Latest / The Bechdel Cast / Party Girl with Liz Gotauco

Transcript

Party Girl with Liz Gotauco · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdel Cast, the questions asked if movies have
• 0:04
  Speaker 1: women and them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? It's the patriarchy, zephynvest start
• 0:13
  Speaker 1: changing it with the Bechdel Cast.
• 0:16
  Speaker 2: Jamie, you can't be a librarian. Your mother was a
• 0:19
  Speaker 2: woman with no common sense.
• 0:22
  Speaker 3: What what is the Dewey decimal system?
• 0:29
  Speaker 1: No?
• 0:29
  Speaker 3: I think the response of the titular party girl should
• 0:32
  Speaker 3: just be like, shut up, I'm wearing the greatest outfit
• 0:34
  Speaker 3: ever worn by a human person. Welcome to the Bechdel Cast.
• 0:38
  Speaker 3: Party Girls. My name is Jamie Loftus.
• 0:42
  Speaker 2: My name is Caitlin Derante. This is our show where
• 0:45
  Speaker 2: we examine movies through an intersectional feminist lens, using the
• 0:49
  Speaker 2: Bechdel test simply as a jumping off point. But what
• 0:53
  Speaker 2: pray tell is.
• 0:55
  Speaker 3: That, well, I'll tell you. The Bechdel test is a
• 0:58
  Speaker 3: media metric created Queer Cortinez, Alice and Bechdel friend of
• 1:02
  Speaker 3: the cast. Our best friend, our BFF. We have talked
• 1:06
  Speaker 3: to her twice and she didn't yell so best friends.
• 1:10
  Speaker 3: So she Originally this was a one off joke in
• 1:14
  Speaker 3: her Wonderful Comics collection dice to watch out for has
• 1:18
  Speaker 3: since been adapted to a more mainstream, widely applicable media metric.
• 1:22
  Speaker 3: The version we use of the Bechdel test requires that
• 1:26
  Speaker 3: two characters of a marginalized gender with names speak to
• 1:29
  Speaker 3: each other about something other than a man for more
• 1:33
  Speaker 3: than two lines of meaningful dialogue. If you want movies
• 1:38
  Speaker 3: that pass the Bechdel test, congratulations, you've come to the
• 1:41
  Speaker 3: right movie. Because we're talking about Party Girl today.
• 1:44
  Speaker 4: This is so true.
• 1:45
  Speaker 2: Oh yeah, they're talking about libraries, they're talking about books.
• 1:49
  Speaker 2: They're talking about the Dewey decimal system, which is named
• 1:51
  Speaker 2: after a man. But the system is self a bad
• 1:53
  Speaker 2: man too.
• 1:55
  Speaker 5: An incredibly terrible man.
• 1:56
  Speaker 3: Like really kind of like an all timer, shockingly bad man.
• 2:00
  Speaker 3: I was on the Behind the Bastards episode about, oh
• 2:04
  Speaker 3: about Dewey, like he's that bad, He's that bad.
• 2:07
  Speaker 2: I had no idea. I didn't know research about mister Dewey.
• 2:10
  Speaker 3: I think that that would be kind of overreach for
• 2:12
  Speaker 3: Party Girl. But but you can go to the Behind
• 2:16
  Speaker 3: the Bastard's episode because it is quite shocking. Oh, but
• 2:19
  Speaker 3: I think I think, let's say the Dewey decibel system
• 2:22
  Speaker 3: is a genderless entity. I agree, Anyways, it passes the
• 2:26
  Speaker 3: Bechtel test. End of episode.
• 2:28
  Speaker 2: Bye, yeah, No, we have a wonderful episode ahead of
• 2:32
  Speaker 2: us with a wonderful guest.
• 2:34
  Speaker 3: She is a.
• 2:35
  Speaker 2: Librarian, storyteller, and debut author of the book Fucked Up
• 2:40
  Speaker 2: fairy Tales, Sinful Cinderellas, Prince Alarmings, and other timeless classics.
• 2:45
  Speaker 2: It's Liz Gotaco.
• 2:47
  Speaker 5: Hello, everyone, so grill to be here.
• 2:49
  Speaker 3: Thanks so much for joining us. But before we get
• 2:52
  Speaker 3: into party girl, I want to hear more about your
• 2:54
  Speaker 3: book let the listeners know.
• 2:56
  Speaker 5: Oh my goodness, thank you so much. It is a
• 2:58
  Speaker 5: collection of fairy tale for an adult audience, all retellings.
• 3:03
  Speaker 5: So they are fairy tales that have existed in folklore,
• 3:05
  Speaker 5: and essentially I'm just kind of reclaiming fairy tales and
• 3:08
  Speaker 5: like the lessons we can get from them and the
• 3:10
  Speaker 5: kind of bibliotherapy we can use for adults, because for
• 3:14
  Speaker 5: a long time, at some point people were like, fairy
• 3:16
  Speaker 5: tales are for kids, and we're gonna teach kids how
• 3:18
  Speaker 5: to be pious little babies with them, when actually there's
• 3:22
  Speaker 5: a lot of weird stuff happening in them. There's stuff
• 3:24
  Speaker 5: about our bodies, there's stuff about love, and sex and
• 3:27
  Speaker 5: family baggage that I like to bring into my retellings.
• 3:31
  Speaker 3: Awesome, that's so cool. Do you have a this is
• 3:34
  Speaker 3: maybe a boring question for you, but interesting to me.
• 3:38
  Speaker 3: Do you have a favorite fairy tale that you enjoyed reworking.
• 3:41
  Speaker 5: Yes, I didn't do it exactly for the book, but
• 3:44
  Speaker 5: my favorite fairy tale is the Brother's Grim There from
• 3:46
  Speaker 5: one called aler Laira, And it's got an extremely fucked
• 3:49
  Speaker 5: up premise in that princess's father falls in love with
• 3:52
  Speaker 5: her and wants to marry her, and she rescues herself
• 3:55
  Speaker 5: from that situation with like three magical ball gowns that
• 3:58
  Speaker 5: she stuffed in a walnut shell on. She sure has
• 4:01
  Speaker 5: this big, like weird kitchen wench disguise, and she goes
• 4:04
  Speaker 5: to another kingdom and hides out until she can meet
• 4:06
  Speaker 5: someone who isn't her dad. Ah, And that's my favorite
• 4:11
  Speaker 5: fairy tale for some reason.
• 4:12
  Speaker 3: Wow, that there is in all the twists You're like,
• 4:16
  Speaker 3: that is ultimately somehow a relatable story for many just
• 4:20
  Speaker 3: hanging out waiting to meet a man that's not your dad, Like,
• 4:23
  Speaker 3: been there, been there, doing something weird while waiting to
• 4:27
  Speaker 3: meet a man who's not my dad. That was eighteen
• 4:29
  Speaker 3: years of my life. Well, I'm very excited to dig
• 4:34
  Speaker 3: into the book and very excited to have a real
• 4:38
  Speaker 3: life librarian on the Zoom call to talk about Party Girls.
• 4:43
  Speaker 5: So we are flesh and blood.
• 4:44
  Speaker 3: It's true, it's free and truly. Our bravest soldiers are librarians,
• 4:50
  Speaker 3: especially now, which I would also love to talk about,
• 4:53
  Speaker 3: but definitely. But first, what is your relationship with the
• 4:57
  Speaker 3: movie Party Girl.
• 4:59
  Speaker 5: I I first saw it, I think right around when
• 5:01
  Speaker 5: I got my graduate degree, because I don't know, sort
• 5:05
  Speaker 5: of like write a passageway. You're a librarian now, and
• 5:08
  Speaker 5: you want to like see all the different versions of
• 5:10
  Speaker 5: yourself in like library media.
• 5:12
  Speaker 3: Is this Is this like librarian, cinema cannon?
• 5:16
  Speaker 5: Oh yeah, for sure, Okay, okay, awesome, and we can
• 5:19
  Speaker 5: we'll talk about it. But I actually think it's a
• 5:20
  Speaker 5: really it's probably one of the better like representations of
• 5:23
  Speaker 5: like an authentic library in movies. I didn't like totally
• 5:27
  Speaker 5: click with this one at the time. I think I
• 5:28
  Speaker 5: was a little bit of a judy when I was young,
• 5:31
  Speaker 5: believe or not. Now I've gotten older and I'm appreciating
• 5:33
  Speaker 5: more of my merry side of myself now.
• 5:35
  Speaker 4: You're a party girl exactly.
• 5:37
  Speaker 5: Yeah, because like we're seeing it again now in like
• 5:40
  Speaker 5: my forties with more like life experience. Uh, I just
• 5:43
  Speaker 5: like love it so much, so it's been really excited
• 5:47
  Speaker 5: to remiss it now with like fifteen years of librarian
• 5:49
  Speaker 5: ship under my belt and much better taste.
• 5:52
  Speaker 2: Yeah, Jamie, what's your relationship with the movie?
• 5:57
  Speaker 3: I only saw it for the first time earlier this year,
• 6:00
  Speaker 3: and like, I watched it on a whim as a
• 6:05
  Speaker 3: person trying to make my own indie feature. You're like, okay, Like,
• 6:09
  Speaker 3: what are what is the like s tier movie made
• 6:12
  Speaker 3: for twelve dollars? That's amazing, and this definitely falls into
• 6:17
  Speaker 3: that category. It came out in nineteen ninety five, for
• 6:21
  Speaker 3: it was made for one hundred and fifty thousand dollars,
• 6:23
  Speaker 3: which is absurd even in nineteen ninety five money. I
• 6:28
  Speaker 3: love that it was written and directed by a woman.
• 6:31
  Speaker 3: I know there's a male co writer, but I'm gonna
• 6:33
  Speaker 3: iconically not include him, and so I was just really
• 6:38
  Speaker 3: excited to check it out, and it fucking rocks. It's
• 6:43
  Speaker 3: so much fun. I feel like this is one of
• 6:47
  Speaker 3: the many characters Mary that has healed my relationship with
• 6:53
  Speaker 3: the bimbo stereotype. I think about bimbo stereotypes a lot,
• 6:58
  Speaker 3: and have in the last decade, mainly because of the
• 7:02
  Speaker 3: work of Sarah Marshall, a bimbo's champion, and not just
• 7:07
  Speaker 3: in terms of like reclaiming the term, but women who
• 7:11
  Speaker 3: are like sexually open are framed, are framed and demonized
• 7:16
  Speaker 3: so horrifically. This is something we know and made to
• 7:20
  Speaker 3: seem like not smart and not able to adapt and change. Bah.
• 7:24
  Speaker 3: And so I think if I saw this movie ten
• 7:26
  Speaker 3: years ago, I would have really chafed with Mary, similar
• 7:29
  Speaker 3: to you, Liz. Yeah, But seeing it now, it's like
• 7:32
  Speaker 3: I see the vision. And also because she's played by
• 7:36
  Speaker 3: Parker Posey, Parker Posey like gets it. I feel like
• 7:39
  Speaker 3: she just gets Mary to her bones and like shapes
• 7:44
  Speaker 3: her into this really beautiful character. I don't know, there's
• 7:47
  Speaker 3: so much And I love Mustapha, I love their I
• 7:50
  Speaker 3: love their weird, little horny twenty something romance. Like I
• 7:55
  Speaker 3: just yeah, there's, uh, there's lots to love about this movie.
• 7:58
  Speaker 3: Also that the directors know if it was her direct followup,
• 8:02
  Speaker 3: I don't know if I'm gonna get the name right.
• 8:03
  Speaker 3: Daisy von Schurler Mayer Daisy von Schurler Mayer, which is
• 8:08
  Speaker 3: a mouthful, and I celebrate that she later directed the
• 8:12
  Speaker 3: live action Madeline movie that I remember vividly.
• 8:15
  Speaker 4: Oh, I don't remember that at all. I haven't seen
• 8:18
  Speaker 4: that one.
• 8:18
  Speaker 3: It was I don't think very successful. I just know
• 8:21
  Speaker 3: my cousin had it on VHS.
• 8:23
  Speaker 4: Wow.
• 8:24
  Speaker 3: But yeah, it stars Francis mcdormant as the nun from Madeline.
• 8:30
  Speaker 3: She is the I don't know if it's good. I
• 8:34
  Speaker 3: do know that it wasn't successful, and I also know
• 8:36
  Speaker 3: that I've seen it a lot of times and that
• 8:39
  Speaker 3: she is, like she's still very much working. She's almost sixty.
• 8:43
  Speaker 3: She's been mostly working in TV, but she like also
• 8:47
  Speaker 3: did recent episodes of like Yellowjackets. Like, she's very much working,
• 8:52
  Speaker 3: and I just think her career is really interesting. And
• 8:55
  Speaker 3: this movie rocks long way of saying, I like this
• 8:58
  Speaker 3: movie and I've seen it twice. Nice Caitlin, what about you.
• 9:02
  Speaker 2: I had never seen this movie before prepping for this episode.
• 9:07
  Speaker 2: I remember you talking about it, Jamie earlier this year,
• 9:09
  Speaker 2: when you had seen it for the first time and
• 9:12
  Speaker 2: really enjoying it. I will say that I did not
• 9:16
  Speaker 2: connect with this movie quite as much nor the character Mary.
• 9:20
  Speaker 2: I love Parker Posey so much, but I don't know
• 9:23
  Speaker 2: something about some of her behavior. Just I was not
• 9:29
  Speaker 2: the biggest fan. I think there are things to like
• 9:30
  Speaker 2: about this movie, but for me, like I don't know,
• 9:32
  Speaker 2: some of its parts just didn't. It didn't all come
• 9:36
  Speaker 2: together for me. But uh, there's lots to talk about.
• 9:40
  Speaker 2: I'm very excited to discuss.
• 9:43
  Speaker 4: Should we take.
• 9:44
  Speaker 2: A quick break and then come back for the recap.
• 9:47
  Speaker 4: Let's do it, Okay, I'll play.
• 10:00
  Speaker 2: It's a quick content warning here at the top for
• 10:03
  Speaker 2: attempted sexual assault that happens toward the end of the movie.
• 10:09
  Speaker 2: But we open on a party that's being thrown by
• 10:14
  Speaker 2: the party girl herself, Mary, played by Parker Posey. We
• 10:20
  Speaker 2: briefly meet some friends of hers also at the party,
• 10:23
  Speaker 2: including a DJ who Mary seems to owe money to.
• 10:28
  Speaker 2: We meet Mary's boyfriend, Nigel played by Leave Schreiber, but
• 10:34
  Speaker 2: soon after this the cops show up and Mary is
• 10:37
  Speaker 2: arrested and thrown in jail with charges like selling alcohol
• 10:42
  Speaker 2: without a license and possession of controlled substances. So Mary
• 10:48
  Speaker 2: uses her one phone call to call her godmother Judy,
• 10:54
  Speaker 2: who apparently bails her out. Because we cut to Mary
• 10:57
  Speaker 2: out of jail, ordering full of Full with hot sauce,
• 11:01
  Speaker 2: a side of bob aganoosh, and a seltzer from a
• 11:05
  Speaker 2: street vendor named Mustafa played by Omar Townsend, who is cute,
• 11:11
  Speaker 2: and they flirt a little bit. Then Mary goes to
• 11:17
  Speaker 2: the library where Judy works, so we meet Judy on
• 11:21
  Speaker 2: screen for the first time, and she is played by
• 11:22
  Speaker 2: Sasha von Schuler, who is director Daisy von Schuler, Mayer's mother.
• 11:29
  Speaker 1: Oh.
• 11:31
  Speaker 2: Mary asks Judy for a loan and or a job
• 11:36
  Speaker 2: at the library, and Judy is reluctant to give Mary
• 11:40
  Speaker 2: a job, saying that she's just like her mother and
• 11:43
  Speaker 2: her mother had no common sense. But the library has
• 11:47
  Speaker 2: experienced budget cuts and Judy realizes she can hire Mary
• 11:52
  Speaker 2: as a clerk and not pay her very much. So
• 11:56
  Speaker 2: Judy gives Mary this job. That's how I got a
• 11:59
  Speaker 2: job at the Comptroller's Office of Massachusetts for these summers.
• 12:04
  Speaker 5: That's hilarious. Word.
• 12:05
  Speaker 3: Yeah, that's the only nepotism I've ever been the beneficiary
• 12:09
  Speaker 3: of the nepotism alive.
• 12:12
  Speaker 5: And well in the public government system for sure. Yeah
• 12:14
  Speaker 5: that small, small, small public government.
• 12:17
  Speaker 2: Right. So now Mary has this job, but oh no,
• 12:21
  Speaker 2: she has to learn the Dewey decimal system.
• 12:25
  Speaker 3: I just think this is such a fun hill to
• 12:28
  Speaker 3: scale for her because it is, well, Liz, it's confusing, right,
• 12:33
  Speaker 3: it is is it is.
• 12:34
  Speaker 5: And for some reason, like the employees of this library
• 12:37
  Speaker 5: seem to know it down to like the twentieth decimal
• 12:41
  Speaker 5: decimal as well, which I have to say I do.
• 12:44
  Speaker 5: That's not the kind of library and I am there,
• 12:47
  Speaker 5: but it's it's one of those things where you get
• 12:49
  Speaker 5: like the broad strokes of it before you have to
• 12:52
  Speaker 5: get the nitty gritty, and they're kind of throwing Mary
• 12:55
  Speaker 5: into the deep end I think.
• 12:56
  Speaker 6: A little bit.
• 12:58
  Speaker 5: It takes a lot of a lot of training to
• 13:00
  Speaker 5: just be like a library page or a library clerk
• 13:02
  Speaker 5: who does the shelving.
• 13:04
  Speaker 3: Mm hmm. Yeah.
• 13:05
  Speaker 2: Well, when I was in school, I think both like
• 13:07
  Speaker 2: elementary and high school, we would have like one class
• 13:12
  Speaker 2: a week where we had like library library, right, and
• 13:16
  Speaker 2: because I think like most children would not really go
• 13:19
  Speaker 2: to the library otherwise unless they were forced to buy
• 13:22
  Speaker 2: a class, So we would all go to the library
• 13:25
  Speaker 2: and we would learn the Dewey decimal system, which to
• 13:28
  Speaker 2: this day I still don't understand. I found it very complicated,
• 13:31
  Speaker 2: but we would have like tests on it and stuff
• 13:34
  Speaker 2: that's hard for.
• 13:35
  Speaker 3: I feel like that's rare, yeah, because when we went
• 13:38
  Speaker 3: to library class, they were just like, please read a book.
• 13:40
  Speaker 3: Any book. That was sort of library class.
• 13:44
  Speaker 5: Ours combined with like tech to a little bit like
• 13:46
  Speaker 5: with early like internet technology.
• 13:49
  Speaker 6: Right, hmm.
• 13:50
  Speaker 3: There should be I thought about this before. If you're
• 13:53
  Speaker 3: like this, it's so like niche, but there should be
• 13:56
  Speaker 3: just a bunch of interviews about what specific computer classes
• 14:00
  Speaker 3: were like a particular times, because early computer classes were
• 14:04
  Speaker 3: so fucking unhinged and bizarre like there. I feel like
• 14:09
  Speaker 3: I've definitely talked about this on the show before because
• 14:12
  Speaker 3: I think about it constantly. But we had like in
• 14:15
  Speaker 3: middle school, we had computer class and it would be
• 14:17
  Speaker 3: like you play a math game, you play a reading game,
• 14:19
  Speaker 3: and then you play a weird third game that was
• 14:21
  Speaker 3: about internet safety, and you're playing a detective and you're
• 14:25
  Speaker 3: trying to save a kid who talked to someone in
• 14:27
  Speaker 3: a chat room and is now being held hostage in California.
• 14:32
  Speaker 3: Like it was terrifying. It was just like meant to
• 14:35
  Speaker 3: scare you into never using a computer again, even though
• 14:39
  Speaker 3: you were at computer class. It was so weird.
• 14:41
  Speaker 5: I don't even remember that type of stuff. I just
• 14:44
  Speaker 5: remember like bs and clang, Oregon Trail and like sending notes,
• 14:47
  Speaker 5: but with a computer until high school when I had
• 14:49
  Speaker 5: to take it and it was so I was so
• 14:51
  Speaker 5: fucking bored. I was like, well, I'm just gonna become
• 14:53
  Speaker 5: the best typiest in the world, and I am nice.
• 14:58
  Speaker 2: Well, part of my computer class was like a typing class,
• 15:02
  Speaker 2: and they were like, if you don't learn how to
• 15:03
  Speaker 2: type ninety words a minute, you're gonna fail miserably in
• 15:07
  Speaker 2: the rest of your life. And so I was like,
• 15:08
  Speaker 2: oh my god, I have to learn.
• 15:10
  Speaker 3: Yeah, my dad was really I never. I still type
• 15:13
  Speaker 3: like boink blank blink, but like ASDF, JKL semi, like
• 15:17
  Speaker 3: that sort of that style of typing, like I won't
• 15:21
  Speaker 3: I never. It's I don't know, like I think it's
• 15:24
  Speaker 3: like people with typewriters, or maybe it was a reporter thing.
• 15:27
  Speaker 3: I honestly don't know. But you keep your fingers if
• 15:30
  Speaker 3: you're writing, you keep your fingers on ASDF on your last, JKL,
• 15:34
  Speaker 3: semi on the other and then yes, you know, yeah,
• 15:37
  Speaker 3: but that's just I don't think that there's a single
• 15:39
  Speaker 3: person under fifty that does that. Now, probably not I
• 15:44
  Speaker 3: do you do you ASDF?
• 15:46
  Speaker 2: Yeah, that's my default ASDF.
• 15:49
  Speaker 3: Wow, you were like raised write or something like, I
• 15:52
  Speaker 3: don't even that's not true there, you were raised differently, Yes, anyways, Yeah,
• 15:58
  Speaker 3: there's to the library. Yeah.
• 16:01
  Speaker 5: I do think like the goal of like the school
• 16:03
  Speaker 5: library and these classes is so that like people like
• 16:06
  Speaker 5: Mary or whatever, you can become like a self sufficient
• 16:09
  Speaker 5: person in like locating information, not just like for school
• 16:12
  Speaker 5: but in general and life. And but it's just like
• 16:14
  Speaker 5: never works out that way.
• 16:15
  Speaker 2: Yeah, and Mary is kind of she's in over her
• 16:20
  Speaker 2: head with this library clerk job that she has just gotten.
• 16:26
  Speaker 3: She's Parker poseying out about the Dewey decimal system.
• 16:30
  Speaker 1: Yeah.
• 16:30
  Speaker 5: Again, all of those like shots of Melville Dewey's poster there,
• 16:34
  Speaker 5: especially like knowing what a dirtbag he was, especially like haunting.
• 16:38
  Speaker 3: I know, I'm like, did day, I feel like Daisy,
• 16:40
  Speaker 3: we weren't. We weren't as a culture talking about the
• 16:42
  Speaker 3: crimes of Melville Dewey in nineteen ninety five. She didn't know, No,
• 16:46
  Speaker 3: she talked.
• 16:47
  Speaker 5: I mean they do like briefly mention his sexism at
• 16:49
  Speaker 5: the end of the movie about true but not crimes.
• 16:52
  Speaker 3: Yeah, well, the crimes the racism of the anti sebotism,
• 16:56
  Speaker 3: like it's just every every way you could be a
• 16:59
  Speaker 3: bad person. He gave it a shot.
• 17:02
  Speaker 6: We hate that, yep.
• 17:03
  Speaker 2: So then we see Mary back at her apartment loft.
• 17:08
  Speaker 2: She lives in this huge Manhattan question Mark or whatever
• 17:13
  Speaker 2: somewhere in New York City loft, and she's hanging out
• 17:16
  Speaker 2: with her friend Derek, who is always talking about this
• 17:20
  Speaker 2: guy named Carl who he hooked up with but Carl
• 17:23
  Speaker 2: didn't ever call him back. She's also hanging out with
• 17:26
  Speaker 2: her friend Leo, the DJ we met earlier, who has
• 17:30
  Speaker 2: kind of moved in because he needs a place to
• 17:32
  Speaker 2: stay for a while. And she takes Leo to this
• 17:37
  Speaker 2: place called Renees, the hottest nightclub in town, because Leo
• 17:43
  Speaker 2: wants to spin at this club. So she's going to
• 17:46
  Speaker 2: introduce Leo to Renee, who we meet on screen.
• 17:50
  Speaker 3: I'm so curious if there's any first of all, any
• 17:54
  Speaker 3: DJ is listed to our show, sccond of all, is
• 17:57
  Speaker 3: this an accurate portrayal of DJ. It's like, I, I mean,
• 18:03
  Speaker 3: Leo seems very committed to his crap, but I was
• 18:06
  Speaker 3: just like, I don't know, DJ is such a nebulous,
• 18:09
  Speaker 3: fascinating job. To me because you're like, what are you guys?
• 18:14
  Speaker 6: What are you doing? Are you? Yeah?
• 18:16
  Speaker 3: But it sounds and I feel mean saying that, but
• 18:18
  Speaker 3: like I've been to so many weddings and I'm just like,
• 18:21
  Speaker 3: it is you. You are curating the vibe.
• 18:24
  Speaker 4: Yeah, but like.
• 18:26
  Speaker 3: I don't know.
• 18:26
  Speaker 2: I also think that like nineties DJ, where you're like
• 18:30
  Speaker 2: literally standing records, very different. There's a joke about this
• 18:34
  Speaker 2: and pop Star Never Stops Stopping where I got a.
• 18:37
  Speaker 3: Cut for it.
• 18:38
  Speaker 2: So good feminist canon. But so it's dormant Decom's character.
• 18:45
  Speaker 2: He plays Andy Samberg's characters DJ, and there's a joke
• 18:49
  Speaker 2: where he's like, yeah, like back in the day, I
• 18:52
  Speaker 2: used to actually like spin and do stuff as a DJ,
• 18:55
  Speaker 2: And uh now I just hit play on an iPod.
• 19:00
  Speaker 3: Leo is Leo is working?
• 19:02
  Speaker 2: He is spinning?
• 19:04
  Speaker 5: Yes, Yeah, he's creating a collage, a collage of vibes.
• 19:08
  Speaker 6: Yeah.
• 19:08
  Speaker 3: Is it my personal vibe? Not really, but I celebrate it. Yeah,
• 19:13
  Speaker 3: and everyone around.
• 19:13
  Speaker 5: Him seems to be enjoying it something.
• 19:15
  Speaker 3: Yeah, right, you're like, Okay, I guess I must have
• 19:16
  Speaker 3: been a nineteen ninety five thing. People liked this shit.
• 19:19
  Speaker 2: Yeah. Also, around this time, Mary breaks up with her
• 19:25
  Speaker 2: leaf shreber boyfriend Nigel, saying that he lowers her worth
• 19:30
  Speaker 2: because it seems like he drinks quite a lot and
• 19:32
  Speaker 2: he like maybe like pisses in public or something, and
• 19:35
  Speaker 2: she's like, you're a dirt bag. I'm breaking up with you.
• 19:39
  Speaker 3: Love that right, yeah goode.
• 19:42
  Speaker 2: Then at work at the library, Mary tries to get
• 19:46
  Speaker 2: the hang of things, but that damn Dewey decimal system
• 19:50
  Speaker 2: is really she's really struggling with it. Then she goes
• 19:54
  Speaker 2: to order more falafel from Mustafa and she tries to
• 19:58
  Speaker 2: chat with him in Arabic because because she has been
• 20:01
  Speaker 2: learning a few phrases specifically to be able to talk
• 20:04
  Speaker 2: to him, and he tells her that he used to
• 20:08
  Speaker 2: be a teacher back in Lebanon, but he's reluctant to
• 20:13
  Speaker 2: teach in the US because he feels his English isn't
• 20:16
  Speaker 2: good enough. Then he asks her on a date Friday night,
• 20:21
  Speaker 2: which she seems excited about, and we see her at
• 20:24
  Speaker 2: home doing a very offensive dance and singing thing. She's
• 20:32
  Speaker 2: being very culturally insensitive and that's how she's displaying her excitement.
• 20:38
  Speaker 3: Question mark.
• 20:39
  Speaker 2: But when it comes time for the date with Mustapha
• 20:42
  Speaker 2: on Friday night, she blows it off in favor of
• 20:46
  Speaker 2: sneaking into the library and trying to figure out the
• 20:50
  Speaker 2: filing system, especially because we just saw Judy be raiding
• 20:55
  Speaker 2: her and again saying her mother has no common sense,
• 20:59
  Speaker 2: neither to you, and your life is frivolous. And so
• 21:03
  Speaker 2: Mary has been feeling especially inadequate and aimless, and so
• 21:08
  Speaker 2: she's trying to like improve at her library clerk job
• 21:12
  Speaker 2: and take pride in her work. But then we cut
• 21:15
  Speaker 2: to Mustafa, who is being stood up and he's really
• 21:20
  Speaker 2: bummed about it. Leo, meanwhile, has followed up with Renee,
• 21:25
  Speaker 2: the nightclub owner, and she has given him an audition
• 21:28
  Speaker 2: spot Friday night to spin, and he's really nervous, especially
• 21:33
  Speaker 2: after he sees a beautiful dancer named Venus, and he
• 21:36
  Speaker 2: messes up a little bit, but he recovers and he
• 21:39
  Speaker 2: does a pretty decent job the rest of the night.
• 21:43
  Speaker 2: The next day, Mary comes upon Judy as she's having
• 21:48
  Speaker 2: a hot flash, and we're like, okay, menopause representation in
• 21:53
  Speaker 2: media beautiful. Then Mary goes to Mustafa's food cart again,
• 21:58
  Speaker 2: but he's still her that she bailed on their date.
• 22:03
  Speaker 2: Neither of them directly addressed this but he makes a
• 22:06
  Speaker 2: remark about how she was dismissive of him, and she's
• 22:13
  Speaker 2: just like shrug, give me my falafel and baba ganush
• 22:17
  Speaker 2: and Seltzer please, and you're just like.
• 22:19
  Speaker 3: Mary, Mary.
• 22:20
  Speaker 4: I mean I do.
• 22:22
  Speaker 3: It is interesting rewatching this movie because I feel like
• 22:24
  Speaker 3: in there's issues issues with it that we'll talk about,
• 22:29
  Speaker 3: but there is like the low budget feel of like
• 22:32
  Speaker 3: the plot is kind of all over the place. I
• 22:35
  Speaker 3: feel like there's certain sequences where you're like, she's just
• 22:39
  Speaker 3: kind of twisting in the wind. I don't understand her behavior.
• 22:43
  Speaker 3: And luckily I really like Parker Posey.
• 22:45
  Speaker 5: Yeah, I mean she's like so in the moment too,
• 22:48
  Speaker 5: I think, yeah, it was very like of her, not
• 22:50
  Speaker 5: even acknowledging that she blow him off, and she's like
• 22:54
  Speaker 5: very impulsive and it seems to be stuck where she is.
• 22:58
  Speaker 3: Yeah. Yeah, I mean it's like, you know, we see
• 23:01
  Speaker 3: her learn from that over the course of the movie,
• 23:02
  Speaker 3: but especially at that moment. I mean, that's that's a
• 23:05
  Speaker 3: tough one because you're like, Mustafa just like shared something
• 23:08
  Speaker 3: very personal with you, He like really opened up to you,
• 23:11
  Speaker 3: and your response is to do a weird racist stands
• 23:14
  Speaker 3: at your house. And then blow them off.
• 23:15
  Speaker 6: What do you mean?
• 23:16
  Speaker 3: Yeah, what do you mean?
• 23:17
  Speaker 2: Really?
• 23:18
  Speaker 4: Any setting.
• 23:20
  Speaker 2: Then, at work, Mary is much better at her job
• 23:24
  Speaker 2: these days, but Judy still undermines her and compares her
• 23:30
  Speaker 2: to her common senseless mother, which of course frustrates Mary.
• 23:38
  Speaker 2: Then she bumps into Renee at the library, who thinks
• 23:42
  Speaker 2: that Mary is there for an AA meeting, which is
• 23:46
  Speaker 2: what Renee is there for. So she confides in Mary.
• 23:49
  Speaker 2: And then there's this weird joke. We'll talk all about
• 23:53
  Speaker 2: how Renee's alcoholism is represented in the like comic relief
• 24:00
  Speaker 2: that the movie's trying to do with it, but that's there.
• 24:04
  Speaker 2: Then there's a montage of Mary ordering falaffel from Mustapha again,
• 24:11
  Speaker 2: but he's not thrilled about her always coming around. He
• 24:13
  Speaker 2: has previously told her like, leave me alone, but she
• 24:17
  Speaker 2: keeps coming back. He tries to send her to the
• 24:21
  Speaker 2: gentrification falaffel kart across the street, and so we'll talk
• 24:25
  Speaker 2: about that as well, but she's like, no, I want
• 24:28
  Speaker 2: your falafel. Then Mary puts her library filing skills to
• 24:33
  Speaker 2: practice and organizes Leo's like over one thousand records by
• 24:39
  Speaker 2: a filing system akin to the Dewey decimal system, which
• 24:43
  Speaker 2: infuriates Leo because he already had a system and she
• 24:47
  Speaker 2: fucked it up. But she's like, no, no, no, my
• 24:49
  Speaker 2: system is better.
• 24:49
  Speaker 3: Here.
• 24:50
  Speaker 2: I'll teach you how to use it. And then it
• 24:51
  Speaker 2: seems like he kind of comes around on it, and
• 24:53
  Speaker 2: so it was good actually that she interfered with his life.
• 25:00
  Speaker 2: And there's what I found to be a very bizarre
• 25:04
  Speaker 2: scene where Leo takes a shower and she's like, no,
• 25:07
  Speaker 2: it's my turn to take a shower. So she gets
• 25:09
  Speaker 2: in the shower with him without his permission, and they're
• 25:13
  Speaker 2: naked and then she kisses him. The consent here is
• 25:18
  Speaker 2: murky at best, just off the rails.
• 25:21
  Speaker 3: Yeah, and it really goes nowhere yeah yeah, and then
• 25:24
  Speaker 3: goes nowhere. Yeah. I wrote that I was just like,
• 25:27
  Speaker 3: question Mark didn't love it, Like it's so like because
• 25:32
  Speaker 3: it's really unclear what the movie thinks is happening, yeah,
• 25:36
  Speaker 3: and what the characters thinker is happening. So I'm like,
• 25:39
  Speaker 3: or if there's any precedent for this having happened in
• 25:42
  Speaker 3: this roommate relationship before, like, just nothing but questions. I
• 25:48
  Speaker 3: stand with what I said, which is question Mark didn't
• 25:50
  Speaker 3: love it.
• 25:52
  Speaker 6: A fair assessment.
• 25:53
  Speaker 5: Yes.
• 25:53
  Speaker 6: Yeah.
• 25:54
  Speaker 2: Then we cut to Mary back at the library. Mustapha
• 25:58
  Speaker 2: comes in looking for information on becoming a teacher in
• 26:01
  Speaker 2: the US, not realizing that Mary works there, and she
• 26:05
  Speaker 2: helps him, and then they have sex in the library.
• 26:09
  Speaker 2: It's after hours at this point, so like they're alone,
• 26:11
  Speaker 2: it's not like they're doing it in front of other people.
• 26:14
  Speaker 2: But she forgets to close the windows and it's pouring
• 26:18
  Speaker 2: rain outside, and the rain splashes in and it ruins
• 26:21
  Speaker 2: several books, which enrages Judy. The next day, Judy also
• 26:27
  Speaker 2: sees like a used condom in the trash, so she
• 26:31
  Speaker 2: knows that Mary had sex in the library, and this
• 26:34
  Speaker 2: is when she goes.
• 26:35
  Speaker 3: But she had a good reason, like I'm very pro
• 26:39
  Speaker 3: Mary having sex in the library. I actually have to.
• 26:42
  Speaker 5: Say, as like a public librarian, I don't think I
• 26:45
  Speaker 5: would just automatically assume it was my coworker that had
• 26:47
  Speaker 5: sex in the library. Either in a public building, it
• 26:49
  Speaker 5: could be anyone's condom.
• 26:50
  Speaker 3: That's true. Famously, anyone can go so it's very easy
• 26:54
  Speaker 3: to be like, it wasn't me, It wasn't It could
• 26:57
  Speaker 3: have been anyone in the city.
• 26:59
  Speaker 2: So true, so true. I mean I guess to Mary's credit.
• 27:03
  Speaker 2: She cops to it immediately, She's like, yeah, I fucked.
• 27:06
  Speaker 3: Oh n it. So it's like, also, it is cool
• 27:08
  Speaker 3: that she fucked in the library, so why had it right?
• 27:11
  Speaker 3: It's like, you're jealous. I hear you, and I hear
• 27:14
  Speaker 3: that you're jealous.
• 27:15
  Speaker 6: Yeah, yeah yeah.
• 27:16
  Speaker 2: And then this is when Judy has a monologue about
• 27:20
  Speaker 2: gender roles and women being underappreciated in the work they
• 27:24
  Speaker 2: do in libraries. Again, we can talk more about this later,
• 27:29
  Speaker 2: but the bottom line is Judy is furious and she
• 27:33
  Speaker 2: fires Mary from the library, and then when it rains,
• 27:37
  Speaker 2: it pours because Mary also gets an eviction notice, so
• 27:43
  Speaker 2: she's really having the low point of the movie. She
• 27:46
  Speaker 2: sells a bunch of her designer clothes to a thrift
• 27:49
  Speaker 2: store so she can make rent, and she's once again
• 27:53
  Speaker 2: feeling very lost and aimless. She doesn't know what to
• 27:56
  Speaker 2: do with her life. Mustapha consoles her and like as
• 28:00
  Speaker 2: he's embracing her, she looks around and she's like, hmm,
• 28:04
  Speaker 2: this would be a great place for a party. Cut
• 28:07
  Speaker 2: to she's throwing another party, one that is once again
• 28:12
  Speaker 2: very culturally insensitive and appropriative, and it's also her birthday
• 28:17
  Speaker 2: party because it's her birthday, but she's very stressed out
• 28:22
  Speaker 2: about like the logistics of throwing the party, and she's
• 28:25
  Speaker 2: lashing out. So Mustapha confronts her for being shitty to
• 28:30
  Speaker 2: the people who are helping her, and she doesn't like
• 28:34
  Speaker 2: being confronted. So to cope with everything that's going on,
• 28:38
  Speaker 2: she takes some drugs and they make her like go
• 28:42
  Speaker 2: off the deep end. She's like falling all over the place.
• 28:46
  Speaker 2: She says the f slur to her friend Derek a
• 28:48
  Speaker 2: bunch of times.
• 28:50
  Speaker 3: She shared us Yeah.
• 28:51
  Speaker 2: Then her ex boyfriend Nigel pulls her aside and attempts
• 28:56
  Speaker 2: to assault her several times, but she's able to get
• 29:00
  Speaker 2: way and she goes into her building and passes out
• 29:03
  Speaker 2: on the stairs. She wakes up the next morning and
• 29:06
  Speaker 2: goes to the library to be like, hey, Judy, I
• 29:09
  Speaker 2: need to talk to you. Come over to my place
• 29:12
  Speaker 2: tonight at eight o'clock. Then Mary enlists the help of
• 29:16
  Speaker 2: a few of her former library colleagues and starts researching
• 29:20
  Speaker 2: places for Mary to go to grad school and study
• 29:22
  Speaker 2: library science so that she can become a librarian.
• 29:26
  Speaker 3: I was like this, now the movie's becoming Kaitlin Cannon,
• 29:29
  Speaker 3: because higher education is becoming integral to the plot.
• 29:32
  Speaker 2: She's trying to get a master's degree, but once she
• 29:35
  Speaker 2: gets it, she will never mention it.
• 29:37
  Speaker 3: Yeah, I mean, I don't know. I feel like Mary
• 29:40
  Speaker 3: would be bringing it up.
• 29:42
  Speaker 5: Yeah, honestly, that gets very librarian to bring up your
• 29:45
  Speaker 5: master's degree. So the difference between film world and library world,
• 29:49
  Speaker 5: I think in terms of graduate studies.
• 29:51
  Speaker 2: As someone with again a master's degree in screenwriting from
• 29:55
  Speaker 2: Boston University, I would never mention my master's degree.
• 29:59
  Speaker 5: So master's de grace from the University of her An
• 30:01
  Speaker 5: Island and I'm load, I'm proud about.
• 30:02
  Speaker 3: It, and I uh am not in debt smart, very smart.
• 30:11
  Speaker 4: Okay.
• 30:11
  Speaker 2: So meanwhile, Derek and Leo are at Mary's place setting
• 30:17
  Speaker 2: up a second birthday party for her. This one's a
• 30:20
  Speaker 2: surprise party, and she comes home and they're like surprise,
• 30:24
  Speaker 2: But she is not as much of a party girl anymore.
• 30:28
  Speaker 2: She is now more of a library girl. So she
• 30:31
  Speaker 2: tries to break up the party before Judy arrives. But
• 30:35
  Speaker 2: Judy shows up and she's like, I knew it, You're
• 30:38
  Speaker 2: a frivolous party girl. There's a male stripper who's dancing
• 30:43
  Speaker 2: all over Mary while she's begging Judy for her library
• 30:47
  Speaker 2: job back.
• 30:49
  Speaker 3: It's a very chaotic and just movie like they're it
• 30:52
  Speaker 3: felt like they were like, oh my god, we all
• 30:54
  Speaker 3: they have one day left to shoot. I guess we're
• 30:56
  Speaker 3: just gonna have to do everything that's left in the movie.
• 30:59
  Speaker 3: Everything just kind of happens. It feels very rushed. Yeah,
• 31:02
  Speaker 3: I kind of love it, like it's just yeah, very frenetic.
• 31:06
  Speaker 6: Yes. Yes.
• 31:07
  Speaker 2: And then Mary's friends come to her defense and they're like,
• 31:10
  Speaker 2: she helped organize my records, she helped me research how
• 31:14
  Speaker 2: to become a teacher. And Judy is like, damn, okay,
• 31:18
  Speaker 2: maybe you are a library girl. And she gives Mary
• 31:21
  Speaker 2: her job back, and everyone celebrates and dances and parties because.
• 31:27
  Speaker 6: You can do both. You can.
• 31:30
  Speaker 3: You can the end, let's take a quick break and
• 31:34
  Speaker 3: then we'll come back and throw a party in the library.
• 31:38
  Speaker 6: Who and we're back.
• 31:50
  Speaker 3: What feels right? I mean, I sort of want to
• 31:53
  Speaker 3: start with what doesn't work about this movie, so we
• 31:57
  Speaker 3: can talk more about libraries and bimbos and stuff that does.
• 32:04
  Speaker 3: I think that, like, okay, so obviously there's a lot
• 32:09
  Speaker 3: of racial insensitivity in this movie that comes from our
• 32:13
  Speaker 3: protagonists who were supposed to love. Yeah, I think, like,
• 32:17
  Speaker 3: so this is a two white writers. There is this
• 32:21
  Speaker 3: co writer, Harry Burkmeyer, Daisy von Schirler Mayer is both
• 32:26
  Speaker 3: the writer and the director. So this is coming from
• 32:28
  Speaker 3: a white perspective. And I would be curious if she
• 32:35
  Speaker 3: spoke with anyone of a Lebanese background or just a
• 32:41
  Speaker 3: non white background at all when building out this story,
• 32:43
  Speaker 3: because I think that the character of Mustapha is thoughtful.
• 32:48
  Speaker 3: Asterisk for nineteen ninety five, right, which was mentioned when
• 32:54
  Speaker 3: this movie first came out, And there's a quote from
• 32:57
  Speaker 3: Daisy von Schurlermeyer. I'm just gonna say Dave Meyer because
• 33:00
  Speaker 3: that's what she uses now, but that people were complimenting
• 33:05
  Speaker 3: her her on like oh, you're your movie is so diverse,
• 33:10
  Speaker 3: and she says, no, that's the world. You don't represent
• 33:13
  Speaker 3: the world in your stuff. Why is your world so segregated?
• 33:17
  Speaker 3: I think the world is messed up and party Girl
• 33:19
  Speaker 3: is normal. So she's coming from like this comes from
• 33:22
  Speaker 3: an attempt to show New York as it is or
• 33:25
  Speaker 3: as it was when this movie is made, which I
• 33:27
  Speaker 3: think is like a very valiant and cool thing to do.
• 33:31
  Speaker 3: But because our protagonist is aggressively white, you could say,
• 33:40
  Speaker 3: I feel like when she was doing these all this
• 33:42
  Speaker 3: culturally insensitive stuff, she doesn't learn from it and it's
• 33:45
  Speaker 3: played for laughs, and so it just sucks like it
• 33:49
  Speaker 3: just yeah, there's.
• 33:49
  Speaker 5: Just no if she had to reckon with that at
• 33:52
  Speaker 5: some point in the movie, it would be very different.
• 33:53
  Speaker 5: Because I know, I'm like an extremely white presenting woman,
• 33:57
  Speaker 5: but my father is Filipino, and so I think there
• 34:00
  Speaker 5: it's a pretty realistic actually to like feel like you're
• 34:02
  Speaker 5: honoring someone close to you their culture and to do
• 34:06
  Speaker 5: it in a completely misguided way. But obviously if you
• 34:09
  Speaker 5: present that and then never like reckon with it, then
• 34:13
  Speaker 5: all the wrong lessons are being learned.
• 34:15
  Speaker 3: It's interest because I feel like the potential, Like I
• 34:19
  Speaker 3: don't know like a lot of things, and I know
• 34:21
  Speaker 3: that this was like a movie very much made like
• 34:24
  Speaker 3: Run and Gun style, but like it felt like there
• 34:27
  Speaker 3: was a lot left on the table with Mustapha's character
• 34:30
  Speaker 3: in general, because I really liked the like the story
• 34:33
  Speaker 3: we get with him. You know so much more about
• 34:36
  Speaker 3: him than you know about most people of color in
• 34:39
  Speaker 3: movies in nineteen ninety five, which is depressing, but like
• 34:43
  Speaker 3: you know, he is like a very sweet person, like
• 34:46
  Speaker 3: he wants to be a teacher. He has this ambition
• 34:48
  Speaker 3: that exists outside of our protagonist, which again rare, but like,
• 34:53
  Speaker 3: because Mary does not learn anything about her own cultural insensitivity,
• 34:58
  Speaker 3: it's like hard to her root for that relationship for
• 35:02
  Speaker 3: Mustafa because you're like, that sucks for him.
• 35:05
  Speaker 2: Yeah, yeah, because so much of what she is doing
• 35:08
  Speaker 2: is that white people sing of wearing other people's cultures
• 35:13
  Speaker 2: as a costume. Because we see again that scene where
• 35:18
  Speaker 2: she has like developed a crush on Mustafa and she
• 35:20
  Speaker 2: goes home and does that like bizarro like feels like
• 35:23
  Speaker 2: maybe she's mimicking belly dancing or more likely mimicking other
• 35:29
  Speaker 2: caricatures of Arabs that she has a copy of a
• 35:34
  Speaker 2: copy of a comedy, Yeah, precisely. And then there's the
• 35:38
  Speaker 2: part where she and Mustafa are supposed to go on
• 35:41
  Speaker 2: a date. She completely blows him off. She shows up
• 35:44
  Speaker 2: at his falafel cart as if nothing has happened. He's
• 35:47
  Speaker 2: rightfully upset and says something like, you seem to misunderstand
• 35:51
  Speaker 2: what's going on here, and it feels like you've you know,
• 35:54
  Speaker 2: you met a vendor who speaks funny English, and for you,
• 35:57
  Speaker 2: it's a holiday travel without buying a plane ticket, but
• 36:00
  Speaker 2: I can't agree with this, like can you go? And
• 36:04
  Speaker 2: she completely shrugs this off. She does not apologize, she
• 36:07
  Speaker 2: does not acknowledge her shitty, white privileged behavior. There's that
• 36:12
  Speaker 2: part where he tells her that he was a teacher
• 36:15
  Speaker 2: back in Lebanon but that he has like struggled to
• 36:18
  Speaker 2: become a teacher here, and she's super dismissive about it.
• 36:22
  Speaker 2: She's just like, well, why don't you just become a
• 36:24
  Speaker 2: teacher in America? Like what are you doing with a
• 36:28
  Speaker 2: falafful cart. She's also like pretty classist in the way
• 36:30
  Speaker 2: that she talks about doing any kind of like service jobs.
• 36:34
  Speaker 2: She's like, I am not a waitress. I will never
• 36:36
  Speaker 2: be a waitress.
• 36:38
  Speaker 3: Which I also feel like that I interpreted that as
• 36:41
  Speaker 3: like her coping, like because she is. I don't know,
• 36:44
  Speaker 3: there is like this Hollygo lightly quality to her where
• 36:48
  Speaker 3: she wants. She like has no money herself, but she
• 36:51
  Speaker 3: wants to appear wealthy, and so I feel like it's
• 36:55
  Speaker 3: like she I don't know, maybe I'm giving the character
• 36:57
  Speaker 3: too much credit, but it's not like she's above any
• 37:00
  Speaker 3: working class job, like she she needs work. It's like
• 37:05
  Speaker 3: she can't admit that to herself. Yes, for sure. So
• 37:08
  Speaker 3: I felt like a lot of her classes stuff felt
• 37:11
  Speaker 3: coping coded to me. I guess yeah. But the way
• 37:15
  Speaker 3: that she treats Mustava, I just I get it. Like
• 37:17
  Speaker 3: her character is supposed to be like careless and lost,
• 37:21
  Speaker 3: and like then she learns the Dewey decimal system and
• 37:24
  Speaker 3: that somehow solves everything whatever. But like I was repeatedly
• 37:29
  Speaker 3: bumped by, like you said, Caitlin, like that speech that
• 37:32
  Speaker 3: Mustapha brings, like he's very clear about like why he
• 37:36
  Speaker 3: is not okay with how she's treating him. He has
• 37:40
  Speaker 3: a detailed backstory, like it isn't as if the writers
• 37:44
  Speaker 3: are not thinking about him. They've like built a very sympathetic, cool,
• 37:49
  Speaker 3: unique character, So why is he treated so badly? Like
• 37:54
  Speaker 3: it's not played for laughs that he's treated badly. It
• 37:56
  Speaker 3: kind of just like happens. And there isn't like quite
• 38:00
  Speaker 3: the resolution or movement on Mary's part.
• 38:03
  Speaker 5: So it's yeah, yeah, and I can't even tell how
• 38:06
  Speaker 5: we're how they're kind of hoping we're gonna feel about
• 38:08
  Speaker 5: it either, because right, I mean I certainly know, like
• 38:11
  Speaker 5: when she has her like Arabian Night's birthday party or whatever,
• 38:15
  Speaker 5: and she's like tokenies her boyfriend in his uniform and
• 38:18
  Speaker 5: is saying, it's funny, it'll be funny if you, you know,
• 38:20
  Speaker 5: build your full offel. Yeah, it just comes across as
• 38:23
  Speaker 5: so wild and I'm guessing maybe it's just supposed to
• 38:26
  Speaker 5: represent her kind of bottoming out, but it's feel terrible
• 38:30
  Speaker 5: for Mufasa that it never comes around later on.
• 38:33
  Speaker 3: Yeah, I've just you're just like and then he like
• 38:37
  Speaker 3: sticks up for her towards the end, because that's what
• 38:39
  Speaker 3: needs to happen at the end of the movie. I
• 38:41
  Speaker 3: don't know, I just I've I've it felt like there
• 38:44
  Speaker 3: should have been a victory for Mustafa in the context
• 38:50
  Speaker 3: of this relationship where we see him stand up for himself.
• 38:53
  Speaker 3: It just kind of seems like everything that resolves seems
• 38:57
  Speaker 3: to happen in a way that we don't see or
• 38:59
  Speaker 3: is it kind of like YadA YadA, when I think
• 39:02
  Speaker 3: it's like very within the you know, ability of this
• 39:05
  Speaker 3: movie to like have those conversations with these characters, like
• 39:10
  Speaker 3: this movie can have uncomfortable conversations, and I just felt
• 39:14
  Speaker 3: like Mustapha kind of got left by the way side. Yeah,
• 39:20
  Speaker 3: in this in this way that feels like really gross
• 39:23
  Speaker 3: because we know this character, we love this character, but
• 39:27
  Speaker 3: like you're saying, Liz, like I am so unclear on
• 39:30
  Speaker 3: because white cultural insensitivity is so prevalent then and now
• 39:35
  Speaker 3: that it's like this is I feel like that kind
• 39:38
  Speaker 3: of insensitivity. This is like the tip of the iceberg
• 39:41
  Speaker 3: in the nineties. So it's like hard to watch in
• 39:44
  Speaker 3: twenty twenty five and really like understand what we're supposed
• 39:48
  Speaker 3: to be, Like, are we supposed to be offended and
• 39:52
  Speaker 3: embarrassed and upset with her in nineteen ninety five? I
• 39:55
  Speaker 3: genuinely don't know.
• 39:56
  Speaker 2: Yeah, the big problem here, as we've said, is that
• 39:59
  Speaker 2: things were resolve narratively, but we don't see any effort
• 40:03
  Speaker 2: on the part of the white character to unlearn her
• 40:07
  Speaker 2: racism or to hold herself accountable for it and acknowledge
• 40:12
  Speaker 2: it and apologize for it. Like, we see none of that.
• 40:14
  Speaker 2: It's just that they've made up. They've kissed and made up,
• 40:17
  Speaker 2: and it's nice. A very similar thing happens with what
• 40:20
  Speaker 2: appears to be commentary on cultural appropriation with the white
• 40:25
  Speaker 2: full Awful vendors who have a food cart across the
• 40:28
  Speaker 2: street from Mustaphas, and you can imagine that like their
• 40:35
  Speaker 2: food is not very good or authentic, but the white
• 40:40
  Speaker 2: people in the neighborhood are lining up for the white
• 40:44
  Speaker 2: people full afful that they put toothpicks in and stuff
• 40:47
  Speaker 2: like that, And I feel like Mary always going to
• 40:51
  Speaker 2: Mustafa's cart and not the like gentrification falafful cart is
• 40:56
  Speaker 2: supposed to be shorthand for Mary's cool and she can
• 41:00
  Speaker 2: hang and that's why it's quote unquote okay for her
• 41:04
  Speaker 2: to then turn around and throw like cultural appropriation the
• 41:09
  Speaker 2: party at the end of the movie. But anyway, so
• 41:12
  Speaker 2: throughout the entire movie, it's Mustafa resenting that these white
• 41:17
  Speaker 2: food vendors are making his culture's food and doing it
• 41:23
  Speaker 2: wrong and it's way more popular, like their business is
• 41:27
  Speaker 2: way more successful than his.
• 41:28
  Speaker 3: Which is like good commentary. So it's exactly yeah again,
• 41:32
  Speaker 3: so you're like this movie is able to engage with
• 41:34
  Speaker 3: these issues. But then there's like a clear point with
• 41:37
  Speaker 3: Mary's character where they just stop for sure.
• 41:40
  Speaker 2: And then at the end of the movie this magically
• 41:43
  Speaker 2: resolves itself where suddenly no one's going to the white
• 41:47
  Speaker 2: people full awful cart and it's no longer popular and
• 41:50
  Speaker 2: everyone is instead lining up at Mustafa's food cart. But
• 41:53
  Speaker 2: we don't know what changed or why it's just this
• 41:57
  Speaker 2: sort of magical resolution that happens without again anyone learning
• 42:01
  Speaker 2: anything or.
• 42:02
  Speaker 3: Yeah, it does feel like sort of like oh no,
• 42:04
  Speaker 3: the movie has to end, like.
• 42:07
  Speaker 5: Yeah, and it's like a short movie. It feels like
• 42:09
  Speaker 5: there's like a cutting room floor full of scenes that
• 42:13
  Speaker 5: maybe want to filled some of this in.
• 42:15
  Speaker 3: I mean also just like one hundred and fifty thousand dollars.
• 42:17
  Speaker 3: They may have just been like we can afford to
• 42:19
  Speaker 3: shoot for ten days, and whatever we get on those
• 42:22
  Speaker 3: ten days ends up beating the movie. But like I yeah,
• 42:26
  Speaker 3: I again, it's like I'm glad that that wasn't dropped,
• 42:30
  Speaker 3: but like you're saying, Caitlin, it was very just like
• 42:34
  Speaker 3: happy ending in a way that like doesn't engage with
• 42:38
  Speaker 3: the clear commentary that that conflict was introduced with. So
• 42:44
  Speaker 3: it's like yet another thing that it's like it's set
• 42:47
  Speaker 3: up in a way that you're like, oh, this could
• 42:49
  Speaker 3: be really interesting, but then it's either like dropped, forgotten about,
• 42:55
  Speaker 3: or just like tied up in a very weird neat
• 42:59
  Speaker 3: bow and just like yeah, going back to the relationship
• 43:04
  Speaker 3: with Mary Mustafa, because it seems like whatever these conversations,
• 43:09
  Speaker 3: well whatever the resolution with their relationship happens mostly off screen.
• 43:13
  Speaker 3: You do sort of like leave with the impression that
• 43:17
  Speaker 3: and I think that this is like again, another common
• 43:20
  Speaker 3: thing that this movie should be commenting on instead of
• 43:23
  Speaker 3: just doing, is like she doesn't make any movement on
• 43:27
  Speaker 3: her cultural insensitivity or covert racism or overt racism. So
• 43:33
  Speaker 3: if at the end, if Mustapha is choosing to be
• 43:35
  Speaker 3: with her, like, what choice do we have but to
• 43:37
  Speaker 3: think like, okay, so he's just compartmentalized that and said
• 43:41
  Speaker 3: I accept her like I will not demand more of
• 43:46
  Speaker 3: my partner, which is like a very like he deserves better,
• 43:52
  Speaker 3: he deserves yea better.
• 43:56
  Speaker 2: I also want to talk about the black characters in
• 43:59
  Speaker 2: the movie, who are very much either secondary or tertiary
• 44:04
  Speaker 2: characters whose interior lives we know nothing about. The few
• 44:08
  Speaker 2: who we learn by name, Each one has some thing
• 44:13
  Speaker 2: that is not handled well. Starting with Wanda. She is
• 44:19
  Speaker 2: the library clerk who Mary works with, and we see
• 44:24
  Speaker 2: her now and then we don't really get much of
• 44:27
  Speaker 2: a sense of her and Mary's working relationship. Then there's
• 44:32
  Speaker 2: a scene toward the end where Mary grabs Wanda by
• 44:36
  Speaker 2: the scruff of her neck and like slams her into
• 44:38
  Speaker 2: a bookcase and says something like, you're gonna help me, bitch.
• 44:42
  Speaker 2: Cut to Mary is making Wanda and some of her
• 44:46
  Speaker 2: other colleagues like research grad school for her, So it's
• 44:50
  Speaker 2: just like we know nothing about this character. And then
• 44:52
  Speaker 2: we see like Mary being violent and aggressive towards her,
• 44:56
  Speaker 2: so that's not great we have. This feels like another
• 45:02
  Speaker 2: example of Mary temporarily adopting a culture that she doesn't
• 45:07
  Speaker 2: belong to to seem like trendy or whatever. But we
• 45:12
  Speaker 2: meet this character when Mary goes to Renee's nightclub. Natasha
• 45:18
  Speaker 2: is black and queer, and Mary gets up and sort
• 45:21
  Speaker 2: of like dances with or next to Natasha, but it's
• 45:25
  Speaker 2: mostly just Mary's standing there as Natasha is voguing, and
• 45:31
  Speaker 2: once again it's just like Mary, like ballroom culture is
• 45:35
  Speaker 2: not yours, Like what this is not for you?
• 45:38
  Speaker 6: What are we doing here?
• 45:40
  Speaker 2: But that's also just like a thirty second scene, and
• 45:43
  Speaker 2: then we never see Natasha again. Then there's Howard, who
• 45:48
  Speaker 2: is a librarian who we also don't see much of
• 45:51
  Speaker 2: until the scene at the end when Mary is trying
• 45:55
  Speaker 2: to figure out how to go to grad school. We
• 45:58
  Speaker 2: learn a little bit about how Howard feels regarding like
• 46:02
  Speaker 2: libraries and academia and stuff like that, but it's a
• 46:06
  Speaker 2: very quick scene. We don't get much else from Howard.
• 46:11
  Speaker 2: And then there's Venus, the dancer at Rene's club who
• 46:15
  Speaker 2: vibes with Leo. Again, we don't learn much about her,
• 46:19
  Speaker 2: but there is this random beef between her and Mary
• 46:24
  Speaker 2: at the party scene toward the end, where Venus says
• 46:29
  Speaker 2: to Mary like, could you move your cigarette is bothering me?
• 46:34
  Speaker 2: And Mary replies very antagonistically, like get a last name
• 46:38
  Speaker 2: and then we'll talk. And it's just like, what is
• 46:41
  Speaker 2: this random? Like do you even know each other? Like
• 46:43
  Speaker 2: why are you being so antagonistic toward that?
• 46:46
  Speaker 3: I was like, this feels deleted, scene coded or just
• 46:49
  Speaker 3: straight up like bad. Improbably it was weird, weird, weird. Yeah,
• 46:53
  Speaker 3: I think that like that is like a consistent thing
• 46:57
  Speaker 3: throughout this movie where they're trying to capture this very
• 47:02
  Speaker 3: diverse party scene that existed at the time in the
• 47:06
  Speaker 3: locations where that was happening, but they are not giving
• 47:10
  Speaker 3: focus to the characters that make those parties what they were.
• 47:15
  Speaker 3: So it's like it feels like you get a very
• 47:18
  Speaker 3: surface look at New York queer culture, at ballroom culture
• 47:23
  Speaker 3: at all, of these scenes that existed at the time,
• 47:25
  Speaker 3: but you really just see them in a brief flash
• 47:28
  Speaker 3: in a way that makes Mary seem out of place,
• 47:32
  Speaker 3: and the characters, particularly the black characters, seem very like
• 47:38
  Speaker 3: there and gone. And again it's like, even with the
• 47:42
  Speaker 3: way that they had to make this, like why not
• 47:45
  Speaker 3: have a full character. If you want to have like
• 47:49
  Speaker 3: show this party scene, if you want to have ballroom
• 47:53
  Speaker 3: within the movie, then give us a character, give us
• 47:56
  Speaker 3: two characters, even although you know two is usually too much,
• 48:01
  Speaker 3: too much to us. Yes, but yeah, I think particularly
• 48:04
  Speaker 3: with black characters, it started to feel like it was
• 48:08
  Speaker 3: a repeating thing. And again, this movie was like praise
• 48:12
  Speaker 3: for its diversity at the time, and unfortunately probably it
• 48:16
  Speaker 3: did look more diverse than most movies at the time.
• 48:19
  Speaker 5: Well it structured funny too, because like similar to m stuff,
• 48:22
  Speaker 5: I think like the first impressions you get at these characters,
• 48:24
  Speaker 5: it's exciting, like you see black, queer people. Right from
• 48:27
  Speaker 5: the beginning of the movie. You see two black librarians
• 48:31
  Speaker 5: and a career that's very very white, and so I'm
• 48:35
  Speaker 5: inclined to say, yay, I'm excited to dig into this more.
• 48:38
  Speaker 5: And then nothing happens with them, yeah, or poor things
• 48:41
  Speaker 5: happen with them.
• 48:42
  Speaker 2: Yeah, there's the facade of diversity because you see black characters,
• 48:46
  Speaker 2: you see queer characters, you see immigrant characters, you see
• 48:50
  Speaker 2: a Latine character. With Leo, who is played by Ghirmo Diaz.
• 48:55
  Speaker 3: He's been on every TV show on the face of
• 48:58
  Speaker 3: the planet. His IMDBA is Wild.
• 49:01
  Speaker 2: Weeds, Girls, Law and Order, Scandal.
• 49:05
  Speaker 3: Like, etc. Every TV show that's all of them.
• 49:08
  Speaker 5: That's the best kind of career I think, to have
• 49:11
  Speaker 5: just to be everywhere.
• 49:12
  Speaker 3: It is pretty cool.
• 49:13
  Speaker 2: But yeah, there's what appears to be a diverse cast,
• 49:17
  Speaker 2: but the inclusion and characterization of many of those characters
• 49:20
  Speaker 2: isn't particularly meaningful or thoughtful.
• 49:24
  Speaker 3: The cultural insensitivity towards Mustafa is the most egregious because
• 49:30
  Speaker 3: it seems like their heart is maybe not in the
• 49:34
  Speaker 3: right place. With how Mary's characterized, it does feel like,
• 49:38
  Speaker 3: you know, in terms of like, I don't know, there
• 49:41
  Speaker 3: are moments where it's like this movie's biting off more
• 49:43
  Speaker 3: than it can chew. If straight white woman has to
• 49:46
  Speaker 3: be at the center of it, I want to say,
• 49:49
  Speaker 3: it does seem like the director's heart is in the
• 49:52
  Speaker 3: right place. She wants to show a wide swath of
• 49:56
  Speaker 3: New York culture, but like she kind of can't with
• 50:00
  Speaker 3: the story she's created. It's a bummer. And and also
• 50:04
  Speaker 3: like you see so with with with other characters, you're like, oh,
• 50:09
  Speaker 3: this would this is this is a whole other movie.
• 50:11
  Speaker 3: You know, like there are certain stops at certain clubs
• 50:14
  Speaker 3: where you're like, let's stay I wish we could stay here,
• 50:16
  Speaker 3: could we get you know?
• 50:17
  Speaker 5: Yeah, she knows so many interesting people. Yeah, but they're
• 50:20
  Speaker 5: kind of just there to make her interesting and you know,
• 50:22
  Speaker 5: let's be bad.
• 50:23
  Speaker 2: Yeah right, Yeah, they're there to service her character more
• 50:26
  Speaker 2: than be characters themselves.
• 50:29
  Speaker 3: In terms of stuff I like about the movie, I
• 50:33
  Speaker 3: do like, Okay, so we have a messy, unlikable New
• 50:39
  Speaker 3: York girl protagonist. I'm a sucker for that. I like that.
• 50:43
  Speaker 3: I mean, she's, amongst other things, very twenty three years old.
• 50:49
  Speaker 3: She doesn't know what she wants to do. She's in
• 50:52
  Speaker 3: denial and defensive about just about everything. She has anxiety
• 50:59
  Speaker 3: about being around older women, which is a very interesting
• 51:03
  Speaker 3: dynamic that I don't think that I like understood about
• 51:08
  Speaker 3: myself when I was in my early twenties, where like
• 51:11
  Speaker 3: a lot of older women to her are cautionary tales
• 51:14
  Speaker 3: rather than people to talk to, and so I just
• 51:17
  Speaker 3: like part of what I think her dynamic with Judy
• 51:19
  Speaker 3: is very interesting that I think is like a strength
• 51:24
  Speaker 3: of the movie where they just do not get each other.
• 51:28
  Speaker 3: They're projecting like nobody's business at each other, and I
• 51:34
  Speaker 3: don't know, I think it's like a cool even though
• 51:37
  Speaker 3: both of these characters are pretty broad in the way
• 51:41
  Speaker 3: that they are painted, like everyone in this movie is
• 51:43
  Speaker 3: very broad, but there was more nuance in their relationship
• 51:47
  Speaker 3: than I was expecting, honestly, and I appreciated it.
• 51:51
  Speaker 2: This is not really a criticism, but I was just
• 51:52
  Speaker 2: curious about how Judy is Mary's godmother because Judy and
• 52:00
  Speaker 2: Mary's mother were friends once upon a time. We also
• 52:03
  Speaker 2: learned that Mary's mother passed away.
• 52:05
  Speaker 3: Right, which is like an element of Mary's character that
• 52:08
  Speaker 3: you goes kind of under explored, but you're like, oh,
• 52:10
  Speaker 3: she also like lost a parent very very young, and
• 52:13
  Speaker 3: like Matt, can have no other family that can lead
• 52:16
  Speaker 3: to party girl tendencies and like looking for community outside
• 52:19
  Speaker 3: of family in YadA YadA.
• 52:21
  Speaker 2: But the thing I was curious about is like Judy
• 52:24
  Speaker 2: does not seem to respect Mary's mother at all, so like,
• 52:28
  Speaker 2: why were they friends? And why did she agree to
• 52:30
  Speaker 2: be Mary's godmother?
• 52:31
  Speaker 3: I was so curious if that was a seed that
• 52:34
  Speaker 3: was cut or something, because I do again, it's like
• 52:37
  Speaker 3: that's a weirdly specific detail that like completely informs how
• 52:43
  Speaker 3: she treats like she's she's like getting out all of
• 52:46
  Speaker 3: her anger at this woman who is no longer alive
• 52:49
  Speaker 3: by tormenting her daughter while also feeling responsible for her.
• 52:53
  Speaker 3: And like that's a really complicated dynamic.
• 52:58
  Speaker 5: Yeah, there seems to be something heavy maybe that happened there.
• 53:01
  Speaker 5: I mean that we know that like this one died
• 53:04
  Speaker 5: in a dui. Yeah, so maybe there's there is some
• 53:07
  Speaker 5: kind of grief that she's trying to process and and
• 53:10
  Speaker 5: that's the reason why she's sticking around with Mary book.
• 53:13
  Speaker 5: But again we're we're we're Philly and Blanks.
• 53:16
  Speaker 3: Yeah, it's and it's like a very complicated specific dynamic
• 53:20
  Speaker 3: to be Philly Good Blanks for as an audience, because
• 53:24
  Speaker 3: it did. I think, like similar to Mustafa, we get
• 53:27
  Speaker 3: way more detailed than I would have expected for Mary's mother,
• 53:32
  Speaker 3: where you know, most movies you sort of get like
• 53:35
  Speaker 3: Disney Prince, like you know, they're like she died when
• 53:37
  Speaker 3: she was young, and that's why she's weird. Now, Like
• 53:41
  Speaker 3: that's the story of so many young women in media,
• 53:45
  Speaker 3: but this is, like, we know, it's a very specific,
• 53:47
  Speaker 3: tragic circumstance, and Judy is taking it out. I mean,
• 53:55
  Speaker 3: I don't know, poor Jewe. I feel for Judy and
• 53:59
  Speaker 3: also can be so judgmental and cruel and like she's
• 54:03
  Speaker 3: really she's.
• 54:04
  Speaker 5: Like painted her picture of Mary and it's it's hard
• 54:07
  Speaker 5: to see her getting out out of it.
• 54:09
  Speaker 2: Yeah, And that's and you know, that provides for a
• 54:12
  Speaker 2: nice arc at the end where Judy kind of finally
• 54:15
  Speaker 2: loosens up and she's like, yeah.
• 54:19
  Speaker 3: My god, daughter.
• 54:20
  Speaker 2: She's a party girl, but she's also a library girl,
• 54:23
  Speaker 2: and the two things can be true at once, and
• 54:26
  Speaker 2: so here's your job back.
• 54:27
  Speaker 5: Yeah, And we do get like an element of Judy
• 54:30
  Speaker 5: seeming like she like regrets some kind of loss of
• 54:33
  Speaker 5: her youth or whatever in that scene where they meet
• 54:34
  Speaker 5: up on the bench and she's having the hot flash,
• 54:36
  Speaker 5: because she does kind of imagine like, oh, I know
• 54:39
  Speaker 5: what your night was like so care free and sow
• 54:41
  Speaker 5: this and so that, And I do wonder if there's
• 54:43
  Speaker 5: like a longing there in addition to her sort of
• 54:46
  Speaker 5: dismissal of that lifestyle, but.
• 54:49
  Speaker 2: She also says something like, you know, I know you
• 54:51
  Speaker 2: have so many friends, because at one point Judy like
• 54:54
  Speaker 2: extends an olive branch and says like, would you like
• 54:57
  Speaker 2: to have dinner with me? And I forget who else,
• 54:59
  Speaker 2: maybe it was like the librarians and clerics and stuff.
• 55:02
  Speaker 2: But Mary's just like, no, I'm going out, and Judy's like,
• 55:06
  Speaker 2: oh where, and She's like, I don't know yet. I
• 55:08
  Speaker 2: just know that I'm not going to dinner with you.
• 55:11
  Speaker 2: And so they're both dismissing each other and it you know,
• 55:15
  Speaker 2: there could be a generational component to it.
• 55:17
  Speaker 3: There could be just tell also very like they have
• 55:20
  Speaker 3: a very mother daughtery kind of antagonism about them too,
• 55:26
  Speaker 3: like yeah, I I'm glad you brought up the du
• 55:30
  Speaker 3: I think because it also ties in this movie. Another
• 55:32
  Speaker 3: thing that this movie like tackles with specificity but also
• 55:36
  Speaker 3: dismissal at the same time, which is like addiction and alcoholism,
• 55:39
  Speaker 3: where if I'm putting myself in Judy's head, I understand,
• 55:45
  Speaker 3: I mean, it doesn't justify the cruelty and the judgment
• 55:47
  Speaker 3: which also does just objectively does not help. But like
• 55:52
  Speaker 3: her anxiety at seeing her friend's daughter who died in
• 55:56
  Speaker 3: a dui, you know, going out to parties all the time.
• 56:00
  Speaker 3: I understand that, like core, Like, it's not this is
• 56:03
  Speaker 3: not a character who's written in love, Like she's just
• 56:06
  Speaker 3: jealous and she hates young women without context and blah
• 56:10
  Speaker 3: blah blah. It's like we know the reasons and she
• 56:14
  Speaker 3: is like not able to quite see it or acknowledge
• 56:17
  Speaker 3: it or I don't know. It's like this combination of things.
• 56:20
  Speaker 3: And then you have the is it Renee Renee at
• 56:23
  Speaker 3: the club owner? Yeah, And and the way her story
• 56:26
  Speaker 3: is treated sort of undercuts that.
• 56:28
  Speaker 5: It's just I don't know, Yeah, it almost seems like
• 56:31
  Speaker 5: they were setting up these like two maternal figures in
• 56:34
  Speaker 5: a way, and one of them is sort of on
• 56:36
  Speaker 5: the path that her mom was and the other one isn't.
• 56:38
  Speaker 5: But then again, we don't really get to know her
• 56:41
  Speaker 5: name other than small bites, right, So it's.
• 56:45
  Speaker 3: Just another question mark don't love it moment.
• 56:48
  Speaker 2: And again, just to briefly go through those beats with
• 56:53
  Speaker 2: Renee and just reiterate that she's someone who is dealing
• 56:58
  Speaker 2: with an alcohol addiction, and that is played as a
• 57:02
  Speaker 2: comedic beat almost every time. It's brought up where there's
• 57:05
  Speaker 2: like the whole misunderstanding in the library and Renee thinks
• 57:09
  Speaker 2: that Mary is there for an AA meeting, and so
• 57:12
  Speaker 2: she walks into the meeting with Renee and everyone there
• 57:16
  Speaker 2: is smoking cigarettes, and so Mary's coughing, even though we
• 57:19
  Speaker 2: also see her smoking cigarettes, so it seems like she's
• 57:22
  Speaker 2: a smoker, So like, why are you coughing?
• 57:24
  Speaker 3: I don't know, it's whatever it but and it's like
• 57:26
  Speaker 3: it's so like it's like pick a Lane is like
• 57:30
  Speaker 3: are you playing for laughs or not? I mean not
• 57:33
  Speaker 3: that I'm like just play it for laughs obviously, Like
• 57:35
  Speaker 3: that is an insensitive like that's whatever. Why so much
• 57:39
  Speaker 3: comedy age is poorly But it's so weird that it
• 57:41
  Speaker 3: happens that there is like one track in which there
• 57:45
  Speaker 3: is like an unusual amount of nuance and another track
• 57:48
  Speaker 3: where it's just the total opposite.
• 57:51
  Speaker 2: Right, Yeah, Because the way that scene culminates is everyone's
• 57:54
  Speaker 2: smoking a cigarette. It's causing Mary to cough a lot,
• 57:58
  Speaker 2: and then she says, I need a drink and then
• 58:00
  Speaker 2: she like runs out, and it's probably that what she
• 58:03
  Speaker 2: probably means is she needs a drink of water because
• 58:05
  Speaker 2: she's coughing. But the joke is, oh no, this room
• 58:10
  Speaker 2: full of people who were there for an AA meeting
• 58:13
  Speaker 2: thinks she's about to fall off the wagon and go
• 58:16
  Speaker 2: get a drink of alcohol for sure, for sure, Haha,
• 58:18
  Speaker 2: isn't that funny? And then later on at the Mary's
• 58:22
  Speaker 2: birthday party, like the surprise party, Renee is there and
• 58:26
  Speaker 2: she thinks that Mary's on drugs and she keeps being like,
• 58:29
  Speaker 2: oh no, what are you on? Oh no, you're hitting
• 58:31
  Speaker 2: rock bottom. Oh my god, and her concern for Mary
• 58:34
  Speaker 2: is once again played as a joke, because the whole
• 58:38
  Speaker 2: thing is like she's misunderstanding what's going on, and isn't
• 58:41
  Speaker 2: that funny. She's really overreacting. So the way all that
• 58:46
  Speaker 2: was handled was like really bizarre to me.
• 58:48
  Speaker 3: It is weird. I wanted to I don't know, like
• 58:52
  Speaker 3: the amount of So this is Daisy Byer's or Dais
• 58:56
  Speaker 3: Mayer's first movie. She directed it when she was twenty eight,
• 59:00
  Speaker 3: I think, which is offensive to me, but I did
• 59:06
  Speaker 3: want to say she I Once I learned more about
• 59:09
  Speaker 3: her background, I was like, oh this is I mean,
• 59:11
  Speaker 3: first of all, she was whatever, like yes, but like
• 59:16
  Speaker 3: a very particular kind of nepo baby that I think
• 59:18
  Speaker 3: helps you understand why she chose this story. So first
• 59:21
  Speaker 3: of all, she is like, you know, not not like
• 59:25
  Speaker 3: she is Mary, but like sounds like she probably has
• 59:28
  Speaker 3: experiences similar to Mary, where she is like had financial
• 59:34
  Speaker 3: worries but not really because her family was fine, did
• 59:37
  Speaker 3: run in these crowds, which is why she was able
• 59:40
  Speaker 3: to get access to so many iconic spaces for her
• 59:44
  Speaker 3: movies because she was calling in favors. But also that
• 59:47
  Speaker 3: she is in fact the daughter of kind of an
• 59:50
  Speaker 3: iconic party girl. She is the daughter of an actress
• 59:55
  Speaker 3: and comedian Sasha von Schuler who plays Judy, who plays Yes.
• 1:00:00
  Speaker 3: So it's like there is like a party girl legacy.
• 1:00:03
  Speaker 5: Oh Judy was the party girl. Yeah, I mean in
• 1:00:06
  Speaker 5: real life.
• 1:00:06
  Speaker 3: It's kind of cool where it's like Sascha von Schuler
• 1:00:09
  Speaker 3: was like a big time flapper and like art girl,
• 1:00:13
  Speaker 3: and I just I thought that was cool. It's like
• 1:00:15
  Speaker 3: that they're the first of all that they like collaborated.
• 1:00:19
  Speaker 3: You're like, I don't know, it's so rare to find
• 1:00:21
  Speaker 3: a Neppo baby story where you're like, you know what,
• 1:00:24
  Speaker 3: I'm okay with this. It's it's like when I see
• 1:00:27
  Speaker 3: Margaret Qualley, I'm just like, you know what, fine, I
• 1:00:30
  Speaker 3: like it. I like it. I like that sort of
• 1:00:34
  Speaker 3: generational thing. Other random stuff about this movie that make
• 1:00:39
  Speaker 3: it very nineteen ninety five. This is the first movie
• 1:00:41
  Speaker 3: that premiered on the internet, question mark yes, what Yes?
• 1:00:47
  Speaker 3: And that like who knows how much electricity it took
• 1:00:52
  Speaker 3: for that to happen.
• 1:00:54
  Speaker 2: They could only the transmission was limited to black and white,
• 1:00:57
  Speaker 2: so it wasn't even in color. Yeah, I read this
• 1:01:00
  Speaker 2: to I'm pulling from, of course, scholarly Journal Wikipedia.
• 1:01:03
  Speaker 6: Yeah.
• 1:01:03
  Speaker 4: The movie did.
• 1:01:04
  Speaker 2: Have a theatrical release, I believe, But yeah, it did.
• 1:01:08
  Speaker 3: Well well or made its money back, premiered at Sundance,
• 1:01:13
  Speaker 3: made its money back.
• 1:01:14
  Speaker 2: Yeah, but yeah, it had an Internet premiere and was
• 1:01:19
  Speaker 2: the first movie.
• 1:01:21
  Speaker 3: To do so, which is kind of cool. I don't know,
• 1:01:23
  Speaker 3: just everything about it is so nineties. Its strengths are
• 1:01:27
  Speaker 3: very nineties. It's weaknesses or very nineties. Its message while enduring.
• 1:01:34
  Speaker 3: I think it's very nineties because it's kind of like
• 1:01:36
  Speaker 3: girl powery feminism of like you can go to a
• 1:01:39
  Speaker 3: party and read a book, which is a lesson I like,
• 1:01:45
  Speaker 3: but very much a lesson of its.
• 1:01:46
  Speaker 2: Time, you know, and to get into the library of
• 1:01:50
  Speaker 2: it all. And Liz let's go to the library.
• 1:01:52
  Speaker 3: In foremost, Yeah, let's get into library and representation. There
• 1:01:55
  Speaker 3: is that like Judy's feminist monologue about well, she starts
• 1:02:01
  Speaker 3: out by berating and more or less slutshaming Mary. Judy's like,
• 1:02:08
  Speaker 3: don't fuck in my library. Quit behitting so stupidly in
• 1:02:11
  Speaker 3: you know, like diminishing your potential, and blah blah blah.
• 1:02:16
  Speaker 2: Then she says Melville Dewey hired women his librarianes because
• 1:02:20
  Speaker 2: he believed the job didn't require any intelligence. It was
• 1:02:24
  Speaker 2: a woman's job, quote unquote. That means it's underpaid and undervalued.
• 1:02:29
  Speaker 2: And then she goes on a rant about like literacy
• 1:02:32
  Speaker 2: rates and people watching movies instead of reading books and
• 1:02:35
  Speaker 2: how that's disgussting.
• 1:02:37
  Speaker 3: Which is a very generational vibes. Yea, but I liked it.
• 1:02:43
  Speaker 2: I liked it was fun monologue.
• 1:02:45
  Speaker 3: The last thing I wanted to say about Sasha von
• 1:02:46
  Speaker 3: Schuler is she was, you know, kind of objectified pretty
• 1:02:51
  Speaker 3: heavily in her early life, in her party girl days.
• 1:02:54
  Speaker 3: But in the eighties she got her masters in social
• 1:03:00
  Speaker 3: work and then worked for over ten years at an
• 1:03:03
  Speaker 3: AIDS treatment center in Greenwich Village. So we have just
• 1:03:08
  Speaker 3: like I don't know. I'm I'm I'm chalking it up
• 1:03:11
  Speaker 3: as good NEPO, good NEPO mother daughter collab.
• 1:03:17
  Speaker 2: But but Liz, tell us, what tell us your thoughts
• 1:03:19
  Speaker 2: on the representation of library librarians. Yeah, et cetera.
• 1:03:25
  Speaker 5: I think Judy toes the line of like stereotypical librarian
• 1:03:28
  Speaker 5: a little bit are like old school librarian, but not totally.
• 1:03:31
  Speaker 5: She never shushes anyone, which is revolutionary for that.
• 1:03:34
  Speaker 2: I was shocked because Mary storms in all the time,
• 1:03:38
  Speaker 2: screaming and no one ever says.
• 1:03:42
  Speaker 5: And you know, her ideas about TV and stuff. Everything
• 1:03:45
  Speaker 5: she says about Dewey and his added toward towards woman
• 1:03:48
  Speaker 5: is true and has like larger implications with like women
• 1:03:52
  Speaker 5: in librarianship. Even though it's like a female heavy field.
• 1:03:56
  Speaker 5: You know, there is a big pay gap between men
• 1:03:59
  Speaker 5: in the field and women in the field. I when
• 1:04:01
  Speaker 5: I think of Dewey and what he thought of women
• 1:04:04
  Speaker 5: in the library, I think of him as as unfortunately
• 1:04:07
  Speaker 5: starting the sexy librarian trope in a way because he
• 1:04:09
  Speaker 5: wanted to hire women, because he wants to look at
• 1:04:12
  Speaker 5: beautiful women while he worked. But libraries are really definitely
• 1:04:16
  Speaker 5: one of those feminized job that in that it's a
• 1:04:20
  Speaker 5: service job, in that it's a provider job. Everything Judy
• 1:04:23
  Speaker 5: feels about it is right. There's a level that we
• 1:04:26
  Speaker 5: want to like uplift the job past that, but also
• 1:04:29
  Speaker 5: I don't know, it's like wrapped up in its legacy
• 1:04:31
  Speaker 5: a little bit. Yeah, but you think she's a good
• 1:04:34
  Speaker 5: I think she's a pretty good character. That to me,
• 1:04:36
  Speaker 5: what I see when I when I was watching Party Girl,
• 1:04:39
  Speaker 5: with the librarian ship of it all, is something that
• 1:04:42
  Speaker 5: kind of minicked my path was that, like when you
• 1:04:44
  Speaker 5: become a librarian, it becomes like your entire thing, Like
• 1:04:48
  Speaker 5: I'm a librarian now, and it like infiltrates your life.
• 1:04:51
  Speaker 5: It's and it's hard to like separate being a librarian
• 1:04:53
  Speaker 5: from yourself from yourself. And I do think Judy is
• 1:04:56
  Speaker 5: stuck there a little bit. And I do wonder if
• 1:04:59
  Speaker 5: the sequel to Party Girl is Library Girl, when like
• 1:05:02
  Speaker 5: she's trying to reclaim some of that of her old
• 1:05:05
  Speaker 5: self that Mary's lost because she goes full librarian by
• 1:05:08
  Speaker 5: the end of the movie. She's like, no fun tights,
• 1:05:11
  Speaker 5: put the hair up, put the glasses.
• 1:05:13
  Speaker 2: On hair and a type on glasses.
• 1:05:15
  Speaker 5: Yeah, I'm a new person now. Yeah, And that feels
• 1:05:20
  Speaker 5: true true to the career as well.
• 1:05:23
  Speaker 3: Interesting, Yeah, I want I want more librarian movies and like,
• 1:05:28
  Speaker 3: are there okay, here's another not to put you on
• 1:05:30
  Speaker 3: the spot, but are there other movies that, like to
• 1:05:34
  Speaker 3: this degree, are in librarian cinematic canon? Like, are there
• 1:05:39
  Speaker 3: others that people are like, Oh, if you're a librarian,
• 1:05:42
  Speaker 3: you have seen this movie, whether you like it or not.
• 1:05:44
  Speaker 5: There's not a huge amount of librarian representation, and I
• 1:05:48
  Speaker 5: think that I think in some ways every library in
• 1:05:51
  Speaker 5: the librarian and media is like you love them and
• 1:05:54
  Speaker 5: you hate them because they're either like super kind of
• 1:05:58
  Speaker 5: a superhero.
• 1:05:59
  Speaker 6: You know.
• 1:06:00
  Speaker 5: I think of like Buffy or like Rachel Weissen The Mummy,
• 1:06:04
  Speaker 5: where we kind of hold them up here. But there's
• 1:06:06
  Speaker 5: a very different part of being a librarian, which I
• 1:06:08
  Speaker 5: do think they kind of do in Party Girl, where
• 1:06:10
  Speaker 5: it's it's not a it's just an everyday job. I mean, like,
• 1:06:14
  Speaker 5: it's a public building, You're going to clean up shit.
• 1:06:16
  Speaker 5: At some point, it's you, people scream at you. And
• 1:06:20
  Speaker 5: which is the face that you don't see in in
• 1:06:22
  Speaker 5: the movies as much so to me, I like part
• 1:06:25
  Speaker 5: of her for that reason. There's also a great Australian
• 1:06:28
  Speaker 5: show called The Library or Librarians. I think that, like
• 1:06:32
  Speaker 5: the very first scene of it is the library director
• 1:06:35
  Speaker 5: scraping like shit out of the drop box, and I
• 1:06:37
  Speaker 5: was like, wow, this is but you know, we also
• 1:06:43
  Speaker 5: love our little superhero librarians because well who doesn't lie.
• 1:06:48
  Speaker 5: I feel like their job is a little is a
• 1:06:50
  Speaker 5: little bit of a superhero job heroic.
• 1:06:52
  Speaker 1: Yeah.
• 1:06:52
  Speaker 3: Yeah, especially, I mean I want to see I don't know,
• 1:06:56
  Speaker 3: because there is a world and this is like where
• 1:06:59
  Speaker 3: I'm this isn't a criticism, this is just like wow,
• 1:07:02
  Speaker 3: there are so many different ways this that this story
• 1:07:05
  Speaker 3: could have gone, or like other fun library based stories
• 1:07:08
  Speaker 3: where I feel like this movie now would be like
• 1:07:11
  Speaker 3: basically just fighting against a library's closure by a fascist government.
• 1:07:16
  Speaker 2: Yeah, I have to like put on a big benefit
• 1:07:20
  Speaker 2: show to save the library.
• 1:07:22
  Speaker 5: She has to throw a party.
• 1:07:23
  Speaker 3: Yeah, you have to throw the like library rave or
• 1:07:26
  Speaker 3: whatever to save the library. But I was, I just
• 1:07:31
  Speaker 3: think it's funny. I mean, it's like I get I'm
• 1:07:33
  Speaker 3: sure that it like helps keep things like appropriately low
• 1:07:36
  Speaker 3: stakes in a way that it's like okay, we could
• 1:07:38
  Speaker 3: shoot that. But her main struggle as a library and
• 1:07:42
  Speaker 3: being learning the Dewey decimal system was very funny to
• 1:07:45
  Speaker 3: me of just like how both high and low stakes
• 1:07:49
  Speaker 3: it is at the same time.
• 1:07:50
  Speaker 5: Yeah, I do think that there's something too like her
• 1:07:55
  Speaker 5: learning this like organizational system is like how she's going
• 1:07:57
  Speaker 5: to put her a life in order, because I do
• 1:07:59
  Speaker 5: find sometimes that when outside life is like chafing me,
• 1:08:03
  Speaker 5: if I go to the nonfiction section and reorganize it,
• 1:08:05
  Speaker 5: I'm like, well, at least I can fix something. Yeah,
• 1:08:08
  Speaker 5: And so you know, librarian is maybe the perfect job
• 1:08:11
  Speaker 5: for Mary in this journey in that regard, and you
• 1:08:15
  Speaker 5: see little glimpses of it in her after her outside
• 1:08:18
  Speaker 5: life too, with like her like fashion organization and.
• 1:08:21
  Speaker 2: Her gen onto that right. I missed that the first
• 1:08:25
  Speaker 2: time I watched the movie, but on my second watch,
• 1:08:27
  Speaker 2: she gets frustrated with her friend Derek, who's like messing
• 1:08:32
  Speaker 2: up the order of her genes that she had very meticulously.
• 1:08:35
  Speaker 2: She's like, they're in order and he's like they're just
• 1:08:37
  Speaker 2: jeans and she's like, yeah, they're jeans and they're in order.
• 1:08:41
  Speaker 2: So she already like they planted that organizational skill in
• 1:08:45
  Speaker 2: her early on, and it was fun Parker Posey, So
• 1:08:51
  Speaker 2: this movie, you know, made less than a million dollars
• 1:08:53
  Speaker 2: at the box office when it came out.
• 1:08:54
  Speaker 4: But it sounds like.
• 1:08:55
  Speaker 3: Parker Posey's I like, this is like when is her.
• 1:08:59
  Speaker 3: I'm trying to figure out was this before? Was this
• 1:09:03
  Speaker 3: like firmly in the middle of her like art house
• 1:09:06
  Speaker 3: girl era, or was it like one of her because
• 1:09:09
  Speaker 3: she she'd already been dazed and confused? Okay, post dazed
• 1:09:14
  Speaker 3: and confused, Parker Posy got it.
• 1:09:17
  Speaker 2: Was this maybe one of her first like starring roles
• 1:09:19
  Speaker 2: because she has a baseball part in that movie.
• 1:09:20
  Speaker 6: Yeah?
• 1:09:21
  Speaker 2: Yeah, Anyway, it's become a cult classic. The point is
• 1:09:24
  Speaker 2: many people now are familiar with this movie and love it,
• 1:09:27
  Speaker 2: and people will approach her. Librarians will approach her who
• 1:09:31
  Speaker 2: are fans of this movie, and they tell her that
• 1:09:34
  Speaker 2: Party Girl made them want to be a librarian.
• 1:09:37
  Speaker 5: That's very cute.
• 1:09:38
  Speaker 3: That's so sweet. Definitely, that's really sweet. Yeah, And then
• 1:09:44
  Speaker 3: I mean, I feel like we don't even really need
• 1:09:46
  Speaker 3: to say this. Parker Posy iconic.
• 1:09:50
  Speaker 2: I'm wearing my Josie and the Pussycats shirt right now.
• 1:09:54
  Speaker 3: One of the movie ever, one of her best, along
• 1:09:57
  Speaker 3: with like any Christopher guest movie She's in net for sure,
• 1:10:02
  Speaker 3: like she's just so good. I don't really love the
• 1:10:06
  Speaker 3: White Lotus, but fun performance. Anyways, I always forget she's
• 1:10:10
  Speaker 3: in that she well she's just in one season.
• 1:10:12
  Speaker 5: Yeah, and the New War season.
• 1:10:14
  Speaker 3: Yeah. I don't know. Did anyone else have other stuff
• 1:10:16
  Speaker 3: to touch on for Party Girl?
• 1:10:19
  Speaker 2: My last thing is really quick. There's a part where
• 1:10:22
  Speaker 2: Judy and Wanda are training Mary on the Dewey decimal
• 1:10:25
  Speaker 2: system and they're shaming Mary for being dyslexic and being like,
• 1:10:30
  Speaker 2: you're so bad at learning this system. You have dyslex together,
• 1:10:35
  Speaker 2: like being really awful about.
• 1:10:37
  Speaker 3: It, which does feel also very nineties for sure, Like
• 1:10:41
  Speaker 3: I was like, casual ableism for learning disabilities feels very
• 1:10:46
  Speaker 3: nineties for.
• 1:10:47
  Speaker 2: Sure, very reflective of real life at the time, and
• 1:10:53
  Speaker 2: also still today. It's something that maybe someone could have challenged.
• 1:10:57
  Speaker 3: No one does.
• 1:10:58
  Speaker 2: It just goes unchallenged. And again that's also you know,
• 1:11:01
  Speaker 2: like things going unchallenged is also representative of real life.
• 1:11:05
  Speaker 2: But when it's a movie and you can like decide
• 1:11:09
  Speaker 2: to include something or not include something, you could just
• 1:11:13
  Speaker 2: have what a Howard walk by and be like, hey,
• 1:11:17
  Speaker 2: don't say that.
• 1:11:18
  Speaker 5: Yeah, Howard seems pretty cool, right, you know.
• 1:11:21
  Speaker 2: But he's also is he I forget what his whole
• 1:11:24
  Speaker 2: deal is. He either hates or likes public libraries.
• 1:11:29
  Speaker 5: He's My impression is that Howard is a public librarian.
• 1:11:33
  Speaker 5: He's the one who says to Mary that, like, it
• 1:11:36
  Speaker 5: doesn't matter where you go to school, like, just try
• 1:11:38
  Speaker 5: to save money and get done as quick as you can. Right,
• 1:11:40
  Speaker 5: So to him, I think he's he's definitely more of
• 1:11:43
  Speaker 5: the people's librarian, whereas like the collegiate librarian there, who's like, well,
• 1:11:47
  Speaker 5: first of all, you went to Columbia, right, you know,
• 1:11:50
  Speaker 5: she's representing the more elitist librarian for sure.
• 1:11:53
  Speaker 2: Yeah, And she's like, I hate living in a city.
• 1:11:56
  Speaker 2: It's yucky. I want to live in a small town
• 1:12:00
  Speaker 2: western Massachusetts or something.
• 1:12:01
  Speaker 3: And you're just like, well you should. It's much cheaper.
• 1:12:04
  Speaker 3: Like anytime someone's like I'm trapped and it's really I'm like,
• 1:12:08
  Speaker 3: get the fuck out, like you, there's no, it's really
• 1:12:12
  Speaker 3: expensive to live here.
• 1:12:13
  Speaker 2: Yes, yeah, but that's all I had. Yeah, anyone else?
• 1:12:17
  Speaker 5: Oh I don't think I have the Nathan else.
• 1:12:19
  Speaker 3: No, Yeah, yeah, that's all I got. This movie does
• 1:12:23
  Speaker 3: pass the Bechdel's hoast. We said that in the opening
• 1:12:26
  Speaker 3: of the episode. But but how does it fare on
• 1:12:31
  Speaker 3: the one true metric, the Bechdel Cast nipple scale.
• 1:12:34
  Speaker 2: Yes, where we rate the movie on a scale of
• 1:12:37
  Speaker 2: zero to five nipples based on how it fares examining
• 1:12:41
  Speaker 2: the movie through an intersectional feminist lens, I think maybe
• 1:12:47
  Speaker 2: like a three something like that. It has some some
• 1:12:52
  Speaker 2: very nineties elements to it, as far as the white
• 1:12:58
  Speaker 2: protagonists over racism, which.
• 1:13:02
  Speaker 3: Mostly played her laughs.
• 1:13:05
  Speaker 2: She does not make any movement on precisely other things
• 1:13:09
  Speaker 2: of that nature as we've talked about. But I do
• 1:13:12
  Speaker 2: appreciate that you do have like mediocre woman visibility, or
• 1:13:17
  Speaker 2: like woman who's figuring shit out visibility, and like not.
• 1:13:22
  Speaker 3: Entirely likable visibility.
• 1:13:25
  Speaker 2: Right, Like, she's kind of a fuck up in some regards,
• 1:13:29
  Speaker 2: and that is relatable. So you know, she we see
• 1:13:33
  Speaker 2: her getting into trouble, we see her being aimless, we
• 1:13:36
  Speaker 2: see her being eventually good at her job, but being
• 1:13:40
  Speaker 2: really bad at it at the jump, so you know, again,
• 1:13:43
  Speaker 2: just sort of like relatable life things.
• 1:13:45
  Speaker 4: So I appreciate that.
• 1:13:46
  Speaker 2: I'll give it three nipples, and I'm gonna give I mean,
• 1:13:50
  Speaker 2: Parker Posy, she simply must get one, but I'm gonna
• 1:13:53
  Speaker 2: give my other two nipples to the I kept calling
• 1:13:55
  Speaker 2: them the upa lumpa guys. Two guys who were wearing
• 1:14:00
  Speaker 2: the green wigs or they have like long dyed green hair,
• 1:14:04
  Speaker 2: and I feel like they were wearing orange. I'm not
• 1:14:07
  Speaker 2: sure if they were, but I was just like color
• 1:14:10
  Speaker 2: scheme going on.
• 1:14:10
  Speaker 5: They were like Thing one and Thing two vibes for.
• 1:14:13
  Speaker 3: Me, okay, okay, yes, yes, yeah.
• 1:14:16
  Speaker 2: So I was just like, who are these people? They
• 1:14:18
  Speaker 2: show up in random scenes, we know nothing about them,
• 1:14:20
  Speaker 2: but I was like, those are my oomple lump of friends,
• 1:14:23
  Speaker 2: So they get two of my nipples.
• 1:14:26
  Speaker 3: Uh, I'm gonna I'm gonna meet you at three. That
• 1:14:28
  Speaker 3: feels That feels right?
• 1:14:30
  Speaker 6: Uh.
• 1:14:30
  Speaker 3: For this movie, I really enjoyed this movie. I feel
• 1:14:33
  Speaker 3: like it is like such a cool I don't know,
• 1:14:36
  Speaker 3: I just I'm really into watching first Features right now.
• 1:14:39
  Speaker 3: This is a really cool one. I love the mother
• 1:14:41
  Speaker 3: daughter collab. I like, I think that that's really fun.
• 1:14:46
  Speaker 3: But the the the shortcomings of this movie, especially as
• 1:14:51
  Speaker 3: time goes on, are quite glaring, particularly with I'm just
• 1:14:55
  Speaker 3: like justice for Mustapha. I really hope that he truly
• 1:14:58
  Speaker 3: just sort of soft ghosts her after this and moves
• 1:15:01
  Speaker 3: on with his life. Gets his teaching degree. Maybe they
• 1:15:05
  Speaker 3: reconnect as friends down the line. Who knows. I just
• 1:15:07
  Speaker 3: want better for him, but I also want the best
• 1:15:09
  Speaker 3: for Mary. I hope she continues on her journey. Like
• 1:15:13
  Speaker 3: it's hard not to have a soft spot for this
• 1:15:15
  Speaker 3: character because she is such a fuck up in a
• 1:15:17
  Speaker 3: way that like it's hard not to root for. Yeah,
• 1:15:22
  Speaker 3: I guess. Yeah, I'm gonna go three nipples for all
• 1:15:24
  Speaker 3: the reasons we've discussed. You gotta give one to Parker Posey,
• 1:15:27
  Speaker 3: I'm gonna give one to Daisy Mayor, and I'm gonna
• 1:15:30
  Speaker 3: give one too Gear Modiaz as Leo because he was
• 1:15:35
  Speaker 3: really hauling boxes of records everywhere he went, and it
• 1:15:41
  Speaker 3: just seems like that job used to be much harder.
• 1:15:43
  Speaker 3: So shout out to that characters. Yeah, what about you, Liz.
• 1:15:50
  Speaker 5: Okay, Okay, I think I'll join you in the three
• 1:15:54
  Speaker 5: nipple ranking. I agree with yeah, everything you said. I
• 1:15:58
  Speaker 5: actually think the sort of be flawed woman is across
• 1:16:02
  Speaker 5: the board. Every Field character has her ups and downs,
• 1:16:07
  Speaker 5: which I do love that, and I do think the
• 1:16:09
  Speaker 5: library representation is great. I'm going to give a nipple
• 1:16:13
  Speaker 5: to Mary, I'm going to give them to Judy. I'm
• 1:16:16
  Speaker 5: going to give one to Renee, who I really hope
• 1:16:19
  Speaker 5: had a better day than any datest movie. I just
• 1:16:23
  Speaker 5: try to live her live, run the hottest club in
• 1:16:25
  Speaker 5: New York. But I would like to take a step further,
• 1:16:27
  Speaker 5: if you will allow it, and I'd like to take
• 1:16:29
  Speaker 5: Melville Dewey's nipples away from him. And I'd like to
• 1:16:31
  Speaker 5: give one to Wanda and one to Howard.
• 1:16:34
  Speaker 3: That's great love that, Oh, yes, and yes, I would
• 1:16:36
  Speaker 3: like to give honor all of my nipples honorarily to
• 1:16:40
  Speaker 3: the Bastards. Episodes about Melville Dewey, if you've got the
• 1:16:44
  Speaker 3: stomach for it, pretty pretty brutal stuff.
• 1:16:47
  Speaker 5: It's tough to listen to, but it's a good episode.
• 1:16:48
  Speaker 3: It's a good couple of episodes. Judy didn't cover the
• 1:16:52
  Speaker 3: half of it, all right. So that is Party Girl
• 1:16:57
  Speaker 3: nineteen ninety five. Happy birthday to Party Girl, Liz. Thank
• 1:17:00
  Speaker 3: you so much for joining us, Thank you for having me.
• 1:17:04
  Speaker 3: This was the light bol absolutely. Where can we find
• 1:17:07
  Speaker 3: your work? Where can we get your book? Tell us everything?
• 1:17:10
  Speaker 5: You can find me online anywhere you're online at Cosbrarian
• 1:17:15
  Speaker 5: co O S B R A R I A N
• 1:17:18
  Speaker 5: and you can get my book Fucked Up fairy tales
• 1:17:21
  Speaker 5: wherever you most like to buy books. Hopefully you're local Indie,
• 1:17:24
  Speaker 5: certainly you can request your librarian to stock it in
• 1:17:27
  Speaker 5: their library or wherever the hell you want to buy
• 1:17:30
  Speaker 5: a book.
• 1:17:31
  Speaker 3: Please get mine, Helly, Please, congratulations on your book.
• 1:17:35
  Speaker 5: Thank you.
• 1:17:36
  Speaker 3: And you can find us in all the regular places,
• 1:17:39
  Speaker 3: mostly Instagram at Bechdelcast, and of course you can follow
• 1:17:45
  Speaker 3: our Patreon aka Matreon. Five dollars a month gets you
• 1:17:49
  Speaker 3: two bonus episodes every single month, as well as a
• 1:17:53
  Speaker 3: backlog that goes back over two hundred episodes at this point.
• 1:17:57
  Speaker 3: If you're running out of main feed stuff where you
• 1:18:00
  Speaker 3: want to just hear us kind of goof it off
• 1:18:02
  Speaker 3: even more than we do on the main feed, head
• 1:18:05
  Speaker 3: over there and check out the Matreon great community of friends.
• 1:18:09
  Speaker 3: And when you come to our live shows, you get
• 1:18:10
  Speaker 3: a free button unless we run out, and then we
• 1:18:13
  Speaker 3: give you a normal button something else. Yeah, just a
• 1:18:16
  Speaker 3: little peek behind the curtains.
• 1:18:18
  Speaker 2: Yeah, and with that, should we order some falafel with
• 1:18:24
  Speaker 2: hot sauce, a side of babaganooshe and a seltzer.
• 1:18:27
  Speaker 3: That actually sounds really good right now?
• 1:18:29
  Speaker 2: Yeah? All right, let's go.
• 1:18:31
  Speaker 3: Bye the Bechdel Cast is a production of iHeartMedia, hosted
• 1:18:38
  Speaker 3: and produced by Me, Jamie Loftus.
• 1:18:41
  Speaker 2: And Me Caitlyn Durrante. The podcast is also produced by
• 1:18:44
  Speaker 2: Sophie Lichtermann.
• 1:18:45
  Speaker 3: And edited by Caitlyn Durrante. Ever Heard of Them? That's
• 1:18:49
  Speaker 3: Me and our logo and merch and all of our
• 1:18:52
  Speaker 3: artwork in fact are designed by Jamie Loftus, Ever Heard
• 1:18:56
  Speaker 3: of Her? Oh My God? And our theme song by
• 1:18:59
  Speaker 3: the Way, composed by Mike Kaplan.
• 1:19:01
  Speaker 2: With vocals by Katherine Voskrasinski.
• 1:19:04
  Speaker 3: Iconic and especial thanks to the one and only Aristotle Ascevedo.
• 1:19:09
  Speaker 2: For more information about the podcast, please visit linktree slash
• 1:19:13
  Speaker 2: Spectelcast