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There's Something About Mary with Katy Stoll · The Bechdel Cast

• 0:00
  Speaker 1: On the Bedel Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in um, are all their discussions just boyfriends and
• 0:07
  Speaker 1: husbands or do they have individualism the patriarchy? Zef in
• 0:11
  Speaker 1: best start changing it with the Bechdel Cast. Oh boy,
• 0:17
  Speaker 1: there's something about terrible movie, don't you think, Caitlin, Yes,
• 0:22
  Speaker 1: I do think that. Wow. Hi, I'm Jamie Loftus, I'm
• 0:26
  Speaker 1: Caitlin Durante And this is the Bechtel Cast. It's our podcast, beloved,
• 0:32
  Speaker 1: I would say, but there's something about this podcast. There's
• 0:36
  Speaker 1: something about the Bechtel Cast. Is it that we are
• 0:38
  Speaker 1: emotionally abused in stocked all the time? Because anyways, this
• 0:42
  Speaker 1: is the Bectel Cast. It's our podcast about the betrayal
• 0:45
  Speaker 1: of women in movies. That sounds like betrayal be well,
• 0:49
  Speaker 1: movies usually betray women. Yes, yes, And we use the
• 0:52
  Speaker 1: Bechtel test as a jumping off point for discussion. But
• 0:56
  Speaker 1: what is that. Well, it's just a media metric that
• 1:00
  Speaker 1: is developed by cartoonist Allison Bechtel that you can apply
• 1:04
  Speaker 1: to a movie like there's something about Mary. For example,
• 1:09
  Speaker 1: a movie will pass said test if there are two
• 1:13
  Speaker 1: named female identifying characters who speak to each other about
• 1:17
  Speaker 1: something other than a man. Yes, so that here's an
• 1:21
  Speaker 1: example of it. Hey Caitlin, Hey Jamie, your hair is
• 1:24
  Speaker 1: so short and cute and great. Thank you. You're abiding
• 1:28
  Speaker 1: by the loftest rule. I am now the baldest woman
• 1:32
  Speaker 1: in charge. Yes, you're you did it. I think by
• 1:36
  Speaker 1: the time this episode comes out, I will have gotten
• 1:38
  Speaker 1: this haircut quite some time ago. But that's just a
• 1:41
  Speaker 1: little peak behind. At the time of this recording, I
• 1:44
  Speaker 1: got this haircut today. Yeah, it's fresh, fresh snips. There's
• 1:49
  Speaker 1: there's like hair particles on my shirt. Still like itchy
• 1:53
  Speaker 1: about I like it, And that passed to the Bechtel tests.
• 1:56
  Speaker 1: It really did. That was one of our better ones.
• 1:59
  Speaker 1: I honestly, I don't we're actually not that it's hard,
• 2:03
  Speaker 1: but also that it goes against everything we'd say in
• 2:05
  Speaker 1: every episode. But it is kind of we talked about
• 2:08
  Speaker 1: like appearances and beauty. So that wasn't that good of
• 2:12
  Speaker 1: a conversation. It counts, It counts. Yeah, we're great. Example,
• 2:16
  Speaker 1: Please don't Patreon. Let's introduce our guests. She is an actress,
• 2:22
  Speaker 1: a producer. You know her from Some More News and
• 2:26
  Speaker 1: she's a co host of the podcast Even More News.
• 2:29
  Speaker 1: It's Katie Stole. Hey, guys, welcome. I feel so welcome.
• 2:34
  Speaker 1: And I had to like quietly laugh so that I
• 2:37
  Speaker 1: didn't blow my cover. People knew somebody's here. I could
• 2:39
  Speaker 1: have laughed. You're very funny. I like your vibe. You Yeah,
• 2:45
  Speaker 1: there's we are beloved. So we had to navigate this
• 2:51
  Speaker 1: new hair vibe hab changed. Yeah, it looks so good.
• 2:55
  Speaker 1: Thank you so much. We'll post some pics if you
• 2:58
  Speaker 1: haven't seen them already, but we will. I don't know everyone. Yes,
• 3:03
  Speaker 1: by the time they hear this, they're like, that's old news.
• 3:05
  Speaker 1: Although maybe you'll have already gotten it retrimmed, so maybe
• 3:08
  Speaker 1: all have a shaved head by I was talking about
• 3:13
  Speaker 1: what this doesn't pass it up to the test, but
• 3:15
  Speaker 1: I was talking about it with Miles upstairs, and I
• 3:17
  Speaker 1: was like, the balls, woman's in charge. I'm gonna go
• 3:19
  Speaker 1: shave my head, or even better, decapitate myself and then
• 3:24
  Speaker 1: and then who's in charge. Then you'll win, yes, because
• 3:28
  Speaker 1: we are constantly in competition. Women are always in competition
• 3:32
  Speaker 1: with each other when we're not shopping, that is. Yeah,
• 3:36
  Speaker 1: So today's movie is there's something about Mary. They were
• 3:40
  Speaker 1: going to have to do it eventually, and the time
• 3:43
  Speaker 1: is now absolutely unbelievable, I unfathomably upsetting, like and and
• 3:50
  Speaker 1: worth saying. Considered by some I would I would doubt
• 3:54
  Speaker 1: this would make but shout out to the movie doubt
• 3:57
  Speaker 1: I as I always it. I have such doubts. But
• 4:03
  Speaker 1: by some this is considered one of the greatest comedy
• 4:07
  Speaker 1: movies ever produced by List of Best Comedies. They need
• 4:12
  Speaker 1: to revisit it. I mean Fairly Brothers more like the
• 4:16
  Speaker 1: Feminist Brothers. That's my first bad joke in my notes
• 4:19
  Speaker 1: is a singer there? I mean Later, one of the
• 4:22
  Speaker 1: men responsible for this movie went on to make Green Books.
• 4:27
  Speaker 1: The Atrocity is No No, No Bunts progressions for mm
• 4:32
  Speaker 1: starting with something about Mary and ending at green Book,
• 4:36
  Speaker 1: what's wrong? What kind of person do you have to be? Well?
• 4:39
  Speaker 1: Not long after this they made that movie The Ringer,
• 4:44
  Speaker 1: about Johnny Knoxville pretending to be someone with a developmental
• 4:48
  Speaker 1: disability so he can compete in the Special Olympics. The
• 4:52
  Speaker 1: Fairly Brothers, I would say, have and and it's very obvious.
• 4:56
  Speaker 1: And there's something about Mary too, But they have a
• 4:58
  Speaker 1: fixation on sing disabled like they have. It's I don't
• 5:04
  Speaker 1: know where this is rooted. In their lives. But it's
• 5:08
  Speaker 1: like they've made a career out of mocking disabled It's
• 5:11
  Speaker 1: not just one movie. Literally really from their childhood in
• 5:14
  Speaker 1: some capacity or like some I don't know, but there's
• 5:16
  Speaker 1: two major plot lines that involved that in this film.
• 5:20
  Speaker 1: And they also are they made dumb and dumber. They
• 5:24
  Speaker 1: made the movie you just described, they made uh shallow?
• 5:27
  Speaker 1: How a k fat shaming of the movie. Um they've
• 5:32
  Speaker 1: made They're responsible for so much harm in the world
• 5:36
  Speaker 1: and now one of them has an oscar for a
• 5:38
  Speaker 1: movie that many would consider harmful. It's you know, let's
• 5:45
  Speaker 1: talk about our history. But there is something about Mary Katy.
• 5:49
  Speaker 1: When did you for see it? What's your relationship to
• 5:51
  Speaker 1: the movie? Don't I mean, what year did this come out? Yeah,
• 5:56
  Speaker 1: so I was in middle school. I guess I saw it.
• 6:00
  Speaker 1: Then I remember having seen it. I also remember that
• 6:02
  Speaker 1: I didn't like it. I will say that I'm proud
• 6:05
  Speaker 1: of younger me for not liking it. Probably little Katie
• 6:09
  Speaker 1: knew what's up, But I don't have very many memories
• 6:12
  Speaker 1: of it other than thinking Cameron Diaz as a babe,
• 6:14
  Speaker 1: which is she is. She's a beautiful woman, which is true.
• 6:17
  Speaker 1: That is not the important takeaway. No, God, I watched it,
• 6:23
  Speaker 1: I would say probably three or four times as someone
• 6:27
  Speaker 1: who was about middle school aged, also because I was
• 6:32
  Speaker 1: I guess I would have been like twelve when it
• 6:34
  Speaker 1: came out, and I enjoyed it like my seventh grade year,
• 6:40
  Speaker 1: and then didn't watch it again since then. Yeah, so
• 6:43
  Speaker 1: totally forgot all of the horrible problems that are just
• 6:48
  Speaker 1: running rampant in this movie. But uh yeah, I did
• 6:51
  Speaker 1: see it at least a couple of times as a
• 6:54
  Speaker 1: younger person. I am horrified to admit, but I don't
• 6:58
  Speaker 1: even know if I thought it was funny. I think
• 7:00
  Speaker 1: it would just be like on its sleepovers or something.
• 7:04
  Speaker 1: I wasn't I never saw this movie out. I have
• 7:06
  Speaker 1: a horrible admission to make, which is that I did
• 7:08
  Speaker 1: laugh at exactly one scene in this movie when Ben
• 7:13
  Speaker 1: Stiller's fighting the dog. Did there's something funny? Well, because
• 7:17
  Speaker 1: the dog is clearly fake, Like there's something about the
• 7:20
  Speaker 1: way his little legs are sticking out that that's funny.
• 7:23
  Speaker 1: I know it's edited, it's all sped up, and you're like,
• 7:26
  Speaker 1: look a Ben, still are fighting this this like fucking taxidermy. Anyways,
• 7:31
  Speaker 1: that made me laugh, and I have to live with
• 7:34
  Speaker 1: that for the rest of my life. I mean, it's okay,
• 7:36
  Speaker 1: you've you've admitted it, and that's acceptance is the first
• 7:40
  Speaker 1: step in your recovery. We're all about processing here. Just
• 7:44
  Speaker 1: uh yeah, my history with this I was, I was not.
• 7:48
  Speaker 1: I definitely didn't see it when it came out. My
• 7:51
  Speaker 1: mom especially, it was very like not about raunchy comedies,
• 7:57
  Speaker 1: Like she was very against them, morally opposed to them.
• 8:00
  Speaker 1: And I don't think it was her, but I do
• 8:02
  Speaker 1: have like a memory of it. Could have been like
• 8:04
  Speaker 1: one of my friend's moms. But Peter and Bobby Fairly
• 8:08
  Speaker 1: are from New England famously, and someone's mom described them
• 8:14
  Speaker 1: as the worst of us. They're not wrong. I had
• 8:17
  Speaker 1: a sleepover. Yeah, so, um, I I hadn't seen I
• 8:20
  Speaker 1: don't think, honestly, I don't think I've ever seen a
• 8:23
  Speaker 1: Fairly Brothers movie at all, so this would have been.
• 8:26
  Speaker 1: I watched it the other day with a friend of
• 8:28
  Speaker 1: the cast, Melissa Losada Oliva, and uh, you know, there's
• 8:33
  Speaker 1: there's really not a good thing to be said about it.
• 8:36
  Speaker 1: I'll say that I liked Jonathan Richmond did the music,
• 8:39
  Speaker 1: and he's that guy that pops up. He's actually a
• 8:43
  Speaker 1: really I love him. You guys should check him out.
• 8:47
  Speaker 1: So when you first started to sing him like, is
• 8:48
  Speaker 1: that oh it is? Maybe this movie won't be so bad?
• 8:52
  Speaker 1: Never mind? Yeah, so I like that about it. That's fun.
• 8:56
  Speaker 1: I did like the dog fighting scene, and but I
• 8:58
  Speaker 1: didn't like the scene where they let the dog on fire.
• 9:00
  Speaker 1: Was kind of thickle with the dog scenes, there's two
• 9:03
  Speaker 1: different way too long, because the entire movie is way
• 9:06
  Speaker 1: too long. Why is a comedy movie longer than like minutes? Anyway,
• 9:15
  Speaker 1: it's a style of comedy. Also, that's like it's really
• 9:19
  Speaker 1: painful to watch where and I don't know if it's
• 9:21
  Speaker 1: just because it's not funny or but this situation where
• 9:24
  Speaker 1: you're like you just keep grinding in and this cringe
• 9:26
  Speaker 1: worthy scene and I feel like we've Maybe I'm wrong,
• 9:30
  Speaker 1: but it doesn't feel like a lot of our comedies
• 9:32
  Speaker 1: are that kind of comedy, do you know what I mean?
• 9:35
  Speaker 1: Lately it's yeah, more absurd or whatever, but just that like, oh,
• 9:40
  Speaker 1: this isn't funny, it's just painful. There are no jokes,
• 9:42
  Speaker 1: it's just gross out humor and it's all very stupid.
• 9:45
  Speaker 1: It's really a jube. And I feel like this like
• 9:47
  Speaker 1: because this sort of era of because there's a lot
• 9:50
  Speaker 1: of nineties and early two thousands comedies that like kind
• 9:52
  Speaker 1: of fit this bill, and then that sort of transitions
• 9:56
  Speaker 1: into jut Apatow comedies, which I also hate. Yes, so
• 10:00
  Speaker 1: it just sort of are also too long, and I
• 10:03
  Speaker 1: mean talk about just cut the camera. You don't need
• 10:07
  Speaker 1: to let everyone's improv sit on screen nine hours of
• 10:11
  Speaker 1: seth Rogan hits the cutting room floor every time. I
• 10:15
  Speaker 1: hate it. Okay, I'll do the recap. I guess this
• 10:20
  Speaker 1: wretched movie. Okay, it's we meet Ted. That's Ben Stiller's character.
• 10:28
  Speaker 1: He's in high school. He's a dweeb. They're doing a
• 10:31
  Speaker 1: whole pen fifteen thing at the beginning. Oh yeah, uh.
• 10:35
  Speaker 1: And there's this girl Mary. There's something about Mary that's
• 10:39
  Speaker 1: Cameron d as a character. She's hot and badly written.
• 10:43
  Speaker 1: That's the something that is thank you for putting your
• 10:47
  Speaker 1: finger on it. It's like, what is it about her?
• 10:51
  Speaker 1: Everyone thinks she's awesome. Ted's like, who's that? Hubba hubba?
• 10:56
  Speaker 1: But then his friend is like, oh no, she's got
• 10:58
  Speaker 1: this boyfriend named Woogie. Sure. Uh. Then payoff on that
• 11:03
  Speaker 1: is exhausting. H. Then there's an incident in the schoolyard
• 11:08
  Speaker 1: where some guys are bullying Mary's brother Warren, and Ted
• 11:12
  Speaker 1: steps into help. So then Mary's like, oh my god,
• 11:15
  Speaker 1: a man did a heroic thing. I'm just gonna automatically
• 11:18
  Speaker 1: like him now. Uh and she and this is the
• 11:21
  Speaker 1: first motif of abusing disabled people that appears, because it
• 11:28
  Speaker 1: is recurring. Bad Yeah, she asks him to prom. She's like, oh,
• 11:33
  Speaker 1: I've broken up with Woogie. Why don't we go to
• 11:35
  Speaker 1: prom together? And he's like, oh my god. But then
• 11:37
  Speaker 1: on the day of prom, there's this whole mishap and
• 11:41
  Speaker 1: then he accidentally zips his peepee and his balls into
• 11:49
  Speaker 1: his pants zipper. And I knew this was the only
• 11:52
  Speaker 1: thing I knew about this movie was that this happened,
• 11:56
  Speaker 1: Like this is the thing that everyone remembers. I didn't
• 11:57
  Speaker 1: even know about the whole hair com thing. Those are
• 12:00
  Speaker 1: the two big ones that come here and the zipper.
• 12:03
  Speaker 1: I knew about the zipper. That was it. I was like,
• 12:06
  Speaker 1: was that the something about Mary? So he tries to
• 12:10
  Speaker 1: fix it, it gets worse and then he's rushed away
• 12:12
  Speaker 1: in an ambulance and that's the last time that Ted
• 12:15
  Speaker 1: sees Mary. Cut to thirteen years later, he's recounting this
• 12:21
  Speaker 1: story to his therapist. There's like a weird gay joke
• 12:25
  Speaker 1: that continues into the following scene with Ted and his
• 12:29
  Speaker 1: friend Dom Chris Elliott's character Uh, And Ted's talking about
• 12:33
  Speaker 1: how he's still in love with Mary thirteen years later,
• 12:36
  Speaker 1: but she moved up in Miami, and beyond that, he
• 12:38
  Speaker 1: doesn't know how to find her. He literally doesn't know
• 12:40
  Speaker 1: anything about. This is definitely like a pre Facebook problem, right,
• 12:45
  Speaker 1: that's like, none of this happens now. You could cut
• 12:48
  Speaker 1: you could, I mean, you could kind of mercifully cut
• 12:50
  Speaker 1: out twenty minutes of the movie if there was Facebook,
• 12:53
  Speaker 1: because then you wouldn't have the whole p I lying
• 12:57
  Speaker 1: thing that takes it takes up so much time. You're
• 13:00
  Speaker 1: just like this, Ben Stiller is the star of this movie.
• 13:03
  Speaker 1: Where is he? For? Like, alf, He's not in the
• 13:06
  Speaker 1: first half of the movie hardly really at all, because
• 13:09
  Speaker 1: it's it's all Matt Dillon, and you're like, what Matt Dillon?
• 13:13
  Speaker 1: Why why is he agreeing to this? And and I
• 13:17
  Speaker 1: think a spectacular waste of Chris Elliott, who I think
• 13:20
  Speaker 1: is so funny, and man, I hope he got a
• 13:22
  Speaker 1: boat with this or something. Got a bone. Yeah, because
• 13:25
  Speaker 1: this is like, this is a this is not a
• 13:27
  Speaker 1: good look. No, it's not. He was in a bunch
• 13:30
  Speaker 1: of problematic stuff around this time. Solo stuff is great though. Yeah.
• 13:34
  Speaker 1: So then so Chris Ellis character dum recommends that Ted
• 13:38
  Speaker 1: higher Pat Healy Matt Dylan's character because he's a private investigator.
• 13:43
  Speaker 1: I guess he freelances this one or something. I don't like,
• 13:46
  Speaker 1: income something some sort of like you track down people
• 13:50
  Speaker 1: for money. I don't know. Well, the same like everyone's
• 13:54
  Speaker 1: job in this movie is kind of Uncleared Nolan's really
• 13:57
  Speaker 1: going to work. Ben Stiller leaves work what appears to
• 14:00
  Speaker 1: be indefinitely to stalk Cameron Dion. He's always like, I'm
• 14:04
  Speaker 1: a writer or trying to be So what do you
• 14:06
  Speaker 1: do for money? Right? Yeah, it's very And then also
• 14:10
  Speaker 1: like Cameron Diaz is like a doctor of Yeah, she's
• 14:14
  Speaker 1: an orthopedic surgeon. Absolutely you never see her. That infuriates
• 14:20
  Speaker 1: me because absolutely nothing about her is a person that's
• 14:25
  Speaker 1: observant or you know, she cares. I mean she cares
• 14:30
  Speaker 1: about people and stuff, but she's not she doesn't present
• 14:33
  Speaker 1: as an academic. And then they just give it one
• 14:35
  Speaker 1: scene in her office where she walks in and walks out,
• 14:38
  Speaker 1: and but that could be an office for anything. Yeah, exactly,
• 14:42
  Speaker 1: But they just dropped, Oh yeah, she's an orthopedic surgeon.
• 14:44
  Speaker 1: She's great. I feel like, yeah, I feel like that
• 14:47
  Speaker 1: is at best. That's like the Farilies being like see
• 14:52
  Speaker 1: like feminist, because absolutely we do believe women can be doctors.
• 14:57
  Speaker 1: She has it all, she looks perfect, and she the
• 15:00
  Speaker 1: doctor god, but only one of those is relevant to
• 15:03
  Speaker 1: I mean, she's a woman in stem and she is
• 15:06
  Speaker 1: characterized as being a fucking dumbass. But we'll talk all
• 15:11
  Speaker 1: about that, Okay. So pat heally finds Mary and he
• 15:17
  Speaker 1: immediately is like, hubba, hubba, who's that? Because she's hot?
• 15:22
  Speaker 1: Hubbs today, you know there's there's more to come. She's hot,
• 15:28
  Speaker 1: she's unmarried, she works with people with disabilities. Uh, and
• 15:32
  Speaker 1: you know there's just something about her. So he falls
• 15:34
  Speaker 1: in over there immediately, and which just means she's hot,
• 15:39
  Speaker 1: like and exactly, there's like there's something about her. It's
• 15:41
  Speaker 1: like all these guys who don't know her are falling
• 15:43
  Speaker 1: in love with her. So it's like, I wonder what.
• 15:48
  Speaker 1: So then he tells Ted a bunch of lies to
• 15:51
  Speaker 1: make him not interested. In her, and that's a scene
• 15:53
  Speaker 1: that we have to unpack. And then heally moves to
• 15:59
  Speaker 1: Miami so that he can try to go and make
• 16:01
  Speaker 1: a move on Mary because he's a freelance detective or something.
• 16:06
  Speaker 1: And then he lies about himself a lot to make
• 16:10
  Speaker 1: him seem more appealing to Mary, and then she falls
• 16:14
  Speaker 1: for it based on all the things that he's spier
• 16:17
  Speaker 1: her say that she wants this for me. Is where
• 16:20
  Speaker 1: Mary's character tips from being kind and perfect to being stupid.
• 16:27
  Speaker 1: She remains for the rest of the movie. Yes, it's
• 16:31
  Speaker 1: very upsetting. It's very upsetting. Yeah. So then he takes
• 16:34
  Speaker 1: her on a date. And then this is where we
• 16:36
  Speaker 1: meet Tucker, a friend of Mary's. You know, he's sizing
• 16:41
  Speaker 1: healy up and he's the thing about him is he's
• 16:44
  Speaker 1: British and disabled and also to say that turns into
• 16:49
  Speaker 1: a whole thing. Lots more to talk about there as well. Um.
• 16:54
  Speaker 1: So meanwhile Ted hears from his friend, who is a
• 16:57
  Speaker 1: chiropractor who we meet earlier in the mo be throwaway
• 17:01
  Speaker 1: character who cares but really there for exposition, right, um,
• 17:04
  Speaker 1: that Mary is actually a fox because he saw her recently.
• 17:08
  Speaker 1: So Ted decides to go to Miami because if Mary's hot,
• 17:12
  Speaker 1: he has to go look at her. Maybe that's the
• 17:15
  Speaker 1: one time that being an orthopedic surgeon is plot relevant
• 17:18
  Speaker 1: because the reason the chiropractor saw her, he's like, well,
• 17:21
  Speaker 1: you know, she's anopedic surgeons, so I saw her. The
• 17:24
  Speaker 1: comfile doesn't make sense because the reason the reason Ted
• 17:27
  Speaker 1: goes to a chiropractor is that we see him moving furniture,
• 17:31
  Speaker 1: which I guess is his job but we don't really know.
• 17:34
  Speaker 1: But that all just feels so wedged in so that
• 17:36
  Speaker 1: we have an excuse for him to hear about Mary
• 17:39
  Speaker 1: through another source. But like, it's just horrible writing, another
• 17:43
  Speaker 1: thing that could have been rectified by poisonous social media
• 17:47
  Speaker 1: being present at this time. Yes, so Ted, he's on
• 17:51
  Speaker 1: his way to Miami, but he gets arrested because a
• 17:54
  Speaker 1: hitchhiker that he picks up leaves a hacked up dead
• 17:57
  Speaker 1: body in his car, and that is also in the
• 17:59
  Speaker 1: same scene where it's again no time for now, And
• 18:04
  Speaker 1: why has that involved in this? Why why it's an
• 18:08
  Speaker 1: extended like homophobic that is sick and has nothing to
• 18:15
  Speaker 1: do with anything other than earlier on they'd made that
• 18:20
  Speaker 1: gay joke about how rest stops are We're gay people
• 18:24
  Speaker 1: hook up and then and you gotta payoff on that
• 18:28
  Speaker 1: with an extended homophobic raid on gay men. Yeah, we'll
• 18:34
  Speaker 1: unpack all of that. And then he gets to Miami
• 18:39
  Speaker 1: and he stalks Mary until she notices him, and then
• 18:42
  Speaker 1: he's like, oh, hey, longtime, no see. Let me take
• 18:45
  Speaker 1: you out to dinner so that we can catch up,
• 18:49
  Speaker 1: and she agrees to it. And then Chris Elliott's character
• 18:54
  Speaker 1: is like, oh, Ted, you got a jerk off before
• 18:57
  Speaker 1: your date and he's like, oh, oh okay, I'll touch
• 19:00
  Speaker 1: my ppe. They sound like fourteen year olds, right. And
• 19:05
  Speaker 1: then Tucker, Mary's friend, goes to Mary and he's like, Hey,
• 19:09
  Speaker 1: this Pat Healy guy that you've been seeing, he's a murderer.
• 19:13
  Speaker 1: But then we find out that Tucker also isn't who
• 19:16
  Speaker 1: he says he is. He's not a British architect's disabled.
• 19:22
  Speaker 1: He's putting on a whole act to get closer to
• 19:24
  Speaker 1: Mary because he is also in love with her. Because again,
• 19:27
  Speaker 1: there's something about Mary. It's just like every person who
• 19:32
  Speaker 1: falls in love with her, the amount that they have
• 19:35
  Speaker 1: lied and the amount of their life they have sunk
• 19:38
  Speaker 1: into that lie increases, and it's still gets worse from
• 19:45
  Speaker 1: there somehow all right, Right, So then Mary and Ted
• 19:49
  Speaker 1: go on a date and she accidentally puts his jizz
• 19:52
  Speaker 1: in her hair. Again, she's a fucking idiot or written
• 19:56
  Speaker 1: to be that ways, like she didn't look in the
• 19:59
  Speaker 1: mirror afterwards. Who also just grabs a glob of something
• 20:03
  Speaker 1: off someone else's ear, You're just like, this is it
• 20:07
  Speaker 1: was also a huge glob even if that was gel,
• 20:10
  Speaker 1: it's too much. It comes that much. And then also,
• 20:13
  Speaker 1: well that's I mean, what's sick is the consistency. No,
• 20:17
  Speaker 1: that is not the consistency of come. Who is who
• 20:20
  Speaker 1: is doing props on this movie that wasn't come? No,
• 20:25
  Speaker 1: or maybe there's me, I know, come as a come
• 20:28
  Speaker 1: Conda actually off and contributed to Come for that shot. No,
• 20:33
  Speaker 1: I bet one of the Fairly brothers just gave a
• 20:36
  Speaker 1: bucket of their own disgusting, viscous come. And they're like,
• 20:39
  Speaker 1: this is what com is. I'm so sorry saving it
• 20:41
  Speaker 1: for months. Oh god, Yeah, They're like this is really
• 20:44
  Speaker 1: congealed and become a solid. Oh my god, I'm sick. Okay,
• 20:50
  Speaker 1: So she puts jews in her hair. It's supposed to
• 20:53
  Speaker 1: be funny, and then she just has a like a
• 20:55
  Speaker 1: mohawk to the date like you do, right, And then
• 21:00
  Speaker 1: Pat Healy and Tucker whose real name is Norm, team
• 21:03
  Speaker 1: up to try to stop Ted from getting with Mary
• 21:06
  Speaker 1: because again they're both in love with Mary. Uh. And
• 21:09
  Speaker 1: then they drug Mary's neighbor Magda, who's another person will
• 21:13
  Speaker 1: talk about. They drug her dog dog, and then we
• 21:21
  Speaker 1: have the second scene of the movie where we see
• 21:24
  Speaker 1: just flagrant animal cruelty. That did make you laugh, Jamie,
• 21:28
  Speaker 1: So that's on you. It's so clearly fake, Cait, don't
• 21:33
  Speaker 1: cancel me over. The dog is funny looking, sure it is. Listen,
• 21:38
  Speaker 1: I'll throw a Melissa under the bus. Two we were laughing,
• 21:42
  Speaker 1: not the part where the dog is set on fire.
• 21:45
  Speaker 1: I didn't like that. When he fights the goofy dog,
• 21:48
  Speaker 1: I laughed. And I don't want to talk about it anymore.
• 21:51
  Speaker 1: I'll never bring you up again. Okay. So then Ted
• 21:55
  Speaker 1: and Mary they're continuing to see each other, they're getting closer,
• 21:58
  Speaker 1: but then Mary finds out that Ted hired Pat Healey
• 22:01
  Speaker 1: to spy on her, and she's like, get out of here, Ted,
• 22:05
  Speaker 1: So then he goes to confront Healey about it, who
• 22:08
  Speaker 1: is still hanging out with Norm. And then he discovers
• 22:12
  Speaker 1: the norm has a long history of trying to get
• 22:14
  Speaker 1: rid of men that Mary has been involved with. And
• 22:18
  Speaker 1: then we find out that Chris Elliott's character Dom is
• 22:22
  Speaker 1: Mary's high school boyfriend Woogie, who she had to like
• 22:26
  Speaker 1: get a restraining order against because he was stalking her.
• 22:30
  Speaker 1: This is revealed as something very funny, right, like it
• 22:33
  Speaker 1: is supposed to be in the joke that movie has
• 22:36
  Speaker 1: been leading up to this whole big payoff. Finally and
• 22:40
  Speaker 1: we're and this is also supposed to explain why Chris
• 22:43
  Speaker 1: Elliott has been covered in disgusting hives for most of
• 22:46
  Speaker 1: the movie. Sure so, then all the men who are
• 22:52
  Speaker 1: obsessed with her converge in her house, including Brett Farve. Okay,
• 22:59
  Speaker 1: so she was. He was the ex fiance that Younorm
• 23:03
  Speaker 1: had driven away. Also, a fun fact about Brett Farve
• 23:08
  Speaker 1: is that he was like the fourth choice for the
• 23:12
  Speaker 1: wanted Yeah, they wanted Drew Bled, so they wanted Drew Bled.
• 23:16
  Speaker 1: So he was. He was a New England Patriot. That's
• 23:19
  Speaker 1: the only reason I know he is. But anyways, Brett
• 23:21
  Speaker 1: Farve was like choice number four. All good for him.
• 23:25
  Speaker 1: Sure Ted is like, all right, I'm gonna go Mary.
• 23:31
  Speaker 1: You should just be with Brett Farve. But Mary sees
• 23:34
  Speaker 1: how good Ted is and like just Warren likes it.
• 23:39
  Speaker 1: I mean, she thinks that he's good. The movie has
• 23:44
  Speaker 1: been telling us the whole time. Ted is good, Yes,
• 23:47
  Speaker 1: and he deserves he deserves the prize of Mary. And
• 23:53
  Speaker 1: she falls for it and she's like, I would be
• 23:56
  Speaker 1: happiest with you, and then they kiss, and that is
• 24:01
  Speaker 1: how the movie ends. Let's take a quick break and
• 24:06
  Speaker 1: then we'll come right back to discuss Cold Shower and
• 24:16
  Speaker 1: we're bad. Okay, So to begin, the title of this
• 24:22
  Speaker 1: movie blames all of the events of the movie on
• 24:26
  Speaker 1: the title character. That's something that we simply love. It's egregious, right.
• 24:33
  Speaker 1: I also would argue that the title of this movie
• 24:36
  Speaker 1: is just another way of saying she's not like the
• 24:39
  Speaker 1: other girls. I think so too, But I think but like,
• 24:42
  Speaker 1: I think it's even worse than that. It's just like
• 24:44
  Speaker 1: almost like she needs to be held accountable for this.
• 24:48
  Speaker 1: There's something about her that we can't control ourselves around.
• 24:51
  Speaker 1: And yeah, we're just good guys that lost our mind
• 24:55
  Speaker 1: for Mary. If she wasn't like this, we wouldn't be
• 24:58
  Speaker 1: acting this way. Just a few words before we get
• 25:02
  Speaker 1: into like the characters I did a little background research
• 25:07
  Speaker 1: about because I was just like, there has to, at
• 25:09
  Speaker 1: this point in time be some bad press about the
• 25:13
  Speaker 1: Fairly Brothers. Um And there is a little bit, not
• 25:17
  Speaker 1: as much as you would expect given what they have
• 25:20
  Speaker 1: unleashed upon the world. But the Fairly Brothers did. I
• 25:25
  Speaker 1: forget which Fairly it is. I'm pretty sure it's Peter. Honestly,
• 25:28
  Speaker 1: doesn't matter. I don't care. I'm pretty sure it's Peter.
• 25:31
  Speaker 1: But the there was kind of a frenzy around them
• 25:35
  Speaker 1: at this time. They were like the hot comedy directors
• 25:38
  Speaker 1: of this moment. So there's a lot of glowing press
• 25:40
  Speaker 1: written about them at the time that people dug up
• 25:43
  Speaker 1: twenty years later and we're like, fuck, this is gross.
• 25:46
  Speaker 1: I would like to share it. So and Peter Fairly
• 25:49
  Speaker 1: had to, you know, really swerve away from a cancelation.
• 25:53
  Speaker 1: Ahead of the release of Green Book um So, an
• 25:57
  Speaker 1: article from and Newsweek promoting the movie describes the quote
• 26:02
  Speaker 1: sick pranks that the brothers enjoyed while quoting Cameron Diaza
• 26:06
  Speaker 1: saying quote, when a director shows you his penis the
• 26:09
  Speaker 1: first time you meet him, You've got to recognize the
• 26:12
  Speaker 1: creative genius and what the fuck? I also, I mean
• 26:17
  Speaker 1: I would I in defense of Cameron, I mean, what
• 26:21
  Speaker 1: is she supposed to do at this time? What options
• 26:23
  Speaker 1: does she have? And like that story probably wasn't received.
• 26:28
  Speaker 1: Everyone's like, yeah, you're right, that's funny, Like yeah, this
• 26:32
  Speaker 1: was this was perceived as okay at this time. So
• 26:36
  Speaker 1: I don't alter that against her at all, but like, yikes. Um.
• 26:40
  Speaker 1: She's quoted in a two thousand article and The Observer saying, quote,
• 26:44
  Speaker 1: I just adore those guys. Bobby's a little more shy.
• 26:46
  Speaker 1: He doesn't pull his penis out as much. That's Peter's behavior,
• 26:49
  Speaker 1: Bobby moons us um. According to another article and The Observer,
• 26:54
  Speaker 1: Peter Fairley says he's pulled his penis out at least
• 26:57
  Speaker 1: five hundred times. So there's likes me so mad. They're
• 27:02
  Speaker 1: the fucking worst. Uh last year, Peter Fairley, let me
• 27:06
  Speaker 1: see if I can find imagine him now on his sets.
• 27:10
  Speaker 1: It's just not the same. You just can't pull out
• 27:11
  Speaker 1: your dick whenever you want. No, he does just like
• 27:14
  Speaker 1: a lameo apology. He says, last year, I was an idiot.
• 27:19
  Speaker 1: I did this decades ago, and I thought I was
• 27:21
  Speaker 1: being funny, and the truth is I'm embarrassed. It makes
• 27:23
  Speaker 1: me cringe. Now I'm deeply sorry, which is I mean,
• 27:27
  Speaker 1: at least he addressed it, but this is like, fuck you,
• 27:31
  Speaker 1: you're he's he's done too many shitty things like he
• 27:35
  Speaker 1: did have to. I mean, I don't know. I'm like,
• 27:37
  Speaker 1: at least he had to be confronted with it. But
• 27:40
  Speaker 1: so so all that to say they're as bad as
• 27:43
  Speaker 1: they seem, there's bet as their movies would make them
• 27:46
  Speaker 1: sound like, and uh, they're whipping their dicks out at
• 27:48
  Speaker 1: the cast. It sounds like constantly five hundred times. Um.
• 27:54
  Speaker 1: So that that's the t on ship Heads. The Fairly
• 28:01
  Speaker 1: Brothers are some helpful contexts. Thank you. That's Jamie's context corner.
• 28:08
  Speaker 1: Thank you so much. You're welcome. So, I mean, should
• 28:11
  Speaker 1: we just start with Mary. Let's start with Mary. Let's
• 28:14
  Speaker 1: start with Mary. There's something about her is the thing?
• 28:17
  Speaker 1: Um so she the thing that's not that makes her
• 28:21
  Speaker 1: so special? And again like not like the other girls.
• 28:25
  Speaker 1: Is that in many movies where people try to do this,
• 28:29
  Speaker 1: they basically just take a like flat, underdeveloped female character
• 28:33
  Speaker 1: and give her traditionally masculine interests or trades to make
• 28:37
  Speaker 1: her seem cool and again not like the other girls,
• 28:41
  Speaker 1: because she likes football, she likes to golf, she wants
• 28:45
  Speaker 1: to be taken to the big game and eating corn dogs.
• 28:48
  Speaker 1: And have to talk about that scene because that scene
• 28:51
  Speaker 1: is so the corn dog scene, the scene where she
• 28:54
  Speaker 1: talks about the corn dogs with like with Sarah Silverman
• 28:57
  Speaker 1: sa friends. So that scene just just because I had
• 29:02
  Speaker 1: to go back and watch it twice to be like
• 29:04
  Speaker 1: that really did happen where we we try to pay
• 29:07
  Speaker 1: attention to, like when our women shown eating in movies
• 29:10
  Speaker 1: because it never happens. And that is a scene where
• 29:13
  Speaker 1: she's at some like bistro with her friends. There they're
• 29:16
  Speaker 1: a brunch because women be at brunch. They're all eating salad.
• 29:20
  Speaker 1: They're all eating salad. And Mary who as we know,
• 29:24
  Speaker 1: I mean, she's Cameron Diaz. She is Western beauty standards
• 29:27
  Speaker 1: to the you know, most egregious extent. She's very thin, uh,
• 29:31
  Speaker 1: and she says, I want a guy to play thirty
• 29:34
  Speaker 1: six holes with and still have enough energy to bring
• 29:36
  Speaker 1: me in warre into a ballgame. Sausage, hot dogs, and beer,
• 29:39
  Speaker 1: not light beer, real beer. So she's like, truly, I mean,
• 29:43
  Speaker 1: the guy's Galreda there, but she's saying this like, oh,
• 29:48
  Speaker 1: I just want to eat and drink as she is
• 29:51
  Speaker 1: sitting in front of the salad, and none of the
• 29:53
  Speaker 1: women in the scene even eat a bite of the salad.
• 29:58
  Speaker 1: It is unhinged. Yeah, yeah, it made me crazy as
• 30:03
  Speaker 1: what a hollow piece of ship thing that is because
• 30:06
  Speaker 1: if because like if a woman of any other size
• 30:11
  Speaker 1: had said that line, it would have been played as
• 30:13
  Speaker 1: a joke. But because it is like this extremely thin
• 30:19
  Speaker 1: says had white ladies saying it, and she's not like
• 30:22
  Speaker 1: in the back of your head, and it's like she's
• 30:24
  Speaker 1: not actually going to do that. It's that's the thing
• 30:28
  Speaker 1: about her, is that she's that there's something. There's something
• 30:32
  Speaker 1: about her, is she she's presented as being this like
• 30:37
  Speaker 1: guy's gal, not like the other girl's type. But she
• 30:40
  Speaker 1: fits the mold of exactly what is considered quote an
• 30:44
  Speaker 1: ideal woman based on you know, Western standards of beauty
• 30:47
  Speaker 1: and appeal because she's thin, she's conventionally attractive, she's blonde,
• 30:52
  Speaker 1: she's rich, like upper class, like, she's all these things
• 30:56
  Speaker 1: that fit into this like rigid mold. She's everything. But
• 31:01
  Speaker 1: she's cool. But you know, she can hang with the guys,
• 31:04
  Speaker 1: she wants a man. Yeah, just I agree with you, guys.
• 31:07
  Speaker 1: Another way that I think that this, like this sort
• 31:10
  Speaker 1: of stock character is formed is because the guys in
• 31:15
  Speaker 1: the movie are portrayed as like losers, and so, like
• 31:19
  Speaker 1: a lot of movie quote unquote losers, they think that
• 31:21
  Speaker 1: they're entitled to women that don't want to have sex
• 31:25
  Speaker 1: with them. Um. And the way that this is sort
• 31:28
  Speaker 1: of avoided is like anytime there's a very attractive woman
• 31:32
  Speaker 1: in a movie who who turns out to be nice
• 31:35
  Speaker 1: to everyone, uh, that is very fetishized, even when it's
• 31:40
  Speaker 1: not logical for them to be nice, because I feel
• 31:42
  Speaker 1: like there's the opposite of that is like the very
• 31:46
  Speaker 1: hot lady who doesn't have the time of day for
• 31:49
  Speaker 1: for the losers, and she's a bit so the fact
• 31:52
  Speaker 1: that Mary would like deign to talk to them is like,
• 31:55
  Speaker 1: we'll stop you for decades. It's like, yeah, so there
• 32:01
  Speaker 1: is something about her there. That's the thing we've talked
• 32:03
  Speaker 1: about how she's just so I don't want to call
• 32:06
  Speaker 1: a woman dumb, you know, but it's she's she's written
• 32:10
  Speaker 1: by four men, so it's just hard not to like, yeah,
• 32:14
  Speaker 1: completely unobservant, does not pick up on these obvious lies
• 32:18
  Speaker 1: that are happening all around her throughout her life. Also,
• 32:22
  Speaker 1: we didn't this stood out to me? Why didn't she
• 32:25
  Speaker 1: learn her lesson about like changing in front of windows?
• 32:28
  Speaker 1: Three different times in the movie she dresses or undresses
• 32:32
  Speaker 1: in front of wide open windows. Believable. This happens in
• 32:36
  Speaker 1: movies all the time. Have you ever done this? I,
• 32:40
  Speaker 1: for one, closed my shades. I'm ter closed my blinds. Yeah. Well,
• 32:44
  Speaker 1: I've got a weird neighbor across the street that was
• 32:47
  Speaker 1: being like always around asking me out, and I realized
• 32:50
  Speaker 1: my windows were like right into his house, So I
• 32:53
  Speaker 1: always closed my blind Yeah. No, I always, always, always,
• 32:56
  Speaker 1: even when I'm like home alone, I will close my blinds.
• 32:58
  Speaker 1: I just know. And I don't want to sound like
• 33:01
  Speaker 1: we're victim blaming or anything like that, because she is
• 33:04
  Speaker 1: a victim of being spied on and lied to in
• 33:07
  Speaker 1: many of these scenes. What we're saying is that because
• 33:11
  Speaker 1: she's an underdeveloped female character who is written by men,
• 33:14
  Speaker 1: she is behaving in a way that probably no woman
• 33:19
  Speaker 1: would actually behave, or really any person would behave, regardless
• 33:23
  Speaker 1: of their gender. Yeah, those scenes are just clearly only
• 33:28
  Speaker 1: in the movie. Written into the movie to satisfy the
• 33:31
  Speaker 1: male gaze, because her behavior just makes absolutely no sense,
• 33:35
  Speaker 1: and it's just so wildly unrealistic. It's exhausting. It's fucking exhausting.
• 33:41
  Speaker 1: It is there, and there's the first time that's done
• 33:43
  Speaker 1: is during like the flashback sequence when they're teenagers, and
• 33:47
  Speaker 1: there's just like this little like shitty fairly brother's message
• 33:50
  Speaker 1: where Ted is gazing at birds and fantasizing about what
• 33:54
  Speaker 1: a crush he has unmarry, and then he looks up
• 33:57
  Speaker 1: and Mary and her mom think that he was gazing
• 34:02
  Speaker 1: at her, and and then he's like, no, it wasn't
• 34:05
  Speaker 1: like that, and they're like, oh my god. And it's
• 34:07
  Speaker 1: just like there's like that little message that like, guys
• 34:11
  Speaker 1: aren't actually leering at you. They're looking at a bird.
• 34:15
  Speaker 1: You're being a bit you're overreacting, Heyted that But if
• 34:20
  Speaker 1: I had that experience at eighteen, I probably even if
• 34:23
  Speaker 1: if I thought the guy was staring at me, I
• 34:25
  Speaker 1: probably would learn my lesson from it, just like right,
• 34:28
  Speaker 1: But she doesn't, but she does continues to get naked
• 34:30
  Speaker 1: in front of her wide open windows. Something about her, Yeah,
• 34:37
  Speaker 1: there's a lot of some things about her. Here's a
• 34:39
  Speaker 1: couple more we already talked about the person who just
• 34:44
  Speaker 1: grabs a glob of goo off of someone's ear thinks
• 34:48
  Speaker 1: that it's also how did it get there? And again
• 34:51
  Speaker 1: what the fund is that consistency? But anyway, so she
• 34:54
  Speaker 1: likes very sez the jizz and she's like, oh, better
• 34:57
  Speaker 1: run this through my hair and leave it there, and
• 35:00
  Speaker 1: like not look in the mirror and leave it there.
• 35:03
  Speaker 1: And then she's also repeatedly given information that Pat Healy
• 35:07
  Speaker 1: is a bad person. She like finds out he lied
• 35:10
  Speaker 1: about a bunch of stuff, but then he's like, oh,
• 35:12
  Speaker 1: I just like I do because I wanted you to
• 35:14
  Speaker 1: like me or blah blah blah, and then she's like, oh,
• 35:17
  Speaker 1: you're right, and then like falls for even moralizes. She
• 35:20
  Speaker 1: also watches him violently pushed down a bunch of people
• 35:24
  Speaker 1: with disabilities while they're all playing like touch football, and
• 35:27
  Speaker 1: she's just like she's just like, oh, that's just what
• 35:30
  Speaker 1: he's like there. Okay, I mean, there's a large discussion
• 35:36
  Speaker 1: to be had about disability in this movie and in
• 35:39
  Speaker 1: The Fairly Brothers or whatever fun you say that word.
• 35:44
  Speaker 1: But there's there's so much and we're also like we'll
• 35:47
  Speaker 1: just say at the top, like we totally opened this
• 35:50
  Speaker 1: discussion to our listeners, and if you have any insights
• 35:52
  Speaker 1: or like strong opinions on this, we definitely want to
• 35:54
  Speaker 1: hear it, because we're sort of just reacting to it. Um.
• 36:00
  Speaker 1: But I felt like, because we haven't really talked about
• 36:03
  Speaker 1: this yet, but Mary's brother, Warren Um, has an intellectual disability.
• 36:09
  Speaker 1: I felt like that character's disability was there mostly to
• 36:14
  Speaker 1: make Mary seem nice, because she was so she was
• 36:18
  Speaker 1: very good to him and very empathetic to him, which
• 36:21
  Speaker 1: is a good thing to see on screen. But it
• 36:22
  Speaker 1: just it just felt like slimy and exploitative because at
• 36:26
  Speaker 1: the very beginning of the movie, like you said, like
• 36:29
  Speaker 1: like ben Stiller's character stands up for Warren when he's
• 36:33
  Speaker 1: being bullied, and you know, ben Stiller stands up for him,
• 36:36
  Speaker 1: which which is good on paper, but again, it just
• 36:39
  Speaker 1: feels like his intellectual disability is just being used to
• 36:42
  Speaker 1: show how nice the people who are not intellectually disabled are.
• 36:48
  Speaker 1: We don't get any I mean, we don't get any
• 36:50
  Speaker 1: look into his life. I feel certain that no research
• 36:55
  Speaker 1: was done Um, because it's just so it's I mean,
• 36:59
  Speaker 1: and it's just exploitative because it's just used as a
• 37:02
  Speaker 1: narrative shorthand to explain what the something about Mary is.
• 37:06
  Speaker 1: She isn't openly cruel to her intellectually disabled brother. Wow,
• 37:10
  Speaker 1: Like it's just oh, it's so gra it is so gross.
• 37:13
  Speaker 1: And there's almost no disability visibility in mainstream Hollywood movies.
• 37:19
  Speaker 1: It's just virtually absent, which is why this is so
• 37:21
  Speaker 1: egregious when it is. When it is present, it's often
• 37:25
  Speaker 1: not handled well most of the Fairly Brothers movies because
• 37:30
  Speaker 1: like it's the joke, I mean, characters, characters with disabilities
• 37:34
  Speaker 1: will be played by actors who do not have those disabilities,
• 37:38
  Speaker 1: which is the case for this movie, and then we
• 37:39
  Speaker 1: get some really extremely cringe worthy performances because of that.
• 37:45
  Speaker 1: And then the characters with disabilities are often shown as
• 37:48
  Speaker 1: being very helpless, dependent, and competent. And then the disability,
• 37:53
  Speaker 1: like you said, will often be the butt of a
• 37:54
  Speaker 1: joke or the character will be mistreated, exploited, bullied, or
• 37:59
  Speaker 1: other in some way. So this is sort of like
• 38:02
  Speaker 1: what the groundwork that's been laid by mainstream Hollywood, and
• 38:05
  Speaker 1: that's like that's extended to the point where when Mary
• 38:09
  Speaker 1: is an adult, she volunteers with intellectually disabled people and
• 38:14
  Speaker 1: which starts out fine, and then quickly the second Matt
• 38:18
  Speaker 1: Dylan enters, the picture just becomes a nightmare. And it's
• 38:22
  Speaker 1: like they have some amount of awareness. They're like like, Okay,
• 38:26
  Speaker 1: I'm not going to say the word, but he calls
• 38:28
  Speaker 1: them our word, r word, and she says, I'm not
• 38:32
  Speaker 1: sure that that's really politically correct, and then he keeps
• 38:37
  Speaker 1: behaving like that and we move on, and so it's
• 38:39
  Speaker 1: like there's like this like knowledgement. It's like it's almost
• 38:41
  Speaker 1: worse when you're like, I know that this is wrong,
• 38:44
  Speaker 1: and we're doing it anyway, do you know what I mean? Like,
• 38:47
  Speaker 1: and then she like stands her ground for a brief moment,
• 38:50
  Speaker 1: but then like is won over by this creep and
• 38:53
  Speaker 1: then like later kisses him and stuff. Well that's the
• 38:56
  Speaker 1: end of the line, right, you let it go far enough? Yeah,
• 38:59
  Speaker 1: And that like the point where her character for me
• 39:01
  Speaker 1: completely disappeared and went from like attractive, successful woman to
• 39:06
  Speaker 1: be desired to that plus just completely irrational. Yeah, it's
• 39:13
  Speaker 1: and then Warren is the one main character with a
• 39:17
  Speaker 1: disability who we really get to know at all. I mean,
• 39:20
  Speaker 1: with with Tucker, he's faking it, so that doesn't count. Um, though,
• 39:25
  Speaker 1: and there's also also the way they portrayed that whole
• 39:29
  Speaker 1: scene in the office with the keys and like struggling
• 39:31
  Speaker 1: to get this supposed to be it's obviously supposed to
• 39:35
  Speaker 1: be funny, and it absolutely isn't, you know. It's so
• 39:38
  Speaker 1: cringeing and horrible. So so Warren becomes like sort of
• 39:43
  Speaker 1: he's like the representative of all people with disabilities basically
• 39:47
  Speaker 1: for this movie. And then the way that that is framed,
• 39:52
  Speaker 1: in the way that he's treated and the things that
• 39:56
  Speaker 1: that character is made to do in the story, just
• 39:59
  Speaker 1: like it's just all so not good. It's bad. Yeah,
• 40:05
  Speaker 1: And then and then I guess the last thing I
• 40:08
  Speaker 1: have to say about the Tucker character is that he,
• 40:13
  Speaker 1: I mean not just like perpetuates the idea that you know,
• 40:15
  Speaker 1: he basically says he was like, oh, I was pretending
• 40:18
  Speaker 1: to be disabled to stay close to you. But it's
• 40:23
  Speaker 1: it's sending the message that disabled people are not desirable
• 40:27
  Speaker 1: in any way. And that is like what that's literally
• 40:31
  Speaker 1: what he says, and that was why he was doing that.
• 40:35
  Speaker 1: It's just I mean, it's like the mental gymnastics the
• 40:37
  Speaker 1: writers of this movie had to do and the amount
• 40:40
  Speaker 1: of like prejudice they had to go in with is staggering, right, Well,
• 40:44
  Speaker 1: that might be This might be a good time to
• 40:47
  Speaker 1: talk about that scene where Matt Dylan's character is describing
• 40:51
  Speaker 1: to Ted what Mary is like. He's lying, but all
• 40:55
  Speaker 1: the things he says to make her seem unappealing our
• 40:59
  Speaker 1: base stically just like body shaming, slut shaming, disability shaming.
• 41:04
  Speaker 1: Because he's like, oh, she she weighs two and fifty
• 41:07
  Speaker 1: pounds because according to this movie, being fat equals being
• 41:11
  Speaker 1: bad and unattractive. He says that she is a mother,
• 41:15
  Speaker 1: which is just I guess made to be unattractive. He
• 41:20
  Speaker 1: says that she has has had many different partners and
• 41:23
  Speaker 1: has four children to three different men, which is slut shaming.
• 41:27
  Speaker 1: She uses a wheelchair, just just shaming with disabilities again,
• 41:32
  Speaker 1: that she lives in a housing project, which is code
• 41:35
  Speaker 1: for that she is low income, and then that's also
• 41:38
  Speaker 1: bad there. It's it really is the what's what things
• 41:43
  Speaker 1: to be shamed. And then later he's like, oh, she's
• 41:45
  Speaker 1: going to Japan to be a male order bride, and
• 41:49
  Speaker 1: then Ted says, what are they desperate? She's a whale.
• 41:53
  Speaker 1: So he has to then get in on this horrible
• 41:57
  Speaker 1: behavior and then the way that that is like the
• 42:00
  Speaker 1: next and then it's like, you know, ted is you know,
• 42:02
  Speaker 1: leaves that an interaction being like, oh man, oh I
• 42:06
  Speaker 1: thought I wanted her to be the way I wanted
• 42:08
  Speaker 1: her to be. And then he later decides, you know what,
• 42:12
  Speaker 1: in spite of all that, I'm such a good guy
• 42:16
  Speaker 1: that I want to see her anyways. And that's one
• 42:18
  Speaker 1: of the many ways that this movie is like he's
• 42:21
  Speaker 1: actually really nice, and when you're just like, no, he's
• 42:24
  Speaker 1: fucking right terrible, He's awful, Like that's the best they
• 42:28
  Speaker 1: can do to paint a nice guy. Hired a private
• 42:31
  Speaker 1: investigator to find somebody hasn't talked to him in thirteen
• 42:35
  Speaker 1: or fifteen years, however long it's been, right, what is
• 42:38
  Speaker 1: wrong with him that he is still in love with
• 42:42
  Speaker 1: a girl that he knew thirteen years ago, who he
• 42:44
  Speaker 1: barely knew then. I curious none of us will be
• 42:49
  Speaker 1: able to answer this. But like we said, this is
• 42:51
  Speaker 1: pre Facebook problems, But like, was this charming them? Like
• 42:56
  Speaker 1: the idea of someone needing to look you up out
• 42:58
  Speaker 1: of the blue and hire someone to try keep down
• 43:01
  Speaker 1: even though she's gone anonymous because she had a stalker
• 43:04
  Speaker 1: so she didn't want to be found? But is that charming?
• 43:08
  Speaker 1: I think that at this time it was still like
• 43:12
  Speaker 1: a viable movie tool, Like there's so much like stocky,
• 43:17
  Speaker 1: romantic stocky, but this one is, like, I mean, this
• 43:20
  Speaker 1: one is like insane. I just wonder if any woman,
• 43:22
  Speaker 1: if none of the other bad stuff had happened, if
• 43:24
  Speaker 1: Healy hadn't gone rogue and all this stuff, if if
• 43:27
  Speaker 1: that seems like a romantic gesture two people in the nineties.
• 43:32
  Speaker 1: We don't have that answer, but I just kept asking
• 43:34
  Speaker 1: myself that I guess. I mean, we were also fucked
• 43:37
  Speaker 1: up in the nine Like, I mean, this is just
• 43:42
  Speaker 1: such a stalker narrative. And it's also confusing because Ben
• 43:47
  Speaker 1: Steller's character Ted will acknowledge that a lot of the
• 43:51
  Speaker 1: stuff that people are suggesting to him, like hiring a
• 43:55
  Speaker 1: private investigator and stuff like that, is creepy and stalkers.
• 43:58
  Speaker 1: He says that, but then he goes through with it
• 44:02
  Speaker 1: every time. I think, yeah, but it seems like the
• 44:04
  Speaker 1: Fairly Brothers just like, well, if he acknowledged that it
• 44:07
  Speaker 1: was weird, but they not makes it okay exactly Like
• 44:12
  Speaker 1: he's not. He doesn't think like that. He just doesn't
• 44:14
  Speaker 1: think why is he pining after a woman who he
• 44:17
  Speaker 1: hasn't seen in their teen years and barely new in
• 44:20
  Speaker 1: the first place. I mean, that is very weird. It
• 44:24
  Speaker 1: is we got to take another quick break. Let's we
• 44:28
  Speaker 1: do need a break. We've learned it, We're back, okay,
• 44:38
  Speaker 1: let's I'm ready to get into the homophobic movie. Why
• 44:43
  Speaker 1: not Mary herself? I mean, there's like the excited scene.
• 44:47
  Speaker 1: But once Mary and Ted started hanging out, Mary herself
• 44:50
  Speaker 1: makes like a bad homophobic joke. She jokes about being
• 44:56
  Speaker 1: bisexual m to Ted, who is like, oh, well, I
• 45:01
  Speaker 1: guess I could be okay, and then she's like, I'm
• 45:04
  Speaker 1: just fucking with you, And so that is just like
• 45:09
  Speaker 1: what was that ever? Funny? Like uh uh gros so
• 45:15
  Speaker 1: edgy guys, it's so edgy that they are making these jokes.
• 45:18
  Speaker 1: Peter Farrelly is like on the other side of the
• 45:20
  Speaker 1: camera with his literal dick out, like you're just like,
• 45:24
  Speaker 1: do we need more calm? Because you gotta more disgusting
• 45:27
  Speaker 1: viscus calm. You gotta jerk off before a date because like,
• 45:32
  Speaker 1: if you like go on a date with your balls
• 45:35
  Speaker 1: full of calm, it's like going out there with a
• 45:37
  Speaker 1: loaded gun. And the reason right, And the reason that like,
• 45:44
  Speaker 1: you feel better after you come is because after you've come,
• 45:48
  Speaker 1: your jus everywhere it makes you think like a girl,
• 45:51
  Speaker 1: and girls like that hate it. I'm paraphrasing, but honestly,
• 45:57
  Speaker 1: I just like wrote down for them, like not even
• 45:59
  Speaker 1: going to try to unpack that, Like, I don't know
• 46:03
  Speaker 1: what the funk that's supposed to mean. I don't want
• 46:06
  Speaker 1: to know. I don't care. I just I just I
• 46:10
  Speaker 1: do like wish unhappiness and lack of success on the
• 46:13
  Speaker 1: Farely Brothers. Um, someone steals that Oscar, it won't affect him,
• 46:18
  Speaker 1: Let's do it, put it on this podcast. We're implicated now, Um, okay, yes,
• 46:26
  Speaker 1: So there's that horrible joke that Mary makes, um, you know,
• 46:30
  Speaker 1: turning bisexuality into the butt of a joke. Um, there's
• 46:34
  Speaker 1: the whole thing that we already talked about where the
• 46:37
  Speaker 1: joke is set up in Ted's therapist office, where the
• 46:40
  Speaker 1: therapists like, oh, you go to rest stops. You know
• 46:43
  Speaker 1: that those are homosexual hangouts there the bathhouses of the
• 46:47
  Speaker 1: nineties for many many gay men, is what he says.
• 46:51
  Speaker 1: And then oh, a few scenes later, Chris Elliott's character
• 46:55
  Speaker 1: is talking to Ben Stiller and he's like, well, you know,
• 46:58
  Speaker 1: you are a writer and writer artists, and most artists
• 47:01
  Speaker 1: are a little fufie. That's fuf fufie what. And then
• 47:09
  Speaker 1: this all pays off whenever Ted pulls over to pe
• 47:13
  Speaker 1: at a rest area and then stumbles upon what's essentially
• 47:16
  Speaker 1: a huge orgy of gay men having sex in like
• 47:21
  Speaker 1: the shrubs, the shrubbery. And then that scene concludes with
• 47:25
  Speaker 1: the reveal that Chris Elliott is watching cops and receiving
• 47:30
  Speaker 1: oral sex from his wife. We had to talk about
• 47:33
  Speaker 1: his wife character. To talk about his wife character character
• 47:36
  Speaker 1: made me so angry and all the women, Okay, so
• 47:40
  Speaker 1: Mary is this, Yeah, you're perfect on paper, gal, gorgeous,
• 47:44
  Speaker 1: but also one of the guys. Chris Elliot's wife. We
• 47:47
  Speaker 1: first meet her serving them beers, going inside they want
• 47:51
  Speaker 1: cook cookies, giving him a blow job, and I was
• 47:54
  Speaker 1: I think I was just saying this to you were
• 47:56
  Speaker 1: like at first when I'm watching it, I was very
• 47:58
  Speaker 1: angry and I was like, hold on, maybe there's gonna
• 48:01
  Speaker 1: be some sort of payoff where she leaves him. Nope,
• 48:03
  Speaker 1: nothing never addressed that, just one and he's actively trying
• 48:07
  Speaker 1: to cheat on her, like just horrible. And then he
• 48:10
  Speaker 1: so in the blow jobs saying, she comes up into
• 48:13
  Speaker 1: frame and she's like, see, I knew Ted was gay,
• 48:17
  Speaker 1: and then he shoves her head back down and I
• 48:19
  Speaker 1: was just like, oh, my fucking god. Also, there's zero
• 48:25
  Speaker 1: self awareness of what that represents, obviously, because even in
• 48:29
  Speaker 1: that first scene when we meet her and she's serving
• 48:32
  Speaker 1: the beers and cookies and stuff, and Chris Elliott's character
• 48:35
  Speaker 1: what's his name at that point was like, yeah, this
• 48:39
  Speaker 1: is the life, and Ben Stiller's like, yeah, that's what
• 48:42
  Speaker 1: I want. I want to you want that, you want
• 48:45
  Speaker 1: to domesticated servant basically who is a baby factory, because
• 48:50
  Speaker 1: that is how his wife is presented in this movie. Horrifying.
• 48:56
  Speaker 1: It's really, it's really not good. Yeah, and she only
• 49:00
  Speaker 1: shows up three times before we find out that Chris
• 49:03
  Speaker 1: Elliot's character is stalking Mary also, which I think is
• 49:09
  Speaker 1: a fun segue into the stalking motif. Yes, one last
• 49:14
  Speaker 1: quick moment of homophobia where so Ted is arrested and
• 49:19
  Speaker 1: then as he's being let out of jail, there's like
• 49:22
  Speaker 1: this big guy on the prison cell bed like he's
• 49:25
  Speaker 1: like spooning him, and that's also like played as like
• 49:27
  Speaker 1: a oh, how gross that poor little Ted has to
• 49:32
  Speaker 1: have a man wrapped around him. Yeah, yeah, and that
• 49:35
  Speaker 1: like people and I mean the homophobic stereotypes around prisoners
• 49:39
  Speaker 1: and just it's none of it's good. Also, that has
• 49:44
  Speaker 1: literally no place in the movie at all. Why is
• 49:46
  Speaker 1: the whole thing? Also, if they needed to have Dom's
• 49:50
  Speaker 1: character there, like he could have just gone on the
• 49:52
  Speaker 1: road trip with that, you know what I mean, Like
• 49:55
  Speaker 1: this whole thing didn't need to happen, and again would
• 49:58
  Speaker 1: have made the movie much shorter and more pleasant. It's
• 50:01
  Speaker 1: so long. I don't know if anything will make this
• 50:04
  Speaker 1: movie pleasant. Really, it all goes um the stalking narratives.
• 50:10
  Speaker 1: I think by the end there's how many four or
• 50:12
  Speaker 1: five men who have been stalking deceiving line to her
• 50:16
  Speaker 1: is well, we don't know if Brett Farve has been
• 50:19
  Speaker 1: stalking her or not, so I think it's four. She's
• 50:23
  Speaker 1: got to be have some real damage here. I mean,
• 50:26
  Speaker 1: it implies it that one of the things that I
• 50:28
  Speaker 1: was like, oh, that's so like it's just I mean,
• 50:31
  Speaker 1: it's all very fucking bizarre. But she it does sound
• 50:34
  Speaker 1: like she like says she's been traumatized by it. She
• 50:39
  Speaker 1: like changes her name and like on lists from herself
• 50:43
  Speaker 1: from like the phone books and stuff. So when and
• 50:45
  Speaker 1: this is again like GE's packed with a rationality because
• 50:48
  Speaker 1: when Ted goes to see her, he has driven the
• 50:51
  Speaker 1: coast to go and see her in Miami, and then
• 50:54
  Speaker 1: he's just like, hey, so I'm here, what's up? And
• 50:58
  Speaker 1: she is explaining like she is anxious about hanging out
• 51:03
  Speaker 1: with him because she had she she doesn't give the details,
• 51:07
  Speaker 1: but she was like, something happened in college. I was stalked.
• 51:10
  Speaker 1: It was really bad. I had to change my name
• 51:12
  Speaker 1: and move and so I'm just not comfortable doing stuff
• 51:15
  Speaker 1: like that. Um. The irrational part I felt like was like,
• 51:19
  Speaker 1: why is she not concerned about why he's here and
• 51:23
  Speaker 1: has found her already? But I mean, she says that
• 51:27
  Speaker 1: she has been traumatized by this, and then it happens
• 51:30
  Speaker 1: to her four times at once. It's just so like
• 51:35
  Speaker 1: and that scene where they're all there, so okay, they
• 51:39
  Speaker 1: all they will he's there and they come running to
• 51:42
  Speaker 1: her rescue, and then Ben Stiller shows up Ted with
• 51:45
  Speaker 1: Brett Farve and there's this whole scene and he's just like,
• 51:49
  Speaker 1: here's the guy for you, and I know that that
• 51:52
  Speaker 1: she ultimately doesn't, but she's not overwhelmed by this or
• 51:56
  Speaker 1: her reaction to all of these men being there is
• 52:00
  Speaker 1: so like blase and like her female roommate is there
• 52:04
  Speaker 1: and also doesn't really react to the fact that this
• 52:07
  Speaker 1: has happening, Like it's all like she's just like, oh
• 52:10
  Speaker 1: my god, this is so crazy. I don't know. And
• 52:12
  Speaker 1: it's like we're supposed to think what's going through her
• 52:14
  Speaker 1: head during that is like who do I pick? And
• 52:16
  Speaker 1: not like I should call the police. Also, one more stalker,
• 52:21
  Speaker 1: the guy that that mag does sucking. Oh yes, I
• 52:25
  Speaker 1: was to get closer to Mary Dad. It's it's so horrible.
• 52:30
  Speaker 1: And so the whole like long play of this movie
• 52:34
  Speaker 1: is that Chris Elliott was woogie the whole time, and
• 52:38
  Speaker 1: that he's been obsessed with Mary for many years. He
• 52:42
  Speaker 1: breaks out into hives when he which is very which
• 52:47
  Speaker 1: is another like there's something about implication of like what
• 52:51
  Speaker 1: she is and who she is. She's so awesome that
• 52:57
  Speaker 1: she'll give you an allergic reaction and it's her fault
• 53:01
  Speaker 1: that he has this skin condition whatever, but like and
• 53:05
  Speaker 1: and you know, like she rightfully rejects him. It's kind
• 53:09
  Speaker 1: of framed that she's going to reject him, which we
• 53:13
  Speaker 1: get unpacked, but I don't really want to. And then
• 53:15
  Speaker 1: and and because the point is this character is breaking
• 53:19
  Speaker 1: the law by being in this apartment because she has
• 53:21
  Speaker 1: a restraining order against him and it's for every time
• 53:24
  Speaker 1: it comes up. He's like, oh, well whatever, and like
• 53:27
  Speaker 1: that that's how it's brought up. And then at the
• 53:29
  Speaker 1: end when she rejects him, it looks like, you know,
• 53:33
  Speaker 1: there's that whole thing where like, oh, she doesn't know
• 53:35
  Speaker 1: who to pick, and then they tell her who to pick.
• 53:38
  Speaker 1: They're like, actually, Brett far so she doesn't. She doesn't.
• 53:42
  Speaker 1: It almost ends with her not getting to choose. So
• 53:45
  Speaker 1: they tell her her to choose and she's kind of
• 53:47
  Speaker 1: like okay, and then christly it pops back up and
• 53:50
  Speaker 1: then he's like, Brett, could you sign this, like pump
• 53:53
  Speaker 1: this shoe for the wife and kids? And then uh,
• 53:57
  Speaker 1: Mary says what and then he says, oh, shut up
• 54:00
  Speaker 1: cock tease and like ha ha ha is breaking the law.
• 54:06
  Speaker 1: And so get her response to I would imagine she
• 54:10
  Speaker 1: would have some sort of like maybe post traumatic stress,
• 54:15
  Speaker 1: you know, the triggering of this trauma. Yeah, but instead
• 54:18
  Speaker 1: she's just like weird crazy. She's definitely not you is
• 54:23
  Speaker 1: my new boyfriend? Like she changed your name and left
• 54:27
  Speaker 1: the state, and she does go out, so yes, you're right,
• 54:31
  Speaker 1: like there it almost ends without her having any agency.
• 54:34
  Speaker 1: And then she comes running out after him to give
• 54:36
  Speaker 1: and makes the worst to get to give him his keys,
• 54:39
  Speaker 1: and then ends up. I'd be happiest with you. You
• 54:42
  Speaker 1: don't have to choose any of these men. She shouldn't
• 54:45
  Speaker 1: to choose. They should all be in jail. And there's another,
• 54:48
  Speaker 1: I mean, yet another infuriating moment where the movie is
• 54:53
  Speaker 1: trying to humanize Ted is at the end of that
• 54:57
  Speaker 1: scene when they told Mary who were new boy for
• 55:00
  Speaker 1: end is Brett farve. Ted makes this big speech and he,
• 55:06
  Speaker 1: you know, he says, like, I'm no better than these guys.
• 55:10
  Speaker 1: They don't love you. They're just fixated on you because
• 55:12
  Speaker 1: of how you make them feel about themselves. True. That's
• 55:15
  Speaker 1: not love, that's I don't know what that is. True.
• 55:18
  Speaker 1: So there is like this moment where he says the
• 55:22
  Speaker 1: first true thing we've heard in the whole movie, and
• 55:25
  Speaker 1: then he leaves, which you know, could have been a
• 55:30
  Speaker 1: choice the movie could have made that might have made sense.
• 55:33
  Speaker 1: Mary could have called the cops and then she could
• 55:36
  Speaker 1: have moved on with her life. Or something like that
• 55:40
  Speaker 1: if Mary had some agency, he realizes this was very wrong.
• 55:43
  Speaker 1: I'm lucky. I'm not enjoying to prison, like, let me
• 55:48
  Speaker 1: never do this again. But that's not what happens. Instead,
• 55:51
  Speaker 1: like by being self aware for one second, he is
• 55:54
  Speaker 1: rewarded with the trophy of Mary because he's the only
• 55:59
  Speaker 1: one who just waid a dialogue line worth of self
• 56:03
  Speaker 1: awareness that said that he shouldn't be with her because
• 56:06
  Speaker 1: he's been stalking her. And then then and then it's
• 56:11
  Speaker 1: just it was my read. Also because right before he leaves,
• 56:15
  Speaker 1: he pulls Warren's like headphones away from his ear and
• 56:20
  Speaker 1: then she is like, oh, that must mean that Warren
• 56:22
  Speaker 1: trusts him. That's my signal that Ted is the best
• 56:26
  Speaker 1: guy after all, which like another exploitation exactly, very exploitive,
• 56:32
  Speaker 1: and then another like I don't think we see like
• 56:36
  Speaker 1: Ted earning Warren's trust, like why would he? And like
• 56:41
  Speaker 1: even if that were the case, like he doesn't deserve
• 56:44
  Speaker 1: anybody's trust because again, he hired someone to stalk her
• 56:48
  Speaker 1: and then he started stalking herself, right, so like like
• 56:53
  Speaker 1: she has no agency. I think Mary is the most
• 56:57
  Speaker 1: passive female main character in a move possibly ever, like
• 57:01
  Speaker 1: she everything happens to her. She doesn't make any active
• 57:06
  Speaker 1: choices on her own. I would say the only thing
• 57:08
  Speaker 1: she does is maybe ask him to prom like that's
• 57:10
  Speaker 1: the one act of choice she makes. But like other
• 57:14
  Speaker 1: than that, she does nothing. It's everything, all these like
• 57:17
  Speaker 1: creepy things happening to her, I just not doing anything.
• 57:22
  Speaker 1: It's so this is a stressful episode. Yeah, I mean,
• 57:28
  Speaker 1: I don't know, it's my first one, but my heart
• 57:31
  Speaker 1: has been like a little bit in my high and
• 57:33
  Speaker 1: usually we usually have more fun. I mean, there's just
• 57:37
  Speaker 1: so much with this movie too, that it's like I
• 57:42
  Speaker 1: I spent the whole time angry, and I couldn't watch
• 57:44
  Speaker 1: it in one setting. I started watching it and I
• 57:46
  Speaker 1: got halfway through and it was like, there's an hour left.
• 57:50
  Speaker 1: I can't. I can't finish this right now. Like I
• 57:52
  Speaker 1: got a hat, I got a headache in the middle
• 57:55
  Speaker 1: of the movie, and yeah, I had to watch it
• 57:56
  Speaker 1: in two parts. It's just it's it's just like it's
• 57:59
  Speaker 1: really wholesive. There's not one redeemable thing about the except
• 58:05
  Speaker 1: for Jonathan Richmond. I guess I made a list of
• 58:08
  Speaker 1: three things that I didn't absolutely hate. Would you like
• 58:11
  Speaker 1: to hear them? Yes, okay. I do like that Mary
• 58:14
  Speaker 1: is the one to ask Ted to prom because I
• 58:17
  Speaker 1: always appreciate seeing a woman taking initiative in like a
• 58:20
  Speaker 1: romantic situation, because straight women are conditioned to be passive
• 58:24
  Speaker 1: and weight around for men to ask them out. But
• 58:27
  Speaker 1: she only did that because her brother was taken advantage
• 58:30
  Speaker 1: of by the plot. Right, good point, and so maybe
• 58:34
  Speaker 1: not so good after all. The second thing is that
• 58:37
  Speaker 1: Mary's stepdad, who we meet in one scene, is a
• 58:41
  Speaker 1: black guy, and there are no weird jokes made about that.
• 58:46
  Speaker 1: Apparently is the joke. There's that moment at the front
• 58:49
  Speaker 1: door where like a black man answers the door, and
• 58:52
  Speaker 1: just like, I must not be in the right place,
• 58:54
  Speaker 1: because could a black man be in this house of
• 58:57
  Speaker 1: white people? So yep, never mind strike it from the record.
• 59:00
  Speaker 1: He hit us with one more let's see, let's im down.
• 59:04
  Speaker 1: This also won't not good, um, I said. At least
• 59:09
  Speaker 1: Ted doesn't lie whenever she asks if he hired Pat
• 59:14
  Speaker 1: Healey to spy on her. He lies for a second
• 59:17
  Speaker 1: and then he comes clean right away. I feel like
• 59:19
  Speaker 1: a lot of movies would have had him lie for
• 59:21
  Speaker 1: a pretty extended amount of time, but he instead says yeah,
• 59:25
  Speaker 1: I did do that, but he just lies about other things.
• 59:29
  Speaker 1: He didn't have to. He could have come clean immediately,
• 59:32
  Speaker 1: just said, oh my god. Here's the thing about heally,
• 59:35
  Speaker 1: I thought about you this whole time, and I hired him,
• 59:38
  Speaker 1: and now he fell in love with you, and I'm
• 59:40
  Speaker 1: really sorry. You know what I mean, Does he say that?
• 59:43
  Speaker 1: I think he does. I mean when the first time
• 59:45
  Speaker 1: he sees her. I just I hate when movies like
• 59:48
  Speaker 1: present you with a group of men and then the
• 59:53
  Speaker 1: female character is, by the movie forced to choose the
• 59:56
  Speaker 1: one who is the least awful, even though they're still off,
• 1:00:00
  Speaker 1: because a lot of the men in this movie are
• 1:00:02
  Speaker 1: like cartoonishly bad, like I think Chris Elliott and Matt Dylan,
• 1:00:06
  Speaker 1: even though their behavior has happened, but they're the way
• 1:00:09
  Speaker 1: they like, it's very cartoony, the way that their characters act,
• 1:00:14
  Speaker 1: and like they're breaking out in hives and they're shoving
• 1:00:16
  Speaker 1: people and they're doing all this like very physically goofy stuff.
• 1:00:21
  Speaker 1: And so ben Stiller's presented as the least bad of him,
• 1:00:25
  Speaker 1: which is true, but like he's still not a good
• 1:00:31
  Speaker 1: from the movies own admission. The only reason she broke
• 1:00:35
  Speaker 1: up with him, is because Tucker had poisoned it and
• 1:00:37
  Speaker 1: said a lie. So actually he was. Maybe Brett is
• 1:00:42
  Speaker 1: the best of them. I think he is. And he didn't,
• 1:00:45
  Speaker 1: as far as we know, didn't didn't try to convince her,
• 1:00:49
  Speaker 1: let her go when she broke up with this, truly
• 1:00:51
  Speaker 1: accepted her decision and then but still loved her and
• 1:00:53
  Speaker 1: showed up even though this is a crazy story. And uh,
• 1:00:58
  Speaker 1: why did he show up? Why did he show up?
• 1:01:00
  Speaker 1: Because Ben Stiller somehow got him on the phone. You know,
• 1:01:04
  Speaker 1: I just called on the horn. I don't know. Expectedly,
• 1:01:09
  Speaker 1: I like to bring up Rodery Ebert, my enemy. Yeah,
• 1:01:13
  Speaker 1: because he can't clap back at me because he's dead.
• 1:01:16
  Speaker 1: He gave this movie three out of four stars, saying
• 1:01:20
  Speaker 1: what a blessed relief is laughter. It flies in the
• 1:01:23
  Speaker 1: face of manners, values, political correctness, and decorum. It exposes
• 1:01:27
  Speaker 1: us for what we are. The only animal with a
• 1:01:30
  Speaker 1: sense of humor, First of all, I have met a
• 1:01:34
  Speaker 1: lot of animals with sense of humor, so secondly horrifying.
• 1:01:42
  Speaker 1: Just like to remind everyone that got broughten tomatoes. Oh yeah, people,
• 1:01:48
  Speaker 1: I mean, which, which goes back to our discussion of
• 1:01:51
  Speaker 1: like why people who are not just like straight white
• 1:01:57
  Speaker 1: dude should review movies, because then you know, this movie
• 1:02:01
  Speaker 1: had a twenty three million dollar budget, made three hundred
• 1:02:04
  Speaker 1: seventy million dollars the box office. It was it was
• 1:02:08
  Speaker 1: hugely successful. And this movie was made off of the
• 1:02:12
  Speaker 1: success of Dumb and Dumber, which I don't even want
• 1:02:14
  Speaker 1: to think about. I'm sure I'll do an episode on
• 1:02:18
  Speaker 1: it one day that now I'll cancel the show. I refused.
• 1:02:25
  Speaker 1: They made a sequel like a couple of years ago,
• 1:02:28
  Speaker 1: and people I have to rewatch it just because I'll
• 1:02:31
  Speaker 1: do an episode by myself. I'm going to watch it, Okay, Okay,
• 1:02:35
  Speaker 1: we'll be my guest co host. I just I'm putting
• 1:02:39
  Speaker 1: a kabash on Farrely Brothers movies. God, well, there's a
• 1:02:43
  Speaker 1: few more horrible things to talk about, shall we u
• 1:02:46
  Speaker 1: ages M definitely get it all. Magda so she is
• 1:02:51
  Speaker 1: Mary's neighbor. They don't technically live together, but she's constantly
• 1:02:56
  Speaker 1: over at Mary's place because because she's old, she's made
• 1:02:59
  Speaker 1: to seem lonely and pathetic. Essentially, that's how this movie
• 1:03:04
  Speaker 1: feels about people who are older. Well, there's like that
• 1:03:08
  Speaker 1: huge visual gag made at her expense with the male gaze.
• 1:03:13
  Speaker 1: There are so many shots of like Matt ma g
• 1:03:17
  Speaker 1: Another windows shot, Matt Dilan is trying to lear it
• 1:03:20
  Speaker 1: Mary with binoculars because he's a great detective and he's
• 1:03:25
  Speaker 1: sitting literally outside her house with binoculars, very subtle, and
• 1:03:29
  Speaker 1: he's trying to look at it like Kanu Reeves and
• 1:03:32
  Speaker 1: point break when he's just constantly like Tim and undercover
• 1:03:36
  Speaker 1: FBI agent. Let me, I mean, I mean, I know
• 1:03:41
  Speaker 1: I'm in broad daylight, but let me just get out
• 1:03:44
  Speaker 1: my binoculars and look around anyway, go on. I love him. So, yeah,
• 1:03:50
  Speaker 1: Matt Dilan is trying to lear it Mary with his binoculars,
• 1:03:53
  Speaker 1: but he misfires because he's stupid, and he accidentally looks
• 1:03:58
  Speaker 1: in Magda's window and there's clearly prosthetic piece of costuming
• 1:04:04
  Speaker 1: that is meant to be like an older woman's body,
• 1:04:07
  Speaker 1: and it's he goes, it's made to seem very grotastic. Yeah, yeah,
• 1:04:11
  Speaker 1: it's made it out to be this fucking body horror scene. Um,
• 1:04:15
  Speaker 1: that is very bad. Yeah, and Magda, so we've got
• 1:04:21
  Speaker 1: the Mary, We've got the wife that the wife that
• 1:04:26
  Speaker 1: just goes down on him, give some cookies and then
• 1:04:29
  Speaker 1: Magda is this eavesdropp e caddy like gossippy wears all pink,
• 1:04:36
  Speaker 1: obsessed with tanning, obsessed with like kind of a cougar,
• 1:04:41
  Speaker 1: obsessed with men. And that's it. That's all she is.
• 1:04:44
  Speaker 1: That's all we know about her. These are the women,
• 1:04:46
  Speaker 1: these are these characters we have this movie. Also she made,
• 1:04:49
  Speaker 1: she's written. She's given a line of dialogue that she
• 1:04:52
  Speaker 1: says about herself, which is agist. Also where she says,
• 1:04:56
  Speaker 1: the last time I had a pap smear, the guy
• 1:04:59
  Speaker 1: needed leather gloves and an oyster shucker. So like they
• 1:05:02
  Speaker 1: wrote her to make fun of herself for her age.
• 1:05:06
  Speaker 1: I mean, well, let's give it to them. At least
• 1:05:08
  Speaker 1: they understand female anatomy. These male writers, they did their
• 1:05:12
  Speaker 1: remarch of what Happens and is an oyster and you
• 1:05:17
  Speaker 1: need an oyster shucker to get it open. And it's
• 1:05:21
  Speaker 1: funny because it's like, I know that we kind of
• 1:05:23
  Speaker 1: get like uncomfortable talking about the female characters in this
• 1:05:26
  Speaker 1: way because we don't want to be disrespectful, but it's
• 1:05:29
  Speaker 1: like with stuff like that, it's like, I mean, we
• 1:05:31
  Speaker 1: kind of just have to say it because their fictional
• 1:05:34
  Speaker 1: women written by four straight white dudes and so they're
• 1:05:38
  Speaker 1: just they just are so not real. Yeah. And and Magna.
• 1:05:42
  Speaker 1: I think it's an especially raw deal um in this movie. Yeah,
• 1:05:47
  Speaker 1: because there's there's no other older women, like it's it's
• 1:05:50
  Speaker 1: not like there's several older women characters, and one is
• 1:05:53
  Speaker 1: I mean one is insultingly pictured and there's different types.
• 1:05:57
  Speaker 1: She represents every woman over thirty, right like she's it's
• 1:06:03
  Speaker 1: just it's bad. Yeah. Can we talk about Mary's three
• 1:06:08
  Speaker 1: friends who you see and I think two different scenes.
• 1:06:11
  Speaker 1: One of them is Sarah Silverman, sure, Uh, you know,
• 1:06:15
  Speaker 1: as a comic. I I like her. Hers has engaged
• 1:06:20
  Speaker 1: in her fair share of problematic ship is her she
• 1:06:23
  Speaker 1: was very young? Uh that I haven't have to imagine
• 1:06:27
  Speaker 1: this is at least one of your first big break
• 1:06:29
  Speaker 1: type situation things. Yeah. I mean it's hard to hold
• 1:06:34
  Speaker 1: the female actors because it's like what else is available
• 1:06:38
  Speaker 1: to them? If I was back then young, I would
• 1:06:41
  Speaker 1: have done the movie. And there's also Candy Alexander plays
• 1:06:47
  Speaker 1: one of the friends. And are they even named. I
• 1:06:49
  Speaker 1: don't know if we even know they're they're named in
• 1:06:52
  Speaker 1: the credits. I don't remember if they're named in that.
• 1:06:55
  Speaker 1: I see Brenda and Joanie Sarah Silverman and Candy Alexander,
• 1:06:59
  Speaker 1: and then there's a third woman there too, but I
• 1:07:02
  Speaker 1: super don't know. They're all very interchangeable. Yeah, one of
• 1:07:07
  Speaker 1: them is the one woman of color in the entire movie,
• 1:07:10
  Speaker 1: basically just Mary's token black friend who we see in
• 1:07:15
  Speaker 1: the not eating salad and we don't know anything. They
• 1:07:20
  Speaker 1: all get immediately. I mean, so they're that whole scene
• 1:07:23
  Speaker 1: where they're now Eve's dropping on Matt Dylan's character. Everyone's
• 1:07:29
  Speaker 1: just constantly has some system some things watch and can
• 1:07:37
  Speaker 1: hear what he's saying, but he knows, so he's planting
• 1:07:39
  Speaker 1: all this information and they immediately are like swooning over
• 1:07:42
  Speaker 1: him too, even though what he's saying is ridiculous. It
• 1:07:46
  Speaker 1: makes no sense. It's absolutely absurd, and but they're immediately
• 1:07:50
  Speaker 1: like and like wanting to get a glimpse of this
• 1:07:53
  Speaker 1: hot new guy. It makes no sense because all the
• 1:07:56
  Speaker 1: women in this movie are written to be dumb ass, right, Like,
• 1:08:01
  Speaker 1: who are obsessed with gross dude? They're God, Yeah, every
• 1:08:05
  Speaker 1: everything about that character is just like coded to be ages.
• 1:08:10
  Speaker 1: Like I think that even like the inclusion of like
• 1:08:13
  Speaker 1: she loves her dog too much, Like there's like implications
• 1:08:17
  Speaker 1: that she's too close with her pet because and I
• 1:08:19
  Speaker 1: feel like the subtypes of that is because she's an
• 1:08:21
  Speaker 1: older woman who's single, so she's got a French her dog.
• 1:08:25
  Speaker 1: Like they're just like, she's not a crazy cat lady.
• 1:08:28
  Speaker 1: We're going to update this and give her a dog, right,
• 1:08:33
  Speaker 1: one last little quick thing. And we touched on this
• 1:08:36
  Speaker 1: a little bit already, but they're just the excessive use
• 1:08:39
  Speaker 1: of male gaze style cinematography where Mary is framed in
• 1:08:45
  Speaker 1: three different scenes in the movie as being like the
• 1:08:48
  Speaker 1: object of very voyeuristic male gays. The first one is
• 1:08:52
  Speaker 1: Ted accidentally looking in on her through the window and
• 1:08:55
  Speaker 1: that's when he zips his pep into that. Also, how
• 1:08:58
  Speaker 1: did that even work? There are a cross, their windows
• 1:09:00
  Speaker 1: are across from each other. Do they do they have
• 1:09:05
  Speaker 1: a courtyard in their house? I was thinking that does not.
• 1:09:09
  Speaker 1: I mean they are shown to live in a big house.
• 1:09:11
  Speaker 1: They seem to be very upper middle class, but it
• 1:09:14
  Speaker 1: didn't look like a U shaped house, so like, I
• 1:09:18
  Speaker 1: didn't even think of that. The blueprint of this home. Yeah,
• 1:09:21
  Speaker 1: it must be like a horseshoe house or some Hogwarts
• 1:09:23
  Speaker 1: situation where things are shifting. I don't know what if
• 1:09:27
  Speaker 1: Mary is a wizard. Now, that would really be something,
• 1:09:33
  Speaker 1: I mean and literally that would be some at least
• 1:09:36
  Speaker 1: something that's the something very It's not you're a wizard, Harry,
• 1:09:40
  Speaker 1: it's you're a wizard, Mary. We are breaking this to
• 1:09:47
  Speaker 1: the case. There's a yeah that the way that the
• 1:09:51
  Speaker 1: camera like lears on women in this movie is gross.
• 1:09:54
  Speaker 1: And there's also I think, just like another Fairly Brothers
• 1:09:58
  Speaker 1: fixation on severe emasculation and the trauma of severe emasculation,
• 1:10:05
  Speaker 1: because that, like, the two moments that people remember from
• 1:10:08
  Speaker 1: this movie are moments when Ben Stiller's you know, the
• 1:10:12
  Speaker 1: good guy of the movie is emasculated at it. Like,
• 1:10:16
  Speaker 1: you know, we're led to believe at the beginning when
• 1:10:18
  Speaker 1: he zips his dick into his pants, that that affects
• 1:10:23
  Speaker 1: the rest of his life. So why do they just
• 1:10:25
  Speaker 1: cut the goddamn pants off, Like just cut around the zipper,
• 1:10:29
  Speaker 1: you know what I mean? Like that could have been
• 1:10:30
  Speaker 1: a start anyway. And the thing that like, the thing
• 1:10:33
  Speaker 1: that sucks is like I mean, exploring the topic of
• 1:10:36
  Speaker 1: emasculation and how that affects men down the line of
• 1:10:40
  Speaker 1: their life. Sure, that's a topic worth exploring, but are
• 1:10:44
  Speaker 1: these the men to do it? No? No, no, no
• 1:10:48
  Speaker 1: for the male gay is the same. Like you say,
• 1:10:50
  Speaker 1: I don't want to like be bashing female characters, but
• 1:10:53
  Speaker 1: also these are female characters written by men. Mary never
• 1:10:57
  Speaker 1: wears a bra and her nipples are always really hard,
• 1:11:00
  Speaker 1: and I mean, I don't care, good girl, live your
• 1:11:03
  Speaker 1: best life, but those men put her in that outfit.
• 1:11:07
  Speaker 1: She's not doing it to be empowered. She's doing it
• 1:11:10
  Speaker 1: to satisfy the male gaze. Yes, it upset me. That's
• 1:11:14
  Speaker 1: the list. That's another very like nineties trophy thing. I mean,
• 1:11:18
  Speaker 1: it's like I didn't watch Friends. I was like too
• 1:11:21
  Speaker 1: young to watch Friends for most of the time I
• 1:11:23
  Speaker 1: was airing, but I do know that Jennifer Aniston's nipples
• 1:11:27
  Speaker 1: were very so present and that and I knew that
• 1:11:31
  Speaker 1: and I hadn't even seen the show before, Like that
• 1:11:33
  Speaker 1: was a selling point. She had a haircut and she
• 1:11:37
  Speaker 1: had nipples exactly, That's what we knew about Rachel was
• 1:11:40
  Speaker 1: who she was, and like it's just yeah, the the
• 1:11:43
  Speaker 1: or wonderful producer Sophie also pointed out, like what a
• 1:11:47
  Speaker 1: shitty poster and marketing there is for this movie where
• 1:11:51
  Speaker 1: it's just a very classically like she's you know, it's
• 1:11:54
  Speaker 1: Cameron Diaz is on the poster. She's wearing, uh, like
• 1:11:58
  Speaker 1: a tiny dress that we don't even see her in
• 1:11:59
  Speaker 1: the movie, and there's in some versions of the poster
• 1:12:03
  Speaker 1: there's the dog in a full body cast next to her, like,
• 1:12:05
  Speaker 1: you're just disgusting, it's horrible. Yeah, she's like leaning over
• 1:12:10
  Speaker 1: to give full shot of her of her cleavage. Yeah,
• 1:12:14
  Speaker 1: it's it's unnecessary. Uh. There's one line that Tucker says
• 1:12:20
  Speaker 1: when he comes into he's always just showing up places too.
• 1:12:23
  Speaker 1: He shows up to everyone's just showing up and no
• 1:12:26
  Speaker 1: one questions it anyway, because stalking is not a crime.
• 1:12:29
  Speaker 1: In this movie, Tucker brings Magda a bottle of like
• 1:12:34
  Speaker 1: Scotch or something like that, and he says She's like, oh,
• 1:12:37
  Speaker 1: you're so sweet, and he says, no, I just want
• 1:12:40
  Speaker 1: to get you drunk so you'll pass out and I
• 1:12:43
  Speaker 1: can give Mary a good roger ing. First of all,
• 1:12:49
  Speaker 1: he gross slang every right, every attempt at a joke
• 1:12:55
  Speaker 1: in this movie. I don't even know how it was funny,
• 1:12:58
  Speaker 1: And that's what I keep coming back to, And I
• 1:13:02
  Speaker 1: guess it was because people three seventy million dollars um
• 1:13:07
  Speaker 1: just like, oh my god, I think that people that
• 1:13:11
  Speaker 1: think that this movie is funny, I haven't watched it
• 1:13:13
  Speaker 1: in a long time. That must be the case. I'm
• 1:13:16
  Speaker 1: very excited now that like the thirty year cycle is
• 1:13:19
  Speaker 1: coming around for nineties nostalgia. I think we will all
• 1:13:22
  Speaker 1: get to realize that it was actually not as great
• 1:13:26
  Speaker 1: as everyone ever good never good. Yeah, I mean, at
• 1:13:31
  Speaker 1: least it means eighties nostalgia will end. I'm very dumb
• 1:13:33
  Speaker 1: with that. Yeah, we're ready to be on with it now.
• 1:13:36
  Speaker 1: We've got to move into like the early odds, and god,
• 1:13:39
  Speaker 1: that's maybe the darkest time of all the nostalgic about now. No,
• 1:13:44
  Speaker 1: oh god, we're gonna have to think. I mean, I
• 1:13:46
  Speaker 1: think the world will be over but thirty years from now,
• 1:13:48
  Speaker 1: so we don't even have to worry about the nostalgica.
• 1:13:52
  Speaker 1: There are correct Um, so we know that this is
• 1:13:58
  Speaker 1: the worst movie of all time. But twist, does it
• 1:14:02
  Speaker 1: pass the Bechdel test? Well, folks, I had it passed
• 1:14:08
  Speaker 1: in the bag. Really yeah, let me. There is an
• 1:14:14
  Speaker 1: exchange with Mary and Magda when we first see them
• 1:14:18
  Speaker 1: together where they talk about the neighbor and they talked
• 1:14:22
  Speaker 1: about neighborhood Watch, but she's talking about and they talked
• 1:14:25
  Speaker 1: about tanning. They talked about tanning. She the neighborhood watched.
• 1:14:29
  Speaker 1: Conversation evolves into a conversation about a man cheating on
• 1:14:33
  Speaker 1: his wife. So she does start talking about a man.
• 1:14:35
  Speaker 1: Conversation doesn't pass, but there are there. There's some snippets. Okay,
• 1:14:39
  Speaker 1: there's parts of that conversation that incredibly against all lies
• 1:14:45
  Speaker 1: pass because women interact more than I thought they would
• 1:14:49
  Speaker 1: in a movie like this. I'm surprised even is there,
• 1:14:52
  Speaker 1: and that she's given friends, but they only ever talk
• 1:14:55
  Speaker 1: about Ted or Pat Healy and the hot dogs, or
• 1:15:00
  Speaker 1: only men and phallic items. It is. It is a
• 1:15:04
  Speaker 1: slight pass, and it's just another example needs one conversation standards.
• 1:15:10
  Speaker 1: That's a low standard. I mean, we they're they're very
• 1:15:15
  Speaker 1: There are various renditions of the Bactel tests. We use
• 1:15:18
  Speaker 1: one where it just has to be a two line
• 1:15:19
  Speaker 1: exchange that passes. But not even all versions of the
• 1:15:22
  Speaker 1: Betel tests required that a woman be named, So there's
• 1:15:25
  Speaker 1: a lot of it's we're just scraping by on this one.
• 1:15:29
  Speaker 1: It is a barely pass. And you know, as we
• 1:15:33
  Speaker 1: said it before, we say it again, it wasn't designed
• 1:15:35
  Speaker 1: as a media test. Originally it was an iconic queer
• 1:15:40
  Speaker 1: comic by Alison Bechdel. It's not a perfect metric. It's
• 1:15:44
  Speaker 1: just something to start with. You know what is a
• 1:15:46
  Speaker 1: perfect metric? Our nipples scale. Yes, now let's move on
• 1:15:50
  Speaker 1: to the perfect metric, right, so we assign zero to
• 1:15:55
  Speaker 1: five nipples based on its representation of women. This gets
• 1:15:59
  Speaker 1: as your zero nipples from the zero nipples for sure. Yeah,
• 1:16:03
  Speaker 1: there's no I'm gonna I'm giving it negative to can
• 1:16:07
  Speaker 1: I give it like a belly button if you want?
• 1:16:10
  Speaker 1: It's like, I haven't any belly button, Brad, I whatever.
• 1:16:16
  Speaker 1: I was trying something zero nipples zero doing it negative too,
• 1:16:22
  Speaker 1: and I'm throwing them at Ben Still are stupid? Ahead? God, Yeah,
• 1:16:28
  Speaker 1: everything about this movie is mishandled. I would hope that
• 1:16:33
  Speaker 1: because I don't know. I mean, I haven't heard anyone
• 1:16:37
  Speaker 1: and maybe maybe your experience is different, but I haven't
• 1:16:40
  Speaker 1: heard anyone like defend this movie. And I don't think
• 1:16:44
  Speaker 1: people are even like watch watching it anymore. I would hope,
• 1:16:48
  Speaker 1: and I feel like people remember, like, oh I laughed
• 1:16:51
  Speaker 1: at the dick scene in and it's on. But the
• 1:16:54
  Speaker 1: problem is it is on like the a F I
• 1:16:56
  Speaker 1: Best comedy that's a hundred years hundred laughs. That needs
• 1:17:01
  Speaker 1: to change. Someone should update that. Can someone please revise
• 1:17:04
  Speaker 1: that list? Is what I'm asking. Yeah, I don't watch
• 1:17:07
  Speaker 1: this movie and it's not it's it's genuinely hard to watch.
• 1:17:11
  Speaker 1: Don't pay for the rental on Amazon or wherever you
• 1:17:13
  Speaker 1: watch things. Don't do it. Don't give any indication that
• 1:17:15
  Speaker 1: you're interested in this movie. Don't even listen to this. Honestly,
• 1:17:21
  Speaker 1: why did we do this? I'd like to hear what
• 1:17:22
  Speaker 1: they have to say about it now they at people involved,
• 1:17:25
  Speaker 1: I'd like to hear. I bet they defend their choices
• 1:17:28
  Speaker 1: for some stupid reason. Probably that really says I'm so
• 1:17:31
  Speaker 1: sorry with my times. Like Ben Stiller, who's done, you know,
• 1:17:36
  Speaker 1: like I'd be interested to hear what he has to say.
• 1:17:39
  Speaker 1: Cameron Diaz would be interested. Karen Diaz, she's I mean,
• 1:17:43
  Speaker 1: she's retired now she's Oh did she retired? Yeah, she
• 1:17:46
  Speaker 1: like publicly retired a couple of years ago. I think
• 1:17:48
  Speaker 1: maybe she's just she's just like I've I'm I'm done. Well,
• 1:17:52
  Speaker 1: she's always gets the same kind of parts, like the
• 1:17:55
  Speaker 1: same character, which sucks because what she looks the way
• 1:17:58
  Speaker 1: she does, and you know, there's one part that she
• 1:18:01
  Speaker 1: can play reinforcing beauty standards are like like that hurt
• 1:18:05
  Speaker 1: literally everyone clearly because it's just like, yeah, I mean,
• 1:18:08
  Speaker 1: she doesn't have the worst problem out of everyone, but
• 1:18:10
  Speaker 1: it's like, you know, no one ever really took her
• 1:18:11
  Speaker 1: seriously because she was never given a substantial part, so
• 1:18:15
  Speaker 1: we don't even know if she's a good actor. Really,
• 1:18:17
  Speaker 1: he never got the chance. Yeah, except to actually Shrek.
• 1:18:22
  Speaker 1: She has well in Shrek Shruk to Shruck three, Shruck four. Really,
• 1:18:27
  Speaker 1: I mean she hasn't really doing her best. So zero
• 1:18:33
  Speaker 1: nipples across the board. Uh, Katie, thank you so much,
• 1:18:38
  Speaker 1: even if it was st I have to go and
• 1:18:42
  Speaker 1: I don't know, drink a shot, eat a corn dog,
• 1:18:47
  Speaker 1: and have a beer, a real beer, not some pussy
• 1:18:50
  Speaker 1: light here. I need to go be not like the
• 1:18:52
  Speaker 1: other girls. I'm simply I'm simply not like them. And
• 1:18:57
  Speaker 1: you know what they're saying this for years, not like
• 1:18:59
  Speaker 1: there is something about Jamie there and thank you, there's
• 1:19:04
  Speaker 1: something about you. There's something about Katie. There's Katie. There's
• 1:19:08
  Speaker 1: definitely something about Caitlin. I definitely think so, but you know,
• 1:19:13
  Speaker 1: sound off in the comments, because what is it about
• 1:19:17
  Speaker 1: these women tell us the things that are something about us.
• 1:19:21
  Speaker 1: I like to think that I've been responsible for a
• 1:19:24
  Speaker 1: man breaking out in hives. I'd love to have that power.
• 1:19:28
  Speaker 1: But I think that that is the one power attributed
• 1:19:32
  Speaker 1: to Mary. That is pretty cool. I mean, I've to
• 1:19:35
  Speaker 1: make a perfect breakout in hives across state lines a gift.
• 1:19:40
  Speaker 1: I've the far reach a wizard. I mean, she there,
• 1:19:44
  Speaker 1: she's a wizard. I've had men lie to me, but
• 1:19:47
  Speaker 1: not because they were obsessed with me, because they didn't
• 1:19:50
  Speaker 1: like me. So that's my cross, that's my cross to bear.
• 1:19:56
  Speaker 1: It's we've all that's like par for the course out
• 1:20:00
  Speaker 1: not to diminish your pain. I'm just saying they're solid.
• 1:20:03
  Speaker 1: I'm breaking out. Yeah, Yeah, I've been covered in hives
• 1:20:08
  Speaker 1: this whole time. Oh, I didn't want to say anything.
• 1:20:10
  Speaker 1: That's the something about me, and I appreciate you for
• 1:20:13
  Speaker 1: not saying it. I'm covered into are you? Woogie? Have
• 1:20:15
  Speaker 1: you been woogie? This whole freaky you? Dare you? I'm
• 1:20:21
  Speaker 1: a fan. I'm a Chris Elliott. I'm a fan of
• 1:20:24
  Speaker 1: hit and listen, it's not worth going into now. Also,
• 1:20:27
  Speaker 1: his daughters are very talented. Yes, yes, Mrs Daughter Brighty
• 1:20:31
  Speaker 1: Elliot is the one I Brdy Elliott and Abby Elliott
• 1:20:33
  Speaker 1: who's on ut. Yeah. Anyway, Katie, thanks for being here.
• 1:20:38
  Speaker 1: What would you like to plug? And where can people
• 1:20:40
  Speaker 1: follow you online? You can follow me on Twitter at
• 1:20:43
  Speaker 1: Katie's stole as Katie with a why most people spell
• 1:20:47
  Speaker 1: with an I. But that's the something something that I sell.
• 1:20:52
  Speaker 1: And you can check out my podcast Even More News
• 1:20:55
  Speaker 1: that I co host with Cody Johnston and our show
• 1:20:58
  Speaker 1: Some More News. If you want news, that's that's where
• 1:21:02
  Speaker 1: you can go to find something we all need. It's
• 1:21:04
  Speaker 1: only the better places to get news. There's something abouts,
• 1:21:08
  Speaker 1: there's something about the news that is just overwhelming, intabilitating. Honestly,
• 1:21:13
  Speaker 1: is it more painful to watch the news or to
• 1:21:16
  Speaker 1: want this movie? Well? I thought, so we record the
• 1:21:19
  Speaker 1: podcast and I was like, well, I'm gonna watch there's
• 1:21:21
  Speaker 1: something about Mary. This will be a nice unwinding activity.
• 1:21:26
  Speaker 1: This is really painful. Yeah, but it was fun. Thank you,
• 1:21:31
  Speaker 1: Thank you for being here, and thank you for I mean,
• 1:21:33
  Speaker 1: I let let this be the death knell for this movie.
• 1:21:36
  Speaker 1: We're done, It's done no more. You can follow us
• 1:21:41
  Speaker 1: at you know the places, Facebook, Twitter, Instagram, all at
• 1:21:45
  Speaker 1: becktel Cast. You can join our Patreon ak Matreon. Five
• 1:21:50
  Speaker 1: dollars a month gets you to bonus episodes every month
• 1:21:55
  Speaker 1: very worth it um, and you get access to our backlogs.
• 1:21:58
  Speaker 1: You're basically getting fifty episodes all at once. Good stuff.
• 1:22:04
  Speaker 1: You can get merch at our Tea Public store at
• 1:22:06
  Speaker 1: t public dot com slash the Bechdel Cast, get all
• 1:22:09
  Speaker 1: your Bechtel Cast merch. There's the feminist brothers um and
• 1:22:13
  Speaker 1: I'm kidding that will that will not be merch. And
• 1:22:16
  Speaker 1: otherwise I gotta get the come out of me or
• 1:22:18
  Speaker 1: I gotta go bye bye