not go super deep into it, which I which I
• 24:57
  Speaker 1: kind of like, having never seen this movie all the
• 24:59
  Speaker 1: way through, was kind of I mean, I guess I
• 25:02
  Speaker 1: don't really feel one way or another about that choice,
• 25:05
  Speaker 1: but I thought that the movie was going to be
• 25:07
  Speaker 1: way more about the pageant than it ended up being.
• 25:10
  Speaker 1: It's a pretty brief part. Yeah, it's mostly I mean,
• 25:13
  Speaker 1: they don't even get there till the beginning of the
• 25:16
  Speaker 1: third act. Um, what a screenwriting master's degree? Does she
• 25:19
  Speaker 1: have one? Yes? I'd never bring it up though. Um so, yeah,
• 25:25
  Speaker 1: the pageant isn't really the focus of the story really,
• 25:30
  Speaker 1: But they arrive at the pageant, she goes on stage.
• 25:33
  Speaker 1: You know, they're doing their you know, talents and things
• 25:36
  Speaker 1: like that, and then Dwyane and Richard are like all
• 25:40
  Speaker 1: of should not do this. Everyone is going to laugh
• 25:43
  Speaker 1: at her, but then Cheryl is like, you know, this
• 25:46
  Speaker 1: is what all of wants and we're gonna let her
• 25:48
  Speaker 1: do it. We're gonna let her be her. And then
• 25:51
  Speaker 1: you're like, I see where they're both coming from and
• 25:53
  Speaker 1: now and then I did like the touch of like
• 25:56
  Speaker 1: Cheryl does offer her a last minute out, like, don't
• 26:00
  Speaker 1: have to do this if you don't want to. So
• 26:02
  Speaker 1: it does. It is like clearer that that it's olives
• 26:05
  Speaker 1: choice to do it like that, yes, indeed, and she
• 26:07
  Speaker 1: does make the choice to go through with it. So
• 26:10
  Speaker 1: it's time for all of to perform her talent and
• 26:14
  Speaker 1: this is what she had been working on with Grandpa
• 26:16
  Speaker 1: kind of in the back story. But we haven't seen
• 26:19
  Speaker 1: this routine before. We the audience and the family, no
• 26:22
  Speaker 1: one has seen it before. And it turns out to
• 26:25
  Speaker 1: be this this as horny as his magazine. It's it's
• 26:31
  Speaker 1: this creepy like stripped tease like dance to super Freak
• 26:38
  Speaker 1: that Grandpa choreographed, and everyone is horrified, people start leaving.
• 26:45
  Speaker 1: Her family is like, oh my god, what's happenings as
• 26:48
  Speaker 1: her family? It's it is a funny it's so fun
• 26:51
  Speaker 1: because her family is also fully horrified, but they're like,
• 26:53
  Speaker 1: we've already, we've come such a long way. Grandpa died,
• 26:58
  Speaker 1: we should just just let her do the weird day. Yeah,
• 27:02
  Speaker 1: they're just like, fuck it, we're here to support all
• 27:05
  Speaker 1: of so can't yell at grandpa about it. He died.
• 27:09
  Speaker 1: The pageant people are like, get her off the stage,
• 27:12
  Speaker 1: and they're like no, and then like the dad tackles
• 27:16
  Speaker 1: the m c of the pageant. Then the whole family
• 27:18
  Speaker 1: gets on stage and starts stancing with her, and then
• 27:23
  Speaker 1: so rompy. It's a good movie moment. I love it.
• 27:27
  Speaker 1: But then we cut to them being reprimanded by like
• 27:30
  Speaker 1: the hotel security and they're told that they are never
• 27:33
  Speaker 1: allowed to enter all of into another pageant in the
• 27:37
  Speaker 1: state of California again. And they're like, that's actually totally
• 27:40
  Speaker 1: fine by us, because maybe beauty pageants suck. Uh, And
• 27:45
  Speaker 1: then they do one last push to get the car going,
• 27:48
  Speaker 1: and then they drive off back home and that's the
• 27:52
  Speaker 1: end of the movie. It's fun. It's so fun. Let's
• 27:55
  Speaker 1: take a quick break and then we'll come right back
• 27:58
  Speaker 1: for a birthday discussion in and we're back. Who oh,
• 28:09
  Speaker 1: there's so much good stuff to talk about in this movie,
• 28:15
  Speaker 1: would it makes sense to talk about the stuff that
• 28:17
  Speaker 1: didn't hit for us quite as well to start? Because
• 28:19
  Speaker 1: they're there, I feel like we're we're majority love for
• 28:23
  Speaker 1: this movie. Yeah, I think that works. Yeah, I think
• 28:26
  Speaker 1: that my one real gripe, if you can call it that.
• 28:30
  Speaker 1: But like, if this were like truly, for me, the perfect,
• 28:33
  Speaker 1: most perfectest movie to ever exist, you would get a
• 28:38
  Speaker 1: more fleshed out specific arc for Tony Collette's character. That
• 28:44
  Speaker 1: was like what I felt missing because because it's like there,
• 28:49
  Speaker 1: I mean, it's so rare to have like a family
• 28:52
  Speaker 1: movie where you know deeply who every character is. And
• 28:56
  Speaker 1: also everyone in the movie is played by like an
• 28:58
  Speaker 1: incredible actor, Like no one has to pick up slack
• 29:02
  Speaker 1: for anyone in this cast. It's so good that I
• 29:05
  Speaker 1: like felt Tony Kulett not having a full arc, Like
• 29:09
  Speaker 1: she's the only character that doesn't have a I mean,
• 29:14
  Speaker 1: she does have an arc, but it's related to the
• 29:17
  Speaker 1: people in her family. There's not really a piece of
• 29:20
  Speaker 1: the story that's that's specific to her or her inner life.
• 29:25
  Speaker 1: And I can see, you know, she feels the caretaking
• 29:28
  Speaker 1: role in the family. She seems to be the glue
• 29:31
  Speaker 1: of the family, trying to keep everyone in check, which
• 29:34
  Speaker 1: is a common role for a mother to have. But
• 29:38
  Speaker 1: it I mean, that doesn't mean that she doesn't think
• 29:41
  Speaker 1: about other things and have other you know, thoughts, goals, ambitions, etcetera.
• 29:45
  Speaker 1: And I feel like this is a movie that definitely
• 29:47
  Speaker 1: has room for that, where we know exactly what everyone
• 29:52
  Speaker 1: else in the family wants or wanted or what their
• 29:56
  Speaker 1: struggle is. And it was just like not as clear
• 30:00
  Speaker 1: other than keep the family together, right, especially because like
• 30:03
  Speaker 1: she is established to be the breadwinner of the family,
• 30:08
  Speaker 1: she is supporting them because there's a like a little
• 30:11
  Speaker 1: exchange where Richard is like, we can't afford this trip,
• 30:14
  Speaker 1: it'll eat into our seed money, and then Cheryl's like,
• 30:17
  Speaker 1: well if I had any help bringing it in. So
• 30:20
  Speaker 1: we know that she's a working mom. We know that
• 30:22
  Speaker 1: she has a job and that she is earning the
• 30:24
  Speaker 1: bulk of their income of this family. We never find
• 30:27
  Speaker 1: out what her job is. No, we don't, Okay, I
• 30:31
  Speaker 1: was making I was like, did I miss that? I
• 30:32
  Speaker 1: don't think we find out what she did. We don't
• 30:34
  Speaker 1: find out if she likes what she does. It's very
• 30:38
  Speaker 1: possible she the job she's breadwinning with she loves she's
• 30:41
  Speaker 1: been very sick, but like, we have no idea, We
• 30:44
  Speaker 1: have no idea. The best I could get. And then
• 30:46
  Speaker 1: this is purely a guess based on a few context clues,
• 30:50
  Speaker 1: because when she's picking Frank up from the hospital, we
• 30:53
  Speaker 1: can assume that she has left her job because she's
• 30:56
  Speaker 1: still wearing a name tag. So she's wearing a name tag,
• 31:00
  Speaker 1: and she is dressed in like business casual. So I
• 31:03
  Speaker 1: was like, she probably works in like customer service, maybe
• 31:06
  Speaker 1: at like a bank or something like that. I was,
• 31:09
  Speaker 1: I was even like, maybe she's like a retail manager
• 31:12
  Speaker 1: or something like But it's they don't tell us, And
• 31:15
  Speaker 1: it seems like this movie went through a lot. Maybe
• 31:18
  Speaker 1: there's a version of the script or of the movie
• 31:21
  Speaker 1: where you do know, But in this yeah, we we
• 31:24
  Speaker 1: don't know exactly what she does. We don't know what
• 31:26
  Speaker 1: her relationship with her job is. We're only given insight
• 31:31
  Speaker 1: to her as she relates to her family, which isn't
• 31:35
  Speaker 1: true for basically everyone else in the family we know about.
• 31:40
  Speaker 1: I mean, in Richard's case, it's all about his job,
• 31:42
  Speaker 1: his nine step program, right, And for Paul Dana, we
• 31:46
  Speaker 1: know what he wants to do and like we know
• 31:49
  Speaker 1: how like he's got this like discipline complex and Ali
• 31:53
  Speaker 1: wants the pageant, and you know, like Frank is recovering
• 31:57
  Speaker 1: from this like romantic and professional failure. But like we
• 32:01
  Speaker 1: just we just don't get that for these the number
• 32:05
  Speaker 1: one proof scholar in the United States or is he
• 32:08
  Speaker 1: number two? Not more? And it's killing him. We even
• 32:11
  Speaker 1: know more. We even know about Grandpa's backstory. You know,
• 32:14
  Speaker 1: he was at this he's a veteran. He's a veteran.
• 32:17
  Speaker 1: He was at this like retirement home that he got
• 32:20
  Speaker 1: kicked a lot of women. He sucks a lot of ladies,
• 32:24
  Speaker 1: and he tells everyone that they should also do the
• 32:27
  Speaker 1: same thing, and he has an addiction struggle. Like that's
• 32:30
  Speaker 1: just yeah, that's I mean five times the amount that
• 32:33
  Speaker 1: we know about Tony Colette and he dies halfway through, right,
• 32:36
  Speaker 1: she gets more screen time than him, and we still
• 32:38
  Speaker 1: know the least amount about her. But then I was like,
• 32:42
  Speaker 1: so I kind of cataloged all of that, But then
• 32:45
  Speaker 1: I thought about, Okay, yes, her role in the story
• 32:48
  Speaker 1: is relegated to, you know, being the mom, and that's
• 32:52
  Speaker 1: really all we know about her, whereas the predominantly male cast.
• 32:57
  Speaker 1: We know a bunch of stuff about them, Specifically, they're
• 33:00
  Speaker 1: like professional pursuits, but they're all kind of their failures
• 33:06
  Speaker 1: at it in some way, um whereas she's a really
• 33:11
  Speaker 1: really good mom. And I was like, Okay, well that's something. Yeah,
• 33:17
  Speaker 1: I don't but even but yeah, I know, I don't
• 33:20
  Speaker 1: think that she could be a failure at something. We
• 33:22
  Speaker 1: just don't know. Maybe she's maybe she is a huge failure.
• 33:26
  Speaker 1: We have no way, and we just haven't let Tony
• 33:29
  Speaker 1: Colette be a failure. Let Tony had failed for once
• 33:33
  Speaker 1: she came. Yeah, but I don't know. I wonder because
• 33:38
  Speaker 1: I mean, Michael, how do you say his latime aren't
• 33:40
  Speaker 1: aren't Michael Michael Aren't. I respect his work a lot,
• 33:46
  Speaker 1: and I'm a fan of most of it, even cars
• 33:50
  Speaker 1: to uh An extremely car. I mean, that's the one
• 33:55
  Speaker 1: thing where I kind of struggled to find an excuse
• 33:58
  Speaker 1: for him. I feel I feel like that it is
• 34:00
  Speaker 1: very possibly And I don't even really mean this as
• 34:03
  Speaker 1: a severe criticism of him, but just a writer who
• 34:06
  Speaker 1: doesn't have a ton of insight into how an adult
• 34:09
  Speaker 1: woman thinks, right, and because he is the soul writer
• 34:13
  Speaker 1: of the movie, you just kind of don't get a
• 34:15
  Speaker 1: lot more than that, and then kind of I guess
• 34:19
  Speaker 1: that same and again this is this is pure speculation,
• 34:23
  Speaker 1: but I feel like that same kind of you know,
• 34:26
  Speaker 1: soul credited male writer tour type that he sort of
• 34:31
  Speaker 1: has become known as. You can sort of trace that
• 34:35
  Speaker 1: to the like I was expecting going into this movie
• 34:41
  Speaker 1: way more Tony Collette Abigail Breslin one on one or
• 34:46
  Speaker 1: like connection than you get. You really don't get a
• 34:49
  Speaker 1: lot with the two of them. You get like that
• 34:52
  Speaker 1: moment towards the end, but I mean they're all together
• 34:55
  Speaker 1: for most of the scenes, but her primary connection with
• 34:58
  Speaker 1: an adult characters with her grandfather, not her mother, which
• 35:02
  Speaker 1: is fine, you know, that's true of some families, but
• 35:05
  Speaker 1: it also kind of stood out to me of like, oh,
• 35:06
  Speaker 1: we really don't really know much about the mother daughter
• 35:09
  Speaker 1: connection and they're the only two female characters those are.
• 35:13
  Speaker 1: I mean, that was like truly like the only thing
• 35:16
  Speaker 1: that it's not even I mean, I just I just
• 35:18
  Speaker 1: missed it the same. It doesn't cheapen the product, but
• 35:22
  Speaker 1: I just missed it. And I was as I was
• 35:24
  Speaker 1: watching it this time around with a more kind of
• 35:27
  Speaker 1: critical eye, I was trying to figure out who the
• 35:30
  Speaker 1: movie frames as the protagonist. To me, it feels like
• 35:33
  Speaker 1: there's no one character who is really it feels like
• 35:37
  Speaker 1: more the family unit is the protagonist of this film
• 35:41
  Speaker 1: rather than any one single character. So I was like, Okay,
• 35:44
  Speaker 1: we have all these different characters in theory contributing equally
• 35:49
  Speaker 1: or like being equally important to the story as any
• 35:52
  Speaker 1: other one character. So for that to be true of
• 35:55
  Speaker 1: this narrative. But then to give especially Cheryl the mom character,
• 35:59
  Speaker 1: the least amount of backstory, the least amount of interiority,
• 36:03
  Speaker 1: no other thing we know about her besides her being
• 36:06
  Speaker 1: you know, the supportive mom character, was just especially frustrating.
• 36:12
  Speaker 1: I agree. So a little bit of context corner for
• 36:15
  Speaker 1: this movie, um, I mean just the main context for
• 36:19
  Speaker 1: the context quarter is just it took a very long
• 36:22
  Speaker 1: time for this movie to be made. Um, it took
• 36:25
  Speaker 1: a thing about seven years for the story being basically
• 36:28
  Speaker 1: done to it coming out because I guess Michael Aren't
• 36:31
  Speaker 1: was like at the time he wrote this, he was
• 36:33
  Speaker 1: like Matthew Broderick's assistant, Like he had a real glow
• 36:36
  Speaker 1: up narrative. Over time, he's a pretty interesting person. Um.
• 36:41
  Speaker 1: But all that to say so Originally this movie ended
• 36:44
  Speaker 1: up selling to I think it was like Focus Features.
• 36:47
  Speaker 1: They sold the script somewhere, but studio interference got it
• 36:51
  Speaker 1: just became too much. So the studio executive suggested that
• 36:55
  Speaker 1: the protagonist shift to being Greg Kinnear, which is where
• 36:58
  Speaker 1: you get that whole thing with him going to Scottsdale
• 37:01
  Speaker 1: that originally wasn't there, but it was added. And then
• 37:04
  Speaker 1: basically Michael Aren't was kind of a real one and
• 37:07
  Speaker 1: was like, if you want to shift the focus to
• 37:09
  Speaker 1: be about him, then I'm going to pull the project
• 37:12
  Speaker 1: and take it somewhere else. So it's still about the family,
• 37:14
  Speaker 1: but there are I mean, I would argue the movie
• 37:16
  Speaker 1: leans a little heavy on Richard at times for sure,
• 37:19
  Speaker 1: but then it's like it was interesting to learn, like
• 37:22
  Speaker 1: why that was, yeah, his arc with the whole I mean,
• 37:27
  Speaker 1: there are entire scenes dedicated to just his specific pursuit
• 37:31
  Speaker 1: of this like book deal and his you know nine
• 37:34
  Speaker 1: and he's always talking about the nine steps and like
• 37:37
  Speaker 1: he's he's given a ton of dialogue about it. And
• 37:39
  Speaker 1: because he's also kind of like a walking metaphor too,
• 37:42
  Speaker 1: for like he's like the walking American dream metaphor character, right,
• 37:48
  Speaker 1: which we should make a list of at some point, right,
• 37:52
  Speaker 1: so he I would say his subplot is given more
• 37:56
  Speaker 1: focused than I think any other subplot like him and
• 38:00
  Speaker 1: all of basically get the two most plot impact. Well actually,
• 38:05
  Speaker 1: but then it's like Grandpa dies. I don't know, all
• 38:09
  Speaker 1: of isn't super the focus until they get to the
• 38:12
  Speaker 1: pageant end, right, she she kind of I mean, she's there,
• 38:15
  Speaker 1: but she's not involved for kind of stretches, right, I
• 38:20
  Speaker 1: don't know, I mean, it's but there. Well, I guess
• 38:23
  Speaker 1: I guess that that's a lot of what the movie
• 38:26
  Speaker 1: kind of like. Obviously, failure is a huge focus on
• 38:31
  Speaker 1: what this movie tackles, and I think it does it
• 38:33
  Speaker 1: like mostly in a pretty cool and like thoughtful way
• 38:38
  Speaker 1: of how does failure affect people? And the majority of
• 38:42
  Speaker 1: the movie does focus on how does failure affect men?
• 38:46
  Speaker 1: And then at the end we sort of you sort
• 38:49
  Speaker 1: of get a peek at like because it's made clear
• 38:53
  Speaker 1: to the family and all of that, like who she
• 38:56
  Speaker 1: is and her body and all these parts of her
• 38:58
  Speaker 1: do not conform to the beauty pageant quote unquote rigid
• 39:02
  Speaker 1: standard that she has somehow failed as well. And it's
• 39:06
  Speaker 1: about this family coming to terms with their various failures,
• 39:10
  Speaker 1: and like, what does failure even mean? Who decides whether
• 39:12
  Speaker 1: you succeed or whether you fail? Every character sort of
• 39:15
  Speaker 1: has a different definition of what it means to be
• 39:18
  Speaker 1: quote a winner or a loser, and like, and what
• 39:23
  Speaker 1: what is Tony Colletts, don't ask me. I don't know. Yeah,
• 39:27
  Speaker 1: I guess we don't really know because we hear like
• 39:29
  Speaker 1: Grandpa's Grandpa's like, you know, losers are just people who
• 39:33
  Speaker 1: are so afraid of not winning that they don't even try.
• 39:38
  Speaker 1: And he's like, but you're trying, You're gonna But even Grandpa,
• 39:40
  Speaker 1: I mean, it's it's this family feels very real in
• 39:43
  Speaker 1: a lot of ways. And so there are these moments
• 39:47
  Speaker 1: where I feel like it's kind of I want to
• 39:49
  Speaker 1: give Michael Aren't the benefit of the doubt and say
• 39:51
  Speaker 1: it's kind of intentionally done. Of like, it seems like
• 39:55
  Speaker 1: Grandpa is the only character that comes in having already
• 39:58
  Speaker 1: kind of rejected the system and rejected this this idea
• 40:03
  Speaker 1: of what is failure mean? What is success mean? To
• 40:05
  Speaker 1: the point where he knows that he has an addiction problem,
• 40:09
  Speaker 1: he doesn't care. He's like, I'm living my life, blah
• 40:13
  Speaker 1: blah blah, like which is a take on addiction that
• 40:15
  Speaker 1: is wild uh true. But even he like, it's interesting
• 40:21
  Speaker 1: that this movie kind of is pushed along by this
• 40:24
  Speaker 1: pageant because you see Grandpa. Even though Grandpa is nice
• 40:28
  Speaker 1: guy quote unquote, he also subtly like regulates Olive's body
• 40:35
  Speaker 1: and behavior a little bit as well, because during the
• 40:38
  Speaker 1: ice cream scene, I thought it was like such a
• 40:41
  Speaker 1: I like watched that scene a couple of times just
• 40:43
  Speaker 1: to make sure, because there's just so much going on
• 40:45
  Speaker 1: in there. But in the ice cream scene, Grandpa is
• 40:48
  Speaker 1: one of the driving forces that says like, no, I'll
• 40:51
  Speaker 1: have eat ice cream, don't worry, and and his first
• 40:55
  Speaker 1: reason for doing so as he says, I like a
• 40:57
  Speaker 1: woman with some meat on her bones, which in the
• 41:01
  Speaker 1: moment is like, oh, that's sweet, But then it also
• 41:05
  Speaker 1: reinforces that men dictate how women should look, and if
• 41:08
  Speaker 1: he likes how a woman looks, then how could it
• 41:11
  Speaker 1: be wrong? And so it's like there's all these like
• 41:13
  Speaker 1: little I don't know, it's really smart because that's that's
• 41:15
  Speaker 1: what a grandpa would say. That's what a grandpa trying
• 41:18
  Speaker 1: to make you feel better, would say something a little
• 41:20
  Speaker 1: fucked up, right, You're just like, well, I see where
• 41:23
  Speaker 1: he was going with it that, and it's like simple
• 41:26
  Speaker 1: enough for her to understand, because again, she's only seven,
• 41:29
  Speaker 1: so you know, there's all these sort of different things
• 41:32
  Speaker 1: at play, but I do. Okay, So I want to
• 41:34
  Speaker 1: talk about the ice cream scene, and I think that
• 41:37
  Speaker 1: will just sort of be maybe a part of the
• 41:41
  Speaker 1: larger beauty standards. It's one of the scenes. Yes, So
• 41:47
  Speaker 1: basically what happens is that they stopped for breakfast, I think,
• 41:51
  Speaker 1: at a diner and Olive orders her waffles alamode, adorable, alamode.
• 41:58
  Speaker 1: So she's gonna get ice cream. But before the ice
• 42:01
  Speaker 1: cream comes, her dad, Richard is like, probably shouldn't have
• 42:04
  Speaker 1: ordered ice cream because if you eat it, it's going
• 42:08
  Speaker 1: to make you fat, and you should try and stay skinny.
• 42:12
  Speaker 1: And then body positivity icon Cheryl all of his mom
• 42:16
  Speaker 1: says it's okay to be skinny, and it's okay to
• 42:19
  Speaker 1: be fat if that's what you want to be, whatever
• 42:22
  Speaker 1: you want, it's okay. And then her dad is like, well, yeah,
• 42:26
  Speaker 1: but you know those Miss America pageant women, are they
• 42:29
  Speaker 1: skinny or are they fat? And all of is like, well, yeah,
• 42:32
  Speaker 1: I guess they're skinny, and he's like, okay, well, it's
• 42:35
  Speaker 1: probably because I don't eat a lot of ice cream.
• 42:37
  Speaker 1: So this is the beginning of all of feeling really
• 42:42
  Speaker 1: bad about herself, her body, her looks, because we see
• 42:47
  Speaker 1: a few scenes after this where she asks Grandpa in
• 42:51
  Speaker 1: the motel room. She says, you know, am I pretty
• 42:53
  Speaker 1: and I wanna I just don't want to be a
• 42:56
  Speaker 1: loser because daddy hates losers, and she starts crying and
• 43:00
  Speaker 1: and there's that like devastating. That's the scene that was
• 43:02
  Speaker 1: like the ice cream tangential scene that like hurt me
• 43:05
  Speaker 1: the most because there's so many layers to it. Is
• 43:08
  Speaker 1: when she goes to Miss California and it is like,
• 43:11
  Speaker 1: do you eat ice cream? And Miss California says yes,
• 43:15
  Speaker 1: but you're like no, she doesn't like you're There's so
• 43:19
  Speaker 1: many layers to that where that brought to mind for
• 43:22
  Speaker 1: me like Instagram Pizza Girl, where it's like a supermodel
• 43:27
  Speaker 1: holding a slice of pizza being like, OMG, I love
• 43:30
  Speaker 1: pizza so much, I'm literally addicted, which is like a
• 43:33
  Speaker 1: larger entertainment trope of oh yeah, we're going to allow
• 43:37
  Speaker 1: women to eat junk food as long as it's quirky,
• 43:40
  Speaker 1: fun and they still look the way we want them
• 43:43
  Speaker 1: to look, which is so that. I mean that scene
• 43:46
  Speaker 1: was like triple devastating to me because I'm like, Miss
• 43:48
  Speaker 1: California is I think, lying to her, but it's also
• 43:52
  Speaker 1: like she seven and it helps. But then you're like,
• 43:55
  Speaker 1: oh no, that's that's gonna suck in ten years when
• 43:57
  Speaker 1: you find out Miss California was lying to you. Um,
• 44:00
  Speaker 1: I mean, I don't know, maybe she does eat ice
• 44:02
  Speaker 1: cream sometimes, but then she's also like, but my favorite
• 44:05
  Speaker 1: is actually a frozen yogurt. I mean, who got I mean, yeah,
• 44:09
  Speaker 1: that the way that beauty pageant winners bodies are policed
• 44:12
  Speaker 1: just like so well documented that I'm like, I don't
• 44:14
  Speaker 1: know she eats ice cream. Maybe she has in the
• 44:17
  Speaker 1: last year, I don't know, but yeah, that scene in
• 44:21
  Speaker 1: the diner, I really it's it's hard to watch in
• 44:26
  Speaker 1: a good way, and I like that, like the other
• 44:29
  Speaker 1: three members of the family are like, we're not going
• 44:32
  Speaker 1: with this, Like, uh, Richard is such a like flaccid patriarch,
• 44:37
  Speaker 1: Like he's a failure as a patriarch as well, because
• 44:40
  Speaker 1: no one listens to what he says. Everyone thinks he's
• 44:43
  Speaker 1: an asshole, but he's in their families, so they deal
• 44:47
  Speaker 1: with it. But I I really like the choice that,
• 44:51
  Speaker 1: like Richard, I thought, really did think he was saying
• 44:55
  Speaker 1: something helpful to his daughter, which I feel like a
• 44:59
  Speaker 1: lot of those aren't framed that way, and there should
• 45:03
  Speaker 1: be in scenes that are like body shamy in that way,
• 45:07
  Speaker 1: I feel like it is usually an easier writing choice
• 45:10
  Speaker 1: is made where it's just like they're saying this to
• 45:12
  Speaker 1: be mean, and they're saying this because they hate you.
• 45:14
  Speaker 1: But and it's sometimes a character we don't really know
• 45:16
  Speaker 1: that well, it's just like Bully number three, But this
• 45:19
  Speaker 1: is like a character that we know, and you can
• 45:22
  Speaker 1: tell he believes he is like doing the right thing
• 45:25
  Speaker 1: by body shaming and like policing the food of his daughter,
• 45:30
  Speaker 1: and he thinks that by policing his daughter's body, she
• 45:33
  Speaker 1: will become a winner. And I think that that is
• 45:36
  Speaker 1: like something that like real people can see in themselves
• 45:40
  Speaker 1: and kind of I would imagine that some people specifically
• 45:44
  Speaker 1: like men who make comments like that, because I've gotten
• 45:47
  Speaker 1: comments like that before. I feel like, you know, many
• 45:50
  Speaker 1: people in general have gotten comments like that before. People
• 45:54
  Speaker 1: who make comments like that, I think think they're doing
• 45:56
  Speaker 1: you a favor even though they're being a fucking asshole,
• 45:59
  Speaker 1: And I've never seen a scene quite like it, where
• 46:04
  Speaker 1: like it just ends up making a person who thinks
• 46:06
  Speaker 1: they're doing the right thing looks stupid and they don't
• 46:09
  Speaker 1: get it totally. But then that comes back to, at
• 46:13
  Speaker 1: least for me, the Cheryl character, and even in that
• 46:16
  Speaker 1: scene when she does have a rebuttal to what Richard says,
• 46:20
  Speaker 1: and like Richard's assholary where she's like, you know, you
• 46:24
  Speaker 1: can be skinny, you can be fat, you can be
• 46:26
  Speaker 1: whatever you want to be. It's okay to be whatever
• 46:28
  Speaker 1: you want. And so she has that little moment. But
• 46:30
  Speaker 1: I feel like in a lot of the scenes where
• 46:33
  Speaker 1: Richard is saying something really awful and toxic, which he
• 46:35
  Speaker 1: does a lot. For example, he's like, don't apologize. It's
• 46:40
  Speaker 1: a sign of weakness. Don't do anything unless you know
• 46:43
  Speaker 1: you're gonna win at it. He also equates mental illness
• 46:47
  Speaker 1: and suicidal ideation to being a loser and being a quitter. Um,
• 46:51
  Speaker 1: so like he's saying all this horrible stuff all the time,
• 46:53
  Speaker 1: and I feel like most of the time Cheryl is
• 46:56
  Speaker 1: just like Richard stop or Richard not, like she's like
• 47:00
  Speaker 1: she doesn't have I want her to have more intelligent
• 47:04
  Speaker 1: and thoughtful kind of rebuttals to him, and she just
• 47:08
  Speaker 1: isn't given that a lot of the time. I wish
• 47:10
  Speaker 1: there was more of that that I kind of understood
• 47:12
  Speaker 1: a little more than the not giving her a story thing.
• 47:17
  Speaker 1: But I guess that's just like in my head, I
• 47:20
  Speaker 1: was just I interpreted that as a her choosing her
• 47:23
  Speaker 1: battles thing, because she does push when when she's like
• 47:27
  Speaker 1: when his book deal falls through, she fucking gives it
• 47:31
  Speaker 1: to him and it's like, you know, you're a failure,
• 47:33
  Speaker 1: blah blah blah. So I sort of saw that as
• 47:35
  Speaker 1: her I mean, kind of like playing off of the
• 47:38
  Speaker 1: only things we really know about her is she's trying
• 47:40
  Speaker 1: to keep the peace in the family and that she's
• 47:43
  Speaker 1: kind of choosing her battles with her deeply insecure husband,
• 47:49
  Speaker 1: who I'm assuming she loves because I cannot think of
• 47:52
  Speaker 1: another reason to be with him. I have a feeling
• 47:55
  Speaker 1: they're like on the brink of divorce. Like I hope
• 47:57
  Speaker 1: that like six months after like the events of this story,
• 48:02
  Speaker 1: they are like getting a divorce and that like all
• 48:05
  Speaker 1: of has quit doing pageants. But over I feel like
• 48:08
  Speaker 1: I hope for sure that this experience that she's just like,
• 48:12
  Speaker 1: I'm gonna do literally anything else. And but but yeah,
• 48:17
  Speaker 1: I mean Richard, I think it's a kind of true
• 48:20
  Speaker 1: to life too, that it's like Richard definitely grows from
• 48:24
  Speaker 1: this experience, and like in the space of a day,
• 48:27
  Speaker 1: he has lost his father and his dream, so that
• 48:31
  Speaker 1: that is you know, that's hard. But but but I
• 48:35
  Speaker 1: like that the movie is kind to him in the
• 48:38
  Speaker 1: general sense, but you don't get to feel like that
• 48:40
  Speaker 1: he has like learned this great thing. Like you can
• 48:44
  Speaker 1: picture this character just complaining about the events of this
• 48:48
  Speaker 1: movie for the rest of his life and never really
• 48:51
  Speaker 1: learning anything right, which also feels like, you know, people
• 48:55
  Speaker 1: that pop up in one's life. We've got to take
• 49:01
  Speaker 1: another quick break, but then we'll come right back Richard.
• 49:08
  Speaker 1: It was I mean, I think that the movie maybe
• 49:12
  Speaker 1: gives him a little bit too much real estate over
• 49:14
  Speaker 1: the events of the movie. But I mean he he
• 49:16
  Speaker 1: to me seemed like a pretty clear American dream fallacy
• 49:22
  Speaker 1: type of character where total context corner. I guess that
• 49:26
  Speaker 1: Michael aren't came up with the idea for this story's
• 49:30
  Speaker 1: themes in the general sense when he saw a quote
• 49:34
  Speaker 1: from Arnold Schwarzenegger, Um I think from the nineties where
• 49:39
  Speaker 1: Arnold Schwarzenegger was talking to a group of teenagers and said,
• 49:43
  Speaker 1: if there's one thing in this world I hate, it's losers.
• 49:45
  Speaker 1: I despise them. And he kind of thought that that
• 49:48
  Speaker 1: quote was gross, which it is, and built out this
• 49:51
  Speaker 1: story around it. And I think, you know, Richard is
• 49:53
  Speaker 1: the character that could be most clearly traced to that
• 49:56
  Speaker 1: quote down to like the first line in the movie.
• 49:59
  Speaker 1: And I like, it's you know what, Sometimes you're like,
• 50:02
  Speaker 1: all right, we get it, the American dream doesn't exist,
• 50:05
  Speaker 1: we get it. But but it is like it is
• 50:09
  Speaker 1: kind of cool to see someone so firmly grasped to
• 50:14
  Speaker 1: it and understand why, but also still not like him.
• 50:19
  Speaker 1: Like I feel like that's a really tight, like a
• 50:22
  Speaker 1: really like thin line to walk where you don't totally
• 50:26
  Speaker 1: hate Richard, but you mostly hate him, and but you
• 50:29
  Speaker 1: also know that you're like, Okay, this is a lower
• 50:31
  Speaker 1: class family. And the scam, the pyramid scheme of success
• 50:36
  Speaker 1: is is really appealing because it gives you the illusion
• 50:40
  Speaker 1: of control. It gives you the illusion of upward mobility
• 50:42
  Speaker 1: that probably is not actually accessible in most cases because
• 50:47
  Speaker 1: of the way that things are lined up. And he
• 50:49
  Speaker 1: just has no understanding that the American dream is not
• 50:53
  Speaker 1: actually accessible to him, and that it's even less accessible
• 50:58
  Speaker 1: to his daughter. Like, he doesn't he just doesn't understand it.
• 51:02
  Speaker 1: He's like a bootstraps guy. Yeah, I feel like he
• 51:05
  Speaker 1: voted for Gary Johnson. You know, Oh my, that's my headcannon.
• 51:10
  Speaker 1: He voted for Gary Johnson. I barely remember who that is.
• 51:14
  Speaker 1: He wore khakis and he was a dumbass. So maybe
• 51:18
  Speaker 1: that's where I'm pulling from. Yeah, I mean, this is
• 51:22
  Speaker 1: one of those movies where a lot of the characters
• 51:25
  Speaker 1: are not people to admire that they have a lot
• 51:29
  Speaker 1: of you know, toxic views or issues that make them
• 51:33
  Speaker 1: characters that you didn't you might not necessarily want to
• 51:36
  Speaker 1: be friends with. But they're still they're written so well,
• 51:40
  Speaker 1: they're written so realistically. The nuance that these characters are
• 51:44
  Speaker 1: given make it so that you can't help but feel
• 51:48
  Speaker 1: compelled by them, even if they're kind of shitty all around.
• 51:52
  Speaker 1: I mean, like the Grandpa character to like, not a
• 51:55
  Speaker 1: great guy. He's not. He's not a good guy. He's
• 51:58
  Speaker 1: you get the sense that he's a pretty heavy misogynist, homophobic,
• 52:02
  Speaker 1: homophobic stuff Like, yep, he's grandpaing hard, yes, but I
• 52:08
  Speaker 1: don't know. I would hazard to guests that a lot
• 52:10
  Speaker 1: of people have a grandpa like him, like out of touch,
• 52:14
  Speaker 1: you know, racist, misogynist grandpa. But grandpa's ninety years old
• 52:18
  Speaker 1: and woke. Just kidding. My grandpa's are dead and they
• 52:23
  Speaker 1: died when I was five, so I have no idea
• 52:25
  Speaker 1: what kind of people they were. Um, but I don't imagine.
• 52:28
  Speaker 1: Probably not good. You're like, white grandpa, probably bad views.
• 52:32
  Speaker 1: It's it's it's it's just math. But yeah, I mean
• 52:38
  Speaker 1: he he also suck. I mean that that was another
• 52:41
  Speaker 1: character where I'm just like, is this movie cutting this
• 52:45
  Speaker 1: guy too much? Like like he's not a good guy,
• 52:48
  Speaker 1: but but he's Alan Arkin, so you're already like I
• 52:50
  Speaker 1: love him. And then he and he and he loves
• 52:53
  Speaker 1: his granddaughter, so we're like, yes, I love him, but um,
• 52:58
  Speaker 1: you know, but that is kind of the beautiful part
• 53:01
  Speaker 1: is every man in this story is narcissistic and self
• 53:06
  Speaker 1: involved and fragile in very different ways, which is cool, yes,
• 53:11
  Speaker 1: and it's you get a lot of I mean, there's
• 53:14
  Speaker 1: a lot of different types of fragile masculinity on display here, right,
• 53:18
  Speaker 1: And we've barely talked about Frank. Right, So Frank Steve Carrell,
• 53:22
  Speaker 1: he's an academic. He's an academic. He has this kind
• 53:27
  Speaker 1: of tragic backstory that he is open about. You know,
• 53:31
  Speaker 1: he is okay to tell his seven year old niece
• 53:35
  Speaker 1: about I was also having an inner battle in that scene.
• 53:38
  Speaker 1: I'm just like, that's such a family to family thing.
• 53:41
  Speaker 1: I'm like, my family for sure would not have told me.
• 53:45
  Speaker 1: But then it's like, I don't know, it's a family
• 53:47
  Speaker 1: to family thing. I don't know, right, I'd like to
• 53:49
  Speaker 1: hear what what our listeners think. But for me, that
• 53:53
  Speaker 1: scene where more or less he comes out to his
• 53:56
  Speaker 1: niece by saying, yes, I fell in love with someone
• 54:01
  Speaker 1: and I was very much in love with him, and
• 54:03
  Speaker 1: all of goes him it was a boy. You fell
• 54:05
  Speaker 1: in love with a boy And he's like, yes, I
• 54:07
  Speaker 1: did very much. And she's like, oh, that's silly. But
• 54:11
  Speaker 1: we don't get the sense that it's she's like hateful
• 54:13
  Speaker 1: or anything like that. This is just the first time
• 54:15
  Speaker 1: she's heard of a man being in love with another man.
• 54:19
  Speaker 1: And like, you know, there's always the debate of like, well,
• 54:22
  Speaker 1: how are we going to explain homosexuality to children? They
• 54:27
  Speaker 1: are gonna get it right, and it's like turns out
• 54:30
  Speaker 1: it's pretty easy, like they totally yeah, I thought it
• 54:33
  Speaker 1: was thoughtfully done. And sure kids might not fully understand
• 54:38
  Speaker 1: immediately or they might have a reaction like oh that's silly.
• 54:43
  Speaker 1: I mean, at least at this time where there's not
• 54:45
  Speaker 1: I mean, and this ties to media of like they're
• 54:47
  Speaker 1: just is not a lot of queer media for children
• 54:50
  Speaker 1: to even introduce, Like if you don't have a queer
• 54:53
  Speaker 1: person in your immediate life as a kid, the media
• 54:57
  Speaker 1: doesn't do much to educate on it. So right, and
• 55:00
  Speaker 1: then like I mean they turn on the TV and
• 55:02
  Speaker 1: the motel and like George W. Bush is giving a
• 55:05
  Speaker 1: speech and we're like, oh right, this was during the
• 55:07
  Speaker 1: Bush presidency. Yeah. I And and another just good writing
• 55:13
  Speaker 1: as it pertains to I mean, there's a lot of
• 55:14
  Speaker 1: good writing going on with Frank just almost in every
• 55:18
  Speaker 1: and and Steve Kroll is so good in this world,
• 55:21
  Speaker 1: like he's so good. But the movie does not define
• 55:25
  Speaker 1: Frank by his queerness, which I feel like is a
• 55:28
  Speaker 1: bad writing choice that has made all the time. And
• 55:31
  Speaker 1: it also doesn't explicitly tie his like suicidality to queerness,
• 55:36
  Speaker 1: because I feel like there's it is also very common
• 55:39
  Speaker 1: to other a queer character and and make that their
• 55:43
  Speaker 1: entire arc has to do with their sexuality, and Frank's
• 55:46
  Speaker 1: arc really doesn't have much to do with his sexuality.
• 55:49
  Speaker 1: It has to do with a failed relationship, and it
• 55:54
  Speaker 1: has to do with a professional failure, which I feel
• 55:58
  Speaker 1: like it's just it's just like having an in queer
• 56:00
  Speaker 1: character who has proceeded to be written like a person,
• 56:04
  Speaker 1: which is like what everyone should do. I just I
• 56:07
  Speaker 1: was really because in two thousands six you just never
• 56:09
  Speaker 1: know what people are. But but it just it is
• 56:12
  Speaker 1: like I thought, really, I thought was really well done.
• 56:15
  Speaker 1: Of like Frank is not really uthered or defined by
• 56:19
  Speaker 1: his sexuality in the way that I feel like a
• 56:22
  Speaker 1: lesser two thousand six writer would do for sure for sure,
• 56:26
  Speaker 1: And I like the Michael aren't rights different types of
• 56:30
  Speaker 1: toxic masculinity or just like male fragility in general clashing
• 56:34
  Speaker 1: with each other in such a good way, where like
• 56:37
  Speaker 1: the way that Richard and Frank's fragility brushes against each
• 56:41
  Speaker 1: other is so like, oh, I see it, like they
• 56:45
  Speaker 1: have the same problem and they don't even realize it.
• 56:48
  Speaker 1: Where where you know they think like this, other persons
• 56:52
  Speaker 1: like such an asshole, and I don't like them, and like,
• 56:55
  Speaker 1: I think that like it. It's sort of implied that
• 56:58
  Speaker 1: Richard thinks that like Frank is like academic and he's
• 57:01
  Speaker 1: just like pretentious, and Frank thinks that Richard is a fraud,
• 57:05
  Speaker 1: and they're both kind of right, but it's like boils
• 57:08
  Speaker 1: down to they both feel like professional failures, but they
• 57:13
  Speaker 1: don't want to admit that to themselves, and therefore we'll
• 57:15
  Speaker 1: never talk about it, and therefore they'll hate each other forever.
• 57:18
  Speaker 1: And you're just like, oh, it's so I mean with
• 57:21
  Speaker 1: people of all genders, where it's just like, oh, their enemies,
• 57:24
  Speaker 1: but they don't understand they have the same They should
• 57:29
  Speaker 1: just see you. They're pissed and I and I really
• 57:35
  Speaker 1: I thought it was pretty thoughtfully done how Frank's at
• 57:41
  Speaker 1: the beginning of Frank's story is handled as well, where
• 57:45
  Speaker 1: he um has tried to take his own life and
• 57:48
  Speaker 1: survives and his sister Tony class his sister. Yes, they're
• 57:53
  Speaker 1: they're sister and brother. I kept I was like, I
• 57:55
  Speaker 1: kept forgetting who was related to but he and so
• 57:57
  Speaker 1: so she goes to get him and brings him to
• 58:00
  Speaker 1: the house and just the way that just like pulling
• 58:05
  Speaker 1: from my own experience, it is kind of like fun
• 58:08
  Speaker 1: I mean, it's not funny, but in a way, it
• 58:10
  Speaker 1: kind of is. Where it's like when you bring someone
• 58:13
  Speaker 1: home who has attempted to take their own life, they
• 58:16
  Speaker 1: don't want to like be with you, and they don't
• 58:19
  Speaker 1: want to like sit with an open door, and like
• 58:22
  Speaker 1: you're like sister's house smells weird and just it's just
• 58:26
  Speaker 1: like the whole situation sucks and no one knows how
• 58:30
  Speaker 1: to deal with it. And it was not I mean,
• 58:33
  Speaker 1: and I'm in no way implying this is funny, but
• 58:34
  Speaker 1: just like based on my own experience of coming home
• 58:37
  Speaker 1: after something like that and like being left in like
• 58:40
  Speaker 1: rooms with the door opened and my dad would kind
• 58:42
  Speaker 1: of just walk in and be like like, just like
• 58:46
  Speaker 1: no one really knows how to handle And I thought
• 58:48
  Speaker 1: that that situation was handled in a way that wasn't.
• 58:52
  Speaker 1: I mean, again, it's just like it isn't tragedy porn.
• 58:55
  Speaker 1: It's dealt with in a grounded way, and you know,
• 58:59
  Speaker 1: it's like the family is doing their best. They they
• 59:01
  Speaker 1: are not equipped to handle this. I also thought it
• 59:03
  Speaker 1: was really thoughtful touch how they added in that throw
• 59:05
  Speaker 1: a line of dialogue about insurance. Yes, how they said, like,
• 59:10
  Speaker 1: you know, we'd love to keep him longer, but we
• 59:12
  Speaker 1: can't because of insurance, which happens in these situations more
• 59:15
  Speaker 1: often than not. And yeah, I just thought that that
• 59:18
  Speaker 1: whole storyline was dealt with very well. Yeah, I mean,
• 59:21
  Speaker 1: I don't get me started on health care, health, insurance,
• 59:24
  Speaker 1: all that stuff. Listen to Sludge for that. But yeah,
• 59:32
  Speaker 1: I was I was really impressed by at this time
• 59:37
  Speaker 1: in cinema history and basically throughout all time, you know,
• 59:41
  Speaker 1: mental illness. Mental health was not handled well in most media.
• 59:45
  Speaker 1: It was still deeply, deeply stigmatized. Maybe I'm missing something,
• 59:50
  Speaker 1: but it didn't feel to me as though anything about
• 59:54
  Speaker 1: Frank's mental illness. To me, it felt like there was
• 59:57
  Speaker 1: no real stigma that the movie subscribes to maybe certain characters,
• 1:00:04
  Speaker 1: namely who can't deal and doesn't that man needs therapy? Yeah,
• 1:00:11
  Speaker 1: just yeah, which, But I feel like he's reflecting like
• 1:00:15
  Speaker 1: the opinion of okay about to get Galaxy brand, the
• 1:00:20
  Speaker 1: opinion of capitalism, Like he's just regurgitating the American dream
• 1:00:24
  Speaker 1: take on struggling with mental illness, which is that it's
• 1:00:27
  Speaker 1: unproductive and therefore for losers it's not serving capitalism. Yeah,
• 1:00:32
  Speaker 1: just pick yourself up by your bootstraps and just like
• 1:00:36
  Speaker 1: deal with it exactly. Yeah, so stuff like that. Yeah,
• 1:00:39
  Speaker 1: I thought it was really like, no one knows how
• 1:00:41
  Speaker 1: to handle that situation. No family is going to deal
• 1:00:43
  Speaker 1: with it perfectly, but everyone is trying. I like, I
• 1:00:47
  Speaker 1: really liked that quick scene with Paul Dano and Steve
• 1:00:50
  Speaker 1: Carell where he writes on his notepad like, please don't
• 1:00:52
  Speaker 1: kill yourself because it's again, it's just like the specifics
• 1:00:57
  Speaker 1: of that situation. It's like you can tell Paul, I know,
• 1:01:00
  Speaker 1: was like, I love my uncle and I don't want
• 1:01:01
  Speaker 1: him to die. Also, that would be a very stressful
• 1:01:04
  Speaker 1: thing to happen in my room. Like, you know, it's
• 1:01:07
  Speaker 1: just it's really well done. I don't know, it's just
• 1:01:10
  Speaker 1: it's so rare to see a situation like that. There
• 1:01:13
  Speaker 1: are a number of times in this movie where I
• 1:01:15
  Speaker 1: thought about the royal Ton in Bombs and how much
• 1:01:18
  Speaker 1: better this movie is than The royal Ton in Bombs.
• 1:01:20
  Speaker 1: Oh yeah, because that's another movie that has a long
• 1:01:24
  Speaker 1: opening montage where you meet the whole family and you
• 1:01:28
  Speaker 1: have a character who attempts to take their own life,
• 1:01:33
  Speaker 1: and just I feel like everything that The Royal Town
• 1:01:35
  Speaker 1: of Bombs does well, almost everything, because we still need,
• 1:01:38
  Speaker 1: as we said, more Tony Collette information. Uh but but
• 1:01:42
  Speaker 1: like the reyal Ton of Moms are a huge thing
• 1:01:44
  Speaker 1: with that opening montage was that we only find out
• 1:01:47
  Speaker 1: about the female characters as they relate to the male characters.
• 1:01:51
  Speaker 1: And the way that the suicide plot line was handled
• 1:01:54
  Speaker 1: in that movie was pretty atrocious. And you see similar
• 1:01:58
  Speaker 1: themes pop up in this movie that they that is
• 1:02:00
  Speaker 1: just done far more thoughtfully. And yeah, I agree a
• 1:02:05
  Speaker 1: couple other just kind of quick things that I had.
• 1:02:10
  Speaker 1: Um Well, I guess I want to talk about more
• 1:02:12
  Speaker 1: about just the idea of pageants, beauty pageants, all that
• 1:02:17
  Speaker 1: pageant movies. We have almost all of them pretty more
• 1:02:21
  Speaker 1: or less. We have done Miss Congeniality on the main feed,
• 1:02:25
  Speaker 1: and then let's not forget about Pigentials, which we did
• 1:02:32
  Speaker 1: a few januaries ago and we covered dropped out Gorgeous
• 1:02:37
  Speaker 1: and Dumpling Too great movies. There's a lot of It's
• 1:02:40
  Speaker 1: it's kind of like it's bizarre because we we don't
• 1:02:43
  Speaker 1: really funk with pageants, but we generally funk with pageant movies, right,
• 1:02:50
  Speaker 1: but only because they're usually making a larger point. Yes,
• 1:02:54
  Speaker 1: And like you already mentioned, the pageant isn't necessarily really
• 1:03:00
  Speaker 1: what this movie is about. It's more about this family
• 1:03:02
  Speaker 1: and the family dynamics and them having to get through
• 1:03:05
  Speaker 1: a bunch of kind of traumatic things that happened to
• 1:03:08
  Speaker 1: several of them over the course of this trip to
• 1:03:12
  Speaker 1: a pageant. And then the story does conclude with all
• 1:03:17
  Speaker 1: of competing and stuff like that, and and then there's
• 1:03:21
  Speaker 1: a little bit of examination of like, well, it's pretty
• 1:03:25
  Speaker 1: fucked up that we have little girls compete in these pageants.
• 1:03:30
  Speaker 1: We are encouraging, like the sexualization of children in in
• 1:03:33
  Speaker 1: these like children pageants. You know, I don't think again,
• 1:03:37
  Speaker 1: the movie goes into great detail about I think it.
• 1:03:42
  Speaker 1: It doesn't. It doesn't say a ton, but I feel
• 1:03:46
  Speaker 1: like it says enough. Yeah, it's not subtle. It's definitely
• 1:03:51
  Speaker 1: not subtle, but it's not overbearing. It's not like the
• 1:03:55
  Speaker 1: The agenda of this movie isn't too indict or like
• 1:04:00
  Speaker 1: heavily critique pageant culture. There's a little bit of that.
• 1:04:04
  Speaker 1: There's like a little sliver of it, especially most notably
• 1:04:08
  Speaker 1: when Dwayne and Richard go to Eryl backstage and they're
• 1:04:13
  Speaker 1: like they basically said, like, we're not in Kansas anymore.
• 1:04:16
  Speaker 1: This is a whole different ballgame, olive, Like everyone is
• 1:04:19
  Speaker 1: going to laugh and ridicule people have like remortgaged their
• 1:04:22
  Speaker 1: house to be here, like yeah, like, and I thought
• 1:04:25
  Speaker 1: it was interesting that they're they're I guess all the
• 1:04:29
  Speaker 1: girls in the Little Miss Sunshine pageant are actual pageant kids. Yes,
• 1:04:33
  Speaker 1: I read that as well, and that they're like I guess,
• 1:04:36
  Speaker 1: And I think this was like a kind of a
• 1:04:37
  Speaker 1: smart thing to do that the pageant parents who came
• 1:04:40
  Speaker 1: with with the girls were asked what do you think
• 1:04:43
  Speaker 1: and they were like, well, it's a little over the top,
• 1:04:46
  Speaker 1: but not too much. And you're like, oh boy, but
• 1:04:50
  Speaker 1: I've but I've also seen toddlers and tierras, So I
• 1:04:54
  Speaker 1: don't ask me why. I got sick once and I
• 1:04:56
  Speaker 1: watched a lot of it. I embarrassingly watched several, many,
• 1:05:01
  Speaker 1: many episodes of Here comes Sonny Boo Boo. So oh,
• 1:05:05
  Speaker 1: I forgot that that was where Honey Boo Boo came from. Yeah,
• 1:05:09
  Speaker 1: I think so. And I think she was a Tyler's
• 1:05:11
  Speaker 1: and tiarist kids. Well, I'm glad that we at least
• 1:05:13
  Speaker 1: we very rarely have like an overlapping guilty pleasure. That's
• 1:05:17
  Speaker 1: a funny yeah. So bottom line is, like I mean,
• 1:05:22
  Speaker 1: we could have a whole discussion which I think we've
• 1:05:24
  Speaker 1: already had on various episodes of the podcast, just generally
• 1:05:28
  Speaker 1: speaking about like maybe beauty pageants aren't that good because
• 1:05:31
  Speaker 1: you know, there's this emphasis on adhering to Western beauty
• 1:05:36
  Speaker 1: standards and all those problems that we foist upon women
• 1:05:42
  Speaker 1: and young girls like from a very early age, like
• 1:05:45
  Speaker 1: and it's it's the same thing of Richard being like
• 1:05:48
  Speaker 1: you have to be skinny, don't eat ice cream. We
• 1:05:50
  Speaker 1: want you to stay skinny, and like just all these
• 1:05:53
  Speaker 1: all these expectations that we foist upon women and girls
• 1:05:57
  Speaker 1: about like the your beauty is your most important quality
• 1:06:01
  Speaker 1: and let's make a whole industry around exploiting that via
• 1:06:06
  Speaker 1: beauty pageants, and like how fucked up all of that is.
• 1:06:10
  Speaker 1: But then also like feminism says like you can do
• 1:06:12
  Speaker 1: whatever you want. So if you want to compute beauty pageants,
• 1:06:14
  Speaker 1: like if you that there have been like I don't beautiful.
• 1:06:20
  Speaker 1: It's like a very complicated discussion that we've had in
• 1:06:23
  Speaker 1: various capacities. I'm not wholesale condemning them, and it's like,
• 1:06:28
  Speaker 1: you know, there there are different ways to look at
• 1:06:31
  Speaker 1: I'm I'm not a fan, but I'm like also not
• 1:06:35
  Speaker 1: petitioning to have them shut down. I don't know, like
• 1:06:38
  Speaker 1: this this movie is not, you know, making a new
• 1:06:40
  Speaker 1: point about beauty pageants, but but I don't think it's
• 1:06:44
  Speaker 1: necessarily trying to. And and I think it is kind
• 1:06:47
  Speaker 1: of nice that the movie does firmly come down not
• 1:06:50
  Speaker 1: on the side of it, which is kind of nice
• 1:06:53
  Speaker 1: because that's like a point that like Miss Congeniality doesn't
• 1:06:56
  Speaker 1: get there. She wins, you know, Miss Congeniality, and she's like, well,
• 1:06:59
  Speaker 1: maybe this was nice. I think I'll stay hot, you know,
• 1:07:02
  Speaker 1: like that that whole thing. So it's like at least
• 1:07:05
  Speaker 1: little Miss Sunshine, you know, firmly it was like we
• 1:07:08
  Speaker 1: don't funk with this, which is which is refreshing. Yeah.
• 1:07:11
  Speaker 1: I think like generally, for the time we spend there,
• 1:07:15
  Speaker 1: the points that are made are good ones. There was
• 1:07:20
  Speaker 1: did you see the behind the scenes not that Abigail
• 1:07:23
  Speaker 1: breslin Um wore like a padded suit to play this character.
• 1:07:28
  Speaker 1: Oh no, that is a thing that took place. Interesting.
• 1:07:32
  Speaker 1: I guess that the olive character was described in the
• 1:07:35
  Speaker 1: script as quote Plump and that Abigail Breslin was asked
• 1:07:40
  Speaker 1: to wear a padded suit throughout filming. Okay, so I
• 1:07:49
  Speaker 1: will say I think that that's a bit weird. I
• 1:07:54
  Speaker 1: think that that's weird in general when a woman is
• 1:07:57
  Speaker 1: asked to wear a padded suit that does not have
• 1:07:59
  Speaker 1: to do with like needing to appear pregnant for a role,
• 1:08:04
  Speaker 1: I generally don't like it right that to me, the
• 1:08:06
  Speaker 1: idea is like, if your story calls for a character
• 1:08:10
  Speaker 1: that is plus size, then cast an actor who fits
• 1:08:14
  Speaker 1: that description, Which is not a slight against Abigail Breslin
• 1:08:18
  Speaker 1: in anyway. She's you know, sure every small child doing
• 1:08:22
  Speaker 1: a great job in this movie. But I didn't think
• 1:08:24
  Speaker 1: that that was kind of a you know, I don't
• 1:08:26
  Speaker 1: think that that would currently happen. Sure so often the
• 1:08:32
  Speaker 1: comments game, I don't love it. Uh, here's another thing
• 1:08:36
  Speaker 1: I didn't love again in this movie, where I do
• 1:08:40
  Speaker 1: think there's a lot to love. Um, it's a very
• 1:08:42
  Speaker 1: white movie, as as per most movies. I think the
• 1:08:46
  Speaker 1: only woman of color we meet is Linda, the bereavement
• 1:08:51
  Speaker 1: liaison or whatever her job title is. To me, she
• 1:08:54
  Speaker 1: felt as though she was presented as a bit of
• 1:08:58
  Speaker 1: a like bitchy obs to goal type because it's like, yeah,
• 1:09:02
  Speaker 1: I think so her that the character has to sneak
• 1:09:04
  Speaker 1: past to get dead Grandpa out of the hospital, and
• 1:09:08
  Speaker 1: she's kind of presented as an obstacle and things kind
• 1:09:13
  Speaker 1: of there's a conversation between her and Richard that quickly escalates,
• 1:09:17
  Speaker 1: and to me, it's because like he's being unreasonable and
• 1:09:20
  Speaker 1: like trying to beat this like entitled white guy who
• 1:09:25
  Speaker 1: wants to bend the rules and thinks the rules don't
• 1:09:27
  Speaker 1: apply to him, and she's like, no, that's not how
• 1:09:30
  Speaker 1: we do things. There are you know, rules and laws
• 1:09:33
  Speaker 1: we have to abide by. Um. So I'm like on
• 1:09:35
  Speaker 1: her side during that scene, but I think the movie
• 1:09:38
  Speaker 1: frames her a bit more again as an obstacle. I
• 1:09:42
  Speaker 1: agree with that you're saying. I just think that that's
• 1:09:43
  Speaker 1: maybe not to get to the great scene where they
• 1:09:47
  Speaker 1: smuggle a corpse out of the hospital. I feel like
• 1:09:49
  Speaker 1: it's not the best writing in the movie. To like,
• 1:09:53
  Speaker 1: I feel like there's almost a little bit of like, alright,
• 1:09:56
  Speaker 1: we can't just have them take a corpse. We have
• 1:09:58
  Speaker 1: to do something. And so I feel like the way
• 1:10:01
  Speaker 1: that her character acts and I will. I'm kind of
• 1:10:04
  Speaker 1: curious if that part was written with a gender in
• 1:10:08
  Speaker 1: mind when it was done. I could see that part
• 1:10:12
  Speaker 1: being played by almost anybody. But the way that that
• 1:10:16
  Speaker 1: character talks to someone whose father has just died doesn't
• 1:10:20
  Speaker 1: seem very realistic. Where I agree that Richard is being entitled,
• 1:10:23
  Speaker 1: but like, I mean, that's not how people talk to
• 1:10:27
  Speaker 1: someone who just found out that their father overdosed on heroin.
• 1:10:31
  Speaker 1: Like so in general, I was like, I don't I
• 1:10:34
  Speaker 1: don't think that that scene was in a very grounded movie.
• 1:10:37
  Speaker 1: That that scene and the cops scene, you're just like,
• 1:10:41
  Speaker 1: all right, I don't really, this doesn't seem like a
• 1:10:44
  Speaker 1: person who exists, but whatever. Yeah, but I mean, yeah,
• 1:10:48
  Speaker 1: it is an extremely white movie. We're spending the whole
• 1:10:51
  Speaker 1: time with this white family and then which just leads
• 1:10:54
  Speaker 1: to the only people of color being you know, in
• 1:10:57
  Speaker 1: very small roles or used you know, in the background,
• 1:11:01
  Speaker 1: where there are some girls of color in the pageant,
• 1:11:05
  Speaker 1: but we don't know who they are, we don't know
• 1:11:06
  Speaker 1: what they're doing. They're just you know, and there's people
• 1:11:09
  Speaker 1: at the page but it's just background, which is also
• 1:11:12
  Speaker 1: kind of inherent to this like wave of India aesthetic
• 1:11:18
  Speaker 1: movies that came out in the two thousand's. It's all
• 1:11:21
  Speaker 1: about white families, you know. And I think that the
• 1:11:26
  Speaker 1: revelation was that there was acoustic music and that the
• 1:11:29
  Speaker 1: white families weren't always rich. But it wasn't like and
• 1:11:35
  Speaker 1: the movies were too long. Not this one, but a
• 1:11:37
  Speaker 1: lot of them. So it was just kind of like
• 1:11:40
  Speaker 1: that thing we talked about all the time where it's
• 1:11:42
  Speaker 1: like the smallest step out of the norm for a
• 1:11:46
  Speaker 1: comedy and they're like, well, wait, wait, wait, wait, the
• 1:11:49
  Speaker 1: white people are they're not millionaires, and we're supposed to
• 1:11:53
  Speaker 1: be like we did it, you know. Yeah, yeah, so
• 1:11:56
  Speaker 1: for sure. Oh I'm forgetting about Miss California. Oh yeah,
• 1:12:00
  Speaker 1: Miss California Frozen Yogurt icon Miss California um is also
• 1:12:03
  Speaker 1: a woman of Color miss icon and Froyo Officion Froyo
• 1:12:08
  Speaker 1: icon um also feminist icon. Kirby the guy who puts
• 1:12:14
  Speaker 1: all of in the system after they were four minutes
• 1:12:16
  Speaker 1: late to register. He was I also think that they
• 1:12:19
  Speaker 1: made the woman, I don't remember the name of the character,
• 1:12:22
  Speaker 1: the woman who ran the pageant. I'm saying pageant official Jenkins.
• 1:12:25
  Speaker 1: She was written full shrew. Uh. There was No, that
• 1:12:29
  Speaker 1: was another character that you're just like, Okay, this is
• 1:12:33
  Speaker 1: I under we only have twenty minutes left, but this
• 1:12:37
  Speaker 1: is a bit, you know. But then to kind of
• 1:12:39
  Speaker 1: contrast that, we get feminist icon stage manager lady. Yeah,
• 1:12:46
  Speaker 1: she cracked. She was like, yeah, maybe pageants aren't good. Um,
• 1:12:52
  Speaker 1: one last thing I wanted to just touch on, and
• 1:12:55
  Speaker 1: I don't know why. I like, this is a thing
• 1:12:58
  Speaker 1: I have fixated on. So the course of the podcast,
• 1:13:02
  Speaker 1: but I'm always noticing women's relationship to cars and driving. Yes,
• 1:13:09
  Speaker 1: I had this too. Yes, So there is believe it
• 1:13:12
  Speaker 1: or not, folks, there's a stereotype out there on the
• 1:13:15
  Speaker 1: streets that women be bad at driving. It comes from me,
• 1:13:20
  Speaker 1: It comes if you. You invented, started it, you started.
• 1:13:23
  Speaker 1: I suck a driver. I not to brag or anything.
• 1:13:27
  Speaker 1: Good driver, but I'm an incredible driver, thank you so much,
• 1:13:30
  Speaker 1: and I have at different points in my life made
• 1:13:32
  Speaker 1: a career out of it. Hooters delivery girl. Yes, I
• 1:13:38
  Speaker 1: was a Hooters delivery driver. Anyway, So we see the
• 1:13:43
  Speaker 1: mom not being able to drive these stick shift But okay,
• 1:13:48
  Speaker 1: that didn't super bug me because while the car was broken,
• 1:13:53
  Speaker 1: the car was broken. She's willing to try. We also
• 1:13:56
  Speaker 1: don't see like the version of this stereotype where she
• 1:14:00
  Speaker 1: is like driving super recklessly and like causing like a
• 1:14:04
  Speaker 1: trail of destruction in her path or anything like that,
• 1:14:08
  Speaker 1: because we see that in a few movies where like
• 1:14:10
  Speaker 1: some like this oblivious like a woman is just like
• 1:14:12
  Speaker 1: oblivious when she's behind the wheel of a car and
• 1:14:15
  Speaker 1: it's just and clueless. Not that sharing right right. I
• 1:14:19
  Speaker 1: was like wait what yeah, and clueless? Um we get
• 1:14:22
  Speaker 1: something like that in Cameron Diaz's character in My Best Wedding,
• 1:14:26
  Speaker 1: Like we see this um now and again, So we
• 1:14:29
  Speaker 1: don't see that version of this stereotype. And also like
• 1:14:33
  Speaker 1: I don't know, I tried to learn how to drive
• 1:14:37
  Speaker 1: a stick shift must also could not learn. So I'm like, okay,
• 1:14:42
  Speaker 1: it is like one of the few things we learned
• 1:14:44
  Speaker 1: about her character is that she can't drive a stick
• 1:14:47
  Speaker 1: and it's like, oh god, the fact that we have
• 1:14:49
  Speaker 1: to cling to that piece of information. But that also
• 1:14:53
  Speaker 1: I kind of like how that ended up too, where
• 1:14:56
  Speaker 1: like she makes an attempt to drive and the clutch
• 1:15:00
  Speaker 1: isn't working, and like Richard just like, well you just
• 1:15:02
  Speaker 1: go to like press down on the clutch and you
• 1:15:04
  Speaker 1: just got it. Has to be on the floor, and
• 1:15:05
  Speaker 1: she's like, it is on the floor, right, And then
• 1:15:09
  Speaker 1: when they switch and he's trying it, she's like just
• 1:15:13
  Speaker 1: pushed down hard, like she's sort of and then like earlier,
• 1:15:17
  Speaker 1: she's like, you know, I should try I can drive.
• 1:15:19
  Speaker 1: I'll try to drive. I gotta learn. You know you're
• 1:15:22
  Speaker 1: doing it. How hard can it be to Richard, who
• 1:15:24
  Speaker 1: she clearly hates, and I can't wait for them to
• 1:15:26
  Speaker 1: get divorced the end? Yeah, yeah, I just I mean
• 1:15:30
  Speaker 1: more Tony Colette. That's just it's it's that simple, more
• 1:15:34
  Speaker 1: Tony Culette. And we haven't really talked that much about
• 1:15:36
  Speaker 1: Paul Daniel. I like, I don't know, I like his character.
• 1:15:41
  Speaker 1: I feel like it's a good expansion on the like
• 1:15:45
  Speaker 1: broody teen boy character in a way that I guess
• 1:15:49
  Speaker 1: this just applies to every character, like every character no
• 1:15:53
  Speaker 1: matter how because it's like to an extent, Dwayne on
• 1:15:56
  Speaker 1: paper sounds a little silly where he is very determined
• 1:16:00
  Speaker 1: to get into the Air Force Academy, and you can
• 1:16:03
  Speaker 1: also sort of see in that way is that his
• 1:16:05
  Speaker 1: dad's logic has affected him of like he is trying
• 1:16:08
  Speaker 1: to be a winner. He doesn't like his dad, but
• 1:16:11
  Speaker 1: it's still you know, parents funk with your head. It's
• 1:16:14
  Speaker 1: just Cannon. I also think I think he's his stepdad.
• 1:16:18
  Speaker 1: I think his step sorry, because Tony Clue had a
• 1:16:21
  Speaker 1: baby when she was twelve and then and then Greg
• 1:16:24
  Speaker 1: Kunner came into her life. But either way, you can
• 1:16:27
  Speaker 1: see that Richard's win or loser mentality has also kind
• 1:16:30
  Speaker 1: of taken seed in a different way with Dwayne, even
• 1:16:34
  Speaker 1: though even though he doesn't like him, that it's just
• 1:16:36
  Speaker 1: such a pervasive mentality and has a lot to do
• 1:16:39
  Speaker 1: with his masculinity. And I just like every character in
• 1:16:43
  Speaker 1: this family is dealt with with like really thoughtful empathy,
• 1:16:49
  Speaker 1: so that things that I feel like a lesser writer
• 1:16:52
  Speaker 1: and lesser movie could easily make that Paul Dano character
• 1:16:57
  Speaker 1: seemed really silly, but it doesn't. I don't know, just
• 1:17:02
  Speaker 1: I mean, and that's true with almost every character of
• 1:17:04
  Speaker 1: like you could make them into a caricature, or you
• 1:17:07
  Speaker 1: could like really give some insight into where they're coming from.
• 1:17:09
  Speaker 1: And it gets to that point where it's like that
• 1:17:11
  Speaker 1: set scene where he finds out he's color blind is devastating.
• 1:17:14
  Speaker 1: It's so it's so sad, and I like that even
• 1:17:19
  Speaker 1: when he basically, Paul Dano gets the thesis statement of
• 1:17:22
  Speaker 1: the movie where he says, like, you know, fuck beauty pageants.
• 1:17:26
  Speaker 1: Life is like one beauty contest after another, which is
• 1:17:30
  Speaker 1: even that Like he's right, and it's the thesis statement
• 1:17:32
  Speaker 1: of the movie. But it's so like teen boy with
• 1:17:35
  Speaker 1: a bowl cut, like he's just like it's such a man,
• 1:17:39
  Speaker 1: this sucks. And then you're just like, oh, shut up,
• 1:17:42
  Speaker 1: like you're right, but shut up. Like it's just so
• 1:17:44
  Speaker 1: well written. I love it. It's such a like a
• 1:17:46
  Speaker 1: fifteen year old boy way of saying that. He just
• 1:17:49
  Speaker 1: he says it like he's the first person to have
• 1:17:52
  Speaker 1: ever thought of it, Like it's just funny. Also like
• 1:17:55
  Speaker 1: I don't know if you had this thought, but I
• 1:17:58
  Speaker 1: was like, oh, man, Like if this character like starts
• 1:18:01
  Speaker 1: hanging out with like the wrong group of friends, or
• 1:18:03
  Speaker 1: if he like discovers Reddit he is an insuct, like
• 1:18:07
  Speaker 1: he will become an insult. Yeah he really. I hope that.
• 1:18:11
  Speaker 1: I hope I feel like he like the one like
• 1:18:14
  Speaker 1: the family relationship that I think will improve from this
• 1:18:18
  Speaker 1: movie is that like Frank and Dwayne will become like close. Yeah.
• 1:18:24
  Speaker 1: I think that Frank will be a good I think
• 1:18:26
  Speaker 1: that they have a lot to learn from each other,
• 1:18:29
  Speaker 1: and I'm happy for them. I hope they go they
• 1:18:31
  Speaker 1: go on a different road trip. Maybe Dwayne will also
• 1:18:36
  Speaker 1: end up studying Proust. He I mean, he's already into Nietzsche. Yeah,
• 1:18:43
  Speaker 1: those guys, you're like that, that's all the same guy
• 1:18:46
  Speaker 1: basically boring old guy as a job. European writers from
• 1:18:54
  Speaker 1: a different century than the one we're in. It seems
• 1:18:57
  Speaker 1: like they make sense as relatives. Yeah, me with do
• 1:19:00
  Speaker 1: you have anything else? I also didn't know. So Michael Aren't,
• 1:19:04
  Speaker 1: I mean, he's just he is interesting to me because he's, uh,
• 1:19:07
  Speaker 1: this has nothing to do with feminism. This is just
• 1:19:09
  Speaker 1: a like interesting. There is like such a well tracked
• 1:19:13
  Speaker 1: pattern of like screenwriter writing one really well received good
• 1:19:20
  Speaker 1: thing and then being offered Infinity money and they're then
• 1:19:25
  Speaker 1: they're writing blockbusters for the rest of their career. Where
• 1:19:28
  Speaker 1: Michael Aren't wrote Little Miss Sunshine. That was like his
• 1:19:31
  Speaker 1: first major release. It was a huge success and his
• 1:19:34
  Speaker 1: biggest writer writing credits since then Our Toy Story three.
• 1:19:38
  Speaker 1: He was the one that put Woody in the Incinerator.
• 1:19:41
  Speaker 1: He is a credited writer on The Force Awakens, and
• 1:19:45
  Speaker 1: so he's only really done like big movie since then,
• 1:19:50
  Speaker 1: and he'll sometimes rewrite big movies and the Hunger Games,
• 1:19:53
  Speaker 1: Catching Fire hung like really a brave He did some
• 1:19:57
  Speaker 1: work on Brave. Oh wow, how how brave of him.
• 1:20:00
  Speaker 1: He's very in with the Pixar's crew, it would seem,
• 1:20:04
  Speaker 1: and he's done. He the one thing. I mean, he's
• 1:20:06
  Speaker 1: done some indie stuff since then. But it's like, oh,
• 1:20:09
  Speaker 1: I hope that here's Michael Aren't. If you're listening, he's
• 1:20:12
  Speaker 1: our biggest fan. It seems like you have enough money
• 1:20:15
  Speaker 1: for now, and uh, make another fun movie for us
• 1:20:18
  Speaker 1: to watch. Thanks. Yes, Well that brings us to the
• 1:20:24
  Speaker 1: the directors, which This movie was co directed by a woman,
• 1:20:28
  Speaker 1: Valerie Ferris, along with Jonathan Dayton. They are a husband
• 1:20:32
  Speaker 1: wife directing duo. This was their first feature. They had
• 1:20:36
  Speaker 1: made a career of directing I think primarily music videos
• 1:20:39
  Speaker 1: before this. They did that like iconic Smashing Pumpkins Tonight
• 1:20:44
  Speaker 1: Tonight video. They directed a lot of Mr Shell. They're
• 1:20:47
  Speaker 1: they're cool. They did that news show where where I
• 1:20:51
  Speaker 1: mean the prem I didn't watch the show, and the
• 1:20:53
  Speaker 1: premise of it is annoying to me, but maybe it's good.
• 1:20:56
  Speaker 1: The new Netflix show where Paul Rudd is Twins, Oh,
• 1:21:00
  Speaker 1: is not even really on my radar. So that's I
• 1:21:03
  Speaker 1: think that that's fine. I don't know who. You never
• 1:21:07
  Speaker 1: know with these things. Um, but and we've kind of
• 1:21:09
  Speaker 1: touched on this before where it's like, Okay, if a
• 1:21:12
  Speaker 1: woman does get to like write or direct or code
• 1:21:15
  Speaker 1: direct or co write a movie, it's usually because like
• 1:21:18
  Speaker 1: she's a part of like a husband wife writing or
• 1:21:21
  Speaker 1: directing duo. Because I feel like, you know, the system
• 1:21:25
  Speaker 1: is such that no one wants to take a chance
• 1:21:28
  Speaker 1: on just a like one woman. Without a partner as
• 1:21:31
  Speaker 1: your creative partner, it's much less likely that anyone will
• 1:21:36
  Speaker 1: take a chance on you and hire you. Yeah, which
• 1:21:38
  Speaker 1: has been true since the beginning of movies, where like
• 1:21:42
  Speaker 1: some of the first female screenwriters, like they were extremely talented,
• 1:21:45
  Speaker 1: but they were able to get in on the ground
• 1:21:47
  Speaker 1: floor because of a position that their spouse held. So,
• 1:21:51
  Speaker 1: I mean, we don't know what the story is with
• 1:21:53
  Speaker 1: this directing couple. They're great, Like I like their stuff.
• 1:21:57
  Speaker 1: Maybe I mean, maybe they don't want to work separately.
• 1:22:00
  Speaker 1: I would be I would be interested to see. You know,
• 1:22:03
  Speaker 1: It's it's hard. I mean it's like, yeah, we just
• 1:22:04
  Speaker 1: don't know what her exact input was, but a Valerie
• 1:22:08
  Speaker 1: come on the cast and let us know. She's also
• 1:22:11
  Speaker 1: our biggest fan, and she's our other biggest fans, so
• 1:22:13
  Speaker 1: she's listening, so she's she's everyone involved in this movie listens.
• 1:22:18
  Speaker 1: Paul Danna used to come to the coffee shop that
• 1:22:20
  Speaker 1: I lived near. Oh no way. Yeah, And one time
• 1:22:23
  Speaker 1: Melissa Lozada Aliva, friend of the cast, was staying with
• 1:22:27
  Speaker 1: me and he she was like reading a book because
• 1:22:29
  Speaker 1: she's like that, she's reading a book at the coffee
• 1:22:32
  Speaker 1: shop whatever books, and and then Paul Dana was like,
• 1:22:37
  Speaker 1: that book's good, and she was like he was very exciting.
• 1:22:41
  Speaker 1: And then she ran back to my house and was like,
• 1:22:43
  Speaker 1: Paul Danna read a book. It was really really exciting stuff. Incredible,
• 1:22:49
  Speaker 1: Thank you. But yeah, I think that's all I had.
• 1:22:51
  Speaker 1: Do you have anything else? I think that's everything? Yeah. No,
• 1:22:54
  Speaker 1: I um, I really like this movie. But does it
• 1:22:58
  Speaker 1: pass the Betel test? It does, again, not as much
• 1:23:02
  Speaker 1: as you wouldn't necessarily think. I think it goes back
• 1:23:05
  Speaker 1: to the I want a stronger relationship between Olive and
• 1:23:09
  Speaker 1: Cheryl thing, and you do get some tender moments, you know,
• 1:23:12
  Speaker 1: you get that moment when they're in the hospital and
• 1:23:15
  Speaker 1: you know, she gives this whole speech about like we're
• 1:23:19
  Speaker 1: going to have a family meaning and you know, we
• 1:23:21
  Speaker 1: have to stick together and I just love you guys
• 1:23:24
  Speaker 1: so much. And then we get the Dwayne is like
• 1:23:28
  Speaker 1: writes on his little you know, notepad, like go hug mom,
• 1:23:31
  Speaker 1: I know, which is such a sweet older sibling thing
• 1:23:34
  Speaker 1: to do to You're just like, but what I really
• 1:23:37
  Speaker 1: want is more screen time between Olive and Cheryl and
• 1:23:43
  Speaker 1: for that relationship to be explored more, and for Cheryl
• 1:23:47
  Speaker 1: as a character to just be given more of an
• 1:23:50
  Speaker 1: interior life. And because there was room dedicated to all
• 1:23:54
  Speaker 1: the other characters at length. At length, I mean, it
• 1:23:58
  Speaker 1: would have been a real, like, I mean, a super
• 1:24:02
  Speaker 1: issue if we were not getting enough Olive on top
• 1:24:05
  Speaker 1: of that. But it's like, you know, the women in
• 1:24:07
  Speaker 1: this van are already out numbered. Don't short change one
• 1:24:10
  Speaker 1: of them unfortunately. Mean, yeah, I think the Bechtel test
• 1:24:13
  Speaker 1: problem this is this is actually a movie where I
• 1:24:15
  Speaker 1: feel like the Bechdel test is a very useful metric
• 1:24:18
  Speaker 1: to use, which isn't true for it but but for
• 1:24:20
  Speaker 1: this one, I think it is because it just it
• 1:24:22
  Speaker 1: it passes but but not as much as it should
• 1:24:26
  Speaker 1: given who's in it. I think the one the conversation
• 1:24:29
  Speaker 1: that I was really locked onto was um towards the end,
• 1:24:33
  Speaker 1: when Cheryl is like basically gives Alive an out if
• 1:24:37
  Speaker 1: she wants it. She's like, you know, if you sat
• 1:24:38
  Speaker 1: this one out because because she also I think senses
• 1:24:42
  Speaker 1: that Olive is apprehensive about competing, because she is looking
• 1:24:46
  Speaker 1: at the other girls and she's she knows that she
• 1:24:49
  Speaker 1: is she scared. There's that scene where she looks at
• 1:24:52
  Speaker 1: herself in the mirror. She's examining her body. She's wearing
• 1:24:55
  Speaker 1: the swimsuit. Why do we have to have little girls
• 1:24:58
  Speaker 1: parade around in swimsuits to be judged by pageant judges.
• 1:25:02
  Speaker 1: It's horrifying. But anyway, so like Cheryl's like, you know,
• 1:25:05
  Speaker 1: all of if you want to set this one out,
• 1:25:07
  Speaker 1: you can totally do that, but all of us like, no,
• 1:25:09
  Speaker 1: I'm competing. So that whole exchange was one that I
• 1:25:13
  Speaker 1: really enjoyed. And shall we rate it on our nipple scale?
• 1:25:17
  Speaker 1: We shall zero to five nipples based on its representation
• 1:25:21
  Speaker 1: of women. Even though I would give this movie like
• 1:25:25
  Speaker 1: I would give it a ten out of ten on
• 1:25:27
  Speaker 1: the rampometer. I would give it like a five out
• 1:25:30
  Speaker 1: of five on just like movies I love. But as
• 1:25:33
  Speaker 1: far as our nipple scale, I would I would go
• 1:25:37
  Speaker 1: down to maybe like it's three and a half or
• 1:25:42
  Speaker 1: maybe like an even like a three point to five
• 1:25:44
  Speaker 1: because even though the female characters we do get to know,
• 1:25:50
  Speaker 1: I really love them. I love Cheryl's character, even though
• 1:25:54
  Speaker 1: we're not given a whole lot of additional information about her,
• 1:25:59
  Speaker 1: just aside from her role in the movie as the mother,
• 1:26:04
  Speaker 1: just especially because like it's clearly established that she has
• 1:26:07
  Speaker 1: a job and we just don't find out what it
• 1:26:09
  Speaker 1: is that we don't know anything about her, and it
• 1:26:12
  Speaker 1: was frustrating. But even so I do, I do love
• 1:26:15
  Speaker 1: her character. I'm so on her side all of the
• 1:26:19
  Speaker 1: all of get it all of the time. Well that
• 1:26:22
  Speaker 1: brings me to all of who I also really love,
• 1:26:25
  Speaker 1: Like she's such a sweet little girl. And yeah, I
• 1:26:30
  Speaker 1: just this is a movie that I guess is about
• 1:26:33
  Speaker 1: a family unit that I think should give more focus
• 1:26:37
  Speaker 1: to the female characters and that relationship between those two
• 1:26:41
  Speaker 1: female characters, so them as individuals and them as a
• 1:26:45
  Speaker 1: like mother daughter dynamic. I would have loved to see
• 1:26:48
  Speaker 1: that explored more but even so, I think I'll go
• 1:26:51
  Speaker 1: with a three point five because it handles a lot
• 1:26:54
  Speaker 1: of other things well, as we've discussed the portrayal of
• 1:26:57
  Speaker 1: mental illness, the fact that we have of a queer character,
• 1:27:02
  Speaker 1: which by my point of view, and again, you know,
• 1:27:05
  Speaker 1: I might be coming in with some blind spots here,
• 1:27:08
  Speaker 1: but it felt to me like that was handled pretty responsibly.
• 1:27:13
  Speaker 1: And yeah, it's just as a sweet I love a
• 1:27:17
  Speaker 1: dark comedy, you know, I love I love that climactic
• 1:27:21
  Speaker 1: sequence when the entire family gets on stage, which is
• 1:27:24
  Speaker 1: like kind of signifies every character arc that we see,
• 1:27:29
  Speaker 1: even though again Cheryld isn't really given much of an arc.
• 1:27:33
  Speaker 1: All the other the men get to change, but the
• 1:27:35
  Speaker 1: woman stays pretty static throughout, but only because she's already
• 1:27:40
  Speaker 1: such a good mom. I don't know. Three and a
• 1:27:42
  Speaker 1: half nipples, um, I'll give one to Tony Colette, I
• 1:27:45
  Speaker 1: will give one to Abigail Breslin, I will give one
• 1:27:51
  Speaker 1: to the Volkswagen Bus, and I'll give my half nipple.
• 1:27:58
  Speaker 1: I'll give it to Uncle Fry. I'm going to give
• 1:28:01
  Speaker 1: this a three point five as well, for for much
• 1:28:05
  Speaker 1: the same reasons. I feel like there is an opportunity
• 1:28:07
  Speaker 1: for I mean, of all the male relationships we get
• 1:28:12
  Speaker 1: to explore in this movie, whether it be between I mean,
• 1:28:15
  Speaker 1: there was a moment where I was like, oh, yes,
• 1:28:18
  Speaker 1: every movie is about fathers and sons. When Alan Arkin
• 1:28:21
  Speaker 1: tells Greg Kenear like, I'm proud of you. You tried.
• 1:28:24
  Speaker 1: That's good. You're just like, Okay, I don't really care. Uh, Like,
• 1:28:28
  Speaker 1: you find out about that relationship, you find out a
• 1:28:30
  Speaker 1: little bit about, you know, the tension between Richard and Frank,
• 1:28:33
  Speaker 1: you find out about the tension between Dwayne and Richard,
• 1:28:37
  Speaker 1: Like you get a blossoming friendship between Frank and Dwayne,
• 1:28:40
  Speaker 1: and you just there's not that many versions of relationships
• 1:28:45
  Speaker 1: for women to have because there's only two and we
• 1:28:47
  Speaker 1: don't really get it. So that was a little disappointing.
• 1:28:51
  Speaker 1: And I feel like it's just kind of single male writer,
• 1:28:55
  Speaker 1: you know, culture of you know, they're they're writing what
• 1:28:59
  Speaker 1: they know and don't know how to make women talk
• 1:29:01
  Speaker 1: to each other at length, and so they just don't.
• 1:29:03
  Speaker 1: So that was a bummer. But I do I agree that.
• 1:29:05
  Speaker 1: I like that. I mean, Tony Collett can do a
• 1:29:09
  Speaker 1: lot with a little which I think she does, hear uh.
• 1:29:13
  Speaker 1: I like that she is the Breadwinner, like, I mean,
• 1:29:15
  Speaker 1: the frustrating thing is everything I know about her I like,
• 1:29:18
  Speaker 1: and I wish I knew more, and I wish that
• 1:29:20
  Speaker 1: the movie almost had like the confidence it has in
• 1:29:23
  Speaker 1: its male characters to allow her to fail a little
• 1:29:27
  Speaker 1: bit outside of her maternal role. But ultimately it is
• 1:29:32
  Speaker 1: a wonderful movie. A laugh too cried it's great. Olive
• 1:29:36
  Speaker 1: is a wonderful character. I feel like she would be
• 1:29:39
  Speaker 1: our friend as an adult. So I like she. She's
• 1:29:44
  Speaker 1: the best. I also think it's so I mean, it
• 1:29:48
  Speaker 1: is kind of nice to see demonstrated how pervasive beauty
• 1:29:53
  Speaker 1: pageant culture is. Where I feel like sometimes you get
• 1:29:56
  Speaker 1: the idea from media of like, oh, only you know
• 1:29:59
  Speaker 1: young women who have pageant families, or only young women
• 1:30:04
  Speaker 1: who look a certain way are interested in pageant culture,
• 1:30:07
  Speaker 1: but it it is so pervasive that it gets to
• 1:30:11
  Speaker 1: everyone one way or another, and all of you know
• 1:30:14
  Speaker 1: is in by no means a pageant pushing family, and
• 1:30:17
  Speaker 1: she still develops, you know, oh, I want to participate.
• 1:30:21
  Speaker 1: And I think that that's something that you don't really
• 1:30:23
  Speaker 1: see acknowledged a lot. So I liked I like that.
• 1:30:27
  Speaker 1: I like her. I want to know what she's like
• 1:30:29
  Speaker 1: when she's older, and yeah, this is the where's the sequel?
• 1:30:33
  Speaker 1: Where's that? Actually? You know what? I think that that
• 1:30:35
  Speaker 1: sounds good? And then when you would see it, you're like,
• 1:30:37
  Speaker 1: I actually don't want it, like just write a different
• 1:30:40
  Speaker 1: movie maybe, But yeah, I think it's a wonderful movie.
• 1:30:43
  Speaker 1: Three and a half nippies wished that there have been
• 1:30:45
  Speaker 1: more of the female relationship. But I'll give one a
• 1:30:50
  Speaker 1: tiny clip one Abigail Breslin, and one to the lady
• 1:30:57
  Speaker 1: who held Abigail Breslin's hand on the way to the state,
• 1:31:02
  Speaker 1: and then a half nipple to Alfred Molina, who should
• 1:31:05
  Speaker 1: have been in this movie. I wonder what he was
• 1:31:06
  Speaker 1: doing when he was up to I feel like Alfred
• 1:31:09
  Speaker 1: Millina should have been. He would have been. Really I
• 1:31:11
  Speaker 1: will I won't. I won't recast any of the family
• 1:31:14
  Speaker 1: because I feel like it is the perfect cast for
• 1:31:16
  Speaker 1: the family. But maybe if they made Alfred Molina in
• 1:31:20
  Speaker 1: the audience of the pageant as like a really intense
• 1:31:25
  Speaker 1: pageant parent, that would be great. Well, please and thank you,
• 1:31:28
  Speaker 1: let's recut the movie. Let's put him in there. In
• 1:31:32
  Speaker 1: two thousand and six. He was in the Da Vinci code,
• 1:31:37
  Speaker 1: she thought. But that's not even a good that's a
• 1:31:40
  Speaker 1: bad excuse. That's probably a better paycheck though. Listen, he's
• 1:31:43
  Speaker 1: got children, that's true anyways. But yeah, three and a
• 1:31:48
  Speaker 1: half nipples and in a lovely movie. Happy birthday, Caitlin.
• 1:31:52
  Speaker 1: Oh my gosh, thank you so much. Yeah, I am
• 1:31:55
  Speaker 1: so glad we we finally got around to talking about
• 1:31:58
  Speaker 1: this movie. Oh here's something we can plug. So we're
• 1:32:02
  Speaker 1: you know, our social media Twitter and Instagram. Follow us
• 1:32:05
  Speaker 1: there at Bechtel Cast. My actual birthday is on May seventeen. Hello,
• 1:32:10
  Speaker 1: I'm a tourist. Thank you so much. And on my birthday,
• 1:32:13
  Speaker 1: we are going to do just an Instagram live hang
• 1:32:17
  Speaker 1: out the two of us. Yes, it's gonna be fun,
• 1:32:20
  Speaker 1: a chill hang We're going to be encouraging donations to
• 1:32:24
  Speaker 1: your local food bank if you're able to donate, if
• 1:32:27
  Speaker 1: you're in a position to do that, and yeah, come
• 1:32:29
  Speaker 1: hang out with us. That's going to be at two
• 1:32:32
  Speaker 1: pm Pacific time, Sunday, May seventeen. And then in addition
• 1:32:37
  Speaker 1: to that, you can subscribe to our Matreon our may
• 1:32:42
  Speaker 1: tryon getting there's no better time, there's no better month.
• 1:32:46
  Speaker 1: There's literally no better month. And then of course our
• 1:32:49
  Speaker 1: merch can be found on t public dot com slash
• 1:32:53
  Speaker 1: the Bechtel Cast, where you can get all of your
• 1:32:56
  Speaker 1: merch needs. And I think that'll about do it. Yeah.
• 1:32:58
  Speaker 1: We cherish you, We hope that you're you're safe and
• 1:33:02
  Speaker 1: doing well, and we'll talk to you soon. We love you.
• 1:33:05
  Speaker 1: We all won the pageants. Oh my gosh, we all
• 1:33:08
  Speaker 1: won little Miss Sunshine. Wow, that was That is what
• 1:33:12
  Speaker 1: I would say. If I actually hadn't wanted the movie,
• 1:33:14
  Speaker 1: I'd be like, um, and then she wins. Yeah, bye
• 1:33:20
  Speaker 1: bye